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Arts & Entertainment

The Great Pages Circus is Coming To Springfield

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Ready for a show stopping, heart pounding family adventure? The Great Pages Circus has the finest international circus acts and artists for a spectacular show each year! Two shows each day on Wed, April 10 & 11 at 4:30pm or 7:30pm at the Clark County Fairgrounds. Buy an adult ticket for $20 and get 2 free kids tickets.  You can purchase tickets online.

Although our Elephants and Tigers have now retired, we still present our liberty ponies, horses, and camels.

These highlight our fabulous aerial, juggling and clown acts to complete the family experience and whenever possible Earhart’s Globe of Death makes an appearance with adrenaline rushing motorcycle mayhem.

Your circus experience will last approximately an 90 minutes. Of course we love to show off, so the more noise you make, the more we do! We love to ask for

volunteers. Be ready to make some noise if you want Ringmasters James or Colleen to notice you.

Circus souvenirs are available before, during and after the show. Be sure to get your official CIRCUS PAGES COLORING BOOK and color your own memories.

We are cash only event but have an ATM available.

Generation Dayton: Arts & Culture Lunch and Learn

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Join Generation Dayton for a lively panel discussion featuring dynamic creative leaders from a variety of arts and culture organizations across the city. Discover how these organizations are cultivating belonging and making an impact, and learn how you can contribute to the vibrant arts scene in Dayton. Registration is required and includes lunch.

Panelists include:

  • Te’Jal Cartwright – Owner, Lore Storytelling
  • Jonathan McNeal – Filmmaker & Cinema Manager, THE NEON
  • Judd Plattenburg – Photographer & Arts Patron; Owner, Oregon Printing Communications
  • Brandon Ragland – Artistic Director, Dayton Ballet
  • Michael Roediger – Director & President, The Dayton Art Institute
  • Lisa Wagner – Executive Director, Levitt Pavilion Dayton

Registration fee includes lunch.

Dayton Debut: The Jared Stout Band

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The Jared Stout Band is making their Dayton debut on April 4 at the Brightside.

Based outta Roanoke, VA, these fellas are a healthy blend of forward and backward trucker hats, smoky bars, pool sharks, whiskeys, brewskies, and spontaneous makeout sessions on dancefloors with women fresh outta love (see: the music video for their song, “Cost”).

A little alt-country and a little alt-rock ‘n’ roll, the band could sonically fit on a good chunk of American radio stations. You’ll find most of it here: finger-picking, semi-hollows, acoustics, electrics, solos, harmonicas and shakers, but I think we can all agree that staying true to their Appalachian roots and leaving the ten-gallons to the cowpokes — and opting for the truckers mentioned above — was the appropriate aesthetic choice.

Opening the show is local singer-songwriter favorite (and New Old-Fashioned frontman), David Payne, who is also a big fan of hats.

I reached out to The Jared Stout Band via Instagram for some inane questions and they (ostensibly Stout) were gracious enough to play along:

What are your feelings going into playing Dayton, and how does it differ — if at all — from playing other cities for the first time?

Jared Stout: We’re excited! A new city always comes with some nerves, but more than anything we’re excited to play in Dayton and throw a little flair at some Dayton lore.

Did you know the pop tab was invented in Dayton? Probably not, why would you?

JS: Had no clue! (Called it.) That’s cool. Fun fact, there was about a year or two in my life I was afraid to open pop tabs. I opened one with too much enthusiasm as a kid and cut myself on the can. Lesson learned. Now I pop with caution. We heard there’s a pending Limp Bizkit show in town, too… eventually.

Same as question one, but reframed now that you know about the pop tab — and therefore beer can — factoid.

JS: [Canned laughter via text.] Well, now with that info, we’re gonna have to ask the crowd to pop one with us… safely, of course. [More canned laughter via text.]

For someone who’s never seen you perform, what feeling do you want them to leave with after the show?

JS: We want them to feel full — visibly, audibly, and emotionally. We aim to bring an entertaining show from start to finish [to] our listeners. From songs that make you think back, to ones you’ve never heard before. Our goal is to introduce you to our style, music and energy, and send you home happy and full of good life.

What do you think of David Payne’s music?

JS: [Insert democratic and complimentary response here.]

Well, there you have it: a band who comes off as no bull, nose-to-the-grindstone country music with enough of a sense of humor and humility to answer questions with the words “pop” and “tab” in them.

And I’d be remiss to end this riveting piece of music journalism without having asked opener David Payne a question, to which he replied: “Stoked to have those guys in town! Excited to be opening up the show.”

