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To Kill a Mockingbird Killed at Dayton Playhouse

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The Board of Directors of The Dayton Playhouse, Inc. (DPI) announced the cancellation of the March 8-17, 2019 production of To Kill a Mockingbird due to circumstances beyond the organization’s control.

DPI did everything correctly to acquire the rights to the Sergel  adaptation of To Kill A Mockingbird; such rights were secured, and paid for properly, 14 months ago. However, the opening of the new production in New York has changed the business landscape and appears to have rendered DPI’s rights no longer valid.

The Board of Directors in partnership with legal counsel have thoroughly explored avenues to overcome these obstacles and present our production, but under threat of substantial legal action from Rudinplay the decision was made to cancel the production. Rudinplay holds the rights to the new production currently running on Broadway, also inspired by Harper Lee’s 1960 novel. The Board of Directors determined that DPI is not in a position to risk an expensive legal battle that could threaten the corporation’s future viability.

“We are in complete shock,” stated Matt Lindsay, Chair of the DPI Board of Directors. “I and the whole Board of Directors are devastated by this situation. I feel terrible for our artists, on stage and backstage, who poured their hearts into making something beautiful and meaningful, only to have it ended so suddenly.” The cast and crew have been hard at work on the production for weeks.

The Dayton Playhouse box office will be reaching out to purchasers of tickets to offer alternatives including tickets to another show, tax donation or simply a refund. DPI holds itself to a high standard of quality and professionalism. Please do not reach out to the box office – as DPI will be in touch with patrons within the next weeks.

The Board of Directors sincerely hopes this will not tarnish the theatre’s relationship with any of its patrons, who we value deeply. We are disappointed to be unable to present this beautiful play to our audiences. We will work tirelessly to retain their trust and patronage.

Dayton Theatre Guild presents: The Shadow Box

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The Shadow Box made its Broadway debut in 1977, winning both a Tony Award for Best Play and a Pulitzer Prize for Drama. Joe, Brian, and Felicity come from different walks of life, different parts of the country, and are each dying of cancer. They are living their final days with friends and family in a hospice cottage on the grounds of a large California hospital. Joe’s wife is in denial, Felicity awaits a visit from her daughter, and Brian plays referee between his ex-wife and his male lover.

‘Mamma Mia!’ Review – Muse Machine – Smiling, Having Fun

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My, my, the Muse Machine has officially come a long way in the course of 35 years of producing its annual student musicals. Once upon a time, Broadway’s Golden Age was consistently embraced by the arts education organization, presenting a string of classics such as Damn Yankees, Guys and Dolls, Mame, The Music Man, My Fair Lady, Oliver!, On the Town, The Pajama Game, Peter Pan, and South Pacific. Recently, the tide shifted toward contemporary fare such as Mary Poppins, Seussical and an extraordinary Hairspray. This time around at the Victoria Theatre, the Muse sticks to current trends with Mamma Mia!, the 1999 Olivier and Tony Award-nominated ABBA tunefest written by Catherine Johnson that has captivated audiences around the world from the stage to the multiplex. Yet in doing so, they’ve somehow made a strikingly adult-oriented show concerning significant issues of promiscuity as easy to swallow as Mary’s spoonful of sugar.

(center) Melanie Dodson (Donna Sheridan) and (center right) Charlotte Kunesh (Sophie Sheridan) and the cast of the Muse Machine’s production of “Mamma Mia!” (Contributed photo)

After all, to discuss Mamma Mia! and not mention its glorification of sex would be comparable to ignoring Jud Fry’s bedroom beauties in Oklahoma! or the rise of the Nazis in The Sound of Music. In other words, it comes with the territory, specifically as single mother Donna Sheridan (believably perturbed and conflicted Melanie Dodson) and her only daughter Sophie (outstanding Charlotte Kunesh) attempt to navigate complicated issues of romance past and present. Over the years, the Muse has become very savvy at tailoring shows with Oz-like fervor (pay no attention to the giddy teenage girls exclaiming “gimme, gimme, gimme a man after midnight”) to the point that the sheer joy and charm exploding throughout certain scenes, certain songs, carries a lot of weight. And it’s a very delicate balancing act by the way, especially when dealing with, to borrow a phrase, curious children beginning to grow. Lay All Your Love On Me? No worries. It’s just an innocent moment of playful banter between Sophie and her devoted fiancé Sky (handsome Regin Potter). Does Your Mother Know? No worries. Forget the extremely flirtatious, hot and heavy subtext and just be in awe of Courtney Collinsworth’s fiery strength as middle age divorcée Tanya who isn’t shy about her feminine instincts. The Muse hasn’t gone so far as to gloss over all of Benny Andersson and Björn Ulvaeus’ lyrical intentions, but it’s important to know this version is understandably unable to be contextually truthful.

Nonetheless, director Rufus Bonds, Jr,, returning at the helm for the first time since Muse’s 2012 production of The Wizard of Oz, has a firm handle on the material, establishing wonderful pacing and strong character development. I was particularly moved near the outset by Thank You for the Music, sweetly sung with luminous yearning by Kunesh as Sophie acknowledges Donna’s musical and parental influence while simultaneously being grateful to finally meet and potentially have a meaningful relationship with her three possible dads Sam Carmichal (tenderly authoritative Desmond Kingston, offering an excellently sensitive rendition of Knowing Me, Knowing You), Harry Bright (chipper Michael Taylor) and Bill Austin (comical Steven Greenwalt). Equally impressive is Bonds’ endearing rock concert treatment of Super Trouper, heightened by John Rensel’s fantastic lighting, showcasing Donna, Tanya and Rosie (terrific Sara LiBrandi) nostalgically reuniting as Donna and The Dynamos surrounded by an adoringly enthusiastic crowd. His work is also cohesively in step with choreographer Lula Elzy, celebrating her 20th anniversary with Muse. Elzy’s jubilant, carefree routines, dabbling in both 1970s and 1990s sensibilities, regularly escalates as the 100-member cast excitedly builds the spirited urgency of Money, Money, Money, Gimme, Gimme, Gimme, Voulez-Vous, the title number, and the infectiously feel-good curtain call/encore.

Courtney Collinsworth (Tanya) and the cast of the Muse Machine’s production of “Mamma Mia!” perform “Does Your Mother Know?” (Contributed photo)

Additionally, appealing featured performances are given by Trinity Wolff (Ali), Julie Murphy (Cassie), Marisha Osowski (Lisa), Macy Patton (Nina), Bryce Galvan (Pepper), exuberant Nick Bradley (Eddie), and delightfully understated Fischer Barnett (Father Alexandrios). Musical director Jeffrey Powell’s orchestra includes standout drummer Raymon King-Redding II. Costumers Toni Donato Shade and Alisa Vukasinovich supply colorful and attractive period and contemporary outfits (Kunesh’s final look is a subtle knockout). Muse alum Ryan Vallo’s top-notch sound design is a feat considering the production’s scope. Muse alum Adam Koch’s grand Mediterranean set design awash in coastal blue is courtesy of Maine’s Ogunquit Playhouse.

