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

‘King’s Face’ and ‘Position’ Tie for Historic FutureFest Win

August 1, 2013 By Russell Florence, Jr. Leave a Comment

2013 Dayton Playhouse FutureFest-winning playwrights Hal Borden (left) and Steven Young (Contributed photo by Art Fabian)

History was made Sunday at the Dayton Playhouse as the organization’s 23rd annual FutureFest of new plays gave top honors to Steven Young’s fascinating historical drama “The King’s Face” and Hal Borden’s hilariously topical comedy “A Position of Relative Importance.”
Last weekend’s jaw-dropping yet welcomed tie primarily reflected the refreshing strengths and enormous potential of this year’s six diverse, developing finalists, which included the cross-cultural dramedy “Veils” by Tom Coash of New Haven, Connecticut, quirky abstract art-centered dramedy “The One with Olives” by Sam Havens of Houston, Texas, psychological drama “On the Road to Kingdom Come” by 2009 FutureFest winner and Dayton native Michael Feely of Woodland Hills, California, and the gay marriage-themed comedy “St. Paulie’s Delight” by J. Joseph Cox of Chicago, Illinois. Each contender was judged on criteria including character development, conflict, dramatic structure, plot, page-to-stage and the next stage. The adjudicators consisted of New York-based trio Helen Sneed, Eleanore Speert and David Finkle along with 1997 FutureFest winner Faye Sholiton of Cleveland and 2002 FutureFest finalist Robert Koon of Chicago.

Charles Larkowski (left) and Josh Katawick in “The King’s Face” (Contributed photo by Art Fabian)

“The King’s Face,” an engrossingly intimate two-hander superbly directed with palpable unease by Geoff Burkman, concerned the true story of Prince Harry of Monmouth, who was struck by an arrow during the 1403 battle of Shrewsbury. Inside a chamber at Kenilworth Castle, London surgeon and counterfeiter Jonathan Bradmore had the enormously difficult task of attempting to save Harry’s life by meticulously extracting the arrowhead from his skull while simultaneously saving his own.
As the sickly, agitated and paranoid Harry, Josh Katawick delivered a tremendously mature, extraordinarily emotional performance. Consistently discovering delicious nuances inside Young’s beautifully descriptive language, particularly when Harry recounts the elation and horror of battle, Katawick took his lines to Shakespearean heights while remaining astutely connected to the doubt, fear and panic boiling beneath Harry’s youthful bravado. At one point, Harry awakened from a terrible nightmare executed so brilliantly by Katawick you could feel every morsel of his anguish.

Charles Larkowski (left) and Josh Katawick in “The King’s Face” (Contributed photo by Art Fabian)

At the same rate, the outstanding Charles Larkowski, an absolute natural as Bradmore, effortlessly supported Katawick, genuinely yet cautiously fueling Bradmore’s desire to create a connection and establish trust with his future king. Adopting the warm, personable tones in his narrative duties that served him well as Cosmé McMoon in the Dayton Theatre Guild’s 2011 production of “Souvenir,” Larkowski excellently blended the roles of father, brother, therapist, priest and teacher as the play’s vivid portrait of friendship evolved.
“I enjoyed every minute of the whole process of putting (the play) together,” said Larkowski, a retired music historian who ensured all of the music in the play had a connection to Henry V. “I found both characters to be interesting and even enigmatic in certain ways. Bradmore’s professed aloofness and professionalism are a wonderful contrast to Henry’s more fiery or mercurial nature. Also noteworthy is the play’s range from highly intellectual/abstract content to the immediate, physical and visceral, which makes audiences think and squirm in their seats multiple times before the evening ends. I’ve been really overwhelmed by the response to this play. It’s definitely one of my most memorable theatrical experiences.”

“This play has a heart and a head,” said Sneed. “It is very original and highly dramatic with extreme theatricality. It is one of the best examples of a play staying in period but (remaining) accessible. I felt like I was watching a very good example of a playwright being a master of his universe.”

“This play could be performed anywhere,” said Sholiton. “It is a fully realized piece with stunning, brilliant writing.”

“I was astonished by the acting,” added Finkle, who rated the performances on par with the best of John Gielgud, Kenneth Branagh and Laurence Olivier. “This was a superlative production.”
“The actors were very attentive to the heighted language and dialect needs of the script,” said Young, a Dallas-based playwright. “They fully embraced the physical demands of (Harry’s) injury as well as the psychological state of a wounded warrior. I thought Geoff Burkman had a fantastic sense of the pacing, mood and arc of the play. Also, the simplicity of the production values supported the performances, but allowed the acting and text to remain in the forefront. Given the response of the adjudicators I was pleased they touched on the relationship of the characters, the search for a father figure, the nature of leadership and war.”

David Gaylor (left) and Titus Wolverton in “A Position of Relative Importance” (Contributed photo by Art Fabian)

“A Position of Relative Importance,” Borden’s impressive playwrighting debut which opened the festival Friday, was also a veritable home run. Breezily and sharply directed by Debra Kent, “Position” told the charming story of humble, educated and unemployed Frank (a thoroughly engaging Titus Wolverton) who suddenly advances within a New York City business due to mistaken identity and unexpected bonds. Kent’s terrific cast included David Gaylor, Meagan Kuchan, Jared Mola and Dave Nickel.

“This play is totally wonderful and very fresh,” said Finkle, who noted the script brought to mind musical theater classics “A Chorus Line” and “How to Succeed in Business Without Really Trying. “It’s all very real but also surreal. You never know where the story is going but it’s always a surprise.”
“The characters are sparkling and keep you interested,” said Speert. “It was a lot of fun.”
“Seeing the play on its feet for the first time, I was surprised at how little it surprised me,” said Borden, a Philadelphia trademark lawyer. “To a remarkable degree, what I saw on stage matched what I’d seen in my head when I wrote it even though the script itself says very little about the physical aspects of the production.”

Titus Wolverton (left) and Jared Mola in “A Position of Relative Importance” (Contributed photo by Art Fabian)

Borden was also appreciative of the commitment and generous hospitality displayed by the festival’s numerous volunteers.
“I can’t talk about FutureFest without talking about the devotion of the organizers and volunteers,” he said. “On Saturday, Chuck Larkowski chauffeured a group of writers from the Playhouse to Marion’s Piazza for lunch. By Sunday, he was on stage giving one of the best performances I’ve ever seen in a role he might only play once in his life. I’m not sure that kind of thing happens anywhere else. In three days, I met more interesting people, and made more new friends, than I had in the past three years.”

Mola, likely to receive DayTony Awards this weekend for his knockout performances last season in the Dayton Playhouse’s “Dracula” and the Dayton Theatre Guild’s “Ghosts,” was the only actor featured in two plays. Juggling the roles of marketing whiz Trevor in “Position” and inquisitive young artist Danny in “Olives” may have appeared daunting, but he regards both assignments as an unforgettable introduction.

“From the time I started doing shows in Dayton last year, people have been telling me about how amazing and unique FutureFest is,” said Mola. “Six original plays in 48 hours takes a lot of effort and a lot of love from everyone involved. I can say with only slight hyperbole that the experience was awe-inspiring. It was everything it was built up to be and more. I think ‘Position’ is a really successful comedy because it’s layered with immediate punchlines and setups that build throughout. It’s that kind of intricate ebb and flow that makes writing a tight comedy so difficult, but this was one of those shows where every joke lands. Even as a ‘straightforward’ comedy in a field of shows with more emotional heft and tackling serious subject matter, I’m thrilled the adjudicators knew how rare of a feat it was.”

Additional components of the festival included a slew of fine performances: Risa Hillsman and a truly mesmerizing Annie Pesch in “Veils” (directed by FutureFest program director Fran Pesch); Wendi Michael, Jim Lockwood, Jordan Norgaard, Richard Young, David Hollowren and Cynthia Karns in “The One with Olives” (directed by Nancy K. Campbell); Shawn Hooks, Jennifer Lockwood, K.L. Storer, Heather Campbell Martin and John Bukowski in “On the Road to Kingdom Come” (directed by Saul Caplan); and Rick Flynn, Brian Sharp, Leo Santucci, Travis J. Cook, Naman Clark, Dodie Lockwood, Art Fabian and Kelli Locker in “St. Paulie’s Delight” (directed by Kathy Mola). The striking technical contributions for “The King’s Face” (costume design by Deirdre Root, scenic design by Fran Pesch, lighting design by John A. Falkenbach, props/extractor fabrication by Blake Senseman, prosthetics/makeup by Jacklyn Alexa, and properties by Jim Foreman and Amanday Gray) are equally praiseworthy.
Looking back on the whirlwind weekend, Young and Borden, who will each receive a plaque and $1,000, remain grateful to have been finalists and share the coveted title of outstanding playwright. It’s not out of the question to assume they will spread the word about just how special this nationally recognized festival continues to be.
“FutureFest is a unique event in the theater world and the experience speaks well of Dayton, the Playhouse and the commitment of its leadership and supporters,” said Young. “I found the entire weekend to be inspiring and invigorating.”
“FutureFest was one of the best experiences I’ve had as a writer,” added Borden. “I’m going to have to come back to Dayton some other time of year just to confirm that it’s a real place and not an illusion Fran Pesch pulled out of her magic hat.”
Mark your calendars! FutureFest will return July 25-27, 2014. For more information, visit www.daytonplayhouse.org.