It seems all involved are excited, so let’s hope you and your hats are, too.

The Jared Stout Band makes their Dayton (pop tab invention capital of the world!) debut on April 4, 2024 at The Brightside Music & Event Venue (905 E 3rd St, Dayton, Ohio 45402).

Doors are at 7 p.m.  Local songbird David Payne opens the show at 7:30 p.m. Tickets are $10 pre-sale at VenuePilot. $15 at the door.

Discovery: DCDC’s BodyTalk (Exploring African American Playwrights)

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In this dance imagination of African American playwrights, award-winning choreographers draw inspiration from prominent works including Adrienne Kennedy’s Funnyhouse Of A Negro, Ntozake Shange’s For Colored Girls, August Wilson’s Fences, Katori Hall’s The Mountaintop, Zora Neale Hurston’s Their Eyes Were Watching God, and James Baldwin’s The Amen Corner.
Created and performed by the Dayton Contemporary Dance Company.
SHOWTIMES
Wednesday, April 3, 2024 at 9:30 A.M.
Wednesday, April 3, 2024 at 11:30 A.M.
AGE RECOMMENDATION
Best for grades 4-12.
ACCESSIBILITY
The 11:30 a.m. performance will be sign interpreted and/or audio described upon request. Please indicate your need for interpreted and/or audio description on your Discovery order form or let the ticket agent know at least two weeks before the performance. Please understand that while we will make every effort to make reasonable accommodations, certain requests may not be able to be honored.
MORE INFORMATION:
https://www.daytonlive.org/events/discovery-body-talk/

Murder Mystery Dinner Show: “Fatale Flaw”

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The spaghetti warehouse has you covered with dinner and a show! Our all new murder mystery show “Fatale Flaw” is up and running. 3 course dinner and a show 39.99 +tax.

Join Mayhem & Mystery for their newest production. Nora Dezimon and her best friend Cathy Mofitt have hired Sam Shade to find out the truth about Nora’s finacé, Harry Lemon. Is Harry cheating on her? His temper and controlling nature have Nora running scared. Harry thinks Nora is stepping out on him. Can Sam discover the truth? Will Nora escape Harry’s angry clutches? And what secret is Cathy hiding? Can you solve the crime and win a prize?

Shows are 7:00 PM Monday nights in February, March, and April 2024, plus special performances on VALENTINE’S DAY, and Fridays, March 1 and April 26. Dinner and show only $39.95 plus tax and tip. Call 937.461.3913 to make required reservations

Magnolia Theatre Company Serves Up ‘5 Lesbians Eating a Quiche!’

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Gina Handy Minyard is ready to share ‘5 Lesbians Eating a Quiche‘ with the Dayton audience….the tale is ‘beautiful,’ ‘uplifting’ and ‘interactive.’ I was so excited to catch up with her to get more about Magnolia Theatre Company‘s latest production!

JS: Hi Gina. Thank you for taking time to chat. about your upcoming production! First, why did you choose this show in particluar?

GM: Hi Josh. Well, MTC loves a theme! The 2023-24 season focuses on joy, love, and belonging.  ‘Five Lesbians Eating a Quiche’ is a perfect way to show these things.  Although the show has a funny title, it really tells a beautiful story about these 5 women and how they work together in good times- a quiche breakfast, and bad times- the threat of an atomic bomb.  We wanted audiences to be able to laugh this year.  Also, we are committed to uplifting underrepresented groups and lesbians are a group that are often missing from the theatrical stage.  We are proud to bring this to Dayton audiences.

JS: True….and it’s something I never really considered. So, what should audiences expect from this production?

GM: This show is interactive!  Audience members will be attending the 1956 Annual Quiche Breakfast.  They become an active participant in our world.  They can expect to be taken back to a simpler time, and they will laugh a lot.  The show was written with an improvisation element, so no two shows will be the same.

JS: Love that! It definitely makes things fresh…for you and for your viewers. I guess, I really am interested in what this show centers around. The title certainly catches your attention!

GM: It’s 1956 and The Susan B. Anthony Society for the Sisters of Gertrude Stein are having their annual quiche breakfast. As the assembled five women await the announcement of the society’s prize-winning quiche, the atomic bomb sirens sound! Has the Communist threat come to pass? How will the women respond as their idyllic town and lifestyle faces attacks?

