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After-School Program to Perform Willy Wonka Kids the Musical

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Willy WonkaEast End Community Services’ Miracle Makers After-School program will perform Willy Wonka KIDS the musical on Thursday, May 1st and Friday, May 2nd at 5:30pm at Ruskin PK-8 School, located at 407 Ambrose Ct. Dayton, OH 45410.

Roald Dahl’s Willy Wonka is the timeless story of the world-famous candy man and his quest to find an heir. This story comes to life in this special 30-minute stage adaptation of Charlie and the Chocolate Factory, which
features songs from the classic family film Willy Wonka and the Chocolate Factory. There is no admission charge for the performance or the reception following each performance, but reservations are required. To
reserve your FREE tickets, please call 937-542-5678.

Willy Wonka KIDS is produced by the 147 kindergarten through fifth grade students participating in East End’s Miracle Makers Program, alongside the Miracle Makers staff. The production is a culminating event for
this past quarter’s SPARK workshops in which children get the opportunity for deep learning through hands on projects. “The making of Willy Wonka has been a magical experience for all those involved. New skills,
talents, and passions have blossomed and students have literally found their voices. In the words of Willy Wonka, ‘We are the makers of music and the dreamers of dreams’” said Ellen Mays, Director of Miracle
Makers. This experience has meant a lot to the students that have been a part of it. Mason Frazier, the fifth grade student playing the role of Charlie said, “It feels good to be a part of this! The thing I like best about it is
that I love signing ‘I’ve got the golden ticket’ because I sing most of it by myself. I feel proud and nervous at the same time!”

Miracle Makers is a cornerstone program of East End Community Services that has served the children of East Dayton for 16 years. This program seeks to support student academic achievement by extending the school
day with individualized tutoring, and project-based learning opportunities called SPARKs. Teachers and parents of Miracle Maker students say that SPARK workshops are making a difference in the positive development of their children. “It is important that the community provides complementary learning opportunities beyond the school day,” said Jan Lepore-Jentleson, Executive Director of East End Community Services. To reserve your free tickets to the show and reception, please contact Ellen Mays at (937) 542-5678 or [email protected].

SMAG Dance Collective’s 10th Season Finale Comes to the Dayton Playhouse

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SMAGSave the date! for SMAG Dance Collective’s 10th Anniversary Season Spring Fling concert which takes place on May 24h at Dayton Playhouse, 1301 E. Siebenthaler Ave, Dayton, Ohio 45414.

Show times are 4:00pm and 8:00pm.  Tickets can be purchased at www.smagdance.org and Brown Paper Tickets.

Spring Fling is purely devoted to the art of dance; challenging, physical, dynamic and insightful works are performed.  This 10th Anniversary Season’s Spring Fling Concert features the work of many of Dayton’s OWN, so #dateyourcity

SMAG’s 10th Anniversary Season Spring Fling features the work of nearly 10 choreographers, and SMAG is proud to present the work of the exceptionally artful, Rodney Brown, Founder/Director of the Brown Dance Project, the intensely moving work of fellow dancer and life-long friend, Shonna Hickman-Matlock, Director of DCDC2, and the work of Rodney Veal, for whom there are many accolades, and yet who is a humble man who lives art in a way that only he can and our community is blessed by his amazing gifts.

SMAG’s Spring Fling also serves as a showcase for emerging choreographers such as this season’s veteran company member and Assistant Director, Taiesha Green and first year company member, Rachelle Cartee.

This 10th Anniversary Season’s Spring Fling also features the work of Deniz and Renee McClendon.  These women are long time contributors to the body of work that is dance in Dayton, Ohio, and SMAG Dance Collective is excited to share the stage with these choreographers and their dancers.

Spring Fling is very much representative of the company’s mission which is to provide opportunity for dancers and choreographers, educate and entertain diverse audiences, and to bridge the gap between artists, arts organizations and the community.

SMAG Dance Collective extends its heartfelt thanks to everyone who contributed to the company’s Spring Fling power2give campaign and also to Culture Works!

SMAG’s programming is made possible by grant funding from the Ohio Arts Council, private donors, in kind donations from volunteers and local businesses, and most recently, with the help of Culture Works’ power2give launch.

SMAG Dance Collective is a nonprofit 501(c)(3) organization.

‘An Inspector Calls’ Review – Dayton Theatre Guild – Evening Confessions

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The cast of “An Inspector Calls” (Contributed photo)

J.B. Priestley’s 1945 drama “An Inspector Calls” is an engrossing, humorous, well-acted, and handsomely designed display at the Dayton Theatre Guild.

