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‘Little Women’ Review – Dare to Defy Productions – Home, Love, Family

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Dare to Defy Productions’ heartwarming production of Little Women: The Musical engagingly resonates in the Mathile Theatre of the Schuster Center.

(left to right) Lindsay Sherman (Meg March), Melissa Hall (Jo March), Samantha Creech (Amy March), and Jessi Stark (Beth March) are featured in Dare to Defy Productions’ presentation of Little Women: The Musical through Dec. 9 in the Mathile Theatre of the Schuster Center. (Contributed photo).

At its core, composer Jason Howland, lyricist Mindi Dickstein and librettist Alan Knee’s 2005 adaptation of Louisa May Alcott’s beloved 1868 novel is an unabashedly hurried affair. This coming-of-age Civil War-era tale of the four March sisters – Meg, Jo, Amy and Beth – and their devoted Marmee coping with life on the homefront never really settles down enough to fully grasp the depth of the relationships and situations. In an attempt to cover as much of the book as possible, the passage of time is accelerated and sufficient character development is sacrificed. In fact, Amy’s transformation from childish brat to sophisticated world traveler is a huge stretch. Even so, the colorful and inspiring March women remain a relatable quintet bolstered and bonded by a compelling journey of love, loss, identity, and sisterhood.

Deftly directed by Kristofer Green (making fine use of Zach King’s efficient unit set), this vocally strong showcase contains a terrific cast. Melissa Hall (a complex knockout last summer as unstable Harper Pitt in Columbus’ Short North Stage’s Angels in America) is dynamic as the determined, feisty Jo who dreams of literary greatness. With captivating expressions and spitfire fortitude, the ever-present Hall completely embodies Jo’s willingness to overcome adversity and take the world by storm. She also supplies wonderfully introspective renditions of “Astonishing” and “The Fire Within Me,” the show’s dual centerpiece anthems. Lindsay Sherman, known mostly for comedic roles, is effectively grounded as the mature, romantic Meg who ultimately falls for the friendly John Brooke (amiable Jonathan Collura). Samantha Creech, who recently delivered a breakthrough performance as Shelley Parker in Dare to Defy’s Bat Boy, delightfully portrays Amy with a nod to Lily Tomlin’s iconic Edith Ann. Jessi Stark, appealingly understated as soft-spoken, ill-fated Beth, joins Hall for the truly touching duet “Some Things Are Meant To Be,” a vividly acted moment acknowledging death while treasuring every bit of time left. Lorri Topping, in a welcomed return to the stage, affectionately portrays the resilient Marmee, specifically delivering an emotional “Days of Plenty” which finds Marmee trying to make peace with grief. A.J. Breslin as charmingly smitten Laurie Laurence, Ted Elzroth as persnickety Mr. Laurence, Becky Howard as fussy Aunt March, and Justin King as introverted Professor Bhaer are equally first-rate. The production also contains lively yet fittingly minimal choreography by Tracie Books, attractive period costumes by Jordan Norgaard, lighting design by Derryck Menard, music direction by David McKibbben, and a steady if occasionally overpowering orchestra under the leadership of Judy Mansky.

With potent reminders fueling the importance of family, forgiveness, benevolence, and kindness, Little Women is the perfect vehicle to usher in the holiday season.

 

Little Women: The Musical continues Friday at 8 p.m. and Saturday at 2 and 8 p.m. in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Act One: 80 minutes; Act Two: 60 minutes. Tickets are $16.50-$25. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or ticketcenterstage.com.

 

Enjoy an Evening of Celtic Music & Dance!

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Colleen Raney performs in Dayton for the first time at the Celtic Concert on December 10th at Stivers High School

For all the Celtic lovers out there, an upcoming event featuring Celtic music and dance, is just for you! The evening starts off with a performance by Celtic Academy of Irish Dance followed by local musical favorites Dulahan, followed by headliner and acclaimed Irish singer, Colleen Raney.  This show is being presented at Centennial Hall inside Stivers School for the Arts in downtown Dayton, and will benefit We Care Arts. This is a family friendly evening that’s sure to entertain Celtic lovers of all ages!

Colleen Raney has been referred to as “among the best in her genre” (Irish Music Magazine) and “one of America’s best traditional singers” (Tradconnect) . Her ability to convey her love of Irish music makes every performance a captivating experience! Colleen is making her first visit to the Dayton area and will perform here with her band, which includes: Hanz Araki on flute and vocals, Bethany Waickman on guitar and Ryan Davidson on upright bass and vocals. In addition to singing, Colleen also plays guitar and bodhran.

Dulahan‘s music pays homage to traditional and contemporary Celtic with 3 and 4 part harmonies and subtle hints of Roots/Americana. The Celtic Academy of Irish Dance is one of Dayton’s fine Irish Dance schools. Many of the students compete at the local, national and international levels, and they are a joy to watch!

Sunni Russo, the organizer of this concert, loved the variety of new music that Cityfolk brought to the Dayton area. She discovered many artists and musical styles she would not have known about otherwise.  In that tradition, she wanted to bring an artist, Colleen Raney, who has not played in Dayton before.

The Celtic Academy of Irish Dance performs at the Celtic Concert held on December 10, 2017 at Stivers High School

December 10th, 2017
Show from 7-10pm
Stivers High School
Tickets are just $25 and on sale now! 
For more info or if they prefer not to order online:
Tickets will also be available at the door.
The show will benefit We Care Arts, a great local charity! Check them out at www.wecarearts.org

Luminaries of Dayton: Jeraldyne Blunden

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Jeraldyne Blunden was the founder and artistic director of the esteemed Dayton Contemporary Dance Company, the world’s largest repository of reconstructed dance works by African American choreographers. Ms. Blunden also founded Jeraldyne’s School of Dance. The school has given many Miami Valley youth the opportunity to learn about modern dance and pursue a dancing career.

Ms. Blunden received significant recognition for her work, including a 1998 Dance Magazine Award, an Individual Artist Fellowship from the National Endowment for the Arts and a MacArthur “Genius” Fellows Award. In 1997, she was named one of five Dance Women: Living Legends, “for keeping dance alive.”

Jeraldyne Blunden died on November 2, 1999. She is located in Section 146 in the Woodland Mausoleum.

 

Woodland Cemetery and Arboretum is located at 118 Woodland Avenue off of Brown Street near the UD Campus. The Woodland Office is open Monday through Friday 8 am to 5 pm and Saturday 8 am to 12 pm. The Cemetery and Arboretum are open daily from 8 am to 6 pm. The Mausoleum is open daily from 9 am to 5 pm. For more information call 937-228-3221 or visit the Woodland website.

