Recognized as one of the country’s best Elvis impersonators, Mike Albert will perform all of your favorite Elvis hits. Accompanied by the big “e” band, his award-winning tribute to “the king” returns to La Comedia for an encore performance.
On Stage Dayton
Tender ‘Sugarhill’ Wins Dayton Playhouse FutureFest
Playwright Linda Ramsay-Detherage (Contributed photo by Art Fabian)
Playwright Linda Ramsay-Detherage of Detroit received top honors Sunday, July 27 at the 24th annual Dayton Playhouse FutureFest of new plays for her World War II-era Southern family dramedy “Sugarhill,” a compelling exploration of race, heartbreak and hope.
Set in the fictional titular Louisiana town in December 1941, “Sugarhill,” also named the Audience Favorite, scored highest among a commendable field of six original, developing plays adjudicated within criteria including theme, style/language, dramatic structure, character development, story/plot, pacing, page-to-stage, and the next stage. Delicately directed by Debra Kent, the engaging, whimsical play, which requires the audience to take a great leap of faith in its final moments, featured an excellently authentic cast consisting of Cassandra Engber as the grieving, mentally unstable Marietta Trudeau, Dave Nickel as Civil War veteran and Marietta’s imposing grandfather Captain John Youngblood, Lynn Kesson as the family’s devoted French nurse Yvette Degas, Franklin Johnson as black runaway Mr. Franklin, an impressively tranquil Rick Johns as Marietta’s injured, unresponsive husband Tom, Cheryl Mellen as Marietta’s testy sister-in-law Laurel, and Jamie McQuinn as Laurel’s merciless husband Davis. The family ultimately defies the racist Jim Crow laws of the period due to the transformative nature of Mr. Franklin’s impactful presence and influence in their lives.
“It really feels wonderful and I’m very delighted that so many people were entertained by ‘Sugarhill,’” said Ramsay-Detherage, who received a $1,000 prize for her accomplishment. “It’s so nice to have been able to put something beautiful out there for an audience. Good plays, especially the ones I have had the good fortune of performing in, tend to be less about what the characters are thinking and more about what their behavior is. It’s up to the actors and directors to figure out what their inner life is. My job was to look at the situation of the play and also find the right time period. I really wanted to create a character that lived through the Civil War and came out of it with some kind of positive conclusion. How long does it take to change your point of view over owning slaves? Does it take 100 years when it’s all ingrained in you? So, it suited my purposes to create a character who remembered the Civil War while also creating someone like Marietta who experienced electroshock therapy, which began in 1937. In the end, I chose to set ‘Sugarhill’ right before Pearl Harbor started because the characters being unaware that event is coming changes the way we see their point of view.”
As a professional actress, Ramsay-Detherage has participated in many staged readings, but viewing the FutureFest experience left an indelible mark. After all, the Playhouse’s mission to produce six plays in three days, a daunting task overseen by FutureFest program director Fran Pesch, places the organization in a league of its own within the national theater scene.
“I’ve never seen a theater do what the Playhouse did in my entire life,” she said. “The atmosphere is so full of love as well. My fellow playwrights felt the same.”
“There were some well-written, directed and performed scripts over the weekend so we had our work cut out for us,” added Kent, who staged last year’s FutureFest co-winner “A Position of Relative Importance.” “But my cast’s love for our play never faltered. They were focused and ready to go at performance time. I am so proud of them and their dedication. During rehearsals, there was more than one discussion about the futuristic or magical quality in our play. Neither my cast nor I had a problem believing in the magic. The actors portrayed the characters in the play as real people with real problems. We all need some magic in our lives from time to time. Sometimes things happen that we cannot explain.”
Kent, who will stage the local premiere of David Lindsay-Abaire’s “Good People” for the Dayton Theatre Guild this fall, particularly embraced FutureFest with familiar excitement. She enjoys the discoveries that arise from working with a fresh script.
The cast of “Sugarhill” (l to r): Jamie McQuinn, Cheryl Mellen, Franklin Johnson, Lynn Kesson, director Debra Kent, Dave Nickel, Rick Johns, and Cassandra Engber. (Contributed photo by Art Fabian)
“I have been fortunate to direct a couple of terrific new plays for FutureFest,” she said. “I love the thought that my actors and I are breaking new ground and putting a brand new work on its feet for an audience to see. We break open a new script and look for the treasures and new ideas the playwright has given us. There is such love for the craft in the FutureFest crowd, and it comes not only from the playwright but also the people on the stage, behind the scenes and from the audience. Not everyone would give up literally weeks of time to rehearse a play that will only be seen once or purchase a ticket to see six full-length plays in just one weekend. FutureFest attendees are exceptional theatergoers.”
Chosen from 151 submissions from across the country, the remaining finalists were: “Wash, Dry, Fold,” a terrific account of Louisiana sisters coping with past heartache while caring for their disgruntled uncle emotionally wounded by the Vietnam War by Nedra Pezold Roberts of Atlanta; “The Humanist,” a contemporary, intelligent and stinging look at the foibles and tenacity of a humanities professor by Kuros Charney of New York City; “The Killing Jar,” a story of art and feminism by Jennifer Lynne Roberts of San Francisco; and Dayton native/Woodland Hills, California resident M.J. Feely’s “The Paymaster,” an Irish-centric story of heritage and loyalty, and “Masterwork,” concerning an ailing playwright’s final endeavor.
This year’s adjudicators were Roger Danforth (artistic director of the Drama League Directors Project), David Finkle (theater critic for “Huffington Post”), Faye Sholiton (a Cleveland playwright who won the 1997 FutureFest for “The Interview”), Helen Sneed (who has held numerous artistic posts in New York City and has judged FutureFest for over 20 years), and Eleanore Speert (Speert Publishing).
In addition, first-rate performances extended beyond “Sugarhill.” Sharp, wonderfully layered portrayals were delivered by Mike Beerbower, Megan Cooper and J. Gary Thompson (“The Paymaster,” directed by Saul Caplan), Sarah Gomes, the aforementioned Thompson, Annie Pesch, Jon Hung, and Geoff Burkman (“The Killing Jar,” directed by Kathy Mola), Dorothy Michalski, Stefanie Pratt, David Williamson, Wendi Michael, and Scott Knisley (“Wash, Dry, Fold,” directed by Teresa High), Shawn Hooks, Jennifer Lockwood, the aforementioned Pesch, and Matt Lindsay (“The Humanist,” directed by Jim Lockwood), and Charles Larkowski, Debra Strauss, Val Beerbower, the aforementioned Mellen, and Dave Gaylor (“Masterwork,” directed by Fran Pesch).
My FutureFest Rankings:
1. “Wash, Dry, Fold”
2. “Sugarhill”
3. “The Humanist”
4. “The Killing Jar”
5. “The Paymaster”
6. “Masterwork”
Don’t Let The Lights Go Out At The Human Race
No support = No shows = No Human Race Theatre!
The Human Race makes theatre from the ground up. They employ both local and nationally acclaimed actors, directors, musicians, technicians, etc. We build our own sets and costumes. They do their own fundraising and marketing. They offer educational opportunities to students (youth and adult) throughout the year with coaching, classes, and performance opportunities.
Outside of producing contemporary and classic pieces since 1986, over the past decade they have produced over 40 NEW works of theatre. Through thei Music Theatre Workshops and Marsha Hanna New Play Workshops, they foster the creation of NEW theatre by providing an artistic home for the next generation of writers, and composers!! They’ve produced new works by such well known artists as Adam Gwon, Stephen Schwartz, Michael Kooman & Christopher Dimond, Gordon Greenberg & Tommy Newman, Janece Shaffer, Michael Slade, Brian Yorkey AND…they are one of only a handful of theatre companies nationally that do this!!!! No Joke!
Basically, they do it all…and they do it for the audience, the dedicated 
supporters, artists, the industry, and for the betterment of the community.
In order to keep The Human Race Alive- we, as a community need to help support them. Today they’ve launched an online campaign to ask for your help. Check it out here at GoGetFunding.com
‘Once On This Island’ Review – Epiphany Lutheran Church – Vibrant Storytellers
(L to R) Back Row: Desmond Thomas, Kathy Meyer, Kandis Wean, Bryan Burckle. Front Row: Brianna Russ in Epiphany Lutheran Church’s production of “Once On This Island”
(Contributed photo by Charles Woodward)
The Epiphany Players Drama Ministry of Centerville’s Epiphany Lutheran Church delivers a wonderfully heartfelt, joyously sung production of the1990 Tony Award-nominated musical “Once On This Island.”
