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Metaphorically Speaking presents I Love Sex & Poetry

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Producing gritty, sexy, energetic, poetry slam competitions is how it all began five years ago for the poetry collective Metaphorically Speaking. Today the group has morphed into a major player in Dayton’s arts and entertainment community. The group has moved from producing monthly poetry slam competitions to producing full stage productions to nearly sell-out crowds. On Saturday, April 28 at Victoria Theatre Metaphorically Speaking will present I Love Sex & Poetry, a comedic tale about what happens when sex becomes the focus and center of our relationship goals.

I Love Sex & Poetry features Metaphorically Speaking founders/spoken word artists Tony “Ace Metaphor” Nalls and Jay Martinez. Spoken word artist LeRoy De’Vaughn Bean, actress/dancer Vanae Iesha, lyricist JiGi Deniro, and entrepreneur Gerard “Fly Guy” Williams, II round out the cast with Musical & Technical Director R. Allen Frost providing the soundtrack and backdrop for the show. “This show is different than what our fans have seen with the Love Sex & Poetry theme,” says co-founder Tony “Ace Metaphor” Nalls. “It’s a funny take on what we place value on in relationships, and how no one act or emotion equates to happiness. This production is a voyeuristic interaction with love, sex and all of the things in between.”

Metaphorically Speaking has come a long way from its humble beginnings as a monthly poetry slam competition. Early shows saw modest turnouts but commitment, hard work, and dedication have yielded significant growth for the group. Each performance at the Victoria Theatre has grown with a nearly sell out show in January 2017. The group seeks to sell out the venue for I Love Sex & Poetry. “This journey has been amazing,” said Natasha R. Moreland Spears, COO, “We are consistently pushing ourselves individually and collectively to deliver the best product, the best show to our audience. We are committed to artistry and excellence.”

Metaphorically Speaking is not a small, exclusive group of artists. It is a collective that incorporates all forms of art to support and engage the broadest aspects of the community. This is most evident in the group’s work with elementary and high school students through partnerships with the Boys & Girls Club of Dayton, HRC and Dayton Public Schools, and the Montgomery County Juvenile Department. “Poetry is an amazing form of expression,” said co-founder Jay Martinez. “It’s a place to dump your secrets, your fears, and your hopes without judgement or vulnerability.” Metaphorically Speaking is creating movement of poetry and the arts that is expanding; broadening both its artistic and academic components.”

The four partners of Metaphorically Speaking, Tony Nalls, Jay Martinez, Natasha R. Moreland Spears, and Frank “Buddy” Pitts, are excited about the future of the collective. From the launch of an academic arm later this year to the growth of its entertainment endeavors, the collective is positioning itself for longevity. “We are methodically and consistently expanding our brand,” said Pitts, the company’s strategist and graphic designer. “As creatives, we are always looking at new and innovative ways to expand our territory while remaining true to who MS is and to our fans.”

Metaphorically Speaking’s I Love Sex & Poetry will take place Saturday, April 28 at 7:00 p.m. at the Victoria Theatre, 138 N. Main Street in Dayton. This show is rated mature for language and adult content. Tickets range from $33.50 to $83.50 and may be purchased at www.ticketcenterstage.com. To stay up to date on all things Metaphorically Speaking, check out their Facebook, Instagram, and Snapchat pages @metaphoricallyspeakingdayton.

This guest post was written by by Ruthie Moreland

‘Brighton Beach Memoirs’ Review – Human Race Theatre Company – Timely Tenderness

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In Neil Simon’s wonderfully endearing 1983 semi-autobiographical dramedy Brighton Beach Memoirs, situations involving a report card, a first date, a tense dinner, a lost salary, a heartbreaking letter, and more poignantly arise as remarkably presented by the Human Race Theatre Company at the Loft Theatre.

Richard Buchanan (Stanley Jerome), Eric Deiboldt (Eugene Jerome) and Rory Sheridan (Jack Jerome) appear in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

Splendidly directed with captivating realism by Marya Spring Cordes and set in 1937 Brooklyn, Brighton Beach Memoirs finds Simon borrowing from the best. As the relatable, fussy and close-knit Jerome family deals with sacrifice while their patience wears thin in cramped quarters (Dan Gray’s outstanding two-story set oozes intimacy in spite of its size), Simon’s comedic sensibilities are expectedly substantial from colorful talk of liver and cabbage to the glories of baseball and raging hormones. Still, it’s easy to recognize the folksy ferocity and poetic beauty of Tennessee Williams, Arthur Miller and Lorraine Hansberry when the compelling story shifts to dramatic conflicts centered on workplace woes, sibling turmoil, health concerns, financial burdens, and the growing possibility of additional family members abroad arriving at a moment’s notice to escape the Nazis. Over the course of a breezy three hours, Cordes handles Simon’s delicate balancing act with seamless finesse, allowing for fascinating sequences when certain characters are not the central focus. In fact, some of the most expressive interplay occurs upstairs while the main action transpires below. Cordes’ cinematic mastering of the seen and unseen – having an actor pause in a hallway, creep downstairs to assess commotion, or quietly contemplate alone in a bedroom – fuels the production’s genuine look at a blended family constantly in motion.

Eric Deiboldt (Eugene Jerome) in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

The charming Eric Deiboldt truly radiates as 15-year-old Eugene, Simon’s lively alter ego and the familiar catalyst of his Eugene Trilogy (including Biloxi Blues and Broadway Bound). Using his spunky physicality to the utmost while displaying marvelous narrative skills and command of Simon’s intricate rhythms, Deiboldt exuberantly engages as Eugene’s pivotal coming-of-age twists and turns. As Eugene’s restlessly discontented older brother Stanley, the handsome and impressive Richard Buchanan vulnerably conveys Stanley’s uncertainty of his place in the world as he faces the responsibilities of adulthood. An emotional Lisa Ann Goldsmith fiercely inhabits the headstrong Kate, a stern matriarch blessed in the present but bruised by the past. The terrific Rory Sheridan is equally strong as Jack, the hardworking patriarch who values the importance of family and desperately tries to keep his intact, especially in a tear-jerking scene in Act 2. Sonia Perez brings lovely complexity to her portrayal of Blanche Morton, Kate’s widowed sister still trying to navigate life and parental obligations while longing to break free and start anew all the same. The vibrant Katie Sinicki, a Wright State University junior acting major, offers a breakthrough portrayal of Blanche’s feisty daughter Nora, particularly shining opposite Perez in a heated, Gypsy-esque showdown that never resorts to overblown melodrama. Oakwood High School student Julie Murphy also delights as Nora’s sickly sister Laurie, an introverted bookworm and the only underwritten role in the play which is odd considering the depths of the other characters. Nonetheless, this show is perfectly cast and the Human Race should honestly consider reuniting Cordes and her actors for Broadway Bound in the 2019-2020 season.

In addition to Gray’s set, a character of its own, the production is artistically bolstered by David Arevalo’s attractive period costumes ranging from casual adolescent attire to snazzy evening wear, John Rensel’s expertly mood-capturing lighting, Jay Brunner’s first-rate sound design and enjoyable original music, and Heather Powell’s nifty properties including an authentic sewing machine.

