Composer Duncan Sheik and lyricist/librettist Steven Sater’s dynamic “Spring Awakening,” 2007’s Tony-winning Best Musical, receives an outstanding local collegiate premiere at Wright State University.
Based on Frank Wedekind’s banned, controversial 1891 novel of the same name, “Spring Awakening” is a powerfully provocative coming of age tale set in 19th century Germany with contemporary flourishes. In fact, Sheik’s marvelous melodies, evocatively tied to Sater’s poetic lyrics, are written in the pop/alt rock vein. The musical’s riveting potency cuts deep as issues of abortion, abuse, angst, incest, isolation, suicide and more are explored. Staged by Joe Deer in the black box Herbst Theatre with firm, character-driven intimacy, the thought-provoking story of close-knit, inquisitive, sexually curious teenagers caught between childhood innocence and the dawn of adulthood doesn’t miss a beat, particularly as their questions and desires are regrettably disregarded by authority figures.
The central, ill-fated romance involving headstrong Melchoir Gabor (portrayed with great self-awareness and sensitivity by Jon Hacker) and the sheltered Wendla Bergman (an appealing, vocally beguiling Tommi Harsch) is skillfully executed, but Deer heightens the compelling landscape by emphasizing the awkwardness and emotional scars between parents and their children. Chrissy Bowen and Andrew Quiett portray multiple adult roles, but Bowen’s maternal reticence and fierce admonishment as Wendla’s mother and Quiett’s incredibly irascible disgust as the father of troubled Moritz Stiefel (Drew Helton, splendid and heartbreaking) are specifically striking. Moreover, in favor of an introspective approach, Deer lessens the material’s rock concert essence by eliminating hand-held microphones and microphone stands, a definitive concept of the off-Broadway and Broadway productions.
Helton, a wonderful Edna Turnblad in “Hairspray” last season, uniquely interprets Moritz with a stutter, a decision that generates more empathy for the character and reiterates his peculiarities. Helton is also in terrific voice, particularly in the frenzied “Don’t Do Sadness” brilliantly aided by Erin Jones’ lighting design. Ria Villaver, bringing tender fragility to her role as Ilse Neumann, and Paige Dobkins as Martha Bessell weave a gripping tapestry throughout “The Dark I Know Well.” Caroline Gruber, Liz Romey, Justin King, Logan Torbet, Sean Jones, Zach Warner and Lauren Schorr are uniformly strong in such haunting numbers as “Touch Me,” “I Believe” and “The Guilty Ones” in addition to the carefree “My Junk” and rip-roaring “Totally Fucked.” The cast’s heartwarming rendition of “The Song of Purple Summer,” the absolutely beautiful Act 2 finale, is among the best I have heard.
Choreographer Dionysia Williams’ expressively first-rate routines balance succinct rigor and ecstatic exuberance with the gentility of caressing hands and soft candlelight. Zoe Still provides attractive period costumes and dresses her appropriately stark set with flowing tattered fabric. Musical director Sherri Sutter leads a solid five-piece orchestra.
Wright State offers the third “Spring Awakening” Dayton has seen in two years, but the organization has certainly produced a worthwhile winner.
“Spring Awakening” continues through Nov. 18 in the downstairs, black box Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 55 minutes. The show contains adult language and themes. Tickets are $10 adults and $7 for students and seniors. All seats are $2 for the Saturday matinee. For tickets, call Victoria Oleen at (937) 775-3789.







When Anthony Bourdain brings his Guts & Glory tour to the Schuster Center on Sunday, it will be his first visit to Dayton. It’s also his first solo tour, and Bourdain describes it as ” a rant, a talk, even some kind of imitation of stand-up,” with video clips and a lot of Q-and-A. He said he’s been secretly doing 5 -10 minutes sets, practicing in comedy clubs around New York City. “The audiences are incredibly honest,” he says, “and what better way to you find out right away in a brutally painful fashion whether something is amusing or not.”







A DOLL’S HOUSE
HANK WILLIAMS: LOST HIGHWAY
OKLAHOMA!
SHIRLEY VALENTINE
UNDER A RED MOON
BRIGHTON BEACH MEMOIRS
I DO! I DO!
ROMEO AND JULIET
TITUS ANDRONICUS
THE INVESTMENT CLUB
PROOF
THE ROYAL GAMBIT
COMPANY
GRIMM AND FISCHER
MY LEFT BREAST
SAVAGE IN LIMBO
Fast-paced, energetic, universally engaging and theatrically clever, FRED GARBO’S INFLATABLE THEATER COMPANY has won the praise and affection of audiences worldwide. Gigantic inflatable props spring to life in the world of pneumatic wizard Fred Garbo and Brazilian ballerina Daielma Santos, a world that mesmerizes audiences with imaginative imagery and artistic foolishness. Rolling, gliding, tumbling, juggling, miming, bouncing, quaking, and dancing in sync to the music, this delightful duo will inflate spirits and open the audience’s eyes in amazement. FRED GARBO’S INFLATABLE THEATER COMPANY has toured in theaters worldwide for audiences of all types, transcending barriers of language, culture and age in a seamless, unique program.


CHESS
FLIPZOIDS
BLUE MAN GROUP
A BRIGHT NEW BOISE
HAIRSPRAY
KING O’ THE MOON
THE LARAMIE PROJECT
MRS. MANNERLY
THE PASSION OF DRACULA
SEALED FOR FRESHNESS
SEE HOW THEY RUN
SEUSSICAL JR




BYE BYE BIRDIE
SEUSSICAL JR
TITUS ANDRONICUS
SNOOPY THE MUSICAL
THROUGH THE NIGHT
The dysfunctional baggage plaguing the Reardon sisters of Paul Zindel’s 1971 dark comedy “And Miss Reardon Drinks a Little” is commendably explored at the Dayton Theatre Guild.

THE DIARY OF ANNE FRANK
LITTLE SHOP OF HORRORS
MRS. MANNERLY
DEATH DEFYING ACTS
CONFESSIONS
I DO! I DO!