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‘Still Alice’ Review – Young at Heart Players – The Farewell

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Linguistics professor Alice Howland’s life-altering battle with early-onset Alzheimer’s disease grips with heartbreaking poignancy in Christine Mary Dunford’s 2013 drama Still Alice, excellently presented in its regional premiere courtesy of Young at Heart Players at the Dayton Playhouse.

STILL ALICE (left to right) Cher Collins (Dr. Tamara/Beth), Cassandra Engber (Alice), Steve Straswer (John), Chelsey Hall (Lydia), Brandon Shockney (Thomas), Rachel Oprea (Herself), and Shawn Hooks (Dr. Davis/Dan) comprise the cast of Young at Heart Players’ regional premiere of “Still Alice,” continuing through Dec. 1 at the Dayton Playhouse. (Photo by Fran and Annie Pesch)

Based on Lisa Genova’s 2007 novel and notably filmed in 2014 featuring Julianne Moore’s Academy Award-winning performance, Still Alice chronicles the complexities, shock, misunderstanding, and frustration that arises within the Howland family as Alice navigates her journey. As she undergoes a three-year race against time, an imperative component at the root of Annie Pesch’s expert direction, her supportive husband John as well as her two children Thomas and Lydia ultimately come to terms with her farewell. And in a surprisingly refreshing and theatrically fulfilling departure from the film, Alice is joined at nearly every moment by Herself, a character conveying her crucial inner thoughts.

In one of her finest performances, Cassandra Engber, frequently seen over the years with Dayton Theatre Guild, marvelously embodies Alice’s tear-jerking duality, an independent, vibrant intellectual celebrated around the world slowly evaporating into fragments of what she once was. With compellingly believable intent, avoiding melodrama or histrionics, Engber absolutely pulls the audience into the character’s confused angst. Certain situations find Alice inadvertently heading to the office in her pajamas, forgetting a family recipe and failing to recognize her daughter, but she remains a genuine beacon of warmth, love and resilience nonetheless. It’s a delicate balance, but Engber pulls it off splendidly, especially as emotions run high and stakes are raised as the disease takes hold. And as the disease progresses, Pesch and Logan Dabney’s efficient set strikingly disappears bit by bit, heightening the play’s riveting subtext to profound effect.

Additionally, Rachel Oprea is equally impactful and potent as Herself, attempting to make sense of Alice’s new way of living. Engber and Oprea’s terrific chemistry is key to the inherent compatibility unfolding in their insightful scenes, which is particularly notable regarding Oprea, astutely understanding the necessity of allowing Engber to take precedence in their interactions. Steve Strawser, in perhaps his most dynamic, emotional performance, is a relatable source of strength as John, trying to maintain his busy career while taking on the challenging role of chief caregiver at home and at doctor’s appointments. Brandon Shockney and Chelsey Hall are also winning as Thomas and Lydia, whose valiant attempts at caregiving are not effectively aligned with their present paths of fatherhood and a life in the theatre, respectively. Cher Collins (Dr. Tamara/Beth) and Shawn Hooks (Dr. Davis/Dan) complete the cast in very grounded, credibly concerned portrayals. In fact, Hooks is at the center of one of the play’s best scenes which finds Alice and John contemplating advance treatment following a series of memory questions.
“I miss myself,” Alice says. “My used to be self.” Without a doubt, this meaningful play, fittingly offered just in time for the holidays as the pleasures of family and memories become priorities, is an invitation encouraging and inspiring us all to simply embrace life to the fullest each and every day.

Still Alice continues through Dec. 1 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 p.m. Friday and Saturday and 2 p.m. Sunday. The play is performed in 100 minutes without intermission. Tickets are $15 for adults and $12 seniors and students (open seating). Call (937) 654-0400 to make a reservation. For more information, visit youngatheartplayers.com.

In addition, a portion of the proceeds will benefit the Miami Valley Chapter of the Alzheimer’s Association.

 

‘Chicago’ Review – Springboro Community Theatre – Jailhouse Jewels

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The heated competition between merry murderesses Roxie Hart and Velma Kelly is back as Springboro Community Theatre continues its inaugural season with an entertaining production of composer John Kander, lyricist/co-librettist Fred Ebb, and co-librettist Bob Fosse’s classic 1975 musical Chicago.

Photo caption(s) (left to right) Logan Hylinski (Velma Kelly) and Kailey Yeakley (Roxie Hart) are featured in Springboro Community Theatre’s production of John Kander, Fred Ebb and Bob Fosse’s classic musical “Chicago” through Nov. 17. (Contributed photo)

The core 1920s battle inside the Cook County Jail as famed veteran Velma is challenged in publicity and attention by upstart Roxie is well-established and believably grounded by Logan Hylinksi and Kailey Yeakley, respectively. Although their youth significantly lessens the level of desperation inherently built inside both roles, they nonetheless bring charisma, passion, sensuality, and spunk to the stage as stakes are raised. Hylinski, agile, sleek and sly with an impressive grasp of the Fosse style, greatly emphasizes Velma’s unexpected change of course having to share her turf and see her reputation disintegrate as Roxie surpasses her. “I Can’t Do It Alone,” Velma’s plea for Roxie’s assistance, showcases Hylinksi to the fullest as a performer while still reflecting Velma’s vulnerability. Yeakley, filling Funny Honey with a pleasant country twang near the outset, shrewdly embraces Roxie as a cold-hearted killer empowered and reveling in her celebratory rise as the Windy City’s latest craze even as she is doted on by her hopelessly gullible husband Amos (endearing Aaron Brewer) and spars with hotshot lawyer Billy Flynn (Steven Lakes, vocally strong yet lacking in layers and specificity). Her playful rendition of Roxie, which includes a fantastic monologue detailing the character’s adulterous backstory, is a particular highlight.

In addition: Jeannine Geise is a delightfully crass Matron Mama Morton (her brutally blunt rendition of Class opposite Hylinski is wonderfully lyric-driven and sarcastic); Donna Cason keeps the action humming in her central role as Emcee; The Cell Block Tango, one of many flavorful Fosse-inspired routines admirably choreographed by Kara Castle, is terrifically rendered by Lily Newman (Mona), Morgan Gruet (Annie), Ryann Davis (June), and Madison Stapleton (Liz) along with the aforementioned Hylinksi and Castle (Hunyak) who are all costumed seductively by Olivia Dakin; standout ensemble members Jeremy Smith (Fogarty/Harrison) and William Boatwright, Jr. (Harry/Aaron) are great assets in spirit, tone and movement; Tim Fingerle (Fred Casely) proves prominent in flashback during Roxie’s climatic trial; Xander Hildenbrandt is a fittingly fiery Go to Hell Kitty; and Megan Blitz, Lauren Ping, and Allie Staples nicely complement as featured dancers. However, as newspaper reporter Mary Sunshine, Jordan Mckinniss stumbles within the tricky parameters of spoof, specifically lacking authenticity and vocal finesse to properly sell the role and its duality. Trust me: A Little Bit of Good is one of the finest character-specific songs in the Kander and Ebb canon and deserves a far better treatment than exhibited here.


In a unique departure from the standard jailhouse setting, director Jenni Cypher frames the show inside a period nightclub, designed by Wayne Myers complete with tables and bar. It’s an interesting concept at times refreshing but occasionally muddled, particularly Act 1 finale My Own Best Friend, a defiant number devoted to Roxie and Velma’s decision to rely on no one but themselves that gets deflated as Hylinski and Yeakley stroll across the stage as some sort of lounge act to satisfy customers. On the other hand, Cypher’s choice to bring the overwhelming fury of The Cell Block Tango directly into the audience notably appeals. Her production team includes music director Judy Mansky, lighting and sound designer Jason Vogel, and properties master Kurt Cypher.

