The Human Race Theatre Company offers an effortlessly enchanting, stunningly designed presentation of William Shakespeare’s comedy “Twelfth Night,” a multilayered tale of gender reversal, mistaken identity, mismatched romance and unabashed silliness that opened Friday, January 28 at the Loft Theatre.

Aaron Vega, a Wright State University musical theater graduate and, at 28, the youngest director to stage a Human Race production, elegantly helms with a fresh and impressive awareness of the play’s conceptual intricacies and sparkling language. His decision to transport the setting from traditional Illyria to America during the Roaring Twenties is certainly a clever choice strikingly conveyed throughout the action by the cool, suave presence of pianist-vocalist-composer Christian Duhamel as witty clown Feste. Still, his astute attention to establishing the various pursuits of the Bard’s appealing characters, inhabited by a stellar cast, elevates the material beyond the unique era presented.

Claire Kennedy, who proved her worth as an expressive Bard interpreter in Wright State’s 2006 production of “As You Like It,” was born to play lovestruck intermediary Viola, who is separated from her presumably dead twin brother Sebastian (the amiably unassuming Justin Flagg) and ultimately develops feelings for Duke Orsino (an earnestly understated David Dortch) while disguising herself as his devoted pageboy Cesario. Kennedy, whose plaintive rendition of “Danny Boy” is an emotional highpoint, looks perfect in the role (gender bending was a signature fad of the ‘20s after all) and assumes a charming, adaptable masculinity (notice her uncertainty as to how she should hold a cigar) that grows more endearing when Cesario is wooed by the formidable Lady Olivia (a feisty Sara Mackie), Orsino’s object of affection.

Wonderfully cohesive comic relief, occasionally delivered in the audience, is supplied by the uninhibited Tim Lile as Olivia’s loutish and unapologetically flatulent uncle Sir Toby Belch, Josh Stamoolis as goofy Sir Andrew Aguecheek, Jennifer Johansen (a remarkable Lady Capulet in the 2008 Human Race production of “Romeo and Juliet”) as Olivia’s cunning maid Maria, and Scott Stoney as the humble Malvolio, who is humorously tricked into thinking Olivia is in love with him. Kevin Malarkey as Valentine and Matthew M. Moore (who directed an excellent “Much Ado About Nothing” last season at Cedarville University) as Sea Captain/Anthonio complete the cast.

Additionally, scenic designer Dick Block, costumer Lowell A. Mathwich and lighting designer John Rensel beautifully evoke the look and feel of the 1920s.

“Twelfth Night” is a lighthearted escape from the winter doldrums that clearly suggests Vega’s first attempt at Shakespeare for the Human Race will not be his last.

Twelfth Night continues through Sunday, February 13 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. Tickets are $15.50-$39. Act One: 70 minutes; Act Two: 55 minutes. A special open forum discussion will be held following the Sunday, February 6 performance. For tickets, call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org. Also, Christian Duhamel will perform a concert of his original songs entitled Here With Me Tuesday, February 8 at 9:30 p.m. at the Neon Movies, 130 E. Fifth St. For more information, visit www.neonmovies.com.

In related news, the Human Race’s 25th anniversary/2011-12 season, an entire slate of local premieres that have collected nearly 25 Tony Award nominations, will consist of Yasmina Reza’s 2009 Tony Award-winning dramatic comedy God of Carnage (Sept. 8-25, 2011), Tony Kushner and Jeanine Tesori’s 2004 Tony Award-nominated musical Caroline, or Change (Nov. 3-20, 2011; directed by Scott Stoney), John Logan’s 2010 Tony Award-winning Mark Rothko-themed drama Red (Jan. 19-Feb. 5, 2012; a partnership with the Dayton Art Institute who will present a Rothko exhibition during the run), August Wilson’s 2005 Tony Award-nominated drama Gem of the Ocean (March 28-April 15, 2012); and Mark Allen, Gaby Alter, Gordon Greenberg and Tommy Newman’s musical Band Geeks (May 31-June 17, 2012; directed by Kevin Moore).

"Spelling Bee" cast; photo credit John Gebhardt

Although William Finn, Rachel Sheinkin and Rebecca Feldman’s 2005 Tony Award-winning “25th Annual Putnam County Spelling Bee” has quickly reached ‘done to death’ status in the Miami Valley, its fifth area presentation courtesy of the Dayton Playhouse, which opened Friday, January 28, is a joyful affair that finds great heart within the high octane, racy humor.

You may have fond memories of seeing this musical about six colorful adolescents nervously yet enjoyably aspiring to spelling perfection presented by the University of Dayton, Victoria Theatre Association, Wilmington College or Wright State University, but there is definite merit in the Playhouse’s well cast, well sung incarnation. Despite a slightly erratic energy level and a few comedic bits that go overboard or grow overlong, director Natalie Houliston, with lively assistance from choreographer Erica Hamilton, credibly establishes a character-driven playground of fun that is particularly magnetic in the more introspective musical numbers and reflective moments.