2013 FutureFest Audience Favorite:
“The King’s Face”

My 2013 FutureFest Ranking:
1. “The King’s Face”

2. “A Position of Relative Importance”

3. “Veils”

4. “St. Paulie’s Delight”

5. “On the Road to Kingdom Come”

6. “The One with Olives”

AUDITIONS FOR SO YOU THINK YOU CAN PLAY THE SCHUSTER

July 22, 2013 By Dayton Most Metro Leave a Comment

AUDITIONS!
SO YOU THINK YOU CAN PLAY THE SCHUSTER
August 10 & 11, 2013
Schuster Center- Mathile Theatre

AUDITION TIMES:
Saturday – 10 a.m.-3 p.m.
Sunday – 12-4 p.m.

HOW TO AUDITION:
Groups and individuals interested in auditioning may call (937) 461-8583 or email [email protected] to reserve a time slot at one of the live auditions. A registration form must be submitted at time of reservation.

Click here for the audition registration form (PDF).

After both auditions, the top 20 (selected by VTA staff) will be posted for limited-time online vote. The 15 finalists for SO YOU THINK YOU CAN PLAY THE SCHUSTER will come together to perform on the Schuster Center’s Mead Theatre stage on Sunday, September 29 for our competition judges and a live audience! First place receives a cash prize of $1,000; second place receives $500; and third place receives $250!

AUDITION/PERFORMANCE REQUIREMENTS:

Any individual/group may audition at one of the two live auditions. All ages are welcome. All talents are welcome, but must be family-friendly. Video or audio auditions are not acceptable.
All individuals/groups must sign a photo/video release to participate. Anyone under the age of 18 must have a parent/guardian present to sign release and participate.
Microphones are NOT available at the auditions.
Each group must be able to set up any equipment, props, or other necessities in 90 seconds. Likewise, each group must be able to strike any equipment, props or other necessities in 90 seconds.
Each performance may only last up to 2 minutes. If a group goes over time, they will be stopped by an official timekeeper.
Each group agrees that their performance will not endanger members of their own group, or groups that follow, by: 1) allowing liquids to be spilled on the stage area; 2) using confetti, glitter or any other material tossed on the stage floor in their act; and 3) involving members of the audience as volunteers unless cleared with VTA staff.
Costumes are encouraged if appropriate.
Pre-recorded music, edited for the group to use in the act, must be given to the VTA on a CD with the appropriate track number indicated. The VTA technical staff will not be responsible for fading or cutting out music.
Special considerations/accommodations will be given to bands that need extra time to set up instruments, and dance groups that need special flooring.
Although we appreciate that your pets have talents, too, animal acts are not permitted.
By checking the box on the registration form, you authorize Victoria Theatre Association to take pictures and/or videos of you (or your child), and all individuals in your group including those under 18 years of age, and to use the photos or videos as necessary for both internal and external purposes. By agreeing to this release, you understand you will receive no form of compensation for pictures or videos of you or your child used by Victoria Theatre Association.

– See more at: http://www.victoriatheatre.com/shows/sytycpts-auditions/#sthash.5j4cZIlp.dpuf

Joseph and the Amazing Technicolor Dreamcoat Review – Epiphany Lutheran Church – Lively Storytelling

July 20, 2013 By Russell Florence, Jr. Leave a Comment

The Epiphany Players Drama Ministry of Epiphany Lutheran Church ushers in Dayton’s 2013-14 theater season with a terrifically joyous, appealingly designed production of Andrew Lloyd Webber and Tim Rice’s 1968 biblical musical “Joseph and the Amazing Technicolor Dreamcoat,” playfully adapted from the Book of Genesis.

Desmond Thomas (center) as Joseph and the cast of Joseph and the Amazing Technicolor Dreamcoat. (Contributed photo)

Director/choreographer Megan Wean sharply fashions one of the most consistently infectious versions of “Joseph” this town has seen. This breezy presentation, fueled by enjoyably energetic routines, produces feel-good vibes from the giddy opening that finds the adorable Children’s Chorus enticed by the Bible’s enchanting allure to the ensemble’s enthusiastic delivery of the pop-friendly “Joseph Megamix” finale. Due to the musical’s engaging storytelling foundation, Wean’s particularly inspired decision to stage the show in-the-round delightfully establishes a warm sense of unity and connection that serves the comical, touching and sung-through material very well. Scenic designer Bruce Brown also deserves credit for creating a spacious set that wonderfully heightens the action thanks to a platform which occasionally rises at center stage to great, spine-tingling effect.
Desmond Thomas, one of last season’s standouts as Seymour in Playhouse South’s production of “Little Shop of Horrors,” supplies pleasant sensitivity and warmth as the meek, misunderstood Joseph, who is beloved by his father Jacob (an admirable Brian Hoff) and sold into slavery by his 11 jealous brothers. Joseph is an oddly introverted character, but Thomas effectively conveys the determination, optimism and prophetic aptitude brewing within that briefly turns vindictive when he is reunited with his brothers. Musically, Thomas offers splendid renditions of “Any Dream Will Do” and the heartbreaking gem “Close Every Door.”

First-rate vocalists Kandis Wean and Erin Ulman expertly split the duties of Narrator. Nicely clothed in white and supporting Thomas with attentiveness and grace, Wean and Ulman have a mutual respect in the spotlight. The expressive Wean is at her lyric-driven best for “Journey to Egypt/Potiphar” and firmly begins Act 2 with an inviting “Pharaoh’s Story.” Ulman, radiant as ever, shines in “Joseph’s Coat” (featuring Timothy A. Guth’s striking lighting design) and the pep rally-tinged “Go, Go, Go Joseph.”
Brett Greenwood (Reuben), Ralph Bordner (Simeon), Chace Beard (Levi), Justin Mathews (Judah), Joshua Huges (Dan), Andrew Beers (Naphthali), Charlie Arthur (Gad), Jeffrey Mack (Asher), Bryan Burckle (Isaachar), Timothy Seiler (Zebulon), and Justin Crichfield (Benjamin) are a humorous and cohesive unit as the brothers. Greenwood adopts an amusing twang for the country-flavored “One More Angel in Heaven.” Arthur also scores as the bespectacled and quirky Potiphar. Hughes, with melodramatic flair, leads an absolutely superb, nearly showstopping rendition of “Those Canaan Days.” Burckle lets loose with gleeful abandon for “Benjamin Calypso.” The charismatic Brandon Crichfield suavely embodies the Elvis-esque Pharaoh throughout the rock and roll-driven “Song of the King.”
Maria Kleuber and Lori Watamaniuk’s colorful costumes, Jason Hamen and Adrienne Niess’ cute assortment of props, and musical director David E. Brush’s steady onstage band are additional pluses within this highly entertaining showcase.

“Joseph and the Amazing Technicolor Dreamcoat” continues through July 21 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday-Saturday at 7:30 p.m. and Sunday at 2:30 p.m.
Act One: 35 minutes; Act Two: 45 minutes. Jeffrey Mack, memorably seen as Cain in Epiphany’s 2009 production of “Children of Eden,” will particularly portray Joseph at the Friday and Saturday performances. Tickets are $15 for adults and $10 for seniors and children. For tickets or more information, call (937) 433-1449 ext. 105 or visit www.epiphanydayton.org

Behind the Characters – Free Shakespeare’s As You Like It

July 19, 2013 By Dayton Most Metro Leave a Comment

Travis Cook started theatre in high school, just because it sounded like an easy way to get a required arts credit. An interest developed and in studying both film and theatre in college, he found himself drawn toward theatre as a writer, director and actor. With a resume filled with many directing stints, his original plays being performed in Chicago and a long acting resume including work at the Shakespeare Theatre of New Jersey – it makes sense that he’s at the helm as director of Free Shakespeare’s As You Like It summer tour.

AYLI Cast

But what about everyone else? Week after week here at Dayton Most Metro and On Stage Dayton, we provide previews and reviews of professional, semi-professional and volunteer-based area theatres. But behind-the-scenes of local theatres is the question of “Why?” Why do people who have day jobs, AP Calculus, and a full college schedule choose to offer their time for your entertainment? Using the cast of the As You Like It, we asked these very questions. Take a look at just a few of people of diverse backgrounds who dedicate their time to bring theatre to life.

Starting with the oldest member of the ASLI company, Bill Styles did some in high school, and 60

Adam-and-Orlando-discuss-running-away.

years later he’s back in the game. He’s a major fan – traveling to see theatre on Broadway and in Chautauqua (where he worked a few seasons). So, why on stage after such a long break? Bill enjoys the chance to “hang out” with a younger group of people passionate about theatre. He says, “When I saw Hamlet (Free Shakespeare’s first summer tour in 2010), some of the people very much impressed me. I wanted to rub elbows with them.” So although Bill love the diversity of age and experience, he shares that same appeal of universality regardless of age applies to the audience. “When we did Midsummer (2011 tour), my granddaughter was five and we didn’t even know if she’d make it thru a performance. She came to four shows.”