JS: Ummmmmm….that is not at all where I thought this story was heading. WOW. Intrigued!! Good for the Magnolia Theatre Company for reaching toward such a unique play. (The MTC has quite a history. It was founded in 2012 by Gina Handy Minyard. MTC quickly became one of the most talked about theatres in Pennsylvania. Minyard, a professional actor, had become more aware of the gender disparities in the theatre, and research proved there was a lack of female leadership and opportunities for women. Inspired by change, she decided to start a professional theatre company dedicated to women. The company moved to Dayton, OH in 2014 where the need for professional theatre for women was bigger than ever. MTC joined the ImPACt program at the Victoria Theatre Association. Their first show, Parallel Lives, was produced with 100% local, female talent. MTC has continued in its quest, producing the fundraiser Broadway Beveled, an evening of male songs and monologues gender flipped. Magnolia Theatre Company also started Femme Artisan, a staged reading series dedicated to new and under produced work. In 2022, with the help of the Montgomery County Arts and Cultural District, MTC became a 501(c)3 organization. They have become a producing partner with the University of Dayton’s Theatre, Dance and Performance Technology program for the 2023-24 season and is a new member of Dayton Live’s Community Spotlight Program.)

JS: So, Gina, I know you are directing the show. Who are the 5 cast members?

GM: It’s a great cast. Sarah Gomes, Emma Massey, Skye Hodgkin, Cydnie Hampton, and Vera Allen. Our stage manager is Alyssa Jenkins.

JS: Stellar group. How do people see the show?

GM: It runs April 4,5 and 6 at  7:30 pm.  April 6 and 7  at 2pm. We are performing at  the PNC Arts Annex  56 W. 2nd St. Dayton, OH 45402. The show runs 70-75 min. No intermission.

JS: To you and all the cast, BREAK LEGS!! Thank Gina!

For more info, go to http://www.daytonlive.org/events/five-lesbians-eating-quiche/

 

McCoy on Movies: Ghostbusters: Frozen Empire

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“Frozen Empire” shows latest “Ghostbusters” adventure not completely thawed out as much as it should be.

The teaser poster for GHOSTBUSTERS: FROZEN EMPIRE. Credit: Sony Pictures Publicity.

 

WATCH THE TRAILER HERE:

 

KEY CAST MEMBERS: Paul Rudd, Carrie Coon, McKenna Grace, Finn Wolfhard, Emily Alyn Lind, Logan Kim, Celeste O’Connor, Annie Potts, Kumail Nanjiani, James Acaster, Dan Akroyd, Ernie Hudson and Bill Murray with William Atherton

DIRECTOR: Gil Kenan
THE BACK STORY: Picking up after the events of Ghostbusters: Afterlife, GHOSTBUSTERS: FROZEN EMPIRE finds Gary Grooberson (Paul Rudd) now living with his girlfriend Callie Spengler (Carrie Coon), her now 18 and clamoring to be an adult son Trevor (Finn Wolfhard) and daughter Phoebe (McKenna Grace). Gone is the family house in the middle of nowhere Oklahoma, however, as the quartet is now living inside the Ghostbusters’ old firehouse in New York City. 
 
It’s a good thing, too, because it seems that something strange is always popping up, much to the chagrin of now Mayor Walter Peck (William Atherton). The organization’s longstanding oldest human nemesis, Mayor Peck is tired of the Ghostbusters’ constant destruction despite their work to constantly save the city, which is why he’s always looking for a way to shut them down. 
 
Phoebe, however, is dealing with her own problems. Informed she can’t be out working due to only being 15, Phoebe feels extremely out of place not being able to do anything, especially since it seems no one truly understands her. That’s why when she is greeted by a teenage spectre in the form of Melody (Emily Alyn Lind), she is happy for a newfound friend, even if they exists on two literally different astral planes.
 
There is something Phoebe, Gary, nor the rest of her family know, however … For while Raymond Stantz has been keeping up his fascinations with his occult book store and Peter Venkman is off doing Peter things, Winston Zeddmore (Ernie Hudson) has been using his company to study ghosts up close and personal. The research has brought about many revelations in ghost containment, which is good given that the old firehouse unit may be reaching capacity.
But what does any of that have to do with Nadeem Razmaadi (Kumail Nanjiani) and the strange brass ball that used to belong to his grandmother that he just sold to Ray? Let’s just say whatever is inside definitely wants to get out and turn the world into its own frozen empire …
 
THE REVIEW: After the maligned release that was 2016’s Ghostbusters installment, 2021’s Ghostbusters: Afterlife was a refreshing installment that honored the past films while carving out its own niche. In short, it felt like a new chapter in a story that enhanced it, capturing the sentimental and sweet with the funny and sarcastic.
 
