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4 Reasons to Go See ‘Motown’

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The toe-tapping, hand-clapping and incredibly soulful national tour of “Motown the Musical,” presented by the Victoria Theatre Association’s Premier Health Broadway Series, continues through Sunday, April 16 at the Schuster Center.

Chester Gregory (Berry Gordy) and the cast of Motown (Photo by Joan Marcus)

Nominated for four 2013 Tony Awards, “Motown” chronicles the highs and lows of the iconic Detroit-based record label founded by Berry Gordy (vividly portrayed by Chester Gregory of Broadway’s “Sister Act” and “Tarzan”). Using the framework of the label’s famed 25th anniversary concert in 1983, the show depicts how Gordy meticulously molded the careers of some of the most influential African-American artists in recording history including Diana Ross, Smokey Robinson, Marvin Gaye, and Michael Jackson. Nearly 60 classic songs accent the story which breezily follows the label through eventful periods of joy, promise, heartbreak, and turmoil.
Here are four reasons why you should see this entertaining crowd-pleaser, which is notably staged by Dayton native Schele Williams who served as associate director on the original Broadway production working closely with Gordy and director Charles Randolph-Wright.

 

THERE’S MORE TO THE STORY
Based on Gordy’s 1994 book “To Be Loved: The Music, The Magic, The Memories of Motown,” “Motown” is by no means a tribute concert. The music certainly bolsters the action, but Gordy doesn’t cheat the audience by simply letting the songs tell the story. Although he stood by his creed stating “competition breeds champions,” Gordy faced considerable adversity. He frankly details the infighting, jealousy, racism, contractual predicaments, financial calamites, and misunderstandings that occurred. Interestingly, he devotes significant time to his relationship with Diana Ross (a wonderfully engaging and elegant Allison Semmes dazzlingly costumed by “Project Runway” finalist Emilio Sosa), but thankfully other key players get their due. “At Motown, we called ourselves a family,” Gordy says in the show’s production notes. “And we were – a big family.”

ACTORS EMBODY SPIRIT OF LEGENDS

David Kaverman as Smokey Robinson in Motown (Photo by Joan Marcus)


The cast of “Motown,” which includes Wright State University graduate Jeremy Gaston of Springfield, is uniquely required to portray individuals firmly cemented in the hearts and minds of generations of music lovers. Moreover, many of these legendary artists are still alive. However, the challenge is handled skillfully from the aforementioned Gregory and Semmes (who starred in the show’s 2016 Broadway return engagement) to the quietly endearing David Kaverman as tunesmith Smokey Robinson. “Smokey is a cool dude with a poet’s heart,” Kaverman said. “I’m capturing his essence –not impersonating him. Smokey is very charismatic and star quality exudes from him. He did so much for Motown, particularly bringing many acts from the neighborhood to the label like The Supremes. But the director and creative team (stressed the importance) that we are playing real people with real personalities who had real input. Every moment in the show is a moment that actually happened and has weight. Berry Gordy gave us notes on how to portray the characters as well. I also met Smokey Robinson when the tour was in L.A. so it was great to get his stamp of approval.”

 

NOSTALGIA FUELED BY CAVALCADE OF HITS
Martha and the Vandellas said it best: “All you need is music, sweet music.” And you can’t get any better than the cavalcade of hits in this showcase, vibrantly choreographed by Patricia Wilcox and Warren Adams, including “Dancing in the Street,” “Shop Around,” “My Guy,” “You’re All I Need to Get By,” “Please, Mr. Postman,” “Get Ready,” “Ain’t Too Proud to Beg,” “What’s Going On,” “Reach Out (I’ll Be There),” “You’ve Really Got a Hold on Me,” “Stop in the Name of Love,” and “My Girl.” “The music is so nostalgic,” Kaverman noted. “People gravitate toward music they heard in their teens or 20s and that describes our audience. The music really captured a romanticized sense of love as well. The music still pervades our culture today because it’s so good. Whether you hear these songs on the radio or in a grocery store, they will always be with us and in us as Americans.”

 

A SPECIAL SING-A-LONG
Adhering to the fact that music is a universal and unifying language, “Motown” brings the audience to the forefront in Act 2. Semmes’ charming rendition of “Reach Out and Touch” evolves into a heartwarming sing-a-long bound to leave a smile on your face. “Hearing the audience sing and wave their hands is a beautiful moment,” Kaverman said. “People who typically go to church might be used to acknowledging the person next to them, but it rarely happens in the theater. It’s a moment that allows the audience to understand that we’re all in this world and this country and this show together. It’s a message of togetherness that’s very creative.”

 


“Motown the Musical” concludes today at the Schuster Center, Second and Main Streets, Dayton. Performances are at 2 and 7:30 p.m. Tickets are $30-$97. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

 

‘Dogfight’ Review –Dare to Defy Productions – Innocence Lost

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Composers Benj Pasek and Justin Paul and librettist Peter Duchan’s compelling, unnerving and romantic 2012 off-Broadway musical “Dogfight” receives a terrific regional premiere courtesy of Dare to Defy Productions in the Mathile Theatre of the Schuster Center.

Mackensie King as Rose Fenny and Ray Zupp as Eddie Birdlace in Dare to Defy Productions’ presentation of “Dogfight: The Musical” (Contributed photo)

Based on the 1991 film of the same name and set in 1960s San Francisco, “Dogfight,” deftly directed by Angie Thacker, is craftily told in flashback. At the center is a trio of young marines nicknamed The Three Bees: Eddie Birdlace, distraught and disillusioned; Boland, viewing duty to country and comrades as chief above all; and Bernstein, a straight-laced nerd determined to lose his virginity. Before deploying to seemingly uneventful Vietnam, they decide to have one final evening of rowdy fun by coordinating a dogfight, a mean game in which each member seeks to bring the ugliest date to a party and earn the collected winnings. However, when Eddie chooses shy waitress Rose Fenny, he inadvertently makes a much-needed leap into adulthood bolstered by valuable lessons in tolerance and acceptance. In fact, during one pivotal moment, Eddie adamantly tells Rose, “I don’t care what you look like.” She responds, “I wish you would.” At the outset, the story hints that not all will end well for Eddie or his close band of brothers (an unfortunately underwritten group), especially as views of patriotism and Vietnam shift greatly during its course. Nonetheless, there is hope that through Rose’s influence, a redemptive Eddie will become a better man, perhaps fulfilling his purpose beyond what he originally thought possible.

 
Long before Pasek and Paul took Hollywood by storm winning an Academy Award for writing the lyrics to “City of Stars” from “La La Land,” they molded their witty and insightful character-driven songwriting here with many Broadway and pop/rock influences. Eddie and Rose’s “Come to a Party” contains conversational shades of Jonathan Larson’s “Rent.” Rose’s beguiling and introspectively jumpy “Nothing Short of Wonderful” recalls the works of Stephen Sondheim and Adam Guettel. The rousing “Hey, Good Lookin’” and the thrilling yet devastatingly false anthem “Hometown Hero’s Ticker Tape Parade,” defiantly warning “no confetti for the boys who stayed,” fits comfortably into Billy Joel and Jason Robert Brown’s wheelhouse. Pasek and Paul could win a Tony and Pulitzer Prize this spring for their luminous hit “Dear Evan Hansen,” but “Dogfight” remains a signature moment of evolution for their fantastic partnership.

