On Stage Dayton

Dayton Philharmonic is looking for soul singers!

October 10, 2016 By Dayton Most Metro

Dayton Philharmonic Orchestra is looking for two singers to join them, along with Gavin Hope and our good friends Jeans ’n Classics, to perform on stage at the Schuster Center on January 28, 2017.
Official Judges (along with Dayton Residents) will select two talented winners, each of whom will sing lead vocals on a soul song—backed by the full Dayton Philharmonic and Jeans ’n Classics on January 28, 2017—for an audience of 2,000 music fans. The specific songs to be performed at the concert will be selected by Jeans ’n Classics, and both winners will sing with Gavin Hope and Jeans ’n Classics on the first half of the concert. Each Winner will receive four front-row tickets to Soulful with Gavin Hope.

FIRST, YOU NEED A VIDEO!
Post your video on YouTube and then complete the form on their website. Contestants must be 18 years or older and must have a permanent residence in Dayton, Ohio area counties (see list on pull-down menu below on form).

FIRST ROUND—A display web page of vocalists entering online will go live starting Sunday, October 16, 2016. These entrants will be vetted by Dayton Philharmonic staff. There will be a voting feature on the display page, and residents from the Miami Valley are encouraged to vote for their favorite candidates beginning Sunday, October 16, 2016. The Dayton vote tallies will be used, in concert with the Judges’ votes, to select a field of Finalists who will be identified and notified on November 3 by e-mail. All other contestants will be notified at that time as well. Finalists will be announced from the Schuster Center stage on Saturday, November 4 during the DPO Rockin’ Orchestra concert Landslide: The Music of Fleetwood Mac.

IMPORTANT—You may list only one YouTube video, and to qualify, it must show you singing. Demonstrate your vocals, either with a background track or a capella, if you like. Of course, Dayton residents and Judges may choose to take into consideration any other videos or sound files currently on the web: other YouTube videos, your site if you have one, your Facebook page, etc. But the key starting point is the YouTube video URL that you provide below.

SECOND ROUND—Finalists will be invited to sing live on November 12, 2016 for a panel of Judges (competition starts at 7:00 pm and ends as late as 11 pm). This event will be held at The Dayton Beer Company; Beer Hall & Production Brewery (Downtown Dayton, 41 Madison Street, Dayton, OH 45402) and will be open to the general public. Contestants will be provided a background track, microphone and sound equipment. Judges will attend personally. The Final Winners will be selected at this time by the Judges on the basis of vocal talent, stage presence, general demeanor, and overall grasp of the soul and R&B genres.

FINAL WINNERS—Public announcement of the two Final Winners will occur on December 9, 2016, 8:00 pm at the Hometown Holiday SuperPops concert with Dayton Philharmonic and announced via WROU and in the Dayton Daily News on Sunday, December 11. A press photo opportunity for Dayton Soul Singers Search will be scheduled at 7:30 before the Hometown Holiday concert on December 9.

PERFORMANCE DATE: JANUARY 28, 2017—Two Winners will perform at the DPO Rockin’ Orchestra concert Jeans ’n Classics presents Soulful featuring Gavin Hope at 8:00 pm on Saturday, January 28, 2017.

OFFICIAL JUDGES
. Peter Brennan—arranger, guitarist, Jeans ’n Classics founder
. Neal Gittleman—artistic director and conductor, Dayton Philharmonic Orchestra
. Faith Daniels—WROU Program Director and On-Air Personality

’35MM’ Review – Dare to Defy Productions – The Story Within

October 7, 2016 By Russell Florence, Jr.

Composer Ryan Scott Oliver’s 2012 multimedia song cycle “35MM: A Musical Exhibition” receives an admirable treatment from Dare to Defy Productions through Oct. 8 in the Mathile Theatre of the Schuster Center.

(left to right) Zach King, Natalie Sanders, Alan Ruddy, Danielle Kubasky, and Skyler McNeely rehearse Dare to Defy Productions’ presentation of “35MM: A Musical Exhibition,” a song cycle bridging the worlds of music and photography.
Unique in concept but lacking cohesive depth, “35MM” uses a series of eclectic photographs by Matthew Murphy to tell intriguing, hilarious and occasionally confusing tales of romance, connection, disillusionment, and hope. Overall, this vignette-driven showcase is at its best when love dominates the conversation. For instance, a song centered on a photo of a couple at odds on a playground swing set is certainly more enticing than a song built on the oddities of a kooky doll. Perhaps if Oliver would have created his song cycle based solely on the ups and downs of relationships, the results would have been more distinctive and relatable. Some of the songs are not perfectly matched to the photos as well which halts momentum. Nevertheless, his ambitious work beckons the audience to examine the trials and tribulations of life through focus, perspective and the sheer passage of time.
Director AJ Breslin helms Oliver and Murphy’s world with very little interference. Due to the Mathile’s intimacy, this breezy production instantly conjures a cozy, coffee shop vibe which suits the show’s introspective nature and important attention to projections. Breslin’s minimalist, straightforward approach clearly allows each song to speak for itself, but at the same rate it’s difficult to hear some of the more frenzied lyrics. Still, his committed, energetic and passionate five-member cast, taking on the vocal challenges of the harmonically intricate score with vim and verve under the music direction of David McKibben, joins forces with ample opportunities to entertain. Natalie Sanders and Zach King, a volatile Queenie and Burrs last season in Dare to Defy’s “The Wild Party,” winningly reunite for the spirited “Make Me Happy.” Sanders, looking as statuesque as ever in basic black, wonderfully opens the show with “Stop Time” and notably drives the dark high school drama of “The Ballad of Sara Berry” with gusto. It’s also great to see Alan Ruddy and Danielle Kubasky reuniting for the first time since appearing as and Princeton and Kate Monster in Beavercreek Community Theatre’s 2015 production of “Avenue Q,” Ruddy, effectively balancing comedy and poignancy throughout, strongly renders “The Seraph” while Kubasky shines in “Twisted Teeth.” Skyler McNeely, who appeared with Sanders in Sinclair Community College’s 2015 production of “Songs for a New World,” teams with Kubasky for a terrifically emotive rendition of the heartbreaking “Hemming & Hawing” chronicling the twisted complications and imperfections of love. Keyboardist Nick Garvin leads a fine five-piece band.
The contemporary pop/rock/punk essence of “35MM” may not appeal to musical theater fans more inclined to embrace Rodgers and Hammerstein, but it’s a prime example of Dare to Defy’s eagerness to look outside the box.

“35MM: A Musical Exhibition” continues Oct. 7 at 8 p.m. and Oct. 8 at 2 and 8 p.m. inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The production is performed in 80 minutes without intermission. Tickets are $19.50-$24.50. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. Patrons are reminded the show contains adult language.

‘Restoration!’ Review – Wright State University – New Stage, New Age

October 1, 2016 By Russell Florence, Jr.

Everything old is somewhat new again as Wright State University opens its 42nd season with a terrifically acted and designed quasi-world premiere of “Restoration!,” an adaptation of William Shakespeare’s 1606 dark tragedy “King Lear” inspired by Irish poet Nahum Tate’s sunnier and redemptive 1681 adaptation “The History of King Lear.”

Wright State University opens its 42nd season and newly renovated Creative Arts Center with “Restoration!” through Oct. 2. The historical drama is based on “The History of King Lear” by Nahum Tate, an adaptation of William Shakespeare’s “King Lear.” (Contributed photo by W. Stuart McDowell)

