On Stage Dayton

Name: The Beacon
Start: 2026-06-07T15:00:00-04:00
End: 2026-06-07T17:00:00-04:00
Location: Dayton Theatre Guild

Coming up in Dayton theatre, 11/7-11/17

November 7, 2013 By Sarah Caplan 1 Comment

Welcome back again, theatre lovers! What do we have to tempt you this week?

Closing This Weekend

Oklahoma!

The Skinny: It’s the turn of the century, and the Oklahoma territory is on the cusp of statehood. There are farmers, their daughters, cow-men and their mounts in this beloved musical extravaganza.

Dates: Oklahoma closes this weekend, 11/10.

Tickets: Please visit the Wright State University Theatre department website here.

Opening This Weekend!

Oedipus Rex

Springfield Stage Works

The Skinny: Oedipus is abandoned after his father hears a prophecy that he is to kill his father and marry his mother. Oedipus is adopted and later hears that same prophecy, and goes in search for the truth. Hijinks do not, in this play, ensue.

Dates: Oedipus opens this weekend and closes next weekend.

Tickets: Please visit the Springfield Stage Works site, www.springfieldstageworks.org

Currently In Production

Fiddler On The Roof

The Human Race Theatre Company

The Skinny: In the early part of the 20th century, the inhabitants of the shtetl of Anatevka, including Tevye and his 5 daughters, must contest with how Russia’s sweeping changes will effect their daily lives.

Dates:

Tickets: Please visit the Human Race Theatre Company website at www.humanracetheatre.org

9 to 5

Playhouse South

The Skinny: A musical workplace-revenge fantasy, based on the 1980 comedy movie.

Dates: 9 to 5 runs this weekend and next, closing Saturday, 11/16.

Tickets: Please call (888) 262-3792.

Opening Next Weekend

Over The River And Through The Woods

Brookville Community Theatre

The Skinny: Nick is a family-dedicated Jersey boy who has to tell his family he’s moving to follow his dream job. Out of town.

Dates: Over The River opens the 14th and runs through the 24th.

Tickets: Please call the Brookville Floral Shop at 937-833-6790.

Coming up in Dayton theatre, 10/23 – 11/3

October 23, 2013 By Sarah Caplan Leave a Comment

Welcome back! You know, whenever I type that phrase, I think of the theme song to the 1970’s sitcom “Welcome Back, Kotter!” Only, in this case, your dreams aren’t your ticket. Your tickets are your dreams. And in each one of the pieces I’m synopsizing for you, there are dreams a’plenty. For safety, for glory, for happiness…and maybe just for a really good-looking man.

Was that too much? I may be waxing poetic. Probably best, then, just to dive right in!

Limited Engagement!

War Horse

The Schuster Center

The Skinny: A heart-warming tale of loyalty and friendship, War Horse is based on the 1982 novel of the same name. The plot heart-warming tale of loyalty and friendship, War Horse tells the story of young Albert and his beloved horse, Joey, set amid the horrors of the first World War. And features puppetry you must see to believe.

Dates:

Tickets: Tickets are available at the Victoria Theatre Association website, www.victoriatheatre.com

Opening This Weekend!

Deathtrap

Dayton Playhouse

The Skinny: A writer of thrillers, who has seen his unsuccessful plays greatly outnumber his smashes, receives a nearly perfect thriller in the mail from a fan. After inviting the fan to his home, the question becomes…what would you do for a taste of glory? This is a dark comedy that will make you laugh, and gasp, and keep you guessing.

Dates: Deathtrap opens 10/25 and will run through 11/03.

Tickets: Please visit the Dayton Playhouse website at www.daytonplayhouse.com

Dog Sees God – Confessions of a Teenaged Blockhead

Beavercreek Community Theatre

The Skinny: An “unauthorized parody,” the play imagines characters from the popular comic strip Peanuts as teenagers. Drug use, suicide, eating disorders, teen violence, rebellion, sexual relations and identity are among the issues covered in this drama. Not for the younger set, as this is produced by BCT’s more-adult “Edge Of The Creek” season.

Dates:

Tickets: Please see the Beavercreek Community Theatre website at www.bctheatre.org

Oklahoma!

Wright State University

The Skinny: This beloved Rogers & Hammerstein classic tells the story of the denizens of the Oklahoma territory, just as it is poised on the cusp of statehood. You know it, you love it. It’s a guaranteed good time in the theatre.

Dates: Oklahoma opens Thursday, 10/24 and will run through 11/10.

Tickets: Please visit the Wright State box office page, here.

Currently In Production!

The Rocky Horror (Puppet!) Show

Zoot Theatre Company

The Skinny: The sweet transvestite and his motley crew will take the stage in an entirely new way and for the first time ever at the NCR Renaissance Auditorium. A much different take on this classic, yet campy musical this deliberately kitschy rock ‘n’ roll sci-fi Gothic is more fun than ever and let’s face it…it’s going to be done like ONLY Zoot can do! Caution: adult themes and strong language are used. Recommended for those ages 16 and up.

Dates: RH(P)S is currently in production, having opened last weekend, and will run through 11/2.

Tickets: Please call the Zoot box office at 937.512.0140

Opening Next Weekend!

Fiddler On The Roof

The Human Race Theatre Company

The Skinny: Based on the short stories of Sholem Aleichem, Fiddler is the tale of Tevye the milkman and his family. The shtetl of Anatevka seems safe and peaceful, but the sweeping changes facing Russia in 1905 bring strife and worry even to its smallest pockets. Fiddler juxtaposes the large changes rocking the world with the intimate, beautiful and sometimes heart-breaking changes that can rock a family.

Dates: This production will open on 10/31 and run through 12/1.

Tickets: Please visit the Human Race Theatre Company website at www.humanracetheatre.org

Oh, good grief! How The Peanuts Gang Grew Up!

October 21, 2013 By Dayton Most Metro Leave a Comment

Beavercreek Community Theatre’s Edge of the Creek Productions will present “Dog Sees God: Confessions of a Teenage Blockhead,” by Burt V. Royal. The spoof of the Charles Schulz comic strip “Peanuts” follows the original gang a decade later as their beloved beagle companion dies. A missing pen pal, an abused pianist, a pyromaniac ex-girlfriend, two drunk cheerleaders, a homophobic quarterback, a burnt out Buddhist and a drama queen sister fill the show’s ensemble.

“’ It is a window into how they could have evolved if they’d been allowed to grow into adolescence. This play shows us just how hard it is to be stuck between childhood and adulthood,” said Director Matt Curry. “When Charlie Brown’s dog dies he starts questioning his family and friends about what they think happens after death. Nobody can provide him with any solace, save for one–the target of the groups’ harsh bullying and torment. This relationship, forged from hope and love, has disastrous consequences careening towards a poignant and heartfelt ending.”