‘Tuesdays with Morrie’ Review – Young at Heart Players – Life Lessons

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Young at Heart Players presents an excellently heartrending production of Mitch Albom and Jeffrey Hatcher’s stage adaptation of Albom’s 1997 best-seller “Tuesdays with Morrie” at the Dayton Playhouse.

(left) Patrick Allyn Hayes and Jamie McQuinn star in Young at Heart Players’ production of “Tuesdays with Morrie.” (Photo by Fran Pesch)

Fluidly co-directed by YAH founder Fran Pesch and her daughter Annie Pesch, this effectively scaled down two-hander absolutely thrives on the terrific performances of Patrick Allyn Hayes as sports reporter Albom and a remarkable Jamie McQuinn as Albom’s former sociology professor Morrie Schwartz. Believably bonded in the past and present, Hayes and McQuinn forge a fascinating journey unabashedly sentimental at its core but also very enlightening. Significant and meaningful life lessons arise notably rendered by McQuinn with eloquent earnestness.

The story is based on Albom’s endearing reflections with Schwartz, whom he visited over the course of 14 Tuesdays while working for the Detroit Free Press. He hadn’t seen Schwartz since graduating from Brandeis University 16 years prior, but his travels from Michigan to Massachusetts became an important lifeline particularly as drama at work threatened to consume him. As Schwartz battles Amyotrophic Lateral Sclerosis (ALS), also known as Lou Gehrig’s Disease, Albom ultimately realizes the importance of living life to the fullest.

In his first major leading role, McQuinn soars in a quietly astute performance blending charm and whimsy with beautiful sensitivity in a father figure capacity. As Schwartz’s health deteriorates, the script naturally allows McQuinn to become more profound and he certainly succeeds in doing so. When Schwartz reminds Albom to “forgive everyone everything” before it’s too late, it’s difficult not to fall under McQuinn’s gentle and inspiring spell. At the same rate, Hayes, in one of his most vulnerable, emotional and understated performances, equally resonates. He displays great narrative skill and appealingly reiterates Albom’s openness to learn and really grasp Schwartz’s morsels of goodness with each meeting. Hayes and McQuinn are also required to go out of their comfort zones a bit (Hayes mimics playing piano; McQuinn attempts a few dance steps) but do so admirably.

“When you age you grow and when you grow you learn,” says Schwartz. This Thanksgiving, let us be thankful for the special teachers who made a difference in our lives. Be sure to stop by the Playhouse and spend time with one of the greats.

 

“Tuesdays with Morrie” continues through Nov. 26 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. The play is performed in 90 minutes without intermission. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Tickets are $15 for adults and $12 for seniors and students. Tickets may be purchased at the door. For reservations, call Fran Pesch at (937) 654-040. For additional information, visit youngatheartplayers.com

 

‘Fiddler on the Roof’ Review – Wright State University – The Winds of Change

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There are some very special musicals that have stood the test of time because no matter how often you see them they still remain fresh, profound and necessary. Case in point: composer Jerry Bock, lyricist Sheldon Harnick and librettist Joseph Stein’s 1964 classic Fiddler on the Roof, terrifically presented by Wright State University in the Festival Playhouse of the Creative Arts Center.

Halle Augenstein as The Fiddler in Fiddler on the Roof (Photo by Erin Pence)

The sheer magnetism of Fiddler occurs in its tuneful prologue. An entire town pauses to joyfully share what you should know about their lives, responsibilities, hopes, religion, and traditions. But what they don’t know is that their little spot of the world – the tiny village of Anatekva on the eve of the Russian Revolution circa 1905 – will ultimately and drastically transform beyond comprehension. Girls will be taught to read. Men will dance in public with women. A daughter will chose to love outside her faith despite ridicule. Anatekva itself will cease to exist. And along the way, there is great anticipation of how poor dairyman Tevye and his family will cope with the winds of change.

 


Josh Beasley’s playful, lighthearted and physical portrayal of Tevye fittingly conveys the role’s affectionate qualities as a loving father whose frequent chats with God give him purpose and direction. Megan Valle, stern yet comedic as Tevye’s wife Golde, exudes strength and authority, but also conveys tender sensitivity. In fact, during one of the most gorgeously staged renditions of Sunrise, Sunset I have seen, Valle spins her introspective lines into beautiful morsels of bewilderment brought about by the passage of time. Kayli Modell (Tzeitel), Danielle Bessler (Hodel), Emma Buchanan (Chava), Michaella Waickman (Shprintze), and Dana Bixler (Bielke) are uniformly dynamic as Tevye and Golde’s daughters. In particular, Modell is a refreshingly headstrong Tzeitel and Bessler delivers a phenomenally lyric-driven Far From the Home I Love absolutely testifying to the fact that Hodel’s unwavering love for her family will burn bright no matter where she resides (“I must go” never sounded so sure or lovingly defiant). Aaron Roitman (Motel), Kyle Miller (Perchik), and knockout dancer Philip Stock (Fydeka) are equally and respectively appealing as the suitors of Tzeitel, Hodel and Chava. Roitman’s awkward charm, Miller’s determined spirit (Now I Have Everything leaps forth as a meaningful epiphany), and Stock’s fiery flair are fine attributes. The cast also contains notable portrayals from Isabella Andrews as an appropriately nosey and concerned Yente, Joe Green as a firmly grounded Lazar Wolf, Joey Kennedy making the most of the easily perturbed Mendel in unexpected ways, Justin Matthews as the intimidating Constable, Louis Kurtzman as the Rabbi, the aforementioned Bixler as Grandma Tzeitel, Halle Augenstein as the Fiddler, and Rachel Mary Green who blends opera, pop and R&B with ghoulish glee as the frightening Fruma Sarah in Tevye’s Dream.

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)

Director W. Stuart McDowell incorporates a few touches from Broadway’s stunning 2016 Tony-nominated Fiddler revival (for example, featuring all of Tevye and Golde’s daughters in Matchmaker), but adds specific elements of his own which broaden the story’s scope. In addition to allowing Tzeitel one last chance to take a snapshot of the mind while in her family’s presence, McDowell astutely aims for deeper resonance in the exceptional final sequence. Seeing the citizens of Anatevka separate to start their lives anew gives haunting credence to the current plight of refugees throughout the world. In fact, there is a brief, awe-inspiring moment implying that Tevye and his family have arrived in New York City as the spirit of the Fiddler guides them from above. McDowell’s first-rate artistic team includes choreographer Teressa Wylie McWilliams (an exuberant To Life and lively series of Wedding Dances, the aforementioned Tevye’s Dream, and luminous Chava Sequence are among her excellently character-focused routines), set designer David J. Castellano, lighting designer Matthew P. Benjamin, costumer Naomi Reisner, sound designer Ryan Burgdorf (expertly crafting the destruction pivotal to the distressing Act 1 finale), dialect coach Deborah Thomas, and music director Scot Wolley who conducts a superb onstage orchestra.

