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A Gentleman’s Guide to Love and Murder Opens Tonight

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When the low-born Monty Navarro finds out that he’s eighth in line for an earldom in the lofty D’Ysquith family, he figures his chances of outliving his predecessors are slight and sets off down a far more ghoulish path. Can he knock off his unsuspecting relatives without being caught and become the ninth Earl of Highhurst? And what of love? Because murder isn’t the only thing on Monty’s mind….

A Gentleman’s Guide to Love and Murder is a murderous romp filled with unforgettable music, non-stop laughs and a scene-stealing role for one actor playing all eight of the doomed heirs who meet their ends in the most creative and side-splitting ways.

‘Bright Star’ Review – Epiphany Lutheran Church – A Story You Won’t Forget

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Margo Russ (Alice Murphy) in Epiphany Lutheran Church’s production of “Bright Star,” continuing through July 18. (Photo by Megan Wean Sears)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Numerous hymns speak to perseverance and questioning life’s outcomes. The following lyric is from one of my favorites:

And we wonder why the test
When we try to do our best
But we’ll understand it better by and by

It’s in the understanding – no matter how many years it takes, no matter how confusing or worrisome it weighs on the mind– that we ultimately discover what our trials and tribulations were all about. And, sometimes, we are inspired beyond belief.

In composer/librettist Steve Martin and composer/lyricist Edie Brickell’s heartwarming and heartbreaking Tony Award-nominated 2016 musical Bright Star, currently receiving an outstanding local premiere courtesy of the Epiphany Players Drama Ministry of Epiphany Lutheran Church, an array of folksy North Carolinians come to terms with the choices, regrets and sorrows of the past. A few individuals are also unknowingly intertwined, raising the stakes which result in a payoff so neat and tidy it seems far-fetched. Nonetheless, this story of love, loss, faith, forgiveness, hope, miracles, and redemption is compelling.

Terrifically directed and choreographed by Megan Wean Sears, Bright Star is set in the mid-1940s with flashbacks to the early 1920s. The focal point is Alice Murphy (Margo Russ, excellently authoritative and narratively inviting), the no-nonsense editor of The Asheville Southern Journal who sees potential in aspiring writer Billy Cane (charming Tommy Cole in great voice). As Alice mentors Billy, who recently served in World War II, the action shifts to her rebellious upbringing in Zebulon as a spunky 16-year-old (fiery, feisty knockout Charlotte Kunesh, fittingly dressed in red, white and blue symbolizing the firework she is) smitten with handsome Young Jimmy Ray Dobbs (Nick Abouzeid in a breakthrough portrayal), son of Mayor Josiah Dobbs (gritty Christian Schaefer). The flashbacks are central to the tale’s impactful resonance. However, unlike the Broadway production in which I doubted the realism of older characters portraying their younger selves, it is a thrill to see Sears approach her staging by mirroring the conceptual allure of Stephen Sondheim’s 1971 gem Follies, a musical in which past and present walk side by side.

Martin, the Hollywood icon who began playing the banjo as a teenager, and Brickell, who leapt onto the music scene in the 1980s with her folk/rock band New Bohemians, create a tuneful, toe-tapping and often lovely score perfectly suited to the Appalachian landscape. Highlights include engaging opener If You Knew My Story, lively hoedown Woah, Mama, cheery Sun’s Gonna Shine, uplifting At Long Last (given a stirring, full-throttle treatment by Russ), and bouncy title number (brilliantly staged with road trip whimsy as Billy travels from Hayes Creek to Asheville).

In another agreeable departure from the Broadway production, Sears places the entire cast on stage throughout to attentively observe the action. In fact, I don’t believe anyone is positioned in the same spot twice, a subtle feat. Her decision not only guarantees seamless fluidity, especially for scene changes, but effectively fuels the story’s intimate emphasis on family and community. Due to the significance of the flashbacks, it is imperative to spotlight Kunesh and Abouzeid’s impressively expressive work in their Epiphany debuts. Without delving into plot specifics, Kunesh’s passionate and riveting contributions to Please Don’t Take Him, a total departure from Young Alice’s free-spirited sass, exemplifies her mastery of character and purpose (which she also exhibited in Muse Machine’s Mamma Mia! and In the Heights). Abouzeid, humorously reflecting on Those Canaan Days four months ago as Dan in Alter High School’s Joseph and the Amazing Technicolor Dreamcoat, has suddenly transitioned into a genuine leading man. The dynamic heartache he displays in Heartbreaker, interpreting lyrics about parenthood to gripping effect, is an incredible sign of his maturity as a young actor.