It’s too soon to say whether or not Muse will continue its examination of adult-themed stories (is Cabaret, Hair or Rent in the pipeline?), but for now, I absolutely encourage you to have the time of your life at Mamma Mia!

Mamma Mia! continues through Jan. 13 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are 8 p.m. Friday; 3 and 8 p.m. Saturday; and 2 p.m. Sunday. Act One: 60 minutes; Act Two: 50 minutes. Tickets are $27-$65 and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting ticketcenterstage.com.

Review Roundup – Young at Heart Players and Dayton Theatre Guild

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Calendar Girls

Women raising funds by raising eyebrows is the heartwarming thread binding the love, humor, bravery, and sass within Tim Firth’s 2008 British comedy Calendar Girls, pleasantly presented by the Young at Heart Players at the Dayton Playhouse.

(left to right) Heather Martin (Celia), Gayle Smith (Jessie), Amy Askins (Cora), Kerry Simpson (Annie), Becky Howard (Chris), Fran Pesch (Ruth), and Michael Plaugher (Lawrence) appear in Young at Heart Players’ presentation of Calendar Girls. (Contributed photo)

Firmly directed by Annie Pesch and expansively adapted from the 2003 film of the same name, Calendar Girls is based on the 1999 true story of a group of Yorkshire women who produced a cheeky nude calendar to raise money for leukemia research under the auspices of the Women’s Institutes. In the play, which is often very funny although there are many sentimental scenes, sensitive Annie (Kerry Simpson in her finest role to date) and outspoken Chris (a vibrantly earthy Becky Howard) spearhead the calendar, a lighthearted tribute to Annie’s late husband John (an endearing Jim Spencer) with proceeds going toward purchasing a new couch for the WI waiting room. Annie and Chris’ friends are initially unsure about shedding their clothes, but ultimately all agree and the calendar becomes an enormous success, bolstering the Yorkshire village of Knapely to international notoriety. Along the way, feelings are bruised and friendships are tested, but positive public reaction to the cause, the sheer power of sisterhood, and the fond remembrance of John’s gentle spirit prevails. In fact, one of the play’s best moments involves numerous letters descending from the sky serving as beautiful reminders of the ladies’ impact and influence.
In addition to expertly staging the poignancy of the aforementioned scene as well as John’s heartbreaking exit, Pesch smoothly guides the playful frenzy of the Act 1 finale, the pivotal photo shoot overseen by Lawrence (a fittingly bashful Michael Plaugher). This delightful moment exemplifies how well Simpson and Howard are connected with and supported by principals Amy Askins (pianist Cora), Gayle Smith (amiable Jessie), Heather Martin (sophisticated Celia), and Fran Pesch (reticent Ruth). The appealing cast, one of the largest assembled by YAH, includes Cheryl Mellen (Marie), Kelli Locker (Brenda Hulse and Elaine), John Spitler (Rod), Jane E. McBride (Lady Cravenshire), and Brian Buttrey (Liam).

Calendar Girls continues through Nov. 25 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 p.m. Friday and Saturday and 2 p.m. Sunday. Act 1: 63 minutes; Act 2: 50 minutes. Tickets are $15 for adults and $12 for seniors. Tickets may be purchased at the door. For reservations, call (937) 654-0400. For more information, visit youngatheartplayers.com. Patrons are advised the production contains adult language and partial nudity.


The Man Who Killed the Cure


Typically, Bravo’s The Real Housewives of Atlanta has absolutely nothing to do with the stage, but a notable storyline has brought a refreshing level of depth to the popular franchise.

(left to right) Ryan Shannon (Carmichael and others), Scott Madden (Long John Nebel and others), Melissa Kerr Ertsgaard (Charlotte and others), J. Gary Thompson (Max Gerson), David Williamson (Rudy Heller), and Kristyna Zaharek (Helga and others) appear in Dayton Theatre Guild’s production of The Man Who Killed the Cure. (Photo by Debra Kent)

In the latest episode, NeNe Leakes’ husband Gregg, diagnosed with stage 3 colon cancer in May, visited his doctor for a checkup, anxiously awaiting the assessment. When told he should begin another round of chemotherapy for precautionary measures, Gregg asked his doctor about alternative treatments, an idea his doctor openly opposed. Weighing his options, he decided against chemotherapy. While watching this emotional exchange, I couldn’t help but think of Luke Yankee’s controversial drama The Man Who Killed the Cure, a thought-provoking tale of family, friendship, betrayal, and hope commendably presented in its Midwestern premiere by the Dayton Theatre Guild under the fluidly character-conscious direction of Jeff Sams (also responsible for efficient scenic design).
Set in Germany and New York in the 1930s and 1940s (sound designer K.L. Storer supplies a superb period soundtrack), Cure is based on the life of Max Gerson, one of the fathers of natural healing terrifically portrayed by J. Gary Thompson. The play examines how all hell broke loose within the medical community when Max discovered an all-natural cure for cancer in the late 1940s. Was Max merely a quack for suggesting treating ailing patients with apples? Some were intrigued by his forward-thinking findings, including prominent radio personalities such as Long John Nebel (an admirable Scott Madden), but the majority sought to bring him down personally and/or professionally, even to the point of poisoning.

One of Max’s conspirators was his former partner Rudy Heller, the titular role, a self-described Judas and Brutus, portrayed by an equally winning David Williamson. Rudy saved Max’s life in Germany during World War II and was pleased to join forces with him as up-and-coming Manhattan doctors, but he chose to separate when Max’s reputation grew problematic despite only one patient dying under his care over a span of 10 years compared to Rudy’s 24. Rudy’s decision also stemmed from being blackmailed by powerful pharmaceutical companies, represented here in the form of Carmichael, portrayed by a charmingly cunning Ryan Shannon (a standout last season in the Guild’s local premiere of Marjorie Prime).
Yankee, providing fascinating projections, aspires to absolute balance in his perspectives, but Rudy just isn’t as interesting or engaging as Max. Rudy is primarily written from a narrative focus, but I wonder how the play would evolve without the narration. Perhaps Yankee believed there could be some redemption in Rudy if he established a relationship with the audience at the outset. Even so, Rudy oddly becomes a nastier and more vindictive curmudgeon along the way, which doesn’t necessarily help his case in the end. At the same rate, I’m left a bit puzzled by meek Max, who seems too clear-cut and is often overshadowed by the flashier presence of Rudy. Did Max ever have serious doubts about his alternative methods? Did he battle any personal demons? In terms of dramatic structure, a more complex, multifaceted look at his life at home and in the midst of medicine would give this play significant bite.
In addition, I find the inclusion of Rudy’s shrewd, sexual mistress Helga (Kristyna Zaharek in a breakthrough performance) forced, especially when situations turn and Helga suddenly falls for Max who has no idea she’s working for and being abused by Rudy. Yankee could also do without his insertion of Hedda Gabler, spotlighting the progression of Rudy and Helga’s relationship and featuring the versatile Melissa Kerr Ertsgaard. By and large, it’s an inconsequential scene unintentionally questioning Cure’s talky nature.

