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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.

 

The Art of Storytelling- Alive and Well in Dayton

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In 1997 poet and novelist George Dawes Green,  wanted to recreate the feeling of sultry summer evenings in his native Georgia, when moths were attracted to the light on the porch, where he and his friends would gather to spin spellbinding tales. That was the beginning of the New York City based storytelling art that is known as The Moth.  It became a weekly podcast and in 2009 launched a national public radio show, The Moth Radio Hour.  You can hear this show  on WYSO Saturday’s at 2pm and Wednesday at 11pm.

Inspired by  The Moth,  Daytonian Shelly Hulce launched a story slam about a dozen years ago.  The premise was simple. People sharing true stories, in person, unscripted and live. For more than a decade a small group of storytellers have been meeting in coffee shops, libraries and bars in and around Dayton. In time the events faded away.  In 2016 Kettering storyteller Bryan Suddith went to Louisville to tell his story and and was selected that nights Story Slam winner.  He knew he needed to re-launch story slam in Dayton.  So in the fall of 2016 Shelly and Brian teamed up and began hosting a local storytelling open mic night at Wiley’s Comedy Club on the third Tuesday of each month.

Now getting ready to kick off their 3rd season, they hosted a workshop last month to encourage new story tellers and over 25 people showed up eager to get tips to become better storytellers.  The biggest pointers included making sure the story has a beginning, middle and an ending and crafting a hook to grab the audiences attention. The first Dayton Story Slam of the season begins Tues, Sept 18th at 7pm and admission is just $5. Interested story tellers can throw their name in the hat and 10 lucky tellers will be drawn to share their starting over/second chances themed tale and one will be voted the winner, leaving with a $50 cash prize.

Bryan Suddith and Bridget Flaherty

For those that want a more structured learning environment, Bridget Flaherty, a multiple Story Slam Winner here in Dayton, with a few Moth wins under her belt as well, is launching a 4 week storytelling class.

LORE , beginning Monday, Sept 10th.  will help you learn the fundamentals of storytelling and craft a short story of your own. The $149 ticket price includes four classes, each class will be 90 minutes and on Oct 3rd there will be a graduation show (which is optional for participants) at The Brightside Music & Event venue.

If you prefer one on one coaching, LORE offers that as well.  Whether you are seeking to drive your company’s culture, enhance a marketing campaign, or craft a personal story presentation, Bridget can help you craft your story.

 

‘The Little Foxes’ Review – Dayton Theatre Guild – Southern Scoundrels

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Lillian Hellman’s riveting 1939 drama The Little Foxes excellently launches the Dayton Theatre Guild’s 2018-2019 season.
Set in the Alabama spring of 1900, this compelling, three-act saga – methodically directed by Kathy Mola, beautifully costumed by Carol Finley, and attractively designed by Chris Harmon – concerns greed spinning out of control among a dysfunctional, power-hungry family. Brothers Oscar and Benjamin Hubbard (Saul Caplan and Dave Nickel, respectively) along with their sister Regina Giddens (Cheryl Mellen) are excited to invest in a new cotton mill, but Regina can’t sign on because her late father didn’t see fit to leave her on equal financial footing with them. As so, she turns to her sickly husband Horace (Don Campbell) for approval, but he has other ideas in mind. Still, Regina has the last laugh in a shockingly disgraceful display of betrayal and revenge opening the door to a future likely to leave her abandoned, regretful and paranoid despite her bank account.

(left to right) Maximillian Santucci (Leo Hubbard), Gail Andrews Turner (Addie), Saul Caplan (Oscar Hubbard), Libby Holley Scancarello (Birdie Hubbard), Jeff Sams (William Marshall), Cheryl Mellen (Regina Giddens), and Hannah Stickel (Alexandra Giddens) in Dayton Theatre Guild’s production of “The Little Foxes.” (Contributed photo)

Mola skillfully handles the play’s juicy melodrama, coaxing performances from her cohesive cast that are grounded rather than overdone. Caplan (in a refreshing departure from comedic roles) and Nickel (very impressive) are terrifically devious cohorts.

Libby Holley Scancarello (Birdie Hubbard) and Hannah Stickel (Alexandra Giddens) in Dayton Theatre Guild’s production of “The Little Foxes.” (Contributed photo)

In particular, Nickel wonderfully juggles Benjamin’s smooth charisma and furious rage. Mellen dynamically thrives in Act 3 as Regina’s manipulative instincts hit overdrive, but I would’ve liked to have seen the same kind of ferocity applied from her first entrance. Campbell, in one of his finest roles, offers a superb showdown with Mellen late in Act 2 when Horace finally realizes the scope of Regina’s ambition. As Regina’s fragile, alcoholic sister-in-law Birdie Hubbard, Oscar’s wife, the outstanding Libby Holley Scancarello exceptionally explores Birdie’s inability to break free from the monsters surrounding, suffocating and destroying her. She fills the overlooked, ostracized, battered, and abused character with expressive angst throughout, specifically her captivating monologue reflecting on the first time Birdie met Oscar, a day that led to her dreadful unhappiness for the next 22 years. By and large, Scancarello is just as marvelous and vital here as she was as Mrs. Sylvia Fowler in the Dayton Playhouse’s 2017 production of The Women.

In addition, Maximillian Santucci shines as Oscar and Birdie’s hopelessly inept and immature son Leo, Hannah Stickel supplies gentle innocence and acute perceptiveness as Regina and Horace’s daughter Alexandra, Jeff Sams effortlessly charms while hobnobbing in a den of deceivers as Chicago industrialist William Marshall, and Gail Andrews Turner and Steve Easterling are fittingly sharp as Regina and Horace’s dutiful servants Addie and Cal. Turner notably contributes to an engaging discussion at the top of Act 3 focusing on the play’s friendlier characters taking a respite from familial squabbles and wickedness.

Without question, The Little Foxes remains a relevant cautionary tale of pursuing the American Dream with backbiting, destructive intentions. God bless the U.S.A.

 

The Little Foxes continues through Sept. 2 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are at 8 p.m. Friday, 5 p.m. Saturday, and 3 p.m. Sunday. The play is performed in three acts running 40 minutes each with two intermissions. Tickets are $20 for adults, $18 for seniors, and $13 for students. For more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

 

‘The Secret Garden’ Review – Epiphany Lutheran Church – The Girl Who Lived

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If a young girl hadn’t survived a cholera outbreak, a grieving father and son wouldn’t have been able to reconnect and find ultimate joy and peace within The Secret Garden, the 28th annual summer musical of the Epiphany Players Drama Ministry of Epiphany Lutheran Church in Centerville.

(left to right) Marisha Oswoski (Ayah), Tommy Cole (Dickon), Liza Russ (Mary Lennox), Margo Russ (Martha), and Meredith Russ (Fakir) are featured in Epiphany Lutheran Church’s production of The Secret Garden. (Contributed photo)

Adapted in 1991 by librettist/lyricist Marsha Norman and composer Lucy Simon based on the 1911 novel of the same name by Frances Hodgson Burnett, The Secret Garden offers a family reunion through a dark lens circa 1906. Upon the death of her parents in Bombay, India, headstrong 11-year-old Mary Lennox is sent to Yorkshire, England to live with her emotionally detached uncle Archibald Craven, whose life has been shaken by the death of his wife Lily who died giving birth to their sickly son, Colin, who is often hidden from sight. As Mary becomes more inquisitive about her new dwellings in haunted Misselthwaite Manor, she discovers a garden beloved by Lily which begins a rejuvenation process surpassing expectations.