Eric Deiboldt (Eugene Jerome) and Lisa Ann Goldsmith (Kate Jerome) appear in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

A widowed schoolteacher once reminded a group of inquiring ladies to cling very close to those you love. Considering the nation’s current chaotic climate, specifically families breaking apart by their own free will or through government decree, Brighton Beach Memoirs, an All-American defense of immigration, is suddenly more relevant than ever before. “The world doesn’t survive without families,” Kate declares. See for yourself why she’s right, and in doing so, you’ll experience one of the best productions in Human Race history.

 

Brighton Beach Memoirs continues through April 22 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. Thursday, Friday and Saturday evenings; 7 p.m. Sunday, Tuesday and Wednesdays evenings; and 2 p.m. Sunday matinees. There will be a post-show talkback after the April 15 performance. Act One: 85 minutes; Act Two: 70 minutes. Tickets are $35-$40 for adults; $32-$37 for seniors; and $17.50-$20 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 www.humanracetheatre.org or ticketcenterstage.com.

‘The Other Place’ Review – Dayton Theatre Guild – The Great Darkness

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In Sharr White’s riveting 2011 drama The Other Place, excellently presented by the Dayton Theatre Guild in its local premiere, successful neurologist Juliana Smithson faces the toughest battle of her life. Although she appears to be on top of the world, she realizes, at only 52, that her mental state is extremely fragile and beyond repair.

Jamie McQuinn (Ian) and Amy Askins (Juliana) in the Dayton Theatre Guild’s production of “The Other Place” (Photo by Craig Roberts)

Delicately directed with smooth transitions by Kathy Mola, The Other Place unfolds as an engrossing mystery, an intimate character study, and a visceral psychological drama. Events transpire non-linear, blurring the past and present, which forces the audience to take notice of even the slightest details. As Juliana attempts to disprove reality, she battles her husband, filing for divorce, and her doctor, trying to decipher the depths of her illness. The disappearance of her daughter is also a major factor, a major source of heartache, lingering throughout.
As the distraught Juliana, Amy Askins, last seen at the Guild in The Trip to Bountiful and commonly known for her comedic instincts, delivers her most powerful and dramatic performance. Serving as the play’s narrator, an astute choice by White allowing the audience to keep Juliana’s perspective paramount, she offers an engaging yet stinging flair. She is often personable yet occasionally explosive, a veritable loose cannon in many respects but understandably so considering the sheer complexity of dementia. Askins is particularly dynamic in two scenes accented by the admirable Jamie McQuinn as Ian, Juliana’s husband, and the beguiling Kayla Graham, a befuddled stranger offering compassionate understanding. The former concerns ongoing frustration about Juliana’s daughter (allowing McQuinn one of his strongest moments) while the latter centers on Juliana’s impromptu visit to the titular abode (designed as a fragmented remembrance by Chris Harmon) recalling better days for her and her family. Mark Sharp is also featured in various roles as The Man, particularly notable as a gentle presence in the final moments. The production also incorporates projection coordination by Gary Thompson and lovely beach photography and modeling by Cole Reamey and Rachel Mola, respectively.

Amy Askins (Juliana) in the Dayton Theatre Guild’s production of “The Other Place” (Photo by Craig Roberts)

Although White unfortunately doesn’t venture into enough of Juliana and Ian’s backstory, he nonetheless paints an emotional and relatable portrait of what happens when the mind betrays.

The Other Place continues through April 1 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Saturday at 5 p.m., and Sunday at 3 p.m. The play is performed in 80 minutes without intermission. Tickets are $13-$20. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

‘Bachelorette’ Review – Playground Theatre – Cruel Intentions

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Playground Theatre’s season finale revels in destructive excess and the ugliness of words as evidenced in its excellent production of Leslye Headland’s brutally dark and provocative comedy Bachelorette, continuing through March 11 in the Mathile Theatre of the Schuster Center.

Playground Theatre presents Leslye Headland’s dark comedy “Bachelorette” through March 11 in the Mathile Theatre of the Schuster Center. (Photo by Knack Creative)

Co-directed with captivating realism and savvy use of space by Jenna Valyn and A.J. Breslin, Bachelorette centers on a wild night reuniting Regan, Gena and Katie, high school friends living it up in a swanky Manhattan hotel suite overlooking Central Park. They’re in town for their mutual friend Becky’s wedding, but actually despise her. After all, Becky is getting married before them and at her current weight, fueling extreme jealousy, backbiting and body shaming. Whether or not this amusing clique can look past the past and simply evolve as mature, tolerant women is an underlying factor in the sitcom-esque action, which catapults into an evening of heavy drinking and vicious insults ultimately putting their friendship to the test.

Kaleigh-Brooke Dillingham (Regan), Mary “Alaska” Stoughton (Gena) and MacKenzie Aaryn Stephens (Katie) deliver bold, brave, physical, and heartbreaking performances. Dillingham, memorable in Playground’s local premieres of Really, Really and Reasons to Be Pretty, skillfully attacks with icy intimidation solidifying Regan’s status as the queen bee. She unleashes her stings with laser sharp precision as if at target practice while winningly revealing the layers within Regan’s emotionally wounded fragility, especially pertaining to her unhappy love life and addiction to prescription drugs. Stoughton, funny and unique, nicely balances Gena’s central responsibilities as sidekick and sister. In a complete departure, Stephens, previously seen in Wright State University’s productions of A Streetcar Named Desire and The Grapes of Wrath, approaches her comic relief with impressive abandon while vibrantly conveying how troubled Katie is beneath her giddy party girl exterior. Valyn delivers a brief yet powerful turn as Becky, orchestrating a terrific showdown with Dillingham that is the show’s pivotal centerpiece. Darren Lee Brown (Jeff) and Christopher Hahn (Joe) effectively intermix as confident if underwritten men on the prowl with varying objectives on the evening’s revelry from the bedroom to Motown.

Check out Bachelorette and see why Playground Theatre is Dayton’s foremost cutting edge theater company to have and to hold for many seasons to come.

Bachelorette continues today at 2 and 8 pm and Sunday at 2 pm in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The production runs 80 minutes without intermission. Tickets are $15-$20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. More information can be found at theplaygroundtheatre.org. You can also follow Playground’s Spotify playlist at pgdyt.org/bachelorette. The play contains adult themes, strong language, alcohol and drug use, sexual content, and nudity.

 

Victoria Announces 2018-2019 Season

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Six entertaining musicals headline the Victoria Theatre Association’s 2018-2019 Premier Health Broadway Series at the Schuster Center.

Theo Mitchell-Penner in the SCHOOL OF ROCK Tour (Photo by Matthew Murphy)

The slate features Andrew Lloyd Webber’s spirited School of Rock – The Musical, the tender Finding Neverland, Rodgers and Hammerstein’s classic romance The King and I (based on Lincoln Center Theater’s gorgeous 2015 Tony Award-winning revival), Emilio and Gloria Estefan’s exuberant On Your Feet!, Alain Boublil and Claude-Michel Schönberg‘s Tony Award-winning megahit Les Misérables, and Grammy and Tony nominee Sara Bareilles’ sentimental hit Waitress. In particular, School of Rock, Finding Neverland and Waitress are based on their respective films.

