On Stage Dayton

The Human Race Theatre Company, a continual advocate of potent works spotlighting the African-American experience, returns to the hot button topic of race with an outstanding presentation of Thomas Gibbons’ museum drama “Permanent Collection,” which appropriately opened at the Loft Theatre the day after probable presidential hopeful Donald Trump reassured the country of his great relationship with “the blacks.”

Delicately yet crisply directed by Schele Williams, responsible for the Human Race’s marvelous 2009 production of “Ethel Waters: His Eye Is On The Sparrow,” “Permanent Collection” examines a controversial 2003 feud, loosely based on a true account and ensuing documentary, between two hardnosed men that forever changes Pennsylvania’s Morris Foundation. Exclusively tucked away in the suburbs of Philadelphia with a by-appointment-only admission policy, the Foundation, beautifully conceptualized by scenic designer Tamara L. Honesty, is caught in a period of major transition following the untimely death of its creator/benefactor Alfred Morris (Scott Stoney, playfully shrewd and spry). Alfred peculiarly willed his vast art collection, primarily known for its Impressionist and Post-Impressionist treasures to be displayed without interference, to a historically black college who chose former corporate executive Sterling North (a tremendous Alan Bomar Jones) as the Foundation’s new director. Sterling, a Jaguar-driving African-American who has endured his share of prejudice, doesn’t ruffle feathers until he contemplates diversifying the museum’s 23 galleries by displaying eight pieces of African art found in storage. This bold idea deeply troubles the Foundation’s veteran curator Paul Barrow (Scott McGowan, a terrific adversary) who feels any disruption to the collection completely violates Alfred’s intent. As Sterling and Paul debate the preservation of legacy versus advancing the Foundation’s future, Gibbons credibly creates a volatile den of racially charged hostility that manages to sustain its neutrality, leaving the engrossing guessing game of right or wrong in the eye of the beholder.

When tempers rise and the race card is dealt, Gibbons predictably takes Sterling’s angry black male mentality too far, but Jones, magnetically commanding the stage with every move and gesture, rises above the tired stereotype with an impeccably crafted portrayal dynamically conveying Sterling’s dignity, intelligence, tenacity, wit and forward-thinking perspective. There is so much more to Sterling than mere rage and resentment, and I shudder to think what would have transpired in the hands of a lesser talent. McGowan, commendably holding his own in the face of the intimidating Jones, conveys Paul’s proficiency as an art aficionado with full veracity. He also excellently adopts a fiery persona in Act 2 when Paul, having sued Sterling for libel when called a racist in the local newspaper, leads various demonstrations against the Foundation after prodding from highly perceptive reporter Gillian Crane (Christine Brunner at her finest).

Additionally, the lovely Melissa Joyner radiates with cool sophistication as Kanika Weaver, Sterling’s associate who remains a loyal friend to Paul despite the heat of battle. Joyner is truly compelling late in Act 2 when Kanika, created by Gibbons as a means to explore common ground between the races, weighs her fate and shares an eye-opening epiphany. The likable Sharon Hope portrays Ella Franklin, Alfred’s longtime assistant.

Whether the core issue is race or art, “Permanent Collection,” incredibly relevant while fascinating with mystery, brings thought-provoking awareness to the pitfalls and repercussions of narrow-mindedness. Dissension is an inescapable fact of life, but perhaps after reflecting on the gorgeous universality of such masters as Cezanne, Matisse, Renoir, Seurat and Van Gogh in Gibbons’ captivating context, everyone can agree with Paul’s assessment that “art can make us better human beings – deeper, richer, more alive.”

Permanent Collection, which opened Friday, April 15, continues through Sunday, May 1 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 65 minutes; Act Two: 50 minutes. Tickets are $20.50-$40. A talkback discussion will be held following the Sunday, April 24 performance featuring Will South, chief curator of the Dayton Art Institute. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org

Tom Griffin’s humorous and poignant 1987 comic drama “The Boys Next Door,” a story of four mentally disabled roommates and their compassionate social worker, receives an excellently character-driven presentation at the Dayton Theatre Guild.

Director Natasha Randall, subtly inserting Christina Aguilera’s “Beautiful” for topical relevance at one point, deftly establishes the varying tones in the challenging play which encompass moments of utter pandemonium, charming levity and heartrending potency. Whenever the action particularly plummets into chaos, the hyperactive tendencies of the meticulous Arnold Wiggins (Darren Maddox), the childlike Lucien P. Smith (Franklin Johnson), the doughnut-craving Norman Bulanksy (William Fulmer) and the golf-adoring Barry Klemper (Craig Roberts) unintentionally rise to grating levels, but these unique men are endearingly and energetically brought to life nonetheless which is paramount.

