Dayton937

Things to do in Dayton | Restaurants, Theatre, Music and More

On Stage Dayton

‘Family Shots’ Review – Human Race Theatre Company – Matters of the Heart

By

HRTC FAMILY Prod Photo 1

Pictured (left to right): Randy Brooks, Corbin Bleu and Colleen Zenk. Photo by Scott J. Kimmins.

Inside a suburban New Jersey hospital, the Baker family has come undone. Crisis brings them together, but what will keep them together? Playwright Michael Slade provides clues with wonderfully relatable authenticity and astute, unresolved ambiguity in his new original play “Family Shots,” an excellent, touching comic drama superbly presented in its world premiere at the Loft Theatre courtesy of the Human Race Theatre Company.

 
Recalling Nicky Silver’s comedy “The Lyons” coupled with the quiet sophisticated intimacy of Richard Greenberg (“Three Days of Rain”), “Family Shots,” deftly helmed by Race producing artistic director Kevin Moore, concerns the heart health of patriarch Sam (Randy Brooks), a plastics entrepreneur and frequent tennis player whose seemingly fit body has been driven to the breaking point due to Viagra. Sam’s fussy, self-absorbed wife Marsha (Colleen Zenk) and concerned, devoted son Aaron (Corbin Bleu) try to make sense of it all, but the unexpected quality time they now share and prize with Sam eventually opens old wounds.

 
Slade, in a refreshing departure from his dark, disturbing and polarizing dramas “Under a Red Moon” and “Gingerbread Children” previously presented by the Race, impressively turns his attention to more interesting, engaging themes of marriage and commitment. Sam and Marsha have been together 40 years. Aaron has only been married one year to retail salesman Malcolm Harrison (Adam Halpin). Creating two colorfully complex and contrasting relationships, particularly Aaron and Malcolm’s deteriorating journey involving the dangers of fiscal irresponsibility and casual flirting, gives Slade many avenues to explore that are ripe for compelling drama, especially since the action transpires in the uncomfortable confines of a hospital thereby fueling the need for venting emotions. It’s fascinating how Sam and Marsha have been rattled by too much love while Aaron and Malcolm, who believed they were ready for marriage, cope with the regret of not having loved enough. By and large, Aaron and Malcolm’s arc particularly contains some of the finest morsels of contemporary playwrighting you’ll find right now on a regional theater or NYC stage.

HRTC FAMILY Prod Photo 2

Pictured: Corbin Bleu and Colleen Zenk. Photo by Scott J. Kimmins.

Bleu, who starred as energetic sidekick Chad Danforth in Disney’s megahit “High School Musical,” brings striking confidence and genuine warmth to the conflicted Aaron, a talented photographer humble enough to accept unglamorous assignments as he awaits a breakthrough. When it is revealed that Aaron’s sexuality troubled Marsha years ago and continues to bother his homophobic sister-in-law, who apparently keeps his brother from visiting even during a family emergency, Bleu expressively connects with anger, hurt and dismay. Overall, without resorting to flashiness or melodrama, he delivers a terrifically sharp, effortlessly magnetic performance solidifying his mature evolution as one of the most skilled actors of his generation.

 
Zenk, a three-time Emmy nominee as villainous Barbara Ryan on “As the World Turns,” is a flustered, worrisome joy brilliantly conveying the nervous agitation derived from accepting and embracing the unknown. In addition to marvelously describing the peculiar noises that arise when living alone in silence, Zenk never fails to reiterate the love Marsha feels for Sam in spite of their disagreements. It is apparent Marsha’s fragile world would surely crumble if she didn’t have her husband, her favorite travel companion and close confidant, by her side.

 
The remarkably understated Brooks, a TV and film veteran, is an amiable, comical source of stability amid instability. He is well aware of how vital it is for Sam to be grounded as a mediator as commotion swells around him. Brooks is basically confined to a bed throughout, but his down-to-earth presence and plain spoken insightfulness appealingly resonates.

 

HRTC FAMILY Prod Photo 3

Pictured: Corbin Bleu and Randy Brooks. Photo by Scott J. Kimmins.

Featured players Halpin, Arash Mokhtar as Sam’s cardiologist Dr. Patel, and Annie Pesch as Sam’s nurse Joyce truly shine. Compatible with Bleu and very strong opposite Brooks, Halpin delicately uncovers the disappointment and frustration dwelling underneath Malcolm’s chipper, materialistic Bergdorf Goodman façade. Mokhtar brings a gentle aura of suave charisma to Patel, who is attracted to Aaron but remains entirely professional. One of the play’s singular moments involves Patel and Malcolm examining Aaron’s photographs from opposite ends of Sam’s room fully aware of how much they adore the artist and his art. Pesch, in an earnestly kindhearted role reminiscent of Vivian Bearing’s dutiful nurse Susie Monahan in “Wit,” greatly supports Brooks with encouraging verve and sensitivity.
This stellar production, the best Race offering thus far this season, is expertly accented by Scott J. Kimmins’ efficient, revolving scenic design incorporating three platforms and two large walls beautifully showcasing photos at the conclusion of every scene, costumer Janet G. Powell’s fashionably modern attire, John Rensel’s proficient lighting, Nathan D. Dean’s first-rate sound design, and Sean Michael Flowers’ satisfying incidental music.

 
“Sometimes you have to talk. Sometimes you have to listen.” Sam’s important advice serves as the universal foundation for any productive relationship, any productive family. In order to grow closer, in order to be more understanding and forgiving of each other’s faults and imperfections, relationships must value correct communication. The road ahead for the Bakers will not be easy, but as long as there is love there is hope.

“Family Shots” continues through Feb. 8 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesdays-Saturdays at 8 p.m., Tuesdays at 7 p.m., and Sundays at 2 p.m. The play is performed in 90 minutes without intermission. Tickets are $17.50-$45. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org.

‘Flashdance’ Review – Victoria Theatre Association – The Maniac Returns

By

A 1980s pop culture explosion can be found at the Schuster Center with the presence of the national tour of “Flashdance – The Musical” courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

flashdance
It’s quickly apparent how important nostalgia is to the appeal of this middling adaptation of the 1983 film of the same name set in and around a steel mill in blue-collar Pittsburgh. The Schuster lobby contains various images of the Greed Decade from Culture Club to Cabbage Patch Kids and the show curtain recalls MTV’s glory days. But eye-catching distractions can’t disguise the show’s weaknesses, specifically its mediocre score (music by Robbie Roth with lyrics by Roth and Robert Cary) and predictable, uneven and humdrum book (co-written by Cary and original co-screenwriter Tom Hedley). The score in particular, a flimsy attempt at pop pastiche evoking Debbie Gibson, Michael Jackson, Billy Joel, Kenny Loggins, the Pointer Sisters, and more, is startlingly forgettable despite inserting pop/rock classics “What a Feeling,” “Maniac,” “Manhunt,” “Gloria,” and “I Love Rock ‘N’ Roll.” Conceptual concerns extend to director/choreographer Sergio Trujillo whose attempts to fill the stage with skin (and there’s a lot of it in a PG-13 sense akin to “Rock of Ages”) feels desperate and borders on overkill.