Composed by Tony winners Lynn Ahrens and Stephen Flaherty (“Ragtime”) and adapted from Rosa Guy’s 1985 novel “My Love, My Love,” this Caribbean-immersed show inherently appeals with its straightforward, touching emphasis on a young peasant girl’s coming-of-age. The effervescent yet strong-willed Ti Moune (sprightly portrayed by the winsome Brianna Russ) adores the wealthy Daniel (a charming, sensitive Timmy Seiler) but is tested by her gods to embark on a journey that will ultimately explore the depths of her love. In spite of prejudice and adversity, Ti Moune risks her life for Daniel, propelling engrossing themes of acceptance, sacrifice and hope to compelling degrees.
The musical’s delightful structure requires the action to come forth by way of multiple storytellers, which director/choreographer Megan Wean Sears handles with aplomb as her exuberant cast cheerfully pulls the audience into Ti Moune’s whimsical world. Anyone who saw Sears’ exemplary production of “Joseph and the Amazing Technicolor Dreamcoat” last summer at Epiphany knows how effortlessly she guides a large ensemble, and her 60-member cast of varying ages does not disappoint. The excitement, suspense and tenderness within the tale is not lost as the cast, maintaining credible dialect throughout, grounds the proceedings with an earthy vivacity bolstered by Ahrens and Flaherty’s terrific score marvelously bookended by the ensemble-driven “We Dance” and “Why We Tell the Story.” Sears also provides excellently fluid stagecraft for the bouncy “Some Say” and the dramatic, nearly show-stopping “Pray.”
In addition to the aforementioned Russ and Seiler, Sears’ strong principals are committed and engaging. As the four omnipresent gods, Kathy Meyer (Asaka, mother of the Earth), Desmond Thomas (Papa Ge, demon of death), Kandis Wean (Erzulie, goddess of love) and Bryan Burckle (Agwe, god of water) are a colorfully commanding quartet. The radiant Meyer particularly brings gospel-tinged vivaciousness to the toe-tapping Act 1 finale “Mama Will Provide.” The delectably evil Thomas displays dynamic intensity and powerful vocals. The expressive, graceful Wean is a compassionate presence supplying a beautiful rendition of “The Human Heart” filled with poignancy and soul. Burckle joins Thomas in conveying imposing authority and a fittingly intimidating aura. Elsewhere, the emotional Meghan Rupper (in a first-rate, breakthrough performance) and amiable Michael Shannon gently coalesce as Ti Moune’s devoted parents Mama Euralie and Tonton Julian. Allie Tura (Andrea), Eryn Barrett (Little Girl), Liza Russ (Little Ti Moune), David Egbert (Armand), Hilary Fenwick (Madame Armand), Larry Klueber (Daniel’s Father), Brian Hoff (Gatekeeper), Mia Bridgman (Peasant Girl) and Noah Brush (Daniel’s Son) are equally notable.
Also, D. Tristan Cupp’s exotic scenic design skillfully captures the essence of the French Antilles. Costumers Maria Klueber and Lori Watamaniuk utilize the island motif with personality, particularly the regal garments reserved for the gods. Bryan Miller’s expert lighting, Chris Pentecost’s sound design, and Adrienne Ausdenmoore and Jason Hamen’s efficient props are great assets. Musical director David Brush leads a fine six-piece orchestra adeptly handling the flavorful rhythms within the score.
If you’re looking for a theatrical getaway this weekend, make this “Island” your destination.
“Once On This Island” continues through July 20 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursdays-Saturday at 7:30 p.m. and Sunday at 2:30 p.m. Act One: 45 minutes; Act Two: 35 minutes. Tickets are $15 for adults and $10 for seniors (60 and over) and children (12 and under). Patrons are advised the show is double-cast. For tickets or more information, call (937) 433-1449 ext. 105or visit www.epiphanydayton.org
Saluting Dayton’s 2013-14 Theater Season
Looking back on Dayton’s commendable 2013-14 theater season, appealing stories reflecting cries of revolution, love and forgiveness, identity and family, and
relationships beyond repair gave audiences thought-provoking, richly rewarding memories.
Wright State University certainly triumphed with an exceptional Les Misérables which catapulted its musical theater component to astonishing degrees from performance to design. The beautiful complexity of The Magic Fire, the wonderful earthiness of Oklahoma!, and the dynamic electricity within The Wild Party also gave the organization cause to celebrate. Collegiate stages elsewhere saw fine work at Sinclair Community College (fittingly bookended by the riotous Monty Python’s Spamalot and A Flea in Her Ear) and in the University of Dayton’s A Funny Thing Happened on the Way to the Forum featuring the final set design of scenic/lighting designer Darrell Anderson who retired after 40 years of service.
In addition, the Dayton Theatre Guild notably delivered a terrific, well-balanced season heightened by its outstanding, superbly designed local premiere of Time Stands Still, an engrossing drama about a New York couple at odds. The Guild also provided praiseworthy accounts of hypocrisy (An Inspector Calls) and desperation (The Dead Guy). The Dayton Playhouse built momentum last summer with an impressive, historic tie for top honors at FutureFest: A Position of Relative Importance and The King’s Face. Additional Playhouse highlights included The Whales of August (helmed by FutureFest co-founder John Riley), Working, and a very entertaining Hairspray. Brookville Community Theatre’s The Importance of Being Earnest and Lebanon Theatre Company’s Into the Woods flew under the radar but delighted all the same. Leading the pack of special theatrical events, Epiphany Lutheran Church offered an absolutely luminous, smile-inducing Joseph and the Amazing Technicolor Dreamcoat.
Professional companies reaped its share of successes as well. The Victoria Theatre Association’s Premier Health Broadway Series particularly supplied the wondrously inventive local premiere of the Tony Award-winning War Horse and a joyously heartfelt, smartly reconceived national tour of Disney’s Beauty and the Beast. The Human Race Theatre Company brought a refreshingly intimate vision to Fiddler on the Roof and boldly resurrected Torch Song Trilogy with power and passion to enlighten a new generation. The emerging Dare to Defy Productions auspiciously joined the professional ranks with a very winning I Love You, You’re Perfect, Now Change. Zoot Theatre Company took an enjoyable leap into the musical theater realm with The Rocky Horror (Puppet) Show while showcasing its pedigree with an insightful, imaginative Animal Farm.
Assessing the 60 shows I saw this season, I congratulate the following winners (in bold) and nominees.