“This play’s subject matter requires a certain level of maturity and tolerance. The audience must be willing to let these character’s lives develop. There is strong language, sexuality, intense bullying, explosive emotions, drug use, and rebellion,” Curry said. Edge of the Creek Productions is an “edgy” branch of BCT, created to broaden the scope of their traditional season of family-oriented productions.
The show opens this weekends and runs through November 3rd. Friday and Saturday performances are at 8pm; Sunday matinees are at 3 pm at the Beavercreek Community Theatre, 3868 Dayton-Xenia Road in Beavercreek. For ticket information, call the box office at 429-4737 or e-mail [email protected].

Friday and Saturday performances are at 8 p.m.; Sunday matinees are at 3 p.m. at the Beavercreek Community Theatre, 3868 Dayton-Xenia Road in Beavercreek. For ticket information, call the box office at 429-4737 or e-mail [email protected].

‘The Rocky Horror (Puppet) Show’ Review – Zoot Theatre Company –A Strange, Sexual & Unforgettable Journey

October 17, 2013 By Russell Florence, Jr. 8 Comments

JJ Parkey as Dr. Frank ‘N’ Furter in Zoot Theatre Company’s production of “The Rocky Horror (Puppet) Show” (Contributed photo by Dawn Ruggles)

Babies, don’t you panic. Over at the Frankenstein place (a.k.a. the Dayton Art Institute), Zoot Theatre Company’s production of Richard O’Brien’s “The Rocky Horror (Puppet) Show” is a totally commendable experience absolutely blessed by a singular sensation in high heels and fishnets.

O’Brien’s envelope- pushing yet enduring 1973 tale of an innocent couple’s sexual awakening inside a demented castle is so full of sci-fi gobbledygook and campy silliness that it’s imperative for an ensemble to completely dive in no holds barred. The balancing act of staying rooted in character while not taking anything seriously is the key to inhabiting this thin, outlandish romp. Thankfully, director/musical director John Faas assembles an amusing, eager, passionate and vocally admirable team who spiritedly attack the material for all its worth. I question Faas immediately exaggerating tone by having the cast interact with each other and the audience during the nostalgic opener “Science Fiction Double Feature” (which oddly detracts from his inspired addition of projections and show credits displayed center stage), but he shapes a smoother, hilariously carnal course thereafter that aims to please.
In fact, the course at hand, which rightfully encourages audience participation, is brilliantly taken to another dimension the jaw-dropping moment JJ Parkey arrives as Dr. Frank ‘N’ Furter, the mad scientist and sex-craved megalomaniac thrilled to have created the perfect man. Decadently costumed by Ayn Wood as a glam rock god and strutting around the stage as if it’s his own personal runway, Parkey, totally aware that Frank craves attention and respect, sends the pulsating “Sweet Transvestite” through the roof to fearsome, commanding and delectably bitchy degrees. It is a truly astonishing moment that not only seems to stop time, but remarkably recalls the uninhibited raw power of his fierce, haunting portrayal of Hedwig in Encore Theater Company’s 2011 production of “Hedwig and the Angry Inch.” Still, the most alluring aspect of his thrillingly domineering and delightfully comedic embodiment of Frank is his freedom to be as assertively over-the-top as he wants without the risk of overpowering his fellow actors. He can simply savor the role for the showy spectacle it was intended to be. By time he raises the roof again late in Act 2 with a soaring rendition of “I’m Going Home” while channeling the divas of yore with old-fashioned Hollywood glamour, you’ll find it hard to imagine anyone else leading this show.
Elsewhere, the bespectacled, multi-tasking Ray Zupp is a naturally endearing and humorously dopey Brad Majors, who shares Walter White’s fondness for tighty whities. The equally pleasant Beth Conley is a genuinely green and gullible Janet Weiss, but her “Touch-A-Touch-A Touch Me” epiphany could be more vigorously vivacious. Anyone who saw Riley Able’s breakthrough performance as handsome, shirtless, muscular drifter Hal Carter in Wright State University’s 2011 production of “Picnic” will not be surprised he’s playing the handsome, shirtless, muscular Rocky. There is more to Able than his physique (seven months ago he was a sophisticated Baron in WSU’s dazzling “Grand Hotel”), but right now he’s turning heads as a thoroughly entertaining doofus in tight gold shorts and that ain’t no crime. Matt Zanfagna (Riff-Raff), Alison Koch (Magenta) and Stephanie Jenkins (Columbia) are a fittingly creepy, mischievous and subservient trio although the committed Koch has a tendency to scream-sing, leaving most of her lyrics incomprehensible. Natalie Houliston is an unbridled joy exhibiting sharp comedic timing in the dual roles of Dr. Scott and Eddie, particularly leading a rousing “Hot Patootie” that is among the many exuberant numbers choreographed by Shawn Storms. Julia Gomez, Chelsea Hauptsteuck, Philip Stock and Ben Tracy keep the debauchery alive with seductive magnetism as the Phantoms. Eric Antz, Juliet-Howard Welch and Michael Stockstill are the silently proficient trio operating puppets (designed by Zoot artistic director D. Tristan Cupp) representing the remnants of Frank’s bizarre handiwork. Andrew Ian Adams also exhibits skilled puppetry while fluidly guiding the proceedings with engagingly ghoulish glee as the Narrator.
J. Gary Thompson’s sound design proved very problematic at the performance attended, but Wood’s sexy costumes, Zupp’s efficient sets, John Rensel’s atmospheric, Technicolor rock concert lighting, and Edward Wooten’s satisfying band are more gratifying technical components.
Bound to please die-hard fans and curious newbies, this “Rocky” will be remembered for expanding Zoot’s artistic capabilities and allowing the phenomenal Parkey to deliver one of the best performances of 2013.

“The Rocky Horror (Puppet) Show” continues through Nov. 2 in the NCR Renaissance Auditorium of the Dayton Art Institute, 456 Belmonte Park N, Dayton. Performances are Oct. 25-27 and Nov. 1-2; Friday and Saturdays at 8 p.m. and Sundays at 2 p.m. There will also be a special midnight performance Oct. 26. Act One: 40 minutes; Act Two: 55 minutes. Tickets are $12-$20. Visit www.zoottheatrecompany.org for tickets or more information. Patrons are advised the musical is recommended for ages 16 and older due to strong language and adult themes.

DMM has 3 pairs of tickets to give away to some of our lucky winners to see The Rocky Horror (Puppet) Show. If you’d like to be our guest just like this review and comment on why you should win and fill out the form below! We’ll post our winners here Thursday night!

Congrats to our winners: Harvey from Huber Heights, Debbie from Kettering and Beth from Springfield! Enjoy the show!

‘Time Stands Still’ Review – Dayton Theatre Guild – Not So Safe and Sound

October 11, 2013 By Russell Florence, Jr. 1 Comment

(l to r) Cassandra Engber, Kelli Locker, Alex Carmichal and David Hallowren in the Dayton Theatre Guild’s production of “Time Stands Still” (Contributed photo)

The horrors and wounds of war pervade the homefront in Donald Margulies’ gripping 2010 Tony Award-nominated drama “Time Stands Still,” a compelling character study about relationships, career and worldviews currently receiving an excellent local premiere at the Dayton Theatre Guild.