We can learn a lot from the corruption, betrayal, lies, and treachery that make Roxie and Velma household names. With Hylinksi and Yeakley firmly in the driver’s seat, this cautionary tale rightfully stings with relevancy. Buckle up.

Chicago continues through Nov. 17 at Springboro Community Theatre, 115 Wright Station Way, Springboro. Performances are 8 p.m. Friday and Saturday and 2 p.m. Sunday. Tickets: $20 for adults; $18 for seniors, students, military, and groups. For tickets or more information, call (888) 262-3792 or visit borotheatre.org. Patrons are advised the show contains adult language/situations.

 

Comedian Bert Kreischer To Play the Schuster

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Victoria Theatre Association presents comedian, actor, and writer BERT KREISCHER’S THE BERTY BOY WORLD TOUR, Feb. 1, 2020 at the Benjamin & Marian Schuster Performing Arts Center.

BERT KREISCHER is an American stand-up comedian, actor, writer, and host who performs to sellout crowds across the country. His standup specials “Secret Time” and “The Machine” are currently streaming globally on Netflix.  Described as having a “rare and incredible talent” (Interrobang), Bert has evolved from being named Rolling Stone’s 1997 “Number One Partier in the Nation” to one of the top names in comedy. Between his two previous stand-up specials, “The Machine” on Showtime (2016) and “Comfortably Dumb” on Comedy Central (2009), his two podcasts: “Bertcast,” and “Open Tabs,” his YouTube cooking show: “Something’s Burning,” and, his book Life of the Party: Stories of a Perpetual Man-Child (2014).

 

KREISCHER has succeeded in finding the elusive blend of “being a cringe comedian with real insight” (Interrobang).  Lauded as one of the best storytellers of his generation, he seamlessly and sincerely shares anecdotes about his family and fatherhood while showing his ability to prove “that there’s a way to take his [party-boy] antics into middle-age,” (Forbes). His infamous story about robbing a train with the Russian Mafia was recently optioned by Legendary (the studio behind The Hangover Series, Jurassic World, and Straight Outta Compton) to be turned into a movie. After the successful debut of The Body Shots World Tour in 2019, where he quickly sold out theaters and added shows in almost every market, Bert is launching a brand-new tour in 2020, THE BERTY BOY TOUR, where he will do shows in even larger venues across the country.

 

Tickets for the Feb. 1, 2020 performance are on sale now for $42.75 or $62.75 at Ticket Center Stage, by phone at 937-228-3630, (toll-free) 888-228-3630 or online at ticketcenterstage.com.

 

 

 

‘The Cake’ Review – Human Race Theatre Company – It’s Not Well with Her Soul

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A mind is a terrible thing not to change. However, for most of her life, Della Brady, North Carolina bakery proprietor extraordinaire, has been inclined to follow the directions, making sure everything is exactly right for herself and her loyal customers. In fact, she’s become so impressive at her craft she excitedly anticipates her upcoming appearance on “The Great American Baking Show.” But the crucial day one of her special customers asks if she would bake her wedding cake, a customer she has known since birth, Della finds it difficult to oblige simply because she disagrees with her lesbian lifestyle. The crisis of conscience that ensues provides the compelling fodder for Bekah Brunstetter’s comedic, gripping and thought-provoking 2018 contemporary dramedy The Cake, excellently presented in its local premiere by the Human Race Theatre Company at the Loft Theatre.

Laurie Carter Rose (Della Brady) in the Human Race Theatre Company’s local premiere of Bekah Brunstetter’s 2018 dramedy “The Cake,” continuing in its local premiere through Nov. 17 at the Loft Theatre. (Photo by Heather N. Powell)

Fluidly staged with riveting instincts by Greg Hellems, The Cake doesn’t hold back in its frequent, even-handed debates about life, love, family, marriage, relationships, religion, and society, an array of themes that have served Brunstetter well as co-producer of NBC’s remarkable Emmy-winning drama This is Us, among my utmost favorite shows. As The Cake unfolds, it’s very easy to grasp why Jen – New York-based daughter of Della’s deceased best friend – would risk embarrassment, risk being viewed as undeserving, and journey all the way to the Bible Belt to personally ask Della to do the honors, especially since she has become somewhat of a second mom. At the same rate, it’s very easy to grasp Della’s biblical stance, her fundamental belief that God created marriage between man and woman. Even so, it breaks Jen’s heart knowing Della’s true feelings even though her southern roots are also an intrinsic part of her down to the core, so much so she privately loathes much of her existence within Brooklyn’s literary gay scene. But as Jen’s highly opinionated yet concerned and protective partner Macy reminds her, “nostalgia is not a belief system.” In other words, Jen today is not Jen of long ago. Either Della accepts that or she doesn’t. There are other bakeries and other cakes.
In a marvelous Human Race debut, Laurie Carter Rose, humorous yet moving, is a terrifically conflicted Della, caught in a severe struggle between the heart and the head while trapped in a stagnant marriage. Brunstetter throws in an unnecessary bit of risqué workplace funny business, but Rose rises above the awkwardness and partial nudity to effectively draw the audience into Della’s desperation, her desire to refuel whatever gas is left in her rusty marital tank. Human Race resident artist Tim Lile is also authentically first-rate as Della’s ultra conservative, inadvertently small-minded, I-tell-you-who-to-vote-for husband Tim. Claire Kennedy, previously a knockout in the titular role in the Human Race’s production of Hail Mary!, returns to the Loft with endearingly superb, passionate and relatable finesse. Her expert handling of Jen’s internal tug-of-war, the deep second guessing of who she actually is, increasingly builds and is particularly impactful when Jen reveals specific details to Della about her recurring dream involving heterosexual sex. As outspoken Macy, Candice Handy, in another striking Human Race debut, dynamically ruffles feathers. Macy may be off-putting and overtly political, but Handy is a force to be reckoned with nonetheless, providing a voice of reason that gives the timely, topical play its blunt balance.
Hellems’ production team includes the wonderful contributions of scenic designer Dan Gray (supplying a revolving set beautifully decorated for Della’s shop complete with spiritual décor recalling Kirkland’s), costumer Jessica Pitcairn, lighting designer John Rensel, and sound designer Jay Brunner’s country-infused music slowly evolving into more distorted, haunting strains as conflict increases.

“It just doesn’t sit right with me,” Della says, weighing the big decision at the crux of the play. Thankfully, the choice to see The Cake isn’t difficult at all. Don’t miss it.

The Cake continues through Nov. 17 at the Loft Theatre, 126 N. Main St., Dayton. Performances are 8 p.m. Thursdays-Saturdays, 2 p.m. Sundays, and 7 p.m. Tuesdays and Wednesdays. The play is performed in 90 minutes without intermission. Tickets are $16-$52; The “Sawbuck Sunday” performance, in which tickets are available for $10, is Nov. 3 at 7 p.m. Tickets are available two hours prior to performance for walk up sales only. Other discounts for groups, students and military are also available. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit humanracetheatre.org. Patrons are reminded the show contains adult language/situations and partial nudity.

Also, the Human Race is partnering with the Neon Movies for a screening of 2004’s “Saving Face” on Monday, Nov. 4 at 7:30 p.m. “Saving Face” is an Asian and gay-themed story about family secrets.

