On Stage Dayton

24th 20×20 Pecha Kucha Night Thursday

August 18, 2015 By Bryan Suddith

Dayton’s Engineers Club is a living memorial to the men and women that built our city. Walking through the Club you can easily imagine Charles Kettering or the Wright Brothers sitting and discussing the social and political issues of the day. It is here you can find rich pieces of Dayton’s at every turn.

It is the mission of the Engineers Club to “foster the advancement of business, education, engineering and science, and to promote the professional development of its members.” If you have never had the pleasure of visiting the club Thursday night is your chance to soak up all that is Dayton while enjoying the 24th Volume of Pecha Kucha.

Pecha what? Pecha Kucha are 6-minutes 40-seconds presentations accompanied by 20 slides. The speaker must use 20 slides that automatically advance every 20-seconds. Pecha Kucha rules are strict and going over your time is prohibited. Generally each slide only will contain a single image. The format was developed in Tokyo (hence the Japanese name) by two foreign architects: Mark Dytham and Astrid Klein.

Dayton gathers 4 times a year for Pecha Kucha. It is free and open to the public. Volume 24 is scheduled for Thursday August the 20th and will begin at 7:30 pm. According to the Dayton PK website you can expect a diverse roster of presenters.

“Emcee Duante Beddingfield will keep us on our toes as the mic passes between: Emmy-winning artist Rodney Veal, Rue Dumaine bartender Brian Petro, artist Austin Radcliffe of “Things Organized Neatly,” attorney Lela Klein, the “great” PR man Charlie Campell, Chef Anthony Head, librarian Lisa Holmes, Tibetan traveler Emily Fleitz, veterinarian Bethany Horn and adventurer Kriss Gang.”

The event is free and a cash bar will be available. Don’t miss out on this unique style of presenting in one of Dayton’s most unique spots.

Take The Mystery Out Of Playwrighting

August 7, 2015 By Dayton Most Metro

The Ohio Playwrights Circle is offering a class in playwrighting from Sept. 5 to Oct. 17 at the educational facilities of The Human Race Theatre Company.

This class is designed to take the mystery out of playwrighting and provide an introduction to new playwrights. The method of building a play is explored through a variety of exercises. Our focus will be on understanding the tool in basic dramatic structure. The process involves a lot of scene writing, a lot of thinking, a lot of laughing, a lot of learning, and a lot of fun.

Each playwright will have the opportunity to create a 10-Minute Play that will be presented in a public reading. The class is planned for novices as well as experienced playwrights and encourages the opportunity for playwrights to hear their works come to life. No Playwrights will be expected to begin the class with already completed work.

Actors and directors are welcome to be part of the process. Class size is limited. Registration and additional information is available on The HRTC website.

The class will be taught by Ohio Playwright, Michael M. London. It will be held on Saturdays at the Caryl D. Philips Creativity Center, 116 N. Jefferson Street, in downtown Dayton.

The class is a project of the Ohio Playwrights Circle and is sponsored by American ArtWorks Foundation. It is hosted in Dayton by The Human Race Theatre Company, and supported by the Marsha Hanna Fund for the Development of New Plays.

Muse Machine Celebrate Songs from Elton John & The Lion King

August 3, 2015 By Dayton Most Metro

Young singers, dancers and musicians from across the greater Miami Valley will celebrate and reimagine the work of renowned pop star and composer Elton John in a special concert event as Muse Machine’s Your Songs takes the Victoria Theatre stage for one night only on Thursday, August 6 at 8:00pm. Popular hits like “Tiny Dancer,” “Bennie and the Jets,” and “Rocket Man,” as well as music from the Disney movie turned Broadway hit, The Lion King. Your Songs pairs new arrangements with original concepts that may take the audience by surprise, but will leave them remembering why they loved Sir Elton’s music so much in the first place.

Said producer Doug Merk, “Elton’s music has already been reimagined by other pop, jazz and R&B musicians, and there’s a reason that happens. This music stands the test of time.” With the help of some 150 performers, including elementary and high school students as well as Muse Machine alumni, Your Songs aims to continue a tradition of creative reinterpretation.

rehearsal photos
07/30/15

“There will be moments in the show that give a nod to Elton and to The Lion King, but most of the show, in true Muse Machine fashion, goes in new, funny and moving directions,” says Merk.

As the concert’s title might suggest, some of the music in Your Songs was selected by the general public, who voted for their favorite selections from Elton John’s substantial catalog on Muse Machine’s website.

Tickets for Your Songs are available exclusively through Ticket Center Stage at 937-228-3630, online at www.ticketcenterstage.com or at the Ticket Center Stage box office located inside the Schuster Center in downtown Dayton.

‘Tarzan’ Review – Epiphany Lutheran Church – Earthy Excellence

July 15, 2015 By Russell Florence, Jr.

Dayton’s 2015-2016 theater season has been impressively ushered in by Epiphany Lutheran Church as evidenced in the Epiphany Players Drama Ministry’s delightfully touching and vibrant production of Disney’s “Tarzan,” the organization’s 25th anniversary presentation.

Photo caption Rachel Woeste and Jeffrey Mack lead the Flora Cast as Jane and Tarzan in Epiphany Lutheran Church’s production of “Tarzan” (Contributed photo)

Adapted by Tony Award-winning playwright David Henry Hwang (“M. Butterfly”) based on the 1999 Academy Award-winning film of the same name and the novel by Edgar Rice Burroughs, “Tarzan” reiterates the power of love and family in its engaging tale of a boy raised by apes in West Africa following the death of his parents who ultimately realizes and comes to terms with his true identity. The core struggle between Tarzan’s ape parents Kala and Kerchak, particularly Kerchak’s reluctance to embrace Tarzan as his own, is a prime source of drama within a story that tends to be a bit stiff and occasionally slow-moving, but Hwang specifically keeps tensions high late in Act 2 when the Brits visiting the jungle on expedition reveal dastardly intent. Also, pop legend Phil Collins satisfactorily fleshes out the material by adding nine pleasant if unremarkable new tunes to the five strong numbers he wrote for the film including “You’ll Be In My Heart,” “Two Worlds” and “Trashin’ The Camp.”

Director/choreographer Megan Wean Sears, delivering incredibly earthy, fully grounded and believably primate movement, crisply guides over 60 actors, a fascinating sight common to Epiphany’s long-standing tradition of casting everyone who auditions. Her sharp routines are an exuberant plus (“Trashin’ The Camp” is an upbeat Act 2 opening romp), but the terrifically authentic world she creates (heightened by great flying effects courtesy of ZFX) and the first-rate character development she ensures equally speaks to her artistic strengths.

The handsome Jeffrey Mack, leading the Flora Cast in the titular role and given a tremendous entrance to boot, exhibits wonderful physicality, solid, pop-infused vocals, credible complexity, and deep expressiveness in one of his most challenging and finest performances. Rachel Woeste brings pert sophistication to her firm portrayal of biologist Jane Porter, Tarzan’s love interest and educator. Brianna Russ, poignant and purposeful, fully inhabits the affectionate Kala, beautifully joining forces with Mack for a tender reprise of “You’ll Be In My Heart.” Justin Matthews is a very formidable, no-nonsense Kerchak. Kyle Bates is enjoyably chipper as Jane’s professor-father. Margo Russ has a ball as Tarzan’s energetic gorilla sidekick Terk. Tom Klosterman oozes arrogant menace as devious hunter Clayton. Liza Russ (an adorable Young Tarzan), Lindsay Rich (Young Terk), Eric Strange (Snipes), Meredith Russ (Leopard), Timmy Seiler (Tarzan’s Father), and Meghan Rupper (Tarzan’s Mother) are also noteworthy in featured roles.

