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‘Magnificent Hubba Hubba’ wins Dayton Playhouse FutureFest

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2017 FutureFest winner Olga Humphrey of New York City (Photo by Art Fabian)

New York City playwright Olga Humphrey’s kooky comedy “Magnificent Hubba Hubba,” chronicling the fierce rivalry between elderly professional female wrestlers, received top honors Sunday, July 23 at the 27th annual Dayton Playhouse FutureFest of new, unproduced plays held July 21-23.

Set in San Diego and inspired by the 2004 documentary “Lipstick & Dynamite, Piss & Vinegar: The First Ladies of Wrestling,” “Hubba Hubba” reunites hardnosed, vulgar Lucille (a.k.a. The Magnificent Hubba Hubba) and genteel Alice (a.k.a. Headlock Liplock) for a full-throttle smackdown for the ages. As their contentious relationship transpires among a gaggle of eccentric characters, introverted teenager Roy weaves his way into their lives as an unexpected confidant, especially for Lucille whose estranged granddaughter Lulu is the object of Roy’s affection.

Melissa Ertsgaard (Referee), Becky Howard (Lucille), Thomas L. Troutman (Roy), and Fran Pesch (Alice) in “Magnificent Hubba Hubba” (Photo by Art Fabian)

“Magnificent Hubba Hubba” scored highest among six plays, evenly split as a staged reading or fully staged performance, based on judging criteria including dramatic concept, character/language, plot, and page-to-stage. Forty percent of the vote was based on the judges’ initial reading of the script. The remaining 60 percent derived from the judges’ revised ranking at the festival. This year’s professional adjudicators were New York-based journalist Peter Filichia, New York-based director/producer/writer Ashley Rodbro, Texas-based director/producer/writer Helen Sneed, Eileen J. Morris, Artistic Director of the Ensemble Theatre in Houston, Texas, and James Vagias, Co-Founder and Producing Artistic Director of the American Theater Group in South Orange, New Jersey. The play was also named this year’s Audience Favorite.

“These characters are easy to love,” Morris said of Humphrey’s script. “The language is varied and delightfully intriguing. You definitely see the emotional arcs of the characters.”
“There is something believable about this play’s universe,” Sneed added. “This play could have a real life, a real future and extended life, not just in the professional world but the non-professional world. It’s a standout comedy.”
“It’s a real laugh-fest,” echoed Vagias.

Cast of “Magnificent Hubba Hubba” (left to right): Hannah Stickel, Shanna Camacho, David Hallowren, director Annie Pesch, playwright Olga Humphrey, Thomas L. Troutman, Fran Pesch, Becky Howard, and Melissa Ertsgaard

“I’m really shocked,” reflected Humphrey who received the top prize of $1,000. “One of my favorite things is going to a new city and hearing my work done. I enjoyed all the playwrights and hearing our perspectives. I was so impressed with all of the plays. They were so strong and there was a really high bar. We experienced great writing. It’s very exciting to have a comedy honored. I’m really excited about that. I couldn’t have asked for a more wonderful birth of this play.”

Under the lively, flavorfully authentic, how-in-the-world-did-she-pull-it-off direction of Annie Pesch, the production’s stellar, fully staged presentation Saturday, July 22 was led by the outstandingly committed duo of Becky Howard as Lucille and Fran Pesch as Alice. Funny and savvy support stemmed from Thomas L. Troutman as Roy, Hannah Stickel as Lulu, David Hallowren as Zane/Announcer, and Melissa Ertsgaard and Shanna Camacho in various roles. Jeff Sams notably served as wrestling coach and assisted Annie Pesch with fight choreography. As Humphrey develops her work, she should consider fleshing out or eliminating the prickly relationship between Lulu and Roy, a subplot too prominent to remain unengaging. Also, creating a surprisingly tender Act 2 moment for Lucille and Alice, establishing a sense of sisterhood addressing the hard knocks of competing in the wresting world, would be a refreshing addition in terms of broadening the play’s depth. Still, “Magnificent Hubba Hubba” is the epitome of unforgettable. After all, I saw things I can never unsee which is part of its offbeat charm.

The 2017 FutureFest playwrights/finalists (left to right): Desiree York, Angela J. Davis, Olga Humphrey, Vince Gatton, J. Thalia Cunningham, and Mark Cornell (Photo by Art Fabian)

The praiseworthy remaining finalists chosen from across the country were: “On Pine Knoll Street,” a touching family dramedy about aging, connection and forgiveness by Mark Cornell of Chapel Hill, North Carolina delicately directed fully staged by Richard Lee Waldeck on Friday, July 21; “First, Do No Harm,” a drama about race and healthcare by J. Thalia Cunningham of Delmar, New York directed as a staged reading by Jackie Darnell on Saturday, July 22; “Wake,” a fascinating contemporary ghost story about marriage, sacrifice and the beguiling power of storytelling by Vince Gatton of New York City directed as a staged reading by Tim Rezash on Saturday, July 22; “The Spanish Prayer Book,” a drama concerning history and ethics by Angela J. Davis of Los Angeles, California directed as a staged reading by KJ Melson on Sunday, July 23; and the Maya Angelou and social justice-inspired racial drama “The Puppeteer,” an excellently sweeping, gripping and relevant account of identity and struggle within the African-American experience from the glories of the Harlem Renaissance to the angst of the Trump Era by Desireé York of Rancho Santa Margarita, California strikingly directed fully staged with cultural flair by Kip Moore on Sunday, July 23. Each playwright was awarded $100.

The remaining commendable casts were: “On Pine Knoll Street,” featuring Renee Franck-Reed as Thelma, Cheryl A. Mellen as Marilyn, John-Michael Lander as Curtis, Kari Carter as Kristie, and Raef Norgaard as Mitchell; “First, Do No Harm,” featuring A. Slate as Dr. Elissa Kerry, Shanna Camacho as Dr. Alison Taylor, Joyce Barnes as Mattie Clester, Kip Moore as Dwayne Hatcher, Jennifer Lockwood as Female Actor, Keshawn Mellon as Male Actor, and Charlotte Harris as Narrator; “Wake,” featuring Brian Sharp as Dan, Mark Sharp as Eric, Michael Groomes as Terrell, Shyra Thomas as Esme, and Jason Penix as Charlie; “The Spanish Prayer Book,” featuring Jim Lockwood as Jacob Adler, Cynthia Karns as Joan Adler, Kerry Simpson as Michaela Adler, Matthew Lindsay as Julien Nazir, Jonathan Horwitz as Alexander Adler/Christopher Howell, Karin Henhapel in multiple roles, understudies/stage readers Michael Juergens and Niccole Sue Ann Wallace, and guitarist Richard Prigozen; and “The Puppeteer,” dynamically led by versatile newcomer Carolyn L. Seymour (remarkably conveying various ages and emotions while navigating a journey spanning nearly 100 years) as Constance/Connie and featuring Jacob Smith as Robert/Christopher, Michael Schumacher as Ernie/Mr. Hotchkiss, Chelsey Hall as Miss Dunston, Corrine Duperree as Mrs. Covington, Tamar Fishbein as Ms. Jenkins, and Vicki Thompson Tuccillo as Ms. Evans.

Carolyn L. Seymour delivered a standout, multi-generational performance as Constance/Connie in Desiree York’s powerful and timely racial drama “The Puppeteer” (Photo by Art Fabian)

Additionally, the festival kicked off Thursday, July 20 with a special staged reading of Filichia’s new play “Adam’s Gifts,” a contemporary, endearing, briefly unnerving, and uniquely non-seasonal update of “A Christmas Carol” with nods to “Oliver Twist” and “Pygmalion.” Directed by Tina McPhearson and narrated by Kelli Locker, the fine cast featured Saul Caplan as illiterate slumlord William Pront, Matthew Lindsay as William’s overworked employee Jason Romano and mobster Sam Falcon, Tori Kocher as sassy spiritual guide Glynis, Cassandra Engber as Jason’s ex-wife Lisa Pinewski and William’s former flame Mary Chalmers, and a heartfelt Jack Lockwood in a breakthrough performance as Jason and Lisa’s sickly son Adam Romano and impressionable Young William, raised by Sam amid troubling circumstances.

Mark your calendars: The 28th annual FutureFest will be held July 20-22, 2018. For more information, visit www.daytonplayhouse.com.

My FutureFest Rankings:
1. “The Puppeteer”
2. “Magnificent Hubba Hubba”
3. “Wake”
4. “On Pine Knoll Street”
5. “First, Do No Harm”
6. “The Spanish Prayer Book”

 

 

‘Jesus Christ Superstar’ Review – Epiphany Lutheran Church – The Man and His Movement

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Texting isn’t mentioned in the Bible. However, it figures prominently within Jesus of Nazareth’s final days as winningly interpreted in the Epiphany Players Drama Ministry of Epiphany Lutheran Church’s wonderfully contemporary production of composer Andrew Lloyd Webber and lyricist/librettist Tim Rice’s classic 1971 rock opera “Jesus Christ Superstar,” the organization’s 27th annual summer musical.

 

Kean Petrello (Jesus Christ), Laura Jacobs (Mary Magdalene) and Brianna Russ (Judas Iscariot) are featured in Epiphany Lutheran Church’s production of Andrew Lloyd Webber and Tim Rice’s classic rock opera “Jesus Christ Superstar” (Contributed photo)

Directed with stirring immediacy and intensity by Megan Wean Sears, “Jesus Christ Superstar” leaps forth as compelling and thought-provoking as today’s headlines. Set in contentious New York City (representing our currently divisive America), the show first and foremost uncomfortably stings as it should while remaining a cautionary tale of human folly. All the vital events leading to Jesus’ crucifixion and death are colorfully, grippingly and passionately executed by the 61-member cast. However, Sears takes the action to a fascinating new level with the aid of savvy multimedia/projections expertly designed by Bobby Morgan. Part of her artistic intent ponders what it would be like if Jesus was among us now, energizing “a movement of both rebellion and compassion.” In turn, seeing a throng of texts pop up on a big screen in excitable “Dear Evan Hansen”-esque fashion, including “I’m right next to JC,” makes the material feel instantly fresh. By the time apostle Simon Zealotes tweets a call to revolution in Times Square, it is an undeniable hallmark of Sears’ forward-thinking storytelling. And I dare not spoil how a certain cable news network vividly accents the drama or how a certain late night TV talk show host is flavorfully parodied. Bottom line: Sears has created one of the most relevant productions of “Jesus Christ Superstar” the Miami Valley has ever seen.