GHOSTBUSTERS: FROZEN EMPIRE, however, by and large mostly just feels like a sequel. Save for the teenage coming of age elements of Grace’s character’s story – Is she out of place because she’s smarter than most of the adults? Is her relationship with Melody one that would be romantic if possible? – the story moves along, but lacks anything that makes it feel like other than what it is: A sequel that is okay but not on par with its predecessor. 
 
Many of the jokes feel like heavy-handed, well worn gags, the villain is almost an afterthought up until the last 20 minutes and Nanjiani feels a little out of place. The film’s narrative is also guilty of doing a lot of telling versus showing to keep things moving along and Murray dare I say feels like he’s just going through the motions when he’s onscreen. Then again, the visuals are nice, Grace does a lot of heavy lifting to give the film some sort of emotional center and the aforementioned last 20 minutes is an entertaining climax. 
 
That all being said, unless you are a diehard Ghostbusters fan (note: the author would include himself in that mix), you won’t really feel like you’re missing anything if you don’t catch FROZEN EMPIRE on the big screen. It’s a perfect Saturday afternoon movie for when you’re at home cleaning the house or not doing anything else, but if you’re worried whether or not you need to rush out to catch the latest installment, the answer sadly is no.
 
I ain’t afraid of no ghost, but I am afraid that the latest installment is more “okay” than it is spell-binding. 

 

 
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

This Must Be the Party — A Tribute to the Talking Heads

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This ain’t no party, this ain’t no disco, this ain’t no fooling around — except it is a party, it is a disco, and there is a fair amount of fooling around.

This Must Be the Party — a Dayton, Ohio all-stars celebration of the music of Talking Heads — is on Saturday, March 30 at The Brightside Music & Event Venue. 

From its impetus at the now-defunct Oddbody’s in 2017 to the Brightside ballroom in recent years, this annual stage show recreates the frenetic mannerisms of David Byrne and the rest of the Heads from Jonathan Demme’s 1984 concert film, Stop Making Sense.

Then again, This Must Be The Party might be closer to a Heads’ show than Demme’s documentary since the Dayton stage show also includes “Cities” and the mashup of “Big Business/I Zimbra”: songs that were part of the Heads’ 1983 performance but not the theatrical release.

From setlist to wardrobe to props to choreography, This Must Be The Party is as faithful to the show as Byrne was to (allegedly) snorting stimulants. But filling the many big suits of David Byrne takes a certain level of commitment.

“Nobody wanted to be David Byrne all night,” said Libby Ballengee, booker for The Brightside and owner-operator at Venus Child Productions. “That’s when we cooked up the idea of having multiple David Byrnes, literally just for stamina because there’s so much running on stage.”

Donning the loose-fitting gray Byrne suits this year are Nathan Peters (Turboslacker), Eric Cassidy (Human Cannonball), Matt Byanski (Nasty Bingo), and Asche Pooler (Abertooth Lincoln) as the newest member of the group, graciously taking the place of the late Brian Spirk who passed away unexpectedly in October.

“Brian was an immensely talented and beautiful soul,” said Brian Hoeflich, drummer for This Must Be The Party. “We hope to honor him by continuing this show and spreading the joy that he spent so many years bringing to everyone.”

Here are a few David Byrnes on being David Byrnes:

Eric Cassidy: “I think that being David Byrne for the night is the most fun you can possibly have entertaining people. Just like actual David Byrne, the crowd will follow you to some weird places. And the more you give, the more you get back from the crowd. Walking out in front of one of the best bands that you have ever heard is so empowering. They got the crowd moving. They got ME moving. And I can ride that wave and use it to explore the stage with dance that is partly inspired by the original show, and also kind of my own thing. And the songs are just so good and well-known. It’s a blast!”

Matt Byanski: “It’s an honor and a challenge. The coat is great — the pants need to stay on! Suspenders are your friend!”

Asche Pooler: “I can’t tell you honestly in context just yet (because it is my first year) but I can tell you this: the rehearsals alone are so incredible to be a part of and watch, so I have an immense feeling that the actual show will be something to behold as well. I’m realizing that David and I have more in common as “weird” sort of musicians while doing it. So, in short, it feels good, man.”

Another addition to this year’s show is keyboardist Damien Dennis, alongside the return of backup singer Mykal who was an integral part of past performances.

Alongside the musicians mentioned above, the cast for This Must Be The Party includes Khrys Blank, Nathan Lewis, Patrick Himes, Chris Corn, and Erich Reith.