Now more than ever, it’s time to reassess the relatable potency and urgent relevancy of this marvelous tale of family, community and hope.

Fiddler on the Roof continues through Nov. 19 in the Festival Playhouse of the Creative Arts Center, 3640 Col. Glenn Hwy., Fairborn. Act One: 100 minutes; Act Two: 45 minutes. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call (937) 775-2500 or visit https://liberal-arts.wright.edu/theatre-dance-and-motion-pictures/box-office.

In related news, Broadway producer and author Jack Viertel will speak at Wright State University on Tuesday, Nov. 28 courtesy of the Musical Theatre Initiative. Viertel is Vice-President of Jujamcyn Theatre, one of Broadway’s largest and most successful producers, the artistic director of Encores series at New York City Center, and author of the book The Secret Life of the American Musical. Viertel, a member of MTI’s advisory board, will give a talk on his book from 10 a.m. to noon in the Creative Arts Center’s Jubilee Theatre (Directing Lab) and from 1 to 3 p.m. will give an interview and discussion with MTI Director, Joe Deer, in the same space. All events are free and open to the public.

‘The House’ Review – Human Race Theatre Company – Suburban Hysteria

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A bitter real estate feud fuels the hilarious hijinks within Brian Parks’ kooky 2014 one-act comedy “The House,” currently receiving an outstanding Midwest premiere at the Loft Theatre courtesy of the Human Race Theatre Company.

Pictured (left to right): Vince Gatton, Alex Sunderhaus, Caitlin Larsen and Scott Stoney in The Human Race Theatre Company’s production of THE HOUSE.

Sharply staged with sitcom-esque flair by Margarett Perry, “The House” is a funny yet often uncomfortably nasty look at humanity at its worst. Martyn and Shanny Redmond sold their lovely dream home (attractively designed by Ray Zupp) to overeager thirtysomethings Fischer and Lindsay Libett, but are terribly concerned when the Libetts reveal their desire to make some previously unannounced home improvements. The Redmonds simply can’t fathom the idea of their history being destroyed for the sake of a breakfast nook among other questionable plans. In turn, absolute chaos erupts into a full-throttle tailspin ranging from outlandish accusations and hurt feelings to the mutilation of a large teddy bear (one of Heather Powell’s many great props including an asbestos-ridden pipe).

Thanks to Perry’s wonderfully crisp pace and character-conscious direction, Parks’ rapid fire dialogue doesn’t drag. Plus, the Race has assembled an exemplary quartet who gives their all to a deceptively demanding play that requires total physical commitment. Race resident artists Caitlin Larsen and Scott Stoney are delightfully compatible as the emotionally conflicted Redmonds, happily married but unable to let go of the things they believe their lives are built upon. Zany and unhinged, Larsen is a joy to behold. Due to her incredibly astute portrayal, it’s apparent long before the final seconds that Shanny is an unstable force to be reckoned with. Stoney’s role isn’t as showy as Larsen’s, but he enjoyably conveys Martyn’s sensible nature, especially his knack for mediation, as situations spiral out of control.  Dynamic duo Vince Gatton and Alex Sunderhaus are also perfectly cast as the Libetts, a pair of go-getters who have a lot to learn about compromise. Gatton, a New York-based actor/playwright whose promising new play “Wake” was featured last summer in the Dayton Playhouse FutureFest, terrifically reveals the privileged ugliness festering within Fischer’s personable aura. Sunderhaus, spinning comedic gold even when walking across the stage to obtain keys, effortlessly delivers one of her finest performances, particularly as the seemingly conservative Lindsay becomes increasingly cutthroat and loosens her inhibitions in the process.

Pictured (left to right): Vince Gatton, Caitlin Larsen, Alex Sunderhaus and Scott Stoney in The Human Race Theatre Company’s production of THE HOUSE.

“The House” could be considered a glorified “Saturday Night Live” sketch, but it’s an unforgettably wild ride with surprisingly thought-provoking undertones. Climb aboard, hold on tight, and watch the insults fly.

 

“The House” continues through Nov. 19 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Tuesday and Wednesday at 7 pm, Thursday, Friday and Saturday at 8 pm, and Sunday at 2 pm. The play is performed in 90 minutes without intermission. Tickets are $40 for adults, $37 for seniors and $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 humanracetheatre.org or ticketcenterstage.com.

‘Tape’ Review – Playground Theatre – Riveting Reunion

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Stephen Belber’s dark 1999 drama “Tape,” outstandingly produced by Playground Theatre at the Mathile Theatre, pulls no punches in its brutally honest examination of memory, betrayal, infatuation, deception, vindictiveness, jealousy, and sexual assault encompassing the lives of three high school friends. Seeking to uncover truths with jaw-dropping psychological gamesmanship, Belber creates a blistering portrait of humanity that’s messy, nasty and flawed. Through anger and pain, shock and shame, this fascinating character study, set inside a Michigan motel in real time thereby heightening its conversational allure and emotional stakes, reiterates how impossible it is to move forward if you haven’t made peace with the past.

(left to right) A.J. Breslin (Jon), Christopher Hahn (Vince) and Kelsie Slaugh (Amy) star in Playground Theatre’s production of “Tape.” (Photo by Knack Creative)

Directed with gripping tension by Playground co-founder Jenna Valyn, this intimate outing smoothly evolves from the casual small talk of its more humorous opening moments to a pulse-pounding climax of destructive volatility. Playground co-founder Christopher Hahn fills his astute portrayal of brutish Vince, a volunteer firefighter and dope dealer still searching for his true calling, with sharp sarcasm and passionate unpredictability. In addition to embracing Vince’s man-child essence to the hilt (notice how he makes flushing drugs down the toilet seem utterly devastating), he winningly conveys Vince’s faux nobility when attempting to be the hero of this tale. The dynamically expressive A.J. Breslin shines as Jon, a budding filmmaker whose decision to be “a little rough” one evening 10 years ago comes back to haunt him. Masterfully composed in his early scenes, Breslin eventually erupts with fierce ferocity during Vince and Jon’s pivotal argument involving a taped confession of rape. Due to his proficiency of duality, I absolutely believed the seemingly reserved Jon was capable of producing “violent tendencies” just as much as bad-boy Vince. The magnetic, quietly commanding Kelsie Slaugh delivers a breakthrough performance as the highly perceptive Amy, a local assistant district attorney and Vince’s bygone girlfriend who takes matters into her own professional hands as the horror of what happened (or didn’t happen) with Jon comes into focus. Cunningly and charmingly acknowledging Amy as the smartest and savviest adult in the room, Slaugh particularly mesmerizes in her cutthroat delivery of Amy’s incredibly stinging reprimand to Jon which internally beats him to a pulp. It is the defining moment of the play and rightfully so.


