On Stage Dayton

Countdown to DCDC’s return to the Victoria Theatre stage Ticket Contest

January 29, 2014 By Rodney Veal 5 Comments

In two weeks Dayton Contemporary Dance Company will return to the Victoria Theatre for what promises to be a highlight of the arts season. How often do we get to pay homage to the perseverance and relevancy of a modern dance company that has been in existence for forty five years. The significance can honestly never be overstated. DCDC bucks the trend of dance companies that fold once the visionary artistic leadership departs this mortal coil. This company has roared back with a renewed sense of artistic vitality.

Several reviews past, I intimated that Dayton audiences needed to do their homework and investigate the people, concepts and histories that inform and are the fabric of the artistic endeavors being presented. So I have decided to highlight every day this week one choreographer presenting work on February 8th & 9th.

The first choreographer being highlighted is the masterful Donald Byrd.

Donald Byrd is one the leading and seminal figures in Modern Dance, his biography highlights an artist who has created works all over the globe. His work has been performed by Alvin Ailey, Pacific Northwest Ballet, San Francisco Opera, Seattle Opera and New York City Opera. In 2010 his company appeared in New York in a new interpretation of a John Zorn composition as part of the Guggenheim Museum’s Works & Progress series. This prolific and vital choreographer has set his latest work “Geography of the Cotton Fields” on the upcoming Dayton Contemporary Dance Company concert.

I have selected a couple of youtube clips that are wonderful examples of Mr. Byrd’s prodigious choreographic talents:
[yframe url=’http://www.youtube.com/watch?v=cr2eMHEyDAo&feature=youtu.be’]

You’ll also want to check out this Youtube video. This gives you a point of entry to the choreographer his aesthetics and movement vocabulary. Brave the weather forecasts and get tickets to what promises to be must see art event.

ReVisioning 45: New Works Unveiled
Saturday, February 8, 2014 at 7:30pm and Sunday, February 9, 2014 at 3:00pm

Victoria Theatre, 138 North Main Street, Dayton, Ohio 45402
For tickets to ReVisioning 45: New Works Unveiled please contact Ticket Center Stage at 937-228-3630 or 888-228-3630 or www.ticketcenterstage.com.

DMM want to send a couple of our readers to see the DCDC Show. To enter our random drawing, like this article and fill out the form below. Feel free to comment below on why you should win. Good Luck! [form 55 “DMM Contest Entry – Generic”]

Human Race Takes On Torch Song Trilogy Ticket Contest

January 27, 2014 By Dayton Most Metro 4 Comments

TORCH SONG TRILOGY publicity photo with Jamison Stern, Jon Hacker, Patricia Linhart, Philip Thomas Stock and Jamie Cordes. Photo by Scott J. Kimmins.

The Human Race Theatre Company starts 2014 with Harvey Fierstein‘s award-winning and rarely-produced three-act play, Torch Song Trilogy. Poignant and filled with witty, sharp humor, Fierstein’s deeply personal story of self-discovery redefined an era in gay America. What begins as a chance encounter in a New York nightclub leads drag-queen Arnold Beckoff in a hilarious, yet touching, pursuit of love, happiness and a life of which he can be proud. From a failed affair with a reluctant lover, to a committed relationship with a young model and the promise of a stable family, Arnold’s struggle for acceptance meets its greatest challenge in his intolerant mother.

Torch Song Trilogy originated as a series of one-act plays - International Stud, Fugue in a Nursery and Widows and Children First! – that premiered individually Off-Off-Broadway at La MaMa ETC beginning in 1978, when actor/writerHarvey Fierstein was just 23 years old. The three plays were then united under the umbrella title Torch Song Trilogy and presented Off-Broadway in 1981 at the Actors’ Playhouse, where it received positive reviews from critics and audiences alike. The production then transferred to Broadway in 1982, ran for 1,222 performances, and won Fierstein Drama Desk and Tony Awards for Best Play and Best Actor. Fierstein has been an icon for Gay America since the 80s and is well-known to audiences for his gravelly voice and witty dialogue. In addition to his early success with Torch Song Trilogy, he also wrote the books for the Broadway musicals La Cage aux Folles (for which he won a second Tony Award), A Catered Affair, Newsies and Kinky Boots. He has performed onstage in such Broadway shows as La Cage aux Folles, Hairspray and Fiddler on the Roof, as well as in numerous films and television shows.

TORCH SONG TRILOGY publicity photo with Jamison Stern as “Arnold” and Patricia Linhart as “Mrs. Beckoff”.

“Torch Song was written in a time before AIDS, before the debate over Marriage Equality,” says Producing Artistic Director Kevin Moore. “Revisiting this amazing script was not a political choice, it was a ‘human’ choice. This story speaks volumes about our individual struggles for love and acceptance – and it applies to any era. By setting the play in its original time period-the late 1970s to early 1980s-we are given a chance to see both how far we have come…and not come.”

Director and Human Race Resident Artist Scott Stoney (Next to Normal; Caroline, or Change; August: Osage County) leads The Human Race’s production with a talented cast of six actors: Jamison Stern (Broadway’s By Jeeves and How the Grinch Stole Christmas, national tours of Beauty and the Beast and Little Shop of Horrors) as “Arnold”, Resident Artists Jamie Cordes (Next to Normal, right next to me) as “Ed” and Patricia Linhart (Becky’s New Car, The Drowsy Chaperone) as “Mrs. Beckoff” and “Lady Blues”, Lisa Ann Goldsmith (Macbeth, Pittsburgh Public Theatre’s As You Like It) as “Laurel”, Jon Hacker (Next to Normal, Wright State University’s Oklahoma!) as “Alan” and Stivers School for the Arts student Philip Thomas Stock (Muse Machine’s All You Need Is Love, Dayton Theatre Guild‘s Lost in Yonkers) as “David”.

The Dayton-based drag performance group The Rubi Girls will serve as hosts for the Friday, January 31 opening night performance. The Greater Dayton LGBT Center has partnered with The Human Race to present “LGBT Pride Night at The Loft Theatre” for the Tuesday, February 11 evening performance. Center members can purchase discounted tickets through its website: www.daytonlgbtcenter.org.

Ticket Contest:
DMM will be sending 2 lucky winners and a guest to see Torch Song Trilogy as our guests. To enter our contest, just like this article, tell us why you should win in the comments below and fill out this form. We’ll post our winner Tues after 9pm.

Congratulations to our ticket winnerss Shelly Hulce & Brian Coleman

Southern Fried Comedy Play opens in Beavercreek Ticket Contest

January 23, 2014 By Dayton Most Metro 1 Comment

Open this weekend at the Beavercreek Community Theatre, located at 3868 Dayton-Xenia Road, ‘Til Beth Do Us Part, is directed by Dionne Meyer of Beavercreek.

