In the delightful musical comedy “The Drowsy Chaperone,” the winner of 2006 Tony Awards for Best Book and Best Original Score which opened Tuesday, March 8 at the Victoria Theatre produced by the Human Race Theatre Company and presented on the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospital Broadway Series, a musical theater devotee simply named Man in Chair reflects on his adoration for a 1928 musical of the same name by playing its cast recording for the audience. As an assortment of colorful characters spring to life in his Manhattan apartment, the show-within-a-show marriage of fantasy and reality, meticulously constructed with hilarious, sardonic anecdotes by librettists Bob Martin and Don McKellar, cleverly soars, authentically propelled by Lisa Lambert and Greg Morrison’s bubbly pastiche songs.

This well cast, Broadway caliber presentation, fluidly directed by director/choreographer Kevin Crewell who predominately adapts the original Tony-nominated contributions of Casey Nicholaw, stars Wally Dunn whose outstanding portrayal of Man in Chair contains an easygoing humility and infectious bursts of bliss. Whether sipping on a juice box or gesturing dramatically under a crescent moon, Dunn wholeheartedly embraces the passion and quirks inherent in his unassuming role which is pivotal since the material would be deflated without an enthusiastic, fully committed narrator.

Although the show relies heavily on Dunn’s engaging personality, the featured roles are also winningly performed. Megan Nicole Arnoldy offers lovely vocals and an appealing stage presence as showgirl Janet Van de Graaff, whose impending marriage to Robert Martin (the handsome Robb Sapp) serves as the catalyst for “Drowsy Chaperone.” Sapp particularly shines near the outset with the catchy tap dance number “Cold Feets” opposite the excellent Richard Vida as George, Robert’s best man. Jana Robbins wonderfully tackles the tipsy titular role with boozy flair. Christopher Gurr displays sharp comedic timing as Latin lothario Aldolpho. Saul Caplan is believably exasperated as Janet’s producer Mr. Feldzieg, who spends the proceedings preoccupied with ditzy ingénue Kitty (a period-appropriate Adrienne Gibbons) and two vaudevillian-esque gangsters posing as pastry chefs (a humorously unified Scott Cote and Steven M. Goldsmith). Human Race resident artists Patricia Linhart and Scott Stoney are a charming duo as Mrs. Tottendale and her dutiful Underling. Shawn Storms, as aviatrix Trix, puts her belting voice to good use as she leads the cast in the cheerful “I Do, I Do In The Sky.” J.J. Tiemeyer, Amy Wren, Eric Byrd and Erica Steinhagen are compatible ensemble players.

In addition to incorporating Gregg Barnes’ stylish Tony-winning costumes, the creative sets, nicely modeled after David Gallo’s Tony-winning creations, are designed by J Branson courtesy of Music Theatre of Wichita. John Rensel and Nathan D. Dean respectively supply effective lighting and sound design. Musical director John Faas energetically conducts a terrific orchestra.

Like the Man in Chair, I encourage you to escape from the dreary horrors of the real world and sample the theatrical joy that is “The Drowsy Chaperone.”

The Drowsy Chaperone continues through Sunday, March 20 at the Victoria Theatre, 138 N. Main St. Performances are Wednesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. The show is performed in 105 minutes without intermission. Tickets are $39-$81. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Wright State University admirably delivers Jason Howland, Mindi Dickstein and Allan Knee’s poignant yet unremarkable 2005 musical “Little Women,” based on the classic Civil War-era novel by Louisa May Alcott.

Alcott’s semi-autobiographical coming of age tale centers on the colorful, tightly bonded March sisters of Concord, Massachusetts coping with life on the homefront with their mother while their father serves his country. This sprawling adaptation, which takes a few conceptual liberties, offers heartwarming sentimentality, but particularly lacks a wealth of strong, dynamic, period-appropriate tunes from Howland and Dickstein. Both acts open with lengthy, forgettable numbers emphasizing the adventurous writings of the fiery Jo (Jennifer Lamourt), and there are also songs that could have been discarded in favor of allowing librettist Knee to craft more compelling book scenes. Nevertheless, director Lee Merrill injects joy, sincerity and tenderness into the material which keeps the three hour presentation – which opened Friday, March 4 in the Herbst Theatre fluidly executed by a unified cast, smoothly music directed by Susan Carlock and attractively costumed by Vinicius Vargas – thoroughly engaging.