Additionally, Sears’ creative team is outstanding across the board. Ray Zupp’s richly detailed set is an adventurous playground complete with ropes, netting and slides. Matthew P. Benjamin’s lighting design effectively conveys many evocative tones. Stellar costumers Maria Klueber and Lori Watamaniuk, clothing the majority of the cast in ruffled black, vividly establish a jungle essence. Musical director David Brush steadily leads a fine off-stage orchestra.

If you’re searching for an entertaining outing with a sincere message I assure you this immersive “Tarzan,” absolutely surpassing its overblown and mediocre 2006 original Broadway production, seals the deal. By all means it is a striking testament to the pedigree of Epiphany’s rich theatrical legacy.

“Tarzan” continues through July 19 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday-Saturday at 7:30 p.m. and Sunday at 2:30 p.m. Act One: 55 minutes; Act Two: 60 minutes. Patrons are advised the show is double-cast particularly starring Fauna Cast members Kean Petrello and Cecily Dowd at the Thursday and Sunday performances. Tickets are $15 for adults, $10 for students and seniors (60 and over), and $5 for children (5 and under). For tickets, call (937) 433-1449 ext. 105. For more information, visit www.epiphanydayton.org or e-mail [email protected]. Also, every summer a charitable organization is selected to receive a portion of the proceeds. This year’s beneficiary is the Haitian Timoun Foundation. Visit www.htflive.org for more information.

YS Kids Playhouse Fights Urban Sprawl in The Farm

July 6, 2015 By Dayton Most Metro

Yellow Springs Kids Playhouse is letting the animals do the talking in the world premiere of The Farm, a play commissioned by the company, now entering its 21^st year. Sponsored in part by a $10,000 award by the National Endowment for the Arts and several grants from the Ohio Arts Council, The Farm uses masks, puppets, music and innovative props to bring the story of the importance and necessity of farm and land conservation to light.

fqR5-5j-zQNuunDJv5Q7B2jIdQABFMInm0Bh2TKnlo0

Photo by Tod Tyslan

Directed by, Y S Kids Playhouse’s Managing Artistic Director Ara G. Beal, The Farm, written by Joan Sand, will be YSKP’s 21^st original musical. The Farm is inspired by Orwell’s Animal Farm and the 1999 auction Whitehall Farm outside of Yellow Springs. Can the wild animals, farm animals and human kids work together to save their beloved farm from developers? Our steampunk styled production will feature human characters played by puppets, animal characters played by actors, full-sized bulldozers and tractors made out of recycled materials, and lots of fun.

Performances are July 16-19^th and 23-26^th at 7:30pm at Antioch Area Amphitheater, 920 Corry Street, Yellow Springs Ohio. Tickets are available at the door and $10 for adults and $5 for students and seniors.

In addition, YSKP is proud to announce it is presenting its inaugural “Arts for All” performance on Friday July 24th at 7:30 pm at Antioch Amphitheater. This altered performance is geared for those on the Autism Spectrum with special educators on site to help everyone navigate the experience of live performance. Tickets for this special performance are $5 for all adults, students and seniors. More information is available by calling 937-767-7800.

To learn more about YSKP and get updates on The Farm, visit them on Facebook or email [email protected].

Saluting Dayton’s 2014-15 Theater Season

July 2, 2015 By Russell Florence, Jr.

Friendship among witches, a delightful journey to Neverland, a Boston single mother awaiting opportunity, a modern family attempting connection at a New York hospital, an ogre in love, and African-American stories of faith and redemption were some of the key contributors to Dayton’s engaging 2014-15 theater season.

The cast of Human Race Theatre Company’s “Crowns” (Photo by Scott J. Kimmins)

The Human Race Theatre Company’s roof-raising production of Crowns was a hallmark for professional offerings, but the organization was equally blessed by a luminous world premiere of Michael Slade’s Broadway-worthy dramedy Family Shots, John Murrell’s engrossing two-hander Taking Shakespeare, and Caleb Damschroder and Eric Ulloa’s lovely new musical Molly Sweeney. The Victoria Theatre Association notably scored with the popular return of Wicked and the pleasantly surprising and impressive spoof America’s Got Downton, Luke Kempner’s tour-de-force salute to hit TV drama Downton Abbey. Dare to Defy Productions, a troupe on the rise, certainly flexed its artistic muscles with a string of strong shows heightened by savvy casting. Emerging, female-driven Magnolia Theatre Company arrived with aplomb in the form of an excellent Parallel Lives.
Further, Playhouse South reminded theatergoers of the unbridled, inclusive joy of community theater in its absolutely radiant Shrek The Musical, one of the finest shows produced by the organization closely followed by its sharp staging of The 25th Annual Putnam County Spelling Bee. Dayton Theatre Guild’s admiration for Pulitzer Prize-winning playwright David Lindsay-Abaire surfaced once more with a fantastic local premiere of the blue-collar Good People, which contained elements that matched the original Broadway production. Newly formed Playground Theatre commendably premiered with a nostalgic staging of The Breakfast Club. Undercroft Players, another emerging company with promise, brought great laughs and heartfelt warmth to Weekend Comedy. Beavercreek Community Theatre definitely succeeded with Sweeney Todd and Avenue Q. Dayton Playhouse, bolstered by the presence of scenic designer Chris Newman throughout the season, provided an attractive look at The Fantasticks.
On collegiate stages, Wright State University tremendously hit the mark as expected. In addition to WSU’s stellar Fences which provided the long-awaited directorial return of Sheila Ramsey in collaboration with WSU chair W. Stuart McDowell, director Joe Deer spearheaded a marvelously magical Peter Pan and a breathtaking musical showcase starring Tony Award-winning legend Leslie Uggams. Elsewhere, Sinclair Community College dazzled with its stunning, non-traditional Pride and Prejudice and vibrantly feel-good Charlie Brown Christmas. The University of Dayton thoroughly charmed with A New Brain.
Nationally, it was particularly thrilling to see Muse Machine and Oakwood High School alum Micah Stock take the New York theater community by storm thanks to his hilarious Broadway debut as Gus P. Dowd in the revival of Terrence McNally’s comedy It’s Only a Play. The 26-year-old Stock, a gifted artist, received a Tony nomination and Theatre World Award for his outstanding performance.
Assessing the 75 shows I saw this season, I congratulate the following winners (in bold) and nominees.