 
As Alexandra “Alex” Owens, the welder/exotic dancer who longs to become a professional performer, the fiery and feisty Karli Dinardo dances and sings terrifically but doesn’t evolve beyond the surface. As Alex’s conflicted boss-turned-boyfriend Nick Hurley, excellent tenor Adam J. Rennie (bringing to mind Matthew Morrison of “Glee”) has a tendency to become stiff and detached in his book scenes but is more adept in his musical numbers. As Alex’s friends, Heidi Friese (Gloria), Brianna-Marie Bell (Kiki) and Danielle Marie Gonzalez (Tess) embody their roles with energy and personality. The sensitive Friese, believably fueling Gloria’s yearning for pop stardom, notably has a dramatic arc that manages to be more heartrending than Alex’s journey, one of the book’s odd flaws. Patricia Bartlett (Hannah), Jacob Tischler (Jimmy), Randy Charleville (C.C.), Michael Kingston (Harry), and Ryan J. MacConnell (Andy) lend amiable support. The artistic team of scenic designer Klara Zieglerova, costumer Paul Tazewell, lighting designer Howell Binkley, projection designer Peter Nigrini, and sound designer Kevin Kennedy is first-rate. Conductor Eric Fotre Leach leads a vibrant, well-balanced seven-piece orchestra.

 
“Flashdance” is tailor-made for Generation X but misses the mark at its core.

 

“Flashdance – The Musical” continues through Jan. 25 at the Schuster Center, Second and Main Streets, Dayton. Performances are today and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $25-$97. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. Patrons are advised the show contains adult situations and themes.

A Newbi Rubi Will Be CROWNED!

By

rubigirlsThe search for New Rubi Girls is on! Will they have what it takes?

This will be a show everyone will be talking about.
YOU DO NOT WANT TO MISS THIS!

The Rubi Girls have been entertaining Greater Dayton and raising money for non-profit organizations for over 25 years — including raising  hundreds thousands of dollars for AIDS Resource Center Ohio (ARC Ohio).

And now, this fun-loving, talented, and glamorous bunch of girls is looking for a NEWBI RUBI to replace those girls who have moved away, those who have retired from the lavish lifestyle, or some who are (as Dana Sintell says) “just plain tired”.

You’ll see them walk the runway in the Parade of Nations, learn about the “girls” as they share a song from their favorite show, lip sync for their life, and finally strut their stuff in gowns and glamour for the final Q & A before we crown a brand new Rubi Girl!

And yes, The Rubi Girls will also be performing several numbers, too!newbi

SATURDAY, JANUARY 24, 2015

Show at 8pm, Doors open at 7pm.

IUE-CWA Union Hall
313 South Jefferson Street Dayton, Ohio

General Admisson tickets are only $20,   order yours online now.
VIP TICKETS ARE SOLD OUT!

*As part of the competition, all Newbi Rubi contestants are asked to help raise funds for ARC Ohio. Some are hosting fundraisers — like using online tools like Everyday Hero to help support our life-saving services. Your support of the Newbi Rubi contestants helps us continue to provide our clients access to a comprehensive, coordinated, and cutting-edge response to HIV, from prevention to diagnosis and treatment.

‘Oliver!’ Review – Muse Machine – Pleasures, Large and Small

By

The Muse Machine’s incredibly entertaining, excellently cohesive production of Lionel Bart’s 1960 musical “Oliver!,” the arts education organization’s 31st annual student musical, touches the heart and radiates with joy at the Victoria Theatre.
Based on Charles Dickens’ 1838 novel “Oliver Twist,” “Oliver!” totally charms as performed by over 100 students from across the Miami Valley who smoothly navigate the comedic highs and dramatic tension within this breezy, occasionally dark tale of Victorian England ethics and hypocrisy. The production –co-directed with marvelous synergy by choreographer Lula Elzy, producer Douglas Merk, and Wright State University musical theater professor Joe Deer –is inspired by Cameron Mackintosh’s reconceived 1994 London revival (for instance, the show briefly opens ominously with Oliver’s backstory instead of launching directly into “Food, Glorious Food”), but retains the requisite elements of character and community that keep the story familiar and inviting.

 

muse oliver

Brianna Russ of Alter High School portrays Nancy in the Muse Machine’s production of Lionel Bart’s “Oliver!” (Photo courtesy of Muse Machine)

Joey Schairbaum, in an endearing musical theater debut, conveys a quiet, gentle humility as the titular workhouse orphan thrown out of the only home he’s ever known to be sold to an undertaker and ultimately seek refuge and love with the lower and upper class. Oliver Twist is a very demanding role for a young actor, and Schairbaum tackles his duties with observant, understated commitment. Rollie Fisk, an easygoing, crowd-pleasing Fagin, fully embraces his juicy role as a cunning father figure and mediator with firm authority and humorous flamboyance. Fisk’s terrific, believably perplexed version of “Reviewing the Situation” clearly dissects the various scenarios Fagin considers as he mulls over his uncertain future. Brianna Russ, vocally dynamic and appealingly earthy as the friendly, abused Nancy, commands the stage with fierce vivacity. Her superbly lyric-driven renditions of “It’s a Fine Life,” “Oom-Pah-Pah,” and “As Long As He Needs Me” are signature moments that take this presentation to professional heights.
Elsewhere, Sean Cheatwood (Mr. Bumble) and Christine Fiala (Widow Corney) are a hilariously compatible duo, Mitchell Rawlins (a delightfully creepy Mr. Sowerberry), Callia Tellez (Mrs. Sowerberry), and Cecily Dowd (Charlotte Sowerberry) rule their roost with cruel glee, Leo Deer (Noah Claypole) intimidates to the hilt with impressive dialect, Isaac Bement (Artful Dodger) is a sunny, animated encourager, Tyler Hanson (Bill Sikes) strikes fear with imposing heft (although “My Name” is unfortunately absent), William Peters (Mr. Brownlow) is fittingly amiable and caring, Joel Daniel (Charley Bates) lends fine support among the pickpocket ensemble, and there are particularly lovely vocals from Anna Hlinomaz (Bet), Anna Knippling (Mrs. Bedwin), and the uncredited street vendors/quartet bringing beauty to “Who Will Buy?,” one of many energetic numbers Elzy flavors with personality and originality.