In this side-splitting comic romp about marriage, career-driven Suzannah Hayden needs more help on the home front than she’s getting from her husband, Gibby. Enter Beth Bailey, Suzannah’s newly-hired assistant, a gregarious, highly-motivated daughter of the South. To Suzannah’s delight, Beth explodes into the Hayden household and whips it into an organized, well-run machine. This couldn’t have happened at a better time for Suzannah, since her boss, Celia Carmichael, the C.E.O. of Carmichael’s Chocolates, is flying in soon for an important make-or-break business dinner. Gibby grows increasingly wary as Beth insinuates herself into more and more aspects of their lives. When he realizes it’s Suzannah’s career Beth is really after, Gibby sets out to save his marriage aided by Suzannah’s best friend, Margo. Their effort to stop Beth at any cost sets up the wildly funny climax in which things go uproariously awry just as Suzannah’s boss arrives for that all-important dinner.

There are shows Friday and Saturday at 8pm and a Sun 3pm matinee this weekend and next. Tickets are $13 for adults and $11 for students, BCT members and seniors, ages 55 and older. Tickets can be reserved by calling 429-4737 and leaving a message or by emailing [email protected].

Ticket Giveaway:

MostMetro.com has 2 pair of tickets to share with readers who’d like see the show. If you’d like to be eligible to win a pair, like this post, comment below on why you should win and fill out the form below.

Congrats to our ticket winners: Terry Larson & Jamie McQuinn! Enjoy the show!

Live-Action Graphic Novel On Stage Friday at Victoria Theatre Ticket Contest

January 21, 2014 By Dayton Most Metro 2 Comments

Step into the Victoria Theatre for a one-of-a-kind theatre experience, a live-action graphic novel, as THE INTERGALATIC NEMISIS returns to the Victoria Theatre with BOOK 2: ROBOT PLANET RISING Friday, Jan. 24, 2014 at 8 pm.

What began as a late night coffeehouse production, THE INTERGALACTIC NEMESIS has transformed into an incredibly unique theater experience combining graphic novels and radio plays into a live-action theatre production. The telling is what makes the experience of THE INTERGALACTIC NEMESIS so incredibly unique: while three actors, one Foley artist, and one keyboardist perform all the voices, sound effects and music, more than 1,000 hand-drawn, full-color,
hi-resolution, blow-your-mind comic-book images blast from the screen.

Featured on “Conan” and NPR’s “All Things Considered,” the premise of THE INTERGALACTIC NEMESIS is simple.BOOK 2: ROBOT PLANET RISING premiered at the Long Center for the Performing Arts in June 2012 to rave reviews. It’s a period adventure story with no small share of laughs. The year is 1933. When the robot emissary Elbee-Dee-Oh disappears in deep space, it’s up to Molly Sloan to rescue him. If only it were that simple. Because at that same time, and unbeknownst to her, her former fiancé Dr. Lawrence Webster has miraculously arrived on the planet Robonovia, the Cerebretron is malfunctioning, Timmy has only just begun to master his telekinetic powers, a sinister robot named Alphatron is up to something terribly nefarious, and the duplicitous Soviet spy Natasha Zorokov has followed Dr. Webster through the Galactascope. Will it all get sorted out? Or is there another, more evil, thread to this complex tapestry? There’s only one way to find out! Buy tickets now!

Tickets for THE INTERGALACTIC NEMESIS are on sale now at the Ticket Center Stage Box Office, located in the Wintergarden of the Schuster Center, by phone at 937-228-3630, toll free 888- 228-3630 and online at www.ticketcenterstage.com.

MostMetro.com wants to send one of our lucky winner’s to see the show. If you’d like to be eligible to win a pair, like this story, comment below on why you should win and fill out the form below. We’ll post a winner here Wed night after 9pm.

Congratulations to our ticket winner: Sandra Power! Enjoy the show!

Sinclair Theatre Presents Holocaust Play, Exhibits and Panel Discussion

January 20, 2014 By Dayton Most Metro Leave a Comment

Sinclair Theatre will present a Holocaust play, A Shayna Maidel by Barbara Lebow, February 7-15th in Sinclair’s NEW Black Box Theatre, located on the fourth floor of building 2 of the downtown Dayton campus. In addition, Sinclair Theatre in partnership with Sinclair’s Holocaust Remembrance Committee will host 3 supporting Holocaust exhibits during the production dates; two from the Center for Holocaust and Humanity Education and one developed by Sinclair Faculty Member Amanda Hayden as well as a cast panel discussion.

A Shayna Maidel (Yiddish meaning “a pretty girl”) is the story of two sisters: one, a modern American who remembers very little of her childhood in Poland and the other, who has survived unspeakable losses including a concentration camp. Worlds collide as one sister gradually shares the losses that have scarred her and the other learns her tragic family history.

Kimberly Borst will direct the show and cast includes: Jennifer Smith, Leah Mikesell, Saul Caplan, A.J. Breslin, and Ella Wylie.
Performances are Fridays and Saturdays at 8 p.m., one Sunday Feb. 9th at 2 p.m., and a Downtown Dayton Thursday Nights performance at 7 p.m. on Feb. 13th. There will also be a morning matinee geared for high schools or middle schools on Wed., Feb. 12 at 10 a.m.

All seats are general admission at $10 each. ALL Thursday tickets cost an additional $5 each and include pre-show appetizers and cash bar beginning at 6 p.m. in the green room (2334) for Sinclair’s popular Downtown Dayton Thursday Nights. Tickets are on sale now at: www.sinclair.edu/tickets. If you need further assistance leave a message at 937-512-2808. A student box office agent will return your call as soon as possible. The box office is open one hour prior to performances.

Her Story Must be Told: Women’s Voices from the Holocaust uniquely presents the memories, photos, and stories of 15 Jewish women who survived the Holocaust. The women are from a dozen countries, reflecting different survivor experiences. The viewer gains an appreciation of women’s unique ways of survival: fighting in the resistance, living in hiding or with false identity, and enduring concentration camps. Collectively the stories of sisters, daughters, mothers, wives and friends celebrate women’s strength and valor.
Appropriate for grades 5 and up.

The Bystander to Upstander exhibit addresses examples of bystanders who remained silent in the face of Nazi persecution and ultimately genocide, while also exploring the motivation of upstanders, those who chose not to stand by and instead stood up and spoke out against the Nazi regime. The exhibit sheds light on critical yet often overlooked perspectives of the Holocaust, while encouraging viewers to think about their own action or inaction.

Amanda Hayden, Assistant Professor in Religion, Philosophy, Humanities and Sinclair’s Discipline Coordinator of Religion has compiled photos into a digital presentation depicting the concentration camps then and now.

The cast and director will have an open forum on Jan. 30 at 12:30 p.m. in Blair Hall, first floor building 2, where they will share their Holocaust research and discuss the effect it has made on their work with
this production. This discussion is free and open to the public.

Photo caption: Jennifer Smith (l) and Leah Mikesell (r) portray sisters in Sinclair Theatre’s A Shayna Maidel being performed Feb. 7th-15th in The Black Box Theatre on the downtown campus. www.sinclair.edu/tickets (photo by Patti Celek)

‘Seussical’ Review – Muse Machine – Oh, What a Circus!

