On Stage Dayton

New Musicals on the Rise

August 4, 2011 By Russell Florence, Jr. Leave a Comment

2011 Human Race Festival of New Musicals

The Human Race Theatre Company

Encore Theater Company

This weekend, the Human Race Theatre Company, in collaboration with Encore Theater Company, will continue its ardent support of new works and emerging composers with a musical theater festival containing multigenerational appeal. Nostalgia is a key element in the Human Race presentations of the 1950s jazz-infused “Play it Cool” and an overdue salute to Grammy, Oscar and Tony nominated lyricist/composer Bob Merrill entitled “Love Makes the World Go ’Round.” Encore, fueling the popular trend of movies-turned-musicals, will let loose with “Pump Up the Volume,” adapted from the 1990 film starring Christian Slater. Each show will be delivered as staged readings at the Loft Theatre.

Pump Up The Volume

“Working with Encore seemed like a no-brainer since (Encore founders) David Brush and Jim Farley were a part of the first Human Race musical theater symposium,” said Kevin Moore, Human Race producing artistic director. “Our festival lineup is very exciting. I’ve known about ‘Love Makes the World Go ‘Round’ for a while, ‘Pump Up the Volume’ is something Encore has had in the works, and ‘Play it Cool’ is really timely and relevant.”

“Play it Cool,” conceived by Larry Dean Harris and accented with a terrific jazz score recalling Cy Coleman and David Zippel’s “City of Angels” and Marvin Hamlisch and Craig Carnelia’s “Sweet Smell of Success,” was among the standouts I particularly admired at New York’s National Alliance for Musical Theatre Festival last fall. Featuring music by Mark Winkler, lyrics by Phillip Swann and a book by Harris and Martin Casella, the musical cleverly injects a noir sensibility into its charming, bold tale of five people who fall in and out of love at a secret 1953 Hollywood club called Mary’s Hideaway. The score includes such breezy numbers as “In My Drag,” “Baby’s on Third,” “Future Street,” “Curvy Time Bomb” and the beautifully lush “Jazz is a Special Taste.” Directed by Sharon Rosen, “Play it Cool” will arrive off-Broadway next month with Sally Mayes reprising her amazing performance from the NAMT presentation. Dayton audiences are fortunate to have a chance to see it first, in its re-written form, with a promising cast led by Human Race resident artists Deb Colvin-Tener (“Dirty Blonde,” “Lend Me A Tenor”) and Jamie Cordes (“Play it By Heart,” “right next to me”).

2010 Festival of New Musicals - Tenderly - The Human Race Theatre Co.

2010 Human Race Festival of New Musicals

The songs of Bob Merrill, who famously believed “people who need people are the luckiest people in the world,” fashion “Love Makes the World Go’ Round,” billed as a “revusical” (revue-meets-book musical) by librettist Duane Poole and music arranger Brad Ellis. Directed by Kevin Moore and centered on three women who connect through Merrill’s repertoire at a piano bar, “Love Makes the World Go ‘Round,” featuring Ellis and Human Race resident artist Katie Pees, incorporates 30 numbers including the songwriter’s catchy hits like “How Much Is That Doggie in the Window?” and “Mambo Italiano” in addition to show tunes from his lilting yet underappreciated “Carnival!” (which he wrote both music and lyrics) and legendary “Funny Girl” (music by Jule Styne). Merrill was also a ghost lyricist for “Hello, Dolly!” (“Elegance” and “Motherhood” in particular) and composed an ill-fated version of “Breakfast at Tiffany’s” starring Mary Tyler Moore that closed on Broadway during previews.

Ellis, familiar to fans of “Glee” as the silent choir room accompanist dressed in black, says investigating the Merrill canon to create a balanced tribute was an enjoyably challenging assignment.

2010 Festival of New Musicals - Play It By Heart - The Human Race Theatre Co.

2010 Human Race Festival of New Musicals

“I’ve loved the challenge of rolling up my sleeves, like the old days of off-Broadway, and coming in with strong ideas, then being ready to turn on a dime,” he said. “I’m proud of the arrangements, and I’m also proud that I haven’t lost track of the fact that I’m featuring the songs, not featuring the arranger. Bob Merrill has a surprising range of songs, emotions and musical feels, in part because his work as composer/lyricist inhabits such different worlds than his work as lyricist for composer Jule Styne. I don’t think it’s as much that he’s underrated as it is that people who know the extensive Broadway catalogue don’t know the even-more-extensive pop hits, and vice versa. Here’s hoping our show can bridge that gap, and make him a household name. His song ‘Beautiful Candy’ is in a big national commercial right now, and Seth MacFarland has used his songs for his TV show ‘Family Guy,’ so millions are hearing his music right now, whether they know it or not!”

2010 Human Race Festival of New Musicals

Since its 2009 debut on Fox, the Emmy winning “Glee,” created by Ryan Murphy (“Nip/Tuck”), has been a pop culture phenomenon offering a slew of fantastic musical moments (Kristen Chenoweth’s “Home,” Chris Colfer’s “As If We Never Said Goodbye” and Lea Michele’s “Don’t Rain on My Parade” to name a mere few). As the show’s music director, Ellis, who has written vocal arrangements for various episodes, particularly the pilot, has been pleased with his involvement since the beginning.

“I’ve worked with casting agent Robert Ulrich on musical projects for television before, and we enjoyed working together, so Robert brought me in when Ryan Murphy began casting ‘Glee.’ The three of us worked closely on actor’s songs when bringing our final choices to the network brass for approval. I enjoyed watching how Ryan worked with the auditioners. I think he was pleased with my ability to translate his ideas into musical choices for the singers as well as my gentle but demanding approach, which makes less confident singers feel more comfortable, and therefore, show themselves to best advantage, no matter their experience level.”

Ellis ranks Charice, Chenoweth and Carol Burnett among his favorite “Glee” special guests thus far, but views the entire cast and creative process as special. He also anticipates fresh possibilities for the series as Season Three approaches.

2010 Human Race Festival of New Musicals

“The cast is varied and magical people, who’ve maintained a sense of gratitude in a world where everyone wants a piece of ’em, and everyone else is telling them why they should have large egos, and instead, they stay grounded. A lot of that may be due to Jane Lynch, who is a visibly grateful person herself, and perhaps quietly sets the tone. It helps that Ryan Murphy is the modern equivalent of Jerome Robbins, combining an impish sense of fun with an unerring sense of both culture and craft. For me, Seasons One and Two have been an education in film. ‘Glee’ is shot on film with Panavision cameras, not shot digitally, so it has a lot in common with the way great movies and movie musicals have been shot since the 1930s. I’ve also really enjoyed watching my friends on the show evolve and grow. I’m biased, but I think the Class of ‘William McKinley High’ 2009-2011 (and beyond) will launch a lot of careers, similar to the first few seasons of ‘Saturday Night Live’ and ‘E.R.’ Corey (Monteith), Dianna (Agron), Lea (Michele), Matthew (Morrison), Kevin (McHale), etc., when they break out, will spread out like a billiards shot and light up big segments of the industry. Season Three? I have no predictions. When I read the pilot, I thought, ‘I love this! I am the audience for this, but it’s ‘niche,’ and will probably find a life on FX or USA network.’ I’m an idiot. Don’t go by me. I can say I’m excited about the new writers. Michael Hitchcock, the only one I already know, is one of the funniest, most honest actors I’ve ever had the privilege to work with, so I’m looking forward to some new ideas and surprises.”

2010 Human Race Festival of New Musicals

As “Love Makes the World Go ‘Round” continues to develop, Ellis remains confident in its prospects. Considering recent news of a Broadway-bound production of “Funny Girl” underway starring Lauren Ambrose (“Six Feet Under”), the timing, especially if a New York berth is in its future, couldn’t be more perfect.

“I’ve been fortunate to have helped create a number of very successful off-Broadway and regional shows (such as) ‘Forbidden Broadway,’ ‘Plaid Tidings,’ ‘Tin Pan Alley Rag,’ etc., so I know the markets. This show could be good business. It has small casting and tech requirements. Whenever I cast any show, I’m overwhelmed by the talent out there, especially women who would be great for ‘Love Makes the World Go ‘Round’ who are not working as much as they deserve, which means it won’t be hard to find great actor/singers for productions.”

Pump Up The Volume

Based on the film of the same name written and directed by Allan Moyle, “Pump Up the Volume,” featuring music by Jeff Thomson, book and lyrics by Jeremy Desmon and additional lyrics by Jordan Mann, tells the story of a shy teenager who starts a pirate FM station in his parents’ basement. Directed by Joe Beumer, the show will feature Drew Bowen, Corinne Derusha, Renee Franck-Reed, Tommi Harsch, Justin King, Zach King, Matthew Owens, Elizabeth Wellman, Yvette Williams and Ray Zupp. Encore Theater Company will also present “The Consequences,” an indie rock-flavored love story about high school friends who reunite 10 years later. Written by Kyle Jarrow and Nathan Leigh, “The Consequences,” which has been developed at the New York Theatre Workshop and the Williamstown Theatre Festival, will be directed by Shawn Hooks and star J.J. Parkey, Amy Geist and Alex Carmichal.

Encore progressively continues to sprinkle local community theater with current, contemporary musicals. The troupe presented a delightful regional premiere of Jeff Bowen and Hunter Bell’s ‘[title of show]’ last season, and will tackle Duncan Sheik and Steven Sater’s Tony winning “Spring Awakening” in January, which will be staged by Encore artistic director David Brush. In addition, two projects developed by Encore last season successfully advanced. “Next Thing You Know” received an off-Broadway run two months ago, and the hilarious “Hot Mess in Manhattan” will open in Washington, D.C. later this year.

The Consequences

“By the end of this season, ETC will have hosted five creative teams here in Dayton working on new material to take back to New York,” Brush said. “The process is working and ETC is thrilled to be a part of it.”

Brush is also ecstatic to have Encore join forces with the Human Race as both organizations strive to supply a productive and entertaining musical theater festival.

“Encore Theater Company is really honored to partner with the Human Race Theatre Company, who has really perfected the musical development process for the region. I personally cannot say enough for Kevin Moore and the entire Race staff for both their forward thinking in this area and recognition of what ETC is working to do.”

Musical Theater Festival Schedule

Thursday, August 4

10 p.m. “The Consequences”

Friday, August 5

7 p.m. “Play it Cool”

10 p.m. “Pump Up the Volume”

Saturday, August 6

12 p.m. Meet the Writers (Loft Lobby)

7 p.m. “Love Makes the World Go ‘Round: The Songs of Bob Merrill”

10 p.m. “The Consequences”

Sunday, August 7

2 p.m. “Love Makes the World Go ‘Round: The Songs of Bob Merrill”

7 p.m. “Pump Up the Volume”

-RF

– Human Race Theatre Co. Photos by Scott J. Kimmins

– Encore Theater Co. Photos by Ray Zupp

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

PLAY IT COOL

LOVE MAKES THE WORLD GO ‘ROUND

PUMP UP THE VOLUME

at the LOFT THEATRE – 126 N. Main St.– map

For more information, call the Human Race at (937) 461-3823 or visit www.humanracetheatre.org.

Tickets are $15 in advance and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting www.ticketcenterstage.com. Beginning August 5, tickets are $20 and will also be available at the Loft Theatre box office two hours before curtain.

THE CONSEQUENCES

performed in the KeyBank building (lower level patio) at Courthouse Square.

For more information, visit www.encoretheatercompany.com

Tickets are $10 and will be available at the door.

‘Jinxed’ Wins FutureFest

August 2, 2011 By Russell Florence, Jr. 1 Comment

Playwright Stacey Luftig

Ohio, specifically Dayton, is regarded as the birthplace of aviation so it isn’t surprising that “Jinxed,” a 1930s account chronicling pioneering colleagues Amelia Earhart and Jackie Cochran written by Stacey Luftig of New York City, received top honors at the Dayton Playhouse’s 21st annual FutureFest of new works, held July 29-31.