Breezily presented in three acts, Priestley’s thorough if heavy-handed chastisement of the privilege and personality of the upper class, an obvious portal into his own staunch views of socialism, concerns the Birling family of Brumley, England circa spring 1912. Inside their beautifully decorated dining room (superbly envisioned with dramatic flair by Chris Newman), the Birlings (attractively costumed with period panache by Carol Finley) gather for a dinner party celebrating Sheila Birling’s engagement to Gerald Croft. But joyful optimism suddenly subsides when the mysterious Inspector Goole arrives to aggressively interrogate everyone about their connection to the suicide of Eva Smith, a factory girl employed by Arthur, the family patriarch. It’s a stretch to assume the entire Birling clan came in contact with Eva (also known as Daisy Renton), but Priestley masterfully weaves credibility by building his case on classism. Goole adamantly feels the Birlings took advantage of Eva simply due to her status, particularly her monetary woes that ultimately lead her on a destructive path.
Director David Shough (responsible for last season’s impressive, tech-savvy production of “Dracula” at the Dayton Playhouse) once again utilizes music to heighten emotions. In this instance, flavorful strains give the drama a pinch of extra spice while simultaneously poking fun at its mystery/thriller essence. More importantly, Shough skillfully coaxes excellent, captivating portrayals from the principal players radiating with genuine passion and sophisticated authenticity.
The formidable Dave Nickel, intimidating and resolute, commands attention and vigorously propels the drama as Inspector Goole. Nickel is specifically astute at scolding in a manner that doesn’t feel excessive or cumbersome. Charles Larkowski, effortlessly firm, expertly embodies Arthur’s brash, forthright, capitalist mindset, which splendidly sets the play’s tone as a reflection of the ostentatious spirit of his fellow industrialists. “We don’t guess, we have experience, we know,” boasts Arthur ominously less than a month before the Titanic sails on her ill-fated maiden voyage. Larkowski also shows great vulnerability as accusations rise within Arthur’s imploding world. The remarkable Annie Branning, in her Guild debut, exquisitely counters as Sybil Birling, Arthur’s dutiful, headstrong wife who takes Goole to task with powerfully defensive pizzazz. As Sheila, Caitlyn Maurmeier, in another fine Guild debut, showcases a lovely evolution from innocence to spitefulness as her relationship with Gerald slowly disintegrates. Maximillian Santucci (a standout last season in the Guild’s local premiere of “100 Saints You Should Know”) underplays appealingly as Gerald, tenderly recounting his compelling history with Eva/Daisy in Act 2. As Eric Birling, Leonardo Santucci, delivering a breakthrough performance, oozes fiery contempt in Act 3 opposite Larkowski in an intense father-son showdown. Christina Tomazinis (as maid Edna) and Jamie McQuinn (as a Beggar) are underutilized but nonetheless serve as intriguing kindred spirits within the action.
“We don’t live alone,” Goole declares whether the Birlings like it or not. Without a doubt, “An Inspector Calls” prompts us to value sympathy and compassion in a world that continually places more significance in individualism.

 

“An Inspector Calls” continues through May 4 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act One: 40 minutes; Act Two: 42 minutes; Act Three: 37 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

In related news, the Dayton Theatre Guild’s 2014-15 season will consist of Lee  Blessing’s “Nice People Dancing to Good Country Music” (Aug. 22-Sept. 7, directed by Ralph Dennler), David Lindsay-Abaire’s “Good People” (Oct. 3-19, directed by Debra Kent), Amy Herzog’s “4000 Miles” (Jan. 9-25, directed by Kathy Mola), Eugene O’Neill’s “Desire Under the Elms” (Feb. 27-March. 15, directed by Craig Smith), Jane Martin’s “Criminal Hearts” (April 17-May 3, directed by Saul Caplan), and George Bernard Shaw’s “Heartbreak House” (May 29-June 14, directed by Patrick Hayes).

 

 

‘Bring it On’ Review – Victoria Theatre Association – Smells Like Teen Spirit

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showFun, sassy exuberance is the bill of fare at the Schuster Center as the appealing national tour/ local premiere of “Bring it On: The Musical” charms and entertains.
Presented as a special Star Attractions courtesy of the Victoria Theatre Association, “Bring it On,” a 2013 Tony Award nominee for Best Musical, effectively adheres to the silly, fluff-filled cinematic franchise of the same name launched in 2000 starring Kirsten Dunst. Popular Truman High School cheerleader Campbell (truly delightful triple threat Nadia Vynnytsky) is thrown for a loop when she’s suddenly redistricted to urban Jackson High School. In an attempt to assimilate as best as possible, Campbell joins Jackson’s flavorful hip-hop crew led by the fiery, no-nonsense Danielle (a marvelously commanding, vocally strong Zuri Washington). However, Campbell’s insistence that Jackson create a squad that can match the Truman team, now led by the wholesome yet treacherous sophomore Eva (a fittingly coy Emily Mitchell, who was replaced in Act 2 at the performance attended by the comical Mia Weinberger), is a morale-boosting decision that ultimately evolves with disheartening repercussions which shape the musical’s engaging viewpoints of friendship, disloyalty, identity and forgiveness.
Tony-winning librettist Jeff Whitty (“Avenue Q”) crafts a thoroughly engaging and witty look at contemporary high school life although Truman lacks the personality and depth of Jackson. The catchy, tuneful score, co-composed by Tony and Pulitzer Prize winner Tom Kitt (“Next to Normal”), Tony nominee Amanda Green (“Hands on a Hardbody”) and Tony winner Lin-Manuel Miranda (“In the Heights”), contains too many similarly introspective ballads for Campbell, but the upbeat, hip-hop-infused numbers are scintillating, especially “Do Your Own Thing,” “We Ain’t No Cheerleaders,” “Friday Night Jackson,” and “It’s All Happening.”
In addition to the aforementioned principals, excellent performances extend to the hilariously spunky Maisie Salinger as Campbell’s goofy friend Bridget, the terrifically spicy Sharrod Williams as the uniquely flamboyant La Cienega, Jennifer Geller as La Cienega’s lively cohort Nautica, Bailey Purvis as Truman mean girl Skylar, the charismatic Tyler Bertolone as Campbell’s unpretentious love interest Randall, Andy White as Campbell’s dopey ex-boyfriend Steven, and Erin L. Fleming (Twig) and AJ Lockhart (Cameron) as playful Jackson students.
Tony-winning director/choreographer and Cincinnati native Andy Blankenbuehler (“In the Heights”) keeps the fast-paced action breezy and fluid. His sharp vision is nicely complemented by Jeff Sugg’s eye-catching video design, David Korins’ efficient sets, Jason Lyons’ expert lighting, Cody Spencer’s first-rate sound design, and Andrea Lauer’s colorful costumes. Still, Blankenbuehler absolutely pulls out the stops with his jaw-dropping competition routines spotlighted in “What I Was Born to Do,” “Legendary,” “Cross the Line,” and the title number. When this cast flies into the air with zestful abandon, “Bring it On” thrillingly soars.