 
The outstanding duo of Ray Zupp and Mackensie King are perfectly compatible while navigating the complexities within Eddie and Rose. Zupp, arrogant yet tender with sharp intensity, truly masters Eddie’s charming duality of appearing brutish with his buddies and outright vulnerable with Rose. He also vividly expresses Eddie’s insecure quandary of holding tightly to his tough guy façade when he’s actually attempting to simply figure out his place in the world. In one of her finest roles, King, appropriately introverted but far from a pushover, accomplishes the feat of ensuring the emotionally wounded Rose is credibly openhearted enough to look past Eddie’s immaturity and recognize his potential. It’s tough to love a jerk, but King’s grasp of Rose’s dilemma and her willingness to forgive resonates.

 
Thacker’s excellent, vocally strong cast is also filled with commendable featured players. The commanding Layne Roate dynamically intimidates with Southern swagger as cocky Boland. Bobby Mitchum, a bundle of energy and nervous trepidation, delights as bespectacled Bernstein. Tia Seay brings comedic flavor to her portrayal of shrewd and savvy Marcy, Boland’s deceitful date. Seay also joins King for a marvelous rendition of the fiery title song in which Marcy and Rose come to terms with the cruelty of the game. David Baker (Stevens), Jesse Daniel (Fector), Brett Norgaard (Gibbs), and TC Schreier provide enthusiastic vigor as fellow marines. Skyler McNeely offers lighthearted levity throughout in multiple roles. Danielle DeLorme (Mama), Samantha Creech (Ruth Two Bears) and Natalie Sanders are also effective, especially Creech’s funny choices during the dogfight.

 
In addition, Zupp’s striking scenic design, complete with a tattered American flag as an ominous backdrop, aptly evokes the memory play concept inherent in the material. Olivia Dakin’s fine assortment of period-appropriate wardrobe includes an endearingly tacky costume party outfit for King. Choreographer Lisa Glover skillfully establishes conversation in dance in the sprightly “Hey, Good-Lookin.’” Along with Lorri Topping’s music direction, the show notably features a six-piece orchestra accented with splendid piano accompaniment from conductor Nick Garvin.

 

“Dogfight” stings but it’s an unforgettable experience. Don’t miss it.

 
“Dogfight: The Musical” continues through April 8 inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Act One: 60 minutes; Act Two: 50 minutes. Performances are 8 p.m. Friday and 2 and 8 p.m. Saturday. Tickets range from $19.50-$24.50. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. The production contains adult themes and language. Patrons should also note understudy Jesse Daniel portrays Eddie Birdlace at the Saturday matinee.

This Must Be The Party!

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This Must Be the Party! is a brand new benefit show produced by the Dayton Ballet Barre, as a fundraiser for the Dayton Ballet. This “dance party for the dancers” is a special collaboration by the region’s most talented musicians, performing songs from The Talking Head’s epic 80’s rockumentary “Stop Making Sense.” This classic performance will be recreated by this fantastic ensemble on Saturday April 15th at Oddbody’s Music Room. Doors open at 8pm, and Show runs from 9pm–11:30pm. The best part is that it’s a super affordable way to support the Arts in Dayton: Just $15 for pre-sale tickets or $20 at the door, day of show. 18+

Libby Ballengee, President of the Dayton Ballet Barre and a local music promoter through her own music production company, Venus Child Productions, explains the origin and inspiration for this event: “It was an easy ‘win’ all around – the Ballet Barre needed a fundraiser, a group of musicians wanted a reason to perform this album (because it’s so fun!), and lots of my friends would be in heaven if we did this show. I could not be more excited for this show! This is truly going to be an extremely fun event!”

The incredible line-up of Dayton, Cincinnati and Louisville musicians performing include: Brian Hoeflich, Patrick Himes, Nathan Lewis, Erich Reith, Greg Lewis, Aaron Holm, Dan Hereford, Keith Cost, Khrys Blank, Mykal, John Dubuc, Nathan Peters, Brian Spirk, Eric Cassidy, and Matt Byanski.

Big thanks go out to the sponsors of this event: Houser Asphalt & Concrete, Nightstar Security, Turner Property Services Group, On-the-Go Prints, and Oddbody’s Music Room.

How to go?

Saturday April 15th 2017 at Oddbody’s Music Room.

Doors 8pm. Show 9pm. 18+ with valid ID.

$15 advance. $20 day of show.

For tickets: https://www.ticketfly.com/purchase/event/1437688

‘The Elephant Man’ Review – Dayton Theatre Guild – Beauty Underneath

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Transformation has always been a wondrously inherent part of theater magic. So, without reservation, I assure you Jared Mola’s splendidly visceral and physically impressive embodiment of John Merrick in the Dayton Theatre Guild’s excellent production of Bernard Pomerance’s thought-provoking 1979 Tony Award-winning drama “The Elephant Man” provides one of the finest transformations you’ll see on any stage in the Miami Valley this season.

(l to r) Patrick Hayes as Frederick Treves and Jared Mola as John Merrick in the Dayton Theatre Guild’s production of “The Elephant Man” (Photo by Craig Roberts)

Anyone familiar with Mola’s credits will not be surprised by this latest revelation. After all, he’s already proven his chameleon prowess in a string of dynamically lived-in performances ranging from dim-witted Roy Manual in “Nice People Dancing to Good Country Music” to intensely crazed Robert Renfield in “Dracula,” and most recently, the utterly distressed yet honestly hopeful Prior Walter in “Angels in America: Perestroika.” Still, John Merrick is in a completely different league because of the challenging physicality it requires. Without the benefit of makeup or prosthetics, Mola must become, with every fiber of his being, the startlingly deformed freak show attraction who ultimately and remarkably hobnobbed with the Victorian elite at London Hospital. He smoothly handles the physical stresses of this demanding exercise (you can sense the pain in his crooked posture as well as his curved hands and feet), but he’s savvy enough to ensure his incredibly astute portrayal isn’t just about physique. On the contrary, his compelling work is rooted in nuance, charm, wit, wonderment, and gratitude. As these attributes heighten the potent value of the story’s rags-to-riches allure and telling look at society’s treatment of the “other,” Merrick’s magnetism doesn’t wane. Whether facing ridicule from gawkers or an angry mob or astonishing the upper-class willing to see beyond the surface and into his soul, he commands our attention. We cannot look away, and thanks to Mola, there’s no reason why we should.
Elsewhere, Patrick Hayes, returning to the Guild stage for the first time since 2013’s “The Pillowman,” is greatly inquisitive and concerned if calculatingly cerebral as Dr. Frederick Treves, Merrick’s savior, champion and friend. Hayes navigates his complicated role well, but there are times I wish he wasn’t so emotionally reserved, particularly as Treves grows regretful and hopeless about his own insecurities. The elegant and inviting Heather Martin warmly and sophisticatedly portrays Mrs. Kendal, a celebrated actress guiding Merrick into enlightening conversations about “Romeo and Juliet” and intriguing facets of femininity. As Ross, Merrick’s shady manager, Jim Lockwood is terrifically demanding in an Act 2 showdown with Mola when Ross begs Merrick to return to the freak show. Geoff Burkman brings cool authority and scientific reasoning to his sharp portrayal of Carr Gomm, the administrator of London Hospital influential to securing funding for Merrick to remain at the hospital for life. Kevin Grego, Mark Reuter, Melissa Kerr Ertsgaard, Meredith Hollingsworth, and Lorin Dineen are firm and colorful in multiple roles.
David Shough’s deftly fluid staging, an asset considering the play’s episodic nature, is accented by his fittingly circus-inspired, Merrick-as-the-main-attraction, show-within-a-show concept and co-scenic design with Chris “Red” Newman complete with efficient moving pieces. N. Lynn Brown’s lovely assortment of attractive period costumes and J. Gary Thompson’s sound design are also praiseworthy.
One of the play’s most striking moments involves a clever role reversal in which Merrick offers a lecture on Treves’ deformities. It is the only time Mola appears outside the physical boundaries of the role, giving credence to his fascinating versatility and the overall breadth of his achievement.