On the other side of the age spectrum, Gabrielle Farrow is new to Shakespeare. A Stivers High School student who can often be found with her text books open during rehearsal breaks, she was drawn to Free Shakespeare because “Mr. Shea” (producing director, Chris Shea) recommended that she audition. Gabby says before her class with Shea, “I hated Shakespeare, but then eased into it thru class; it’s like learning a new language.” Tackling the largest stage part she’s ever had (role of Celia), she’s now a fan. She recommends to audiences to come experience the show without preconceived notions. “if you don’t like Shakespeare or even if you do – you already have expectations of what you think it’ll be. This show is so different, I’d like everyone to come with an open mind.”

Indigo does some backstage summer reading.

Between practicing his Brazilian martial arts and reading Medieval texts backstage, Indigo Monbeck isn’t your stereotypical to-be-college freshman. But AYLI is the perfect match for him as a student of literature and someone who appreciates physicalization. AYLI is his first non-school theatre experience and he took the chance at auditions based on the recommendation of his teacher. Even though he loves the language of Shakespeare, he knows that it’s intimidating to a lot of people. But not to worry; Ingigo shares, “you don’t have to know exactly what people are saying all the time. There’s great physical comedy in the show, so just watch and you’ll get it.”

On the other end of the experience spectrum, Patrick Hayes brings 10+ years of experience from all across the region including Zoot Theatre Co, The Human Race, and multiple university and community theatres. When asked why he does Free Shakespeare, he answers, “the same reason people go to see Free Shakespeare. We all go to escape reality – actors and performers enjoy the same opportunity at the theatre.” He’s had “a lot of fun” playing the comic character of Touchstone. He speaks positively of the more natural environment for Shakespeare; audiences will find “a more relaxed atmosphere without the ‘we’re so artsy’ attitude some people don’t like about the theatre.” He thinks people will have fun with the “inclusive, community environment.”

Jason and Kara look up a scene backstage.

Jason Antonick has found a community at the theatre; this is both his third Free Shakespeare show and his third acting experience ever. He was excited, but nervous about first auditioning, so much so that he didn’t show up. But a couple days later a part was still open and his friend (the director) called him up to gauge his interest. After reading a line during his impromptu audition (and then being instructed to read it louder – it is outdoor Shakespeare after all!) – it was a fit. When not on stage, Jason is the Manager of Business and Economic Development for the Dayton Area Chamber of Commerce. He shares that his on-stage experience has even helped him back at the office; he feels much more adept at thinking on his feet. “In the professional world, things come at you quickly and you have to adapt. My theatre experience has taught me how to handle unexpected situations and have fun with them.”

Rosiland and Celia talk family, boys and fun.

Tackling the largest role in for a woman in Shakespeare’s canon, Cydnie Hampton has big plans for the future. A local theatre grad, she’s been accepted to Pace University (based on using a monologue from AYLI) for the all and will be heading out to NYC. This is Cydnie’s first foray into Free Shakespeare!; she says, ” I’m enjoying being part of the fun this year because I know how much fun it was to watch as an audience member last year.” How fun can it be? Cydnie likes the strength of (some) of the female characters – in the play “women are a lot smarther than the men give them credit for.” She encourages to come enjoy because “Shakespeare was meant to be seen – not read.”

So – what does director Travis Cook hope audiences get out of the experience? He loves that it’s “laid back Shakespeare while still capturing the themes and the spirit of the original play.” What are those themes? Love overcomes all – finding harmony with each other and nature – living outdoors and feeling communal. He says, “A lot of my inspiration came from witnessing the ‘occupy’ movements. Although this play is far from political – the trip to Arden does demonstrate everyone coming together and enjoying spontaneous music and a carefree lifestyle.”

Touchstone and Audrey negotiate romance.

Unfortunately, once you start listing some people, you miss the opportunity to share some of the great stories behind so many of the other dedicated actors from varied backgrounds sharing their skills and love on stage this summer. With 13 performers and 3 artistic staff making this production a reality, there are so many great stories of the people who do theatre because they love it, because it’s entertaining, inspirational, and escape and for many reasons. But lucky for you, there are 12 performances where you can come to experience this FREE show in a park near you. Stick around afterward, throw a couple bucks in the hat (the actors gotta eat) and get to know the performers yourself. It’s well worth it.

Editors Note: Here’s where you can find AYLI around town:
July 25: Rosewood Arts Center, Kettering
July 19-21: ArtStreet Amphitheater, UD
July 26-28: Newcom Founder’s Park, Oregon Historic District (the gazebo)
Aug 1 & 8: Blommel Park, South Park Historic District
Aug 2-4: Wegerzyn Gardens MetroPark, Dayton
Aug 9-11: Antioch College Amphitheater, Yellow Springs

New Plays From Coast To Coast Debut in Dayton

July 17, 2013 By Dayton Most Metro Leave a Comment

FutureFest is an annual festival of new plays presented by the Dayton Playhouse. This year’s festival will be July 26-28. During the 3-day festival, audience members join the playwrights and professional adjudicators in viewing, and reviewing, six new scripts presented half as staged readings and half as fully staged productions. The Dayton Playhouse received 190 eligible scripts from across the country for this year’s FutureFest . Here are the six finalists along with their performance schedule:

A Position of Relative Importance by Hal Borden of Philadelphia (fully staged performance July 26, 8 p.m.)

Veils by Tom Coash of New Haven, Connecticut (staged reading July 27, 10 a.m.)

The One with Olives by Sam Havens of Houston, Texas (staged reading July 27, 3 p.m.) Havens also wrote Curve which was a finalist in 2012 FurtureFest.

On the Road to Kingdom Come by Michael Feely of Woodland Hills, California (fully staged performance July 27, 8 p.m.) Feely’s play Night and Fog won the festival in 2009.

St. Paulie’s Delight by J. Joseph Cox of Chicago (staged reading July 28, 10 a.m.)

The King’s Face by Steven Young of Dallas, Texas (fully staged performance July 28, 3 p.m.)

Adjudicators for FutureFest 2013 will be David Finkle, freelance reporter and reviewer for the Village Voice and the Huffington Post; Rob Koon, resident playwright and dramaturg at Chicago Dramatists; Faye Sholiton, Cleveland playwright; Helen Sneed, whose career included work in Theatre Professional Rights at Dramatists Play Service; and Eleanore Speert, founder of Speert Publishing and former publications director for Dramatists Play Service.

How to Attend: FutureFest will be presented July 26-28 at the Dayton Playhouse, 1301 E. Siebenthaler Ave, Dayton, OH 45414. Weekend passes are $95 and include admission to six plays, adjudication sessions and social activities with the authors and adjudicators. Passes can be purchased online at www.daytonplayhouse.org, or through the box office, 937-424-8477. The box office is staffed Monday’s and Wednesday’s from 1:30 – 4:30 p.m., however messages may be left at any time. Admission to an individual play is $18. Individual tickets may be purchased online, or through the box office, but may also be purchased at the door one hour before each performance (space permitting).

The Dayton Playhouse is a community theatre providing outstanding theatrical productions to Miami Valley audiences of all ages for more than fifty years. The Playhouse is nationally recognized for “FutureFest,” a festival of new plays.

Founder Announces Final Summer Tour and Future Plans for Company

July 9, 2013 By Dayton Most Metro 1 Comment

The best entertainment value in Dayton is back for a final round! Free Shakespeare! announces their farewell tour of As You Like It, directed by Travis J. Cook, performing in six outdoor venues across the Miami Valley. Running Thursday-Sundays at 7pm from July 18-August 11, the play features a cast of area professionals, students, and community members ages 16-80 and original music from Charlie Tipton. Tackling themes of community, independence, and homecoming, As You Like It promises to be a fitting goodbye for what has become a popular summer highlight for audiences across the region.

Why goodbye?

Free Shakespeare! Founder, Chris Shea, is moving back to Seattle after a four year stint in Dayton. Shea will be joining Theatre22, Seattle’s newest professional theatre company. This fall, Shea will join the cast of Lanford Wilson’s Fifth of July; the title of the play holds special significance for Shea as it is his father Richard’s birthday. It was his father’s declining health that brought him home four years ago; Richard passed away in December of 2010. After his father’s death, Shea launched “Shakespeare for Life,” an annual week-long marathon reading of the Shakespeare canon to benefit cancer patients at Grandview Hospital. In May 2013, Shakespeare for Life raised approximately $5000. In four years, Free Shakespeare! has donated thousands of dollars to area non-profits including the Grandview Foundation, Dayton Visual Arts Center, Involvement Advocacy, and the American Cancer Society.

Shea will be bringing the moniker of Free Shakespeare! with him on his move to Seattle; he plans to refine the work of the company and steer it towards less traditional modes of presentation. As to what that exactly means, Shea could only manage to quote Iago, “’Tis here, but yet confused….’ I’ll figure that out once I get there, like most other things in my life.”