Dr. Nicole Richter, head of the Tom Hanks Center for Motion Pictures at Wright State University, will lead a discussion following the film with James Hughes, retired WSU literature professor. Tickets are available at the Neon, 130 E. Fifth St., Dayton. For more information, visit humanracetheatre.org or neonmovies.com.

 

‘The Addams Family’ Review – Wright State University – Delightful Darkness

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Full disclosure. I thought I’d seen my local fill of The Addams Family from the national tour to community theater to high school, but Wright State University’s outstanding production is such an absolute hit I’m tempted to see it again.

Erik Moth (Fester) and the Ancestors in Wright State University’s production of “The Addams Family.” (Photo by Erin Pence)

Skillfully directed by Joe Deer with breezy transitions, an astute balance of tenderness and zaniness, and a clever nod to The Sound of Music just for kicks, The Addams Family, adapted by librettists Marshall Brickman and Rick Elice as inspired by Charles Addams’ classic cartoons, is an engaging musical comedy about love, acceptance, identity, second chances, and letting go. The sudden news that gloomy Wednesday (strikingly intense Michaella Waickman) is happily engaged to All-American, easygoing Lucas Beineke (amiable tenor Eric Thompson) causes worlds to collide, secrets to fester, and fear to grow. But once Gomez (charismatic and debonair Hunter Minor) and Morticia (elegantly comedic Robin Dunavant) come to terms with recognizing and respecting Wednesday’s maturity as a young woman who knows what she wants, the family bonds are strengthened beyond expectation.

Hunter Minor (Gomez) and the cast of Wright State University’s production of “The Addams Family.” (Photo by Erin Pence)

Brickman and Elice, with incredibly tuneful assistance from composer Andrew Lippa, dabble in the Fiddler on the Roof playbook from the outset (When You’re an Addams is basically Tradition with an emphasis on heritage/lineage instead of culture/faith), but the age-old notion that parents must ultimately learn to step back and see the future through their child’s eyes, especially when marriage is on the agenda, still tugs the heart. In fact, Happy/Sad, sung with beautifully wistful contradiction by Minor with a final embrace by Waickman for added tear-jerking effect, recalls the many meaningful, touching exchanges Tevye has with his devoted daughters. Granted, Fiddler doesn’t contain an elaborate dinner party in which Fydeka’s parents pay Tevye and Golde a visit, but this show smartly gives us ample time to get to know, understand and relate to Lucas’ conservative dad Mal (perfectly hard-nosed, uptight and out of touch Nick Martin) and meek mom Alice (Emma Bratton, impressively conveying Alice’s duality in the uninhibited Waiting). And in doing so, the sheer acknowledgment that all families have their ups and downs, saviors and skeletons, greatly adds to the show’s universality.

Robin Dunavant (Morticia), Hunter Minor (Gomez) and the cast of Wright State University’s production of “The Addams Family.” (Photo by Erin Pence)

By and large, Deer’s cast is utterly delightful. Minor fantastically exudes Spanish flair in his breakthrough performance, bringing sharp suaveness to Trapped with sword in tow and fierce passion to his knockout Not Today complete with chair flair that would make Liza “Mein Herr” Minnelli swoon. He also joins Dunavant for an awesomely sexy, scintillating and humorous Tango De Amor, one of many wonderfully flavorful routines choreographed by WSU alumna Dionysia Williams. Waickman, having a banner year and most recently seen as Alice Russell in the Human Race Theatre Company’s production of Lizzie, is an expressive, endearingly haunting presence, notably reiterating Wednesday’s newfound emotional confliction in Pulled. In addition to the aforementioned Thompson, Martin and Bratton, Erik Moth charms as Fester (playfully showcased in “The Moon and Me”), Amanda Astorga is a hilariously kooky Grandma, Dylan Tacker dutifully stalks mysteriously as Lurch, and Parker Kaibas is a fine fit as Pugsley. The action is also strongly accented by the Male Ancestors (Marcus Antonio, Tommy Cole, Mitchell Lewis, Jake Siwek, Jeremy Weinstein) and Female Ancestors (Lauren Eifert, Tassy Kirbas, Emma Metzger, Maggie Musco, Jeannine Sincic). Matthew Shanahan and Sophie Hardy are the Swings.

Michaella Waickman (Wednesday) and Eric Thompson (Lucas) in Wright State University’s production of “The Addams Family.” (Photo by Erin Pence)

The production’s top-notch, gorgeously ghoulish appeal extends to scenic designer David J. Castellano, costumer Zoë Still (notably providing a nifty journey through time for the Ancestors from the Prehistoric era to the 1920s and more), lighting designer Matthew P. Benjamin, sound designer James Dunlap, dialect coach Deborah Thomas, properties master John Lavarnway, and the WSU debut of music director Wade Russo leading a talented orchestra.

It’s an extremely busy, competitive time within the local arts scene, but don’t miss what is clearly one of the best productions of the season thus far. Move toward the darkness and have a blast.

The Addams Family continues through Nov. 17 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Dayton. Performances are 7 p.m. Wednesdays and Thursdays, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, and 2 p.m. Sundays. Act One: 80 minutes; Act Two: 55 minutes. Tickets are $15-$25. Call (937) 775-2500 or visit wright.edu/tdmp.

 

‘Stained Glass’ Review – Playground Theatre & University of Dayton – Church Hurt Raging in the Storm

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It’s often said in certain circles that some of the worst people you’ll ever meet are in the church. Granted, there are a lot of evangelicals who have done wonders within their communities and across the globe, particularly the hard-scrabble work of those who have devoted their lives and Christian service as missionaries. Even so, due to the fact that human nature is a tremendously fickle beast, there are still evangelicals who manage to inflict or dabble in the practice of what is commonly known as church hurt. And it doesn’t take long for this weapon to destroy a person to the point that the Great Commission – the three-fold biblical practice of going out into the world to make disciples, baptize, and teach – ultimately falls on deaf ears. In fact, the wounds of church hurt, in word or deed, can be so destructive, painful and vilifying that some dare not step inside a church ever again.

Jillian Mitchell (Cinderella), Chris Jones (Pinocchio) and Jada Gee (Tinkerbell) in Playground Theatre and University of Dayton’s regional premiere of Ingrid DeSanctis’ “Stained Glass.” (Photo by Knack Creative)

Michelle Hayford portrays multiple roles in “Stained Glass.” (Photo by Knack Creative)

In Ingrid DeSanctis’ riveting, largely autobiographical drama Stained Glass, an O’Neill National Playwrights contest semi-finalist receiving a terrific regional premiere courtesy of Playground Theatre and the University of Dayton inside the Black Box Theatre of UD’s Fitz Hall, a young woman named Jewels (compelling Rae Buchanan) is the latest church hurt testimony. Even though she grew up adoring the enchanting biblical stories in Sunday School, particularly the Old Testament account of three men who survived a fiery furnace, Jewels has abandoned her spiritual roots based on the startling truth that her father, a Pentecostal preacher, had sexually inappropriate relationships for 20 years. When Jewels returns home to New Jersey for her father’s funeral at the same exact time of an impending storm, the past ultimately proves to be a huge kick in the gut. As if her homecoming wasn’t going to be sad or tense enough as funeral arrangements take shape, she decides to contact four women victimized by her father. Along the way, five fanciful characters – Tinkerbell (bubbly yet grounded Jada Gee), Moses (authoritatively friendly Chris Hahn), the Little Mermaid (beautifully expressive Michelle Hayford), Cinderella (sweet, concerned Jillian Mitchell), and Pinocchio (humorous Chris Jones) – offer flavorful, sprightly guidance within the framework of magical realism. As reality and fantasy collide, Jewels’ engaging journey of self-discovery, self-love, faith-building, and forgiveness remains insightful.

