On Stage Dayton

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).

We all know about my ongoing addiction problem with dance.  With my recent experience with dance events, I was less than satisfied by the end results. Then I went to the Wright State University Dance Ensemble Winter Dance Concert and I could not wait to get home and tell you all about it. This gave me such a buzz that will stay with me to the Rise to Dance concert and the New Music for New Dance concert being presented this week.

While the concert was far from perfect, it had so much going for it, that by final stunning dance work choreographed by Susanne Payne it didn’t matter what my quibbles and personal dislikes were.  But for the purpose of a complete review, full disclosure is a must. What I love about dance programs presented by colleges and universities, is that you are given a buffet of artistic choices. If one choreographic work is not your cup of tea, something else on the menu might do the trick.

These types of shows are filled with risky choreographic choices and dancers eager to push themselves and the audience in new and exciting directions. Mostly hit or miss but at least an attempt is being made by all involved. And the fact that a college dance concert is more exciting than a professional dance concert should be of concern to this community.

The choreography of assistant professor, Gina Walthers kicked off the concert with a modern pedestrian/propulsive style of choreography that showcased the dancers in the most flattering of ways. The swooping curvilinear forms carried by the always dependable music styling of Kevin Anderson with a mighty assist from the distinctive vocalize of Nina Simone.  The quartet section was of particular choreographic note. Bravo Gina.

Next on the bill was the work of Justin Gibbs, Assistant professor, The Re-Player. A slightly quirky piece, it contained some interesting angular upper body positions that lead to beautiful turning combinations.

I was blown away by the work of student choreographer Joanie Evans, Unscripted.  She is a confident young artist with a very mature movement vocabulary and a burgeoning skill at creating movement sequences that swept the audience (myself included) up in a moody and intense exploration of young women on the edge of emotional vortexes beyond their control. It held the audiences attention from beginning to end. My only quibble is the lighting changes were too frequent and distracting. As you progress as a choreographer Joanie, deliberate you lighting choices very carefully.

Kudos to Abigail Beam for taking the helm of Dayton Ballet II and choreographing, Danza Scherzi, a work that  I feel is only the beginning of a renaissance of dancing at the pre-professional level.  In the past I have not been a fan of all of the works presented by DB II at the Wright State concert.  This work left me hopeful for a revitalization of this pre-professional training program. Since I began my dancing life there, I will always have a soft spot for DBII. And I want to encourage her to keep developing her choreographic chops and build upon her keen sense of musicality and overall aesthetic vision. Keep pushing their technical training.

What happened next on the concert bill nearly caused me to OD. Visiting guest choreographer Adam Hoagland, presented Risk of Flight, a daring, ambitious vertiginous work that left me speechless. Where does one begin with a choreographic work of such sublime intensity? This sublimity compelled me to stalk his choreographic output and to seek out the next show that contained his work. Not since the presentation of the solo Monster Partitur by the king of contemporary choreography at the Wexner a couple of years ago have I been so inspired by someone’s choreographic efforts.  Startlingly simplistic shapes of distorted limbs, like alien life forms, that the dancers thrust themselves into had a visceral freshness that cut through hubris presented by most contemporary choreography. This guy is the real deal.

The fact that Wright State performed his work has elevated their stature in my eyes.  This is a program that bounced back in a major way. If you are a lover of dance you must seek out his work wherever it is being performed (hint, he is the resident choreographer at Cincinnati Ballet). Dayton Ballet should be speed dialing him right now.

A Corps of Individuals, by Justin Gibbs, while not my favorite piece on the concert, had its moments.  I still had a buzz from Risk of Flight that allowed me to sit through it. The pointe work of the dancers was not as strong in sections as it could have been. As a satirical work about the machinations of ballerinas, the humor could have been more acerbic and witty had their technique been sharper this could been a lot o fun.

Nox, a stunning duet by former DCDC dancer Rodney Brown, was an incredibly poignant piece that pulled me into its intimacy. Amelia Dietz and Jordan McMahan danced this work with grace and nuance that served the piece incredibly well. He is another choreographer who we should all be following.

Gina Walther presented excerpts of Bernstein’s Mass, which will be performed on May 13, and 14 as part of a creative collaboration between the Dayton Philharmonic Orchestra and the Wright State University Theater, Dance and Music departments. A powerfully meditative work that evoked a quiet spirituality that allowed for flowing sparkling group sections that spun off into, solo, duet and various other groupings. The dancers  were dressed in blue tunic style belted dresses that flattered the sweeping gestural quality of the work.  As a preview this was a wonderful teaser of what is to come in May at the Schuster (look for the preview). I have always been a fan of Gina’s work.

And last but not least, we had the sensual finale of Shake by Susanne Payne. I cannot think of another choreographer working in the Dayton region, other than William McClellan Jr., who possesses such superlative dance making chops. She has invested her energy and talents into transforming the ladies on stage into creatures of silken and sassy muscularity. I found myself keeping rhythm by slapping hand against my thigh, marveling at how she created a large cast group piece that managed to highlight the singular gifts of each talented dancer.  Susanne Payne is a choreographer of merit and note that deserves all of the accolades that she has coming. Any chance to see her work is a must see event.

The dancers were all in black skirts and shoulder length sleeves that swayed and twirled with a life of its own. As the dancers propelled themselves across the stage with shuffles and arm swings that enveloped the audience in a rapturous energy.

Finally a satisfying dance fix. I am looking forward to the New Music for New Dance  concert at Dayton Ballet coming this weekend.