 

“The Elephant Man” continues through April 2 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: 45 minutes; Act Two: 40 minutes. Tickets are $19 for adults, $17 for seniors and $12 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org. Patrons are advised the play contains brief nudity.

 

 

‘9 to 5’ – Wright State University – Divine Vengeance of the Corporate Sisterhood

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Broadway is abuzz about a certain matchmaker’s overdue return, but the Dolly I’d like to bring to your attention can be found atop center stage at Wright State University’s first-rate production of the 2009 Tony Award-nominated musical comedy “9 to 5” inside the Festival Playhouse of the Creative Arts Center.

(center) Meredith Zahn as Judy Bernly, Bailey Edmonds as Violet Newstead, and Natalie Girard as Doralee Rhodes in Wright State University’s production of Dolly Parton and Patricia Resnick’s 2009 Tony Award-nominated musical comedy “9 to 5” (Photo by Erin Pence)

No, Dolly Parton isn’t actually roaming or haunting the CAC these days, but her gleefully earthy, videotaped narration is a huge part of the great charm abundantly flowing from this delightfully humorous yet incredibly stinging satire of female empowerment in the workplace circa 1979. It’s true this show would be just fine without Dolly (her narration was not part of the Broadway production), but she will always represent the film’s nostalgic appeal nonetheless due to her iconic, toe-tapping title tune, one of the best movie songs never to win an Academy Award.

Based on the popular 1980 film of the same name starring Parton, Lily Tomlin and Jane Fonda, “9 to 5,” featuring a libretto by original screenwriter Patricia Resnick, bluntly examines discrimination and sexism as Violet Newstead, Doralee Rhodes and Judy Bernly join forces to put their “sexist, egotistical, lying, hypocritical bigot” boss Franklin Hart, Jr. in his place. During a night of partying, the trio playfully imagines how they’d kill Franklin, but through a series of accidental shenanigans they eventually kidnap him and smoothly turn Consolidated into a rejuvenated utopia of productivity, positivity and promise. One of the joys of Resnick’s witty and relevant script stems from the ladies joining in solidarity to accomplish the seemingly impossible. Sure, one of them could have taken the lead and received the credit, but the fact that the three of them became stronger together as friends, women and brave examples makes all the difference in the world.

Firmly directed with a keen comical eye by Greg Hellems, assuring the action is continually bolstered by Violet, Doralee and Judy’s compatibility, the production is enjoyably and respectively led by Bailey Edmonds, Natalie Girard and Meredith Zahn. The lovably stern Edmonds, notably beginning Act 2 with a snazzy rendition of “One of the Boys,” one of many new tuneful if generic songs Parton wrote for the stage version, effectively interprets Violet’s desire for advancement having been bypassed for promotions by those she particularly trained. Girard, a recent knockout as Heather Chandler in “Heathers: The Musical,” completely inhabits the required Southern delicacy and spitfire attack necessary to portray the bubbly vivacious Doralee. She effortlessly accomplishes the amazing feat of being on par with the original actress actually present in spirit. Does it get any better than that? In addition to her hilariously impeccable delivery of Doralee’s fiery speech putting to rest a workplace rumor, Girard supplies dynamic vocals during introspective moments (“Backwoods Barbie”) and spirited anthems (“Shine Like the Sun,” “Change It”). Zahn, elegantly dancing up a storm earlier this season as Lucille Early in “No, No, Nanette,” endearingly conveys Judy’s sweet naivety and specific determination to start anew, leading to a wondrously life-affirming rendition of “Get Out and Stay Out” late in Act 2 that nearly stops the show.

Elsewhere, Joey Logan is despicably good as the one-dimensional, utterly insensitive Franklin, shrewdly and eerily injecting shades of President Trump when the mood suggests. Emily Chodan scores big laughs as nosey secretary Roz Keith who secretly pines for Franklin with sensual abandon in the aptly titled “Heart to Hart.” Zach Fretag (Violet’s love interest/co-worker Joe), David Emery (Doralee’s husband Dwayne), Joey Kennedy (Violet’s son Josh and a standout among the male ensemble in “One of the Boys”), Eli Davis (Judy’s ex-husband Dick), Mackenzie Kasbaum (tipsy Margaret), and Cody Westbrook (Tinsworthy in the deliciously playful vein of Leslie Jordan) are notable among an excellent ensemble cast.

Choreographer Megan Wean Sears’ lively and character-conscious routines, Michael S. Brewer’s efficient set design, Jessica Drayton’s expert lighting, Emily Sollinger’s colorful period attire, and music director Scot Woolley’s rip-roaring orchestra are also noteworthy.

Women have made significant strides in the nearly 40 years since “9 to 5” took America by storm, but there’s still room for growth from equal pay to reproductive health care to the presidency. Let us aim to keep moving forward until the tide turns and rolls everyone’s way.

 

“9 to 5: The Musical”continues through April 2 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are March 30 at 7 p.m.; March 24, 25, 31, and April 1 at 8 p.m.; and March 25, 26, April 1 and 2 at 2 p.m. Act One: 80 minutes; Act Two: 45 minutes. Tickets are $22 for adults and $20 students and seniors. For tickets or more information, call (937) 775-2500 or visit www.wright.edu/theatre-tickets.

 

 

 

 

 

 

 

“Toruk” Flies into Nutter and Amazes

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After attending last evening’s premier of Toruk The First Flight, as told by world-renowned Cirque Du Soleil and inspired by James Cameron’s magical Avatar, I realize I learned two important lessons while being entertained more than I have been in ages: there is life outside our own planet, and the inhabitants of at least one of those worlds are in MUCH better shape than me! The nonstop performance and acrobatic displays made me truly appreciate the passion of the players and their ability to display that passion nonstop for the duration of the show. And flawlessly, I might add. Films are great but shot over long periods of time, and edited for the big screen. “Toruk” plays out “live” before our eyes.

I’ve been reviewing for nearly four decades and the one thing most reviewers face is to tell what we witnessed without revealing too much for those who will be attending. As with all Cirque performances the real entertainment is the majesty and breath-taking acrobatics, and “Toruk” lives up to that promise from the opening scene to the curtain call.