 

DeSanctis, Assistant Professor of Playwrighting at James Madison University in Harrisonburg, VA, creates a challenging, complex roadmap of shifting locales and sheer whimsicality, but directors Hayford, Jenna Valyn, and Hahn admirably join forces to ensure a quietly captivating experience ripe with intimacy, urgency, merriment, poignancy, and surprise. The strongest, most impactful moments arise in the uncomfortable exchanges between Jewels, dealing with her inner tumultuous storm, and the aforementioned women whose lives were altered by her father’s behavior (Val, Mrs. Clifton, Rose, and Sandy all seamlessly portrayed with excellently distinguished characteristics and varying moods by Hayford, costumed by Kehler Welland). In addition to the charming scenes of magical realism (including an unexpectedly gripping account of the Little Mermaid heightened by an emotive Hayford in the Act 1 finale), there’s also great interplay between Jewels and her mom (believably conflicted Amy Askins) and rebellious sister Tess (delightfully snarky Valyn). I question DeSanctis’ decision denying Jewels’ devoted boyfriend James (amiable A.J. Breslin at his most romantic) the chance to return to New Jersey with her for such a significant homecoming. Nonetheless, I find her intriguing examinations of the Bible, from Jesus saving the adulterous woman to the pivotal decision of Lot’s Wife to look back at the city she left behind, a central part of the play’s theological allure. The production is also bolstered by technical director Matthew Evans’ brilliant lighting design and wind ambience, Hahn’s atmospheric sound design, and Valyn’s efficient set design and character-conscious soundtrack.

 

One of the best new works Dayton has seen in 2019 and a topical character study against the backdrop of the #MeToo climate, Stained Glass strikingly resonates and is unquestionably thought-provoking. As Jewels’ mom tenderly reminds her, “Forgiveness is something mysterious. It’s hard to understand.”

Rae Buchanan (Jewels) and A.J. Breslin (James) in Playground Theatre and University of Dayton’s regional premiere of Ingrid DeSanctis’ “Stained Glass.” (Photo by Knack Creative)

 

Stained Glass continues through Oct. 26 in the Black Box Theatre of University of Dayton’s Fitz Hall, 1529 Brown St., Dayton. Performances are 7:30 p.m. Friday and 1:30 and 7:30 p.m. Saturday. Act One: 63 minutes; Act Two: 55 minutes. Tickets are $12 (general admission) and $8 (students and faculty). For tickets or more information, call (937) 229-3950 or visit udayton.edu/artssciences/academics/theatre/index.php. Also, a post-show talkback featuring DeSanctis will follow every performance.

 

‘Once on This Island’ Review – Victoria Theatre Association – Stronger Together

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Community is the driving force behind the sea of emotions fueling lyricist-librettist Lynn Ahrens and composer Stephen Flaherty’s wonderfully heartfelt, relevant, tuneful, and inspirational 1990 musical Once on This Island. As recent disasters and current events at home and abroad strike a deep chord, specifically the Memorial Day tornadoes in Dayton, it is all too clear how important this show has become since its inception and how outstanding it is on tour at the Schuster Center in its Ohio premiere courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

The cast of the North American tour of Lynn Ahrens and Stephen Flaherty’s “Once on This Island,” recipient of the 2018 Tony Award for Best Revival of a Musical. The tour is presented by the Victoria Theatre Association’s Premier Health Broadway Series through Oct. 27 at the Schuster Center. (Photo by Joan Marcus)

 

The recipient of the 2018 Tony Award for Best Revival of a Musical, Once on This Island, adapted from Rosa Guy’s novel My Love, My Love, is an ill-fated, haves vs. have nots, Caribbean-infused love story set in the French Antilles. As the islanders gather in the aftermath of a huge storm, a group of Storytellers share the tale of orphan Ti Moune (radiantly winsome and confident Courtnee Carter), a poor, dark-skinned peasant girl who boldly defies all logic in her valiant quest to win the heart of the wealthy, light-skinned Daniel Beauxhomme (charming tenor Tyler Hardwick). Despite the pleas and warnings of her devoted adoptive parents Mama Euralie (sincere yet formidable Broadway veteran Danielle Lee Greaves) and Tonton Julian (Tony nominee Phillip Boykin reprising his role from Broadway and gently displaying authoritative concern), impulsive Ti Moune throws caution to the wind and demands she leave home to journey to the other side of the island to care for the injured Daniel, whose car accident near the outset is the catalyst for their budding romance. As Ti Moune and Daniel ultimately grow closer causing rumors to fly and suspicions to swell, four gods (Agwe: Water; Asaka: Mother of the Earth; Papa Ge: Death; Erzulie: Love) closely monitor and converse with Ti Moune in an attempt to discover whether death or love is more powerful, especially villainous Papa Ge (dynamically disturbing American Idol alumna Tamyra Gray, reprising her role from Broadway and commanding the stage with a fierce strut, intimidating cloak, and husky demonic voice) who doesn’t forget Ti Moune’s startlingly determined declaration that she would give her life for Daniel.

Kyle Ramar Freeman as Asaka and Courtnee Carter as Ti Moune in “Once on This Island.” (Photo by Joan Marcus)

Ahrens and Flaherty, who won the Best Original Score Tony for 1998’s marvelous, timelessly topical Ragtime, terrifically capture the tropical essence and overall earnestness of the story and its inhabitants. Spirited opening number We Dance, a perfect example of the A&F songwriting pedigree, sets a wondrously introductory tone in the vein of Tradition from Fiddler on the Roof.  The equally upbeat finale Why We Tell the Story also thrives on communal joy and the significance of legacy. But an array of knockout solos is at the core of the score, among the most remarkable in the A&F canon. Carter, who understudied the role of Ti Moune on Broadway, pours superb longing, desire, innocence, vulnerability, and excitable frustration into Waiting for Life. Actor-musician Cassondra James, beautifully portraying Erzulie in addition to playing the flute, is a beguiling source of sophisticated grace and warmth throughout The Human Heart. Hardwick fills tender waltz Some Girls with clear introspection, allowing a vivid portal into Daniel’s inner conflict and responsibility. Colorful Kyle Ramar Freeman, a sensationally sassy Asaka, brings down the house with an electrifying Mama Will Provide, awesomely vocal riffing to the rafters while delectably sashaying to the hilt clothed in makeshift eleganza realness by costumer Clint Ramos.

The unique, progressive decision to have Freeman and Gray embody their particular roles is one of the great benefits of director Michael Arden’s luminous contributions. Reexamining gender identity works effortlessly in this context, particularly suggesting all communities should embrace equality and inclusivity simply due to the realization we are all more alike than we are different. Elsewhere, Arden, an environmental master whose detailed work here matches his splendid 2015 staging of Spring Awakening, supplies thrilling drama in Rain (heightened by Jahmaul Bakare’s strong vocals as Agwe and Jules Fisher and Peggy Eisenhauer’s stunningly evocative lighting design), cinematic stagecraft in Pray, and an inspired nod to late, legendary director Hal Prince in the historical Sad Tale of the Beauxhommes, an intriguing look at Daniel’s family lineage, customs and prejudice. Still, the smallest moments shine just as bright. In addition to being moved by the heartbreaking poignancy of Ti Moune quickly departing her home without hugging her parents at the conclusion of the tear-jerking Ti Moune, I totally felt the deflating shock and disappointment in Carter’s voice and demeanor when Ti Moune reaches Daniel’s bedside only to discover he has no recollection of her crucial caregiving during his recovery. Arden also gives choreographer Camille A. Brown ample opportunities to pulsate the action with earthy, exuberant, Afrocentric vigor, notably Ti Moune’s Dance dazzlingly led by Carter.

