Sophisticated, macabre, visceral and uncompromising, SWEENEY TODD nevertheless has a great sense of fun, mixing intense drama with howlingly funny moments of dark humor:
On Stage Dayton
“Night of the Living Dead” turns to Day(ton) for National Premiere
Opening on Halloween, October 31 and running through November 7, The Dayton Playhouse produces the national premiere of George A. Romero’s Night of the Living Dead Live. The Canadian creators/adapters of the stage play share, “Night Of The Living Dead Live is a theatrical tribute to all of the elements that make this cinematic masterpiece so endearing. More than just a recreation of the story, the play celebrates the history and influence of the movie. Done through a series of multiple endings, the characters are all faced with different issues and challenges desperately trying to survive the night. However, their contrasting personalities and agendas always seem to affect the group from working together which leaves us all wondering could anyone survive a Night of the Living Dead?” The team out of Canada was nominated for Best Comedic Play in 2014, so Dayton audiences can expect to laugh and scream in delight.
I reached out to director Geoff Burkman who leads the team producing the National Premiere right here in Dayton. Geoff has a history with Romero – he was cast as a zombie in Romero’s third film (of the five-film series) – Day of the Dead, and Geoff is an experienced zombie. I asked him a few questions about directing this production — the fun of delving into the show and passing along his zombie experience to the next generation.
What can audiences expect by coming to the show?
I’m hoping that audiences can expect a good time watching a genre classic get deconstructed in the most loving way possible….by dismembering it!
Who is the perfect audience for this – theatre-goers, movie buffs, horror hounds?
I think the “perfect” audience for this show is Romero fans with a sense of humor, but I also think that normal theatergoers will also appreciate the zany theatricality of the piece. I really don’t want to spoil too much. Admittedly, people who have never seen the original film (do such folks exist?) may have a hard time grasping what we’re doing. They’ll still have fun, though.
In what ways is the stage play similar to the movie and how is it different?
The similarities between the film and this play reside mostly in the iconic characters and the basic plot line and themes, but as the comedic elements begin to intrude and then overwhelm the story, all that goes out the window. That, and they’re both done in black and white.
Any personal thoughts on the movie?Suffice to say, I consider Night of the Living Dead to be a milestone film that impinged on my consciousness at a milestone point in my life, leading inevitably, inexorably, relentlessly, implacably with singularity of purpose and impetus toward the staging of this unique production. That’s my story and I’m sticking to it!
Why is Dayton the right place for the National Premiere?
Dayton Playhouse has a national reputation for promoting the performing arts, with community theater being no exception, cf. FutureFest. That said, I ascribe it to karma…
Anything else audiences should know?
There will be blood.
For updated information, visit Dayton Playhouse online or on Facebook. Tickets are available now for this national premiere, but you can win tickets first! Dayton Playhouse is offering a pair of tickets to one lucky Dayton Most Metro reader. Just fill out the form below and leave us a comment convincing us why you should be our winner.
Congrats to Emily!
Victoria Theatre Association Announces $30 Million Endowment Campaign
Victoria Theatre Association (VTA) hosted a private reception Tuesday evening announcing a $30 million endowment campaign with funds designated for the future capital, programming and educational needs of VTA’s arts facilities: the Benjamin & Marian Schuster Performing Arts Center, the Victoria Theatre, and the Metropolitan Arts Center, home to The Loft Theatre.
“Dayton is fortunate to have wonderful arts venues – the Benjamin & Marian Schuster Performing Arts Center, the Victoria Theatre, and the Metropolitan Arts Center, home to the Loft Theatre – that we own and operate on behalf of the community. We take stewardship of these buildings very seriously, “said Ken Neufeld, President & CEO of Victoria Theatre Association and the Arts Center Foundation. “In order to plan for the future and make sure each venue is maintained for generations, VTA requires building our current endowment. And that’s just what we’ve been doing. “
Ken Neufeld
“The Next Stage Campaign has met with phenomenal response,” continues Neufeld. “We are already at 74% of our total goal of a $30 million endowment. Tonight – opening night of the 14-15 Premier Health Broadway Series – is about thanking the incredible companies, foundations, individuals and the State of Ohio who have helped us make it so far so quickly and about engaging a broader circle of friends to help us meet our goal.”
Current-use gifts and endowment funds raised through The Next Stage Campaign will be used to support:
- Building upgrades and energy efficiency;
- Technology improvements; and
- New programming initiatives, with plans to introduce more young people to the special experience of the performing arts.
Projects already funded and completed through The Next Stage Campaign include new carpet throughout the Schuster Center and updated stage lighting controls for both the Mead Theatre (Schuster Center) and The Loft Theatre (Metropolitan Arts Center).
To learn more about The Next Stage Campaign and read what has inspired others to contribute by visitingwww.victoriatheatre.com. For information about how you or your company can participate in The Next Stage Campaign, contact Rosie Melia, Campaign Manager, [email protected] or call 937-228-7591, ext. 3044.
Les Miserables Collaboration Creates Big Sound
Do you hear the people sing? You will – but it’s this weekend only. Les Miserables is getting a fresh staging and a BIG sound with a collaboration between Dayton Playhouse and Miami Valley Symphony Orchestra at the Masonic Center for an orchestral and vocal production. The team of Brian Sharp (Director), Erik Strope (Vocal Director), and Ron Kindell (Orchestra Conductor) is working together to bring this show to Dayton. I recently talked to Brian Sharp for some insights into how the production came together and what audiences can expect.
Is Les Mis a personal favorite of yours? Do you remember when you first saw it and how you felt?
