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Seth Rudetsky Brings ‘Big Fat Broadway’ To Springfield

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If you adore Broadway and love to laugh, be sure to catch comedian Seth Rudetsky deliver his “Big Fat Broadway Show” Saturday, January 22 at the Turner Studio Theatre of the Clark State Performing Arts Center in Springfield.

The hilarious, one-of-a-kind Rudetsky, a Sirius/XM Radio host who has music directed numerous Broadway shows such as “42nd Street,” “Les Miserables,” “Mamma Mia!” and “The Phantom of the Opera,” will deconstruct a slew of personal musical theater-related recordings/videos (such as Cher singing all the roles in “West Side Story”!) in a style all his own. In fact, his energetic, funny and knowledgeable musings on Broadway past and present have become a staple in Manhattan in recent years thanks to Seth’s Broadway Chatterbox, his weekly talk show at New York’s Don’t Tell Mama.

In addition, the Emmy and Grammy nominee, born in Jamaica, Queens and raised on Long Island, appeared in the Broadway revival of “The Ritz,” was a member of “The Rosie O’Donnell Show” writing team, and wrote “The Q Guide to Broadway.” He also majored in classical piano performance at Oberlin College and will accompany Tony winner Betty Buckley (“Cats”) at the Performing Arts Center the evening prior.

OnStageDayton recently caught up with Rudetsky in advance of his Springfield appearance.

onStageDayton: Have you been amazed by any particular Broadway show recently?

Seth Rudetsky: I am/was obsessed with “In the Heights.” I (saw) it 11 times. Lin-Manuel Miranda brought ‘hip-hop’ to Broadway, which I am certainly not a fan of, but the show – it’s amazing! It’s literally like one of the old fashioned Golden Age musicals, but with a more modern score. It’s so tuneful and full of joy! Can’t wait to see the film version!

OSD: Is there a particular musical you would like to see revived on Broadway?

SR: I think ‘Shenandoah’ would be a great vehicle for Hugh Jackman. Probably my favorite musical of all that has nothad a good revival is ‘The Most Happy Fella,’ which is a brilliant show by Frank Loesser.

OSD: If you could go back in time as musical director of one show what would it be?

SR: Probably ‘Funny Girl’ just to have chance to work with Barbra Streisand and see how she worked. She changed the melody a lot. On the ‘Funny Girl’ cast recording, the melodies are not sung as written. It would be fascinating to know why she decided to change the melody. I once spoke with Marvin Hamlisch, the original rehearsal accompanist for ‘Funny Girl,’ who said (composer) Jule Styne just let Barbra do what she wanted to because she made it better.

OSD: Is there anyone in the New York theater community you particularly feel might be the most underrated?

SR: Kristine Zbnorik, who is playing Roz in the national tour of ‘9 to 5.’ She’s one of the funniest people I’ve ever worked with. And obviously Betty Buckley, who won a Tony Award, but hasn’t been on Broadway since ‘Triumph of Love’ in 1997. Betty is not underrated, but I’d say she’s underused. Where is her Broadway musical? I love Betty and it’s frustrating to me that these big Broadway stars have to wait years and years between Broadway shows. Look at Patti LuPone – she waited 20 years between musicals (in terms of) ‘Anything Goes’ and ‘Sweeney Todd.’ What is going on?

OSD: You recently performed in a New Jersey production of ‘[title of show]’ with Muse Machine alum Tyler Maynard of New Carlisle. How was that experience?

SR: Tyler got me the job. He really pushed for me and that’s why I did it. It was an abstract-driven show, which really didn’t matter to me, but when I realized he was going to be playing opposite me I had to do it. It was a great experience. Tyler’s parents are coming to see my show in Springfield as well.

“What I love about the show is that no matter the audience there is always non-stop laughter.”

OSD: You have worked with some of the biggest names in the industry, have been nominated for some of the most coveted awards in showbiz, have your own radio show, written a book, and continue to perform in various venues across the country. Is there anything in particular you hope to accomplish in the future?

SR: I’d love to host the Tony Awards – that indeed would be thrilling. Plus, being nominated for one! I’d also like to star in a play I write myself – like Lin-Manuel Miranda! But I don’t write music so it would have to be an actual play or a musical with a score by someone else. I also have a young adult book coming out on the Random House label. I would like to turn it into a book series and perhaps write a film version!

OSD: What do you hope audiences take away from the experience of seeing “Seth’s Big Fat Broadway Show”?

SR: What I love about the show is that no matter the audience there is always non-stop laughter. I’ve literally done my deconstructions in Amish Country and Waco, Texas, so believe me I’ve had all kinds of audiences. Thankfully, it always works. But what I truly enjoy is the fact that people can laugh, but they walk away loving Broadway even more than they have before, even if they never have. And they usually come up to me and say ‘Now I have to go out and buy the CD of ‘Hair’ or ‘The Pajama Game’’ or whatever song I’ve played that they are now obsessed with.

Seth’s Big Fat Broadway Show will be held Saturday, January 22 at 8 p.m. in the Turner Studio Theatre of the Clark State Performing Arts Center, 300 S. Fountain Ave., Springfield. Tickets are $35. Seating is limited. For tickets or more information, call (937) 328-3874 or visit online at www.springfieldartscouncil.org. For additional information about Seth, visit online at www.sethrudetsky.com

Betty Buckley Sings Broadway In Springfield

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Betty Buckle as Grizabella in "Cats"

Betty Buckle as Grizabella in "Cats"

Dynamic vocalist Betty Buckley, whose career in stage, film, music and television includes a Tony Award for her portrayal of the glamorously weathered Grizabella in “Cats,” will sing her signature tune “Memory” and a host of other Broadway favorites Friday, January 21 at the Clark State Performing Arts Center in Springfield.

Buckley, 63, has been an icon among musical theater devotees for decades. The Forth Worth, Texas native made her Broadway debut in 1969 as Martha Jefferson in “1776” (her powerful rendition of “He Plays The Violin” is a hallmark of the cast recording), appeared as Catherine in “Pippin” in the 1970s, and drew more acclaim in the 1980s with legendary turns in the aforementioned “Cats” as well as “Song and Dance,” “The Mystery of Edwin Drood” and “Carrie.” She also received a Tony nomination for “Triumph of Love,” appeared off-Broadway in “Elegies: A Song Cycle,” scored raves as Rose in “Gypsy” at New Jersey’s Papermill Playhouse, and garnered an Olivier nomination (London’s equivalent of the Tony) as Norma Desmond in “Sunset Boulevard” (which she marvelously reprised on Broadway to spine-tingling degrees).

“I really love Andrew Lloyd Webber,” admitted Buckley, speaking by phone last week from Dallas. “He’s a tremendous impresario and composer. He writes beautiful music, and working for him has been one of the greatest pleasures of my life. Grizabella, while it was a role centered around one song, was still a powerful role. ‘Memory’ is really universal. Learning to sing that song and deliver it the way it’s meant to be was a transforming experience for me. I kind of came into my full potential as a singer-storyteller with that material. ‘Sunset Boulevard’ was great too. Norma Desmond was the kind of role I had been training for a long time to do. I finally had the opportunity to use everything I knew how to do and it required even more of me.”

Betty BuckleyBuckley’s repertoire includes some of Lloyd Webber’s finest songs, but she also holds a deep appreciation for more complex composers such as Jason Robert Brown (“Songs for a New World,” “Parade,” “The Last 5 Years,” “13”) and Stephen Sondheim.

“‘Memory’ is the jewel of my collection and one of the most beautiful musical theater songs, but I’m a huge Sondheim fan,” she said. “He is a great genius. His character songs are so rich, multi-layered and complicated. I love Sondheim’s music and his capacity to really tell great stories. It’s very profound. But I’m also a fan of young composers like Jason Robert Brown and Ricky Ian Gordon. I also love Adam Guettel’s ‘The Light in the Piazza,” which is beautiful and one of the best new shows by a young composer I have ever seen. I was absolutely enchanted by it.”