January 18, 2014 By Russell Florence, Jr. Leave a Comment

The circus has come to the Victoria Theatre!
The absolutely delightful centerpiece of the Muse Machine’s breezy production of Stephen Flaherty and Lynn Ahrens’ “Seussical,” the arts education organization’s 30th annual student musical, is “The Circus McGurkus,” a fantastic Act 2 display of fun, mystery and whimsy. Developed by the Muse artistic team in collaboration with Fred Garbo of “Sesame Street” and “The Inflatable Theater Company,” the vibrant number departs its accustomed status as a merely serviceable transition to fluidly emerge as a clever and imaginative playground deserving of an encore. Inflatable objects, plate spinning, hula hoops, rings, juggling, acrobatics, somersaults, cartwheels, unicycles, and more are impressively handled by the highly entertaining cast from various schools across the Miami Valley.

The cast of the Muse Machine’s production of “Seussical” in rehearsal (Photo by Daniel Rader)

Elsewhere, the material isn’t executed with sharp consistency, especially evident when the aforementioned centerpiece suddenly catapults the show’s momentum, but director Joe Deer still coaxes admirable performances from his principals. The naturally endearing William Peters is the personification of kindness, loyalty and perseverance as the genuinely genial Horton the Elephant, who vows to rescue the citizens of Whoville despite overwhelming ridicule from his peers. Mark Howard, a radiant tenor, doesn’t miss a beat as his engaging portrayal of JoJo reveals a confident stage presence far beyond his years. The gangly, playful Sean Cheatwood effortlessly adopts various animated personas as the kooky Cat in the Hat. Dynamic vocalist Jennifer Clemens brings wonderful R&B sass to her role as the Sour Kangaroo. Gwyn Burton, an adorable Gertrude McFuzz, and the bubbly Christine Fiala, an appropriately flashy and vain Mayzie LaBird, are equally appealing. David Emery and Sarah Martin are well-matched as Mayor of Whoville and Mrs. Mayor. The intimidating John Neff commands attention and incites fear as the best General Genghis Kahn Schmitz I have seen. The dastardly Wickersham Brothers, uniquely dressed as street toughs, are cohesively comprised of Kyle Bates, Joel Daniel (also the humorous Grinch), James Fields, Benjamin Green and Christian Johnson. Jeremy Cleary (Vlad Vladikoff), Rollie Fisk (Judge Yertle the Turtle), Cayla Destefani (Bird Girl), Cecily Dowd (Bird Girl), Anna Hlinomaz (Bird Girl), Rachael Horner (Bird Girl), Clare Kneblik (Bird Girl), Callia Tellez (Bird Girl) and Rachel Woeste (Bird Girl) are noteworthy.
Additionally, Lula Elzy’s seemingly non-stop choreography is cute and colorful, particularly the uplifting opening number “Oh, The Thinks You Can Think!” as well as “It’s Possible” and the energetic finale. Music director Timothy Olt leads a strong, steady orchestra. Set designer J. Branson’s large backdrops capture the spirit of the Dr. Seuss books. Many costumes sparkle with personality thanks to coordinators Lyn Baudendistel, Robin Brown, Patty Peters and Alisa Vukasinovich. John Rensel’s lighting design expertly accents varying moods and locales. David Sherman’s sound design specifically impacts during JoJo’s Act 2 military departure, but repeatedly missed cues hindered last night’s performance.
Bookended by a sprinkle of Hollywood star power and an inspired nod to a legendary rock band, “Seussical” awakens the child in all of us with an exuberant charm typifying the Muse pedigree. Step right up!

“Seussical” continues through Jan. 19 at the Victoria Theatre, 138 N. Main St., Dayton. You can still catch performancestonight at 8 p.m. and Sunday at 2 p.m. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $25-$59. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘The Subject Was Roses’ Review – Dayton Theatre Guild –Bruised But Not Broken

January 17, 2014 By Russell Florence, Jr. Leave a Comment

Angela Riley, Alexander Chilton (center) and Geoff Burkman in the Dayton Theatre Guild’s production of “The Subject Was Roses” (contributed photo)

In the Dayton Theatre Guild’s commendable production of Frank D. Gilroy’s 1965 Tony and Pulitzer Prize-winning World War II-era drama “The Subject Was Roses,” the Cleary family of Bronx, New York is as engrossing, heartbreaking and dysfunctional as ever.

Set over the course of a May weekend in 1946, “Roses” centers on the rocky homecoming of Army serviceman Timmy (Alexander Chilton), who shocks his hardnosed dad John (Geoff Burkman) and doting mom Nettie (Angela Riley) with unexpected habits and beliefs. In fact, much to his parents’ dismay, Timmy isn’t exactly the guileless underachiever who walked out the door with the mission of keeping his country safe and strong. Predictably, war has made him question who he is and what his purpose in life should be. His decision to abandon his faith absolutely infuriates John, a staunch Catholic. Interestingly, Nettie doesn’t necessarily mind Timmy’s agonistic views. She’s more concerned with his drinking and boorish language. But as the wonderfully rich and relatable layers of these troubled, unhappy characters are delicately peeled by director Marcia C. Nowik’s compatible cast, “Roses” fittingly blossoms as a timeless portrait of change and misunderstanding within a wounded home that can only be healed by love.

The excellently authentic and persnickety Burkman embodies the temperamental John, a hard-working, practically uneducated product of the World War I generation, with an easily irritated and frustrated disposition properly masking his inability to communicate. He’s also astute at being harsh without seeming heartless. John scolds Timmy numerous times, but genuine concern dwells amid the sparks. In her firm Guild debut, Riley terrifically expresses the agony, doubt, hurt and regret that has damaged Nettie’s relationship with John, who has been unfaithful. Late in Act 2, with Chilton seated on the floor transfixed on her every word, she truly shines while pensively delivering Nettie’s absorbing monologue detailing her modest upbringing and the chance encounter with John that changed her life for good and bad. Chilton, a knockout last season as Jerry in the University of Dayton’s production of “Zoo Story,” startles at the outset with an oddly calculated demeanor, but his actions are an intriguing maneuver to suggest something is uncomfortably amiss inside Timmy’s world. Bolstered by Burkman and Riley’s ample support, Chilton credibly navigates Timmy’s tender, combative and soul-searching journey with a clear understanding that faults, past or present, cannot be easily remedied.
Additionally, Blake Senseman provides another attractively eye-catching set fashioned here in a quaint, homey sensibility. Costumer Patrick Allyn Hayes counters with fine period attire, especially for Riley. Nick Vanderpool’s lighting design, K.L. Storer’s sound design and Fred Blumenthal’s properties are equally noteworthy attributes of this worthwhile offering.

“The Subject Was Roses” continues through Jan. 26 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m. and Sundays at 3 p.m. Act One: 50 minutes; Act Two: 50 minutes. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org

Brilliant Leaps and Cautious Steps A Review of Dance in Dayton 2013 and What to Watch for in 2014

December 31, 2013 By Rodney Veal Leave a Comment

Another year has waltzed by, creating a beautiful stir in the Dayton dance community. I have been privileged to bear witness to some incredible moments of sublimeness amidst the cautious backdrop of these uncertain times in regards to patronage and audience building. Now more than ever we as patrons of the arts have to reinforce our commitment to the arts in our community. While financial support is critical to keeping the lights shining, an education and connoisseurship is vital to elevating our community collectively. These moments and individuals made this year a tantalizing appetizer for a brighter future.