Written and directed by W. Stuart McDowell, Artistic Director of WSU’s Department of Theatre, Dance and Motion Pictures, “Restoration!” aptly reflects the exhilaration and progressiveness of the Restoration Period. This era welcomed a resurgence of enlightened and thought-provoking English literature and drama specifically the reopening of theatres which had been closed since 1642. Women were allowed to perform on stage for the first time as well. Opening only 65 years after Shakespeare’s death, Tate’s version proved controversial with its lighter additions including an endearing romance between valiant Edgar and Lear’s bold daughter Cordelia, two characters who never meet in Shakespeare’s version. However, these insightful changes mirrored the hope and promise of the era especially Lear being restored to the throne just as Charles II was restored to the British monarchy. Tate’s successful version was performed for nearly 160 years and was notably seen in Williamsburg, Virginia in 1771 by George Washington.
McDowell’s history with “Restoration!” harkens back to his career in New York City spearheading the Riverside Shakespeare Company, a troupe he co-founded in 1977 with his wife Gloria Skurski. Originally adapted in 1985, the play was a hit and the critics heralded it as “a ‘Lear’ for our times.” Even so, McDowell continued to rethink his script over the years and revised the premise which adopts an inviting play-within-a-play framework. The production is set at the first rehearsal of “The History of King Lear” as legendary actor Thomas Betterton faithfully guides his players through the fresh script. Some cast members are wary of tackling “King Lear” anew because they feel Shakespeare and his words are immortal, but a vivid reminder slices doubt, “let the theater set the example for what should be – not what is.” Incorporating charming conceptual touches such as a harpsichord, imaginative sound effects including a wind machine, and colorful period-flavored songs co-created by Sandy Bashaw, McDowell winningly crafts an engaging world of pomp and circumstance, choral glee, familial deceit, sword fights, and sibling catfights befitting the Restoration Period and Shakespeare’s fascinating characters. Costumer Christie Peitzmeijer’s beautiful period attire, David J. Castellano’s efficient raked stage complete with footlights, Matthew P. Benjamin’s exceptionally evocative lighting design, Bruce Cromer’s robust fight choreography, Ryan Burgdorf’s sound design, and Deborah Thomas’ dialect coaching also impress in setting the proper tone and look of this historical drama.
McDowell’s cast of 18 is uniformly strong and distinctly sophisticated. Fine principals include the delightfully energetic Joey Logan as the jovial, determined and passionate Thomas Betterton/King Lear, the dynamic duo of Katlyn Tilt and Julia Gomez as conniving sisters Goneril and Regan, beguiling ingénue Katie Sinicki as Cordelia, Christian Schaefer as Cornwall, Josh Beasley as Gloucester, Jake West as Kent, appealingly earnest WSU newcomer Ross Bloedorn as the noble, crazed Edgar, Dana Bixler tenderly rendering “Long Live the King” as the Fool, and an outstandingly cunning and suave Connor Lysholm as the villainous Edmond. Lysholm, a brooding Jay Gatsby last season in McDowell’s staging of “The Great Gatsby,” injects great nuance (notice how he caresses Lear’s throne chair in Act 1) while displaying a contemporary-esque mastery of the text. He also embraces his treacherous role with a pompous, intimidatingly cool swagger effortlessly transforming the raked stage into a raked runway with every stride and strut. His knockout portrayal clearly indicates how fantastic he would be as King George III in “Hamilton.” Hopefully a smart casting director will someday agree. The cast includes Mallory Kraus, Kenneth Erard, Brynnan McNeill, Jeremy Farley, Isaac Ingle, Zack Pruett, Danni Hepp, and Madeline Musico.
Commemorating the 400th anniversary of Shakespeare’s death and remaining impactful since the idea of “madmen leading the blind” hasn’t lost its cultural or political sting in 2016, “Restoration!” elegantly excels with joy, humor and heart.

“Restoration!” continues Oct. 1at 8 p.m. and Oct. 2 at 2 p.m. inside the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Act One: 80 minutes; Act Two: 60 minutes. Tickets are $22 for adults and $20 students and seniors. For more information, call (937) 775-2500 or visit https://liberal-arts.wright.edu/theatre-dance-and-motion-pictures/boxoffice

Sinclair Presents Standing On Ceremony

September 22, 2016 By Lisa Grigsby

Sinclair Theatre will present 3 FREE performances of Standing on Ceremony, The Gay Marriage Plays, on October 5-6, in Sinclair’s Black Box Theatre, fourth floor, building 2, on the downtown Dayton campus.

Directed by Nelson Sheeley “Ceremony” is a series of vignettes by Mo Gaffney, Jordan Harrison, Moisés Kaufman, Neil LaBute, Wendy MacLeod, José Rivera, Paul Rudnick, Doug Wright, and conceived by Brian Shnipper.

Variety calls it: “A feel-good show celebrating gay marriage,” while Backstage says: “CEREMONY puts a human face on a hot-button issue and delivers laughter and tears rather than propaganda.”

Cast includes: Spencer Boden, André Tomlinson, Marley Judd, Chelsey Hall, Erin Waldon, Raiden Otto, Courtney Kakac, Sara Eldred, Erin McGee, Cody Nelson, De’Shawn Christian, S. Francis Livisay, Naman Clark, Sha-Lamar Davis, Chelsey Hall, Elisha Chamberlin, Elisa Fuentes, Chuck Larkowski, Juan Gabriel Encarnacion, and Jess MaGill.

Seating will be first come, first served with performances at 12:30 pm on both Wednesday and Thursday (Oct. 5-6) followed by a 6 pm on Thursday, Oct. 6th. Sinclair’s Black Box Theatre is on the fourth floor of building 2. Performance length is approximately 1 hour. Latecomers will not be admitted.

‘Sweeney Todd’ Review – Human Race Theatre Company – Dark Victory

September 13, 2016 By Russell Florence, Jr.

The Human Race Theatre Company opens its 30th anniversary season with a wonderfully immersive and impressive production of composer Stephen Sondheim and librettist Hugh Wheeler’s 1979 Tony Award-winning masterpiece “Sweeney Todd: The Demon Barber of Fleet Street.”

Based on Christopher Bond’s play of the same name, “Sweeney Todd” marvelously intertwines horror, humor, love, regret, revenge, and suspense into its Victorian account of a crazed barber/ex-convict destroying the society that cheated him. The disturbing, cannibalistic nature of Sweeney’s dastardly deeds, fueled by his kooky accomplice Mrs. Nellie Lovett, a pie shop proprietor in Fleet Street, always provides a riveting centerpiece for this ingenious thriller. However, director Scott Stoney refreshingly opts for more than a mere bloody fright fest. By digging deeper into characterization and the humanity of those inhabiting Sweeney’s dark world, Stoney creates one of the most relevant versions of the show I have seen heightened by a striking intimacy that can only be felt within the confines of the Loft Theatre. In fact, due to certain moments staged on platforms located on opposite sides of the venue, the material has never felt more immediate or engrossing. Some organizations would scoff at the notion of producing such an unnerving musical with an approachable mindset, but Stoney’s boldness, insisting the audience follow every morsel of the action, invites an experience unlike any other. But you wouldn’t want to be kept at a distance anyway considering the fantastic attributes of his vocally sublime cast.

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Jamie Cordes plays the title role in “Sweeney Todd.”

Resonant baritone Jamie Cordes, featured as sailor Anthony Hope in the Human Race’s 1996 production of “Sweeney Todd” at the Victoria Theatre starring Stoney, understands the fine line associated with portraying the complex Sweeney, one of the most challenging roles ever conceived. If he aimed too psychotic he’d wallow in overblown histrionics. If he aimed too melodramatic he’d wallow in maudlin shallowness. Thankfully, the evil he concocts is a fetching brew of creepily confident swagger, authoritative menace, distressed paranoia, wounded remorse, and disturbing joy. Toward the end of Act 1, Cordes respectively brings Sweeney’s magnetism and terror to the compelling forefront with splendid renditions of the ravishing ballad “Pretty Women” (terrifically shared with David McDonald as the corrupt Judge Turpin who sent Sweeney to jail on a trumped-up charge and adopted his daughter Johanna while he was incarcerated) and utterly alarming “Epiphany,” one of the scariest songs in the musical theatre canon tailor-made to rip through the fourth wall. Fine comedienne Rebecca Watson (Broadway’s “By Jeeves”) is equally razor sharp as Mrs. Lovett, the Sondheimian equivalent to Shakespeare’s Lady Macbeth. There’s a comical world-weariness in her portrayal befitting Lovett’s down-and-out nature (she’s responsible for “The Worst Pies in London”), but Watson specifically magnetizes as the deceitful Lovett lures Sweeney deeper into vengeance if only to secure his love. I haven’t seen an actress skillfully weigh Lovett’s self-absorbed matters of pleasure and profit since being blown away by Imelda Staunton’s fiery portrayal in London’s West End four years ago.
Elsewhere in principal roles, strong tenor Zack Steele is an engagingly sensitive and lovestruck Anthony (his rendition of “Johanna” is beautifully emotive), Kimberly Hessler, well-paired with Steele, supplies lilting operatic strains as the lovely, sheltered Johanna (her rendition of the gorgeous “Green Finch and Linnet Bird” holds many colors), Craig McEldowney is a deliciously flamboyant and spiteful Adolfo Pirelli, DJ Plunkett brilliantly conveys tenderness, vulnerability, spunk, and dread as Pirelli’s humble assistant Tobias Ragg (his moving rendition of “Not While I’m Around” is a genuine heartbreaker), Aaron Vega is a delightfully snide and vindictive Beadle Bamford (his clear falsetto is put to great use in “Ladies in Their Sensitivities”), Christine Zavakos is a playful yet foreboding Beggar Woman, and Scott Hunt (Tobias in the 1996 production) is an appropriately malevolent Jonas Fogg. The fantastic and impactful ensemble, connected through Tracey Bonner’s character-conscious choreography and blessed with phenomenal vocal power as well as a unified versatility to fluidly transform whether as mourning Londoners or hysteric lunatics, consists of Gina Handy, Drew Helton, Cassi Mikat, Nathan Robert Pecchia, David Shough, Sherri L. Sutter (Johanna in 1996 production), and Kandis Wean.
Additionally, scenic designer Dan Gray’s efficient, revolving set is bolstered by a throng of windows evoking the Industrial Revolution. Janet G. Powell’s attractive period costumes distinctly range from drab to swanky (notice Sweeney, Lovett and Tobias’ fancy attire at the top of Act 2). John Rensel’s lighting design marvelously captures varying moods, specifically sending chills up my spine when a barrage of lights ominously beam through the windows at the conclusion of Sweeney and Lovett’s cheerfully eerie “A Little Priest” signaling the beginning of the end for customers along Fleet Street. Music director Sean Michael Flowers leads an eight-piece band that occasionally feels distant but is well-balanced nonetheless despite a few timing glitches on opening night. Jay Brunner’s unsettling sound design aids in spooky ambiance but was also shaky on opening night.
One of the production’s final, lasting images involves a young man contemplating an evil plunge into darkness. It is a chilling reminder giving credence to Sondheim’s probing question which should never be taken lightly: “Isn’t that Sweeney there beside you?” After all, anyone at any time has the potential to simply snap. Attend this tale and rediscover why.