Luftig’s historically engaging if considerably cinematic and conceptually conventional tale – which challenged pre-conceived notions of Earhart’s legacy while shedding intriguing light on the relatively forgotten Cochran – garnered the highest scores based on criteria such as dialogue, plot, dramatic concept/theme and page-to-stage. The play’s enjoyable staged reading presentation, fluidly directed by Richard Brock, was marvelously heightened by a fierce, strikingly full-fledged performance by Kate Smith as the abrasive, tough-talking, determined, troubled and unabashedly self-absorbed Cochran, the first woman to break the sound barrier and an influential component in Earhart’s celebrated yet shaky career. Brock’s strong cast included Wendi Michael (an appealing Earhart), Michael Taint, Matt Turner, Franklin Johnson, Cynthia Karns and Mike Rousculp.

Longtime adjudicator Helen Sneed praised the material for its “great exposition” and “magnificent language.” “(‘Jinxed’) has elements of Greek tragedy and history combined,” echoed Eleanore Speert, founder and president of Speert Publishing who returned for her 10th FutureFest. “This play is about fame and what happens to the famous,” added David Finkle, senior theater critic for Theatermania.com. “(Luftig) should sell it to Lifetime.” The panel included 2002 FutureFest finalist Robert Koon of Chicago Dramatists as well as Dayton Theatre Hall of Fame member Dr. Robert W. MacClennan, professor emeritus of Sinclair Community College.

“So many things about FutureFest blow me away,” Luftig reflected. “So much generosity from so many people in such a short time. The planning and coordination that go into putting up three staged readings and three productions in one weekend – each for a single performance – it’s staggering. But you know what’s most amazing to me? An inspired director and a group of seven talented actors rehearse my play for six weeks, three nights a week. They read biographies of the real people my characters are based on. They stop rehearsals and debate, 10 or 15 minutes at a time, about this line or that line and what it means to the play. They devote the energy to create real relationships so that I could see my play not only live, but breathe. The designers give me lighting, a simple, elegant set, and sound effects – the sound of airplanes and radio announcers so critical to realizing my story. As if this weren’t enough, smart, sophisticated theater professionals – five of them! – give me constructive criticism, analysis and encouragement. And then the audience challenges me with their questions and their honest reactions. All these people, this fabulous community, do all these things because they love theater and to help me, a playwright they had never heard of, hear and see my work. And instead of getting an award, they give one to me. I am overwhelmed.”

The remaining contenders, selected from over 240 submissions, were: “Drawing Room,” an introspective examination of art and artists by Mark Eisman of New York City; “Roosevelt’s Ghost,” a politically charged drama by Dayton native and 2009 FutureFest winner Michael Feely of Woodland Hills, California; “The Haven,” a wonderfully contemporary, intimate, witty, relationship-driven character study by Richard Etchison of Los Angeles, California that could be a refreshing addition to the Chicago, New York or L.A. theater scene; “Allegro Con Brio,” a farce by Dayton resident Nelson Sheeley of Sinclair Community College; and “A Woman on the Cusp,” a mental illness-themed drama by two-time FutureFest finalist Carl L. Williams of Houston, Texas.

In addition to the cast of “Jinxed,” standout performers in the festival, which remained entertaining despite the lack of air conditioning, included: Mark Jeffers, Annie Pesch and Rachel Wilson of “Drawing Room”; Debra Kent, Charles Larkowski, David Shough and Michael Stockstill of “Roosevelt’s Ghost”; Megan Cooper, Danny Lipps, Deirdre Bray Root and Richard Young of “The Haven”; Cheryl Mellen of “Allegro Con Brio”; and Cher Collins, Lynn Kesson, Scott Knisley and K.L. Storer of “A Woman on the Cusp.” Also, Drawing Room” was terrifically accented by Terry K. Hitt, Patrick Hayes, Wendi Michael and Jacqui Theobald’s illustrations as well as Kirk Sheppard’s photography.

In a rare turn of events, according to FutureFest program director Fran Pesch, determining the audience’s favorite play has become problematic. “With approximately 75 percent of passholders returning ballots, it is impossible to name a definite audience favorite this year,” she said. “Three plays came within four votes of each other: ‘Jinxed,’ “The Haven’ and ‘Roosevelt’s Ghost.’”

My FutureFest rankings:

1. “The Haven”

2. “Roosevelt’s Ghost”

3. “Jinxed”

4. “Drawing Room”

5. “A Woman on the Cusp”

6. “Allegro Con Brio”

For additional information, call the Dayton Playhouse at (937) 424-8477 or visit www.daytonplayhouse.com.

The BARD is on the loose!

July 27, 2011 By Shane Anderson 2 Comments

Photo by Alisha McDarris=

A Midsummer Nights Dream

Free Shakespeare!

In many communities around the world, a treasured summer activity is outdoor performances and festivals devoted to classic Shakespeare plays (Shakespeare Fellowship List). Two of the most well-known in Ohio are Cincinnati Shakespeare Co. which tours two shows in fourteen different parks and Actor’s Theatre which is celebrating it’s 30th season presenting shows in Schiller Park in Columbus’ German Village. Suddenly in the past few years there is much interest in this terrific tradition right here in the Miami Valley, ranging from a small neighborhood troupe near downtown (Historic South Park – currently rehearsing for their 4th presentation) and the touring company known as Free Shakespeare! the brainchild of director Chris Shea.

“The experience with GreenStage was incredible. To have a free arts program not only survive, but flourish, for over twenty years, well, it gave me faith that the arts are alive and well. I want to bring that same energy here to Dayton. There really is nothing like a picnic and a play, and the price is right, too” -Chris Shea

Shea, a graduate of Kettering-Fairmont High School, spent time studying acting in the Pacific Northwest. Inspired by the GreenStage Theatre Company’s offering of free outdoor Shakespeare, he decided to bring the concept to the Miami Valley in 2010 in the form of Free Shakespeare! The troupe is described as a traveling community of artists with the goal of creating an event where people can rediscover the power and beauty of language and art. Shea wanted to take the performances to multiple venues throughout the region over a series of summer weekends – and free to audiences.

Shea launched his vision for a theatre company in 2010 with Hamlet, which was received enthusiastically during it’s tour of four venues in Dayton and Yellow Springs. 2011 brings a new production, this time the ever-popular A Midsummer Night’s Dream. After opening last weekend at Antioch Amphitheatre in Yellow Springs, Shea and his team of 14 actors will continue to bring the bard’s best-loved comedy to Dayton stages over the next several weekends. They can be seen at the Wegerzyn Gardens MetroPark (July 29-31), Newcom Founders Park in the Oregon District (August 5-7), The University of Dayton’s ArtStreet (August 12-14). All performances are outdoors and weather permitting and begin at 7PM. Admission is free with donations accepted after the performance to pay the actors.

Photo by Alisha McDarris

The cast of A Midsummer Nights Dream includes Allison Husko (Titania), Chris Shea (Oberon), Will Hutcheson (Demetrius), Travis Cook (Lysander), Amy Brooks (Hermia), Megan Cooler (Helena), Kes-lina Luoma (Puck), Jason Antonick (Theseus), Lauren S. Deaton (Hippolyta), Zach Schute (Nick Bottom), Juliet Howard-Welch (Peter Quince & Peaselblossom), David Harewood (Francis Flute & Cobweb), Philip Titlebaum (Snug & Mustardseed), and, after a 48 year absence from the stage, Bill Styles as Egeus.

The group has recently partnered with Involvement Advocacy, an umbrella organization which fosters community initiatives. Involvement Advocacy’s partnerships include, among others, the Blue Sky Project and the Dayton Arts Project. Involvement Advocacy will act as Free Shakespeare’s! fiscal agent, allowing supporters of Free Shakespeare! to make tax deductible donations to the theatre company.

On the partnership, Free Shakespeare! founder Chris Shea had this to say, “We are very grateful to Peter Benkendorf and the folks at Involvement Advocacy for their tremendous support of our organization. This partnership is the perfect bridge for us as we make arrangements to form our own non profit corporation.”

Photo by Alisha McDarris

“Our purposes shall be proud, our garments poor; For ’tis the mind that makes the body rich” The Taming of the Shrew, Act IV, sc. iii

-SA, Free Shakespeare! Press Release & website.

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

A Midsummer Nights Dream

Weekends through August 14, 2011

Tickets Prices: FREE (donations accepted after the show to pay actors)

Locations: Wegerzyn Gardens MetroPark (July 29-31), Newcom Founders Park in the Oregon District (August 5-7), The University of Dayton’s ArtStreet (August 12-14)

For more information about Free Shakespeare! visit http://freeshakespeare.com/

Back to the FutureFest

July 27, 2011 By Russell Florence, Jr. 1 Comment

Dancing Backwards by John Fiorillo - FutureFest 2010

FutureFest 2011

Dayton Playhouse

This weekend, the Dayton Playhouse will present its 21st annual FutureFest of new plays, one of the most highly anticipated and widely regarded events in the local arts community.

This uniquely structured, nationally recognized festival, co-founded by Dayton Theatre Hall of Fame members Dodie Lockwood and John Riley, openly nurtures the artistic growth of emerging playwrights from across the country and internationally. Within three days, six original, previously unproduced works are showcased fully staged or as staged readings followed by adjudications from theater professionals. Patrons are also encouraged to offer opinions, fueling the weekend’s considerably engaging atmosphere.

How It Works by Carey Pepper

The adjudicators will consist of longtime New York-based judges David Finkle, Helen Sneed and Eleanore Speert along with Robert Koon, resident playwright/dramaturg of the Chicago Dramatists and a 2002 FutureFest finalist for “Vintage Red and the Dust of the Road,” and D. Lynn Meyers, producing artistic director of Ensemble Theatre of Cincinnati. Each play will be judged on criteria including dramatic concept/theme, plot/story development, dialogue/language and character development.

Refuge by Marc Comblatt

Since its inception, FutureFest has been an advantageous launching pad for playwrights hoping to raise their profile. The most successful example in recent years is unquestionably attributed to Brooklyn playwright Beau Willimon, a former political staffer who took the 2005 FutureFest by storm with “Farragut North,” a marvelous political drama. “Farragut North” arrived off-Broadway at New York’s Atlantic Theater Company in 2008 and was recently adapted (and re-titled) for the big screen by Willimon, Grant Heslov and Oscar winner George Clooney as “The Ides of March.” Shot on location in the Cincinnati area and prominently previewed in the July 26 edition of USA Today, “The Ides of March,” which will premiere at the Toronto International Film Festival in September, is officially scheduled for an October 7 release. The film has already received buzz as a major contender for the Golden Globes and Academy Awards. Molly Smith Metzler, also of Brooklyn, is equally noteworthy. Metzler’s terrific relationship-driven comedy drama “Carve” was a highlight of the 2009 FutureFest and her latest work, “Close Up Space,” will be presented off-Broadway at New York’s Manhattan Theatre Club this fall starring Emmy and Tony winner David Hyde Pierce.

This year’s promising contenders were chosen from over 240 submissions. Each finalist recently reflected on their work with onStageDayton in advance of the festival.

2011 FutureFest Performance Schedule

Friday, July 29

8 p.m.

“Drawing Room,” an introspective look at a Supreme Court sketch artist.

Playwright: Mark Eisman of New York City

Cast: Mark Jeffers, Annie Pesch and Rachel Wilson

Director: Matthew Smith

Production format: Fully staged

Since cameras invaded our courtrooms some 20 years ago, I have missed the artists’ renderings which often accompanied the most notorious (and yes, most dramatic) legal spectaculars. The brilliantly colored chalks and pencils have been replaced by the dullness of reality TV. The sketch artists have been forced to scramble and compete against each other, as only the federal courts (with its terrorist defendants) and the Supreme Court (with its familiar cast of characters) remain camera free. When their art is threatened, the characters in ‘Drawing Room’ must confront the realities of their own lives. Life in the theater has never been easy for playwrights. Over the same 20 years, it’s become increasingly difficult due primarily to economic ‘realities.’

~Mark Eisman

Saturday, July 30

10 a.m.

“Roosevelt’s Ghost,” a drama centered on the special assistant to President Franklin D. Roosevelt convicted of perjury and accused of being a member of the Community Party.

Playwright: Dayton native and Woodland Hills, California resident Michael Feely, who won the 2009 FutureFest for “Night and Fog” and was a 2006 finalist for “Bookends.”