BEST PROFESSIONAL PRODUCTION OF A PLAY
Animal Farm, Zoot Theatre Company
Other Desert Cities, Human Race Theatre Company
Torch Song Trilogy, Human Race Theatre Company
War Horse, Victoria Theatre Association
BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
Fiddler on the Roof, Human Race Theatre Company
I Love You, You’re Perfect, Now Change, Dare to Defy Productions
Play it By Heart, Human Race Theatre Company
The Rocky Horror (Puppet) Show, Zoot Theatre Company
BEST PROFESSIONAL TOURING MUSICAL
Bring it On: The Musical, Victoria Theatre Association
Disney’s Beauty and the Beast, Victoria Theatre Association
Memphis, Victoria Theatre Association
Million Dollar Quartet, Victoria Theatre Association
Sister Act, Victoria Theatre Association
BEST COMMUNITY THEATER PRODUCTION OF A PLAY
An Inspector Calls, Dayton Theatre Guild
The Dead Guy, Dayton Theatre Guild
The Importance of Being Earnest, Brookville Community Theatre
Time Stands Still, Dayton Theatre Guild
The Whales of August, Dayton Playhouse
BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
The Gifts of the Magi, Dayton Theatre Guild
Hairspray, Dayton Playhouse
Into the Woods, Lebanon Theatre Company
Working, Dayton Playhouse
BEST COLLEGIATE PRODUCTION OF A PLAY
A Flea in Her Ear, Sinclair Community College
A Shayna Maidel, Sinclair Community College
Harvey, Wright State University
The Magic Fire, Wright State University
BEST COLLEGIATE PRODUCTION OF A MUSICAL
A Funny Thing Happened on the Way to the Forum, University of Dayton
Les Misérables, Wright State University
Monty Python’s Spamalot, Sinclair Community College
Oklahoma!, Wright State University
The Wild Party, Wright State University
BEST NEW WORK 
Hal Borden’s A Position of Relative Importance, Dayton Playhouse FutureFest
Marya Spring Cordes and Sean Michael Flowers’ Guarding Gold Street, Human Race Theatre Company
Steven Young’s The King’s Face, Dayton Playhouse FutureFest
Michael Kooman and Christopher Dimond’s The Noteworthy Life of Howard Barnes, Human Race Theatre Company
Tom Coash’s Veils, Dayton Playhouse FutureFest
BEST SPECIAL THEATRICAL EVENT
The Best of Broadway, Dayton Philharmonic Orchestra and Human Race Theatre Company
Black Violin, Victoria Theatre Association
Joseph and the Amazing Technicolor Dreamcoat, Epiphany Lutheran Church
Ragtime, Vandalia Youth Theatre Company
The Signature: A Poetic Medley Show Season 7 Opener, Oral Funk Poetry Productions and Human Race Theatre Company
BEST LEADING ACTOR IN A PLAY
Cameron Blankenship as Elwood P. Dowd, Harvey
Alex Carmichal as James Goodwin, Time Stands Still
Christopher Hahn as Eldon Phelps, The Dead Guy
Josh Katawick as Prince Harry of Monmouth, The King’s Face
Charles Larkowski as Arthur Birling, An Inspector Calls
Jamison Stern as Arnold Beckoff, Torch Song Trilogy
BEST LEADING ACTRESS IN A PLAY
Cassandra Engber as Sarah Goodwin, Time Stands Still
Marcia C. Nowik as Sarah Webber, The Whales of August
Jennifer Joplin as Brooke Wyeth, Other Desert Cities
Taylor Montgomery as Veta Louise Simmons, Harvey
Annie Pesch as Samar, Veils
Kate Young as Polly Wyeth, Other Desert Cities
BEST LEADING ACTOR IN A MUSICAL
Mark Beyer as Burrs, The Wild Party
JJ Parkey as Dr. Frank N. Furter, The Rocky Horror (Puppet) Show
Darick Pead as the Beast, Disney’s Beauty and the Beast
Drew Pulver as Tevye, Fiddler on the Roof
Andrew Quiett as Jean Valjean, Les Misérables
Brian Sharp as Edna Turnblad, Hairspray
BEST LEADING ACTRESS IN A MUSICAL
Rachel Coloff as Golde, Fiddler on the Roof
Paige Dobkins as Queenie, The Wild Party
Hilary Maiberger as Belle, Disney’s Beauty and the Beast
Sharva Maynard as Naomi Jasper, Play it By Heart
Lee Merrill as June, Guarding Gold Street
Jasmin Richardson as Felicia Farrell, Memphis
BEST SUPPORTING ACTOR IN A PLAY
Eric Arntz as Squealer, Animal Farm
Tommy DiMassimo as Gianni “Juan” Guarneri, The Magic Fire
John Hacker as Alan, Torch Song Trilogy
Charles Larkowski as Johnathon Bradmore, The King’s Face
Tray Shelton as Don Carlos Homenides de Histangua, A Flea in Her Ear
John Spitler as Charles, 45 Seconds From Broadway (Dayton Theatre Guild)
BEST SUPPORTING ACTRESS IN A PLAY
Amy Askins as Gina Yaweth, The Dead Guy
Patty Bell as Raylean, 45 Seconds From Broadway (Dayton Theatre Guild)
Annie Branning as Sybil Birling, An Inspector Calls
Debra A. Kent as Arlene, 45 Seconds From Broadway (Dayton Theatre Guild)
Patricia Linhart as Lady Blues/Mrs. Beckoff, Torch Song Trilogy
Debra Strauss as Cindy, 45 Seconds From Broadway (Dayton Theatre Guild)
BEST SUPPORTING ACTOR IN A MUSICAL
Mark Beyer as Enjolras, Les Misérables
Drew Helton as Motel, Fiddler on the Roof
Bobby Mitchum as Willy Porter, The Gifts of the Magi
William “Kip” Moore as Ironworker, Publicist, Retiree and Father/Son, Working
Andrew Quiett as Jud Fry, Oklahoma!
Zack Steele as Marius, Les Misérables
BEST SUPPORTING ACTRESS IN A MUSICAL
Kay Bosse as Nan, Guarding Gold Street
Natalie Houliston as Eddie and Dr. Scott, The Rocky Horror (Puppet) Show
Caitlyn Larsen as Yente/Grandma Tzeitel, Fiddler on the Roof
Kelli Locker as Velma Von Tussle, Hairspray
Liz Romey as Eponine, Les Misérables
Amy Wheeler as Fantine, Les Misérables
BREAKTHROUGH MALE PERFORMANCE
Ian Benjamin as Thenardier, Les Misérables
A.J. Breslin as Duvid Pechenik, A Shayna Maidel
Andrew Briner as John Worthing, The Importance of Being Earnest
Chris Carter as Milky White, Into the Woods
Law Dunford as Inspector Javert, Les Misérables
Leonardo Santucci as Eric Birling, An Inspector Calls
BREAKTHROUGH FEMALE PERFORMANCE
Alyssa Brembeck as Maddalena Guarneri, The Magic Fire
Tori Kocher as Penny Pingleton, Hairspray
Caitlyn Maurmeier as Sheila Birling, An Inspector Calls
Cassie Mikat as Madame Thenardier, Les Misérables
Kelsey Pohl as Kate, The Wild Party
Katrina Pontius as Cecily Cardew, The Importance of Being Earnest
Scott Stoney
BEST DIRECTION OF A PLAY
Geoff Burkman, The King’s Face
Debra A. Kent, Time Stands Still
Lee Merrill, The Magic Fire
Margarett Perry, Other Desert Cities
Scott Stoney, Torch Song Trilogy
BEST DIRECTION OF A MUSICAL
Jamie Cordes, The Wild Party
Gina Kleesattel, Monty Python’s Spamalot
W. Stuart McDowell, Les Misérables
Kevin Moore, Fiddler on the Roof
Megan Wean Sears, Joseph and the Amazing Technicolor Dreamcoat
Teressa Wylie McWilliams
BEST CHOREOGRAPHY
Andy Blankenbuehler, Bring it On: The Musical
Teressa Wylie McWilliams, Oklahoma!
Jermaine R. Rembert, Memphis
Megan Wean Sears, Joseph and the Amazing Technicolor Dreamcoat
Dionysia Williams, The Wild Party
BEST SCENIC DESIGN OF A PLAY
Michael Amico, Harvey
Fred Blumenthal, 45 Seconds From Broadway (Dayton Theatre Guild)
Tamara L. Honesty, Other Desert Cities
Chris Newman, An Inspector Calls
Blake Senseman, Time Stands Still
BEST SCENIC DESIGN OF A MUSICAL
Darrell Anderson, A Funny Thing Happened on the Way to the Forum
Dick Block, Fiddler on the Roof
Pam Knauert Lavarnway, Les Misérables
Chris Newman, Hairspray
Terry Stump, Monty Python’s Spamalot
Carol Finley
BEST COSTUME DESIGN OF A PLAY
D. Bartlett Blair, Harvey
David J. Castellano, The Magic Fire
Carol Finley, An Inspector Calls
Kathleen Hotmer, A Flea in Her Ear
Janet G. Powell, Other Desert Cities
BEST COSTUME DESIGN OF A MUSICAL
D. Bartlett Blair, Les Misérables
Steve Burton and Tim Grewe, Hairspray
Kathleen Hotmer, Monty Python’s Spamalot
Maria Klueber and Lori Watamaniuk, Joseph and the Amazing Technicolor Dreamcoat
Lisa Loen, Oklahoma!