As exciting of an opportunity the move is, Shea will be missed in the Dayton community. Over the past four years, he’s worked with many arts organizations including Muse Machine, the Human Race Theatre Company, Stivers School for the Arts, Zoot Theatre Co., Cityfolk, WYSO, and Rhythm in Shoes. As the Producing Artistic Director for Free Shakespeare! he has presented four summer tours, instituted a monthly Shakespeare reading series, welcomed three area premieres, and hosted two charitable readings of the complete works of Shakespeare.

Jean Howat Berry of Cityfolk has worked with Shea closely over the past four years. She says, “It has been my pleasure to work with Chris through education and outreach with Cityfolk and as a participant in one of the many wonderful Free Shakespeare activities, Shakespeare for Life. Chris has a remarkable energy: contagious, affirming and restorative. In other words, he shares his charisma, he affirms those he shares with and in the process offers a little healing for what ails you. For real. On stage, he is strong and engaging. His sensitivity, in role or out, is genuine. I will miss having him close in proximity, but will always know him close in my heart!”

Although this chapter of his life is bringing him back out West, Shea proudly discusses his time in Dayton and doesn’t discount the possibility of a future return. “Dayton is a very generous town and breeds generous people. The spirit of giving is integral to what it means to be from Dayton. My roots in this city have served me well, and I intend to continue to be an ambassador for Dayton as I move forward. In fact, some of my Seattle friends got quite tired of me talking about Dayton the last time I lived out there. What do they say, ‘you can take the kid out of Dayton….’?”

How to Say Goodbye:

Catch the final Free Shakespeare tour of As you Like It this summer. The story follows cousins Rosalind and Celia on their quest for independence. Along the way, they learn about friendship, community, love and forgiveness. True to the name Free Shakespeare!, there is no cost to attend although donations are gladly accepted post-show. Bring a blanket, chair and a picnic as you enjoy Shakespeare under the stars. All performances begin at 7PM; 90 minutes (no intermission).

July 18 & 25: Rosewood Arts Center, Kettering

July 19-21: ArtStreet Amphitheater, University of Dayton

July 26-28: Newcom Founders Park, Oregon District

Aug 1 & 8: Blommel Park, South Park

Aug 2-4: Wegerzyn Gardens MetroPark

Aug 9-11: Antioch College Amphitheater, Yellow Springs

More information on the final tour is available at https://www.facebook.com/spreadthewords

Saluting Dayton’s 2012-13 Theater Season

June 28, 2013 By Russell Florence, Jr. 3 Comments

James Oblak with “Princeton” and Annie Kalahurka, Brett Travis and Andrew Ian Adams in Avenue Q.
Photo by Scott J. Kimmins

From a glamorous Berlin hotel to a den of blood-thirsty vampires, Dayton’s 2012-13 theater season contained a slew of high quality, entertaining components.
Currently enjoying great success with the hilariously naughty “Avenue Q,” the Human Race Theatre Company impeccably produced a splendidly character and ensemble-driven, marvelously choreographed “Oliver!,” a wonderfully transformative journey that absolutely typified the joy of embracing musical theater anew. The organization’s decision to promote and encourage new plays was also evident, specifically its Midwest premiere of Janece Shaffer’s funny and poignant relationship comedy “Managing Maxine” which could be a huge hit in regional theaters across the country. The Victoria Theatre Association’s Premier Health Broadway Series deserves praise as well for delivering first-rate national tours of “The Addams Family,” “American Idiot,” “Dreamgirls” and “Rock of Ages” to name a few. Interestingly, the Victoria’s brief engagement of the delightfully risqué “Spank! The Fifty Shades Parody” was a bold move that paid off tremendously.
Within community theaters, the Dayton Playhouse had a very commendable season bookended by two strong Sondheim presentations (“Side by Side by Sondheim” and “A Funny Thing Happened on the Way to the Forum”) and heightened by the totally refreshing, delectably spooky thrill ride that was “Dracula.” The Dayton Theatre Guild, a haven for eclectic premieres, gathered fine ensembles for its engrossing productions of “100 Saints You Should Know,” “Ghosts” and “The Pillowman.” Playhouse South continued its pleasant upswing with “Legally Blonde” and “Little Shop of Horrors.” The consistently imaginative Zoot Theatre Company particularly excelled with “The Hobbit.”
On collegiate stages, Wright State University effortlessly restored “1913: The Great Dayton Flood” and pulled out the stops for an absolutely elegant, vocally striking production of “Grand Hotel: The Musical.” Sinclair Community College primarily scored with a very touching local premiere of “Intimate Apparel” and a cohesively joyful “Godpsell.” The University of Dayton supplied an impressive, fascinating look at Edward Albee’s “The American Dream” and “Zoo Story.”
On Saturday, August 3 at Sinclair Community College’s Charity Early Room, Dayton’s theater community will gather for the 10th annual DayTony Awards, honoring the achievements of designers, performers and productions across the area as voted on by 10 participating collegiate and community theaters. The event will be held in conjunction with the 12th annual Dayton Theatre Hall of Fame induction celebrating scenic and lighting designer Darrell Anderson, actor/designer/director Chris Harmon, producer John Kenley and director Kay Frances Wean. Kenley and Wean will be posthumously inducted.
Assessing the 75 shows I saw over the past 12 months, here are my picks (winners are in bold) for the season’s outstanding artists and productions.

l to r) Bruce Cromer, Richard B. Watson, Alan Bomar Jones and Julia Pace Mitchell in Race
Photo by Scott J. Kimmins

BEST PROFESSIONAL PRODUCTION OF A PLAY
Lombardi, Human Race Theatre Company
Managing Maxine, Human Race Theatre Company
Race, Human Race Theatre Company

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
Avenue Q, Human Race Theatre Company
Next to Normal, Human Race Theatre Company/Victoria Theatre Association
Oliver!, Human Race Theatre Company

BEST PROFESSIONAL TOURING MUSICAL
The Addams Family, Victoria Theatre Association
Dreamgirls, Victoria Theatre Association
Hair, Springfield Arts Council
Mary Poppins, Victoria Theatre Association
Rock of Ages, Victoria Theatre Association

Jared Mola in Dracula
Photo by Art Fabian

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
100 Saints You Should Know, Dayton Theatre Guild
Dracula, Dayton Playhouse
Ghosts, Dayton Theatre Guild
The Hobbit, Zoot Theatre Company
The Pillowman, Dayton Theatre Guild

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
A Funny Thing Happened on the Way to the Forum, Dayton Playhouse
Legally Blonde, Playhouse South
Little Shop of Horrors, Playhouse South
Side by Side by Sondheim, Dayton Playhouse
Thoroughly Modern Millie, Dayton Playhouse

BEST COLLEGIATE PRODUCTION OF A PLAY
1913: The Great Dayton Flood, Wright State University
The American Dream/Zoo Story, University of Dayton
Intimate Apparel, Sinclair Community College
The Miracle Worker, Wright State University

BEST COLLEGIATE PRODUCTION OF A MUSICAL
Funny Girl, Wright State University
Godspell, Sinclair Community College
Grand Hotel: The Musical, Wright State University
Spring Awakening, Wright State University

(l to r) Jenna Rubaii and Thomas Hettrick in American Idiot
Photo by John Daughtry

BEST NEW WORK
Gingerbread Children, Human Race Theatre Company
Managing Maxine, Human Race Theatre Company
Nureyev’s Eyes, Dayton Playhouse FutureFest
Spank! The Fifty Shades Parody, Victoria Theatre Association
Under a Red Moon, Human Race Theatre Company

BEST SPECIAL THEATRICAL EVENT
Ain’t Misbehavin,’ Central State University, Dayton Contemporary Dance Company and Zoot Theatre Company
American Idiot, Victoria Theatre Association
Crazy for You, Muse Machine
Into the Woods, Wright State University Senior Class
Spank! The Fifty Shades Parody, Victoria Theatre Association

BEST LEADING ACTOR IN A PLAY
Alex Carmichal as Count Dracula, Dracula
Alexander Chilton as Jerry, Zoo Story
Edward Furs as Vincent Lombardi, Lombardi
Patrick Hayes as Katurian K. Katurian, The Pillowman
Jared Mola as Osvald Alving, Ghosts
Richard B. Watson as Jack Lawson, Race

(l to r) Kate Mueller and Cyndii Johnson in The Miracle Worker
Contributed photo

BEST LEADING ACTRESS IN A PLAY
Cassandra Engber as Anna Reardon, And Miss Reardon Drinks a Little (Dayton Theatre Guild)
Lisa Howard-Welch as Helene Alving, Ghosts
Cyndii Johnson as Anne Sullivan, The Miracle Worker
Marcy McGuian as Marie Lombardi, Lombardi
Jana Robbins as Maxine Levine, Managing Maxine
Marva M.B. Williams as Esther Mills, Intimate Apparel

BEST LEADING ACTOR IN A MUSICAL
Brad Mattingly as Pseudolus, A Funny Thing Happened on the Way to the Forum
Con O’Shea-Creal as Bert, Mary Poppins
James Oblak as Princeton and Rod, Avenue Q
Jesse Sharp as Gomez Addams, The Addams Family
Desmond Thomas as Seymour, Little Shop of Horrors
Gary Troy as Fagin, Oliver!