Beautifully staged by Megan Wean Sears and David Brush, skillfully keeping Lily at the communicative heart of the action as she interacts with those she left behind, this splendidly sung presentation features a large, doubled cast of nearly 70 actors. Lily Nevers and Liza Russ bring great spunk and clear focus to their sprightly portrayals of Mary. David Sievers and Michael Shannon are in wondrously resounding voice as Archibald. Eric Pettit and Chavin Medina, equally expressive and very touching in the Come to My Garden sequence, shine as Colin. John Benjamin and Brett Greenwood are properly stern and dismissive as Dr. Neville Craven, Archibald’s brother assigned to Colin’s care. Rachel Woeste and Margo Russ are delightful as Martha, specifically providing wonderfully lyric-driven renditions of Hold On that cut deep as Martha passionately encourages Mary to remain positive despite adversity. Jack Issler and Tommy Cole proudly proclaim Winter’s On The Wing with vim and verve as the playful Dickon, Martha’s brother. The operatic Megan Rehberg and Kara Miller, strikingly costumed by Kim Harvey and Lori Watamaniuk, give Lily profound presence. Kean Petrello (Captain Albert Lennox), Mia Bridgman and Laura Jacobs (Rose Lennox), Sandy Schwartzwalder and Sophia LiBrandi (Mrs. Medlock), John Morgan and Brady Kress (Ben Weatherstaff), Martha Armstrong-Benjamin and Leighanna Hornick (Mrs. Winthtop), Meredith Russ (Fakir), and Marisha Oswoski (Ayah) are also noteworthy.

In addition to Sears filling her choreography with distinct Indian influences for Russ and Oswoski and energetic spirit for the aptly titled Come Spirit, Come Charm, the excellent artistic components include D. Tristan Cupp’s three-tiered, marvelously detailed storybook scenic design, Matthew Benjamin’s outstanding lighting bridging the present and past in stunning fashion akin to Stephen Sondheim’s Follies, and music director Kandis Gibson’s firm orchestra. However, diction and sound problems were an occasional distraction.
In its heartwarming account of acceptance, loss, forgiveness, healing, and remembrance, The Secret Garden opens our eyes to the power of miracles and the vital necessity of family and friends.

The Secret Garden continues through July 22 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday-Saturday at 7:30 pm, and Sunday at 2:30 pm. Tickets are $15 for adults, $10 for students and seniors (60 and over), $5 for children (5 and under), and $20 for front row seating. For tickets, call (937) 433-1449 ext. 105. For more information, visit www.epiphanydayton.org or e-mail drama @epiphanydayton.org.

 

Acclaimed Jazz Musicians Perform With Muse Machine

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When great jazz musicians from New York City and New Orleans team up with local artists and Muse Machine performers for a one-night-only concert, there’s only one thing you can say – The Joint Is Jumpin’.

Muse Machine performers (foreground, L-R, Ana Smith and Mark Antony Howard); photo by Faye Sommers

“The musicians were returning to the area from Jazz at Lincoln Center and Jazz Power Initiative in NYC to collaborate on another project and they suggested the concert – we’d have been crazy to pass up that opportunity!” said Muse producer Douglas Merk. “These artists have experiences and careers that literally span the globe. Bringing them together with Muse performers and Dayton audiences for a creative outburst is simply exciting.”

 

Guest artists include drummer Alvin Atkinson, Jr., multi-instrumentalist Michael Bashaw, bassist Eddie Brookshire, vocalist/saxophonist Camille Thurman, trumpeter Ashlin Parker, pianist/vocalist Eli Yamin and jazz combo Nausikaa. More information about the performers is available at musemachine.com.  New Orleans-based choreographer Lula Elzy returns to insure the space is dancing and literally jumping to styles from standards to New Orleans to Latin American.

 

Muse Machine presents The Joint Is Jumpin’ at The Loft Theatre on Wednesday, July 18, 2018 at 7:00pm and 8:30pm. Tickets are $25 and $35 and are on sale exclusively through Ticket Center Stage: 937-228-3630 or musemachine.com.

 

Muse Machine is a nationally recognized arts education organization, providing creative experiences and resources for young people of the Miami Valley for the past 36 years. Since 1982, they have engaged thousands of students through academic-relevant lessons, workshops and in-school projects along with the highly acclaimed annual student musicals and concerts produced for the Miami Valley.

Saluting Dayton’s 2017-18 Theater Season

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Stories about a high school rocked by prejudice, families in Brooklyn and Russia trying to hold on against all odds, a pastor’s controversial epiphany, building connections through online gaming, and the African-American experience from the Harlem Renaissance to the Trump Era were the catalysts for some of the best productions of Dayton’s 2017-2018 theater season.

Dare to Defy Productions Seussical production

One never knows how a season will be shaped by current events, but Sinclair Community College’s relevant instincts about gun violence and racial divisiveness served them well thanks to particularly thought-provoking productions of Bang Bang, You’re Dead! and Blood at the Root, the latter superbly bolstered by poignant images of various social justice movements throughout our country’s history. At Wright State University, Fiddler on the Roof, The Mystery of Edwin Drood, Fun Home, and Urinetown once again showcased the inherent strengths of its esteemed musical theatre department. University of Dayton’s crowd-pleasing Grease was a delight, and Cedarville University impressed with a compelling Diary of Anne Frank.
On professional stages, the Victoria Theatre Association secured an assortment of solid national tours from the breathtakingly choreographed An American in Paris to the Broadway-caliber, kooky Renaissance spoof Something Rotten! The Human Race Theatre Company offered the charming American premiere of the developmental-yet-promising Legendale, the local premiere of the hysterical and biting comedy The House, and a marvelously acted and directed Brighton Beach Memoirs. La Comedia Dinner Theatre put forth its very best with striking productions of Mamma Mia! and The Color Purple. Dare to Defy Productions hit the target with a highly entertaining Seussical and a lovely Little Women. The fantastically raw and reliably risk-taking Playground Theatre cut deep with Tape and a splendid exploration of The Tutors, two knockouts fueling the company’s edgy off-Broadway-flavored pedigree. The pre-professional handiwork of the Muse Machine is also notable considering Sara LiBrandi’s exceptionally mature embodiment of meddlesome matchmaker Dolly Levi in the rousing Hello, Dolly! 

At community theaters, feel-good musicals and diverse plays rose to the top. Dayton Theatre Guild’s penchant for contemporary dramas resulted in a terrifically true-to-life look at The Christians. Young at Heart Players stepped outside the box to deliver a firm local premiere of unconventional Well. Flying under the radar, Undercroft Players warmly appealed with It’s a Wonderful Life: A Radio Play. Before heading to Springboro to begin a new chapter, Playhouse South said farewell to Kettering’s Clark Haines Theatre with a rollicking Rock of Ages. Dayton Playhouse raised the roof with a joyous Sister Act and boosted the potential of FutureFest finalist Desireé York’s The Puppeteer, which feels poised to have a greater cultural impact if given more national exposure. York’s dynamic and topical drama, examining the breadth of the African-American journey as seen through the generational perspective of one woman’s lineage, starred Carolyn L. Seymour in a mesmerizing, decade-shifting execution of style, range and nuance.
Assessing the 80 shows I saw last season, I congratulate the following winners (in bold) and nominees.

The ensemble cast of the national tour of Something Rotten! (Contributed photo)

BEST TOURING PRODUCTION
An American in Paris, Victoria Theatre Association
Disney’s The Little Mermaid, Victoria Theatre Association, Pittsburgh CLO and Kansas City Starlight Theatre
In the Heights, Victoria Theatre Association and the Ordway Center for the Performing Arts in collaboration with Teatro del Pueblo
The Phantom of the Opera, Victoria Theatre Association
Something Rotten!, Victoria Theatre Association

 

BEST PROFESSIONAL PRODUCTION OF A PLAY
A Christmas Story, Human Race Theatre Company and Victoria Theatre Association
Brighton Beach Memoirs, Human Race Theatre Company
The House, Human Race Theatre Company
Tape, Playground Theatre
The Tutors, Playground Theatre

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
The Color Purple, La Comedia Dinner Theatre
Legendale, Human Race Theatre Company
Little Women, Dare to Defy Productions
Mamma Mia!, La Comedia Dinner Theatre
Seussical, Dare to Defy Productions

Jill Evans and Richard Young in Dayton Theatre Guild’s production of The Christians (Contributed photo)