Alyssa Fox (l) and Carrie St. Louis in “Wicked” (Photo by Joan Marcus)

BEST TOURING PRODUCTION
4 Girls 4, Springfield Arts Council
America’s Got Downton, Victoria Theatre Association
Nice Work If You Can Get It, Victoria Theatre Association
Smokey Joe’s Cafe, Victoria Theatre Association
Wicked, Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A PLAY
Crowns, Human Race Theatre Company
Family Shots, Human Race Theatre Company
Parallel Lives, Magnolia Theatre Company
Taking Shakespeare, Human Race Theatre Company
Vanya and Sonia and Masha and Spike, Human Race Theatre Company and Victoria Theatre Association

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL,
Altar Boyz, Dare to Defy Productions
The Last Five Years, Dare to Defy Productions
Molly Sweeney: A Musical, Human Race Theatre Company
Nunsense, Dare to Defy Productions
Rent, Dare to Defy Productions

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
4000 Miles, Dayton Theatre Guild
The Breakfast Club, Playground Theatre
Good People, Dayton Theatre Guild
Heartbreak House, Dayton Theatre Guild
Weekend Comedy, Undercroft Players

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
Avenue Q, Beavercreek Community Theatre
The Fantasticks, Dayton Playhouse
Shrek The Musical, Playhouse South
Sweeney Todd, Beavercreek Community Theatre
The 25th Annual Putnam County Spelling Bee, Playhouse South

BEST COLLEGIATE PRODUCTION OF A PLAY
A Charlie Brown Christmas, Sinclair Community College
Fences, Wright State University
Pride and Prejudice, Sinclair Community College
Romeo and Juliet, Wright State University

The cast of Wright State University’s “Peter Pan” (Contributed photo)

BEST COLLEGIATE PRODUCTION OF A MUSICAL
A New Brain, University of Dayton
bare: a pop opera, Sinclair Community College
Hot Mikado, Wright State University
Peter Pan, Wright State University
Sondheim on Sondheim, Wright State University

BEST NEW WORK
Caleb Damschroder and Eric Ulloa’s Molly Sweeney: A Musical, Human Race Theatre Company
Luke Kempner’s America’s Got Downton, Victoria Theatre Association
Linda Ramsay-Detherage’s Sugarhill, Dayton Playhouse FutureFest
Michael Slade’s Family Shots, Human Race Theatre Company

BEST SPECIAL THEATRICAL EVENT
America’s Got Downton, Victoria Theatre Association
An Evening of Rodgers and Hammerstein, Dayton Performing Arts Alliance
An Evening with Leslie Uggams, Wright State University and Victoria Theatre Association
Oliver!, Muse Machine
Once On This Island, Epiphany Lutheran Church

BEST LEADING ACTOR IN A PLAY
Corbin Bleu as Aaron Baker, Family Shots
Law Terrell Dunford as Troy Maxson, Fences
David Hallowren as Jim Stools, Nice People Dancing to Good Country Music (Dayton Theatre Guild)
Luke Kempner in multiple roles, America’s Got Downton
Jon Kovach as Murph, Taking Shakespeare
Jared Mola as Leo Joseph-Connell, 4000 Miles

BEST LEADING ACTRESS IN A PLAY
Gina Handy in multiple roles, Parallel Lives
Barbara Jorgensen as Vera Joseph, 4000 Miles
Johanna Leister as Prof, Taking Shakespeare
Andréa Moralés in multiple roles, Parallel Lives
Rachel Wilson as Margaret Walsh, Good People
Colleen Zenk as Marsha Baker, Family Shots

BEST LEADING ACTOR IN A MUSICAL
Ian Benjamin as Jamie Wellerstein, The Last Five Years
Mark Beyer as Roger Davis, Rent
A.J. Breslin as Peter, bare
Bruce Cromer as Captain Hook and Mr. Darling, Peter Pan
Rollie Fisk as Fagin, Oliver!
Bobby Mitchum as Jason, bare

BEST LEADING ACTRESS IN A MUSICAL
Kelsey Pohl as Cathy Hiatt, The Last Five Years
Angelé Price as Sister Hubert, Nunsense
Brianna Russ as Nancy, Oliver!
Alyson Snyder as Peter Pan, Peter Pan
Carrie St. Louis as Glinda, Wicked
Lindsie VanWinkle as Molly Sweeney, Molly Sweeney

BEST SUPPORTING ACTOR IN A PLAY
A.J. Breslin as Snoopy, A Charlie Brown Christmas
Randy Brooks as Sam Baker, Family Shots
David Jennings as Man, Crowns
Stephen Kell as Mercutio, Romeo and Juliet
Jared Mola as Roy Manual, Nice People Dancing to Good Country Music (Dayton Theatre Guild)
Jeff Sams as Hector Hushabye, Heartbreak House

The cast of Dayton Theatre Guild’s “Good People (Contributed photo)

BEST SUPPORTING ACTRESS IN A PLAY
Joilet F. Harris as Mother Shaw, Crowns
Wendi Michael as Jean, Good People
Annie Pesch as Joyce Anderson, Family Shots
Lorrie Sparrow-Knapp as Lady Utterword, Heartbreak House
Shyra Thomas as Kate, Good People
Torie Wiggins as Mabel, Crowns

BEST SUPPORTING ACTOR IN A MUSICAL
Drew Bowen as Mark, Altar Boyz
Jim Brown as Lord Farquuad, Shrek The Musical
Charles Larkowski as Judge Turpin, Sweeney Todd
Nathan Pecchia as himself, Sondheim on Sondheim
Tyler Simms as Smee, Peter Pan
Michael Stockstill as Adolfo Pirelli, Sweeney Todd

BEST SUPPORTING ACTRESS IN A MUSICAL
Jasmine Easler as Katisha, Hot Mikado
Jenna Gomes as Mimi Schwinn, A New Brain
Megan Kuchan as Logainne Schwartzandgrubenniere, The 25th Annual Putnam County Spelling Bee
Cassi Mikat as herself, Sondheim on Sondheim
Tia Seay as Donkey, Shrek The Musical
Shawn Storms as Joanne Jefferson, Rent

BREAKTHROUGH MALE PERFORMANCE
Christopher Delanis as Gordon Michael Schwinn, A New Brain
Austin DeVaughn as Mr. Collins, Pride and Prejudice
Jose Gutierrez del Arroyo as Leaf Coneybear and Carl Dad, The 25th Annual Putnam County Spelling Bee
Zach King as Shrek, Shrek The Musical
Alan Ruddy as Princeton, Avenue Q
Isaac Tobler as Tom Collins, Rent

The cast of Wright State University’s “Fences” (Contributed photo)

BREAKTHROUGH FEMALE PERFORMANCE
Ariqa Bowens as Elizabeth Bennet, Pride and Prejudice
Jasmine Easler as Rose, Fences
Esther Hyland as Princess Fiona, Shrek The Musical
Kirsten Johnson as Allison Reynolds, The Breakfast Club
Pamela Matheson-Jones as Mrs. Nellie Lovett, Sweeney Todd
Meghan Rupper as Mama Euralie, Once On This Island

BEST DIRECTION OF A PLAY
Debbie Blunden-Diggs and Scott Stoney, Crowns
Kimberly Borst, Pride and Prejudice
Debra A. Kent, Good People
W. Stuart McDowell and Sheila Ramsey, Fences
Kevin Moore, Family Shots

BEST DIRECTION OF A MUSICAL
Joe Deer, Peter Pan
Greg Hellems, Hot Mikado
Becki Norgaard, Shrek The Musical
JJ Parkey, Rent
Megan Wean Sears, Once On This Island

BEST CHOREOGRAPHY
Debbie Blunden-Diggs, Crowns
Lula Elzy, Oliver!
Greg Graham, Peter Pan
Teressa Wylie McWilliams, Hot Mikado
Megan Wean Sears, Once On This Island

BEST SCENIC DESIGN OF A PLAY
David A. Centers, Vanya and Sonia and Masha and Spike
Chris Harmon, Pride and Prejudice
Chris Newman, Heartbreak House
Ryan Sess, Fences
Terry Stump, A Charlie Brown Christmas

BEST SCENIC DESIGN OF A MUSICAL
Chris Harmon, Sweeney Todd
Pam Knauert Lavarnway, Hot Mikado
Pam Knauert Lavarnway, Peter Pan
Chris Newman, The Fantasticks
Ray Zupp, Rent

BEST COSTUME DESIGN OF A PLAY
David J. Castellano, Pride and Prejudice (Wright State)
David M. Covach, Crowns
Patrick Allyn Hayes and Kelsey Shaffer, Heartbreak House
Kathleen Hotmer, Pride and Prejudice
Mary Beth McLaughlin, Fences