The spunky Lamourt doesn’t possess the vocal range required to belt her big solos, particularly the musical’s signature anthem “Astonishing,” but she effectively relies on her acting strengths to convey Jo’s spitfire determination to become a successful author while simply embracing the independent woman she is. In a welcomed touch of non-traditional casting, Ria Villaver effectively transitions from bratty immaturity to attractive sophistication as Amy. Kathleen Ferrini is nicely understated as Meg. Darien Crago is lovely as the quiet, reserved Beth and also serves as choreographer, specifically staging “Five Forever” with carefree enthusiasm. These ladies form a naturally compatible connection with Madeleine Casto, excellently commanding as the affectionately stern Marmee. Additionally, Michelle Weiser is terrifically authoritative as the society-driven Aunt March, and Lauren S. Deaton, a standout in productions at Sinclair Community College, fares well as boarding house owner Mrs. Kirk.

The men of “Women” are equally appealing. Casey Jordan creates a pleasant rapport with Lamourt in the charming yet underwritten role of Professor Bhaer. Fine tenor Zach Cossman is an endearing presence as Laurie, who pines for Jo yet ultimately falls for Amy. Jason D. Collins, marvelously paired with Casto in “August: Osage County” earlier this season, offers another satisfying turn as Mr. Laurence. The adorably meek Justin Talkington nearly steals the show as John Brooke, Laurie’s tutor smitten with Meg.

Little Women continues through Sunday, March 13 in the downstairs Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 90 minutes; Act Two: 70 minutes. Tickets are $7-$10. For tickets or more information, call (937) 775-2500.

In related news, WSU’s 2011-12 mainstage season will consist of Death of a Salesman (directed by Greg Hellems and tentatively featuring Scott Stoney and Lee Merrill), Hairspray (directed by Joe Deer and choreographed by Teressa Wylie McWilliams), Rent (directed by W. Stuart McDowell), The Merchant of Venice (directed by Sandra Crews) and The Phantom of the Opera (directed by W. Stuart McDowell). Part 2 of Bruce Cromer’s adaptation of Barnaby Rudge will be featured in the Herbst Theatre along with two productions yet to be determined which will be respectively directed by Marya Spring Cordes and Jamie Cordes. The mainstage and Herbst selections are subject to change.

Dance Reviews

Dayton Ballet – Streetcar Named Desire

Dayton Contemporary Dance Company – In The Spirit Of:  The Spirit Within

As a lover of dance in all of its incarnations, my passion for the art will compel me to seek out every performance that I can find, fit into my schedule and afford. I am owning up to my addiction to dance.

When I discovered that both Dayton Ballet and Dayton Contemporary Dance Company were both performing, I felt like I scored the biggest fix of my life. Now after my weekend binge, standing in the light of the rising sun  I realize that it was not a particularly great batch of…

Part of the pleasure of dance addiction is the almost perverse visceral joy you get by parading your addiction in public. The ritualistic anticipation of the heavy velvet curtain rising to  expose a portal to a world of incredible aesthetic beauty inhabited by  beings possessing  an invigorating super human physicality, what a rush.

The captivating elements of theatricality and music combined with choreographed movement that when it works can leave you breathless.  Addiction is about extremes and so I make no apologies for wanting the experience to elevate me.

Dayton Ballet – Streetcar Named Desire

At the Dayton Ballet performance of Streetcar Named Desire and mixed repertory program was the beginning of my “lost” dance weekend, the curtain rose on the first ballet, Freudian Slip. A quartet of ballerinas in gray athletic cut mini dresses with pink  under-skirts was the perfect opening work, a delightful minor ballet that provided just enough of an initial rush for the ballet addiction to kick in.

The crisscrossing patterns accented by losses of ballet decorum, movement hiccups that hinted at a desire to break free, was danced by Erika Cole, Erica Lehman, Halliet Slack and Annalise Woller with a subtle precision. I get the sense that the choreographer Mrs. Russo Burke, wants to not play it so safe. I question what is holding her back, more on that later.

This was followed by a presentation of the centerpiece of the evening, a ballet interpretation of Streetcar Named Desire, Tennessee Williams seminal drama of lust, brutality, and madness interpreted by the choreography of Mrs. Russo Burke.

The ballet for the most part contained some interesting choreographic passages that effectively portrayed the relationships of the central characters, Stella, Blanche and Stanley.  But as the ballet progressed I felt as if the underlying salient sexual tension, which is truly integral to Blanche and her falling into the pit of madness had been stripped away and neutered. I felt sorry for the plight of this Blanche but not devastated for her.