BEST COMMUNITY THEATER PRODUCTION OF A PLAY
A Few Good Men, Dayton Playhouse
The Christians, Dayton Theatre Guild
It’s a Wonderful Life: A Radio Play, Undercroft Players
The Other Place, Dayton Theatre Guild
Well, Young at Heart Players

The cast of Dayton Playhouse’s production of Sister Act (Contributed photo)

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
Beehive, Dayton Playhouse
Company, Beavercreek Community Theatre
Oklahoma!, Brookville Community Theatre
Rock of Ages, Playhouse South
Sister Act, Dayton Playhouse

left to right) Paige Jacobs, Elisha Chamberlin, Amber J. Smith, and Justin Lampkins in Sinclair Community Theatre’s production of Blood at the Root (Contributed photo)


BEST COLLEGIATE PRODUCTION OF A PLAY
Blood at the Root, Sinclair Community College
Blues for an Alabama Sky, Sinclair Community College
The Diary of Anne Frank, Cedarville University
The Grapes of Wrath, Wright State University
Radio Plays, Sinclair Community College
You Can’t Take it With You, Wright State University

Halle Augenstein as The Fiddler in Wright State University’s production of Fiddler on the Roof (Contributed photo)

BEST COLLEGIATE PRODUCTION OF A MUSICAL
A Charlie Brown Christmas, Sinclair Community College
Fiddler on the Roof, Wright State University
Grease, University of Dayton
The Mystery of Edwin Drood, Wright State University
Urinetown, Wright State University

Sara LiBrandi in Muse Machine’s production of Hello, Dolly! (Contributed photo)

BEST SPECIAL THEATRICAL EVENT
Angels in America: Millennium Approaches, Wright State University
Bang Bang, You’re Dead!, Sinclair Community College
Fun Home, Wright State University
Hello, Dolly!, Muse Machine
Jesus Christ Superstar, Epiphany Lutheran Church

BEST NEW WORK
Andrea Daly and Jeff Bienstock’s Legendale, Human Race Theatre Company
Eli Davis’ First in Flight, Wright State University
Peter Filichia’s Adam’s Gifts, Dayton Playhouse FutureFest
Vince Gatton’s Wake, Dayton Playhouse FutureFest
Olga Humphrey’s Magnificent Hubba Hubba, Dayton Playhouse FutureFest
Desireé York’s The Puppeteer, Dayton Playhouse FutureFest

Eric Deiboldt as Eugene in Human Race Theatre Company’s production of Brighton Beach Memoirs (Contributed photo)

BEST LEADING ACTOR IN A PLAY
Eric Deiboldt as Eugene, Brighton Beach Memoirs
Charles Larkowski as King Lear, King Lear (Clark State Community College)
Skyler McNeely as Toby, The Tutors
Philip Stock as Prior Walter, Angels in America: Millennium Approaches
Scott Stoney as Martyn Redmond, The House
Richard Young as Paul, The Christians

BEST LEADING ACTRESS IN A PLAY
Amy Askins as Juliana Smithson, The Other Place
Bryana Bentley as Angel, Blues for an Alabama Sky
Lisa Ann Goldsmith as Kate, Brighton Beach Memoirs
Jenna Gomes as Heidi, The Tutors
Becky Howard as Lucille (a.k.a. The Magnificent Hubba Hubba), Magnificent Hubba Hubba
Caitlin Larsen as Shanny Redmond, The House

BEST LEADING ACTOR IN A MUSICAL
Josh Beasley as Bruce Bechdel, Fun Home
A.J. Breslin as the Cat in the Hat, Seussical
Max Crumm as Andy, Legendale
David Emery as Bobby Strong, Urinetown
Justin Gregory Lopez as Usnavi, In the Heights
Bobby Mitchum as Jon, Tick, Tick…Boom! (Dare to Defy Productions)

BEST LEADING ACTRESS IN A MUSICAL
Jennifer Allen as Ursula, Disney’s The Little Mermaid
Sarah Bockel as Carole King, Beautiful – The Carole King Musical (Victoria Theatre Association)
Melissa Hall as Jo March, Little Women
Cecelia Monica-Lyn as Celie, The Color Purple
Brianna Russ as Judas Iscariot, Jesus Christ Superstar
Tia Seay as Deloris Van Cartier, Sister Act

BEST SUPPORTING ACTOR IN A PLAY
Mike Beerbower as George Deever, All My Sons (Dayton Theatre Guild)
Richard Buchanan as Stanley, Brighton Beach Memoirs
B. Lee Drew as Colonel Nathan Jessep, A Few Good Men
Vince Gatton as Fischer Libett, The House
Chaney Mason Morrow as Edmund, King Lear (Clark State Community College)
Rory Sheridan as Jack, Brighton Beach Memoirs

 

(left to right) Vince Gatton, Caitlin Larsen, Alex Sunderhaus, and Scott Stoney in the Human Race Theatre Company’s production of The House (Contributed photo)

BEST SUPPORTING ACTRESS IN A PLAY
Kari Carter as Ann Deever, All My Sons (Dayton Theatre Guild)
Jill Evans as Elizabeth, The Christians
Barbara Jorgensen as Ann, Well
Sonia Perez as Blanche, Brighton Beach Memoirs
Fran Pesch as Alice (a.k.a. Headlock Liplock), Magnificent Hubba Hubba
Alex Sunderhaus as Lindsay Libett, The House

BEST SUPPORTING ACTOR IN A MUSICAL
Darren Brown as Uncle Ernie, The Who’s Tommy (Dare to Defy Productions)
Tommy Cole as Barnaby Tucker, Hello, Dolly!
Philip Drennen as Michael, Tick, Tick…Boom! (Dare to Defy Productions)
Justin Matthews as Pontius Pilate, Jesus Christ Superstar
Kyle Miller as John Jasper, The Mystery of Edwin Drood
Nathan Pax as Lonny, Rock of Ages

BEST SUPPORTING ACTRESS IN A MUSICAL
Dana Bixler as Small Allison, Fun Home
Erica Lynn Bridge as Sophie, Mamma Mia!
Abby Church as Cow Maiden/Zelayna, Legendale
Kim Comacho as Gertrude McFuzz, Seussical
Meghan Rupper as Medium Allison, Fun Home
Alejandria Solis as Little Sally, Urinetown

BREAKTHROUGH MALE PERFORMANCE IN A PLAY
Ryan Grissett as Milo, The Tutors
Zach Katris as Stanley Kowalski, A Streetcar Named Desire (Beavercreek Community Theatre)
Justin Lampkins as Guy, Blues for an Alabama Sky
Jack Lockwood as Adam Romano and Young William, Adam’s Gifts
Nick Martin as Joe Pitt, Angels in America: Millennium Approaches
Jamie McQuinn as Morrie Schwartz, Tuesdays with Morrie (Young at Heart Players)

Carolyn L. Seymour in the Dayton Playhouse’s production of The Puppeteer (Contributed photo)

BREAKTHROUGH FEMALE PERFORMANCE IN A PLAY
Isabella Andrews as Harper Pitt, Angels in America: Millennium Approaches
Sydney Baker as Sara, Radio Plays
Gwendolyn Gay as Joanne Galloway, A Few Good Men
Carolyn L. Seymour as Constance/Connie, The Puppeteer
Katie Sinicki as Nora, Brighton Beach Memoirs
Kelsie Slaugh as Amy, Tape

Wright State University’s production of Urinetown: The Musical. (Photo by Courtney Michele Zimmerman)

BREAKTHROUGH MALE PERFORMANCE IN A MUSICAL
Tristan Allen as Caldwell B. Cladwell, Urinetown
Will Graber as Glenn Curtiss, First in Flight
Jake Jones as Horace Vandergelder, Hello, Dolly!
Chavin Medina as Jojo, Seussical
Thomas Pedrotti as Jud Fry, Oklahoma!
Garrett Young as Bat Boy, Bat Boy: The Musical (Dare to Defy Productions)

BREAKTHROUGH FEMALE PERFORMANCE IN A MUSICAL
Casey Borghesi as Princess Puffer, The Mystery of Edwin Drood
Samantha Faye Creech as Shelley Parker, Bat Boy: The Musical (Dare to Defy Productions)
Kara Freeman as Sherrie, Rock of Ages
Sara LiBrandi as Dolly Gallagher Levi, Hello, Dolly!
Alaina Saliba as Sandy Dumbrowski, Grease
Kiama Wa-Tenza as Irene Molloy, Hello, Dolly!