The cast of Playhouse South’s “Shrek The Musical” (Contributed photo)

BEST COSTUME DESIGN OF A MUSICAL
Carol Finley, Sweeney Todd
Jeremy W. Floyd, Hot Mikado
Maria Klueber and Lori Watamaniuk, Once On This Island
Lead costumer Meagan Kuchan and costume team (Melissa Fogle, Kathleen Carroll, Donna Cason, Summer Lehman, Rachel Annabo Smith, Maggie Carroll, Mary Nunnery, Aurora Nunnery, Rachel LaFountain Earich, Jordan Norgaard, Jenni Cypher, Tonia Scearce, Ian Meadows, Jess Evans), Shrek The Musical
Janet G. Powell, The Fantasticks

BEST LIGHTING DESIGN OF A PLAY
Daniel Brunk, Pride and Prejudice
Sammy Jelinek, Fences
Tim Mascall, America’s Got Downton
John Rensel, Taking Shakespeare
Nick Vanderpool, George A. Romero’s Night of the Living Dead – Live (Dayton Playhouse)

BEST LIGHTING DESIGN OF A MUSICAL
Anita Bachmann, The Fantasticks
Matthew P. Benjamin, Hot Mikado
John Falkenbach, Sweeney Todd
Sammy Jelinek, Peter Pan
Bryan Miller, Once On This Island

BEST SOUND DESIGN OF A PLAY
Daniel Brunk, Pride and Prejudice
Jay Brunner, Taking Shakespeare
Jay Brunner, Crowns
Emily Hutton, Fences
K.L. Storer, George A. Romero’s Night of the Living Dead – Live (Dayton Playhouse)

BEST SOUND DESIGN OF A MUSICAL
Keith Caggiano, Nice Work If You Can Get It
James Dunlap, Sondheim on Sondheim
Matt Korb, Hot Mikado
Chris Pentecost, Once On This Island
Mason Wisecup, Peter Pan

BEST ORCHESTRA
Hot Mikado (Music Director: Scot Woolley)
The Last Five Years (Music Director: Dean Brown)
Nice Work If You Can Get It (Music Director: Charlie Reuter)
Oliver! (Music Director: Claude Thomas)
Once On This Island (Music Director: David Brush)

BEST PROPERTIES
Heather Campbell Martin, The Fantasticks
John Lavarnway, Peter Pan
Heather Powell, Taking Shakespeare
Blake Senseman and Deidre Bray Root, Good People
Shannon Sellars, Oliver!

ADDITIONAL ACKNOWLEDGMENTS

Tango dancers Sarah Agar and Adam Soniak in Mame (Human Race Theatre Company)
Christine Andreas, Faith Prince, Andrea McArdle, and Maureen McGovern in 4 Girls 4 with music direction by John McDaniel
Director/choreographer Katie Arber, leading players Isaac Ingle (Seymour) and Cecily Dowd (Audrey), scenic designer Mike Cordonnier, and the cast of Little Shop of Horrors (Centerville High School)
Becky Barrett-Jones as Diana Goodman and Desmond Thomas as Gabe Goodman in Next to Normal (Beavercreek Community Theatre)
Lyn Baudendistel, Robin Brown, Patty Peters, Toni Donato Shade, and Alisa Vukasinovich’s costumes for Oliver!
Keely Beirne’s renditions of “Don Juan” and “Some Cats Know” in Smokey Joe’s Cafe
Matthew P. Benjamin’s projections for Hot Mikado
Matthew Boston as Vanya, Sherman Fracher as Sonia, Jennifer Johansen as Masha, Ben Palacios as Spike, Alex Sunderhaus as Nina, Torie Wiggins as Cassandra, and director Margarett Perry for Vanya and Sonia and Masha and Spike
Gary Briggle, Laura Portune, Gabriel Preisser, and Christina Baldwin in An Evening of Rodgers and Hammerstein
Jay Brunner’s incidental music for Taking Shakespeare
Alexander Chilton as Stevie, Shawn Hooks as Mike and Heather Martin as Dottie in Good People
Megan Cooper as Margaret “Maggie” Pollitt and Chris Harmon’s scenic design for Cat On a Hot Tin Roof (Beavercreek Community Theatre)
Bruce Cromer’s fight choreography for Romeo and Juliet
Tristan Cupp’s scenic design for Once On This Island
Jasmine Easler as Velma, Joy Lynn Jacobs as Wanda, Monette McKay as Yolanda, and Debra Walton as Jeanette in Crowns
Sean Michael Flowers’ incidental music for Family Shots and his music direction of Sondheim on Sondheim (featuring a band consisting of guitarist Mark Beyer and cellist Emsie Hapner)
Alyssa Fox as Elphaba in Wicked
Jill Lynott as Barbara and Geoff Turner and Eric Specht’s special effects for George A. Romero’s Night of the Living Dead – Live (Dayton Playhouse)
Ellie Margolis as Lady Catherine de Bourgh in Pride and Prejudice (Wright State)
Chris Newman’s scenic design and Kathleen Carroll’s costumes for How to Succeed in Business Without Really Trying (Dayton Playhouse)
Natalie Sanders’ rendition of “All Grown Up” in bare: a pop opera
Parisa Samavati’s rendition of “Forever” in Shrek The Musical
Renditions of “Aquarius/Let the Sunshine In” (Tia Seay and ensemble), “Easy to Be Hard” (Emma Jordan), “Where Do I Go?” (Mark Beyer and ensemble), “White Boys” (Raven Thomas), and “Good Morning Starshine” (Mackensie Vonderbrink) in The Music of Hair (Dare to Defy Productions)
Michael Stockstill’s makeup design for Shrek The Musical
Leslie Uggams and featured performers Jasmine Easler, Mimi Klipstine, Cassandra Mikat, Katie Momenee, Kelsey Pohl, Alyson Snyder, and Abby Murray Vachon with music directors Don Rebic and Scot Woolley in An Evening with Leslie Uggams
Scot Woolley’s piano accompaniment for Crowns and Molly Sweeney

Dayton Theater Hall of Fame Honors Joe Deer

July 1, 2015 By Dayton Most Metro

The Dayton Theatre Hall of Fame recognizes individuals who have dedicated themselves to the cause of theatre arts in Dayton or have made a significant impact on Dayton’s theatre community. The 2015 inductee is Joe Deer.

Joe Deer is Distinguished Professor of Musical Theatre and Director of the Musical Theatre Initiative at Wright State University, where he has headed the Musical Theatre program since its inception in 1997. He is well known as a director for Wright State and the Human Race, and his productions have been acclaimed for their quality and creativity. He is the author of Directing in Musical Theatre: An Essential Guide and co-author of Acting in Musical Theatre: A Comprehensive Course, both widely used as textbooks in theater programs around the world. He has served on the board for the Human Race, has participated actively in Muse Machine activities, and has been instrumental in bringing national figures such as Stephen Schwartz, Leslie Uggams, and Audra McDonald to Dayton.

Established in 2001, the Dayton Theatre Hall of Fame was created to honor local theater artists and patrons of the arts whose life-long participation, innovation, and creativity have influenced the Dayton arts culture.

This year’s induction ceremony will be held in conjunction with the annual DayTony awards on August 8, 2015 at Sinclair Community College. Attendees will have the dinner or event-only option this year. Early bird pricing will be available through July 18, with a higher price until July 31. No reservations will be accepted after August 1. The event is open to the public and reservation information will be available on the DayTony website and social media when plans are completed.