The company of LES MISERABLES perform “One Day More” (Photo by Matthew Murphy)

The Projects Unlimited Star Attractions features The Wizard of Oz, Rudolph The Red-Nosed Reindeer: The Musical based on the holiday TV classic, John Kander and Fred Ebb’s scintillating and sexy Chicago, and Trey Parker, Matt Stone and Robert Lopez’s Tony Award-winning irreverent hoot The Book of Mormon.
“It’s a fabulous lineup of shows,” said Ken Neufeld, VTA President and CEO set to retire in August. “Our 2018-2019 Premier Health Broadway Series will bring a variety of shows that will be enjoyable for all ages. From classic musicals Les Misérables and The King and I, to the latest from Broadway including School of Rock, the touching Finding Neverland, On Your Feet!, featuring the infectious music of Gloria Estefan, and Waitress, the new musical with words and music written by Sara Bareilles. Our Projects Unlimited Star Attraction Series brings The Wizard of Oz, Rudolph The Red-Nosed Reindeer: The Musical, Chicago, and the much-anticipated return of The Book of Mormon.”

The King of Siam and Anna Leonowens in Rodgers and Hammerstein’s THE KING AND I (Photo by Jeremy Daniel)

The Morris Furniture Company Family Series features The Ugly Duckling, The Phantom Tollbooth, Twenty Thousand Leagues Under the Sea, Diary of a Worm, A Spider & A Fly, and The Magic School Bus: Lost in the Solar System. There are also sensory-friendly performances available of The Very Hungry Caterpillar & Other Eric Carle Favourites and The Magic School Bus: Lost in the Solar System.
“The 2018-2019 Morris Furniture Company Family Series include shows the whole family can enjoy,” Neufeld added. “We appreciate how these shows bring the whole family together for live theatre at the historic Victoria Theatre.”

The insightful National Geographic Live! Series, showcasing renown scientists, explorers and photographers, consists of Ellen Stofan: A Planet To Call Home, Mark Synnott: Life on the Vertical, and Florian Schulz: Into the Arctic Kingdom.

Neufeld also announced news of the forthcoming Arts Annex, which will be located at the corner of Second and Ludlow Streets across the street from the Schuster Center. Slated to open this fall, the performing arts facility will offer a black box theatre, reception area, studios, and more. The complex will also serve as the new home for Dare to Defy Productions and Playground Theatre, two troupes previously housed inside the Mathile Theatre of the Schuster Center in recent years. The Arts Annex, promoting “big ideas in small spaces,” is still looking for financial support. Interested patrons should contact the VTA directly.

An array of VTA season ticket holders, donors, sponsors, and friends were present for the Feb. 27 announcement, held at the Victoria Theatre and perhaps one of the most engaging and heartfelt announcement ceremonies in recent memory. In fact, multiple VTA campaign videos highlighted the joy of experiencing theater for the first time by way of the company’s programming. Notable reflections were offered by Betty Gould, VTA Group Sales Manager, and Fischer Barnett, a sophomore at Stivers School for the Arts seen on the Victoria stage in the Muse Machine productions of Hairspray and Hello, Dolly! In addition, Arica Jackson of the current national tour of Waitress provided a soulful rendition of I Didn’t Plan It, and Lexie Dorsett Sharp, an Ohio native and member of the current national tour of School of Rock, offered a video “shout out.”

Desi Oakley in the National Tour of WAITRESS (Photo by Joan Marcus)

Season subscriptions range from $245-$594. New Season Ticket Holders will be seated once current Season Ticket Holders’ renewals are fulfilled. Single tickets will go on sale at a later date. Renewal packets for all current Premier Health Broadway Series Season Ticket Holders will mail the morning of Feb. 28. The deadline for current Season Ticket Holders to request changes to Broadway Season Ticket packages is March 13. The deadline to renew 2018-2019 Broadway Season Ticket packages is March 16.  Season Ticket sales for the Morris Furniture Company Family Series and National Geographic Live Series begin later in the spring. For more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

 

2018-2019 Premier Health Broadway Series

SCHOOL OF ROCK
Oct. 2-7, 2018– Schuster Center
https://victoriatheatre.com/season-announced/

FINDING NEVERLAND
Jan. 15-20, 2019 – Schuster Center
https://victoriatheatre.com/season-announced/

RODGERS AND HAMMERSTEIN’S THE KING AND I
Feb. 12-17, 2019 – Schuster Center
https://victoriatheatre.com/season-announced/ 

ON YOUR FEET!
March 5-10, 2019 – Schuster Center
https://victoriatheatre.com/season-announced/

LES MISÉRABLES
April 2-7, 2019 – Schuster Center
https://victoriatheatre.com/season-announced/

WAITRESS
June 25-30, 2019 – Schuster Center
https://victoriatheatre.com/season-announced/

  

2018-2019 Projects Unlimited Star Attractions

Projects Unlimited Star Attractions appeal to a broad variety of audiences and may include blockbuster Broadway hits, cutting-edge off-Broadway theatre, family-friendly shows and concerts. More Star Attractions will be announced as the 2018-2019 season approaches.

THE WIZARD OF OZ
Oct. 23-25, 2018 – Schuster Center
https://victoriatheatre.com/season-announced/
 
RUDOLPH THE RED-NOSED REINDEER: THE MUSICAL
Nov. 16-17, 2018 – Schuster Center
https://victoriatheatre.com/season-announced/

CHICAGO
Feb. 1-2, 2019 – Schuster Center
https://victoriatheatre.com/season-announced/

THE BOOK OF MORMON
May 21-26, 2019 – Schuster Center
https://victoriatheatre.com/season-announced/

  

2018-2019 Morris Furniture Company Family Series

THE UGLY DUCKLING
Nov. 10, 2018 – Victoria Theatre
https://victoriatheatre.com/season-announced/ 

THE PHANTOM TOLLBOOTH
Feb. 2, 2019 – Victoria Theatre
Exclusive production authorized by author Norton Juster and illustrator Jules Feiffer
Adapted for the stage by Jennifer & Landis Smith and Leslie Reidel
https://victoriatheatre.com/season-announced/

20,000 LEAGUES UNDER THE SEA
Feb. 2, 2019 – Victoria Theatre
https://victoriatheatre.com/season-announced/

DIARY OF A WORM, SPIDER, & A FLY
March 23, 2019 – Victoria Theatre
https://victoriatheatre.com/season-announced/

THE MAGIC SCHOOL BUS: LOST IN THE SOLAR SYSTEM
April 27, 2019 – Victoria Theatre
https://victoriatheatre.com/season-announced/


SENSORY-FRIENDLY PERFORMANCES
These productions are specifically designed for children with an autism spectrum disorder, other sensory processing diagnoses, and other special needs. You can expect a reduction of loud or jarring sounds, the absence of flashing or strobe lighting on stage, modification of house lights during the performance, and a judgement-free environment where all patrons can feel free to vocalize or move around the theatre if they need to.