BEST DIRECTION OF A PLAY
Marya Spring Cordes, Brighton Beach Memoirs
Christopher Hahn and Jenna Valyn, The Tutors
Chris Harmon, Blood at the Root
Diane Conrad Merchant, The Diary of Anne Frank
Margarett Perry, The House
Annie Pesch, Magnificent Hubba Hubba

Michaella Waickman (Shprintze), Emma Buchanan (Chava), Kayli Modell (Tzeitel), Danielle Bessler (Hodel), and Dana Bixler (Bielke) in Fiddler on the Roof (Photo by Erin Pence)


BEST DIRECTION OF A MUSICAL
Joe Deer, Hello, Dolly!
Greg Hellems, The Mystery of Edwin Drood
W. Stuart McDowell, Fiddler on the Roof
Megan Wean Sears, Jesus Christ Superstar
John Simpkins, Legendale
Megan Valle, Fun Home

BEST LOCAL CHOREOGRAPHY
Jessica Eggleston, Urinetown
Lula Elzy, Hello, Dolly!
Amy Renee Jones, Grease
Teressa Wylie McWilliams, Fiddler on the Roof
Michael Shepherd, Seussical
Rodney Veal, Blood at the Root

BEST TOURING CHOREOGRAPHY
Scott Ambler, The Phantom of the Opera
Alberto Justiniano and James A. Rocco, In the Heights
John MacInnis, Disney’s The Little Mermaid
Casey Nicholaw, Something Rotten!
Josh Prince, Beautiful: The Carole King Musical (Victoria Theatre Association)
Christopher Wheeldon, An American in Paris

BEST SCENIC DESIGN OF A PLAY
Dick Block, A Christmas Story
David J. Castellano, You Can’t Take it With You
Dan Gray, Brighton Beach Memoirs
Chris Harmon, All My Sons (Dayton Theatre Guild)
Gisela Mullican, The Diary of Anne Frank
Terry Stump, Blues for an Alabama Sky

BEST SCENIC DESIGN OF A MUSICAL
Bruce Brockman, Hello, Dolly!
Paul Brown, The Phantom of the Opera
Matthew J. Evans, Grease
Pam Knauert Lavarnway, The Mystery of Edwin Drood
Michael Schweikardt, Legendale
Ray Zupp, The Color Purple

BEST COSTUME DESIGN OF A PLAY
David Arevalo, Brighton Beach Memoirs
Elizabeth Bourgeois, The Grapes of Wrath
Carol Finley, All My Sons (Dayton Theatre Guild)
Kathleen Hotmer, Blues for an Alabama Sky
Rebekah Priebe, The Diary of Anne Frank
Courtney Zimmerman, You Can’t Take it With You

left to right) Travis Mitchell, Rachel Flynn, Max Crumm, and Abby Church in the Human Race Theatre Company’s production of Legendale (Contributed photo)

BEST COSTUME DESIGN OF A MUSICAL
Elizabeth Bourgeois, The Mystery of Edwin Drood
Emercita Erb, The Color Purple
Jordan Norgaard, Little Women
Naomi Reisner, Fiddler on the Roof
Dixon Reynolds, Hello, Dolly!
Ayn Kaethchen Wood, Anna Juul Holm and Lotte Blichfeldt, Legendale

BEST LIGHTING DESIGN OF A PLAY
Derek Dunavent, The Tutors
Emily Hope, The Grapes of Wrath
Gisela Mullican, The Diary of Anne Frank
Gabe Reichert, Angels in America: Millennium Approaches
John Rensel, Brighton Beach Memoirs
Jennifer Watson, You Can’t Take it With You

BEST LIGHTING DESIGN OF A MUSICAL
Matthew P. Benjamin, The Mystery of Edwin Drood
Emily Hope, Urinetown
Charlie Morrison, Disney’s The Little Mermaid
Gabe Reichert, Fun Home
John Rensel, Legendale
Richard Lee Waldeck, Bat Boy: The Musical (Dare to Defy Productions)

BEST SOUND DESIGN OF A PLAY
T.L. Denen, The Diary of Anne Frank
James Dunlap, The Grapes of Wrath
Sarah Parrott, Radio Plays
Sarah Saunders, Jonathan Kalis, Mandy Shannon, Allison Clark, Cate Shannon, Terry Morris, and Cassie Wigginton-Hayes, It’s a Wonderful Life: A Radio Play
Silas Sheckels, You Can’t Take it With You
K.L. Storer, All My Sons (Dayton Theatre Guild)

BEST SOUND DESIGN OF A MUSICAL
Jay Brunner, Legendale
Ryan Burgdorf, Fiddler on the Roof
Ed Chapman and Randy Hansen, Disney’s The Little Mermaid
James Dunlap, The Mystery of Edwin Drood
Mick Potter, The Phantom of the Opera
Chuck Young, Bat Boy: The Musical (Dare to Defy Productions)

BEST ORCHESTRA
An American in Paris, Musical Director: David Andrews Rogers
Chess, Musical Director: Andrew Hackworth (Playhouse South)
Fiddler on the Roof, Musical Director: Scot Woolley
Hello, Dolly!, Musical Director: Sean Michael Flowers
Seussical, Musical Director: Lorri Topping
Something Rotten!, Musical Director: Brian P. Kennedy

BEST PROPERTIES
Gregory Davis, Radio Plays
Blake Hansher, Hunter Johnson, Ahna Mellinger, and Sara Warnshuis, The Diary of Anne Frank
John Lavarnway, You Can’t Take it With You
Heather Powell, The House
Heather Powell, Anna Juul Holm and Lotte Blichfeldt, Legendale
Deidre Root, Bakersfield Mist (Dayton Theatre Guild)

BEST PROJECTION DESIGN
David Bengali, Legendale
Matthew P. Benjamin, The Grapes of Wrath
Bobby Morgan, Jesus Christ Superstar
Gary Thompson, The Other Place
Rodney Veal, Fahrenheit 451 (Sinclair Community College)

 