Danielle Lee Greaves as Mama Euralie and Phillip Boykin as Tonton Julian in “Once on This Island.” (Photo by Joan Marcus)

On Broadway, this production was intimately mounted in the round at Circle in the Square, placing the audience within reach of the action with eye-catching atmospherics including substantial amounts of sand, a large pool of water and a live goat. On tour, there are noticeable space constraints, especially center stage, and less sand and water to bolster ambience. No live animals are featured as well which is mostly disappointing for those with fond remembrances of the Broadway presentation. Even so, scenic designer Dane Laffrey’s exemplary set, efficiently comprised of scaffolding, a boat, a telephone pole, rows of onstage seating, sheets enveloping the proscenium, found objects and much more, is a visual treat. Shannon Slaton’s expertly moody sound design and music director Steven Cuevas’ vibrant orchestra, placed onstage above the actors, also boosts the show’s appeal.

In my estimation, this exhilarating, must-see production remains one of the finest musical revivals of the past decade, ranking on par with Pippin, The King and I, The Color Purple (slated for Dayton Valentine’s Day weekend), Hello, Dolly!, and Oklahoma! Arden and Co. have brilliantly reassessed Once on This Island’s potency at a time when its meaningful themes of acceptance, understanding and unity is under siege. America needs this show now more than ever due to its striking reminder that it takes all of us to keep the human heart beating.

 

Once on This Island continues through Oct. 27 at the Schuster Center, 1 W. Second St. Dayton. Performances are 7:30 p.m. Wednesday and Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; and 1 and 6:30 p.m. Sunday. The musical is performed in 90 minutes without an intermission. Tickets are $26-$99. A limited number of onstage, bleacher-style seating is priced at $25. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

 

MasterChef Junior Serving Up Family Fun!

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Producers of the hit culinary competition series MASTERCHEF JUNIOR announced that after a successful initial 2019 tour they are extending MasterChef Junior Live! to more than 40 new markets in 2020, and is now coming to the Benjamin & Marian Schuster Performing Arts Center on Tuesday, March 17, 2020.

Tickets go on sale this Friday, October 25, 10 a.m. Tickets start at $35 and can be purchased at the Ticket Center Stage Box Office, by calling 937-228-3630 or (toll-free) 888-228-3630, or purchase online at ticketcenterstage.com.

 

Attended by packed audiences in 16 cities during its debut tour this fall, the extended seven-week tour will kick off in Rochester, NY on March 3, 2020, and will visit 40 additional markets across the U.S. including Boston, Brooklyn, Washington DC, Detroit, Chicago, Denver, and more. Tickets go on sale this Friday, October 25, at 10:00 AM Local Time and can be purchased at MasterChefJuniorLive.com.

 

“TCG is thrilled to continue to bring the fun of MasterChef Junior Live! to audiences in 2020.  The stage show brings great moments from the TV series to a LIVE setting.  Families will enjoy watching and participating in the show as much as we have enjoyed creating it,” said Stephen Cook, President of TCG Entertainment, Producer of MasterChef Junior Live!

 

“We were thrilled that MasterChef Junior Live! was so well received by audiences of all ages in our initial run and now we are excited to expand this special theatre experience to more than 40 new U.S. markets in 2020,” said Amber Sheppo, Senior Vice President, Licensing, Endemol Shine North America. “Alongside our partners at TCG Entertainment, we are giving families and fans of our hit series a chance to meet and learn first-hand from past MASTERCHEF JUNIOR winners and contestants in cities near them.”

MasterChef Junior Live! brings MASTERCHEF JUNIOR directly to fans and foodies alike…LIVE on stage! The family-friendly show will feature head-to-head cooking demonstrations and fun (sometimes messy!) challenges with past MASTERCHEF JUNIOR contestants, and an overall immersive audience experience fun for all ages. A limited number of VIP Packages will be available in all markets and will include a premium seat, cast meet and greets, Q&A sessions, a signed show poster, photos, and more!  Exclusive MasterChef Junior Live! merchandise will also be available for purchase.

 

MasterChef Junior Live! cast to be announced at a later date.

 

Ensemble Heinavanker from Estonia Plays Dayton

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Just 4,450 miles away, the tiny Northern European nation of Estonia is known for its passion for song. Ensemble Heinavanker will share that passion on an American tour that includes Dayton as well as New York’s famed Metropolitan Museum’s Cloisters. Rooted in liturgical chant and Renaissance polyphony, their repertoire ranges from Estonian folk hymns to sacred contemporary work by fellow Estonian Arvo Part.

‘A New Brain’ Review – Dare to Defy Productions – Pain and Glory

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In the opening minutes of William Finn and James Lapine’s 1998 musical A New Brain, fledgling composer Gordon Michael Schwinn suddenly realizes something is wrong with his body, specifically his head. He is ultimately diagnosed with an arteriovenous malformation (AVM), a troubling predicament requiring a craniotomy, but his fascinating journey from overwhelming fear to contented recovery provides many quirky, riveting and tender pleasures as terrifically envisioned by Dare to Defy Productions at the PNC Arts Annex.

(left to right) Abby Hoggatt (Nancy), Brandon Leatherland (seated, Mr. Bungee), John Woll (Richard), Brent Hoggatt (Roger), Bobby Mitchum (Gordon Michael Schwinn), Danielle Ruddy (Rhoda), Garrett Young (Minister), and Lindsay Sherman (Mimi) are featured in Dare to Defy Productions’ presentation of A New Brain. (Contributed photos)

(left to right, back row) Lindsay Sherman (Mimi), Danielle Ruddy (Rhoda), (left to right, front row) Brent Hoggatt (Roger) and Bobby Mitchum (Gordon Michael Schwinn) in Dare to Defy Productions’ presentation of A New Brain. (Contributed photo)

Skillfully directed by Philip Drennen and based on Finn’s battle with AVM, “A New Brain” thrives on the importance of connection and relationships as Gordon (outstandingly heartfelt and understated Bobby Mitchum) fights for his life while consumed with professional and personal strife. His severe bout of writer’s block doesn’t abandon him in the hospital, impairing obligations to his friend/co-worker Rhoda (playfully stern Danielle Ruddy) as well as his demanding boss/children’s TV show host Mr. Bungee (comical, sprightly and haunting Brandon Leatherland). At the same traumatic rate, he is bombarded by his fussy mother Mimi (fittingly overbearing Lindsay Sherman, admirably disguising her youth) and conflicted about the depths of his love for boyfriend Roger (handsome tenor Brent Hoggatt in full swoon mode). Rhoda, Mr. Bungee, Mimi, and Roger take precedence, but Finn and co-librettist Lapine smartly expands the engaging narrative to include the enthusiastic, concerned hospital staff (exuberant Zach King as Dr. Jafar Berensteiner, sterling soprano Abby Hoggatt as thin nurse Nancy, charming John Woll in a delectable breakthrough portrayal of nice nurse Richard, and kindly Garrett Young as Minister) and a mysterious, no-nonsense, entrepreneurial Homeless Lady (overly presentational but vocally beguiling Vanae Stevee Pate) who primarily interacts with Gordon and Roger but is still a nifty part of the whole.