I saw Les Mis the first time on Broadway…and loved the music…but was not fond of the original staging, etc. I always found the music thrilling and emotional.
Les Mis has been around for a while and is fairly well-known. What makes now the right time for a community theatre to produce it locally in Dayton?
As far as why is this right now…and still appropriate? There is really no way for a community theatre to mount a production this large. The idea of a partnership was perfect. It would allow a full symphony and the opportunity to fill the cast with voices from all over the Miami Valley area. The music is timeless…and is much loved!
This is a pretty huge show to tackle. Did you have any concerns with such a big endeavor?
Just the sheer magnitude of the auditions was an undertaking. We had over 200 people audition and had them scheduled every ten minutes…we auditioned over the course of a week…and then had a follow up chorus audition. There were concerns with rehearsal space because of the size of the cast and orchestra. Once the auditions were complete…I had no concerns with the voices…these really are the best of the best!
Brian Sharp
Is this adaptation different than the shows come of our readers may have seen traveling? All the same songs, setting, staging?
This adaptation will be similar to what was seen on the 10th and 25th anniversary shows. However, there is a twist. My big concern with this type of version is how do we keep the story clear to the audience. We have worked with a Broadway projection company to use projections that have never been seen anywhere in the Midwest. It will truly be sensory overload…the visual piece of the costumed actors/singers, the magnificent symphony orchestra and then this visual element is sure to add another amazing element.
Can you tell me about the collaboration between the Playhouse and the MVSO?
The collaboration was just kind of a natural fit. Many of their musicians have played in the pit orchestras for our musicals. This is an opportunity for us to give back.
Does the setting of the Masonic Center add to the drama of the show?
The Masonic Center is grand, and allows us to sell up to 1500 seats per performance, so there are plenty of tickets available. It will definitely add to the performance and they have been fantastic to work with.
Anything else our audiences should know?
I simply hope the community realizes what an opportunity this is for them…we have positioned the orchestra in such a way that the audience will feel up close and personal with the musicians. This is a production that should not be missed. Tickets are only $20/$18 and that is a bargain for what you will be receiving.
Tickets are available now for the performances Friday, October 24 and Saturday, October 25 (both at 8 p.m.) and Sunday, October 26 at 2 p.m. They can be purchased online at wordpress.thedaytonplayhouse.com. However, a lucky Dayton Most Metro reader will have the chance to win a pair of tickets to see the show! Just fill out this form below and tell us in the comments why you should win! [form 55 “DMM Contest Entry – Generic”]
‘Good People’ Review – Dayton Theatre Guild – Boston Bliss
The Dayton Theatre Guild, who staged memorable local premieres of “Fuddy Meers” and “Kimberly Akimbo” by Pulitzer Prize winner David Lindsay-Abaire (“Rabbit Hole”), delivers a splendid local premiere of “Good People,” Lindsay-Abaire’s 2011 Tony Award-nominated working-class dramedy about misunderstanding, regret and neighborhood pride in South Boston’s Lower End a.k.a. Southie.
Delicately directed with impressive authenticity by Debra A. Kent, this terrifically insightful, humorous and engrossing character study concerns the resilient yet brash Margaret “Margie” Walsh, a down-on-her-luck single mom of a handicapped adult whose search for employment reunites her with her high school boyfriend Mike, a successful doctor. When Margaret realizes just how far removed Mike has become since their youth, sparks fly with the underlying knowledge that everybody’s perspective of the past is never the same no matter how hard you choose to see it differently.
(l to r) The cast of the Dayton Theatre Guild’s local premiere of David Lindsay-Abaire’s “Good People” features Alexander Chilton as Stevie, Shyra Thomas as Kate, Rachel Wilson as Margaret, Heather Martin as Dottie, Shawn Hooks as Mike, and Wendi Michael as Jean.
Rachel Wilson and Shawn Hooks deliver their finest performances as the central couple who could have been more than fleeting lovers. Marvelous in dialect and conviction from start to finish, Wilson effortlessly navigates a beautifully complex, fully-realized journey in which you not only feel but absorb Margaret’s desperation and helplessness due to past mistakes and circumstances beyond her control. Hooks, amiable and sharp, avoids embodying his role with a chip on his shoulder which allows Mike to come forth as genuine and rightfully perturbed when his Southie allegiance is called into question. Wilson and Hooks worked very well together last season in the Guild’s entertaining “Expecting Isabel,” and they unite deeper here to palpable proportions with an entirely real, unforced chemistry.
Additionally, four fantastic featured performances delightfully propel the story, containing discussions of bingo, neighborhood lore and political incorrectness in typically peculiar Lindsay-Abaire fashion. Heather Martin, in a welcomed return to the Guild, injects sassy spunk into her portrayal of Margaret’s outspoken landlady Dottie, who earns extra money with her kooky crafts. Wendi Michael is an absolutely understated joy as Jean, Margaret’s direct, encouraging friend who seems to know more about the colorful ongoings within Southie than anyone. Alexander Chilton, bringing authority and concern to the pivotal opening scene he shares with Wilson, is also winningly understated as the good-natured Stevie, Margaret’s former boss-turned-bingo partner. In a remarkable Guild debut, the magnetic Shyra Thomas nearly steals the show as her breakthrough portrayal of Mike’s elegant, sophisticated wife Kate pokes holes into and ultimately reexamines Margaret and Mike’s relationship with surprising results that in turn forces her to see her privileged world in a new light.