Although Buckley regards her involvement in “Cats” and “Sunset Boulevard” as her most challenging and rewarding experiences, she says the one role that took her by surprise was portraying fanatical mom Margaret White in the 1988 flop “Carrie,” based on the 1976 film of the same name in which she appeared as the gym teacher. The show, which ran for only 16 previews and five performances, divided critics and audiences, but is considered a cult classic with an underrated score.

“When my friends Dean Pitchford, Michael Gore and Larry Cohen called to tell me they made a musical version of ‘Carrie,’ I just didn’t think it would lend itself to musicality,” she said. “When I did the role, it was a blast. It was a great show. I was very surprised how much fun it was to play a complete psycho, a singing psycho.”

In a welcomed and highly anticipated turn of events, off-Broadway’s MCC Theater will stage the first New York revival of “Carrie” next season. Buckley couldn’t be more thrilled for she feels the underappreciated musical is long overdue for a second look.

“‘Carrie’ did not get a fair shake at the very beginning,” she said. “It has very powerful, dramatic, operatic material. I think it was originally misconceived directorially and stylistically. It was inconsistent. But I think everybody involved with the revival knows that, and with the right director, the right cast, and the right approach it could be a huge hit.”

Theater aside, Buckley memorably starred as Abby Bradford in the ABC dramedy “Eight is Enough.” In addition to “Carrie,” her film credits include “Tender Mercies,” “The Happening” and “Wyatt Earp.” Among her solo recordings are “Bootlegs: Boardmixes from the Road,” “Children Will Listen,” “Stars and the Moon,” “The Doorway” and “Quintessence.” She received a Grammy nomination in 2002 for “Betty Buckley Live At The Donmar,” recorded at London’s famed Donmar Warehouse, and is currently finalizing her latest CD “Ghostlight,” an eclectic mix of standards, show tunes and contemporary songs (produced by her longtime friend T-Bone Burnett) which will be available in the fall. The Academy and Grammy Award-winning Burnett (“O Brother, Where Art Thou?,” “Crazy Heart”) also produced “Betty Buckley 1967,” which was released in 2007 and recorded when both were 19 years old.

“T-Bone is a great artiste,” she said. “He owned his own recording studio from the time he was 17 years old.”

Buckley’s schedule remains consumed with concert appearances, workshops and regional theater engagements. She will soon co-star opposite Tovah Feldshuh in “Arsenic and Old Lace” at the Dallas Theater Center, and is in negotiations to join the next stage of the new musical version of Armistad Maupin’s “Tales of the City,” which is co-written by Tony-winning librettist Jeff Whitty (“Avenue Q”) and will have its first full-scale production this spring at American Conservatory Theater in San Francisco. At present, she is excited to bring her “Broadway By Request” concert to Springfield alongside her frequently funny collaborator/accompanist Seth Rudetsky of Sirius/XM Radio.

“I will tell stories from some of the songs I’ve sung on Broadway and pianist/comedian Seth Rudetsky will offer some great deconstructions and comedy,” she said. “It’s a fun, light show and includes some of the great, beautiful songs I’ve been so privileged to sing like ‘Stars and the Moon’ and ‘Meadowlark.’ I like songs with a beginning, middle and end, songs that have a character coming to a new awareness and (ultimately) transformed in that awareness to a new place.”

Betty Buckley will perform Broadway By Request, accompanied by Seth Rudetsky, Friday, January 21 at 8 p.m. in the Kuss Auditorium of the Clark State Performing Arts Center, 300 S. Fountain Ave., Springfield. Tickets are $20-$50. For tickets or more information, call (937) 328-3874 or visit online at www.springfieldartscouncil.org

Muse Machine delivers bold ‘Woods’

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The Muse Machine presents Into The Woods - January 13-16, 2011The 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

Coming Up in Dayton Theatre – 01/13 – 01/26

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Muse Machine: Into the Woods

Muse Machine: Into the Woods / Photo Credit: Muse Machine

Thursday, January 13, 2011 – Wednesday, January 26, 2011

At tonight’s rehearsal for the show I’m stage managing, we ran Act I in its entirety for the first time. Sitting with my prompt book and taking notes, I couldn’t help but feel hopeful at the way this collection of scenes and songs we’ve been working on since November, in some small way at least, is becoming a show. It’s exciting, but also intimidating. Somehow it’s 2011 already, time to start meeting those resolutions and accomplishing things. The holidays are over and things we began last year, when 2011 seemed some part of the future, are now part of the present. Some days I feel like life is moving too quickly, and it’s all I can do just to keep up.

But, the shows in Dayton these next few weeks seem perfect for how I’ve been feeling already. From the comedy to the mystery, I think the theatres have hit the vast spread of emotions that come with the new year, and that’s true for other people and situations. So, you should join me in catching one of these shows over the next two weeks – or, if you’re in the mood for a little something more, audition for one of them yourself.

ANOTHER OPENIN’, ANOTHER SHOW

…Shows Opening Soon

I Hate Hamlet

PLAYHOUSE SOUTHPHS: I Hate Hamlet

The Story: In this dramatic comedy, television actor Andrew Rally is struggling in his professional and private lives, attempting to play the role of Hamlet (which he hates) and deal with his girlfriend’s unrelenting chasteness. The dilemma deepens when the ghost of John Barrymore appears to try to convince Andrew to persevere in the role… while an old deal-making friend suddenly offers Andrew the chance at a new television deal.

Dates: January 21 – 23, 28 – 29, 2011

Tickets: 888-262-3792

More Information: Playhouse South

…Shows Closing Soon

Into the Woods

Muse: Into the Woods

Students rehearse for Into the Woods (photo credit Muse Machine).

MUSE MACHINE

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…

Dates: January 13 – 16, 2011

Tickets:(937) 228-3630 or Ticket Center Stage: Muse Machine

More Information: Muse Machine: Into the Woods, DMM Feature, DMM Event

Ravenscroft

DAYTON THEATRE GUILD

The Story: In this comedy about deception and the nature of truth, DTG: Ravenscroftwhen Inspector Ruffing is called to a remote English county manor house to investigate the death of Patrick Roarke, he becomes involved in the lives of five alluring and dangerous women who lead him through an evening of contradictory versions of Patrick’s demise, including ghosts, skeletons, and much more than he bargained for. (DTG)

Dates: January 7 – 23, 2011

Tickets: 937-278-5993 or DTG Box Office

More Information: Dayton Theatre Guild: Ravenscroft, DMM Review, DMM Event

PART OF IT ALL

…Auditions and Casting Calls

Titus Andronicus

SPRINGFIELD STAGEWORKS

William Shakespeare

William Shakespeare

Auditions: January 17 & 18, 2011, 7:00 pm

Performances: April 14 – 23, 2011

The Story: In this intense Shakespearean classic, Roman war general Titus Andronicus has just returned from battle to find all but four of his twenty sons dead; his ritual sacrifice of the sons of Tamora, Queen of the Goths, earns him her despise and promise of revenge. What follows is an insane struggle of power and betrayal in this gritty tragedy.

Directed by Larry Coressel

More Information: Springfield StageWorks: Auditions

Joseph & the Amazing Technicolor Dreamcoat

PLAYHOUSE SOUTH

Auditions: January 24 & 25, 2011; callbacks January 26

Performances: March 25 – April 9, 2011

The Story: This musical, the first collaboration between Andrew Lloyd Webber and Tim Rice, explores the Biblical saga of Joseph through an exciting variety of musical styles. The prophetic Joseph is sold into slavery by his jealous brothers and taken to Egypt, where he “endures a series of adventures in which his spirit and humanity are continually challenged” as he struggles to survive in a new land and move past his brothers’ betrayal.