ADDITIONAL ACKNOWLEDGMENTS

  • The cast of Adam’s Gifts: Saul Caplan as William Pront, Matthew Lindsay as Jason Romano and Sam Falcon, Tori Kocher as Glynis, Cassandra Engber as Lisa Pinewski and Mary Chalmers, Jack Lockwood as Adam Romano and Young William, and Kelli Locker as Narrator
  • The cast of Angels in America: Millennium Approaches: Justin Matthews as Roy Cohn, Nick Martin as Joe Pitt, Isabella Andrews as Harper Pitt, Philip Stock as Prior Walter, Hunter Minor as Louis Ironson, Mark Antony Howard as Belize, Heather Cooperman as Hannah Pitt and others, and Kaitlyn Campbell as Angel and others
  • The cast of Bachelorette (Playground Theatre): Kaleigh-Brooke Dillingham as Regan, Mary (Alaska) Stoughton as Gena, MacKenzie Aaryn Stephens as Katie, Jenna Valyn as Becky, Darren Lee Brown as Jeff, and Christopher Hahn as Joe
  • The cast of Beehive: Kailey Yeakley as Alison, Madeline Hart as Pattie, Tamar Fishbein as Wanda, Shanna Comacho as Laura, Elana Elmore as Gina, and Alicia Walton as Jasmine
  • The cast of Blood at the Root: S. Francis Livisay as Justin, Justin Lampkins as De’Andre, Elisha Chamberlin as Colin, Paige Jacobs as Asha, Amber Smith as Raylynn, Chelsey Hall as Toria, and ensemble members DeShawn Christian, Karley Holdeman, Christopher Goez, Valkyrie Williams, and Shaun Diggs
  • The cast of Blues for an Alabama Sky: Bryana Bentley as Angel, Justin Lampkins as Guy, Erin McGee as Delia, S. Francis Livisay as Sam, and Shaun Diggs as Leland
  • The cast of Brighton Beach Memoirs: Richard Buchanan as Stanley, Eric Deiboldt as Eugene, Lisa Ann Goldsmith as Kate, Julie Murphy as Laurie, Sonia Perez as Blanche, Rory Sheridan as Jack, and Katie Sinicki as Nora
  • The cast of The Complete Works of William Shakespeare (abridged) [revised] (Human Race Theatre Company): Bruce Cromer as Bruce, Jordan Laroya as Jordan, and Shaun Patrick Tubbs as Shaun
  • The cast of The Diary of Anne Frank: Gabrielle Bauman as Anne Frank, Andrew J Standley as Mr. Frank, Heather Lange as Mrs. Frank, Christine Amadea Nietert as Margot Frank, Stephen M. De Jong as Mr. van Daan, Claire Feathers as Mrs. van Daan, William Douglas as Peter van Daan, Remy James Patterson as Mr. Dussel, Nathan Robertson as Mr. Kraler, and Susanna Edwards as Miep
  • The cast of Fun Home: Megan Valle as Allison Bechdel, Meghan Rupper as Medium Allison, Dana Bixler as Small Allison, Josh Beasley as Bruce Bechdel, Rachel Mary Green as Helen Bechdel, Aaron Roitman as Christian Bechdel, Kyle Krichbaum as John Bechdel, Hannah Neff as Joan, and Tristan Allen as Pete/Roy/Mark/Bobby/Jeremy
  • The cast of The Grapes of Wrath: Christina Fiala as Reverend Casey, Dylan Tacker as Tom Joad, Louis Kurtzman as Al Joad, Nick Martin as Noah Joad, Hailey Noll as Ruthie Joad, Eric Pettit as Winfred Joad, MacKenzie Stephens as Rose of Sharon, Isaac Ingle as Pa Joad, Alexia Vlahos as Ma Joad, Eli Davis as Grandpa, Haley Knuth as Grandma, Joe Green as Uncle John, Aaron Roitman as Connie Rivers; Female Ensemble: Lauren Everett, Mallory Kraus, Brynann McNeill, Sophie Kirk, Donnasis Allen, Caitlyn Shiner; Male Ensemble: Colin Hodgkin, David Bayes, Jeremy Farley, Rayquon Brown, Everett Walker, Ross Bloedorn, Logan Kitchens, Christian Schaefer, and George Heddleston.
  • The cast of Magnificent Hubba Hubba: Becky Howard as Lucille, Thomas L. Troutman as Roy, Fran Pesch as Alice, Hannah Stickel as Lulu, David Hallowren as Zane/Announcer, Melissa Ertsgaard in various roles, and Shanna Camacho in various roles
  • The cast of Radio Plays: Sydney Baker as Sara and Karla, Chelsea Overman as Amber, Christopher Goetz as Mike/Rumbling Voice/Voice 3, Olivia Weldon as Lindsay, DeShawn Christian as Joshua/Cold Voice, Micah Koverman as Spokesperson/Jim/Voice 1, Sabrina Lundberg as Mom/Ms. Hannigan/Voice 2, Elisha Chamberlin as Jeff, Leonardo Santucci as James Brent, Karley Holdeman as Pam Brent, Sarah Skeans as Mary Curtis/Operator/Woman, Sara Eldred as Fay/Mrs. Lamb, Robert Hyer as Evan Curtis/Porter/Station Announcer/Man, and Maximilian Santucci as Mr. Enerdby/Porter/Inspector Narracott and playwright of Frog Eater
  • The cast of Sex with Strangers (Human Race Theatre Company): Jennifer Johansen as Olivia and Ben Palacios as Ethan
  • The cast of Stella and Lou (Dayton Theatre Guild): Geoff Burkman as Lou, Amy Taint as Stella, and Adam Clevenger as Donnie
  • The cast of Tape: A.J. Breslin as Jon, Christopher Hahn as Vince, and Kelsie Slaugh as Amy
  • The cast of Tick, Tick…Boom! (Dare to Defy Productions): Bobby Mitchum as Jon, Philip Drennen as Michael, and Danielle Ruddy as Susan
  • The cast of The Tutors: A.J. Breslin as Joe, Jenna Gomes as Heidi, Ryan Grissett as Milo, Skyler McNeely as Toby, and Boyang Zhang as Kwan
  • The cast of Well: Annie Pesch as Lisa, Barbara Jorgensen as Ann, Steve Strawser as Howard Norris and others, Bryana Bentley as Lori Jones and others, Kerry Simpson as Joy and others, and Justin Lampkins as Big Oscar and others
  • The women of The Color Purple: Cecelia Monica-Lyn as Celie, Amber Eldreion as Sofia, Kendra Guy as Shug Avery, El More as Church Lady Darlene, Sarah-Gloriel M. Ogayonne as Church Lady Jarene, Samantha Renee’ as Church Lady Doris, Bri Thomas as Squeak, and Tenna Torres as Nettie
  • Celia Arthur as Vi in Wright State University’s The Memory of Water 
  • David Baker as Adam/Felicia in INNOVAtheatre’s Priscilla, Queen of the Desert
  • Danielle Bessler as Mayzie LaBird in Seussical
  • Aaron Brewer as Drew, Nick Bellmyer as Dennis, Jordan Eechaute-Lopez as Regina, Tyler Wessel as Stacee Jaxx, Stephen Gogel as Franz, Ted Elzroth as Hertz, Madison Galloway as Justice, Aeriel Aniballi as Protester, and percussionist Tyler Ohlemacher in Rock of Ages
  • Andrew Brewer as Gerry Goffin, Sarah Goeke as Cynthia Weil, and Jacob Heimer as Barry Mann in Victoria Theatre Association’s Beautiful – The Carole King Musical
  • Ashton Brunn as Josh in Bang Bang, You’re Dead!
  • Geoff Burkman as Gloucester, Mike Taint as Kent, Larry Coressel as Cornwall, Kathleen Day as Goneril, and Emily Parsons as Regan in Clark State Community College’s King Lear
  • Lindsey Cardoza as Florence, TC Schreier as Freddie, TJ Montgomery as Anatoly, Jim Brown as Molokov, Madison Galloway as Svetlana, and Matthew Clifton as Arbiter in Playhouse South’s Chess
  • Kathleen Carroll, Tim Grewe and Tina McPhearson’s costumes, Annette Looper’s choreography, Steve Burton’s wigs, and musical directors Tim Rezash and Ron Kindell’s orchestra for Beehive
  • Patti Celek’s archival photo collection for Blood at the Root
  • Laurence Connor’s direction of The Phantom of the Opera
  • Marya Spring Cordes’ direction of The Grapes of Wrath
  • Bruce Coughlin’s orchestrations and Gina Cerimele-Mechley’s fight choreography for Legendale
  • Tristan Cupp’s set for Dayton Theatre Guild’s Stella and Lou
  • James Dunlap and Rick Good’s original songs for The Grapes of Wrath
  • Sean Michael Flowers’ music direction for First in Flight
  • Steven Greenwalt as Cornelius Hackl, Ben Kneblik as Ambrose Kemper, Charlotte Kunesh as Ermengarde, Diane Isom as Ernestina, Melanie Dodson as Mrs. Rose, David Shockey as Rudolph, Fischer Barnett as Head Cook/Painter, Michael Taylor as Judge, Darian Watson as Court Reporter, and the Parade Kids in Hello, Dolly!
  • Chris Harmon’s set and Josh Hollister’s costumes for Beavercreek Community Theatre’s Urinetown
  • Chris Harmon’s set for Beavercreek Community Theatre’s A Streetcar Named Desire and Company
  • Patrick Allyn Hayes as Mitch Albom in Young at Heart Players’ Tuesdays with Morrie
  • Patrick Allyn Hayes’ set design and Patrick Allyn Hayes, Deirdre Root, Mark Mickle, and Rick Flynn’s set dressing for Dayton Theatre Guild’s Bakersfield Mist
  • Diana Huey as Ariel and Paul Rubin’s flying sequences in the national tour of Disney’s The Little Mermaid
  • De’Aaron Isaac as Curly, Monica Impson as Laurey, Cindi Cuny as Aunt Eller, Kendal Garrett as Will Parker, Elizabeth Pedrotti as Ado Annie Carnes, and Allison Gabert as Dream Laurey in Oklahoma!
  • McGee Maddox as Jerry Mulligan, Allison Walsh as Lise Dassin, Matthew Scott as Adam Hochberg, Kirsten Scott as Milo Davenport, Bob Crowley and 59 Productions’ Tony-winning scenic design/projection design, and Natasha Katz’s Tony-winning lighting design in An American in Paris
  • Greg Mallios as Ralph Parker and others and Katie Pees as Miss Shields and others in A Christmas Story
  • Rob McClure as Nick Bottom, Josh Grisetti as Nigel Bottom, Adam Pascal as William Shakespeare, and Autumn Hurlbert as Portia in Something Rotten!
  • Abbie Miller as April and Danielle Ruddy’s rendition of “Getting Married Today” as Amy in Company
  • Bobby Mitchum as Lorraine in Dare to Defy’s Bat Boy: The Musical
  • William “Kip” Moore’s cultural imagery for The Puppeteer
  • Chris Newman’s artwork for Dayton Playhouse FutureFest’s On Pine Knoll Street
  • The orchestra of Dare to Defy’s The Who’s Tommy, Musical Director: Zac Clemens
  • Kean Petrello as Jesus Christ, Desmond Thomas as Judas Iscariot, Kara Miller and Laura Jacobs as Mary Magdalene, Christian Schaefer as Pontius Pilate, David Egbert and Nick Kress as Caiaphas, Rachel Woeste and Margo Russ as Annas, Bridget Miley and Lily Cutler as Peter, Meghan Rupper and Andrew Gochenaur as Simon Zealotes, Timmy Seiler and Chris Scharf as King Herod, Marisha Osowski as Dancer, and Brian Hoff, Kellie Daab, and Sam Layman as the Priests in Jesus Christ Superstar
  • Angelé Price as Ursula, William “Kip” Moore as Sebastian, Samantha Creech as Scuttle, Chavin Medina as Flounder, Chris “Red” Newman’s sets, Janet Powell’s costumes, Richard Lee Waldeck’s lighting, and Ray Zupp’s projections for Dayton Playhouse’s production of Disney’s The Little Mermaid
  • Rebekah Priebe’s hair and makeup design, Calvin Hitchcock’s music direction, Rebecca Baker’s dialect coaching, instrumentalists Sharri K. Hall and Josh Dissmore, and the vocal talent of Natalia Kirychuk, Jeremy Smith and Josh Gram for The Diary of Anne Frank
  • Jeff Sams as Chris Keller and David Williamson as Joe Keller in Dayton Theatre Guild’s All My Sons
  • Christian Schaefer’s direction of Angels in America: Millennium Approaches
  • Lindsay Sherman as Meg March, Samantha Creech as Amy March, Jessi Stark as Beth March, and Lorri Topping as Marmee March in Little Women
  • Deborah Thomas’ dialect coaching for The Mystery of Edwin Drood
  • Shyra Thomas as Esme in Wake
  • Aaron Vega’s direction and Jay Brunner’s sound design of The Human Race Theatre Company’s The Complete Works of William Shakespeare (abridged) [revised]
  • Alicia Walton as Sister Mary Robert, Shanna Camacho as Sister Mary Patrick, Donna Cason as Sister Mary Lazarus, Elaine Smith as Sister Mary Martin-of-Tours, Dawn Roth-Smith as Sister Mary Theresa, and the Nun Ensemble of Sister Act

