On Stage Dayton

Composer Stephen Schwartz and librettist Winnie Holzman’s 2003 blockbuster “Wicked,” a clever, intriguing and tuneful reimagining of “The Wizard of Oz” lore adapted from Gregory Maguire’s novel of the same name, returns to Dayton with outstanding flourish courtesy of the Victoria Theatre Association’s Premier Health Partners Broadway Series.
Set prior to Dorothy Gale’s arrival in Oz and previously seen in 2010 with equally eye-popping finesse under Joe Mantello’s crisp, polished direction, “Wicked” flies into the Schuster Center led by the terrific duo of Christine Dwyer and Tiffany Haas as the misunderstood, green-toned Elphaba and adorably superficial Glinda (originally Galinda), respectively. Portraying polar opposites who meet at Shiz University and form an unexpected yet endearing bond that defies the odds, these actresses skillfully convey the emotional depth and delicious wit inherent in their vocally challenging roles.

The absolutely dynamic, fully engrossing Dwyer, supplying one of the best performances of the season, splendidly embraces Elphaba’s outcast status, distaste for Ozian hypocrisy and nurturing spirit in respect to guardianship of her wheelchair-bound sister Nessarose (a formidable Catherine Charlebois). Musically, and with a sublime pop sensibility, she belts Schwartz’s songs with a beguiling force on par with Tony winner Idina Menzel who originated the role. Dwyer’s strikingly lyric-driven “The Wizard and I” deserves an encore along with her phenomenally defiant, liberating “Defying Gravity,” awash in lighting designer Kenneth Posner’s dazzling purple, white and green hues. The bubbly Haas, a lovely soprano whose range is attractively showcased in “No One Mourns the Wicked” and “Thank Goodness,” particularly masters Glinda’s tricky balancing act of being self-obsessed without seeming annoyingly uncouth. When a touching love triangle develops as the handsome Fiyero (fine tenor Billy Harrigan Tighe) puts a kink into Elphaba and Glinda’s relationship, Haas’ vulnerability and maturity winningly arises. Together, Dwyer and Haas offer a very humorous rendition of “What Is This Feeling?” and a beautifully poignant “For Good.”

Elsewhere, Marilyn Caskey exudes prim sophistication and dastardly menace as Shiz headmistress Madame Morrible, Timothy Britten Parker excellently reiterates the dark underbelly of Oz as Dr. Dillamond, Dan Pacheco is a likably smitten Boq, a Munchkin who pines for Glinda to Nessarose’s dismay, and Paul Kreppel is an amiably aloof as the infamous Wizard, who convinces the citizens of Oz that it’s dangerous for animals to talk and be considered as equals. Eugene Lee’s fabulous, Tony winning scenic design, Susan Hilferty’s superb, Tony winning costumes abounding with personality and music director Adam Souza’s solid orchestra are additional treats.
Although the more iconic elements of the Oz landscape are not addressed until Act 2, a slight conceptual hindrance, you’re bound to enjoy the unique history of the Wicked Witch of the West and the Good Witch of the North in this darker, deeper context. Having witnessed “Wicked” eight times from the Broadway original to the West End to numerous national tours, I can honestly say this production is among the best. Don’t miss it!

“Wicked” continues through June 24 at the Schuster Center, Second and Main Streets. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $42-$121. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Scott Knisley (l) and Jeff Sams in The Story of My Life (Contributed photo)

The Dayton Theatre Guild supplies a commendable regional premiere of composer Neil Bartram and librettist Brian Hill’s under-appreciated 2009 musical “The Story of My Life,” an intimate small town account of a lifelong friendship which closed on Broadway after five performances.

Delicately directed with musical seamlessness by Debra Kent, “Story” swiftly and intriguingly details the funny, joyous and heartbreaking kinship between successful author Thomas Weaver (Scott Knisley) and sensitive book seller Alvin Kelby (Jeff Sams), whose story begins at the end as Thomas prepares Alvin’s eulogy. From impressionable adolescence to the pains of adulthood, Thomas and Alvin’s emotive journey, grounded with a mutual affection for Frank Capra and Mark Twain, is a relatable one signifying a bond that appeared charmingly unbreakable yet ultimately fizzled into a haze of regret. A deeper subtext of unrequited love isn’t explored here, which could have given the production a stronger dramatic appeal and a pinch of unpredictability, but Kent and her cast embrace Hill’s smart, sentimental plot at face value without detriment.
Stepping into the musical theater realm, the believably bonded Knisley and Sams, primarily known for their work in straight plays, provide their best performances to date. Knisley skillfully interprets Thomas’ frustrated agony and overt arrogance as Alvin routinely cajoles him into a whirlwind of reflection not only about their childhood but the splinters within their friendship and the sheer acknowledgement that he was his muse. Sams, adopting an enthusiastic, childlike wonder recalling a tamer version of Will Ferrell, charms throughout while displaying a striking vulnerability. Musically, both are relatively comfortable within the confines of Bartram’s lilting yet vocally challenging, Sondheim-esque score. They tend to become pitchy when aiming for high notes, but are admirable on the whole as accompanied by Rebecca Nicely Childs. In fact, Sams memorably delivers a wonderfully poignant rendition of “People Carry On,” a beautiful ballad detailing Alvin’s reaction to the loss of his mother. Knisley strongly counters with “1876,” “The Butterfly” and the hauntingly melancholic “I Like It Here.”
“Relationships thrive or dissolve without our knowing why,” Thomas admits. “Story” doesn’t answer every question, but it deserves to be discovered for it certainly proves its worth at the Guild.