In no particular order:

Sheri “Sparkle” Williams

How often do we have a goddess walking amongst us? For over forty-five years Sheri has illuminated and turned up the heat on the stages of Dayton and around the world. When they describe DCDC as a “world class” organization, they are really describing Sheri. What she brings to the world can only be attributed to the divine. Her artistry is on the level of Dame Helen Mirren, Meryl Streep and Aretha Franklin, an ageless category defying artistic genius that we are privileged to witness. She is worthy of our continued attention.

Dayton Ballet-crop of new choreographic voices

Kudos to Dayton Ballet and their commitment to elevating female choreographers in the realm of classical ballet. This season saw the beautiful work of Gina Gardner-Walther, Amy Seiwert and Susanne Payne. They released the aesthetic beauty and artistic abilities of the dancers and challenged them to new heights and we as an audience were grateful to witness.

DCDC Urban Impulse

This is what a satisfying concert looks like; one that combines community outreach and artistic ambition. It was a gamble that payed off brilliantly. I cannot imagine any lover of dance not leaving that show ecstatic.

DCDC Emergence
This company came back in the fall with a concert of original works that was inspired. The luscious, diverse choreographic works that made Boll Theatre feel like Lincoln Center for a brief autumn evening.

Paul Gilliam, Dayton Ballet

A physically gifted performer who brightens the stage with charm, grace and intelligence. I have been very fortunate to briefly witness his choreographic skills. And I believe we are witnessing a diamond in the rough. Breakout star of 2014

Jammie Walker, Dayton Ballet

A welcomed soulful and passionate presence at Dayton Ballet. A dancer who can handle classical and contemporary work with ease. I look forward to seeing more of him in 2014.

Shed by Kiesha Lalama

Ms. Lalama set an energetic work that was wonderfully constructed and rendered by the dancers at DCDC. The company came roaring back to prominence with this piece and this reviewer was incredibly grateful.

Extremely Close by Alejandro Cerrudo

Okay, so this piece was performed by Cincinnati Ballet, but I would be remise in not discussing it. I had no expectations for this evening of dance at the Aronoff, but as we entered the auditorium, we were greeted with a blank stage, except for a white wall partition and a steady stream of feathers lazily drifting into a pile center stage. It took this reviewer/audience on an unexpected journey, one that we all gladly took. Note to artistic directors in Dayton this guy is worth the investment.

Prodigal Son by George Balanchine

Closing the same concert for Cincinnati Ballet was a re-staging of Prodigal Son with coaching by Edward Villlella. They delivered a bravura performance that brought down the house.

Smag Dance Collective

Congratulations on the 10th anniversary of Smag Dance Collective. The tenacious Artistic Director Michael Groomes fights for his vision of dance that is interwoven into the fabric of our community quilt. This is dance by the people and for the people. He is truly an urban visionary walking amongst us and he and the company deserve our support.

The Brown Dance Project

A poignant, funny and beautifully rendered work created by choreographer Rodney Brown and danced by members of DCDC. MODULE is an educational community outreach work that deals with HIV prevention. A brilliant example of the power of art to address social issues. I was particularly impressed by the audience Q & A afterwards and the fact that they came out on a Saturday afternoon to embrace this necessary work.

2014

I am looking forward to several things: The choreography of DeShona Pepper Robertson for Dayton Ballet in the fall. The site specific installation piece being presented by Ohio Dance and created by Crystal Michelle Perkins. Amy Seiwert and Susanne Payne creating new choreography for Dayton Ballet. Dance concerts returning to the Blair Hall Theatre stage at Sinclair Community College. The return of DCDC to the Victoria Theatre stage and the revival of the Dayton Arts Project.

I can think of no better resolution than to see more dance. And in the immortal words of London Coe, #dateyourcity.

Dayton Theatre Auditions

December 29, 2013 By Dayton Most Metro 1 Comment

Washington Township’s Town Hall Theatre will hold auditions for it’s spring production of SEUSSICAL JR on January 4th beginning at 1pm and January 9th beginning at 4pm. The theatre for young audiences will cast children in grades 2 up to adult for some roles. The show will run March 7 – 23rd.

Registration for auditions is online. Please do not call the box office to schedule auditions. You will receive an email confirmation with your date and time. We cannot guarantee your choices for audition dates and times, however we will try our best to provide one of your three choices.

PLEASE NOTE: Registration for auditions scheduled on Saturdays must be received by 6pm on the Thursday before the audition. Our box office is closed on Fridays.

Playhouse South in Kettering is holding auditions for Hamlet by William Shakespeare, directed by Jen Skudlarek, on January 6th & 7th at 7pm, with callbacks on January 8th. The performances are on February 28, March 1, 2, 7, 8 at 8:00 pm and March 2 at 2:00 pm. They will be doing cold readings from the script. Please bring any conflicts you may have to auditions. They are looking for 16-20 people, with a minimum of 7 men and 3 women ages 16 and up. If you have any questions, feel free to contact Jen Skudlarek at [email protected].

The Dayton Gay Men’s Chorus will be holding open auditions for men of all ages on January 8, 2014 starting at 7pm at St John’s Lutheran Church located at 141 S Ludlow St, Dayton, OH 45402. Auditions will not only be to become a member of the chorus directly, but to also have the chance to participate in the new ground breaking commissioned oratorio “I am Harvey Milk” written and composed by Tony nominated Andrew Lippa, the be presented at the historic Victoria Theatre. Those wishing to audition should prepare a short piece demonstrating their range, an accompanist will be provided. Audition reservations are not required but a short RSVP or expression if interested is appreciated.

Returning members and new members will also have the opportunity to work directly with the composer at an all day workshop, which is to be announced shortly. Rehearsals are Monday evenings with a preview performance March 15,2014 at the DGMC Benefit, and final performance June 7, 2014 at the Victoria Theatre. For questions an interested please email [email protected] or call 937-530-0642.

Dare to Defy Productions, LLC is proud to announce open auditions for our company,

on Jan 11, 2014. General Auditions – (Ages 16+) will take place on January 11, 2014. To request an audition, please call 937-999-9949 or through e-mail [email protected]. Please specify an audition window 8:30-10:30 or 11:30-1:30. Please note any actors selected to attend callbacks for You’re A Good Man, Charlie Brown will be required to attend callbacks from 2:00-5:00, on January 11, 2014. Audition spaces are limited and will be filled on a first come, first serve basis. You will receive a confirmation e-mail with your audition time confirmation, audition location and a reminder of the audition requirements.Open Auditions will be held for: You’re A Good Man, Charlie Brown, Altar Boyz, Nunsense and Rent (the role of Angel has been pre-cast, all other roles are available)Please note: Auditioners will be auditioning for Dare to Defy Productions, LLC for the period January 2014-March 2015. This means that if other performance opportunities arise actors from these auditions may be invited to callbacks for those productions, as they occur.