Cast: Debra Kent, Charles Larkowski, Jennifer Lockwood, Dave Nickel, David Shough, Michael Stockstill and Debra Strauss

Director: Saul Caplan

Production format: Staged reading

‘Roosevelt’s Ghost’ is (very) loosely based on the Alger Hiss case. It concerns a man, Charles Castle Hunt, who stood at the pinnacle of power until he was accused of treason and espionage for the Soviet Union and convicted of perjury in 1951. It is now 1968 and he’s come home both to vindicate himself by publishing his memoirs and to reconnect with the family he abandoned after his fall. The play is about many things. It is, on one level, about the events of the ’50’s and ’60’s, similar to the other two plays that have appeared in FutureFest, that I believe draw a bright red line through Vietnam to our current involvement in Iraq and Afghanistan. On another level, however, it’s a far more personal play, about family, about what fathers owe their sons and, equally important, what sons owe their fathers. It’s about husbands and wives, what they give each other and what they take from each other. And, lastly, it’s about love, how it sustains us, can let us down and, ultimately, can lift us up.

~Michael Feely

3 p.m.

“The Haven,” a contemporary comic drama concerning a broken marriage and the possibilities of connection.

Playwright: Richard Etchison of Los Angeles, California

Cast: Megan Cooper, Danny Lipps, Deirdre Root and Richard Young

Director: Fran Pesch

Production format: Staged reading

Initially, I set out to write a play about one relationship ending and one relationship at the very beginning. A simple exploration of the nature of marriage and love and youth. The ending came to me midway through the writing process. I also wanted to write a realistic play for once. Previously, my plays have some mind-bending, sometimes surreal elements. In most ways, I succeeded. To me, the theme of this play is that human beings approach both marriage and life with the same attitude: We know it’s going to have its trying moments, moments that take every bit of courage and resolve we have to get through them. Yes, we (as a people) voluntarily embark on it anyway. When you are young, marriage seems a simple matter. So does life. But once deep inside of marriage, we learn otherwise. Same as life in general.

~Richard Etchison

8 p.m.

“Allegro Con Brio,” a farce about a musical couple plotting revenge.

Playwright: Dayton resident Nelson Sheeley of Sinclair Community College

Cast: Michael Boyd, Matt Curry and Cheryl Mellen

Director: Nick Moberg

Production format: Fully staged

I got the idea for the play when I turned on the radio and heard one of the Mendelssohn Piano Concertos played faster than anyone should be able to play it. I wondered what the conversation backstage after the concert between the conductor and the pianist would be. Also, once I got into it, the theme of the piece seemed to shift a bit to include the music critic…how people behave who have unquestioned authority and power in their fields. I love farce and there’s a dearth of good contemporary farce in the American theatre. Farce seems to be the poor stepchild of comedy. My first play ‘…And Call Me In The Morning’ got a begrudgingly good review from The New York Times. Jacques LeSourde liked it and in the review sounded a little embarrassed that he did! So here I am leading a crusade to get those slapstick lovers out of their comedy closet and have a good laugh.

~Nelson Sheeley

Sunday, July 31

10 a.m.

“Jinxed,” a 1930s aviatrix-themed account of Amelia Earhart and Jackie Cochran.

Playwright: Stacey Luftig of New York City

Cast: Franklin Johnson, Cynthia Karns, Wendi Michael, Kate Smith, Mike Rousculp, Mike Taint and Matt Turner

Director: Richard Brock

Production format: Staged reading

Amelia Earhart is an American icon. But only history buffs and aviation fans remember Jackie Cochran, whose rags-to-riches story and groundbreaking achievements in aviation rival those of any pilot, including Amelia. Brash Jackie and sophisticated Amelia were close friends for the last two years of Amelia’s life. Their lives had many parallels: among them, husbands who were tremendously supportive of their careers, a practicing knowledge of ESP and a preoccupation with luck. Their focus on luck is not surprising. The dangers faced by pilots in the 1930s, especially those who sought to set records and win races, were enormous. Forced landings and even crashes were commonplace, airplane parts would malfunction, engines would blow up. Like baseball players, aviators often placed faith in talismans and other superstitions. It is hard to say how much of any aviator’s career at that time depended on skill, and how much on luck. Based on this uncertain balance, a key question arose for the main characters of my play: How far do you go to allow a pilot you love to follow her dreams – knowing that to do so could result in her death?

~Stacey Luftig

3 p.m.

“A Woman on the Cusp,” a drama concerning mental illness and sibling treachery.

Playwright: Two-time FutureFest finalist Carl L. Williams of Houston, Texas (“Under a Cowboy Moon,” 2003; “Coming Back to Jersey,” 2008)

Cast: Cher Collins, Lynn Kesson, Scott Knisley and K.L. Storer

Director: Ray Gambrel

Production format: Fully staged

‘A Woman on the Cusp’ started out as a 20-minute one-act for a festival in Houston. I quickly realized the length wasn’t nearly sufficient to explore all the facets of character in this story, as well as the underlying issues of emotional trauma, mental instability, deceit and treachery. A buried subtext concerns how people can do the wrong thing for a right reason or the right thing for a wrong reason. For the full-length play I was better able to develop a backstory for the major character, providing a fuller explanation for her current situation. I could also explore the relationships between and among the characters to a greater degree and with a more gradual revelation of their secrets. In addition, I changed certain elements of the basic plot as I transitioned the piece to a more complete story. I can’t say that I set out to make any particular point with this play or convey any central message. Mainly I just wanted to engage the audience with these characters and their conflicts. The FutureFest production offers the opportunity of judging to what degree I succeeded.

~Carl L. Williams

The 21st annual Dayton Playhouse FutureFest will be held Friday, July 29-Sunday, July 31 at the Playhouse, 1301 E. Siebenthaler Ave. Weekend passes for all six shows are $90. Single tickets are $17. For tickets or more information, call the Playhouse at (937) 424-8477 or visit www.daytonplayhouse.com.

-RF

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

21st Annual Dayton Playhouse FutureFest

July 29-31, 2011

Tickets Prices: $17 for single show tickets / $90 for weekend pass (includes all shows)

Location: The Dayton Playhouse
1301 East Siebenthaler Ave
Dayton, OH 45414 (map)

Tickets are on sale now through DP’s Online Box Office, or via phone at (937) 424-8477

For more information about The Dayton Playhouse visit http://www.daytonplayhouse.org/

Photo Highlights of 2010 FutureFest

[yframe url=’http://www.youtube.com/watch?v=zkr156COQwE’]

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Singing Joyfully in Turbulent Times

July 22, 2011 By Russell Florence, Jr. Leave a Comment

Michele Borns and the cast of The Sound of Music

Terrific vocals, effectively ominous Nazi overtones and a delightful lead performance are great assets to Epiphany Lutheran Church’s sufficient 20th anniversary production of Rodgers and Hammerstein’s “The Sound of Music.”

Lovely soprano Michele Borns – simply excellent in Epiphany’s productions of “Jane Eyre” and “The Music Man” – was born to play Maria, the bubbly, devout postulant-turned-concerned governess. Borns delivers all of her musical numbers with winsome appeal and supplies a convincing evolution from spunky innocence to confident maturity. She doesn’t receive much support from an awkward Wayne Ulman as Captain Georg Von Trapp, but her vital scenes opposite Von Trapp’s seven children (enjoyably and compatibly portrayed by Erin Ulman, Timothy Seiler, Abby Kress, Nick Kress, Megan Ulman, Emily Kennebeck and Abbey Fry) are authentic, warm and humorous, especially “Do Re Mi,” “My Favorite Things” and Annette Looper’s colorfully choreographed “The Lonely Goatherd.”

Renee Franck-Reed, another standout soprano, is also strong as the kind, practical Mother Abbess. Franck-Reed’s firm rendition of “Climb Ev’ry Mountain” certainly brings Act 1 to an emotionally fulfilling finish. Ian Benjamin (Rolf) joins Ulman for a very charming “Sixteen Going on Seventeen.” Megan Rehberg (Baroness Schraeder) is properly sophisticated and attractively costumed by Maria Klueber and Lori Watamaniuk. Ralph Bordner (Max Detweiler), Sandy Schwartzwalder (Frau Schmidt), Chace Beard (Franz), Michael Shannon (Herr Zeller), Martha Armstrong-Benjamin (Sister Berthe), Becki Foster (Sister Margaretta) and Allison Tura (Sister Sophia) and the beautifully harmonious Nun Choir are also noteworthy.

Director Brett Greenwood astutely heightens the inherently sappy yet solid material with chilling archival footage of Hitler’s dark reign. Musical director John Benjamin leads a steady orchestra. Bruce Brown creates another crafty, eye-catching set design.

The Sound of Music continues through Sunday, July 24 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Act One: 1 hour and 45 minutes; Act Two: 55 minutes. The production is double-cast. The cast reviewed will perform Friday, July 22 and Saturday July 23 at 8 p.m. The second cast, starring Kandis Wean as Maria, will perform Saturday, July 23 and Sunday, July 24 at 2:30 p.m. Tickets are $15 for adults and $10 for children 12 and under in addition to seniors 60 and older. For tickets or more information, call Jane Lane at (937) 433-1449 ext. 105 or send her an e-mail at [email protected]. A portion of the proceeds will support the Leukemia & Lymphona Society in honor of the late Kay Frances Wean, longtime director of the Epiphany Players Drama Ministry.

Songs of the Undead: Encore Premieres “In My Blood”

July 12, 2011 By Dayton Most Metro 6 Comments

IN MY BLOOD

Encore Theater Company

Win Tickets to this new musical! Read on!

Vampires are everywhere. Not since Transylvania has a nation been so overrun with the undead. Is there an area of pop culture devoid of these little bloodsuckers? On television, I guess we have Joss Whedon to blame for his electrifying Buffy The Vampire Slayer all the way through more current hits like HBO’s True Blood and any of a number of copycat shows just like it. In cinema, there’s no other place to look but the Twilight series for the source of teen vampire mania. Walk into any Barnes & Noble and you’re likely to find title after title featuring some collection of sex-crazed vampires. Even in music, isn’t there a band called Vampire Weekend?

One thing’s for sure: this is not your father’s vampire craze. This new breed of vampire is less B-movie and more B-cup. (Immortality doesn’t seem so bad when everyone is ridiculously attractive, right?) Despite a marketing blitz like no other, the trend has been unable to sink its teeth into Broadway – try as it may! Elton John attempted (it’s the kindest word I can use here) a musical-adapted Anne Rice with Lestat and Jim Steinman penned the ill-fated Dance of The Vampires. Even Frank (Jekyll and Hyde) Wildhorn couldn’t capture musical thriller lightning in a bottle twice. His musical Dracula was an infamous bomb in New York. But there’s hope – this weekend in Dayton – that Encore Theater Company could break the curse when the regional premiere of Mark Weiser’s vampire rock musical In My Blood plays three performances at Sinclair Theatre’s Blair Hall.

The show, written by New-York Based composer Mark Weiser has been called “The right combination of romance, conflict, humor and drama” (Theatremania). In the tradition of contemporary vampire stories, In My Blood deals primarily with Gray and Alex, two childhood friends, who reunite for one last night of partying. They learn of an annual, secret soiree, at a hidden location called SANCTUARY. There, they meet Unique and Sasha, two of the revelers. Over the course of the evening, the pairs fall in love. The two friends come to learn that this is the home of the world’s last surviving vampires, and are offered a chance to join them, and live forever. Ultimately, everyone must choose sides – for love, for life and for family. The casts features 10 local performers including ETC Company member JJ Parkey (featuring previously this season in the title role of Hedwig & The Angry Inch). In partnership with Sinclair Theatre, the show is directed by Kimberly Borst with musical direction by John Faas.

“In My Blood deals with real people with real issues of isolation and social shunning who ALSO just happen to be vampires.”

“What works in Mark’s script that hasn’t worked in previous vampire-themed musicals is intent,” says ETC Artistic Director David Brush, “The ‘vampire’ element here is a device and not the primary concern, so people connect to the characters on real levels.” But don’t fear, there’s plenty of bloodshed for every taste level and a healthy dose of rock ‘n’ roll. ETC first came in contact with the show on their Litehouse New Musicals Reading series under the name The Cure. In My Blood continues ETC’s primary mission of developing new musicals right here in Dayton before heading off to New York. Weiser himself spent several days in Dayton last week working directly with the cast an creative team in an effort to work out some of the new material – it’s a part of the process ETC values enormously.

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In My Blood opens Thursday July 14 for three performances.