Kent’s first-rate artistic team includes scenic designer Blake Senseman, lighting designer Jason Vogel, sound designer K.L. Storer (who once again assembles outstanding, story-driven musical selections for scene changes), costumer Linda Sellers, property masters Senseman and Deidre Bray Root, and dialect coach D’Arcy Smith.
Considering the fact that there’s a little bit of good in everyone, don’t skip the invitation Lindsay-Abaire and the Guild extends to become acquainted and captivated by six intriguing individuals whose distinct lives mirror ourselves and those we love.
“Good People” continues through Oct. 19 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. Act One: 55 minutes; Act Two: 55 minutes. Tickets are $19 for adults, $17 for seniors and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org
Cabaret Night At Mimi’s Cafe
This cabaret will feature selections from shows that Dare To Defy Production will be doing in the near future as well as songs that reflect our dreams both as actors, characters, and a new company.
Ohio’s Oldest Comedy Club Has New Owner
Originally opened in 1982 by Dan Lafferty and his wife Jody on Patterson Road, Wiley’s Comedy Club is one of the longest running clubs in the country and the oldest in Ohio. Sometime in 1990 the club moved to it’s current home in the Historic Oregon District. After 17 years at the helm of the business Lafferty sold the club to stand up comic Rob Haney, who is also a writer for the Bob & Tom radio show. Now, fourteen years later, and for the first time in the club history, the new ownership group are not Daytonians. The team is headed up by stand up comic Steve Hofstetter.
Hofstetter on stage at his Indy club.
Author’s confession- I worked at Wiley’s in 1993, before I bought Jokers Comedy Cafe. It was at Jokers that I first booked Hofstetter, bringing him in for a special one night show he was promoting aimed at college students. I’d never seen his show, but based on his success on the college circuit, his status as the original writer for collegehumor.com, and his persistence in pursuing the booking, I took a chance on him. While I don’t remember much about his humor (which generally means his show was fine- the ones that sucked and those that rocked the rooms are the ones that stand out from my 25+ years of comedy) what I did come away with was the sense that this New Yorker had the determination and drive to make a success out of anything he undertook. I lost track of him along the way, but would occasionally hear about his latest accomplishment. I heard he’d taken over a failing club in Indy and knew he was still hustling his way through comedy clubs.
Then one morning in July I started getting phone calls and facebook messages asking if I’d bought Wiley’s. Rumors were out that Rob had sold the club and folks were asking if I’d bought the club. I chuckled, and gave my standard answer, “been there, done that, not going back.” Later that day I posted this update on the MostMetro.com Facebook page:
“As of October 1st, Wiley’s Comedy Club will have new ownership. Comedian Steve Hofstetter will be the managing partner.
This will be the 3rd club they own, adding to their Indy and Louisville clubs. Steve is a hustler and knows how to promote so expect some exciting things to happen when he takes over!”
So I reached out to Steve and asked him a few questions about taking over Wiley’s:
What made Dayton an attractive city for you to buy a club in?
SH: I’ve been performing there for ten years. I’ve done shows at multiple clubs, as well as Wright State and U. of Dayton. The vibe of the neighborhood in particular is what got us. It is a working class town, but filled with artists and young people actively looking for something interesting to do. Who wouldn’t want to run a club here? It’s also a Bob & Tom city, and so are our other clubs. This club in particular is a great fit – amazing bones, but not doing much re: social media and modern technology, which is what we do best. In addition, we specialize in clubs in the midwest. Our other two are in Louisville and Indy – both 2 hours from Dayton. We can do wonderful things regarding routing big comedians through the three cities.
What changes can guests expect at the club?
SH: Our philosopy is that we are responsible for the customer’s night as soon as they get out of their car, and every aspect of the experience must be considered accordingly. Our other clubs are known for quality food and a vast liquor selection, in addition to great talent. Because we have the ability to book in bulk, customers will quickly see an increase in celeb acts. We will also focus on building more of the local artists – with opportunities to grow in our organization, we’ll be teaching the local comedians to think beyond open mics and hopefully churn out some amazing acts from the scene. Rob Haney has done great things at Wiley’s over the years. Our job is to take it to the next level.
Comedian Greg Warren
Who’s your favorite all time comic and favorite still playing clubs? (and no, you can’t say yourself)
SH: All time is Bill Hicks. Also love me some Mitch Hedberg and Eddie Izzard (who is still gigging, just not at clubs). My favorite current club acts are probably Greg Warren and Tom Simmons. But there are so many wonderful ones it’s really hard to choose (MM:Since Greg Warren is probably my best friend in comedy, Steve wins some brownie points for that answer).
So tonight, is the first night of the new regime and it’s ladies night, all women get in free on Thursday. And the first comic they have booked is another good buddy of mine, B.T.
Originally from Oklahoma and now living in Indy, this drama school graduate trained for the rigors of making people laugh and has been so successful that he has performed at the prestigious HBO U.S. Comedy Arts Festival. B.T.’s physical performance style and charm landed him two performances on NBC’s “Friday Night Videos”. He has also appeared on BET Comic View, MTV’s The Jenny McCarthy Show, and FOX’s The Keenan Ivory Wayans Show. B.T. is only on the show for tonight, come this weekend, Steve Hofstetter will be taking the stage at his newest club.
Wishing them well and looking forward to the new energy Hofstetter will bring to Wiley’s Comedy Joint. Stop on out to the club at 101 Pine Street in the Oregon District, with shows Thursday through Sunday at 8pm, with a second show at 10:15pm on Friday and Saturday. You can purchase tickets on their website or call the club for more information at 937-224-5653.