A Storyteller walks us through a story that took place on Pandora long ago, as the people of Pandora were facing a great time of struggle. Toruk is a giant, magnificent winged “monster” feared by most. The story takes us on a journey of two childhood friends, as close as brothers, in their coming-of-age training to become great hunters. The ultimate of their hunting adventures is to face Toruk and save their people. That salvation takes an ironic, yet visually spectacular, turn as the story winds down.

I have heard some suggest that “Avatar” (the inspiration) may be too old for some to remember and that the story and its magnificent set are too “busy” for some to follow the story. I suggest neither is the case. “Avatar” introduced us to a magical new world and the “busyness“ of what should be an award-winning set kept us on the edge of our seats all-performance long! If I have one suggestion, although I have no solution for it, some form of subtitling would benefit at times since most in the audience don’t speak or understand Pandorese.

The journey of the two friends takes us through earthquakes, floods and fires that you truly buy into as actually happening before your eyes. Peppered in amongst those elements are the signature death-defying performances that have made Cirque a household name by a team of global actors and technicians. From the moment we took our seats until our exit, we escaped totally to another blue world and lived the sadness, struggles, battles and joys. And after all, isn’t that what an evening away from reality is supposed to do?

TORUK – The First Flight is performing at the Wright State Nutter Center in Dayton, OH from March 22-26th 2017.  For more information and full schedule visit www.cirquedusoleil.com/toruk.

I’m told great seats are still available. Box Office 937-775-4789

 

This guest post is written by Mike Scinto, a veteran radio/TV talk show host, award-winning columnist and a USAF disabled veteran

Cirque du Soleil Show at Nutter Center – Ticket Give Away!

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Toruk – The First Flight, inspired by James Cameron’s Avatar, Cirque du Soleil transports you to the world of Pandora in a visually stunning live setting. Experience a storytelling odyssey through a new world of imagination, discovery and possibility.

With 7 performances at the Nutter Center from March 22- 26th, this show begins 3,000 years before the movie takes place, long before humans ventured to the moon Pandora.  Tickets run from $35-100 and are available through Ticketmaster.

DaytonMostMetro.com has your ticket hook up.  Like, Share and Comment on this post for a chance to win a pair of tickets for this show.

“When a natural catastrophe threatens to destroy the sacred Tree of Souls, Ralu and Entu, two Omaticaya boys on the brink of adulthood, fearlessly decide to take matters into their own hands. Upon learning that Toruk can help them save the Tree of Souls, they set out, together with their newfound friend Tsyal, on a quest high up in the Floating Mountains to find the mighty red and orange predator that rules the Pandoran sky. Prophecy is fulfilled when a pure soul rises among the clans to ride Toruk for the first time and save the Na’vi from a terrible fate.”

 

 

 

In an effort to bring audience members involvement to a whole new level, Cirque du Soleil will be launching a first-of-its-kind app for TORUK – The First Flight. The app will enhance the overall show experience and enable audience members to be a part of the action before, during and after the performance!

Before spectators even enter the arena, they can download the TORUK mobile app to immerse themselves into the world of Pandora to learn more about the characters and mythical storyline inspired by James Cameron’s movie “Avatar.”

Throughout the performance, the app will facilitate communication between the spectator and the show’s visual effects behind the scenes, creating a personalized experience delivered directly to the mobile device based on their interaction with the app and location in the theatre.

After the show, spectators can continue to engage with TORUK through interactive images, videos and content that extends their experience.

Read Between the Lines with DCDC March 4th & 5th

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Photo by Paul B. Goode

Last year, the Dayton Contemporary Dance Company was awarded the highly-coveted Bessie award for Outstanding Revival, for it’s revival of Donald McKayle’s iconic “Rainbow ‘Round My Shoulder.” The Huffington Post listed it as one of the top 10 dance performances for 2016.

Daytonians have the opportunity to see this work, along with two others, as part of DCDC’s newest production “Vantage Points: A Read Between the Lines,” March 4 & 5 on Dayton’s historic Victoria Theatre stage.

 

 

“It is very interesting that a piece choreographed in 1959 — by a master choreographer — is still very resonant, and unfortunately very relevant, today,” DCDC Artistic Director Blunden-Diggs said. Alastair Macaulay, dance critic for the New York Times wrote “Rainbow evokes how much there was for many African-Americans to transcend. It’s a strong piece of American dance history; I’m grateful to have seen it.”

The concert lineup also includes the world premiere of a new work by Ray Mercer, a longtime cast member of Broadway’s “The Lion King.” Mercer’s new work pulls the viewer into the choreographer’s mind to experience dance from the choreographer’s vantage point.

 

 

The concert doesn’t quite fall in Black History Month, but the audience could extend the celebration into that first March weekend with the show, Blunden-Diggs said. “To be able to put these works on stage that have been created by us, for us, makes a really strong statement,” she said. “Come celebrate black history with us, because DCDC is black history.”

The show is sponsored by the Dayton Power & Light Foundation with media sponsor Synchrony Financial. Catch it at 7:30 p.m. Saturday, March 4 and 4 p.m. Sunday, March 5. Individual and group tickets are available at ticketcenterstage.com or by calling the box office at 937-228-3630.

For more information on DCDC and our upcoming shows, visit dcdc.org, and connect with us on social media: follow @daytoncontemporarydancecompany on Facebook and Instagram or @DCDCLive on Twitter.

How to Go? Vantage Points: A Read Between the Lines

Saturday, March 4, 2017 | 7:30 pm
Sunday, March 5, 2017 | 4:00 pm
Victoria Theatre, 138 North Main Street, Dayton, Ohio

Tickets start at $24.50 +

‘Paris,’ ‘Phantom’ and more headline Victoria season

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A delightful assortment of Broadway crowd-pleasers comprise the Victoria Theatre Association’s very strong 2017-2018 season.

The VTA’s Premier Health Broadway Series, Projects Unlimited Star Attractions, Morris Company Family Series, and National Geographic Live! Series were announced Monday, Feb. 27 in the Mead Theatre of the Schuster Center. Overseen by VTA President and CEO Ken Neufeld who revealed titles along with staff members, the ceremony, framed by the welcoming theme “Our Stages Await,” gathered over 650 Victoria ticket holders, donors, sponsors, and friends.

Phantom of the Opera



The upbeat, six-show Broadway Series consists of Lin-Manuel Miranda’s Hispanic-meets-hip-hop “In the Heights” (the 2010 Tony Award winner for Best Musical), the local premiere of the 2015 Gershwin-inspired musical “An American in Paris” (featuring director/choreographer Christopher Wheeldon’s absolutely gorgeous Tony Award-winning choreography), Rodgers and Hammerstein’s “The Sound of Music” (a brand new production superbly reconceived by Tony Award-winning director Jack O’Brien of “Hairspray”), the local premiere of the charmingly silly 2016 Tony Award-nominated Renaissance spoof “Something Rotten!” (playfully directed and choreographed by Casey Nicholaw of “The Book of Mormon”), the return of Andrew Lloyd Webber’s blockbuster “The Phantom of the Opera” (featuring new staging and design), and the local premiere of the 2014 Tony and Grammy Award-winning hit “Beautiful –The Carole King Musical” (chronicling the rise of King’s career as an iconic songwriter).