“We hope to eventually develop a theater stage version of the show,” Hoeflich said. “With projection screens and mobile instrument risers — just like Talking Heads did originally.”

Every year, the show grows nearly indistinguishable from Byrne’s original concept. So even if this is not your beautiful house and this is not your beautiful wife, This Must Be The Party. It’s once in a lifetime and it happens once a year.

This Must Be the Party — A Tribute to the Talking Heads, a Venus Child Production, is on Saturday, March 30 at the Brightside Music & Event Venue (905 E 3rd St, Dayton, Ohio 45402). Doors are at 8 p.m. Funky esoteric post-rock trio The Social Q opens the show at 8:30 p.m.

Tickets are $20 and available at VenuePilot.

Five Lesbians Eating A Quiche at the PNC Annex

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It’s 1956 and The Susan B. Anthony Society for the Sisters of Gertrude Stein are having their annual quiche breakfast. As the assembled five women await the announcement of the society’s prize-winning quiche, the atomic bomb sirens sound! Has the Communist threat come to pass? How will the women respond as their idyllic town and lifestyle faces attacks?

Recommended for ages 14+. Sexual content, intense themes, and strong language.

Heart-Warming ‘One Life’ is a Beacon of Hope for the Modern World.

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We need heroes these days. People to take us from this incessant era of anger, heart-ache and the fake bliss that is social media. We need people who think beyond themselves. People who look to help others in the face of evil and terror. Our time, this time in the world is not anything new or out of the ordinary. There will always be poverty, war, homeless and HATE. We have those in check, and so, what we need are heroes like the one depicted in ‘One Life,’ a film now showing at the Neon Movies.

It is rare I think to write about film. It’s always ‘iffy’ to go there. But, if you like a recommendation, here it is. Sitting at 93% on Rotten Tomatoes, ‘One Life’ is proving to be that little film with a big heart, and a big consensus “You should see it…”

Anthony Hopkins (the perfect pick) stars in the film,  along with Helena Bonham-Carter (a role made for her) and Johnny Flynn (such a strong, staid performance.) Flynn plays the younger Nicky Winton. the hero of our story. Winton was instrumental in saving lives during the occupation of Czechoslovakia. His focus was on the children, who needed an escape from the oncoming Nazi regime. 5 decades later, Hopkins, the elder Winton, reflects on, and is haunted by, what became of those children. And we are in for an emotional roller-coaster, as the story unfolds, almost told too conventionally….Here is what happened, and here is why it mattered. But within that conventional style, we are given the facts, and the faces of heroes. (Bring your Kleenex) It all comes together with the film’s defining moments, and our hearts are, alas, FULL!

Though there will be times when you want to push the needle forward more quickly and with more finesses in the film, it’s the beauty of the actors’ performances that keep us engaged. The children in the film alone seem like seasoned performers, tugging at our heart-strings, yet never letting us forget the horror they are facing. The atmosphere, both in flashbacks and in the later years, is well-executed….there are definite ‘moods’ to both.

The film is directed by James Hawes, (the Challenger Disaster, 2013). His modest story-telling in ‘One Life‘ again retains his desire to get the story right…and let the reality in that, do the work. The movie is based on the book ‘ If It’s Not Impossible…: The Life of Sir Nicholas Winton.’ by Barbara Winton.

For Winton, it was always about doing what’s right by people. Within the hour and 45 minute film, you cannot help but think about our world….anti-semitism, invasion, refugees, and of course, the misplaced children. Injustice…I mean isn’t that what always brings about rising heroes…in film and in life. You will leave the theater, teary-eyed and wondering who will save us from ourselves…in our ‘One Life?’

Catch ‘One Life’ at the Neon until 3/28! Info Below:

https://www.neonmovies.com/home

 

McCoy on Movies: THE AMERICAN SOCIETY OF MAGICAL NEGROES

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Writer/director Kobi Libii strikes a strong social cord with satirical exploration of American society’s relationship to African-Americans with debut feature

“I heard the NPR reviewer didn’t like our movie … Looks like we better send them a magical Negro of their own …” Aren (Justice Smith) looks on as Roger (David Alan Grier) prepares to show him how to diffuse a potentially dangerous interaction in a scene from writer/director Kobi Libiii’s THE AMERICAN SOCIETY OF MAGICAL NEGROES. Credit: © 2024 Focus Features. All Rights Reserved. 
WATCH THE TRAILER HERE:
 

KEY CAST MEMBERS: Justice Smith, David Alan Grier, An-Li Bogan, Drew Tarver, Micaela Watkins and Nicole Byer

DIRECTOR: Kobi Libii
THE BACK STORY: Ahh … The magical negro. First coined by Spike Lee in response to all the black characters that would appear in movies for no other purpose than to serve as a spiritual Jiminy Cricket or Tinkerbell to the lead white protagonist, the magical negro has existed in many forms on screen.
 