Living “on the sorrow of strangers,” accomplished photojournalist Sarah Goodwin (a dynamically passionate Cassandra Engber) returns from Afghanistan physically and emotionally scarred having survived complications from a roadside bomb. However, recuperating inside her Brooklyn loft (marvelously designed with eye-catching personality by Blake Senseman) becomes problematic when her longtime live-in boyfriend/freelance writer James Dodd (an effortlessly firm Alex Carmichal) disagrees with her decision to take on another assignment nearby. Encouraged by her editor Richard Ehrlich (an affable David Hallowren) and his sunny younger girlfriend Mandy Bloom (a top-notch Kelli Locker), Sarah feels comfortable about stepping back behind the camera to aid a worthwhile story. But it’s not just the assignment causing friction for Sarah and James. The real turbulence stems from Sarah’s romantic indiscretion in Afghanistan with her interpreter Tarek, a revelation that smoothly propels Margulies’ thought-provoking tug of war to heartbreaking degrees.
Having recently seen the magnificent Broadway revival of Tennessee Williams’ “The Glass Menagerie,” I’m reminded of how powerful it is for a playwright to create a silent character who lingers in the mind while serving as a launching pad for conflict. Amanda Wingfield and her troubled offspring are forever encumbered by the painful memories of the unseen husband and father who “fell in love with long distance.” In Margulies’ equally dysfunctional exploration of memory, Tarek is the invisible catalyst that rips Sarah and James apart although he isn’t entirely to blame. It’s totally apparent the duo may not have been perfect for each other in the first place. Prone to bickering and misreading, Sarah and James seem to be part-time soul mates. James wants kids and marriage. Sarah, deep down on the inside, prefers adventure and independence. They want to make their relationship work, but it’s not borne of a healthy desire to be fully compatible. Even when Sarah ridicules James for wavering in his writing pursuits she takes on the persona of a scolding mother. I’m sure the duo longs to be happy and values the idea of being together forever, but without the ability to recognize each other’s faults and be absolutely supportive their relationship will continue to disintegrate into a series of dead ends.
Splendidly guided by director Debra Kent, Engber and Carmichal, who should be among the first actors to receive resident artist status if the Guild ever chooses to go that route, are utterly captivating and combative. Engber, just as good as Laura Linney who originated the role, particularly impresses while professing Sarah’s Act Two agony of remaining true to her profession as death and decay literally stare her in the face. Carmichal, astutely emphasizing James lackadaisical, slacker qualities, rises to the occasion with volatile verve early in Act Two as a drunk James erupts while arguing with Mandy. Hallowren effectively engages as the underwritten yet concerned Richard. Locker discovers meaningful layers within the seemingly naïve Mandy instead of resigning the character to a one-dimensional existence.
Additionally, Kent’s exemplary creative team includes lighting designer David Corson, costumer Linda Sellers, prop masters Senseman and Deidre Bay Root, sound designer K.L. Storer, and makeup/wig designer Patrick Hayes. What a specific pleasure it is to know this production involves Corson, a University of Cincinnati-College Conservatory of Music student whose phenomenal lighting of Centerville High School’s “Sweeney Todd” last season ranked on par with the best lighting designs on Broadway. Corson’s contributions are more subtle here, but his decision to open certain scenes with illuminated laptops is a wonderfully contemporary, introspective touch. Also, Senseman and Root sprinkle Sarah and James’ loft with a vivid assortment of artifacts as well as a mounted bicycle and a weather trunk as a coffee table. Storer is particularly responsible for compiling one of the best soundtracks I have heard at the Guild to accompany scene changes.

“We’re supposed to capture the truth – not stage it,” says a defiant Sarah in defense of her career. Thanks to the Guild, the truth has never felt so real.

“Time Stands Still” continues through Oct. 20 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m.; Saturdays at 5 p.m. and Sundays at 3 p.m. Act One: 55 minutes; Act Two: 53 minutes. 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

‘Monty Python’s Spamalot’ Review – Sinclair Community College – Royal Romp

October 10, 2013 By Russell Florence, Jr. Leave a Comment

Rehearsals for Sinclair Theatre’s SPAMALOT include knights Sir Lancelot (Chris Delanis), Sir Galahad (Michael Dean Conley), Sir Bedever (Patrick Greco), Sir Robin (Stephen Kallenberg), King Arthur (Skyler McNeeley) and Patsy (C.J. Suchtya). Photo by Patti Celek

Laughs abound in Sinclair Community College’s breezy, highly entertaining production of Eric Idle and John Du Prez’s 2005 Tony Award-winning Best Musical “Monty Python’s Spamalot,” “lovingly ripped off” from the cult classic 1975 film “Monty Python and the Holy Grail.”

This boldly irreverent and witty showcase, grounded in broad, silly British humor with playful nods to pop culture and musical theater conventions, follows the misadventures of King Arthur and the Knights of the Round Table in their kooky quest for the Holy Grail. Avid Python fans will be pleased that many familiar characters and sequences remain intact from the sight of killer rabbits and flying cows to the nastiness of taunting Frenchmen and the peculiar desires of the Knights of Ni. However, Idle and Du Prez’s critical Act Two decision to stray from the film’s framework and push the envelope with jabs targeted at the Jewish and gay community is more jarring and deflating than hysterical, particularly since “Spamalot” has moved on from the comforts of a diversified Broadway audience. Regardless, guest director Gina Kleesattel (responsible for reenergizing musical theater at the University of Dayton with notable productions of “The 25th Annual Putnam County Spelling Bee,” “Bat Boy” and “Urinetown”) certainly keeps the action crisp, fluid, fast-paced and lighthearted, which is all you can ask for a show that doesn’t rely on plot and treats absurdity as the norm.
The uniformly terrific, male-dominated cast, a welcomed blend of Sinclair and University of Dayton performers, is led by Skyler McNeely, who brings a delightful amount of self-effacing charm and cluelessness to his plum role of King Arthur. The vocally alluring Natalie Sanders, who memorably portrayed Jesus in Sinclair’s “Godspell” last season, solidly returns as amusing diva Lady of the Lake, a new addition to the Python universe that motivates Arthur and his loyal followers with soulful appeal. Stephen Kallenberg (Sir Robin) greatly impresses in the energetic “You Won’t Succeed on Broadway.” The handsome, versatile Chris Delanis winningly tackles an assortment of roles including Sir Lancelot, the French Taunter and the Knight of Ni. Michael Dean Conley oozes pompous swagger as Sir Galahad and shares one of his best moments opposite Sanders in the inspired “Phantom of the Opera” parody “The Song That Goes Like This.” Patrick Greco is an amiably understated Sir Bedevere. CJ Suchtya delivers one of his strongest performances as Arthur’s devoted Patsy, particularly joining McNeely for fine renditions of the comical duet “I’m All Alone” and the upbeat “Always Look on the Bright Side of Life.” Additional featured support stems from Bryan Bryk (gleefully leading “I Am Not Dead Yet” as Not Dead Fred), John Dunn (a standout in Sinclair’s “The Laramie Project” whose pleasant evolution continues as the Historian and other roles), and the pitch-perfect Brennan Paulin as the sheltered and demure Prince Herbert. Effective ensemble players include AJ Breslin, Tray Shelton, Anna Sheldon, Aeriel Aniballi, Jasmine Barrett, Maggie Carroll, Samantha Creech, Jennifer Smith and Coartney Freeland.
The wacky world of “Spamalot,” encompassing medieval England with a pinch of Las Vegas and Studio 54 for extra measure, is colorfully and atmospherically first-rate thanks to scenic designer Terry Stump, costumer Kathleen Hotmer, lighting designer Joe Beumer (particularly heightening Sanders’ dynamic rendition of “The Diva’s Lament”), sound designer Dan Brunk and property designer Jennifer Kramer. Rodney Veal’s flavorful choreography is an exuberantly fun mixture of soft-shoe, cheerleading, disco and old-fashioned Broadway showmanship. Daniel Greene provides music direction, but Dr. Kenneth Kohlenberg leads a wonderful orchestra that is an added plus to what is surely one of the best musicals Sinclair has produced.