Something Rotten!

In addition, the Pittsburgh CLO and Kansas City Starlight’s production of Disney’s “The Little Mermaid” will kick off the Projects Unlimited Star Attractions, a promising slate including the Bollywood-driven “Mystic India,” “A Christmas Carol,” “A Christmas Story” (a collaboration with the Human Race Theatre Company), and the return of illusionist Adam Trent.

Surprise guests included Sarah Bockel who understudies the role of Carole King in the Broadway production of “Beautiful” and Nick Rashad Burroughs currently on tour as the Minstrel in “Something Rotten!” Bockel particularly performed King’s tender ballad “Will You Still Love Me Tomorrow” and toe-tapping “Beautiful.”

“Carole King” is such an inspiration,” Bockel said. “Her lyrics are so simple yet deep that anyone can connect with them. ‘A Natural Woman’ means so many things to so many people, (the feeling) you’re perfect the way you are. This show is about an everyday woman – a daughter, a mom, a wife – who is just trying to live her best life. She’s trying to take care of the people she loves. She’s a woman going through heartbreak but in doing so finds herself.”
‘‘Something Rotten!’ is ridiculously funny,” Burroughs noted. “It’s truly a love letter to musicals that’s lighthearted and tuneful.”

Musical selections were also offered by three students from Wright State University’s Musical Theatre Department. Eli Davis introduced “An American in Paris” and “The Phantom of the Opera.” Lauren Everett performed “My Favorite Things” from “The Sound of Music.” Alejandra Solis performed “Breathe” from “In the Heights.”

 

Premier Health Broadway Series
(all shows at Schuster Center)

 

In the Heights (Oct. 3-8, 2017)

 

An American in Paris (Nov. 7-12, 2017)

 

The Sound of Music (Feb. 13-18, 2018)

 

Something Rotten! (March 20-25, 2018)

 

The Phantom of the Opera (April 11-22, 2018)

 

Beautiful: The Carole King Musical (May 22-27, 2018)

Projects Unlimited Star Attractions
Disney’s The Little Mermaid (Aug. 8-13, 2017– Schuster Center)

 

Mystic India: The World Tour (Oct. 26, 2017 – Schuster Center)

 

A Christmas Carol (Nov. 28-29, 2017 – Victoria Theatre)


The Illusionists Present Adam Trent (Dec. 3, 2017 – Schuster Center)

 

A Christmas Story (Dec 12-17, 2017 – Victoria Theatre)

 

Morris Furniture Company Family Series
(all shows at Victoria Theatre)

 

How I Became a Pirate (Nov. 4, 2017)

 

Mr. Popper’s Penguins (Jan. 20, 2018)

 

Step Afrika! (March 3, 2018)

 

Journey to Oz (April 7-8, 2018)

 

The Olate Dogs Variety Show: Rescue Tour (May 5, 2018)

 

National Geographic Live! Series
(TBA, all lectures at Victoria Theatre)

 


Season tickets are on sale for the Premier Health Broadway Series. New Season Ticket Holders will be seated once current Season Ticket Holders’ renewals are fulfilled. Renewal packets for all current Premier Health Broadway Series Season ticket holders will mail Feb. 28. The deadline for current season ticket holders to request changes to Broadway Season ticket packages is March 13. The deadline to renew 2017-2018 Broadway Season Ticket packages is March 20.  Season Ticket sales for the Morris Furniture Company Family Series and National Geographic Live Series begin later in the spring, as well as new packages for the Projects Unlimited Star Attractions. Additional Star Attractions will be announced at a later date. For more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.victoriaheatre.com

 

 

A FREE Taste of the Arts in Centerville

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On Sunday, March 12, 2017 at 3 p.m. in the Centerville High School Central Theater, 500 E. Franklin Street, Centerville, Ohio, the Dayton Performing Arts Alliance will present “A Taste of the Arts.” This performance has been made possible by generous funding from the City of Centerville and the Centerville Arts Commission. This concert is free and open to the public.

This exciting program is a collaboration of Dayton Opera, Dayton Ballet, and Dayton Philharmonic and will showcase all three art forms in the intimate setting of the Centerville High School Central Theater. In July 2012, leadership of these three art forms announced a groundbreaking and innovative merger, forging the three iconic Dayton performing arts companies into one organization named the Dayton Performing Arts Alliance, the first merged arts organization of its kind in the nation.

This afternoon performance will shine a spotlight on the Dayton Performing Arts Alliance and its offerings, bringing the talent and musicianship of its artists from each art form out into the community of Centerville. Dayton Opera Artistic Director Thomas Bankston, Dayton Philharmonic Artistic Director and Conductor Neal Gittleman, and Dayton Ballet Artistic Director Karen Russo Burke have collaborated to assemble a wonderful afternoon of music, dance, and song.

The program will begin with a beautiful selection of chamber music, including Mozart’s lovely Eine Kleine Nachtmusik, performed by Dayton Philharmonic Orchestra string quartet comprising violinist Aurelian Oprea, violinist William Manley, violist Sheridan Currie, and cellist Christina Coletta.

The afternoon continues with a delightful performance by Dayton Ballet dancers Margot Aknin, Peter Kurta, Annalise Woller and Case Bodamer, with a captivating trio from Leonard Bernstein’s Divertimento, including “Mazurka,” “Samba,” and “Turkey Trot.” Choreography for these engaging musical selections was created by Case Bodamer.

To conclude the program, young artists from Dayton Opera’s prestigious 2017 Artists-in-Residence program – soprano Chelsea Friedlander, mezzo-soprano Elizabeth Frey, tenor Brian Skoog, and bass-baritone Vincent Grana – will perform a selection of favorite opera arias, with accompaniment by Dayton Opera Artists-in-Residence Music Director Jeffrey Powell.

Directly following the performance, the Dayton Performing Arts Alliance will hold a friendly, casual “Community Conversation” to hear what residents of the greater Dayton community think about the arts and cultural scene in general and the Dayton Ballet, Dayton Opera and Dayton Philharmonic in particular.

Local Women Set To Bring Adaptation Of “The Vagina Monologues” To The Stage

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It’s hard to imagine what was going through author Eve Ensler’s mind on October 3, 1996.

Standing front and center on the HERE Arts Center stage in New York City, Ensler performed an episodic play she wrote titled The Vagina Monologues.  The show was supposed to be centered on interviews Ensler conducted with over two hundred women; questions were primarily on sex and relationships.  As Ensler got deeper into her conversations with these women, she began hearing horrific stories on sexual abuse and violence.  What was originally Ensler’s vision- to “celebrate the vagina” – The Vagina Monologues has become a movement to stop the senseless violence against women around the world.

On February 18-20, the women of the Black Box Improv Theater in downtown Dayton will be added to the list of those who will have performed the award-winning play.  How to show goes is each member will step onto the stage and present an already prepared monologue.  The subject matter will contain stories that involve love and sex, but also heavier subjects (rape, female genital mutilation) as well.