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information

In My Blood – July 14 – 16, 8:00 pm

Encore Theater Company

Performances will be held at Sinclair Community College’s Blair Hall Theatre.

Tickets are $15 and can be reserved through http://brushfire.e-vent.info/Events/Sinclair/Default.aspx, by contacting (937) 512-2808 (be sure to leave a message as regular box office hours are not kept during the summer)

For more information, check out the Encore Theater Company.

Win Free Tickets!

Encore Theater Company & onStageDayton on DaytonMostMetro.com have teamed up to give you a chance to win tickets to In My Blood! We will be giving away up to SIX pairs of tickets for the show! All you need to do is:

Share this article on Facebook or Twitter…just click the appropriate button at the top of this page (We’ll give away one pair of tickets for every FIVE FB/Twitter Shares).
Fill out the contact form at the bottom of this post.
…and the fun part: leave a comment below, answering the following question…IF YOU WERE TO BECOME A VAMPIRE…WHAT VAMPIRE-Y TRAIT WOULD YOU MOST BE EXCITED TO HAVE?
The deadline to enter is NOON on THURSDAY, JULY 14TH.
Winners will be selected randomly from all of the entries.

[contact-form 6 “Contest Entry”]

Saluting Dayton’s 2010-11 Theater Season

July 5, 2011 By Russell Florence, Jr. Leave a Comment

(L to R) Kristie Berger, Madeline Casto and Susanne Marley in August: Osage County (Photo by Scott J. Kimmins)

Splendid collaborations, promising new works, compelling dramas and knockout regional and local premieres impressively accented Dayton’s strong, refreshingly progressive 2010-11 theater season.

I attended nearly 70 shows over the past 12 months, and unsurprisingly, the triumphs outweighed the troubled. Among the highlights: Cedarville University’s attractive and delightful “Hello, Dolly!”; the Dayton Theatre Guild’s comical yet poignant look at “The Boys Next Door”; the Dayton Playhouse’s 20th anniversary FutureFest and hilariously first-rate delivery of “The Producers”; Encore Theater Company’s wonderfully authentic “[title of show]” and “Hedwig and the Angry Inch”; Epiphany Lutheran Church’s marvelously magical “Seussical”; the disbanded SEED Theatre Project’s little-seen yet powerful “The Syringa Tree”; Sinclair Community College’s whimsical “Once On This Island”; the Victoria Theatre Association’s long-awaited arrival of Disney’s “The Lion King” and overdue embrace of the terrifically naughty “Spring Awakening” and “Avenue Q”; the Human Race Theatre Company and Wright State University’s dynamically dysfunctional “August: Osage County”; and the Dayton Philharmonic and Wright State’s stunning presentation of Leonard Bernstein’s rarely attempted “MASS.” Based on the artistic strengths of the Human Race/WSU and DPO/WSU collaborations, I certainly hope the organizations consider joining forces to stage Stephen Sondheim’s “Follies” in 2012-13.

Additionally, the deaths of Marsha Hanna of the Human Race Theatre, Nelson D’Aloia of the Victoria Theatre Association and Kay Wean of Epiphany Lutheran Church are equally noteworthy. After all, their amazing legacies will undoubtedly endure for years to come.

On Saturday, August 13 at Sinclair Community College’s Ponitz Center, Dayton’s theater community will gather for the eighth annual DayTony Awards, held in conjunction with the 10th annual Dayton Theatre Hall of Fame inductions celebrating theater patrons Don and Lois Bigler, Dayton Theatre Guild member Carol Finley and director Doug Lloyd primarily of Beavercreek Community Theatre. The DayTonys specifically honor outstanding designers, performers and productions across the area voted on by participating theaters. In the meanwhile, here are my choices for the season’s best.

BEST PROFESSIONAL PRODUCTION OF A PLAY

“August: Osage County,” Human Race Theatre/Wright State University

Honorable Mentions:

“Permanent Collection,” Human Race Theatre

“The 39 Steps,” Human Race Theatre

“Twelfth Night,” Human Race Theatre

“The Wonder Bread Years,” Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A MUSICAL

"The Lion King"

Disney’s “The Lion King,” Victoria Theatre Association

Honorable Mentions:

“Avenue Q,” Victoria Theatre Association

“The Drowsy Chaperone,” Human Race Theatre/Victoria Theatre Association

“right next to me,” Human Race Theatre

“Spring Awakening,” Victoria Theatre Association

BEST COMMUNITY THEATER PRODUCTION OF A PLAY

"The Boys Next Door"

“The Boys Next Door,” Dayton Theatre Guild

Honorable Mentions:

“Fat Pig,” Dayton Theatre Guild

“Mauritius,” Dayton Theatre Guild

“The Sugar Witch,” Dayton Theatre Guild

“The Syringa Tree,” SEED Theatre Project

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL

"The Producers"

“The Producers,” Dayton Playhouse

Honorable Mentions:

“Hedwig and the Angry Inch,” Encore Theater Company

“The Mystery of Edwin Drood,” Beavercreek Community Theatre

“The Spitfire Grill,” Beavercreek Community Theatre

“[title of show],” Encore Theater Company

BEST COLLEGIATE PRODUCTION OF A PLAY

"August: Osage County"

“August: Osage County,” Human Race Theatre/Wright State University

Honorable Mentions:

“Art,” Miami University

“The Importance of Being Earnest,” Cedarville University

“Picnic,” Wright State University

“See How They Run,” Cedarville University

BEST COLLEGIATE PRODUCTION OF A MUSICAL

"42nd Street"

“42nd Street,” Wright State University

Honorable Mentions:

“Anything Goes,” Wright State University

“Hello, Dolly!,” Cedarville University

“Jekyll & Hyde,” Wright State University

“Once On This Island,” Sinclair Community College

BEST NEW WORK

"right next to me"

“right next to me,” Human Race Theatre

Honorable Mentions:

“Hot Mess in Manhattan,” Encore Theater Company

“How It Works,” Dayton Playhouse FutureFest

“Next Thing You Know,” Encore Theater Company

“Refuge,” Dayton Playhouse FutureFest

BEST SPECIAL THEATRICAL EVENT

Leonard Bernstein's MASS

“MASS: A Theatre Piece for Singers, Players and Dancers,” Dayton Philharmonic Orchestra/Wright State University

Honorable Mentions:

“Forbidden Broadway Dances With the Stars!,” Victoria Theatre Association

“Into the Woods,” Muse Machine

“Seth’s Big Fat Broadway,” Springfield Arts Council

“Seussical,” Epiphany Lutheran Church

BEST LEADING ACTOR IN A PLAY

Alan Bomar Jones as Sterling North, “Permanent Collection”

Alan Bomar Jones - “Permanent Collection”

Honorable Mentions:

Geoff Burkman as Jim, “Refuge”

Richard Marlatt as Richard Hannay, “The 39 Steps”

Scott McGowan as Paul Barrow, “Permanent Collection”

Greg Smith as Fleeta Mae Bryte, “Precious Heart” (Dayton Theatre Guild)

BEST LEADING ACTRESS IN A PLAY

Susanne Marley as Violet Weston, “August: Osage County”

Susanne Marley

Honorable Mentions:

Kristie Berger as Barbara Fordham, “August: Osage County”

Amy Brooks as Jackie, “Mauritius”

Claire Kennedy as Viola, “Twelfth Night”

Robin Smith as Elizabeth Grace and others, “The Syringa Tree”

BEST LEADING ACTOR IN A MUSICAL

Blaine Boyd as Henry Jekyll and Edward Hyde, “Jekyll & Hyde”

Blaine Boyd - “Jekyll & Hyde”

Honorable Mentions:

Saul Caplan as Max Bialystock, “The Producers”

Wally Dunn as Man In Chair, “The Drowsy Chaperone”

JJ Parkey as Hedwig, “Hedwig and the Angry Inch”

David Sherman as Leo Bloom, “The Producers”

BEST LEADING ACTRESS IN A MUSICAL

Mary Kate O’Neill as The Baker’s Wife, “Into the Woods”

Honorable Mentions:

Cait Doyle as The Mess, “Hot Mess in Manhattan”

Jessica Diane Hickling as Dolly Levi, “Hello, Dolly!”

Alyssa Hostetler as Peggy Sawyer, “42nd Street”

Pam McGinnis as Hannah Ferguson, “The Spitfire Grill”

BEST SUPPORTING ACTOR IN A PLAY

Franklin Johnson as Lucien P. Smith, “The Boys Next Door”

Honorable Mentions:

Bruce Cromer as Clown #1, “The 39 Steps”

Jake Lockwood as Clown #2, “The 39 Steps”

Dave Nickel as Granddaddy Meeks, “The Sugar Witch”

Scott Stoney as Beverly Weston, “August: Osage County”

BEST SUPPORTING ACTRESS IN A PLAY

Madeline Casto as Mattie Fae Aiken, “August: Osage County”

Honorable Mentions:

Stephanie Anderson as Lady Bracknell, “The Importance of Being Earnest”

Sarah Caplan as Sisser Bean, “The Sugar Witch”

Keely Heyl as Miss Skillon, “See How They Run”

Melissa Joyner as Kanika Weaver, “Permanent Collection”

BEST SUPPORTING ACTOR IN A MUSICAL

Charles Larkowski as Roger De Bris, “The Producers”

Honorable Mentions:

Jonathan Berry as Carmen Ghia, “The Producers”

Gabriel Pyle as Cornelius Hackl, “Hello, Dolly!”

Kevin Rankin as Franz Liebkind, “The Producers”

Dean Swann as Mr. William Cartwright and Mayor Thomas Sapsea, “The Mystery of Edwin Drood”

BEST SUPPORTING ACTRESS IN A MUSICAL

Danika Haffenden as Ulla, “The Producers”

Honorable Mentions:

Abigail Nessen Bengson as Yitzhak, “Hedwig and the Angry Inch”

Christina Bianco as Kristin Chenoweth, Sarah Brightman, Bernadette Peters and others, “Forbidden Broadway Dances With the Stars”

Nora Coyle as Heidi, “[title of show]”

Angele’ Price as Susan, “[title of show]”

BREAKTHROUGH MALE PERFORMANCE

Jason David Collins as Charlie Aiken, “August: Osage County”

Honorable Mentions:

Riley Able as Hal Carter, “Picnic”

Nicolas Bauer as Carter, “Fat Pig”

Josiah Hutchings as Barnaby Tucker, “Hello, Dolly!”

Davis Sullivan as Jack, “Into the Woods”

BREAKTHROUGH FEMALE PERFORMANCE

Carly Snyder as Little Red Ridinghood, “Into the Woods”

Honorable Mentions:

Amy Askins as Jeannie, “Fat Pig”

Hannah Berry as Olive Ostrovsky, “The 25th Annual Putnam County Spelling Bee” (Dayton Playhouse)

Chelsea Cavender as Jean Fordham, “August: Osage County”

Bethany Locklear as Rosa Bud, “The Mystery of Edwin Drood”

BEST DIRECTION OF A PLAY

Marsha Hanna and Scott Stoney, “August: Osage County” Honorable Mentions:

Joe Deer, “The 39 Steps”

Adam J. Leigh, “The Syringa Tree”

Natasha Randall, “The Boys Next Door”

Aaron Vega, “Twelfth Night”

BEST DIRECTION OF A MUSICAL

Kay Francis Wean, “Seussical”

Honorable Mentions:

David Brush, “Once On This Island”

Robert and Ruth Clements, “Hello, Dolly!”

Chris Harmon, “The Producers”

W. Stuart McDowell, “Jekyll & Hyde”

BEST CHOREOGRAPHY

Rick Conant, “42nd Street”

Honorable Mentions:

Greg Hellems and Amber Preston, “Anything Goes”

Katy Russell and Alexandra Turner, “Hello, Dolly!”

Rodney Veal, “Once On This Island”

Megan Wean, “Seussical”

BEST SCENIC DESIGN OF A PLAY

Blake Senseman, “The Sugar Witch”

Honorable Mentions:

Dick Block, “Twelfth Night”

Tamara L. Honesty, “Permanent Collection”

Donald N.C. Jones, “The Importance of Being Earnest”

Pam Knauert Lavarnway, “August: Osage County”

BEST SCENIC DESIGN OF A MUSICAL

Paul Wonsek, “Into the Woods”

Honorable Mentions:

Bruce Brown, “Seussical”

Robert Clements, “Hello, Dolly!”

