On Stage Dayton

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

October 8, 2015 By Russell Florence, Jr.

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.

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

October 6, 2015 By Dayton Most Metro

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.

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

October 5, 2015 By Russell Florence, Jr.

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.

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

‘The K of D, An Urban Legend’ Review – Magnolia Theatre Company – Captivating Storytelling

October 3, 2015 By Russell Florence, Jr.

Dayton native Annie Pesch, a Wright State University alumna whose professional credits include Human Race Theatre Company, Actors Theatre of Louisville, Cleveland Play House, and Chicago Dramatists, portrays 17 characters in Magnolia Theatre Company’s local premiere of Laura Schellhardt’s 2008 mystery/drama “The K of D, An Urban Legend” (Contributed photo)

An outstanding Annie Pesch inhabits 17 colorful characters in Magnolia Theatre Company’s terrific local premiere of Laura Schellhardt’s humorous and gripping 2008 ghost story “The K of D, An Urban Legend” continuing through Sunday, Oct. 4 inside the black box Mathile Theatre of the Schuster Center.

One-person shows always demand immense versatility, energy and breadth of scope, particularly when the material requires the actor to embody multiple ages and personalities. Thankfully, Pesch, having already proven her worth in this realm years ago in Dayton Theatre Guild’s “The Belle of Amherst” and Wright State University’s “Fully Committed,” steps up to the plate once again with dynamic intuitiveness and captivating ease. This time, she specifically portrays The Girl, the central storyteller of this spooky summertime tale set in nearby rural St. Marys concerning Charlotte McGraw, a quietly introverted young girl kissed by her twin brother Jamie before he dies. The legend in question stems from the belief that whatever Charlotte kissed from that moment on also dies. As Charlotte and her particularly quirky friends (all distinctively and emotionally realized by Pesch) come to terms with witnessing tragedy firsthand, Schellhardt spins a beautifully poetic and engrossing web of mystery and danger. In fact, one of Pesch’s finest, darkest characterizations is of menacing hillbilly Johnny Whistler, the crude, reckless driver who killed Jamie and especially intimidates the muted Charlotte when he becomes her next door neighbor.

In addition to ensuring the tireless Pesch confidently conveys various identities, director Kimberly Borst, who staged “Pride and Prejudice” and “Songs for a New World” at Sinclair Community College last season, fluidly heightens the play’s intimacy by bringing her as close to the audience as possible and never having her remain stationary for lengthy periods. Movement is key and a refreshing plus throughout. Borst also receives impressively atmospheric support from a first-rate artistic team including lighting designer Jessy Henning, sound designer Emily Hutton (notably offering wonderfully eerie and impactful contributions), set designer Tristan Cupp, and costumer/Magnolia founder Gina Handy.

So, does Charlotte truly have the kiss of death? Clear your schedule this weekend and find out. After all, Pesch, Borst and the increasingly promising Magnolia Theatre Company have crafted a solid, engaging, fast-paced, and breathtaking experience.

“The K of D, An Urban Legend” continues today at 2 and 8 p.m. and Sunday at 2 p.m. inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The production is performed in 75 minutes without intermission. Tickets are $20 general admission and $15 for military, educators and students. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘The Great Gatsby’ Review – Wright State University – Man of the Moment

October 2, 2015 By Russell Florence, Jr.

Frank Loesser had it wrong. There’s wonderful music in the very sound of Gatsby, a name immediately conjuring images of power, prestige, wealth, infatuation, and mystery. As the seductive, titular focal point of F. Scott Fitzgerald’s classic 1925 novel, widely considered one of the greatest ever written, millionaire Jay Gatsby’s transformative history and romantic obsession is not lost in Wright State University’s current presentation. However, there are moments of detachment that could use a jubilant Jazz Age lift.

Ben Tracy as Nick Carraway and the cast of Wright State University’s production of “The Great Gatsby” (Photo courtesy of W. Stuart McDowell)

Breezily adapted by Simon Levy and directed by W. Stuart McDowell, “The Great Gatsby” embraces the effervescence of the Roaring Twenties in its fascinating account of love lost yet regained on Long Island as Gatsby reunites with beautiful socialite Daisy Buchanan, his one true love, after nearly five years. But trouble looms as Daisy’s brutish, bigoted husband Tom continually despises Gatsby’s advances and his bootlegging despite his own indiscretion with Myrtle Wilson, the long-suffering wife of a local mechanic. As Daisy becomes increasingly torn by her past and present passions, her cousin Nick Carraway, a meek, impressionable salesman from Minnesota and Gatsby’s wartime buddy, immerses himself into Gatsby’s exciting universe, narrating his eye-opening experiences with great wonder and ultimate dissatisfaction.
McDowell, known for helming history-conscious plays from “Les Misérables” to “Titanic” on a grand, sweeping scale, surprisingly dials it back here creating one of his most straightforwardly intimate, script-driven, scaled-down productions. His directorial flair is evident (the perpetual presence of Daisy’s green light, the lovely descending wardrobe in the Act 1 finale, Act 2’s climatic car accident, the finale scene recalling “Sunset Boulevard”), but a consistent sense of opulence and frivolity is missing which is unfortunate since this flashy material speaks to exuberant excess. Granted, McDowell wonderfully energizes the action with colorful flapper routines choreographed by Greg Hellems, but there aren’t enough of these lively depictions, especially in the slow-going, emotionally insular Act 1.
Nonetheless, McDowell’s period-appropriate cast, beautifully costumed by Mary Beth McLaughlin and dialect coached by Deborah Thomas, amiably embodies their iconic roles. The handsome Connor Lysholm is an understatedly suave, fittingly enigmatic Gatsby heightened with brooding magnetism and a dangerous edge. The striking Caitlin Geisser, truly compatible with Lysholm, is the epitome of sophisticated privilege although at times she seems overly self-absorbed to the point of coldness. The tough, intimidating Joey Logan gruffly fits the bill as arrogant, hotheaded Tom. As Nick, the very personable, vulnerable Ben Tracy narrates with joy and yearning in a delicate capacity as onlooker and participant. As Myrtle, the sultry, impressively authentic Madeline Sensenstein commands attention late in Act 2 opposite Christian Schaefer as Myrtle’s husband George. The fine players include Chelsea Hauptstueck (Jordan Baker), Nathan Pecchia (Meyer Wolfsheim), William Mendleson (Chester McKee), Brittany Williams (Lucille McKee), Taylor Benjamin (Michaelis), Zac Pruett (Waiter/Cop/Photographer), and flappers Danielle Bessler, Carrie Vobroker, Hannah Williamson, and Halee Aguenstein.
By and large, the essence of greatness permeates this “Gatsby” as a decent start to WSU’s 41st season.
“The Great Gatsby” continues through Oct. 4 inside the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are today at 8 pm, Saturday at 2 and 8 pm and Sunday at 2 pm. The production is performed in 2 hours with one 15-minute intermission. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call WSU box office at (937) 775-2500 or visit www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information