 

“Bring it On: The Musical” concludes tonight at 7:30 p.m. at the Schuster Center, Second and Main Streets, Dayton. Act One: 58 minutes; Act Two: 60 minutes. Tickets are $25-$70. Students are encouraged to take advantage of the student rush discount for half off tickets. For tickets or more information, call Ticket Center Stage (937) 228-3630 or visit www.ticketcenterstage.com

 

 

 

 

 

 

WSU SPRING DANCE CONCERT 2014

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WSU Dance 1Announcing our versatile program for the WSU Dance Concert 2014!  We invite you to experience the innovation and virtuosity of the WSU Dance Ensemble and guests, Dayton Ballet II and Dayton Contemporary Dance Company II on April 24 at 7:00, April 25 and 26 at 8:00, April 27 at 2:00. Adults/$10, Students/$5   Box Office:  937.775.2500.  Works span from the abstract to traditional, the athletic to the emotional. This year’s concert features six world premiere pieces reflecting the vitality of our Dance Program. We are especially thrilled to showcase an emerging, dynamic choreographer, Shannon Bramham, who will present the premiere of “Let It Go.”  Shannon, a company member of the national and internationally renowned Koresh Dance Company, choreographed the work on the WSU Dance Ensemble during her November residency. Works by Teressa Wylie McWilliams, Gina Walther, and Justin Gibbs as well as guest pieces by DB II and DCDC II as well as senior Abby Leithart provide a multifaceted concert.  Please join us for an evening celebrating the poetry and power of movement!

Choreographic Works include…

Let It Go, Premiere, choreographed by guest choreographer Shannon Bramham…“though we spend the majority of our lives waiting in daily situations, the difficult and emotional waiting we endure for the passing of a loved one becomes the spark for this work and the moment when you let them go.” 

Pull, Premiere, choreographed by Gina Walther…“describes the building of tension in movement and in relationships, the ten dancers perform with dynamic intensity and realism to the gorgeous music of Ezio Bosso.”

…transcending tides…, Reconstruction, choreographed by Teressa Wylie McWilliams…. “a visual landscape in movement inspired by the notion of transcending from a place of negativity and darkness to a place of freedom and celebration…shedding our protective layers in order to see all beings with clear eyes.”

They have escaped the weight of.…, Premiere, choreographed by Justin Gibbs…“about going beyond the things that hold us back so we can find our way back to our flock. Once more it gives us the courage to lead, not just ourselves, but others into an unknown darkness that is full of hope.”

Additional Works by guests Dayton Contemporary Dance Company II and Dayton Ballet II!  We invite you to experience the versatility and power of movement with us!WSU Dance 2

ALSO:   DANCE INTENSIVE, SATURDAY, April 26, 10 AM  –  4 PM

Wright State University will conduct the seventh annual Dance Intensive Workshop on Saturday, April 26, 2014 from 10am-4pm. The faculty and students of Wright State University’s dance program want to share our dance experience with all students, age 14 and older, who are interested in sampling a variety of dance styles. Faculty members Teressa Wylie McWilliams, Gina Walther, Justin Gibbs, and Greg Hellems and along with various guest instructors will teach technique classes in jazz, tap, modern, ballet, pointe, hip-hop and lyrical. Each participant will receive a complimentary ticket to the Spring Dance Concert. The cost for the entire day is only $45.

For more information, registration and schedule of classes, log onto our WSU website at www.wright.edu/dance and click on Dance Intensive or call 937.775.3792.

 

‘Memphis’ Review – Victoria Theatre Association – Music of the Soul

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Jasmin Richardson and Joey Elrose in Memphis (Contributed photo)

The current national tour of Joe DiPietro and David Bryan’s “Memphis,” recipient of the 2010 Tony Award for Best Musical, vigorously thrills with potency and heart in its firm local premiere at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

Set in the 1950s and based on a concept by George W. George, “Memphis” centers on the forbidden interracial romance between kooky DJ Huey Calhoun (an immensely amiable Joey Elrose) and R&B nightclub singer Felicia Farrell (a radiant Jasmin Richardson). Huey, an uneducated outcast who feels a deep kinship to black music culture, longs to turn Felicia into a star thanks to the popularity of his radio show, but his dream isn’t universally embraced. In fact, Huey and Felicia face significant challenges as they seek to make their relationship work in a segregated climate. Huey’s mother and Felicia’s brother particularly express their contempt, fueling the production’s forthright authenticity to appropriately shocking degrees. Even so, Huey and Felicia’s charming, heartbreaking journey smoothly drives the action, accented by a very tuneful score and complex characterizations.
The endearing, goofy Elrose injects great persistence, determination, arrogance and stubbornness into the socially awkward Huey, loosely inspired by trailblazer Dewey Phillips who was the first DJ to play Elvis Presley’s debut record. Elrose specifically gives Huey’s passionate anthem “Memphis Lives in Me” an aptly earnest treatment. Vocal powerhouse Richardson, fierce and vivacious with an appealing Diana Ross sensibility to boot, provides dynamite renditions of “Make Me Stronger,” “Colored Woman,” “Someday” and “Love Will Stand When All Else Falls.”
Well-defined, engaging supporting portrayals are offered by RaMond Thomas as Felicia’s hardnosed, overprotective brother Delray, D. Scott Withers as Huey’s boss Mr. Simmons, Kyshawn K. Lane as the timid Gator, Jerrial T. Young as the bubbly Bobby, and Pat Sibley as Huey’s bigoted Mama. Thomas’ fiery “She’s My Sister” and Sibley’s humorous “Change Don’t Come Easy” fittingly add spice and color to their solid work.
Christopher Ashley’s original direction and Sergio Trujillo’s original choreography is smoothly, respectively recreated by Adam Arian and Jermaine R. Rembert. Rembert’s contributions distinctively retain Trujillo’s astuteness and vivacity, especially the exuberant “Radio” skillfully commenting on race through dance in an inspired manner not seen since Jerry Mitchell’s exhilarating choreography for “Hairspray.”
David Gallo’s terrifically stark sets, Paul Tazewell’s attractive period costumes, Howell Binkley’s expert lighting, and conductor Alan J. Plado’s first-rate orchestra are additional attributes of this energetic showcase.
“Memphis” continues through April 13 at the Schuster Center, Second and Main Streets, Dayton. Performances are today at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 75 minutes; Act Two: 55 minutes. Tickets are $40-$96. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

 

Cautiously Optimistic Step in the Right Direction

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10246470_10151947842630448_8714991152748457916_nAs I arrived at the Victoria Theatre on spring-like Sunday afternoon, I was curious to see how this season would end for this venerable troupe. While there were a few surprises, the final spring concert of the Dayton Ballet season ended on a quiet note.