No matter your opinion on the delicate subject of cancer treatment, you’ll be glad to know Yankee understands everyone must ask themselves what is best for the betterment of their body. Cure isn’t as excellent as his Last Lifeboat, a hit for the Guild in 2016, but it celebrates a decent man nonetheless.

The Man Who Killed the Cure continues through Nov. 25 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are 8 p.m. Friday, 5 p.m. Saturday and 3 p.m. Sunday. Act 1: 60 minutes; Act 2: 65 minutes. Tickets are $15. For more information, call (937) 278-5993 or visit daytontheatreguild.org. Patrons are advised the production contains adult language.

Review Roundup – Wright State, Dare to Defy & Clark State

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Crazy for You
Let me give you the lowdown. Triple threat Joey Kennedy dances up a storm in director Joe Deer’s infectiously feel-good production of the 1992 Tony Award-winning Gershwin extravaganza Crazy for You at Wright State University.

Joey Kennedy and the Female Ensemble of Wright State University’s production of Crazy for You. (Contributed photo)

With high-kicking agility and debonair flair, Kennedy dazzles as cheerful Bobby Child, a New York banker’s son whose dreams of showbiz and true love is realized in the sleepy town of Deadrock, Nevada. In timeless numbers such as “I Can’t Be Bothered Now” and “Nice Work if You Can Get It,” splendidly choreographed with good old-fashioned razzmatazz by Teressa Wylie McWilliams, Kennedy brings effortless gusto and sweetness to the stage. He’s also blessed with a fantastic partner in Taylor Patrick, whose no-nonsense interpretation of Polly Baker, Bobby’s object of affection, contains graceful elegance (“Shall We Dance?” is a lovely throwback to Fred Astaire and Ginger Rogers) and a fine country twang (her tender rendition of “Someone to Watch Over Me” recalls current country star Kacey Musgraves).

In addition to the top-notch attributes of Pam Lavarnway’s set, costumer Elizabeth Bourgeois’ period costumes and Scot Woolley’s orchestra, first-rate featured performances are offered by Will Graber as flamboyant producer Bela Zangler (the mistaken identity of “What Causes That?” opposite Kennedy is a hoot), Celia Arthur as Bobby’s girlfriend Irene Roth, Sam Maxwell and Dana Bixler as the chipper Fodors, David Emery as routinely perturbed Lank Hawkins, Joe Green as Polly’s devoted dad Everett Baker, Madeline Musico as Bobby’s uptight mother Lottie Child, and Jeremy Farley as comical Moose.
If you’re looking for surefire entertainment, don’t miss this show.

Crazy for You continues through Nov. 18 in the Festival Playhouse of Wright State University’s Creative Arts Center, 3640 Col. Glenn Hwy., Fairborn. Performances are 7 p.m. Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, and 2 p.m. Sunday. The production is performed in 2 hours and 30 minutes including one intermission. Tickets are $15-$25. Call (937) 775-2500 or visit wright.edu/tdmp.

Allie Haines (left) and Abigail Land star as Daisy and Violet Hilton in Dare to Defy Productions’ Side Show. (Contributed photo)

Side Show
Composer Henry Krieger and lyricist/librettist Bill Russell’s poignant and heartbreaking yet dark and disturbing 1997 musical Side Show receives a terrific staging by Dare to Defy Productions in the PNC Arts Annex under the astute direction of Mackensie King.

Allie Haines and Abigail Land respectively shine as Daisy and Violet Hilton, the conjoined twins who surfaced on the traveling freak show circuit to become stars during the Great Depression. Bolstered by passionate vocals and warm sincerity, Haines and Land are a wonderful duo possessing the acute ability to be unified while individually unique. Haines’ playful sarcasm and Land’s introverted sensibilities are just some of the elements serving them well as the Hiltons fascinating tale of love, fame and the quest for acceptance leaps forth (and unfortunately becomes mired in overlong backstory in Act 1).
Noteworthy performances extend to Zach King as conflicted promoter Terry Conner (“Private Conversation” is a knockout), Garrett Young as Terry’s closeted business partner Buddy Foster, the deliciously sinister and surly Skyler McNeely as Daisy and Violet’s guardian/manager Sir, Jamal Caan as devoted Jake (“You Should Be Loved” is a very touching highlight), TC Schreier as Harry Houdini, Emily Shafner as Fortune Teller, and Lindsey Cardoza as Auntie.
In addition, lighting designer Richard Waldeck notably utilizes the technical capabilities of the newly opened Arts Annex to striking degrees. It’s great to see the emotional velocity of the material winningly executed in a variety of lighting landscapes ranging from soft and clean to fiery and volatile. Jessica Tate’s energetic choreography (“Ready to Play” and “One Plus One Equals Three” are standouts), Ciera Bierbaugh’s period costumes, and musical director David McKibben’s orchestra are also notable.
By and large, Dare to Defy skillfully takes on one of the most challenging musical theatre pieces significantly accented with a timely lesson in tolerance and inclusion.