Dare To Defy Takes On Godspell

September 28, 2015 By Sarah Caplan

Godspell is an old favorite, for good reason. It tells the story of Jesus’ last days, using gentle parables from The Bible and an easy-going, ultimately touching approach. Dare To Defy’s founder, and the director of this production, Becki Norgaard, thinks this helps make the show a great fit for D2D. As she says,“One reason Godspell is ideal for us is that the staging, message and cast size make it ideal for that intimate experience in the Mathile. In addition, the music is so beautiful, complicated and diverse and I humbly assert that Dare to Defy has been fortunate to attract some of the most vocally talented actors in the area so our talent base also makes this an ideal show for us.”

It’s true that Dare To Defy can attract some pretty powerful voices and talents. This is because of it’s unique mission, that includes allowing on-and-off-stage talents “the chance to be compensated for their time and artistic contributions, allowing us to present consistent, high-quality entertainment that is assessable, relatable and affordable.” Dare To Defy is a professional company, working in the community to provide opportunities for Dayton’s deep talent pool to create work that can support the company’s artistic vision, while simultaneously helping to support themselves. Norgaard sees it as a local-love issue as well – if you’re going to pay for tickets to a show, pay to support artists who live, work, and pay taxes right here in Dayton.

11260588_724056954391471_7260073252204601914_n

The cast of Godpsell as they “Learn Their Lessons Well”

It hasn’t been easy to get off the ground. Much like restaurants, many start-up theatre companies don’t last long enough to really solidify their mission. Dare To Defy, in their second season, has worked hard to cement themselves on the local landscape. Norgaard says one of the biggest things they’ve learned so far has been, “how much we have to learn. We are forging our own path. Creating something new is hard but extremely rewarding.” That means learning how to build your own audience, how to be a touring company in your own town, marketing, fund-raising and “most importantly how to recognize our mistakes, own them and continually strive to improve as an organization.”

Dayton’s a small town, and when it comes to our theatre community, it’s absolutely tiny. As a result, associations and personal relationships run deep and are important. Collaboration is huge, and Dare To Defy has made themselves a welcome addition to the Victoria Theatre Association venues, performing both on the Victoria stage (for instance, with their upcoming production of Footloose) and in the versatile, intimate black-box Mathile theatre inside the Schuster Performing Arts Center. It is in the Mathile that Norgaard will stage Godspell. As she says, “The director’s vision, the set, the choreography, the light design, the sound design, the music direction and of course the cast all combine to make something familiar into a new experience that an audience has not seen.”

Godspell debuted off-Broadway in the spring of 1971, with music written by Stephen Schwartz (with whom you might be familiar from going on to write the music for Wicked 30+ years later) and has been a theatrical mainstay since then. Though the subject matter is inherently religious in nature, secular audiences have never stayed away from the show. Norgaard is hoping the audiences come away from this production “reminded of the simplicity but overwhelming transformative quality of love, acceptance and grace…that leaves them feeling just a little bit more hopeful.”

We could all use a little more love, grace and hope.

Godspell opens October 16th at the Mathile Theatre. The show runs two weekends, Friday nights at 8 pm, and two performances on Saturday, 2 pm and 8 pm. Tickets are available at www.ticketcenterstage.com or by calling the Victoria Theatre Association Box Office at 937-228-3630

‘Carousel’ Review – Dayton Playhouse – You Love Who You Love

September 16, 2015 By Russell Florence, Jr.

Adrienne “Adee” McFarland (Julie Jordan) and Jeff Sams (Billy Bigelow) in Dayton Playhouse’s production of “Carousel” (Photo by Art Fabian)

In the Rodgers and Hammerstein repertoire the governess with the cute kids always seem to grab the most attention. But what about their darker, practically forgotten collaboration about the ill-fated New England couple unable to make the most of their life together? Yes, it’s time to become reacquainted with or introduced to “Carousel,” the heartrendingly beautiful 1945 musical drama enjoyably mounted by the Dayton Playhouse with vocally impressive flourish.

Based on Hungarian playwright Ferenc Molnár’s 1909 play “Liliom,” “Carousel” primarily examines romance from the sheer hopefulness that comes with believing in the idea of a healthy, fruitful relationship no matter how fragile the foundation. Meek millworker Julie Jordan (Adrienne “Adee” McFarland) and charismatic if erratic carousel barker Billy Bigelow (Jeff Sams) are polar opposites who wouldn’t appear to be compatible, but their attraction is evident when they fall for each other after the local carnival shuts down for the night. Throughout the groundbreaking Act 1 sequence commonly referred to as the “bench scene,” a triumph of book and score culminating in the ravishing ballad “If I Loved You,” Julie and Billy swiftly transform from loners to lovers, a fascinatingly impulsive display carrying great promise at greater risk. Even as they enter a hard scrabble marriage hindered by financial woes and specifically splintered by abuse (a prickly, uncomfortable element oddly romanticized by the wholly sentimental, optimistic Hammerstein) this duo feels destined for despair and heartbreak. Still, their engaging, tragic journey is entirely compelling and particularly powerful as Billy gets a chance to redeem himself following his suicide in the aftermath of a botched robbery.