THE VERY HUNGRY CATERPILLAR & OTHER ERIC CARLE FAVOURITES
November 18, 2018 -Victoria Theatre
https://victoriatheatre.com/season-announced/

THE MAGIC SCHOOL BUS: LOST IN THE SOLAR SYSTEM
April 28, 2019- Victoria Theatre
https://victoriatheatre.com/season-announced/

 

National Geographic Live! Series, sponsored by Subaru of American and Wagner Subaru

ELLEN STOFAN: A PLANET TO CALL HOME
February 3 & 4, 2019 -Victoria Theatre
https://victoriatheatre.com/season-announced/

MARK SYNNOTT: LIFE ON THE VERTICAL
March 10 & 11, 2019- Victoria Theatre
https://victoriatheatre.com/season-announced/

FLORIAN SCHULZ: INTO THE ARCTIC KINGDOM
April 14 & 15, 2019 -Victoria Theatre

https://victoriatheatre.com/season-announced/

‘The Sound of Music’ Review – Victoria Theatre Association – Embracing Love

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The national tour of Rodgers and Hammerstein’s 1959 classic The Sound of Music, the groundbreaking duo’s final collaboration, is a vocally stunning, strongly acted showcase courtesy of the Victoria Theatre Association’s Premier Health Broadway Series at the Schuster Center.

Jill-Christine Wiley as Maria Rainer and the von Trapp children (Photo by Matthew Murphy)

Jill-Christine Wiley brings great joy and endearing naiveté to her terrific portrayal of Maria Rainer, the troublemaking Postulant of Nonnberg Abbey sent to become governess to Captain Georg von Trapp’s seven children. Effortlessly soaring through such iconic numbers as Do-Re-Mi, The Lonely Goatherd and the title number, she radiates warmth, kindness and concern, personable ingredients necessary for Maria to be the life-changing force for good in the von Trapp household.

The handsomely brooding Mike McLean is a fine fit as Georg, effectively transforming from an emotionally scarred and grieving disciplinarian into a loving father. His beautifully tender rendition of Edelweiss, dramatically framed within Nazi flags, is an Act 2 highpoint. Dynamic soprano Lauren Kidwell conveys gentle compassion and sharp authority as Mother Abbess, bringing down the house with a gorgeous rendition of Climb Ev’ry Mountain at the end of Act 1. Keslie Ward (Liesl), Landon Brimacombe (Friedrich), Maya Karp (Louisa), Arick Brooks (Kurt), Katie Grgecic (Brigitta), Amaryllis C. Miller (Marta), and Sophia Massa (Gretl) are adorably cohesive as the von Trapp children. Ward particularly separates from the pack to enjoyably duet with Chad P. Campbell (Rolf) for Sixteen Going On Seventeen. Pleasant duo Melissa McKamie (Elsa Schraeder) and Jake Mills (Max Detweiler) give sophisticated flair to the underrated How Can Love Survive? and No Way To Stop It. Numerous featured roles are winningly executed as well.

In addition, this Broadway-caliber production, helmed by Matt Lenz recreating Jack O’Brien’s original elegant staging which previously contained refreshing non-traditional casting in principal roles, features a knockout artistic team. The group includes scenic designer Douglas W. Schmidt, costumer Jane Greenwood (providing astute evolutions in Rolf’s attire from messenger boy to Nazi loyalist), lighting designer Natasha Katz, sound designer Shannon Slaton, and choreographer Jonathan Warren recreating Danny Mefford’s original routines. Music director/conductor Michael Uselmann leads a first-rate orchestra.

Schmaltz often undercuts the potency within this meaningful account, adapted by Howard Lindsay and Russel Crouse based on The Trapp Family Singers by Maria Augusta Trapp. Nonetheless, O’Brien’s idea to re-approach the show by reiterating the importance of love entering the hearts of a family who desperately need it serves as a fulfilling foundation. As Georg tells Maria, “You’ve brought music back into my home.” Perfect for families, The Sound of Music is a sheer delight.

 

The Sound of Music continues 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: 90 minutes; Act Two: 47 minutes. Tickets are $45-$114. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘Sex with Strangers’ Review – Human Race Theatre Company – Time’s Up?

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Jennifer Johansen (Olivia) and Ben Palacios (Ethan) star in the Human Race Theatre Company’s local premiere of Sex with Strangers. (Photos by Scott J. Kimmins)

Harvey Weinstein. Kevin Spacey. Charlie Rose. Matt Lauer. Russell Simmons. Casey Affleck. James Franco. Al Franken. Roy Moore. Donald Trump. Ethan Strange. Ethan Strange? You haven’t heard of Ethan Strange? Well, let me fill you in. Ethan is the fictional best-seller who slept with random women for a year, posted his titillating sexcapades on his blog, secured half a million followers, and ultimately wooed Hollywood. However, when faced with the potential love of his life, can Ethan overcome his bad boy reputation and scandalous past which sought pleasure in demeaning young women? This is one of many pertinent and engrossing questions former House of Cards writer Laura Eason poses in her provocative and topical 2014 off-Broadway dramedy Sex with Strangers, currently receiving a first-rate local premiere courtesy of the Human Race Theatre Company at the Loft Theatre.

Ben Palacios, just as handsome and chiseled in face and abs as he was three years ago as spunky Spike in the Race’s production of Vanya and Sonia and Masha and Spike, was absolutely born to play man-child Ethan. Playful yet aggressive, self-absorbed yet attentive, and immature yet shrewd, Palacios creates a fascinating enigma, which makes it very difficult to figure out how Ethan should be perceived. Is he a lost cause? The eternal frat boy who won’t grow up? Can he be held accountable? Can he be redeemed? Can all the women from his past be believed?  Regardless, and perhaps most importantly, Palacios is attractive, seductive, sly, and convincing throughout to allow you to believe any woman could fall under Ethan’s magnetic spell. After all, his sex appeal is a crucial catalyst driving this steamy play considering Ethan meets failed novelist Olivia while snowbound at a bed and breakfast in rural Michigan, cozily conceived by scenic designer Eric Moore. After a few moments of cutesy small talk overflowing with unmistakable chemistry, sparks and clothing fly, smoothly overseen with passionate intimacy by director Greg Hellems and accented with pulsating music by sound designer Jay Brunner.

Jennifer Johansen (Olivia) and Ben Palacios (Ethan) in Sex with Strangers. (Photos by Scott J. Kimmins)

Portrayed by the luminous Jennifer Johansen, a memorable Masha opposite Palacios in the aforementioned Vanya, Olivia arises as a strong, complex woman who doesn’t need the validation and encouragement Ethan readily offers. “I hate to reminisce about sex,” she boldly states, which is the polar opposite of Ethan’s perspective on the subject. Olivia’s genuine passion for literature, from the smell of old books to reflection on great authors, fuels her contentment despite a fading career and recently resorting to teaching to pay the bills. When Ethan invites her to self-publish under a pseudonym on a brand new literary app he’s created, the temptation is real. But why would she fall so easily for Ethan’s emotional and professional advances, essentially being made into his online image? Is she tempted by the allure of a breakthrough or simply the allure of a younger man? Johansen’s performance encompasses both temptations beautifully. In fact, when Olivia discovers the depth of Ethan’s abuse, particularly the fact that he left intoxicated girls unconscious in their own vomit, there’s still something within her that leads you to believe the last straw will never truly be the last straw. Ethan has grown too palpable, exciting and electric. All of these emotions are on display in Johansen’s superb body language as the play reaches its suspenseful conclusion.

Jennifer Johansen (Olivia) and Ben Palacios (Ethan) in Sex with Strangers. (Photos by Scott J. Kimmins)

Some plays mature with time and Eason’s work certainly has. What are we to make of her compelling look at ambition, betrayal, friendship, romance, and unbridled sexuality as powerful men across the country have been accused of demoralizing and sexually harassing women in many industries from the soundstage to the boardroom? If you’re looking for an entertaining, thought-provoking outing, consider the intellectual and physical heat of Sex with Strangers.