Side Show continues through Nov. 17 in the PNC Arts Annex, Second and Ludlow Streets, Dayton. Performances are 8 p.m. Friday and 2 and 8 p.m. Saturday. The production is performed in 2 hours and 30 minutes including one intermission. Tickets are $22.50-$33. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

 

 

Saul Caplan (left) and Brandon Maldonado in Clark State Community College’s production of Cat on a Hot Tin Roof. (Contributed photo)

Cat on a Hot Tin Roof
Overwhelming regret, detestable lies, biting dysfunction, and sexual desire are just some of the core themes fueling the Southern heat within Tennessee Williams’ 1955 Pulitzer Prize-winning drama Cat on a Hot Tin Roof, currently receiving a strong staging by Clark State Community College in its intimate Turner Studio Theatre.
Intriguingly bookending the play within the context of renewal, specifically washing away one’s sins or the past as a whole, director Kristofer Green keeps the spirited, flavorful action compelling and intense. His commendable cast (attractively clothed by N. Lynn Brown) firmly propels the illusion of a close-knit family gathering joyfully when in fact they’re on the verge of total meltdown.
Without question, the broodingly handsome Brandon Maldonado is a key component of the show’s success as the emotionally battered, alcoholic Brick, the former football hero consumed with memories of his old friend Skipper. As numerous characters try to pull Brick out of his deep depression, including his frustrated wife Maggie (a committed Aleksandra Kozlova), devoted Big Mama (a hearty Paula Arter) and larger-than-life Big Daddy (an excellent Saul Caplan), Maldonado provides mesmerizing layers behind the eyes, behind the booze, behind the guilt. His exceptional performance, volcanic when provoked and captivating when silent, is a powerful character study of a man unable to own up to what might have been, surrendering instead to a stagnate, trapped existence of endless conditions and fatigue in a marital cage of which there is no escape.

Cat on a Hot Tin Roof concludes Sunday, Nov. 11 at 2 p.m. in the Turner Studio Theatre of the Clark State Performing Arts Center, 300 S. Limestone St., Springfield. The production is performed in 2 hours and 30 minutes including one intermission. Patrons are advised the show contains adult themes. Tickets are $15. For tickets or more information, call (937) 328-3880 or visit facebook.com/clarkstatetheatre

VTA unveils newest performing arts space

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While the PNC Arts Annex has been open and operating for the past couple weeks, with performances from The Playground Theatre company The freshness and the potential of the space is undeniable. Located at the corner of Second Street and Ludlow, the PNC Arts Annex is a spacious and adaptable space for theatre, dance and music. As you walk into the lobby you first see the playful and skilled ceiling sculptural work of Landon Crowell. The Annex is made up of two main performing spaces. One is the highly adaptable black box theatre space with seating for just under two hundred. Also, the rehearsal space located on the Ludlow side of the building has the potential to be adapted for a variety of activities, only limited by the imagination.

As Dave Melin, President, PNC Dayton and Ty Sutton, the new CEO of the Victoria Theatre Association, unveiled the signage for the annex, I was struck by how people have been up in arms about the recent dark and sobering Frontline documentary and here was the the perfect antidote. The unveiling of new space for creativity and vitality. The investment in the future and private/public partnerships will make this turn around of Dayton meaningful and lasting. In the immortal words of Michelle Obama, “They go low, we go high” and look at what we can accomplish. Kudos to the Victoria Theatre Association for giving us another dream making space.

 

 

 

‘The Feast’ Review – Playground Theatre – Demons Within

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Ghastly, unearthly sounds shattering the psyche of a struggling New York artist provides the dramatic fuel for Cory Finley’s eerie yet bewildering 2015 Off-Off-Broadway comedic thriller The Feast, currently receiving an excellently chilling local premiere by Playground Theatre in the new PNC Arts Annex.

Rae Buchanan (Anna), Phillip Drennen (Man) and A.J. Breslin (Matt) star in Playground Theatre’s local premiere of “The Feast” Oct. 25-28 in the PNC Arts Annex. (Photo by Knack Creative)

Skillfully co-directed with contemporary horror flourishes and brooding intensity by Playground co-founders Jenna Valyn and Christopher Hahn, The Feast, the Playground’s fourth season opener, brings mental health to the forefront as Matt (a credibly shaken and overwhelmed A.J. Breslin) attempts to figure out why he hears something akin to “a dying whale” coming from his toilet. This is a serious concern, but Finley shortchanges the experience by not allowing a fuller picture into Matt’s background, particularly his childhood. The play’s freak-factor would’ve been raised significantly if, perhaps, Little Matt would’ve appeared to share a few scenes and offer a glimpse into what formulated the demons within. But as it stands, firmly in the present, Matt merely spends most of his time at odds with his girlfriend Anna (a resilient, mysterious Rae Buchanan) and encountering various individuals intent on making his emotionally damaged life more topsy-turvy including a frustrated plumber, an indifferent therapist and a close friend connected inside Manhattan’s thriving arts scene (all marvelously embodied with chameleon fluidity by Philip Drennen). Ultimately, Finley leaves many questions unanswered, opting instead for a plot meandering into predictable boyfriend/girlfriend revenge territory complete with an important meal served on the verge of feeling reminiscent of The Beguiled and Phantom Thread.

Rae Buchanan (Anna) and A.J. Breslin (Matt) are featured in Playground Theatre’s local premiere of “The Feast” Oct. 25-28 in the PNC Arts Annex. (Photo by Knack Creative)

Nevertheless, Valyn and Hahn, making great use of the Arts Annex’s thrust stage, fill the show with enough genuinely creepy moments to startle the senses, specifically bolstered by outstanding lighting design by Derek Dunavent and composer Skyler McNeely’s original soundscape splendidly blending pulsating suspense with rhapsodic melancholy. There is also an absolute whopper in the final seconds that makes this production totally unique and worthwhile, an apt description of the Playground pedigree.

The Feast continues through Oct. 28 in the PNC Arts Annex, Second and Ludlow Streets, Dayton. Performances are 8 p.m. Friday, 2 and 8 p.m. Saturday, and 2 p.m. Sunday. The play is performed in 65 minutes. Tickets are $15-$20 and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting ticketcenterstage.com. Also, some of the various pieces of artwork in the show, which have been created by local artists, will be auctioned in support of Roochute, which “creates conversation about mental health and promotes acts of kindness to the world.” For more information about the auction, visit pgdyt.org/auction. For more information about Playground Theatre, visit theplaygroundtheatre.org.

 

‘Be More Chill’ Review – Sinclair Community College – Mind Games

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Composer Joe Iconis and librettist Joe Tracz’s contemporary musical comedy Be More Chill, a tuneful, silly and witty look at high school hell, receives an enjoyable, fun-loving regional premiere at Sinclair Community College.

Anthony Dell’Aria (Jeremy) and Katelyn Pennington (Christine) in I Love Play Rehearsal in Sinclair Community College’s production of Be More Chill. (Photo by Patti Celek)

Based on the novel by Ned Vizzini and breezily directed by Chris Harmon, Be More Chill primarily concerns uncool New Jersey teenager Jeremy Heere’s pursuit to become popular in order to win the heart of theater geek Christine Canigula. It’s a fairly simple yet relatable premise accented with a sci-fi twist when Jeremy takes a special pill called a SQUIP (Super Quantum Unit Intel Processor), a computer implanted in his brain that acts as a powerful puppet master, getting him to do whatever he’s told. Iconis and Tracz’s hip high school lingo hits the mark but they oddly fall short of creating substantive three-dimensional characters (Christine and Jeremy’s Dad are among the many underwritten roles). However, their savvy ability to frame the show as a relevant cautionary tale about bullying, peer pressure, depression, suicide, and the onslaught of social media, giving credence to lines such as “a shared negative opinion is the fastest social bond,” is a plus.