BEST LIGHTING DESIGN OF A PLAY
Daniel Brunk, A Shayna Maidel
David Corson, Time Stands Still
John Falkenbach, The King’s Face
Samantha Jelinek, The Magic Fire
Erin Jones, Harvey
BEST LIGHTING DESIGN OF A MUSICAL
Matthew P. Benjamin and Erin Jones, Les Misérables
Joe Beumer, Monty Python’s Spamalot
Timothy A. Guth, Joseph and the Amazing Technicolor Dreamcoat
Kody Lupori, The Wild Party
John Rensel, Fiddler on the Roof
K.L Storer
BEST SOUND DESIGN OF A PLAY
Nathan D. Dean, Animal Farm
Richard M. Dionne, Torch Song Trilogy
James Dunlap, The Magic Fire
Fran Pesch, Veils
K.L Storer, Time Stands Still
BEST SOUND DESIGN OF A MUSICAL
Nathan D. Dean, Fiddler on the Roof
James Dunlap, Les Misérables
James Dunlap, Oklahoma!
Kai Harada, Million Dollar Quartet
Cody Spencer, Bring it On: The Musical
BEST ORCHESTRA
Hairspray (Musical Director: Judy Mansky)
Monty Python’s Spamalot (Musical Director: Daniel Greene; Conductor: Dr. Kenneth Kohlenberg)
Les Misérables (Musical Director: Scot Woolley)
Oklahoma! (Wright State) (Musical Director: Scot Woolley)
The Wild Party (Musical Director: Sherri Sutter; Conductor: Ian Benjamin)
BEST PROPERTIES
Jason Hamen and Adrienne Niess, Joseph and the Amazing Technicolor Dreamcoat
John Lavarnway, Les Misérables
John Lavarnway, The Magic Fire
Tina McPhearson and Chris Newman, Hairspray
Blake Senseman and Deirdre Bray Root, Time Stands Still
SPECIAL ACKNOWLEDGMENTS
• Jacklyn Alexa’s prosthetics/makeup, Jim Foreman and Amanda Gray’s properties, Charles Larkowski’s music selections, Fran Pesch’s set design, Deirdre Root’s costumes, and Blake Senseman’s props and extractor fabrication for The King’s Face
• George Abud, Jay Brunner, Brent Eresman, and Joel Greenberg as the kletzmer band of Fiddler on the Roof
• Michael and Sandy Bashaw’s music accompaniment for Fellow Passengers (Dayton Playhouse)
• Julia Brown’s piano accompaniment and Josh Vantilburgh’s violin accompaniment for I Love You, You’re Perfect, Now Change
• Bruce Brown’s scenic design for Joseph and the Amazing Technicolor Dreamcoat
• Tiffany Cichanowicz as Dream Laurey in the Dream Ballet of Oklahoma! choreographed by Barbara Pontecorvo (Dayton Playhouse)
• Deb Colvin-Tener, Jamie Cordes, Marya Spring Cordes, Scott Hunt, Patricia Linhart, Claire Northcut, Katie Pees, Jay Pierce, Scott Stoney, and Michelle Zimmerman in The Best of Broadway
• Megan Cooper, Franklin Johnson and Charles Larkowski as Ebenezer Scrooge and others in Fellow Passengers (Dayton Playhouse)
• John Countryman as Jerry Lee Lewis, Tyler K. Hunter as Elvis Presley, Scott Moreau as Johnny Cash, and H. Bradley Waters as Carl Perkins in Million Dollar Quartet
• D. Tristan Cupp and Leesa Haapapuro’s puppet design for Animal Farm
• Jackie Darnell, Zach King, Bobby Mitchum and Mackensie Vonderbrink in I Love You, You’re Perfect, Now Change
• Fred Garbo, Joe Deer, Lula Elzy, Douglas Merk, and Timothy Olt fashioning “The Circus McGurkus” for Seussical (Muse Machine)
• Director Steven Haines and Bryan Wallingford as the Baker for Into the Woods
• David Hallowren as Jud Fry, Karen Righter as Aunt Eller and Jeff Sams as Curly in Oklahoma! (Dayton Playhouse)
• David Hallowren as Ebenezer Scrooge, Leonardo Santucci as the Ghost of Christmas Present, and Maximillian Santucci as Jacob Marley in A Christmas Carol: A Radio Play (Undercroft Players)
• Mathys Herbert as Otto Berg in The Magic Fire
• Tony Ray Hicks’ costumes for Fiddler on the Roof
• Joshua Hughes’ rendition of “Those Canaan Days” in Joseph and the Amazing Technicolor Dreamcoat
• Director Lisa Howard-Welch and Patti King as Lady Bracknell for The Importance of Being Earnest
• Jux-ta-posed, Sinclair’s presentation of new works, featuring Nelson Sheeley’s The Art of Dying and John Ray’s Gilligan, the Titanic, and Other Small Tragedies
• Annettte Looper’s choreography for Hairspray
• The Muse Machine’s All You Need is Love: The Music of the Beatles and Friends summer concert featuring Amber Knicole’s renditions of “Eleanor Rigby” and “Hey Jude”
• Chris Newman’s scenic design for Fellow Passengers and Oklahoma! (Dayton Playhouse)
• John Riley’s scenic design for The Whales of August
• Director Bijan Sheibani, Handspring Puppet Company’s puppetry, Tony-winning sound designer Christopher Shutt, and Karen Spahn’s adaptation of Paule Constable’s Tony-winning lighting design for War Horse
• Linda Sellers’ costumes for The Gifts of the Magi
• K.L. Storer’s music selections for Time Stands Still
• Deborah Thomas’ dialect coaching and Lydia Watson’s scenic design for The Magic Fire
• Rodney Veal’s choreography for Monty Python’s Spamalot
• Luke Williams’ piano accompaniment for The Gifts of the Magi and Into the Woods
• Ayn Kaetchen Wood’s costumes for The Rocky Horror (Puppet) Show
• Ray Zupp’s set design for I Love You, You’re Perfect, Now Change
‘Play it By Heart’ Review – Human Race Theatre Company – Sing Out, Jeannine!
Trisha Rapier as country music legend Jeannine Jasper along with J.J. Tiemeyer, Cooper Taggard and Christine Brunner as backup vocalists in “Play it By Heart” (Photo by Scott J. Kimmins)
Three generations of strong Southern women feud and reconcile against the backdrop of changing dynamics within the country music industry in “Play it By Heart,” a promising new musical still navigating its path as evidenced in its Human Race Theatre Company regional premiere at the Loft Theatre.
In this sweet but predictable tale, the legendary Jeannine Jasper (Trisha Rapier), a Grammy and Country Music Association winner with a spot in the Grand Ole Opry on the horizon, yearns for retirement to the chagrin of her overbearing, ruthless stage mom Naomi (Sharva Maynard). As mother and daughter wrangle, Jeannine’s irritated, spoiled younger sister Jamie Lynn (Kathryn Boswell) enters the equation with furious bitterness toward Jeannine. Even so, testy situations for the Jaspers stretch beyond the country charts when Billy Tucker (Paul Blankenship), Jeannine’s former flame, suddenly arrives after 20 years to rekindle their chemistry and plan for the future. Billy’s presence quickly releases painful memories which force Jeannine and Naomi to face the music they’ve desperately tried to silence.
Librettist Brian Yorkey (a Tony and Pulitzer Prize winner for “Next to Normal”) conceives an effective dysfunctional family foundation and has a keen perspective for the marketing-driven essence of current country music (especially Jamie Lynn’s ascension as the latest country-pop sensation), but he peculiarly inserts familiar contrivances. In fact, a major plot twist didn’t produce any noticeable gasps from the audience at the performance attended perhaps because it was already a memorable jaw-dropper in the hands of Lisa Kudrow last season on ABC’s “Scandal.” It also isn’t clear what happened to the show’s villain in Act 2 following a dramatic incident involving Jeannine’s father Buck (Scott Stoney), and there should be less focus on Billy in Act 1 which can be replaced by more meaningful moments for the Jasper women to explore their complex emotions. Granted, one of the best musical numbers from the tuneful composing team of David Spangler, Jerry Taylor and R.T. Robinson is the feisty “Sorry!” featuring the ladies in a heated squabble at the kitchen table, but more attention should be paid. Considering the material already contains mild shades of “Gypsy,” I’d specifically like to see Naomi completely release the obvious demons within her inner Momma Rose by singing a substantial, no-holds-barred 11 o’clock number on par with “Rose’s Turn.” And, yes, this can be done with the elimination of Act 2’s unnecessary, testosterone-driven “Good Ol’ Boys.”
