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Back to the FutureFest

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Dayton Playhouse - FutureFest 2010 - Dancing Backwards by John Fiorillo

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.

Dayton Playhouse - FutureFest 2010 - How It Works by Carey Pepper

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.

Dayton Playhouse - FutureFest 2010 - Refuge by Marc Comblatt

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

-Photos by Art Fabian (copyright 2010) – submitted by Dayton Playhouse

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

Tickets & Performance Information:

Dayton Playhouse21st 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

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[yframe url=’http://www.youtube.com/watch?v=w6prD48dheE’]

Singing Joyfully in Turbulent Times

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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”

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IN MY BLOOD by Mark Weiser - Encore Theater Co. - July 14-16, 2011IN 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.

IN MY BLOOD by Mark Weiser - Encore Theater Co. - July 14-16, 2011 - Photo by Ray ZuppThe 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.

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

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

Encore Theater Company - New Musicals. Next Generation.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

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(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“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: a Theatre Piece for Singers, Players, and Dancers - Dayton Philharmonic Orchestra & Wright State University Music, Theatre & Dance Departments, 2011

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

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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’

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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

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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

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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

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

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.

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

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.

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

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 - Victoria Theatre Association, Dayton, OhioDisney’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.

The Lion King - ROARING DEALS - Dayton, Ohio

Click for details.

Sing it Strong, Sing it Loud

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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

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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…

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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

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THURSDAY, JUNE 9 – WEDNESDAY, JUNE 22, 2011

Evil Dead: CATCO

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 DroodEdwin Drood: BCT

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

Altar Boyz

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: PHS

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

Whodunit? The Mystery of Edwin Drood

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The Mystery of Edwin Drood - Beavercreek Community Theatre - June 10-19, 2011The Mystery of Edwin Drood

Beavercreek Community Theatre

Win Tickets! Read on!

One hundred forty one years ago today (08 June 1870) Charles Dickens suffered a stroke.  The next day:  dead.  His last novel:  unfinished.

Flash forward those 141 years (+a couple days):  the audiences at Beavercreek Community Theatre will get an opportunity to determine how the plot of  Dickens’ incomplete The Mystery of Edwin Drood concludes.

The Mystery of Edwin Drood - Beavercreek Community Theatre - June 10-19, 2011The novel was adapted into a Tony Award winning musical comedy in the mid-eighties by Rupert Holmes.  The playwright put a unique twist on the show, by writing multiple endings that requires the audience to make choices about various characters and actions, choosing a murderer, a detective and other various participants and events that lead up to the ending.  This sounds like an entertaining whodunit musical for the audience, but on the other side of the curtain…it sounds like a lot of work! Multiple endings to learn, different songs to perfect, and multiple sets of blocking and choreography to refine all must lead to hours upon hours of rehearsal devoted just the last few minutes of the production.

The show is described as a hilariously loony Victorian musical troupe takes over the stage for its production of a flamboyant rendition of an unfinished Dickens mystery.

It’s the story of John Jasper, a Jekyll-and-Hyde choirmaster portrayed by Jonathan Berry of Centerville. He is madly in love with his music student, the fair Miss Rosa Bud, played by Bethany Reid Locklear of Englewood. She, in turn, is engaged to Jasper’s nephew, young Edwin Drood, portrayed by Amy Leigh of Kettering.

onStageDayton contacted director and scenic designer Chris Harmon with a few questions about the show:

onStageDayton:  The Mystery of Edwing Drood is not a title commonly found on season schedules in the area, what drew you to the script?

Chris Harmon, director

Chris Harmon, director

Chris Harmon:  I saw The Mystery of Edwin Drood performed at the Victoria by the Human Race around 1995, I went out and bought the original Broadway cast cd and have listened to it ever since.  Last year I became a member of the play selection committee at BCT and it happened to be on the list and I was immediately interested in directing it.

oSD:  The show has a few unique aspects, such as the audience participation and the “show-within-a-show” concept. What kind of complications did these create for rehearsals?

CH:  The audience gets to choose the detective, murderer and lovers in the show. There are so many possible combinations which make the show’s ending fresh and new every night. I am lucky to have amazing actors who took the initiative to learn their possible parts so well. The endings can’t help but to be under-rehearsed, since it would be impossible to run them all every night. It saddens me that only having 6 performances, some of the possible murderer’s will not even get a chance.

oSD:  You have developed a terrific reputation as a director and scenic designer in the Miami Valley…what was your approach in your designs for this show? How did you come up with the concept & how do you go about making your design come to life?