 

Sex with Strangers continues through Feb. 18 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Thursday, Friday and Saturday evenings; 7 p.m. Tuesday and Wednesdays evenings; and 2 p.m. Sunday matinees. There will be a post-show talkback after the Feb. 11 performance. Act One: 60 minutes; Act Two: 45 minutes. Tickets are $35-$50 for adults; $32-$46 for seniors; and $17.50-$25 for students. There are a limited number of $12 and $25 side area seats available for each performance. Call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. Patrons are advised the play contains partial nudity, strong language and adult themes.

 

 

WSU Theater Takes On Grapes of Wrath

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Wright State University presents a riveting, emotional, timely, and ensemble-driven production of John Steinbeck’s The Grapes of Wrath, a powerful story of humanity, tragedy and hope during the Great Depression. Watching the American Family attempt to survive in the face of adversity, especially when dire situations threaten to keep them from moving forward, cuts deep, particularly throughout Act 2.

Marya Spring Cordes provides wonderfully atmospheric, physical and intimate direction including a superb transition when Ma Joad (a strong and earthy Alexia Vlahos) consoles Rose of Sharon (MacKenzie Stephens) as a rousing square dance unfolds. In addition to Vlahos and Stephens, terrific portrayals extend to Dylan Tacker (a very endearing Tom Joad), Louis Kurtzman (ladies’ man Al Joad), Isaac Ingle (continuing his winning patriarch track record as Pa Joad), Eli Davis (kooky Grandpa), Aaron Roitman (strikingly conveying the cheerful and cowardly duality of Connie Rivers, Rose of Sharon’s spineless husband), Nick Martin (mentally challenged Noah Joad and also outstanding as Joe Pitt in a student-produced Angels in America last weekend), Jeremy Farley (a fiery Floyd Knowles), Brynnan McNeill (ultra-religious Elizabeth Sandry), and many more.

Set designer Pam Knauert Lavarnway, lighting designer Emily Hope, projection designer Matthew Benjamin, costumer Elizabeth Bourgeois, sound designer James Dunlap, choreographer Taylor Patrick, fight choreographer Bruce Cromer, and dialect coach Deborah Thomas provide expert work.

Dunlap and Rick Good supply authentically tuneful original folk songs as well. The Grapes of Wrath, featuring a truly unforgettable final scene defining compassion to the utmost, continues through Feb. 11 in WSU’s Festival Playhouse. Tickets run about $20 and can be purchased online here.

 

‘Stella and Lou’ Review – Dayton Theatre Guild – Un-break My Heart

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What becomes of the brokenhearted? In his tender and engaging dramedy Stella and Lou, playwright Bruce Graham firmly believes the emotionally wounded are able to heal with the passage of time but not without significant prodding.

(l to r) Adam Clevenger (Donnie), Amy Taint (Stella) and Geoff Burkman (Lou) appear in the Dayton Theatre Guild’s local premiere of Stella and Lou. (Photo by Craig Roberts)

Directed with gentle realism by J. Gary Thompson in an excellent local premiere by the Dayton Theatre Guild, this charming story of doubts and uncertainties in one’s twilight years, occurring in real time, concerns the friendship between a Philadelphia bar owner and a divorced nurse. Stella (Amy Taint) has had enough of her humdrum life and feels an opportunity to start anew in Florida is her ticket out. “A registered nurse in Florida?,” she quips. “I get off the plane they’re asking for my resume!” However, Stella isn’t sure about venturing into the great unknown alone. So, she asks Lou (Geoff Burkman), still grieving the loss of his wife, Lucille, to join her. With lighthearted assistance from Donnie (Adam Clevenger), one of Lou’s loyal, younger patrons, the play transpires as a quietly engrossing character study detailing the importance of connection, forgiveness, purpose, and choosing to optimistically embrace the future.

 

The expressive Taint, playful, determined and affecting, endearingly captures Stella’s personable spunk and substantial worries. In her capable hands, there’s no denying Stella’s desire to leave the familiar for a fresh start. Yet along the way, her portrayal, which leans toward comedy, dramatically softens and deepens, particularly bringing beautiful credence to Stella’s fear of aging and living a solitary existence. Burkman, seen last season at the Guild as hospital administrator Carr-Gomm in The Elephant Man, is equally sharp and meaningful. Effectively conveying Lou’s beleaguered and weary essence in physicality and conversation, Burkman powerfully uncovers the depths of Lou’s pain as a widower late in Act Two, specifically Lou’s reflections on coming home to an empty house every night and basically resigning himself to a life of endless stagnation. Although Lou is an introvert of his own making, deliberately closing the door to any possibility of romance or companionship, Burkman cracks the character’s tough, unyielding exterior just enough to prove how vital Stella is as the glimmer of hope he’s been waiting for. Clevenger is an admirable presence in a humorous if superfluous role essentially written to digest and counter thoughtful discussions of marriage and relationships. In addition, D. Tristan Cupp’s wonderfully authentic sports bar set is fittingly accented with nifty memorabilia, numerous bottles of alcohol and a dartboard.
Poignant and relatable, Stella and Lou is a refreshing testament to the joy of second chances.

 

Stella and Lou continues through Feb. 4 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 pm, Saturday at 5 pm, and Sunday at 3 pm. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $13-$20. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

‘Beehive’ Review – Dayton Playhouse – Welcome to the ‘60s

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The socially tumultuous but musically wondrous 1960s takes center stage as the Dayton Playhouse presents an entertaining and warmly nostalgic production of the off-Broadway musical revue Beehive.
Created in the 1980s by the late Larry Gallagher, Beehive salutes various female pop artists of the decade from girl groups such as the Chiffons, the Shirelles, and the Supremes to distinctive legends such as Janis Joplin, Tina Turner and Aretha Franklin. Adhering to the standard revue blueprint, the songs are the main attraction. There’s no need for a trite, shoe-horned storyline when a bevy of 30 fantastic hits from toe-tapping confections (It’s My Party, My Boyfriend’s Back, One Fine Day, You Can’t Hurry Love) to soulful anthems (Will You Still Love Me Tomorrow?, Abraham, Martin and John) breezily fuel the show’s feel-good momentum.