Audition Requirements: Come prepared with 1 one-minute comedic monologue, 1 one-minute dramatic monologue and 1 song (up to 32 bars). Please have a 2nd song, of contrasting style, prepared. Bring your sheet music. An accompanist will be provided. No a cappella singing or recorded music. Please bring a recent headshot and resume, which will not be returned to you.Dare to Defy Productions, LLC is a non-equity professional production company. All roles are paid contract positions. Performances are done in a touring style, at several venues over a 3-month run.Rehearsals will primarily occur Monday – Thursday evenings, and daytime on weekends.

DCDC’s Christmas Concert Ticket Contest

December 11, 2013 By Megan Cooper 3 Comments

You’ve never seen the Dayton Contemporary Dance Company like this before. Sure you know their cutting-edge, contemporary, world-renowned choreography and talent. But for Christmas, you get to see that exciting skill matched with multiple choirs (adult and children’s), live music, a recording star from gospel music and more. And – you just might get to see if for free if you’re one of Dayton Most Metro’s ticket winners.

IN THE SPIRIT OF… BEHOLD HIS HOLY NAME

Saturday, December 14th at 7:30pm , and Sunday, December 15, at 4:00pm, 2013

Dayton Convention Center, 22 East Fifth Street, Dayton, Ohio For Tickets call 937-228-3630 or www.ticketcenterstage.com Seating for this concert is general admission – so get there early for a great seat!

This will be the seventh production of the Dayton Contemporary Dance Company’s most beloved dance concert. This time around the production will be a festive holiday season extravaganza!

The “In the Spirit of...” series taps into the deepest origins of the African-American community that gave birth to the dance company. The resulting blend of the art of globally-informed contemporary dance with the African-American Church, whose history and art have had global impact, will make for a dance-music concert experience not to be found anywhere else. Highlights include a community choir, a children’s choir, live instrumentalists, liturgical dance and plenty of holiday song, dance, and joy! Lift your spirit up and behold His Holy Name! Guest appearance by nationally renowned Gospel singer and recording star – Shirley Murdock!

To enter to win our random drawing for tickets to Sunday’s show, just like this post, tell us why you should win and fill out the form below.
Our contest is closed. Congratulations to our winners Mark Brewer & Amy Kiser! Enjoy

VTA’s Starring Role Online Auction Benefit Discovery Series for Kids

December 5, 2013 By Dayton Most Metro Leave a Comment

The 4^th annual Victoria Theatre Association online auction runs from Monday, Dec. 2 to Sunday, Dec. 8. Titled, Starring Role, the auction features more than 200 one-of-a-kind items such as theatre memorabilia, restaurant gift certificates, unique travel experiences, and much more! Proceeds from the auction will support The Frank M. Tait Foundation Discovery Series, which offers live theatre experiences for schoolchildren.

Looking for the perfect gift? Look no further! Victoria’s Starring Role Online Auction offers a myriad of items including:

4 day trip to California’s Wine Country
Cooking class for 8 w/ Chef Tim Schonsheck of Citilites at the Schuster
Gift certificates to local restaurants
Theatre Packages to SISTER ACT, Disney’s BEAUTY AND THE BEAST, ALTON BROWN: THE INEVITABLE EDIBLE TOUR and more!

UPCYCLED HANDBAGS TO BENEFIT ARC OHIO

Do you love the Broadway musicals WICKED and THE LION KING or know someone who does? Bid on handbags and totes created from a Broadway WICKED or THE LION KING banner. Local artist Tim Titer creates functional items by upcycling materials that were headed to the landfill and has transformed the banners hung outside the Schuster Center into beautiful and functional messenger bags and totes. Each one is unique in design! 10% of the proceeds from the sale of the bags will go to benefit AIDS Resource Center Ohio!.

Victoria’s Starring Role Online Auction is the perfect way to get your holiday shopping done and support Victoria Theatre Association at the same time.

With a goal to raise $35,000, the online auction committee has been working hard to create creative and meaningful packages for Victoria’s Starring Role Online Auction. Every item purchased through the auction will support The Frank M. Tait Foundation Discovery Series which reaches more than 30,000 students throughout the Miami Valley. Your support helps local kids experience the arts through Victoria Theatre Association. Be a hero this holiday season and buy the perfect gift through VTA’s Starring Role Online Auction!

Prices of the auction items range from $15 to $5,000 and all purchases will be received mid-December for holiday gift giving.

“Our committee worked hard to have a wide variety of auction items that appeal to a variety of interests,” says Karen Meade, VTA Advancement Director. “It’s fun to think of it as convenient, one-stop shopping in the comfort of your own home – or office – that benefits Victoria Theatre Association’s extensive education and outreach programs.”

How do I participate?

Visit http://victoriatheatre.com/support/auction and view all the auction items in advance of the auction start date. Or simply follow these steps:

Step 1: Go to www.biddingforgood.com.
Step 2: Find the “bidders” tab in the upper right corner of the homepage and click “Register.”
Step 3: Fill out the free and no obligation personal information fields.
Step 4: Once you have registered, enter your username and password in the upper right corner and click the “Sign In” button.
Step 5: When you are signed in, using the search field, search for Victoria Theatre Association.
Step 6: Bid on items you like.
Step 7: Check back and check often to make sure you aren’t outbid!

Victoria’s Starring Role Online Auction ends at 8 p.m., December 8, 2013. Winners will be contacted regarding details of collecting their purchases. Dave Ahlstrom (Sebaly Shilito & Dyer) serves as the 2013 Online Auction Chair with committee members: Nina Anglin (Oakwood Florist), Jocelin Baker (Logos@Work), Mimi Combs (Oakwood Florist), Jennifer Enseleit (Harris Systems, Inc.), Kris Hopkins (Community Volunteer) and Regina Menza (Premier Health Partners).

For more information about Victoria’s Starring Role Online Auction, visit http://victoriatheatre.com/support/auction, call Karen Meade at 937-228-7591 ext. 3063 or email her at [email protected].

Fellow Passengers to Take Audiences on a Journey Ticket Contest

December 2, 2013 By Dayton Most Metro 9 Comments

Let’s play a game.
Name this line:

“I have always thought of Christmas time, when it has come round… as a good time: a kind, forgiving, charitable, pleasant time: the only time I know of, in the long calendar of the year, when men and women seem by one consent to open their shut-up hearts freely, and to think of people below them as if they really were fellow-passengers to the grave, and not another race of creatures bound on their journeys.”

Well – if you’re not sure – you’re not alone. This line is from Charles Dickens’ A Christmas Carol, although you wouldn’t know it from the many, many (many, many, many) variations you’ve no doubt seen over the years. The Dayton Playhouse will

remedy that with an adaptation of the holiday classic that more closely resembles the original.

Fellow Passengers (which takes its name from the above quote) is a three-person reading that closely follows the original text. Megan Cooper, Franklin Johnson and Charles Larkowski bring audiences on a journey over the course of the evening as we watch Scrooge discover the meaning of Christmas. Directed by Dodie Lockwood, the language is the true star of the show. Costume pieces are hinted at – a cap here, a shawl there – just enough to convey the multiple characters portrayed by each actor. Lights and music shift as Scrooge journeys from scene to scene and learns what Christmas means.