Anthony Dell’Aria (Jeremy) and Micah Koverman (Michael) in Two-Player Game in Sinclair Community College’s production of Be More Chill. (Photo by Patti Celek)

Anthony Dell’Aria is a wonderfully pleasant leading man, allowing Jeremy to be someone you can easily root for even as he becomes unnervingly overwhelmed and possessed by the SQUIP. Sweet and endearing Katelyn Pennington (Christine) brings lighthearted flightiness to I Love Play Rehearsal and A Guy That I’d Kinda Be Into. Outstanding Micah Koverman (Jeremy’s best friend Michael Mell) steals the show with ostracized finesse and provides a fantastic rendition of Michael in the Bathroom, an emotional, unforgettable soliloquy bound to resonate for anyone who has ever felt rejected, abandoned, isolated, or alone. Handsomely suave Jared Setser is a perfect fit for the SQUIP, oozing seductive and dastardly charisma in The SQUIP Song and The Pitiful Children. Joseph Herzog (Jake Dillinger) showcases his cool dance skills to the fullest in Halloween. DeShawn Christian (Rich Goranski) has a tendency to let his unbridled energy get the best of him, but he’s funny where it counts nonetheless. Rachel Charles (Chloe Valentine) and Brianna Babel (Brooke Lohst) delightfully join forces as a naughty pair of mean girls. Nikki Bentz (Jenna Rolan) comically leads The Smartphone Hour featuring nifty choreography by Rodney Veal. Christopher Goetz’s flamboyance as drama teacher Mr. Reyes would be better served with variety, but he’s very effective at conveying the stagnation within Jeremy’s Dad. Ensemble members include Elisha Chamberlin, Lydia Dye, Caitlyn Hood, Christopher Leavitt, Cormari Pullings, Tanner Titkemeyer, Austin Vega, and Valkyrie Williams.

Micah Koverman in Michael in the Bathroom in Sinclair Community College’s production of Be More Chill. (Photo by Patti Celek)

Harmon’s artistic team includes scenic and property designer Terry Stump, costumer Kathleen Hotmer, lighting designer Marissa Childress, sound designer Sarah Parrott, and projection designer Jeffrey Brown. Music director David McKibben has a firm grip on the challenging score and great vocal arrangements, but lyrics are often muddled or incomprehensible perhaps due to the cast’s inability to hear conductor Bryon Dobbs’ orchestra located backstage.
Be More Chill originally opened at New Jersey’s Two River Theater in 2015 and gained a huge cult following thanks to its cast recording, which has had over 170 million streams. It also became the No. 2 most talked-about show on Tumblr after Hamilton, had a sold-out run off-Broadway this past summer, and is heading to Broadway in February. The sheer fact that Sinclair was able to secure the rights to one of the hottest shows in the country speaks volumes.
Containing humorous shades of 13, Avenue Q, Bat Boy, Dear Evan Hansen, Heathers, Legally Blonde, Little Shop of Horrors, Mean Girls, The Rocky Horror Show, and The Wedding Singer, Be More Chill admirably addresses the importance of friendship and the value of loving and accepting yourself above all else.

 

Be More Chill continues through Oct. 13 in Blair Hall Theatre of Sinclair Community College, Building 2, 444 W. Third St., Dayton. Performances are Friday and Saturday at 8 p.m., Sunday at 2 p.m. and Thursday at 7 p.m. Act One: 65 minutes; Act Two: 65 minutes. Tickets are $18 for adults and $15 for students and seniors. Tickets for the Thursday performance are $10. All seats are reserved and available online at sinclair.edu/tickets. Thursday, Sunday and the first Saturday performances are ASL interpreted by student interpreters Catherine Johnson, Macy Reitz, Cecelia Shannon, and Destinie Warren. Due to content and language, the show is recommended for patrons 14 and older.

 

‘School of Rock’ Review – Victoria Theatre Association – Redemptive Education

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Musical theatre has always had a deep affection for con artists. Whether it’s Evan Hansen overwhelming the Murphys or Harold Hill spinning River City into a tizzy, dubious individuals ultimately finding some sense of redemption at the hands of those willing to forgive is prime fodder for song. Wannabe rocker Dewey Finn is another example of this special con club as evidenced in composer Andrew Lloyd Webber, librettist Julian Fellowes and lyricist Glenn Slater’s charming and tuneful 2015 Tony Award-nominated musical comedy School of Rock, currently receiving an excellent local premiere courtesy of the Victoria Theatre Association’s Premier Health Broadway Series at the Schuster Center.

 

The national tour and local premiere of Andrew Lloyd Webber’s 2015 Tony Award-nominated musical comedy School of Rock continues through Oct. 7 at the Schuster Center. (Contributed photo)

Based on the 2003 film of the same name starring Jack Black and breezily directed by Laurence Connor, School of Rock applies the tried and true fish out of water scenario to Dewey, who gets more than he bargained for when assuming his sheepish roommate and best friend Ned’s identity when Horace Green Prep School calls for a substitute teacher. He knows nothing about traditional teaching, but is a major aficionado of rock music history which he uses to his advantage. Along the way, his adorably straight-laced and vulnerable students come to realize the importance of rock education while discovering new facets of their inherent purpose and potential as he transforms them into an impressive rock band.

Standing in the shadows of the aforementioned Black but providing a silly level of kooky all his own, Merritt David Janes is a real comedic find. His energetic, no-holds-barred take on Dewey hits all the right notes from delusional absurdity to surprising tenderness. Unsurprisingly, his best musical moments are in the classroom in rousing numbers (exuberantly choreographed by JoAnn M. Hunter) including You’re in the Band and Stick It to the Man. Lexie Dorsett Sharp wonderfully counters Janes as pleasantly uptight principal Rosalie, notably sending the lovely ballad Where Did the Rock Go? through the roof in Act 2. Layne Roate, friendly and supportive, gives a terrific national tour debut as Ned, whose conflicted devotion to Dewey and his domineering girlfriend Patty (Madison Micucci, solid) strikes a chord. The knockout students, playing their own instruments with maturity and finesse and providing a moving rendition of the anthem If Only You Would Listen, consists of Arianna Pereira (Shonelle), Leanne Parks (Katie), Jacob Moran (James), Alyssa Emily Marvin (Marcy), Julian Brescia (Mason), Grier Burke (shy, big-voiced Tomika), Cameron Trueblood (Freddy), Mystic Inscho (Zack), Sammy Dell (Billy), Theo Mitchell-Penner (Lawrence), Sami Bray (hard-nosed Summer), and Gabriella Uhl (Sophie). The versatile adult ensemble consists of Tim Shea, Deidre Lang, Sinclair Mitchell, Jonathon Timpanelli, Patrick Clanton, Liam Fennecken, Elysia Jordan, Hernando Umana, and Melanie Evans.
The first-rate artistic team includes scenic and costume designer Anna Louizos, lighting designer Natasha Katz, sound designer Mick Potter, and hair designer Josh Marquette. Musical director Martyn Axe leads a top-notch orchestra.