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

The well-paired, believably bonded McFarland and Sams bring perceptiveness, passion, sincerity, and depth to their vocally challenging roles. In her Playhouse debut, McFarland, a lovely soprano, wisely avoids turning the naïve Julie into a pushover. Her firm interpretation is sweet but resilient. Along the way, she provides a gorgeously lyric-driven rendition of “What’s the Use of Wond’rin’” that begins as cautious sound advice from a long-suffering wife yet evolves into a beautifully stirring declaration of marital commitment. In one of his finest musical theater performances, the fittingly brash, brooding and commanding Sams reveals the flawed complexities within the broken, unhappy and non-skilled Billy, particularly how his bravado masks many insecurities. Also, his dynamically heartfelt rendition of “Soliloquy,” Billy’s contemplative yet soaring examination of life as a father, is delivered with wonderfully expressive transitions, allowing the extensively detailed number to resonate on multiple intriguing levels considering Billy is a rogue who might not have even known his dad.
In addition, the supporting cast is first-rate. As the demure, slightly fussy Carrie Pipperidge, Julie’s sensible best friend and fellow millworker, Krissy McKim-Barker, another lovely soprano, steps into her Playhouse debut with considerable aplomb, especially in her understanding of how much Carrie wants the best for Julie despite the fact that her warnings about Billy, pre and post-marriage, are dismissed. McKim-Barker also has a very amiable partner in Playhouse newcomer Eric Thompson, offering a charmingly confident portrayal of Enoch Snow, the ambitious, no-nonsense fisherman eager to wed Carrie. Thompson, a strong tenor who spins his vocals with a slight crooner sensibility, actually shares the stage with his father J. Gary Thompson, splendidly inhabiting his role as Billy’s smarmy accomplice Jigger Craigin with wit, shrewdness and bite. As Julie’s cousin Nettie Fowler, noted soprano Patricia DiPasquale-Krul, a memorable component of the Playhouse’s production of “A Grand Night for Singing,” provides a plaintively touching rendition of “You’ll Never Walk Alone,” the score’s most enduring number. Janice Lea Codispoti brings suave inquisitiveness to her portrayal of carnival manager Mrs. Mullin, an obsessive, jealous soul whose deep affection for Billy, the man of her disillusioned dreams, never wanes. Brad Bishop as the kindly Starkeeper, Shanna Camacho as the Heavenly Friend, Rick Flynn as David Bascombe, Brooke Netzley as Billy and Julie’s daughter Louise, Matthew Smith as Captain/Principal, and Gem City Ballet dancers Lauren Goodman, Ashleigh Hinson and Olivia Bruno (under the direction of Barbara Pontecorvo) are also noteworthy.
Director Brian Sharp keeps the action fluid and effectively transfers the story, originally set in the late 19th century, to the 1930s thereby heightening the idea of a carnival as a means of escapist entertainment during such straining economic times. However, his staging of the prologue, set to the glorious “Carousel Waltz,” one of Rodgers’ most exemplary compositions, could use more variety and sharper character choices. There is also presentation awkwardness in the Act 2 Dream Ballet (Bruno dances the role of Louise while Netzley looks on) and the emotional final scene which surprisingly doesn’t spotlight Billy, Julie and Louise downstage center. Still, Sharp’s work utilizes the ensemble well and is bolstered by the lively choreography of Paige Hanshaw, especially “June Is Bustin’ Out All Over” and “Blow High, Blow Low.” Chris Newman’s striking set, Terry Kahle’s attractive period costumes, Bryan Miller’s lighting, Bob Kovach’s sound design, and music director Ron Kindell’s excellent orchestra, featuring 16 members of the Miami Valley Symphony Orchestra, add to the production’s atmospheric appeal.

There’s nothing wrong with raindrops on roses, but if you’re looking for something more substantive from the virtuoso team who defined Broadway’s Golden Age don’t miss “Carousel.”

“Carousel” continues through Sept. 27 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $18 for adults and $16 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com

‘The Full Monty’ Review – Human Race Theatre Company – Measure of a Man

September 14, 2015 By Russell Florence, Jr.

Pictured (left to right): Richard E. Waits, Matt Welsh, Josh Kenney, Christopher deProphetis, Matt Kopec and Jamie Cordes.

Skin is in at the Loft Theatre. But if seeing a bunch of guys in their undies is the only reason you’re tempted to check out the Human Race Theatre Company’s delightful production of composer David Yazbek and librettist Terrence McNally’s outstanding Tony Award-nominated 2000 musical comedy “The Full Monty” you’ll miss out on the compelling facets that propelled it as one of the finest, relevant and heartwarming musicals of the last decade.
Set in blue-collar Buffalo and based on the 1997 Academy Award-winning British film of the same name, “The Full Monty,” unlike any contemporary musical, skillfully addresses the agony, worry, shame, and disappointment men face when stripped of their livelihoods. Without a job, without a sense of purpose to provide for themselves and their families, what are men to do? Should they pound the pavement hoping something better comes along all the while knowing hope doesn’t equal money? Should they take a job they view as menial just to please their spouse? Should they simply give up? And greater still, what do men become when they’re perceived as lesser? The six insecure, unemployed men at the center of this relatable tale truly bare all for a quick buck a la the Chippendales, but in doing so, and whether it’s the right or wrong decision, they ultimately regain their self-confidence and a clearer understanding of the value of teamwork, which, in this case, helps repair marriages and fuels newfound love.

(left to right): Matt Welsh, Matt Kopec, Josh Kenney, Christopher deProphetis, Jamie Cordes and Richard E. Waits.