“Sweeney Todd: The Demon Barber of Fleet Street – A Musical Thriller” continues through Oct. 2 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Act One: 90 minutes; Act Two: 60 minutes. Performances are 8 p.m. Sept. 15-17, 22-24, and 29-Oct. 1; 7 p.m. Sept. 13-14, 20-21, 27-28; and 2 p.m. Sept. 18, 25 and Oct. 2. Tickets are $12-$50 (prices vary depending on performance date). There are a limited number of $12 side area seats available for each performance. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. Patrons are advised the production contains adult language and themes.

Casting Call for Neil Simon’s Proposals at Dayton Playhouse

September 12, 2016 By Dayton Most Metro

The Dayton Playhouse is pleased to announce auditions for the comedy-drama Proposals to be held on Monday and Tuesday, September 19 & 20, 2016. Auditions will be at 7 pm each evening at the Dayton Playhouse, 1301 E. Siebenthaler Ave, Dayton, Ohio 45414. The director of this production will be Jim Lockwood. The play is written by Neil Simon. Performances will be November 4 through 13, 2016.

Proposals, which is Neil Simon’s 30^th play, takes us back to 1953 with the Hines family, in the yard of their modest Poconos cottage. Family may be a misnomer; businessman Burt Hines and his wife, Annie, are divorced and Annie has remarried. Their daughter, Josie, is still resentful of the time Burt spent building his business, and not paying attention to her. The African-American caretaker of the cottage, Clemma, literally takes better care of the family than they take of themselves.

Of course, Clemma has her own tragedy, having been left by her man, Lewis, seven years before. It now appears that Lewis is headed back to the cottage to try to make up for lost time. Burt’s daughter Josie has just broken her engagement to Ken, an intense Harvard law student, and she yearns for his buddy, Ray, an aspiring writer with whom she had a brief affair. Ray shows up with a striking but dim-witted model on his arm, and Vinnie, a young Miami gangster adds a note of hilarity to the gathering.

The director will be seeking to fill the following roles:

Clemma Diggins mid 40s African-American. She is the story’s narrator, maid and caretaker of Hines family.

Burt Hines mid-50s, a heart attack survivor, a successful businessman, and a failed family man, his wife Annie has divorced him and remarried.

Josie Hines Burt and Annie’s early 20s daughter; dumps her fiancé at the beginning of the play; worries she may be becoming her mother; her dad.

Ken Norman Mid-20s Harvard law student, Josie’s recently dumped fiancé.

Ray Dolenz mid-20s, acting golf pro, an unpublished author, and Josie’s former boyfriend.

Annie Robbins Late 40s, but still trim. Burt’s former wife, now remarried.

Vinnie Bavasi Josie’s young mob-connected friend and would-be suitor from Miami. He has a language all his own.

Sammii Early 20s, Ray’s girlfriend, model-like beauty, not too bright.

Lewis Barnett early 50s African-American, Clemma’s man who left seven years ago, and has returned intent on re-establishing the relationship; now blind in one eye, with one crippled hand.

Auditions will consist of readings form the script. If possible, bring a resume and definitely be prepared to list all conflicts between September 19 and November 13. For further information contact Jim Lockwood at [email protected].

The Dayton Playhouse is located at 1301 E. Siebenthaler Ave, Dayton, OH 45414. For additional information regarding the Dayton Playhouse visit www.daytonplayhouse.com. The Dayton Playhouse is a community theatre providing outstanding theatrical productions to Miami Valley audiences of all ages for more than fifty years. The Playhouse is nationally recognized for FutureFest, an annual festival of new plays.

The Classical Musical Camelot Open Dayton Playhouse Season

September 7, 2016 By Dayton Most Metro

A shot from rehearsal with Chuck Larkowski (left) playing Pellinore and Mark VanLuvender playing King Arthur.

The Dayton Playhouse will open its 2016-2017 season with the classic musical Camelot, book and lyrics by Alan Jay Lerner and music by Frederick Loewe. According to Dayton Playhouse Board Chair, Brian Sharp, “We are excited to introduce director Ranger Puterbaugh to the Dayton Playhouse audience. We love adding bright, young talent with fresh ideas to our directing pool.” Puterbaugh is a Language Arts teacher and director of the Drama Club at Northmont High School. His recent directing credits include The Addams Family, Moon Over Buffalo, and Children of Eden. Musical director for the production will be Brennan Paulin. Production dates for Camelot are September 16 – October 2 (Fridays through Sundays).

Camelot is the timeless legend of King Arthur brought to the stage. Based on the classic work The Once and Future King, Camelot was a successful Broadway show before being turned into a musical movie in 1967. The story begins with a young Arthur nervous to meet his new wife, Guinevere. Before disappearing forever, Merlin offers some last advice, and Arthur sets out to build the ideal society of knights. With the help of Guinevere, Lancelot, and Pellinore, Arthur begins his quest to establish the Knights of the Round Table. However, it’s not long before old sins and new betrayals threaten to undo all the things they’ve built. This musical blends humor with drama in a wonderful story of chivalry and the legacy we leave behind.

Performances will be September 16 – October 2, 2016. Friday and Saturday performances are at 8 p.m. and Sunday matinees are at 2 p.m. The Dayton Playhouse is located at 1301 E. Siebenthaler Ave, Dayton, Ohio 45414.

Tickets for the production are available at www.daytonplayhouse.com. The cost is $18 for adults and $16 for seniors, students and military. You also have the option to purchase a season pass for all 5 shows of the season for $75 for adults, $70 for students. Group rates are available when purchasing 10 or more tickets.

Season subscriptions may be purchased through the box office, 937-424-8477, which is staffed Mondays, Wednesdays 1:30pm-4:30pm. Messages may be left for the box office at any time and calls will be returned.

The rest of the shows for the season include Neil Simon’s Proposal in November, Xanadu will be this winter, The Women will be a March show and Ragtime will wrap the season in May.

The Dayton Playhouse is a community theatre providing outstanding theatrical productions to Miami Valley audiences of all ages for more than fifty years. The Playhouse is nationally recognized for FutureFest, an annual festival of new plays.

‘The Last Lifeboat’ Review – Dayton Theatre Guild – Human Error

August 30, 2016 By Russell Florence, Jr.

One man’s fateful decision during the frightening chaos of one of the world’s greatest tragedies is only a small part of the immense appeal of Luke Yankee’s compelling 2014 drama “The Last Lifeboat,” currently receiving an outstanding regional premiere as the 72nd season opener of the Dayton Theatre Guild.

(Left to right) Cassandra Engber, J. Gary Thompson, Heather Atkinson, Heather Martin, Mike Beerbower (seated), Kerry Simpson, Matt Lindsay, and Zach Katris in “The Last Lifeboat” (Photo by Craig Roberts)

Yes, Joseph Bruce Ismay, British owner of the White Star Line, notoriously saved himself when the Titanic sank during her maiden voyage in April 1912. But the fundamental events decades before and after, providing the brisk pulse and inherent attraction of the play, offers fascinating insights into a man pigeonholed as a coward throughout history. As depicted by Yankee, balancing years of substantive research with the freedom of artistic liberties, the guilt-ridden Ismay is not portrayed as an entitled villain but simply a victim of circumstance. He was a man who never felt loved or admired by his stern father who particularly scolded him about crying in public. He also had difficulties of discernment when negotiating with rich investors (such as J.P. Morgan) who wanted the Titanic to be constructed in favor of the elite. Survivor’s guilt, legal challenges and relationship challenges took its toll on him as well with his health notably declining in the 1930s due to complications from diabetes. He died of a stroke in 1937 at the age of 74.

In his impressive Guild directorial debut, Jeff Sams brings strikingly cinematic and choreographic fluidity to Yankee’s meticulous handiwork, which covers nearly 60 years and over 50 scenes. Sams specifically injects breathtaking poignancy into the play’s gripping centerpiece, the Act 1 finale centered on Ismay entering the lifeboat. The terrifically versatile cast dramatically unifies in slow motion to convey the sinking as “Nearer, My God, to Thee” fittingly propels emotions. In addition to creating an expert scenic design consisting of trunks, tables, crates, antiques, efficient props, and newspaper renderings, Sams wisely keeps the cast, beautifully costumed in period attire by Carol Finley, on stage at all times. His decision allows the play to maintain an impactful, observational immediacy, drawing the audience further into the storytelling accented with first-rate assistance from lighting designer John Falkenbach and sound designer K.L. Storer. Redundant blackouts chip away at momentum but are not a major hindrance.