Still, without credible performances the production would lack true connection. Thankfully, the Epiphany talent pool, double-cast per tradition, delivers once again. Kean Petrello, a pop tenor tailor-made to play the kindhearted Jesus, genuinely exudes warmth, concern and soulfulness throughout. He offers a powerful yet introspective rendition of “Gethsemane” and brings great anger and overwhelming dismay to “The Temple.” As Judas Iscariot, dynamic vocalists Desmond Thomas and Brianna Russ are equally vibrant yet shady antagonists. Even so, due to the sheer rarity of a woman in the role, Russ receives special mention for exploring betrayal, fear, insecurity, and jealousy with marvelous complexity and a fitting punk-rock edge. In addition to jumping octaves like it’s a walk in the park in such numbers as “Heaven on Their Minds,” “Damned for All Time/Blood Money,” “The Last Supper,” “Judas’ Death,” and “Superstar,” the astute choices she makes in the pivotal Jesus-Judas power struggle and conveying Judas’ peculiar distrust and dislike of Mary Magdalene are simply remarkable. As Mary Magdalene, Kara Miller and Laura Jacobs offer beautifully sincere renditions of “I Don’t Know How to Love Him.” The genteel and introverted Miller interestingly contrasts the more expressive Jacobs, keenly aware of Russ’ vindictive Judas. Justin Matthews and Christian Schaefer excellently stir the conflicted emotions within Pontius Pilate, filling “Pilate’s Dream” with quiet melancholy and injecting ample bewilderment and rage into “Trial By Pilate.” Timmy Seiler and Chris Scharf are playful yet tough as flamboyant showman King Herod in “King Herod’s Song,” the only opportunity for Sears to choreograph with snazzy levity. Bridget Miley and Lily Cutler (Peter) and Meghan Rupper and Andrew Gochenaur (Simon Zealotes) are firmly grounded apostles. (Rice’s decision not to elaborate on Jesus’ relationships with his chosen 12 remains a script shortcoming). Imposing bassists David Egbert and Nick Kress (Caiaphas), crisply stern Rachel Woeste and Margo Russ (Annas), and terrifically menacing Brian Hoff, Kellie Dabb (someone please cast her as Madame Thenardier in “Les Misérables”) and Sam Layman (Priests) are also noteworthy along with lovely featured dancer Marisha Osowski.

Musically, the score drives with urgency under the direction of David Brush and his solid seven-piece offstage band. Some liberties have been taken with the score (the title tune is briefly introduced as a bluesy rock ballad) but these unique choices fuel the production’s character-driven pulse nonetheless. At times, the band sounds more distant than they are, but at the same rate, they don’t overpower the cast either which is an asset. Set designer Tristan Cupp’s gritty, urban vibe, Matthew Benjamin’s reliably evocative lighting, Maria Klueber and Lori Watamainiuk’s astutely assorted attire (casual wear for Jesus and the apostles; traditional biblical garment for Mary Magdalene; sophisticated business wear for the priests; stylish black and purple for Pontius Pilate), and Adrienne Ausdenmoore and Jason Hamen’s props effectively aid the storytelling. Ben Hale and Brayden Rittner’s sound design is unfortunately spotty so the cast should try to sing-out and enunciate more assuredly in order for the audience not to lose any of Rice’s witty lyrics.

If a “radical son of God” actually took this country by storm, a country enamored with cries of fake news and an insatiable desire to follow the latest social media celebrity, it’s not entirely clear how situations would transpire. But if you’re able to witness this “Superstar,” you’ll be treated to profound perspectives about faith, grace, hope, deceit, love, and sacrifice set against the backdrop of current angst that will linger in your mind for years to come. Don’t miss it.

 

“Jesus Christ Superstar” continues through July 23 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday-Saturday at 7:30 p.m. and Sunday at 2:30 p.m. Act One and Act Two run roughly 50 minutes. Tickets are $15 for adults, $10 for students and seniors (60 and over), $5 for children (5 and under), and $20 for front row seating. For tickets, call (937) 433-1449 ext. 105. Patrons are advised the show is double-cast (Jeffery Mack covers the role of Jesus). For more information, visit www.epiphanydayton.org or e-mail drama @epiphanydayton.org.

 

 

Saluting Dayton’s 2016-17 Theater Season

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Productions centered on a sadistic barber wreaking havoc in Victorian London, stubborn Iowans forever changed by a charming con artist, America coping with race relations in turn of the century New York and 1960s Baltimore, a progressive novice sending shockwaves throughout a Catholic elementary school, an iconic record company reshaping the landscape of American music, and a legendary ship deemed unsinkable were among the best of Dayton’s 2016-17 theater season.

Jamie Cordes and Rebecca Watson in the Human Race Theatre Company’s Sweeney Todd (Photo by Scott J. KImmins)

On professional stages, the Human Race Theatre Company’s 30th anniversary season was memorably illuminated by Scott Stoney’s immersive, ensemble-friendly Sweeney Todd (attended on opening night by Academy Award nominee Jesse Eisenberg of The Social Network) and the local premiere of Hail Mary!, a pleasantly surprising and gently thought-provoking character study. Hail Mary! was specifically bolstered by Claire Kennedy’s masterfully complex portrayal of a woman challenging authority for the betterment of her students.

 

(left to right) Gabriella Whiting, Allison Semmes and Tavia Rivee in Motown the Musical (Photo by Joan Marcus)

Elsewhere, the Victoria Theatre Association offered outstanding national tours with Motown particularly rising to the top thanks to a splendidly versatile, crowd-pleasing cast. Dare to Defy Productions gave local talent exciting platforms to rediscover and reinterpret tried and true material (Mackensie King’s Children of Eden strikingly emphasized family ties and generational repercussions as never before). Female-centric Magnolia Theatre Company offered a riveting local premiere of tense parent-teacher conference drama Gidion’s Knot. Reliably edgy Playground Theatre delivered a local premiere of Jailbait overflowing with gripping realism as its searing account of love, deceit and embracing adulthood stirred to the core.

 

(left to right) Mike Beerbower, J Gary Thompson, Matt Lindsay, Cassandra Engber, and Zach Katris in the Dayton Theatre Guild’s The Last Lifeboat (Photo by Craig Roberts)

At community theaters, strong musicals as well as a fine balance of classic and contemporary fare enticed. Dayton Theatre Guild’s eclectic impulses served them well with local premieres of The Last Lifeboat, Luna Gale and Wonder of the World (heightened by sitcom savvy knockout Kari Carter) in addition to a mesmerizing Elephant Man accented by Jared Mola’s remarkable physicality. Dayton Playhouse scored with Ragtime, The Women, Xanadu, and another enjoyably competitive FutureFest (last year’s winner Shepherd’s Bush is now titled Nonsense and Beauty; powerfully acted Memories of the Game was named audience favorite). Senior-themed Young at Heart Players delighted with the overdue return of the adorable First Kisses, a 2003 FutureFest finalist. Brookville Community Theatre supplied a whimsically entertaining Beauty and the Beast. Beavercreek Community Theatre’s artistic risks paid off with a lovely, vocally impressive Nine (brought to life by Jeffrey Murphy in the vibrantly elegant spirit of original director Tommy Tune) and a commendable local premiere of Bonnie and Clyde.

Highlights from area colleges included Wright State University’s tap-happy No, No, Nanette and beautifully staged/designed Shakespearean play-with-music Restoration!, Cedarville University’s rousing and heartwarming Music Man, and Sinclair Community College’s darkly atmospheric Dracula. Other notables across the city included the Muse Machine’s tremendously feel-good Hairspray (featuring marvelously mature newcomer Fischer Barnett), Epiphany Lutheran Church’s better-than-Broadway Big Fish (expertly conceived by Megan Wean Sears), and under-the-radar-but-dynamic Standing on Ceremony (Sinclair), Hello Again (Wright State), and Four Women: A Tribute to Nina Simone & The Black Arts Movement (Oral Funk Poetry Productions and University of Dayton).

Assessing the 80 shows I saw last season, I congratulate the following winners (in bold) and nominees.

BEST TOURING PRODUCTION
42nd Street, Victoria Theatre Association
Elf, Victoria Theatre Association
Jersey Boys, Victoria Theatre Association
Kinky Boots, Victoria Theatre Association
Motown the Musical, Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A PLAY
Gidion’s Knot, Magnolia Theatre Company
Hail Mary!, Human Race Theatre Company
Jailbait, Playground Theatre
This is Our Youth, Playground Theatre
Thurgood, Human Race Theatre Company

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
The 25th Annual Putnam County Spelling Bee, Dare to Defy Productions
Children of Eden, Dare to Defy Productions
Dogfight: The Musical, Dare to Defy Productions
Guys and Dolls, Dare to Defy Productions
Sweeney Todd: The Demon Barber of Fleet Street, Human Race Theatre

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
The Elephant Man, Dayton Theatre Guild
First Kisses, Young at Heart Players
The Last Lifeboat, Dayton Theatre Guild
Luna Gale, Dayton Theatre Guild
Vanya and Sonia and Masha and Spike, Beavercreek Community Theatre
The Women, Dayton Playhouse

Rachel Joy Rowland, Robbie Lindmark and the cast of Cedarville University’s The Music Man (Contributed photo)

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
Disney’s Beauty and the Beast, Brookville Community Theatre
Bonnie and Clyde, Beavercreek Community Theatre
Nine, Beavercreek Community Theatre
Ragtime, Dayton Playhouse
Xanadu, Dayton Playhouse

BEST COLLEGIATE PRODUCTION OF A PLAY
A Midsummer Night’s Dream, Sinclair Community College
Angels in America: Perestroika, Clark State Community College
The Children’s Hour, Wright State University
Dracula, Sinclair Community College
Restoration!, Wright State University

BEST COLLEGIATE PRODUCTION OF A MUSICAL
9 to 5, Wright State University
Heathers, Wright State University
The Music Man, Cedarville University
No, No, Nanette, Wright State University
The Toxic Avenger, Sinclair Community College

BEST SPECIAL THEATRICAL EVENT
Big Fish, Epiphany Lutheran Church
Four Women: A Tribute to Nina Simone & The Black Arts Movement, Oral Funk Poetry Productions and University of Dayton
Hairspray, Muse Machine
Hello Again, Wright State University
Standing on Ceremony: The Gay Marriage Plays, Sinclair Community College