This season opener entertains under the crisp, character-conscious direction of Joe Deer, recently inducted into the Dayton Theatre Hall of Fame. Making good use of the Loft’s immersive capabilities and the sizable space in front of the turntable, Deer delicately balances the humor and seriousness of the material but doesn’t forget the show is a comedy at its core even when it stings. He also coaxes solid performances from a uniquely diverse and funny sextet. In the lead role of divorced dad Jerry Lukowski, Christopher DeProphetis dives admirably into Jerry’s desperation and determination to fight for custody of his son no matter the cost, particularly in the rousing anthem “Man.” As Jerry’s chunky best friend Dave Bukatinsky, the very natural, grounded Matt Welsh is a terrific sidekick prone for comic relief but also strong introspectively. As Jerry’s former boss Harold Nichols, Jamie Cordes humorously conveys an uptight persona in a gutsy departure from past roles. Muse Machine alum Matt Kopec, excellently sensitive as suicidal loner Malcolm MacGregor, supplies a beautiful rendition of the poignant ballad “You Walk With Me” ably assisted by Josh Kenney, a lighthearted bundle of excitable, goofy energy as oddball Ethan Girard. As the elderly, colorful Noah “Horse” T. Simmons, crowd-pleaser Richard E. Waits nearly steals the show proclaiming the joys of being a “Big Black Man.”

Pictured (left to right): Christopher deProphetis, Jamie Cordes, Matt Welsh, Josh Kenney, Richard E. Waits, Matt Kopec and Deb Colvin-Tener.

Elsewhere, Deb Colvin-Tener is a feisty, feel-good support system as rehearsal pianist Jeanette Burmeister, an old-timer who helps Jerry and his cohorts (dubbed Hot Metal) with their clunky routines. Jillian Jarrett is a sensible, tender presence as Pam, Jerry’s ex-wife. Leslie Goddard, a fabulous Agnes Gooch in the Race’s production of “Mame” last season, winningly returns as Dave’s rowdy wife Georgie particularly leading the spirited “It’s a Woman’s World.” Sonia Perez, as Harold’s materialistic wife Vicki, brings spice and energy to “Life With Harold,” and joins forces with Goddard for a lovely reprise of “You Rule My World.” A fearless Richard Jarrett opens the show with sexual gusto as professional stripper Keno. The fine cast also features Peanut Edmonson as Jerry’s son Nathan, Scott Hunt as Pam’s boyfriend Teddy, Scott Stoney as Reg, Andréa Morales as Estelle/Molly MacGregor, Gina Handy as Joanie, Tracey L. Bonner as Susan, Adam Soniak as Marty, and Cassi Mikat as the swing.

Choreographer Dionysia Williams, a Wright State University graduate and BalletMet Dance Academy faculty member, offers flavorful, character-specific movement, especially in “Big Black Man,” “Michael Jordan’s Ball,” “The Goods,” and exuberant finale “Let It Go.” Scenic designer Dick Block’s terrifically multipurpose set convincingly establishes a variety of locales. Costumer Janet G. Powell’s choices suitably reflect casual, everyday attire. John Rensel’s expert lighting is heightened to good use in the enticing, teasing final seconds. Musical director Sean Michael Flowers’ offstage, seven-member orchestra makes Yazbek’s sublime music sizzle but is unbalanced and occasionally overpowers the cast, perhaps a reflection of Jay Brunner’s surprisingly iffy sound design.

“The Full Monty” spotlights the camaraderie of a distinct group of men uniting for a common goal but their life-changing journey will have you feeling just as liberated and uplifted.

HRTC-MONTY-prod-5.jpg Pictured (left to right): Tracey L. Bonner, Gina Handy, Leslie Goddard and Andréa Morales.

“The Full Monty” continues through Oct. 4 at the Human Race Theatre Company’s Loft Theatre inside the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Tuesdays at 7 p.m., Wednesdays-Saturdays at 8 p.m., and Sundays at 2 and 7 p.m. Act One: 85 minutes; Act Two: 65 minutes. Tickets are $20-$40 but discounts are available. Patrons are advised the show, intended for mature audiences, contains adult language and themes as well as a bit of full frontal male nudity. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org

The Human Race Goes Full Monty!

September 8, 2015 By Dayton Most Metro

The Human Race proudly launches its 2015-2016 Eichelberger Loft Season with the smash hit The Full Monty: The Broadway Musical. With a book by Tony Award winner Terrence McNally and music and lyrics by Drama Desk Award winner David Yazbek, the hilarious and heartwarming story follows six unemployed Buffalo steelworkers who, in need of quick cash and low on prospects, come up with the outrageous idea to put on a strip act after seeing the local women’s wild enthusiasm for touring Chippendales dancers.

Short on time and with little talent or physical appeal, the gang promises their show will be better because they’ll go “the full monty” and bare it all! As they prepare for the big night, they learn to let go of their doubts and insecurities—and their clothes—in this hilarious adaptation of the hit 1997 film from Fox Searchlight Pictures. The Human Race Theatre Company’s production of The Full Monty: The Broadway Musical is directed by Resident Artist, Distinguished Professor of Musical Theatre at Wright State University and new Dayton Theatre Hall of Fame inductee Joe Deer, who has also directed Avenue Q, Big River, Lend Me a Tenor and It’s a Wonderful Life for The Human Race.

The preview performance of The Full Monty: The Broadway Musical is Thursday, September 10. Opening night is Friday, September 11. This production contains adult language and situations and, as the title implies, a bit of full frontal male nudity. It is definitely for mature audiences only.