“The Story of My Life” continues through June 17 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 50 minutes; Act Two: 45 minutes. Raymonde Nicely Rougier will provide piano accompaniment for the remainder of the production. Tickets are $10-$17. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org.

The cast of Band Geeks! (Photo by Scott J. Kimmins)

The Human Race Theatre Company concludes its outstanding 25th anniversary season with a terrifically entertaining Midwest premiere of the charming, comical and touching musical “Band Geeks!,” a feel-good collaboration by Tommy Newman, Gordon Greenberg, Gaby Alter and Mark Allen innately recalling “Glee” without being a witless copycat.

Set in the late 1990s in Northeastern Ohio, “Band Geeks!,” perfectly cast with actor-musicians by Human Race producing artistic director Kevin Moore and fluidly directed and meticulously choreographed by Greg Hellems, is a warmly credible slice of life about adolescent oddballs making their way through high school hell as participants of a belittled, underfunded marching band. Whether forced to rehearse in a closet or parking lot, the close-knit, 10-member Cuyahoga High Marching Beavers, striving to uphold its motto that “nobody marches alone,” desperately attempts to remain harmonious despite budget cuts, pessimism from prickly Principal Dixon (Jennifer Joplin), the inclusion of a troubled jock from another school, and the jealousy that arises when puppy love threatens to ruin friendships.
Librettists Greenberg and Newman smoothly frames the simple yet delightfully droll action (accented with giggle-inducing school announcements) around the well-defined, three-dimensional trio of band captain Elliott Goodman (Mykal Kilgore), a shy tubist living in the shadow of his popular meteorologist brother, Laura Jane Kirk (Katie Klaus), a flautist and Elliott’s best friend whose parents prefer her to pursue medicine, and percussionist Jake Fowler (Zach Cossman), whose shady history hinders him from total assimilation. The show is also conceived with predictable teen archetypes from goth to gay with a foreign exchange student thrown in for good measure, but these characters are sharply written with hilarious authenticity. In fact, I wish more of them had solos, particularly flamboyant trombonist Alvin Freeman (an amusing Tyler J. Baranski). Alvin’s colorful opinions and his implied attraction to “Dungeons and Dragons” fan Kyle Watson (Jon Kovach) screams to be sung. Given that band director Mr. Hornsby (John Robert Armstrong) has the weakest material in Newman, Alter and Allen’s largely pleasant and bouncy score, his musical moments should have been transferred to more appealing characters, which extends to Nicole Murray (Sarah Agar, so luminous in Wright State University’s “The Light in the Piazza”), Spitz (Richard Cerato), Natasha Vosavich, (Liz Fye), Stewart Dixon (John Fisher) and Molly Winerman (Jennifer Roehm).
Kilgore, Klaus and Cossman are specifically associated with some of the best musical numbers, which resonated despite muddled, unbalanced sound concerns at the performance attended rendering some lyrics unintelligible. The excellent Kilgore, blessed with an absolutely dynamic, R&B-tinged tenor, leads the toe-tapping “Twirler Girl” (be prepared for his final note!) and joins Cossman for the surprisingly spine-tingling “Loser,” a thrillingly divisive squabble (think “Take Me or Leave Me” from “Rent”) culminating in unexpectedly tender common ground. The endearingly introverted Klaus, a lovely flautist, belts a genuinely sincere “Lost in the Brass.” Cossman, an impressive drummer who will join Blue Man Group this fall, duly receives applause while spotlighted in the sprightly ensemble number “Team Player.”
In addition, Scott J. Kimmins’ efficient set briskly establishes various locations, particularly transforming rows of bleachers into a school bus. Janet G. Powell’s fine costumes appropriately reflect the era and elevate the finale. Musical director Scot Woolley leads a proficient off stage band.
Truly topical with bubbly tunes and a vital message of self-acceptance and empowerment appealing to every demographic, “Band Geeks!” winningly restores faith in the value of being true to your school and yourself.