‘Pride and Prejudice’ Review –Sinclair Community College –Inclusive Austen
Film and TV actress Keke Palmer made headlines three weeks ago when she became the first African-American Cinderella on Broadway in “Rodgers and Hammerstein’s Cinderella.” But you don’t have to go to New York City to witness that kind of unique, outside the box casting. After all, Sinclair Community College’s wonderfully charming production of Jane Austen’s “Pride and Prejudice” takes a similarly non-traditional approach that allows the classic tale to refreshingly breathe anew.
Elegantly directed with beautifully fluid transitions by Kimberly Borst, “Pride and Prejudice,” breezily adapted by Joseph Hanreddy and J.R. Sullivan, brings the lovely Ariqa Bowens and handsome Shaun Diggs to the thoroughly engaging forefront as prickly adversaries-turned-lovers Elizabeth Bennet and Mr. Darcy. As Austen’s enlightening study of class, manners, privilege, and romance transpires, Bowens and Diggs delicately convey the cool repartee required to sell the complexity of their iconic roles. Bowens, graceful and intuitive in her breakthrough performance, particularly shines during Elizabeth and Darcy’s first awkward dance (which Borst astutely heightens by freezing the world around them) as well as Elizabeth’s late evening showdown with Darcy’s haughty, imposing aunt Lady Catherine de Bourgh (a perfectly stern and conceited Anna Sheldon). Diggs, the brooding epitome of male detachment, effectively softens Darcy’s aloof heart as he grows to care for and adore the incredibly headstrong Elizabeth.
(center left to right) Shaun Diggs as Mr. Darcy, CJ Suchyta as Sir William Lucas and Ariqa Bowens as Elizabeth Bennet in Sinclair Community College’s production of Jane Austen’s “Pride and Prejudice.” (Contributed photo by Patti Celek)
In addition to the aforementioned Stern, Bowens and Diggs are strongly supported by the particularly appealing contributions of the marvelously understated Charles Larkowksi as the kindly Mr. Bennet, the delightful Kate Gieselman as meddling Mrs. Bennet, the sweet and sensitive Cassidy Rowley as Jane Bennet, Jasmine Barrett as the reserved Mary Bennet, Degreona Herrod as the humorously overlooked Kitty Bennet, the spiritedly perky Hayley Penchoff as Lydia Bennet, the amiable Woody Hieb as Mr. Bingley, the dynamically icy Ashlee Ferrell as Caroline Bingley, the magnetic Kevin Manley as Mr. Wickham, CJ Suchyta as Sir William Lucas, Natalie Sanders as Lady Lucas, and the scene-stealing Austin DeVaughn who reinterprets minister Mr. Collins with a comical outspokenness and a deliberately passionate cadence steeped in the traditions of the African-American church. The fine cast also features Aeriel Aniballi (Mrs. Reynolds),Matt Poliachik (Ensign Denny) , David Brandt (Fitzwilliam), James Butler (Servant), Greyson Calvert (Servant), Rebecca Henry (Servant), Jesse MaGill (Captain Carter), Kira Miller (Mrs. Gardiner), Leah Mikesell (Georgiana Darcy), Andre Tomlinson (Servant), Ella Wylie (Anne de Bourgh), and Jessica Zula (Charlotte Lucas).
Austen’s world is exquisitely realized from a design standpoint by Chris Harmon’s stunning estate set (one of his finest creations) featuring nearly 20 portraits, Kathleen Hotmer’s attractive period costumes, Michelle Sampson’s first-rate wig and hair creations, Jennifer Kramer’s properties, and Daniel Brunk’s evocative lighting and sound.
“Pride and Prejudice” purists will have qualms with Sinclair’s showcase which unabashedly takes liberties with the authenticity of early 19th century England. Even so, the inclusive magic of theater proves its rejuvenating worth nonetheless in one of the best and most enjoyable productions I have seen at Sinclair.
“Pride and Prejudice” continues through Oct. 4 at Sinclair Community College, Blair Hall Theatre, Building 2, 444 W. Third St., Dayton. Performances are Wednesday at 10 a.m., Thursday at 7 p.m., and Friday and Saturday at 8 p.m. Act One: 80 minutes; Act Two: 60 minutes. Tickets are $18 for adults and $15 for seniors and students. All Thursday tickets (Downtown Dayton Thursday Night) cost an additional $10 each and include pre-show county picnic buffet dinner beginning at 5:30 p.m. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets.
‘Fences’ Review – Wright State University – The American Family in Conflict
August Wilson’s tremendously visceral 1987 Tony and Pulitzer Prize-winning drama “Fences,” among the finest inclusions in his remarkable 10-play “Pittsburgh Cycle” chronicling the African-American experience in the 20th century, opens Wright State University’s 40th anniversary season with emotionally riveting resonance.
Photo caption (l to r) Jasmin Easler, Law Dunford and Tyrell Reggins in Wright State University’s production of August Wilson’s Tony and Pulitzer Prize-winning drama “Fences” (Contributed photo)
Beginning in 1957 and spanning nearly eight years in the life of a middle class African-American family in Pittsburgh, “Fences,” splendidly and poignantly co-directed by W. Stuart McDowell and Sheila Ramsey, centers its thought-provoking account of race, regret, responsibility, faith, struggle, and sacrifice on Troy Maxson (Law Dunford), a dysfunctional, disillusioned former Negro League baseball hotshot. In the Maxsons backyard, where the engrossing action transpires, loudmouth Troy is king of his castle, a welcomed escape from his daily grind as a sanitation worker longing for a promotion. A habitual storyteller still harboring daddy issues from his scarred childhood, Troy tends to be unbearably over-the-top for the sake of attention, but his larger-than-life persona is nonetheless a huge factor to his appeal not only in the eyes of his loyal friend and fellow ex-convict Jim Bono (Brandon Kinley) but his devoted second wife Rose (Jasmin Easler). But it takes Troy’s son Cory (Tyrell Reggins) to make him realize the weight of his flawed existence when Cory asks to join his school’s football team, an idea that infuriates Troy due to the unfulfilled potential of his own athletic career lingering in the recesses of his mind.