Nevertheless, director Kevin Moore skillfully establishes an authentic tone and brisk pacing in addition to assembling an appealing cast. Rapier, a pleasant vocalist seen last season in the Human Race’s production of “Next to Normal,” is an engaging center bringing credence to Jeannine’s frustration with familial concerns and past mistakes. The outstanding, tough-as-nails Maynard intimidates to the hilt as Naomi tries to keep her family together while elements of her world, particularly her financial security, threaten to dissipate. The radiant Boswell is effortlessly vivacious but grows fittingly intuitive as Jamie Lynn comprehends the weight of her existence. Stoney, fortunate to sing the beautiful title number, supplies gentle authority and tenderness. The charming George Psomas adds flavorful comic relief as Naji Habib, a fish-out-of-water music executive from Dubai overseeing Jeannine and Jamie Lynn’s recording ventures. Blankenship could loosen up a bit but his shy demeanor nicely contrasts the extroverted Jaspers. J.J. Tiemeyer schemes and deceives with sharp intensity as Robbie Wilkins, Jeannine’s tour manager. Tim Lile is wonderfully good-natured as Lyle Mount, Jeannine’s former manager. Christine Brunner and Cooper Taggard complete the cast very well in various roles. Brunner is a hoot as perky reporter Debbie Dean who has a funny breakdown late in Act 2. Taggard enjoyably partners with Boswell for “Do I?,” the catchy Act 2 opener choreographed by Megan Wean Sears with playful sexiness.
In addition to Sears, Moore’s first-rate creative team includes scenic designer Adam Koch (adeptly conveying numerous locales from an auditorium and hospital room to a bar and tour bus interior), costumer Christie Peitzmeier (particularly providing lovely gowns for the ladies and appropriate Western gear for the men), lighting designer John Rensel, sound designer Brian Retterer, and music director Nils-Petter Ankarblom who leads an excellently well-balanced onstage band that never feels intrusive.
At a time when country music is evolving beyond its roots and traditional demographics (Florida Georgia Line’s collaborative “Cruise” with Nelly marked a huge cultural shift), “Play it By Heart” runs the risk of feeling out of step in terms of reaching a broader, diverse audience. Still, this project warmly embraces the power of forgiveness and the importance of family, feel-good components likely to secure interest elsewhere following rewrites.
“Play it By Heart” continues through July 6 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are (Through June 29): Wednesday-Saturday evenings at 8 p.m., Tuesday evenings at 7 p.m.; Sunday matinees at 2 p.m.; and (July 1-6): Tuesday-Thursday and Saturday evenings at 7 p.m.; Saturday and Sunday matinees at 2 p.m. Act One: 75 minutes; Act Two: 70 minutes. Tickets are $41-$48 (prices vary depending on performance date and discounts are also available). For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com or humanracetheatre.org.
‘Million Dollar Quartet’ Review – Victoria Theatre Association – That Old Time Rock & Roll
There’s a whole lotta shakin’ goin’ on at the Schuster Center as the outstanding national tour of “Million Dollar Quartet,” nominated for the 2010 Tony Award for Best Musical and based on a true event, lets loose with feel-good exuberance courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.
(l to r) John Countryman, Kelly Lamont, H. Bradley Waters, Corey Kaiser, Scott Moreau, and Tyler K. Hunter (seated) in “Million Dollar Quartet” (Contributed photo)
A jukebox musical written by Colin Escott and Floyd Mutrux unabashedly concerned with tone and era instead of plot or storyline, “Million Dollar Quartet” captures a glimpse of rock and roll history in 100 breezy minutes under Eric Schaeffer’s crisp direction. On Dec. 4, 1956 in Memphis, Tennessee, Sun Records owner Sam Phillips concocted a jam session featuring four titans he discovered: Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley. This immensely talented and unique quartet, whose genuine love of music permeated within their souls, come together at the dawn of their careers, which gives the material an immediately endearing edge beyond the cavalcade of hits. Humorous clashes (primarily instigated by the outspoken Lewis) and interesting tidbits (televangelist Jimmy Swaggart is Lewis’ cousin; Perkins resented Presley for snatching “Blue Suede Shoes,” a hit he wrote and recorded first) keep the action engaging when the fantastic music subsides, but a deeper investigation into the lives and personalities of each artist, including Phillips, would have added considerable substance. Granted, Cash and Perkins provide a relatively juicy slice of drama when revealing their decision to move on from Sun Records, but stakes should have been raised elsewhere. Also, the presence of a random girlfriend for Presley, intended to boost the show’s sex appeal, is particularly superfluous and underwritten.
Nonetheless, this rip-roaring experience thrives on its thoroughly energetic and entertaining foursome who impressively play their own instruments while marvelously embodying the titular legends. Phenomenal pianist John Countryman is a funny firecracker as Lewis, a fiery Southerner longing to write his first hit. Countryman brings incredible passion to “Real Wild Child” and “Great Balls of Fire.” The suave Tyler K. Hunter effortlessly channels the hip-swiveling Presley in “That’s All Right” and “Hound Dog,” but wonderful sensitivity also abounds as he terrifically leads “Memories Are Made of This” and “Peace in the Valley.” As the plain-spoken Perkins, H. Bradley Waters provides satisfying versions of “Who Do You Love?” and “See You Later Alligator.” Scott Moreau is also perfectly cast as the understated Cash, pleasing audiences with toe-tapping renditions of “Folsom Prison Blues,” “Sixteen Tons” and “I Walk the Line.” Vince Nappo brings folksy joy to his portrayal of Phillips, the show’s narrator. As Presley’s current flame Dyanne, Kelly Lamont, who originated the role, seductively captivates in “Fever.” Bass player Corey Kaiser and drummer Patrick Morrow provide first-rate accompaniment.
“Million Dollar Quartet” only scratches the surface of Cash, Lewis, Perkins, Phillips and Presley’s greatness, but it’s an undeniable crowd pleaser just as winning on tour as it was on Broadway.
“Million Dollar Quartet” continues through June 22 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. The production is performed in 100 minutes without intermission. Tickets are $40-$96. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.
Master of the personal, embarrassing tale- Mike Birbiglia Brings Tour To Dayton
Award-winning comedian, author, and filmmaker MIKE BIRBIGLIA returns to the stage with more painfully awkward stories in a show about jokes, and how they can get you in trouble. Join Birbiglia as he he gets arrested in New Jersey, screamed at by a famous director, heckled by Statler and Waldorf, and attacked by zombie rodents. Ira Glass of public radio’s “This American Life” writes“Birbiglia’s stories are even funnier live than they are on the radio.” Time Magazine calls Birbiglia “master of the personal, embarrassing tale.” The New York Times describes him as a “supremely enjoyable monologist.”Recommended for ages 21 and up.
Over the past 12 years comedian MIKE BIRBIGLIA has developed a one-of-a-kind storytelling style in the world of standup comedy. His recent off-Broadway hit, My Girlfriend‘s Boyfriend, won the Lucille Lortel Award for Outstanding Solo Show and was named a Critics Pick by The New York Times, New York Magazine, and Time Out New York. Following a successful New York run, Mike brought the show to more than 70 cities worldwide, including the Sydney Opera House, London’s Soho Theatre, and Carnegie Hall. The show was filmed in Seattle and debuted on Netflix; it was recently released on CD/DVD and on iTunes.
Mike has also made more than 40 network television appearances on shows including “Letterman,””Kimmel,””Conan,””Craig Ferguson,” and “Jimmy Fallon.”He is a regular contributor to the Peabody Award winning radio show “This American Life.” Birbiglia has released four albums, and both The Onion andUSA Today named My Secret Public Journal Live one of “The Best Comedy Albums of the Decade.”
In 2012, Mike directed and starred in the feature film adaptation of his one-man show Sleepwalk With Me. The film won an audience award at the Sundance Film Festival, was released in theaters nationwide by IFC Films and was one of the top three most critically acclaimed comedies of the year on Rotten Tomatoes, with top critics rating it 87 percent.
