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‘Really Really’ Review – Playground Theatre – He Said, She Said

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Murky events surroundireally reallyng an evening of partying and drinking dismantles relationships forever in Paul Downs Colaizzo’s riveting 2013 collegiate drama “Really Really,” currently receiving a terrifically compelling local premiere in the Mathile Theatre of the Schuster Center courtesy of emerging Playground Theatre.

 
Deftly directed by Playground co-founder/artistic director Jenna Burnette and set at a prestigious university, Colaizzo’s fascinating and often humorous look at Millennials navigating through an uncertain future riddled by their own insecurities centers on an intimate encounter between popular rugby player Davis (Playground co-founder/artistic director Christopher Hahn) and the reserved, enigmatic Leigh (Kaleigh-Brooke Dillingham). Leigh specifically accuses Davis, a guy she’s had a crush on since freshman year, of rape although he has no recollection of the incident because he was drunk. The ensuing tug-of-war of words and feelings, resulting in a jaw-dropping climax, opens the door to gripping social commentary on class, privilege, egotism, and hypocrisy which Colaizzo potently explores. And in doing so, and without reservation, he keeps his audience grappled with questions. Would Leigh, who grew up in poverty abused and without prospects, have pursued Davis if he wasn’t wealthy? Did Davis, coming off a relationship that ended badly, pursue the unglamorous Leigh because he thought she was an easy rebound who would leap at the chance to be with him? No one really knows, and in turn, this tale immensely entices and provokes even from the very first scene which powerfully sets the mystery in motion with a very innocent and quiet acknowledgement of pain.

 
Hahn and Dillingham only appear together in two scenes but they’re an electrifying, honest pair. In one of his most vulnerable and visceral portrayals, Hahn conveys great sensitivity and responsibility throughout to credibly fuel Davis’ good intent and noble reputation. At the same rate, he fiercely taps into Davis’ dark side when his world crashes down. Dillingham, a memorably perky Elle Woods in Beavercreek Community Theatre’s “Legally Blonde,” strikingly inhabits Leigh with needy ruthlessness feeding the vindictive character’s chief desire to rest in the arms of a guy who can truly protect and provide for her. Dillingham, fiery to the hilt in the final moments, proves love and security matter most to Leigh and she will stop at nothing to accomplish her mission even if she has to destroy Davis in the process. After all, in a furious rage, Leigh reminds him, “I’m choosing not to fail.”
Accenting Davis and Leigh’s combustible world are an assortment of colorfully opinionated characters embodied by a uniformly excellent supporting cast. As Leigh’s skeptical, goal-oriented roommate Grace, Jenna Gomes scores laughs and astutely interprets Colaizzo’s enlightening dialogue in two juicy Millennial-driven monologues addressing The Future Leaders of America. Alaska Stoughton is a sarcastic joy in the unnecessary yet entertaining role of Leigh’s snide older sister Haley. As Davis’ brutish, slacker roommate Cooper, Zack Duncan, a towering presence and an appealing newcomer to Dayton’s theater scene, fits the jock stereotype while smoothly balancing blustery machismo with genuine earnestness. As Davis’ studious, thoughtful friend Johnson, the endearing Timothy Moore provides a wonderful moment of reflection involving loyalty. Tyler Henry, in a shrewd bit of casting, is a source of dramatic heft as Leigh’s gullible boyfriend Jimmy, a guy no one likes but everyone needs since he’s the entitled son of one of the university’s power players.

 
Additionally, Burnette’s commendable artistic team includes scenic designer Isaac Hollister (ensuring the play’s dual apartments differ in tone and personality), lighting designer Derek Dunavent, and sound engineer Luke Tandy. Playground Theatre debuted last season with an amusing and committed look at “The Breakfast Club,” but “Really Really” impressively solidifies this troupe as Dayton’s risk-taking, Millennial-centric outlet for contemporary, edgy theater you need to see.

 

“Really Really” continues through Dec. 6 in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are 8 p.m. today and 2 p.m. Sunday. Act One: 55 minutes; Act Two: 60 minutes. Tickets are $20 for adults and $15 for students. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

Adam Pascal Bound for Wright State

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adam pascalTony Award nominee Adam Pascal, one of the finest pop/rock voices in contemporary musical theatre who garnered acclaim in Jonathan Larson’s groundbreaking 1996 Tony and Pulitzer Prize-winning musical “Rent,” will perform a special acoustic concert Wednesday, Dec. 2 at Wright State University.

 
Presented by WSU’s Musical Theatre Initiative, Pascal’s visit marks a yearlong celebration of contemporary musical theatre entitled “Musicals Rock!” The Musical Theatre Initiative is an international center at Wright State that celebrates and explores the history, culture and craft of the musical theatre through workshops, conferences and performances.
“This yearlong program, called Musicals Rock!, will immerse students and audiences in the entire world of Broadway pop and rock musicals,” said Joe Deer, distinguished professor of musical theatre and Musical Theatre Initiative director. “This is the sound and style of the new Broadway. And we’re preparing our students to enter that world professionally.”

 
Pascal, 45, is a Bronx native raised in Syosset, New York. In addition to “Rent,” he has appeared on Broadway in “Aida,” “Memphis” and “Chicago.” He also co-produced the hit off-Broadway play “Fully Committed” with fellow “Rent” alum Jesse L. Martin. His latest CD entitled “Blinding Light” is currently in release. His upcoming film projects include “Punk’s Dead” and “The Devil’s Carnival Alleluia.”
In advance of his appearance, Pascal discussed his journey thus far and what he plans to share at Wright State.

Q: Has music always been a part of your life? Who are your musical influences? Did you enjoy musicals growing up?
A: I’ve always loved the Beatles, Billy Joel, Led Zeppelin, Iron Maiden, Judas Priest, Queen, and Journey. I’ve always loved male singers with big powerful voices. I grew up playing in rock bands throughout New York City. I actually grew up with Idina Menzel. I’m also a huge fan of movie musicals like ‘Hair,’ ‘Tommy’ and ‘The Rocky Horror Picture Show.’ I devoured those movies. I loved those movies so much and they had a huge impact on me. After Idina got cast in ‘Rent’ she reached out to me and told me they were opening up the casting of Roger to people who didn’t necessarily have prior theater experience. She said all I had to do was show up with a guitar and sing. The idea of going in and auditioning for something was intriguing. I hadn’t done that before. I had never considered a career in musical theatre. It didn’t occur to me that was something I could pursue. I was so focused on playing in rock bands that nothing else had ever occurred to me what I could do with my voice. Rock music was my passion and I never veered off that course.