BEST NEW WORK
Daniel Goldstein’s Family Ties, Human Race Theatre Company
W.L. Newkirk’s [Miss], Dayton Playhouse FutureFest
Scott C. Sickles’ Shepherd’s Bush, Dayton Playhouse FutureFest
Kristy Sharron Thomas’ Memories of the Game, Dayton Playhouse FutureFest
Eric Ulloa’s 26 Pebbles, Human Race Theatre Company

BEST LEADING ACTOR IN A PLAY
Mike Beerbower as Robert, Jailbait
A.J. Breslin as Dennis, This Is Our Youth
Franklin Johnson as Kenneth McIntosh, Memories of the Game
Alan Bomar Jones as Thurgood Marshall, Thurgood
Jared Mola as John Merrick, The Elephant Man
Leo Santucci as Dracula, Dracula

Claire Kennedy in the Human Race Theatre Company’s Hail Mary! (Photo by Scott. J. Kimmins)

BEST LEADING ACTRESS IN A PLAY
Jenna Gomes as Claire, Jailbait
Amy Handra as Heather Clark, Gidion’s Knot
Claire Kennedy as Mary Wytkowski, Hail Mary!
Cheryl Mellen as Caroline, Luna Gale
Andréa Morales as Corryn Fell, Gidion’s Knot
Marva Williams as Karen McIntosh, Memories of the Game

BEST LEADING ACTOR IN A MUSICAL
Jamie Cordes as Sweeney Todd, Sweeney Todd: The Demon Barber of Fleet Street
Robbie Lindmark as Harold Hill, The Music Man
Ron Mauer as Tateh, Ragtime
Kip Moore as Coalhouse Walker, Jr., Ragtime
Timothy Ware as Lola, Kinky Boots
Ray Zupp as Eddie Birdlace, Dogfight

BEST LEADING ACTRESS IN A MUSICAL
Esther Hyland as Eve, Children of Eden
Rachel Jensen as Mother, Ragtime
Mackensie King as Rose Fenny, Dogfight
Allison Semmes as Diana Ross, Motown the Musical
Maddie Vaughn as Veronica Sawyer, Heathers
Rebecca Watson as Mrs. Lovett, Sweeney Todd: The Demon Barber of Fleet Street

BEST SUPPORTING ACTOR IN A PLAY
Ross Bloedorn as Mr. Smith/Edgar, Restoration!
Geoff Burkman as Carr Gomm, The Elephant Man
Christopher Hahn as Mark, Jailbait
Charles Larkowski as Joe, Standing On Ceremony: The Gay Marriage Plays
Connor Lysholm as Mr. Jo Williams/Edmund/Bastard, Restoration!
Maximillian Santucci as Van Helsing, Dracula

BEST SUPPORTING ACTRESS IN A PLAY
Catherine A. Collins as Clemma Diggins, Proposals (Dayton Playhouse)
Lisa Glover as Emmy, Jailbait
Debra Kent as Sonia, Vanya and Sonia and Masha and Spike
Heather Martin as Mrs. Kendal, The Elephant Man
Libby Scancarello as Mrs. Sylvia Fowler, The Women
Jennifer Dorr White as Mother Regina Marie, Hail Mary!

The cast of Dayton Playhouse’s Ragtime (Photo by Art Fabian)

BEST SUPPORTING ACTOR IN A MUSICAL
Mark Antony Howard as Seaweed J. Stubbs, Hairspray
Brett Norgaard as Leaf Coneybear, The 25th Annual Putnam County Spelling Bee
Remy James Patterson as Marcellus Washburn, The Music Man
DJ Plunkett as Tobias Ragg, Sweeney Todd: The Demon Barber of Fleet Street
Layne Roate as Boland, Dogfight
Aaron Vega as The Beadle, Sweeney Todd: The Demon Barber of Fleet Street

BEST SUPPORTING ACTRESS IN A MUSICAL
Natalie Girard as Heather Chandler, Heathers
Becky Howard as Emma Goldman, Ragtime
Krissy McKim-Barker as Mrs. Potts, Disney’s Beauty and the Beast
Tia Seay as Sarah, Ragtime
Sherri Sutter as Rona Lisa Peretti, The 25th Annual Putnam County Spelling Bee
Kimberly Warrick as Guido’s Mother, Nine

BREAKTHROUGH MALE PERFORMANCE
Fischer Barnett as Edna Turnblad, Hairspray
Naman Clark as Jerry, Standing on Ceremony: The Gay Marriage Plays
Brent Hoggatt as Chip Tolentino, The 25th Annual Putnam County Spelling Bee
S. Francis Livisay as Tom, Standing on Ceremony: The Gay Marriage Plays
Andrew Poplin as Peter, Luna Gale
Andre Reece Tomlinson as Michael McIntosh, Memories of the Game

BREAKTHROUGH FEMALE PERFORMANCE
Kari Carter as Cass Harris, Wonder of the World
Kennedy Cook as Motormouth Maybelle, Hairspray
Kayla Graham as Karlie, Luna Gale
Abby Land as Marcy Park, The 25th Annual Putnam County Spelling Bee
Nabachwa Ssensalo as Sharon Evans, Memories of the Game
Sarah Zaffiro as Sarraghina, Nine

BEST DIRECTION OF A PLAY
Kimberly Borst, Dracula
Michelle Hayford, Gidion’s Knot
W. Stuart McDowell, Restoration!
Margarett Perry, Hail Mary!
Jeff Sams, The Last Lifeboat
Jenna Valyn, Jailbait

BEST DIRECTION OF A MUSICAL
Rebecca Baker, The Music Man
Joe Deer and Lula Elzy, Hairspray
Mackensie King, Children of Eden
Jeffrey Murphy, Nine
Megan Wean Sears, Big Fish
Scott Stoney, Sweeney Todd: The Demon Barber of Fleet Street

BEST CHOREOGRAPHY
Carrie Anthony, The Music Man
Michael Baxter, No, No, Nanette
Lula Elzy, Hairspray
Michelle Lynch, Dirty Dancing – The Classic Story on Stage (Victoria Theatre Association)
Megan Wean Sears, 9 to 5
Nabachwa Ssensalo, Michael Shepherd and Michael Groomes, Ragtime

BEST SCENIC DESIGN OF A PLAY
Chris Harmon, Dracula
Chris Newman and David Shough, The Elephant Man
Chris Newman, Proposals (Dayton Playhouse)
Jeff Sams, The Last Lifeboat
Terry Stump, A Midsummer Night’s Dream

The cast of Wright State University’s Restoration! (Contributed photo)

BEST SCENIC DESIGN OF A MUSICAL
J. Branson, Hairspray
Bob Clements, The Music Man
Dan Gray, Sweeney Todd: The Demon Barber of Fleet Street
Kacie Hultgren, 42nd Street
Pam Lavarnway, No, No, Nanette

BEST COSTUME DESIGN OF A PLAY
N. Lynn Brown, The Elephant Man
Carol Finley, The Last Lifeboat
Kathleen Hotmer, Dracula
Kathleen Hotmer, A Midsummer Night’s Dream
Christie Peitzmeijer, Restoration!

BEST COSTUME DESIGN OF A MUSICAL
Elizabeth Bourgeois, No, No, Nanette
Maria Klueber and Lori Watamaniuk, Big Fish
Janet G. Powell, Sweeney Todd: The Demon Barber of Fleet Street
Rebekah Priebe, The Music Man
Tiia E. Torchia, Toni Donato Shade and Alisa Vukasinovich, Hairspray

BEST LIGHTING DESIGN OF A PLAY
Matthew P. Benjamin, Restoration!
Daniel Brunk, Dracula
Travis Dwire, Gidion’s Knot
John Falkenbach, The Last Lifeboat
Jennifer Watson, The Children’s Hour

BEST LIGHTING DESIGN OF A MUSICAL
Jadon Bischoff, The Toxic Avenger
Bob Clements and Megan Howell, The Music Man
Jessica Ann Drayton, No, No, Nanette
Derryck Menard, Dogfight
John Rensel, Sweeney Todd: The Demon Barber of Fleet Street

BEST SOUND DESIGN OF A PLAY
Jay Brunner, Family Ties
Jay Brunner, On Golden Pond
Ryan Burgdorf, Restoration!
Isaiah Parnell, Dracula
K.L. Storer, The Last Lifeboat

BEST SOUND DESIGN OF A MUSICAL
Daniel Brunk, The Toxic Avenger
Jay Brunner, Sweeney Todd: The Demon Barber of Fleet Street
James Dunlap, Heathers
Bob Kovach, Xanadu
Sam Partridge, The Music Man

BEST ORCHESTRA
Children of Eden, Musical Director: Lorri Topping
Hairspray, Musical Director: Sean Michael Flowers
The Music Man, Musical Director: Jeff Beste; Orchestra Conductor: Carlos Elias
No, No, Nanette, Musical Director: Scot Woolley
Ragtime, Musical Director: Ron Kindell

BEST PROPERTIES
Sarah Gomes, Dracula
John Lavarnway, Restoration!
Marly Masterson, The Last Lifeboat
Victoria Osewski, The Elephant Man
Heather Powell, Sweeney Todd: The Demon Barber of Fleet Street