Elsewhere, praiseworthy performances extend to the delightful Riley Francis as Billy’s childhood friend Margo (providing a sweetly yearnful rendition of inner monologue Asheville), John Benjamin as Daddy Cane, Brett Greenwood as Daddy Murphy, Jessica Pettit as Mama Murphy, Kath Meyer and Desmond Kingston as Journal employees Lucy Grant and Daryl Ames (Meyer’s feminine flair electrifies boozy ensemble number Another Round), Nicholas Bradley as Jimmy Ray Dobbs (joining Russ for a tenderly poignant I Had a Vision), Sara LiBrandi as Florence, Katie Kress as Edna, Bobby Morgan as Mayor Dobbs’ slick sidekick Stanford Adams, Caleb Campbell as Max, Brady Kress as Dr. Norquist, Larry Klueber as Stationmaster, Sandy Schwartzwalder as Government Clerk, Martha Armstrong-Benjamin as Well-Dressed Woman, and John Morgan as Young Daddy Cane.

The appealing cast includes Quinn Bennett, Andrew Gochenaur, Reese Hornick, Laura Morgan, Eric Pettit, Megan Rehberg, Liza Russ, and Meredith Russ.

Sears’ expert artistic team includes set designer Seth Wade, costumer Kim Harvey, lighting designers Matthew Benjamin and Gabe Reichert (supplying beautifully evocative hues), sound designer Ryan Burgdorf, and properties designers Jason Hamen and Adrienne Ausdenmoore.

Music director David Brush leads a fantastic bluegrass band consisting of fiddler Bebe Blumenthal, guitarist Jay Brunner, cellist Bryce Kessler, bassist Joshua Neiman, drummer Joshua Riedy, pianist Damien Stout, violinist/violist Alice Wagoner, and banjoist David Wells. Perhaps Epiphany should consider Oklahoma! next summer if only to reunite these dandy, down-home musicians.

This year marks the 30th anniversary of the Epiphany Players Drama Ministry, an outreach artistically spearheaded for many years by the late Kay Frances Wean. Bright Star is another luminous, vocally strong, must-see testament to the caliber of artistry I have come to expect from the troupe. Always have, always will.

Bright Star continues through Sunday, July 18 at Epiphany Lutheran Church, 6430 Far Hills Avenue, Centerville. Performances are 7:30 p.m. Friday; 2:30 p.m. and 7:30 p.m. Saturday; and 2:30 p.m. Sunday. The production runs 2 hours and 30 minutes including one 15-minute intermission. Reserved seating is $15. For tickets, visit epiphanydayton.org/summer-musical. For additional information, visit call (937) 433-1449 ext. 103 or email [email protected].

 

 

Dayton Playhouse- The Shows Will Go On!

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Dayton Playhouse has announced the  reopening of the Dayton Playhouse facility and their 2021-22 season – Roaring Into A New Decade.

“Our board and volunteers are thrilled to be back doing what we do best. We can’t wait to welcome our loyal audience members back as we, once again, bring intriguing plays and delightful musicals to life on our beautiful stage.” Matt Lindsay, Dayton Playhouse board chair. 

 

The Dayton Playhouse 2021-22 Season includes:

American Son

Written by Christopher Demos-Brown

September 17–26, 2021

Auditions: July 19 & 20

Directed by Tim Rezash

On the night a teenage boy goes missing, his parents end up at the police precinct trying to figure out what happened to their son.  Old wounds are reopened concerning race, fear, and their rocky marriage.  “American Son is not a subtle play; it barely feels like a play at all. With its unrelentingly high tension on every level — maternal, marital, societal — it’s more like a slice of a nightmare, with few contours despite its surprises.” – New York Times

The Great Gatsby

Written by F. Scott Fitzgerald adapted for stage by Simon Levy

November 5-14, 2021

Auditions: September 20 & 21 (tentative)

Directed by Annie Pesch

F. Scott Fitzgerald’s haunting story of the elusive millionaire is a favorite of so many. Watch as this beautiful story is brought to life on stage. The dialogue, costumes and set will capture the audience as Fitzgerald’s story is brought life.