The domineering Dunford, a fantastic Inspector Javert last season in “Les Misérables,” substantially storms into Wilson’s marvelously authentic world with colorful wit and blustery bravado. Commanding yet intuitive, Dunford is a force to be reckoned with because he brings volatile truth to Troy’s complex journey migrating from reasonable provider one minute to arrogant jerk the next. His dynamically intense moments opposite the sensitive Reggins specifically packs a punch. Still, as Wilson intended, the play doesn’t belong to Dunford by any means. Above all, in Act 2, the outstanding Easler, in a breakthrough performance rooted in a calm sensibility that astutely builds to searing proportions, passionately conveys Rose’s disgust and disappointment upon being told of Troy’s infidelity. Easler’s expert handling of Rose’s explosive monologue, a beautifully written passage detailing her encumbered upbringing and the desires she cast aside for the greater good, becomes a thrilling heartbreaker. The terrific chemistry she nurtured with Dunford from the outset makes the heated moment all the more palpable and profound.
This impressive production, dedicated in memory of the legendary Ruby Dee and co-sponsored by Wright State’s Bolinga Black Cultural Resources Center, also features firm portrayals by charismatic Korey Smith as slick loafer Lyons (Troy’s oldest son from a previous marriage), very endearing Christian Henderson as the mentally challenged Gabriel (Troy’s brother), Ocean Brown and E’Draya Caldwell as cutely inquisitive Raynell (Troy’s daughter), and the aforementioned, amiably easygoing Kinley.
McDowell and Ramsey’s exemplary, Broadway-caliber artistic team includes scenic designer Ryan Sess, lighting designer Sammy Jelinek, costumer Mary Beth McClaughlin, and sound designer Emily Hutton. The duo also supplies inviting music for scene changes ranging from soft jazz to soul-stirring gospel.
Wilson, who passed away in 2005, mastered language, tone and relationships. His insightful depiction of blacks attempting to thrive in an uncertain, unjust America will be felt for generations to come because his plays simply contain a universality that actually transcends race. Do not miss Wright State’s electrifying tribute to his legacy.
“Fences” continues through Sept. 28 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 and 2 and 8 p.m., and Sunday at 2 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $22 for adults and $20 seniors and students. For tickets or more information, call the WSU box office at (937) 775-2500. Patrons are advised the production contains adult language and situations.
‘How to Succeed in Business Without Really Trying’ Review – Dayton Playhouse – Corporate Charm
Photo caption (Center left and right) R.J. Steck, Jim Lockwood and the cast of the Dayton Playhouse’s production of “How to Succeed in Business Without Really Trying.” (Photo by Art Fabian)
The Dayton Playhouse’s 2014-15 season is off to a promising start thanks to its delightful staging of Frank Loesser, Abe Burrows, Willie Gilbert and Jack Weinstock’s 1962 Tony and Pulitzer Prize-winning musical satire “How to Succeed in Business Without Really Trying.”
Based on the 1952 book by Shepherd Mead and directed by Jeff Sams, this “Succeed” succeeds primarily because it doesn’t have to survive on the confident shoulders of R.J. Steck, a tall, lanky and personable presence who conveys the proper amount of gumption and shrewdness as window washer-turned-corporate honcho J. Pierrepont Finch. Steck charmingly handles Finch’s fascinating ascension within the World Wide Wicket Company circa 1965, a goofy, dated playpen where men behave badly and women long for marriage. However, as with any star-driven musical from “Mame” to “Fiddler on the Roof,” it’s important for the lead to be supported. It’s satisfying to know Steck is surrounded by a strong ensemble and featured performers despite the cast overtly skewing younger than most productions of this show.
Brad Bishop is a hoot as philandering company president J.B. Biggley, particularly mastering Biggley’s idiosyncrasies and no-nonsense attitude while validating how easily manipulated he is. He also memorably partners with Steck for a comical rendition of “Grand Old Ivy” reminiscent of the 2011 Broadway revival starring Daniel Radcliffe. Lovely vocalist Taylor Winkleski is sweet and appealing as Rosemary Pilkington, the secretary smitten by Finch. The playful Tori Kocher, a breakthrough performer last season as Penny Pingleton in the Playhouse’s “Hairspray,” shines again as a wonderfully witty Smitty, Rosemary’s close friend and fellow secretary. Desmond Thomas, precise and intuitive, schemes with glee as Bud Frump, Biggley’s jealous nephew and Finch’s nemesis. As dim-witted vamp Hedy LaRue, Hannah Thompson cutely seduces and entraps. Jim Lockwood is terrifically distinctive as Mr. Twimble and Wally Womper. J. Gary Thompson (Bert Bratt), Richard Young (Milt Gatch), Rebekah Skaroupka (Miss Jones), and Steve Peters (Voice of the Book that gives Finch the tricks of the trade) commendably round out the principals. The enjoyable ensemble consists of Maggie Carroll, Malcolm Casey, Naman Clark, Janice Lea Codispoti, Paige Combs, Allison Eder, Karla Enix, Tyler Henry, Marabeth A. Klejna, Matt Lindsay, Grace Lindsley, Joe Meyer, Trevor Meyers, Jim Spencer, Sydney Thomas, John-Michael Vanover, Stacy Ward, and Andrew Wood.