ADDITIONAL ACKNOWLEDGMENTS

  • The cast of Family Ties: Thea Brooks as Mallory, Sara Mackie as Jennifer, Eve Plumb as Elyse, Maggie Lou Rader as Ellen, Lawrence Redmond as Steven, and Jim Stanek as Alex
  • The cast of Hello Again: Celia Arthur as The Whore, Philip Stock as The Soldier, Rachel Green as The Nurse, Kyle Miller as The College Boy, Megan Valle as The Young Wife, Kyle Krichbaum as The Husband, Zach Fretag as The Young Thing, Eli Davis as The Writer, Robin Dunavent as The Actress, and Christian Schaefer as The Senator
  • The cast of The Last Lifeboat: Matt Lindsay as J. Bruce Ismay, Heather Atkinson as Mrs. Ryerson and Others, Mike Beerbower as William Randolph Hearst and Others, Cassandra Engber as Vivian Hilliard and Others, Zach Katris as Phillip Franklin and Others, Heather Martin as Florence Ismay and Others, Kerry Simpson as Margaret Ismay and Others, and J. Gary Thompson as Thomas Ismay and Others
  • The cast of Nine: Brice Thomas as Guido Contini, Micah Koverman as Young Guido, Shannon Carlson as Luisa, Hayley Penchoff as Carla, Danielle DeLorme as Claudia, Kimberly Warrick as Guido’s Mother, Joyce Murphy as Liliane La Fleur, Cynthia Karns as Lina Darling, Courtney Kakac as Stephanie Necrophorus, Meghan McConnell as Our Lady of the Spa, Sarah Zaffiro as Sarraghina, Renee Franck-Reed as Renata, Aeriel Aniballi as Annabella, Krista Ann Werts as Francesca, and Jack Lockwood and Max Kieselhorst as Young Guido’s school mates
  • The cast of On Golden Pond (Human Race Theatre Company): Kaleb Barlow as Billy Ray, Charlie Clark as Charlie Martin, Ken Early as Bill Ray, Dale Hodges as Ethel Thayer, Jennifer Joplin as Chelsea Thayer Wayne, and Joneal Joplin as Norman Thayer
  • The cast of Vanya and Sonia and Masha and Spike: Cassandra Engber as Masha, Debra Kent as Sonia, Charles Larkowski as Vanya, Cassidy Manley as Nina, Erin McGee as Cassandra, and Ryan Petrie as Spike; Also, Charles Larkowski’s interpretation of Vanya’s tirade
  • The cast of The Women: Rachel Oprea as Mary, Tori Toccillo as Nancy, Yara Khalil as Peggy, Libby Scancarello as Sylvia, Amy Taint as Edith, Jenna Gomes as Crystal Allen, Renee Franck-Reed as Countess De Lage, Marcia Nowik as Mrs. Morehead, Ashley Sisson as Jane, Danikah Skaroupka as Little Mary, and ensemble members Tamar Fishbein, Carrin Ragland, Heather Carrell, Caitlin Blackford, Becky Howard, Cheryl Mellen, Lindsey Cardoza, and Tiffany Williams
  • The ensemble of Sweeney Todd: The Demon Barber of Fleet Street: Gina Handy, Drew Helton, Scott Hunt, Cassi Mikat, Nathan Robert Pecchia, David Shough, Sherri L. Sutter, and Kandis Wean
  • Children of Eden’s Storytellers: Lisa Glover, Kaitlyn Hiltibran, Zach King, Danielle Kubasky, Bobby Mitchum, Brennan Paulin, T.C. Schreier, Tia Seay, Angie Thacker, Desmond Thomas, Jesse Daniel Trieger, and William Boatwright
  • Lola’s Angels in Kinky Boots: Joseph Anthony Byrd, Tony d’Alelio, John J. Dempsey, Ian Gallagher Fitzgerald, Xavier Reyes, and Andy Richardson
  • Amy Askins as Melpomene, Tamar Fishbein as Calliope, and John Nussbaum as Young Danny and Centaur in Xanadu
  • Sandy Bashaw and W. Stuart McDowell’s music for Restoration!
  • Kyle Bates as Link Larkin, Jack Blair as Corny Collins, Amber Butler as Little Inez, Adam Clark as Mr. Pinky, Lauren Eifert as Amber Von Tussle, Kaite Hubler as Tracy Turnblad, Clare Kneblik as Velma Von Tussle, Jack Lewis as Wilbur Turnblad, Ana Smith as Penny Pingleton, and Michelle Strauss as Gym Teacher/Matron in Hairspray
  • Kyle Bates as Billy Crocker and Cecily Dowd as Reno Sweeney in Anything Goes (Centerville High School)
  • N. Lynn Brown’s costumes for Nine
  • Jay Brunner’s original music for On Golden Pond
  • Saul Caplan as Roy Cohn and Jared Mola as Prior Walter in Angels in America: Perestroika
  • Circus 1903, Victoria Theatre Association
  • Sarah Clark as Belle, Preston Eberlyn as The Beast, and Andrew Sollenberger as Lumiere in Disney’s Beauty and the Beast
  • William G.L. Courson’s flying direction, Kaoime E. Malloy’s blood and special effects, Gina Neuerer’s projection design, Gary Minyard’s fight choreography, and Brooke Watson’s wig and makeup design for Dracula
  • Bailey Edmonds as Violet Newstead, Natalie Girard as Doralee Rhodes and Meredith Zahn as Judy Bernly in 9 to 5
  • Sean Michael Flowers’ musical direction of Hello Again
  • Nick Garvin’s piano accompaniment for Dogfight
  • Ray Geiger as Tom Durnin and Karen Righter as Karen Brown-Canedy in The Unavoidable Disappearance of Tom Durnin (Dayton Theatre Guild)
  • Lisa Glover’s choreography for Children of Eden, Dogfight and Guys and Dolls
  • Chester Gregory as Berry Gordy, Jarran Muse as Marvin Gaye, David Kaverman as Smokey Robinson, Emilio Sosa’s costumes, and Patricia Wilcox and Warren Adams’ choreography in Motown the Musical
  • Patrick Allyn Hayes’ Toxie mask and suit design for The Toxic Avenger
  • Tamara L. Honesty’s set design for Family Ties
  • In the roles of Sky Masterson and Sarah Brown, Bryan Hupp and Esther Hyland’s rendition of “I’ve Never Been in Love Before” in Guys and Dolls
  • Barbara Jorgensen as Peg Concannon and Fred Blumenthal’s scenic design in The Outgoing Tide (Dayton Theatre Guild)
  • Theresa Kahle’s costumes and Steve Burton’s wig designs for Ragtime
  • Debra Kent as Alexandra Benton and Robb Willoughby as Chris Benton in The Velocity of Autumn (Undercroft Players)
  • Matt Lindsay as Quince/Prologue, Tristan Rivera as Snug/Lion, Jonathan Kelly as Bottom/Pyramus, Elisha Chamberlin as Flute/Thisby, and Spencer Boden as Snout/Wall in A Midsummer Night’s Dream
  • TJ Montgomery as Clyde Barrow, Kami Flanders as Bonnie Parker, Sam Hamilton as Buck Barrow, Jackie Darnell as Blanche Barrow, Aaron Brewer as Ted Hinton, and Josh Clifford as Preacher in Bonnie and Clyde
  • Dakota Mullins as Billy Early and his execution of “Call of the Sea” in No, No, Nanette
  • Annie Pesch as Mary and J. Gary Thompson as John in First Kisses
  • Rachel Joy Rowland as Marian Paroo and Jonathan Kimble as Winthrop Paroo in The Music Man
  • Megan Wean Sears’ choreography for Big Fish
  • Tia Seay as Crystal, Samantha Wright-Norman as Ronnette, and Courtney Dortch as Chiffon in Little Shop of Horrors (Dare to Defy Productions)
  • David Shough as E.M. Forster and Brian Sharp as J.R. Ackerley in Shepherd’s Bush
  • Randy Skinner’s Tony Award-nominated choreography (recreated by Stephanie Brooks) and Roger Kirk’s Tony Award-nominated costumes for 42nd Street
  • John Slate and David Hapner’s piano accompaniment for No, No, Nanette
  • Debra Strauss as Barbara, Helicopter Pilot, Waitresses, and Janie in Wonder of the World
  • Christopher Tierney as Johnny Castle, Jillian Mueller as Frances “Baby” Houseman, Jennifer Mealani Jones as Penny Johnson, and Jon Driscoll’s video and projection design in Dirty Dancing – The Classic Story on Stage (Victoria Theatre Association)
  • Andrea Wilborn as Sarah’s Friend leading “Till We Reach That Day” in Ragtime
  • Zoot Theatre Company’s collaborative Angels in America with Columbus’ Short North Stage featuring puppet design by Tristan Cupp

 

 

 

‘Circus 1903’ Review – Victoria Theatre Association –Under the Big Top

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In the mood to embrace the fantastical?

Step right up as the Victoria Theatre Association concludes its 2016-2017 Premier Health Broadway Series with a crowd-pleasing Midwest premiere of “Circus 1903” at the Schuster Center.

Circus 1903

A nostalgic ode to P.T. Barnum’s legacy and influence, “Circus 1903,” which premiered in Australia last year and had its American debut in Los Angeles in February, is not a play or musical. Arriving in town mere days after the 71st annual Tony Awards, the show may feel jarringly out of place to theatergoers accustomed to traditional Broadway Series programming. Nonetheless, it is a very entertaining and flashy theatrical depiction of a traveling circus, showcasing marvelous international talent fully prepared to amaze and astound with vibrant, death-defying displays under the direction of Neil Dorward (“The Illusionists”).

Act One standouts include dynamically jaw-dropping contortionist Senayet Assefa Amara (The Elastic Dislocationist) and lovely aerialist Elena Gatilova (Lucky Moon).

In the far stronger and better paced Act Two, exuberant speed juggler Francois Borie (The Great Gaston), skillful acrobats Anny Laplante and Andrei Kalesnikau (Les Incredibles), and handsome foot jugglers Alejandro and Ricardo Rossi (Fratelli Rossi) notably provide breathtaking, encore-worthy routines of astounding athleticism and showmanship.

The entire proceeding is admirably guided by the grandfatherly charm, narrative magnetism and quick wit of David Williamson as Ringmaster Willy Whipsnade. Williamson’s pleasant banter with impressionable youngsters bolsters the show’s heartwarming nature.

A show within a show

By and large, a lack of story structure is an issue and the show-within-a-show concept would be better served in a one-act format. Even so, the superb talent, mostly derived of generations of circus families from Mexico to Russia, and unique puppetry, under the direction of Mervyn Millar, are worth the price of admission. In fact, the show’s two puppet elephants are the brainchild of London-based Significant Object, the creative puppeteers behind acclaimed drama “War Horse.” Todd Edward Ivins’ eye-catching set, Angela Aaron’s attractively colorful turn of the century costumes, Paul Smith’s dazzlingly evocative lighting, and composer Evan Jolly’s dramatic score are added benefits fueling the captivating look and feel of a bygone era.

It can be argued “Circus 1903” is a programming option more inclined to suit a Las Vegas hotel than a Broadway touring house, but it’s certainly a worthwhile, family-friendly, thrill-inducing spectacle.

“Circus 1903: The Golden Age of Circus” continues through June 18 at 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 and 7:30 pm. Act One: 50 minutes; Act Two: 45 minutes. Tickets are $30-$97. For tickets or more information, call Ticket Center Stage (937) 228-3630 or visit ticketcenterstage.com.

Circus 1903 flies into the Schuster Center!

 

 

 

 

‘First Kisses’ Review –Young at Heart Players – Through the Years

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Jay D. Hanagan’s wonderfully endearing two-hander “First Kisses,” a humorous and touching love story spanning 60 years and a memorable finalist in the 2003 Dayton Playhouse FutureFest, receives a terrific staging courtesy of the senior-themed theater troupe Young at Heart Players at the Dayton Playhouse.