The concert began with former artistic director Dermott Burke’s Fete des Courtiers; a swirling confection of neoclassical formalism, it was perfectly perfunctory in form and execution as couples moved through formations that hinted at a noble engagement. While Fete Des Courtiers broke no new ground choreographically, it nevertheless engaged both the performers and the viewer.

Susanne Payne’s Interactions was a winner of the choreographic competition that Dayton Ballet held three years ago and it has not lost1393537_10151910517295448_940011296_n any of it’s charm or choreographic vitality. I have always believed that Ms. Payne is a tremendous artistic asset to Dayton Ballet and to the cultural fabric of our community when she creates works like this. Her talents for generating unique movement vocabulary is wildly entertaining. This was the first time we had a chance to explore the talents that she possesses and she continues to grow and develop artistically. It is evident that over the past few years Dayton Ballet has benefited from an influx of new performers with their energy and ability to tackle the modernist movement vocabulary of Ms. Payne; in turn helping to illuminate her work to dazzling effect. Interactions felt as vibrant and thrilling now as its did during its world premiere a few years ago.

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Jessica Lang

Next up on the bill was Jessica Lang’s From Foreign Lands and People. And what a powerful and unique work. When the curtaine opened we were presented with several four-sided columns from five to ten feet tall as well as a group of dancers. As a viewer you were automatically expecting some interaction or engagement with the columns. As the work progressed you were surprised just how farthat interaction would go. The dancers manipulated the columns into slides and hurdles that they moved across, rolled and leaped under and over, respectively. They then proceeded to stack the columns into evocative sculptural tableaus. The choreography was sublime in the economy of its construction. Jessica Lang weaved a magical spell on the audience that left more than one person in the theatre swooning with giddy satisfaction. This is a work that bears repeating and deserves to be in the repertory of the company. It is a sure fire audience pleaser and beautifully constructed work of art.

The concert concluded with Karen Burke Russo’s Canyons, a semi-abstract work that highlights her skills as a choreographer to maximum effect. Canyons evoked a Native-American motif in the imagery and movement vocabulary without being so literal as to fall into tropes and mawkish triviality. The dancers danced it with a beautifully modulated sense of control and abandonment, which they displayed consistently throughout the concert. Dayton Ballet is benefiting from a similar scenario that exists for Dayton Contemporary Dance Company; an A company of young and eager performers that are pushing the performance quality of older works in the rep as well providing a blank canvas for new and thrilling choreographers in which to create their particular form of artistic alchemy. Now is the time to be bold and decisive. While it may not draw record crowds, it makes a better case for relevancy and the right for continued support from the community.

A sychronized DCDC at the Dayton Art Institute

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1526687_10152051825110698_917156290_nAnother excellent chance to see the Dayton Contemporary Dance Company as it presents Synchronicity, a unique concert in collaboration with student musicians attending two of the company’s university partners, Central State University and Wright State University as well as South Dayton Dance Theatre. Special guest artist, Dayton’s very own renowned jazz musician, Khalid Moss and his Trio, will also perform. Mr. Khalid’s trio features Eddie Brookshire on bass and Fenton Sparks on drums. The performance takes place on Saturday, April 5, 2014 at 7:30pm and Sunday, April 6, 2014 at 3:00pm in the Renaissance Auditorium at the Dayton Art Institute.

For tickets to Synchronicity  please contact Ticket Center Stage at 937-228-3630 or 888-228-3630 or www.ticketcenterstage.com.

‘Other Desert Cities’ Review – The Cost of Thriving **Ticket Contest**

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HRTC ODC Prod Photo 1Painful lies and political allegiances consume the dysfunctional Wyeth family of Palm Springs in Jon Robin Baitz’s compelling 2011 Tony Award and Pulitzer Prize-nominated drama “Other Desert Cities,” commendably staged by Margarett Perry in its local premiere by the Human Race Theatre Company.
On Christmas Eve 2004, envisioned within beautifully stylish surroundings by set designer Tamara L. Honesty, the Wyeths are far from merry and bright. Republican hotshots Polly and Lyman fiercely clash with their liberal, emotionally scarred daughter Brooke, a novelist who plans to publish her scandalous “Love and Mercy: A Memoir” that startlingly reveals some unsettling truths about her privileged upbringing. More concerned with perception than reality, Polly and Lyman quickly scold and threaten Brooke, calling her characterizations of their friends “grotesque” in the hope she will postpone or completely scrap her plans. “You’d still be my daughter, but the meaning of it would change,” warns Polly in particular before planting a chilling kiss on her cheek that speaks volumes. However, Brooke finds favor and encouragement from her recovering alcoholic aunt Silda, Polly’s liberal sister, as well as her easygoing brother Trip, who has become somewhat of a black sheep due to his frowned upon association with reality television.

 

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Baitz’s battle of wills, sometimes unnecessarily overtly political, is tightly drawn in Act 1 giving the audience a productive pathway into rooting for or against Brooke’s mission. Even so, he masterfully raises the stakes by fashioning a more engrossing Act 2 crafted around a secret that would destroy the family if the public ever knew. Carefully taught “how to control things” by none other than Nancy Reagan, Polly and Lyman ultimately risk everything to explain the cost of thriving, the ability to navigate among certain circles without blemish in order to fuel discretion and protect image.
An exceptionally domineering Kate Young and admirable Scott Stoney compatibly blend as the core couple whose scorn sets the action in motion, far more noticeable as a driving force here than the original Broadway production which tipped the scales in favor of Brooke (Rachel Griffiths, an alumna of Baitz’s terrific ABC family drama “Brothers & Sisters”) and Silda (a phenomenal Judith Light). Young and Stoney memorably partnered under Perry’s direction nine years ago in the Human Race’s splendid local premiere of “The Retreat from Moscow” (Young’s electrifying portrayal of a rejected wife remains among the best I have seen on a local stage) and their welcomed reunion is long overdue. Skillfully attacking her role with incredible nuances and an impressive proficiency of language, Young is a force to behold as Polly spews her opinionated, often politically incorrect views while ruling the roost. Stoney, in a less showy capacity, becomes too stiff when exuding Lyman’s rigidity, but amiably showcases the character’s softer side when revealing his genuine love and concern for Brooke.