Q: Can you explain how it felt to portray Roger Davis in your Broadway debut?
A: Honestly, when I got cast in ‘Rent,’ the show wasn’t the ‘Rent’ it ultimately became. When I was cast off-Broadway in the show it was just a 10-week run of an unknown entity. So, I was certainly excited to be a part of the show, but I wasn’t under the assumption I had been cast in the biggest musical in 20 years. My first thought was how I was actually going to keep my job while rehearsing at night! After my first audition I was given a cassette recording from casting of Jonathan Larson singing ‘One Song Glory.’ I was asked to go home and learn it and come back and sing it. I didn’t know anything about ‘Rent’ or Roger as a character. I must admit it wasn’t a magic moment by any means when I heard the song as if to say it was meant just for me. But ‘Rent’ will always be a major part of my life and career.

Q: You are one of the rare performers to be able to reprise their role on screen. How was the experience?
A: To be able to reprise my role was such a gift. I am so indebted to director Chris Columbus for fighting for us because it rarely happens that an original cast reprises their roles on screen. Chris wanted to maintain that connection to Jonathan Larson and his way to do that was to have us in the movie. We were the people Jonathan chose to embody those characters and in order to honor that Chris put us on screen. It’s great to have had ‘Rent’ be my starting ground which allowed me to go on and grow to do other things. It’s actually taken me 20 years to grow into the actor everyone thought I was when I debuted in ‘Rent.’

Q: In 2000, you portrayed Radames in Elton John and Tim Rice’s ‘Aida.’ What was it like working with Elton John?
A: Elton John has always been one of my idols. With ‘Aida,’ I feel I was just in the right place at the right time. ‘Rent’ opened up the door to a lot of pop/rock musicals. Getting to work with Elton was such a dream come true, but honestly, Elton is not the kind of composer who is involved with the rehearsal process. He writes the songs, sends them to the creative team, and then finds out weeks later what works or doesn’t work. And in retrospect, that’s the way it needs to be with Elton. But I also did a very early workshop of ‘Tarzan’ with music by Phil Collins who was the exact opposite of Elton. Phil was always in the room and very much involved in the creative process. It was really interesting to see somebody who arguably is more of a pop/rock icon come to musical theater from the opposite end of the spectrum.

Q: In 2006, you starred as Freddie Trumper opposite Idina Menzel and Josh Groban in a special concert version of the musical ‘Chess’ (available on CD and DVD) written by Tim Rice and members of ABBA. ‘Chess’ certainly has a cult following and your stellar rendition of “Pity the Child’ was an undeniable highlight. Have you always been a fan of the score?
A: The score for ‘Chess’ is definitely in my top three favorite scores of all time. The score is absolutely brilliant. The show unfortunately has a number of inherent problems with its book which has kept it from becoming the success the music would indicate it would have become. But the concert was magical. I’m so glad to have been a part of it and glad it was recorded.

Q: In January you’ll begin rehearsals as the romantic lead in Seth Rudetsky’s new musical “Disaster!” which opens in March at the Nederlander Theatre where ‘Rent’ played. Are you excited to return to Broadway? What can you reveal about the show?
A: ‘Disaster!’ is an all-out wacky comedy. I am friends with and love everyone in the cast. I did readings of it in New York and L.A. and laughed the whole time watching everyone’s performance. It’s a rare opportunity to be entertained so much by the show that you’re in and other people’s work. In the show some of my numbers include ‘Alone Again (Naturally),’ ‘I’d Really Love to See You Tonight,’ ‘Baby Hold On,’ and ‘Three Times a Lady.’ It’s going to be very special to perform on the stage of the Nederlander again. ‘Disaster!,’ in a way, came to me out of nowhere and now it’s headed to Broadway. I’m probably going to be back in my old dressing room literally 20 years from the day ‘Rent’ opened on Broadway. I’m glad I can sort of represent the ‘Rent’ family and be there in that space on our 20th anniversary.

Q: During your upcoming workshops at Wright State what do you hope to convey or what words of advice are you preparing?
A: I like to be very practical. I’ll be sharing thoughts on auditioning and also sharing opinion and feedback on what the students are working on or helping them select different songs. I also plan to impart any wisdom I have on what it’s like to have a long career in musical theatre. And not necessarily how fun it is but how difficult it is. There are difficulties you face when trying to maintain a sense of joy and sanity in a business that is extremely difficult and painful. I want to stress the reality of what they’re trying to get into.16537 MTI Musicals Rock Box Office Graphics FINAL_0

Q: What do you plan to perform during your acoustic set?
A: I’ll be doing original songs, rearranged versions of Broadway material and covers of pop/rock songs. It’s an eclectic mix of the three.

Q: What do you hope for the future of American musical theatre?
A: I hope it continues to flourish by inviting new and younger audiences, people that will sort of grow up and grow old being fans of musical theatre. I would also like to see musical theatre return to original content instead of existing commodities like movies and books.  Original shows are always inspiring because the source material was created specifically for the stage. 

Adam Pascal will perform Wednesday, Dec. 2 at 8 p.m. inside the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Tickets are $5-$10. For tickets or more information, call WSU box office at (937) 775-2500 or visit www.wright.edu/tdmp. In addition, anyone wishing to attend Pascal’s workshops and interviews on campus Tuesday, Dec. 1, which are free and open to the public, must register for each event by contacting [email protected].

 

 

 

 

This is Our Time…. To See Footloose

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16212858751549812525One of the most explosive movie musicals in recent memory bursts onto the live stage with exhilarating results. When Ren and his mother move from Chicago to a small farming town, Ren is prepared for the inevitable adjustment period at his new high school. What he isn’t prepared for are the rigorous local edicts, including a ban on dancing instituted by the local preacher, determined to exercise the control over the town’s youth that he cannot command in his own home.

When the reverend’s rebellious daughter sets her sights on Ren, her roughneck boyfriend tries to sabotage Ren’s reputation, with many of the locals eager to believe the worst about the new kid. The heartfelt story that emerges is of a father longing for the son he lost and of a young man aching for the father who walked out on him.

To the rockin’ rhythm of its Oscar and Tony-nominated top 40 score (the soundtrack album reached number one on the Billboard charts and has sold over 15 million copies!) and augmented with dynamic new songs for the stage musical, FOOTLOOSE celebrates the wisdom of listening to young people, guiding them with a warm heart and an open mind.

Presented at the Victoria Theatre 11/27/2015 at 8 PM and 11/28/2015 at 2 PM and 8 PM, you can reserve your tickets online.

A Charlie Brown Christmas at Sinclair

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By Charles M. Schulz
Based on the television special by Bill Melendez and Lee Mendelson
Stage Adaptation by Eric Schaeffer
By Special Arrangement with Arthur Whitelaw and Ruby Persson
Directed by Gina Kleesattel
Music Direction by Katherine Frauman

This classic holiday show is LIVE ON STAGE and back by popular demand due to last year’s sold out performances. First shown as an animated television special based on Charles M. Schulz’s Peanuts characters in 1965, this faithful stage adaptation features Charlie Brown, Snoopy and the rest of the gang as they grapple with the meaning of Christmas. With colorful costumes and scenery, this 40-minute production is quickly becoming a family holiday tradition and offers a perfect introduction for young children to LIVE theatre.