 

 

Freak Show Deluxe Founder Thomas Nealeigh

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My friend Thomas Nealeigh – also known as Reverend Tommy Gunn – agrees with me that it’s Great in Dayton. Even though he runs a business based in Los Angeles, he is living in and raising his family in Dayton.

Thomas was executive director of Blue Jacket, the outdoor drama in Xenia, before he moved to Los Angeles. There he built up FreakShow Deluxe, who supplies sideshow acts like fire eaters tovenues across the country.

Once his business was established, Thomas moved back to Dayton so his kids could be near their grandparents and so they could have some of the same Midwestern experiences he had as he was growing up.

“Living in Dayton put us closer to our Eastern customers, too,” Thomas said. “From Dayton, we can get basically anywhere within a day. If we need to go to New York, we can get there in a day and if we need to go to Los Angeles we can get there in a day.”

Thomas will be part of a local performance tonight at 8 pm as Vaudeville Night comes to Centerville’s Town Hall Theater as part of Dayton Historic Dance Week 2018.  Most recently seen on The Late Late Show with James Corden, Gunn has performed from New York’s famed Coney Island, to Hollywood’s famous Magic Castle, and every place in between. With too many tv appearances and big-name venues to list here – this is his ONLY LOCAL APPEARANCE.  Tickets are $15 at the door for this all-ages family friendly show

 

‘Complete Works of William Shakespeare’ Review – Human Race Theatre Company – Three Noble Merrymen

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Incessantly silly and absolutely entertaining, The Complete Works of William Shakespeare (abridged) [revised] cuts loose with energetic glee at the Loft Theatre courtesy of the Human Race Theatre Company.

Bruce Cromer, Jordan Laroya and Shaun Patrick Tubbs star in the Human Race Theatre Company’s production of “The Complete Works of William Shakespeare (abridged), [revised].” (Photo by Immobulus Photography)


Written by Adam Long, Daniel Singer and Jess Winfield, Complete Works is an irreverent, witty tribute to the Bard’s 38 plays (give or take) solely relying on the improvisational and cohesive compatibility of only three actors. The script requires the cast to poke fun at the Bard and themselves with abandon, paying reverence when it’s due but also acknowledging the sheer artistic freedom derived from the zany pleasures of satire. As is humorously stated at one point, “We don’t have to do it justice – just do it!” Throughout the production, some jokes or bits land sharply while others feel strained, but that’s standard practice whether you’re at a comedy club or watching Saturday Night Live. It’s always dangerous when certain plays abide by an anything goes philosophy but that doesn’t mean you can’t have a good time watching it come to life. And a good time is on the menu as Bruce Cromer, Jordan Laroya, and Shaun Patrick Tubbs joyfully drive this wild ride through some of the greatest passages ever written.

Fittingly, the majority of the action covers Romeo and Juliet, Macbeth and Hamlet, three iconic pieces ripe for playful rediscovery under Aaron Vega’s breezy, interactive (introverts beware!), inspired, and pop culture-tinged direction. Whether ensuring certain lines are filled with rousing gospel fervor or a thick Scottish brogue or humorously paying homage to Hamilton, Black Panther or the rock god aura of Prince, Vega creates a rollicking playground of fun, using every bit of the Loft space from aisles to props. In fact, scenic designer Eric Barker, properties master Heather Powell, and sound designer Jay Brunner gives Vega all the comical tools he needs, especially familiar props from past Human Race productions such as the enormous teddy bear from The House presented earlier this season.


Local audiences have grown accustomed to seeing Cromer, one of the most acclaimed and widely respected Shakespearean actors in our region, taking the stage in a surefire leading capacity, but he navigates well in this team effort. Aware that everyone is on equal footing, he smoothly blends with Laroya and Tubbs, helping establish a good-natured rapport suggesting the trio have been pals for years. In fact, Tubbs, a Wright State University alumnus previously seen in the Human Race’s outstanding production of Jitney, is one of Cromer’s former students which aids in their chemistry. Specifically, Cromer is featured to great effect when he breaks from the Hamlet storyline to venture on a nostalgic detour into the backstory behind characters from Downton Abbey, resulting in a hilarious nervous breakdown. The extremely personable Tubbs, conveying stand-up comedian ease even during the show’s curtain speech, keeps the comedy flowing from his valiant Romeo to his kooky and aloof Julius Caesar. Laroya, a Human Race newcomer taking on the persona of being dashing and daft, is an energetic delight who effortlessly brings the show’s absurd frenzy to a calming state of beautiful pensiveness during his dynamic rendering of a Hamlet monologue.