But what if they existed in real life? In writer/director Kobi Libii’s documentar-er, social satire, they are.
 
THE AMERICAN SOCIETY OF MAGICAL NEGROES stars Justice Smith (The Get Down, Jurassic World: Fallen Kingdom) as Aren, a yarn sculptor – yes, yarn – who’s career is going nowhere. He is, however, good at one very specific thing: Making white people feel comfortable around him … If they even notice he’s in the room, that is. That skill is what catches the attention of Roger (David Alan Grier), a bartender at the art gallery at which Aren is showing his work, which leads to him revealing a secret …
Roger is part of the aforementioned American Society of Magical Negroes, a collective of black people with magic powers which they use to keep white people happy and achieving their dreams. Why? Because in doing so, they help reduce the chances of other black people from getting unjustly fired from jobs, arrested – or worse. Showing Aren what he can do after inadvertently helping save him from a potential drunken Karen, Roger brings him to the secret society’s headquarters where he gets the full rundown. Skeptical at first, Aren eventually relents and decides to join up as Roger’s protege.
On assignment, Aren gets paired up with Jason (Drew Tarver), a depressed tech bro who works at a Facebook-esque social media company. And things are going well enough … Until they aren’t. Why? Because of the presence of Lizzie (An-Li Bogan), Jason’s boss. She’s cool, she’s hip, she’s smart and she’s funny … And she’s the same girl for whom Aren also has eyes.
Knowing that magical negroes must always put their clients’ happiness first before their own, Aren finds himself at a crossroads: Does he sacrifice the first person who’s made him feel good about himself or preserve the safety of all black people in America? For if one magical negro blows their assignment, all of their fellow negroes’ magic will cease to work.
 
THE REVIEW: THE AMERICAN SOCIETY OF MAGICAL NEGROES is a social satire. For many people of color, however, watching the film may feel more akin to watching a documentary. For in touching upon how fictional characters have navigated white society for years dating back to the early 1900s, the film subtlety touches on real aspects of the modern experience, especially in how a post-2020 has made it even more necessary. 
 
Validating how cool a non-POC is due to their outfit, knowledge of 90s hip-hop or sneaker collection? Check. Being the black friend they can speak they can “speak honestly” with without fear of retribution? Check. Explaining that someone isn’t a bad person just because they had no clue about something that culturally affects and/or has been affected black people for eons that they’ve clearly ignored all the signs of, dialogue about and/or protests? Check.
Why do I say all these things? Because these are things that I personally have experienced, which is something I’m quite confident I’m not alone in experiencing. And with his debut feature THE AMERICAN SOCIETY OF MAGICAL NEGROES, writer/director Kobi Libii brings those feelings to the forefront for the entire world to see in humorous, yet heartfelt fashion.
Some may take issue with the underlying romantic comedy notions – let alone Smith’s character falling for a non-black female lead. That idea, however, undercuts one of the prime stories present in the film that is also present for many black people in real life: Just being free to do, say, think whatever and fall in love with whomever you like without worrying about how someone else – in this instance, white people – are going to react to or feel about it.
In turn, one can live their life how they see fit instead of always trying to appease someone else out of fear of retaliation, inferiority complexes and/or hatred for their simple achievements. Don’t believe me? Take a look at the average headline with the dreaded letters “DEI” in the title. Whereas some outright refuse to acknowledge a system that has benefitted them, others take the stance of, “If someone else is getting closer to me socially/economically/civil rights-wise, I MUST be losing my status at the top of the food chain.” With THE AMERICAN SOCIETY OF MAGICAL NEGROES, Libii dives deep into corporate structure and shows how its the subtle things that people may not even realize that can have significant, lasting impact in both a positive and unfortunately more often than not, negative sense.
Smith is perfect as a nondescript everyman, the type that would hear “I don’t even think of you as black” as if that is some sort of complement from start to the film’s apex. But in watching him navigate the world around him, his slow own self-denial of his situation evolves into revelations that might feel revelatory to some and shocking-for-not-being-able-to-see-it-until-its-pointed-out-in-blatant-fashion to others. This in turn makes his relationship with Bogan’s character such a joy to watch – for despite being two people who would seemingly be from very different worlds, their connection to each other is so undeniable it’s a pleasant reminder of what the human experience should be in a world where, unfortunately, it just isn’t.
Of course, David Alan Grier is excellent in his role as the wise, old sage trying to guide his young apprentice. For a man well-known for his comedic prowess dating back to the late 80s/early 1990s – YES, In Living Color really is more than 30 years old – watching him delve expertly between comedic and dramatic has always been one of if not his best skill. THE AMERICAN SOCIETY OF MAGICAL NEGROES gives him a chance to do so adeptly as he showcases his range.
Sadly, in the wake of the stellar American Fiction – doesn’t it feel like that’s going to be the “here’s your good black film, now let us just acknowledge that and move on?” movie of 2024 following the Academy Awards – THE AMERICAN SOCIETY OF MAGICAL NEGROES is likely to get lost in the shuffle. Some of that may be due to its title; some of it may be due to lack of starpower and buzz it has … And some may be to general disinterest.
Then again, come to think about it – general disinterest in the African American experience is quite an American experience, which kind of explains how we got here in the first place, don’t ya think?