Reality and fantasy enjoyably collide throughout, allowing Drennen to remarkably pull out the stops with a rarity known as good old-fashioned musical staging. In Gordo’s Law of Genetics, a funny look at Gordon’s family medical history, he offers an homage to A Chorus Line as the delightful cast joins forces to sing amazing vocal arrangements courtesy of Jason Robert Brown (Songs for a New World, Parade, The Bridges of Madison County). Immediately afterward, he marvelously conceives And They’re Off, a compelling number detailing Gordon’s unhealthy relationship with his abusive, deadbeat, horse gambling-addicted father. Heightened by fantastic, volatile chemistry between

Bobby Mitchum (Gordon Michael Schwinn) and Garrett Young (Minister) in Dare to Defy Productions’ presentation of A New Brain. (Contributed photo)

Sherman and King, the scene essentially morphs into a full-throttle mini-musical. Other knockouts, accented by Ara Beal’s expert lighting design, include Whenever I Dream (featuring Mitchum and Ruddy’s homage to Chicago) and The Music Still Plays On (beautifully sung by Sherman with a breathtaking, torch song-esque poignance recalling Losing My Mind from the equally surreal Loveland sequence in Follies).

 

Granted, not every number in Finn’s score, firmly in the hands of music director Norman Moxley II’s seven-piece orchestra, is a home run. In fact, The Homeless Lady’s Revenge and Mimi’s emotional breakdown Throw it Out are lifted from true accounts, but feel thematically superfluous and stalling. Regardless, Drennen, who impressively staged the challenging Violet last season for Dare to Defy, has an incredible knack for storytelling. Once again, he instills his savvy, lyric-conscious expertise among his cast, even in the smallest moments (Hoggatt, conveying complete serenity, sincerely delivers one of the most gorgeously introspective renditions of I’d Rather Be Sailing I have heard).

A New Brain, one of the best productions in Dare to Defy history, is an inspiring testament to the beauty of second chances, the power of perseverance, the joy of artistic rejuvenation, the support of family and friends, and the enduring gift of time. Even when your very existence hangs in the balance, don’t give in. Life is worth fighting for. Hold fast to the promise of spring.

 

A New Brain concludes today at 2 and 8 p.m. in the PNC Arts Annex, 46 W. Second St., Dayton. The show is performed in 100 minutes without an intermission. Tickets are $18-$30. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

 

Ballet 5:8 presents “Butterfly”

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Ballet 5:8 returns to Dayton with a program of one-act works featuring Butterfly. Artistic Director Julianna Rubio Slager’s newest work recreates the gripping scenes of the WWII Terezin ghetto, where residents created masterful works of art in defiance of their oppressors. The performance will also feature Slager’s Meditations, inspired by C.S. Lewis’ essay Meditations in a Toolshed, and Slager’s playful Brothers & Sisters exploring the beauty and contrast of men and women.

Comedian Greg Warren Returns to Funny Bone

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Comedian Greg Warren grew up in St. Louis where his father was a high school wrestling coach and his mother made him play clarinet in the band. He has captivated audiences with anecdotes about the conflict inherent in meshing the two disparate high school identities of varsity wrestler and band geek. Greg’s “Flute Man” bit is a perfect encapsulation of the insecurities of high school and the ongoing quest to be cool, and is one of the most requested bits in the history of the Bob & Tom Show.
During college, Greg won a comedy contest and was invited to perform at Déjà Vu, a local club in Columbia, MO. After college Greg’s job at Procter & Gamble, brought him to Cincinnati where managed the Pringles potato chip line while often driving up to Jokers in Dayton to host shows before he made the decision to become a full-time comedian. Full disclosure- I owned Jokers and Greg became a regular at Jokers and a good friend, as well. Like so many or our regulars, we heard their acts over and over and could repeat most of their act word for word. Our entire staff would mimic along when he got to his “I moved today” bit.  He had another bit where he talked about going to the record store and when he was making a purchase they were asking him for info, and when they asked his street name, he replied G-Rock Greggy Greg. And to this day, that’s still how he’s listed in my phone.

G Rock and I celebrating at a wedding.

Somewhere along the line Greg went from being just another “local” comic to becoming a professional who got really funny.  He was invited to attend Montreal’s prestigious Just for Laughs Comedy Festival in 2002 as one of the featured New Faces of Comedy. I felt like a proud “comedy mom” when I stood in back watching his set that night and what was the beginning of many big breaks for Greg. He toured with The Bob & Tom All Stars Comedy Tour and appeared on BET’s Coming to the Stage and on Country Music Television. Greg has continued to play clubs, appear on tv shows like  Late Night with Seth Meyers, The Late Show and NBC’s Last Comic Standing.

I was also in the audience when he taped  Comedy Central’s Premium Blend back in 2009:

Greg will be appearing at the Dayton Funny Bone this coming Friday through Sunday and we got to talking about it and here’s what he said:
You’ve been playing Dayton for years- what do you look forward to about this market?  
Well Dayton is kind of a special place for me.  I don’t think I would have become a comic without Dayton.  Years ago I was living in Cincy, working in sales for Procter and Gamble.  I would drive up to Miamisburg all the time to Jokers Comedy Club by the Dayton Mall to work on my act.  Some of the sets were good.  Some were painful.  I would listen the cassette tapes on the drive back to Cincy.  I gotta admit, during more than one of those drives I seriously contemplated giving it up.  Somehow the sets started going smoother and the rides home were less painful.
There is something different about the Dayton crowds.  Part of it is diversity.  Part of it is a “blue-collar, just want to have fun, don’t take ourselves to serious” attitude.  I’m a slightly different comic when I’m there.  I’m not a big crowd work guy but somehow I always wind up talking to people in the crowd from the stage.  They force me out of my comfort zone and I get slightly irritated and wind up having more fun than I’ve had in months.
There are always a few old people in the crowd in Dayton.  I get a big kick out of them.  I used to always have fun arguing with this feisty elderly lady at Jokers.  It seems like there is always one of her in the crowd.

 

What bit of yours is most requested by crowds? 
Flute Man.  Hands down.

The Bob & Tom show has been good to you over the years- what’s it really like when you’re there?

I love those guys.  They have been extremely good to me.  I will visit them on my way to Dayton.  These days when I go in, it’s a lot like hanging out with really funny friends because I am actually hanging out with really funny friends.  I really try to enjoy all of them when I go in the room.  I know I need to be funny but when I focus on enjoying them, the show goes better.

 

Besides working in the comedy clubs- what else are you working on ?
Well, I just shot a comedy special in July.  We are putting the finishing touches on the editing and hopefully it will come out early next year. It’s about farming and how little I know about it.

 

What question do you get asked over and over again?
Who told you it was a good idea to wear that shirt?

 

What do you look forward to doing the most when you get back home after a road gig?
It’s pretty unexciting but sit on my couch and sleep in my bed.  I like seeing my dog too.  He’s technically my Dad’s dog but he goes nuts when I show up.  I know everybody says their dog goes nuts when they see them but Red is on a different level with me.

 

Anything else you’d like to talk about:
I just got done reading a biography on The Wright Brothers.  It was such a great book. I feel even closer to Dayton.  I’m gonna go try and find some of the stuff from the book.  By the way, you guys didn’t support ‘em at first!  You called ‘em fools.  The Dayton Daily News refused to write about them.  The first real article was from some guy who wrote a newsletter on beekeeping!!! I forgive you for that Dayton. You called me a fool too at first.  You also continue to call me a fool.