Offering hearty laughs while providing meaningful lessons in acceptance and good parenting, School of Rock is a feel-good winner worthy of many gold stars.

School of Rock continues through Oct. 7 at the Schuster Center, Second and Main Streets, Dayton. Act One: 75 minutes; Act Two: 60 minutes. Performances are 8 p.m. Wednesday-Friday; 2 and 8 p.m. Saturday; 2 and 7:30 p.m. Sunday. Tickets are $26-$99. Call (937) 228-3630 or visit ticketcenterstage.com.

 

Journey Into Love with Dayton Contemporary Dance Company

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Dayton Contemporary Dance Company will kick off their 50th anniversary season with the long-awaited, much anticipated world premiere of The Bench: Journey Into Love. Created & directed by nationally renowned choreographer Kiesha Lalama, (one of Dance Magazine’s “Top 25 to Watch”) and featuring professional singing talent, The Bench – Journey into Love will be sure to be a hit! The work features original music and lyrics.

What do you get when you cross a love story with dance, theatre and song? The world premiere of a full-evening concert, The Bench: Journey into Love, by choreographer Kiesha Lalama. See what happens when a man and woman meet by a park bench, fall in love, have a family, and continue their love into the next life. The Bench – Journey into Love is a whimsical love story told through the influential lens of Fate and Destiny, who unite the charming Antonio and the beautiful Eva through magical serendipity. Emotions run wild as the young couple experience life’s delights and obstacles. This impassioned and passionate theatrical experience weaves together innovative story-driven dance and a gripping jazz musical score to create a timeless tale of love and family.

Choreographer Kiesha Lalama

Kiesha Lalamahas created more than 50 works for stage, film and television. Kiesha choreographed feature films, “The Perks of Being a Wallflower,” “Sorority Row,” the hit television documentary series “Broadway or Bust” (PBS), and critically acclaimed television series “Outsiders” (WGN). Theatrical credits include The Jimmy Awards (Broadway), and many more. Lalama has created two full-length contemporary dance theater productions: HeartShakes, which premiered with DCDC in 2015 and The Bench.

How to Go?

When: Saturday, October 6 at 7:30 pm
or Sunday, October 7 at 4:00pm 

Where: Victoria Theatre, located at 138 N. Main St. in Dayton.

Tickets start at $15.50, available at ticketcenterstage.com or by calling 937-228-3630.

Group Tickets available for groups of 10+.  Student, Veteran & Senior discounts also available.

 

 

 

 

‘Curious Incident’ Review – Wright State University – Boy Wonder

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Inquisitive autistic British teenager Christopher Boone, an introverted lover of math, rodents and the Rubik’s cube, overcomes adversity with empowering fortitude in Simon Stephens’ compelling 2012 drama The Curious Incident of the Dog in the Night-Time, currently receiving a terrific regional collegiate premiere at Wright State University in the Festival Playhouse of the Creative Arts Center.

Colin Hodgkin as Christopher Boone and the cast of Wright State University’s production of The Curious Incident of the Dog in the Night-Time. (Contributed photo)

 

Colin Hodgkin as Christopher Boone and Katie Sinicki as Judy Boone in WSU’s The Curious Incident of the Dog in the Night-Time. (Contributed photo)

Based on the 2003 novel by Mark Haddons and directed with deft sharpness by Marya Spring Cordes, Curious Incident places the audience directly into the brilliantly busy and detailed mind of Christopher (an exceptional Colin Hodgkin), who is determined to figure out who killed his neighbor’s dog, Wellington. He faithfully records his findings in a special book, which serves as the narrative focus for the show’s play-within-a-play framework often recounted by his supportive teacher Siobhan (Kaitlyn Campbell, warm and pleasant). But in a savvy twist, his fascinating detective pursuit becomes so much more than a search for truth about Wellington. There are hurtful secrets and lies to unravel within his own family requiring him to shed his innocence and take matters into his own hands, leading him beyond his comfort zone for the first time in his life in spite of the fact he’s fearful of touch and distrusts strangers due to his condition.
Stephens’ script is wordy, quick, complex, and sophisticated, which isn’t unusual for contemporary British dramas.

Colin Hodgkin as Christopher Boone in WSU’s production of The Curious Incident of the Dog in the Night-Time. (Contributed photo)

Nonetheless, Christopher’s seemingly impossible journey remains engaging and often riveting, which is a testament to Cordes’ ability to illuminate the play’s emotional intricacies while simultaneously grasping its multi-layered scope/structure. Her excellent cast, which has received superb dialect coaching from Deborah Thomas, brings depth and nuance to their roles as well as a clear understanding of the world they inhabit, often moving around the stage with mechanical precision. The aforementioned Hodgkin, who never leaves the stage in a tour de force of psychology, physicality, specificity, and stamina, offers a powerful, educational look at the sensitive nature of autism, especially from an emotional and behavioral standpoint. His enthusiastic curtain call delivery of Christopher’s mind-blowing problem solving is also impressive. Justin Mathews is heartbreaking as Christopher’s conflicted, disgruntled, angry, and abusive father Ed, whose overprotective influence backfires as his son grows more curious and courageous. Katie Sinicki, luminous as sassy Nora in Cordes’ production of Brighton Beach Memoirs at the Human Race Theatre Company last season, is dynamically effervescent and heartfelt as Christopher’s complicated mother Judy, unable to handle the pressures of marriage and parenting but willing to reconnect regardless. MacKenzie Kasbaum, Josh Beasley, Eric Thompson, Mark Antony Howard, Hailey Marshall, and Isabella Andrews supply strong variety in various roles from police officers and neighbors to train station guards and relatives.

In addition, the production’s marvelous technical team includes scenic designer David J. Castellano, costume designer Courtney Michele, lighting designer Matthew P. Benjamin, fight choreographer Bruce Cromer, composer Darryl Robbins, and sound designer James Dunlap. Benjamin, Robbins and Dunlap particularly bolster the play’s evocative atmospherics.