Directed by Jennifer Skudlarek

More Information: Playhouse South

ONE SHORT DAY

…Special Events for the Theatrically Minded

3 Mo’ Divas

3 Mo' Divas

3 Mo' Divas (Photo Credit Douglas Brown, 2008)

VICTORIA THEATRE ASSOCIATION – SCHUSTER CENTER

The Basics: According to VTA, “Delivering ten musical styles spanning 200 years in one evening, these three ladies–all classically trained vocalists–will raise the roof with their class, sass and style! 3 Mo’ Divas is a one-night-only concert that delivers some stupendous genre-jumping feats, from opera to R&B, from Broadway to blues, from soul to gospel and more.”

Date: January 16, 2011

Tickets: Ticket Center Stage

More information: Victoria Theatre Association: 3 Mo’ Divas , 3 Mo’ Divas official website, DMM Event

Mysterious ‘Ravenscroft’ at Dayton Theatre Guild

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In Don Nigro’s pleasant yet prolonged British comedic mystery “Ravenscroft,” crisply directed by Debra Kent at the Dayton Theatre Guild and set on a snowy December night in 1905, Inspector Ruffing, a perceptive, no-nonsense sleuth, has difficulty dissecting the truth inside a remote manor containing five tight-lipped women. His intriguing investigation concerning the death of stableman Patrick Roarke takes a series of humorous turns because each woman, fully content with the secrets and lies they have concocted, is emotionally or sexually connected to the deceased lothario. The blame game among the potential murderesses eventually grows to fever pitch, which leaves Ruffing exasperated beyond belief with very little of his sanity intact.

Nigro’s script isn’t tight (Act 1 is sluggishly drawn out and the final 15 minutes feel strained), but is effectively inhabited by a very appealing cast with credible diction. Robb Willoughby is marvelously stern and perturbed as Ruffing. Rachel Wilson, one of the best chameleon actresses at the Guild, brings elegance, wit and intuitiveness to her role as Marcy Kleiner, an Austrian governess with a shady past. Wendi Michael, oozing haughty sophistication, equally shines as the widowed Mrs. Ravenscroft, who doesn’t hesitate to protect and ridicule her flighty, imaginative daughter Gillian (the perky Danielle DeLorme). As a pair of servants, Jenna Burnette (Dolly) and Jennifer Lockwood (Mrs. French) offer hearty laughs, especially in the more exciting Act 2. Lockwood is particularly responsible for molding the climax and delivers her suspenseful revelations with a tender sincerity that softens Mrs. French’s tough exterior.

Further, the production’s refined classiness extends to the attractive work of set designer Blake Senseman, costumer Carol Finley and hair and wig designer Greg Smith.

“Ravenscroft” admirably ushers in a new theatrical year while proving the search for truth, no matter how confusing, upsetting or frustrating, can be a real drag.

Ravenscroft continues through Sunday, January 23 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: 70 minutes: Act Two: 55 minutes. Tickets are $10-$17. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org

I Wish. More Than Anything…

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The Muse Machine presents Into The Woods - January 13-16, 2011Into The Woods

THE MUSE MACHINE

Win tickets to this show!  Read on…

Once upon a time…

Suzy Bassani had a dream.  That dream became a reality in the Muse Machine, a truly unique Dayton area arts organization for kids.  A culminating yearly activity is a highly regarded theatrical production featuring nearly 100 talented students on stage, back stage and in the orchestra.

The 2011 selection is the popular Sondheim show Into The Woods. The Tony Award winning show, by Stephen Sondheim (music & lyrics) and James Lapine (book), premiered on Broadway in 1987.  That original cast included Broadway legend Bernadette Peters and Joanna Gleason, as well as Dayton native Tom Aldredge.

The Muse Machine presents Into The Woods - January 13-16, 2011Just like with the fairytale favorites whose stories intertwine as they venture Into The Woods, new directions are afoot for the Muse Machine as more than 100 area students prepare to present Sondheim’s smash-hit family musical next weekend.

Muse Machine mounts it’s first Sondheim production in a year that celebrates the composer and lyricist’s 80th birthday.  The lavish musical, which thrusts characters into situations where their “happily ever after” may not come so easily.  Finding familiar characters like Little Red Riding Hood and her wolf, Cinderella and her prince, Jack of beanstalk fame and others faced with new challenges makes the show both unexpectedly funny and surprisingly poignant.

The Muse Machine presents Into The Woods - January 13-16, 2011The production will also experience the Muse touch through movement.  “Early versions of Into The Woods used very little dance, but we’re going to change that,” said New Orleans choreographer Lula Elzy, who promised surprises in store with each of the show’s tolls of midnight.  “It will feel like movement has always been a part of this show!”

The Muse Machine presents Into The Woods - January 13-16, 2011Into The Woods also marks the addition of a new face to the Muse Machine creative team:  Rufus Bonds, Jr., familiar to audiences as Collins from the Broadway cast of Rent and Mufasa from the national tour of The Lion King. Bonds comes from the west coast, joining returning NYC music director David Dusing to complete the directing team.

The Muse Machine presents Into The Woods - January 13-16, 2011“What’s so beautiful about this experience is the opportunity to work with young adults who bring the perfect marriage of acting and voice to their roles,” said Bonds, who hopes audiences will be surprised by the depth of talent coming from the young performers on stage.  “There’s nothing I’ve seen anywhere like this, on any level – students are far ahead of the game with the training they receive here at Muse.”

This is a theatrical opportunity that you don’t get in other cities.  The Muse Machine has touched countless lives, including actors, dancers, writers and designers currently earning their living in the arts all over the country, including New York City.  The organization’s track record indicates that within a few years, one of these young performers in Into The Woods will very likely be treading the boards of Broadway.

Happily ever after.

UPDATE 1/8/2011 (information from the Muse Machine Facebook Page):

The Muse Machine presents Into The Woods - January 13-16, 2011Emmy Award winning actress Allison Janney (The West Wing, Juno, Lost, Hairspray, Finding Nemo, American Beauty and many other film, television and stage credits) joins the cast of Muse Machine’s INTO THE WOODS in an original performance as the voice of the giant!

-SA/Muse Press Release
We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

The Muse Machine presents Into The Woods - January 13-16, 2011Into The Woods (January 13-16 – various times – at The Victoria Theatre)

Tickets: prices range from $31-$56

Call (937) 228-3630  or by visiting TicketCenterStage.com.

Visit www.MuseMachine.com for more information about The Muse Machine and their programs.

Win Free Tickets!

Muse Machine & onStageDayton on DaytonMostMetro.com have teamed up to give you a chance to win tickets to Into The Woods!  We will be giving away up to TEN pairs of tickets for next weekend’s performances! All you need to do is:

  • Share this article on Facebook or Twitter…just click the appropriate button at the top of this page.
  • Leave a comment, answering the following question…In just a couple of sentences, change the ending of your favorite classic fairytale.
  • The deadline to enter is 9AM on MONDAY, January 10th.
  • Winners will be selected randomly from all of the entries.

Marsha Hanna Memorial Open House

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Human Race Theatre Company artistic director Marsha Hanna, a cornerstone of the Dayton arts community who lost her battle with esophageal cancer Monday, January 3 at the age of 59, will be remembered with a Memorial Open House Saturday, February 5 from 11 a.m. to 4 p.m. at the Loft Theatre, 126 N. Main St.

Hanna, a Tiffin, Ohio native and theater graduate of Bowling Green State University, had served as artistic director of the Human Race since 1990 and a resident director since its founding in 1986. She was a fan of such language-driven playwrights as Richard Greenberg, Cormac McCarthy and August Wilson, and produced more than 100 shows.

Hanna predominately helmed productions for the Human Race yet guest directed at Indianapolis’ Phoenix Theatre, La Comedia Dinner Theatre, Sinclair Community College, the University of Cincinnati, the University of Dayton and Wright State University to name just a few. Her numerous directing credits included “A Christmas Carol,” “Art,” “Brother Wolf,” “Copenhagen,” “Crimes of the Heart,” “Every Good Boy Deserves Favour,” “I Hate Hamlet,” “Quilters,” “Take Me Out,” “The Dazzle,” “The Elephant Man,” “The Sunset Limited” and “You Can’t Take It With You.”