The Dayton Theatre Hall of Fame is operated and governed by the Dayton Theatre Hall of Fame Executive Committee.

‘Crowns’ Review – Human Race Theatre Company – Feel the Spirit

June 17, 2015 By Russell Florence, Jr.

A marvelously soul-stirring production of Regina Taylor’s off-Broadway spiritual play-with-music “Crowns” concludes the Human Race Theatre Company’s 2014-15 season at the Loft Theatre.

Adapted from the book of the same name by photographer Michael Cunningham and journalist Craig Marberry, “Crowns” is a fascinating, humorous, potent and celebratory portal into the African-American custom of church hats. Generations of African-American women, harkening to African tradition, have valued and taken pride in wearing their finest, most flamboyant hats to Sunday service, particularly based on biblical statutes written by Apostle Paul in I Corinthians 11 (“But any woman who prays or prophesies with her head uncovered disgraces her head… For this reason a woman should have a symbol of authority on her head…”).

Cunningham and Marberry’s flavorful sources (over 50 women were interviewed) provide an engaging hook for Taylor, who weaves a fluid narrative arc from the earthy interviews detailing the comedic (“I’d lend my children before I’d lend my hats. My hats know their way home”) and introspective (“Our hats have already been bought and paid for. All we have to do is wear them”). By and large, Taylor transforms an honest, reflective look at women and fashion into a deeper examination of cultural identity, generational friction and the absorbing power of faith.

In this breezy tale, sharply co-directed by Dayton Contemporary Dance Company artistic director Debbie Blunden-Diggs and Human Race founding resident artist Scott Stoney, troubled Brooklyn teenager Yolanda (a terrifically tough and scarred Monette McKay) is grudgingly sent to live with her churchgoing grandmother Mother Shaw (a fabulous, vocally strong Joilet F. Harris) in Darlington, South Carolina following the death of her brother. The angst-filled, streetwise Yolanda strongly resists her new Southern surroundings, but with perceptive assistance from Mother Shaw and her gaggle of fussy church lady friends, Yolanda, caught between two worlds, comes to terms with the pain of her past and accepts a brighter future guided by God.

In addition to Harris (responsible for a rousing “I Am On the Battlefield”) and McKay, Blunden-Diggs and Stoney’s incredible cast of actor-singers fulfill their duties with astounding ease. Jasmine Easler, a true knockout this season at Wright State University, commands attention as the emotional, soul-searching Velma as she fervently sings “His Eye Is On The Sparrow” with searing, roof-raising passion. As the sophisticated Wanda, Joy Lynn Jacobs provides a wonderful lesson in hat etiquette. As the gentle Jeanette, former DCDC member Debra Walton, last seen at the Race in “Children of Eden,” performs a beautiful praise dance during “Oh Lord I’m Waitin’ On You,” one of many numbers expertly choreographed with personality and power by Blunden-Diggs. Torie Wiggins, a hoot this season in the Race’s productions of “Mame” and “Vanya and Sonia and Masha and Spike,” brings the hilarity once again as sassy preacher’s wife Mabel, who shares important advice on how to handle and approach a Hat Queen. David Jennings, responsible for all the male roles, terrifically embodies preachers, fathers and husbands, particularly delivering a dynamic, tear-jerking rendition of the gospel standard “If I Can Help Somebody.”

The presentation’s high quality winningly extends to its technical team. Scenic designer Tamara L. Honesty supplies an excellent assortment of sliding panels, swivel racks and stained glass projections. David M. Covach’s colorfully attractive costumes are vivid and pay homage to African ancestry. Musical director Scot Woolley provides superb, joyful piano accompaniment. The contributions of lighting designer John Rensel and sound designer Jay Brunner (incorporating Nigerian music) are equally effective.

Even if you don’t consider yourself remotely religious or have never been curious about African-American women in church hats, you’re bound to find something eye-opening or relatable within the universal context of this production, clearly one of the best shows of the season. Can I get an Amen?

“Crowns” continues through June 28 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesday-Saturday at 8 p.m., Tuesday at 7 p.m.; and Sunday at 2 p.m. Act 1: 55 minutes; Act 2: 40 minutes. Also, Human Race resident artist Alan Bomar Jones also performs the male roles. Tickets are $40-$50, but discounts are available. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org.

“Hattitude” & Gospel Music Make Crowns A Must See!

June 11, 2015 By Dayton Most Metro

Crows cast. photo by Scott Kimmins

The Human Race completes its 28th season of producing professional theatre for the Miami Valley with actress/playwright Regina Taylor‘s hit Crowns. Based on Michael Cunningham and Craig Marberry‘s book by same name, the play begins as troubled Brooklyn teenager Yolanda is sent to live with her church-going grandmother down South after the death of her brother. There she finds healing in the personal stories of the ladies of the congregation and the hats that adorn their heads. Through time and space, their intimate histories create a soulful, joyous triumph of song, dance, culture and glorious “hattitude” in this powerhouse gospel musical like no other. The Human Race Theatre Company’s production runs tonight, June 11 – 28, 2015 at The Loft Theatre. It is co-directed by Dayton Contemporary Dance Company Artistic Director Debbie Blunden-Diggs, who also serves as choreographer, and Human Race Theatre Founding Resident Artist Scott Stoney. Resident Artist Scot Woolley is the musical director.

Crowns features performances by an ensemble of seven versatile actors, including Wright State University senior Jasmine Easler (Hot Mikado, Fences) as “Velma”, Joliet F. Harris (Because of Winn Dixie, Ella the Musical, Ain’t Misbehavin’, HBO’s The Wire) as “Mother Shaw”, Joy Lynn Jacobs (Marie Christine and The Music Man on Broadway, Gotham and Nurse Jackie on television) as “Wanda”, David Jennings (After Midnight, Hands on a Hardbody, Brooklyn the Musical on Broadway, Grammy nomination for 30th Anniversary recording of Dreamgirls) as “The Man”, Monette McKay (Mamma Mia!, Memphis, Spider-Man: Turn Off the Dark on Broadway) as “Yolanda”, former Dayton Contemporary Dance Company member Debra Walton (Children of Eden, Little Shop of Horrors for Human Race; Pajama Game and Street Corner Symphony on Broadway) returns to The Human Race after many years as “Jeanette” and Cincinnati actress Torie Wiggins (Mame, Vanya and Sonia and Masha and Spike for Human Race; The Mountain Top and Black Pearl Sings! for Ensemble Theatre of Cincinnati) makes a third appearance with The Human Race this season as “Mabel”.

Scenic designer Tamara L. Honesty (Other Desert Cities, Lombardi) and costume designer David M. Covach (August: Osage County, Moonlight and Magnolias) found inspiration for their designs in the Yoruba culture of Nigeria. Covach costumed each of the play’s female characters in a different color, based on a number of Yoruba deities. Crowns marks Covach’s thirtieth design for The Human Race. Honesty combined the earthy, wooden textures and colors of Yoruba craftwork with the modesty found in many Southern Pentecostal churches. The result is an open set space framed by screens upon which Resident Lighting Designer John Rensel will use projections to create a variety of times and locations. Scot Woolley and percussionist Kevin Anderson accompany the cast, performing the musical’s score-a mix of gospel, hymns, spirituals, chants-live offstage on a variety of instruments. Sound Designer Jay Brunner completes the environment by incorporating traditional and popular Yoruba/Nigerian music throughout the action.