“Band Geeks!” continues through June 17 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 60 minutes; Act Two: 58 minutes. Tickets are $18.50-$40. A talkback discussion will take place following the Sunday, June 10 performance. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Laramie Cast (l to r): Matt Turner, Matthew Smith, Angela Dermer, Robb Willoughby, Rachel Wilson, John Ray and Chris Hammond. (kneeling) Cydnie Hampton and John Dunn

Sinclair Community College wraps a very commendable season with an excellent production of “The Laramie Project,” a gripping account of gay University of Wyoming student Matthew Shepard, the victim of an appalling hate crime on the outskirts of Laramie, Wyoming in the autumn of 1998.

Compiled from over 200 interviews conducted by Moises Kaufman and members of the Tectonic Theater Project, “Laramie Project,” which debuted in 2000, mesmerizes with quiet intensity as wide-ranging perspectives of Shepard and Laramie citizens mesh to form an impressively authentic, brilliantly balanced, brutally honest three-act canvas of heartbreak, horror, humor and hope. Director Scott Stoney refreshingly energizes the storytelling with brisk immediacy (this is the most fast-moving version I have seen), but superbly pauses the pace to beautifully heighten the deeply touching poignancy in the finale of each act. A bicycle slowly crossing in front of the fence where Shepard was bound for 18 hours and hearing the cast mimic the patter of rain upon the announcement of Shepard’s death are some of the unique instances that stir emotions anew before intermission. Stoney, who astutely concludes the play with an inspired local nod, also ensures his wonderfully unified nine-member cast creates sharply distinctive personas while inhabiting multiple roles of varying ages and traits. Some actors are more adept chameleons, but the challenge is admirably met by all.

Angela Dermer, John Dunn, Chris Hammond, Cdynie Hampton, John Ray, Matthew Smith, Matt Turner, Robb Willoughby and Rachel Wilson comfortably handle the fluidity of the material, winningly accented by Patti Celek and Gion Defrancesco’s projections. The ensemble is also memorably spotlighted individually, particularly Ray’s fiery Fred Phelps, Willoughby’s tear-jerking Dennis Shepard, Wilson’s terrific turn as police officer Reggie Fluty, Hammond’s earthy embodiment of Reggie’s mother and Dunn’s excitable portrayal of a college student drawn to “Angels in America.”

The contributions of scenic/property designer Terry Stump, costumer Kathleen Hotmer, lighting designer Gina Neuerer and sound designer Stephen Skiles are equally appealing within this riveting play overflowing with relevant, thought-provoking potency.

“The Laramie Project” continues through May 26 in Blair Hall Theatre, Building 2, of Sinclair Community College, 444 W. Third St. Performances are Friday and Saturday at 8 p.m., Sunday at 2 p.m., Wednesday at 10 a.m. and Thursday at 7 p.m. Act One: 50 minutes, Act Two: 40 minutes; Act Three: 30 minutes. Tickets are $10-$15 (the Thursday performance is an additional $5 and includes pre-show appetizers and a cash bar). For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets

Four months after the Dayton Playhouse elegantly saluted Rodgers and Hammerstein with the musical revue “A Grand Night for Singing,” the organization successfully closes its season with a very pleasant, emotionally honest production of the iconic duo’s final collaboration “The Sound of Music.”

Despite the unmistakable schmaltz inherent in Howard Lindsay and Russel Crouse’s strong libretto and Rodgers and Hammerstein’s marvelously infectious score, this engaging tale circa 1938 Austria of postulant Maria Rainer and her unexpected bond with Captain George von Trapp and his seven children strikes a chord. Director Brian Sharp embraces the material with a surprisingly traditionalist outlook (particularly using the original script/score featuring “An Ordinary Couple” instead of the revised edition containing film favorites “I Have Confidence” and “Something Good”), but he effectively emphasizes the transformative impact of song within the grief-tinged Trapp family thanks to Maria’s influence. The family finally has a reason to feel reborn and grow harmoniously closer when their voices blend, an element I haven’t sensed in previous productions. In fact, when Maria is told she has brought music back into the Trapp household it is a misty-eyed moment of genuine gratitude that touchingly reiterates Sharp’s approach.

Kelli Locker, an actress who sings, is a highly commendable Maria. She not only grasps Maria’s perky innocence and desire to be liked but the conflicted emotions born of her evolution into womanhood. Locker is also perfectly partnered with the absolutely terrific David Shough, the best Georg I have seen in years. In addition to offering a beautifully tender rendition of “Edelweiss,” Shough fully understands the fine line between pertinent sternness and off-putting rigidity, ensuring his well-crafted performance, which evolves impeccably, maintains an authoritative amiability.