Choreographically, the Pas de deux between Stella and Stanley, (beautifully danced by Erika Cole and Justin Michael Koertgen) set us up perfectly for what is the lynch pin of the play, the sexual brutalization of Blanche at the hands of Stanley. And somehow this was woefully underplayed.

Might I suggest that if this is going to be a part of the repertory of Dayton Ballet under Mrs. Russo Burke’s direction that some time is taken to rework this ballet and give it some teeth.  This is one dangerous sexy beast of a story that should make us more than a little uncomfortable.  I know it is possible because Mrs. Russo Burke provided us the underlying reason for Blanche’s descent into madness (husband is a closet case and commits suicide) and to display that choreographically was a bold decision.

This was an intimate chamber drama that played more like a Sophia Coppola film, a drama that skirts around the dark matters of the heart when it should have played like the first “Godfather” film, going straight for the visceral sucker punch.

And then came Five Flights Up, a work whose charms utterly failed to inflict its mojo on me. I desperately wanted to like this ballet. The dancers tirelessly gave an energetic performance of the choreography set to songs by the Squirrel Nut Zippers. I was completely in their corner, yet it did nothing for me.

All of the elements were there like a choreographic shopping list’ Fun music, check, cheeky partnering sections, check, colorful costumes, check. As the ballet progressed I kept waiting for it to get better as if the high would kick in soon.  Wait? Had I gotten a hold of a bag of mediocre dance “chronic”? The choreography played it way too safe. I love repetition and developing a phrase of movement material that resurfaces through out a piece, but to what end if the ballet fails to deliver as a piece of great entertainment?  I just could not get past its lackluster construction.

“Basics” like the other ballets on the program hinted at the possibilities what this ballet company could deliver; strong and committed dancing, they could lose some of the rigidity in their upper backs and necks.

A word of advice to Mrs. Russo Burke, as one of my local dance “dealers” In the future I am looking for the best buzz that I can get from being in the audience for a live dance concert, delight me, scare me and don’t be afraid to turn me on. I will do my job to get others hooked on your artistic stuff.  Quit diluting your stash, The buzz never fully kicked in when it should have.

Dayton Contemporary Dance Company – In The Spirit Of : The Spirit within

In The Spirit Of : The Spirit within… A cacophonous celebration of dance and gospel music reminded me of church sermons from when I was growing up. The perfunctory duties were up front, shout out to the infirmed, a few hymns sung, passing the collection plate   and as the service progressed it finally got to the point of why we were there, a reaffirmation of our faith. The big fiery sermon by a dynamic and captivating pastor was the big payoff.  Like the sermons from my childhood we had to witness a lot of  perfunctory stuff to get to the big payoff of this concert as well.

Because of my professed dance addictions, this was the perfect scenario. Contemporary dance and gospel music on a Sunday afternoon; what a way to make up for the mild buzz from the Dayton Ballet performance on Friday and great buzz from the Encore Theatre Company presentation on Saturday, “Hot Mess in Manhattan”, How could one not be elated after that workshop performance.

I walked into the Masonic Temple eager for a fix.  I knew I was in for an ebullient performance from the company, they have reliably delivered that kind of performance every time before.

The first half of the show contained many individual moments from the quiet beauty of Crystal Michelle’s choreography, the unified and beautiful dancing of the second company of DCDC and the strength of  the authoritative choreography of William McClellan Jr. Yet I was left with the sense that this was not the strongest presentation of this dance company’s singular skills.  As the stylish lady who sat next to me tersely asked, “What is this?”

The second half to the show delivered what the first half the show could not; Art that was also entertaining and uplifting.  From the incredible marriage of choreography and music that was The Central State Men’s Choir and Shonna Hickman Matlock and William McClellan Jr. to the soul stirring sound of Shirley Murdoch and the raise the roof finale (Special shout out to our greatest natural resource, Sheri Williams), I felt the salvation of a masterful sermon about the spiritual power of dance. It was worth the wait but waiting for a fix is never the most comfortable situation to be in.

As with Dayton Ballet, I am sending you a similar but different message Mrs. Blunden-Diggs, make sure that everything that you send out on stage transports the audience to the next level and I will do everything in my power to help get people hooked, but all your stuff has to truly be world class.



Wright State University commendably stages William Inge’s 1953 Pulitzer Prize-winning romantic drama “Picnic,” an authentically engaging slice of life about family, friendship, love and regret boiling over on a hot Labor Day weekend in 1950s Kansas.