Currently Mike is touring the country with his all-new show, THANK GOD FOR JOKES, and is planning his follow-up feature film.
Mike Birbiglia will perform one-night only at the Victoria Theatre on Friday, September 12, at 7:30 PM. Tickets are priced $49 and 
$39 and can be purchased at Ticket Center Stage, located in the Wintergarden of the Benjamin and Marian Schuster Performing Arts Center, by calling (937) 228-3630, toll-free (888) 228-3630 or online atwww.ticketcenterstage.com.
Buy your tickets now before they go on sale to the public on June 20! Use code JOKES at www.TicketCenterStage.com/presale by 11:59 p.m. June 19, 2014.*
*Offer expires at 11:59 p.m. on Thursday, June 19, 2014. When buying online or by phone, a $5 service fee is added to each ticket. Subject to availability. Some additional restrictions and additional fees may apply.
From Elvis Tribute Shows To Touring Elvis
It sounds like the beginning of a joke, or some impossible showbiz fairy tale: “Johnny Cash, Elvis Presley, Jerry Lee Lewis, and Carl 
Perkins walk into a recording studio…”
And yet, on December 4, 1956, at Sun Records in Memphis, it happened, and they jammed on record together for the first and only time. Perkins, riding the success of “Blue Suede Shoes,” was in with his band to cut some new material. Cash, a fellow Sun artist and a fan of Perkins, dropped by to listen. Sun’s owner, Sam Philips (“The Father of Rock and Roll”), added Lewis to Perkins’ session in search of a more rockabilly sound. Presley, with a girlfriend in tow, stopped by to say hello. And then, magic happened.
Before they were famous, it wasn’t unusual for several of these guys to play together at rent parties, in after-hours joints—but this was the only time any such summit was preserved for history.
Million Dollar Quartet, the 2010 Broadway musical that dramatizes this meeting, will rock the Benjamin and Marian Schuster Performing Arts Center starting tonight and running June 17 – 22 as part of Victoria Theatre Association’s Premier Health Broadway Series. A litany of classic hits including “Hound Dog,” “I Walk the Line,” “Great Balls of Fire,” “Folsom Prison Blues,” “Fever,” and many more are performed with electric gusto by an unbelievably talented cast of actor/musicians playing their own instruments.
The tour cast includes H. Bradley Waters as Carl Perkins, John Countryman as Jerry Lee Lewis (a role that won Levi Kreis a Tony Award), Scott Moreau as Johnny Cash, and Tyler K. Hunter as Elvis Presley.
Hunter, a country singer who began doing Elvis tribute shows in his youth, has been part of the M$Q tour for a year and a half.
“I’ve never done any acting before,” he said, “or anything like that. I do country music, but they called and asked if I wanted to audition, so I took a bus to New York.”
“It’s a blast,” he said of the show’s process. “When we come into rehearsals, our musical director—Eric Schaeffer, a very talented, smart guy who works the ‘theatre’ side of things—tells us to pick up our instruments and start jamming, like a regular band. Then we throw in the dialogue, and there it is. We’re a band. These guys become like your family, like best friends. It’s a really tight bond.”
When the show premiered on Broadway in 2010, New York Magazine called it “a dazzling raucous spectacle that sounds like a million bucks,” but Hunter downplays that, painting a down-home portrait of four scrappy young fellas as regular joes on the cusp of igniting the world.
“You get an idea of who these guys are and where they come from, ‘50s Memphis. These are buddies just coming in and hanging—real guys, you know? No different from you or me or anybody else.”
He uses that approach to inform his portrayal of Elvis, going for an evocation as opposed to an impersonation. Hunter, who does not resemble Elvis offstage, pulls a transformation onstage and presents a stunning take that evokes The King’s presence.
“A wig, some makeup…I dunno,” he said casually. “There are a few guys out there whoreally look like Elvis, but no one’s going to sound exactly like him. I try to do just enough so if you’re sitting back in your seat and catch a glimpse of me, there’s a split second where you think, ‘Wow, that’s Elvis.’ That’s all it takes, that split second. Then they’re on board with you even if you go somewhere they don’t completely expect.”
“You know, we think about Elvis, probably one of the most famous people since Jesus Christ, and we forget that he was a real person. These were all real people. They had their feelings hurt, they laughed, they did all the same things as us—they just had really cool jobs. When I’m up there, I try to capture that aspect. At this point, he’s 21 years old. He’s a kid. You remember how you were at 21? That’s what I try to capture.”
In Million Dollar Quartet, Hunter-as-Elvis performs songs like “Long Tall Sally” and “Peace in the Valley,” but Hunter dreams of singing his own material someday.
“I’ll always be an Elvis fan, but I would love to do my own thing. I’ve been writing songs for a little while now, and country music is what I grew up on. It comes naturally when I sing. I’m from Nebraska and kind of a redneck, and it’s just who I am. We’ve got some good people coming together to hopefully make a great album of original country music.”
But for now, he knows, The King still reigns.
“I definitely am very grateful and fortunate with the job I have, and the fantastic people I work with. We’re playing live music, which is a blast, and we get to pick up our instruments and play every single day. I really enjoy it, especially the finale. That’s when we get to rock out, just let it all hang out for ten or so minutes.”
Talented musicians jamming together—that’s what Million Dollar Quartet is all about.
“It’s got that raw, bluesy feeling that comes with rockabilly. You get that experience of being a fly on the wall and seeing this really cool moment. It’s not your typical Broadway show. We’re recreating a one-time thing with real people who were just buddies hanging out.”
Performances run from Tuesday, June 17 to Sunday, June 22. Group sales are underway for groups of 20 or more. Groups may call Betty Gould at 937/228-7591 ext. 3074. Tickets start at $25 and are on sale now at Ticket Center Stage, located in the Wintergarden of the Schuster Center, by phone 937-228-3630, toll-free at 888-228-3630 or online at www.ticketcenterstage.com. For information on the production, visitwww.MillionDollarQuartetLive.com
Million Dollar Quartet Opens June 17th **Ticket Contest**
The national tour of the Broadway musical MILLION DOLLAR QUARTET,inspired by the electrifying true story, will make its DAYTON premiere June 17-22 at The Benjamin and Marian Schuster Performing Arts Center as part of Victoria Theatre Association’s Premier Health Broadway Series. Tickets are on sale now at Ticket Center Stage, by calling 937-228-3630, 888-228-3630 or online atwww.ticketcenterstage.com.
The international Tony® Award-Winning musical, MILLION DOLLAR QUARTET is set on December 4, 1956, when an auspicious twist 
of fate brought Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley together. Sam Phillips, the “Father of Rock ‘n’ Roll” who was responsible for launching the careers of each icon, gathered the four legendary musicians at the Sun Records storefront studio in Memphis for the first and only time. The resulting evening became known as one of the greatest rock ‘n’ roll jam sessions in history.
MILLION DOLLAR QUARTET brings that legendary night to life with an irresistible tale of broken promises, secrets, betrayal and celebrations featuring timeless hits including “Blue Suede Shoes,” “That’s All Right,” “Sixteen Tons,” “Great Balls of Fire,” “I Walk the Line,” “Whole Lotta Shakin’ Goin’ On,” “See Ya Later, Alligator,” “Fever,” “Folsom Prison Blues,” “Hound Dog” and more.
Portraying these icons are, H. Bradley Waters as Carl Perkins, John Countryman as Jerry Lee Lewis, Tyler K. Hunter as Elvis Presley and Scott Moreau as Johnny Cash. Vince Nappo plays the “Father of Rock ‘n’ Roll,” Sam Phillips. The cast also features Kelly Lamont as Dyanne, and musicians Patrick Morrow (Fluke, drums) and Corey Kaiser (Jay Perkins, bass). Rounding out the company are: Andrew Frace, Robby Kipferl,Stephanie Lynne Mason, Sean McGibbon, David Sonneborn, and H. Bradley Waters.
The show is directed by Eric Schaeffer and features a book by Colin Escott and Floyd Mutrux. The design team includes: Derek McLane (scenic design), Howell Binkley (lighting design), Jane Greenwood (costume design),Kai Harada (sound design) and Chuck Mead (musical arrangements and supervision).