Prior to joining the Human Race, Hanna served as a drama specialist with the City of Dayton, Division of Recreation, volunteered at the Dayton Playhouse, Dayton Theatre Guild and Fairborn Playhouse, and co-founded Illumination Theatre. In 2003, she was inducted into the Dayton Theatre Hall of Fame. Last year, she received the Ohio Governor’s Award for Arts Administration, an honor shared with Human Race executive director Kevin Moore. Additionally in 2010, she staged the regional premiere of David Hare’s thought-provoking drama “The Vertical Hour” and co-directed the return engagement of Ron Hutchinson’s “Gone With the Wind”-themed comedy “Moonlight and Magnolias” with Jake Lockwood. Fittingly, her final production was a triumph: the collaborative Human Race/Wright State regional premiere of Tracy Letts’ Tony and Pulitzer Prize-winning dramatic epic “August: Osage County” which she co-directed with Scott Stoney.

A Marsha Hanna Memorial Fund will be created in conjunction with the Human Race’s 25th anniversary 2011-2012 season. Details about donating to the fund and its purpose will be announced at a later date.

Top 10 Theater in 2010: Dayton and NYC

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The cast of The Light in the Piazza

THE GEM CITY

1. “The Light in the Piazza”

This captivating, underrated romantic musical set in 1950s Italy based on Elizabeth Spencer’s novella and featuring a challenging yet ravishing Tony Award-winning score by Adam Guettel (Richard Rodgers’ grandson) took Wright State University’s musical theater program to astonishing heights. WSU’s truly outstanding, gorgeously designed Ohio collegiate premiere of “Piazza,” which I saw three times, contained a knockout cast, a splendid orchestra, and conceptually refreshing contributions from director Joe Deer. If you missed Blaine Boyd’s incredibly passionate, vocally sublime portrayal of Fabrizio Naccarelli, he’s starring in WSU’s “Jekyll & Hyde” next month. Get your tickets now.

August: Osage County

2. “August: Osage County”

Tracy Letts’ Tony and Pulitzer Prize-winning epic received a fantastic collaborative presentation from the Human Race Theatre Company and Wright State University. The professional and student actors seamlessly joined forces at WSU under the direction of Marsha Hanna and Scott Stoney to inject striking depth and newfound comic relief into Letts’ acclaimed saga of a dysfunctional Oklahoma clan coping with the loss of its patriarch. The volatile, multifaceted performances of Susanne Marley (Violet Weston) and Kristie Berger (Barbara Fordham) were unquestionably superlative.

The Producers

3. “The Producers”

The Dayton Playhouse’s utterly hilarious, magically cohesive production of “The Producers” was a surefire hit at intermission. Director Chris Harmon’s wacky cast, headlined by Saul Caplan and David Sherman, delivered one of the best first acts I have seen at the Playhouse. Among the musical pleasures was the hysterical “Keep It Gay” consisting of Charles Larkowski (Roger DeBris), Jonathan Berry (Carmen Ghia), Nick Moberg (Bryan), Bob Martin (Kevin), Cameron Elliott (Scott), Jeremy King (Sabu) and Betsy Feeser (Shirley). Mel Brooks and Susan Stroman would have been proud.

Dog Sees God: Confessions of a Teenage Blockhead by Sinclair Community College Theatre

Dog Sees God: Confessions of a Teenage Blockhead

4. “Dog Sees God: Confessions of a Teenage Blockhead”

Bert V. Royal’s R-rated parody of the “Peanuts” comic strip was a perfect fit for Sinclair Community College. This humorous yet gripping teen tale, expertly directed by Brian McKnight, featured a winning ensemble accented by the feisty mean girl rapport between Lauren Bernstein (Tricia) and Michelle Faulkner (Marcy).

5. “Seussical”

Director Kay Frances Wean’s energetic, colorful and infectiously joyful staging of Lynn Ahrens and Stephen Flaherty’s tuneful salute to Dr. Seuss will always be a hallmark of the Epiphany Players Drama Ministry at Centerville’s Epiphany Lutheran Church.

'Spring Awakening'

6. “Spring Awakening”

At one time, it seemed inconceivable that Duncan Sheik and Steven Sater’s raw, risqué musical adaptation of Frank Wedekind’s controversial 1891 play would ever be seen on a professional stage in Dayton, Ohio. Thankfully, this Tony-winning gem received a two-night local premiere at the Victoria Theatre. Talk about a step in the right direction.

Urinetown: The Musical

7. “Urinetown: The Musical”

Another well produced comedic achievement for the Dayton Playhouse as directed by Doug Lloyd. I particularly enjoyed “Follow Your Heart,” a highlight of Greg Kotis and Mark Hollmann’s Tony-winning material tenderly rendered with humor and sincerity by James Roselli (Bobby Strong) and Kelsey Hopkins (Hope Cladwell).

A Case For Libel

8. “A Case of Libel”

Henry Denker’s compelling courtroom drama was a first-rate acting showcase at the Dayton Theatre Guild. Under the firm direction of Debra Kent, the climatic face-off between Saul Caplan (Robert Sloane) and David Shough (Boyd Bendix), resulting in Shough’s superb meltdown, was dynamite.

Singin' In The Rain

9. “Singin’ in the Rain”

Guided by a revamped artistic team, the Muse Machine supplied one of its most delightful student productions. Kudos to choreographer Lula Elzy for inserting a large ensemble of tap dancing diction coaches into “Moses Supposes.”

The Syringa Tree

10. “The Syringa Tree”

The SEED Theatre Project, housed at the beautifully spacious Salvation Army Ray & Joan Kroc Corps Community Center, offered a riveting local premiere of Pamela Gien’s one-woman, apartheid-themed drama performed by Robin Smith under the direction of Adam J. Leigh. Smith’s dynamic mastery of character and dialect was remarkable.

Honorable Mention: “Kimberly Akimbo,” Dayton Theatre Guild; “Much Ado About Nothing,” Cedarville University; “Once On This Island,” Sinclair Community College; “Ordinary Days,” Human Race Theatre Company; “The Phantom of the Opera,” Victoria Theatre Association; “Rent,” Encore Theater Company; “The Spitfire Grill,” Beavercreek Community Theatre; “The 39 Steps,” Human Race Theatre Company; “[title of show],” Encore Theater Company; “Wicked,” Victoria Theatre Association

THE BIG APPLE

Scottsboro Boys

Scottsboro Boys

1. “The Scottsboro Boys”

The finest and boldest original musical of the year fittingly marked the final collaboration of John Kander and Fred Ebb (“Cabaret,” “Chicago”). “Scottsboro” drew protest and praise before closing prematurely, but, thankfully, this mesmerizing marvel might have a future on the big screen under the direction of Oscar nominee Lee Daniels (“Precious”).

Angels In America

2. “Angels in America”

Signature Theatre Company’s brilliant off-Broadway revival of Tony Kushner’s thought-provoking masterpiece featured the marvelous NYC acting debut of Zachary Quinto (“Heroes,” “Star Trek”) as Louis Ironson.

3. “La Cage aux Folles”

A blissful, character-driven revival blessed by the terrific teamwork of Kelsey Grammer and sensational Tony winner Douglas Hodge. It’s worth noting that Doug Lloyd will direct “La Cage,” one of Jerry Herman’s best scores, at the Dayton Playhouse this spring.

Fences

4. “Fences”

The amazing, Tony-winning powerhouse duo of Denzel Washington and Viola Davis were a match made in August Wilson heaven.

5. “The Merchant of Venice”

Al Pacino’s commanding and perceptive portrayal of stringent moneylender Shylock gave chilling profundity to one of Shakespeare’s most unnerving plays.