J. Gary Thompson and Annie Pesch portray lifelong friends John and Mary in the Young at Heart Players production of Jay D. Hanagan’s tender dramedy “First Kisses” (Contributed photo by Fran Pesch)

Annie Pesch and J. Gary Thompson are delightfully cast as Mary and John, childhood friends who blossom into spouses while sharing the intimacy of a shack in the woods where they converse and reflect. Portraying a range of ages from 11 to 72 would appear to be a challenging or daunting task, but not for this talented and compatible duo. In fact, Pesch’s ability to vibrantly tap into her inner child with exuberant precociousness and playful spunk certainly aids in setting the correct tone in the opening minutes. Still, both actors bring impressive nuance and versatility to the proceedings, deftly directed by Young at Heart founder Fran Pesch. Thompson is particularly great in a scene which finds the emotionally reserved John finally expressing his love for Mary while hilariously tipsy. Annie, who memorably originated the role of Mary in the FutureFest staged reading also directed by Fran, notably ages gracefully throughout. She finds multiple opportunities to convey meaningful depth whether interpreting Mary’s uncertainties as a spouse or quietly absorbing a life well lived in her golden years. More importantly, Pesch and Thompson are equally captivating in the show’s finest and most dramatic scene involving Mary and John discussing the shakiness in their marriage centered on John’s desire to catch up with his ex-fiancé.
“First Kisses,” nicely accented by Fran Pesch’s set design, Sandy Lemming and Pesch’s costumes, and John A. Falkenbach’s lighting design, is a simple yet charming look at the power of love and the dedicated commitment it takes to make a relationship work and endure. By and large, Mary and John heartwarmingly prove first kisses can last a lifetime.


“First Kisses” continues through Sunday, June 11 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 40 minutes; Act Two: 50 minutes. Tickets are $15 for adults and $12 for seniors and students. Tickets may be purchased at the door. Reservations can be made by calling Fran Pesch at (937) 654-0400. For additional information, visit www.youngatheartplayers.com. Patrons are advised the production contains some adult language.

Human Race Raffle: Win A Trip to Chicago to See Hamilton

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Here’s your chance to win a fabulous time in the Windy City and to see one of the greatest theatrical events of our time while supporting Dayton’s official professional theatre company.

The raffle package includes
Four tickets to a performance of Hamilton at Chicago’s PrivateBank Theatre
Two rooms for two nights at the 5-star Gwen Hotel, compliments of Huffman Travel
A $150 gift card for dinner at  Petterino’s– classic Italian dining, prime steaks and fresh seafood.

Raffle ticket prices
One ticket for $50
Four tickets for $150
(No more than 1,000 tickets will be sold.)

To purchase your raffle tickets:

BUY ONLINE NOW!

Or, in person in the Loft lobby before every performance of On Golden Pond and Family Ties.

The drawing will be held June 25, 2017 following the final matinee performance of Family Ties. Winner need not be present.

The fine print:
The winner must redeem their ticket between August 1, and December 31, 2017.
Ticket stub and valid ID must be presented to The Human Race to redeem.
One month’s prior notice to The Human Race is required in order to make ticket and hotel reservations.
The price of raffle tickets is not tax deductible.
No refunds or exchanges. Prize cannot be returned for cash payment.
The Human Race Theatre Company employees, contractors or their family members are not eligible to enter.
Participants must be 18 years of age to enter.

‘Family Ties’ Review – Human Race Theatre Company – Seems Like Old Times

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Let’s talk TV. In case you hadn’t heard, reboots are the latest nostalgic trend taking pop culture by storm. In fact, a resurrected “Twin Peaks” is currently spooking Showtime, the Disney Channel repackages “That’s So Raven” as “Raven’s Home” next month, deliciously glamourous “Dynasty” will be rebranded for a new generation this fall on the CW, and plans are ongoing for Emmy Award-winning “Roseanne” to return next year to ABC or Netflix. At a time when investing in the untested comes with sizable risk, it is apparent producers are more willing to embrace tried and true projects, particularly derived from titles engrained in the psyche for decades.

The cast of Family Ties. Photo courtesy of Scott Kimmins.

One of those ready-made titles hoping to make big theatrical waves in the future is “Family Ties,” the popular sitcom (1982-1989) concerning the lovable and intellectual Keaton family from Columbus, Ohio. Starring Michael J. Fox, who won three Emmys for his portrayal of Alex P. Keaton, the show, created by Gary David Goldberg, brought relatable wholesomeness and humor to the table with entertaining political and cultural bite. Whenever he wasn’t perturbing his sisters Mallory and Jennifer, conservative Alex enjoyed a battle of wills with his ex-hippie, liberal parents Steven and Elyse. But at the end of the day, their bond always remained heartwarmingly intact.
“Family Ties” is the most recent TV property (now in the hands of CBS) being translated to the stage following a laundry list of classics such as “Cheers,” “Happy Days” and “I Love Lucy” among others. It has received a world premiere courtesy of the Human Race Theatre Company at the Loft Theatre produced by special arrangement with Araca Media & Entertainment. Written by Daniel Goldstein, who helmed an exhilarating and underrated 2011 Broadway revival of “Godspell,” the one-act play borrows certain episodes from the series (most notably “The Real Thing” in which Alex meets his future girlfriend Ellen Reed) as the foundation to tell a fresh story of reunion, forgiveness and heartbreak. Set 20 years later at the Keaton residence circa 2008 (minus little brother Andy Keaton serving overseas in the Peace Corps), the tale centers on Alex’s homecoming detailing exciting news of a run for Congress as well as the announcement he’ll soon be a father. However, laughter and reminiscing ultimately gives way to tragedy, a pivotal component Goldstein doesn’t have a tight grip on. Alex’s arrival contains a great deal of odd insensitivity which seems illogical considering the play’s trajectory toward bereavement. In turn, a series of flashbacks doesn’t necessarily help set the proper groundwork for the play’s plot twist, leaving portions of the dizzying action confusing and perplexing. In many respects, Goldstein wants “Family Ties” to feel emotionally akin to “Next to Normal,” another tale of close-knit family dynamics and underlying sorrow, but it’s a precarious notion. After all, no one wants to feel cheated by conceptual trickery so a better grasp of how this show navigates its time traveling structure is imperative.

The cast of Family Ties. Photo courtesy of Scott Kimmins.

Nevertheless, director Kevin Moore, fluidly helming with an excellent awareness of sitcom sensibilities, assembles an enjoyably cohesive sextet paying fine homage to the essence of their familiar characters. Immensely charming Jim Stanek (who gave a definitive rendition of “Love, I Hear” as Hero in the 1996 Tony Award-nominated revival of “A Funny Thing Happened on the Way to the Forum”) is a thoroughly engaging focal point as Alex, particularly embodying Fox’s quirky persona with energetic glee (notice the way he bounces atop the kitchen counter in true Fox fashion). As Elyse, sitcom icon Eve Plumb, the unforgettable Jan Brady of “The Brady Bunch,” skillfully interprets the speech patterns and tenderly authoritative spirit of Meredith Baxter-Birney while offering a solidly endearing portrayal all her own. One of Plumb’s finest dramatic moments occurs opposite Stanek in flashback when Elyse and Alex debate Alex’s decision to celebrate his 18th birthday with his buddies in West Virginia, a firm reminder of the importance of checks and balances between parents and children. Lawrence Redmond lovingly conveys sincerity and gentleness as Steven and is especially strong in a scene detailing how Steven’s views of fatherhood were affected by his emotionally detached dad. Thea Brooks (whiny Mallory) and Sara Mackie (lively Jennifer) establish an appealing sisterhood. Maggie Lou Rader, mesmerizing in three flashbacks opposite Stanek at his most charismatic, truly delights as Ellen, Alex’s eventual wife.
In addition, set designer Tamara L. Honesty impeccably recreates the Keaton home from the stained glass front door to the linoleum kitchen floor. Janet G. Powell’s contemporary and period attire admirably accent the play’s tone despite the script unfortunately not allowing many costume changes. John Rensel’s lighting design and Jay Brunner’s sound design are expertly rendered, particularly Brunner marvelously turning back the hands of time with radio-inspired finesse. The production also effectively incorporates “Without Us,” the beautifully melodic “Family Ties” theme song, and Billy Vera and The Beaters’ romantic ballad “At This Moment.”

 

Eve Plumb and Jim Stanek Photos courtesy of Scott J. Kimmin

Personally, I’d be head over heels if someone decided to dramatize “Little House on the Prairie,” “Felicity,” “Sex and the City” or “Downton Abbey” to name only a few. So, if you’re a longtime fan of “Family Ties,” I totally understand why you would want to take advantage of catching up with characters who feel like old friends. Just be aware the play is in need of a hiatus in order to determine a clearer, more focused path on the road to substantively fulfilling resonance.

 

“Family Ties” continues through June 25 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. The production is performed in 80 minutes without intermission. Tickets are $12-$40. 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 a post-show talk-back following the Sunday, June 11 performance.

 

‘Wonder of the World’ Review – Dayton Theatre Guild – The Great Escape

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A frustrated and sheltered wife’s decision to turn over a new leaf reaches exciting, shocking, hilarious, and absurd proportions in David Lindsay-Abaire’s whimsical 2001 off-Broadway comedy “Wonder of the World,” excellently produced in its local premiere by the Dayton Theatre Guild.

Photo caption (left to right) Richard Young (Glen), Marcella Balin (Karla), Ian Manuel (Kip Harris), Kari Carter (Cass Harris), Scott Madden (Captain Mike), Debra Strauss (multiple roles), and Kerry Simpson (Lois Coleman) are featured in the Dayton Theatre Guild’s local premiere of David Lindsay-Abaire’s comedy “Wonder of the World” (contributed photo by Craig Roberts)

The absolutely splendid Kari Carter, delivering a knockout Guild debut, impressively drives this kooky if uneven vehicle as the disillusioned yet determined Cass Harris, a free-spirited and conflicted soul longing for adventure and renewed purpose after leaving her husband Kip. Bound for Niagara Falls with a notepad detailing over 280 goals from learning Swedish to wearing velvet, Cass ventures forth to correct mistakes in her life with the hope of finding opportunities to explore possibilities in an attempt to live to the fullest. As is typical in the bizarre and dysfunctional Lindsay-Abaire universe, Cass comes in contact with an assortment of funny eccentrics such as a suicidal alcoholic, goofy private investigators and a clown therapist. His roadmap ultimately grows disjointed (an overlong group therapy scene within the framework of “The Newlywed Game” deflates Act 2), but he appealingly injects great promise into Cass’ journey of self-discovery nonetheless by the end of the play. In fact, the action wonderfully culminates on the rushing waters of Niagara Falls imaginatively staged by director Saul Caplan with black-clad stagehands (the Invisibles) in full view of the audience assisting the action (per the Kabuki tradition of Kuroko).