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

 

Artist of the week: Elisha Frontz

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Elisha makes mixed-media art at Front Street, in her studio on the first floor of the 100 Building that she shares with Kate Santucci. The first time I met Elisha she wasn’t making visual art. She was singing with the Blue Heron Trio. The group has been on hiatus since 2022 but you can still hear Elisha sing online.
May be an image of 1 person and dirndl
I asked about her shift from making music to making her multi-media art.
“I’ve always been interested in both visual art and music,” Elisha told me. “My mother tells me that even as a toddler I would pound on the piano and then run to a piece of paper where I was making a drawing. In high school and college I loved my art classes but also found time to sing in different bands. When I finished art school, where I majored in sculpture, I started singing with the Blue Heron Trio.”
“When the pandemic hit there were no live music bookings to be had, so I started making visual art again. Then in 2022 one of the members of our trio died. After 12 years of working so closely together the three of us were like family. I haven’t sung since his memorial service. I’ll probably sing again someday, but right now I spend my time making mixed media visual art.”
“I currently have a show now at Emporium Wines and Underdog Cafe in Yellow Springs, and our studio is open on First Friday and Third Sunday art events.”
I asked Elisha to tell me more about the visual art she’s making.
“In art school I loved making sculptures,” she told me “but sculptures can be hard for people to incorporate into their living space. I decided to make work that has a sculptural feel but that hangs on the wall. “
“I start by making a wooden panel. Then I create a watercolor painting that is exactly the size and shape of the panel on thick watercolor paper. Then I typically add other materials. In recent work I’ve been adding sewing patterns. Finally I do the sewing. I love the texture that hand stitching with metallic thread adds to a piece, even though the process seems to take a very long time.”
Maybe it’s because I’m listening to Elisha sing as I write these words, but I see the influence of music in Elisha’s visual art. There’s a rhythm and a flow like the cadence of a song. Take a look at more of her work and see if you agree, either at https://billfranz17.com/ or https://www.elishafrontzart.com/ or in her studio at the next First Friday or Third Sunday event.
More on Elisha’s visual art tomorrow. More photos at https://billfranz17.com/

Ride The Cyclone Musical

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A new musical by Jacob Richmond and Brooke Maxwell that has become a viral TikTok sensation! It’s the hilarious and outlandish story of six teenagers from a Canadian chamber choir whose lives are cut short in a freak accident aboard a roller coaster. When they awake in limbo, a mechanical fortune teller invites each to tell a story to win a prize like no other — the chance to return to life.  A funny, moving look at what makes a life well-lived! (Ride the Cyclone contains adult and “teen age” humor, including references to sex, drugs, and violence.) $18 adults/$15 students & seniors. TUESDAY STUDENT MADNESS — ONLY $10 FOR STUDENTS  http://www.sinclair.edu/tickets

If you’re heading to ‘HADESTOWN’….’Wait For Me!’