Heather Atkinson and Matt Lindsay in “The Last Lifeboat” (Photo by Craig Roberts)

Matt Lindsay (Ismay), Heather Atkinson (Mrs. Ryerson and others), Mike Beerbower (William Randolph Hearst and others), Cassandra Engber (Vivian Hilliard and others), Zach Katris (Phillip Franklin and others), Heather Martin (Florence Ismay and others), Kerry Simpson (Margaret Ismay and others), and J. Gary Thompson (Thomas Ismay and others) firmly fashion wonderfully vivid characterizations. Lindsay has the lion’s share of material and his amiable persona sells Ismay’s good intentions (Yankee is pro-Ismay all the way which will infuriate doubters), but the entire cast has ample opportunity to shine. For instance, as first class passenger Mrs. Ryerson, Atkinson sharply trades the character’s inquisitive playfulness in Act 1 for hardened contempt in Act 2 as she attempts to make sense of losing her husband who valiantly went down with the ship. The compassionate Engber is an endearing source of care and concern as Ismay’s former sweetheart Vivian, a character birthed from Yankee’s imagination. Beerbower, memorably understated last season in the Guild’s local premiere of “Outside Mullingar,” is superbly sly and malicious as newspaper magnate Hearst, particularly in a disheartening Act 2 scene opposite Martin when Florence tries to seduce Hearst to protect Ismay. Thompson, a reliable chameleon, weaves through numerous identities with aplomb but is especially formidable as Thomas, Ismay’s successful yet insensitive father. By and large, this cast is one of the finest ever assembled by the Guild.

Yankee notably attended the Saturday, Aug. 27 performance and participated in a lively and informative talkback to share his thoughts on the creative process. It was apparent how much he admired Ismay’s legacy and the entirety of the Titanic account. As so, in his appreciation of Ismay, responsible for the “largest floating object in the world,” “The Last Lifeboat” stands as a cautionary tale proving that in the midst of great darkness and despair redemption is never too far away.

“The Last Lifeboat” continues through Sept. 4 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: 42 minutes; Act Two: 50 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.

‘Shepherd’s Bush’ wins Dayton Playhouse FutureFest

July 26, 2016 By Russell Florence, Jr.

The cast of “Shepherd’s Bush” (front row left to right) Scott Knisley, David Shough, (back row left to right) Ella Wylie, Brian Sharp, and Bonnie Froelich (Photo by Art Fabian)

“Shepherd’s Bush,” a captivating, humorous, romantic, and heartbreaking look at the relationship between celebrated, closeted British novelist E.M. Forster and policeman Bob Buckingham in 1930s England, received top honors Sunday, July 24 at the 26th annual Dayton Playhouse FutureFest of new, unproduced plays.
Elegantly written with cinematic tendencies by Scott C. Sickles of Forest Hills, New York, “Shepherd’s Bush” daringly explored the love between two men at a time when homosexuality was illegal in Great Britain. As Forster and Bob’s fascinating relationship progressed, Bob grew fearful and married May, a young nurse. Still, even as the Buckinghams started their life together in the titular West London neighborhood, Forster and Bob’s bond remained strong for decades in spite of secrets and lies which brought Forster and May great heartache.
The production’s excellent staged reading, fluidly directed by Michael Boyd and stage managed by Logan Dabney, featured terrifically cohesive portrayals by David Shough as Forster, Scott Knisely as Bob, Ella Wylie as May, Playhouse board president Brian Sharp as Forster’s close friend J.R. Ackerley, and Bonnie Froelich as Forster’s mother Lily. As this promising play develops, Sickles should specifically consider delving deeper into Bob’s quandary of identity, sexuality and torment, but at the same rate, he has absolutely established an engaging, Oscar Wilde-esque foundation, particularly within his witty characterizations of Forster, Ackerley and Lily. In fact, the deliciously persnickety Lily recalls the domineering Lady Bracknell of Wilde’s “The Importance of Being Earnest.”
“Sometime in the mid-‘90s, in a Barnes and Noble in downtown Pittsburgh, I happened upon a book called ‘The Gay Fireside Companion,’” recalled Sickles, a Pittsburgh native and the recipient of two Writers Guild of America Awards as part of the writing team of the daytime drama “General Hospital” as well as multiple Emmy and WGA Award nominations for “General Hospital” and “One Life to Live.” “It was an alphabetical listing of people, places and events in gay history. I came across the entry ‘Buckingham, Bob,’ thought it was an interesting name and began to read. I discovered that Bob was Forster’s much younger paramour and a policeman to boot, that he married a woman (whose name is not including in the listing) and that Forster eventually died in the Buckingham home holding the wife’s hand. My actual thought at the time was, ‘That’s how I’m going to die; holding the hand of the wife of the man I love.’ The rest is history.”
“Shepherd’s Bush” scored highest among six works presented July 22-24 based on judging criteria including dramatic concept, character/language, plot, page to stage, and the next 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, New York-based adjudicators were journalist Peter Filichia, 1995 FutureFest-winning playwright Craig Pospisil (“Somewhere in Between”), actress/director/producer Jana Robbins, director/producer/writer Ashley Rodbro, and director/producer/writer Helen Sneed.
“‘Shepherd’s Bush’ is a very valuable play about the games people play and still have to play,” Filichia noted. “This is a play that needs to be seen.”
“There is phenomenal writing in this play,” exclaimed Sneed. “It’s fabulous and contains well-written symbolism.”
“I absolutely loved this play,” Robbins echoed. “I was deeply moved by it. It captures love that is a marriage of both the heart and the mind. This play has fully-fleshed characters and lovely dialogue. I see it as a film.”

2016 Dayton Playhouse FutureFest-winning playwright Scott C. Sickles of Forest Hills, New York (Photo by Art Fabian)

“First of all, I am beyond honored,” reflected Sickles who received the top prize of $1,000. “It’s very exciting to receive recognition for a play I originally started writing in 1995. In the late ‘90s, we did a lot of readings of it, both for development and in hopes of getting it produced. While audiences responded well, producers and theaters were just not interested. I kept it on ice until two years ago when I submitted it to the Gulfshore Playhouse New Works Festival. Being selected for FutureFest gave me the opportunity to hear the new draft. The adjudicators gave me great feedback, so now I’m ready to make some adjustments and send it out into the world again. It’s my hope that having the Dayton Playhouse FutureFest win attached to it will encourage more theaters to read the play and consider it for their seasons. Bottom line, though, FutureFest confirms for me that after being dormant so many years ‘Shepherd’s Bush’ still has a life! That makes me so happy.”
Additionally, “Memories of the Game,” an emotionally gripping account of Alzheimer’s disease, euthanasia and addiction rattling an African-American family by Kristy Sharron Thomas of North Hollywood, California, was named Audience Favorite. The outstanding, fully staged presentation, directed by Robb Willoughby and accented with haunting transition music, featured knockout performances by Franklin Johnson as Kenneth McIntosh (an electrifying portrayal that will be talked about for years to come), Marva M.B. Williams as Karen McIntosh, Nabachwa Ssensalo as Sharon Evans, and Andre Reece Tomlinson as Michael McIntosh.

2016 Dayton Playhouse FutureFest finalists: (front row left to right) Adrienne Earle Pender, Gwendolyn Rice, Kristy Sharron Thomas, (back row left to right) Scott C. Sickles, W. L. Newkirk, and Christopher G. Smith (Photo by Art Fabian)

The remaining finalists chosen from across the country in a festival that notably embraced works about historical figures were: “N,” a study of race and theatrical history concerning Eugene O’Neill’s groundbreaking 1921 drama “The Emperor Jones” by 2002 FutureFest finalist Adrienne Earle Pender of Willow Spring, North Carolina and directed by Cara Hinh; “[Miss],” the story of Dr. Frances Kelsey’s struggle with the William S. Merrell Company over the introduction of thalidomide into the United States by W.L. Newkirk of Celebration, Florida and briskly directed by Cynthia Karns; “The Violin Maker,” a story of family and tradition by Christopher G. Smith of Rochester, Minnesota and co-directed by Saul Caplan and Debra Strauss; and “The Griots,” a story of race and legacy by Gwendolyn Rice of Middleton, Wisconsin and directed by longtime FutureFest planning committee member Fran Pesch. Each finalist was awarded $100. Also, this year marked the first time there were three female playwrights in contention.
The remaining casts comprised a refreshing, diverse blend of FutureFest returnees and newcomers. “N” featured Shaun Diggs as Charles Gilpin, Shyra Thomas as Florence Gilpin and Sean Gunther as Eugene O’Neill. “[Miss]” featured Jennifer Lockwood as Dr. Frances Oldham Kelsey, Ted Eltzroth as Dr. Raymond Stehle/Dr. Joseph Murray, Jon Edward Cox as John, Anna Masla as Betty, a scene-stealing Charles Larkowski as repugnant Dr. Raymond Pogge, Renee Franck-Reed as Gertrude, Jennie Hawley as Mary, and Mark Anderson as Dr. Eugene Geiling/Dr. Ray Nulsen. “The Violin Maker” featured an earthy Dave Nickel as Wilhelm Mosel, Jess MaGill as Karl Mosel and Bryana Bentley as Angela Brunelle. “The Griots,” authentically designed by Chris “Red” Newman and attractively costumed by Carol Finley and Sandy Lemming, featured David E. Brandt as John Holt, Judi Earley as Ada Coalson and a vibrant Annie Pesch as Lizzie Dupree.
“I was mighty impressed with the other plays and playwrights,” Sickles added. “There was a great eclecticism in the playwrights’ voices, subjects and styles. Best of all, we all got along and, despite it being a competition, were very supportive of each other.”
Most importantly, the Playhouse’s reputation for providing an extremely hospitable experience for the finalists hasn’t waned. Sickles says the dedication and commitment of festival volunteers left an indelible impression.
“I have friends who are past FutureFest finalists,” he explained. “They told me it would be a great experience and that the theater would ‘treat you like royalty.’ They undersold it! From my perspective, the whole festival ran like a well-oiled machine from the time I got picked up at the airport all the way through the post-fest shindig. They kept us incredibly well hydrated, well fed and well caffeinated. Royalty isn’t treated this well!”
Mark your calendars: The 27th annual FutureFest is slated for July 21-23, 2017. Anyone interested in submitting a play must do so before Oct. 31. For more information, visit www.daytonplayhouse.com.