6. “A View From The Bridge”

Scarlett Johansson won the Tony for her surprisingly strong Broadway debut in this stellar Arthur Miller revival, but it was Liev Schreiber who intensely owned every scene as an emotionally conflicted Brooklyn longshoreman.

American Idiot

7.  “American Idiot”

Green Day’s gripping depiction of angst-ridden disillusionment and soul-searching was a completely visceral and unexpectedly moving experience on stage.

8. “Red”

John Logan’s fascinating, Tony-winning exploration of abstract expressionist Mark Rothko was superbly led by Alfred Molina.

9. “Sondheim on Sondheim”

James Lapine’s eye-opening multimedia musical tribute to the legendary composer fluidly incorporated insightful commentary from the master himself recorded at his home.

Driving Miss Daisy

10. “Driving Miss Daisy”

Alfred Uhry’s beloved Pulitzer Prize winner remains thin and hurried, but has been wonderfully revived nonetheless thanks to the exemplary pairing of James Earl Jones and Vanessa Redgrave. Anyone heading to NYC in the coming months should avoid the imminent flop “Spider-Man Turn Off The Dark” (a boring, musically inept disaster!) and witness the delectable chemistry between two acting titans still at the top of their game.

Honorable Mention: “A Little Night Music” (opened in 2009, but freshly overhauled last summer starring Bernadette Peters and Elaine Stritch); “Anyone Can Whistle” (City Center Encores!); “Bloody Bloody Andrew Jackson”; “Come Fly Away”; “Lend Me A Tenor”; “Million Dollar Quartet”; “Next Fall”; “Spirit Control”; “The Temperamentals”; “Time Stands Still”

Coming Up in Dayton Theatre – 12/23 – 01/05

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THURSDAY, DECEMBER 23, 2010 – WEDNESDAY, JANUARY 5, 2011

La Comedia: White Christmas

La Comedia: White Christmas / Photo Credit: La Comedia Dinner Theatre

Somehow, Christmas is only two days from today. Wow. It’s hard to decide what my favorite parts of the holidays would be, but if I had to choose, I think I might say:

1. Christmas Cookies – and, especially, buckeyes! We have an amazing buckeye recipe that is neither too peanut buttery and sticky nor too dry, and whenever we make any, they disappear almost instantly.

2. Family and Friends – yes, I have the same family and friends the other 364 days of the year, too. But, I love that the holidays provide a great opportunity to have people over and spend time with those I love. It’s easy to miss people not there more than usual on the holidays, especially the people I wish could be there to celebrate with us. but that only seems to make the time I can spend with people even more precious.

3. Holiday music and movies – I mean, it wouldn’t be a holiday without something artistic, right? My sister and I watch a musical version of “A Christmas Carol” every year, and a few days ago, I curled up with coffee and a blanket to watch “White Christmas.” I’m rarely in the mood for Christmas until I’ve watched at least one great holiday movie.

It seems like those highlights are at the top lists of many others, too. Speaking of all of those things (food, fellowship, and… films!), it’s not too late to catch this production that’s closing soon…

White Christmas

LA COMEDIA DINNER THEATRE

The Story: In the stage adaptation of the classic 1954 film, two WWII veterans, now successful song-and-dance performers, follow a duo of singing sisters en route to their Christmas show in Vermont, hoping for romance. But the 80 degree weather has everyone dreaming of a white Christmas! Enjoy great dinner and the show.

Dates: through December 31, 2010

Tickets and More Information: La Comedia: White Christmas , DMM event

Instead of just watching a holiday movie this year, go with your family to see a show – you could even consider starting a new tradition of doing so. I hope you all enjoy the next couple of weeks, and take the opportunity to let those around you know you love them. The 2011 year already promises to be a busy one in Dayton area theatre, so make sure to keep following onStageDayton at DaytonMostMetro.com for all your theatre news and reviews.

Happy holidays!

~KN

SUBMITTED PRESS RELEASES

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

Holiday Tradition On Pointe at the Schuster Center

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The NutcrackerThe Nutcracker

DAYTON BALLET

onStageDayton would like to welcome a guest contributor, Gretchen Hindson.  Gretchen has performed  The Nutcracker with Dayton Ballet, Ballet Memphis, Charleston Ballet, and Festival Ballet Atlanta.  She has also performed with the Young People’s Ballet Theatre, and most recently SMAG Dance Collective here in Dayton, along with multiple musical theater groups in the area.

‘Tis the season for warm holiday moments with your friends and family. Every family has their own special traditions. One of these may include a visit to the theater to watch the magical story of “The Nutcracker”. If you have never experienced the journey to the land of the Sugar Plum Fairy, I highly recommend you attend a performance! It is a classic story loved by all children and adults alike.

Bring the whole family to see a performance of this holiday classic and make it a new tradition of your own!

The story involves a little girl who receives a special gift from her mysterious uncle on Christmas Eve. As the story unfolds, you are lead through a battle with the Rat King, a beautiful Land of Snow, and a trip around the world through the Kingdom of Sweets! Bring the whole family to see a performance of this holiday classic and make it a new tradition of your own!

Dayton Ballet NutcrackerThere are multiple ballet companies in the Dayton area that bring this story to life. Some of these include Pontecorvo Ballet Studios, Miami Valley Dance Company, South Dayton Dance Theatre, and Dayton Ballet.  Unfortunately, many of these production dates have already passed.  Dayton Ballet however, runs through this weekend at the Schuster Center. Their particular cast of characters is uniquely designed around some of the most influential Dayton families of the early

The Nutcracker

1900’s. You will find familiar names, such as the Kettering’s and Schwarz sisters. The music of Tchaikovsky and artistic scenery also grace the stage.

“The Nutcracker” is a great way to introduce your children to the world of fine arts in dance and music. Hopefully this Christmas and, in years to come, you will be attending a local performance by any or all of our ballet companies in Dayton!

It’s not too late to start a great family tradition this holiday season!

Happy Holidays!

Tickets & Performance Information

Dayton Ballet’s THE NUTCRACKER  – Friday, Dec. 17 at 7:30 pm; Saturday, Dec. 18 at 2:30 pm & 7:30 pm;  Sunday, Dec. 19 at 2:30p.  Performances  at The Benjamin and Marian Schuster Performing Arts Center at One West Second St. Dayton, Ohio 45402

Visit TicketCenterStage.com for ticket information.  Tickets also available by calling (937) 228-3630 or toll-free (888) 228-3630

Visit www.DaytonBallet.org for more information about the company and upcoming productions.

-GH

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

A Field Trip Back In Time – Pat Hazell reflects on ‘The Wonder Bread Years’ at Victoria Theatre

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At the outset of Pat Hazell’s delightful one-man show “The Wonder Bread Years,” he endearingly promises “a field trip back in time.” Fortunately, it doesn’t matter that Hazell is primarily addressing baby boomers for his witty observational humor appeals to multiple ages and demographics, ensuring a hilarious, relatable evening of sunny nostalgia.

The current presentation on the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospitals Broadway Series and previously staged at the Loft Theatre in 2002, “The Wonder Bread Years” supplies a fast paced hodgepodge of indelible impressions from Hazell’s humble, middle class upbringing. With an engaging sense of awe and insightfulness, the Nebraska native and former “Seinfeld” writer fondly recalls such topics as show and tell, brown bag lunches, family road trips to odd locales, sitting at the dreaded kids’ table at Thanksgiving, anticipating the ice cream truck in his neighborhood, and wearing recycled Halloween costumes. He also supplies humorous anecdotes about the flyswatter, the coin purse, kid phrases, mottos and jingles, and products such as Kool-Aid, Velvetta cheese, Manwich and SPAM (which he deems “something posing as meat”).

Hazell takes his charming concept further by digging into his family archives and incorporating a slide show that chronicles some of the experiences shared throughout the show. It’s a clever touch and an entertaining crowd pleaser. In fact, the opening slide show of assorted scenes of Americana instantly prepares the audience for Hazell’s wonderful world of reminiscences.