Into The Woods

Book by James Lapine, music and lyrics by Stephen Sondheim

January 14 – 30, 2022

Auditions: November 8 & 9 (tentative)

Directed by Tina McPhearson

This intriguing Sondheim musical blends some of the best-known fairytales with gorgeous, sometimes haunting music to create a story that won several Tony awards and captured the audience’s imagination. Watch as Sleeping Beauty, Jack in the Beanstalk, Cinderella and others weave together a musical story you’ll never forget.  “Into the Woods is a journey worth taking.” – Chicago Critic

August: Osage County

Written by Tracy Letts

March 4-13, 2022

Auditions: January 17 & 18 (tentative)

Directed by Jamison Meyer

This drama by Tracy Letts, was the recipient of the 2008 Pulitzer Prize for Drama. It  delves into a family tragedy that causes tensions to run high and secrets to leak. The Weston women are forced to examine themselves and their lives whether they want to or not. Welcome to Osage County, Oklahoma in the smothering heat of August. “Fresh and adroitly updated and conditioned to our time and socio-political climate.” – NY Post

Hello, Dolly!

Book by Michael Stewart, music and lyrics by Jerry Herman 

April 29-May 15, 2022

Auditions: March 7 & 8 (tentative)

Directed by Brian Sharp

We roar out our first season of the decade with Jerry Herman’s classic show about Dolly Levi who puts her hand in there and arranges things! This timeless classic features such tunes as “Before the Parade Passes By,” “Ribbons Down My Back,” and of course, “Hello, Dolly!” Don’t miss this fabulous show…the perfect way to end a perfect season.

Season tickets for 2021-22 may be purchased at www.daytonplayhouse.com, or by calling 937-424-8477.   Messages may be left at any time and calls will be returned.   Season tickets are $80 for adults and $72 for seniors, students and military. Individual show tickets are $20 for adults and $18 for seniors, students and military.

The Board and volunteers of the Dayton Playhouse look forward to safely welcoming our audiences back into the thoroughly-cleaned theater, following state guidelines.

The Dayton Playhouse is located at 1301 E. Siebenthaler Ave, Dayton, OH 45414.  The Dayton Playhouse is a community theatre providing outstanding theatrical productions to Miami Valley audiences of all ages for more than sixty years.  The Playhouse is nationally recognized for FutureFest, an annual festival of new plays, which takes place each July.

Human Race Theatre Company Debuts New Streaming Production

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The Human Race Theatre Company is excited to announce that you can experience the magic of local professional theatre from the comfort of your home. Love, time, and starting over is at the heart of Now and Then by Sean Grennan, filmed on location at Dayton’s own Mudlick Tap House, kicking off our 35th season by continuing our tradition of celebrating the best our community has to offer. It will be available exclusively on the streaming platform Broadway On-Demand starting April 28, 2021 – the 35th birthday of The Human Race.

 

In the face of an unprecedented year, we’ve needed to be more creative than ever before.  “Our timing of this first production marks both our commitment to keeping our artists safe while also celebrating our 35 years as Dayton’s professional theatre company,” states Human Race Artistic Director and Founding Member, Kevin Moore.  “Unlike previous ‘pandemic projects,’ this production is fully staged on location and filmed by another first for us.  This allows us to share our work with our audience while keeping everyone safe until we can return to in-person performances at the Loft Theatre.”   Local production company WorldStage Media did the filming.

The play takes us to a neighborhood bar in 1981 where Jamie is closing up when a last-minute customer enters and offers Jamie and his girlfriend Abby $2,000 to sit and have a drink with him.  Who wouldn’t take it?  But the unusual conversation, and the appearance of a second customer, make the unbelievable begin to look like it just might be true.

Director Marya Spring Cordes has assembled an amazing quartet of actors.  Playing the couple Jamie and Abby are a real-life married couple, Justin McCombs and Maggie Lou Rader. And as the unexpected customers are Human Race Resident Actor and Founding Member Scott Stoney, and local actress Libby Holley Scancarello.

The fifth character in the play is the bar, and we are grateful to Mudlick Tap House for providing the location for our production.  Our Director of Photography, Editor and head of film production is Shaunn Baker of WorldStage Media. Our production Stage Manager is Jacquelyn Duncan. Costume by Janet G. Powell;  Scenic Elements and Props by Alexander Capeneka; Lighting by John Rensel;  Sound by Jay Brunner.

Now and Then will be available on the Broadway on Demand platform from April 28 – May 9, 2021.  Current subscribers will receive an email with their personal link to watch the show.  Single tickets now available at Broadway on Demand by using this link:  https://livestream.broadwayondemand.com/human-race/

 

Dayton Ballet’s ‘Cinderella’ Lures Long Island Danseur!