Performances are:

Wed.: Dec. 17 – Noon 

Thurs.: Dec. 18 – 10AM — ASL Shadow Interpreted — SOLD OUT

Thurs.: Dec. 18 — Noon — ASL Shadow Interpreted 

Fri.: Dec. 19 – Noon 

Fri.: Dec. 19 7PM — ASL Shadow Interpreted  — SOLD OUT

Sat.: Dec. 20 – 2PM – SOLD OUT

Sat.: Dec. 20 — 4 PM

Sat.: Dec. 20 — 7PM – SOLD OUT

For more information or to order tickets: www.sinclair.edu/tickets.

All tickets $8

Turning Hot Flashes Into Fun!

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menopause-musical-survivor-tour-57Menopause The Musical is set in a department store where four women at a lingerie sale have nothing in common but a black lace bra AND memory loss, hot flashes, night sweats, not enough sex, too much sex and more! Singing along to classic tunes from the ‘60s, ‘70s and ‘80s, the cast forms a sisterhood with the entire audience. Whether naturally occurring or thrust into as a result of cancer treatment, Menopause The Musical helps women embrace and celebrate that menopause is no longer “The Silent Passage.”

“GFour Productions is happy to partner with Susan G. Komen® to raise important awareness, while proving that laughter truly is the best medicine,” said producer Kathi Glist.

For more than a decade, Menopause The Musical has worked to inspire and support women dealing with life after “The Change.” “Menopause has always been a cause-based show,” said Menopause The Musical Director Seth Greenleaf. “The cause was helping women see that what they are experiencing is perfectly normal, and that they are not alone. The Susan G. Komen partnership increases the importance of our purpose because now we’re not just talking about life affirming, but life saving.  We’re deeply proud to be a part of this effort.”

Menopause The Musical is recognized as the longest-running scripted musical production in Las Vegas and continues to entertain nightly at Harrah’s. The hilarious musical has entertained audiences across the globe in more than 450 U.S. cities, nearly 300 international cities, and a total of 15 countries.  And for this weekend only you can catch the show in Dayton.

Performance schedule at the Victoria Theatre:

·      Saturday, November 21: 2 pm and 8 pm

·      Sunday, November 22: 2 pm

Tickets run $40 to 65 and can be purchased online.

‘Steel Magnolias’ Review – Human Race Theatre Company – Salon Sisterhood

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Christine Brunner, Caitlin Larsen, Maretta Zilic, Julia Geisler and Patricia Linhart in STEEL MAGNOLIAS.. Photo: Scott J. Kimmins.

Those immensely engaging ladies of Truvy’s Beauty Shop tug the heart and tickle the funny bone as evidenced in the Human Race Theatre Company’s excellent production of Robert Harling’s touching 1987 comedy “Steel Magnolias,” the third presentation of the play the Race has produced in 26 years.

 
The gossipy chit-chat flows effortlessly and with great charm in this quaint, relatable tale set in Chinquapin, Louisiana over the course of two years concerning friendship, family, loyalty, illness, and the innate bonds of sisterhood. It’s hard to completely erase memories of the play’s 1989 film starring Sally Field, Julia Roberts and Dolly Parton among others, but director Heather N. Powell, in her mainstage Race debut, creates many winning moments of original authenticity sprinkled with bright and breezy comedy while accented by compelling tenderness and sincerity, particularly in the sentimental Act 2. Sure, there is a lot of fun to be had in the peppier Act 1, but Harling’s script shines when attention focuses on the hardships women face and aspire to endure. “I’d rather have 30 minutes of wonderful than a lifetime of nothing special,” says Shelby, a young woman who sacrifices her health for the chance to become a mother. Shelby’s decision to give the gift of life is pivotal, but reiterates her greater desire as a woman to leave an indelible legacy on her own accord in spite of difficulty and the concerns of others.

 

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Carolyn Popp, Christine Brunner, Caitlin Larsen, Julia Geisler, Patricia Linhart and Maretta Zilic in STEEL MAGNOLIAS. Photo: Scott J. Kimmins.

Clothed in colorful, humorous ‘80s garb by Janet G. Powell and framed within scenic designer Eric Moore’s terrific and spacious era-appropriate set, Powell’s close-knit cast of six is a balanced mix of Race artists and newcomers. As bubbly Truvy, Christine Brunner, so grounded and loving, is a fantastic source of encouragement, support and sass. Maretta Zilic strikingly evolves from timidity to confidence as Truvy’s assistant Annelle, a young woman with a mysterious past who ultimately finds her purpose in religion. Julia Geisler brings endearing sweetness and believably weary undercurrents to her very appealing portrayal of Shelby. Carolyn Popp, as Shelby’s devoted mother M’Lynn, will have you completely teary-eyed in her passionate late Act 2 monologue detailing M’Lynn’s fury and pain from experiencing great loss. Patricia Linhart, chipper and affectionate, is lighthearted and sophisticated as former mayor’s wife Clairee. Caitlin Larsen, one of the finest chameleon actresses in the region, commands attention with hilariously earthy gusto as the hopelessly perturbed Ouiser, Clairee’s bickering buddy.

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Carolyn Popp, Christine Brunner, Maretta Zilic, Patricia Linhart and Caitlin Larsen. Photo: Scott J. Kimmins.

“Laughter through tears is my favorite emotion,” says Truvy. As Harling’s heartfelt exploration of mothers and children as well as wives and husbands transpires at the Race, in a production astute enough to be emotionally sound without resorting to melodrama, it is clear how viable this story and its characters remain. After nearly 30 years these Southern Belles still impress with delicately resilient finesse.

“Steel Magnolias” continues through Nov. 29 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. Nov. 11-14, 18-20, and 27-28; 2 p.m. Nov. 15, 22, 28-29; 7 p.m. Nov. 10, 17, 24-25. Act One: 75 minutes; Act Two: 60 minutes. Tickets are $35-$50 for adults, $32-$46 for seniors, and $17.50-$25 for students. Prices vary depending on performance date. Select side-area seats available for $25 at all performances. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. Group sales: Contact Betty Gould at (937) 461-8295 or [email protected]

‘Bullets Over Broadway’ Review – Victoria Theatre Association – Don’t Speak!

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Woody Allen’s 2014 Tony Award-nominated adaptation of his 1994 Academy Award-winning film “Bullets Over Broadway” has great charm but lacks melodic heft and consistent laughs as evidenced in its regional premiere at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

 
In this mildly amusing ode to theater and the Roaring Twenties, originally co-written by Douglas McGrath, struggling playwright David Shayne is thrown for a loop when his Broadway debut is upended and his artistry is called into question. Gangster Nick Valenti financially calls the shots behind the scenes having forced his utterly talentless girlfriend Olive Neal into the cast. However, the real damage is caused by David’s willingness to allow Olive’s intimidating bodyguard Cheech help him with his troubled script which sways the balance of power. David gets the glory but Cheech is the gifted glue holding everything together.