Winner of seven 2013 Olivier Awards including Best New Play and five 2015 Tony Awards including Best Play, Curious Incident begins WSU’s 39th season on a resounding high note.

 

The Curious Incident of the Dog in the Night-Time continues through Oct. 7 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Oct. 3 and 4 at 7 p.m., Sept. 28, 29, Oct. 5 and 6 at 8 p.m., and Sept. 30, Oct. 6 and 7 at 2 p.m. There will be a special talkback following the Sept. 30 matinee. Act One: 75 minutes; Act Two: 70 minutes. Tickets are $25 for adults, $23 for seniors and $15 for students. For tickets or more information, call (937) 775-2500 or visit www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information. Also, WSU is partnering with SISCA to promote animal adoption in the Dayton region. If you are interested in adopting the dog featured in the production, or any pet, please contact the SICSA Pet Adoption Center at (937) 294-6505.

 

‘My Fair Lady’ Review – Dayton Playhouse – Bravo, Eliza!

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The Dayton Playhouse’s pleasant production of Alan Jay Lerner and Frederick’s Loewe’s classic 1956 musical My Fair Lady, the organization’s 60th anniversary season opener, ascends to another level thanks to Sarah Viola’s marvelously sung and skillfully interpreted portrayal of Cockney flower girl Eliza Doolittle.

(left to right) David Shough as Professor Henry Higgins, Sarah Viola as Eliza Doolittle, Brian Laughlin as Colonel Hugh Pickering, and the cast of Dayton Playhouse’s My Fair Lady (Photo by Art Fabian)

A classically trained, Cincinnati-based soprano and graduate of the San Francisco Conservatory of Music, Viola vocally dazzles with warmhearted wistfulness in Wouldn’t It Be Loverly?, playful vengeance in Just You Wait, fierce fervor in Show Me, and empowering confidence in Without You. But in one of the most thrilling numbers at the Playhouse in recent memory, she jumps an octave at the conclusion of the signature tune I Could Have Danced All Night. It is a blissfully breathtaking, nearly showstopping moment not even attempted by Julie Andrews (the original Eliza), Marni Nixon (the singing voice of Audrey Hepburn in the 1964 film) or Lauren Ambrose (the Tony-nominated Eliza in Lincoln Center’s current, lavish revival). Vocals aside, Viola initially ensures Eliza is conveyed within a tough, scrappy mindset, an honest reflection of her hard-knock life acquiring a few shillings, pounds or pence on the streets of 1913 London. But as Eliza attempts a better life personally and professionally under the strict tutelage of linguistics Professor Henry Higgins (David Shough), she astutely blossoms with elegance, femininity, and self-worth, solidifying the pivotal transformation at the core of this story of socioeconomics, gender wars, family, love, and forgiveness based on George Bernard Shaw’s 1913 play Pygmalion.
The equally praiseworthy Shough creates palpable chemistry with Viola and doesn’t overreach in communicating Higgins’ arrogance and cruelty, a wise choice since the role can be terribly unnerving. After all, a powerful man second-guessing a woman’s potential by calling her heartless, disgusting and a disgrace is tough to digest when viewed in context of today’s #MeToo movement. Nonetheless, Shough’s nuances are great (notice how he says “America” in Why Can’t the English?) and the forceful fury he brings to Higgins’ dismay of Eliza joining forces with his former student Zoltan Karpathy signals a betrayal that would sting forever. Shough also keeps the contemplative poignancy of I’ve Grown Accustomed To Her Face intact and unhurried in spite of the production’s problematic pacing which has the number arriving well after the three-hour mark.

Furthermore, enjoyable featured roles are offered by Brian Laughlin (a lovingly daft Colonel Pickering), Brad Bishop (a hearty Alfred P. Doolittle), Dodie Lockwood (a delightfully sophisticated Mrs. Higgins), Donna Bostwick (a fittingly dutiful Mrs. Pearce), Jamie McQuinn (a kooky Karpathy), Drew Roby (a believably smitten Freddy Eynsford-Hill), Jackie Pfeifer (Mrs. Eynsford-Hill), Steve Strawser and Karla Enix (Lord and Lady Boxington), Mark Sharp and Jim Spencer (Alfred’s boozy chums Harry and Jamie), Ryan Petrie (a dashing Prince of Transylvania), and Angelé Price-Maddah (making the most of meddlesome Mrs. Hopkins). Ensemble members include CJ Suchyta, Benjamin Jones, Elainah Skaroupka, Shana Fishbein, Stacey Brewer, Amber Pfeifer, Neve Barker, Jamie Pavlofsky, Annie Sayers, Cathy Long, Marabeth Klejna, Jacob Christy, and Samuel Hamilton.

Sarah Viola as Eliza Doolittle in Dayton Playhouse’s My Fair Lady (Photo by Art Fabian)

Director Brian Sharp should’ve tightened many scenes and quickened scene changes, but his desire to incorporate shades of the film version will likely please many patrons. I honestly couldn’t help but think of Hepburn when Viola stunningly enters in her white Embassy Ball gown (costumer Theresa Kahle is responsible for the Cecil Beaton-esque recreation). However, he curiously borrows a page from the aforementioned Broadway revival at the show’s conclusion, but fails to establish enough romantic subtext between Eliza and Higgins from the outset to make the climactic moment truly resonate. Considering the fact that the film seems to be one of Sharp’s major influences, Shough simply should’ve slumped in his chair with Viola standing nearby approvingly as the orchestra swells.
In addition to Kahle, who also does a swell job coordinating Ascot in black, gray and white, the artistic team includes choreographer Sandra Hyde (supplying variety from the easygoing breeziness of Wouldn’t It Be Loverly? and With a Little Bit of Luck to the tiptoe synchronization of Ascot Gavotte and the spiritedness of Get Me To The Church on Time), scenic designer Red Newman (notably providing a beautiful backdrop for Mrs. Higgins’ home), lighting designer Richard Lee Waldeck, sound designer Bob Kovach, music director Ron Kindell (leading a fine 16-piece orchestra), vocal director Tim Rezash, property designer Tina McPhearson, and wig designer Marvel Elcessor.