“Monty Python’s Spamalot” continues through Oct. 12 at Sinclair Community College, Blair Hall Theatre, Building 2, 444 W. Third St., Dayton. Performances are today at 7 p.m., Friday and Saturday at 8 p.m. Act One: 55 minutes; Act Two: 65 minutes. Tickets are $15 for adults and $10 for seniors and students. All Thursday tickets (Downtown Dayton Thursday Night) cost an additional $5 each and include pre-show appetizers and cash bar beginning at 6 p.m. in the Blair Hall Theatre lobby. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets.

Big Name Comedy Invades Dayton This Weekend

October 10, 2013 By Lisa Grigsby 7 Comments

As many of you may know about me, I spent over 20 years running comedy clubs. I’ve seen literally thousands of comics over the years and people often ask me why I don’t write more about the comedy scene. I often say it’s because after all those years, not much is funny to me anymore. But looking at the talent playing Dayton this week, I felt the urge to throw something together here to share with you all.

Sean Morey

With Poundstone, Pauly and Brian Regan all in town, my first thought was two out of three ain’t bad. Then just to be fair, I decided to look up who was playing at Wiley’s Comedy club, Well, I’m betting the folks at Wiley’s wish I hadn’t. Sean Morey is the headliner there this weekend. He may be the only comic I ever fired before he took the stage. He was a regular on the Bob & Tom show, and seemed to do well with crowds. On a recommendation from Heywood Banks, I booked him at Jokers. He was just starting to become a draw at clubs, due to his Bob & Tom appearances, and he really seemed impressed with himself. It was his arrogance and attitude that did him in with me. Long story short, the day of the show, he insisted I not put on an act ahead of him, or he wouldn’t go on stage. Which made my decision easy, he never set foot on stage at my club.

Comedian Paula Poundstone was a regular on the comedy club circuit in the 80’s and 90’s, s a political correspondent for “The Tonight Show” during the 1992 presidential campaign. Best known for her quick wit, her love of cats, Poundstone is a regular on NPR’s weekly news panel game show “Wait, Wait … Don’t Tell Me!” She holds the show’s record for not answering a single right question. But whether she’s right or not, she’s always makes me laugh. Poundstone sums up her act best by saying, “I have jokes I’ve told before and will tell again, but my favorite part of the night is talking to the crowd.” She’s a rare stand up talent, with the ability to charm a room, be funny off the cuff and generally works pretty clean. I saw her do an entire show at Jokers, just working off an audience and highly recommend this show. And I also think she was mildly tortured hanging out in my club office, that was stacked floor to ceiling with headshots, tapes, cds and more and put her OCD on high alert.

[yframe url=’http://www.youtube.com/watch?v=dEliyNOnFLM’]

Paula performs Friday, October 11th at 7:30pm at the Victoria Theatre. Tickets run $28-$38 and can purchased online.

Brian Regan is another comic that I’m proud to have worked with at Jokers Comedy Cafe back in the day.Brian has been brilliantly funny for years. He’s like that goofy friend you have who’s not the obvious class clown, but just consistently funny. He has the ability to take common occurrences and everyday observations and stretches them out into major chunks of his act. A stand up for over 25 years, Brian is a rare breed. He never used the club as a stepping stone for a sitcom or movie career, stand up has always been his thing. From the minute he hits the stage, Brian has the crowd laughing consistently, and often closes his show with a run of his “greatest hits” often adding favorites called out by the audience. I can remember sitting at the Dayton airport with him, waiting on his delayed flight out of town, laughing hysterically as he entertained me over a bowl of cereal. He’s a great guy and I highly recommend this show!

[yframe url=’http://www.youtube.com/watch?v=Dlcq_DC1CkM’]

Brian performs Sunday, October 13th at 7:00pm at the Victoria Theatre. Tickets run $39.50 and can be purchased online.

Pauly Shore is in town playing the Funny Bone at The Greene. I booked Pauly three times (maybe four, can’t remember) at Jokers and I’ll tell you the same thing I said then when people asked me if he was funny. If you’re a fan of Pauly’s, you might enjoy the show. In the early MTV “Totally Pauly” years, he’d show up on a tour bus, with an entourage in a cloud of smoke, living up to the drunk and stoned reputation he earned on tv as “The Weasel.” He’d be lead to the stage, where he’d lean back against the brick wall, slur out 40 minutes of something that was supposed to resemble an act. Mildly amusing at best, it was his star power that was intoxicating to those who were enamored to be in the same room with a “TV star.” He always sold lots of merchandise and was pretty good about signing it and taking pictures with the crowd. On one of his bookings he showed a slide show of him growing up at the famed Comedy Store, owned by his legendary mother Mitzi. Sharing pictures of him being taught to ride a bike with Jay Leno, telling stories of Sam Kinison taking him under his wing to learn comedy and watching Pryor light up a crowd (with laughter, not literally). I actually enjoyed that show. Over the years, I did see Pauly grow up some, and leaving behind the MTV character, but I’d still say Pauly’s talents are better used on tv and movies than at stand up. But that’s just my opinion, you may find him funny.

[yframe url=’http://www.youtube.com/watch?v=A9K43PemQ6w’]
Pauly will appear Friday & Saturday, 7:30 & 10pm with tickets running $22-$25 and available online.

And now you know why I don’t often write about comedy.

Coming Up in Dayton Theatre 10/4 – 10/13

October 3, 2013 By Sarah Caplan Leave a Comment

Welcome back, theatre lovers! Let’s see what there is to choose from for the next two weeks!

Opening This Weekend

Time Stands Still

The Dayton Theatre Guild

The Skinny: Seriously wounded in Afghanistan, photographer Sarah is brought home to recuperate by her writer and live-in boyfriend, James. She is soon visited by her editor and his new and much younger girlfriend. He sees her work and wants a book. And James wants something altogether more conventional.

Dates: Opening Friday, 10/4 and running three weekends to close Sunday, 10/20.

Tickets: Please visit the Theatre Guild website at www.daytontheatreguild.org

SPAMalot

The Skinny: This musical is lovingly ripped off from the motion picture “Monty Python and The Holy Grail”. It’s the story of King Arthur and his Knights of the Round Table as they embark on their quest for the Holy Grail. Flying cows, killer rabbits, the lady of the lake and show-stopping musical numbers are just part of this hilarious, yet highly irreverent parody.