The women’s participation of this show is also in support of V-Day, a global movement to end violence against women and to support local organizations.  “This is an important issue for everyone. An average of three women are murdered every day due to domestic violence.  I think we can all agree that violence against women and girls must stop,” said Black Box performer Libby Scancarello, who is producing and directing the show.  “I’ve produced this event twice before to raise money for local organizations. I am happy to be presenting it again with the women of this theater, who are so talented and diverse.”

For the local adaptation of The Vagina Monologues, all of the proceeds will be going to The Family Abuse Shelter of Miami County, Inc.  Established in 1979, the shelter helps provide assistance for any woman man, with or without children, who lack a safe, stable place to live.  Victims of sexual assault, human trafficking, domestic violence, along with homeless individuals and families are offered immediate housing and protection.  “We’re grateful for Libby and this team of women,” said Barbara Holman, Director of the Family Abuse Shelter of Miami County. “The women, men, and children we serve will benefit in critical ways from the proceeds of this show.”

Seventeen years later – internationally performed, along with a television version produced by HBO – Ensler’s The Vagina Monologues has become and still continues to be one of the most powerful plays ever.  With the women of the Black Box Improv Theater’s show, it should be undoubtedly become a staple each year.

Tickets are $50 each and can be purchased at daytonblackbox.com. There are three showtimes to choose from:

  • Saturday, February 18, 2pm

  • Sunday, February 19, 8pm

  • Monday, February 20, 8pm

The Black Box Improv Theater is located at 518 E 3rd St, Dayton, OH 45402.

‘The Children’s Hour’ Review – Wright State University – Alternative Facts Run Amok

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Two schoolteachers accused of lesbianism at an all-girls boarding school cannot escape the onslaught of lies encircling them in Lillian Hellman’s provocative, rarely staged 1934 drama “The Children’s Hour,” excellently presented by Wright State University under the delicately firm direction of Marya Spring Cordes.

(left to right) Megan Valle (Mrs. Amelia Tilford), Zac Pruett (Dr. Joseph Cardin), Katie Post (Karen Wright), and Haley Knuth (Martha Dobie) appear in Wright State University’s production of Lillian Hellman’s “The Children’s Hour.” (Contributed photo by Chris Snyder)

Karen Wright (Katie Post) and Martha Dobie (Haley Knuth) are shocked to the core when troublesome 12-year-old student Mary Tilford (Dana Bixler) tells her stern yet doting grandmother Amelia (Megan Valle) what she thinks she heard about their behavior behind closed doors. As Mary’s vicious falsehoods spin out of control, Karen’s engagement to good-natured Dr. Joseph Cardin (Zac Pruett) is put to the test while an infuriated Martha ultimately faces a harsh reality.

 
Hellman’s Pulitzer Prize-nominated script, inspired by an 1810 incident at a school in Edinburgh, Scotland, is very impactful but overlong and a bit stodgy. There’s also a peculiarity in the climax some might find terribly cold or downright humorous depending on one’s mood. Nevertheless, the keen perspectives Hellman presents from bullying to intolerance to same-sex desires to the power of manipulation are truly relevant (and Arthur Miller-esque) in the wake of current societal and political strife.

 
Post and Knuth are heartbreaking and emotionally savvy, giving subtle insight into the depths of Karen and Martha’s relationship without suggesting anything more than friendship. In fact, notice how this talented duo beautifully consoles each other with a blanket in Act 2, a visual that speaks volumes in its warmth and sensitivity. The spiritedly vindictive Bixler, the epitome of a spoiled brat on the verge of utter psychosis, is a tremendous force to be reckoned with as Mary orchestrates her madness. The very endearing Pruett effectively conveys Joe’s loyalty to Karen and his heartfelt understanding of her deep bond with Martha. Valle, a skillful chameleon memorably dynamic last summer as the Mute in Columbus’ Short North Stage’s “The Fantasticks,” marvelously grasps Amelia’s elderly austerity as well as her pivotal uncertainty when faced with Mary’s wild claims.

 
The strong cast includes Caitlin Shiner as Mrs. Lily Mortar, Brynnan McNeill (terrific opposite Bixler) as naïve Rosalie Wells, Madeline Musico (eavesdropping with “Downton Abbey”-style finesse) as Amelia’s maid Agatha, Heather Cooperman as Peggy Rogers, Rachel Woeste as Evelyn Munn, Taylor Patrick as Lois Fisher, Drew Longmore as Helen Burton, Kayli Modell as Catherine, Celia Arthur as Janet, Donnasia Allen as Leslie, and Grant Measures as Grocery Boy.
Cordes’ first-rate artistic team includes scenic designer David J. Castellano (projections heighten his fine work smoothly depicting altering locales), lighting designer Jennifer Watson (evocatively incorporating shadow as the story grows bleak), costumer Naomi Reisner (supplying attractive period attire), and sound designer Rachel Haas.

 
In addition, it’s significant to note “The Children’s Hour,” filmed in 1961 starring Audrey Hepburn and Shirley MacLaine, was the subject of one of the first landmark court cases to address censorship of gay and lesbian subject matter. The show was to play Boston after its acclaimed Broadway run but was banned by the city’s public censor because of its “lesbian content.” In 1936, the play’s producer and the American Civil Liberties Union partnered to challenge the ruling in federal court, marking the A.C.L.U.’s first “gay rights” case and prompting censorship of gay-themed content in the arts to become part of the national conversation.

 
“The Children’s Hour” continues through Feb. 12 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Act One: 100 minutes; Act Two: 50 minutes. Tickets are $22 for adults and $20 students and seniors. For more information, call (937) 775-2500 or visit wright.edu/theatre-tickets. Patrons are advised the play is intended for adult audiences.

 

 

Love, Yearning, Passion, Romanticism: Dayton Ballet Presents Daring Duets

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On Thursday, February 9 at 7:30 pm; Friday, February 10 at 8 pm; Saturday, February 11 at 8 pm; and  Sunday, February 12 at 3 pm in the Victoria Theatre, the Dayton Ballet is thrilled to present Daring Duets, the third ballet of the 2016–2017 Excite Season. The Thursday evening performance of Daring Duets includes a Pizza Prelude from Uno’s Pizzeria to be served in the Victoria lobby beginning at 7 pm.
Artistic Director Karen Russo Burke and Dayton Ballet bring an exciting new ballet repertory program entitled Daring Duets to the Victoria Theatre stage, celebrating the complexities of the relationship shared between couples. The program will feature the full Dayton Ballet Company as they partner with one another to present some of the most well-known and most exciting, new, original pas de deux ever to grace the Victoria stage. The program comprises eight unique ballets that range from classical to neoclassical to contemporary, in an in-depth look at how two people join together to dance on stage as one.  Interviews with dancers and choreographers will shed light between dances in a video presentation made possible by the generosity of the Miriam Rosenthal Foundation for the Arts.

“Pas de Deux is French for ‘Step of Two’ and is what partnering is called in ballet. By dancing with a partner, the lady can jump higher, take positions she would never be able to on her own, and ‘float’ about the stage as she is carried by her partner. A partner allows a man to extend his line and show off his strength.” (www.the-ballet.com) Dayton Ballet presents an exhilarating evening of duets, or pas de deux, choreographed with this very definition in mind.