Since its development for the stage in 2002, Crowns has become one of the most popular and widely-produced African-American plays in the country. “I think one of reasons for its popularity-certainly the reason why we wanted to produce it-is because it helps tell the story of who we are as a people,” says Producing Artist Director Kevin Moore. “It’s a beautiful, fascinating look at the history of African-Americans, and a celebration of culture and its roots inspired by the hats these ladies wear to church.” The fact that Crowns has much to teach its audiences (and its company) is not lost on Co-director Scott Stoney. “Working on this production with Debbie and this wonderful group of actors is amazing,” he says. “We all learn so much from each other. There’s more to it than just one person can know. And when it all comes together-the dance, the music and songs, the costumes, the stories-you can’t help but come away with a greater appreciation for this culture.”

Kevin Moore was delighted to be able to pair long-time friends Debbie Blunden-Diggs and Scott Stoney together to co-direct Crowns. Each brings a unique viewpoint and set of skills to the production. Blunden-Diggs, with a life-time of dance under her belt, refines the play’s narrative with her choreography while lending it her personal perspective as an African-American woman. Stoney is a highly-accomplished director skilled with telling intimate stories and over twenty years experience with the intricacies of The Loft Theatre. “With this leadership combination,” says Moore, “I’m confident that our production is in great hands. The result will be phenomenal theatre.”

Tickets for the preview performance of Crowns tonight, June 11 start at $35 for adults, $32 for seniors and $17.50 for students. For all performances June 12 – 28, 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, June 14 7:00 p.m. performance is “Sawbuck Sunday”, when any available seat can be purchased in person for just $10 at The Loft Theatre box office two hours prior to the show. Discounts are subject to availability and some restrictions apply.

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

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

‘Peter and the Starcatcher’ Review – Victoria Theatre Association – Adequate Whimsy

June 11, 2015 By Russell Florence, Jr.

Oliver Wadsworth and Justine Salata in “Peter and the Starcatcher” (Photo by Alexander Weisman)

The fanciful Peter Pan play-with-music prequel “Peter and the Starcatcher” adequately closes the Victoria Theatre Association’s 2014- 15 Premier Health Broadway Series at the Schuster Center.

Sprightly adapted by Rick Elise based on the 2006 novel of the same name by Dave Barry and Ridley Pearson, this “Starcatcher” primarily presents a unique quandary, specifically for theatergoers expecting to see the national tour of its tremendous Broadway mounting, nominated for nine Tony Awards in 2012 ultimately winning five. When the “Starcatcher” tour folded last year, the Victoria searched for a replacement version. Organizers selected a regional theater production conceived by Salt Lake City’s Pioneer Theatre Company, but the show just doesn’t have the shimmering conceptual sparkle, artistic ingenuity and emotional heft of the Broadway production, which certain patrons fondly recall to this very day.

Granted, director Jenn Thompson certainly attempts originality, but unfortunately her pacing is off-kilter in a startlingly humdrum Act 1that finds some actors having trouble projecting in the space, a crucial indication this intimate production truly belongs inside the Victoria Theatre. It’s also extremely odd Thompson allows Leo Ash Evens, who excessively portrays the villainous Black Stache (the precursor Captain Hook), to go unrealistically overboard in a defining moment late in Act 2.

Even so, there are consistently firm performances to be found here amid the fascinating, fun, ensemble-driven storytelling. The sharp, physical Rhett Guter winningly charms as the intuitive and vulnerable Boy/Peter. Justine Salata brings poise, humor and spunk to her terrifically astute portrayal of Molly, future mother of Wendy. José Restrepo (Smee), Austin Archer (Prentiss), Jake P. Evans (Ted), Jeff Gurner (Grempkin/Fighting Prawn), and Oliver Wadsworth (Mrs. Bumbrake/the mermaid Teacher) equally shine in featured comedic capacities.

Additionally, the presentation’s attractive technical elements are courtesy of scenic designer George Maxwell, costumer Carol Wells-Day, lighting designer Michael Gilliam, sound designer Joshua C. Hight, and hair/makeup designer Amanda French. Patricia Wilcox’s playful choreography and Tom Griffin’s crisp music direction suitably complement Wayne Barker’s cheery tunes.

“Starcatcher” enchants at its core due to its very engaging, “Wicked”-esque ability to present familiar lore refreshingly, particularly in its stronger Act 2 detailing the genesis of Tinkerbell and the need for a certain hook. However, when you consider the fundamental fact that the Victoria is responsible for and boasts about delivering national tours, watching an out of state regional theater showcase of this work is a disappointing predicament.

“Peter and the Starcatcher” continues through June 14 at the Schuster Center, Second and Main Streets, Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 65 minutes; Act Two: 58 minutes. Tickets are $25-$97. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

Volunteer To Usher At Victoria Theatre Association Events

June 9, 2015 By Dayton Most Metro

Each season, nearly 700 volunteers from the Dayton area donate more than 60,000 hours of their time to our organization.

As a Victoria Theatre Association volunteer, you are an an active partner in the arts in downtown Dayton. You’ll meet a lot of great people, see a lot of great shows, and know that your contribution keeps the arts affordable for all.

If you’re 14-19 years old, check out the Teen Usher program!

Volunteers primarily work as the ushers and bartenders for our performance theatres at the Victoria Theatre, Schuster Center and The Loft Theatre. Ushers are responsible for taking tickets, seating patrons, enforcing house policies, assisting patrons and answering questions. They also assist with mailings, staff fair and festival booths, and other tasks. Volunteers are expected to attend an orientation, training sessions, and commit to working a minimum of 50 hours per year.

The Victoria Theatre Association is currently accepting applications for new volunteers for the 2015-2016 season. To fill out an application, click here.

Send Your Kids To Theater Camp

May 29, 2015 By Dayton Most Metro

X*ACT Xenia Area Community Theater's photo.

X*ACT presents their children’s theater camp for all kids 8 and older at the Kettering Health Network Theater, and it promises to be a fun-filled learning experience. From learning the basics of theater to auditioning, memorization and blocking, there will also be lots of entertaining theater games to be played!
To cap-off the experience, the campers will perform their own rendition of The Pied Piper Of Hamelin; re-told and choreographed by the campers themselves.
Come join Kira Miller, theater major from Sinclair Community College, for two weeks of fun and learning that only the theater can offer. Fees are $75.00 per camper and include a theater camp T-shirt. Reservations can be made by calling the theater at 937-372-0516.

Saturday is SMAG’s Spring Fling!

May 22, 2015 By Dayton Most Metro

Contemporary dance lovers should make their way to the Dayton Playhouse (1301 E. Siebenthaler Ave., Dayton) this Saturday, May 23, for SMAG Dance Collective’s annual Spring Fling performance at 4 and 8 p.m.

Artistic director Michael Groomes founded the nonprofit troupe in 2003 to fill a void in Dayton’s artistic community.

“Back in 2003,” he recalled, “I was teaching dance at Sinclair Community College, and so I met lots of dancers, and it seemed like there were a lot of dancers in the area looking for opportunities to perform in styles outside of classical technique–hip-hop dancers, belly dancers, different types who weren’t getting a chance to be exposed to audiences. The [local] arts organizations, back then, were more performing at audiences as opposed to trying to engage them and get them to understand the capabilities of this abundance of artists we have in Dayton and the messages they want to get out.”

So Groomes made a promise to his children. To that end, SMAG is an acronym culled from the names of Groomes’ sons, Sean-Michael and Gavyn.

“I promised my kids that by the time they were 12 years old, I would have a company in their name. In September 2003, my son was due to turn 12, and that August, I felt like it was the right time. We incorporated hip-hop dancers onstage with modern and ballet dancers…all of it, together. That was something new in Dayton.”