(l to r) Madeline Hart (Pattie), Elana Elmore (Gina), Alicia Walton (Jasmine), Tamar Fishbein (Wanda), Kailey Yeakley (Alison), and Shanna Comacho (Laura) in Dayton Playhouse’s Beehive. (Photo by Art Fabian)

Director Tina McPhearson (who memorably helmed the Playhouse’s Hairspray) and choreographer Annette Looper (playfully evoking the spirit of American Bandstand and Hullabaloo) seemingly work in tandem to bring lighthearted joy to this fast-moving, audience-friendly outing. McPhearson’s lively and compatible six-member cast, attractively costumed by McPhearson, Kathleen Carroll and Tim Grewe with fabulous wigs by Steve Burton, beautifully blend vocally while enjoying individual opportunities to bask in the spotlight. Tamar Fishbein (Wanda) winningly takes on the role of narrator, gleefully offering commentary on important fashion trends and the significance of certain songs to provide greater context. Playhouse newcomer Kailey Yeakley (Alison) absolutely charms in full debutante mode rendering a lovingly demure and strong version of Where the Boys Are. Madeline Hart (Pattie) also provides a fine Playhouse debut, notably shining with You Don’t Own Me and Son of a Preacher Man. Alicia Walton (Jasmine), a standout earlier this season as Sister Mary Robert in the Playhouse’s Sister Act, returns with a particularly spirited River Deep –Mountain High. Shanna Comacho (Laura) continues her impressive versatility this season with a gently poignant To Sir, With Love (a personal favorite that still sounds as earnest and impactful as the day it was written) and a fully committed, Woodstock-esque embodiment of Somebody to Love, Cry Baby and Me and Bobby McGee. The marvelously expressive Elana Elmore (Gina), trained in opera but skillfully navigating R&B in this instance, delivers a rousing Proud Mary and wonderfully lyric-driven renditions of Chain of Fools and (You Make Me Feel Like) A Natural Woman. She effortlessly interprets Chain of Fools and A Natural Woman with delicate nuances and unique vocal flourishes that make its dual assessments of love, complicated vs. satisfying, arise fresh and new.

l to r) Alicia Walton (Jasmine), Shanna Comacho (Laura), Madeline Hart (Pattie), Tamar Fishbein (Wanda), Elana Elmore (Gina), and Kailey Yeakley (Alison) in Dayton Playhouse’s Beehive. (Photo by Art Fabian)

The production is also bolstered by Chris “Red” Newman’s variety show-inspired scenic design, John Falkenbach’s expert lighting, Bob Kovach’s terrific sound design, and conductor Ron Kindell’s well-balanced orchestra.  Accented by amusing photos and commercials of yesteryear, Beehive is a worthwhile trip down memory lane.

Beehive continues through Sunday, Feb. 4 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. The musical is performed in 90 minutes without intermission. Tickets are $16-$18. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com.

 

Beehive: The Sixties Musical

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The Dayton Playhouse is excited to kick off 2018 with BeeHive: The 60’s Musical created by Larry Gallagher  which runs through Feb. 4.

What better way to warm up those mid-winter blues than celebrating the female musicians of the 1960’s with such classics as “My Boyfriend’s Back” and “Me and Bobby McGee.” Beehive runs chronologically through the 1960’s beginning with the beehive hairdos of girl groups (the Chiffons, the Shirelles and the Supremes) and wrapping up with the solo work of Janis Joplin, Tina Turner and Aretha Franklin. 

The musical revue of the female artists of the 1960’s will have the audience wanting to sing along and reminisce. The days of miniskirts, transistor radios, juke boxes and flower power will come rushing back as Beehive slides nostalgically through the decade. The Washington Times said, “This hit-parade revue swings from the sweet sounds of the Supremes to Janis Joplin’s heart-rending rasp. From the Aquanet coiffures of the start of the decade to the flowing hippie locks of the Vietnam era, it’s all about the hair, baby.”

Friday and Saturday shows are at 8 pm and Sunday shows at 2 pm.

Tickets can be purchased at www.daytonplayhouse.com, or by calling 937-424-8477. Box office hours are 1:30 pm to 4:30 pm Monday and Wednesday, however messages may be left at any time and calls will be returned. Individual show tickets are $18 for adults and $16 for seniors, students and military. 

The Dayton Playhouse is located at 1301 E. Siebenthaler Ave, Dayton, OH 45414 in the Wegerzyn MetroPark. The Dayton Playhouse is a community theatre providing outstanding theatrical productions to Miami Valley audiences of all ages for more than fifty years. The Playhouse is nationally recognized for FutureFest, an annual festival of new plays.

‘Hello, Dolly!’ Review – Muse Machine – Embracing Life & Looking Swell

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If you thought the Muse Machine pulled out the stops last year with Hairspray, wait until you get a load of its equally enthusiastic and marvelous production of composer Jerry Herman and librettist Michael Stewart’s 1964 Tony Award-winning classic Hello, Dolly!, the arts education organization’s 34th annual student musical continuing through Sunday, Jan. 14 at the Victoria Theatre.

The cast sings “Put On Your Sunday Clothes” in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

It is customary for this feel-good show to specifically spotlight the inherent charm, quick wit and gleeful mischief of one beloved woman who has the pleasure of being serenaded by a throng of overjoyed waiters. However, the Muse universe rightfully abides by a different pedigree. In fact, over 170 students from across the Miami Valley have cohesively united to bring the entire musical comedy genius of the material to life with a refreshing level of ensemble-friendly, production-savvy magic. By and large, the Muse’s Dolly! concerns the journey of a woman who is more of a catalyst than a centerpiece. It’s a departure from the norm, especially if you saw the current Broadway revival starring Bette Midler, but you wouldn’t want it any other way within the spirited context of what the Muse does best.

Sara LiBrandi (Dolly Gallagher Levi) and restaurant staff in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

Based on Thornton Wilder’s The Matchmaker and set in 1890s New York, this tale is an engaging account of widow Dolly Gallagher Levi, the most celebrated matchmaker in New York City. Although she already paired wealthy Yonkers businessman Horace Vandergelder with lovely Manhattan milliner Irene Molloy, Dolly actually has her eyes and pocketbook set on Horace. Using her meddlesome skills to the utmost with sly instinct and skillful improvisation, she ultimately obtains her goal while encouraging those around her to embrace life to the fullest and never underestimate the power of love.

Breezily directed with ample humor and earnest sensitivity by Joe Deer, this fast-paced outing is impressively led by Sara LiBrandi, a truly delightful and determined Dolly. LiBrandi’s breakthrough performance, mesmerizing in its maturity especially in frequent asides focused on Dolly’s late husband Ephraim, wonderfully conveys Dolly’s pivotal epiphany in Before the Parade Passes By. As hard-nosed Horace, the comical Jake Jones is an excellently stubborn authoritarian and relishes the playfulness of It Takes a Woman alongside the male ensemble. The admirable Steven Greenwalt and endearing Tommy Cole, a great dancer, are a respectively appealing duo as best friends Cornelius Hackl and Barnaby Tucker, Horace’s dutiful employees. Kiama Wa-Tenza is an absolutely radiant Irene, exuding sophisticated elegance and offering a gorgeously introspective rendition of Ribbons Down My Back. The bubbly Ana Smith is tailor-made for Minnie Fay, Irene’s talkative and easily excitable sidekick. Ben Kneblik is a perfectly agitated Ambrose Kemper. Charlotte Kunesh wails with humorous abandon as Ermengarde, Horace’s distressed niece and Ambrose’s girlfriend. Diane Isom scores big laughs as the over-the-top Ernestina. The striking David Shockey commands attention as Rudolph, head waiter of the posh Harmonia Gardens restaurant. Principals also include Fischer Barnett as an enraptured Head Cook and exasperated painter, Melanie Dodson as the kindly Mrs. Rose, Michael Taylor as a sympathetic Judge, and Darian Watson as a befuddled Court Reporter.