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Michael Williams as struggling playwright David Shayne and Emma Stratton as legendary diva Helen Sinclair in the national tour of “Bullets Over Broadway” (Contributed photo)

Allen, an avid clarinetist, has always had an affinity for accenting his work with period music. This time he picks ditties from the ’20s and ‘30s that suit the show’s essence but fail to thoroughly engage and properly advance the plot and character development. Considering Allen’s strengths when assembling songs of yesteryear (the soundtrack to his Academy Award-winning 2011 film “Midnight in Paris” is particularly superb), it’s startling how misguided his decisions are here. Aside from “Let’s Misbehave,” “Tain’t Nobody’s Bizness If I Do,” “There’ll Be Some Changes Made,” and a bizarre finale centered on “Yes! We Have No Bananas,” the tunes are not well known and rather forgettable, slowing the action to tedious degrees. A completely original score would have been a safer bet, especially when jukebox musicals such as this rely on the strength of nostalgia across the board in its storytelling. You can sell nostalgia with four familiar songs in the TV realm (think HBO’s “Boardwalk Empire”) but not in the world of musical theater. At the same rate, Allen’s jokes are extremely hit-and-miss which doesn’t help matters. After all, cutesy period shtick can only take a show so far before it sends the audience into a watch-checking frenzy.

 
Nevertheless, director Jeff Whiting and choreographer Clare Cook, recreating Susan Stroman’s original contributions, mold spirited performances from the principal cast. As David, wonderful tenor Michael Williams, vocally surpassing Zach Braff who originated the role, enjoyably conveys the neuroticism, dismay and desperation within the character. Emma Stratton terrifically inhabits the vanity and egotism of legendary diva Helen Sinclair (the role which won Dianne Wiest her second Academy Award) while selling such numbers as “They Go Wild, Simply Wild, Over Me” and “I Ain’t Gonna Play No Second Fiddle.” As ditzy loudmouth Olive, energetic Jemma Jane fills the stage with feisty, naughty sex appeal (innuendos galore can be found in the racy “Hot Dog Song”) but her incessant screechiness should be dialed back. The handsomely menacing Jeff Brooks absolutely shines as tough-talking Cheech,particularly leading a show-stopping “Tain’t Nobody’s Bizness If I Do” that not only recalls the athleticism of “Guys and Dolls” but is one of the finest, sleekest and most refreshingly masculine tap numbers ever conceived. Vocal powerhouse Hannah Rose Deflumeri (offering a fabulous “I’ve Found a New Baby”) brings grace and warmth to her appealing portrayal of David’s girlfriend Ellen. Rachel Bahler (kooky Eden) and Rick Grossman (amiable Julian) are bubbly in underwritten capacities. Michael Corvino, another strong vocalist, fittingly threatens as Nick. Bradley Allan Zarr is a delightful hoot as chunky leading man Warner Purcell who craves Olive but wisely sticks to pastries after Cheech sets him straight.

 
Additionally, the very attractive, period-appropriate design stems from scenic designer Jason Ardizzone-West, costumer William Ivey Long, lighting designer Carolyn Wong (recreating Donald Holder’s original contributions), and wig/hair designer Bernie Ardia. Music director Robbie Cowan conducts a vibrant eight-piece orchestra.

 
This adequate adaptation lacks the cohesive razzmatazz of the film and the grandeur of the short-lived Broadway production but entertains nonetheless as a silly throwback to bygone Broadway.
“Bullets Over Broadway” continues through Nov. 8 at the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. The production is performed in 2 hours and 35 minutes with one 15-minute intermission. Tickets are $39-$82. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

Show Offers Unique Perspective to Both Hearing and Deaf Audiences

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b45q5vrmlm6ai6rqatx4gl2mz0y5lwenSinclair Theatre is proud to present Quid Pro Quo, an award-winning play focusing on Deaf culture, from November 6-14 in Sinclair’s Black Box Theatre, fourth floor of building 2 on the downtown Dayton campus.

In a groundbreaking move, author Garrett Zuercher wrote Quid Pro Quo to be performed in American Sign Language with voice interpretation, offering a unique perspective to both hearing and Deaf audiences.

Performances are at 8 p.m. on Fridays and Saturdays (Nov. 6, 7, 13, 14), with one Sunday matinee (Nov. 8th) at 2 p.m. All tickets are general admission and cost $15 with the exception of a Throwback Thursday performance at 7 p.m. on Nov. 12th where all seats cost $10. Tickets are available online 24/7  or one hour prior to performances (if available) at the box office. (VideoPhone: (937) 641-8419)

The Black Box Theatre is limited to 80 seats per performance so advanced purchase is suggested. Tickets may not be available at the door for this special engagement.

There will also be a 10 am matinee for student groups on Tuesday, November 10th.  For group information and special rates for this matinee, please call: 937-512-2076

About the Play
A chance meeting at a party brings two college students, Lucas and Lindsay, together and they find common ground in their experiences with hearing and Deaf cultures. Lucas is deaf and Lindsay is hearing but familiar with misconceptions about the deaf, having grown up interpreting for her grandfather who had never received proper American Sign Language training.

Quid Pro Quo is Latin for something for something or equal exchange. Perceptions can change quickly when viewed from another’s perspective. See how experiences change for Lucas and Lindsay when such an exchange is made.

Directed by Kimberly Borst with ASL coordination from Gwendolyn McNeal, the cast includes both hearing and Deaf actors. Funded by a Sinclair Cultural Diversity Grant, the Theatre and ASL Departments partnered to hire TJ Fortson, a professional Deaf actor from Texas, to play the lead role of Lucas. Katelyn Gross, a Sinclair Interpreter Training Program student, will portray Lindsay. Katelyn is a CODA – Child of a Deaf Adult. Theatre majors Ashlee Ferrell and Max Santucci took ASL classes over the summer and will serve as voice interpreters.

‘Chicago’ Review – Wright State University – How to Get Away with Murder

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Long before Annalise Keating displayed tremendous legal savvy, Roxie Hart and Velma Kelly knew how to get away with murder in the Windy City of the Roaring Twenties. And it’s a lot of fun seeing these merry murderesses of the Cook County Jail compete to the hilt behind bars and in the press while enticing with delicious decadence in Wright State University’s marvelous production of John Kander, Fred Ebb and Bob Fosse’s cynically satiric 1975 musical “Chicago.”