One of SMAG’s defining aspects has been unexpected artistic partnerships. Fueled by Groomes’ restless drive to constantly turn audiences’ concept of “art” on its head to create new ideas, SMAG has combined in the past with visual artists, fashion designers, live musicians improvising new works, and more.

“That’s something else that wasn’t really happening back when we got started,” Groomes said of the collaborations that have become a hallmark for the ever-evolving troupe. “I thought we could bring a different perspective to the table, and keep reforming that perspective.”

Expect more of these creative fusions as SMAG looks ahead to its 12th season.

“We’re working on a September fundraiser with K12 Gallery, a huge event with DJs and house music, and live performances in multiple styles. We’ll be working with the Dayton Metro Library’s outreach program. We’re trying to get to a Lakota-Sioux reservation in South Dakota to work with the youth there and learn how to fuse Native American dance style with contemporary.”

Internationally acclaimed painter Mike Elsass, a Dayton native who remains based here, has joined forces with SMAG in past years to create live works of visual art–at a previous Spring Fling show, dancers writhed and swayed across a giant canvas spread out on the stage floor as Mike wove among them painting both bodies and canvas. Groomes says Elsass will return to the fold next season for a new venture.

Additionally, fall will see a new edition of SMAGmare, the collective’s yearly Halloween-themed performance typically held outdoors in the Oregon Historic District. SMAGmare began as a pop-up event to engage arts tourists wandering Fifth Street during October First Friday festivities, and was so successful that it’s become an anticipated annual feature. Going further in the spirit of multi-discipline collaboration, this year’s performance will pull in a local theatre group.

Outreach efforts like these have resulted in an incredibly diverse following for the group; SMAG performances routinely draw some of the most diversified audiences in the Dayton arts scene.

“You look at the U.S. census for Dayton, and that’s more or less what you’re gonna see when you look around at our dancers and audiences,” said Groomes. “It’s amazing to see the different types and faces and economic backgrounds that come together when we perform, and we’ve been extremely blessed to have that kind of support from across the board, and we’re looking forward to seeing more of that at the Spring Fling.”

SMAG’s Spring Fling show will serve as a platform for new works from both emerging and accomplished choreographers, including Groomes, whose entry is a civil rights-influenced piece.

“My piece in the show,” he said, “is inspired by the lives and works of three women: Ruby Bridges, the first black female child to be integrated into public school in New Orleans; Viola Liuzzo, the first white woman to die in her efforts to achieve civil rights; and Mahalia Jackson, who spent a lot of time traveling with Martin Luther King and served as kind of a hype man for him with her rousing gospel songs before his speeches. These were three incredible women who left a great legacy, and I wanted to honor that.”

The concert also features diverse and challenging works by SMAG associate artistic director Taiesha Green, Renee MeClendon of the McClendon Institute, Shonna Hickman-Matlock of DCDC, and Jordan Daughterty of DCDC2.

“We encourage the audience to be active,” Groomes said. “If you see something you like, speak up. Shout and cheer, because when the dancers get that feedback, they continue to step it up, and the audience gets back what they put into it. We want our audience to feel like they have the freedom to express themselves.”

Tickets for SMAG’s Spring Fling can be purchased at the door, or at http://www.brownpapertickets.com/event/754467; prices are $10 for students and seniors, $15 general admission, and $25 VIP seating. VIP ticket holders will also receive a gift upon entry.

Dancers interested in auditioning for SMAG’s upcoming season, or community artists interested in working with the troupe can call Michael Groomes at 937-329-6948, or email [email protected].

‘Shrek’ Review – Playhouse South – Come Look at the Freaks

May 14, 2015 By Russell Florence, Jr.

What makes you special makes you strong. This inspirational mantra, a celebration of self-empowerment and individuality, is the feel-good foundation of Playhouse South’s absolutely delightful production of composer Jeanine Tesori and lyricist/librettist David Lindsay-Abaire’s 2008 tunefest “Shrek The Musical,” based on the 2001 Academy Award-winning film and 1990 novel.

www.play(left to right) Tia Seay as Donkey, Esther Hyland as Fiona, Zach King as Shrek, Jim Brown as Lord Farquuad and the cast of Playhouse South’s production of “Shrek The Musical.” (Contributed photo)

Being labeled a freak can be cringe-inducing or hurtful, but in this context it’s something to take extreme pride in. After all, swamp ogre Shrek could care less about what people think about him. His primary aim is to protect his humble surroundings, which have been overrun by a bevy of fairy tale characters ousted from their habitats by Lord Farquuad’s startling decree. In order to save his home, Shrek agrees to rescue the lovely, abandoned Princess Fiona and return her to the villainous, diminutive Farquuad, who plans to marry her and rightfully become king of Duloc. But along the way, and with a wisecracking Donkey in tow, Shrek and Fiona grow to a newfound appreciation of love’s fundamental ability to look beyond outwardly appearances and treasure the glories of inner beauty.

Director Becki Norgaard, spearheading an entertaining, over 50-member cast, astutely embraces the conceptual challenges within the fanciful yet imbalanced material, particularly hindered by a few frivolous, forced gags from Lindsay-Abaire. Instead of overpowering the stage with elaborate scenery, Norgaard opts for slightly scaled-down sets (efficiently designed by Jim Brown) properly establishing tone while stirring the imagination. Norgaard retains a few elements of the Broadway and national touring productions, but her vision, accented by Annette Looper’s lively choreography, is refreshing overall, especially in such playful numbers as “Travel Song” and “Morning Person.” She also scores points for reimagining the role of the Dragon by placing a clear emphasis on its large, intimidating wings.
Zach King delivers one of his finest, most endearing performances as the titular green outcast. King skillfully conveys the menace, charm, frustration, and vulnerability fashioning Shrek’s amiable journey, heightened by his defiant, powerful rendition of “Build a Wall.” The equally radiant Esther Hyland, perfectly compatible with King, marvelously inhabits the multifaceted Fiona who harbors a secret in her quest for true love. Rising to levels of role originator Sutton Foster, Hyland’s sharp, mature instincts humorously drive “I Know It’s Today” (nicely shared with Cate Shannon and Stephanie Penrod) and heightens her character’s appealing emotional arc as Fiona warms to Shrek’s prickly nature. Strong vocalist Tia Seay, a recent standout in Dare to Defy Productions’ concert version of “Hair,” hilariously and energetically fits the bill as the loudmouth Donkey, quickly bonding and molding an enjoyable rapport with King and Hyland. The aforementioned Brown brings vengeful glee and apt physicality to his wonderfully heartless portrayal of Farquuad. The dynamic Parisa Samavati nearly steals the show belting the soul-flavored, encore-worthy “Forever” as the domineering Dragon smitten with Donkey. Brent Hoggatt (Pinocchio), Mackensie Vonderbrink (Gingy/Rag Doll), Aaron Eechaute-Lopez (Big Bad Wolf), Mary Nunnery (Ugly Duckling), Donna Cason (Wicked Witch), Janelle Chamness (Fairy Godmother), Angie Thacker (Mama Bear), Lisa Glover (Humpty Dumpty), and Aaron Brewer (Mad Hatter) are among the colorfully cheery array of fairy tale cohorts storming the stage to deliver knockout versions of “Story of My Life” and “Freak Flag.”
Additionally, the production is vibrantly and eye-catchingly costumed to the hilt by Meagan Kuchan and her impressive team (Melissa Fogle, Kathleen Carroll, the aforementioned Cason and Nunnery, Summer Lehman, Rachel Annabo Smith, Maggie Carroll, Aurora Nunnery, Rachel LaFountain Earich, Jordan Norgaard, Jenni Cypher, Tonia Scearce, Ian Meadows, and Jess Evans). Music director Lorri Topping and conductor Jason W. Clark expertly handle the melodic, introspective score.