The male ensemble sings “It Takes a Woman” in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

In addition, choreographer Lula Elzy delivers some of her finest and liveliest work, particularly building Before the Parade Passes By with exceptionally astute scope (including a cute group of flag-waving kids) and filling the rousing title number with jubilantly cheery gusto and the unique sight of adoring female staff. The New Orleans native also choreographs a nifty curtain call which fittingly pays tribute to Louis Armstrong’s classic rendition of the title song and the exuberant jazz essence of the Big Easy. Bruce Brockman’s grand sets and Dixon Reynolds’ colorful period costumes, coordinated by Toni Donatio Shade and Alisa Vukasinovich, are courtesy of Music Theatre Wichita. John Rensel supplies expert lighting design. Musical director Sean Michael Flowers leads a vibrant orchestra.
In spite of winter’s bitter chill, whirl away your worry and see this outstanding, life-affirming presentation which ranks among the best in Muse history.

 

Hello, Dolly! continues today at 3 and 8 pm and Sunday at 2 pm at the Victoria Theatre, 138 N. Main St., Dayton. Act One: 65 minutes. Act Two: 50 minutes. Tickets are $26-$60. For tickets or more information, call (937) 228-3630 or visit www.ticketcenterstage.com.

 

‘The Tutors’ Review – Playground Theatre – Craving Connection

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The local theater scene welcomes 2018 with a bang thanks to Playground Theatre’s outstanding local premiere of Erica Lipez’s 2013 off-Broadway dramedy The Tutors in the Mathile Theatre of the Schuster Center.

(left to right) Ryan Grissett (Milo), Jenna Gomes (Heidi), A.J. Breslin (Joe), Boyang Zhang (Kwan), and Skyler McNeeley (Toby) appear in Playground Theatre’s local premiere of “The Tutors.” (Photo by Knack Creative)

Set in New York City circa 2007, the play revolves around the disillusioned lives of Joe, Toby and Heidi, friends and roommates whose dream of creating a Facebook-esque social networking site has sputtered. In order to pay the bills, they tutor wealthy prep school students. “Our time is coming,” Heidi states. “But the only thing coming is the rent.” Although their dream is built on connection, Lipez powerfully plants their relationship in various modes of disconnect. Heidi, suffering from mental illness, specifically agoraphobia, refuses to leave the apartment and imagines intimacy with an Asian student. Joe, a schemer responsible for naming the website joinme2u.com, seduces his students with drugs in the hope that their parents will become investors in the floundering site. Toby, the closeted and introverted tech expert, appears to be the most grounded but is still coming to terms with his identity and purpose. Disappointed and distressed, lonely and confused, the trio questions their future while craving connection.

Just when you think you have Lipez all figured out, she creates fascinating and thought-provoking detours. Along the way, the trio significantly damages each other while perceiving to cling to their ride or die friendships. But friendships change. Dreams change. One must be willing to navigate a new path sometimes and it’s perfectly fine to break free. They learn this the hard way even when discussions turn destructive and nasty. However, nothing in the play is more beautifully complicated than the final moments of Act 1, a sequence exquisitely directed with overlapping fluidity and sensitivity by Playhouse co-founders Christopher Hahn and Jenna Valyn. Hahn and Valyn’s incredibly intimate atmosphere is notably bolstered by a savvy soundtrack featured during scene changes and Derek Dunavent’s evocative lighting.

Inhabiting Lipez’s relevant world is a cast that ranks among the finest assembled so far this season. A.J. Breslin, meticulously composed and reserved in Playground’s production of Tape a few months ago, is in full attack mode here recalling his strong and defiant performance as Dennis in Playground’s This is Our Youth last season. Breslin doesn’t disguise Joe’s overbearingly snarky qualities, but he’s wise not to make him a complete jerk unworthy of redemption. The radiant Gomes effortlessly navigates Heidi’s whimsical journey with ample humor and drama, a skillful balancing act recalling the arc of the equally unstable Harper Pitt in Angels in America. Skyler McNeely, new to the Playground but recently seen alongside Breslin in Dare to Defy Productions’ presentation of Seussical, is remarkable in one of his best and most vulnerable performances. Conveying tenderness, concern, frustration, and hope sometimes within the same breath, McNeely, astutely accenting his expressive work with a tinge of mystery to keep the audience on its toes, is firmly grounded as the play’s appealing emotional center. Breakthrough performances are offered by Ryan Grissett as Joe and Toby’s privileged and disenchanted pupil Milo and Boyang Zhang who pulls double duty as the real and fictional embodiments of Kwan. Grissett, a recent graduate of Beavercreek High School, gleefully agitates Breslin and McNeely for much of the play but explodes with heartbreaking fury when Milo’s world is flipped upside down especially within his fractured home. Zhang, a Cincinnati-based actor, expertly differentiates cool suaveness and buttoned-up reticence in his dual roles.

Lipez knows of what she writes. She was once a tutor and actually wrote this play while in graduate school at New York University. She also served as producer and writer of such TV series as Lone Star, Suits and Bates Motel. Her captivating look at millennials embracing the digital age without any idea of how to truly connect face-to-face with attention and focus rises as both a cautionary tale and another splendid example of the Playground’s riveting artistry.


The Tutors continues through Jan. 7 in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Act One: 60 minutes. Act Two: 60 minutes. Tickets are $15-$20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. Patrons are advised the show contains adult language and situations. For more information, visit theplaygroundtheatre.org. Also, you can follow Playground’s Spotify playlist at http://pgdyt.org/tutors-soundtrack. The indie/rock/folk artists featured include Vampire Weekend, Blitzen Trapper, Band of Horses, The Shins, and Arctic Monkeys.

Calling All Actors

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If your New Years resolution had to do with appearing onstage in a community theater production, this is a great month to work on that. The Miami Valley is lucky to host numerous theaters companies around town and one of these roles just might be hand picked and waiting for you!  The following seven shows are holding auditions this winter for upcoming shows:

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​Auditions for Almost, Maine

Lebanon Theatre Company

January 7 & * @ 6:00 pm – 9:00 pm

Casting note: Almost, Maine was written with the intent to allow doubling, and can be performed by as few as 4 actors (2 Male, 2 Female). However, the playwright encourages flexibility in the ensemble, and the play can be performed by as many as 19 actors (10 Male, 9 Female). More information on the play can be found here.

Find out more »

Harvey Auditions

Actor’s Theatre Fairborn

January 7 & 8 @ 7:00 pm – 9:00 pm

 We are looking to cast 6 women and 5 men for the show. Auditions will consist of readings from the script.

We hope to see many new faces! Come and enjoy the magic of live theatre!

Find out more »

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Open Auditions for The Other Place

Dayton Theatre Guild

January 22 & 23 @ 2:00 pm – 5:00 pm

The facts blur with fiction and the past collides with the present in this haunting drama.

This will be a challenging project for all involved as the truth is not revealed until the final scene.

Auditions will consist of cold readings from the script.

Find out more »

 

Auditions for A Few Good Men

Dayton Playhouse

January 22 & 23 @ 7:00 pm – 9:00 pm

Dayton Playhouse is excited to announce auditions for the riveting, military drama A Few Good Men. Before Aaron Sorkin created The West Wing, Sports Night, and The Social Network, he took Broadway by storm with his compelling story of honor vs. justice. Auditions will be Monday and Tuesday, January 22-23, 2018 at 7 PM at Dayton Playhouse. Performance dates are March 9-18, 2018. This production will be open to non-traditional racial casting for all parts, but will be adhering to the script for gender casting.