 
Vividly executing her passionate portrayal with bubbly ease, Carter thrillingly conjures the sitcom-esque vivacity and chatty effervescence of such contemporary comediennes as Sarah Jessica Parker (the original Cass), Lena Dunham, Julie Bowen, and Tracee Ellis Ross. She notably masters the tricky nuances and rhythms enabling the script to remain snappy, witty and conversational while ensuring Cass’ emotional vulnerabilities are evident. As clingy Kip, coping as best as possible with his Barbie fetish, Ian Manuel, in a welcomed return to the Guild, lends very endearing support. He firmly balances Kip’s devotion for Cass with darker undertones giving credence to her choice to seek a new love. Kerry Simpson, in a refreshing principal capacity, is equally winning as Cass’ troubled sidekick Lois Coleman, the aforementioned alcoholic on a mission to become the next Annie Edson Taylor complete with barrel in tow. Marcella Balin and Richard Young are delightfully unified as oddballs Karla and Glen, hired by Kip to track down Cass. Scott Madden is enjoyably pleasant as Maid of the Mist’s Captain Mike, Cass’ desired flame. Debra Strauss is a versatile hoot in multiple zany roles including a helicopter pilot, three waitresses, and a clown. Doug Lowe, Bekki Madden, Carly Risenhoover-Peterson, and Tori T. Tuccillo complete the cast as the dutiful Invisibles, effectively handling the varied moving parts of Richard Lee Waldeck’s efficient set pieces. Linda Sellers’ costumes, Jason Vogel’s lighting design, Ryan Shannon’s sound design, and N. Lynn Brown’s properties and set dressing nicely complement the action.

 
Lindsay-Abaire’s plays include his splendid and heartbreaking 2007 Pulitzer Prize-winning drama “Rabbit Hole” in addition to “Fuddy Meers,” “Good People,” “Kimberly Akimbo,” and “Ripcord.” He also wrote the book and lyrics for “Shrek: The Musical” and the book for the musical “High Fidelity.” “Wonder of the World” isn’t a representation of his best work, but Carter’s wondrously wonderful performance specifically resonates as an affirming reminder to always choose to go on when life gets messy.

 

“Wonder of the World” concludes Sunday, May 28 at 3 p.m. at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act 1 and Act 2 are performed in 60 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. Patrons are advised the production contains adult language, fog effects and the sound of gunshots.

 

 

‘Kinky Boots’ Review – Victoria Theatre Association – Saved By the Heel

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Librettist Harvey Fierstein and composer Cyndi Lauper’s delightfully feel-good 2013 Tony Award-winning Best Musical “Kinky Boots” receives an outstanding local premiere at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

The cast of the national tour of “Kinky Boots” (contributed photo)

Based on the 2005 British film of the same name, this upbeat musical comedy of friendship, acceptance and empowerment primarily concerns the economic woes of Price and Son, a shoe manufacturing company in Northhampton, England in dire need of a new target market. Succeeding his deceased father, frequently frustrated Charlie (passionate understudy Ciarán McCarthy) doesn’t have a clue as to what would really spark a turnaround. However, salvation ultimately arrives at the foot of flamboyant drag queen Lola (dynamically fierce Timothy Ware). Lola’s savvy eye for fashion and Charlie’s desire to tap into a niche market and create sexy women’s boots for men provides the lighthearted, opposites attract-driven fuel which keeps the action endlessly entertaining. Still, by no means is this a show without depth or heart-tugging sincerity. After all, Charlie and Lola’s relationship particularly evolves to a better understanding of each other’s faults and similarities, resulting in impactful moments filled with tender respect and occasionally explosive disrespect.

Timothy Ware, currently starring as Lola in the “Kinky Boots” national tour, was the Broadway Lola standby who performed the role 186 times (contributed photo)

McCarthy and Ware compellingly lead this fantastic tour which rivals the original Broadway production in tone and vivacity while retaining Jerry Mitchell’s expert original direction and choreography. McCarthy doesn’t receive the best musical material (in a lopsided decision, Lauper wrote multiple knockouts for Lola), but brings equal amounts of agitation, determination and introspective vulnerability to the forefront nonetheless. He supplies a first-rate performance giving credence to Charlie’s mission to pave his own trail no matter how far it strayed from his father’s vision. The exceptional Ware, the Broadway Lola standby who performed the role 186 times, attacks the Mead Theatre stage as if it were his personal runway with marvelously magnetic flair. In every saunter, swish, sashay, strut, finger snap, and head twirl, Ware thrillingly breathes vivacious life into Lola’s charming aura, particularly in the super sassy “Land of Lola” and “Sex Is in the Heel.” Both disco-flavored numbers are notably heightened by the mesmerizing talents and athleticism of Lola’s Angels (her fellow drag queens) splendidly portrayed by Joseph Anthony Byrd, Tony d’Alelio, John J. Dempsey, Ian Gallagher Fitzgerald, Xavier Reyes, and Andy Richardson. In addition to showcasing Lola’s natural ability to unify those around her as only she can, Ware’s heartfelt interpretation of “Not My Father’s Son” and roof-raising “Hold Me in Your Heart” endearingly explores Lola’s emotional baggage stemming from being raised by an intolerant father.

 
Elsewhere, excellent featured portrayals are delivered by perky understudy Erica Peck (offering a very playful rendition of “The History of Wrong Guys” in the role of Lauren, a Price and Son employee with a huge crush on Charlie), Katerina Papacostas as Charlie’s fiancé Nicola, Jim J. Bullock as overseer George, Aaron Walpole as bigoted Don, Madge Dietrich as loyal Pat, and Dan Tracy as Charlie’s longtime friend Harry.
The uniformly terrific creative team includes scenic designer David Rockwell, costumer Gregg Barnes (supplying specifically striking attire for Lola and her Angels), lighting designer Kenneth Posner, sound designer John Shivers, hair designer Josh Marquette, and make-up designer Randy Houston Mercer. Music director Roberto Sinha leads a solid orchestra.
If you need a proud and strong reminder that it’s okay to love who you are, let “Kinky Boots” bolster your declaration to just be.

 

“Kinky Boots” continues through May 28 in the Mead Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 pm. Act One: 70 minutes; Act Two: 40 minutes. Tickets are $30-$97. For tickets or more information, call Ticket Center Stage (937) 228-3630 or visit ticketcenterstage.com.

 

 

 

The Human Race Theatre Company Launches World Premiere of Family Ties

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One of the most beloved television families of the 1980s is set to make a long awaited return in the world premiere of Family Ties, written by Daniel Goldstein (The Song of Songs, Unknown Soldier and Row), based on the classic television series, directed by The Human Race’s President & Artistic Director Kevin Moore and produced by special arrangement by Araca Media & Entertainment.

Twenty years have passed and Alex P. Keaton, now running for Congress, returns to his parents’ Columbus home with his sisters, Mallory and Jennifer, who are parents of their own. Gathered together once again, they relive some of the most important moments from their childhood – the growing pains, heartbreaks and reconciliations – with fondness and appreciation for simpler times that defined a generation. The preview performance of Family Ties is Thursday, June 1. Opening night is Friday, June 2, and the production runs through June 25 at The Human Race’s home at downtown Dayton’s Loft Theatre.

 

Responsible for shepherding Goldstein’s play through development, New York City-based Araca Media & Entertainment believed the stage version of Family Ties—a series about a family living in central Ohio—should make its debut in the Buckeye State when it brought the property to The Human Race’s Kevin Moore in 2016. “To be hand selected as the theatre to bring this show to life is a huge honor, and speaks to our national reputation,” beams Moore, who has directed and produced dozens of new plays and musicals over the past thirty years. “Developing new works has become a vital part of our mission,” explains Moore, “and working with playwright Danny Goldstein has been a joy and privilege. Theatre is never more exciting than when you are creating something for the first time.”

Unlike most new works, Family Ties has the added benefit of nostalgia for Moore, and likely much of the country. “Being a TV show that I watched faithfully, I am thrilled to be able to continue the Keatons’ story,” he says, “and to find out how life played out for these characters who I, and America, loved for seven seasons.” While preparing for rehearsals on the play, which revisits many poignant moments in the characters’ lives twenty years earlier, Moore spent time watching and reviewing episodes from the television series. “The research—if I may call binge watching ‘research’—was refreshing.” He explains, “I was reminded how many tough and timeless issues are tackled in Family Ties, and how smart the writing of the TV show is. Yes, it is a comedy, but good comedy comes from good drama. And that’s what we’re really all about at The Human Race.”

 

 

CAST AND DESIGN TEAM

The six-member cast features Jim Stanek (Fun Home, Lestat, The Rivals on Broadway) as “Alex,” Eve Plumb (TV’s The Brady Bunch, Dawn: Portrait of a Teenage Runaway and Fudge, Unbroken Circle Off-Broadway) as “Elyse” and Lawrence Redmond (Intelligence at Arena Stage, A Prayer for Owen Meany at Cincinnati Playhouse in the Park, Elmer Gantry at Signature Theatre) as “Steven.” Thea Brooks (Dirty Dancing 1st national tour, I Love Lucy, Live on Stage national tour) plays “Mallory,” Sara Mackie (Hands on a Hardbody and Other Desert Cities at Ensemble Theatre of Cincinnati, Green Gables for HRTC) is the youngest daughter, “Jennifer.” Maggie Lou Rader (Heavier Than… at Know Theatre Cincinnati, Emma and Little Women at Cincinnati Shakespeare Company) rounds out the ensemble as Alex’s love interest, “Ellen.”

 

The creative team includes Tamara L. Honesty (Other Desert Cities, Becky’s New Car and Lombardi at HRTC), scenic design; Janet G. Powell (Sweeney Todd, The Full Monty and the world premiere of Family Shots at HRTC), costume design; Human Race Resident Artist John Rensel (The Glass Menagerie, Crowns and Next to Normal for HRTC), lighting design; Human Race Resident Artist Jay Brunner (the world premiere of 26 Pebbles, The Glass Menagerie and Hail Mary! at HRTC) sound design; and Lexi Muller, production stage manager.