When the Broadway production opened in April 2010, critics and audiences leapt to their feet in unanimous praise. The New York 
Times called the show, “a buoyant new musical that whips the crowd into a frenzy,” New York Magazine labeled it, “a dazzling raucous spectacle that sounds like a million bucks,” and NY1 called it, “90 minutes of platinum grade entertainment.” The musical continued its successful New York engagement at New World Stages through June 2012.
The longest-running musical production in Chicago’s history, MILLION DOLLAR QUARTET opened in 2008and continues to perform to packed houses at the Apollo Theatre. The West End production played at the Noël Coward Theatre in London in 2011, and a Las Vegas production began performances at Harrah’s Showroom in Las Vegas in February 2013.
MILLION DOLLAR QUARTET won a Tony Award® for Best Performance by a Featured Actor in a Musical and received a Tony Award® nomination for Best Musical and Best Book of a Musical (Colin Escott & Floyd Mutrux). The show received an Outer Critics Circle Award for Outstanding Featured Actor in a Musical, a Drama Desk nomination for Outstanding Musical Revue and three Drama League nominations including Distinguished Production of a Musical and Distinguished Performance.
Performances run from Tuesday, June 17 to Sunday, June 22. Group sales are underway for groups of 20 or more. Groups may call Betty Gould at 937/228-7591 ext. 3074. Tickets start at $25 and are on sale now at Ticket Center Stage, located in the Wintergarden of the Schuster Center, by phone 937-228-3630, toll-free at 888-228-3630 or online at www.ticketcenterstage.com. For information on the production, visit www.MillionDollarQuartetLive.com
DMM Ticket Contest:
We’re sending one lucky winner and their guest to opening night on Tues, June 17th. Like this post, and fill out the form below to be entered in our random drawing. We’ll announce our winner Sunday. [form 55 “DMM Contest Entry – Generic”]
The Human Race Goes Country with PLAY IT BY HEART **Ticket Contest**
The Human Race Theatre Company wraps up its 27th season with a long-awaited four-week run of the country musical Play It by Heart. This fully produced regional premiere is the culmination of a four-year collaboration with The Human Race that began with a residency for the writers in 2009 and a reading in the theatre’s summer 2010 Musical Theatre Workshops program. An early version of the musical premiere at Village Theatre in Washington state in 2005.
Composer/lyricist David Spangler brought the script to the attention of Producing Artistic Director Kevin Moore. “After their production at Village, the writers all went off to work on other projects,” says Moore. “Brian had this little show brewing called Next to Normal. In 2006, we workshopped the musical Nefertiti that David had written with Rick Gore. He and I stayed in touch, and in 2009 he told me about Play It by Heart, and that the writers all wanted to get back to it. I read it, listened to the songs and was hooked.”
The 2010 workshop proved to be a hit. “Our audiences loved it,” exclaims Moore. “Over and over I heard, ‘I’m usually not a country music fan, but I really liked this music and this show.’ It’s a universal story that speaks volumes about family and forgiveness—something that resonates with everyone.” He also praises the score for its potential for mass appeal. “It’s filled with so many ‘radio-worthy’ songs. I wouldn’t be surprised if we hear some of them on the airwaves soon.”
ABOUT PLAY IT BY HEART
It’s the passing of the torch in a country music dynasty as superstar Jeannine Jasper’s long career draws to a close. The changing world of the music industry is about to thrust her little sister, Jamie Lynn, into the spotlight. When an old flame comes calling, Jeannine envisions a quiet life offstage, but Jamie Lynn’s wild ways may cut short her time on top. Stage mother Naomi tries to keep control of her daughters until a scandalous secret comes to light and threatens to tear them apart. A musical about heartbreak and healing, this regional premiere comes alive with an exciting original score filled with new songs from the Nashville Sound to New Country by David Spangler, Jerry Taylor and R.T. Robinson and a book by Pulitzer Prize and Tony Award® winner Brian Yorkey (If/Then, Next to Normal, upcoming The Last Ship).
Tickets for the preview performance of Play It by Heart on June 12 are $25 – $40. For all performances June 13 – July 6, tickets are $25 – $50, depending on availability, seating location and the day of the week desired. Student tickets are half price with valid ID. Group discounts are available for parties of 10 or more. All performances are at the Metropolitan Art Center’s Loft Theatre, located at 126 North Main Street in downtown Dayton, Ohio. Tickets and performance information on Play It by Heart are available at www.humanracetheatre.org or at Ticket Center Stage.
DMM Ticket Contest:
We’ve got 2 pairs of tickets to give away for Play It By Heart to our MostMetro.com readers. Just like and share this post and fill out the form below to be entered in our drawing. Of course a comment below of why you should win always goes a long way to sway the judges! 🙂
Ticket contest is now closed. Congratulations to our winners Kate Good & Rob Strobel!
‘The Dead Guy’ Review – Dayton Theatre Guild – Reality Bites
Chris Hahn and Amy Askins in the Dayton Theatre Guild production of “The Dead Guy” (Contributed photo by Peter Wine)
Would you kill yourself on live TV in a manner determined by viewers for the luxury of spending $1 million
in a week?
Eldon Phelps ponders this intriguing notion hastily in the local premiere of Eric Coble’s fascinating 2005 dark comedy “The Dead Guy,” currently receiving a thoroughly engaging and thought-provoking presentation at the Dayton Theatre Guild deftly directed by Saul Caplan.
At a nondescript bar in the nondescript town of Leadville, unemployed and aloof Eldon (a first-rate, credibly impulsive Christopher Hahn) is persuaded to become the Dead Guy, the focal point of a new reality TV show of the same name created by ruthless producer Gina Yaweth (a splendidly shrewd, fixated Amy Askins). Eldon is the perfect bait because his hopeless indifference about life leads him to believe money and suicide would make him someone to remember in the eyes of his family and community. His logic is terribly flawed, but the decision he faces marvelously addresses the greater concern of desperation within the human condition. What exactly is the price of fleeting fame in today’s society? Have we become numb to entertainment that morphs from frivolous to grotesque? Through Eldon and Gina’s eye-opening perspectives, Coble allows us to fully examine the unsavory yet profitable depths of our media-craved culture and the get-rich-quick schemes that infiltrate the most vulnerable for the titillation of millions.
The very physical Hahn, making his Guild debut following memorable turns at Sinclair Community College, is totally relatable and fittingly rough around the edges. As Eldon’s outlook and bank account evolves, a mild, transformative “Pygmalion”-esque quality encircles him which Hahn embraces with spunk, charm and maturity. He also finds terrific support in Askins, who winningly conveys Gina’s insatiable quest for ratings which leads her on a very unattractive path. Askins is so convincing and captivating in her juicy role you’ll wonder if she has attended her share of reality TV casting calls in our region.
Caplan’s amiable, compatible cast also includes an enjoyably understated K.L. Storer as Gina’s trusty videographer Dougie, Aaron Brewer as Eldon’s modest brother Virgil, a comical Teresa Connair as Eldon’s outspoken mom Roberta, an engaging Angela Timpone as Eldon’s ex-girlfriend Christy, Wayne Wolfe as an assertive Security Guard, the overdue return of Timothy Walling-Moore (excellent in the Guild’s 2010 local premiere of “Kimberly Akimbo”) as Leon, Carly Risenhoover-Peterson as Sheila, and Jenna Burnette as Nancy. Technical issues hindered the performance attended (the action relies heavily on multimedia and props), but the material’s essence wasn’t diminished thanks to the astute cast.
In a savvy move, Gina gives fans of “The Dead Guy” an option for a write-in vote regarding Eldon’s demise. For a split second, I actually thought the vote would be in favor of sparing his life. After all, thanks to Hahn’s fine portrayal, there always seemed to be a glimmer of hope amid the darkness. Well, maybe next season.
“The Dead Guy” continues through June 15 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act One: 50 minutes; Act Two: 55 minutes. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Tickets are $18 for adults, $16 for seniors, and $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org
‘Beauty and the Beast’ Review – Victoria Theatre Association – Delightful Disney Magic
Darick Pead and Hilary Maiberger star in Disney’s “Beauty and the Beast” (Contributed photo)
A top-notch national tour of Disney’s “Beauty and the Beast,” the recipient of nine 1994 Tony Award nominations including Best Musical, has arrived at the Schuster Center as part of the Victoria Theatre Association’s Premier Health Broadway Series.