Human Race President & Artistic Director Kevin Moore has been enamored with the show since he caught a preview performance before it opened on Broadway in October 2000. “From the minute that overture started,” he exclaims, “I was like, ‘Wow! This is hot. This is fun. This show is amazing. We have to find a way to do this.’” He acknowledges the large size of the show, with its numerous scene locations and set pieces, will be a challenge to stage in the intimate Loft Theatre. “We have a history of taking large musicals—Man of La Mancha, Fiddler on the Roof, Mame—and adapting them to successfully fit the space,” says Moore. “Our audiences love it, we enjoy the challenge and we’ll do it again here with The Full Monty.” Aside from the title-revealing “dare to bare” moment, The Full Monty: The Broadway Musical offers audiences a great deal more than scantily-clad men. Moore praises its overarching subject matter, “It addresses parental devotion in how far a father would go for his son, how to find courage when there’s little to hope for, and the superficiality of body issues (this time, about men), and it does it all with genuine warmth, tremendous sincerity and outrageous humor.”

Joe Deer describes The Full Monty: The Broadway Musical as “an incredibly fun, high energy show. When people ask me what it’s about, I say, it’s like ‘Rocky meets Magic Mike.’” He admires the story about a group of men who are down on their luck, who manage to pull themselves together and redeem themselves and bring everyone up with them. “I love that,” he beams. “I think there is no better show for people in Dayton to experience right now because we know—as a city—what that’s like.” Deer sees the parallels between the personal and community-wide losses caused by the end of Buffalo’s steel industry in The Full Monty and the decades-long commercial and industrial losses felt by Dayton. “This was a mighty, mighty town and when the economy went south, when so many large businesses left, we were abandoned by people we had stood by.” He likens it to the show’s opening song, “Scrap.” “We felt pretty much abandoned like scrap. But what I love about this show is exactly what’s happening in Dayton right now,” he states. “We are being redeemed and lifting up. We are being revitalized in a whole new way.” Deer feels confident that audiences are going to come away from this show exuberant and recharged by its message and spirit.

Dionysia Williams, a Wright State University graduate and BalletMet Dance Academy faculty member, serves as the choreographer. Having performed in a previous production of The Full Monty, Williams describes her task as creating “character-driven” choreography for the show’s blue collar Buffalo citizens, “In the choreography, you’re going to see that the movement is very authentic as to who these characters are.” When discussing the show’s highly anticipated strip tease dance number, she says, “These guys will be slick. Maybe not Magic Mike slick, but in their own way.”

PERFORMANCE AND SPECIAL EVENT INFORMATION
Tickets for the preview performance of The Full Monty: The Broadway Musical on September 10 start at $35 for adults, $32 for seniors and $17.50 for students. For all performances September 11 – October 4, single ticket prices start at $40 for adults, $37 for seniors and $20 for students. Prices vary depending on the day of the week and seating location. Group discounts are available for parties of 10 or more. The Human Race is offering a pair of discount ticket opportunities. Side-area seats are available at all performances for $25 each, on sale two weeks prior to performance. The Sunday, September 13 7:00 pm performance is “Sawbuck Sunday”, when any available seat can be purchased in person for just $10 at The Loft Theatre box office two hours prior to the show. Discounts are subject to availability and some restrictions apply.

All performances are at the Metropolitan Art Center’s Loft Theatre, located at 126 North Main Street in downtown Dayton. Tickets and performance information on The Full Monty: The Broadway Musical are available at www.humanracetheatre.org or by calling Ticket Center Stage at (937) 228-3630, and at the Schuster Center box office.

‘Into the Woods’ Review – Dare to Defy Productions – It Takes Time

September 5, 2015 By Russell Florence, Jr.

Dare to Defy Productions beckons the imagination with its stark, minimalist production of composer Stephen Sondheim and librettist James Lapine’s 1987 musical dramedy “Into the Woods,” but the attempt doesn’t coalesce.

Presented at the Victoria Theatre under the direction of Mathys Herbert, this “Into the Woods” appears to be pulling in different directions with musical awkwardness and structural unpreparedness resting underneath the surface. Part of the problem lies in the odd conceptual atmospherics (there are no woods in these “Woods”) which confines the action within an ominous, nondescript locale with columns, tattered draperies, candelabras, and a large clock accented by an array of baskets, boxes, cabinets, suitcases, trunks, and trinkets signifying a cluttered attic or an abandoned house. However, this impressively detailed creation, attractively designed by Ray Zupp, suggests a setting more appropriate for Sondheim’s “Follies,” his beautifully melancholy 1971 musical about chorus girls reuniting one last time on the stage of a soon-to-be-demolished theater. Perhaps if Herbert opened the show with his cast taking the stage as random individuals eager to put on “Into the Woods” in a dilapidated setting instead of what seems like ghosts or mannequins merely being awakened in the dark by a spooky stranger waving a flashlight it would have made for a more effective transition into the tale, especially to avoid alienating newbies unfamiliar with the show’s foundation.
As the musical’s insightful, thought-provoking plot weaves an introspective, profound course through the desires and regrets of multiple fairy tale characters, particularly stressing the importance of community, sacrifice and survival, the players run the gamut from admirable to ambiguous. Considering the strengths of the cast – a fantastic conglomeration of actors from Wright State University, Sinclair Community College, Dayton Playhouse, Dayton Theatre Guild, Playhouse South, and more – issues of cohesion wouldn’t appear to be a concern but that isn’t the case. Perhaps some members needed time to find or fine-tune their character arcs or simply become more comfortable with the score. Sondheim isn’t easy, and there were many missed cues on opening night, orchestra included. And in terms of musicianship, I’m still wondering why Mimi Klipstine, offering a terrifically commanding and emotionally grounded portrayal of the Witch, was told to bring the gorgeous “Children Will Listen” to a slow, terrible halt before the finale?