 
Dennis Hassan’s expertly detailed set, attractive period costumes from the team of Lyn Baudendistel, Robin Brown, Patty Peters, Toni Donato Shade, and Alisa Vukasinovich, first-rate lighting and sound by John Rensel and David Sherman respectively, the vocal music direction of Carol Chatfield, and orchestral musical director Claude Thomas’ splendid orchestra are additional pluses.
Consider yourself informed that the Muse Machine has created a hit.

 

“Oliver!” continues through Jan. 18 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are Friday at 8 p.m., Saturday at 3 and 8 p.m., and Sunday at 2 p.m. Tickets are $26-$60. For tickets or more information, call (937) 228-3630 or visit www.ticketcenterstage.com

‘4000 Miles’ Review – Dayton Theatre Guild – Someone to Watch Over Me

By

4000 miles

Jared Mola as Leo Joseph-Connell and Barbara Jorgensen as Vera Joseph in rehearsal for the Dayton Theatre Guild’s local premiere of Amy Herzog’s dramatic comedy “4000 Miles.” (Contributed photo)

The Dayton Theatre Guild enters 2015 with a solid local premiere of Amy Herzog’s 2013 Pulitzer Prize-nominated dramatic comedy “4000 Miles,” an emotionally awkward and surprisingly poignant depiction of two headstrong individuals in need of stability and protection.

 
Sharply directed by Kathy Mola with an excellent grasp of tone,”4000 Miles” concerns 21-year-old college student Leo Joseph-Connell who travels by bike from Seattle to New York’s Greenwich Village to visit his 91-year-old grandmother Vera. Grief, tragedy, uncertainty, and disillusionment cause Leo to seek temporary solace, but misunderstandings are ultimately unavoidable, especially since it seems Leo, still trying to find his purpose in life, and Vera, suffering from dementia, can be irritable relatives. Affection just doesn’t come easy to them, and in turn, Herzog threatens to keep the audience at a cool distance due to prickly quarrels. Still, their complex relationship evolves for the better when vulnerability arises, particularly as Leo reveals the details of his best friend’s death which occurred on his excursion. Inevitably, Vera, on the brink of requiring a caregiver, comes to understand how difficult it is for young adults to remain planted when Leo rejects her offer to extend his stay in her cozy apartment, attractively designed by Fred Blumenthal and accented by Wendi Michael.

 

Jared Mola, superb earlier this season as Roy in the Guild’s “Nice People Dancing to Good Country Music,” and Barbara Jorgensen, a longtime Guild member inducted last year into the Dayton Theatre Hall of Fame, create terrifically grounded portrayals that sting and soothe. The energetic, engaging Mola inhabits Leo with a defensive, easily agitated edge signifying how troubled and confused he is underneath his tough exterior, especially when Leo’s journey involves the odd reality that he kissed his sister at a party. Mola, wonderfully astute, not only fills this quandary with believable ambiguity, but particularly captivates in his marvelous delivery of Leo’s heartbreaking monologue reflecting on the final moments he shared with his friend. The magnetic Jorgensen, conveying a feeble, sluggish sensibility, greatly appeals with outspoken charm, genuine feistiness, and a gentle awareness that Vera is heading into her twilight years with dignity and grace. Appealing Guild newcomers Lindsey Kortyka (as Leo’s testy ex-girlfriend Bec) and Anna Prince (very funny as Amanda, Leo’s boozy date) complete the cast in thankless, underwritten roles.

4000Miles-icon
“4000 Miles,” a hit among regional theaters, is mildly puzzling in terms of its dramatic structure, but the Guild’s breezy presentation is delightfully first-rate.

 

“4000 Miles” continues through Jan. 25 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 two acts which run roughly 45 minutes each. Tickets are $19 for adults, $17 for seniors, and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org. Patrons are advised the show contains adult language and themes.

Soap Star Colleen Zenk Comes To Town To Star in Human Race’s Family Shots **Ticket Giveaway**

By

180From the time I was born, the CBS Soap Operas have been part of my life. My grandmother watched faithfully, a trait passed along to my mother. While I still check in from time to time on Y&R and B&B, my favorite memories are of rushing home after school to see the last half of As The World Turns followed by Guiding Light. Both shows were full of characters that kept me transfixed while learning about subjects I shouldn’t in elementary school, to navigating the awkward teen years. One of my favorite characters was “Barbara Ryan” from As The World Turns. 

Barbara was played by the fantastic Colleen Zenk. She was always sassy, sometimes vulnerable, manipulative, and from time to time genuinely nice (thanks, Hal). A quick search on Wikipedia sums her character up best:

Barbara Ryan is portrayed as a heroine who experienced many tragedies, mostly at the hands of her controlling ex-husband, the villainous “James Stenbeck” .

Over her 32 years on the show, Barbara has been shot through the heart, nearly gored by a bull in Spain, kidnapped 15 times, married nine times, burned in a chemical explosion and jumped out of a three-story window.

10896447_10153083333398013_7482398812517753379_o

The cast of The Human Race Theatre Company’s world premiere production of FAMILY SHOTS. Photo courtesy of Scott J. Kimmins

Beginning on January 22 and running through February 8, Colleen Zenk, along with Corbin Bleu and Randy Brooks will be starring in Family Shots for The Human Race Theatre Company. The description from the Human Race Theatre’s website gives some insight to what the play is about:

Charming family patriarch Sam Baker lies in a hospital bed, recovering from an apparent heart attack, but his wife, Marsha, won’t stop making the crisis all about her—much to the dismay of their son, Aaron. The young photographer wonders why his parents even stay together while he and his husband, Malcolm, deal with their own issues as newlyweds. Intimate, yet universal, Michael Slade’s latest play is a wildly funny and touching comedy about marriage—its joys, challenges and responsibilities—and what’s worth fighting for.

I see some similarities in Colleen Zenk’s character, Marsha, and the one she’s best known for, Barbara Ryan, so I had to ask myself…

What Would Barbara Ryan Do In Dayton?

Full disclosure: I am obsessed with the smokey eye. Fortunately, as an adult, I have perfected it, but that hasn’t always been the case.  Inspired by Babs, the queen of eyeliner, there was “The Barbara Incident of Fourth Grade”.  I can trace my makeup obsession to this day, as a child, trying to emulate a soap opera character. Hey, there’s no shame in my game. Naturally, Barbara would need to look fabulous, so I can only imagine that she would begin with a treasure trove of goodies from Preen Apothecary. Once nestled in Oakwood, they have now moved to a special new place near Carrillon Park. I am excited to check out their new digs, and of course, stock up on eyeliner and mascara.