BEST LEADING ACTRESS IN A MUSICAL
Charity Dawson as Effie Melody White, Dreamgirls
Melissa Hall as Fanny Brice, Funny Girl
Katie Pees as Kate Monster and Lucy T. Slut, Avenue Q
Trisha Rapier as Diana Goodman, Next to Normal
Sara Sheperd as Nancy, Oliver!
Carly Snyder as Polly Baker, Crazy for You

BEST SUPPORTING ACTOR IN A PLAY
Bruce Cromer as Charles Strickland, Race
Alan Bomar Jones as Henry Brown, Race
Sean Jones as John H. Patterson, 1913: The Great Dayton Flood
Charles Larkowski as Pastor Manders, Ghosts
Jared Mola as Robert Renfield, Dracula
Matthew W. Smith as Eliot, Opus (Dayton Theatre Guild)

(l to r) Barbara Jorgensen, Maximillian Santucci, Alex Carmichal, Katrina Kittle and Corinne Engber in 100 Saints You Should Know
Photo by Craig Roberts

BEST SUPPORTING ACTRESS IN A PLAY
Catherine Collins as Mrs. Dickson, Intimate Apparel
Jenna Gomes as Grandma, The American Dream
Barbara Jorgensen as Coleen, 100 Saints You Should Know
Caitlin Larsen as Mother, Frau Graf and Kathryn, Gingerbread Children
Julia Pace Mitchell as Susan, Race
Sherri Sutter as Dotty Otley and Mrs. Clackett, Noises Off (Brookville Community Theatre)

BEST SUPPORTING ACTOR IN A MUSICAL
Ian DeVine as Jack, Into the Woods
Drew Helton as Moritz Stiefel, Spring Awakening
Joseph Medeiros as the Artful Dodger and Widow Corney, Oliver!
JoNathan Michael as James “Thunder” Early, Dreamgirls
Christopher G. Smith as Ken Page, Ain’t Misbehavin’
Justin Talkington as Eddie Ryan, Funny Girl

BEST SUPPORTING ACTRESS IN A MUSICAL
Michelle Liu Coughlin as Christmas Eve, Avenue Q
Elana D. Elmore as Muzzy Van Hossmere, Thoroughly Modern Millie
Jennifer Fogarty as Wednesday Addams, The Addams Family
Kelli Locker as Herself, Godspell
Shawn Storms as Gary Coleman, Avenue Q
Michelle Weiser as Rose Brice, Funny Girl

BREAKTHROUGH MALE PERFORMANCE
Darren Brown as Rudolf Nureyev, Nureyev’s Eyes
Jon Hacker as Melchoir Gabor, Spring Awakening
Mathys Herbert as Otto Kringelin, Grand Hotel: The Musical
Joseph Risner as Michael, The Pillowman
Maximillian Santucci as Garrett, 100 Saints You Should Know
David Thomas as Jimmy Smith, Thoroughly Modern Millie

BREAKTHROUGH FEMALE PERFORMANCE
Taryn Lemmons as Elizaveta Grushinskaya, Grand Hotel: The Musical
Katie McCarthy as Elle Woods, Legally Blonde
Abby McLean as Millie Dillmount, Thoroughly Modern Millie
Cari Meixner as Audrey, Little Shop of Horrors
Kate Mueller as Helen Keller, The Miracle Worker
Hayley Penchoff as Katherina, The Taming of the Shrew (Sinclair Community College)

(l to r) Joseph Medeiros and Blaise Bouschard in Oliver!
Photo by Scott J. Kimmins.

BEST DIRECTION OF A PLAY
D. Tristan Cupp and J. Gary Thompson, The Hobbit
Tony Dallas, The American Dream/Zoo Story
Richard E. Hess, Race
Natasha Randall, The Pillowman
David Shough, Dracula

BEST DIRECTION OF A MUSICAL
Kimberly Borst, Godspell
Marya Spring Cordes, Grand Hotel: The Musical
Joe Deer, Avenue Q
Alan Souza, Oliver!
Scott Stoney, Next to Normal

BEST CHOREOGRAPHY
Debbie Blunden-Diggs, Ain’t Misbehavin’
Lula Elzy, Crazy for You
Spencer Liff, Oliver!
Robert Longbottom and Shane Sparks, Dreamgirls
Suzanne Winland, Grand Hotel: The Musical

BEST SCENIC DESIGN OF A PLAY
Michael Amico, The Miracle Worker
Chris Harmon, Intimate Apparel
Josh Hollister, Ghosts
David Shough, Dracula
Terry Stump, The Taming of the Shrew (Sinclair Community College)

BEST SCENIC DESIGN OF A MUSICAL
Dick Block, Avenue Q
David A. Centers, Oliver!
D. Tristan Cupp, Ain’t Misbehavin’
Pam Knauert Lavarnway, Grand Hotel: The Musical
Terry Stump, Godspell

BEST COSTUME DESIGN OF A PLAY
Carol Finley and Robin Farinet, Ghosts
Kathleen Hotmer, The Taming of the Shrew (Sinclair Community College)
Mary Beth McLaughlin, The Miracle Worker
Barbara Pontecorvo, Dracula
Shirley P. Wasser, The Hobbit

BEST COSTUME DESIGN OF A MUSICAL
D. Bartlett Blair, Grand Hotel: The Musical
William Ivey Long, Dreamgirls
Carrie Robbins, Irving Berlin’s White Christmas (Victoria Theatre Association)
Molly Walz, Oliver!
Ayn K. Wood, Ain’t Misbehavin’

BEST LIGHTING DESIGN OF A PLAY
Anita Bachman and David Shough, Dracula
Andy Balmert, The Hobbit
John Falkenbach, Ghosts
Danielle Ferguson, The Miracle Worker
John Rensel, Under a Red Moon

BEST LIGHTING DESIGN OF A MUSICAL
Matthew P. Benjamin, Grand Hotel: The Musical
Robert L. Clements, Joseph and the Amazing Technicolor Dreamcoat (Cedarville University)
Erin Jones, Spring Awakening
Natasha Katz, Mary Poppins
John Rensel, Oliver!

(l to r) Jamie McQuinn, Brad Bishop, Brad Mattingly and Saul Caplan in A Funny Thing Happened on the Way to the Forum
Photo by Art Fabian

BEST SOUND DESIGN OF A PLAY
Ben Borton, Kyle Himsworth and Matthew J. Evans, The American Dream/Zoo Story
Bob Kovach and David Shough, Dracula
James Dunlap, The Miracle Worker
John Lamm, The Hobbit
Andrew Stroud, 1913: The Great Dayton Flood

BEST SOUND DESIGN OF A MUSICAL
Craig Cassidy, The Addams Family
James Dunlap, Grand Hotel: The Musical
Kyle Himsworth, bare: a pop opera (University of Dayton)
Brian Retterer, Oliver!
Brian Ronan, American Idiot

BEST VIDEO/PROJECTION DESIGN OF A PLAY
Shaunn Baker, Lombardi
Danielle Ferguson, 1913: The Great Dayton Flood
Stephanie Lefeld, The American Dream/Zoo Story

(l to r) Tonyia Myrie Rue, Jasmin Richardson and Charity Dawson in Dreamgirls
Contributed photo

BEST VIDEO/PROJECTION DESIGN OF A MUSICAL
Darrel Maloney, American Idiot
Zach Rosing and Ben Phillippe, Avenue Q
Howard Werner, Dreamgirls

BEST ORCHESTRA
Ain’t Misbehavin,’ Musical Director: Ramon Key
Crazy for You, Musical Director: Timothy Olt
Dreamgirls, Musical Director: Jon Balcourt
Funny Girl, Musical Director: Scot Woolley
Grand Hotel: The Musical, Musical Director: Scot Woolley

BEST PROPERTIES
Sarah Gomes, The Hobbit
Jennifer Kramer, Intimate Apparel
John Lavarnway, The Miracle Worker
Wendi Michael, Stefanie Pratt and Deidre Root, And Miss Reardon Drinks a Little (Dayton Theatre Guild)
Heather Powell, Oliver!