Tamara L. Honesty, “42nd Street”

Terry Stump, “Once On This Island”

BEST COSTUME DESIGN OF A PLAY

Lowell A. Mathwich, “Twelfth Night”

Honorable Mentions:

D. Bartlett Blair, “Picnic”

David M. Covach, “August: Osage County”

Donald N.C. Jones, “The Importance of Being Earnest”

Janet Powell, “The 39 Steps”

BEST COSTUME DESIGN OF A MUSICAL

Ruth Clements, “Hello, Dolly!”

Honorable Mentions:

D. Bartlett Blair, “42nd Street”

Josh Hollister, “The Producers”

Kathleen Hotmer, “Once On This Island”

Maria Kleuber and Lori Watamaniuk, “Seussical”

BEST LIGHTING DESIGN OF A PLAY

Nicholas Crumbley, “The Syringa Tree”

Honorable Mentions:

Robert Clements and Carolyn Ruck, “The Importance of Being Earnest”

Nicholas Crumbley, “Picnic”

John Rensel, “August: Osage County”

John Rensel, “Twelfth Night”

BEST LIGHTING DESIGN OF A MUSICAL

Gina Neuerer, “Once On This Island”

Honorable Mentions:

Tim Guth, “Seussical”

Becky Haines, “Evita” (Wilmington College-Community Summer Theatre)

John Rensel, “Into the Woods”

Carolyn Ruck, “Hello, Dolly!”

BEST SOUND DESIGN OF A PLAY

Nathan D. Dean, “The Syringa Tree”

Honorable Mentions:

Rich Dionne, “Twelfth Night”

James Dunlap, “August: Osage County”

Jason Nickoson, “Picnic”

K.L. Storer, “The Sugar Witch”

BEST SOUND DESIGN OF A MUSICAL

David Sherman, “Into the Woods”

Honorable Mentions:

Nathan D. Dean, “Once On This Island”

James Dunlap, “Jekyll & Hyde”

Dick Lane, “Seussical”

Brian Ronan, “Spring Awakening”

BEST PROPERTIES

Adrienne Niess and Ann Meyer, “Seussical”

Honorable Mentions:

John Lavarnway and Heather Powell, “August: Osage County”

Wendi Michael and others, “Precious Heart”

Blake Senseman and others, “The Boys Next Door”

Terry Stump, “Once On This Island”

BEST VIDEO/PROJECTION DESIGN

J. Wynn Alexander, “Evita” (Wilmington College-Community Summer Theatre)

Honorable Mentions:

David A. Centers, “right next to me”

Jackson Gallagher, “Next Thing You Know”

Benjamin Pearcy, “9 to 5: The Musical”

Rodney Veal, “Altar Boyz” (Encore Theater Company)

BEST ORCHESTRA

“42nd Street,” Musical Director: Rick Church

Honorable Mentions:

“Into the Woods,” Musical Director: David Dusing

“The Lion King,” Musical Director: Rick Snyder

“The Producers,” Musical Director: Ron Kindell

“Seussical,” Musical Director: John Benjamin

SPECIAL ACKNOWLEDGMENTS

Kevin Adams’ Tony Award-winning lighting design for “Spring Awakening”

Gregg Barnes’ Tony Award-winning costumes for “The Drowsy Chaperone”

Gregg Coffin’s orchestrations for “right next to me”

The collaborative artistic team of “MASS: A Theatre Piece for Singers, Players and Dancers”: Producers W. Stuart McDowell and Paul Helfrich; music director/conductor Neal Gittleman; stage director Greg Hellems; choreographer Gina Gardner-Walther; designer Pamela Knauert Lavarnway; choir director Hank Dahlman; children’s choir director Natalie DeHorn; assistant choir directors James Tipps and Drew Collins; lighting designer Matthew Benjamin; sound designer Keith Thomas; and costumer Joy Galbraith

Kevin Crewell’s recreation of Casey Nicholaw’s Tony Award-nominated choreography for “The Drowsy Chaperone”

Christian Duhamel’s original music for “Twelfth Night” and regional premiere of “Here With Me” (Human Race Theatre/Neon Movies)

The “Hedwig and the Angry Inch” band led by musical director John Faas

Joann M. Hunter’s recreation of Bill T. Jones’ Tony Award-winning choreography for “Spring Awakening”

Allison Janney as The Giant, “Into the Woods”

Melonie June Johns’ light and sound effects for “Seussical”

Rick Lyons’ puppet conception and design for “Avenue Q”

Matthew Michael Moore’s fight choreography for “See How They Run”

Music director Vince Peterson and cellist Dan Delaney’s accompaniment for “Hot Mess in Manhattan”

Lucy Skilbeck’s recreation of Michael Mayer’s Tony Award-winning direction for “Spring Awakening”

Music director Julie Spangler’s accompaniment for the Stephen Schwartz Musical Theatre Scholarship Competition (Human Race Theatre)

Music director Catherine Stornetta’s accompaniment for “Forbidden Broadway Dances With the Stars”

The principal cast and collaborative artistic team of “Porgy and Bess” (Dayton Opera): Thomas Ray Beard, Jr. as Porgy, Kearstin Piper Brown as Bess, Philip Boykin as Crown, Adrienne Danrich as Serena, NaGuanda Nobles as Clara, Roderick George as Sportin’ Life, Judith Skinner as Maria and Eric McKeever as Jake; music director/conductor Neal Gittleman; director Gary Briggle; choreographer Debbie Blunden-Diggs and the dancers of Dayton Contemporary Dance Company; and the singers of the Dayton Opera Chorus, Central State University and Wilberforce University

The Street Chorus of “MASS: A Theatre Piece for Singers, Players and Dancers”

Julie Taymor’s Tony winning direction and costume design, Julie Taymor and Michael Curry’s mask and puppet design, Garth Fagan’s Tony winning choreography, Donald Holder’s Tony winning lighting design and Richard Hudson’s Tony winning scenic design for “The Lion King”

The uncredited costumes for “Into the Woods”

Erin Winslow’s costumes for the role of Angela Arden-Sussman in “Die, Mommie, Die!” (Dayton Playhouse)

John Wesley Wright as the Celebrant, “MASS: A Theatre Piece for Singers, Players and Dancers”

The 2011 DayTonys/Dayton Theatre Hall of Fame gala, a black-tie optional event, will be held Saturday, August 13 at the Ponitz Center, Building 12, of Sinclair Community College, 444 W. Third St. The festivities begin at 6 p.m. and feature cocktails, dinner, dessert, dancing, a cash bar and free parking. The “early bird” cost is $35 per person prior to Monday, August 1. After August 1, the cost is $50 per person. Reservations must be received by Monday, August 8. Reservations can be made by calling Fran Pesch at (937) 654-0400. Make check payable to: Dayton Theatre Hall of Fame/DayTonys, P.O. Box 2706, Dayton, OH 45401-2706.

Let the Spectacle Astound You

June 27, 2011 By Russell Florence, Jr. 2 Comments

Brenda Mhlongo in The Lion King

Fourteen years since opening on Broadway, where it continues to reign as the dominant musical theater standard-bearer for kids and adults alike, Disney’s “The Lion King” finally arrives in Dayton to unsurprisingly close the 2010-11 season on a marvelous high note overflowing with visually stunning pizzazz and uniformly excellent performances.

“The Lion King,” based on the 1994 animated film of the same name and presented by the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospitals Broadway Series, is the technically brilliant brainchild of director Julie Taymor and a recipient of six 1998 Tony Awards including Best Musical. The production simply astounds at the outset due to the incomparable pageantry of “Circle of Life,” one of the finest opening numbers ever created. Within five applause-inducing minutes of spine-tingling splendor, a whimsical actor-puppet assemblage of birds, elephants, gazelles, giraffes, rhinoceroses, zebras and more gather together on stage and off. Although this ingeniously conceived prologue feels slightly rushed here and could benefit from more processional surprises in the aisles, a concern I’ve had with previous “Lion King” tours over the years, it is a crowd-pleasing hallmark worth the price of admission.

Elsewhere, Taymor’s finesse as an avant garde visionary stunningly elevates the action from her incorporation of shadow puppets to moments of high drama (the wildebeest stampede) and emotional poignancy (the sight of lionesses in mourning). Still, her artistic wizardry, particularly her fascinating mask/puppet designs co-created with Michael Curry that never hide the actors, doesn’t overshadow the material, a significant attribute oddly ignored during her muddled creation of “Spider-Man: Turn Off the Dark.” After all, this engaging yet character-overloaded tale of a young lion’s struggle with doubt, insecurity and fear following the premeditated murder of his father certainly resonates on its own without flashy conceptual interference as formulated by librettists Roger Allers and Irene Mecchi, who remain faithful to the charm and heartbreak of the original screenplay co-written by Mecchi, Jonathan Roberts and Linda Woolverton. An assortment of strikingly authentic and atmospheric African-infused tunes from Lebo M., Mark Mancina, Jay Rifkin, Taymor and Oscar winner Hans Zimmer also seamlessly accent Elton John and Tim Rice’s original songs, which include the Oscar winning “Can You Feel the Love Tonight.” Curiously, “The Morning Report,” a breezy ditty by John and Rice written for the stage version, has been cut from Act 1 but is not a detrimental loss.

Jelani Remy brings terrific soul-searching introspectiveness to his portrayal of Simba, who mistakenly flees Pride Rock in shame and ultimately confronts his past along the way. Remy’s achingly tender rendition of “Endless Night” is a truly compelling Act 2 highpoint. Dionne Randolph is fittingly regal yet compassionate as Mufasa, Simba’s imposing father. J. Anthony Crane embodies Simba’s treacherous uncle Scar with cool understatement and appealing sarcastic malevolence. Brenda Mhlongo, a joyful and playful Rafiki, particularly ushers in a dynamically uplifting version of “He Lives in You” opposite Remy late in Act 2. The delightful Tony Freeman, an expert puppeteer, exudes tightly wound sophistication as the fussy yet devoted Zazu. As Timon and Pumbaa, Nick Cordileone and Ben Lipitz respectively fulfill their comic relief duties with carefree zest. Andrew Arrington (Banzai), Monica L. Patton (Shenzi) and Ben Roseberry (Ed) are a compatible trio of silly hyenas. Syndee Winters, a fiercely determined Nala, supplies a lovely rendition of “Shadowlands.” Dusan Brown, Jerome Stephens, Jr., Monique Lee and Madai Monica Williams respectively alternate the roles of Young Simba and Young Nala. Tryphena Wade as Sarabi and Sharron Williams as the Cheetah are also noteworthy.

In addition to Taymor’s dazzling costumes, a particular explosion of color in the eye-catching “One by One,” Richard Hudson and Donald Holder are respectively responsible for an utterly remarkable set and lighting design. Garth Fagan’s spirited choreography is energetically executed with precision and passion. Music director Rick Snyder leads a solid orchestra featuring percussionists Stefan Monssen and Reuven Weizberg.

Whether you’re interested in seeing “The Lion King” for the first or fifth time, it remains an awesome spectacle not to be missed.

Disney’s The Lion King, which opened Thursday, June 16, continues through Sunday, July 10 at the Schuster Center, Second and Main Streets. Performances are Wednesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 1 and 6:30 p.m. Act One: 68 minutes; Act Two: 60 minutes. Tickets are $32-$141. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

In addition, the Downtown Dayton Partnership and Victoria Theatre Association have partnered with local businesses to offer special discounts for Lion King ticket holders. For a complete list of promotions, along with parking information and more, visit www.downtowndayton.org

Let’s Hear It for the ‘Boyz’

June 18, 2011 By Russell Florence, Jr. Leave a Comment

Let’s Hear It for the ‘Boyz’

By Russell Florence, Jr.

Encore Theater Company supplies a thoroughly enjoyable production of Kevin Del Aguila, Gary Adler and Michael Patrick Walker’s critically acclaimed, long-running 2005 off-Broadway musical “Altar Boyz,” a breezy, funny, high spirited and occasionally touching pop parody conceived by Marc Kessler and Ken Davenport.