Audiences who are familiar with the tale know that Scrooge’s old friend Marley introduces him to three ghosts who remind him of who he used to be and show him the direction his life is heading if he doesn’t change. But there’s so much more to the story. Fellow Passengers strips away the spectacle (huge sets, elaborate costumes, multiple song breaks) that occasionally accompanies holiday shows and focuses on that classic story. According to Lockwood, this adaptation is “chock full of the beautiful language of Dickens’ original work.”

Lockwood continues, “I was fortunate to find this beautifully written piece and was taken with it immediately. It has previously been produced only in Seattle, so we are happy to premiere it in Dayton. The play slips in and out of Dickens’ richly drawn characters and transports us adventurously through the old streets of London to witness Scrooge’s past, present and future. This unique script is quite a challenge for even these three very talented actors.”

This fresh adaptation was written by Greg Carter, director of the Strawberry Workshop in Seattle, Washington. Performed by Chuck Larkowski, Megan Cooper, and Franklin Johnson, each playing multiple roles. Nostalgic Victorian Christmas carols performed by local musicians Michael and Sandy Bashaw, will be featured throughout the production along with original pieces developed by the Bashaws for this presentation. Dodie Lockwood is directing the production assisted by Richard Brock. Set design by Chris Newman; Light design by Anita ; Costumes by Robin Farinet; Produced by Kelli Locker. Sound and Light support from Josh Davis and Greg Nichols.

SPECIAL DAYTON MOST METRO DEAL! For the Thursday, December 12 performance ONLY – you can attend for only $10 if you mention that you saw it on Dayton Most Metro. Also – see below for a great ticket giveaway opportunity.

Fellow Passengers will open Friday, December 6 and will run through December 15. Performances are at 8 p.m. on Thursday, Fridays and Saturdays, and 2 p.m. on Sundays. The Dayton Playhouse is at 1301 E. Siebenthaler Ave, Dayton, OH 45414. Tickets are $17 for adults and $15 for seniors and students. Special discount rates are available for groups of 10 or more, with an additional group discount on Thursday, December 12. Reservations are encouraged and may be made at www.daytonplayhouse.com, or by calling the Dayton Playhouse box office at 937-424-8477. The box office is open Mondays and Wednesdays from 1:30 – 4:30 p.m., however, messages may be left at any time and calls will be returned. Group sales must be done directly through the box office.

DMM does have a couple of pairs of tickets to give away for some lucky readers to see this show as our guests. If you’d like to enter the drawing to win these tickets, just comment below and share this story on your page and fill out the entry below.

Our contest has ended. Congratulations to ticket winners Amy Feltner and Steve Stawser!

‘The Gifts of the Magi’ Review – Dayton Theatre Guild – A Heartwarming Delight

November 27, 2013 By Russell Florence, Jr. Leave a Comment

The Dayton Theatre Guild’s production of “The Gifts of the Magi” features
Back row, l to r: Kelli Locker, Jared Mola, Bobby Mitchum, Shawn Hooks
Front row, l to r: Dave Nickel, Megan Kuchan (Contributed photo)

The Dayton Theatre Guild provides an absolutely charming production of Randy Courts and Mark St. Germain’s 1984 off-Broadway musical “The Gifts of the Magi.”
Set in New York City circa 1905 and based on O. Henry’s short stories “The Gift of the Magi” and “The Cop and the Anthem,” the musical, delicately directed with precision by Kathy Mola, nicely balances two engaging, straightforward tales. The primary story chronicles the love and hardships of Jim and Della Dillingham, a sweet couple struggling to make ends meet as Christmas approaches. In order to provide each other with a present, both make a great sacrifice, which ultimately reflects the spirit of the biblical example set by the Magi. The secondary, more consistently lighthearted account involves Soapy Smith, a gallantly good-natured bum whose only desire is to be arrested in order to obtain food and shelter during the holidays. The wonderfully meaningful, life-affirming journeys of Jim, Della and Soapy, combining rewarding themes of faith, family, forgiveness, friendship and goodwill as narrated/guided by amiable newsboy Willy Porter, epitomize the true significance of the season.
In addition to grasping the harmonic challenges within the tuneful score, particularly accented with beguiling ballads, Mola’s cohesive cast offer highly enjoyable portrayals. Shawn Hooks and Meagan Kuchan, making their Guild debuts, are very compatible as the Dillinghams. The mature Hooks, given a poignant moment of reflection in “How Much to Buy My Dream,” doesn’t diminish Jim’s serious frustration of being unemployed, a topical element deeply felt today as it did when the “Magi” story was first published in 1903. The gentle Kuchan delivers her most touching performance to date as the devoted, encouraging Della. Some of her best scenes stem from Della reminding Jim that money isn’t the foundation of a home and pondering life with a different hairstyle in “The Same Girl.” As Soapy, who quips at one point that he’s been “cursed with good fortune,” the delightful Dave Nickel treads carefully in terms of the music, but his humorous character choices are endearingly sound. Versatile partners Jared Mola (in his local musical theater debut) and Kelli Locker terrifically embody different personalities and disguises as The City: Him and The City: Her. As Willy, Bobby Mitchum is so effortlessly excellent in his Guild debut I’m tempted to brand this production as simply “Bobby Mitchum: Live at the Guild.” Willy isn’t a flashy or grueling role, but surely requires a considerably strong tenor with a thoroughly appealing ability to connect with the audience. The magnetic Mitchum, blessed with a voice that soars while containing enormous warmth, unquestionably fits the bill right at the outset leading a gorgeous rendition of the alluring title song, one of many numbers propelled with beautiful flourishes courtesy of music director Luke Williams.

In addition, costumer Linda Sellers supplies striking period attire. Blake Senseman is responsible for an equally attractive set evoking turn of the century New York. Courtney Wheeler’s choreography is apt and colorful, specifically “Christmas is to Blame.” Nick Vanderpool’s suitable lighting design and Deirdre Bray Root’s fine properties are also noteworthy components of this utterly heartwarming treat.

“The Gifts of the Magi” continues through Dec. 8 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m. and Sundays at 3 p.m. Act 1: 45 minutes; Act 2: 40 minutes. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org.

‘The Wild Party’ Review – Wright State University – Love and War

November 22, 2013 By Russell Florence, Jr. Leave a Comment

(l to r) Law Dunford, Paige Dobkins, Kelsey Pohl and Mark Beyer in Wright State University’s production of “The Wild Party” (Contributed photo)

The excellent local premiere of Andrew Lippa’s 2000 off-Broadway musical “The Wild Party,” adapted from Joseph Moncure March’s 1928 narrative poem of the same name, intimately electrifies at Wright State University.
Presented inside the black box Herbst Theatre, “Wild Party” focuses on the destructive, unstable relationship between vaudeville performers Queenie and Burrs. In an attempt to escape the monotony of their damaged existence, they decide to host a party in their Manhattan apartment. A colorful array of eccentric characters immerse themselves in drugs, booze and sex, including Queenie’s narcissistic best friend Kate, but everyone is thrown for a loop when the sophisticated Mr. Black, Kate’s mysterious date, becomes smitten with Queenie. What was intended to be a frivolous evening of decadence evolves into a dangerously heated game of survival as deep-seated jealousy and smoldering romance collide with tragic results.