SPECIAL ACKNOWLEDGMENTS

Andrew Ian Adams and Annie Kalahurka as the Bad Idea Bears in Avenue Q
Amanda Barker, Gabe Bowling and Alice Moran in Spank! The Fifty Shades Parody
Director Joe Beumer, lighting designer David Corson, musical director Ben Spalding’s orchestra and the cast of Centerville High School’s production of Sweeney Todd
Jim Brown as Audrey II (Voice), Little Shop of Horrors
Kathy Clark and Laura Dell’s vocal interpretations in Side by Side by Sondheim
D. Tristan Cupp’s puppet design for A Midsummer Night’s Dream (Zoot Theatre Company), Avenue Q and The Hobbit
Scenic designer Gion DeFrancesco, puppet designer Patrick Hayes and Maximillian Jansen as Rapunzel’s Prince for Miami University’s production of Into the Woods
Bryon Dobbs and Nancy Perrin’s piano accompaniment for Side by Side by Sondheim
The cast of Gingerbread Children: Andrew Ian Adams, Kay Bosse, Jamie Cordes, Charity Farrell, Caitlin Larsen, Jacob McGlaun, Robin Post, Matthew W. Smith, Scott Stoney and K.L. Storer
Bob Crowley’s Tony Award-winning sets for Mary Poppins
Geoffrey Garratt’s recreation of Matthew Bourne’s choreography for Mary Poppins
Stacy Gear’s choreography for A Chorus Line (Beavercreek Community Theatre)
Helen Gregory’s music direction for Oliver!
Patrick Hayes’ makeup effects for 100 Saints You Should Know
E. Cameron Holsinger’s recreation of Jerry Zaks’ direction for The Addams Family
Adam John Hunter’s recreation of Kristin Hanggi’s direction for Rock of Ages
Michael Mayer’s direction, Steven Hoggett’s choreography, Christine Jones’ Tony Award-winning set design and Kevin Adams’ Tony Award-winning lighting design for American Idiot
W. Stuart McDowell’s recreation of his staging for1913: The Great Dayton Flood
Gregory Meeh’s special effects for “The Addams Family”
Jared Mola’s makeup effects for Dracula
Director Fran Pesch and the cast of Love, Loss, and What I Wore: Amy Askins, Barbara Jorgensen, Elena Monigold, Annie Pesch and Gayle Smith (Young at Heart Players)
The male ensemble of Oliver!: Nicholas Belton, Blaise Bouschard, Ian Devine, Adam Lendermon, Joseph Medeiros, Chris Shea, Jonah Sorscher, Scott Stoney and Gary Troy
Chris Newman’s prologue illustrations for Dracula
Stephen Schwartz, Debbie Gravitte and Scott Coulter in Stephen Schwartz & Friends (Wright State University CELIA Distinguished Visiting Artist Series)
The Rock of Ages band under the musical direction of Brandon Ethridge
Ben Riddlebarger’s artwork for The Pillowman
Stivers School for the Arts’ productions of Godspell and Teach Me How to Cry
J. Gary Thompson’s original music for The Hobbit
Earnest Tremble’s piano accompaniment for Ain’t Misbehavin’
Basil Twist’s puppetry for The Addams Family
Shirley P. Wasser’s contributions as puppet artisan for Avenue Q

Mythbusters: Behind the Myths + TICKET CONTEST

June 18, 2013 By Dayton Most Metro Leave a Comment

This all-new, live stage show stars Jamie Hyneman and Adam Savage, co-hosts of the Emmy®-nominated Discovery series, “MythBusters.” Get ready for an unexpected evening of on-stage experiments, audience participation, rocking video and behind-the-scenes stories. For the first time ever, fans will join Jamie and Adam on stage and assist in their mind-twisting and not always orthodox approach to science. MYTHBUSTERS – BEHIND THE MYTHS brings you face to face with the curious world of Jamie and Adam as the duo matches wits on stage with each other and members of the audience.

One of the Discovery Channel’s most highly regarded and watched series, “MythBusters” is now in its ninth season. Co-hosted by Hyneman and Savage, “MythBusters” mixes scientific method with gleeful curiosity and plain old-fashioned ingenuity to create its own signature style of explosive experimentation–and the supporting or de-bunking of urban myths that we live with day to day.

AGE RECOMMENDATION:
Ages 6 and up. MYTHBUSTERS – BEHIND THE MYTHS is family friendly and appropriate for all ages, but parents should only bring young children if they can sit through a two hour theatrical show. For the consideration of all patrons, children on laps and/or babes in arms are not permitted at Victoria Theatre Association Star Attraction presentations.

Coming Up In Dayton Theatre, 6/14 – 6/23

June 13, 2013 By Sarah Caplan Leave a Comment

There are a lot of things closing, opening and running this weekend. Plenty of things to see and even some good fare to take the family, including Dad! Theatre tickets make an awesome Father’s Day gift. Does he like humor? Music? Laughing? Everything Dayton offers up this weekend features all three! Check it out!

Closing This Weekend!

A Funny Thing Happened On The Way To The Forum

The Dayton Playhouse

The Skinny: Something familiar, something peculiar. Something for everyone! A comedy tonight! Come see the Dayton Playhouse take on one of Stephen Sondheim’s funniest and best loved pieces. A farcical love story taking place in a fictionalized idea of Ancient Rome. A father-son dynamic is at the heart of this piece! Perfect for Father’s Day! So take your dad to see the matinee and then buy him Chinese Buffet for dinner afterwards! Or maybe that’s just my family tradition?

Dates: Closing Sunday, 6/16

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

Currently In Production!

Avenue Q

The Human Race Theatre Company

The Skinny: Don’t let the puppets and the “Sesame Street” skin tones confuse you; THIS IS NOT FOR KIDS. Avenue Q is a riotously funny, politically incorrect and downright raunchy Tony Award-winning musical about recent college grad Princeton and his funny, sometimes furry, friends who live at the very end of New York’s (in)famous Alphabet City. Featuring songs like, “Everyone’s A Little Bit Racist,” “It Sucks To Be Me,” and of course that battle cry of the internet age: “The Internet Is For Porn!” seriously this show is NOT FOR KIDS. But it is for adults who like to laugh really hard.

Dates: Through June 29th.

Tickets: Please visit the Human Race Theatre Company website at www.humanracetheatre.org. Have we mentioned that this production is NOT FOR KIDS?

The Sound Of Music

La Comedia Dinner Theatre

The Skinny: Ok, this one is safe for all the family…unless they’re offended by cherubic singing siblings and Nazi-fighting nuns! This is the well-loved classic, and a perennial crowd pleaser. Join The Captain, Maria and all 7 children as they sing, dance and, eventually, cross the Alps.

Dates: Through 6/30

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

Opening this Weekend!

Legally Blonde The Musical

Beavercreek Community Theatre

The Skinny: To quote its opening number: “Oh my god, oh my god you guys!”, it’s another production of Legally Blonde! This charming and enjoyable musical (based on the movie) takes the stage now at Beavercreek Community Theatre. Come join the plucky Elle Woods as she follows her “true love” to Harvard Law. There she gets a taste of hard work, the real world, and maybe learns to rely on her smarts more than her, well, blondeness.

Date: Opening 6/21 and running through 6/30

Tickets: Please visit the Beavercreek Community Theatre website at www.bctheatre.com

FutureFest Update:

Just a heads up, all the shows for FutureFest weekend have been cast and have begun, or will be soon be beginning, rehearsal! Exciting! For more information about the shows and about Dayton’s own FutureFest, a nationally known festival of new works, go to www.daytonplayhouse.com and click the “FutureFest” tab.

Don’t Call It A Comeback

June 12, 2013 By Rodney Veal Leave a Comment

I was very fortunate this weekend to bear witness to two ladies visibly demonstrating that their potency and relevance have not been forsaken or diminished, but rather laying dormant waiting to rise again. One lady on a red clay court being scrutinized by the world and the other, a dance company, performing on a stage on a late Saturday afternoon; both are stories that illuminate the power of perseverance and talent.

While some may consider comparing a tennis great like Serena Williams and Dayton Contemporary Dance Company to be a stretch. However it works when individuals and institutions approach their respective moments in the sun, be it on a tennis court or a proscenium stage with a preternatural focus and ability to fully engage you as a viewer in a visceral and intellectual whirlwind as to leave us positively giddy. I was delightfully connected and grateful to be present to observe it all.

With “Urban Impulse” , DCDC concluded the 2012-2013 season with energy and vitality and a hopeful promise of an even more solid renaissance in the future. In this day and age of a wildly uncertain socio-economic landscape, the arts are still a far cry from being removed from the endangered species list. With museums, dance companies and symphonies folding every year; this type of promise is worth its weight in gold.

With the revival of “Jacobs Ladder”, a potently engaging work that incorporated video projections/imageries and street dance vernacular infused modern proved worthy of revival. The audience was transported to the post -New Jack City streets that easily stands up to comparison with the genius of Jerome Robbins and his choreographic ability to vividly evoke the sights , sounds and energy of that uniquely urban terrain that we call NYC.

A novelty that could have easily backfired for the company, turned out to be the exact opposite. DCDC held a competition to select a local community group or individuals to perform with the company at this concert. Chenaulte Dancers were the lucky dance crew selected. “Shall Not Be Moved” was joyous opportunity to showcase the talents of a local company of young dancers. While it could have been a few minutes shorter, it was danced with an incipient flair.

The second showcase of local dancers came with “Hype”, a boisterous and wildly entertaining romp. This work was a testimony to the talents of the team of choreographers and their agile adeptness at integrating the dancers to the point of beautiful seamlessness. Major congratulations to Christina Perry, Zachary Scott Jr., Emily Stamas, Maddie Welsh and Taylor Young for clearly demonstrating their skills and embrace of this wonderful opportunity of a lifetime.