Find out more »

A Streetcar Named Desire Auditions

February 5 & 6 @ 7:00 pm

A tragic and effective drama which is one of the great classics of American theatre, reveals to the very depths the character of Blanche du Bois, a woman whose life has been undermined by her romantic illusions, which lead her to reject—so far as possible—the realities of life with which she is faced and which she consistently ignores. The pressure brought to bear upon her by her sister, with whom she goes to live in New Orleans, intensified by the earthy and extremely “normal” young husband of the latter, leads to a revelation of her tragic self-delusion and, in the end, to madness.

Find out more »

Dirty Rotten Scoundrel Auditions

Brookville Community Theatre
February 27 & 28 @ 7:00 pm – 9:00 pm

Lawrence Jameson makes his lavish living by talking rich ladies out of their money. Freddy Benson more humbly swindles women by waking their compassion with fabricated stories about his grandmother’s failing health. After meeting on a train, they attempt to work together, only to find that this small French town isn’t big enough for the two of them. They agree on a settlement: the first one to extract $50,000 from a young female target, heiress, Christine Colgate, wins, and the other must leave town. A battle of cons ensues that will keep audiences laughing, humming and guessing to the end!

Find out more »

Local talent on display at the 5th Annual WinterFolk Festival

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Although it’s considered “off” season for music festivals, wintertime ones are some of my favorites! We’ve all got cabin fever, and just need to get out of the house and have fun! One of the most highly anticipated of those winter festivals is right around the corner: The 5th annual WinterFolk Festival at Yellow Cab Tavern on Sat, Jan 13th.

It’s a spectacular night of  music, art, food, & fun for all ages. This includes a non-stop line-up of best roots and folk musicians from the tri-state area, including beloved acts The Repeating Arms, Tod Weidner, David Payne, Starving in the Belly of the Whale, Kyleen Downes, The Goldberrys, OldNews, Bloody Tambourine, and several more!

It’s also about this time of year, I’m missing food trucks. Come hungry and catch the Drunken Waffle serving food on-site, along with Yellow Cab Tavern’s craft brews and cocktails. This year’s event has expanded, with even more artisans and vendors selling handmade goods. It’s an all around perfect night out!

How did this event come about? Well, it was inspired by a love of music, of course, and also the venue itself, Yellow Cab Tavern. In its infancy, WinterFolk organizers could see the potential in YCT, starting the festival as a fundraiser, which led to the venue’s recent upgrades. This type of collaboration is sign of a true music community! Make sure you stop on out to support these wonderful folks!

 

How to Go?

Where: The ‘Old’ Yellow Cab Building (700 E Fourth St. Dayton, Ohio 45402) is located at the corner of Fourth St and Walnut just outside Dayton’s historic Oregon District. Plenty of FREE parking is available on and off street at the event.

Time / Cost: Doors will open at 7pm and the first performance will start promptly at 8pm. Tickets available exclusively at the door for $10, children 12 & under are free.

‘Urinetown’ Review – Wright State University – Playful Parody

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Wright State University delivers a delightful production of composer/lyricist Mark Hollmann and lyricist/librettist Greg Kotis’ 2001 Tony Award-winning Urinetown: The Musical, a smart, witty and irreverent spoof of musical theater and corporate greed.

David Emery (Bobby Strong) and cast spoof Les Miserables in Wright State University’s production of Urinetown: The Musical. (Photo by Courtney Michele Zimmerman)

More topical than ever as talk of corruption fills the headlines, Urinetown concerns a terrible water shortage in a Gotham-esque city. A 20-year drought has made private toilets illegal so all must pay to pee. The evil Caldwell B. Cladwell, CEO of Urine Good Company who has fond if salacious memories of the scandalous “stink years,” has set a price for the use of public toilets. However, when he implements a fee hike the good-natured Bobby Strong rallies his fellow citizens to take action. A comical revolt ensues, ultimately raising the stakes for Bobby and his particularly budding attraction to Cladwell’s lovely if simple daughter Hope.

Over the years, director Lee Merrill has staged serious material such as Sweeney Todd, The Magic Fire and The Miracle Worker, but she lets loose here in the black box Herbst Theatre with an exhilarating frivolity recalling her outstanding production of The Gondoliers 11 years ago in the Herbst. She gives her exemplary cast permission to go big and broad, but her wonderfully environmental and intimate staging (featuring evocative lighting design by Emily Hope and a multi-level set by Pam Knauert Lavarnway complete with an assortment of empty water bottles) isn’t an over-the-top free-for-all. In fact, the show’s inherent silliness (and there’s plenty of it) is often dialed back to great effect, allowing for moments of earnest sensitivity and vulnerability within the realm of kooky parody. She also deserves credit for allowing certain lines to refreshingly resonate that might have been buried, hurried or thrown away in previous productions. In other words, you will not miss one of Cladwell’s cronies telling someone with all seriousness that he was once a “good girl.”

This vocally strong production, exceptionally and energetically choreographed with inspired touches by Jessica Eggleston, is a true ensemble showcase with numerous standouts. The physically imposing David Emery winningly portrays the kindhearted Bobby Strong as a valiant hero with an endearingly daft persona. In the same spirit, Celia Arthur, as Hope, supplies attractive gentility and dim-witted charm (notice how she greets the citizens in the opening title number). Arthur and Emery notably unite for a beautifully layered rendition of “Follow Your Heart,” one of many terrific tunes in the score, which predominately serves as a savvy homage to Kurt Weill and Bertolt Brecht’s The Threepenny Opera. Emily Chodan is authoritative and very funny as Penelope Pennywise, Bobby’s strict boss at Amenity No. 9, the “poorest, filthiest urinal in town.” As Cladwell, Tristan Allen exuberantly revels in the role’s despicable glee with giddy flamboyance. The marvelously expressive Alejandra Solis perfectly captures the innocence and insights of the wiser-than-her-years Little Sally. Ian Ashwell and Kyle Sell are respectively compatible and sardonic as Officers Lockstock and Barrel. The cast, properly socio-economically costumed by Jonah Larison and accompanied by music director Sherri Sutter’s solid if small three-piece orchestra, includes Ethan Evans (Senator Fipp), Hunter Minor (a fierce Mr. McQueen), Christian Schaefer (Old Man Strong), Sam Maxwell (a fittingly hot-tempered Hot Blade Harry), Mikalya Shepherd (Old Woman), Casey Borghesi (Josephine Strong), Brynnan McNeill (Little Becky Two Shoes), Rachel Woeste (Mrs. Millennium), Kaitlyn Campbell (Soupy Sue), Lauren Kampman (Cladwell’s Secretary), Veronica Brown (Tiny Tom), Grant Measures (Dr. Belleaux), Nick Martin (Robbie the Stockfish), and Eric Thompson (Billy Boy Bill).

 

Urinetown concludes today at 2 p.m. in the Herbst Theatre of the Creative Arts Center, 3640 Col. Glenn Hwy., Dayton. Tickets are $12 for adults, $10 for seniors and $5 for students. For tickets or more information, call the Box Office at (937) 775-2500 or visit www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information.

 

In related news, a special student-produced local premiere of Lisa Kron and Jeanine Tesori’s acclaimed 2014 Pulitzer Prize-nominated and 2015 Tony Award-winning musical Fun Home will be held today and tomorrow at 8 p.m. in the Director’s Lab of the Creative Arts Center. Based on Alison Bechdel’s 2006 graphic memoir of the same name, this humorous and thought-provoking coming-of-age tale will be directed by Megan Valle. There is free admission.