The Victoria Theatre stage, Dayton, OHCH:  Drood is set just before the turn of the century in “The Music Hall Royale”.  My inspiration for the set was actually the first place i saw the show, The Victoria Theatre. Drood is a show within a show, so the Grand Drape is used for the scene changes, so I created a music hall thrust to have enough playing space for the actors in front of the curtain. I am a very visual person and when reading a script or listening to the music, I get a picture in mind instantly, the hard part is figuring out how to execute the designs within budget and time frame.

oSD:  What is your next project?

CH:  My next project is directing Camp Rock at Town Hall Theatre (where i am the resident scenic artist).  In community theatre I am directing Evil Dead and Chicago at BCT next season and could not be more excited about it.  I am thrilled to be working with Annette Looper as choreographer for both of these.

The cast of unique and zany characters also includes Bryan Wilcox of Riverside, Jeremy D. King of West Carrollton, Jim Lockwood of Huber Heights, Lindsay Sherman of Bellbrook, Matt Owens of Beavercreek, Tara Nichole Murphy of Miamisburg, Pam McGinnis of Oakwood, Charles Larkowski and Megan Vander Kolk of Fairborn and Dayton residents, Dean Swann, Jenna Burnette, Jennifer Wilson, Michael J. Stockstill, Nicole Dine, Thomas Cole Schreier and Shawn Hooks.

Besides Chris Harmon, the production staff includes Annette Looper of Centerville as choreographer, Dr. James Tipps of Beavercreek as music director, and Kristie Lickliter of Fairborn filling the role of stage manager.

John Falkenbach of Dayton is the lighting  designer,  Brad Mattingly of Franklin is the orchestra director, Hans Unser of Beavercreek is the stage assistant and assistant set builder and Diana Blowers of Beavercreek is the producer.

-SA/BCT Press Release

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

Tickets & Performance Information:

Beavercreek Community Theatre LogoTHE MYSTERY OF EDWIN DROOD – June 10 – 19

8pm on Fridays & Saturdays / 3pm on Sundays

Tickets are $12 for adults and $11 for members, students and senior citizens.

A group discount of $1 per ticket is available to groups of 10 or more, when purchased at the same time for the same performance.

Tickets can be reserved by calling (937) 429-4737 and leaving a message or by e-mailing [email protected]. For more information, visit the theater’s Web site at www.bctheatre.org where tickets can also be purchased online.

Beavercreek Community Theatre is located within the Lofino Adult Enrichment and Cultural Arts Center at 3868 Dayton-Xenia Road in Beavercreek.

The show, which will be presented at 8 p.m. on Fridays and Saturdays and 3 p.m. on Sundays from June 10 through June 19, is actually a show within the show.

Win Free Tickets!

Beavercreek Community Theatre & onStageDayton on DaytonMostMetro.com have teamed up to give you a chance to win tickets to The Mystery of Edwin Drood! We will be giving away up to SIX pairs of tickets…We’ll select 1 winner (of a set of tickets) for every 5 FB/Twitter Shares! All you need to do is:

  • Share this article on Facebook or Twitter…just click the appropriate button at the top of this page.
  • Fill out the contact form at the bottom of this post.
  • The deadline to enter is Noon on SATURDAY, June 11th.
  • Winners will be selected randomly from all of the entries.

Error: Contact form not found.

Roaring Deals for ‘Lion King’ Patrons

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When Broadway’s version of Disney’s The Lion King comes roaring into town this month, ticket holders’ royal treatment will extend beyond the theater.

Downtown Dayton Partnership and the Victoria Theatre Association teamed up to provide roaring deals and promotions for the show’s patrons. For a full list of venues with special deals, be sure to check out the Downtown Dayton Partnership’s website, but here are the highlights:

Some restaurants and bars downtown will be serving specialty themed drinks. Feeling parched? Pounce into The Dublin Pub and try its “The Pride of the Pub” drink or swing by De’Lish Café to sample a Mufasa Mojito. If roaming the jungle has your stomach growling, Coco’s Bistro, Citilites and the Dayton Racquet Club will all have themed meal specials.

Looking more meal deals? Numerous restaurants around town — including Boulevard Haus, Blind Bob’s, Thai 9 and The Wine Gallery — will be offering a discounted menu to patrons with Lion King tickets.

For those who seek lodgings fit for a king, look no further than Inn Port Bed & Breakfast Suites, where ticket holders can stay in the King Suite for 20 percent off of its regular price. The Crowne Plaza Hotel also will have discounted room rates.