Lilting soprano Corinne Derusha, naturally embracing the bouncy, emotive musicality within Finn’s terrific score, leads the proceedings as excited host and former champion Rona Lisa Peretti. She also maintains an appealing chemistry with the delightfully droll Errik Hood as Vice Principal Panch. The outstanding Hannah Berry is truly heartbreaking as shy bookworm Olive Ostrovsky, who enters the competition without parental support. Berry has the audience rooting for Olive at the outset when she tenderly sings “My Friend, The Dictionary.” Matthew Smith lets loose with hilarious abandon as the persnickety William “Magic Foot” Barfee, a whiz with an attitude. David Thomas, a good fit as eccentric underdog Leaf Coneybear, brings engaging subtlety to “I’m Not That Smart.” Bobby Mitchum, in his Playhouse debut, sums up the distressed Chip Tolentino with a funny, audience-friendly take on “My Unfortunate Erection.” Charity Farrell winningly returns to the Playhouse as overachiever Marcy Park and delivers a luminously carefree rendition of “I Speak Six Languages.” Lindsay Sherman, clothed in cute polka dots by costumer Erin Winslow, exudes a perfect amount of spunk and desperation as Logainne Schwartzandgrubenierre. As comfort counselor Mitch Mahoney, Muse Machine alum David Stone finally has a role that suits his powerfully soulful tenor. He joins Berry and Derusha for an incredibly passionate, spine-tingling, show-stopping version of “The I Love You Song” that feels as if Finn wrote it just for them.

The 25th Annual Putnam County Spelling Bee continues through Sunday, February 13 at the Dayton Playhouse, 1301 E. Siebenthaler Ave. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 60 minutes. Act Two: 53 minutes. Audience participation is encouraged. Tickets are $10-$15. The musical, which contains adult language and themes, is not recommended for children under the age of 13. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.org

The Muse Machine boldly charts its own artistic course with Stephen Sondheim and James Lapine’s masterful Tony Award-winning 1987 fractured fairy tale opus “Into the Woods,” the arts education organization’s 27th annual student musical that opened Thursday, January 13 at the Victoria Theatre.

The definitive Sondheim pedigree of less is more has been given a significant makeover by Muse organizers, which will likely delight the masses and perturb Sondheads. Choreographer Lula Elzy, known for transforming the ordinary, doesn’t hesitate to incorporate movement into these “Woods,” which begins with the cast enjoying the king’s festival accented with villagers twirling ribbons and somersaulting. This unique introduction, dubbed “I Wish,” serviceably energizes the action and reiterates the sense of community that is vital to the piece before the colorful prologue launches the show as intended. Elzy also scores with the inclusion of a celebratory ball prior to the “Ever After” Act 1 finale. However, in Act 2, the added routines steal focus. The “Agony” reprise is interrupted by a puzzling sequence devoted to Sleeping Beauty and Snow White, and “Last Midnight,” typically a prominent vocal showcase, is stripped of its dramatic power by a distracting sea of swirling cloaked dancers.

Still, on the whole, director Rufus Bonds Jr., helming with fluidity, ensures that the witty, thought-provoking characterizations which define “Woods” and its engrossing exploration of consequences, family, fulfillment, loss and survival is not hindered or overshadowed by the choreography. In fact, the principal cast impressively handles the complexities inherent in Sondheim’s brilliant score and Lapine’s insightful libretto.

The very engaging Micah Trout, possessing a lovely tenor, is terrifically understated as the Baker, particularly filling the heartbreaking beauty of “No More” with moving sincerity. Trout is perfectly paired with Mary Kate O’Neill, whose impeccably crafted, pleasantly sung performance as the Baker’s Wife fully reveals the complicated depths of a woman willing to do what it takes in order to have a child. O’Neill and Trout’s charming rendition of “It Takes Two” warmly depicts the excitement of rekindled romance. Samantha Eastman’s penchant for comedy serves her well as the Witch, but she lacks the vocal prowess that could take her crowd-pleasing portrayal and superbly written solos to another level.

“Despite the Muse’s conceptually risky adaptations, ‘Woods’ still resonates…”

In addition, Bradley Farmer, the scene stealing Lina Lamont in last year’s Muse production of “Singin’ in the Rain,” supplies a cheery, radiant elegance as Cinderella and wonderfully executes “On the Steps of the Palace,” one of the most challenging numbers. Equally strong are Carly Snyder as Little Red Ridinghood, Davis Sullivan as Jack, Ian Benjamin as the Wolf, Madeline Shelton as a refreshingly crazed Rapunzel, Trevor Coran as Cinderella’s Prince, Coleman Hemsath as

Rapunzel’s Prince, Noah Berry as the Mysterious Man, Rachel Snyder as Jack’s Mother, Leigha Witt as Cinderella’s Stepmother, Amanda Koslow as Florinda, Kaja Burke-Williams as Lucinda, Rob Mitchell as the Steward, Allison Janney as the Giant, and the narrator team of CJ Destefani, Mitchell Rawlins, Cameron Elliot, Daniel Baughn and the aforementioned Benjamin. Carly Snyder’s marvelously reflective “I Know Things Now,” Sullivan’s endearing “Giants in the Sky” Benjamin’s sharp and funny “Hello, Little Girl” and Coran and Hemsath’s hilarious “Agony” join “On the Steps of the Palace” as excellent, lyric-driven Act 1 highlights.

Musical director David Dusing’s solid orchestra, Paul Wonsek’s attractively detailed set (courtesy of the Pittsburgh CLO), John Rensel’s evocative lighting and David Sherman’s incredibly ominous, thundering sound design are also noteworthy.

Despite the Muse’s conceptually risky adaptations, “Woods” still resonates. The universal epiphany that “wishes come true – not free” certainly stings with truth.

Into the Woods continues through Sunday, January 16 at the Victoria Theatre, 138 N. Main St. Performances will be held today at 3 and 8 p.m. and tomorrow at 2 p.m. Act One: 1 hour and 23 minutes. Act Two: 1 hour and 9 minutes. Tickets are $31-$56. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit online at www.ticketcenterstage.com