Staged at Sinclair Community College’s Blair Hall Theatre, “Altar Boyz” is presented as a final concert engagement for a contemporary Christian quintet (four Catholics, one Jewish) committed to “praising the Lord with funk and rhyme” while delivering their “Raise the Praise Tour” across the country. In the hands of a less sensitive creative team, this good-natured, witty tale might have uncomfortably resorted to the relentless backhanded spoofing associated with “The Book of Mormon,” but the material doesn’t offend. In fact, it deliciously satirizes religion and the boy band concept with equal punch. Some of the best jokes actually derive from the stereotypical nature of the band members, who are sharply written and easily relatable in their varying circumstances.

Drew Bowen, a standout Roger in Encore’s production of “Rent” last season, is incredibly credibly charming as lead singer Matthew, specifically wooing the ladies with the lovely ballad “Something About You.” As the fiery Juan, Zack Steele offers impressive diction and a confident aura of brooding machismo. Zach King effectively portrays Abraham with understated humor. Andrew J. Koslow, a Muse Machine alumnus returning home to offer one of his best performances, is simply excellent as the effeminate Mark, who pines for Matthew and was once confronted by “Episcopalian thugs.” As the rather dense Luke, Korey Harlow doesn’t possess a vocal range on par with his fellow actors, but his terrific dancing and bad boy persona are great assets.

Director-choreographer Lauren Morgan’s contributions are energetic and fluid, particularly her staging of “Rhythm in Me” and “The Miracle Song.” Music director Mark Barnhill leads a balanced on-stage band. Assistant director-choreographer Rodney Veal offers spooky, surreal projection design.

If you’re in the mood for lighthearted fun, “Altar Boyz” fits the bill.

Altar Boyz, which opened Thursday, June 16, concludes tonight at 8 p.m. in Blair Hall Theatre, Building 2, at Sinclair Community College, 444 W. Third St. The musical, featuring Encore co-founder/artistic director David Brush as the voice of God, is presented in 70 minutes without intermission. Tickets are $15. For tickets or more information, call (937) 512-2808, visit www.encoretheatercompany.com or e-mail [email protected]

An Entertaining Dickensian Delight

June 17, 2011 By Russell Florence, Jr. Leave a Comment

The cast of The Mystery of Edwin Drood

Beavercreek Community Theatre delivers a zestful, warmly interactive and impressively sung production of Rupert Holmes’ tuneful, rarely staged 1986 Tony Award-winning musical “The Mystery of Edwin Drood,” an audience-friendly show within a show circa 1892 adapted from the unfinished novel of the same name by Charles Dickens.

Crisply directed in a witty tongue in cheek manner by Chris Harmon, also responsible for an attractive set complete with footlights and theater box, this breezy, well cast “Drood” engages from the start as a throng of Victorian performers from The Music Hall Royale casually connects with the audience before launching into the titular tale as an assortment of colorful characters. The love triangle-driven plot centers on crazed choirmaster John Jasper (Jonathan Berry) who, in Phantom-esque fashion, pines for his self-effacing student Rosa Bud (Bethany Locklear), a beautifully demure soul engaged to his carefree nephew Edwin Drood (Amy Leigh). When Edwin inexplicably disappears on Christmas Day, it’s anyone guess as to what happened. Since Dickens was unable to provide closure, the enjoyment of determining the mystery is left entirely in the hands of the audience, a conceptual hallmark ensuring appealing unpredictability.

Despite the fact that a few punch lines in the libretto fall flat or feel forced, Holmes nonetheless interweaves the world of the Music Hall Royale and Dickensian London with great skill, guided with crowd-pleasing vitality by Dean Swann as Chairman William Cartwright/Mayor Thomas Sapsea. Swann, a memorable Dr. Scott in BCT’s “The Rocky Horror Show” who possesses a knack for improvisation, winningly accents his slightly kooky, deceptively calculated portrayal with a jolly Zach Galifianakis sensibility. The equally excellent Berry, effortlessly brooding and primarily known for plays, supplies his most vocally arresting musical theater performance to date. Near the outset, he absolutely solidifies his strikingly unhinged embodiment of Jasper with an intense yet humorous rendition of “A Man Could Go Quite Mad.” Locklear, an outstanding soprano who commands the stage with graceful gentility, is a true find. Her plaintive interpretation of the gorgeous “Moonfall” is absolutely stunning. At the same rate, “The Name of Love,” her duet with Berry aided by John Falkenbach’s fiery red lighting design, pulsates with an alluring seductiveness recalling “The Point of No Return” from “The Phantom of the Opera” and “Dangerous Game” from “Jekyll & Hyde.” Leigh, who doubles as Dick Datchery, particularly fills her titular portrayal with charm, but I wish the excitable sparks prevalent within her stirring rendition of “The Writing on the Wall,” which concludes the show, were consistent in her work throughout.

Additionally, as the seedy Princess Puffer, Pam McGinnis is a reliably earthy joy delivering “The Wages of Sin” and “The Garden Path to Hell.” Charles Larkowski (Rev. Mr. Crisparkle), Shawn Hooks (Neville Landless), Jim Lockwood (Durdles), Bryan Wilcox (Deputy) and Thomas Cole Schreier (Bazzard) are apt comedians. Lindsay Sherman (Helena Landless), Jenna Owens (Wendy) and Tara Nicole Murphy (Beatrice) join Locklear for the lovely “Moonfall Quartet.” Megan Vander Kolk, Michael J. Stockstill, Matt Owens, Nicole Dine, Jennifer Wilson and Jeremy D. King complete the very compatible cast, who are nicely costumed in Victorian garb by Josh Hollister and energetically executes Annette Looper’s commendable choreography.

The Mystery of Edwin Drood, which opened Friday, June 10, will continue through Sunday, June 19 at the Lofino Center, 3868 Dayton-Xenia Rd., Beavercreek. Performances are Friday and Saturday at 8 p.m. and Sunday at 3 p.m. Act One: 79 minutes; Act Two: 55 minutes. Tickets are $13 for adults and $11 for students, seniors and BCT members. For tickets or more information, call (937) 429-4737 or visit www.bctheatre.org

Performance, visual arts bring ‘cultural experience’ to Loft Theatre

June 15, 2011 By DowntownPartnership Leave a Comment

Tripple Croxx Entertainment, OFP Productions and the Human Race Theatre Company, present The Signature’s “Poetic Soul Fusion” show June 17.

The night, hosted by national slam poet Will Evans, will include appearances by HBO Def poet Sunni Patterson, acoustic soul singer Ken J. Martin and internationally renowned violinist Shaw Pong Liu. The performances will also recognize Black Music Month, Juneteenth and the accomplishments of the late Gil Scott-Heron.

Sierra Leone, producer of The Signature, says the show synthesizes performance and visual arts and will have something for everyone.

“It’s a cultural experience,” she says. “But we want to pay homage to other things taking place as well.”

Patterson, the featured artist, brings her New Orleans heritage into her music by adding some soulful flavor. She is known for both her visionary styling and her powerful delivery. With a resume that includes appearing on BET’s “Lyric Café,” and HBO’s “Def Poetry,” Patterson promises to bring a show-stopping performance.

Leone says through The Signature, artists like Patterson and can reach people.

“We believe creative art is the tangible element that connects us to our humanity,” says Lee Croxx, CEO of Tripple Croxx Entertainment.

The show will be held at The Loft Theatre, 126 N. Main St. Doors open at 8:30 p.m., and cocktails will be available before the show. Tickets for The Signature cost $15 in advance and $20 at the door. They are available at www.ticketcenterstage.com. 937-228-3630.

Behind the Masks – The Lion King

June 14, 2011 By Shane Anderson Leave a Comment

Nick Cordileone & Ben Lipitz

Disney’s THE LION KING

The Victoria Theatre Association

I have a confession to make: I, Shane Anderson, admittedly know very little about The Lion King. In fact, I know very little about most of the Disney films and musical adaptations. I’ve certainly seen some, but I have no children of my own, therefore I typically don’t choose to spend my entertainment budget on a movie ticket to a film marketed to kids. I get it…I get it… I hear that they are terrific for anybody at any age, but I don’t have that added motivation of a really excited 5 year old persuading me to go catch the latest Disney princess or talking/singing animal movie.

Characters from Disney's Lion King, as interpreted by Noah, age 5

The Lion King mask illustration by Noah, age 5

So, since I am not the Disney aficionado that many Americans are, I had to do a little research about Disney’s THE LION KING, which just rolled into town and opened at the Schuster Center this evening. So what else was I to do? I called up my favorite nephew, 5 year old Noah.

First bit of information I needed, was what is the plot of this show? Noah replied with a knowing smile (did I sense the slightest amount of a smirk at his silly Uncle Shane?) that THE LION KING is all about this baby lion named Simba, who’s daddy Mufasa dies because of a bad lion named Scarrrr (grrrRR..!), then the Pumbaa and Timon (not sure which is which, but one is a warthog with big horns) come in and sing Hakuna Matata and then Simba gets big and the girl lion tells Simba to come back and be king. Oh, and be careful of the 3 Hyenas, they laugh.

Ok, stay clear of the laughing Hyenas. Of course I already knew a little bit about this classic musical adaptation, it is a legendary production that very successfully melded together a very cool artistic vision with the business sense of a major corporate producer. I know that it was directed by the very talented Julie Taymor. I realize that even though the musical premiered on Broadway nearly fourteen years ago, it is still selling tickets both on the “Great White Way” and in multiple touring companies. This collaboration between a truly gifted artist and a major corporate entity has been highly successful, with no signs of slowing down. I knew all of that, but this is one highly acclaimed Broadway spectacle that I have yet to experience, and I am thrilled that the show will be spending four weeks right here in Dayton, Ohio!

Disney's The Lion King ~ presented by The Victoria Theatre Association, Dayton, OH ~ June 14 - July 10, 2011

Ben Roseberry

I got the opportunity to spend some time chatting with three cast members of the show on the phone last week. The cast was in Toronto, Canada, where they had an extended stay. I spoke with vocal ensemble member and “Sarabi” understudy Electra Weston, Ben Roseberry who portrays “Ed” the laughing hyena, and the ever-popular Ben Lipitz who livens up the stage as “Pumbaa” the optimistic warthog.

I asked the group of actors about touring with Disney Theatricals, working with Taymor and what the experience is like in a production that thrills audiences of all ages.

The first thing of note is the appreciation the actors express for the company itself. “It is the best contract I’ve ever worked for,” Roseberry declares, “we are in each city for four weeks or more.” All three of the actors pointed out the fact that through Disney’s intention to keep the company in a city for an extended run of at least four weeks, allows the actors time to settle in and actually experience each city. Most other touring shows will have shorter runs, some as little as a day in each city, which leave the actors living out of their suitcase. Roseberry, an aviation enthusiast, says that he is very excited to have time in Dayton to explore the Aviation Trail, Hall of Fame and Wright Brother sites.

Electra Weston

A surprise to me was the fact that the touring company has the opportunity to make their own housing arrangements, some choosing extended stay hotels, others are able to find short-term furnished apartments. Electra Wilson indicated that in her four years on the tour, she’d never stayed in a hotel. She ships her bicycle and typically manages to find an apartment within biking distance to the venue. This gives her the opportunity to become a member of the community, if only for a short time.

I was curious to know more about the experience of being onstage for these actors, what it was like to be on the other side of the curtain. The technical aspects of performing the show utilizing these puppets and intricate scenic elements must certainly be an incredible thing to watch not only from the audience perspective, but also from backstage.

All three actors found their roles very taxing, but for very different reasons. Weston says that her most difficult transition into the role was the English language. She had previously been a part of the German company of the show, so even though she is American, she found it difficult to sing her parts in English. She had to relearn the show in her native tongue, and had a tough time doing so!

“I can’t say it’s a bigger thrill than what the audience is experiences, but it certainly is comparable.” says Ben Lipitz, ” Performing in The Lion King is a rare experience in theatre, it is a landmark event for the audience, as a performer I have to take the storytelling very seriously. We have a responsibility to live up to the expectations [of the audience]. It is a privilege to tell this story”

“It took a good eight weeks of performing for the role to get in my body.” Roseberry said he was very nervous performing in his “Ed” the hyena puppet for the first several weeks he was on tour. He pointed out that he had to learn to harness that nervous energy, translating it into a good energy. Additionally he spent hours in front of a mirror learning how to operate the hyena puppet in as many expressive ways as possible, since the character does not speak, but simply communicates through laughter. (btw…”Ed” is not “stupid”, but rather he is “verbally challenged”)

Ben Lipitz has been with the show for nine years, both on Broadway as well as the touring company. He recounted that while his very first entrance on stage in this show was very exciting, that the thrill continues to this day. Ben’s experience as an actor (on stage, film & television, including a role on The Sopranos) didn’t really prepare him for operating the puppet, especially Pumbaa which weighs in heaviest at 46 pounds. Creating the physical articulation with the puppet is his biggest challenge, but also the biggest reward.