My Fair Lady will always be remembered for its wonderful score defining the Golden Age of Broadway, but perhaps more significantly, it remains a cautionary tale about communication, specifically the importance of treating others with respect. As Eliza overcomes adversity to embrace her future with hope, Viola displays considerable strength and power, attributes vocally exemplified in her glorious final note of I Could Have Danced All Night. In a perfect world, we would look forward to seeing her again as a member of Lincoln Center’s 2019-2020 My Fair Lady national tour, or better yet, in the immediate future, she’d be a stellar addition to the Dayton Philharmonic Orchestra’s upcoming concert My Fair Broadway: The Hits of Lerner and Loewe. Nevertheless, let us be grateful she’s at the Dayton Playhouse effortlessly singing songs you’d think were written just for her.

My Fair Lady continues through Sept. 30 at the Dayton Playhouse, 1301 E. Siebenthaler, Ave., Dayton. Performances are 8 p.m. Friday and Saturday and 2 p.m. Sunday. At the performance attended, the production ran 3 hours and 15 minutes. Tickets are $20 for adults and $18 or seniors, students and military. For more information, call (937) 424-8477 or visit daytonplayhouse.com

‘Banned from Baseball’ Review – Human Race Theatre Company – Measure of a Man

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Induction into the Baseball of Hall of Fame meant everything to Pete Rose in 1989, but Major League Baseball Commissioner Bart Giamatti felt otherwise, choosing to ban him from baseball due to conclusive proof he bet on the game. The events surrounding this historic decision provides the fodder for Patricia O’Hara’s aptly titled drama Banned from Baseball, a nostalgically engaging new play with great potential terrifically presented in its world premiere at the Loft Theatre courtesy of the Human Race Theatre Company.

Brian Dykstra, smartly cast, superbly embodies Rose’s folksy, relatable charm and cool, lackadaisical swagger. He portrays the famed Hit King and manager of the Cincinnati Reds as a larger-than-life yet hopelessly aloof showman unable to own up to his shortcomings. In addition to the notion Rose had a gambling addiction, a theme in need of expansion to give the play more depth, O’Hara suggests he didn’t understand or grasp the ethics involved as if merely playing baseball with heart trumped playing with integrity. “I respect the game too much to bet on it,” he says. But in essence he was fooling himself, which makes his fall from grace and delusions of Hall of Fame grandeur a sad, cautionary tale. The final scene, centered on Rose happily signing baseballs in some non-specific memorabilia purgatory, is a striking example of resilience or misery depending on your perspective.

Brian Dykstra as Pete Rose and Marc Moritz as Reuven Katz in the Human Race Theatre Company’s production of Banned from Baseball (Photo by Scott J. Kimmins)

“I don’t like to see a hero fall,” says Giamatti, the former Yale University President and Comparative Literature professor who died of a heart attack at age 51 on Martha’s Vineyard eight days after banning Rose. As he battles with the idea of banishment, Giamatti, played with pleasant understatement by Human Race newcomer Doug MacKechnie, has an odd tendency to only come across as a wholesome philosophical guru. “We betray ourselves when we betray those we serve” is among the sage soundbites O’Hara provides, but perhaps she chose this route because she shares a kinship with his past. After all, she is a professor of English Literature at Franklin & Marshall College in Lancaster, Pennsylvania who specifically teaches Baseball in American Literature and Culture. She even goes so far as to give the level-headed Giamatti a lengthy lecture, addressing the audience straightforwardly with musings on Shakespeare and Machiavelli. However, less would be more, especially when we only receive a glimpse into Giamatti from the vantage point of academia and athletics. It’s possible to become as engrossed in his story as Rose, but as it stands, there aren’t enough complex layers. Perhaps it would be more refreshing if O’Hara dug deeper into his health issues or the few intriguing nuggets of backstory she offers, specifically his intriguing relationship with President George H.W. Bush and contemplation of running for Congress. It’s nice to hear Giamatti speak of “rising to one’s better self to achieve one’s destiny,” but O’Hara would be wise to find another distinct aim for the character other than Moral Compass and a more distinct voice other than campaign speechwriter.

(left to right) Scott Hunt as Fay Vincent, Doug MacKechnie as Bart Giamatti, Marc Moritz as Reuven Katz, and Brian Dykstra as Pete Rose in the Human Race Theatre Company’s production of Banned from Baseball (Photo by Scott J. Kimmins)

Nevertheless, director Margarett Perry, in her 10th production for the Human Race, skillfully keeps every character (costumed in stylish vintage suits by Janet G. Powell) impactful, amiable and conflicted. She primarily ensures Dykstra and MacKechnie are compatible without seeming combative, a tricky balance considering the high stakes involved for their characters. She also gives the supporting players ample room to shine. Scott Hunt (nearly unrecognizable as hardnosed Deputy Commissioner Fay Vincent vowing to keep baseball pure), Marc Moritz (Rose’s sophisticated lawyer Reuven Katz desperately trying to make him see reason on multiple issues), and K.L. Storer (John Dowd, Special Counsel to the Commissioner) are an excellent trio, injecting their performances with nuance, persistence and clear devotion to their respective sides. Longtime Cincinnati Reds sportscaster Marty Brennaman notably provides enjoyable voiceovers throughout the play, which features an eye-catching Riverfront Stadium backdrop from set designer Tamara L. Honesty as well as proficient lighting by John Rensel and first-rate sound design and original music by Jay Brunner.

One of the play’s best scenes belongs to Dykstra. With poignancy, Rose recounts, with awestruck wonder, the night he broke Ty Cobb’s record and received a call from President Ronald Reagan in the joyous aftermath. It’s a loving look at “Charlie Hustle” in all his humble glory. But the root of O’Hara’s astute fairness rests with the sheer reality of Rose’s legacy. If baseball is indeed part of the national character, as she suggests, it’s only proper to examine what Rose did and why he did it. Who he was and what he could be. Sometimes you must simply separate the man from the mystique. Well, that’s life at the old ball game.

Brian Dykstra as Pete Rose in the Human Race Theatre Company’s production of Banned from Baselball (Photo by Scott J. Kimmins)

Banned from Baseball continues through Sept. 23 at the Loft Theatre, 126 N. Main St., Dayton. The play is performed in 100 minutes without intermission. Performances are 8 p.m. Thursday, Friday and Saturday evenings; 7 p.m. Sunday, Tuesday and Wednesday evenings; and 2 p.m. Sunday matinees. Tickets are $37-$55 adults; $34-$48 for seniors; and $19.50-$27 for students. Prices vary depending on the day of the week and seating location. Group discounts available for parties of 10 or more – contact Betty Gould at (937) 461-8295 or [email protected].

“While We’re on the Subject” post-show talkback will be held following the Sunday, Sept. 16 2 pm performance; Prior to the Tuesday, Sept. 18 7 pm performance is “Beer, Here!,” which will begin at 5:30 pm. Additional information and details for “Beer, Here!” and a special Offstage Experience can be found online at humanracetheatre.org.