 

Greg Warren’s shows at the Dayton Funny Bone:
Friday, Oct 11  Show Time:7:30 PM
Arrival Time:6:45 PM
21 & over
Friday, Oct 11  Show Time:10:00 PM
Arrival Time:9:15 PM
18 & over
Saturday, Oct 12   Show Time:7:30 PM
Arrival Time:6:45 PM
21 & over
Saturday, Oct 12ccShow Time:10:00 PM
Arrival Time:9:15 PM
21 & over
Sunday, Oct 13 . Show Time:7:30 PM
Arrival Time:6:45 PM
21 & over
Try this link for free tickets:

‘Peter and the Starcatcher’ Review – Wright State University – Back to Before

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Magical is the most apt description of J.M. Barrie’s timeless creation of Peter Pan. So, it’s not surprising that the entertaining Peter Pan prequel Peter and the Starcatcher, winner of five 2012 Tony Awards and adapted by Rick Elice (Jersey Boys, The Addams Family) from Dave Barry and Ridley Pearson’s 2004 bestseller, enjoyably retains the adventurous awe grounded in Barrie’s foundation while being completely refreshing due to the sheer amusement of putting the origin pieces of the Pan puzzle together.

Wright State University presents Rick Elice’s adaptation of “Peter and the Starcatcher,” based on the novel by Dave Barry and Ridley Pearson. (Photo by Erin Pence)

In this Victorian tale, Peter is an orphan, a lost boy, downcast and dejected on the high seas aboard the Neverland where he meets Molly and her father Lord Aster, two Starcatchers proficient in the knowledge of starstuff, an enchanting sand-like substance that can give people and animals special powers. At all costs, Peter and Molly seek to protect the special trunk of starstuff from the villainous Black Stache and his band of pirates. After a violent storm causes the Neverland to shipwreck, Peter and Molly find themselves on Mollusk Island, where a gang of natives, an iconic crocodile and a terrific climax elevates Peter’s story to warmhearted heights. As an added bonus throughout the spirited action, rousingly and imaginatively staged by Bruce Cromer, colorful British Music Hall-esque songs by Elice and composer Wayne Barker arise, particularly the lively vaudevillian Act 2 opener.

Will Graber (center as Peter) and cast in Wright State University’s production of “Peter and the Starcatcher.” (Photo by Erin Pence)

The versatile Will Graber, a knockout in WSU’s productions of First in Flight and Crazy for You, is outstanding in the titular role in both physicality and emotional depth. Absolutely capturing the joy, innocence and hopefulness of youth, even when running, tumbling or falling in midair, Graber’s performance is magnetic and expressive, especially in the soaring Act 1 finale in which his face beams and his strong tenor can be heard as Peter rapturously sees his future home in the distance. Lauren Kampman, a standout last season in The Liar, is a dynamic, strong-willed Molly, effortlessly endearing, perfectly matched with Graber, and keenly aware that her character can’t survive simply on sentimentality. As Black Stache, Josh Aaron McCabe, WSU Professor and Guest Artist who skillfully directed The Liar, attacks his plum role with equal amounts of pompous swagger and egotistical goofiness, effectively swelling to a fantastic reveal concerning the character’s need for a certain hook. Julie Dye and Dean McKenzie are humorous as Peter’s jovial cohorts Ted and Prentiss. Louis Kurtzman (Lord Aster) and Kenneth Christian Erard (Slank/Hawking Clam) provide earnest authority and imposing intimidation respectively. Having portrayed mostly serious roles, Kaitlyn Campbell, a memorable Kattrin in last season’s Mother Courage and Her Children, loosens up with abandon as Molly’s nanny Mrs. Bumbrake and specifically the all-knowing mermaid referred to as Teacher who clearly did not attend the Billie Burke School of Whimsical Prophecy. Christopher Wells (Scott), Sophie Kirk (Alf), Ethan Evans (Grempkin/Mack/Sanchez/Fighting Prawn), and comical Jake Jones (Smee) complete the energetic cast, attractively costumed with period finesse by Michelle Sampson and Victoria Gifford.

Lauren Kampman (center as Molly) and cast in Wright State University’s production of “Peter and the Starcatcher.” (Photo by Erin Pence)

Cromer’s top-notch artistic team includes dialect coach Deborah Thomas, sound designer Lara Sagraves, lighting designer Autumn Light, music director Matt Ebright with musician Kevin Anderson (bolstering the action with clever pop culture underscoring from composers such as John Williams, Henry Mancini, James Horner, Richard Rodgers, and the Sherman Brothers), properties by Terry Webb, and the particularly eye-catching, storybook-inspired contributions of scenic designer Pam Knauert Lavarnway, filling the stage with an assortment of scaffolding, trunks, crates, boxes, ladders, planks, tropical foliage, and more.

Josh Aaron McCabe (center as Black Stache) and cast in Wright State University’s production of “Peter and the Starcatcher.” (Photo by Erin Pence)

If you’re used to the version of Peter Pan tunefully reminding you to “think of lovely things and your heart will fly on wings,” I encourage you to take a different flight this time and savor the discoveries within this charming, family-friendly showcase.

Peter and the Starcatcher continues through Oct. 6 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Dayton. Act One: 70 minutes; Act Two: 60 minutes. Performances are Oct. 3 at 7 p.m., Oct. 4 and 5 at 8 p.m., and Oct. 5 and 6 at 2 p.m. Tickets are $25 for adults, $23 for seniors and $15 for students. For tickets or more information, call the Box Office at (937) 775-2500 or visit wright.edu/theatre-tickets.

Dayton Contemporary Dance Company Kicks Off New Season with 2 Masterworks!

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The Dayton Contemporary Dance Company kicks off it’s 51st season with two explosive masterworks from Tony nominated, world-renowned choreographer Donald Byrd. This program is aptly titled A Byrd’s Eye View, and features vibrant onstage conversations with Byrd.

Byrd’s Eye View offers a rare and special perspective on the work of this esteemed choreographer. The program begins with Harriet Tubman Remix, which brings to life the daring abolitionist and activist, who escaped slavery and returned south to free others. The Geography of the Cotton Field, a monumental work, explores the history of cotton in all its implications and cultural manifestations.

Join DCDC October 5th or 6th for this rare opportunity to catch a glimpse inside the mind of this brilliant artistic creator!

How To Go?

Victoria Theatre, 138 North Main Street, Dayton, Ohio 45402

Saturday, October 5, 2019, 7:30pm

Sunday, October 6, 2019, 4:00pm

Tickets $28 – $48 available at www.ticketcenterstage.com OR by calling 228-3630

‘The Best Little Whorehouse in Texas’ Review – Dayton Playhouse – The Oldest Profession

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It’s easy to dismiss composer Carol Hall and librettists Larry L. King and Peter Masterson’s hit 1978 musical The Best Little Whorehouse in Texas as nothing but a cutesy tale of prostitution. But often overshadowed by the sight of alluring women and the sound of mattresses getting an extreme workout is a highly relevant show about empowerment, family, security, sisterhood, and second chances.