With the holiday season at fever pitch, it’s a perfect time to pause and be reminded of the innocence, magic and surprise of childhood. Don’t hesitate to take a trip down memory lane with Hazell. No one knows the path quite like him.

“The Wonder Bread Years” continues through Sunday, December 19 at the Victoria Theatre, 138 N. Main St. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Tickets are priced at $39-$81. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Coming Up in Dayton Theatre – 12/09 – 12/22

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THURSDAY, DECEMBER 9 – WEDNESDAY, DECEMBER 22, 2010

THT: Junie B. Jones

Photo Credit: Mike Long

Two main messages seem to bombard our culture during the holidays: we are either obsessed as consumers, always searching for that perfect gift or the better price or the best idea; or we focus on the “reason for the season” and look beyond giving to the joys of spending time with family and friends. Generally, we operate somewhere in the middle of those concepts, and try to do and have it all.

In the midst of all of that, it’s easy to forget about the arts, in favor of everything else on the month’s agenda. However, in the Dayton Theatre scene of these next few weeks are several great shows sure to provide holiday joy and entertainment. Seeing one of these productions doesn’t have to become one more facet of your to-do list, but can actually be a way to focus: what better way to do something unique and special as a family than to see a performance together, and how special that gift could be! And there will still be time to finish up the shopping and decorating.

Another Openin’, Another Show

…SHOWS NOT TO MISS

Christmas Belles

DAYTON PLAYHOUSE

The Story: With three squabbling sisters, an ailing Santa, vengeful sheep, and a reluctant Elvis impersonator, it’s not surprising this Texan church Christmas pageant is spinning wildly out of control! Add a potentially-derailing family secret and the plan to broadcast the pageant on cable access television to the mix, and you have a hilarious story sure to bring joy to your holiday!
Dates: December 17 – 19
Tickets: 937-424-8477
More Information: Dayton Playhouse: Christmas Belles

HRTC: 8-Track

Photo Credit: Human Race Theatre

8-Track: The Sounds of the Seasons

HUMAN RACE THEATRE COMPANY

The Story: This new musical revue celebrates “the songs of the ‘70s in all their glory, or lack thereof! Expect plenty offlashy outfits and hairdos as four talented performers rediscover the heart and soul of the forgotten decade, with music made famous by artists from Donna Summer to the Eagles to Debby Boone” (HRTC).
Dates: December 2 – 22, 2010
Tickets: Ticket Center Stage
More Information: Human Race Theatre Company: 8-Track, DMM Event, onStageDayton feature article and review

A Christmas Carol

BCYT: A Christmas Carol

Photo Credit: Diana Blowers

BEAVERCREEK COMMUNITY YOUTH THEATRE

The Story: When a young boy struggles to understand why his grandfather would give money to the poor, the grandfather tells the story of Ebenezer Scrooge as he recalls it, and the story of Charles Dickens’ classic A Christmas Carol, where ghosts of past, present, and future persuade the stingy Scrooge to change his life, comes to life as a play-within-a-play in this heartwarming story.
Dates: December 3 – 12, 2010
Tickets: 927-439-4737
More Information: Beavercreek Community Theatre, DMM Event, and onStageDayton feature article

White Christmas

LA COMEDIA DINNER THEATRE

The Story: In the stage adaptation of the classic 1954 film, two WWII veterans, now successful song-and-dance performers, follow a duo of singing sisters en route to their Christmas show in Vermont, hoping for romance. But the 80 degree weather has everyone dreaming of a white Christmas!
Dates: through December 31, 2010
Tickets and More Information: La Comedia: White Christmas

Junie B. Jones: Jingle Bells, Batman Smells

THT: Junie B. Jones

Photo Credit: Mike Long

TOWN HALL THEATRE – LANDMARK CHILDREN’S THEATRE

The Story: The holidays are supposed to be a time of peace and goodwill… that is, until first grader Junie B. Jones draws her sworn enemy’s name for the secret Santa gift exchange at school. And if that’s not enough, their music teacher announces the two will perform together in the school’s holiday pageant!
Dates: December 3 – 19, 2010
Tickets and More Information: Town Hall Theatre, DMM Event, and onStageDayton feature article

The Wonder Bread Years

VICTORIA THEATRE ASSOCIATION

The Basics: In this comic salute to the Baby Boomer generation, critically acclaimed writer and performer Pat Hazell (“Seinfeld,” “The Tonight Show,” and NPR, among other credits) plays out the fun of Halloween night, Christmas morning, and other high watermarks of our collective American youth of the ‘60s and ‘70s. This hilarious production “gracefully walks the line between stand-up and theater,” and is part of the Miami Valley & Good Samaritan Hospitals Broadway Series.
Dates: December 7 – 19, 2010
Tickets: (937) 228-3630 or (888) 228-3630, Ticket Center Stage
More Information: Victoria Theatre Association: The Wonder Bread Years

Dayton Ballet: Nutcracker

Photo Credit: Dayton Ballet

The Nutcracker

DAYTON BALLET

The Story: Dayton Ballet brings the classic story of the Nutcracker to life, complete with mice, soldiers, and the Sugar Plum Fairy. Over 100 local youth participate in this magical performance that has become a much-loved holiday tradition.
Dates: December 10 – 19, 2010
Tickets: 937-228-3639, Ticket Center Stage
More Information: Dayton Ballet: The Nutcracker

~KN

SUBMIT PRESS RELEASES
Would you like to submit theater news for DaytonMostMetro.com’s onStageDayton features?  Email Shane, Dave, Russell, & Katherine at [email protected]

Holiday Hospitality Served With Love

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Greg Smith in 'Precious Heart'

The Dayton Theatre Guild’s special return engagement of Ted Karber, Jr.’s one-person comedy “Precious Heart” is a totally engaging, surprisingly touching outing thanks to Greg Smith’s effortlessly authentic and sincere turn as chatty spinster Fleeta Mae Bryte.

With natural ease and Southern fried charisma, Smith completely inhabits the colorful, independent Fleeta Mae, a longtime resident of Precious Heart, Texas who takes pride in knowing everything about everybody and still yearns for someone to love. Numerous stories are told over the course of two hours, and Smith wonderfully transitions from topic to topic steadily guided by director Blake Senseman. You’re bound to laugh when Fleeta Mae reminisces about her oddball relatives, the Armadillo War, her desire to become an airline stewardess, or her decision to cast a 14-year-old as the Baby Jesus in a live nativity. Conversely, the pensive moments, such as Fleeta Mae’s contemplation of suicide and bout with breast cancer, provide the compelling ingredient necessary to push the jokey material to a meaningful plateau. Particularly heartwarming are the final minutes which emphasize the universal significance of connectedness.

In addition to his acting duties, Smith, a noted scenic designer, has created an eye-catching set overflowing with kitschy clutter by set decorator Wendi Michael.

“Precious Heart” could have resulted as nothing more than a flamboyant drag act, but Smith transforms the play into something far greater and life-affirming.

“Precious Heart” continues through Sunday, December 12 in the Caryl D. Philips TheatreScape 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. Tickets are $10-$17. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

Have Yourself A Groovy Little Christmas

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8-TRACK: THE SOUNDS OF THE 70'S - The Human Race Theatre Co.Every now and then, the Human Race Theatre Company seeks a departure from the compelling, thought-provoking fare they do well in favor of lightweight, audience-friendly entertainment. A perfect example of this type of programming is currently at the Loft Theatre in the form of “8-Track: The Sounds of the 70’s,” a fast-moving, feel-good musical revue incorporating 50 pop/disco classics that defined the decade.

“8-Track,” created in 2001 by Rick Seeber of “Beehive” fame, cannot escape its theatrical karaoke stigma, but is conceptually effective nonetheless in its War and Peace segment that includes “What’s Going On,” “Peace Train,” “War (What Is It Good For?)” and “Taking It To The Streets.” An additional plus is the common thread of love and relationships weaved throughout the revue that provides emotional highs derived from such standards as “You Light Up My Life,” “Just The Way You Are” and “The First Time Ever I Saw Your Face,” three tunes that received the Grammy for Song of the Year.