If only this production featured more surprising, inspired, character-conscious moments of pure exhilaration specifically evident in Evan Benjamin’s thrilling rendition of “Giants in the Sky,” a knockout example of attacking an incredibly descriptive lyric with all the expressive astuteness one can muster (while filling the space!) in order for the audience to completely immerse themselves in every ounce of the journey presented. Thanks to Benjamin’s absolutely radiant breakthrough performance, the trepidation and joy within Jack’s life-changing beanstalk journey is a truly dynamic highlight. Along with Benjamin and Klipstine, estimable work extends to Zupp in a sweetly understated turn as the cursed yet determined Baker longing to be a father while coping with his past, a spunky Tori Kocher as Little Red Riding Hood, a regally vain Amy Askins as Cinderella’s Stepmother, pretty soprano Jackie Darnell as humorous, sheltered Rapunzel, Mackensie Vonderbrink as Cinderella’s conceited stepsister Florinda, and the quiet strength of Zoot Theatre Company puppeteer Eric Arntz as Jack’s faithful pet cow Milky White.
In addition to Zupp, Herbert’s commendable artistic team includes lighting designer Sammy Jelinek (certainly bringing her evocative expertise to “Last Midnight”), costumer Carolyn McDermott (particularly dressing Natalie Sanders in a lovely silver and gold gown as Cinderella), puppet builder Danielle Robertson, and sound designer David Meyer. Also, Herbert’s decision to showcase the vengeful Giant (intimidatingly voiced by Tia Seay) as a shadow puppet is inspired.
Dare to Defy doesn’t overreach with “Into the Woods,” but if given a few more days or midnights this show could have ascended to greater heights.

“Into the Woods” continues today at 2 and 8 p.m. at the Victoria Theatre, 138 N. Main St., Dayton. Act One: 85 minutes; Act Two: 60 minutes. Tickets are $25-$50. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

Sword Fights in Garden Station

September 4, 2015 By Bryan Suddith

You read that right! Sword fighting in Garden Station. Among the garden plots of tomatoes, cucumbers and peppers a sword fight or two will happen this weekend. Dayton’s all volunteer BeSpoke Theater will be sharing their production of Macbeth for free this weekend. Bring a lawn chair and a few dollars for a cold 5th Street Brewpub beer and enjoy the show nestled into the back Garden Station.

Bespoke is one of Dayton’s newest production companies specializing in Classical Theatre. Shakespeare in the park is a lot different than enjoying a show in a traditional theater. The actors compete against the elements and surrounding environment. When Macduff has to pause for a passing train or Lady Macbeth has to enunciate beyond siren moving up Wayne Avenue. I was in attendance for the Sunday afternoon performance last week and found the benefits outweigh the distractions.

First, much of the story of Macbeth happens in the out of doors. The sounds of buzzing cicadas added to the story. Tonight’s show and Saturday’s as well will be visually more interesting as the torches come out as the sun sets in Dayton. Outdoor theater also allows the actors to bring the story withing feet of the audience. Having Banquo or Malcom run past you so close you feel it is an experience you normally don’t get in the Schuster or Victoria.

There are three shows remaining. 7:00 pm Friday and Saturday and a 4:00 pm start on Sunday. The show is free and donations are accepted at the end of the show. Stop in to Garden Station, soak up the city with a 5th Street Brew and take in some Shakespeare. The price point is perfect and the venue is perfect for children and families.

DMM Wants to send you Into The Woods Ticket Giveaway

August 30, 2015 By Dayton Most Metro

Dare to Defy Productions will open their 2015-16 season with Stephen Sondheim’s Tony Award-winning Broadway musical Into The Woods In this show you’ll meet characters from several Brothers Grimm fairy tales that weave together story lines taken from “Little Red Riding Hood”, “Jack and the Beanstalk”, “Rapunzel”, and “Cinderella.”

All these tales are woven together by an original story that involves a Baker and his Wife who wish to have a child, Cinderella who wishes to attend the King’s Festival, and Jack who wishes his cow would give milk. When the Baker and his wife learn that they cannot have a child because of a Witch’s curse, the two set off on a journey to break the curse. Everyone’s wish is granted, but the consequences of their actions return to haunt them later with disastrous results

Cast includes:
Jack – Evan Benjamin
Jack’s Mother – Amy Brown
Baker – Ray Zupp
Baker’s Wife – Kelsey Hopkins
Witch – Mimi Klipstine
Cinderella’s Prince/Wolf – Bobby Mitchum
Rapunzel – Jackie Darnell
Rapunzel’s Prince – A.J. Breslin
Cinderella– Natalie Sanders
Cinderella’s Mother/Granny/Giant – Tia R. Seay
Cinderella’s Stepmother – Amy Askins
Florinda – Mackensie Vonderbrink
Lucinda – Katie Hubler
Steward – Zach King
Cinderella’s Father – Jeffrey Campbell
Puppeteers: Eric Arntz and Juliet Howard-Welch

Into The Woods are 8pm on September 4th and 2pm and 8pm on September 5th, 2015. Tickets can be purchased online at my.ticketcenterstage.com or by calling the Box Office at 1-888-228-3630.

DMM has a pair of ticket for each showing to giveaway.

If you’d like to be our guest, tell us why and which show you prefer in the comments below and fill out this online form as well. Our contest is over, Congrats to Alicia, Chad and Donna!

Next up for Dare to Defy Productions:

Godspell will be presented in the Mathile Theatre, located in the Schuster Center, at 8pmon October 16th and 23rd and 2pm and 9pm on October 17th and 24th, 2015.

‘Outside Mullingar’ Review – Dayton Theatre Guild – Learning to Love

August 29, 2015 By Russell Florence, Jr.

The Dayton Theatre Guild’s 71st season opens with an outstanding local premiere of John Patrick Shanley’s 2014 Tony Award-nominated dramedy “Outside Mullingar,” a poignant look at romance between fortysomethings on a cattle and sheep farm in rural Ireland.