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Caroline Chisholm (Velma Kelly) and the cast of Wright State University’s production of “Chicago” performing “All That Jazz.” (Contributed photo)

Deftly directed by Joe Deer with a striking emphasis on the show’s original vaudevillian framework, expertly heightened by choreographer Teressa Wylie McWilliams, scenic designer Adam Koch and costumer Michelle Sampson, this “Chicago” takes hold and is firmly grounded from the outset thanks to the dynamic pairing of triple threats Bailey Rose (Roxie) and Caroline Chisholm (Velma). Chisholm, resembling Academy Award-winner Catherine Zeta-Jones who portrayed Velma in the 2002 film, launches the action with a sultry, sharply focused “All That Jazz” and impressively showcases her dancing skills in “I Can’t Do It Alone” and “When Velma Takes the Stand.” But at the same rate, she doesn’t discount Velma’s desperation and bruised ego due to her standing in the press (she killed her husband and vaudeville partner-sister after finding them in bed together) as Roxie overtakes her on the front pages having murdered her lover Fred Casely. Rose, memorable last season as Wendy Darling in “Peter Pan,” absolutely dazzles in her first scene bringing astute character choices and lyric-driven brilliance to the humorous “Funny Honey” detailing Roxie’s “affection” for her meek husband Amos. Once she arrives at the introspective “Roxie,” a fascinating peek into Roxie’s dalliances and desire for stardom, Rose transforms into a fiery, unyieldingly determined force to be reckoned with specifically as Roxie is overtaken by socialite Go-To-Hell Kitty (a feisty Alex Caldwell) and comes up with a pregnancy stunt to regain favor to Velma’s dismay. Deer wisely ensures Roxie and Velma remain rivals at all costs (there is definite bad blood between these ladies) so it is a joy to see Rose and Chisholm fully ignite the show’s final moments wonderfully unified with seductively sexy, electrifying finesse in “Nowadays” and “Hot Honey Rag.” Demanding total syncopation and synergy, these two numbers are performed at such a high professional-caliber proficiency you’ll wonder if you’re actually seeing “Chicago” at WSU or in the form of a national tour at the Schuster Center.

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Additionally, the confident, suave, vocally strong, and remarkably mature Jordan Adams is a true find as Roxie and Velma’s super slick lawyer Billy Flynn, whose love of law doesn’t compare to his love of women. Adams embodies Billy as a sophisticated showman totally accustomed to the fickle, gullible nature of the press. In fact, during Adams’ excellent rendition of the press-driven “We Both Reached for the Gun,” pay heed to Billy stepping aside to scribble a few lines of copy on the pad of reporter Mary Sunshine (an appropriately ambiguous Cody Westbrook). Tyler Simms, a delightful Smee in “Peter Pan,” is equally winning as the dejected Amos. Simms’ mesmerizing interpretation of “Mister Cellophane” truly conveys the isolation, loneliness and timidity permeating within Amos’ soul as he simply yearns for recognition and respect. Katie Momenee, a standout in “Sondheim on Sondheim” last season, lacks intimidating seediness as Matron “Mamma” Morton, but she sings the role very well and commands attention. Keaton Eckhoff (Fred Casely) enjoyably accents the vaudevillian structure as he gleefully introduces each song. Haylee Dobkins (June), Alyson Snyder (a poignant Hunyak), Megan Valle (Mona), Meredith Zahn (Liz), Chisholm, and Caldwell join forces for a splendidly fierce and vengeful “Cell Block Tango,” one of many remarkable routines meticulously crafted by McWilliams in the iconic spirit of Fosse while altogether original. The slinky, praiseworthy ensemble includes Briana Koon, Rebekah Espich, Scotti Stoneburner, Lindsey Knoth, Hannah Struppa, Eli Davis, Aaron Johnson, Dakota Mullins, Kyle Sell, and Philip Stock.
Deer’s top-notch artistic team includes lighting designer Matthew P. Benjamin, sound designer James Dunlap, dialect coaches Deborah Thomas and Matthew Tabor, magic consultant Kyle Miller (the circus-themed “Razzle Dazzle” eerily enthralls with surreal mystery), and music director Scot Woolley who leads a red hot 12-piece onstage orchestra.

It’s unsurprising the pursuit of fleeting fame and the effects of a topsy-turvy judicial system still strikes a chord in today’s celebrity-crazed world. Nearly everybody wants to be somebody famous, but it’s a detrimental quest. As Billy tells Roxie, “You’re a phony celebrity, kid.” Luckily for theatergoers, there’s nothing false about the commitment and passion within this rip-roaring “Chicago,” which received special permission to be mounted courtesy of Kander and is so period-perfect I felt as if I were watching an episode of HBO’s “Boardwalk Empire.”

Don’t miss your chance to discover why WSU lays claim to one of Ohio’s finest collegiate musical theater programs. It’s the real deal. And that’s good isn’t it?

 “Chicago” continues through Nov. 15 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Nov. 4, 5 and 12 at 7 p.m., Nov. 6, 7, 13 and 14 at 8 p.m., and Nov. 7, 8, 14 and 15 at 2 p.m. Act One: 78 minutes; Act Two: 55 minutes. Tickets are $22 for adults and $20 seniors and students. For tickets or more information, call WSU box office at (937) 775-2500 or visit www.wright.edu/theatre-tickets.

 

$10 Cheap Seats For Upcoming Shows

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Thanks to a sponsorship from Dayton Power & Light Company, you can attend many theater shows at the Schuster Center and the Victoria Theatre.  This CHEAP SEATS program makes available $10 seats (mostly in the balcony) when purchased in advance online.

Here’s how it works:

$10 ticket are available while supplies last or until 48 hours before the performance.  You MUST register here to get access to the CHEAP SEATS.

You can only buy DP&L Company CHEAP SEATS online. They are not available at the Box Office or by phone. DP&L Company CHEAP SEATS can be purchased by clicking the “Buy Now” buttons on this email or by clicking here.

You will not be able to select specific seating locations, they are first-come, first-served and assigned by Ticket Center Stage. If you have special seating needs, please indicate this on your order by selecting the special needs ticket type.

Tickets must be purchased together to be seated together.

You can buy up to four (4) $10 tickets per show. Accounts found to have multiple orders with the total of tickets exceeding will be subject to cancellation.

There is a $2 fee per order.

Your tickets will be available at the Box Office the day of the show, between 10 am and showtime Monday through Friday and two hours prior to your performance on Saturday and Sunday.

CHEAP SEAT PERFORMANCES

Bullets Over Broadway
Schuster Center – Mead Theatre
November 3-816263_show_landscape_large_03

Hailed by Time Magazine as “Musical Theatre Gold,” Bullets Over Broadway is the hilarious new musical comedy about the making of a Broadway show. Written by Woody Allen, with original direction and choreography by Susan Stroman, and based upon the screenplay of the acclaimed film by Woody Allen and Douglas McGrath, Bullets Over Broadway is the story of a young playwright who, in desperate need of financial backing for his next show, accepts an offer he can’t refuse from a mobster looking to please his showgirl girlfriend. Don’t miss what The New Yorker exclaims as “a fun machine from start to finish!” Loaded with big laughs, colorful characters, and the songs that made the ‘20s roar, Bullets Over Broadway is bringing musical comedy back with a bang.