Director/music director Scott Stoney’s vibrant, personable and harmonic quartet, flavorfully choreographed by Teressa Wylie McWilliams, colorfully costumed by Janet Powell and attractively presented on Mark Halpin’s sleek set reminiscent of a typical ‘70s variety series, fully adapts to the sentiments in each number. Race favorite J.J. Tiemeyer takes charge at the outset with “Get Ready” and particularly touches the heart with “Don’t Let Me Be Lonely Tonight.” Ebony Blake, returning to the Race for the first time since her dazzling performance in “Nefertiti,” delivers a strikingly contemplative take on “’Til You Come Back To Me” and lets loose with fierce sassiness for “Lady Marmalade” and “Car Wash.” Tenor Jonathan Burke, who uses his falsetto impressively for the obligatory “Stayin’ Alive,” offers solid renditions of “Alone Again (Naturally)” and “Desperado” in addition to playfully evoking Tony Orlando for “Tie A Yellow Ribbon Round the Ole Oak Tree.” Jennifer Wren supplies endearing versions of “I Am Woman” and “We’ve Only Just Begun” and tackles “Don’t Cry Out Loud” with gusto.

Although Seeber oddly overlooked legendary songs from a slew of female icons such as Judy Collins, Crystal Gayle, Janis Ian, Carole King, Anne Murray, Olivia Newton-John, Linda Ronstadt, Diana Ross and Carly Simon, “8-Track” is an upbeat holiday alternative that fulfills nostalgic urges.

“8-Track: Sound of the ‘70s” will continue through Wednesday, December 22 at the Loft Theatre, 126 N. Main St. Performances are Wednesday, December 8-Saturday, December 11 and Wednesday, December 15-Saturday, December 18 at 8 p.m., Sunday, December 12 and Sunday, December 19 at 2 p.m., Monday, December 20 and Tuesday, December 21 at 7 p.m. and Wednesday, December 22 at 8 p.m. A special talkback discussion will be held following the Sunday, December 12 performance. Tickets are $18.50-$40. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org

Empty Seats: Is the ORIGINAL American Musical In trouble?

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Scottsboro Boys Broadway PosterSCOTTSBORO BOYS

Kander & Ebb’s Final Masterpiece

By most standards, Broadway is enjoying a banner year. Last year’s huge musical hits – Next to Normal, Memphis, Promises, Promises, Rock of Ages and Green Day’s American Idiot are still running to great houses. Many of these shows are heading out on the road if not already.  Current news in New York has the $65 Million gamble – Spider-Man: Turn Off The Dark (directed by Julie “Lion King” Taymor with music by U2’s Bone and The Edge) generating huge buzz and new film-turned-musicals Catch Me If You Can, Sister Act, and Leap Of Faith all announcing spring openings.  Even in the world of non-musical fare, the hits keep on coming – Free Man Of Color, Driving Miss Daisy, War Horse, Time Stands Still, Lombardi, and a star-studded The Merchant of Venice.

“Slowly but surely, Dayton seems ready to embrace NEW ORIGINAL work, but is it enough?”

Here in Dayton this season, we’ll see the arrival of Avenue Q (after a much lauded tour of Spring Awakening just passed through) as well as NEW emerging musicals and plays in development from Dayton Playhouse, The Human Race Theatre Company, Encore Theater Company and others.  Slowly but surely, Dayton seems ready to embrace NEW ORIGINAL work, but is it enough?

Bloody Bloody Andrew Jackson on BroadwayAmid all of New York openings is a terrifying reality as well. Two of the most critically acclaimed and game-changing ORIGINAL musicals have opened and posted closing notices despite being considered by many as changing the course of American Theatre. The emo-punk musical history lesson – Bloody Bloody Andrew Jackson and The Scottsboro Boys – the final work from the legendary creative team of John Kander & Fred Ebb (Chicago, Cabaret, etc.)

Directed by 5-time Tony® Award winner Susan Stroman (The Producers), this daring and wildly entertaining musical explores a fascinating chapter in American history with arresting originality. The show is based on the notorious “Scottsboro” case in the 1930s, in which 9 African-American men were unjustly accused of a terrible crime. Their shocking and inspiring story – told though a mix of innovative staging and piercing new songs – demands to be shared. And yet, after December 12 – it will be gone.

Christopher Dimond – a New York-based musical theatre composer and good friend of Encore Theater Company – recently discussed his sadness – not only about the closing of this definitive show – but what it says about audiences willing to take risks on something ‘new’ instead of always falling back on the tried and true.  We here at onStageDayton felt it was well worth re-printing here.

-David Brush

How I Failed the Scottsboro Boys

CHRISTOPHER DIMOND

Kooman & Dimond Blog

Scottsboro BoysIt’s easy to gripe about the state of Broadway these days. Trust me, I do it a lot. Original musicals are a rarity. Juke Box shows and movie adaptations dominate the Great White Way, cotton candy and bubble gum pop for the tourist crowd. Fluff trumps substance.

Who’s to blame for this? My personal favorite scapegoats are producers. “If only producers had some balls,” I whine after watching an MTV telecast of a musical about a girl who goes to law school to impress her boyfriend, “Then we’d actually see the high-quality, in-your-face, change-your-life kind of musicals that we should be seeing.”

“It’s an absolute crime, a soul-crushing travesty, that this show is closing, while elsewhere lighthearted Abba tunes will be sung in seeming perpetuity.”

So, who’s to blame when producers with balls take a risk on something daring, audacious, and effing beautiful and it still “fails” on Broadway?

The short answer: me.

Scottsboro BoysThe Scottsboro Boys is a triumph of modern musical theater. It’s brilliant, it’s bold, it’s provocative, it’s moving, it’s surprising, it’s a whole bunch of adjectives that collectively still do not do it justice. And most of all, it’s a story that needs to be told, told in an incredibly powerful manner. It’s the best musical I’ve seen in years. In no way, NO WAY, can this show be described as a failure.

The cast, Kander and Ebb’s score, David Thompson’s book, Susan Stroman’s direction/choreography, the design… it’s not perfect, but it’s about as close to perfect a production as you’ll find on Broadway today.

And yet, producers announced this week that the show will close December 12th, after 49 performances and 29 previews.

Does that make the production a “failure”? Does it mean that we need some alternate model for producing smaller, edgier musicals than the Broadway one? Those are conversations I’ll save for another time.

The simple fact of the matter is this: People are going to lose money producing a brilliant piece of theater. And, more devastatingly, A LOT of people are going to miss out on the chance to see The Scottsboro Boys.  It’s an absolute crime, a soul-crushing travesty, that this show is closing, while elsewhere lighthearted Abba tunes will be sung in seeming perpetuity.

Yes, the show had a healthy run at the Vineyard, and no, the point of creating art should not be to turn a profit. You can even make the argument that it was a mistake to try to transfer such a risky show. But I’m not buying it. This show deserves to be seen, and it deserves to be seen by as many people as possible. Broadway gives it the best chance to do that.

I refuse to believe, POSITIVELY WILL NOT ACCEPT the idea that there are not enough people out there who want to be moved, to be challenged, to be changed by a musical in order to keep this show running.

Scottsboro BoysIt’s going to be easy to blame the marketing of the show, or the subject matter, claiming that it’s just too tough of a sell for Broadway. Bullshit. Here’s all the marketing a show like this should need: “It’s fucking amazing. Go see it. Now.”

Years down the road, pundits will shake their heads and say, “The show simply didn’t find its audience.” I’ll argue differently. The audience simply didn’t find its show.