My FutureFest Rankings:
1. “Shepherd’s Bush”
2. “Memories of the Game”
3. “[Miss]”
4. “The Griots”
5. “The Violin Maker”
6. “N”

‘Big Fish’ Review – Epiphany Lutheran Church – Tall Tales Terrifically Told

July 21, 2016 By Russell Florence, Jr.

There’s no one like Edward Bloom, the traveling salesman and small town savior from Alabama who crossed paths with witches, mermaids, werewolves, and giants. His life sounds totally far-fetched, but getting to know the man behind the myths is great fun as seen in Epiphany Lutheran Church’s absolutely heartwarming local premiere of librettist John August and composer Andrew Lippa’s 2013 adaptation of “Big Fish.”
The 26th annual summer musical presentation of the Epiphany Players Drama Ministry, “Big Fish” is a whimsical account based on the 1998 novel of the same name by Daniel Wallace and the acclaimed 2003 Tim Burton film written by August. The relatively easygoing yet ailing Edward, happily married to the former Sandra Templeton, is thrown for a loop when his son Will presses him for answers to the fascinating tall tales he’s heard since he was a child. In his attempt to appease the soon-to-be-married Will, Edward proudly recalls his glory days, but his trips down memory lane are not without heartache or disagreement. As Edward nears the end of his life, Will, expecting a child of his own, ultimately grasps the importance of his wife Josephine’s reminder that “if you understand the stories, you’ll understand the man.”

When I saw “Big Fish” on Broadway, I can honestly tell you it was a big flop. Lippa’s flavorful songs were a saving grace (gorgeous ballad “I Don’t Need a Roof” is among the top tier of an underrated score), but an overblown design and lopsided conception (Norbert Leo Butz oddly and perplexingly portraying Edward from child to adult) chipped away at the material’s believability and resonance. Thankfully, Epiphany’s breezy staging, delightfully directed and choreographed by Megan Wean Sears, significantly alters the show’s pivotal generational scope by having three actors portray Edward and two actresses portray Sandra. Granted, Epiphany encourages large casts (this year’s company totals 75 and is double-cast per tradition), but in recognizing the possibilities afforded to multiple actors, Sears has truly changed the show for the better despite artistic liberties.
John Benjamin (an endearing, vocally strong everyman) and Brady Kress (a folksy charmer) bring authority and tenderness to the good-natured Edward with both interpretations culminating poignantly in Act 2’s deeply moving finale “How It Ends.” As the ever-supportive Sandra, Kandis Wean Gibson (recalling the depth and musicianship of role originator Kate Baldwin) and Kellie Daab (lovingly warm) are respectively and engagingly paired with Benjamin and Kress. In the middle of Act 1, when the action appealingly turns to Edward’s popular teenage years in his hometown of Ashton, Desmond Thomas (a chipper All-American) and Eric Thompson (a radiant pop tenor who will hopefully land a record deal one of these days) take the spotlight with terrific vibrancy. The teenage Sandra is wonderfully embodied by triple threats Brianna Russ (opposite Thomas) and Abby Kress (opposite Thompson). The bruised, frustrated Will arises with impactful introspection thanks to Jeffrey Mack (offering a soaring, lyric-driven rendition of “Stranger”) and Timmy Seiler (very contemplative and vulnerable). Kathy Meyer and Lily Cutler are sweetly sincere as Josephine.

Additionally noteworthy among a fine cast are Bobby Klosterman and John Morgan as Young Edward, Liam Utt and Curtis LeMieux as Young Will, Eric Pettit and Eryn Barrett as Will’s son, Brian Hoff and Mikey Fried as Karl the Giant, the flamboyance of Justin Matthews and Bobby Morgan as Amos Calloway, the fieriness of Margo Russ and Mia Bridgman as The Witch, Chris Scharf and Nick Kress as Don Price, Jessica Pettit and Kate Barrett as Jenny Hill, Bridget Miley and Laura Jacobs as teenage Jenny, the fancifulness of Sarah Crawford and Marisha Osowski as The Mermaid, Olivia Engler and Jessica Pettit as the USO Singer leading patriotic Act 2 opener “Red, White and True,” and Brianna Mallare and Maria Jasek as Sandra’s friends who join her for the cutesy “Little Lamb from Alabama.”

Along with the unified joy bursting throughout ensemble numbers “Be the Hero,” “Showdown” and “Out There on the Road,” Sears particularly creates a fierce routine for the Witches (dramatically clothed in black hooded capes by the consistently remarkable duo of Maria Klueber and Lori Watamaniuk for “I Know What You Want”) and a jubilant tap dance (“Red, White and True”). Still, prepare to be blown away by the breathtaking beauty of Act 1 finale “Daffodils,” teen Edward and Sandra’s heartfelt duet bolstered by the dazzling elegance of female dancers surrounding them while sprinkling the stage with daffodils. It is simply one of the most stunningly romantic sequences you’ll see on any stage this year.

In addition to Klueber and Watamaniuk, the first-rate production team includes music director David Brush, scenic designers Matt Carson and Tristan Cupp (providing an eye-catching proscenium featuring images of Edward’s various adventures and encounters), sound designer Chris Pentecost, lighting designer Ryan McCoy, prop designers Adrienne Ausdenmoore (Drama Ministry Chair) and Jason Hamen, assistant director/choreographer Sarah Egbert, and dance captain Abby Kress.

The proverbial love of storytelling and the desire to live one’s life bigger are vital attributes fueling this study of family, friendship and legacy. Edward Bloom may be a fantastical soul, but he’s relatable nonetheless. In fact, you may see one of your relatives or perhaps yourself within him. As Sandra reminds Will, “There is magic in the man, please find it while you can.” Kudos to Epiphany for bringing truly wondrous magic to a show that would still be running on Broadway if it had incorporated Sears’ inspired vision.

“Big Fish” continues through July 24 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: 70 minutes; Act Two: 55 minutes. Tickets are $15 for adults, $10 for students and seniors (60 and over), and $5 for children (5 and under). For tickets call, call (937) 433-1449 ext. 105. For additional information, visit www.epiphanydayton.org or e-mail [email protected]. In addition, every summer a charitable organization is selected to receive a portion of the proceeds. This year’s beneficiary is the Storybook Project, a ministry centered on ensuring incarcerated parents have the opportunity to read to their children. Volunteers from Epiphany record these parents reading a children’s book of their choosing and a personal message to the child. Epiphany volunteers have been visiting prisoners since 2001 and have sent over 10,000 recordings and books.

Black Box Welcomes Autistic Comedy Troupe

July 19, 2016 By Dayton Most Metro

The Black Box Improv Theater is proud to welcome Asperger’s Are Us to Dayton! After having Netflix pick up their documentary, these guys are touring all over the U.S. promoting it. Asperger’s Are Us is the first comedy troupe consisting of openly autistic people. We’re not a charity & we’re not poking fun at Asperger’s.

Poetic Transformation and Identity Coming July 15th

July 9, 2016 By Dayton Most Metro

Oral Funk Poetry Productions’ Off-Broadway Theatrical Revue The Signature: A Poetic Medley Show continues its ninth season with the show “Poetic Transformation and Identity” from 9 to 11 pm on Friday, July 15, at The Loft Theatre, 126 N. Main St. The Signature Lounge will open at 8 pm in the lobby, with cocktails and live music, and the show will start at 9 pm.

The show will feature the two-time Grammy Award winner and American soul singer-songwriter Timothy Bloom, along with spoken word artist Sha’Condria iCon Sibley. Dayton band Vibe5 will perform its mix of genres of music from classical to jazz, polka to gospel down to hip hop and R&B. The show also will include a variety of local poets, comedians, singers and visual artists.

Timothy Bloom performs a brand of music he’s branded “Rock and Soul,” which he attributes to the styles he heard growing up, including rock, folk, gospel, and R&B. He’s worked with the likes of Smokey Robinson, Ne-Yo and Chris Brown. The video for Bloom’s single ʼTil the End of Time has more than three million views on YouTube, and his last album was in the top 100 in the Billboard R&B charts. Bloom will release a single and EP in September. In addition, Bloom speaks at high schools about pursuing music goals and the reality of the music business. He also works with the Gospel for Teens Youth Choir in Harlem, and has invited teens to be backup singers for shows and TV appearances. Bloom is working with Make Room USA, highlighting the rental crisis in America, as well as the Grammy Foundation, reminding people of the importance of music in the classrooms.

Sha’Condria iCon Sibley is a nationally acclaimed championship poet, spoken word artist, multi-disciplinary performer, teaching artist and activist. Her work has been featured on the Huffington Post, Marie Claire and BET. She is a two-time national slam champion and was on BET’s list of Black Girls Winning. She was a featured performer on the third season of TV One’s Verses and Flow. Recently, she became the first woman and non-Texan to win the Texas Grand Slam, the largest individual poetry slam in the South, and placed first in the regional slam competition 2016 Southern Fried Poetry Slam. Sibley is the current Rouge Roulette Slam Champion and is ranked the No. 2 female poet in the world. She also teaches poetry to inmates at a federal correctional facility, is the host and organizer of the Rhythm & Rhymes Spoken Word Performing Arts Series at the Alexandria Museum of Art, and is the founder of the Little Girls Big Names Project. She will be performing at the 2016 Essence Festival.