Evil Dead The Musicalimage
Victoria Theatre
November 6-8

All the elements of Sam Raimi’s cult classic films combined in one crazy theatrical experience! The only musical where you can choose to sit in the “Splatter Zone” and get drenched from the mayhem, or watch from a safe (and dry) distance. Recommended for ages 17 and up. Explicit language and theatrical gore.


Menopause The Musicalea926455ce9d8b8a87f7519d6ec8fe88
Victoria Theatre
November 21 & 22

The show that’s brought joy to millions worldwide is proving that laughter truly is the best medicine. With a cast of breast cancer survivors and co-survivors, Menopause The Musical® is partnering with Susan G. Komen® to offer inspiration, sisterhood, and hope. Four women at a lingerie sale have nothing in common but a black lace bra AND memory loss, hot flashes, night sweats, not enough sex, too much sex and more! This hilarious musical parody set to classic tunes from the ‘60s, ‘70s and ‘80s will have you cheering and dancing in the aisles! Menopause The Musical®: The Survivor Tour® Benefiting Susan G. Komen® is the first of its kind, donating a portion of every ticket sale directly to the ongoing effort to save lives and end breast cancer forever.

 

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Dare to Defy
Victoria Theatre
November 27 & 28

Dare to Defy Productions is dancing onto the stage with the four time Tony nominated favorite, Footloose. Footloose is about dance, but it’s also about the conflict between wanting to fit in and the desire to change an intolerable situation.

Teenagers have lots of problems, but Footloose high schooler Ren McCormack really feels put upon. Ren’s dad has deserted the family and he and his mom Ethel are forced to move from that toddlin’ town of Chicago all the way to the nowheresville that is Bomont, described as “a small Midwestern town.”

As well as teenage angst, Footloose, is all about fun and the carefree nature of being a teen, which of course is never fully appreciated at the time.

Evil Dead – The Musical comes to Victoria Theatre Nov. 6-8!

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image005EVIL DEAD – THE MUSICAL, winner of the 2007 Dora Audience Choice Award as Toronto’s (CA) favorite show, unleashes its bloody mayhem and fun, Nov. 6-8, 2015 for a limited engagement at Dayton’s historic Victoria Theatre as part of the 2015-2016 Star Projects Unlimited Star Attractions.

Evil Dead – The Musical, the hilarious, record-breaking Canadian musical (book and lyrics by George Reinblatt, director, co-creator and co-composer Christopher Bond, music by Frank Cipolla, Melissa Morris, Reinblatt and Bond) tells the outrageous story of five college friends spending the weekend in an abandoned cabin in the woods after accidentally unleashing an evil force that turns them all into demons.

The original production, based on the Evil Dead film franchise, opened 12 years ago in Toronto and enjoyed an immensely popular run, with 150 productions presented in cities around the world with sold-out houses and rave reviews from critics.

“EVIL DEAD – THE MUSICAL is the most fun you can have at the theatre. It’s a show everyone loves – even if you don’t love musicals,” said Corey Ross, president of Starvox Entertainment. “Since being called ‘the next Rocky Horror Show’ by The New York Times, the show has been touring around the world, so all can enjoy the evil fun.”

Those familiar with EVIL DEAD – THE MUSICAL will remember that audience members sitting in the designated “Splatter Zone” (almost sold-out) get covered in fake blood as the production incorporates some fun, ‘real-life’ effects, during certain scenes. In addition to some dismembered limbs, demons telling bad jokes, and catchy tunes (Look Who’s Evil Now, All the Men in My Life Keep Getting Killed by Canadian Demons), the show features a saucy combination of wit and sexual innuendo that keeps audiences laughing out loud.

Tickets begin at $25 and are on sale now at Ticket Center Stage, located in the Wintergarden of the Schuster Center, by phone at (937) 228-3630, toll-free (888) 228-3630, or online at www.ticketcenterstage.com.

Cinderella & Prince Charming Party

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Calling all princes and princesses! Join the Dayton Ballet Barre for a pre-show Tea Party before the Dayton Ballet’s Sunday October 25th performance of “Cinderella.”Ballet’s Sunday October 25th performance of “Cinderella.”

The Dayton Ballet Barre‘s Cinderella Tea is next Sunday before the Dayton Ballet Association‘s matinee performance of Cinderella. This is the PERFECT way to make the performance even more special for your little one!

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Cinderella and Prince Charming will be on hand for photos and a dance lesson! We will have story time and of course, yummy snacks and warm drinks, thanks to our sponsor Boston Stoker Coffee Shop & the wonderful members of the Ballet Barre. Boys are welcome too!!

The event runs from 1:30 – 2:30pm, prior to the 3pm performance at Victoria Theatre. The Boston Stoker 2nd Street location is conveniently located within walking distance of the Victoria Theatre.

Tickets are $10, and do not include performance tickets. All tickets can be purchased via Ticket Center Stage.

Proceeds benefit the Dayton Ballet Barre, which is dedicated to ensuring the Dayton Ballet continues it’s 75+ year historical legacy!

 

‘The Wiz’ – Sinclair Community College – Ease On Into the Groove

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Sinclair Community College delivers an incredibly appealing production of composer Charlie Smalls and librettist William P. Brown’s Tony Award-winning 1975 musical “The Wiz.”

sinclair wiz

Sinclair Community College’s production of “The Wiz” features Vanae Pate as Dorothy along with (left to right) Brennan Paulin as the Tin Man, David Brandt as the Lion, and Naman Clark as the Scarecrow. (Contributed photo by Patti Celek)

A delightfully soulful retelling of L. Frank Baum’s classic novel “The Wonderful Wizard of Oz,” “The Wiz” presents a refreshing African-American spin on the universal tale of friendship, self-discovery and inner strength. Thankfully, director Chris Harmon doesn’t shy away from embracing the plentiful R&B vibes permeating nearly every inch of the peppy, marvelously tuneful material performed by an over 40-member cast. In fact, he astutely brings the music to the forefront by consistently placing the actors beyond the proscenium to perform at the edge of the stage and also having them occasionally venture into the aisles for greater immediacy. Harmon also enjoyably spoofs the show’s ‘70s sensibilities. When the smooth grooves of “A Rested Body is a Rested Mind” particularly arises late in Act 2, a group of male dancers (dressed in hip period attire by costumer Kathleen Hotmer) channels “Saturday Night Fever” and recalls the satiric savvy of the hilarious Broadway musical “Xanadu.” By and large, this “Wiz” doesn’t take itself too seriously which certainly keeps spirits high and the laughter contagious.