Ben Lipitz

The beauty of Julie Taymor’s design is the duality of the character on stage. You see the actor manipulating the puppet, but you also see the humanity within the animal character. The actors praise the brilliance of Taymor’s vision and her famous “hands-on” approach to direction an upkeep of her vision. They report that there is a touring director and staff that continually monitor the show, maintaining the quality of the performance. This team works with the cast so that what we see in Dayton is precisely the same as the original intent of every step, word and note performed when Julie Taymor’s vision became reality in 1997. Taymor will even stop in to check on the show herself occasionally to be sure that her vision is never compromised (though this hasn’t happened recently due to her involvement in another theatrical project).

“I have been truly touched by how inspiring working with Julie is,” claims Lipitz, “[it is] her spirit and her energy. She is a gifted, visionary artist.”

While THE LION KING is a very complex machine of a show, with many moving parts and people manipulating every aspect of it, it is also child’s play. Experiencing this show on our side of the curtain will certainly be exciting, but imagine how thrilling it must be to make it all happen behind the scenes. These actors spoke as if it was truly an honor to tell this story, and be a part of the magic daily.

Before I got off the phone with Pumbaa, I had one more question I was required to ask. Noah wanted to know “what do you do with your horns?” Pumbaa claimed that his daily regimen included trying not to stay up too late, staying out of the sunlight and plenty of moisturizer. Pretty good advice for all you warthogs reading this.

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

Disney’s THE LION KING

Wednesday, June 15 through Sunday, July 10, 2011

at The Schuster Center’s Mead Theatre – Performance Times Vary

Tickets range from $27 – $141

Tickets are ONLY available through Ticket Center Stage.

Visit the Schuster Center box office in downtown Dayton or order by phone, at (937) 228-3630 or toll free (888) 228-3630. Ticket Center Stage hours are Monday-Friday, 10 a.m. – 6 p.m., Saturday, noon – 4 p.m., and two hours prior to each performance.

Tickets may also be purchased online at www.ticketcenterstage.com.

For more information about Victoria Theatre Association visit www.victoriatheatre.com.

Downtown Dayton Partnership and the Victoria Theatre Association have teamed up to provide roaring deals and promotions for the The Lion King patrons. Read more about these exiting offers HERE.

Click for details.

Sing it Strong, Sing it Loud

June 14, 2011 By Dayton937 Leave a Comment

Altar Boyz

ENCORE THEATER COMPANY

The quintessential Boy Bands: upbeat (and often emotional) music… slick choreography… the perfect individual and group images… slightly-too-perfect rhymes… the Soul Sensor DX-12? Well, maybe not for any other boy band, but for the Altar Boyz, it’s key! During the final concert of their “Raise the Praise” tour, the Boyz seek to reduce the number of burdened souls in the audience (indicated by the number on the Sensor) to zero.

“Jesus called me on my cell phone / No roaming charges were incurred / He told me that I should go out in the world / And spread His glorious word”

Altar Boyz, presented in real time as that concert, is a satirical, “foot-stomping, rafter-raising musical comedy,” and the fictitious Christian boy band includes five Ohio members: Matthew, Mark, Luke, Juan, and Abraham (who, actually, is Jewish). Some of the Boyz’ signature hits include “Rhythm in Me,” “The Calling,” and “I Believe.” Directed and choreographed by Lauren Morgan and musically directed by Mark Barnhill, this Dayton premiere kicks off Encore Theater Company’s summer season, and runs for one weekend only, June 16 – 18.

“We think that church is super fine / We are the Altar Boyz / We love the wafers and the wine / We are the Altar Boyz / And I think / You’ll find….. We’re gonna altar your mind!”

This show is unique in that each cast member must be a triple-strength performer, because everyone is acting, singing, and dancing for nearly the entire show! Therefore, learning the show has been hard work, but the actors I spoke with were excited about the challenges they’ve faced and the strides they’ve taken as performers. The cast includes students and/or Dayton residents Drew Bown, Andrew Koslow, Korey Harlow, Zack Steele, and Zach King, with a special appearance by local Muse Machine alumnus and Broadway performer Tyler Maynard as “the Voice of God.”

“When I hold your body next to mine / it feels so good / and feels so right / and it also makes my Levis feel real tight… / and I know that there is something about you, baby…/ Girl, you make me want to wait.”

Not only does the cast play a great team onstage, but everyone has an excellent collaboration as well. Each of the cast members are or have studied some type of theatre at the collegiate level, and most are new to Encore Theater Company’s mainstage; however, they’ve all contributed unique talents and abilities to make this show strong and fluid, to refine timing of the show’s extensive humor and rehearse even the most difficult 5-part harmonies. Koslow, who plays Mark, explained in an interview with onStageDayton,

Andrew Koslow, "Mark"

“The most rewarding thing for me about this show is how much we’ve truly banded together (pardon the pun) to make this show happen. We’ve run into a thousand road blocks, from losing cast members to sometimes only having two Boyz available for certain rehearsals due to commitments to other shows. Despite all that, we’ve put together an incredible and entertaining show… I truly couldn’t be prouder of our entire cast and production team.”

That commitment and collaboration have paid off: Zack Steele, who plays Juan, praises,

Zach Steele, "Juan"

“[Altar Boyz] will have [audience members] crying from laughing so hard. The script is bulletproof and the Boyz’ chemistry on stage will carry you on a journey all the way through curtain call. The singing is great and the satire is ever-present.”

Koslow added,

“I truly believe there is something for everyone in this show, and no one can prove me wrong unless they come and see for themselves.”

“You know The Bible tells you God’s the one that made you / So get out on the dance floor And shake what He gave you!”

So, whether you’re holding onto music of the early ‘90s or just love to make fun of boy bands, Altar Boyz is the perfect show for you. Don’t miss it!

Tickets & Performance Information

Altar Boyz – June 16 – 18, 8:00 pm

Encore Theater Company

Performances will be held at Sinclair Community College’s Blair Hall Theatre. Tickets are $15 and can be reserved through http://brushfire.e-vent.info/Events/Sinclair/Default.aspx, by contacting (937) 512-2808 (be sure to leave a message) or [email protected]

For more information, check out the Altar Boyz blog or Encore Theater Company.

~KN

A Second Chance at Love

June 12, 2011 By Russell Florence, Jr. Leave a Comment

Greg Smith and Barbara Jorgensen in Southern Comforts

The Young at Heart Players, Dayton’s only senior theater troupe, ushers in its second decade with a heartwarming and humorous production of Kathleen Clark’s 2006 two-hander “Southern Comforts,” presented in collaboration with the Dayton Theatre Guild.

Fluidly directed by YAHP founder Fran Pesch and set in a Victorian home in New Jersey circa 1996, “Southern Comforts,” as seen at its well paced final dress rehearsal, features very charming turns by Barbara Jorgensen and Greg Smith as Amanda Cross and Gus Klingman, a colorfully opinionated duo who learn to love again despite their personal and geographical differences. Clark predictably lays the groundwork for a happy ending in the first scene, but Jorgensen and Smith’s endearing chemistry and sharp characterizations keep the breezy action thoroughly engaging, particularly in the final minutes which provide touching closure.

Jorgensen effortlessly handles the casual ease and subtle complexities inherent in Amanda, a churchgoing chatterbox from Tennessee who loves baseball and still longs for romantic pleasures. She particularly shines with a captivating mix of anger and bewilderment late in Act 2 when Amanda grows perturbed and perplexed about Gus’ decision not to share a burial plot with her. As the strong-willed Gus, a New Jersey native still shaken by his late wife’s unhappiness and emotional detachment, Smith winningly reveals the inner struggle of a man reticent of losing his independence while genuinely longing for meaningful companionship. Although Gus totally desires a new chapter with Amanda, Smith astutely reiterates how difficult compromise can be.

“Southern Comforts” is intended for an older audience, but its tender sentiments and lasting reminder that all relationships must evolve and adapt has unlimited appeal.

Southern Comforts will be staged Friday, June 10 and Saturday, June 11 at 8 p.m. and Sunday, June 12 at 3 p.m. at the Dayton Theatre Guild, 430 Wayne Ave. The play is performed in 90 minutes with one 15 minute intermission. Tickets are $12 for seniors and students and $15 for adults. For more information, visit www.daytontheatreguild.org

And The Tony Goes To…

June 12, 2011 By Russell Florence, Jr. 1 Comment

Broadway’s 2010-11 season refreshingly became a part of the mainstream due to the ill-conceived travesty known as “Spider-Man Turn Off the Dark,” but the 65th annual Tony Awards, which will be broadcast live Sunday, June 12 on CBS, will fittingly remind everyone that the surprisingly strong season offered a slew of truly outstanding productions, most notably “The Book of Mormon,” the hit musical from “South Park” creators Trey Parker and Matt Stone which leads all shows with 14 nominations. A “Mormon” sweep isn’t likely (there’s no way the costumes in “Priscilla Queen of the Desert” will be overlooked by the 824 voting members), but the evening will certainly produce its share of suspense. Here are my predictions in the major categories.

BEST PLAY

“Good People”

“Jerusalem”

“The Motherf**ker with the Hat”

“War Horse”

Will Win: “War Horse”

Should Win: “Good People”

Two potent British imports and two invigorating contemporary American works comprise one of the strongest Best Play battles in recent memory. Each contender offers a riveting journey, and I wouldn’t be surprised if “Mother” and “Good People” receive Pulitzer Prize consideration next year. In this race, my vote would go to David Lindsay-Abaire’s middle class comic drama “Good People,” a fascinating, timely character study on par with his Pulitzer Prize-winning “Rabbit Hole,” but Nick Stafford’s theatrically thrilling, puppet-driven “War Horse,” a World War I epic based on Michael Morpurgo’s tale of a poor English boy and his beloved horse, is a sentimental crowd-pleaser.

BEST MUSICAL

“The Book of Mormon”

“Catch Me If You Can”

“The Scottsboro Boys”

“Sister Act”

Will Win: “The Book of Mormon”

Should Win: “The Scottsboro Boys”

“The Scottsboro Boys,” John Kander and Fred Ebb’s final collaboration phenomenally directed and choreographed by Susan Stroman (“The Producers”), brought a dark, forgotten period in American history to riveting light boldly framed within the context of a minstrel show. Although “Scottsboro” duly received 12 nominations, took musical theater to daring new heights and featured Kander and Ebb’s finest score since “Kiss of the Spider Woman,” there’s no stopping “Mormon,” a slick, smart and hilarious satire skillfully marrying musical theater conventions with brazen, profane naughtiness.

BEST REVIVAL OF A PLAY

“Arcadia”

“The Importance of Being Earnest”

“The Merchant of Venice”

“The Normal Heart”

Will/Should Win: “The Normal Heart”

“Venice” was particularly luminous and conceptually engrossing, but Larry Kramer’s emotionally charged AIDS-themed drama packs a wallop from start to finish unlike any show this season. Anyone heading to New York City should take time to experience the visceral power of the expertly acted and superbly directed “Normal Heart.”

BEST REVIVAL OF A MUSICAL

“Anything Goes”

“How to Succeed in Business Without Really Trying”

Will Win: “Anything Goes”

Should Win: “How to Succeed”

Due to the presence of Sutton Foster and Cole Porter’s glorious tunes, “Anything Goes” is the frontrunner, but it doesn’t come close to matching the more cohesive, flavorful “How to Succeed.”