The royal treatment doesn’t stop there. Bonito and Cannery Art and Design Center both will be offering a 20 percent discount to those who present a Lion King ticket stub. At Omega Music, patrons will receive a 10 percent discount off new CDs and a 15 percent discount off of used music.  Additionally, ticket holders will receive $2 off of a ticket to the Dayton Visual Arts Center’s 20th anniversary celebration.

Tickets are available for Disney’s The Lion King. To purchase tickets and for more information on the show, visit the Victoria Theatre Association’s website or go to www.ticketcenterstage.com. Ticket Center Stage may be reached by phone at 937-228-3630 or 888-228-3630.

Attempting Closure In the Midst of Despair

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Jamie Cordes and Maria Couch in right next to me

Composer Gregg Coffin, familiar to local musical theater aficionados for his masterful portrait of a fractured family (“Convenience”) and zany dose of musically flavorful romance (“Five Course Love”), is in the spotlight once more as the Human Race Theatre Company presents the regional premiere of his genuinely affecting, sung-through opus “right next to me,” a poignant, solemn and timely musical about love, loss and acceptance that in some respects feels as if it’s still a work in progress.

Since its 2009 Human Race workshop, “right next to me” underwent major rewrites resulting in a more succinct vision. It has smoothly advanced from a tale of three interweaving storylines to one that specifically focuses on the depressed, heartbroken Jen (Maria Couch), a widow struggling to move forward a year after her husband, Marine Major David Marshall (Jamie Cordes), was killed in Iraq. With the help of her brother-in-law, Marine Captain Michael Marshall (Jim Poulos), Jen is ultimately able to assess and endearingly reflect on the past and her current state of transition as she joins Michael in scattering David’s ashes at a variety of meaningful places per his request such as a sledding hill, a trestle bridge and an amusement park.

Oddly, the first and second scenes are slow, confusing and musically unexciting. Jen’s loyal friend Trish Holmes (Dana Mierlak) particularly opens the show with a bundle of energy, but there isn’t a clear indication of who she is or why she is an important presence. It is understandable Jen would need someone to confide in, but Trish, a busy supermom, is presently underdeveloped to the point of being superfluous. Mierlak, a fine vocalist, tries to inject depth into the role but her forced efforts, including her comedic timing, fall short under the otherwise fluidly focused direction of Melissa Rain Anderson.

Still, Jen and David’s appealingly surreal exchanges, a series of well-conceived flashbacks and the impactful journey of reconciliation between Jen and Michael evolving from rocky discord to tender hopefulness keep the action emotionally resonant while providing an assortment of tuneful pluses. Coffin, responsible for the expert orchestrations, admirably infuses evocative Middle Eastern inflections into the pop/ballad-friendly score for some of David’s Iraq-inspired numbers, solidly interpreted by Cordes in one of his most striking portrayals. Couch, a naturally emotive actress very compatible with Cordes throughout, especially in the delightful “Two Chilly People,” brings Act 1 to a tear-jerking finish with a beautifully pensive rendition of “I Can’t Believe You’re Gone,” a plaintive anthem detailing Jen’s shell-shocked existence. Poulos, so marvelous in “Convenience” opposite Anderson, equally shines, fully conveying Michael’s conflicted nature and bringing heartfelt sincerity to his desire to follow David’s example and become a better man. He also winningly sings the Billy Joel-esque “Confirm/Deny” and terrific title number, a quietly captivating song that deserves a reprise by Jen in the final scene.

Despite conceptual shortcomings, “right next to me” is one of the most engaging new works of the season. It certainly has the potential to be catapulted from decent to dynamic.

right next to me, which opened Friday, May 27, continues through Sunday, June 12 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. There will be special 7 p.m. performances Sunday, June 5 and Tuesday, June 7. Act One: 73 minutes; Act Two: 40 minutes. The Friday, June 3 performance has been designated ‘Blue Star Mothers Night’ in which $10 from each adult single ticket purchase will be donated to the Dayton Chapter of Blue Star Mothers, an organization supporting military personnel and families. In addition, there will be a post-show talkback following the Sunday, June 5 matinee moderated by Human Race marketing director Leigh Allan and featuring composer Gregg Coffin. Before the June 7 performance, the Lite Fare at The Loft event, offering gourmet sandwiches and desserts for patrons in the Loft lobby courtesy of Citilites, will begin at 5:30 p.m. For tickets or additional information, call (937) 228-3630 or visit www.humanracetheatre.org.

In related news, the Human Race’s 2011 Festival of New Musicals will be held August 5-7 at the Loft Theatre. This year’s selections are Love Makes the World Go ’Round: The Songs of Bob Merrill, Pump Up the Volume (presented by Encore Theater Company and based on the 1990 film of the same name) and Play It Cool.