(l to r) Dave Nickel as Tony Reilly, Mike Beerbower as Anthony Reilly, Teresa Connair as Rosemary Muldoon, and Connie Fowler Strait as Aoife Muldoon in the Dayton Theatre Guild’s local premiere of John Patrick Shanley’s 2014 Tony Award-nominated romantic comedy “Outside Mullingar” (Contributed photo)

Deftly directed by David Shough, “Outside Mullingar,” sharing an Irish kinship to the plays of Martin McDonagh in terms of intimate authenticity, carries itself as contemporary (it begins in 2008) although it has a wonderful throwback quality at its core as if it could have been written 40 years ago. Neighbors Anthony Reilly and Rosemary Muldoon have been lifelong pals but due to mutual awkwardness and fear they never acted upon their obvious attraction, especially the shy, introverted and virginal Anthony whose heart remains crushed by the rejection he faced as a teenager from local lass Fiona. It is only through prodding and encouragement from the determined Rosemary, particularly in the excellently written final scene, that Anthony is able to release himself from his lonely, emotional shell and simply accept the possibilities a meaningful relationship can bring. As so, I can’t help but link Anthony to Robert in Stephen Sondheim’s “Company” considering both bachelors ultimately realize “alone is alone – not alive.”

Shanley, very adept at creating gender conflicts as evidenced in his Academy Award-winning screenplay for “Moonstruck” and his Tony and Pulitzer Prize-winning drama “Doubt,” is truly at his best when Anthony and Rosemary’s bickering, flavorful bond is front and center. Less successful is his subplot about property and family rivalry commonly addressed by Anthony’s gruff father Tony and Rosemary’s gentle mom Aoife. The strip of land dividing the two farms has significance as backstory but doesn’t necessarily engage. Even so, Tony and Aoife are genuinely charming catalysts for comedy with a slight Archie and Edith Bunker sensibility.

Mike Beerbower, in his remarkable Guild debut, fully embraces Anthony’s idiosyncrasies and good-natured persona to deliver a terrifically sensitive and endearing portrayal packaged in fidgety beauty. The stellar Teresa Connair, in one of her most expressive, intuitive and understated performances, captivates to the hilt especially as the opinionated, feisty and humorous Rosemary (who particularly feels the Bible should be renamed “The Book of Ugly Stories”) tries to dissect Anthony’s indifference throughout and strongly advises Tony not to be so unsympathetic about Anthony and his commitment to the Reilly farm. Dave Nickel, who appeared in Shough’s production of “An Inspector Calls” last season, is delightfully persnickety overall but becomes particularly powerful toward the end of the play in a tear-jerking scene with Beerbower that finds Tony in need of late night confession. Connie Fowler Strait, in her enjoyable Guild debut, tenderheartedly accents the cast as the likable if underwritten Aoife.

In addition, Shough serves as co-scenic designer with Chris Newman, who returns to the Guild having terrifically designed “Heartbreak House” and “An Inspector Calls.” The efficiently cozy unit sets they created breezily serve the material and are swiftly handled by the stage crew in some of the finest scene changes ever witnessed at the Guild. In fact, the nearly breathtaking final transition feels impressively cinematic. Shough also serves as lighting designer and effectively partners with K.L. Storer to contribute sound design.

“You can’t live against your life,” Rosemary warns Anthony. There is compelling truth in her statement and the overriding fact that this crowd-pleasing production is absolutely unforgettable.

“Outside Mullingar” continues through Sept. 6 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 1 hour and 40 minutes without intermission. Tickets are $20 for adults, $18 for seniors and $13 for students. Call (937) 278-5993 or visit www.daytontheatreguild.org.

Broadway Bombshell Plays Fraze

August 24, 2015 By Dayton Most Metro

She may be most remembered by Broadway lovers everywhere for her origination of the role of Glinda the Good Witch in Wicked, which earned her a Tony Award Nomination, and her Tony-winning performance in You’re A Good Man, Charlie Brown, for which she stole the show and many hearts in the process.

‘The Book of Mormon’ Review – Victoria Theatre Association – Irreverent Bliss

August 21, 2015 By Russell Florence, Jr.

Genuine hilarity abounds within Trey Parker, Matt Stone and Robert Lopez’s masterfully irreverent, jaw-dropping, unabashedly vulgar, and delightfully tuneful musical “The Book of Mormon,” the 2011 Tony Award winner for Best Musical currently having an outstanding local premiere at the Schuster Center as a special Star Attractions courtesy of the Victoria Theatre Association.

David Larsen (Elder Price, center) and the cast of “The Book of Mormon” (Contributed photo by Joan Marcus)

Primarily taking direct and often startling jabs at the formation and followers of the Church of Jesus Christ of Latter-Day Saints, Parker and Stone (the naughty provocateurs behind the wit and popularity of “South Park”) with astute aid from Lopez (who brought raunchiness back to the Great White Way with gusto thanks to his co-creation of “Avenue Q”) fashion a bold, no-holds-barred satiric universe rarely attempted in the world of commercial musical theater. As the Mormon faith is dissected with humorous, eye-opening bluntness, these revelatory collaborators, knowing full well that Mormon skewing would be entirely one-dimensional, skillfully expand the storytelling at hand by spoofing everything from pop culture and musical theater conventions to African stereotypes and Jeffrey Dahmer’s salaciousness. Even so, the central relationship between two young missionaries sent to spread their faith to a Ugandan village remains sharply focused and meaningful as themes of friendship, courage, perseverance, and self-discovery resonate with absurdity and heart under the vibrant, fast paced co-direction of Parker and Casey Nicholaw.