BEST LEADING ACTOR IN A PLAY

Brian Bedford, “The Importance of Being Earnest”

Bobby Cannavale, “The Motherf**ker with the Hat”

Joe Mantello, “The Normal Heart”

Al Pacino, “The Merchant of Venice”

Mark Rylance, “Jerusalem”

Will/Should Win: Rylance

This is an extremely tight race. Six months ago I would have told you Pacino was a cinch for his masterfully understated Shylock, but a lot has happened since then. Bedford reinterpreted Lady Bracknell with finesse, Cannavale planted undeniable passion and vigor into his role as a troubled ex-con and Mantello astounded as the volcanic Ned Weeks. Still, Rylance, a Tony winner for “Boeing-Boeing,” delivers a mesmerizing performance of a lifetime as kooky outcast Rooster Cogburn. Rylance also drew acclaim last fall for his performance in “La Bete” so he’s the clear favorite here.

BEST LEADING ACTRESS IN A PLAY

Nina Arianda, “Born Yesterday”

Frances McDormand, “Good People”

Lily Rabe, “The Merchant of Venice”

Vanessa Redgrave, “Driving Miss Daisy”

Hannah Yelland, “Brief Encounter”

Will/Should Win: McDormand

Arianda was perfectly cast in the Judy Holliday mold, Rabe more than held her own opposite Pacino and Redgrave was simply heartbreaking, but the Oscar winning McDormand (“Fargo”) will triumph for her incredibly authentic and marvelously developed portrayal of Margaret Walsh, an unemployed single mother from South Boston who dares to question the genuineness of a successful old friend from her neighborhood.

BEST LEADING ACTOR IN A MUSICAL

Norbert Leo Butz, “Catch Me If You Can”

Josh Gad, “The Book of Mormon”

Joshua Henry, “The Scottsboro Boys”

Andrew Rannells, “The Book of Mormon”

Tony Sheldon, “Priscilla Queen of the Desert”

Will Win: Butz

Should Win: Sheldon

A lot has been said about Daniel Radcliffe being overlooked for “How to Succeed,” but there isn’t anyone here I would eliminate. Henry was terrific in a predominately dramatic role, but his nomination is a win in itself. Gad and Rannells, the best male musical duo since Nathan Lane and Matthew Broderick in “The Producers,” will likely cancel each other out. Sheldon, an Australian stage veteran who received an Olivier Award nomination for the London production of “Priscilla,” brings beautifully substantive depth and feminine believability to his multifaceted portrayal of transsexual Bernadette, but voters might have grown tired of drag considering Douglas Hodge took this category last year as a female impersonator in “La Cage aux Folles.” So look for Butz, a Tony winner for “Dirty Rotten Scoundrels” who can never be discounted, to take the prize for his sharp, comical turn as FBI agent Carl Hanratty.

BEST LEADING ACTRESS IN A MUSICAL

Sutton Foster, “Anything Goes”

Beth Leavel, “Baby It’s You!”

Patina Miller, “Sister Act”

Donna Murphy, “The People in the Picture”

Will Win: Foster

Should Win: Miller

Miller, a sassy vocal powerhouse I adored in the London production of “Sister Act,” gives the finest musical comedy performance in this category thanks to her dynamic, funny and soulful portrayal of disco singer-turned-incognito nun Deloris Van Cartier. Even so, the ever popular, Tony winning Foster (“Thoroughly Modern Millie”) will prevail for her good but not great embodiment of nightclub evangelist Reno Sweeney.

The 65th annual Tony Awards, hosted by Emmy winner Neil Patrick Harris, will be telecast live from New York’s Beacon Theatre Sunday, June 12 at 8 p.m. on CBS. Among the scheduled performers is Muse Machine alum Jill Paice of Beavercreek, who will join Harris and an all-star cast in a special selection from the Stephen Sondheim musical Company. For more information, visit www.TonyAwards.com

Coming Up in Dayton Theatre: 06/09 – 06/22

June 9, 2011 By Dayton937 Leave a Comment

THURSDAY, JUNE 9 – WEDNESDAY, JUNE 22, 2011

Evil Dead: the Musical at CATCO (Photo Credit Dave Alkire and CATCO-Phoenix)

The unexpected happens a lot in theatre. Everything rarely goes exactly as planned; that is the nature of live theatre, and we have to learn to deal quickly to make things work. And yesterday, the show I’m ASMing (Evil Dead: the Musical at CATCO; it’s a professional show and well worth the drive out to Columbus, so come see it!) was no exception. Halfway through the show, the hinge on the trap door broke when one character stomped to close it; so my crew and I scrambled around backstage alerting actors and shuffling duties so that a crew person could be underneath the door as needed. We averted any potential injuries or changes to the blocking, finished the show well and fully, and fixed the door immediately after.

At first, the thought of problems is irritating. Why can’t things just work all the time? Why can’t we be in control of everything during a show? As Assistant Stage Manager, if something backstage goes wrong, it’s my fault. I really like when the show and the effects run smoothly.

However, thinking about it, I realize a certain exhilaration, too. Having something go wrong, but being able to work together to get past it and make the show work, is a mark of good collaboration and communication within a show. If our cast and crew weren’t working well together, we couldn’t fix problems like the cellar door on the spot. Those elements are part of the very essence of theatre, whether garage, community, or Equity, and seeing them lived out successfully reminds me why I love theatre, and why Dayton theatre is so great. These next couple of weeks, we have venue and artistic collaborations on shows, as well as the individual process of each performance. Support those this weekend, and go see one of these great productions.

Another Openin’, Another Show

…SHOWS OPENING SOON

The Mystery of Edwin Drood

BEAVERCREEK COMMUNITY THEATRE

The Story: John Jasper, a Jekyll-and-Hyde choirmaster, desperately loves his music student, Miss Rosa Bud, who is engaged to Jasper’s nephew, Edwin Drood. However, when Edwin Drood disappears mysteriously one stormy Christmas Eve, suspicions abound. In this adaptation of Dickens’ last and unfinished manuscript and a show-within-a-show, audiences choose the ending!
Dates: June 10 – 19, 2011
Tickets & More Information: BC Theatre: Edwin Drood

…SHOWS CLOSING SOON

right next to me

HUMAN RACE THEATRE COMPANY

The Story: A war widow, attempting to cope with her Marine husband’s death in Iraq, goes with her brother-in-law on a quest to scatter her husband’s ashes where he required, remembering and seeing flashbacks along the way in an emotionally moving and uplifting journey. This show premiered in an earlier and very different version as part of the Human Race Musical Theatre Workshops in 2009.
The Dates: May 21 – June 12, 2011
Tickets & More Information: Human Race Theatre Company

…ONE WEEKEND ONLY

Southern Comforts

YOUNG AT HEART PLAYERS and DAYTON THEATRE GUILD

The Story: Some people thrive and grow enervated with change; others, run from any potential unsettlement. In a Victorian era New Jersey, a taciturn Yankee widower and a vivacious Tennessee grandmother find a second chance at love, but the relationship is filled with surprise and unpredictable tribulation. A collaboration between two theatres, “this off-Broadway success is an affecting, late-in-life journey of compromise and rejuvenation, of personal risk and the rewards of change” (DTG).
Dates: June 10 – 12, 2011
Tickets and More Information: Dayton Theatre Guild, DMM Event

Altar Boyz

ENCORE THEATER COMPANY

The Story: In this foot-stomping, rafter-raising, musical comedy, a fictitious Christian boy band performs on the last night of their national “Raise the Praise” tour. The Boyz are five all-singing, all-dancing heartthrobs from Ohio: Matthew, Mark, Luke, Juan and Abraham. Performed in Sinclair CC’s Blair Hall Theatre, this show is perfect for those who love (and to love to make fun of) boy bands!
Dates: June 16 – 18, 2011
Tickets and More Information: Encore Theater Company

Part of it All

…AUDITIONS AND CASTING CALLS

Into the Woods

PLAYHOUSE SOUTH

Auditions: June 13 & 14
Performances: August 12 – 21, 2011
The Story: After a Witch curses a Baker and his wife with childlessness, the couple embarks on a quest for special objects from classic fairy tales to break the spell, stealing from and lying to Cinderella, Little Red, Rapunzel, and Jack (of beanstalk fame). But the characters didn’t count on the consequences of their actions or the disasters that would ensue…
More Information: Playhouse South: Into the Woods

Harvey

BEAVERCREEK COMMUNITY THEATRE

Auditions: June 13 & 14, 2011
Performances: August 26 – September 4, 2011
The Story: Elwood P. Dowd begins introducing his imaginary friend, Harvey (a six and a half foot rabbit) at a society party; his sister, Veta, can’t tolerate the embarrassment and has him committed to a sanitarium. However, problems arrive when Veta explains that years of living with Elwood have made her see Harvey, too! The doctors commit Veta instead of Elwood, but when the truth comes out, the search is on for Elwood and his invisible companion.
More Information: BC Theatre: Auditions

~KN

On Stage Dayton

2011 Human Race Festival of New Musicals

The Human Race Theatre Company

Encore Theater Company

Musical Theater Festival Schedule

Tickets & Performance Information:

A Midsummer Nights Dream

Free Shakespeare!

Tickets & Performance Information:

A Midsummer Nights Dream

Weekends through August 14, 2011

Dancing Backwards by John Fiorillo - FutureFest 2010 FutureFest 2011

Dayton Playhouse

2011 FutureFest Performance Schedule

Friday, July 29

8 p.m.

Saturday, July 30

10 a.m.

3 p.m.

8 p.m.

Sunday, July 31

10 a.m.

3 p.m.

Tickets & Performance Information:

21st Annual Dayton Playhouse FutureFest

July 29-31, 2011

Photo Highlights of 2010 FutureFest

IN MY BLOOD

Encore Theater Company

Win Tickets to this new musical! Read on!

“In My Blood deals with real people with real issues of isolation and social shunning who ALSO just happen to be vampires.”

Tickets & Performance Information

Win Free Tickets!

BEST PROFESSIONAL PRODUCTION OF A PLAY

BEST PROFESSIONAL PRODUCTION OF A MUSICAL

BEST COMMUNITY THEATER PRODUCTION OF A PLAY

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL

BEST COLLEGIATE PRODUCTION OF A PLAY

BEST COLLEGIATE PRODUCTION OF A MUSICAL

BEST NEW WORK

BEST SPECIAL THEATRICAL EVENT

BEST LEADING ACTOR IN A PLAY

BEST LEADING ACTRESS IN A PLAY

BEST LEADING ACTOR IN A MUSICAL

BEST LEADING ACTRESS IN A MUSICAL

BEST SUPPORTING ACTOR IN A PLAY

BEST SUPPORTING ACTRESS IN A PLAY

BEST SUPPORTING ACTOR IN A MUSICAL

BEST SUPPORTING ACTRESS IN A MUSICAL

BREAKTHROUGH MALE PERFORMANCE

BREAKTHROUGH FEMALE PERFORMANCE

BEST DIRECTION OF A PLAY

BEST DIRECTION OF A MUSICAL

BEST CHOREOGRAPHY

BEST SCENIC DESIGN OF A PLAY

BEST SCENIC DESIGN OF A MUSICAL

BEST COSTUME DESIGN OF A PLAY

BEST COSTUME DESIGN OF A MUSICAL

BEST LIGHTING DESIGN OF A PLAY

BEST LIGHTING DESIGN OF A MUSICAL

BEST SOUND DESIGN OF A PLAY

BEST SOUND DESIGN OF A MUSICAL

BEST PROPERTIES

BEST VIDEO/PROJECTION DESIGN

BEST ORCHESTRA

SPECIAL ACKNOWLEDGMENTS

Let’s Hear It for the ‘Boyz’

Nick Cordileone & Ben Lipitz Disney’s THE LION KING

The Victoria Theatre Association

Tickets & Performance Information:

Altar Boyz

ENCORE THEATER COMPANY

“Jesus called me on my cell phone / No roaming charges were incurred / He told me that I should go out in the world / And spread His glorious word”

“We think that church is super fine / We are the Altar Boyz / We love the wafers and the wine / We are the Altar Boyz / And I think / You’ll find….. We’re gonna altar your mind!”

“When I hold your body next to mine / it feels so good / and feels so right / and it also makes my Levis feel real tight… / and I know that there is something about you, baby…/ Girl, you make me want to wait.”

“You know The Bible tells you God’s the one that made you / So get out on the dance floor And shake what He gave you!”

Tickets & Performance Information

Another Openin’, Another Show

…SHOWS OPENING SOON

The Mystery of Edwin Drood

Dancing Backwards by John Fiorillo - FutureFest 2010

FutureFest 2011

Nick Cordileone & Ben Lipitz

Disney’s THE LION KING