The Playground relishes in edgy, gritty plays addressing the harsh realities of life. “Tape,” bound to incite thought-provoking discussion, continues the organization’s impressive artistic track record while indicating a refreshing desire to broaden its base and brand as it opens its fourth season. Enter Room 32 if you dare.

 

“Tape” continues today at 2 and 8 pm and Sunday at 2 pm inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The production is performed in 70 minutes without intermission. Tickets are $15-$20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. For more information, visit theplaygroundtheatre.org. Patrons are advised the play contains adult language and situations. You can also follow Playground’s Spotify playlist at http://bit.ly/tape-soundtrack.

 

Dare To Defy Presents Bat Boy: The Musical

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Dare to Defy announces its next production: BAT BOY: THE MUSICAL. Story and book by Keythe Farley and Brian Flemming; music and lyrics by Laurence O’Keefe; directed and choreographed by Michael Mizerany; music direction by Sean Laperreque; produced by Bill Connard & Jennie Gray Connard.

From the composer of Legally Blonde: The Musical (Laurence O’Keefe), comes a love story with a bite. Dare to Defy Productions is thrilled to be producing the comedy-horror “Bat Boy: The Musical.” At the helm is Daytony and Blackburn award-winning director/choreographer Matthew Smith, who suggested the show specifically for Dare to Defy as the perfect company for this raw, edgy, bloody comedy/thriller.

Based on the 1992 best-selling Weekly World News cover story, depicting a photo of Bat Boy, showing his grotesque screaming face, BAT BOY: THE MUSICAL is a musical comedy/horror show about a half-boy/half-bat creature who is discovered in a cave near Hope Falls, West Virginia. For lack of a better solution, the local sheriff brings Bat Boy to the home of the town veterinarian, where he is eventually accepted as a member of the family and taught to act like a “normal” boy by the veterinarian’s wife and teenage daughter. Bat Boy is happy with his new life, but when he naively tries to fit in with the narrow-minded people of Hope Falls, they turn on him after hearing the shocking story of Bat Boy’s unholy origin.

The show deals with themes such as acceptance, xenophobia, hypocrisy, revenge, forgiveness, but most importantly that we all have a darker side that drives our more animalistic urges. Should we fear these basic human instincts or embrace the “beast within” to get by in the world?

*This production contains adult themes including partial male nudity, sexual situations, violence, and some gore.

DMM Ticket Giveaway:
We’ve got several pairs of tickets to share for this show.  If you’d like a chance at them, like & share this story, and leave a comment below that will make us want to choose you!

BAT BOY: The Musical runs at the Mathile Theatre inside the Benjamin and Marian Schuster Center 1 West 2nd St Dayton OH October 27th at 8 PM, October 28th at 2 PM and 8 PM and November 3 at 8 PM. Visit www.ticketcenterstage.com or call (937) 228-3630 for tickets!

‘Blues for an Alabama Sky’ Review – Sinclair Community College – Captivating Relevance

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The fascinating and heartbreaking shift from the height of the influential Harlem Renaissance to the beginning of the Great Depression serves as the pivotal foundation of Pearl Cleage’s powerful 1995 drama Blues for an Alabama Sky, excellently presented by Sinclair Community College in Blair Hall Theatre.

(left to right) Justin Lampkins as Guy, Shaun Diggs as Leland, Erin McGee as Delia, S. Francis Livisay as Sam, and Bryana Bentley as Angel in Blues for an Alabama Sky. (Photo by Patti Celek)

Inspired by Harlem Renaissance poet Langston Hughes’ autobiography The Big Sea, Blues for an Alabama Sky chronicles African-American life in the Harlem summer of 1930 (scenic designer Terry Stump wonderfully conjures the essence of 125th St.) as a place of promise, purpose and pitfalls. Due to the Great Migration of blacks from the South in the early 20th century, Harlem overflowed with enlightening and progressive black voices, straight and gay, male and female, in visual and performing arts, allowing whites a chance to understand the black experience as never before. Even health care activist Margaret Sanger, a birth control pioneer, sought support from blacks as the Renaissance grew into a movement so expansive Josephine Baker dictated fashion trends from Paris. Granted, not every legend from this crucial period is namedropped in the play (Zora Neale Hurston, James Weldon Johnson, Paul Robeson, Fats Waller, and Duke Ellington are among those surprisingly absent), but Cleage still creates an intimate, colorful and extremely tight-knit look at five African-Americans trying to carve a path as the country faces economic disaster. “The Depression has killed all the night life in Harlem,” says aspiring singer Angel, an unchurched, down-on-her-luck, ex-Cotton Club performer clinging to the prospect of something greater at a time when jobs are scarce. So, what do you do when singing the blues gives you the blues? Angel ultimately realizes there’s only one thing she can do: survive.

Bryana Bentley as aspiring blues singer Angel in Blues for an Alabama Sky. (Photo by Patti Celek)

Director Kimberly Borst, whose knack for fluidity impresses once again, creates a communal experience so strong essentially every scene arrives with utmost expectancy. She has also assembled a vibrantly heartfelt ensemble clearly selling the play’s emotional highs and devastating lows. The luminous Bryana Bentley, a vision in costumer Kathleen Hotmer’s attractive period attire, interprets Angel’s complexities with a beguiling mix of passion, anger, arrogance, intimidation, and vulnerability. Her portrayal often stings and seduces in the same breath. Shaun Diggs, in one of his finest performances, is terrific as the religious, judgmental, unyielding, and naïve Leland Cunningham who arrives in Harlem from Tuskegee, Alabama unprepared for the cultural explosion encircling him. After Leland falls head over heels for Angel and learns a few hard truths, Diggs isn’t afraid to show the darker feelings festering underneath Leland’s gentlemanly qualities. The outstanding Justin Lampkins delivers a breakthrough performance as bubbly Guy, Angel’s loyal roommate, confidant and costumer inspired by the beauty and glamour of Josephine Baker. Marvelously embodying Angel’s desire to take Paris by storm as Josephine’s designer, the sophisticated Lampkins invigorates each moment with effortless command of period nuances and a naturally effervescent flair. The endearingly sensitive Erin McGee as progressive social worker Delia hoping to open family planning clinics and amiable S. Francis Livisay as Harlem Hospital physician Sam are very compatible in matters of health and romance.