 

Additionally, Jennifer Joplin brings intensity, compassion and wit to the tenacious Brooke in a solid portrayal effortlessly escalating to heartbreaking degrees when her dreams are unexpectedly shattered. As Silda, Sherman Fracher surprisingly stops short of taking her juicy role to sardonic, Edward Albee-esque proportions but provides apt comic relief and an astute understanding of her character’s familial disdain and discontent. Aaron Vega, humorous and impactful, turns Trip into an engaging, entertaining mediator.
“I don’t like weakness,” says Polly during one of her diatribes. “You can die from too much sensitivity in this world.” It’s clear the Wyeths may never recover from their self-inflected wounds. Thankfully, Baitz and the Human Race certainly make their journey rewarding and unforgettable.

“Other Desert Cities” continues through April 13 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesday-Saturday evenings at 8 p.m., Tuesday evenings at 7 p.m.; Sunday matinees at 2 p.m. Act One: 65 minutes; Act Two: 47 minutes. Tickets are $36-$43 (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 www.ticketcenterstage.com or www.humanracetheatre.org

TICKET CONTEST:

We’ve got 2 pairs of ticket to giveaway for Other Desert Cities.  To enter our drawing, just like this article, comment below on why you should win and fill out the form below.    Contest now closed.  Congratulations to Jamie McQuinn and Vicki Thompson.

 

 

 

‘Les Misérables’ Review – Wright State University – Stunning Success

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Mark Beyer as Enjolras (center) and the cast of Les Miserables (contributed photo)

Wright State University delivers an outstanding local collegiate premiere of Alain Boublil, Claude-Michel Schönberg and Herbert Kretzmer’s “Les Misérables,” the popular, unabashedly sentimental 1987 Tony Award-winning pop opera based on Victor Hugo’s legendary 1862 novel exploring the human condition through plight and promise within turbulent France.
Inspired by the harrowing June revolt of 1832 (the French Revolution concluded 33 years prior), “Les Miz” hasn’t lost one morsel of its angst-ridden, melodramatic urgency under W. Stuart McDowell’s excellently firm, fluid and inventive direction. As a throng of fascinating, emotionally-charged characters leap forth spanning nearly 20 years, McDowell ensures every individual is clearly defined and every moment counts. Incorporating unique flourishes beyond the use of a turntable, a signature component of Trevor Nunn and John Caird’s original iconic stagecraft, he allows the show to resonate anew with a skillful grasp of atmosphere and tone. In addition to sprinkling the action with red, white and blue in a patriotic nod to the French flag, the opening seconds single-handedly stimulates the ensuing drama with a fresh grip by reiterating the magnitude of the story in a historical context. McDowell’s large, passionate cast, vocally on par with WSU’s fabulous productions of “The Light in the Piazza” and “Grand Hotel,” is powerfully led by Andrew Quiett as ex-convict Jean Valjean. Quiett gave one of the finest performances of this season last fall as Jud Fry in “Oklahoma!,” and his return is equally praiseworthy as he fills Valjean’s redemptive journey with engrossing humility and searing potency, especially in his gorgeously heartfelt “Bring Him Home.” At the same rate, Law Dunford, in a breakthrough performance benefitted by non-traditional casting, truly captivates as Inspector Javert, a devout Christian whose unforgiving heart and obsessive drive clouds his judgment as he relentlessly pursues Valjean. Instilling fear with a marvelously formidable demeanor and razor sharp intensity, Dunford avoids morphing into a one-dimensional antagonist by astutely interpreting Javert’s harsh convictions from the perspective of duty and principle instead of blatant vengeance.

 

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Andrew Quiett as Jean Valjean (contributed photo)

Quiett and Dunford are explosive adversaries (“Confrontation” is a knockout), but the featured players are very strong as well. The lovely, disenchanted Amy Wheeler is heartbreaking as the doomed Fantine, treating “I Dreamed a Dream” with sorrowful, lyric-driven, speak-sung eloquence. Ian Benjamin and Cassie Mikat playfully coalesce as the treacherous Thenardiers seeking to thwart Valjean. As lovebirds Marius and Cosette, an appealingly resolute Zack Steele and sweetly genteel Kaitlyn Sage beautifully intertwine although Steele (filling “Empty Chairs at Empty Tables” with poignant solemnity) finds more depth in his portrayal than Sage who is saddled with thinner material. As the street-tough Eponine, hopelessly in love with Marius, the luminous Liz Romey blossoms into a superb storyteller in her fantastic “On My Own” radiating with anger, yearning and an eerily extended silence illustrating Eponine’s loneliness on the streets of Paris. Terrific tenor Mark Beyer brings fiery zeal to his striking, comforting portrayal of student rebel leader Enjolras.
Additionally, as Young Cosette, Emma Fry refreshingly embraces “Castle on a Cloud” as the haunting lullaby it was written to be by adding a few chilling inflections. Connor Iverson is a scrappy, spunky Gavroche. Abbey Fry is a delightful Young Eponine, particularly aiding in the frenzied swindling throughout “Master of the House” expertly choreographed by Dionysia Williams. Drew Bowen is delectably creepy opposite Wheeler as the cruel Factory Foreman and snobbish Bamatabois. Bowen also shines as Jean Prouvaire alongside Connor Lysholm (Combeferre), Brandon Kinley (Feuilly), Jordan Adams (Courfeyrac), Bailey Olean (Joly), Keaton Eckoff (Grantaire), and Jim Miller (Lesgles) as the defiant rebels of the ABC Café stirring the souls of their countrymen upon the death of General Lamarque (an advocate of the poor) in the rousing “Do You Hear the People Sing?” Bradley Farmer and Paige Dobkins are among the standouts of the female ensemble fiercely attacking “Lovely Ladies.” The cast also includes Bailey Edmonds, Peter Cutler, Caitlyn Geisser, Emsie Hapner, Haley Iverson, King Jones, Owen Kresse, Kody Mullins, Kate Mueller, Kelsey Pohl, Brandon Ramos, Tyrell Reggins, Alyson Snyder, MacKenzie Stephens, Ben Tracy, Abby Murray Vachon, Jake West, Sabria Wynn, and Meredith Zahn.