Sibley is the current Rouge Roulette Slam Champion and is ranked the No. 2 female poet in the world. She also teaches poetry to inmates at a federal correctional facility, is the host and organizer of the Rhythm & Rhymes Spoken Word Performing Arts Series at the Alexandria Museum of Art, and is the founder of the Little Girls Big Names Project. She will be performing at the 2016 Essence Festival.

Tickets are $25 and available online or by calling 937-228-3630. Season tickets are also still available.

Aug. 19: The Last Poet Standing slam poetry competition
Sept. 16: Tribute to the black arts movement and Nina Simone

The Signature: A Poetic Medley Show is co-sponsored by the Human Race Theatre Company. Other sponsors are Oral Funk Poetry Productions, Signature Education Solutions, and the University of Dayton’s ArtStreet, . The Signature has earned a reputation across the Midwest for being edgy, thought-provoking, groundbreaking, funny, engaging, sexy, diverse and spontaneous.

More information and details are available online at www.tripplecroxxent.org, Home of Urban Creative Arts.

Dayton Playhouse Announces Auditions for Camelot

July 7, 2016 By Lisa Grigsby

The Dayton Playhouse will hold open auditions for the musical Camelot with book and lyrics by Alan Jay Lerner and music by Frederick Loewe, on Monday, July 25 and Tuesday, July 26, at 7:00 pm. Camelot will be directed by Ranger Puterbaugh, a Language Arts teacher and director of the Drama Club at Northmont High School. Puterbaugh’s recent directing credits include The Addams Family, Moon Over Buffalo, and Children of Eden. Musical director for the production will be Brennan Paulin. Production dates for Camelot are September 16 – October 2 (Fridays through Sundays).

Those auditioning should come prepared to sing a 16-32 bar musical selection that shows range and character, preferably a selection from the classical/golden age of Broadway to best match the show. An accompanist will be provided. Dress comfortable for movement. Auditions will consist of vocal and movement portions, as well as cold readings from scenes. The director asks that everyone try to attend both nights of auditions. Please come to the audition with any and all possible conflicts you may have with the rehearsal calendar. Rehearsals will run Monday through Thursday, generally from 7pm to 10pm for the months of August and September. Final week before opening will require every night rehearsal.

The director will be looking to fill the following roles:

King Arthur (Male/ Young Adult-Middle Aged/ Lead/ Baritone) – an ambitious and idealistic man who must wrestle with the struggle between his vision for the future and the reality of the world around him.
Guenevere (Female/ Young Adult-Middle Aged / Lead/ Soprano) – an adventurous spirit caught in the world of high society. She is excited by the idea of adventure and has romanticized the world of knights.
Lancelot (Male/ Young Adult-Middle Aged/ Lead/ Baritone) – a righteous and pure knight whose desire to serve the greater good comes into conflict with his own personal desires.
Pellinore (Male/ Middle Aged and older/ Supporting/ Spoken) – a bumbling, well- meaning knight on a long forgotten quest.
Mordred (Male/ Young Adult/ Supporting/ Tenor) – an ambitious, power hungry man who shares none of the ideals of his father.
Nimue (Female/ Young Adult – Middle Aged/ Featured/ Mezzo-Soprano) – a mysterious magical woman who lures Merlyn to his fate.
Morgan Le Fey (Female/ Young Adult – Middle Aged/ Featured/ Spoken) – an estranged witch who uses her powers for mischief.
Merlyn (Male/ Older/ Featured/ Spoken) – a wise mentor whose words don’t always make sense at first.
Tom of Warwick (Male/ Young Adult/ Featured/ Spoken)- a young boy who stumbles on the biggest battle of the age.
Sir Dinadan (Male/ Young Adult – Middle Aged/ Featured/ Tenor)- a knight of the round table who serves the King and Queen faithfully.
Sir Sagramore (Male/ Young Adult – Middle Aged/ Featured/ Tenor)- a knight of the round table who serves the King and Queen faithfully.
Sir Lionel (Male/ Young Adult – Middle Aged/ Featured/ Tenor)- a knight of the round table who serves the King and Queen faithfully.
Squire Dap (Male/ Young Adult/ Featured/ Spoken)- Lancelot’s loyal squire.
Ensemble: (Assorted scenes, lines, moments)
Lady Anne
Lady Sybil
Guilliam
Colgrevance
Bliant
Castor
Clarius
Page

(casting may not be race specific)

The Dayton Playhouse is located at 1301 E. Siebenthaler Ave, Dayton, OH 45414. For additional information regarding the Dayton Playhouse and complete character descriptions, visit www.daytonplayhouse.com.

Saluting Dayton’s 2015-16 Theater Season

June 29, 2016 By Russell Florence, Jr.

America’s independence, murderesses at odds, family dysfunction upended by a gentleman caller, brave children thriving on creativity to survive the horrors of a concentration camp, and disheartened young adults navigating a post-9/11 world are some of the stories that bolstered Dayton’s 2015-16 theater season.

Looking back, let’s start with the bold, risk-taking Playground Theatre, a millennial-focused troupe changing the landscape of Dayton theater with an edgy off-Broadway vibe. Case in point: An exceptionally acted, up close and personal local premiere of Reasons to Be Pretty, Neil LaBute’s scathing account of image, regret, deception, and disillusionment directed with razor sharp tension and riveting intimacy by David Brush. Fine premieres thrived elsewhere at community theaters thanks to the Dayton Theatre Guild’s lovely Outside Mullingar and Last Gas as well as Young and Heart Players’ kooky, introspective Circle Mirror Transformation. As for musicals, Dayton Playhouse scored with challenging classics 1776 and Carousel while Beavercreek Community Theatre offered highly engaging accounts of The Addams Family and Spring Awakening

Collegiate theaters also hit the mark with a solid slate of musicals. Wright State University’s Chicago, The Music Man and Miss Mayor showcased the superior quality audiences have come to expect while Sinclair Community College notably produced an infectious, playful and soul-stirring Wiz. Drama standouts included University of Dayton’s captivatingly poignant staging of the Holocaust drama And A Child Shall Lead (co-produced by Zoot Theatre Company), Sinclair’s terrifically ensemble-driven One Flew Over the Cuckoo’s Nest, and Clark State Community College’s commendable Angels in America: Millennium Approaches.

On professional stages, the fantastic return engagement of The Lion King gave the Victoria Theatre Association late-season momentum, but the production was actually one of an assortment of outstanding national tours this season including A Night with Janis Joplin, Once, Pippin, The Book of Mormon, and The Bridges of Madison County. Human Race Theatre Company specifically excelled with a wonderfully haunting and heartfelt Glass Menagerie. Feminine-centric Magnolia Theatre Company produced a splendid local premiere of the engrossing one-woman show K of D, but also greatly entertained with the delightful cabaret Broadway Beveled. Dare to Defy Productions pulled out the stops with American Idiot, but also impressed with the hilarious Great American Trailer Park Musical and snazzy, dance-heavy Wild Party.
Assessing the 65 shows I saw this season, I congratulate the following winners (in bold) and nominees.

Jennifer Joplin, Claire Kennedy and Scott Hunt in the Human Race Theatre Company’s production of “The Glass Menagerie” (Photo by Scott J. Kimmins)

(l to r) Brett Hill, Jenna Burnette, Christopher Hahn, and Kaleigh-Brooke Dillingham in “Reasons to Be Pretty” (Photo by Rachel Katz)

BEST TOURING PRODUCTION
The Book of Mormon, Victoria Theatre Association
The Bridges of Madison County, Victoria Theatre Association
Disney’s The Lion King, Victoria Theatre Association
Once, Victoria Theatre Association
Pippin,Victoria Theatre Association
Rodgers and Hammerstein’s Cinderella, Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A PLAY
The Glass Menagerie,Human Race Theatre Company
The K of D, An Urban Legend, Magnolia Theatre Company
Master Class, Human Race Theatre Company
Steel Magnolias, Human Race Theatre Company

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
A Christmas Story: The Musical, La Comedia Dinner Theatre
American Idiot, Dare to Defy Productions
The Full Monty, Human Race Theatre Company
The Great American Trailer Park Musical,Dare to Defy Productions
The Wild Party,Dare to Defy Productions

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
Circle Mirror Transformation, Young at Heart Players
Fools,Undercroft Players
Last Gas,Dayton Theatre Guild
Outside Mullingar, Dayton Theatre Guild
Reasons to Be Pretty, Playground Theatre

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
1776, Dayton Playhouse
The Addams Family,Beavercreek Community Theatre
Carousel, Dayton Playhouse
Spring Awakening, Beavercreek Community Theatre

BEST COLLEGIATE PRODUCTION OF A PLAY
A Streetcar Named Desire, Wright State University
And A Child Shall Lead, University of Dayton with Zoot Theatre Company
Angels in America: Millennium Approaches, Clark State Community College
The Great Gatsby, Wright State University
One Flew Over the Cuckoo’s Nest, Sinclair Community College