Blues for an Alabama Sky is a captivating examination of love, loss, discrimination, sexual harassment, intolerance, deception, identity, faith, tragedy, and hope. It’s a historical throwback undeniably educational, meaningful and relevant today. Whether you’re contemplating what your future holds as far away as Europe or as close as your windowsill, always dare to dream.

 

Blues for an Alabama Sky continues through Oct. 14 in Blair Hall Theatre, Building 2, Sinclair Community College, 444 W. Third St., Dayton. Act One: 75 minutes; Act Two: 60 minutes. Performances are Friday and Saturday at 8 p.m. Tickets are $15-$18. For tickets or more information, call (937) 512-2808 or visit sinclair.edu/tickets.

‘You Can’t Take it With You’ – Wright State University – The American Family

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The delightfully chaotic Sycamore household remains a charming portrait of unconditional love and appealing diversity as evident in Wright State University’s lighthearted and attractively designed staging of George S. Kaufman and Moss Hart’s 1937 Pulitzer Prize-winning comedy “You Can’t Take it With You.”

(left to right) Kyle Krichbaum (Mr. DePinna), Mackenzie Kasbaum (Essie Carmichael), Christian Henderson (Donald), Jeremy Farley (Ed Carmichael), Logan Kitchens (Paul Sycamore), Danni Hepp (Penelope Sycamore), Zach Fretag (Boris Kolenkhov), George Heddleston (Tony Kirby), Katie Sinicki (Alice Sycamore), and Isaac Ingle (Martin Vanderhof/Grandpa) are featured in Wright State University’s production of “You Can’t Take it With You” (Photo by Erin Pence).

In the midst of the kookiness at the center of this character-specific romp about a close-knit family with big personalities and zany hobbies is a thoroughly engaging love story merging two distinctively opposite families. The bond between middle class Alice Sycamore (cute and coy Katie Sinicki evoking 1930s nuances) and her Wall Street boyfriend Tony Kirby (dashing, amiable George Heddleston) absolutely holds the emotional core of this relatable if overstuffed classic together as their relationship blooms, fractures and heals. When Tony’s uptight parents visit the Sycamores for dinner, situations turn prickly and uncomfortable (Alice scolding her family for their odd behavior always stings), but the truths that arise from misunderstanding give value to the show’s embrace of universal acceptance.

Director Joe Deer, in his first non-musical outing for WSU, keeps the pace brisk and the comedic timing sharp overall, specifically staging a joyful Act 2 finale complete with fireworks and confetti. However, there are a few offbeat moments when laughs are forced or completely over-the-top, notable miscues particularly apparent in Christine Fiala’s erratic take on alcoholic diva Gay Wellington. Even so, Deer coaxes strong portrayals from many principals. Standout work extends to a terrifically heartfelt Isaac Ingle as Grandpa Martin Vanderhof (whose unique views on income tax and living life to the fullest are hallmarks of the script), Danni Hepp as Penelope Sycamore (her savvy handling of the play’s significant “personality game” is a highlight), bubbly Mackenzie Kasbaum as aspiring ballerina Essie Carmichael, adorably square Jeremy Farley as Essie’s husband Ed, Kyle Krichbaum as eccentric Mr. DePinna, the imposing Zach Fretag as passionately earthy artist-instructor Boris Kolenkov, the wonderfully resonate duo of Kenneth Erard and Heather Cooperman as the Kirbys, Kennedy Cook (a senior at Stivers School for the Arts) as dutiful Rheba, and Christian Henderson as Rheba’s boyfriend Donald. The cast includes Alexia Vlahos as Grand Duchess Olga Katrina, Logan Kitchens as Paul Sycamore, Nick Wasserbauer as Henderson, Thomas Sheffer as G-Man, Jake Siwek as Mac, and Dean McKenzie as Jim.

Additionally, Deer’s fantastic artistic team includes scenic designer David J. Castellano (his handsomely detailed and colorful set is a character of its own), costumer Courtney Zimmerman (providing eye-catching period outfits), lighting designer Jennifer Watson, sound designer Silas Sheckels, dialect coach Deborah Thomas, and properties master John Lavarnway (supplying an authentic printing press).

At a time when our great nation is wounded by tragedy and divided by policy and presidency, “You Can’t Take it With You” represents the best of America. After all, we are our better selves whenever we can accept each other’s differences and unite.

 

“You Can’t Take it With You,” dedicated to Dr. Mary Donahoe, Professor Emeritus, continues through Oct. 8 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Wednesday and Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. The production runs 2 hours and 35 minutes with two intermissions. Tickets are $22 for adults and $20 students and seniors. For more information, call (937) 775-2500 or visit liberal-arts.wright.edu/theatre-dance-and-motion-pictures/box-office.

 

‘Sister Act’ Review –Dayton Playhouse – A Joyful Noise

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She’s fabulous, baby. I’m referring to Tia Seay, a consistent bright spot in many featured roles transitioning into a leading lady with passion, power and purpose in the Dayton Playhouse’s highly entertaining production of Sister Act, fluidly directed by Tim Rezash.

Tia Seay (left, standing, as Deloris Van Cartier), Brian Sharp (center as Monsignor O’Hara) and the Nun Ensemble of Dayton Playhouse’s production of Sister Act. (Photo by Art Fabian).

Whether managing a trailer park, resorting to goofy antics to win quick cash, narrating on Skid Row, or ill-fatedly embracing hope at the dawn of the 20th century, Seay has delivered time and time again with vivid expression, solid stage presence and terrific vocals. So, it’s perfectly fitting she’s finally received an incredible star vehicle catered to her naturally inherent gifts of comedy and soul.

In this breezy 2011 adaptation of the 1992 hit film of the same name, featuring music by Alan Menken, lyrics by Glenn Slater, and a book by sitcom vets Cheri and Bill Steinkellner (Cheers), Seay portrays disco diva Deloris Van Cartier, a struggling Philadelphia nightclub entertainer seeking fame in the late 1970s. When Deloris accidentally witnesses a murder at the hand of her gangster boyfriend Curtis, she’s sent to a local convent for her protection. She humorously clashes with the stern Mother Superior, but ultimately discovers the value of sisterhood when she transforms the convent’s inadequate choir into an overnight sensation.