In featured roles, Stephanie Shubert (Liesl), Logan Trzeciak (Friedrich), Taylor Winkleski (Louisa), Ben Kneblik (Kurt), Hope Whitestone (Brigitta), Sophia Shannon (Marta) and the particularly adorable Cate Shannon (Gretl) are enjoyable as the Trapp children. Joan Harrah (Mother Abbess), Laura Bloomingdale (Elsa Schraeder) and James Trzeciak (Max Dettweiler) are vocally strong and offer firm portrayals. As frustrated housekeeper Frau Schmidt, Dodie Lockwood offers a sharp perspective of the Trapp family past and present. David Stephen Thomas (an appealing Rolf), Terry Lupp (Sister Margareta), Cathy Long (Sister Berthe), Marabeth Klejna (Sister Sophia), David Lindsley (Franz) and Craig Smith (Herr Zeller) are also notable.

Bruce Brown provides an excellent scenic design. Costumer Marilyn Johnson supplies a lovely blue dress for Locker late in Act 1. Musical director Ron Kindell leads a steady orchestra.

“The Sound of Music” continues through May 27 at the Dayton Playhouse, 1301 E. Siebenthaler Ave. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 90 minutes; Act Two: 55 minutes. Tickets are $10-$15.  For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com

Casey Jordan and Samantha Helmstetter in The Phantom of the Opera (contributed photo)

The regional collegiate premiere of Andrew Lloyd Webber’s 1986 melodramatic megahit “The Phantom of the Opera,” which he co-adapted from the Gaston Leroux novel with Richard Stilgoe and Charles Hart, receives a strikingly designed yet off-kilter staging at Wright State University.

Director W. Stuart McDowell’s knack for creating attractive stage pictures is evident once again, but his decision to place the crux of the vocally impressive show in the hands of Casey Jordan is a big mistake. Jordan, familiar to WSU audiences for delightfully comedic work in “Anything Goes” and “Hairspray,” is simply out of his element attempting to embody the obsessive, maniacal, dungeon-dwelling Opera Ghost threatening the artists and owners of the Paris Opera House in the late 19th century. He oddly aims for a softer, introverted interpretation that leads him on the road to disadvantage because the Phantom, although emotionally wounded, is not a timid sentimentalist at his core. Without credible menace or a darkly brooding sensibility, the imposing role’s dramatic weight is basically non-existent. More startling is the fact that Jordan is completely devoid of passion opposite luminous soprano Samantha Helmstetter as Christine Daae. “Music of the Night” is particularly intended to be an Act 1 knockout, but Jordan, whose overdone hand gestures factor prominently in his performance, spends more time caressing the air instead of Helmstetter. In turn the song becomes a frustrating bore awkwardly worsened by the unnecessary presence of three Muses who repeatedly (or purposefully?) steal focus from Jordan. (I’m shocked McDowell changed the ending in favor of the Muses instead of Christine’s best friend Meg Giry, admirably portrayed by Taryn Lemmons.)

Thankfully, Helmstetter, fantastic two months ago in WSU’s “Berlin to Broadway with Kurt Weill,” steers the show in the right direction whenever she’s front and center. Her sublime vocals and earnest emotions are saving graces even when the plot deflates toward its sappy conclusion. “Think of Me” and “Wishing You Were Somehow Here Again” are poignantly rendered, but I found “Twisted Every Way,” an underrated yet potent moment addressing Christine’s perplexity and torment, to be her finest number in terms of depth. Due to Jordan’s seductive ineptitude, she believably radiates more heat alongside the handsome Patrick Ross (Raoul) who joins her for a heartfelt, lyric-driven “All I Ask of You.”

Kathleen Ferrini as diva Carlotta and Andrew Quiett as Piangi create a humorously conceited bond. They are notably joined by Chrissy Bowen (Madame Giry), Drew Helton (Firmin) Sean Jones (Andre) and the aforementioned Ross for a sharply executed “Notes” and a wonderfully soaring rendition of “Prima Donna” nearly worthy of an encore.
McDowell’s expert tech team consists of set designer Don David, lighting designer Nicholas Crumbley, costumer Lisa Loen, sound designer James Dunlap and properties masters John Lavarnway and Kim Townsend. Choreographer Sarah Wildman specifically ensures “Masquerade” arises with unified flair. Musical director Ryan Heinrich’s terrific orchestra proves Lloyd Webber’s music will always be “Phantom’s” main attraction.

“The Phantom of the Opera” continues through May 27 in the Festival Playhouse Stein Auditorium of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are May 16-17 and 24 at 7 p.m., May 18-19, 25-26 at 8 p.m. and May 19-20, 26-27 at 2 p.m. Act One: 75 minutes; Act Two: 55 minutes. Tickets are $18-$20. For tickets or more information, call (937) 775-2500.