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For those of us who went through mythology classes, we know the story. We know the beginning, the middle, and yes, the END! THAT ENDING! Like most of the Dayton audience, I felt the need to change it up…to make it different….to stop the inevitable….but ‘It’s a sad song, and we’re gonna sing it anyway!’ From the jump, ‘Hadestown‘ dives right into the story. Our focus falls to Orpheus (J Antonio Rodriguez…with a falsetto like no other)  and his love for Eurydice (Amaya Braganza, with her smooth, solid voice). The tale is rough and wrought with issues…hunger, poverty and longing. It grinds…until the frenetic Persephone makes her entrance. The character, one for the mythological ages, is played with an almost gymnastic quality by Lana Gordon. (She will wow you in the second act!) If you recall, Persephone lives half of the year with her hubs Hades (Matthew Patrick Quinn…who adds an emotional quality to his character, which I’ve not seen in previous performances). Their troubled relationship ebbs and flows throughout, delivered with voice and VOICES!

The story moves on the ‘track’, taking us from Eurydice‘s strife of freezing and needing sustenance; through Orpheus‘ idealism and hope to bring Spring along; Persephone‘s time ‘down below’ casting the world into cold and dark; and Hades strict control of his underworld, where lyrics on building walls, and silencing uprisings seem timely, today!

As the train continues forward…barreling into hell, we wish we could stop things…the decisions Eurydice‘s makes for her future; the anger Hades feels for the world he cannot control; the choice of Orpheus to take the ‘test!’ (DON’T DO IT!!). And throughout, there is this emotional current pulling at our heartstrings as we go. (There were tears from many in the audience as fate deals us that ‘blow.’) All the while, we relate. We relate to the themes whispering in our ears….doubt, worry, survival. Those voices brought to life through strong vocals from the Fates ( Marla Louissaint, Hannah Schreer & Lizzie Markson.)

Throughout our show, the onstage musicians take us on a musical ride that truly is dynamic. They are, each and every one, masters of their craft. You almost want a concert featuring…well…just them! And along with them is Hermes (played by the endearing Will Mann). He connects so well, reminding us that this not gonna be easy!

No doubt, the story could drag, but the visuals (the lighting, the special effects), the set (with its nod to New Orleans) and the sounds (especially during the beloved ‘Why we Build The Wall’) keep us enthralled and engaged. It is hard to let your attention wander.

Look, this isn’t your run of the mill Broadway show. It’s obscure, and handles political issues seamlessly. It has songs that are beyond our everyday Broadway experience (‘Doubt Comes In‘, ‘Our Lady of the Underground‘, ‘Hey, Little Songbird‘) It tackles a classic tale with hope for a resolution, and then takes us where we knew were going all along. It’s eerie and odd, beautiful yet broken.

There’s a reason ‘Hadestown‘ can at times be polarizing. Strong feelings on both sides of the aisle. In the words of a friend in attendance ‘I hate unhappy endings.’ To that I say, ‘It’s a sad song, and we’re gonna sing it anyway!’ 

For further information on times and tickets, click below!

https://www.daytonlive.org/events/hadestown/?gad_source=1&gclid=Cj0KCQjwncWvBhD_ARIsAEb2HW8ljCZApo1EYrwidJ44OSIL-nmV5nvo_HqgQhqj3WBzQlcyRhcqsN8aAmS4EALw_wcB

 

 

Free Museum Addmission on Art for All Day

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On Thursday, March 21, 2024, the Dayton Art Institute (DAI) will welcome all in the community to the museum, free of charge, for a special Art For All day.

On Art for All Days, the museum will offer free general admission to its collection galleries, as well as the Special and Focus Exhibitions The Artistic Life of Aka Pereyma, James Pate, Techno-Cubism: The Art of Line Painting, Telling Stories: World Literature in Art.

James Pate, Techno-Cubism: The Art of Line Painting

The museum will be open from noon to 8 pm on March 21. Throughout 2024, DAI will offer two additional Art for All days. On Sunday, June 30, and Friday, November 15, guests will receive free admission.

For more information about planning a visit, including current museum hours and updates, go to www.daytonartinstitute.org/visitor call 937-223-4ART (4278).  

Hadestown March 12 – 17 at The Schuster

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Welcome to HADESTOWN, where a song can change your fate. Winner of eight 2019 Tony Awards® including Best Musical and the 2020 Grammy® Award for Best Musical Theater Album, this acclaimed new show from celebrated singer-songwriter Anaïs Mitchell and innovative director Rachel Chavkin (Natasha, Pierre & The Great Comet of 1812) is a love story for today… and always.

HADESTOWN intertwines two mythic tales — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — as it invites you on a hell-raising journey to the underworld and back. Mitchell’s beguiling melodies and Chavkin’s poetic imagination pit industry against nature, doubt against faith, and fear against love. Performed by a vibrant ensemble of actors, dancers and singers, HADESTOWN is a haunting and hopeful theatrical experience that grabs you and never lets go.