Dates: Opening this Friday, 10/4 and running two weekends, to close on Saturday, 10/12.

Tickets: Please visit the Sinclair website; http://www.sinclair.edu/arts/theatre/box-office/index.cfm

The Art of Self-Defense

The Undercroft Players

The Skinny: A funny, wise, and ultimately powerful depiction of five modern women who casually meet in a T’ai Chi class, and who eventually, through growth, discovery and mutual support, change the quality of their lives.

Dates: One weekend only, this Friday, Saturday and Sunday.

Tickets: This piece is being produced at First Lutheran Church Corner of First St. and Wilkinson St. Downtown Dayton. 7 pm Friday and Saturday and 3 pm Sunday. Tickets are $5 at the door.

‘Harvey’ Review – Wright State Unviersity – Enigmatic Elwood

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

(l to r) Renika Williams, Taylor Montgomery and Cameron Blankenship in Wright State University’s production of “Harvey” (contributed photo)

If you thought Mary Chase’s 1944 Pulitzer Prize-winning comedy “Harvey” was a bygone relic that couldn’t possibly be fulfilling or substantive in this day and age, check out Wright State University’s excellent production radiating with refreshing depth, vivacity and non-traditional casting.

Director Brian McKnight, returning to WSU for the first time since 2010’s “All My Sons,” particularly doesn’t forget to paint Chase’s sturdy canvas with great poignancy, especially when the utterly charming and entirely enigmatic Elwood P. Dowd (the incredibly delightful Cameron Blankenship) pensively reflects on the peculiar bond he shares with his titular best friend. Of course, it’s important to note the friend in question is a 6-foot-tall invisible white rabbit. Even so, Blankenship’s captivating, meaningful delivery, subtly heightened by Erin Jones’ lighting design, makes you believe every morsel of Elwood’s truth no matter how implausible. When Elwood talks about his ability to turn strangers into friends whenever Harvey is by his side, even when those connections are short-lived due to what he believes is envy, it automatically tugs the heart. The question of sanity is certainly a prime target of discussion and laughs throughout, but McKnight, staging scenes very well on Michael Amico’s striking double sets, astutely knows that understanding Elwood’s odd behavior and motives, seemingly born out of grief and maintained by the constant need for alcohol, also plays a significant part, especially in the engrossing, darker Act 2.
The bouncing, smiling, carefree Blankenship, short in stature but enormous in spirit, is supported by a terrific, lively ensemble attractively clothed in period attire by D. Bartlett Blair. Taylor Montgomery, a vibrant, physical comedienne, is wonderfully befuddled and exasperated as Veta Louise Simmons, Elwood’s society-driven sister who is so infuriated with Harvey that she checks Elwood into Chumley’s Rest Sanitarium. Montgomery notably provides a hilarious entrance near the top of Act 2 followed by a similarly amusing interpretation of Veta’s traumatic experience of having been mistakenly admitted to the sanitarium. Still, her finest moment occurs with a credible, touching conversion toward the end of Act 2 in the play’s key scene that finds Veta clearly comprehending the magnitude of a world without Elwood’s genial essence. The lovely, perky Renika Williams is firm and funny as Myrtle Mae Simmons, Elwood’s agitated niece who specifically finds her mother’s sanitarium incident titillating. Zack Steele, handsome and affable, is a perfect fit for the empathetic yet curious Dr. Lyman Sanderson, the hotshot psychiatrist who wrongly commits Veta and ushers in the play’s chaos. Jim Miller is authoritative and pleasingly goofy as Dr. William Chumley. Anita Hill is enjoyably forthright as Ruth Kelly, a nurse who pines for Sanderson. Tommy Dimassimo commands attention as Omar Gaffery, a stern judge who is also a portal into Elwood’s sociable existence pre-Harvey. The tall, imposing Stephen Kell is very intimidating as sanitarium worker Duane Wilson, a tough guy unafraid to handle a patient. Katie Post (Miss Johnson), Delee Cooper (Mrs. Ethel Chauvenet), Cassi Mikat (Betty Chumley) and Brandon Kinley (E.J. Lofgren) are equally strong and impactful members of this breezy showcase.

“Harvey” continues through Sept. 29 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glen Hwy, Fairborn. Performances are today at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 55 minutes; Act Two: 65 minutes. Tickets are priced at $22 for adults and $20 for students and seniors. For tickets or more information, call (937) 775-2500.

‘Hairspray’ Review – Dayton Playhouse – The Beat Goes On

September 20, 2013 By Russell Florence, Jr. 2 Comments

The cast of the Dayton Playhouse’s production of ‘Hairspray’ (photo by Art Fabian)

After Wright State University staged “Hairspray” in the fall of 2011, I didn’t think any theater troupe in town would touch the show for at least five years. The sheer electricity of that indelible production, which I saw three times, whisked me immediately back to July 26, 2002 when I saw a preview of “Hairspray” on Broadway before the critics heralded it as the hit it was bound to be. Even so, the Dayton Playhouse refreshingly and assuredly steps up to the plate to present a wholeheartedly entertaining version that certainly ranks among the best musicals the organization has produced.
Crisply directed by Tina McPhearson and set in1962 Baltimore, “Hairspray,” winner of eight 2003 Tony Awards including Best Musical, centers on spunky, plus-sized teenager Tracy Turnblad (an innately appealing Tamar Fishbein). Tracy’s humble world changes forever when she joins the merry dance troupe of the local “Corny Collins” TV show. Her lively personality and funky moves helps her catch the attention of the show’s heartthrob Link Larkin (the handsome, sensitive Ben Douglas), but situations escalate when she vows to racially integrate the program.
Fishbein charms throughout as Tracy evolves into a courageous visionary for equality, a key element deftly explored in Mark O’Donnell and Thomas Meehan’s terrific libretto adapted from the 1988 John Waters film of the same name. There are occasional glimpses of exhaustion in her portrayal which diminishes her vocal capacity, but she’s an admirable singer nonetheless, particularly filling the dreamy “I Can Hear the Bells” and the reprise of “Good Morning Baltimore” with great tenderness. Fishbein is also wonderfully supported by Brian Sharp, warmly feminine, affably understanding and very funny as Tracy’s insecure mom Edna, and Jim Lockwood, who delivers one of his finest performances as Tracy’s kooky dad Wilbur. Sharp and Lockwood’s close-knit partnership culminates in a truly effervescent, meaningfully touching version of “Timeless to Me,” composers Marc Shaiman and Scott Wittman’s nod to unwavering love.
An assortment of excellent featured turns are given by reliable triple threat Desmond Thomas as Seaweed J. Stubbs, knockout vocalist Crystal Williams as Motormouth Maybelle, the absolutely dynamic Kelli Locker as Velma Von Tussle (on par with Linda Hart who originated the role), the spirited Dean Swann as Corny Collins, the amiable Amanda Carter as Amber Von Tussle, the magnetic Amber Butler as Little Inez, the versatile Marabeth Klejna and Rod Wood in multiple roles, and an utterly hilarious Tori Kocher in a breakthrough performance as Tracy’s zany best friend Penny Pingleton.
The cohesive, sunny ensemble, energetically executing Annette Looper’s choreography flavorfully capturing the period, consists of Naman Clark, Malcolm DeSean Casey, Erica Savage, Sydney Thomas, Alyssia Blake, Andrew Reese Tomlinson, Alissa Peppo, Paige Combs, Daveed Abrams, Andrew Wood, Allison Eder, James Branham, Melanie Barrett and Zack Conway.
McPhearson’s impressive technical team includes scenic designer Chris Newman (colorfully recalling David Rockwell’s original work), costume/wig designers Steve Burton and Tim Grewe, and lighting designer Anita Bachmann. Musical director Judy Mansky leads a firm orchestra particularly accented by the skillfulness of drummer Thomas Varner.
Attempting a character-specific, ensemble-driven show like “Hairspray” is a huge undertaking for a community theater, but the Playhouse effortlessly rises to the occasion. Long before the cast says goodbye with the infectious “You Can’t Stop the Beat,” one of only a few songs in contemporary musical theater to live in the pop culture mainstream, you’ll be glad “Hairspray” returned with unbridled glee.