Griffin doesn’t provide many conceptual fireworks in the mildly meandering Act 1, but supplies two terrific scenes in the more substantive, emotionally engaging Act 2. The tense arrival of Barry’s abusive, bigoted father, played with casually cruel ease by Mark Jeffers, completely demolishes Barry’s self-esteem and psychological well-being, which Roberts, in perhaps his most sympathetic performance to date, skillfully conveys. Shortly after Barry is reduced to tears, Lucien appears before the state senate in heartbreaking fashion to fight for his benefits. While questioned, Lucien delivers a powerful out of body monologue, a fervent plea for tolerance and understanding which also serves as the highpoint of this production,   superbly and passionately rendered with dignified dynamism by Johnson, whose fully absorbing, applause-inducing portrayal is among the finest of the season.

Jeffers, Roberts and Johnson are fortunate to have the most compelling material, but Maddox, Fulmer and an appealingly understated Jeff Sams as Jack, the friendly caregiver coping with uncertainty in his personal and professional life, are equally solid. The tall, lanky Maddox, wearing a funny assortment of hats throughout, effortlessly lays the quirky groundwork for the play in the opening scene. Fulmer, speaking loudly and vigorously barreling his way through the action, shines during his tender scenes opposite Lisa Sadai as the adorably smitten Sheila. Sams, very good at being totally unpretentious, embodies Jack with a genuinely supportive, paternal temperament which makes the final moments unquestionably touching. Ellen Ballerene and Darren McGarvey effectively portray multiple roles that accent the authenticity of this meaningful and thought-provoking Guild achievement.

The Boys Next Door, which opened Friday, April 1, continues through Sunday, April 17 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 57 minutes; Act Two: 70 minutes. Tickets are $11-$18. For tickets or more information, visit www.daytontheatreguild.org or call (937) 278-5993.

In related news, the Guild’s 2011-12 season, dubbed Truth and Consequence, will feature Paula Vogel’s The Oldest Profession (Aug. 26-Sept. 11, 2011 directed by Greg Smith), Neil Simon’s Lost in Yonkers (Oct. 21-Nov. 6, 2011 directed by Fran Pesch), Tom Stoppard’s adaptation of Gerald Sibleyras’ Heroes (Jan. 6-22, 2012 directed by Fred Blumenthal), David Davalos’ Wittenberg (Mar. 16-Apr. 1, 2012 directed by Saul Caplan), Lee Blessing’s Going to St. Ives (Feb. 10-26, 2012 directed by Greg Smith) and Horton Foote’s Dividing the Estate (Apr. 27-May 13, 2012, directed by Ralph Dennler). The season extra productions will consist of Stephen Temperley’s Souvenir (Sept. 16-25, 2011), Ed Graczyk’s The Blue Moon Dancing (Dec. 2-8, 2011, directed by Greg Smith) and Neil Bartram and Brian Hill’s The Story of My Life (June 1-17, 2012, directed by Debra Kent). Additional information about the season including audition dates will soon be found online at www.daytontheatreguild.org or by calling (937) 278-5993.

Cedarville University wraps another winning season with an entertaining production of “See How They Run,” Philip King’s simple yet amusing 1944 British farce.

Cohesively directed by Rebecca Baker and attractively designed by Donald N.C. Jones and Robert Clements, the three-act “Run” centers on a flurry of mistaken identity inside the home of Reverend Lionel Toop (Josiah Hutchings, a standout in Cedarville’s marvelous “Hello, Dolly!” two months ago). Lionel’s musically inept wife Penelope (Sara Daransky), a former actress, does her best to keep her sanity intact amid the madness, but it’s a difficult task as the men around her are caught in a whirlwind of confused hilarity while dressed in priestly garb. King strangely builds the farcical essence of the piece with an awkwardly slow progression, which certainly hinders Act 1 from being a total laugh riot, but the sparks begin to fly in Act 2 and truly soar in Act 3.