Having been married MULTIPLE times, one can guess that Barbara spends a LOT of time with her attorneys. Seeing as how there is a large concentration of lawyers near the court buildings, she’d naturally be downtown quite a bit, right? Depositions would require a caffeine boost from Boston Stoker across from the Schuster Center and she may take a lunch break at Citilites.

After a long day of trying to be un-married again from her psycho husband James, she would be in desperate need of a drink. The obvious choice would be to head to Salar for one of their hand crafted cocktails, before meeting girlfriends (she actually did have a couple friends) at the Oakwood Club.

Barbara would naturally be drawn to the vibrant arts district we have downtown, so it’s only logical to think that she’d end her busy day by taking in a play. Perhaps at the Human Race Theatre Company? Obviously. We want you to be able to join the fun, so make sure you read below for our ticket giveaway!

CorbinBleu

Corbin Bleu

This has been a fun and wordy way to let you know I’m excited to check out Family Shots and see Colleen Zenk bring her famous sass to her character, Marsha. This is sure to be a great run, and one you won’t want to miss! By the way, I should probably mention that Corbin Bleu of High School Musical fame also has a starring role. That’s right, “Chad Danforth” right here in Dayton. Let the fangirling commence.

 

10928995_10153087032178013_3897242994769045580_nDMM Ticket Giveaway:

For your chance to win a pair of tickets to see Family Shots, just fill out the form below and tell us in the comments below where you’d take Barbara Ryan if you were going to show her around Dayton.  We’ll post our winner here on the evening of  Thursday, Jan 14th. [form 55 “DMM Contest Entry – Generic”]

 

 

 

 

‘The Last Five Years’ Review – Dare to Defy Productions – Falling In and Out of Love

By

Jason Robert Brown’s incredibly emotional and warmly intimate two-person, one-act musical “The Last Five Years” receives an endearingly performed, vocally splendid treatment courtesy of Dare to Defy Productions inside the Mathile Theatre of the Schuster Center.

 
In just 80 compelling minutes, “Last Five Years,” delicately directed with contemplative touches by Mackensie Vonderbrink, paints a fascinating portrait of twentysomething lovebirds in New York City particularly torn apart by differing career paths. Jamie Wellerstein, an emerging writer taking the publishing world by storm, and Cathy Hiatt, a struggling actress longing for her big break, happily meet and eventually marry, but simply cannot make their relationship work. In a clever use of unorthodox storytelling, Brown tells Jamie’s story in standard, chronological fashion while Cathy’s journey progresses from heartbreak to joy. This conceptual device can be confusing, especially if you’re unfamiliar with the material, but it isn’t burdensome. In fact, the opportunity to piece together the entire journey from both perspectives is a fun challenge allowing the action to unfold with attention-grabbing fluidity without fear of becoming stagnant. The dual stories, vividly detailed and remarkably engaging in terms of relatability, appropriately intersect at Jamie and Cathy’s wedding, but separately entice throughout with terrific, character-driven panache by Wright State University acting/musical theater students Ian Benjamin and Kelsey Pohl.l5y
Benjamin, very memorable last season as Thenardier in WSU’s “Les Misérables,” is a strikingly sharp, mature Jamie, impressively navigating the difficulty of appearing adorably lovestruck, energetic and humorous, lovingly supportive, tearfully ashamed, and boldly committed to moving on without seeming arrogant, misunderstood or ambiguous. Musically, Benjamin specifically brings lighthearted spunk to the jaunty “Moving Too Fast” (featuring tremendous piano accompaniment by musical director Dean Brown) and fills the melancholy “Nobody Needs to Know” with ample heartache. Pohl, an awesome Kate last season in WSU’s “The Wild Party,” brilliantly conveys Cathy’s agitation, disgust, hurt, and hopefulness. In particular, her marvelously refreshing rendition of “I’m a Part of That” clearly finds Cathy questioning her place in Jamie’s life. Pohl’s lyric-driven finesse continues with exceptionally honest, wonderfully conversational, encore-worthy versions of “A Summer in Ohio,” “Audition Sequence” and “I Can Do Better Than That.” Due to the considerable technical complexities of Brown’s enthralling, melodic score, a mild hybrid of Stephen Sondheim and Billy Joel sensibilities, it’s great to see Benjamin, Pohl and pianist Brown skillfully rise to the occasion.

 
In addition to scenic designer Chris Harmon’s efficient platforms and large clock reiterating the material’s passage of time, the beautiful contributions of violinist Josh Van Tilburgh, bassist Parisa Samavati and cellist Rebekah Thompson greatly accent the proceedings. However, unfortunate sightlines occur for patrons seated toward the rear of the Mathile due to some numbers performed at the front lower level of the stage.

 
Even so, Dare to Defy, quickly becoming a musical theater force in the Gem City, delivers another hit.

 

“The Last Five Years” continues tonight at 8 p.m. in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton, and Tues. Jan. 6 at 7:15 p.m. at Mimi’s Cafe, 4402 Walnut St., Beavercreek. Tickets to tonight’s performance are $20, and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting www.ticketcenterstage.com. For more information about the Mimi’s Cafe presentation, visit www.d2defy.com.

 

In related news, Dare to Defy’s 2015 season includes “The Songs of Hair in Concert” (March 13 and 14), “Assassins” (July 17-25), “Into the Woods” (Sept. 5 and 6), and “Godspell” (Oct. 9-17).

Do You Have What It Takes To Be A Rubi Girl?

By

‘A Charlie Brown Christmas’ Review – Sinclair Community College – Holiday Joy

By

One of the finest seasons at Sinclair Community College continues with an absolutely adorable local premiere of “A Charlie Brown Christmas,” Eric Schaeffer’s enjoyably by-the-book adaptation of Bill Melendez and Lee Mendelson’s funny, meaningful and touching 1965 Emmy Award-winning holiday cartoon of the same name by “Peanuts” creator Charles M. Schulz.