If we are going to complain about the state of Broadway, then we, as an audience, AS A THEATER COMMUNITY, have a responsibility to actively seek out productions that are extraordinary, to support them by paying for tickets, and to promote the hell out of them through word of mouth, social media, blackmail, whatever’s necessary to advance the cause of innovative, exceptional theater.

I didn’t do that with The Scottsboro Boys. I waited until the closing notice had been posted to buy my ticket. I should have rushed out immediately. I should have been the first in line. I should have shouted from the rooftops.

I didn’t do that.

And, apparently, I wasn’t the only one.

-cd

From Christmas Past to Christmas Pageants… and FREE TICKETS!

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Childrens Theatres Explore the Holidays

Junie B Jones: Jingle Bells, Batman Smells

Junie B Jones: Jingle Bells, Batman Smells (Photo Credit Mike Long)

So often, we associate “children’s theatre” with “running around in big furry costumes spouting cutesy dialogue” (witty description per playwright Allison Gregory), and “Christmas shows” with the same old retellings of the Nativity or Nutcracker (as Dave mentioned Tuesday). But, we’re often too busy to even think of those types of theatre, let alone putting them together, for the holidays seem to come earlier every year (did Black Friday begin on Thursday…?) – sometimes it seems like ‘tis the season for selfishness and stress! This season, two theatres are surpassing those stereotypes and producing quality holiday productions for audiences of all ages, providing the perfect way for families to spend time together, enjoy themselves, and move beyond the overwhelming focus on gifts and wanting more.

Beavercreek Community Theatre’s A Christmas Carol and Town Hall Theatre’s Junie B. Jones: Jingle Bells, Batman Smells both open this weekend. While extremely different shows, both feature youth performers and share conceptual similarities: they may seem like lighthearted Christmas fare, and audiences of all ages will definitely laugh and enjoy themselves, but also walk away with a little something else to consider.

A Christmas Carol

A Christmas Carol (Photo credit: Diana Blowers)

Beavercreek Community Theatre’s Children’s Theatre presents Charles Dickens’ A Christmas Carol; the structure of this adaptation is unique because it features a “play-within-a-play,” exploring the famous allegory as a story passed down from grandfather to grandson when young Thomas struggles to understand the reason for giving hard-earned money away to the poor. As the traditional story goes and Thomas’ grandfather shares, visits to his past, present, and future teach Scrooge the loneliness of his selfish, stingy ways and inspire him to change his life.

Teresa Connair, who directs the 34-member cast of students ages 8 – 18, has worked with children’s theatre for over fifteen years and began the Children’s Theatre branch (a unique facet not shared by many of the

A Christmas Carol

A Christmas Carol (Photo Credit: Diana Blowers)

other Dayton theatres) at BCT five years ago. Along with performing in shows, students can participate in educational initiatives and classes at BCT, and help choose children’s productions; approximately half of the cast members have participated in BCT’s Children’s Theatre in some way before.

For this show, Connair has worked with the cast not only on scenes, but also on qualities important in life. She commented,

“We try and teach professionality to these kids, and how to develop a character, build a character, be real onstage – not just say lines, and I think they do an excellent job. They constantly surprise me, and that’s not easy to do.”

That training evidently is successful, for Connair stressed the professional quality of this production. That professionalism and the fresh angle to a familiar story both ensure A Christmas Carol is unique, excellent, and worth fitting into a busy holiday schedule.

Junie B Jones: Jingle Bells, Batman Smells

Junie B Jones: Jingle Bells, Batman Smells (Photo Credit: Mike Long)

Town Hall Theatre’s Landmark Children’s Theatre’s current production, Junie B. Jones: Jingle Bells, Batman Smells, also promises to entertain and impress. Some may remember THT’s well-loved and hilarious production last season of Junie B. Jones and a Little Monkey Business, exploring Junie B.’s kindergarten escapades; in Jingle Bells, Batman Smells, Junie B. is now in first grade and has grown up a little bit – this show features her parents less, and explores the relationships and events she deals with at school. Not only does Junie B. draw the name of May, her avid nemesis, for the school “Secret Santa” gift exchange, but both girls are required to perform together in the school’s holiday pageant.

Though many adults are unfamiliar with them, the Junie B. book series, by Barbara Park, is extremely popular with children; even if you have never heard of the books, however, the play and characters stand alone and will make sense. Junie B. reflects the lives and struggles of kids now, but adult audiences will also reminisce and remember the same things that the characters are encountering.  Playwright Allison Gregory, who was commissioned by Childsplay, Inc., to adapt the books for the stage, explained that the magic of the story and characters is how perfectly Park expresses the way kids think, “yet within that impulsive, boundless world, she builds a highly structured, meaningful story.”

Junie B Jones: Jingle Bells, Batman Smells

Junie B Jones: Jingle Bells, Batman Smells (Photo Credit: Mike Long)

Gregory’s adaptation and THT’s production align perfectly with this description, and the cast has had a lot of fun exploring it! Director Brittany Hayden-Hinkle, also THT’s Education Director, discussed how rewarding working with the kids has been:

“I really enjoy them as actors and just as people. Where else would you be discussing burp noises and what “squeeze a burp” should look like? The kids… bring an energy that is positively indescribable; they care so much about the shows they work on! And they never take themselves too seriously.”

Both A Christmas Carol and Junie B. Jones: Jingle Bells, Batman Smells will provide audience members with not only a great distraction from the consumerism and stress of the holidays, but a perfect way to go beyond our typical conceptions about the holidays and theatre to reflect on what’s truly important. Hayden-Hinkle expressed thoughts about Junie B. that reflects the depth of Christmas Carol as well:

“The show encourages kids to look past themselves during the holidays and reach out to those who need a little help. Sometimes the right thing is pretty hard to do but it’s always worth it in the end!”

So, this December, take your family or friends to see one of these two great children’s shows, and move beyond the typical conceptions, enjoying yourself and laughing in the process.

Tickets and Performance Information

A Christmas Carol: Beavercreek Community Theatre

December 3 – 12, 2010 – Fridays/Saturdays at 7:00 pm; Sundays at 3:00 pm
Call the Box Office at 937-429-4737 or visit Beavercreek Community Theatre!

Junie B. Jones: Jingle Bells, Batman Smells: Town Hall Theatre

December 3 – 19, 2010 – Fridays through Sundays (multiple performance times; check website!)
Call the box office at -937-433-8957 or visit Town Hall Theatre!

Or, check out the contest below…

Win Free Tickets!

Beavercreek Community Theatre, Town Hall Theatre, & onStageDayton on DaytonMostMetro.com have teamed up to give you a chance to win tickets to each of these shows!  We will be giving away up to five sets of four tickets total for the second or third weekends of these terrific shows! We have three sets for A Christmas Carol and two for Junie B. Jones. And since we’re giving away four tickets to each winner, your family can come together. All you need to do is:

  • Share this post on Facebook or Twitter…we’ll give away a set of tickets for every 10 ’shares’ on FB/Twitter, up to 5 groups of 4 tickets.  Just click on the appropriate button below, it’s that easy!
  • Leave a comment, answering the following question… Both of these shows center around the holidays and a spirit of togetherness… what is your favorite or most unique holiday tradition?
  • The deadline to enter is MIDNIGHT on TUESDAY, December 16th; tickets will be made available for the second (or third, for Junie B. Jones) weekends of the show.

    • ~KN

    SUBMIT PRESS RELEASES

    Would you like to submit theater news for DaytonMostMetro.com’s onStageDayton features?  Email Shane, Dave & Katherine at [email protected]

    Katherine Nelson is a senior theatre major at Cedarville University who focuses on performance, playwriting, and stage management. She’s the Literary Intern with locally basedEncore Theater Company, where contributors Shane Anderson and David Brush also work. The local theater company recently moved into the new arts collective space in the Oregon Arts District, along with Zoot Theatre Co & Rhythm In Shoes. Encore Theater Company has a mission to help develop new works of musical theater, most recently Next Thing You Know and The Proof, two new musicals in development.