 
As the innocent, impressionable Dorothy, the lovely Vanae Pate brings an introspective sweetness to her fine solos (the stirring “Be a Lion” is beautifully motivating) and an engaging sense of wonder overall. Even so, she also understands the importance of not having Dorothy be a pushover as she comprehends and navigates her new surroundings. Naman Clark (Scarecrow), Brennan Paulin (Tin Man) and David E. Brandt (Lion) shine individually and collectively. Brandt particularly offers a breakthrough performance geared toward the Lion’s idiosyncrasies and insecurities with a slick New Jersey salesman persona thrown in for good measure. Sha-Lemar Davis is a bundle of energy and sass as the kooky Addaperle, the Good Witch of the North. The feisty, vocally strong Samantha Wright-Norman, clad in fiery red, wonderfully dominates as the larger-than-life Evillene, the Wicked Witch of the West. As Glinda, the Good Witch of the South, Anna Masla charms with beguiling delicacy and vocal passion while rendering the gorgeous ballad “Believe in Yourself.” Malcolm Walker, mesmerizing in the rousing, gospel-driven “Y’all Got It!,” exuberantly embodies the eccentric, intimidating titular role accented by clever shades of Bob Fosse and James Brown. The cast also features Shaun Diggs as the Gatekeeper, Erin Waldon as Aunt Em, Nabachwa Ssensalo as the Kalidah Queen, Maegan Lopez as Lord High Underling, and the cutely cohesive Yellow Brick Road comprised of André Tomlinson, Bryana Bentley, Greyson Calvert, and Rebecca Henry.

 
In addition, choreographer Rodney Veal expertly creates flavorfully retro routines with contemporary flourishes. The uplifting, liberating “Everybody Rejoice” is a lively, toe-tapping standout, but the terrific inclusions of Stivers School for the Arts dancers as the Tornado, Poppies and Winged Monkeys and the South Dayton Dance Theatre troupe as the Emerald City Dancers are added benefits. Music director David McKibben, scenic designer Terry Stump’s scaffolding set, Gina Neuerer’s vibrant lighting design, and Dr. Kenneth Kohlenberg’s excellent 17-piece orchestra are also noteworthy elements of this truly entertaining showcase. From now until Saturday consider Sinclair your prime ticket to Funkytown.

 

“The Wiz” continues through Oct. 17 in Blair Hall Theatre of Sinclair Community College, Building 2, 444 W. Third St., Dayton. Performances are Thursday at 7 p.m. and Friday and Saturday at 8 p.m. Act One: 80 minutes; Act Two: 55 minutes. Tickets are $18 for adults and $15 for students and seniors with the exception of the special Throwback Thursday performance (which will be American Sign Language interpreted) when all seats cost $10. For tickets or more information, call Sinclair Box Office at (937) 512-2808 or visit www.sinclair.edu/tickets.

 

‘Pippin’ Review – Victoria Theatre Association – All the Right Moves

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Exhilarating acrobatics and fantastic choreography catapults the outstanding national tour of “Pippin” to marvelously magical heights at the Schuster Center as the launch of the Victoria Theatre Association’s 2015-2016 Premier Health Broadway Series.

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The cast of the national tour of “Pippin” (Photo by Terry Shapiro)

Based on its 2013 Tony Award-winning Broadway revival and originally staged and choreographed by the legendary Bob Fosse in 1972, “Pippin,” featuring a book by Roger O. Hirson and score by Stephen Schwartz, tells a humorous and fanciful tale of the titular son of Charlemagne. Following college graduation he boldly pursues a quest for absolute fulfillment. However, his complicated yet committed soul-searching gets the best of him as he battles war, the flesh, revolution, politics, and domestication. Even so, he’s faithfully guided by the captivating and mysterious Leading Player fervently reminding him of his purpose while keeping the audience amused and occasionally diverted with sardonic glee.

 
Hirson’s cynical edge (which Fosse would effectively use as a model three years later when co-writing the libretto for “Chicago” with Fred Ebb) and Schwartz’s radiant score have always been a strong match, but director Diane Paulus, who rightfully won the Tony for this staging, resurrects the material anew with a brilliantly inspired circus concept. Truly adhering to the enticing lyrics driving the groovy opening number “Magic to Do,” Paulus, with tremendous assistance from Montreal’s Les 7 doigts de la main troupe co-founded by Gypsy Snider, heightens the action with an assortment of thrilling, death-defying routines. Having cast members perform various acts of magic and athleticism not only speaks to the fun and danger of life in general but fittingly reflects the evolution of Pippin’s eye-opening journey as he simultaneously matures as a man and, particularly in the eyes of the audience, entertainer.

 
The uniformly terrific cast is blessed with first-rate principals. As the beguilingly suave Leading Player, Gabrielle McClinton, a knockout triple threat, crisply commands with intuitiveness, sass and ferocity, specifically filling “On the Right Track” with a soulful pop vibe. Amiable Brian Flores, freshly graduated from the University of Michigan, conveys a charmingly boyish sensibility in the titular role while bringing introspective joy to such songs as “Corner of the Sky,” “With You” and “Morning Glow.” John Rubenstein, the original Pippin and a Tony winner for “Children of a Lesser God,” effortlessly embodies the kooky Charles the Great (Charlemagne) with spirited humor and deftly imposing resonance. Priscilla Lopez, the original Diana in “A Chorus Line” and a Tony winner for “A Day in Hollywood/A Night in the Ukraine,” absolutely enchants as Pippin’s delightfully earthy grandma Berthe in the “No Time at All” sequence spotlighting her fascinatingly flexible trapeze act. As Pippin’s conniving stepmother Fastrada, the elegant, statuesque Sabrina Harper dazzles in “Spread a Little Sunshine” complete with eye-popping costume changes resulting in a scintillating red dress and dance number recalling “The Music and the Mirror” from “A Chorus Line.” Handsome Erik Altemus enjoyably reprises his Broadway portrayal of Pippin’s vain, treacherous brother Lewis. The attractively earnest Bradley Benjamin warmly interprets the comical, sensitive widow Catherine, notably joining Flores late in Act 2 for a gorgeous, ‘70s folk-acoustic rendition of “Love Song.” Jake Berman humorously startles as Catherine’s persnickety son Theo.

 
In addition, Fosse’s choreography, specifically his iconic “Manson Trio” routine in the “Glory” sequence sparkling with the mesmerizing slinkiness of McClinton and two ensemble Players, is superbly authenticated in his definitive style by Tony nominee Chet Walker. The exemplary, Tony-nominated circus locale/design is courtesy of scenic designer Scott Pask, lighting designer Kenneth Posner, and costumer Dominique Lemieux. Musical director Ryan Cantwell leads a vibrant, top-notch orchestra.
From start to finish this “Pippin” excels to the hilt. Get your tickets!