From a notable musical standpoint, the Act 1 finale spotlighting Steck, Winkleski and Thomas will send you into intermission with a smile due to their very pleasant harmony and the strength of Nancy Perrin’s fine orchestra.
Elsewhere, choreographer Annette Looper supplies another series of energetic and flavorful routines as evidenced in the hilarious frenzy of “Coffee Break,” the mindful caution of “A Secretary is Not a Toy,” and the rousing unity of “Brotherhood of Man.” Chris Newman, the Playhouse’s resident scenic designer this season, supplies a colorfully authentic workplace complete with an efficient elevator and large walls cleverly serving as office doors. Kathleen Carroll’s attractive costumes are also era-appropriate. John Falkenbach’s lighting design, K.L. Storer’s sound design, Melanie Davis’ properties, and Steve Burton and Tim Grewe’s wig and hair design are added benefits of this thoroughly entertaining production.
“How to Succeed in Business Without Really Trying” continues through Sept. 21 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are $18 for adults and $16 for seniors and students. The production is performed in 3 hours including a 15-minute intermission. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com
‘Miracle on South Division Street’ Review – Human Race Theatre Company – Kitchen Table Revelations
The charming Nowak family of Buffalo, New York receives a rude awakening in Tom Dudzick’s lighthearted and lightweight 2013 comedy “Miracle on South Division Street,” currently receiving a breezy regional premiere at the Loft Theatre courtesy of the Human Race Theatre Company.
Strongly Catholic and affectionately Polish, the Nowaks have been tending to their late patriarch’s shrine to the Virgin Mary for decades. Built in 1943, the 17-foot-tall shrine (which Buffalo native Dudzick based on a local legend) was established after Grandpa Nowak had a vision of the Virgin Mary in his barbershop, which now serves as a soup kitchen. The shrine has been an inspirational source of faith, hope and goodwill for the downtrodden city with the likelihood of a miracle not out of the question. However, the Nowaks are completely and humorously thrown for a loop due to a pivotal deathbed confession. As they attempt to make sense of what appeared on the surface to be utterly preposterous, the close-knit family grows to understand the importance of change, growth and tolerance, which all families must face during times of overwhelming joy or nerve-rattling dysfunction.
(Left to right): Lauren Ashley Carter, Kyle Nunn, Wendy Barrie-Wilson and Jennifer Joplin in the Human Race Theatre Company’s production of “Miracle on South Division Street.” (Photo by Scott J. Kimmins)
Director Richard E. Hess, a Buffalo native, coaxes warm authenticity, sprightly energy and a loving rapport from his delightfully compatible four-member cast who are absolutely comfortable within the confines of Eric Moore’s attractively homey kitchen set. As devoted mom Clara, tough yet compassionate, Wendy Barrie-Wilson (marvelous as Sister Aloysius in the Human Race’s 2009 local premiere of “Doubt,” directed by Hess) is a great source of genuine motherly concern, but also supplies funny doses of utter dismay as Clara’s world, particularly the traditions she holds close to her heart, collapses. As eldest daughter Beverly, an underwritten component with a penchant for bowling, Jennifer Joplin (equally radiant in “Doubt” as Sister James) is fittingly agitated and shocked as the big news resonates. As amiable son Jimmy, Kyle Nunn, very appealing and down-to-earth, provides fine comic relief as the only Nowak who couldn’t be more thrilled about the revelation at hand since it ensures a brighter future far more than he imagined. As youngest daughter Ruth, an aspiring actress whose actions propel the play, Lauren Ashley Carter is believably apprehensive yet totally engaging as Ruth brings her family together to announce the various aspects of the secret. Carter also shares a terrifically layered moment with Barrie-Wilson toward the conclusion which refreshingly takes the sitcom-esque proceedings to a deeper emotional plateau.
This “Miracle” takes a while to reveal itself as the amusing diversion it is, but it will make you appreciate the universal commonality of family all the same.
“Miracle on South Division Street” continues through Sept. 21 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.; Sunday at 2 p.m. The play is performed in 80 minutes without intermission. Tickets are $27-$45, but discounts are also available. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org.
Win Tickets For Human Race’s “Miracle on South Division Street”
Fans of The Human Race’s 2008 production of Tom Dudzick’s national hit Over the Tavern will rejoice at the regional premiere of the playwright’s “rollicking” Miracle on South Division Street, directed by Human Race Resident Artist Richard E. Hess (Race, Red, Doubt). 60 years ago, Grandpa Nowak had a vision of the Virgin Mary in his Buffalo, New York barbershop and had an unusual statue of her made to commemorate the miracle. For decades, his family has faithfully tended to his quirky shrine—a source of hope and inspiration in an otherwise run-down part of town. That is until a deathbed confession knocks them for a loop in this hilarious hit comedy that proves when it comes to local legends, there’s more than meets the eye. Opening night for Miracle on South Division Street is Friday, September 5.
Dudzick calls the play a work of “pure fiction, based on a ‘true’ local legend” as he created the Nowak family to explain the unknown origins of an actual 20-foot-tall brick shrine to the Blessed Virgin Mary in Buffalo built many decades ago by a now-deceased local barber. And while the neighborhood around the shrine has fallen into disrepair, a promise from City Hall has spared the shrine from destruction as it is maintained by local residents.