BEST COLLEGIATE PRODUCTION OF A MUSICAL
Chicago, Wright State University
Miss Mayor, Wright State University
The Music Man, Wright State University
Once Upon a Mattress, University of Dayton
The Wiz, Sinclair Community College

Dayton native and Wright State University grad Annie Pesch Contributed photo

BEST SPECIAL THEATRICAL EVENT
A Night with Janis Joplin, Victoria Theatre Association
American Mosaic, Dayton Philharmonic Orchestra, Dayton Opera, Dayton Ballet, Human Race Theatre Company, Muse Machine, DCDC, and Bach Society of Dayton
An Evening with Jason Robert Brown, Wright State University Musical Theatre Initiative
Mary Poppins, Muse Machine
Tarzan,Epiphany Lutheran Church

BEST LEADING ACTOR IN A PLAY
Mike Beerbower as Anthony Reilly, Outside Mullingar
Saul Caplan as Roy Cohn, Angels in America: Millennium Approaches
Tommy DiMassimo as Stanley Kowalski, A Streetcar Named Desire
Christopher Hahn as Greg, Reasons to Be Pretty
Scott Hunt as Tom Wingfield, The Glass Menagerie
David Shough as Joseph Alsop, The Columnist (Dayton Theatre Guild)

BEST LEADING ACTRESS IN A PLAY
Christine Brunner as Truvy, Steel Magnolias
Jenna Burnette as Steph, Reasons to Be Pretty
Teresa Connair as Rosemary Muldoon, Outside Mullingar
Jenna Gomes as Becky, Slowgirl (Dayton Theatre Guild)
Ellie Margolis as Blanche DuBois, A Streetcar Named Desire
Annie Pesch as The Girl, The K of D, An Urban Legend

BEST LEADING ACTOR IN A MUSICAL
Christian Johnson as Bert, Mary Poppins
Nathan Robert Pecchia as Harold Hill, The Music Man
Layne Roate as Johnny, American Idiot
Andrew Samonsky as Robert Kincaid, The Bridges of Madison County
Jeff Sams as Billy Bigelow, Carousel
Cody Jamison Strand as Elder Cunningham, The Book of Mormon

BEST LEADING ACTRESS IN A MUSICAL

Pictured: Carolyn Popp, Christine Brunner, Caitlin Larsen, Patricia Linhart and Maretta Zilic

Kaitlyn Davidson as Ella, Rodgers and Hammerstein’s Cinderella
Mackenzie Lesser-Roy as Girl, Once
Gabrielle McClinton as Leading Player, Pippin
Bailey Rose as Roxie Hart, Chicago
Brianna Russ as Mary Poppins, Mary Poppins
Elizabeth Stanley as Francesca Johnson, The Bridges of Madison County

BEST SUPPORTING ACTOR IN A PLAY
Eric Arntz as Martin Lowy, And A Child Shall Lead
Sean Frost as Louis Ironson, Angels in America: Millennium Approaches
Cody Lewis as Harold “Mitch” Mitchell, A Streetcar Named Desire
Dave Nickel as Tony Reilly, Outside Mullingar
John Spitler as Dr. Zubritsky, Fools
Drew Vidal as Jim O’Connor, The Glass Menagerie

BEST SUPPORTING ACTRESS IN A PLAY
Megan Cooper as Theresa, Circle Mirror Transformation

The cast of Dayton Playhouse’s production of “1776” (Photo by Art Fabian)

Kaleigh-Brooke Dillingham as Carly, Reasons to Be Pretty
Claire Kennedy as Laura Wingfield, The Glass Menagerie
Caitlin Larsen as Ouiser, Steel Magnolias
Pam McGinnis as Freida, The Tale of the Allergist’s Wife (Dayton Playhouse)
Rachel Wilson as Cherry-Tracy Pulcifer, Last Gas

BEST SUPPORTING ACTOR IN A MUSICAL
Tim Rezash as John Dickinson, 1776
John Rubenstein as Charles, Pippin
Tyler Simms as Amos Hart, Chicago
J. Gary Thompson as Jigger Craigin, Carousel
Malcolm Walker as The Wiz, The Wiz
Richard Young as Benjamin Franklin, 1776

BEST SUPPORTING ACTRESS IN A MUSICAL
Cecily Dowd as Winifred Banks, Mary Poppins
Lisa Glover as Whatsername, American Idiot
Priscilla Lopez as Berthe, Pippin
Krissy McKim-Barker as Carrie Pipperidge, Carousel
Tia R. Seay as Betty, The Great American Trailer Park Musical
Megan Valle as Jacqueline “Jacq” Greer, Miss Mayor

(left to right) Rob Willoughby, Angie Thacker, Tori Kocher, Tia R. Seay, Eric Julian Walker, and Hayley Penchoff appear in Dare to Defy Productions’ presentation of “The Great American Trailer Park Musical.” (Contributed photo; not pictured Lisa Glover)

BREAKTHROUGH MALE PERFORMANCE
Evan Benjamin as Jack, Into the Woods (Dare to Defy Productions)
David E. Brandt as The Lion, The Wiz
Brett Hill as Kent, Reasons to Be Pretty
Dakota Mullins as Tommy Djilas, The Music Man
Thomas Cole Schreier as St. Jimmy, American Idiot
Eric Thompson as Enoch Snow, Carousel

BREAKTHROUGH FEMALE PERFORMANCE
Bryana Bentley as Rose, Fences (The Signature: A Poetic Medley Show/Sinclair Community College)
Caroline Chisholm as Velma Kelly, Chicago
Natalie Girard as Evelyn “Evie” Ensler (a.k.a. Helen Hensler), Miss Mayor
Adrienne (Adee) McFarland as Julie Jordan, Carousel
Vanae Pate as Dorothy, The Wiz
Madeline Sensenstein as Myrtle Wilson, The Great Gatsby

BEST DIRECTION OF A PLAY
Kimberly Borst, The K of D, An Urban Legend
David Brush, Reasons to Be Pretty
Greg Hellems, The Glass Menagerie
David Shough, Outside Mullingar
Jerome Yorke, And A Child Shall Lead

BEST DIRECTION OF A MUSICAL
Marya Spring Cordes, The Music Man
Joe Deer, Chicago
Chris Harmon, The Wiz
Megan Wean Sears, Tarzan
Angie Thacker, American Idiot

BEST CHOREOGRAPHY
Lula Elzy, Mary Poppins
Lisa Glover, The Wild Party
Kimberly Isaacs, American Idiot
Teressa Wylie McWilliams, Chicago
Rodney Veal, The Wiz
Dionysia Williams, The Music Man

BEST SCENIC DESIGN OF A PLAY
Bruce Brown, Last Gas
Matthew J. Evans, And A Child Shall Lead
Chris Newman, The Tale of the Allergist’s Wife (Dayton Playhouse)
Chris Newman and David Shough, Outside Mullingar
Terry Stump, One Flew Over the Cuckoo’s Nest

BEST SCENIC DESIGN OF A MUSICAL
Dick Block, The Full Monty
Adam Koch, Chicago
Pam Knauert Lavarnway, The Music Man
Terry Stump, The Wiz
Ray Zupp, Tarzan

BEST COSTUME DESIGN OF A PLAY
Donna Beran, And A Child Shall Lead
Carol Finley, The Columnist (Dayton Theatre Guild)
Mary Beth McLaughlin, The Great Gatsby
Janet G. Powell, Steel Magnolias
Emily Sollinger, A Streetcar Named Desire

BEST COSTUME DESIGN OF A MUSICAL
Kathleen Carroll, 1776
Kathleen Hotmer, The Wiz
Maria Klueber and Lori Watamaniuk, Tarzan
Christie Peitzmeier, The Music Man
Michelle Sampson, Chicago

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UD’s production of AND A CHILD SHALL LEAD. Photo by: Tony Beran

BEST LIGHTING DESIGN OF A PLAY
Jadon Bischoff, Slowgirl (Dayton Theatre Guild)
Daniel Brunk, One Flew Over the Cuckoo’s Nest
Jessica Ann Drayton, A Streetcar Named Desire
Matthew J. Evans, And A Child Shall Lead
Jessy Henning, The K of D, An Urban Legend

BEST LIGHTING DESIGN OF A MUSICAL
Matthew Benjamin, American Idiot
Jacob Brown, The Music Man
Sammy Jelinek, Into the Woods (Dare to Defy Productions)
Gina Neuerer, The Wiz
John Rensel, Mary Poppins

BEST SOUND DESIGN OF A PLAY
Megan Banfield, And A Child Shall Lead
Jay Brunner, The Glass Menagerie
Emily Hutton, The K of D, An Urban Legend
Alex Koker, A Streetcar Named Desire
K.L. Storer, Last Gas

BEST SOUND DESIGN OF A MUSICAL
Daniel Brunk, The Wiz
James Dunlap, Chicago
Emily Hutton, The Music Man
Chris Pentecost, Tarzan
Ben Selke, A Night with Janis Joplin

BEST ORCHESTRA
A Night with Janis Joplin (Music Director: Mark Berman)
The Bridges of Madison County (Music Director: Keith Levenson)
Chicago (Music Director: Scott Woolley)
Mary Poppins (Music Director: Claude Lucien Thomas)
The Wiz (Music Director: David McKibben; Conductor: Dr. Kenneth Kohlenberg)