 

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The rebels at the barricades in Les Miserables (contributed photo)

The marvelous tech artists accenting this experience with color, dimension, nuance, realism and vigor include scenic designer Pam Knauert Lavarnway, lighting designers Matthew P. Benjamin and Erin Jones, costumer D. Bartlett Blair, sound designer James Dunlap, musical director Scot Woolley, fight choreographer Bruce Cromer, and dialect coach Deborah Thomas.
“Les Miz” dynamically champions freedom and faith, but it also serves as an impressive landmark in the history of WSU’s musical theater department and one of the best productions the Miami Valley will witness in 2014.

 

“Les Misérables” continues through April 6 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are March 27, April 2 and 3 at 7 p.m., March 28, 29, April 4 and 5 at 8 p.m., and March 29, 30, April 5 and 6 at 2 p.m. The production, running slightly over three hours including one 20-minute intermission, is sold-out. For more information or to inquire about ticket availability, contact the WSU box office at (937) 775-2500.

 

The BOB & TOM Show and Dayton’s Rock Station 104.7 TUE present: The Keystone Light Friends of The Bob & Tom Show Comedy Tour

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Bob and Tom ShowThe Keystone Light Friends of The BOB & TOM Show Comedy Tour presents a rotating ensemble of the world’s best comedians to stages all across America. Each live comedy show features several headliners heard on The BOB & TOM Show, one of the longest-running and highest-rated radio programs in America and the premiere radio showcase for today’s top comedians. Now in its 9th year, The Keystone Light Friends of The BOB & TOM Show Comedy Tour has performed more than 400 shows from coast-to-coast.

Hosted by Bob & Tom’s own Chick McGee, The Keystone Light Friends of The Bob & Tom Show Comedy Tour in Dayton, OH will feature the following Bob & Tom comedians: Ralph Harris (www.ralphharris.com), David Crowe (www.davidcrowe.com) and Jack Freeman.*

Showtime is Saturday, April 12, 2014 at 7:00 PM at the Victoria Theatre, 138 N. Main St. Dayton, OH 45402

Tickets will be available starting on Friday, March 7, 2014 at 10:00 AM. Tickets may be purchased by visiting www.victoriatheatre.com, calling 888-228-3630 or by visiting in person at the Ticket Center Stage Box Office, in downtown Dayton (All tickets INCLUDE a $1 Red Cross donation). This show is recommended for those 18 years old and older.


About The Bob & Tom Show

The Bob & Tom Show is a lively, humorous program inspired by the day’s news, sports and topical lifestyle occurrences. The program also hosts many of the world’s best comedians every weekday morning. Nationally syndicated by The Bob & Tom Radio Network, The Bob & Tom Show is one of the longest-running and highest-rated radio programs in America and one of the most award-winning morning radio shows, having been honored with seven Billboard Magazine “Personality of the Year” Awards, 11 awards from Radio & Records, and five Marconi Awards from the National Association of Broadcasters.  In addition, Bob & Tom have released more than 60 comedy albums, CDs and DVDs, and expanded their brand with popular comedy tour live shows.  Program schedules and additional information is available at www.bobandtom.com.

*Comedian lineup subject to change

Who’s Ready For Girls Night: THE MUSICAL? **Ticket Contest**

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1621828_10152548854753332_931963058_nSometimes you just need a reason to grab your girlfriends and plan a fun outing.  The Victoria Theatre is giving you a reason to do that this Saturday, March 29th with GIRLS NIGHT: THE MUSICAL.   This show has been thrilling audiences and earning raves from critics throughout North America since it began touring after its sensational Off-Broadway debut.  This touching and hilarious “tell-it-like-it-is” musical takes audiences on a journey into the lives of a group of female friends. Audience members can’t help but laugh, cry and even sing and dance in the aisles to some the most popular hit songs of the 80s and 90s! Follow five friends as they re-live their past, celebrate their present, and look to the future on a wild and hilarious night out … and you’ll recognize a bit of yourselves in each one of them! It is described as “’Desperate Housewives’ meets Mamma Mia” (Applause Magazine) and “As funny and outrageous as ‘Sex & the City!’” (The Advocate). GIRLS NIGHT is packed with hits “Lady Marmalade,” “It’s Raining Men,” “Man I Feel Like A Woman,” “I Will Survive,” “We are Family” and many more!

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Tickets are available for both the 4pm and 8pm show and can be reserved by visiting Ticket Center Stage.  Or for a lucky couple of ladies, you can be guests of DaytonMostMetro.com.  Just like this post, fill out the form below and leave us a comment that convinces us you need a girl night out! We’ll post the winners name Wed night!

Our contest is closed.  Congratulations to Felicia Dellis!

‘I Love You, You’re Perfect, Now Change’ Review – Dare to Defy Productions – Love Is In The Air

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Bobby Mitchum and Jackie Darnell get some Legal Assistance from Mackensie Vonderbrink in “I Love You, You’re Perfect, Now Change” (Contributed photo)

It can be extremely challenging for emerging troupes to stake their claim within Dayton’s continuously expansive theater scene. However, Dare to Defy Productions has done so with highly entertaining ease as evidenced in its very charming production of “I Love You, You’re Perfect, Now Change,” Joe DiPietro and Jimmy Roberts’ hit 1996 off-Broadway musical revue.
Presented in the Mathile Theatre of the Schuster Center fashioned in a colorful 1950s, Roy Lichtenstein–inspired decor by set designer Ray Zupp, “I Love You…” paints an amusing, appealing portrait of the relatable ups and downs of love and relationships from dating disasters and personal insecurities to wedding jitters and family squabbles.