 

Family Ties reunites audiences with one of the most beloved television families of the 1980s. Twenty years have passed and Alex P. Keaton, now running for Congress, returns to his parents’ Columbus home with his sisters, Mallory and Jennifer, who are parents of their own. Gathered together once again, they relive some of the most important moments from their childhood—the growing pains, heartbreaks and reconciliations—with fondness and appreciation for simpler times that defined a generation.

 

 

Performance and special event information

Tickets for the preview performance of Family Ties on June 1 start at $35 for adults, $32 for seniors and $17.50 for students. For all performances June 2 – 25, single ticket prices start at $40 for adults, $37 for seniors and $20 for students. Prices vary depending on the day of the week and seating location. Group discounts are available for parties of 10 or more. The Human Race is offering a pair of discount ticket opportunities during the run of the show. A limited number of $12 and $25 side-area seats are available in advance for all performances. The Sunday, June 4 7:00 p.m. performance is “Sawbuck Sunday,” when any available seat can be purchased in person for just $10 at the Loft Theatre box office two hours prior to the show. Discounts are subject to availability and some restrictions apply.

 

All performances are at The Human Race’s home in the Metropolitan Art Center’s Loft Theatre, located at 126 North Main Street in downtown Dayton, Ohio. Show times for Family Ties are 8:00 p.m. on Thursday, Friday and Saturday evenings. Performances on Sunday, Tuesday and Wednesday evenings begin at 7:00 p.m., and at 2:00 p.m. on Sunday matinees.

 

Tickets and performance information for Family Ties are available at www.humanracetheatre.org or by calling Ticket Center Stage at (937) 228-3630, and at the Schuster Center box office.

 

 

 

The FreakShow Family Show

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From FreakShow Deluxe – Hollywood’s own & ONLY carnival-style sideshow comes THE FREAKSHOW FAMILY SHOW!

A show full of sideshow stunts, comedy, western arts, mentalism, magic, and more – ALL LIVE! ALL REAL! This is their ONLY scheduled Dayton, Ohio appearance. If you miss the chance to see this LIVE – you’ll have to wait until they are on TV again.

Dayton Playhouse FutureFest Plays Announced – Call for Actors

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The Dayton Playhouse will hold auditions for its annual “FutureFest” new play festival on the following dates: May 29 & 30 at 7 p.m. Fully staged plays will audition on Monday and staged readings on Tuesday.

FutureFest is a festival of previously unproduced plays, which have been submitted by playwrights across the United States. Hundreds of submissions are read and the top six are selected to be performed at the festival. Playwrights of these plays will attend the festival, as will five professional adjudicators from across the country. Three plays will be performed as staged readings and three will be fully staged over the 3-day festival. Feedback will be given by adjudicators and audience members and a festival winner will be selected. This year marks the 27th FutureFest, which is the largest new play festival in the country sponsored by a community theatre.

The finalists in this year’s “FutureFest” include:

First, Do No Harm by J. Thalia Cunningham of Delmar, NY (staged reading)

Synopsis: Our recent election galvanized a tsunami of concerns about race and healthcare.

The CDC reported black Americans suffer higher rates of disability and preventable diseases than non-minorities. While blatant discrimination is no longer rampant, stereotyping persists. Hospitals emphasize the need for cultural diversity but, perhaps, have fallen short. Inspired by a real case, FIRST, DO NO HARM is the story of two African American mothers journeying along parallel paths of grief and guilt. It doesn’t attempt to answer the questions raised. There are no easy answers, and no single clinical guideline is useful in unraveling the spectrum of human physical, mental, and emotional response to illness.

 

5 actors (4F, 1 M) with doubling

  1. ELISSA KERRY – 40s, African-American, surgeon and mother.
  2. ALISON TAYLOR – 40s, Caucasian, Elissa’s wife, a family physician.

MATTIE CLESTER – 50s, African-American woman, uneducated but street smart.

DWAYNE HATCHER – 50s, Hospital CEO, African-American. Comes from a Ben Carson background, but has a

Donald Trump attitude (also plays various other small parts).

FEMALE ACTOR – Scrub nurse, Valerie, Patient Advocate, Medical Board Nurse.

 

The Spanish Prayer Book by Angela J Davis of Los Angeles, CA (staged reading)

Synopsis: In 2007, a committed atheist inherits a collection of rare and extremely valuable illustrated Hebrew manuscripts, including a prayer book from fourteenth-century Spain.  Financial struggles and a child’s recent hospitalization favor an initial plan to auction the books.  A moral dilemma, historical mystery, and matters of the heart converge, however, following the discovery that the books, which bear witness to overlapping Jewish and Islamic traditions, were stolen, some six-hundred years after their creation, from a library in Berlin. Inspired by true events and a late twentieth-century court case, and using images from the books themselves, the play explores the allure of sacred manuscripts, the ethical issues generated by cultural treasures displaced during wartime, and the power of art to forge human connections.

6 actors (3 F, 3 M) with doubling

JACOB ADLER – 80s; beloved emeritus history professor and progressive rabbi. Gentle and understated, a man of Talmudic wisdom and agonizing secrets.

JOAN ADLER – 70s; Jacob’s wife, raised in London. Cosmopolitan and frank, especially when it comes to the

patriarchies of academia and organized religion.

MICHAELA ADLER – 40s; Jacob and Joan’s daughter. A long-time atheist who has abandoned a legal career to

teach inner city kids. Attractive and reasonably well presented, but also divorced, exhausted, and broke.

JULIEN NAZIR – 40s; Jacob’s protégé, a non-practicing Muslim, born in the Middle East and educated in the

West. Handsome, accomplished, and socially conscious; a tenured historian at Berkeley, currently

guest teaching in London.

ALEXANDER ADLER – 60s; a rabbi born in Budapest, but a mystic of many times and places. Well-versed in

Jewish texts, but favoring life and humanity above all. The same actor plays CHRISTOPHER HOWELL,

a British newspaper reporter.

CHANNA WILD – 30s; reserved, highly intelligent, and beautiful librarian at the Hebrew Institute of Berlin.

The same actor plays an icy auction house ASSISTANT and a nervous male LAW CLERK

 

 

Wake by Vince Gatton of New York, NY (staged reading)

Synopsis: Dan and Eric have a new marriage license, a new baby, and a new house in the country. As they settle into this new life, Dan is having what seem to be sleepwalking episodes. A ghost story told by a young visitor leads Eric to suspect that Dan’s sleepwalking is actually something far more sinister — but is it what he thinks it is? Or are there other forces at work? WAKE is a ghost story for the post-AIDS generation, a play about marriage, expectations, and the power of narrative to both heal and harm.

 

5 actors (1 F, 4 M)

DAN – 45 – 50, Caucasian, married to ERIC.

ERIC – 30 – ish, Caucasian, married to DAN.

TERRELL – 45 – 50, African – American, friend of DAN.

ESME- 20s, African – American, niece of TERRELL.

CHARLIE – 30-ish, friend of ERIC.

Magnificent Hubba Hubba by Olga Humphrey of New York, NY (fully staged)

Synopsis: A teenage boy tracks down his downtrodden, fiery, and foulmouthed idol –“The Magnificent Hubba Hubba” – an old-time woman wrestler now over 70 and working as a greeter at a hotel casino. He aims to set up the rematch of the century between her and her arch rival of years gone by. But what he really wants is to win the love of her estranged granddaughter, a high school wrestling star who hates his guts. A comedy about how true passion never grows old, and sometimes the best partnerships are the most unlikely ones.

 

7 actors (5 F, 2 M) with doubling

LUCILLE – 70s

ROY – 16

ALICE – 70s

LULU – 16

ZANE – 70s, ANNOUNCER

WANDA, NADYA, YOUNG LUCILLE, REFEREE (20s-50s)

TEDDY, NURSE, YOUNG ALICE, HOSTESS (20s-30s)

 

 

On Pine Knoll Street by Mark Cornell of Chapel Hill, NC (fully staged)

Synopsis: Thelma is a colorful and quick-witted 87-year old woman struggling with her memory.  Her devoted daughter Marilyn, with whom she now lives, is trying to make the best of the situation.  When Marilyn asks her neighbor Curtis, a struggling writer and stay-at-home father, to care for her mother and her beloved cats while she is at the beach, it sets in motion a friendship that tethers two families.  Funny and heartbreaking, On Pine Knoll Street is an intimate look at the joy and fragility of life, the meaning of home, and the things we do for love.

 

5 actors (3 F, 1 M, 1 boy)

THELMA – 87, F

MARILYN – 52, F

CURTIS – 40, M

KRISTIE – 38, F

MITCHELL – 8, M

 

The Puppeteer by Desiree York of Rancho Santa Margarita, CA (fully staged)

Synopsis: When Constance, a 1920’s jazz singer, chooses to stand on her own, not only is her name carried on through multiple generations, but so is her determination to find an identity in an ever changing world. Spanning five generations, starting in the Harlem Renaissance and ending in present day, the women from one African-American family struggle to overcome the roles assigned to them by society in order to find their way home.

7 actors (5 F, 2 M)

CONSTANCE/CONNIE (played by the same actress) – 20s – mid 30s, African – American woman ROBERT/CHRISTOPHER (played by the same actor) – role spans 20s -late 40s, Caucasian man

ERNIE/MR. HOTCHKISS (played by the same actor )- 30s – 40s, Caucasian man

MISS DUNSTON – 20, Caucasian woman

MRS. COVINGTON – Early – mid 20s, Caucasian woman

  1. JENKINS – Early – mid 30s, Caucasian woman
  2. EVANS – role spans early 50s – early 70s, Caucasian woman.

 

Auditions will consist of cold readings from the scripts. Full cast information is also available at www.daytonplayhouse.com.

Auditions will be held at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton, OH 45414.   Those auditioning should bring a list of any scheduling conflicts through July 23. Rehearsals are typically in the evening, or on weekends.

FutureFest performances will be July 21-23. Weekend passes are $100 and will be available soon by calling the box office at 937-424-8477. The box office is staffed Mondays and Wednesdays from 1:30 – 3:30 p.m., however messages may be left at any time and calls will be returned. Tickets to individual performances will be $18.

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,” a festival of new plays.

 

 

 

 

‘Ragtime’ Review –Dayton Playhouse – The American Experience

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Musically glorious and undeniably relevant now more than ever, the 1998 Tony Award-winning musical drama “Ragtime” remains an emotionally riveting look at the dawn of the 20th century as evidenced in the Dayton Playhouse’s commendably crowd-pleasing production.