Seay’s charm, wit and warmth is put to great use as Deloris hilariously fumbles her way through the convent lifestyle like a fish out of water. But don’t get me wrong. She’s not a jokester stuck on autopilot for two-and-a-half-hours. On the contrary, she calculatingly builds her portrayal with nuance and depth, most significantly in her beautiful rendition of the introspective title song which serves as Deloris’ epiphany. Seay also receives pleasant support from an appropriately strict and bewildered Cathy Long as Mother Superior in addition to the truly praiseworthy team of Alicia Walton as introverted Sister Mary Robert (her Life I Never Led is a tender standout), Shanna Camacho as bubbly Sister Mary Patrick, Donna Cason as no-nonsense Sister Mary Lazarus, Dawn Roth-Smith as Sister Mary Theresa (Rezash gives her a very funny stage cross), and the mostly mute Elaine Smith (who nearly brought tears to my eyes in a brief yet heartfelt exchange with Seay) as the eccentric Sister Mary Martin-of-Tours. The colorfully cohesive Nun Ensemble, bringing wonderful vibrancy to Menken and Slater’s marvelous Raise Your Voice, disco-driven Take Me to Heaven and Spread the Love Around, and lovingly Disney-flavored Bless Our Show, consists of Zenobia Curtis, Andrea Wilburn, Amber Pfeifer, Nelani Huntington, Carrin Ragland, Lindsey Cardoza, Elizabeth Lindon, Rebekah Skaroupka, Angelé Price, and Marabeth Klejna.

(left to right) Tia Seay (Deloris Van Cartier), Donna Cason (Sister Mary Lazarus), Shanna Camacho (Sister Mary Patrick), and the Nun Ensemble of Dayton Playhouse’s Sister Act. (Photo by Art Fabian)

Interestingly, the men take a backseat in this musical (a script flaw resulting in underwritten roles), but Rezash allows each an opportunity to shine. Brian Sharp is deliciously dry as the financial-focused Monsignor O’Hara. William “Kip” Moore, memorably partnered with Seay last season in the Playhouse’s Ragtime, gives ominous weight to Curtis’ vengeance. Moore’s rendition of the lyrically clever, R&B-inspired When I Find My Baby is a real hoot. Naman Clark is delightfully earnest as insecure Eddie, the police officer overseeing Deloris’ case smitten with her ever since she led an all-black version of Funny Girl in high school. Trevaun Tolbert as TJ, William “Beau” Boatwright as Joey, and Juan Gabriel Encarnacion as Pablo are crowd-pleasers as Curtis’ kooky henchmen. Also notable are versatile Steve Strawser as Eddie and Solid Gold-esque Kiersten Farmer adding pizazz as Fantasy Dancer.

Rezash’s first-rate production team includes scenic designer Chris “Red” Newman, costumer Elaine Smith (filling the finale with glitz and glamour), lighting designer John Falkenbach, properties designer Tina McPhearson, choreographer Michael Groomes, sound designer Bob Kovach (conveying the convent’s acoustics with finesse), and musical director Ron Kindell who leads a steady nine-piece orchestra.

Bolstered by Seay’s outstanding performance, this feel-good show is a fun kickoff to the Playhouse’s 2017-2018 season. Do yourself a favor and go see Sister Act!

Sister Act continues through Oct. 1 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton.
Act One: 70 minutes; Act Two: 55 minutes. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are $18 for adults and $16 for seniors, students and military. For tickets or more information, visit www.daytonplayhouse.com.
 

 

‘Legendale’ Review – Human Race Theatre Company – Reality Bites

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The Human Race Theatre Company enters its 31st season with the American premiere of composer/librettist Andrea Daly and lyricist/librettist Jeff Bienstock’s charmingly relatable and delightfully tuneful musical Legendale, an original story of a disillusioned gamer escaping the monotony of the real world by embracing the exciting camaraderie of the virtual world.

Twentysomething IT manager Andy survives everyday boredom and stresses by playing the titular online role-playing game even at his thankless job at Magnets “n” More. After all, in Legendale, Andy is the master of his domain, calling the shots and attempting new levels and challenges. In fact, the thought of winning a new competition with the grand prize of a million dollars and the title “Lord of Legendale” has him poised for greatness. However, when saddled with competing as a milkmaid (all other avatars were taken) his hopes are quickly deflated. But along the way, and from an unlikely source, Andy discovers the value of perseverance and self-esteem as romance and adventure spark refreshing possibilities.

Daly and Bienstock jump-started Legendale in 2015 when the show was featured in the National Alliance for Musical Theatre’s Festival of New Works. Following a December 2016 workshop at the Human Race, it received its world premiere at Denmark’s Fredericia Teater. As it currently stands, the best attribute of the material, outside the realm of introducing musical theater to an untapped niche market, is its pop-infused if ballad-heavy score. Standouts include fantastic opener When We Play, introspective Dead Again, catchy anthem Lord of Legendale, striking duets Here and Now and Anticipation, and spirited Why Not Me? The score is splendidly orchestrated by Tony Award winner Bruce Coughlin (The Light in the Piazza, one of the most gorgeously orchestrated musicals of all time).

On the other hand, the book is underdeveloped. Andy is a likable focal point with palpable strife, but his scope is oddly limited. Whenever Andy is in Legendale, marvelously and inventively conceived by projection designer David Bengali (Dear Evan Hansen), the kookiness of the avatars and their situations only appeal for brief periods. As so, there needs to be additional investment in Andy and his backstory. Who is he? What makes him tick? What happened in his life pre-Legendale? He’s certainly more than a mere gamer and his journey should address matters greater than the fascination of online game culture. Perhaps the appearance of a Young Andy or Andy’s parents would better address any semblance of a past. Further, perhaps Andy shouldn’t live alone. It would be interesting to see his existence expand to include a roommate or an ex-girlfriend. Daly and Bienstock pepper their script with sound ideas recalling Dear Evan Hansen, She Loves Me, The Wizard of Oz, and Grey Gardens, but they’ve only begun to scratch the surface of millennials seeking connection in the digital age.

Nonetheless, off-Broadway director/choreographer John Simpkins, Head of Musical Theatre at Penn State University, brings Legendale forth with considerable style, skillfully contrasting the real and fantasy domains, particularly Legendale’s funny eccentricities. Simpkins’ entertaining, fully committed cast is also a plus. Max Crumm (Danny Zuko in Broadway’s 2007 Grease revival and Scott in the short-lived 2016 musical Disaster!) terrifically embodies the introverted, insecure and geeky Andy, conveying social detachment and the budding hope of relationship with endearing, nuanced finesse. Abby Church, perky and personable, engagingly captures the extremely specific vernacular and physicality of the Legendale universe as comical milkmaid-turned-fierce warrior Zelayna, Andy’s avatar and girl power sidekick. Rachel Flynn exudes lovely sensitivity as timid temp Beth, Andy’s co-worker who shares more in common with him than he initially realizes. Jesse Sharp, an exceptional Gomez Addams in the national tour of The Addams Family, supplies goofy charisma as grandstanding and devious Legendale creator Paul Jansen who particularly persuades Andy to join his tech-savvy team in Silicon Valley. (However, Jansen’s introductory number, I Make the Magic, could be cut.) Travis Mitchell is appropriately hardcore as Steve, Andy’s annoying boss. Nathan Robert Pecchia, Cody Westbrook and Colin Hodgkin, an excellently versatile trio connected to Wright State University, playfully appear in various roles from energetic gamers to freaky brain-craving zombie robots.