In order to ground the show in period and tone, Lippa freely incorporates lines from March’s evocative poem, a conceptual element evident in Michael John LaChuisa’s musically challenging but masterful Tony-nominated version of “Wild Party,” which also opened in 2000. However, it’s difficult to find three-dimensional characters here aside from the four principals. There are many engaging contributors to the revelry at hand, but not enough backstory to propel them beyond the surface.

Nevertheless, Lippa’s catchy score, paying homage to the Jazz Age while embracing the contemporary, is the main attraction, particularly the salsa-tinged “Raise the Roof” and the gospel-flavored “Wild, Wild Party,” choreographed with crisp exuberance by Dionysia Williams. At the same rate, his introspective ballads are equally strong, especially the haunting, soulful quartet “Poor Child.” On the whole, the music is vibrantly performed by conductor Ian Benjamin’s five-piece band and well taught by musical director Sherri Sutter.

Director Jamie Cordes, whose first-rate artistic team includes set designer Ryan Sess, lighting designer Kody Lupori and movement coach Marya Spring Cordes (who directed WSU’s outstanding “Grand Hotel” last season), offers his most striking staging to date. Effectively capturing a few scenes in shadow for moody allure, he keeps the action fluid and gripping with a pinch of suspense as testy situations swell throughout the evening. He also ensures the compelling characterizations of the four leads, generating major sparks whenever the action focuses on them, are balanced by the sharply comedic turns of the terrific supporting and ensemble players.

The beguiling, effervescent and heartbreaking Paige Dobkins truly shines as the emotionally conflicted Queenie, especially as Mr. Black’s sincere advances cause her to question the life she has made with Burrs. Dobkins’ lovely rendition of “Maybe I Like It This Way” particularly resonates late in Act 1. Fine tenor Mark Beyer, who impressively understudied the role of the Baron in “Grand Hotel,” wonderfully inhabits the cruel, moody Burrs without going over the top or seeming false. It’s easy to label Burrs as a maniacal bully, but Beyer digs deep to reveal a more complex image of a man struggling with serious emotional and psychological wounds. As the calm, cool Mr. Black, Law Dunford possesses an intoxicating chemistry with Dobkins while exemplifying how to be suave without appearing slick. The marvelous Kelsey Pohl, remarkably making her presence known with the aptly titled “Look at Me Now,” lights up the stage as Kate, who pines for Burrs. Accented by a showstopping rendition of “The Life of the Party,” Pohl’s breakthrough performance, full of attack and uninhibited glee, paints an exceptionally vivid portrait of a desperate woman recklessly pursuing a love she can never obtain.

Elsewhere, Mathys Herbert and Kevin Ferguson (two additional highlights of “Grand Hotel”) hilariously intertwine as the flamboyantly fierce D’Armano duo. The tough, no-nonsense Tommy DiMassimo and the endearing Emsie Hapner are winningly paired as boxer Eddie and his dim-witted sweetheart Mae. Emma Jordan commands attention as lesbian Madelaine True, humorously desiring “An Old-Fashioned Love Story.” Brandon Ramos (Sam Himmelsteen), Tyler Simms (Max), Alyson Snyder (Dolores), Liz Romey (Nadine), Victoria Gilman (Jackie) as well as ensemble members Lauren Schorr, Bradley Farmer and Abby Murray Vachon add spice and personality to this captivating experience.

“The Wild Party” continues through Nov. 24 in the Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col Glenn Hwy., Fairborn. Performances are Nov. 22 and 23 at 8 p.m. and Nov. 23 and 24 at 2 p.m. The production runs 2 hours and 23 minutes including one 15-minute intermission. Tickets are $12 for adults, $10 for seniors and $5 for students. For tickets or more information, call (937) 775-2500. Patrons are advised the musical contains adult language and themes.

‘Oklahoma!’ Review – Wright State University – Sound Territory

November 9, 2013 By Russell Florence, Jr. Leave a Comment

Kate Mueller and Jon Hacker in “Oklahoma!” (Contributed photo)

Rodgers and Hammerstein’s quintessential 1943 musical “Oklahoma!” thoroughly entertains at Wright State University with an impressive balance of lighthearted exuberance and darkly disturbing menace.
This splendidly tuneful musical is often treated with a one-dimensional, overly optimistic slant, but director Greg Hellems, borrowing a page from Trevor Nunn’s masterfully character-driven 2002 Broadway revival of “Oklahoma!,” avoids pigeonholing the colorful yet flawed characters. Deception, longing and despair also factor into their evolution as they anticipate statehood not long after the dawn of the 20th century. Thankfully, Hellems’ fine cast, attractively clothed in period attire by Lisa Loen, creates three-dimensional characterizations radiating with authenticity and purpose.
Based on Lynn Riggs’ 1930 play “Green Grow the Lilacs,” “Oklahoma!” concerns the emotionally stubborn romance between farm girl Laurey Williams and cowboy Curly McLain. Laurey and Curly are practically made for each other, but they’re reticent to admit it. However, their relationship is put to the test when surly hired hand Jud Fry sets his eyes on Laurey.
Pleasant tenor Jon Hacker, notably featured last season as Henry in the Human Race Theatre Company and Victoria Theatre Association’s local premiere of “Next to Normal,” portrays Curly with charming bravado and a genuine zest for life. He also instills an appealing sense of security into the role, giving credence to Laurey’s need to view Curly as a protector. Kate Mueller, who delivered a breakthrough performance last season as Helen Keller in WSU’s “The Miracle Worker,” delightfully embraces Laurey’s tomboy sensibilities and has palpable chemistry with Hacker. The score doesn’t rest comfortably in her range (which particularly reduces the passion within “People Will Say We’re in Love”), but she’s great in the book scenes, especially the eye-opening moment Laurey reveals her desires in life. An outstanding Andrew Quiett, whose WSU credits include “Grand Hotel,” “The Miracle Worker” and “Spring Awakening,” completes the central love triangle with a deeply obsessive and intimidating portrayal of the pornography-addicted Jud. I’ve never seen a rancher look as clean as Quiett does here, but he’s absolutely grounded in his complex role adding bouts of frightening anger for good measure. In fact, his superbly compelling rendition of “Lonely Room,” a marvelously ominous ballad and one of the most underrated tunes in the R&H canon, is a truly chilling display heightened by a sky of flaming red courtesy of lighting designer Matthew P. Benjamin.
Excellent turns extend to Caroline Gruber (a caring, strong Aunt Eller), Cooper Taggard (a spirited triple threat who turns the jubilant “Kansas City” into an early winner as dim-witted Will Parker), Kaitlyn Sage (an adorable, hilarious Ado Annie particularly delivering “I Cain’t Say No” as if it were written for her), Sean Jones (sly and funny as Ali Hakim), Drew Bowen (a naturally folksy Cord Elam), Ian Benjamin (enjoyably firm as Andrew Carnes), and Bailey Rose (scoring appropriate laughs as Gertie Cummings). The iconic “Dream Ballet,” strikingly choreographed by Teressa Wyle McWiliams, features fluid partnering by Hannah Aicholtz and Kyle Adam.
In addition to the “Dream Ballet,” McWilliams, paying homage to original choreographer Agnes de Mille while retaining her own distinct vision, pulls out the stops with the aforementioned “Kansas City” (featuring a dance break that would make Kathleen Marshall and Susan Stroman proud) and a wonderfully lively “Farmer and the Cowman.” In an inspired move, scenic designer Pam Knauert Lavarnway primarily sets the show within a large barn, allowing various locales to be viewed with a new perspective. Musical director Scot Woolley conducts another terrific orchestra.