You know the drill. Charlie Brown, bothered and bewildered as ever, can’t seem to get into the holiday spirit because he feels the season has become too commercial. He even turns to his ever-reliable therapist Lucy (a.k.a. the Christmas Queen) for help. But everything changes when Lucy pulls Charlie out of his doldrums by asking him to direct the school play. He unfortunately takes his plum assignment too seriously, but ultimately comes to understand the true meaning of Christmas thanks to the Gospel of Luke and a peculiar tree in need of a little love.

woodyasCB

Woody Hieb as Charlie Brown in Sinclair Community College’s production of “A Charlie Brown Christmas.” (Contributed photo by Patti Celek)

Director Gina Kleesattel, with impressive assistance from scenic designer Terry Stump, costumer Kathleen Hotmer and lighting designer Gina Neuerer, terrifically brings the cartoon to life in 30 swift minutes with the same playfulness and vibrancy we’ve grown accustomed for generations. Her totally engaging 11-member cast has carefully studied their animated predecessors to the tee. In fact, try not to smile when these committed actors, choreographed by Rodney Veal, dance in classic “Peanuts” fashion to Vince Guaraldi’s toe-tapping “Linus and Lucy” complete with overgrown bass for Pig Pen. Even so, the cast doesn’t merely take the stage as copycats. Although their dialogue and actions may be familiar, they’re still able to find a path into these relatable if occasionally snarky characters and make them their own whether overtly or with gentle, humorous nuance.

The very endearing Woody Hieb brings great honesty and sensitivity to worrisome Charlie, whose reflective journey remains impactful. Audience favorite A.J. Breslin displays outstanding physicality and comedic timing as colorful, energetic and mischievous Snoopy. Anna Sheldon is fittingly sharp and sassy as bratty Lucy. As the kindhearted Linus, Greyson Calvert specifically injects warmth and tenderness into the aforementioned biblical recitation, the poignant hallmark of the cartoon and this production. Matt Poliachik (Pig Pen), Sade Oyeyemi (Frieda), Austin DeVaughn (Schroeder), Sha-Lamar Davis (Violet), Haven Bradem (Sally), Rebecca Henry (Patty), and Naman Clark (Shermy) distinctively connect to their roles with personable flavor. DeVaughn in particular hilariously glares at Sheldon when Schroeder becomes exasperated with Lucy’s inability to correctly identify Christmas carols.
After nearly 50 years, “A Charlie Brown Christmas,” delightfully concluding with wintry atmospherics and sing-a-long, still resonates as a charming look at the power of friendship and goodwill.

 

“A Charlie Brown Christmas” continues through Dec. 20 in Blair Hall Theatre, Building 2, of Sinclair Community College, 444 W. Third St., Dayton. Performances are Friday at 7 p.m., and Saturday at 2, 4 and 7 p.m. The production is performed in 30 minutes. Tickets are $8. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets. Also, a special “shadowing” ASL performance is slated for the Friday performance (interpreters follow actors onstage while interpreting instead of being located off to the side of the action); In addition, Sinclair’s regular house policy stating “no children under 6” has been lifted for the show’s run.

‘The Breakfast Club’ Review – Playground Theatre – This Is Our Youth

By

Playground Theatre arrives on the local arts scene with an entertaining, emotionally honest production of John Hughes’ iconic 1985 dramedy “The Breakfast Club” at Rosewood Arts Centre.
Breezily directed in vignette style by co-founder/artistic director Jenna Burnette, who also adapts the witty if dated script, “Breakfast Club” grabs hold without letting go because it remarkably mirrors our own lives in its thought-provoking message of tolerance. This delightfully funny and occasionally poignant character study of teenage stereotypes circa 1984 provides an engaging, soul-searching opportunity to look back at our youth. It allows us to question who we were and perhaps what we could have done differently when meeting others whose appearance, views or personality were vastly different than ours.

breakfast club

Photo caption Playground Theatre’s production of “The Breakfast Club” features (top row l to r) Titus Wolverton, Jason Antonick, Christopher Hahn, (front row l to r) Lisa Glover, Timothy Walling-Moore, and Kirsten Johnson (Contributed photo)

Symbolically bound together during a nonchalant Saturday detention at Shermer High School overseen by Assistant Principal Richard Vernon (Jason Antonick, fittingly stern and agitated) with occasional assistance from trusty janitor Carl Reed (Rick Burnette, amiably observant), outspoken rebel John Bender (co-founder/artistic director Christopher Hahn), popular and privileged Claire Standish (Lisa Glover), brainy Brian Johnson (Timothy Walling-Moore), athletic Andrew Clark (Titus Wolverton), and oddball Allison Reynolds (Kirsten Johnson) despise and disagree until they realize how much they have in common from peer pressure to family dysfunction. It’s no surprise how fast they release their emotional baggage, but Hughes, a master of adolescent angst, absolutely understood that each character’s evolution was paramount. The feeling of not living up to their true potential, the constant search for acceptance, or better yet, the inability to become their own person due to parental expectations become key concerns, especially as this fascinating group attempts to gel in their pursuit of maturing into well-rounded, confident individuals with a better understanding of their purpose.
Burnette, who makes fine use of the space and often refreshingly brings the action right into the audience, quickly establishes a nostalgic tone (“Don’t You Forget About Me” opens the show). However, there are times when she sticks too closely to the film. Although I specifically like her handling of the gang’s humorous hallway chase, Bender’s gym confrontation with Vernon in particular is an exact replica right down to the fake throws and basketball roll. By and large, more originality would have been greatly beneficial throughout. Even so, her direction is firmer in the quieter, reflective moments when character development takes precedence.

Burnette’s principals are uniformly terrific. Hahn, displaying intimidating bravado, purposefully commands attention with overbearing arrogance, but doesn’t discount the vulnerability permeating within Bender’s dark despair and hopelessness. Glover, pretty in pink, strongly breaks Claire’s emotional shell when she opens up about her isolation and mindless social circle. Wolverton, tough yet approachable, is compelling during Andrew’s confession of bullying a classmate in a locker room simply to please his father. The wonderfully pleasant Walling-Moore charms with comedic timing. Johnson, a newcomer who delivers a sharply kooky breakthrough performance, notably shines when Allison confronts Andrew about his shortcomings and ultimately admits the pain of being ignored by her parents.
Thanks to its enjoyable debut, Playground Theatre is a company to watch.

 

“The Breakfast Club” continues through Dec. 20 at Rosewood Arts Centre, 2655 Olson Dr., Kettering. Performances are Thursday at 7 p.m. and Friday and Saturday at 8 p.m. The show is performed in 75 minutes without intermission. Playground Theatre is asking for a $10 suggested donation at the door. For more information, visit www.theplaygroundtheatre.org. Patrons are advised the production contains adult language and themes.

‘Bare’ Review – Sinclair Community College – The Heart Wants What it Wants

By

The confusion, elation and heartbreak of secret love propels Jon Hartmere and Damon Intrabartolo’s powerful, provocative melodrama “Bare: A Pop Opera,” commendably presented in a student-produced production inside the Black Box Theatre of Sinclair Community College.