Scenic designer Michael Schweikardt’s efficient turntable in addition to a series of video and sliding panels propels the show’s cinematic fluidity, expertly heightened by John Rensel’s lighting design. Costumer Ayn Kaethchen Wood incorporates wardrobe from Denmark designers Anna Juul Holm and Lotte Blichfeldt, but her notable contemporary outfits are precisely true to character especially Andy’s casual attire and Jansen’s flashy pink jeans. Jay Brunner’s first-rate sound design, Heather Powell’s unique properties, and Gina Cerimele-Mechley’s vibrant fight choreography bolster Legendale’s fanciful aura. Music director Scot Woolley leads a remarkably solid and full-sounding seven-piece off-stage band.

Whether it’s the tale of a bachelor willing to give marriage a try or a group of outcasts demanding attention be paid, musicals about connection – to simply belong to someone or something or thriving to become somebody – will always have the power to resonate. “You’re alone. I’m part of a team,” Andy proclaims in a valiant moment of epiphany. “Opportunity is everywhere.” Like Legendale, Andy is still a work in progress, but it’s a pleasure watching him come to terms with the joys of being alive.

Legendale – A New Musical continues through Oct. 1 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Thursdays-Saturdays at 8 p.m., Tuesday and Wednesday at 7 p.m., and Sundays at 2 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $17.50-$50. There are discounts for select side-area seats available for $12 and $25 for all performances. For group sales, contact Betty Gould at (937) 461-8295 or e-mail [email protected]. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. In addition, there will be Young Professionals Board Game Night Saturday, Sept. 16 at 5 p.m., and a post-show talk-back following the Sunday, Sept. 17 performance. For more information about the Young Professionals Board Game Night, visit the Human Race’s Facebook page at facebook.com/humanracetheatre.

 

 

Human Race kicks off 17-18 Season with Legendale

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The Human Race Theatre Company kicks off it’s 2017-2018 Season with a fun performance for the next generation of theatre fans! LEGENDALE, an exciting new pop-musical where reality and the digital world collide, opens September 7 and runs through October 1, 2017. 
The story is based on Andy, whose favorite way to escape his miserable job and humdrum life is the online game “Legendale.” He dreams of victory in its new tournament and winning the grand prize to become “the Lord of Legendale,” but is stuck competing as a lowly milkmaid. When things in the online world suddenly take a strange turn, Andy and his avatar must both discover their inner warrior. A blend of romance, adventure and virtual reality with a pop-infused score, it’s an inspiring tale like no other that’s sure to delight!
 
Human Race is offering fun ways to celebrate this first performance, and American Premiere of LEGENDALE! They have two very special upcoming nights that are extra special:
  • HRTC is hosting their very first COSPLAY CONTEST NIGHT  on September 11 with more than $1800 worth of prizes (full list of prizes and rules are posted on the FB event page). Comedian Jessica Graue is MCing the event. $10 for participants, $5 for general audience. Kids can compete too! Registration starts at 6:15pm, pre-judging at 7pm, and parade of costumes at 8pm. All participants ages 13 and up will receive a ticket voucher good for and show on our 2017-2018 Loft season.
  • Young Professionals Night is Saturday, September 16. The pre-show party begins at 5pm in the HRTC rehearsal hall on the second floor below the theatre. They have a massive selection of board games to play, a taco bar, margaritas and craft beer. We will also be giving away prizes donated from 2nd & Charles, The Human Race Theatre, and Sixteen 37. (board games, gift certificates, and more!) Tickets are available at www.ticketcenterstage.com by entering code YPGAME. A value of $70+ for $35!
Don’t miss out on this cutting-edge new musical, that’s perfectly timed after Game of Thrones finale, and during Renaissance Festival season. Fall is the perfect time to let fantasy worlds come alive! So please get your ticket for the first of many amazing productions by our own, Human Race Theatre Company!

How to go?
Performances run Sept 7th through October 1st (Mondays off)
Tickets start at just $12 and up! Special $10 any seat nights also available.
For more info on tickets, click here or call box office: (937) 228-3630
DMM Ticket Give Away:  We’ve got a pair of tickets and winner can pick the date they attend (based on availability).  To enter our drawing, just like and share this post and leave a comment below on why you deserve to win!
We’ll name our winner here Thursday, so check back to see if it’s you!
 

Urinetown Hits the Beavercreek Community Theatre Stage

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In the not-so-distant future, a terrible water shortage and 20-year drought has led to a government ban on private toilets and a proliferation of paid public toilets, owned and operated by a single megalomaniac company: the Urine Good Company. If the poor don’t obey the strict laws prohibiting free urination, they’ll be sent to the dreaded and mysterious “Urinetown.”

‘All My Sons’ Review – Dayton Theatre Guild – Love, Loss and Lies

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Attempting to move forward while haunted by the past ultimately pushes the Keller household to the breaking point in Arthur Miller’s acclaimed 1947 drama All My Sons, commendably presented by the Dayton Theatre Guild.

David Williamson (Joe Keller) and Heather Atkinson (Lydia Lubey) appear in the Dayton Theatre Guild’s production of All My Sons. (Contributed photo by Craig Roberts).

Delicately helmed without a hint of melodrama by Debra Kent, this gripping, three-act tale spanning a period of less than 24 hours concerns betrayal, duty, responsibility, regret, and irreparable father-son dynamics, relatable themes Miller would expand upon two years later in his masterpiece Death of a Salesman. Joe, humble patriarch and longtime businessman, and his dutiful wife Kate, still reeling from and utterly consumed by the absence of their eldest son Larry who disappeared in action, await the arrival of Ann Deever, the girl next door from long ago presently pining for Joe and Kate’s youngest son Chris, a valiant serviceman now operating the family business. The notion of marriage is a refreshing plus for this family in dire need of good news, but an ominous cloud looms over them. After all, Joe knowingly shipped defective airplane parts from his factory to the military during World War II, causing the deaths of 21 pilots. He was exonerated but his business partner Steve Deever, Ann’s father, remains incarcerated. When Ann’s bitter brother George arrives for answers, the Kellers are forced to face the ugly truth and accept the brutal, tragic consequences.