 

Framing the show as vignettes keeps the witty action inviting and steadily paced, but there are signs the material has become dated since it was famously heralded as “‘Seinfeld’ set to music.” After all, Sharon Stone isn’t an apt lyric choice these days when referring to film bombshells. Nevertheless, that is a minor quibble among an otherwise playfully sound and surprisingly tender examination of the pursuit men and women undergo in order to find and cherish The One.

Director Rebecca Norgaard, Dare to Defy founder/CEO, assembles a totally engaging, vocally strong ensemble consisting of Jackie Darnell, Bobby Mitchum, Zach King and Mackensie Vonderbrink, familiar faces from Kettering’s Playhouse South. Inhabiting more than 50 roles, the cast, impressively accompanied by pianist Julia Brown and violinist Josh Vantilburgh, is versatile and sharply prepared which isn’t surprising considering this production was previously held in January and February at Mimi’s Café in Beavercreek. When featured as a foursome, the cast’s noteworthy moments include opening number “Cantata for a First Date,” funny double bill “Single Man Drought”/”Why? Cause I’m a Guy,” and the equally comical “Hey There, Single Gal/Guy” that hilariously musicalizes a breakup from a parental perspective. Individually, they firmly step into the spotlight with character-conscious intent. Darnell, a fine soprano, supplies a beautifully gentle “I Will Be Loved Tonight” and is also an operatic joy during “He Called Me.” Mitchum, one of the best tenors in town, fills the moving ballad “Shouldn’t I Be Less in Love with You?” with compellingly mature wonder. King, a source of comic relief, scores big laughs with “The Baby Song.” Vonderbrink, in one of her most endearing appearances, fully embraces “Always a Bridesmaid” with lovelorn radiance.
Dare to Defy’s promising path has only begun, but if the company’s future productions are as good as “I Love You…” I have a feeling audiences will keep coming back.

 

“I Love You, You’re Perfect, Now Change” concludes today in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are at 2 and 8 p.m. Act One: 57 minutes; Act Two: 55 minutes. Tickets are $20 and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting www.ticketcenterstage.com. For more information about Dare to Defy auditions and its 2014 season (featuring “You’re A Good Man, Charlie Brown,” “Altar Boyz,” “Rent” and “Nunsense”) visit daretodefyllc.com, call (937) 999-9949 or send an e-mail to [email protected].

 

 

 

 

 

 

A couple of sublime moments at the ballet

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1978894_10151888675020448_416275382_nWith the “Diversity in Dance” concert, Dayton Ballet highlighted what works well for this regional ballet company. Once again the tantalizing prospects for a full fledged renaissance  are on display.  From the work of legendary  choreographer and co-founder of the Joffrey Ballet to the rich and tantalizing movement construction of Susie Payne, This was a concert of bountiful returns.

I have to impress upon the Dayton  arts community what a rarity it is to see classical and or neoclassical ballet repertory being presented with a live orchestra. This symbiosis of elements adds a third contextual layer of interpretation and experience for the viewer. Having performed to live orchestration many times myself as a performer it changes how and what is being danced at the molecular level not to mention the spiritual. The fact that we got to see it in conjunction with the re-staging of a Gerald Arpino masterwork is worth the price of admission.

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Dayton Ballet in Gerald Arpino’s Reflections. Photo Credit: Scott Kimmins

“Reflections” was a neoclassical master class in what is usually missing from present day choreographers, innate musicality and the ability to translate it into choreography. With it’s almost  Balanchine-like phrasing and musical weaving, The Dayton Ballet dancers accompanied by the Dayton Philharmonic under the masterful baton of Neil Gittleman kicked off this concert with a Joie de Vivre that was at once effervescent  and steely in design. In shades of gray and pink, the women and men weaved beautifully rendered lattice work of patterns and tableaus. with particular attention being payed to several playful, athletic  variations and Pas de Deux’s, most notably Abby Phillips and Evan Pitts, which left an indelible impression long after the bows.

The second work on the concert was “Dreams of Flight” by Dayton original,  Susanne Payne. This was a bravura choreographic work that showcased the incredible skills of the Dayton Ballet men. In her program notes she says the work was loosely inspired by “The Alchemist” by Paulo Coehlo and that it is rigorously athletic. The latter part was an understatement as the piece evolved and built to it’s rousing conclusion.  While Susanne was weaving her metaphoric choreographic alchemy, you could not help but be pulled into its intoxicating adrenaline-spiked power. This was a visceral, heart-stopping epic work that in lesser hands could have been maudlin and overwrought. “Dreams of Flight” tapped into layers of emotional, intellectual and spiritual connectivity wrapped up in a rich and utterly original movement vocabulary. It was in turns, playful and childlike, mature and insightful. While it was danced with athletic vigor and panache,  this  was a triumphant success for not only the dancers and the choreographer but also the company itself. I have always stated that when a dance company breaks out of routine and embraces the new and unexpected, we all walk away winners.

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Case Bodamer and Abby Phillips in Susie Payne’s “Interactions”.

Your next chance to see the Dayton Ballet in action will be in the upcoming show, New Directions.
The show opens this Thursday March 20th and runs through Sunday March 23rd at the Victoria Theatre.

This performance includes:
Dermot Burke’s “Fête des Courtiers”
Susie Payne’s “Interactions”
Jessica Lang’s “From Foreign Lands and People”
Karen Russo Burke’s “Canyons”

Buy New Directions tickets online or by calling
the box office at (888) 228-3630.

‘Expecting Isabel’ Review – Dayton Theatre Guild – Whatever It Takes

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The cast of Expecting Isabel includes (back row l to r) Rick Flynn, Dorothy Michalski, Ellen Ballarene, Joshua Lisec, Amy Taint (front row l to r) Rachel Wilson and Angela Timpone. Not featured: Shawn Hooks and Angele Price. (Contributed photo)

Lisa Loomer tackles the very delicate subject of infertility with humor and tenderness in her eye-opening 1998 contemporary comedy “Expecting Isabel,” breezily directed by Robb Willoughby at the Dayton Theatre Guild.