The concert culminated in a choreographic work that was an amalgamation of everything that is great about this current manifestation of the company.The solid ensemble has been given an incredible gem of a ballet in “Shed.” The choreographer Kiesha Lalama displayed her ample skills as a generator of mood, intensity and movement. Just like watching the incomparable Serena Williams, you marvel at the mysterious x-factor that manifests itself in such a championship as well as the alchemy of Ms. Lalama artistic genius. The dancers were clearly up to the challenge and that is what gives this work the jolt of vitality. This should be a part of the burgeoning new repertoire that is helping to define the quality of DCDC in the 21st Century.

Because of the majesty on display at “Urban Impulses”, I believe that the line from the ultimate king of urban swagger, LLCool J , applies to both Serena Williams and DCDC, “Don’t call it a comeback,” Because they never really left the throne of greatness. They just quietly and regally re-invented themselves for the future.

Spank! The Fifty Shades Parody + TICKET CONTEST

June 12, 2013 By Dayton Most Metro Leave a Comment

It’s time for the saucy book that caused a world sensation to get spanked! SPANK! THE FIFTY SHADES PARODY is the hilarious new musical that brings all the naughty fun of the best-selling book to life. Your inner goddess will be laughing out loud with this new imagining of the characters as they come to life with sharp-witted comedy, musical numbers, steamy and fun performances from the hunky leading man, plus lots of surprises! Grab your girlfriends and don’t miss the funniest and most exciting girls’ night out of the year! (SPANK! is not associated with, nor authorized by, author E.L. James or Vintage Press.)

Age Recommendation: Ages 17 and up. This production contains adult themes and may not be suitable for all audiences. For the consideration of all patrons, children on laps and/or babes in arms are not permitted at Victoria Theatre Association Star Attraction presentations.

Avenue Q Review – Human Race Theatre Company – Irreverent Joy (TICKET CONTEST)

June 10, 2013 By Russell Florence, Jr. 1 Comment

The cast of The Human Race Theatre Company’s Avenue Q. Photo by Scott J. Kimmins

If you’ve ever wondered why the Human Race Theatre Company continues to be heralded as one of the finest theater troupes in Southwest Ohio, take time to catch its splendidly hilarious production of “Avenue Q,” the risqué recipient of 2004 Tony Awards for Best Musical, Book and Score.

Blessed with brilliantly witty songs by Robert Lopez (“The Book of Mormon”) and Jeff Marx and a terrifically frank, clever and insightful book by Jeff Whitty (“Bring it On: The Musical”), “Avenue Q” tells a deliciously irreverent story of growing up, making mistakes, assessing regrets, falling in love, embracing identity and discovering purpose within a whimsical New York City neighborhood (impeccably designed with eye-catching graffiti and inspired nuances by Dick Block) where humans and puppets coexist. Borrowing a sunny “Sesame Street” framework, the breezy, R-rated musical dares us to examine our own beliefs and principles by poking fun at everything from racism and poverty to collegiate concerns and gay Republicans. Sometimes the bold, raunchy material is tough to swallow or outright jaw-dropping, but it can also break your heart with striking maturity, particularly when the ups and downs of a budding relationship are treated with deeply palpable poignancy.

James Oblak with “Princeton”, Shawn Storms and Katie Pees with “Kate Monster”. Photo by Scott J. Kimmins.

The musical’s surefire comedic foundation and knockout entertainment value hasn’t diminished in the consistently reliable hands of director Joe Deer, who also helmed impressive productions of “Crazy for You” (Muse Machine) and “Spring Awakening” (Wright State) this season. Deer not only provides fluidly energetic choreography, allowing this version to surpass the original Broadway production in terms of movement and old-fashioned showmanship, but ensures his skillfully zany cast of eight steps up to the challenge of creating believable, emotionally sound characters. The material feeds the temptation to go over-the top, but it’s wonderful to see this joyfully compatible ensemble, especially those operating and voicing multiple puppets charmingly created in the Jim Henson vein by Zoot Theatre Company co-founder/ artistic director D. Tristan Cupp and adorably clothed by Shirley P. Wasser, aim for greater by achieving genuine, heartfelt sparks without aimlessly wallowing in silly, overdone caricature.

Annie Kalahurka with the girl “Bad Idea Bear”, Katie Pees with “Kate Monster”, James Oblak with “Princeton” and Andrew Ian Adams with the boy “Bad Idea Bear”. Picture by Scott J. Kimmins

The immensely engaging, effortlessly multi-tasking James Oblak, a pleasant tenor, delivers one of the best performances of the season in the dual roles of Princeton and Rod. As the sincere, soul-searching Princeton, a liberal arts graduate in need of a life coach, Oblak appealingly explores the character’s puzzling uncertainty about his future and masters the romantic awkwardness that keeps him from obtaining true happiness. But as the uptight, snarky Rod, a closeted banker who loves Broadway musicals and secretly pines for his straight roommate, he pulls out the stops by commanding the stage with a mere glance or stance. Oblak simply attacks the fussy role with marvelously expressive vitality in which every fiber of his being encompasses denial, elation and heartbreak, particularly in his fantastic rendition of “My Girlfriend, Who Lives in Canada,” Rod’s amusing and ultimately shameful post-wedding meltdown.
An absolutely heartwarming Katie Pees is equally versatile as Kate Monster, the genial kindergarten teaching assistant attracted to Princeton, and Lucy the Slut, a saucy, curvaceous chanteuse longing to make her prey feel “Special.” Pees, a gifted comedienne who can make anyone laugh with the smallest inflection, seamlessly operates Kate while voicing Lucy in some instances, but her endearing interpretation, firmly grounded with a relatable earnestness on par with Oblak’s portrayals, is most notably solidified in her beautifully tender rendition of Kate’s lovelorn ballad “There’s a Fine, Fine Line,” which can be considered the unofficial anthem of the dating world.

James Oblak with “Rod”, Brett Travis and Andrew Ian Adams with “Nicky”, Shawn Storms, Michelle Liu Coughlin and Michael Thomas Walker. Photo by Scott J. Kimmins.

Excellently detailed, full-fleshed featured performances are given by the amiable Brett Travis as Rod’s laidback roomie Nicky and porn-adoring Trekkie Monster, the carefree Michael Thomas Walker as aspiring comedian Brian, the utterly delightful and occasionally fiery Michelle Liu Coughlin as Brian’s Asian wife Christmas Eve, the comically upbeat, sarcastic Shawn Storms as building superintendent Gary Coleman, and the super cute duo of Andrew Ian Adams and Annie Kalahurka as the Bad Idea Bears.
John Rensel’s proficient lighting design, Janet G. Powell’s appropriately understated costumes, musical director Sean Michael Flowers’ well balanced six-piece orchestra, and Zach Rosing and Ben Phillippe’s outstanding video design accent this must-see Human Race season finale.
For now “Avenue Q” is where you’ll want to be.

“Avenue Q” continues through June 29 at the Loft Theatre, 126 N. Main St., Dayton. Performances are June 16 and 23 at 2 p.m., June 11, 18 and 25 at 7 p.m., and June 12-15, 19-22 and 26-29 at 8 p.m. Act One: 70 minutes; Act Two: 45 minutes. Tickets are $41-$45. The production contains adult language/content. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org

A Funny Thing Happened on the Way to the Forum Review – Dayton Playhouse – Comedy Tonight

June 7, 2013 By Russell Florence, Jr. Leave a Comment

(l to r) Jamie McQuinn, Brad Bishop, Brad Mattingly and Saul Caplan in A Funny Thing Happened on the Way to the Forum (Contributed photo by Art Fabian).

Need a good laugh? Do yourself a favor and check out the Dayton Playhouse’s highly entertaining production of composer Stephen Sondheim and librettists Burt Shevelove and Larry Gelbart’s 1962 Tony Award-winning musical “A Funny Thing Happened on the Way to the Forum.”
A charmingly witty romp set in ancient Rome and adapted from the Roman comedies of Plautus, “Forum” centers on the madcap mayhem surrounding Pseudolus, a slave whose only chance at freedom rests with his ability to ensure his dim-witted master Hero falls in love with Philia, the genial virgin next door. It’s a tough assignment considering Philia is promised to a powerful warrior, but Pseudolus shrewdly steps up the plate relying on nothing more than a great deal of mischief and pure luck.
Director Jim Lockwood, always adept at comedy, fashions a breezy showcase strictly intended to produce a good time. His lively cast embraces the material with a fun-loving rapport that doesn’t feel calculated or forced. The jokes are a hoot because the laughs are earned beyond the script, similar to the impromptu intuitiveness of a sketch comedy troupe. The cast, winningly handling Sondheim’s tunefully tricky score and nicely costumed by Jennie Hawley, are also in sync with each other, heightening the humor particularly when an actor reacts to another actor’s silly glance or gesture.
Brad Mattingly, a terrific vocalist who would be an inspired choice to portray Sweeney Todd, impressively captures the frenzy, perplexity and persuasiveness within Pseudolus, a role that can be very exasperating and showy in less capable hands. Mattingly’s engaging spirit and sharp comedic timing serves him well as Pseudolus skillfully orchestrates the hilarious madness, which involves mistaken identity, a body snatcher and mare’s sweat. As Hero, Matthew Glenn relies too heavily on his character’s bashful innocence, resulting in a one-dimensional portrayal that goes nowhere. Still, he is physically right for the role and well-matched with the sweetly sensitive Mary Mykytka as Philia. Saul Caplan, embodying Hero’s beleaguered father Senex once more, has the audience under his spell thanks to the impeccable delivery of his one-liners. Soprano Claire Hurley’s delightfully domineering portrayal of Domina, Senex’s wife, is highlighted by her excellently lyric-driven rendition of “That Dirty Old Man.” Brad Bishop has a ball as the frantic and devoted servant Hysterium. Richard Young effortlessly supplies one of his most scene-stealing performances as the hopelessly befuddled Erronius. Jamie McQuinn keeps the comedy at fever-pitch as smarmy courtesan owner Marcus Lycus. As mighty Miles Gloriosus, the perfectly cast Jeff Sams is a brooding, goofy, intimidating and towering presence. Sarah Jordan (Tintinabula), Tamar Fishbein (Panacea), Rikki Overman (Geminae), Kali Jordan-DeBruin (Geminae), Krista Stuber (Vibrata) and Marabeth Klejna (Gymnasia) comprise the appealing courtesans. Naman Clark, Suzanne Clabaugh and Malcolm Casey are an efficiently adaptable trio of proteans.
Additionally, Sandra Hyde supplies playful choreography, especially for the amusing opener “Comedy Tonight” and the Frank Loesser-esque “Everybody Ought to Have a Maid.” Musical director Ron Kindell leads another solid orchestra.