“Oklahoma!” continues through Nov. 10 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col Glenn Hwy., Fairborn. Performances are tonight at 8 p.m. and tomorrow at 2 p.m. The production is performed in three hours with one 15-minute intermission. Tickets are $22 for adults and $20 for seniors and students. The remainder of the run is reportedly sold- out, but call the box office at (937) 775-2500 in the event there is availability.

‘Fiddler on the Roof’ Review – Human Race Theatre Company – Tradition in Transition Ticket Contest

November 8, 2013 By Russell Florence, Jr. 20 Comments

Drew Pulver as Tevye in “Fiddler on the Roof” (
Photo by Scott J. Kimmins)

The Human Race Theatre Company’s refreshingly intimate take on Joseph Stein, Jerry Bock and Sheldon Harnick’s timeless 1964 musical “Fiddler on the Roof” is an enormously pleasant experience inside its cozy Loft Theatre.

Director Kevin Moore deftly and breezily swaps the sweeping heft typically associated with the material for a smaller, character-conscious approach ripe with immediacy and emotional resonance. His communal, campfire-esque concept, carried out by an excellently cohesive cast of 25 including four musicians who double in smaller roles, unquestionably allows the audience to feel as if they’re right in the heart of the tiny village of Anatevka circa 1905. In fact, when one resident wistfully sung about his quaint surroundings while seated in the aisle next to me, I nearly joined in. After all, by that point, this faith-based community grounded in tradition yet rocked by unexpected transition became so relatable that genuine concern for their future well-being was inescapable. But that’s what makes “Fiddler” so special and practically bulletproof as one of the best musicals ever created. You absolutely care about the characters, specifically as stakes are raised in the darker Act 2 marvelously contrasting the sunny prologue bursting with promise, purpose and possibility.

Drew Pulver is a wonderfully earthy, credibly conflicted everyman in the plum role of poor milkman Tevye, the amiable father of five daughters and the popular glue that holds Anatevka (and this musical) together. As Tevye copes with a whirlwind of change and treasures his chit-chats with God, Pulver’s easygoing, mildly contemporary persona and outstanding vocals (“If I Were a Rich Man” doesn’t disappoint) propel his multifaceted characterization. Still, the volatile anger he displays when Tevye dismisses his daughter Chava for wanting to marry outside the faith is a significant revelation. Chills arise as Tevye is suddenly caught in an utterly disgusted, nearly abusive frame of mind unlike any production of “Fiddler” I have seen, including Canada’s Stratford Festival three months ago. The dynamic Rachel Coloff, who appeared in David Leveaux’s mammoth 2004 Broadway revival of “Fiddler,” shines with great sternness and sharp timing as Tevye’s headstrong wife Golde. Coloff is particularly appealing in the loving, temperamental rapport she establishes with Pulver beautifully highlighted in their poignant rendition of “Do You Love Me?”
Christine Zavakos (Tzeitel), Charity Farrell (Hodel), Ashley Campana (Chava), Abby E. Cates (Shprintze) and Hannah Sayer and Jordan Vandersluis (sharing the role of Bielke) are delightful as Tevye and Golde’s children. The sweet, gentle Zavakos, the radiant, vocally stunning Farrell and the intriguing, introverted Campana enjoyably join forces early in the tale for a fun, graceful “Matchmaker, Matchmaker” that typifies their close-knit sisterhood. This winning trio also has engaging partners in Drew Helton, Josh Kenney and Adam Brown, respectively. Helton, a recent Wright State University graduate possessing geeky charm and finding delicious nuances in the script as timid tailor Motel, notably delivers a bubbly, lyric-fueled “Miracle of Miracles” simultaneously warming the heart of Zavakos and the audience. Kenney, a real find as outspoken student Perchik, is fittingly intellectual and fiery while perfectly matched with Farrell. As Fyedka, Brown’s charisma and skillful dancing is a joy.

The cast of “Fiddler on the Roof” in “Tevye’s Dream”
(Photo by Scott J. Kimmins)

Colorfully authentic, fully realized performances are also given by Caitlin Larsen (Yente/Grandma Tzeitel), Saul Caplan (Lazar Wolf), K.L. Storer (Rabbi), Matty Rickard (Mendel), Ryan Heinrich (Mordcha), Eric Byrd (Vanya), Joshua Silver Hughes (Yussel), Adam Lendermon (Sasha), Jeff Sams (Constable), and Linda June Snyder (Shaindel). Larsen’s comedic expertise, Caplan’s joviality, Sams’ cool, imposing demeanor, and Rickard, Byrd, Hughes and Lendermon’s splendid execution of the iconic “Bottle Dance” (one of many crisp, spirited routines marvelously reproduced by Chris Crowthers from Jerome Robbins’ original choreography) are noteworthy.
The production’s superb ambience is heightened by Dick Block’s strikingly detailed set evoking religion, John Rensel’s proficient lighting expertly marking shifts in tone, Tony Ray Hicks’ attractive costumes (originally designed for a 2009 “Fiddler” national tour starring Topol), Nathan D. Dean’s first-rate sound design (“Tevye’s Dream,” featuring Campana as the eerie Fruma-Sarah, is a spooky delight), and music director/guitarist Jay Brunner’s (Nachum) terrific klezmer band (particularly giving Farrell’s gorgeous rendition of “Far From the Home I Love” a tender acoustic flair) featuring Brent Eresman (Seth/clarinet), Joel Greenberg (Zev/mandolin), and brilliant, expressive violinist George Abud (Fiddler). Janet Yates Vogt provides vocal music direction.

It’s no surprise “Fiddler” has endured for generations. The Human Race keeps the musical’s tuneful, meaningful legacy alive with stripped down potency accenting the fact that it’s never too late to reexamine a classic.

“Fiddler on the Roof” continues through Nov. 30 at the Loft Theatre, 126 N. Main St., Dayton. Performances are Nov. 8-9, Nov. 13-16, Nov. 20-23, Nov. 27, 29-30 at 8 p.m.; Nov. 10, 17, 24 and 30 at 2 p.m.; and Nov. 26 at 7 p.m. The Nov. 12 and 19 performances are sold out. Act One: 95 minutes; Act Two: 50 minutes. Tickets are $21-$45. Call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org.There will also be a special Sing-a-Long “Fiddler” concert Dec. 1 at 2 p.m. Song lyrics will be provided. All tickets are $18.

MostMetro.com wants has a pair of tickets to share with our readers. If you’d like to see the show on us, like this story, and tell us inthe comments why we should send you, then fill out the form below. We’ll announce our winner on Sunday![form 55 “DMM Contest Entry – Generic”]

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