“Hairspray” continues through Sept. 22 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 75 minutes; Act Two: 55 minutes. Tickets are $17 for adults and $15 for students and seniors. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com

‘Becky’s New Car’ Review – Human Race Theatre Company – Navigating a Midlife Crisis

September 19, 2013 By Russell Florence, Jr. Leave a Comment

Margaret Knapp, David Sitler and Michael Richey, photo courtesy of Scott J. Kimmins

“When a woman says she wants a new car, she wants a new life.” Becky Foster, a middle class wife and mother grappling with middle-age self-worth, intriguingly heeds this opinion in Steven Dietz’s aptly titled 2008 comedy “Becky’s New Car,” the Human Race Theatre Company’s engaging if lightweight season opener fluidly directed by Marya Spring Cordes.

At the outset, Becky, delightfully portrayed by a very personable and relatable Margaret Knapp, warns the audience they might have issues with her likability. In other words, the woman brushing up on her housecleaning before heading to her office manager job at a car dealership will evolve in ways that could startle or be off-putting. And it is Becky’s honest, direct, conversational allure that keeps her on the audience’s side, especially when she decides to take a leap of faith that shakes her family’s foundation with hurtful repercussions. I’m not sure how many women would follow Becky’s example of disregarding their marriage when charmed by a rich widower, but Dietz’s clever decision to demolish the fourth wall allows the audience to at least sympathize with her humorous yet bothersome predicament. By allowing the audience to comment on the action and occasionally join Becky on stage, an unspoken bond is established that breeds understanding. Dietz could have planted more substantive fireworks in the mildly tedious Act 1, but there’s no denying the engrossing tension that occurs in the darker Act 2 when Becky’s deception is revealed forcing her to face the music.
Knapp, navigating a convincing sea of frustrated, perplexed emotions, receives stellar support from an authentic supporting cast. As Becky’s easygoing, hardworking husband Joe, David Sitler excellently crafts a journey firmly built on trust that is eventually replaced with heartache and pain with a pinch of vengeance. Wright State University alum Gregory Mallios is sharp and amiable as Becky and Joe’s son Chris, a grad student still determining his path no matter how smart he thinks he is. Michael Richey is hilariously aloof as wealthy Walter Flood, an older gentleman smitten with Becky but not completely over the loss of his wife. Thanks to Richey’s sweet, innocent demeanor it is entirely believable that Becky would turn her world upside down for Walter, who is so far removed from the middle class that he’s humorously astounded by the concept of pizza delivery. Human Race resident artist Patricia Linhart makes a welcomed, commanding return to the Loft Theatre stage as the jaded, privileged Ginger, Walter’s acerbic friend who longs to be useful while wishing she were the center of his attention. Jason Podplesky, adept at physical comedy, is a bundle of energy as Becky’s co-worker Steve Singletary. Leslie Goddard is lovely as Walter’s spoiled daughter Kensington who finds the man of her dreams in one of the play’s crafty twists.
In addition, Tamara L. Honesty’s wonderfully colorful, expansive and inspired set, expertly lit by John Rensel, astutely signifies the varying directions within Becky’s conflicted existence. Linhart and Goddard are particularly costumed in striking black cocktail dresses in Act 2 courtesy of Christie Peitzmeier.
Later this season, the Human Race will stage two fascinating plays that are more indicative of their pedigree: Harvey Fierstein’s “Torch Song Trilogy” and Jon Robin Baitz’s “Other Desert Cities.” Until then, you’re encouraged to ride shotgun with Becky Foster. Hold on tight.

“Becky’s New Car” continues through Sept. 29 at the Loft Theatre, 126 N. Main St., Dayton. Performances are Wednesdays-Saturdays at 8 p.m.; Sundays at 2 p.m. and Tuesdays at 7 p.m. Act One: 53 minutes; Act Two: 60 minutes. Tickets are $36-$40. There are also a limited number of $25 tickets available for each performance. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit online at www.humanracetheatre.org or www.ticketcenterstage.com.

Coming up in Dayton Theatre, 9/20 – 9/29

September 19, 2013 By Sarah Caplan Leave a Comment

Hello again! Welcome back and hello! We’ve got three good shows closing this weekend, a couple still running and one getting ready to open. Let’s get right on stage.

Closing This Weekend!

Hairspray!

Dayton Playhouse
The Skinny: This high-spirited musical musical takes place in 1962 in Baltimore, Maryland. Teenager, Tracy Turnblad, dreams of dancing on The Corny Collins Show, a local TV dance program. When Tracy wins a role on the show, she becomes a celebrity overnight. She then launches a campaign to integrate the show. The show deals with injustices of parts of American society in the 1960’s.
Dates: Hairspray runs this weekend, closing Sunday, 9/22.
Tickets: Please visit the Dayton Playhouse website at www.daytonplayhouse.com

Hair

Beavercreek Community Theatre

The Skinny: The American Tribal Love-Rock Musical!This show introduced America to the “Rock musical”, with songs that became standards, such as “The Age Of Aquarius” and “Easy To Be Hard.” Hair focuses on a “tribe” of hippies, touching on several different individual stories, woven throughout with the tragedy of the Vietnam conflict.
Dates: Hairs also closes this weekend, Sunday 9/22.
Tickets: Please visit www.bctheatre.org

First Baptist of Ivy Gap

The Skinny: During WWII, six women gather at the church to roll bandages and plan the church’s 75th anniversary. Overseeing things is Edith, the pastor’s wise-cracking wife who dispenses Red Cross smocks and witty repartee to Luby, whose son is fighting in the Pacific; Mae Ellen, the church’s rebellious organist who wants to quit but hasn’t the courage; Olene, who dreams of a career in Hollywood; Sammy, a shy newcomer with a secret; and Vera, an influential Baptist with a secret of her own. When Luby learns her son has been wounded, she confounds the others by blaming the vulnerable Sammy. Twenty-five years later, our “First Baptist Six” reunite!