At St. Cecelia’s co-ed Catholic boarding school, popular Jason (Bobby Mitchum) and timid Peter (A.J. Breslin) choose to keep their passionate relationship private. They can’t seem to overcome strict religious doctrine, administrative wariness, parental passiveness, and the unpredictability of their fellow students basically driven by sex, drugs and ridicule. Still, considering the lengths society has taken to be more LGBT-friendly since “Bare” premiered Off-Broadway 10 years ago, Jason and Peter’s predicament feels dated and slightly forced. Even so, the core theme of true love attempting to endure in the face of adversity and personal reticence still resonates throughout this sung-through affair fluidly helmed by guest director Chris Harmon.

bare

(center l to r) A.J. Breslin and Bobby Mitchum lead the cast of “Bare: A Pop Opera” (Contributed photo by Scott J. Kimmins)

Mitchum and Breslin, passing the crucial test of being compatible as believably bonded soul mates, are equally terrific in emotionally demanding roles that find both very honest and vulnerable. Mitchum, in fantastic voice, effortlessly balances Jason’s natural charm and ugly shadiness, particularly as situations turn against him beyond his control in the more dramatically fulfilling Act 2. The wonderfully sensitive Breslin, a standout last season in Sinclair’s “A Shayna Maidel,” offers an excellent evolution as Peter openly comes to terms with his sexuality despite specific indifference from his mother Claire (Kira Miller). “Best Kept Secret,” “Ever After,” and the title tune are among the songs that receive heartfelt treatments from this fine duo.

Additionally, Natalie Sanders delivers one of her strongest performances as the loose, immature Ivy, who stars opposite Jason in the school production of “Romeo and Juliet” and falls in love with him unaware of his attachment to Peter. In Act 2, Sanders, who also provides efficient scenic design, delivers a knockout, full-throttle rendition of “All Grown Up” that places her in the running as Dayton’s equivalent to Idina Menzel. Anna Sheldon also shines as the humorous, harsh Nadia, Jason’s sister and Ivy’s nemesis. Stephanie Radford is an appealing fit as the kindly, sassy Sister Chantelle, the school drama director and Peter’s source of encouragement. Greyson Calvert (Matt), Skyler McNeely (Priest), Woody Hieb (Lucas), and Hayley Penchoff (Diane) are admirably firm in featured roles. Amber Butler, Jennifer Smith, Brooke Watson, Andre Tomlinson, David Brandt, Bryana Bentley, and Matt Poliachik complete the cohesive cast.

Harmon’s artistic vision is particularly accented by David McKibben’s apt music direction, choreographer Rodney Veal’s flavorful routines, Heather Johnson’s suitable costumes, and Marissa Childress’ splendidly evocative, introspective lighting.

“Bare” doesn’t break new ground and feels startlingly unresolved, but it’s a thought-provoking showcase signifying the importance of tolerance.

“Bare: A Pop Opera” concludes Sat. Nov. 15 at 8 p.m. in the Black Box Theatre, Building 2, Sinclair Community College, 444 W. Third. St., Dayton. The production is performed in 2 hours and 20 minutes including one 15-minute intermission. Tickets are $15. Patrons are advised the show continues adult language and themes. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets

‘Smokey Joe’s Cafe’ Review – Victoria Theatre Association – Baby, That Is Rock and Roll

By

The 20th anniversary national tour of the enjoyably entertaining musical revue “Smokey Joe’s Cafe,” housed at the Victoria Theatre courtesy of the Victoria Theatre Association’s Premier Health Broadway Series, thrives on warmhearted nostalgia and incredibly melodic songs by iconic tunesmiths Jerry Leiber and Mike Stoller.

 

smokey joes cafe

The cast of Smokey Joe’s Cafe (Contributed photo)

Nominated for seven Tony Awards in 1995 including Best Musical and the record holder as Broadway’s longest-running musical revue, “Smokey Joe’s Cafe” places the music front and center as is typical of the somewhat polarizing revue format. There is no story, arc or framework here –just 39 breezy numbers reflecting the legacy lyricist Leiber (who passed away in 2011) and composer Stoller fashioned beginning in the 1950s. Working with a diverse range of artists including Elvis Presley, The Drifters, The Coasters, The Clovers, Ben E. King, and Peggy Lee during their stellar career, the duo molded the blueprint for earnestly straightforward, toe-tapping songs about love, longing, hope, unity, and good old-fashioned rock and roll.

Fluidly directed and energetically choreographed by Chet Walker, who co-conceived and co-choreographed the 1999 Tony-winning revue “Fosse” and received a Tony nomination for choreographing the 2013 Tony-winning revival of “Pippin,” “Smokey Joe’s Cafe” features a colorful and vocally strong 15-member ensemble. In a pleasant change of pace which serves as a significant draw for this tour, the aforementioned, legendary Coasters are occasionally spotlighted throughout the production although they do not represent the original troupe. Even so, it is refreshing to hear such classics as “Yakety Yak,” “Charlie Brown,” “Dance With Me,” and the title tune sung by the close knit, impressively harmonic quartet consisting of Dennis Anderson, Primo Candelara, Joe Lance Williams, and Eddie Whitfield.


Still, the core cast certainly shines individually and collectively. After all, due to the absence of a libretto, it is imperative that the story within each number resonates. Thankfully, every performer is considerably astute about selling the songs, particularly the joy or poignancy in Leiber’s lyrics. Nik Alexander, Malcolm Armwood, Robert H. Fowler, and Caliaf St. Aubyn deliver a fantastic rendition of “On Broadway,” but separately engage as well. Alexander, a prime source of comic relief, charms his way through “Shoppin’ for Clothes” and “Treat Me Nice” which ultimately makes up for his intense yet uncontrolled “I Who Have Nothing.” The wonderfully sincere Armwood aptly tugs the heart with “Love Me” and “There Goes My Baby.” The equally fine St. Aubyn does the same with “Loving You” and “Spanish Harlem.” Fowler finds the playfulness within “Little Egypt.” The admirable Vaden Thurgood effortlessly turns “Jailhouse Rock” into an infectious highlight.