Framed within Chris Harmon’s beautifully inviting backyard set and attractively costumed in period attire by Carol Finley, Kent’s cast brings fine vim and verve to Miller’s fantastically layered dialogue overall despite a crucial inconsistent link. As the terribly flawed Joe, David Williamson shrewdly navigates the tricky balancing act of appearing carefree while forever under suspicion. Although Williamson is pretty much happy-go-lucky for the majority of the play, he greatly unleashes Joe’s hard-nosed grit late in Act 2 when Joe defends his choices, including his love of family, opposite an angered Chris. As the charming, honorable Chris, Jeff Sams delivers one of his most emotional performances, wonderfully erupting in a sea of ferocity, pain, disbelief, and horror as the unimaginable becomes reality. Sams has so much fire in his eyes I truly believed Kate’s depiction of Chris’ duality: “In the war they say he was a killer. Here he was afraid of mice.” As Ann, the good-natured woman caught in the middle of brotherly strife, the luminous Kari Carter, looking runway-ready in Finley’s lovely costumes, supplies a beguiling femininity and a keen mediator sensibility as dysfunction threatens the pursuit of new love. The terrifically nuanced Mike Beerbower, determined to destroy but mindful of cordiality, brings pitch-perfect frustration and childlike awe to George’s prickly, tense reunion with the Kellers. Rick Flynn (Dr. Jim Bayless) and Adee McFarland (Sue Bayless) are credibly partnered. McFarland in particular excellently intimidates to the hilt opposite Carter when Sue scolds Ann about Chris’ behavior and admits she actually can’t stand living next to the Kellers. Who knew Miller laid the groundwork for Desperate Housewives? Todd Rohrer (horoscope-adoring Frank Lubey), Heather Atkinson (Frank’s sunny wife and George’s former flame Lydia), and spunky Noah Rutkowski (precocious neighbor kid Bert) are also enjoyable in featured roles. However, Rachel Oprea, a committed but miscast Kate, is out of her depth and doesn’t really settle into the complex magnitude of her role, which has greater significance here due to Kent’s decision to stage, in prologue and echoing the play’s exhilarating 2016 Stratford Festival production, the fierce storm that strikes the tree Kate planted to keep Larry’s memory alive. Kent tilts the play in Kate’s direction, but Oprea lacks variety, vitality and age-appropriate finesse, a surprising turn of events considering how much I’ve praised her versatility over the years. Regardless, as Kate says, “certain things have to be.”

Even so, accented by gently evocative lighting design by Tony Fende (notice Oprea bathed in blue moonlight in the final moments) and moody sound design by K.L. Storer, All My Sons is impactful theater. Miller places a stark mirror to humanity as he questions the true measure of a man living the American Dream.

 

All My Sons continues through Sept. 3 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 p.m., Saturday at 5 p.m., and Sunday at 3 p.m. Act One: 55 minutes; Act Two/Three: 70 minutes. Tickets are $20 for adults, $18 for seniors and $13 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

Ladyfest Celebrates Dayton’s Female Creatives!

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This weekend, don’t miss out on Ladyfest Dayton, the music & art festival that highlights the fabulous women of Dayton! The annual celebration is hosted over Labor Day weekend at Yellow Cab Tavern. Organizers state that they hope to bring together and inspire people through music, art, and education. While the festival itself is a celebration of women in the arts, their goal is to provide a safe and welcoming environment for everyone, regardless of gender identity.

Attending Ladyfest is not just cool, it’s also a way to give back directly to the community. Past Ladyfests have benefited PUSH Dayton, Artemis Center, and Planned Parenthood. In 2015, the festival raised $6,584.14 for WE CARE ARTS. In 2016 they raised $8,300 for the Dayton YWCA Shelter Services. LADYFEST 2017 will benefit Oak Tree Corner.

Keep scrolling for details on how to go to the event, who will be there, and what to enjoy!

How to Go:

FRIDAY SEPT 1: 7pm-1am
SATURDAY SEPT 2: 5pm-1am

at Yellow Cab Tavern

Cost: $10 pre-sale

Children under 12 are free

Friday September 1st, 2017

8pm – Spanish Tony Sanchez
8:30 – Cricketbows
9 – Team Void
9:30 – ThunderTaker
10 – Fairmount Girls
10:30 – Counterfeit Madison
11 – Enzo
11:30 – Mary Lynn
12 – SKRT
12:30 – Yikes a Band

From Ladyfest 2016


Saturday September 2nd, 2017

5:30pm – Talking About the Young Sound Showcase
6:30 – Rite of Venus
7 – Kyleen Downes Band
7:30 – Jess Lamb and The Factory.
8 – Lipstick Fiction
8:30 – Calamity Day
9 – Cherubim
9:30 – The Jettisons
10 – Moira
10:30 – Jasper the Colossal
11 – Lung
11:30 – Ladyfest Announcements/Thank yous
11:45 – Erika Wennerstrom
12:30 – Abertooth Lincoln

Visual Art Presented by:
Presley Wells
Ava Roseberry
Johnna LaFaith
Whitney Marie
Sam Chamberlain
Viktoria K Dekay
Jes McMillan
Erin Manning
Fe Meier
Amber Gwin
Amberlynne Crain
Aria-Blair Bottorff
Emily Lux
Erica Blackstock
Gabrielle Renee Ross
Hannah Buchanan
Jimmy Nabler
Kara Macko
Kelsey Lynn Tyree
Theresa F Lopez
Jen Dyke
Alyshia Alagiak Osborn
Michelle A. Carr
Clara Coleman
Chyanne Moore
Ellen Bukvic
Misty Dawn Brothers
Jess Fecke
Tiffany Clark
Kelsey Esken
Jordan Contway
Abigail Ryan Carpenter
Rachael Lare

Khrys Blank, Sharon A. Lane and Jennifer Taylor at Ladyfest 2016.

Local Vendors:
Lady Creepshow Couture, Jessica Dubis Jewelr,
Dottie P, Miss Motleys, Moonlit Glass
Pam’s Stepping Stones, Ohio Henna,
Flower Child Face Painting Co,
Lissa Lush, Rusty Clementine, Quilted Kat
Pining For Signs, Earthly Rearrangements ,
Tasha’s Common Scents, Barefoot Girl Soap Company ,
lstonerocksesigns ,Vintage Lady Vinyl

Food Trucks:

Zombie Dogz

Wicked ‘Wich

Comedy Showcase hosted by Karen Jaffe

Poetry Showcase from Dayton Poetry Slam
CeCe, Nicole Combs Alex Montgomery, Tina Puntasecca, Sima, Quiet Storm, Page Turner, Furaha, Kaity Lovitt. Sydny, CoCo

Acoustic Stage
Mandy Jewell , Pamela Baugham
Kat & Geoff, Blossom Hall
Kate Wakefield , Georgia Goad, Moriah Haven , Sharon Lane, Reyna Spears