 
“Pippin” continues through Oct. 11 at the Schuster Center, Second and Main Streets, Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 pm, and Sunday at 2 and 7:30 pm. The production is performed in 2 hours and 35 minutes with one 15-minute intermission. Tickets are $25-$92. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

Dayton Ballet Presents the Classic Cinderella

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Say “Cinderella,” and what word comes to mind? Romance? Intrigue? Love? Humor?  How could it not? Just look at the list of characters in the cast: a harassed serving girl, a wicked stepmother, two evil stepsisters, a fairy godmother, four fairies, 12 prince’s courtiers, four mice, four attendants, a beautiful princess, and, of course, a handsome prince.
This October, Dayton Ballet opens with the first of three full-length story ballets for its 2015-2016 Ascend Season. Dayton Ballet Artistic Director Karen Russo Burke’s spectacular Cinderella returns to the Victoria Theatre, featuring the wonderful music of Russian composer Sergei Prokofiev.

 

Cinderella
Prokofiev began work on Cinderella in 1940 but did not complete the score until 1945, having had other obligations during World War II that kept him from this piece. Prokofiev said about the beloved protagonist, “I see Cinderella not only as a fairy-tale character, but also as a real person, feeling, experiencing, moving among us.” (101 Stories of the Great Ballets by George Balanchine and Francis Moon) And his beautiful music has inspired the most acclaimed of choreographers to bring the fairy-tale character to life on stage, perhaps as Prokofiev himself envisioned her.  Since 1945, Cinderella has become one of the most popular and most widely performed classical ballets with ballet companies worldwide.
Artistic Director Karen Russo Burke originally choreographed this production in 2013, with all the intrigue, love and humor one would expect from one of the world’s most iconic rags-to-riches love stories. Dayton Ballet brings this wildly popular story ballet back to the stage, complete with gorgeous, colorful costumes by Lowell Mathwich and the whimsical set designs of Ray Zupp.
Add to this staging the melodic music of master Sergei Prokofiev, danced with the outstanding expertise of Dayton Ballet, and another word might just come to mind when we say “Cinderella”—magic.

On Thursday, October 22 at 7:30 pm; Friday, October 23 at 8 pm; Saturday, October 24 at 8 pm; and Sunday, October 25 at 3 pm in the Victoria Theatre, the Dayton Ballet is thrilled to present Cinderella, the first ballet of the 2015–2016 Ascend Season. The Thursday evening performance of Cinderella includes a Pizza Prelude from Uno’s Pizzeria to be served in the Victoria lobby beginning at 7 pm.
The Dayton Ballet Barre will host a Cinderella Tea at Boston Stoker, 34 W. Second Street, across the street from the Schuster Center, on Sunday, October 25 from 1:30 pm-2:30 pm, before the matinee performance.  A story, a dance lesson, and a snack will make for a delightful afternoon before attending the performance.  Cinderella and her handsome Prince Charming will make an appearance for magical photo opportunities.  Tickets for the Cinderella Tea are $10 for adults and children and are sold separately from the performance. Tickets can be purchased by calling Ticket Center Stage at (937) 228-3630.

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 Cinderella are $21 to $72 and are available at Ticket Center Stage (937) 228-3630 or online at www.daytonperformingarts.org. Senior, teacher and student discounts available at box office. For more information or to order subscriptions, including flexible subscription types that include performances by Dayton Philharmonic, Dayton Opera and Dayton Ballet, visit www.daytonperformingarts.org.

‘The Columnist’ Review – Dayton Theatre Guild – Power and Secrecy Inside the Beltway

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The intriguing double life of prominent Republican syndicated columnist Joseph Alsop (1910-1989) provides the thought-provoking basis for David Auburn’s engrossing 2012 drama “The Columnist,” currently receiving an excellent local premiere at the Dayton Theatre Guild.

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The cast of Dayton Theatre Guild’s production of “The Columnist” includes back row (left to right) Alexa Storar, Rick Flynn, Dakota Dulco, Jenna Gomes; Front row: David Shough, Wendi Michael, (Not pictured: Chris Petree and Ryan Shannon). (Contributed photo)

As he ascended in fame and influence in Washington, D.C. from the 1940s through the late 1960s, Joe hid his sexuality, a fact Auburn frankly details at the outset which depicts the legendary writer awakening from a tryst with a handsome tour guide in a Moscow hotel circa 1954. Afterward Joe is busted by the K.G.B, but his closeted identity looms within the entire proceedings, based on real events and predominately taking place in his posh Georgetown residence (attractively designed by Les Dersham) during the hopeful and ultimately tumultuous 1960s. Joe’s fascinating complexity (he particularly entered a marriage of convenience) bolstered by his fervent support of the Vietnam War certainly stirs emotions within this insightful character study. Even so, Auburn, best known as the Tony and Pulitzer Prize-winning author of “Proof,” astutely dissects Joe’s political views, especially foreign policy concerns, to balance the storytelling with intellectual bite. One of the most interesting facets of Joe’s conservative playbook rests in his peculiar distaste for Dwight Eisenhower and great affection for Franklin D. Roosevelt and John F. Kennedy. In fact, Kennedy’s assassination proves pivotal here implying how persuasive Joe, who prided himself on promoting Lyndon Johnson as a vice presidential pick, would have been during Kennedy’s second term as matters at home (civil rights) and abroad (Vietnam) escalated.

 


Director Doug Lloyd’s cast is superbly led by David Shough, whose outstanding Guild staging of “Outside Mullingar” two months ago is still the talk of the town. The effortless Shough, tailor-made for the role, marvelously inhabits Joe as a combative, prickly, slick, vain, stodgy, and wounded quandary. Even when Auburn’s script becomes a bit heavy-handed late in Act 2 when Joe has a blast from the past, Shough avoids overkill and sustains credibility. Wendi Michael, beautifully costumed in period attire by Carol Finley, brings tenderness and fitting agitation to her portrayal of Susan Mary Alsop, Joe’s loving yet insecure wife particularly in charge of hostess duties. Rick Flynn, in one of his finest performances, is equally impactful as Joe’s younger brother Stewart who shared a column with him in their early days. Dakota Duclo, charming with a tinge of cunning ambition and dubiousness, delicately embodies Russian informant Andrei. Jenna Gomes, very strong as Susan Mary’s daughter and future hippie Abigail, and Chris Petree as pushy New York Times reporter David Halberstam also contribute to the production’s appeal along with Alexa Storar as Young Abigail and Ryan Shannon as Philip.
It helps to have some affinity for politics and American history when viewing “The Columnist,” but its age-old themes of power and secrecy thoroughly resonates to the fullest.

 

“The Columnist” continues through Oct. 18 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. The play is performed in 2 hours with one 15-minute intermission. Tickets are $20 for adults, $18 for seniors, and $13 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org