BEST PROPERTIES
Jason Hamen and Adrienne Ausdenmoore, Tarzan
Jennifer Kramer, The Wiz
Heather Powell, Steel Magnolias
Shannon Sellars, Mary Poppins
Mo Stinehart, And A Child Shall Lead

ADDITIONAL ACKNOWLEDGMENTS

David Alfano’s video and projection design for And A Child Shall Lead
Lynn Baudendistel, Robin Brown, Toni Donato Shade, and Alisa Vukasinovich’s costume coordination for Mary Poppins
Brad Bishop as Gomez Addams and Becky Barrett-Jones as Morticia Addams in The Addams Family
Jay Brunner’s incidental music for The Glass Menagerie
David Brush and Chris Harmon’s respective reconfigurations of the Mathile Theatre and Beavercreek Community Theatre for Reasons to Be Pretty and Spring Awakening
Steven Burton and Tim Grewe’s wig design for 1776
The Tony-winning creative team for The Lion King: Director/designer Julie Taymor, scenic designer Richard Hudson, lighting designer Donald Holder, and choreographer Garth Fagan
The creative team for Miss Mayor: Christian Duhamel (music and lyrics), Ellie Margolis (book) and Greg Hellems (concept/additional book)
Micah Koverman as Colin in The Secret Garden (Playhouse South)
Bob Crowley’s Tony-winning scenic design, Natasha Katz’s Tony-winning lighting design, John Tiffany’s Tony-winning direction, and Steven Hoggett’s movement for Once
Tristan Cupp’s puppet design for And A Child Shall Lead
Cicily Daniels, Tawny Dolley, Q. Smith, and Jennifer Leigh Warren as the Joplinaries in A Night with Janis Joplin
Mary Bridget Davies’ Tony-nominated portrayal of Janis Joplin in A Night with Janis Joplin
Elis Davis, Jordan Adams, Connor Lysholm, and Kyle Krichbaum as The Quartet in The Music Man
Jonathan Deans and Garth Helm’s Tony-nominated sound design, Paul Kieve’s illusions, Dominique Lemieux’s Tony-nominated costumes, Scott Pask’s Tony-nominated scenic design, Diane Paulus’ Tony-winning direction, Kenneth Posner’s Tony-nominated lighting design, Gypsy Snider’s circus creation, and Chet Walker’s Tony-nominated choreography for Pippin
Jasmine Easler as Oprah Winfrey in Miss Mayor
Carol Finley’s costumes for Five Women Wearing the Same Dress (Beavercreek Community Theatre)
TJ “Tyler” Fortson, Katelyn Gross, Ashlee Ferrell, and Maximillian Santucci in Quid Pro Quo (Sinclair Community College)
Mierka Girten as Maria Callas, musical director Sean Michael Flowers’ accompaniment and Cassi Mikat as Sharon Graham in Master Class
Jose Gutierrez del Arroyo as Franklin Shepard in Merrily We Roll Along (Beavercreek Community Theatre)
Chris Harmon’s scenic design for California Suite, Five Women Wearing the Same Dress and Spring Awakening (Beavercreek Community Theatre)
William Ivey Long’s Tony-winning costumes and Josh Rhodes’ choreography for Rodgers and Hammerstein’s Cinderella
Jeffrey Mack as Tarzan in Tarzan
Gary Minyard’s fight choreography for She Kills Monsters (Sinclair)
Wendi Michael’s scenic design for Slowgirl (Dayton Theatre Guild)
Jared Mola as Nat Paradis and Rick Flynn as Guy Gagnon in Last Gas
The Murderesses of “Cell Block Tango” in Chicago (Caroline Chisholm, Alex Caldwell, Haylee Dobkins, Alyson Snyder, Megan Valle, and Meredith Zahn)
Chris Newman’s scenic design for The Diary of Anne Frank (Dayton Playhouse)
Casey Nicholaw’s Tony-winning choreography of The Book of Mormon
Annie Pesch and Fran Pesch’s rendition of “No More” in Broadway Beveled: A Feminine Cabaret
Micah Stock as Tom Wingfield (The Glass Menagerie) in American Mosaic
Matthew Tabor’s Hungarian dialect coaching for Chicago
Deborah Thomas’ dialect coaching for The Great Gatsby
André Tomlinson, Bryana Bentley, Greyson Calvert, and Rebecca Henry as The Yellow Brick Road in The Wiz
ZFX, Inc.’s flying effects for Tarzan

Blame It On The Funk

June 17, 2016 By Dayton Most Metro

Do you remember the day when you fell in love with Funk? The day you got on the Loverollercoaster to take a ride. Junebug remembers it well. When the soon to be hit ‘Skin Tight’ from Dayton’s own The Ohio Players hit the airwaves, love hit a sixteen year-old Junebug right in the face in the form of a shy, yet stunningly beautiful girl named Elley. Junebug would spend the next decade pursuing the loves of his life – Elley and Dayton funk.

Blame It On The Funk is a stage play presenting some of Dayton’s most talented new school musicians, singers and dancers who will pay tribute to old school Dayton Funk through the performance of songs by the Ohio Players, Heatwave, Slave, Faze-O and Zapp. Join Junebug and Elley on their journey to find love as shared by Junebug with his granddaughter Mia.

‘Master Class’ Review – Human Race Theatre Company – An Education

June 14, 2016 By Russell Florence, Jr.

Famed opera diva Maria Callas, one of the most gifted performers of the 20th century widely regarded as La Divina, comes alive through a satisfying lens at the Loft Theatre as seen in the Human Race Theatre Company’s production of Terrence McNally’s 1996 Tony Award-winning drama “Master Class.”

Pictured (left to right): Jeremy Carlisle Parker, Mierka Girten and Sean Michael Flowers. Photo courtesy of Scott J. Kimmins.

Fluidly directed by Scott Stoney and set in the mid-1970s, McNally’s work provides a compelling, fantasized look at a voice master class Callas conducts at the Julliard School, based on actual accounts from her 23 sessions held during the 1971-72 school year. The strengths of her remarkable voice long gone having retired in the early 1960s, Callas resorts to teaching to sustain her as she molds the next generation hoping to reach her level of acclaim. In her eyes, artistry, discovery, expression, meaning, intonation, history, truth, and commitment are paramount. While instructing three aspiring singers, she engagingly reflects on her humble beginnings, formidable lessons, supposed rivals, topsy-turvy romances, and lauded roles. But above all, she stresses the importance of education. “You’re not in a theater,” she warns at the outset. “You’re in a classroom.”
Mierka Girten, a Cincinnati native and Wright State University alumna, fittingly embodies the cool, stern, opinionated, and intimidating bluntness overflowing within Callas’ superiority and influence. Sophisticatedly dressed by costumer Hyun Sook Kim in sparkling black attire accented with strings of pearls, Girten, who looks the part and, at 47, is roughly the same age as Callas when she conducted her sessions, astutely relies on vocal dexterities and mannerisms to capture the role’s dramatic sensibilities. As an actress living with multiple sclerosis and its complications, she navigates the role gingerly by using the script and holding notes throughout. Nevertheless, her acting choices are far from precarious, particularly in scenes detailing Callas’ fascinating coaching and the time she recalls her affair with shipping tycoon Aristotle Onassis.
Wonderfully assisted by pianist/musical director Sean Michael Flowers as Emmanuel Weinstock, Girten shines opposite three fantastic vocalists. As confident tenor Anthony Candolino, the charming, sunny Blake Friedman, who appeared as tenor soloist in “Liebeslieder Walzer” with New York City Ballet at Lincoln Center, dynamically interprets a portion of Puccini’s “Tosca,” which Girten guides with delightfully descriptive beauty. Singing Bellini’s “Sonnambula,” Jeremey Carlisle Parker, a Dayton native and University of Cincinnati College-Conservatory of Music alumna, brings personable unease and reticence to her endearing portrayal of timid soprano Sophie De Palma. Recent Wright State University alumna Cassi Mikat, tremendous last season in “Sondheim on Sondheim,” delivers another vocally thrilling performance as the flummoxed yet determined soprano Sharon Graham. Sharon’s shrewd choice of the letter scene from Verdi’s “Macbeth” invigorates Callas to the point of dissecting the piece from entrance to epiphany while conjuring her stellar Lady Macbeth at La Scala.
Stoney, briefly appearing as a stagehand, also assembles a first-rate artistic team including scenic designer Scott J. Kimmins (whose 17th design for the Race exudes the proper look and feel of an academic studio), lighting designer John Rensel, sound designer Jay Brunner, and the aforementioned Friedman as dialect coach. Projections are effectively incorporated as well when Callas recalls her past.
“How can you have rivals when no one else can do what you do?,” Callas colorfully questions. McNally’s striking assessment of one of the world’s singular talents is an insightful guide to grasping her legacy and the music she adored.

“Master Class” continues through June 26 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. June 15-18 and 22-25; 2 p.m. June 19 and 26; and 7 p.m. June 14 and 21. The production runs 2 hours and 10 minutes including intermission. Tickets are $40 for adults, $37 for seniors, and $20 for students. A “While We’re On the Subject” post-show talkback featuring special guest Thomas Bankston, artistic director of the Dayton Opera, will be held following the June 19 matinee. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.