Dates: Closing Sunday, 9/22

Tickets: To make ticket reservations, please call the Brookville Flower Shop at 937-833-3531

Opening This Weekend!

Harvey

The Wright State Theatre Company
The Skinny: Elwood P. Dowd is an endlessly pleasant & delightfully eccentric bachelor living in a small town that isn’t quite aware that its newest citizen is a 6’3″ white rabbit named “Harvey,” that only certain people can see.
Dates: Harvey opens Thursday, 9/19 and runs through 9/29
Tickets: Please visit the WSU Theatre Department box office website: http://www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information

Currently In Production

Becky’s New Car

The Human Race Theatre Company

The Skinny: Becky Foster is stuck in neutral—middle aged, in middle management and a middling marriage—until an honest misunderstanding with a wealthy widower offers her the chance at an exciting double life…and she takes it. Now she’s frantically juggling to keep her two worlds apart before everything threatens to come crashing down on her. It’s enough to drive Becky off a cliff, and she’s taking the audience along for the ride!

Dates: Running through the 29th.
Tickets: Please visit the Human Race Theatre Company website at www.humanracetheatre.org

A Mighty Fortress Is Our Basement

La Comedia Dinner Theatre

The Skinny: The fourth installment in the popular Church Basement Ladies series takes place in 1960, and reformation is underway. The Church Basement Ladies are once again required to face chance head-on, but they will stand strong in their faith and their friendships.

Dates: Closing 10/27.

Tickets: Please visit the La Comedia website at www.lacomedia.com

Coming Up In Dayton Theatre, 9/5 – 9/22

September 4, 2013 By Sarah Caplan Leave a Comment

Welcome back! Has everyone had a good and fulfilling summer? I sure have. But I’m ready to jump back into Dayton’s exciting theatre scene.

Closing This Weekend!

45 Seconds From Broadway

The Skinny: Neil Simon’s 2001 Broadway-based comedy takes place in the Polish Tea Room, a haunt of Broadway-types in general, and comedian Mickey Fox in specific.Taking place over the course of 1 year (4 scenes, 4 seasons), this story follows Mickey and his friends as they do all those play things; live, laugh, love and learn.

Dates: 45 Seconds closes this weekend. Friday, 9/6 at 8, Saturday 9/7 at 5 and Sunday 9/8 at 3.

Tickets: For ticket information, please visit the Dayton Theatre Guild website, www.daytontheatreguild.com

Opening This Weekend!

Hairspray

The Dayton Playhouse

The Skinny: This high-spirited musical musical takes place in 1962 in Baltimore, Maryland. Teenager, Tracy Turnblad, dreams of dancing on The Corny Collins Show, a local TV dance program. When Tracy wins a role on the show, she becomes a celebrity overnight. She then launches a campaign to integrate the show. The show deals with injustices of parts of American society in the 1960’s.

Dates: Hairspray opens this Friday, 9/6 and runs 3 weekends, closing on Sunday, 9/22.

Tickets: For ticketing information, please see the Dayton Playhouse website, www.daytonplayhouse.com

A Mighty Fortress Is Our Basement

La Comedia Dinner Theatre

The Skinny: The fourth installment in the popular Church Basement Ladies series takes place in 1960, and reformation is underway. The Church Basement Ladies are once again required to face chance head-on, but they will stand strong in their faith and their friendships.

Dates: This show opens Thursday, 9/5 and runs through 10/27.

Tickets: For information regarding tickets, schedule and menu, please visit La Comedia’s website at www.lacomedia.com

Opening Next Weekend!

Becky’s New Car

The Human Race Theatre Company

Dates: Becky debuts Thursday, 9/12 and runs through Sunday, 9/29.

Tickets: For ticketing information, please visit www.humanracetheatre.org

Hair

Beavercreek Community Theatre

The Skinny: The American Tribal Love-Rock Musical!This show introduced America to the “Rock musical”, with songs that became standards, such as “The Age Of Aquarius” and “Easy To Be Hard.” Hair focuses on a “tribe” of hippies, touching on several different individual stories, woven throughout with the tragedy of the Vietnam conflict.
Dates: Hair opens next weekend, 9/13 and closes 9/22.
Tickets: For ticketing information, please visit the BCT website at www.bctheatre.org

First Baptist of Ivy Gap

Brookville Community Theatre

The Skinny: More Church ladies! During WWII, six women gather at the church to roll bandages and plan the church’s 75th anniversary. Overseeing things is Edith, the pastor’s wise-cracking wife who dispenses Red Cross smocks and witty repartee to Luby, whose son is fighting in the Pacific; Mae Ellen, the church’s rebellious organist who wants to quit but hasn’t the courage; Olene, who dreams of a career in Hollywood; Sammy, a shy newcomer with a secret; and Vera, an influential Baptist with a secret of her own. When Luby learns her son has been wounded, she confounds the others by blaming the vulnerable Sammy. Twenty-five years later, our “First Baptist Six” reunite!

Dates: Opening Friday, 9/12 and running through 9/22.

Tickets: To make ticket reservations, please call the Brookville Flower Shop at 937-833-3531

Rock musical “Hair” Ticket GiveAway

September 3, 2013 By Dayton Most Metro 14 Comments

Long-haired, bell-bottom wearing hippies might seem out of place now, but the musical “Hair: The American Tribal Love-Rock Musical” is as relevant today as it was 45 years ago when it debuted and changed the face of Broadway.

The musical’s message of love and peace helps bring people together in a time of turmoil.

Edge of the Creek Productions will present “Hair” during the weekends of September 13 and September 22 at the Beavercreek Community Theatre (BCT). Tickets are available at www.bctheatre.org, or by calling the box office at 429-4737.

Director Doug Lloyd, who directed the show six years ago at The Dayton Playhouse, jumped at the chance to direct it again at BCT.

“Everybody loves the show. I love the show. I remember that time so well because I lived through it. I love the music because it was the music of my youth,” Lloyd said. “I love the message of the show—peace, love, harmony and acceptance of one another.”

Watching the cast bring “Hair” to life is one of the joys of directing, said Lloyd.

“I love to watch it come together—a group of people coming together and becoming a tribe—you just can’t do this show without it changing you,” Lloyd said.

The cast of 22, includes people both familiar and new to the BCT stage:

Edge of the Creek Productions will present the rock musical, “Hair: The American Tribal Love-Rock Musical” during the weekends of September 13 and September 22 at the Beavercreek Community Theatre (BCT). Pictured from left to right are cast members: Jamal Cann as Hud; Tyler Haney as George Berger; Bobby Mitchum as Claude Bukowski; Danielle Kubasky as Sheila Franklin; and Jordan DuVall as Woof. Tickets are available at www.bctheatre.org, or by calling the box office at 429-4737. Photo by Director Doug Lloyd.