The tall, lanky and handsome Riley Able is a personable focal point as Hal Carter, a drifter who sets hearts aflutter in the shared backyard of Flo Owens (Tess Talbot, reminiscent of a young Judith Ivey) and Helen Potts (an excellent Kelsey Hopkins). Hal, a former football hero with a troubled past, has grown accustomed to making women swoon, but finally finds what he’s looking for in Flo’s pretty daughter Madge (Stephanie Tucker), the girlfriend of wholesome Alan Seymour (Greg Mallios), Hal’s college friend.

“Picnic,” which opened Thursday, February 17 delicately directed by Marya Spring Cordes, thrives on its central love triangle, and there is palpable chemistry between Able and Tucker, particularly during an impromptu dance that hints at the sexual fireworks to come. Tucker fully conveys Madge’s soul-searching essence and supplies an emotional tug-of-war as her pivotal choice of suitor begins to blur. The moment of truth arises in a flustered frenzy which Tucker wonderfully infuses with touching optimism. The appealing Able, astutely remembering Hal doesn’t feel comfortable being “natural,” exudes a charming, sunny bravado that rarely wanes. Mallios, an effectively straight-laced contrast, is especially strong late in the play when Alan’s aims turn to betrayal.

Along withMallios,  Talbot and Hopkins (who is heartbreaking in the final minutes when Helen recalls her fondness for Hal), fine featured portrayals stem from the delightful Chelsey Cavender as sassy tomboy Millie Owens, Becca Frick and Dani Cox as respective teachers Irma Kronkite and Christine Schoenwalder, Joey Monda as paperboy Bomber and the voice of Helen’s mother, and Valerie Reaper as the opinionated Rosemary Sydney, who fears growing old and is desperate to wed Howard Bevans (Zach Schute). The ladies are particularly clothed in striking period designs by D. Bartlett Blair, and Nicholas Crumbley’s lovely lighting design is also a plus.

Picnic continues through Sunday, February 27 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Wednesday at 7 p.m., Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 80 minutes; Act Two: 38 minutes. Tickets are $17 and $19. For tickets or more information, call (937) 775-2500.

In related news, Wright State is in need of storage space for sets and props. “We want  and need to recycle our sets, reuse major portions in future shows, as a major way of economizing and being more green,” said W. Stuart McDowell, chair and artistic director of WSU’s Department of Theatre, Dance and Motion Pictures. McDowell, who will stage WSU’s Ohio collegiate premiere of Andrew Lloyd Webber’s The Phantom of the Opera in spring 2012, can be reached by phone at (937) 775-3784 or by e-mail at [email protected]

Despite the fact that Larry Shue decided to use the Ku Klux Klan as the momentum-killing dark underbelly of his 1983 Southern fried farce “The Foreigner,” it doesn’t deter the amusement of Sinclair Community College’s entertaining presentation, which opened Friday, February 18 nimbly directed by Nelson Sheely.

The charming Isaac Hollister is perfectly cast as Charlie, the unassuming titular Englishman who visits a quaint fishing lodge (rustically designed by Terry Stump) to escape the worry of his wife’s ailing health. The opening minutes are slow, but the comedy kicks into gear once the colorfully unsuspecting folks at the rural Georgia lodge are told Charlie is from a faraway country and doesn’t speak English. It’s a treat to see Hollister exude a sense of timid bewilderment, particularly in moments of eavesdropping, that delightfully evolves into sly confidence as Charlie settles into his surroundings and ultimately becomes an unlikely hero. He is particularly terrific uttering gibberish in Act 2.

Melissa Kerr Ertsgaard, one of Sinclair’s most versatile performers, returns with another strong turn as Betty, the hospitable lodge owner who wants nothing more than to ensure Charlie’s comfort even while screaming in his face. Steven Brotherton, a standout in Sinclair’s marvelous production of “Dog Sees God” last season, is likeable once more as the dim-witted Ellard, who humorously becomes Charlie’s English teacher. As Ellard’s sister Catherine, Sarah Parsons forms a pleasant rapport with Hollister and is well-matched with Nicklaus Moberg as David, a minister with evil on his mind. Travis Clyburn energetically tackles the stereotypical Owen, David’s redneck partner in crime. Chris Hahn has fun as Froggy, Charlie’s British confidant. Aisha Ahmed, Nicole Dine, Lyrit Ertsgaard, Katie Kluck, Rebecca Knowles and Josh Smith complete the cast.