Tia Seay (Sarah) and Kip Moore (Coalhouse Walker, Jr.) sing “Wheels of a Dream” (Photo by Art Fabian)

An epic account of race relations and cultural change set in and around New York beginning in 1902, “Ragtime” skillfully interweaves three compelling, familial stories rooted in the pursuit of the American Dream. White, upper-crust New Rochelle traditionalists, close-knit blacks embracing a new form of musical expression wafting throughout Harlem, and Eastern European immigrants hoping for a better life powerfully collide in a palpable sea of misunderstanding. Pulled apart by their differences, these well-defined groups are vividly accented by historical figures whose legacies defined the era such as magician Harry Houdini, vaudeville star Evelyn Nesbit, financier J.P. Morgan, industrialist Henry Ford, controversial political activist Emma Goldman, and African-American scholar Booker T. Washington.
Librettist Terrence McNally, astutely adapting E.L. Doctrow’s acclaimed 1975 novel of the same name, impressively balances the dramatic arcs of the characters and sweeping themes. In fact, one group isn’t more important or significant than another, which can be considered the true test of the show’s greatness ultimately displayed in its depiction of a lovingly blended family. Further, lyricist Lynn Ahrens and composer Stephen Flaherty’s splendid score, one of the finest of the 1990s, wondrously captivates with thrilling anthems (“Wheels of a Dream,” “Back to Before,” “Make Them Hear You”), tender ballads (“Your Daddy’s Son,” “Gliding,” “Our Children”), and ensemble-driven gems (“Ragtime,” “Crime of the Century,” “Getting Ready Rag,” “Till We Reach That Day,” “Atlantic City”). Due to the cohesive strengths of this Tony-winning creative team, currently represented on Broadway with the outstanding if underappreciated musical “Anastasia,” “Ragtime” is a rare breed of musical in which the show itself is the star.
The sophisticated citizens of New Rochelle leap forth by way of Father (Jeff Sams), Mother (Rachel Jensen), Mother’s Younger Brother (Garrett Young), Grandfather (Brian Sharp), and Little Boy (Avi Gilbert). Musician Coalhouse Walker, Jr. (Kip Moore) and his girlfriend Sarah (Tia Seay) are examples of African-American struggle. Tateh (Ron Maurer) and his Little Girl (Peyton Deutsch) represent the aforementioned throng of immigrants bravely determined to make America their new land of opportunity. When Mother finds Sarah’s newborn baby buried in her garden, an extremely chilling turning point, a flurry of pivotal events unfold. Eventually, Coalhouse, scarred by racism and discrimination, turns to anarchy, Tateh evolves from poor peddler to prominent film director, and Mother turns her reticence into empowerment.

The cast of “Ragtime” perform “New Music” (Photo by Art Fabian)

Moore, an endearing knockout bursting with likability and charm, winningly handles the score’s vocal demands, specifically immersing himself lyrically into “Wheels of a Dream” with aplomb. Seay, well-paired with Moore in a beautifully stylized performance befitting her classical training, renders one of the most heartbreaking, regret-tinged renditions of “Your Daddy’s Son” I have heard (her pause before the final verse is an inspired moment of unrushed potency). Jensen, a Playhouse newcomer and fine soprano, takes time to settle into Mother’s domain, but thankfully trades her presentational instincts for a deeper, more well-rounded characterization as the stakes are raised, solidifying her portrayal with a stirring rendition of “Back to Before.” The terrifically authoritative and hard-nosed Sams, commanding attention with every tap of his cane, gives credence to Father’s annoyed dismay at the world around him as his values are put to the test. Young, another Playhouse newcomer, sincerely conveys Younger Brother’s introverted innocence, but is somewhat of a perplexing paradox throughout due to his inability to break free of the role’s timid shell. Sharp offers delightful deadpan humor as the family curmudgeon. Gilbert, a memorable Randy in La Comedia Dinner Theatre’s regional premiere of “A Christmas Story: The Musical,” brings adorable wonder to the whimsicality inherent within the Little Boy. Maurer, passionately optimistic and frustrated as Tateh’s rocky journey of acceptance transpires, fuels the warmth of “Gliding” and “Our Children” but is also very fun and playful in “Buffalo Nickel Photoplay, Inc.” Maurer also establishes a caring bond with the mostly mute yet winsome Deutsch.
Elsewhere, Becky Howard is wonderfully fiery as Emma Goldman, Hayley Penchoff cutely beguiles as Eveyln Nesbit, and Andrea Wilborn (Sarah’s Friend) absolutely brings down the house at the close of Act 1 leading a soulfully sanctified rendition of “Till We Reach That Day.” Michael Shannon, Brad Bishop and Franklin Johnson are also respectively convincing as J.P. Morgan, Henry Ford, and Booker T. Washington. Michael Plaugher is miscast as Houdini but committed nevertheless. Jack Enix is smile-inducing as Coalhouse Walker III. Renee Franck-Reed, Jamie Pavlofsky, Tim Rezash, and Richard Lee Waldeck effectively bolster the score’s magnitude as an off-stage quartet (Rezash and Waldeck also join the action in featured roles). The large ensemble cast includes Krissy McKim Barker, Damon Barnett, Jr., Shayla James Birdsong, Shanna Camancho, John Carrington, Zenobia Curtis, Jackie Darnell, Shaun Diggs, Juan Gabriel Encarnacion, Kiersten Farmer, Tamar Fishbein, Michael Groomes, Adee McFarland, Robert McAdory, Carrin Ragland, Thomas Schoen, Jai-Ln Stafford, and Malcolm Walker.

 
Matthew W. Smith’s fluid direction is an asset considering the scope of the tale and its many musical numbers. Even when the stage is overcrowded, a strong sense of community remains palpable. In fact, “New Music,” my favorite song in the score, appropriately reaches grand operatic heights as Seay, exhibiting perfect timing and clear purpose, climatically joins Moore for one of the most blissful reunions in the musical theater canon. In addition, choreographer Nabachwa Ssensalo (formerly of Dayton Contemporary Dance Company) and guest choreographers Michael Shepherd and SMAG Dance Collective founder Groomes create flavorfully first-rate routines marvelously demonstrating character-in-dance, specifically the rousing, encore-worthy “Getting Ready Rag” (Groomes, Encarnacion and the ever-reliable Walker, strutting and swaying with finesse, are standouts among the personable Harlem ensemble). Musical director Ron Kindell’s excellent 18-piece orchestra is placed front and center, a great visual due to the score’s magnificent grandeur, but they often overpower the microphoned cast. Theresa Kahle’s attractive period costumes are culturally distinctive, but I’m curious why parasols are absent in “Atlantic City.” Chris “Red” Newman’s efficient set pieces, John Falkenbach’s lighting design, Heather Campbell Martin’s properties, Bob Kovach’s sound design, and Steve Burton’s wig design are equally noteworthy.

(center left to right) Malcolm Walker, Kip Moore (Coalhouse Walker, Jr.) and Michael Groomes perform “Getting Ready Rag” with the Harlem ensemble (Photo by Art Fabian)

As our polarized country continues to navigate shifting winds whether cultural (Black Lives Matter) or political (the rise of Trumpism), may “Ragtime” forever stand as a beacon for what makes America truly great.

 

“Ragtime” continues through May 21 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 p.m. Fridays and Saturdays; 2 p.m. Sundays. Act One: 95 minutes; Act Two: 60 minutes. Tickets are $18 for adults and $16 for seniors, students and military. For tickets or more information, visit www.daytonplayhouse.com.

DCDC’s Sheri “Sparkle” Williams Recognized For Life in Dance

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Sheri “Sparkle” Williams performs Sky Garden in 2001. Photo Credit: Andy Snow

Longtime Dayton Contemporary Dance Company dancer Sheri “Sparkle” Williams is the 2017 recipient of the OhioDance Award for Outstanding Contributions to the Advancement of the Dance Art Form.

The award recognizes choreographers and dance artists dedicated to both the creation of new work and the preservation of dance history. Williams will receive the award on stage Saturday, April 29 at the BalletMet Performance Space in Columbus during the 2017 OhioDance Festival.

Williams has been dancing with the Dayton Contemporary Dance Company for 43 years. The award is well-earned, DCDC Artistic Director Debbie Blunden-Diggs said.

“Anybody who has been able to sustain a career like Sheri — it’s amazing and long overdue,” Blunden-Diggs said.


A Dayton native, Williams began dancing at age nine when she followed her best friend, Thelma, to a ballet class taught by DCDC founder Jeraldyne Blunden. Within two weeks, Williams was taking all the classes Jeraldyne offered.

“I liked moving, the flow, learning to use the body differently,” Williams recalled. “In little old Dayton, Jeraldyne made it happen, and we ate it up.”

The dance performances that most impacted her were Ulysses Dove’s Vespers, now a modern classic, and Dwight Rhoden’s Growth, a solo work that was originally choreographed for a man but has since been performed internationally by Williams.

In 2012, Williams was the subject of the documentary film “Sparkle,” which followed her recovery from an onstage hip injury that nearly ended her dance career. The documentary won the Audience Award at the AFI SilverDocs Film Festival.

Throughout her career, Williams has picked up numerous other accolades, including a coveted New York Dance & Performance Award (the Bessie) in 2002 and the Ohio Arts Council’s Individual Artist Award in 2014.

“I’ve been lucky to nurture audiences through the years, right here at home,” Williams said. “Anytime someone even thinks I should be the recipient of an award — I’m honored.”

This article originally appeared on the Dayton Contemporary Dance Company website.

Dayton Story Slam wraps up Season with Last Open Mic

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Sandra Combs, Story Slam regular

Story Slamm Dayton is set to host it’s 8th Open Mic Storytelling event on Tuesday the 18th at Wiley’s Comedy Joint in the Oregon District. The Story Slamm hosts tellers from all walks of life and uses The Moth Storytelling format.  

Stories told at Slamms are all told live and in the first person. Stories are personal, true and are told around each month’s theme. April’s theme is “Something Old, Something New”.

November Story Slamm winner, Nate Washington!

The public is welcome to attend and contribute a story. Storytellers are encouraged to prepare a 5- minute story relating to the theme and place their name in the hat. Tellers are drawn at random and the best story of the night, as voted on by judges selected from the audience, wins $50 and an invite to the Grandslamm event to be held on May 23!

Doors open at 6:30pm, $5 gets you in and stories start at 7:00pm.   Cash bar and appetizer menu available.

DMM TICKET GIVEAWAY
If you’d like to be DMM’s guest at this show just leave a comment below about why you we should pick you and we’ll select 2 winners to be added to our guest list for a pair of tickets each.