Down-to-earth Manhattan couple Nick and Miranda, respectively relatable as an aspiring sculptor and greeting card writer, eagerly endeavor to have a child, but face continuous obstacles along the way. In addition to coping with colorful input from Nick’s larger-than-life Italian family and Miranda’s tipsy mother, the duo attempts everything from marriage counseling and support groups to fertility drugs and medical tests incorporating animal experiments. In fact, their painstaking pursuit leads them to separation, particularly as Miranda seeks solace with her mom while Nick moves back in with his animated brood. Even so, in spite of disappointing setbacks, they remain committed to their ultimate desire to start a family, a decision that eventually leads them on the complicated yet fulfilling road to adoption.
Rachel Wilson and Shawn Hooks are believably compatible in the leading roles. Quickly pulling the audience in at the outset during Miranda’s revealing opening monologue, Wilson delivers a firm, appealing portrayal. Her performance possesses the engaging complexity and tangible exasperation required to bring credence to the play’s most fascinating character, an emotionally scarred woman with a rocky family history who honestly hadn’t thought about having a child. Hooks, amiable and supportive in a less flashy role, earnestly conveys Nick’s genuine longing to become a father, especially in Act 2 as his benevolent impulses gets the best of him.
Loomer, perhaps best known as the co-screenwriter of “Girl, Interrupted,” propels the comedy by having the ensemble portray multiple characters. Ellen Ballerene (Tina), Rick Flynn (Sal), Joshua Lisec (Dominic), Dorothy Michalski (Yolanda), Angelé Price (Pat), Amy Taint (Lila), and Angela Timpone (Isabel) step up to the plate beyond stereotypical caricature. Most of their moments are geared toward comic relief, but Price deserves special mention for bringing substantive poignancy to her portrayal of Lupé, an overburdened Hispanic mom faced with a critical decision.
One day amid a parade of baby carriages, Miranda is gently reminded “everything you went through was part of the path.” Parenthood certainly spurs challenges and Loomer cautiously advises to expect the unexpected.

 

“Expecting Isabel” continues through March 16 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more info: Call (937) 278-5993 or visit daytontheatreguild.org

 

 

 

 

 

 

A Triumph of the Will and Artistry: DCDC Returns to the Victoria Theatre Stage

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dcdc logoAs a diverse cross-section of concert-goers filled the Victoria Theatre there was a palpable buzz that vibrated through the space. Seasoned lovers of dance and neophytes alike, eagerly awaited the concert of “world” premieres to begin. Seeing this many patrons still clamoring for artistic offerings of this Dayton institution, one cannot help imagining one angel in particular is smiling from heaven.

To make the case for being a world class dance troupe, it requires that the talents and skills of the dancers and choreographers be showcased and presented to maximum effect. Performing at the Victoria Theatre truly provided the best framing vehicle for the beauty and youthful vitality that moved before us.

It was stated in one of the three curtain speeches of the evening that it had been the dream of the artistic director, Debbie Blunden-Diggs , that she was committed to a vision of an all new choreographic works concert in honor of the forty-five year anniversary of the DCDC. That commitment produced one of the strongest concerts performed by the company in years.

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with Marlayna Elyse Locklear, Dorse Brown, Kimberly Jones, Abby Leithart and Hershel Deondre Horner III. Photo provided by Geek With A Lens Photography.

The concert began with a polymorphic collage of kinetic movement specificity from Ronen Koresh. “Exit 7” began with a taut, repetitive ensemble section that evocatively set the the tone for the loosely linked dance vignettes to come. Dancers moved with a punchy precision while navigating rows of chairs highlighted individually by shafts of overhead lights. The choreography had a refined ritualistic tone that echoed throughout the rest of the work. There was a collective need to make sense of our rapidly splintering and fragmented society. This fragmentation led us on a journey, that was filled with at times moments of sensual despair, cheeky humor, and audacious physicality. It was brought to a dazzling close by the ensemble of dancers generating a sound collage of their own voices as an accompaniment to the visceral climax of the highly engaging and unique work of Mr. Koresh.

The work of Donald Byrd was a master class in combining engaging modernist movement material with spoken word in a heady mix of social and geo-political commentary and satirical undertones. It is the type of artistic work that only someone of his elevated artistic ability can accomplish.

narratorWatching this work unfold and weave its intellectual spell on us in the audience, I could not help but envision this as being a truly post-modernist effort in every sense of the word. From the sublime verbal barrage of the narrator, exquisitely brought to life by Nabachawa Ssensalo, to the beautifully patterned and group movement invoking the bio-mechanics of cotton picking, this is a work worth savoring and repeating.

In the work of Rodney Brown”The Gatherer/wee Thing”, a tribute to the sparkleindomitable spirit of Sheri “Sparkle” Williams. One comes away with a sensory trip contemplating of not only Sheri as 40 year veteran, but also the future of DCDC as relevant fixture of the arts community. I would argue that DCDC is the only element of our community as a cultural component that transcends the bounds of our provinciality. An exportable cultural product that would hold up well under the glare and scrutiny of the world stage. All this from watching a “lion in winter” dancing star perform a nuanced solo on the Victoria theatre stage.

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All photos provided by Geek With A Lens Photography.

The evening concluded with the work of Ray Mercer, “Tossed Around”; a work whose brevity was not welcomed. This work felt incomplete for all of the right reasons. Visually engaging, physically energized choreography that hit you in the solar plexus and that filled this reviewer with with pure unmitigated joy for being in its presence. As the yellow chairs flew from the wings to be caught by the dancers as they moved in ever increasing complex movement patterns, you were left wondering if and how frenzied and complex the choreography could evolve into. It was like getting your hands on the first chapters of an amazing serialized page-turning novel. You were hungry for more.

Seeing this company of young dancers and seasoned veterans in this concert performing such world class and dynamic artistic works left me breathless and most importantly hungry for more.