In addition to Hutchings and Daransky’s admirable performances, “Run” features a strong supporting cast who sharply executes Matthew Michael Moore’s fight choreography and embraces spontaneity while avoiding the temptation to go over the top. The very charming Dylan Cimo naturally embodies the easygoing Corporal Clive Winthrop, who previously starred with Penelope in a production of “Private Lives” and longs for nothing more than his Army uniform once he’s trapped in black. Jordan Link and Eric Rasmussen are respectively and delightfully daft as the Bishop of Lax and Reverend Arthur Humphrey. Allister Littrell brings appealing menace and humor to his role as a foreign Intruder, especially in Act 3 when he humorously tries to fool everyone as Lionel while clinging to Penelope. Keely Heyl, possessing an impressive knack for physical comedy, is outstanding as tightly-wound parishioner Miss Skillon, who is continually shoved in a closet. Perfectly prim and proper at the outset yet completely disheveled toward the end, Heyl notably performs an inspired bit involving a group of coats that would make James Burrows (“Cheers,” “Frasier,” “Will & Grace”) proud. Emily Dykeman scores big laughs as Ida, Lionel and Penelope’s dutiful maid. Ben Lenox offers fine authority as Sergeant Towers in the final moments.

“Run” doesn’t race until Act 2, but serves its overall purpose as playful theatrical escapism.

See How They Run, which opened Thursday, April 7, continues through Sunday, April 17 in the DeVries Theatre of the Stevens Student Center at Cedarville University, 251 N. Main St., Cedarville. Performances are Thursday and Friday at 8 p.m. and Sunday at 3 p.m. Act One: 33 minutes; Act Two: 34 minutes; Act Three: 45 minutes. Tickets are $8-$12. For tickets or more information, visit http://www.cedarville.edu/ticketinfo

Jukebox musicals, shows that use preexisting songs to craft a story or revue, remain a popular staple on Broadway despite their artistic and financial unpredictability. Three weeks ago I was dazzled by the pop-friendly extravagance of “Priscilla, Queen of the Desert: The Musical,” a hodgepodge of Madonna, Burt Bacharach, Cyndi Lauper and Donna Summer tunes among others that could possibly receive a Best Musical Tony nomination next month. But even though “Priscilla” proved equally entertaining as still-running jukebox magnets “Jersey Boys,” “Mamma Mia!,” Million Dollar Quartet” and “Rock of Ages,” the genre has had its share of flops (“Good Vibrations,” “Lennon,” “The Look of Love,” “Ring of Fire”). In particular, Twyla Tharp won a Tony for “Movin’ Out,” but stumbled with “Times They Are A-Changin’” and “Come Fly Away.”

Presently, the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospitals Broadway Series offers the local premiere of 2005’s “All Shook Up,” a comical look at a tiny, traditionalist Midwestern town circa 1954 featuring over 20 songs from the Elvis Presley repertoire. Incorporating a clever nod to “Twelfth Night,” Tony winning librettist Joe DiPietro (“I Love You, You’re Perfect, Now Change,” “Memphis”) admirably balances the jokey silliness of the premise (a cool roustabout has his emotions tested while swiveling his way into the hearts of a conservative community) with period appropriate potency (an engaging subplot examining interracial romance). Some tunes are shoehorned better than others, a typical downside of the jukebox blueprint, but DiPietro specifically scores with the placement of “C’mon Everybody,” in which rebellious Chad (the very charismatic Brian Kess) spins the town into a colorful frenzy, and “It’s Now or Never,” a wonderfully tender moment given to lovebirds Lorraine (Caitlyn Renee) and Dean (Alex Herrera) heightened by cute, spine-tingling stagecraft from director M. Seth Reines who adapts Christopher Ashley’s original concept.

In addition, Khristy Chamberlain is delightful as Natalie Haller, a mechanic smitten with Chad who disguises herself as the macho Ed in an attempt to befriend him. Chamberlain’s endearing spunk is a plus and her belting soprano sparkles throughout “One Night With You,” the particularly feisty “A Little Less Conversation” and “Fools Fall in Love.” Powerful vocalist Brooke Aston, who brings the house down with “There’s Always Me,” is a super sassy Sylvia, Lorraine’s no-nonsense mother. Ben Martin is charming and quite comedic as Dennis, a Shakespearean devotee hopelessly in love with Natalie. The statuesque Hannah Zold is a fine fit as Miss Sandra, Chad’s object of affection who is actually head over heels for Ed. Ellen Karsten is effectively crabby, insensitive and overbearing as Mayor Matilda Hyde, Dean’s mother, and has an amiable sidekick in Ricky Pope as Sheriff Earl. Paul Crane brings humor and warmth to his portrayal of Natalie’s widowed father Jim. Muse Machine and Wright State University alum Matt Kopec is notable among the surprisingly small ensemble joyfully executing Marc Robin’s lively choreography.