The Foreigner continues through Saturday, February 26 in Blair Hall Theatre, Building 10, at Sinclair Community College, 444 W. Third St. Performances are Thursday at 7 p.m. and Friday and Saturday at 8 p.m. Act One: 70 minutes. Act Two: 60 minutes. All seats are reserved and cost $15 for adults and $10 for students and seniors. All Thursday tickets cost an additional $5 and includes pre-show appetizers and cash bar. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/arts

The delightfully meddlesome world of Mrs. Dolly Gallagher Levi, the matchmaking busybody of 1890s New York who can incite applause by her sheer presence and reputation, comes alive with lighthearted warmth and sophisticated finesse in Cedarville University’s exceptional production of Jerry Herman and Michael Stewart’s 1964 musical “Hello, Dolly!,” adapted from Thornton Wilder’s “The Matchmaker” and elegantly directed by Robert and Ruth Clements.

Pleasantly interpreting Herman’s sunny songs along the lines of an actress who sings, Jessica Diane Hickling, a superb Annie Sullivan in Cedarville’s production of “The Miracle Worker” last season, astutely inhabits the title role with a strikingly clear and cunning grasp of Dolly’s meticulous and strategic aims centered on her desire to wed wealthy Yonkers curmudgeon Horace Vandergelder (a believably aggravated Alexander James Mol). Hickling is a knockout whenever Dolly’s mind games take precedence, especially in the hilarious Act 2 dinner scene at the ritzy Harmonia Gardens restaurant, and she expertly builds her funny, sincere and incredibly engaging portrayal to a life-affirming plateau that duly reflects Dolly’s inspirational epiphany of living to the fullest and being willing to love again after years of merely existing in “a personal haze.”

“Dolly” has always required a strong leading lady, but stronger featured portrayals as well which is absolutely the case here. The very endearing, brotherly duo of Gabriel Pyle and Josiah Hutchings respectively shine as Vandergelder’s humble, sheltered employees Cornelius Hackl and Barnaby Tucker. Pyle, a charming bundle of nerves and a joy to watch, wonderfully conveys Cornelius’ newfound confidence and rebelliousness, and also crafts an adorable romance with sweet soprano Anna Zavodney as millinery shop owner Irene Molloy. He notably joins Zavodney for a lovely rendition of “It Only Takes a Moment,” poignantly delivering the tune’s terrific monologue with an expressive self-awareness. The energetic, goofy Hutchings provides great comic relief and is perfectly matched with the bubbly Lindsay McGee as Minnie Fay, Irene’s perky assistant. The laughs continue with solid work from Joshua McLeod as Ambrose Kemper, Grace Pilet as Ermengarde, Amy Brown as Ernestina, Benjamin Isaac as Rudolph, Samantha Sumler as Mrs. Rose and Matthew Glenn Scheerschmidt as an overly emotional Judge.

Further, Katy Russell and Alexandra Turner supply flavorful, sharp and unified choreography from the pageantry of “Put On Your Sunday Clothes” and the farcical “Motherhood March” to the waltz-filled “Dancing” and the frenzied “Waiter’s Gallop” that precedes the iconic title number which arises with considerable flair.

In addition to directing, the Clements are respectively responsible for the production’s outstanding set and costume design. Robert supplies a dazzling chandelier for Harmonia Gardens, and Ruth’s marvelously authentic contributions remain eye-catching at every turn. For the ensemble-friendly “Sunday Clothes” she specifically dresses the ladies in a colorful sea of blue, burgundy, green, pink, purple and yellow and places the men in crisp white tuxedos.

In a rare move for a big, brassy show geared toward a large orchestra, Herman’s score, conducted by Beth Cram Porter, is played by only four musicians (two pianos, percussion and bass). Even so, this significant alteration gives each number a surprisingly appealing parlor quality proving how effectively Herman captured the essence of the late 19th century.

A hit from start to finish, Cedarville’s thoroughly entertaining “Dolly” is not only the must-see of the week, but one of the best productions of the season.

Hello, Dolly! continues through Saturday, February 12 in the Stevens Student Center at Cedarville University, 251 N. Main St., Cedarville. Performances are Thursday at 10 a.m. and 8 p.m., Friday at 8 p.m. and Saturday at 2 and 8 p.m. Act One: 75 minutes; Act Two: 60 minutes. Tickets are $10-$15. For tickets or more information, call 1-866-612-0014 or visit www.cedarville.edu. In related news, Cedarville’s 2011-12 season will consist of Agatha Christie’s And Then There Were None (October 2011), Arthur Miller’s The Crucible (February 2012) and Neil Simon’s A Star-Spangled Girl (April 2012).