You don’t have to love or understand Shakespeare to enjoy this romp. Leave your troubles outside and let the laughs take over.

The Complete Works of William Shakespeare (abridged) [revised] continues through June 17 at the Loft Theatre, 126 N. Main St., Dayton. 8 pm Thursday, Friday and Saturday evenings; 7 pm Tuesday and Wednesdays evenings; and 2 pm Sunday matinees. There will be a post-show talkback after the June 10 performance. Tickets are $35-$50 for adults; $32-$46 for seniors; and $17.50-$25 for students. Prices vary depending on performance date and seating location. There are a limited number of $12 and $25 side area seats available for each performance. For tickets or more information, call (937) 228-3630 or visit humanracetheatre.org or ticketcenterstage.com.

 

 

‘Well’ Review – Young at Heart Players – This Is Your Life

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Coming to terms with the past in order to embrace a healthier future provides the relatable foundation of Lisa Kron’s fascinating and thought-provoking 2004 autobiographical play Well, terrifically presented by the senior-themed theater troupe Young at Heart Players at the Dayton Playhouse.

Young at Heart Players presents Lisa Kron’s “Well,” a story centered on family, chronic illness and social activism, through June 10 at the Dayton Playhouse. (Photo by Fran Pesch)

This kooky yet engaging play-within-a-play about parent-child relationships, illness and social activism concerns the playful tug-of-war down memory lane between Lisa Kron (Annie Pesch) and her chronically fatigued mother Ann Kron (Barbara Jorgensen). Lisa’s main goal is to decipher, in a universal context, what makes people sick and what makes them well? What lies within the transition from sickness to wellness? Do you lose a sense of self along the way for good or bad? With a therapeutic mindset and incorporating the innate theatricality of metatheatre, which particularly eliminates the fourth wall allowing actors to directly address and involve the audience, Lisa addresses significant moments of her life, particularly her childhood insecurities and her eye-opening stay at an allergy clinic. As these moments transpire, Ann’s progressive creation of the West Side Neighborhood Association in Lansing, Michigan receives major attention. The Association helped bring people from diverse racial and socioeconomic backgrounds together in order to form a stronger community bound by social activities rather than political ties.

Pesch, seamlessly and fluidly co-directing with her mother and YAH founder Fran Pesch, creates a beautifully complex portrayal of the agitated, befuddled and ultimately grateful Lisa. Her skillful command of the script’s colorfully offbeat structure is effortless and impressive. She also importantly establishes a light yet appropriately uptight rapport with her cast and the audience to fully sell the material’s unconventionality, which at times feels like a one-woman show thanks to a distinct time warp-esque sound cue and Richard Lee Waldeck’s sharp lighting.

Pesch also receives outstanding support from YAH veteran Jorgensen, whose motherly warmth and down-to-earth realism absolutely shines especially as Ann keeps the audience firmly in her grasp. Jorgensen weaves in and out of the action with finesse, humorously commenting on Ann’s diuretics or her admiration for figure skating, but her finest and most poignant scene arrives late in the play. She wonderfully delivers Ann’s life-changing monologue centered on her belief that integration was the key to a better world not only for her but her neighbors. The monologue is so impactful and moving I wonder why Kron didn’t expand the play just a little bit more to allow greater investigation into Ann and her Lansing legacy.

In addition, strong ensemble work is offered by Bryana Bentley, Justin Lampkins, Kerry Simpson, and Steve Strawser who take on multiple roles with charm and vibrancy, particularly Bentley and Lampkins who receive the most flavorful material.

Like life itself, Well is funny yet cynical, enlightening yet complicated, intriguing yet messy. Just when you have it figured out it veers down a road you didn’t know existed. If you’re looking for a unique theatrical experience, don’t miss this show.

Well continues through June 10 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 pm Friday and Saturday and 2 pm Sunday. The production is performed in 90 minutes without intermission. Tickets are $15 for adults and $12 for seniors and students. Tickets may be purchased at the door. Cash or check only. Reservations can be made by calling Fran Pesch at (937) 654-0400. For additional information, visit youngatheartplayers.com.

‘Beautiful’ Review – Victoria Theatre Association – A Tapestry of Melody and Heartbreak

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A striking lesson in perseverance, survival and self-esteem concerning one of pop music’s legendary singer-songwriters, Beautiful – The Carole King Musical warmly and nostalgically satisfies with entertaining, crowd-pleasing familiarity.

Sarah Bockel (Carole King) in Beautiful. Photo by Matthew Murphy.

The finale of the Victoria Theatre Association’s 2017-2018 Premier Health Broadway Series continuing through Sunday, May 27 at the Schuster Center, Beautiful, sleekly directed by Marc Bruni with crisp period choreography by Josh Prince, showcases King from her early songwriting days in 1959 to her career breakthrough writing 1971’s best-selling album Tapestry, which received four Grammys including Album of the Year, Record of the Year, and Song of the Year. Librettist Douglas McGrath smoothly juggles King’s pioneer composing against the backdrop of her rocky marriage to Gerry Goffin, her equally talented collaborator who battled mental illness and had difficulty being grounded in marriage life. King’s ability to ultimately use the pain of her relationship as fodder for her incredibly relatable Tapestry tunes is a testament to her artistic genius, which was also greatly admired by her close friends and fellow songwriters Cynthia Weil and Barry Mann.

Sarah Bockel marvelously inhabits King’s down-to-earth charm and distinct vocal phrasing, especially her interpretations of classics such as So Far Away, Will You Love Me Tomorrow, It’s Too Late, You’ve Got a Friend, (You Make Me Feel Like) A Natural Woman, and the bouncy, inspirational, gospel-tinged title tune. McGrath wholesomely fashions King without imperfection, a considerable flaw, but it’s easy to see why she was so loved and respected by her peers nonetheless thanks to Bockel’s endearing magnetism. The handsomely brooding Andrew Brewer lends great support as the conflicted Goffin, constantly craving more as musical trends change throughout the 1960s. The sardonic Sarah Goeke and comical Jacob Heimer are wonderfully paired as Weil and Mann. James Clow (producer Don Kirshner), Suzanne Grodner (Genie Klein), McKynleih Alden Abraham (Janelle Woods), and Nathan Scherich (Nick) are very effective and purposeful in smaller roles. Many ensemble members shine as well when the focus turns to specific acts such as the Drifters, the Shirelles and the Righteous Brothers whose careers were bolstered by King, Goffin, Weil, and Mann, specifically John Michael Dias and the aforementioned Scherich’s fantastic rendition of You’ve Lost That Lovin’ Feeling.

(l to r) James Clow (Don Kirshner), Jacob Heimer (Barry Mann), Sarah Bockel (Carole King) and Sarah Goeke (Cynthia Weil) perform “You’ve Got a Friend” in Beautiful. Photo by Matthew Murphy.

Without a doubt, King’s empowerment to believe in her potential paved the way for Carly Simon, Joni Mitchell, Janis Ian, Tracy Chapman, Sheryl Crow, Lauryn Hill, Alanis Morissette, Norah Jones, India Arie, Duffy, Adele, Sara Bareilles, and many more. Beautiful certainly resonates as a meaningful tribute to her influential legacy.