CAST AND CREATIVE TEAM
Director Hess, a native of Buffalo raised in a large Catholic family, firmly identifies with the blue-collar Nowaks and their devotion to their faith and history. For his four-member Nowak family, he has cast Wendy Barrie-Wilson (All My Sons and Our Town on Broadway) as mother “Clara,” Human Race Resident Artist Jennifer Joplin (Other Desert Cities, God of Carnage) as older daughter “Beverly,” Kyle Nunn (King Lear and The Three Musketeers at Hudson Valley Shakespeare) as son “Jimmy” and Lauren Ashley Carter (Lewis Black’s One Slight Hitch, film Jug Face) as younger daughter “Ruth.” Barrie-Wilson joins Joplin on The Loft Stage for a second time, having costarred in Hess’s 2009 production of Doubt, a Parable. Miracle on South Division Street marks the first appearance with The Human Race for Nunn and Carter, both graduates of University of Cincinnati College-Conservatory of Music, where Hess was their professor.
The scenic designer is Human Race Head Carpenter and Charge Artist Eric Moore (Footloose and The Music Man at the Springfield Summer Arts Festival), making his Loft Stage design debut, the costume designer is Kathie Brookfield (Suessical, Jr. and Annie, Jr. at The Children’s Theatre of Cincinnati) also with her first design for The Human Race, Resident Artist John Rensel (Play It by Heart, Fiddler on the Roof) is the lighting designer and Brian Retterer (Play It by Heart, It’s a Wonderful Life: A Live Radio Play) is the sound designer. Kay Carver is the production stage manager. Human Race Executive Producer Tara Lail is the show’s producer.
Biographies on the cast and creative team can be found on The Human Race Theatre Company’s website.
Performance and special event information
For all performances September 4 – 21, single ticket prices are $45 – $35 for adults, $41 – $32 for seniors and $22.50 – $17.50 for students. Prices vary depending on the day of the week and seating location. Group discounts are available for parties of 10 or more. The Human Race is offering a pair of discount ticket opportunities. Side-area seats are available at all performances for $25 each, on sale two weeks prior to performance. The Sunday, September 7 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 Miracle on South Division Streetare 8:00 p.m. on Wednesday through Saturday evenings. Performances on Sunday and Tuesday evenings begin at 7:00 pm and at 2:00 pm on Sunday matinees. “Lite Fare at the Loft” with food and drink provided by Citilites begins in The Loft Theatre lobby at 5:30 p.m. on Tuesday, September 9. The “While We’re on the Subject” post-show talkback is on Sunday, September 14, immediately following the 2:00 p.m. performance. Tickets and performance information on Miracle on South Division Street are available at www.humanracetheatre.org or by calling Ticket Center Stage at (937) 228-3630, and at the Schuster Center box office.
We’ve got 2 pairs of tickets for some lucky DMM readers. Just “Like’ this post, fill out the entry form below and leave a comment about why you should win tickets to see this show below.
Congrats to ticket winners Harvey & Michael- check your email for info on how to claim your show tickets!
‘Nice People Dancing to Good Country Music’ Review – Dayton Theatre Guild – Lone Star Connections
Colorful characters attempting connection fuels Lee Blessing’s folksy1983 comedy “Nice People Dancing to Good Country Music,” the name of the Houston bar at the center of this simplistic summertime diversion at the Dayton Theatre Guild.
Tough, hot-tempered ex-biker Jim Stools (David Hallowren) owns the bar in question which has undergone a renovation at the hands of his girlfriend Eve Wilfong (Angela Riley). Looking to appeal to the heart as well as the wallet, Eve brings a renewed sense of identity to the establishment, a more welcoming sense of purpose because she feels “there is a power in a message.” While monitoring the bar’s clientele, Eve does her best to offer words of wisdom to her worrisome, peculiar niece Catherine Empanger (Sara Naderer), a novice nun prone to profane outbursts beyond her control. While Eve and Catherine strengthen their bond, dim-witted ditch-digger Roy Manual (Jared Mola) persistently woos Catherine.
(l to r) David Hallowren, Noah Walters and Jared Mola in the Dayton Theatre Guild’s production of “Nice People Dancing to Good Country Music”
(Contributed photo by Craig Roberts)
Small talk about life and love is huge in this lesser glimpse into Blessing’s character-conscious universe, which can be a source of enlightening, thought-provoking dramas (“A Walk in the Woods,” “Going to St. Ives”) or poignant family fare (“Independence,” “Eleemosynary”). The goal of “Nice People” is to merely entertain, which it does, although I wonder what this play could have been if given room to grow more cohesive beyond Blessing’s odd decision to separate genders for the majority of the action, particularly devoting the entire first act to Jim and Roy’s momentum-stalling ruminations on trucks, women and academia.
Thankfully, director Ralph Dennler’s excellently authentic cast smoothly grasps the eccentricities and nuances within this relatable tale. Hallowren, gruff yet astute in one of his strongest leading performances, epitomizes the frustration of a man who allowed a woman to change his existence for the better even though he may not appreciate it every single second of every day. The terrifically earthy Riley, injecting her dialogue with a gentle, Southern wistfulness recalling Horton Foote or Tennessee Williams, captivates as Eve honestly discusses her past heartache and ultimate liberation in an attempt to make Catherine view the world differently. In her Guild debut, the delightful Naderer brings a proper amount of reticence and perplexity to her portrayal of a tightly-wound woman yearning for more. As Roy, the splendid Mola, one of the best chameleons in the Miami Valley, avoids becoming a tiresome, backwards caricature by completely immersing himself into his gawky role physically and mentally. With charming moxie and geeky bravado, Mola keeps Roy’s quest for love incredibly endearing. As Jason, Eve’s mischievous son and Jim’s menace, Noah Walters, in his Guild debut, does an amiable job in an underwritten capacity. Additionally, Blake Senseman’s commendable scenic design is greatly accented by a weathered pickup truck center stage that seemingly becomes Hallowren’s annoying sidekick.