Dayton Ballet is thrilled to be able to dance a pas de deux from the late dance legend Antony Tudor, a George Balanchine contemporary who has been hailed as the “artistic conscience of American Ballet Theatre” from the moment he joined ABT for its founding season in 1940. This February, Dayton Ballet will dance his famous pas de deux from the ballet The Leaves Are Fading. This exquisite pas de deux was originally danced under Tudor’s direction in 1975 by Amanda McKerrow and John Gardner, two of America’s most acclaimed and talented dancers of the 20th century. Ms. McKerrow and Mr. Gardner will work in studio directly with Dayton Ballet dancers to set this beautiful piece for Dayton Ballet. The Antony Tudor Ballet Trust was formed after Tudor’s death in 1987 with the mission of securing the legacy of Tudor’s great ballets. The Trust is exceptionally selective of the ballet companies with which it works, so Dayton Ballet is truly honored to be able to pay tribute to the ballet genius of Antony Tudor with this performance.

Dayton Ballet is also excited to welcome choreographer Nicole Haskins to its studios as she sets her engaging pas de deux La Linea Scura, choreographed to music of the same name by Italian pianist Ludovico Einaudi. Haskins hails from Venice Beach, California, and has danced professionally with well-known companies across the country, including Sacramento Ballet, Kansas City Ballet, and Washington Ballet. Haskins, an experienced choreographer as well, has worked in the past with several Dayton Ballet dancers, and she comes to Dayton to set her beautiful pas de deux La Linea Scura this month.  Ms. Haskins’ work on La Linea Scura is made possible by the Dermot Burke Fund.

The dancers of Dayton Ballet will also present more classical works, including the famous Grand Pas de Deux from Don Quixote, a dance teeming with passion, energy and bravado. Set to the impeccable music of nineteenth-century Czech composer Ludwig Minkus, Don Quixote was originally choreographed by French/Russian dancer and choreographer Marius Petipa in 1869.  It is Petipa’s original choreography that Dayton Ballet Artistic Director Karen Russo Burke will use to set this traditional ballet for this performance.

In addition to these three selections, Burke will present five other works, highlighting the strength, expertise, and superb partnering skills of each dancer in the Dayton Ballet company. Dayton is invited to spend a romantic Valentine’s Day engulfed by the beauty and elegance of the purest expression of emotion between two dancers—the pas de deux—in Daring Duets.

Before each performance, Ms. Burke will hold a pre-performance talk called “The First Step,” giving audience members a more in-depth look at the upcoming performance and a behind-the-scenes peek at Dayton Ballet.  “The First Step” will be held 45 minutes prior to curtain time for each performance in the Burnell Roberts Room at 126 North Main Street, beside the Victoria Theatre.  “Behind the Ballet,” a Q&A with dancers that gives audiences the opportunity to learn more about the life of a dancer with Dayton Ballet, will follow each performance in the theatre.  “The First Step” and “Behind the Ballet” sessions are free of charge for all ticketholders.

Tickets for Daring Duets are $21 to $72 and are available at Ticket Center Stage (937) 228-3630 or online at www.daytonperformingarts.org. Looking for a sweet deal for your sweetie this Valentines weekend?  All tickets now 50% off using code “DUETS” call (888) 228-3630Senior, teacher and student discounts available at box office.

’26 Pebbles’ Review – Human Race Theatre Company – Healing in the Aftermath

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The tragic December 14, 2012 shooting at Sandy Hook Elementary School in Newtown, Connecticut, which took the lives of 20 children and six adults, is examined with relatable earnestness and resilience in Eric Ulloa’s touching if uneven new play “26 Pebbles,” currently receiving its professional premiere from the Human Race Theatre Company.

All photo’s courtesy of Scott J. Kimmins

Six months after the incident, Ulloa, a New York actor and playwright recently featured in the entertaining new Gloria and Emilio Estefan bio- musical “On Your Feet!,” traveled to Newtown for answers. Angry and frustrated, he sought solace in discovering how the quaint community was affected by such a heinous act. He held over 60 interviews with various residents which became the catalyst for the monologue-heavy, one-act play.

Ulloa has said “26 Pebbles” can be viewed as a contemporary offshoot of Thornton Wilder’s classic drama “Our Town,” but I find its theatrical DNA akin to Moises Kaufman and the Tectonic Theater Project’s Matthew Shepard-inspired, interview-driven drama “The Laramie Project.” In fact, his play could use more of the realistic bite and edge which gives “Laramie” its palpable sting. I understand his desire to keep the structure Americana-infused with the folksy charm of Grover’s Corners, but it’s not an absolutely engaging decision. In fact, the opening sequence, set in a town hall, is a cutesy introduction that doesn’t go anywhere. Practically 15 minutes is spent convincing the audience why Newtown is a fantastic and welcoming place to live (even a meteor shower is praised) when five minutes or less would have sufficed. Thankfully, the action quickly kicks into gear (and scenic designer Scott J. Kimmins’ wonderfully efficient set terrifically disconnects) when reflections of the shooting occurs. The sea of frantic responses, the disbelief of New England utopia coming under siege, is very invigorating, providing some of director Igor Goldin’s strongest moments of stagecraft.


Now I understand there might be reticence in Ulloa dwelling on 20-year-old shooter Adam Lanza, but this play finds its footing in its insightful debate of what went wrong inside Lanza’s home and inside his psyche. Everyone knows blame makes for great drama. After all, we wouldn’t feel the same about the Wingfields or the Tyrones or the Maxsons without it. So, it’s not surprising Lanza’s mental illness, detachment, isolationism, his upbringing as a child of divorce, the laundry list of weapons in his possession, and even his good qualities provide compelling fodder. Also, when one woman suggests it takes a village to raise a child, it intriguingly brings into question Newtown bearing responsibility for Lanza’s behavior. It is a thought-provoking nugget gently raising the stakes for the play. It’s perfectly fine to know Newtown received over 63,700 teddy bears, but darker, uncomfortable shades shouldn’t be ignored, especially in the pursuit of the impactful.

Goldin’s excellently chameleonic sextet, nicely dressed in upper-middle class everyday fashion courtesy of costumer Jessica Pitcairn, weaves through multiple roles with fluidity and magnetism. Christine Brunner is warmly winning as an Australian adjusting to life in America (whenever the Oscar-nominated film “Lion” is adapted for the stage I hope she receives a call to play the Nicole Kidman role). A very chipper Caitlin McWethy is an appealing fit in her primary narrative role recalling the Stage Manager in “Our Town.” Scott Hunt, who recently gave one of the finest performances of his career as Molina in Columbus’ Short North Stage’s central Ohio premiere of “Kiss of the Spider Woman: The Musical,” is very endearing as a concerned rabbi wishing he could have mentored Lanza. Jason Podplesky also showcases genuine sensibility in a fatherly capacity. Jennifer Joplin and Gina Handy are delightfully paired as entrepreneurs Jerian and Starr who provide healing and angel readings. John Rensel’s expert lighting design and Jay Brunner’s evocative music and gripping sound design are noteworthy.