The cast of the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

In the Dayton Playhouse’s very entertaining production fluidly directed by Brian Sharp, a big-haired, wonderfully grounded Tina McPhearson resoundingly leads the way as the resilient, no-nonsense Miss Mona Stangley, proprietor of the Chicken Ranch in Gilbert, Texas in the late 1970s. With faithful support from her trusty sidekick Jewel (delightfully sassy Pamela Byrd) and good-natured Sheriff Ed Earl Dodd (folksy Ted Eltzroth), Miss Mona and her playpen have been able to avoid catastrophic controversy. However, everything unexpectedly crumbles when fiery TV reporter Melvin P. Thorpe (energetic Ron Maurer, far removed from his reserved Tateh in the Playhouse’s Ragtime two years ago) whips the public into a religiously frenzied uproar. Despite Miss Mona’s tuneful opinion that “there’s nothing dirty goin’ on,” Thorpe vows to expose the ranch’s illegal activity, ultimately receiving help from the hopelessly flighty Governor (playful Matt Owens making the most of the silly Sidestep, a highlight of Sandra Hyde’s choreography).
Still, as chaos overwhelms, the heart of the show remains Miss Mona’s gals, an assortment of colorful women from different backgrounds, different homes and different opportunities just trying to get by while feeling protected by their surrogate mother. Kelli Myers (Shy), Adee McFarland (Angel), Shana Fishbein (Eloise), Amber Pfeifer (Taddy Jo), Alicia Walton (Dawn), Shanna Camacho (Durla), Logan Hylinski (Beatrice), Stacey Ward (Ruby Rae), and Sommer McGuire (Linda Lou) are pleasantly unified. Myers, believably evolving from naivete to confidence, and McFarland, beautifully leading the poignant Hard Candy Christmas, are noteworthy in addition to McPhearson’s quietly descriptive account of Miss Mona’s Galveston winter rendezvous late in Act 2.

Pamela Byrd (Jewel) and Tina McPhearson (Miss Mona Stangley) in the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

Elsewhere, Jackie Pfeifer (waitress Doatsey Mae) provides a tenderly reflective Doatsey Mae, Mark Diffenderfer (recently memorable in Dayton Theatre Guild’s The Man Who Shot Liberty Valance) brings understated authenticity to the Narrator, Sean Gunther (Senator Wingwoah), John Jeurgens (Mayor Rufus Poindexter), Malcolm Casey (CJ Scruggs), Marabeth Klejna (Announcer), and Cheryl MacGowan (Miss Wulla Jean) add greatly to the material’s humor, and there’s plenty of rowdy fun bursting within the sexually rambunctious Aggies consisting of John Carrington, Samuel Hamilton, Adonis Lemke, Sean Mayo, Ryan Petrie, Bryan Schuck, and Josh Vance. Hamilton, Schuck, Vance, and strong tenor Lemke are also notable as the Dogettes Quartet.

Ron Mauer (Melvin P. Thorpe) and the cast of the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

Sharp’s first-rate artistic team includes scenic designer Red Newman, costumer Teresa Kahle, wig designer Steve Burton, lighting designer Richard Lee Waldeck, sound designer Bob Kovach, and music director Ron Kindell. Violinist John Root is particularly excellent among Kindell’s orchestra during Doatsey Mae.

Surprisingly, considering the subject matter, the Playhouse offers a relatively genteel, sexually tame Whorehouse. By no means does this production ever ascend to questionable levels of gritty, carnal ecstasy in tone or characterizations, clearing allowing for a genuinely fun, worthwhile outing.

The Best Little Whorehouse in Texas continues through Sept. 29 at 8 p.m. Friday and Saturday and 2 p.m. Sunday at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Act One: 80 minutes; Act Two: 40 minutes. Tickets are $20 for adults and $18 for seniors, students and military. For tickets or more information, call (937) 424-8477 or visit daytonplayhouse.com. Patrons are advised the show contains adult content, language and situations.

 

‘Lady Day’ Review – Human Race Theatre Company – Fragile Greatness

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Jazz phenom Billie Holiday’s influential imprint on American music coupled with her humorous, unsettling and resilient testimony as an African-American woman facing incredible adversity while consumed with addiction fuels the magnetism of Lanie Robertson’s 1986 play-with-music Lady Day at Emerson’s Bar & Grill.

Tanesha Gary as Billie Holiday in the Human Race Theatre Company’s production of Lady Day at Emerson’s Bar & Grill.

Excellently presented by the Human Race Theatre Company at the Loft Theatre and set in 1959 Philadelphia, Lady Day brings forth the heartache and joys of Holiday’s career, spoken four months before her death at age 44, with bold, blunt and naughty purpose. Structurally, it’s easy to pigeonhole this play as far-fetched, especially when you consider the likelihood of any prominent celebrity in the 1950s sharing such personal, tragic details of their lives with relative abandon, including accounts of abuse, racism and imprisonment. But Holiday loved to sing, and truly loved her audience in return, so it’s not unsurprising that she would be a completely open book, especially in her drunken, drug-addicted haze. With assistance from her concerned, supportive accompanist Jimmy Powers (Keigo Hirakawa), Holiday (an absolutely luminous Tanesha Gary) transforms into a compelling storyteller, particularly and vividly reflecting on touring the segregated South with bandleader Artie Shaw and being denied access to a restroom.

Beautifully costumed in a gleaming white gown with matching gloves by David M. Covach, Gary, a terrific Caroline Thibodeaux in the Human Race’s 2011 production of Caroline, or Change, smoothly executes Holiday’s journey with colorful sting (director Scott Stoney astutely ensures her repartee is flavorful yet impactful) and stellar vocals. She notably resists providing a full-throttle impersonation of Holiday akin to Audra McDonald’s performance in the 2014 Broadway revival, but her work is effective nonetheless in terms of paying homage to the spirit of Holiday’s definitive magic. Backed by an exemplary jazz trio consisting of knockout keyboardist Hirakawa, percussionist/music director Deron B. Bell Sr., and bassist Eddie Brookshire, her many standout renditions include the swinging groove of What a Little Moonlight Can Do (impeccably bolstered by Hirakawa) and breezy Easy Livin,’ in addition to her outstanding phrasing within God Bless the Child and her powerfully descriptive, chill-inducing Strange Fruit. All of these tuneful moments and more are accented by the wonderfully intimate ambience established in the work of scenic designer Scott J. Kimmins, lighting designer John Rensel and sound designer Jay Brunner. In fact, the final seconds eerily transition into a gorgeously surreal dreamscape courtesy of Rensel.
Holiday left this world far too soon, but her iconic legacy unquestionably inspired an array of brilliant vocalists such as Diana Ross, Ledisi and Amy Winehouse. Her life was not in vain and her story deserves your attention.

Lady Day at Emerson’s Bar & Grill continues through Sept. 29 at the Loft Theatre, 126 N. Main St., Dayton. The production is performed in 75 minutes without intermission. Performances are 8 p.m. Thursdays-Saturdays; 2 p.m. Sundays; and 7 p.m. Tuesdays and Wednesdays.  Tickets: $19.50-$37. There are also select side-area seats available for $16 and $28 at all performances. In addition, all adult priced tickets are discounted at 50 percent for students with proof of a student I.D. Stage seating (five tables intended for couples) is also available for $27.50-$52. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit humanracetheatre.org or ticketcenterstage.com.

FYI: The Human Race Theatre Company is partnering with the Neon Movies for the Women of Influence in the Movies Series. On Monday, Sept. 23 at 7:30 p.m., the Neon will screen a double bill of New Orleans, in which a gambling hall owner entertains his patrons with hot jazz by Louis Armstrong and Billie Holiday, and the newly restored short film Symphony in Black, in which Billie Holiday makes her screen debut as Duke Ellington plays his symphonic jazz piece. Tickets are $8 each or $30 for a series pass, available at neonmovies.com.