Aaron Brewer, Fairborn – Steve/Margret Mead

Marcus Bedinger, Trotwood – Hiram/Soloist

Jamal Cann, Miamisburg — Hud

Suzanne Clabaugh, Dayton – Suzannah/Hubert

Kevin Craig, Lebanon – Walter/Monk

Kaleigh-Brooke Dillingham, Beavercreek – Jeannie/Monk

Jordan DuVall, Dayton — Woof

Tyler Haney, Dayton – George Berger

Tierra Isaac, Fairborn — Ronnie

Lynn Kesson, Dayton – Leatta/Blackboys Trio/I Believe Trio

Danielle Kubasky, Beavercreek — Sheila Franklin

Bobby Mitchum, Dayton – Claude Bukowski

Brett Norgaard, Centerville — Paul

Bryan Peak, Dayton – Mark

Hayley Penchoff, Dayton – Chrissy/Air backup

Stephanie Radford, Beavercreek – Dionne/Abe Lincoln/White Boys Trio

Chris Sains, Fairborn — Tuck

Vicki Sanders-Johnson, Beavercreek – Emmaretta/Nun

T.C. Schreier, West Carrolton — Thomas

Crystal Schultz, Beavercreek — Diane

Lindsay Sherman, Dayton – Lindsay/Black Boys Trio/Nun

Amber Todd, Beavercreek, — Mary

Stacy Gear is the choreographer; Lindsay Sherman is the music director; Kathleen Carroll is the costumer; and John Falkenbach is the lighting director.

“Hair” was the first rock musical, and it broke many taboos in theatre, according to Lloyd.

The show contains adult language, sexual innuendo and a very brief nude scene at the end of the first act. Parental discretion is advised.

“Any community might have people who have a problem with it, but our season ticket holders and our supporters are open-minded and supportive, and they will appreciate the show for what it is and its message,” Lloyd said.

Although Lloyd is thrilled with the cast’s progress, “Hair” does present some challenges like creating an authentic wardrobe complete with wigs, perfecting demanding dance numbers and studying the 60s.

“It’s a heavy music and dance show; there’s a lot of dance to learn. Most of the cast is not in the know of the 60s so they are learning about the era and doing a lot of research,” Lloyd said. “The cast is grasping their characters quite well, and have molded themselves into a tribe. I’m very happy with how things are going.”

DMM has 3 pairs of tickets to give away to our readers. Just like this post, comment below on why you should win and fill out the entry form to be eligible for a pair of tickets. Winner will be announced Wed, Sept 5th.

UPDATE:

Our contest in now over and our winners are:

Amy Feltner from Huber Heights

Sunni Russo from Miamisburg
Pavan Mediratta from Bellbrook

45 Seconds From Broadway Review – Dayton Theatre Guild – Scenes From a Polish Restaurant

August 31, 2013 By Russell Florence, Jr. Leave a Comment

The cast of the Dayton Theatre Guild’s production of “45 Seconds From Broadway” (Contributed photo)

Three months ago playwright Tony Kushner and director George C. Wolfe, two Tony-winning masters associated with the acclaimed epic drama “Angels in America” and the musical gem “Caroline, or Change,” met for lunch at the Café Edison, a quaint Midtown Manhattan restaurant located inside the Hotel Edison. As Kushner and Wolfe’s intriguing powwow progressed, I couldn’t help but wonder if they were discussing separate projects or perhaps a new collaboration. But the notion of seeing or overhearing influential artists during a casual, pre-show lunch typifies the cozy, touristy, cross-generational appeal of the Café Edison, a former ballroom commonly known within the New York theater community as the Polish Tea Room. And as the attractive setting for Neil Simon’s funny but flawed 2001 comedy “45 Seconds From Broadway,” the restaurant, particularly its Theatre District ambiance and hospitality, has been favorably brought to life in the Dayton Theatre Guild’s entertaining, often hilarious local premiere.
Directed by Fred Blumenthal and transpiring in four seasonal scenes, “Broadway” could be easily regarded as much ado about nothing. People enter the Polish Tea Room. People leave the Polish Tea Room. Looking for a substantive plot? Not here. In fact, Simon doesn’t provide much closure or significant backstories for most of the characters, predominately consisting of one-dimensional stock characters seemingly inspired by industry folks he must have known over the years. All in all, this mindless, mildly offensive play is second or third-rate Simon. Even so, it remains a Neil Simon creation at its core. You are guaranteed hearty laughs at the mention of a grape. You are guaranteed to be in the company of a few delightful oddballs. You are guaranteed a good time.
The effortlessly jovial Saul Caplan, one of the best Simon interpreters in the Miami Valley, has a ball (without becoming crude or off-putting) as the talkative, wise-cracking Mickey Fox, a legendary comedian in the abrasive vein of Jackie Mason or Don Rickles. Mickey has been approached by a humble British producer (a genially understated K.L. Storer, also providing terrific sound design) to do a London engagement, but is ultimately taken aback by the arrival of his brother Harry (Steve Kantor, nicely paired with Caplan). Sibling disharmony has always been an enticing signature within Simon’s repertoire, particularly “Broadway Bound,” but here it shrivels with overlong tedium. Thankfully, there’s more to enjoy elsewhere in the play as ruminations on love, culture and showbiz are addressed from an assortment of colorful supporting characters.
Debra A. Kent and Debra Strauss are respectively wonderful as gossipy theater enthusiasts Arleen and Cindy, a tight-knit, opinionated duo so infectious I wish Simon would have structured the play around them. Kent’s description of Arleen’s attendance at a backer’s audition from hell is an absolute highlight. Patty Bell and John Spitler, another dynamic duo, are also winning as eccentric couple Rayleen and Charles. Bell, sophisticatedly aloof, will surely give you the giggles in Act 1 when she gingerly dictates Rayleen’s persnickety tea preferences. Spitler, primarily mute and remarkably restrained throughout, exudes hysterical stillness. Dave Nickel and Terry Larson hit the mark as humble married proprietors Bernie and Zelda. Marcus L. Simmons II, adopting a firm dialect, is an endearing presence as burgeoning African playwright Solomon Mantutu. Mary Mykytka as ingénue Megan Woods and Gail Andrews Turner as Broadway star Bessie are amiable in vastly underwritten roles.

Blumenthal’s vision is marred by pacing concerns, particularly stemming from the inability to allow conversations to credibly overlap as in any busy restaurant, but he scores points for dressing and designing one of the finest sets produced by the Guild since relocating to Wayne Avenue. The patrons of the Café Edison would be proud.

“45 Seconds From Broadway” continues through Sept. 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. The performance runs 2 hours and 25 minutes with one 15 minute intermission. Friends of the Guild are also featured as extras in certain scenes throughout the course of the run. Tickets are $18 for adults; $16 for seniors; $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

Muse Machine’s ‘All You Need is Love’ Invades Victoria Theatre

August 6, 2013 By Dayton Most Metro Leave a Comment

Nearly 200 Muse singers, dancers and musicians of all ages perform many of the greatest songs of the last 50 years! From She Loves You to Strawberry Fields Forever to Hey Jude, the music of the Fab Four (along with a few surprises) will be re-imagined in all new ways.

Visit http://www.musemachine.com for additional information &http://www.ticketcenterstage.com to purchase tickets.