Ulloa states “26 Pebbles” is not about the victims, but perhaps it should be. As issues of gun violence continue to swell, especially in this divisive age of President Trump and Secretary of Education Betsy DeVos, it’s time for a statement to be made. Placing a litany of inspirational words on a chalkboard is a feel-good solution, but there are other steps worth exploring. His well-meaning play, conceived during Obama era optimism, concludes lovey-dovey, but has the potential to make a courageous and riveting ripple throughout the nation if given a deeper look at current anxieties.


“26 Pebbles” continues through Feb. 19 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 90 minutes without intermission. Tickets are $20-$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 with a spokesperson from Sandy Hook Promise following the Sunday, Feb. 12 performance

‘Luna Gale’ Review – Dayton Theatre Guild – Little Girl Lost

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The battle for custody of a 6-month-old baby girl entices with compelling magnetism in Rebecca Gilman’s 2014 contemporary drama “Luna Gale,” currently receiving an outstanding local premiere at the Dayton Theatre Guild and directed with superb, true-to-life delicacy by Debra Kent.

(front row left to right) Andrew Poplin as Peter, Kayla Graham as Karlie, Cheryl Mellen as Caroline, (back row left to right), John-Michael Lander as Pastor Jay, Cassandra Engber as Cindy, Heather Atkinson as Lourdes, and Timothy Moore as Cliff comprise the cast of the Dayton Theatre Guild’s local premiere of Rebecca Gilman’s contemporary drama “Luna Gale” (Photo by Craig Roberts)

 

Misunderstanding, confusion, regret, and hope bolsters this fascinating tale fueled by Caroline, a veteran social worker in Cedar Rapids, Iowa trying to place the title character, neglected by her drug addicted teen parents Karlie and Peter, in the best environment. Fully invested in her job almost to her detriment, Caroline is thrown for a loop when Luna’s grandmother Cindy, Karlie’s estranged mom, reveals her devout evangelical beliefs during her request for permanent adoption. Finding Cindy’s motives off-putting, Caroline tries to figure out how the recently rehabilitated Karlie and Peter can stake their case. What transpires unfolds as an intriguing war of ideology and responsibility as matters of love and devotion as well as the complicated search for the truth leaps to the forefront with riveting flourish.

As Caroline, the terrifically formidable Cheryl Mellen gives one of her finest, most multifaceted performances. Cool, strict, empathetic, and splendidly investigatory, Mellen conveys the total breadth of a complex woman trying to cope with bureaucracy at work and the pain of her emotionally scarred past while fighting for what is right no matter how dicey the result. Appealing Guild newcomers Kayla Graham and Andrew Poplin deliver breakthrough performances as the troubled Karlie and Peter, providing skillful transformations as both characters progress over time. In particular, Graham’s edginess, frustration and anguish typifies Karlie’s despair while perfectly contrasting Poplin’s affable, caring and mature attributes signaling Peter’s potential as a meaningful father and provider. As the faith-based Cindy, Cassandra Engber is wonderfully credible and passionately outspoken in her heated exchanges with Mellen. She’s also strong in her brief appearance opposite Poplin in his knockout moment late in Act 2 gently revealing a key moment in Karlie’s life that contributed to her downward spiral unbeknownst to Cindy. Timothy Moore, in a refreshing change of pace from his previous string of well-meaning good guys, is flawlessly snide as Cliff, Caroline’s overbearing, ruthless supervisor. John-Michael Lander is also winningly grounded as Cindy’s cheery, Joel Osteen-esque minister Pastor Jay. Heather Atkinson, memorable earlier this season alongside Engber in the Guild’s “The Last Lifeboat,” solidly completes the cast as Lourdes, one of Caroline’s wayward if superfluous clients intended to provide insight into her weighty workload and messy upbringing.

Additionally, the intimate world of the play is efficiently brought to life by set designer Blake Senseman, costumer Kristine Caffrey, lighting designer Tony Fende, Deidre Root and Debra Strauss’ properties, and K.L. Storer’s effective soundtrack, a source of rich musical commentary that remains a hallmark of his collaborations with Kent (which extends to her equally marvelous Guild productions of “Time Stands Still” and “Good People”).

Gilman’s plays include “Spinning Into Butter,” which received its local premiere at the Human Race Theatre Company in 2001, and “Boy Gets Girl,” which received its local premiere at the Guild in 2003. “Luna Gale,” among her most relatable works, captivatingly brings harsh realities to the surface with the promise and anticipation of reunion and new beginnings.


“Luna Gale” continues through Feb. 5 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: 60 minutes; Act Two: 60 minutes. Tickets are $19 for adults, $17 for seniors, and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org. Patrons are advised the play contains adult language.

 

X Marks THE Spot….in XANADU!

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Aaaahhh, the doldrums of late January, early February. What to do, and where to go…..how about ‘A place where nobody dared to go….The love that we came to know…They call it XANADU!!’
The tongue-in-cheek tribute to the 1980 movie of the same title, has skated into the Dayton Playhouse through February 5th.
“It’s a small musical, with a cast 9 people, yet it has everything you expect from the show!” says Amy Askins, one of the show’s cast members. “There is roller-skating, great sets (by Chris Newman), fabulous wigs (by Steve Burton) and of course the music!” (For ELO fans, welcome back to your past!)
It is probably the skating that people remember most about the movie, which many think may have knocked Olivia Newton-John’s career on its rump. Somehow, this musical takes off, with its classic Mt. Olympus tale blended perfectly with 80’s music and underlying love story.
“The story remains the same, with the lovely Muse meeting the California boy and helping him realize his artistic calling!” says Askins. “And the beat goes on!” XANADU could not be XANADU without the throwbacks to Ancient Greece. “Some of the real fun is in the characters.” Askins adds. “We have a Cyclops, Medusa, a Centaur and even a Flying Pegasus!” (I’M SOLD!)
The play, directed by the high energy, much respected, Tina McPherson, is the perfect pick-me-up this time of year. Her decision to bring this play to Dayton Playhouse now, is no accident.
“The story still has the drama as well. Of course, there are the villainous sisters, ” of which Askins plays Melpomene, “Trying to thwart their sister’s love affair. And what connects to people is the music!”
Think you don’t know any songs from XANADU except XANADU…think again. The show contains the classics “Evil Woman,” “All over the World,” “Strange Magic,” and of course, the beautiful melody of Newton-John’s hit, “Suddenly.”
The choreography (expertly put together by Annette Looper), the skating (and, oh yes, falls do happen), and the costumes (Tim Grewe gets it right!) all combine to lift the show to ‘dream come true’ status!
The central message of ‘self-expression is the key to being human’ is truly brought to life in this local production!
So, Strap on your Skateworld Rentals and head to the Playhouse for this throwback love story where Kira (Ellie Krug who can Skate & Sing!) and Sonny (lovable Desmond Thomas) prove this cast is worth the ‘million lights dancing’ in XANADU!

 


XANADU is playing at the Dayton Playhouse  through February 5, 2017.
The Playhouse is located at 1301 E. Siebenthaler Ave, Dayton, OH 45414.
Tickets are $18 for Adults, $16 for Seniors (55+)/Students/Military and can be purchased through the box office, 937-424-8477.