“A Funny Thing Happened on the Way to the Forum” continues through June 16 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Act One: 80 minutes; Act Two: 40 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

Dreamgirls Review – Victoria Theatre Association – Hard to Say Goodbye

June 6, 2013 By Russell Florence, Jr. Leave a Comment

It’s hard to say goodbye to musical theater as emotionally compelling, humorously spirited, visually appealing and vocally thrilling as the latest national tour of the 1981 Tony Award-winning musical “Dreamgirls,” the terrific season finale of the Victoria Theatre Association’s 2012-13 Premier Health Broadway Series dazzlingly staged by director/choreographer Robert Longbottom at the Schuster Center.
Conceived by Michael Bennett (“A Chorus Line”) and featuring a fantastic score by Henry Kreiger and librettist/lyricist Tom Eyen, “Dreamgirls” is a predominately sung-through, Motown-inspired tale skillfully and breezily chronicling the triumphs and torment of a female R&B trio during the 1960s and 1970s. Loosely based on the tumultuousness associated with Diana Ross and The Supremes, the musical weaves absorbing themes of ambition, disillusionment, greed, image, sacrifice, heartache, love, family and forgiveness into a revealing look at African-Americans desperately pursuing the American dream at any cost during a particularly thorny time when it was very difficult for R&B music to crossover to the pop charts.

(l to r) Tonyia Myrie Rue, Jasmin Richardson and Charity Dawson in Dreamgirls (contributed photo)

Charity Dawson, delivering one of the best performances of the season and blessed with a voice that can be considered an R&B hybrid of Jill Scott and Ledisi, is a marvelous focal point as overbearing, plus-sized diva Effie Melody White. Dawson turns the wonderfully complex Effie into a demanding force to be reckoned with as the lead (and loudest) singer of the Dreamettes who long to become stars but initially settle for singing backup to James Brown-esque showman James “Thunder” Early (the absolutely dynamic JoNathan Michael). When Dawson steps forward near the top of the show to fuel the forceful groove and saucy attitude within “Move (“You’re Steppin’ On My Heart),” there’s no doubt the show is in immensely capable hands. And when Effie’s promising world begins to crack the moment the Dreamettes’ shady manager Curtis Taylor, Jr. (a slick, proper and confidently cool Deonte’ Warren) repackages the group as the Dreams and taps slender Deena Jones (the demure yet determined Jasmin Richardson) to sing lead, Dawson astutely escalates Effie’s heartbreak. In fact, the final 30 minutes of Act 1 are not to be missed as the touching “Family” segues into the driving, spine-tingling title tune (beautifully and gracefully led by Robinson) and ultimately reaches a gripping climax with the fabulous squabble “It’s All Over” and Dawson’s powerhouse rendition of “And I Am Telling You I’m Not Going,” which sparked rapturous applause on opening night long before its iconic final notes. However, I must admit Dawson’s equally visceral “I Am Changing,” featuring one of many stunning costume changes, is a joyously life-affirming Act 2 roof-raiser worth the price of admission. This production, heightened by Longbottom’s superb transitions, also wisely incorporates the soul-bearing ballad “Listen” from the 2006 Academy Award-winning film version, allowing Dawson and Richardson another ample opportunity to showcase their full-throttle vocals within a perfectly honest moment of reconciliation between Effie and Deena.

In addition to the aforementioned Michael’s gospel-tinged vigor in a role he was born to play, excellent featured performances are given by the delightfully spunky
Tonyia Myrie Rue as Lorrell Robinson (the agitated fury within her deliciously fiery rendition of “Ain’t No Party” nearly rises to showstopping proportions), the amiable Terrance Johnson as Effie’s brother C.C., the lovely Kimberly Michelle Thomas as Michelle Morris, and the believably disgruntled Kolby Kindle as Early’s longtime manager Marty whose outright disdain for Curtis is always palpable.
Elsewhere, Shane Sparks, a phenomenal hip-hop choreographer known for his work on “So You Think You Can Dance,” provides sharp and vigorous routines for the male ensemble, particularly the rip-roaring “Steppin’ to the Bad Side.” Costumer William Ivey Long is responsible for an array of utterly gorgeous gowns and other colorful period designs. Robin Wagner’s original, understated scenic design is effectively enhanced by Howard Werner’s large, eye-catching LED panels that winningly expand the storytelling. Ken Billington’s splendid lighting design adds just the right amount of razzle dazzle. Conductor Jon Balcourt leads an outstanding orchestra that rarely pauses throughout this rich musical landscape. In fact, a driving rhythm lightly underscores certain Act 1 book scenes.
Thanks to a vibrant cast and striking new technical elements, “Dreamgirls” remains an infectious crowd-pleaser.
“Dreamgirls” continues through June 9 at the Schuster Center, Second and Main Streets, Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. Act One: 75 minutes; Act Two: 60 minutes. Tickets are $40-$86. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Urban Impulse- Dance that electrifies the city experience – Ticket Contest

June 4, 2013 By Lisa Grigsby 3 Comments

Urban Impulse promises to be a dynamic evening of dance by Dayton Contemporary Dance Company (DCDC). Featuring premiere works by nationally known choreographer Kiesha Lalama, who most recently choreographed the hit movie, The Perks of Being a Wallflower. Enjoy a special appearance by the Chenaulte Dancers – winners of the Urban Sweeps raffle!

Company dancers will create a stunning blend of visual and auditory magic with an urban edge. The dancers move to the very pulse and rhythm of the music that excites and electrifies the city experience. This concert is an “urban” art of exploded boundaries, intended to reach both new and loyal audiences. Spectacular dance to the music of Zapp Mama, John de Kadt, Hilight Tribe, Whicked Hayo and more.

Sponsored by Dayton Power & Light, on Saturday, June 8., there will be two performances at 3:00 and 8:00 pm at the Stivers School for the Arts, 1313 East 5^th Street, Dayton, OH 45402. Tickets are available for $25-45 with group ticket discounts for groups of 10 or more, with a live on-stage recognition for groups of 20.

Dayton Most Metro has 2 sets of 2 tickets to give away for Saturday’s 3pm performance. Make a comment below on why you should win and fill out the form and we’ll announce our winner Thursday night![

The Contest is now over. Congratulations to our winners: Peggy Wyrick and Penny Buell!

Victoria Theatre Association Presents DREAMGIRLS + Ticket Contest

May 30, 2013 By Dayton Most Metro Leave a Comment

Dreamgirls-30 Victoria Theatre Association presents the sparkling new high-tech production of DREAMGIRLS as a part of the 2012-2013 Premier Health Broadway Series. Full of onstage joy and backstage drama, this new multi-media driven production of DREAMGIRLS tells the story of “The Dreams,” an up-and-coming 1960s girl singing group – inspired by the career of Diana Ross and The Supremes – as they experience the triumphs and tribulations that accompany their pursuit of fame and fortune in the tumultuous music industry.

Winner of six Tony Awards® and two Grammy Awards®, DREAMGIRLS premiered on Broadway in December of 1981. Through several revivals and an award-winning 2006 motion picture adaptation, it has remained an audience favorite for more than three decades.

This DREAMGIRLS production has been created by first-class Broadway veterans, including well-known Broadway director and choreographer Bobby Longbottom (with additional choreography from “So You Think You Can Dance” choreographer Shane Sparks), and scenery, costumes, and lighting designed by the highly-decorated and multiple Tony Award® winning team of Robin Wagner, William Ivey Long, and Ken Billington. The video design, which figures prominently in the story telling, was created by Howard Werner, who is also the video designer on SPIDERMAN on Broadway.