Additionally, Keely Beirne, Yvette Monique Clark, Kathleen McCann, and Erin McGrath unite for an outstanding rendition of “I’m a Woman” that sizzles with sass, but have multiple opportunities to appealingly solo. In addition to nearly bringing down the house with the rousing, gospel-flavored Act 1 finale “Saved,” Clark fuels the emotional potency within the lovely, meaningful reprise of “Fools Fall in Love.” McCann, a powerhouse belter, offers knockout versions of “Don’t,” “I Keep Forgettin,’” and “Pearl’s A Singer.” The very striking McGrath seductively entices with “Trouble” and is also the lively focus of “Teach Me How to Shimmy.” The marvelously magnetic Beirne, adorned with a white feather boa, thrillingly captivates in “Don Juan” (which deservers an encore) only to return more dazzling and mesmerizing in superb lyric-driven form for the bluesy “Some Cats Know.” In the latter number, Beirne’s piercing focus and slinky strut recalls Laura Benanti’s brilliant take on Gypsy Rose Lee in the 2008 Tony-winning revival of “Gypsy.”

Elsewhere, Steve Paladie’s efficient set, Martin T. Lopez’s attractive costumes, and Brian Loesch’s effective lighting are commendable. However, musical director Todd Olson’s terrific band seems oddly cramped. On opening night, specifically at the top of Act 2 when the band was acknowledged with respective solos, it was difficult to see them as a whole. The configuration of the space for this tour is definitely questionable as if it would have been more suited for the Schuster Center.

Nonetheless, “Smokey Joe’s Cafe” supplies carefree, feel-good vibes that will make you appreciate the simpler delights of a bygone era in pop music.


“Smokey Joe’s Cafe” continues through Nov. 23 at the Victoria Theatre, 138 N. Main St., 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: 45 minutes; Act Two: 60 minutes. Tickets are $25-$87. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Sinclair Theatre Presents bare: a pop opera

By

Sinclairbare

(l-r): Natalie Sanders, Bobby Mitchum and A. J. Breslin.

Sinclair Theatre will present bare: a pop opera for 3 performances only, Nov. 13-15 in the Black Box Theatre located on the fourth floor of building 2 on the downtown Dayton campus.

Bare is a student-produced performance written by Jon Hartmere and Damon Intrabartolo. A group of high school seniors at a Catholic boarding school faces issues of sexuality and personal identity. As they struggle to come to terms with who they are, and who the world thinks they should be, they seek answers from their Church, their friends, and ultimately, from within themselves. Its rich, vibrant score draws on many styles of contemporary music.

 

Directed by Chris Harmon, bare’s  performances are Thursday, Nov. 13 at 7 and Friday and Saturday, Nov. 14-15 at 8 p.m.

 

General admission tickets cost $15 and are on sale now at: http://www.sinclair.edu/tickets

 

Preceding Thursday’s performance, there will be a Nacho Bar available for $7 beginning at 5:30 p.m. in the Green Room. A separate ticket must be purchased in advance and is available online when you purchase your Thursday performance ticket.

 

The box office is open one hour prior to performances if tickets are still available. Black Box Theatre performances often sell out because of the limited number of seats.

 

Bare is presented through special arrangement with and all authorized performance materials are supplied by Theatrical Rights Worldwide, 570 Seventh Avenue, Suite 2100, New York, NY 10018. (866) 378-9758 www.theatricalrights.com

‘Hot Mikado’ Review – Wright State University – Gotta Dance!

By

Without a doubt the first pleasant surprise of the fall is the area premiere of Wright State University’s highly entertaining and fabulously choreographed “Hot Mikado,” Rob Bowman and David H. Bell’s little-known 1986 jazz-era twist on Gilbert and Sullivan’s 1885 comic opera “The Mikado.”

hot mikado

Kyle James Adam and Scotti Marie Stoneburner in Wright State University’s production of “Hot Mikado” (Contributed photo)

With great skill and efficiency, Bowman and Bell impressively dusts off this silly, thin tale of love, law and customs in the quaint, cutely named Japanese town of Titipu. Instead of taking a more familiar, traditional approach to the material and Gilbert and Sullivan’s legacy as particularly evident in Mike Leigh’s acclaimed 1999 film “Topsy-Turvy,” this duo fills their adaptation with a colorfully clever assortment of musical flavors from gospel and swing to R&B and rock and roll. By all means, the sheer power of musicianship and distinctive arrangements (catapulted by the expertise of musical director Scot Woolley’s superb orchestra) is a key factor to the show’s conceptual appeal, which brilliantly doubles as a refreshing history lesson in American music and an enjoyable, respectful homage to one of the most beloved works in the Gilbert and Sullivan canon.

 
Director Greg Hellems, adept at musical comedy, keeps the carefree action breezy and light (think “42nd Street” or “Crazy for You”) aided by the spectacular, Broadway-caliber contributions of ever-reliable choreographer Teressa Wylie McWilliams, who choreographed Hellems’ first-rate “Oklahoma!” last season. Here, McWilliams, in a return to form recalling her outstanding work for WSU’s 2011 production of “Hairspray,” pulls out the stops at the outset as the handsome, agile male ensemble exuberantly performs a slick, seductive and cheery version of “We Are Gentlemen of Japan,” a terrific, tone-setting opener. Her tap-happy routines continue with feverish aplomb with the scintillating, breathtaking, encore-worthy Act 1 finale and the fiery, playful duels within Act 2’s rousing “Mikado Song.”
Drew Bowen delightfully leads the proceedings as the charming Nanki-Poo, a musician in love with the innocent Yum-Yum (the lovely Bradley Farmer) who is actually betrothed to Ko-Ko (the comical Sean Jones in pure vaudeville mode). Bowen and Jones are crowd pleasers, but Farmer deserves special mention for bringing an enchanting grace and a contemporary sensibility to “Sun and I,” an Act 2 highlight and one of the finest songs ever written by Gilbert and Sullivan. This trio receives excellent support from the suave Alimamy Barrie as the Mikado, vocal powerhouse Paige Dobkins as Pitti-Sing, striking tenor Mark Beyer (“Braid the Raven Hair”) as Pish-Tush, the equally amiable Nathan Pecchia as Pooh-Bah and Bailey Rose as Peep-Bo, and the marvelously formidable Jasmine Easler as the fiery Katisha, who vows to make Nanki-Poo her husband. The exceptional Easler, recently featured in WSU’s remarkable “Fences” and conveying a sinister diva mentality recalling Evilene from “The Wiz,” delivers knockout, amazingly soulful renditions of “Hour of Gladness” and “Alone and Yet Alive” that absolutely bring down the house.
The overt beauty within this impressively produced showcase is fueled by the inviting Japanese décor of Pam Knauert Lavarnway’s set, costumer Jeremy W. Floyd’s attractive mix of Cotton Club-esque attire and gorgeous kimonos, and Matthew P. Benjamin’s evocative lighting and projections.
If you don’t have plans to catch “Hot Mikado” before it closes you need to immediately reschedule your agenda. This must-see is too hot to miss.