In the final minutes of this truly enjoyable showcase comprised of varying ages and backgrounds, I couldn’t help but think of just how magnetic and inclusive community theater can be. It really is a big bright beautiful world always open to accept and embrace the freak within us all.

“Shrek The Musical” continues through May 17 inside the Clark Haines Theatre (Kettering Board of Education Building) 3750 Far Hills Ave., Kettering. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 60 minutes. Tickets are $13 for adults, $11 for seniors and military, and $8 for students. For tickets or more information, call 1-888-262-3792 or visit www.playhousesouth.org

‘Grease’ Review – Dayton Playhouse – Lukewarm Nostalgia

May 6, 2015 By Russell Florence, Jr.

The cast of the Dayton Playhouse’s production of “Grease” (Contributed photo)

The Dayton Playhouse’s entertaining production of Jim Jacobs and Warren Casey’s 1972 musical “Grease” lacks authenticity where it counts.
Most people assume “Grease” is an easy show to do because the tuneful music fuels the story and the characters are instantly relatable. However, you have to rely on specific types to truly sell the cool factor inherent in the comedic material set in and around Rydell High School in the late 1950s. Director Tina McPhearson assembles a committed cast but there’s too much caricature and not enough character evident in key roles to propel the staging beyond its odd spoof mentality. Granted, due to the slightly clunky, vignette-esque storytelling structure of the original libretto (the Playhouse isn’t using the revised libretto incorporating familiar songs from the popular 1978 film) it can be a challenge for some actors to dig deep and find a three-dimensional purpose in their characterizations. Even so, it isn’t an impossible task, particularly when you consider the emotional unease sweethearts Danny Zuko and Sandy Dumbrowski (a mismatched, reserved Bobby Mitchum and Amanda Carter) should be feeling at almost every turn as they clumsily try to make sense of their newfound relationship while coping with peer pressure. In the same regard, there are complex layers simmering within the playful yet testy bond between roughneck Kenickie and his sarcastic girlfriend Betty Rizzo (perplexingly inhabited by a surprisingly off-kilter Desmond Thomas and Kelli Locker) simply left unexplored.
Nevertheless, as the horny Burger Palace Boys and sassy Pink Ladies bicker and banter with risqué tendencies, fully realized portrayals still arise from a few principals. Tyler Henry, even stronger here than in “The Fantasticks” four months ago, is straightforwardly charming as sensitive guitarist Doody. Max Santucci, in his musical theater debut as Sonny LaTierri, solidly creates character in his speaking voice alone without lessening the believability or impact of his performance. Naman Clark (Roger) and the mature-beyond-her-years Tori Kocher (Jan) are a delightful hoot in “Mooning.” Allie Jackson (Marty) and Emily Church (Frenchy) firmly assist in humor and spirit. Appealing supporting work is offered by Theresa Kahle (Miss Lynch), Melanie Barrett (Patty Simcox), Tyler Smith (Eugene Florczyk), Malcolm Casey (Vince Fontaine), William Scarborough (a very suave, period appropriate Johnny Casino), Tamar Fishbein (Cha-Cha DiGregorio), and strikingly smooth tenor Andrew Spoon (Teen Angel).

Elsewhere, choreographer Paige Hanshaw’s energetic routines are a huge asset, particularly the high spirited “Alma Mater Parody,” “We Go Together,” “Born to Hand Jive,” and special addition/finale “You’re the One That I Want.” Scenic designer Chris Newman’s retro set wonderfully recalls high school exteriors of yesteryear. Steve Burton, Tim Grewe and McPhearson supply terrific costumes and wigs, especially for the comical “Beauty School Dropout.” Musical director Nancy Perrin leads a small yet steady orchestra.

This “Grease” falls short but the songs will keep you engaged nonetheless.

“Grease” continues through May 17 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: 50 minutes; Act Two: 55 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.

‘Wicked’ Review – Victoria Theatre Association – Wonderful Witches of Oz

May 2, 2015 By Russell Florence, Jr.

I couldn’t be happier to tell you the current national tour of composer Stephen Schwartz and librettist Winnie Holzman’s blockbuster 2003 musical “Wicked,” a fascinating, humorous and dark revisionist prequel to “The Wizard of Oz” based on the 1995 novel by Gregory Maguire, once again proves its worth as a must-see at the Schuster Center courtesy of the Victoria Theatre Association.

Alyssa Fox and Carrie St. Louis as Oz witches Elphaba and Glinda in “Wicked.” (Photo by Joan Marcus)

The production’s tremendous technical elements heighten the show’s appeal as usual, but this mounting, even stronger than its well-received 2010 engagement, uncovers new depths in the vital relationship between the green-skinned, misunderstood Elphaba and the beautiful, bubbly Galinda, the engaging duo that respectively becomes the Wicked Witch of the West and Glinda the Good Witch of the South. Emphasizing the importance of connection and sisterhood, director Joe Mantello finds refreshing avenues for the characters to explore primarily during their impressionable time at Shiz University, the launching pad for their iconic wizardry. In fact, the moment Elphaba arrives at the Stardust Ballroom only to be humiliated by her peers yet ultimately encouraged by Galinda is filled with a revitalizing, extended sense of empowerment, respect and understanding between these characters I haven’t seen in previous productions. Mantello molds their newfound camaraderie wonderfully in the following scene which finds Galinda enthralled with Elphaba with a passion that grows to makeover proportions. By and large, it’s great to witness a “Wicked” completely rooted in the value of Elphaba and Galinda’s friendship no matter the cost, especially as political corruption and the intricacies of love threaten to dismantle their bond.
Alyssa Fox brings fierce urgency to her firm, commanding portrayal of Elphaba, effectively showcasing the intelligent, vulnerable and determined facets fueling the character’s complexity. Her superb renditions of “The Wizard and I,” “No Good Deed” and phenomenal Act 1 finale “Defying Gravity” contain terrific pop inflections. As perky Glinda, the absolutely dynamic Carrie St. Louis, a gorgeous soprano with a vibrant Elle Woods sensibility, skillfully balances the role’s pristine sophistication and playful undercurrents. She fantastically inhabits the exuberant “Popular,” an Act 1 hallmark, with hyperactive, cheerleader finesse while blending hilarious shades of Kate McKinnon (“Saturday Night Live”) and Salt-N-Pepa in the process.
Elsewhere, TV legend John Davidson is a kooky, grandfatherly delight as the Wizard, particularly filling “Wonderful” with a good old-fashioned vaudeville vibe. Kristine Zbornik is equally winning as the haughty, menacing Madame Morrible. Handsome former boy band star Ashley Parker Angel (O-Town) brings innate charisma and pleasant vocals to his understated portrayal of Fiyero. Michael DeVries (Dr. Dillamond), Liana Hunt (Nessarose) and Lee Slobotkin (Boq) provide solid work. The sharp ensemble, very astute and full of personality, is also commendable along with conductor P. Jason Yarcho’s excellent orchestra including nine local musicians.
Whether you’ve seen it before or you’re tempted to finally discover what all the fuss is about, “Wicked” resonates to the fullest in one of its finest touring incarnations.

“Wicked” continues through May 17 at the Schuster Center, Second and Main Streets., Dayton. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $43-$157. Discounts are available. A lottery for a limited number of orchestra seats is also held 2 ½ hours before each performance in the Wintergarden of the Schuster Center. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com