Arriving on the heels of the outstanding national tour of “Avenue Q” which played the Victoria Theatre Wednesday, March 30, “All Shook Up” ultimately arises as a breezy, feel-good option ranking among the more tolerable jukebox creations.

All Shook Up, which opened Tuesday, April 5, continues through Sunday, April 17 at the Victoria Theatre, 138 N. Main St. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $39-$81. For tickets or more information, contact Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

One wouldn’t assume the story of a German transsexual and his botched sex change operation would be deemed as universal musical theater, but thanks to the incredibly compelling and engaging framework seamlessly conceived by librettist John Cameron Mitchell and composer Stephen Trask, 1998’s cult hit “Hedwig and the Angry Inch” leaps past its seemingly niche appeal to speak to anyone who has made a monumental sacrifice, experienced betrayal, questioned their identity or individuality, or longed to find a soul mate while searching for true love.

In Encore Theater Company’s authentically raw, terrifically intimate presentation, which opened Thursday, April 7 at Club Vex smoothly directed by Shane Anderson, the remarkable JJ Parkey completely inhabits the witty, glamorous, opinionated, sarcastic, heartbroken and steadfast Hedwig, an “internationally ignored” wannabe rock star born Hansel Schmidt to an East German mother and an American G.I. As Hedwig’s unique tale breezily evolves from his rocky childhood in tumultuous Berlin to life post transgender surgery in a Kansas trailer park as a divorcee and babysitter hoping for stardom, Parkey, unafraid to interact with the audience while strutting through the aisles with fetching flair, becomes a vulnerable, captivating storyteller, particularly in terms of his astute narrative abilities and seamless transitions when embodying other characters, specifically Hedwig’s seductive “Sugar Daddy” Luther and his lover-turned-nemesis Tommy Gnosis. Musically, he fully embraces the grittiness of rock numbers “Tear Me Down,” “The Angry Inch” and “Exquisite Corpse,” leads the snazzy sing-a-long “Wig in a Box” with carefree whimsy, and unhurriedly savors the lyrically introspective beauty of “The Origin of Love” and the poignant “Wicked Little Town,” hauntingly reprised with evocative assistance from lighting designers Brian Cox and Nicholas Crumbley.

This musical is often considered a one-man show, but has always been a solid two-hander due to the presence of Yitzhak, Hedwig’s obsessive, occasionally bickering husband superbly portrayed with crazed, wide-eyed intensity by the mesmerizing Abigail Nessen Bengson, who took Dayton by storm last season as Mimi in Encore’s production of “Rent.” Yitzhak is primarily a reaction role, but Bengson, while never stealing focus from Parkey or reducing the compatible rapport they establish, commands attention with every dynamic, character-specific move she makes. Despite the fact that Parkey sings the lion’s share of the score, Bengson, one of the most vocally dexterous and magnetic singers I have heard, offers wonderful back-up and a few solo moments to be treasured. Her brief and unassuming rendition of “I Will Always Love You” contains soulful inflections that rival Whitney Houston’s definitive interpretation. Equally thrilling is her passionately full throttle and fiery version of “The Long Grift,” Yitzhak’s prime occasion to bask in the spotlight. The number is a hallmark of this production and a joy to behold.

Guitarist Shaun McClain Bengson, Abigail’s husband, is a member of the excellently balanced on stage band led by music director/pianist John Faas and also featuring percussionist Shea Castle and bassist Luke Dennis.

Encore impressively executes Hedwig’s fascinating, humorous and gripping journey of survival. Parkey and Bengson’s outstanding performances are not to be missed.

Hedwig and the Angry Inch continues Friday, April 8 at Club Vex, 101 S. St. Clair St., and Saturday, April 9 at MJ’s Cafe, 119 E. Third St. Performances begin at 8 p.m. The musical, which is performed in 90 minutes without intermission, contains adult language and mature themes. Tickets are $15. For tickets or more information, visit www.encoretheatercompany.com

In related news, Encore’s 2011 summer mainstage series, in association with Sinclair Community College, includes ETC’s Big Fat Concert Series Vol. 2: I Feel So Much Spring-Seasons and Celebrations (April 29-30 at The Color of Energy Gallery), Altar Boyz (June 16-18 at Sinclair’s Blair Hall Theatre), In My Blood (July 14-16 at Sinclair’s Blair Hall Theatre), Pump Up The Volume and The Consequences (Aug. 4-6 at the Loft Theatre in conjunction with the Human Race Theatre Company) and ETC’s Big Fat Concert Series Vol. 3: The Best of Big Fat (TBA).