“Hot Mikado” continues through Nov. 9 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Act One: 63 minutes; Act Two: 60 minutes. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call WSU box office at (937) 775-2500.

‘Mame’ Review – Human Race Theatre Company – Live, Laugh, Love

By

mame

Lisa Ann Goldsmith and Peanut Edmonson in the Human Race Theatre Company’s production of “Mame” (Contributed photo by Scott J. Kimmins)

The Human Race Theatre Company’s warmly intimate production of Jerry Herman, Jerome Lawrence and Robert E. Lee’s endearing and splendidly tuneful 1966 musical “Mame” has a lot of heart but lacks pizzazz at its core.
Based on Lawrence and Lee’s 1956 play “Auntie Mame,” adapted from Patrick Dennis’ 1955 novel of the same name, “Mame” chronicles nearly 20 years in the life of Mame Dennis, a lively, eccentric socialite who throws lavish soirees in her posh Beekman Place apartment no matter the occasion. In 1928, Mame’s unrestrained, attention-seeking existence quickly changes when she becomes the guardian of her timid, sheltered 10-year-old nephew Patrick. As Mame energetically shows Patrick just how eye-opening life can be within colorful Manhattan, an education thriving in the unconventional sense, their tender, loving bond grows stronger even as the ensuing years bring its share of hardships, sorrow, misunderstanding, and disappointment.

HRTC MAME Prod Photo 3

Lisa Ann Goldsmith and the cast of Mame. Photo courtesy of Scott J. Kimmins.

As the flashy, larger-than-life Mame, one of the juiciest roles in the musical theater canon, Lisa Ann Goldsmith, previously known at the Human Race for roles in “Macbeth” and “Torch Song Trilogy,” adopts a gentler, subdued and mildly coy approach that feels off-kilter to the jubilant spirit of the brassy material. Mame is fashioned to be an earthy, outspoken and flamboyant center of the universe, but Goldsmith embodies the role as a woman second guessing her extravagant flair rather than a woman completely confident in her own skin. As so, her musical numbers, intended to illuminate Mame’s vivacious electricity, are short on vim and verve. The cheerful vigor and excitement pulsating throughout Herman’s dandy score (“It’s Today,” “Open a New Window,” “We Need a Little Christmas,” “That’s How Young I Feel”) just doesn’t credibly land in her hands which deflates momentum despite assistance from the vocally strong ensemble. Even Mame’s signature torch song “If He Walked Into My Life” startlingly comes and goes as if its mere filler rather than the full-throttle, show-stopping epiphany it was written to be. Goldsmith, stunning in costumer Christie Peitzmeier’s stylish outfits, is comfortable in the book scenes that allow her ample time to mold the nuances of her characterization opposite the earnestly sweet Peanut Edmonson as young Patrick, but her musical numbers, the lifeblood of the show, are not equally assured.
Still, there is consistent, grounded work elsewhere under the fluidly fast-paced and atmospheric direction of producing artistic director Kevin Moore, who astutely conceptualizes the show as a portal into Patrick’s memory and effortlessly scales down its traditionally large framework to incorporate a 20-member cast. Leslie Goddard is outstanding as goofy secretary Agnes Gooch, particularly as Agnes attempts to embrace life to the fullest with great consequence. Torie Wiggins, in a refreshing dose of non-traditional casting, is a real comedic find as prominent theater actress Vera Charles, Mame’s boozy best friend. Jamie Cordes is the epitome of a true Southern gentleman as the wealthy Beauregard Jackson Pickett Burnside, Mame’s husband. Zack Steele supplies charisma and conviction as the adult Patrick although he struggles vocally in his upper register. Annie Pesch (Ito), Scott Stoney (Dwight Babcock), Robb Willoughby (M. Lindsay Woolsey), Marya Spring (Sally Cato), Sherri L. Sutter (Mother Burnside), Sarah Naughton (Gloria Upson), Darrin Murrell (Mr. Upson), Layan Elwazani (Pegeen Ryan), Shavey Brown (Ralph Devine), Cooper Taggard (Gregor), and Michael McCrary (Junior Babcock) solidly perform in flavorful featured roles. Fierce, attractive couple Sarah Agar and Adam Soniak, attacking Katie Johannigman’s sharp choreography as if auditioning to become a part of next season’s “Dancing with the Stars” troupe, exhibit dazzling finesse as a pair of steamy ballroom dancers in “Open a New Window.”

HRTC MAME Prod Photo 6

Peanut Edmonson and Lisa Ann Goldsmith in Mame, photo by Scott J. Kimmins.

Additionally, Dick Block’s terrific set features a revolving layout for Mame’s apartment as well as large, colorful postcard backdrops. John Rensel’s expert lighting heightens various locales from the coziness of Mame’s bedroom to the Shubert Theater stage in New Haven, Connecticut. Musical director John Faas, a Herman aficionado, leads a well-balanced and peppy seven-member off-stage orchestra.
Captivating joy has always been a primary component to the success of Herman’s most beloved musicals. Whether it’s a matchmaker descending a staircase to the delight of admiring waiters or the euphoric empowerment shared between drag queens, Herman’s sunny, feel-good repertoire absolutely uplifts the spirit. In order for the inherent joy within “Mame” to shine with credible magnetism this production needs to dig deeper.

“Mame” continues through Nov. 23 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesday-Saturday evenings at 8 p.m., Sunday and Tuesday evenings at 7 p.m., and Sunday matinees at 2 p.m. Act One: 80 minutes; Act Two: 65 minutes. Tickets are $40-$50. Prices vary depending on performance date. Discounts are also available. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org

DMM Ticket Giveaway

If you’d like a chance to win a pair of tickets to see this classic show, just like this post, fill out the form below and leave a comment about why we should pick you as a ticket winner! We’ll announce our winner late night on Thurs, Nov 6th.

 

Thanks to all who entered!  Congrats to Doug Kershner, Renee Reed and Diane Carter, our ticket winners!

 

Centerville Theater Spins A Tale About Rumpelstiltskin

By

uccjqygkytbhmkk08b3cgt94cc8is9lsLaura, the miller’s daughter, is in a bit of a pickle. The king thinks she can spin straw into gold and has big plans for increasing his kingdom’s treasury! There’s only one problem! The poor girl has no idea how to turn straw into gold. When a small wizard shows up and promises to help…she makes a bargain she’ll soon regret! That is, unless she can guess his name!

Spoiler alert – his name is RUMPELSTILTSKIN!

Don’t miss our fall ACT Showcase, MY NAME IS RUMPELSTILTSKIN! November 7-9! Friday at 7pm and Saturday and Sunday at 3pm!