“Nice People” lacks impactful vim and verve, but fine acting and an engaging atmosphere keeps this breezy production fittingly lighthearted.
“Nice People Dancing to Good Country Music” continues through Sept. 7 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act One: 35 minutes; Act Two: 60 minutes. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. 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
Disney’s Resourceful Young Hero & Wise-Cracking Genie Come To Miamisburg
Childrens’ Performing Arts of Miamisburg is proud to present Disney’s Aladdin, Jr. Sept 12-21 at the Memorial Auditorium on South Sixth Street at Park in Miamisburg. This current favorite Broadway hit is popular with kids of all ages! Music written by Alan Menken and Lyrics by Tim Rice and Howard Ashman. Additional lyrics and book adapted by Jim Luigs.With one rub of the magic lamp, you will be transported into a world of color and energy. Hitch a ride on the magic carpet and travel to Agrabah – the City of Enchantment – where every beggar has a story, every camel has a tail and every citizen can sing and dance. When a street urchin falls for the Sultan’s daughter, it’s love at first sight! But the power-hungry Jafar has other plans for these two and he will stop at nothing to become Ruler himself! Enter a cunning and ingenious genie and let the fun begin!
Aladdin Jr performances are Fridays, Sept 12 and Sept 19 at 7:00 pm., Saturdays, Sept 13 and 20 at 2:00 pm and 7:00 pm and Sundays, Sept 14 and 21 at 3:00 pm. Tickets are available from the CPAM website or at the door (subject to availability) Ticket prices are $13 for adults (19-59) and $11 for seniors, students and military. Discount pricing for groups of 10 or more. All performances are at the MEMORIAL AUDITORIUM South Sixth Street at Park in Miamisburg. For more information, call 937 867 0353.
Children’s Performing Arts of Miamisburg (CPAM) is a non-profit children’s theater dedicated to promote, to all area youth, the appreciation of the performing arts through education, practice and performance. Our goal is to enrich the lives of those participants by strengthening the performing arts community.
Twisted Cabaret A Decadent Dish
A one night only event,Twisted Cabaret is a music and dance extravaganza geared for mature audiences, hosted by the one and only, Mahoganay Halsten Soule as a fundraiser for the Women and Dance fall concert, Opening Doors. Twisted Cabaret will transport you back to the decadent cabaret shows of the 1920s and 30s, brought forward with a contemporary and mischievous twist! The evening of performance will feature dance, live music, comedy and theater. Twisted Cabaret is an experience you will never forget!
Twisted Cabaret is a one night event which takes place at 1101 E 2nd St, Suite 2120, Dayton, Ohio 45403. Doors open at 8:30pm.
An evening at the Twisted Cabaret begins with Cocktail Time at half past 8 o’clock followed by The Show at 9pm. After The Show, there’s only one thing left to do, and that’s to party with the entertainers!
For more information go to www.LauranaWong.com
August 23, 2014
8:30PM
Tickets for Twisted Cabaret are only $20 and available now at www.BrownPaperTickets.com
Space is very limited
#dateyourcity
New Theater Group Aims To Inspire Millennials
The art scene in Dayton is continuing to grow with the addition of The Playground Theatre, a not-for-profit movement Jenna Burnette and Christopher Hahn founded to bridge the gap between theatre and film.
“We know in this day and age people are more likely to go see a movie than a play,” the cofounders said. “Our plan is to perform staged adaptations of popular films, contemporary plays and brand new works.”
The two co founders were living in Chicago when the plan for The Playground came about in 2013. Jenna had interned for Profiles Theater and both participated in several acting intensives. While there, the idea of building a theatre company started to form. Not satisfied with where life was taking them, one night the idea of starting a theater company came to mind. The two started bouncing around ideas and the more they talked about it, the more excited they got. These Dayton natives decided it was time to return home and start it here.
The two approach theater with a very simplistic vision: focusing more on the imagination. Thus the name: The Playground. They wanted to encompass their view of acting by focusing on the imagination, much like a child.
“A child at play has nothing but their imagination driving them,” Jenna said.
The less props, costumes, or sets, the better. They believe wholeheartedly in the situation they have created within the imagination, wanting the main focus to be on the actor and the story. Eventually they want to have a permanent theater location downtown, but for now are renting space where they can find it.
“We are the voice of a younger generation and we want to approach theatre in a new way,” Jenna said.
The Playground’s first production they plan to bring to the stage is The Breakfast Club later this year. Their hope is that the well known film will generate interest and attract a new audience. The Breakfast Club will not be showing until later this year and they’ll be treating it as a fundraiser instead of selling tickets. Casting for the show will begin in late August. They hope to give opportunities to those that are aspiring actors and those that want to explore their artistic abilities.
“We hope to inspire our community,” they said. “We really want to encourage people to be bold and fearless. In life, we think it is important to take a
chance, get outside of your comfort zone, and hopefully make some discoveries about yourself.”
You can keep up with The Playground on their website http://www.theplaygroundtheatre.org/ or on social media. You can also find them on Aug. 17 at 3rd on Third.