David Larsen and Cody Jamison Strand are exceptionally and respectively paired as the bubbly, optimistic Elder Price and his simple sidekick Elder Cunningham. Larsen, terrifically chipper and believably wholesome, and Strand, goofy and grounded, perfectly capture the oddity and unease of polar opposites thrust into an atmosphere beyond their imagination heightened by a despicable warlord, female circumcision, infant rape, and AIDS. Strand’s portrayal is showier due to the juiciness of his material, but Larsen’s charm, vulnerability and strong tenor (particularly showcased in his knockout rendition of Act 2 anthem “I Believe”) ensures balance. This dynamic duo is tremendously supported by an assortment of first-rate featured players specifically the radiantly sweet Candace Quarrels as sensitive, impressionable villager Nabulungi, the energetic and flamboyant Daxton Bloomquist as closeted Elder McKinley (“Turn it Off,” his Mormon ode to suppressed feelings, is an absolute razzle dazzle hoot), Marcus Terrell Smith as Nabulungi’s amiable father/village prefect Mafala, and the wonderfully intimidating David Aron Damane as the evil General.

Candace Quarrels (Nabulungi) and Cody Jamison Strand (Elder Cunningham) in “The Book of Mormon” (Contributed photo by Joan Marcus)

In addition, Nicholaw’s fantastically clever choreography utilizes the same kind of funny, character-infused movement seen in his sprightly routines for “Monty Python’s Spamalot” and “Something Rotten!” The shockingly joyful “Hasa Diga Eebowai” and “Joseph Smith American Moses” as well as the phenomenally conceived “Spooky Mormon Hell Dream” are three of the most creative moments you will ever see in a contemporary musical. The production is also greatly accented by Scott Pask’s striking sets depicting Salt Lake City, Orlando and Uganda, Ann Roth’s imaginative Ugandan costumes, Brian MacDevitt’s evocative lighting, and music director David Truskinoff’s firm, full orchestra including six local musicians.

“The Book of Mormon” isn’t for the easily offended, but if you’re simply looking to be entertained to the hilt you cannot let your weekend pass by without seeing this one-of-a-kind, Broadway-caliber experience.

“The Book of Mormon” continues through August 23 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 30 minutes with one 15 minute intermission. Tickets are $43-$132. Patrons are advised the show contains strong adult language. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

Get To Know Local Comedian, Trace Martin

August 20, 2015 By LIbby Ballengee

I had the pleasure of catching up with local funny guy, Trace Martin. He’s hosting the upcoming open mic night at Wiley’s, as well as other events all over town. I wanted to see what makes this new comedian tick, and where I can catch his next sets!

Q. What made you take the leap of faith to actually do your first stand-up gig?

A. I have been telling jokes since I was 11 years old, but writing and performing your own material, that was a different beast altogether. I have always loved stand-up and thought it would be fun to try to get laughs off of something I had written, not just being a goofball, although that still gets a laugh. Performing actual stand-up comedy is much harder than it looks. I wrote jokes for about 8 years, and made it my goal to perform before I turned 50 years old. I saw a guy do his set at the old Jokers Comedy Café and I wasn’t impressed, but he still got some laughs. I thought “Well hell, I can do better than that.” So I started writing my set and practicing in the bathroom mirror.

Q. Is doing stand-up intimidating or the ultimate rush?

A. Hosting a comedy show is actually a lot of work. Not only do you open the show – so you have to be funny right out of the gate – but you have to know how to warm up the audience, gauge the room and get them fired up to receive the upcoming comedians. Then you have to get each comedian’s name, a bit about them, and be witty on your feet, so you can introduce them in an interesting and funny way that helps them launch into their particular bits. There’s a lot of thought and planning that has to happen quickly, not to mention keeping the energy of the room going between acts.

Q. What is the inspiration of your material typically?

A. I have so much life experience to draw from… and I use it all. I served in the military as a Combat Engineer in the Army and I’ve worked for a police department in Colorado. Work-related stuff is fun because everyone has a work history, good or bad. I drink and have have done “experimental research” with various forms of mind-altering substances in the past, as a lot of people have. Those experiences are always great material. I have been married for 26 wonderful years and I get a lot material from that, because many can relate to that. My wife, Samantha, is also my writing partner, and a great sounding board for new material. She has been to enough comedy shows to know what works and what needs more work. We still make each other laugh every day.

Q. Who are your favorite comedians?

A. First and foremost, George Carlin. His observational humor captured my heart as a kid from the first time I saw him. Steve Martin gave me a love of slapstick and physical, goofy humor, from his early days on Saturday Night Live. Robin Williams gave me a love of improvisation – he could do it like no one else. Finally, Tim Allen, during his early stand-up comedy days, had such a great way of communicating “funny”, often without words. All of these guys still make me laugh to this day!

Q. What is the Dayton comedy scene like, especially for those who are new to going to comedy here?

A. The Comedy scene in Dayton is Fan-FREAKIN’-tastic!! Whether you’re a new comic or a seasoned veteran who wants to work on new material, you can get stage time 5 to 6 times a week at various clubs and venues around town. Sometimes you can hit 2 shows a night. If you like to enjoy laughing as a great evening out with friends, there are many Open Mic nights and comedy showcases happening all over Dayton, almost any day of the week! Check on Facebook for Dayton Comics for show listings, or any of the many other resources dedicated to local comedy.

Q. What do you hope to accomplish through your comedy?

A. I like to give people the opportunity to relax and laugh. So much of life is so serious these days. I like to make people laugh, in a way that stays with them, far after the show. I love to hear that people are still thinking of one of my bits days–even weeks–later, and still laughing about it. That gives me great satisfaction. Making a room full of strangers laugh is the the best thing ever!

Where to see Trace Martin perform this weekend:

Friday August 21st at Chimney’s of Oak Creek in Kettering. Show starts at 9pm. It’s BYOB with $5 admission. Residents get in free. If you haven’t been to a Chimney’s show… you just gotta! These shows are off the hook and usually sell out.

Saturday Aug 22nd, performing at 2pm at Samson’s Summerfest in Jamestown. $5 cover for entire day of music and comedy.

Sunday August 23rd at Wiley’s Comedy Joint in the Oregon District, Dayton. Show starts at 8pm and I get to Feature!! Mention Trace’s name when making reservations (@224-JOKE) and get in FREE! This will be a great evening of hilarity.