Beautiful continues Wednesday-Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. at the Schuster Center, Second and Main Streets, Dayton. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $26-$119. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

Review Roundup: ‘Little Mermaid’ at Dayton Playhouse and ‘Bakersfield Mist’ at Dayton Theatre Guild

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Disney’s The Little Mermaid

(l to r) Steven Lakes (King Triton), Abby Stoffel (Ariel) and Chavin Medina (Flounder) appear in Dayton Playhouse’s production of Disney’s The Little Mermaid. (Photo by Art Fabian)


There’s a lot of cute charm under the sea as the Dayton Playhouse presents composer Alan Menken, librettist Doug Wright, and lyricists Howard Ashman and Glenn Slater’s 2008 musical adaptation of Disney’s The Little Mermaid.
Based on the tale by Hans Christian Andersen and directed by Matthew Smith, The Little Mermaid splashes forth as a decently sweet diversion admirably led by Abby Stoffel as the lovely Ariel, daughter of King Triton (Steven Lakes, looking toned and sounding great). Curious about the human world and longing to leave her ocean home, Ariel falls for handsome prince Eric (strong tenor Garrett Young), but is ultimately lured by treacherous sea witch Ursula (a deliciously evil Angelé Price in one of her finest performances) seeking to usurp Triton’s throne.

Stoffel is pleasant as the main focus (her tender rendition of “Part of Your World” is an early highlight), but the support she receives from Price as well as the entertaining trio of William ‘Kip” Moore (Sebastian), Samantha Creech (Scuttle), and Chavin Medina (Flounder) absolutely bolsters the action, which also features an energetic Brad Bishop as excitable Chef Louis (“Les Poissons”).
Smith’s artistic team includes music director Lorri B. Johnson-Topping (ensuring If Only Quartet is the standout it was written to be), scenic designer Chris “Red” Newman (whose imaginative instincts extend to filling Ariel’s hideaway with an array of eye-catching knickknacks), costumer Janet Powell (supplying  colorful contributions although Ariel’s skirt could be more elegantly distinguished), lighting designer Richard Lee Waldeck (utilizing warm ocean-inspired blues and greens), choreographers Kiersten Farmer and JuanGabriel Encarnacion, sound designer J. Gary Thompson, and projection designer Ray Zupp.

Interestingly, this feel-good production feels artistically at war with itself. Some moments reveal the Playhouse overstepping its bounds in terms of what they can do with space while other moments suggest they simply didn’t go far enough. Regardless of cohesive issues, if you loved the movie you’ll love this show.

Disney’s The Little Mermaid continues through May 20 at the Dayton Playhouse, 1301 E. Siebenthaler, Ave., Dayton. Performances are 8 p.m. Fridays and Saturdays and 2 p.m. Sundays. Tickets are $20 for adults and $18 or seniors, students and military. For more information, call (937) 424-8477 or visit daytonplayhouse.com.

 

Bakersfield Mist

Charles Larkowski (Lionel Percy) and Rachel Oprea (Maude Gutman) star in Dayton Theatre Guild’s production of Bakersfield Mist. (Photo by Craig Roberts)


Artistic authenticity and personal integrity are key factors fueling Stephen Sachs’ timely and topical 2014 two-hander Bakersfield Mist, which has received a firm local premiere at the Dayton Theatre Guild.

Fluidly directed by Doug Lloyd and set in Bakersfield, California, this relatable yet relatively thin dramedy concerns unemployed Maude Gutman (Rachel Oprea), a loud-mouthed loner thrilled to have discovered what may or may not be a Jackson Pollock original. For verification purposes, Maude invites sophisticated Lionel Percy (Charles Larkowski), former director of New York’s Metropolitan Museum of Art, to her trailer park. Tension ensues, sparks fly, and feelings are hurt, but the old-fashioned reminder that polar opposites can find common ground ultimately arises.

Performed without intermission, Bakersfield is at its best when Maude and Lionel stop slinging insults and fully embrace the idea of connection. Both have emotionally scarred pasts, particularly Maude, and during these prized instances of vulnerability the play becomes more credible. After all, I question the believability of Lionel choosing to stay long past his welcome, especially when he’s on his way out the door only to be pulled in by Maude’s admiration for Law & Order. Even so, Larkowski particularly and marvelously delivers a passionate monologue professing Lionel’s love of art, and Oprea handles Maude’s investigatory brashness with earthy aplomb. In addition, Maude’s visually kooky world, encompassing beer bottle wind chimes, hamburger salt and pepper shakers, and a random bowling pin, is wonderfully realized by scenic designer Patrick Allyn Hayes with set dressing by Hayes, Deirdre Root, Mark Mickle, and Rick Flynn.

In our current political climate, and depending on your perspective, there’s something truly inspirational or truly unnerving about Maude. She seems to boldly represent those who feel they’ve been left behind, the ignored underdogs longing for what’s owed them. Laugh if you will but as the midterm election approaches, Sachs supplies a surprisingly cautionary tale of America’s great divide.
Bakersfield Mist continues through May 27 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are at 8 p.m. Fridays, 5 p.m. Saturdays, and 3 p.m. Sundays. Tickets are $20 for adults, $18 for seniors, and $13 for students. For more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

 

The Wedding Singer Will Have You Laughing All The Way Down The Aisle

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Dare to Defy Productions presents the hilarious musical comedy The Wedding Singer May 18-19 at the gorgeous Victoria Theatre.

This hit romantic comedy, based on the 1998 Adam Sandler and Drew Barrymore film is coming to the Victoria Theatre for three performances only May 18 at 8:00 pm, May 19 at 2:00 pm and 8:00 pm. The musical celebrates the best pop songs of the 80’s and pop culture references and of course big hair!

“Very funny…laugh yourself silly! The most ingenious and amusing musical of a Hollywood film ever.” states The Wall Street Journal and “Full of knockout comic numbers!” writes Time Out New York.

The Wedding Singer received rave reviews from Broadway as the show’s popularity was extended into a second North American tour. This highly acclaimed musical comedy received five Tony Award nominations including “Best Musical,” eight Drama Desk Award nominations including “Outstanding Music” and three Drama League Award nominations including “Distinguished Production of a Musical.”

The show is about wannabe rock star Robbie Hart who puts on an awesome show as everyone’s favorite wedding singer. He’s the life of the party until he gets stood up at the altar. He turns into a total misery and vows to make every wedding as disastrous as his own. Things are taking a bad turn for Robbie until he meets Julia Sullivan, a sweet waitress who wins his heart – but she’s already engaged to a Wall Street shark! This 80’s musical will make you laugh out loud as you watch Robbie’s life and his fight to win over his new heartthrob.

 

It’s the decade that fashion forgot, but the music was hot!   Now audiences can re-live the 80’s with the funniest wedding of the decade- The Wedding Singer. Every person who attends The Wedding Singer will have the chance to win a vintage vinyl record featuring one of the biggest musical stars of the 80’s, thanks to Sixteen 37 Productions.


Tickets available through Ticket Center Stage. Visit the Box Office, call (937) 228-3630 or at www.ticketcenterstage.com.  

 MOSTMETRO.COM ticket Giveaway:  Leave us your favorite wedding song in the comments below and like and share this article for a chance to win tickets for this weekends show.  Winner will be announced on Wed night.

Centerville Arts Commission presents “Moving Expressions” featuring DCDC2

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The Centerville Arts Commission presents “Moving Expressions” at the Centerville High School Central Theater on Saturday, May 19, 2018 at 3:00 p.m. featuring DCDC2. The Central Theater is located at 500 East Franklin Street. The event is free and open to the public and tickets are not needed.

 

 

DCDC2 is the pre-professional ensemble for the Dayton Contemporary Dance Company. “Moving Expressions” will feature a sampler of contemporary dance works from its dance collection created by its resident choreographers. The program includes a moving tribute to the icon of civil rights, soul-stirring gospel expressions, lighthearted, energetic dances to an introspective journey within. Founded in 1975, by Founder Jeraldyne Blunden, DCDC2 – the pre-professional ensemble for the Dayton Contemporary Dance Company (DCDC) is a culturally diverse ensemble committed to arts integrated education, community engagement and university partnerships, as well as the professional development of college graduates and undergraduates preparing for professional careers.

DCDC2 provides a platform for emerging performers, teachers, and choreographers to hone their technical skills and showcase their artistic talent. DCDC2 has cultivated dance artists for DCDC’ professional company as well as for other national and international dance companies and productions.