Based on the beloved 1991 Academy Award-winning film, one of the best animated movies containing one of the best cinematic scores courtesy of Alan Menken and Howard Ashman, “Beauty and the Beast” wholeheartedly succeeds on the wonderfully relatable portrayals of Hilary Maiberger as bookworm Belle and Darick Pead as the troubled Beast. Maiberger, a lovely soprano and radiant stage presence, earnestly conveys Belle’s life-affirming journey of hope, loss and romance with a thoroughly engaging, gently contemporary sensibility. Astutely interpreting Belle’s introverted persona and the particularly deep hurt she feels upon imprisonment reiterated in the marvelous ballad “Home,” her performance beautifully evolves with striking resiliency and tenderness. At the same rate, Pead is an equally magnetic component displaying a humorously gruff temperament that exceptionally dissolves as the Beast learns to love and desires to be loved in order to break an enchantress’ spell. Pead injects some of the finest comedic bits I’ve seen in the role (the Beast’s pre-dinner hissy fit is inspired), but also supplies great vulnerability, especially in the touching Act 1 finale “If I Can’t Love Her.”
Maiberger and Pead are so incredibly compatible you’ll likely find yourself wiping away a few tears when the gorgeous title tune, warmly sung by Kristen Stewart (Mrs. Potts), brings Belle and the Beast together for an elegant dinner and heart-tugging waltz solidifying their unexpected bond.
Elsewhere, and in addition to Stewart, enjoyable supporting portrayals are rendered by Tim Rogan (Gaston), Jordan Aragon (LeFou), Josh Feldman and Jack Mullen (Chip), James May (Cogsworth), Stephanie Moskal (Babette), Hassan Nazari-Robati (Lumiere), Roxy York (Madame de la Grande Bouche), Paul Crane (Maurice), Kieron Cindric (Monsieur D’Arque), and Tony D’Alelio (Carpet). Nazari-Robati in particular winningly leads the exuberantly show-stopping “Be Our Guest” and joyously spine-tingling “Human Again,” two numbers sprightly choreographed by Matt West who also brings colorful, character-conscious flourishes to “Belle” and “Gaston.”
Director Rob Roth, Tony-nominated for his original direction, effortlessly and breezily returns to the material with a complete understanding of the tone and charm of the story and its relationships. He also wisely reassess his original outlook by cutting 10 minutes that used to belong to “No Matter What” and “Maison des Lunes,” new songs Menken wrote with lyricist Tim Rice that didn’t advance the plot. Roth’s splendid creative team includes Tony-winning costumer Ann Hould-Ward, Tony-winning lighting designer Natasha Katz, scenic designer Stanley A. Meyer, sound designer John Petrafesa, Jr., hair designer David H. Lawrence, fight designer Rick Sordelt, puppet designer Basil Twist, and illusion designer Jim Steinmeyer. Music director Kevin Frances Finn conducts a solid, well-balanced orchestra.
If feel-good entertainment is your aim don’t miss “Beauty and the Beast.”
Disney’s “Beauty and the Beast” continues through June 1 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: 80 minutes; Act Two: 50 minutes. Tickets are $40-$111. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.
2014 Dayton Theatre Hall of Fame Inductees Announced
Established in 2001, the Dayton Theatre Hall of Fame was created to honor local theatre artists and patrons of the arts. It is designed to acknowledge people whose life-long participation, innovation, and creativity have influenced the Dayton arts culture.
The Dayton Theatre Hall of Fame was created as a way to recognize individuals who have dedicated themselves to the cause of theatre arts in Dayton or have made a significant impact on Dayton’s theatre community.
The 2014 inductees are:
Saul Caplan in A Case of Libel as photographed by Craig Roberts
Saul Caplan has been working in theatre for the past fifty-five years, starting with a show at Memorial Hall in 1959. He worked in various children’s theatres, performed at Colonel White in student productions, and majored in theatre at the University of Akron. From 1971 until the mid 1990’s Saul worked as a professional actor in theatres from New York to Florida before moving back to Dayton in 1998. Since then, he has worked on over sixty-five productions with the Human Race Theatre Company, The Dayton Theatre Guild, Sinclair, The Dayton Playhouse, FutureFest, Brookville Theatre, and Playhouse South.
Barbara Jorgensen has been working in Dayton Theatre since 1989 when she was cast in a production at the Dayton Playhouse. Since then she has performed for FirstStage Productions, Young at Heart Players, and the Dayton Theatre Guild. Barb has taught theatre to adults at the Osher Lifelong Learning Institute at the University of Dayton, and lends her acting talent to the University of Dayton School of Law performing in mock trials and playing various parts in legal scenarios with law students. Barb is active on the Board of the Dayton Theatre Guild where she wears many hats.
This year’s induction ceremony will be held in conjunction with the annual DayTony awards on August 9, 2014 at Sinclair Community College. Attendees will have the dinner or event-only option this year. Early bird pricing will be available through July 22nd with a higher price until July 31st. No reservations will be accepted after August 1st. The event is open to the public and reservation information will be available on the DayTony website when plans are completed. .
The Dayton Theatre Hall of Fame is operated and governed by the Dayton Theatre Hall of Fame Executive Committee. For more information visit the website: daytonys.org.
Sinclair Theatre Presents The Rocky Horror Show
The Dayton Gay Men’s Chorus Presents I Am Harvey Milk
The Dayton Gay Men’s Chorus Featuring Members of the Dayton Philharmonic Orchestra with Artistic Director Kathy Clark, Actor Charlie Clark + Soprano Mary Elizabeth Southworth are proud to present: I Am Harvey Milk, Saturday, June 7, 2014 at 8:00pm at the Victoria Theatre located at 126 N Main St, Dayton OH.
The DGMC is thrilled to announce the regional premiere of a new work by Tony and Grammy nominee Andrew Lippa. Featuring over 40 voices and 14 orchestra members, “I am Harvey Milk” is a grand musical work for chorus, orchestra + soloists that weaves the story of Harvey Milk’s life – from boyhood to his rise as the first openly gay man to hold public office in California to his assassination. Part choral work, part theater piece, I Am Harvey Milk is an emotional celebration of an American icon.
“I am Harvey Milk” is sure to pull at your heart strings and offer our community an understanding about the power of hope and Harvey’s eternal message of equality and understanding for all. Form the haunting ballad “San Francisco” to the gut wrenching hate speech in “Sticks and Stones” this promises to be an emotional roller coaster than you won’t soon forget. Composer Andrew Lippa is stated as being moved by the story of Harvey and being able to identify with him on such a level that he was compelled to bring his story to life, and even originate the role of Harvey Milk when the piece premiered with the San Francisco Gay Men’s Chorus, who co-commissioned the work along with Dayton, Heartland, Twin Cities, Denver, Atlanta, and Los Angeles.
The DGMC is also proud to announce that they will be joined in person by the composer, Andrew Lippa, for a weekend retreat in May 2014 in preparation for this monumental presentation of his work.
TICKETS:
$20 in advance
$25 at the door
Tickets may be purchased online: www.ticketcenterstage.com Or the box office by calling (937) 228-3630
A Special Passport TO Harvey Milk
The Dayton Gay Men’s Chorus is excited to announce a 2 ½ week-long celebration of Harvey Milk with a Passport to Harvey Milk. Passports are on sale until they are gone and in limited quantities. Passport holders gain access to exclusive Harvey Milk events including:
May 22: (Harvey’s Birthday) A screening of the “Life and Time of Harvey Milk” at the Neon Movies in Downtown Dayton and talk back sessions with Dayton Mayor Nan Whaley and Equality Ohio Executive Director Elyzabeth Holford, followed by a reception.
June 7: “I am Harvey Milk” featuring the DGMC LIVE at the Victoria Theater
June 8: Brunch with Harvey. Some of Dayton finest food vendors come to us from San Francisco and are so inspired by Harvey’s story and its retelling in Dayton, they are hosting a brunch at Wheat Penny Pizza in downtown Dayton.
PASSPORTS: $45 ($55 value!)
Passports May be purchased by email at [email protected] or DGMC Hotline at (937) 530-0642