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The Dayton Ballet has proven resilient through the COVID crisis, keeping dancers on their toes, and landing guests from bigger cities! ‘”I need to perform LIVE, I need an audience. I was dancing with the Metropolitan in New York and kept hearing ‘The Met will never close, never close!’ And then they closed.”  Time to make some decisions for Long Island native, Christopher Brian Nachtrab. The 13 year ballet veteran thought ‘Is this it? Is this how it ends?’ “I immediately started looking around for companies trying to do some kind of live performing. There were a few. Of course, safety was the first thing you had to think about.” Nachtrab has worked with Sacramento and Richmond Ballet companies. He is a graduate of Indiana University.

Nachtrab falls hard for Dayton!

“I heard one of the first to really move ahead with at least some kind of safe performing was here in Dayton. Then, I heard about Cinderella, a ballet I love and have performed multiple times. I put word out that I was hoping to join the company as a guest!” Sometime later, word came from Dayton Ballet Director, Karen Russo Burke. “She’s amazing. Dayton has such a great team and she is an incredible leader.” Nachtrab landed a part….as the Ugly Stepsister! “I was thrilled.” His sister -in-crime is Dayton Ballet’s own Isaac Jones. “We have a great time together!”

Dayton Ballet’s ‘Cinderella’ runs 4/23-4/25 with virtual options as well. “The show, obviously has limited seating, but knowing the audience is live just makes such a difference. We need their reactions to help us perform!”

Some UGLY Stepsisters.

For Nachtrab, dance is in his blood, His mother was his instructor on Long Island. “She still teaches dance today, and she’s stellar at it!” Nachtrab knew being a boy in ballet was not the norm…”But my parents told me if it is what you want, we will stop at nothing to see that you are successful.”  And he has been. As a child he dreamt of performing with the Met, and then it happened. “I remember getting on that stage and just thinking, it’s come full circle!” A city just outside of that circle is new favorite for Nachtrab….DAYTON! “I was so impressed with how this city embraces the arts. It’s a stronger bond than many big cities. Dayton is rallying around the arts community, and with COVID, many of us were feeling depressed and isolated!” His love for Dayton was a quick one, visiting many restaurants, bars, the Oregon District and even a trip to the Drive-In. “There’s a lot to enjoy here.”

As for the Ballet’s ‘Cinderella,’ the production is serious, hilarious, true-to-tale and magical! The costuming, which folks have been floored by, is simply fantastic with design by DB alum Lowell Mathwich. Pristine sets and impressive design add to the flair of the Ballet.

‘Cinderella’ Gets Her Chance!

With all of that, and the chance to do a live performance, Nachtrab has found a home away from home…at least for now. “I am getting to do what I love, with a group of dancers who are exceptional! All of them!” For the Dayton Ballet, Nachtrab and our community, seeing the dancers live is not only a dream come true, it is, in a sense, a Cinderella story! And we all know how well that ends!

For more information visit:

CINDERELLA
Dayton Ballet
Friday, April 23, 2021 at 7:30 p.m.
Saturday, April 24, 2021 at 3:00 p.m.
Sunday, April 25, 2021 at 3:00 p.m.
Victoria Theatre
Live Stream premieres Saturday, April 24 at 3:00 p.m.

70 minutes (no intermission)

 

The Rubi Girls present “The Show Must Go On” virtually

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The Rubi Girls in the “Show Must Go On 2020” at The Brightside

Every nonprofit has had to pivot their fundraisers to online events, and The Rubi Girls are no exception. The group has awarded millions to a variety of local charities, and they’re determined to keep giving, especially now, when the need is greatest.

The Rubi Girl’s annual Thanksgiving production “The Show Must Go On” will be presented online on Saturday November 28th at 7:30pm and will also be accessible anytime after it starts.

The Rubi Girls were formed over 35 years ago, when a small group of friends started putting on drag shows for their own amusement. They later became a 501c3 dedicated to helping others. They’ve truly shown that giving to others can be outrageously fun and rewarding!

The tickets to the virtual performance and fundraiser are $25, which comes with your own copy of the 2021 Rubi Girls calendar. Calendars can be shipped anywhere in the US or picked up at the Rubi Girls Clubhouse on Friday November 27th from 11-2pm or Saturday November 28th from 11-2pm.

TO BUY TICKETS: https://www.therubigirls.com/shop

 

Mavin Gaye’s “What’s Going On” brought to life by the Dayton Contemporary Dance Company

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Almost 50 years ago, Marvin Gaye, the Prince of Motown, released the album What’s Going On to great acclaim. On Sunday, November 22, the Dayton Contemporary Dance Company (DCDC) invites you to join them for an online watch party as their dance artists interpret the music of one of the world’s greatest vocalists!

The classic 1971 soul album was written at a tumultuous time in American history, when the Vietnam war was raging, young people were disillusioned, while millions of Americans continued to fight for racial justice. Nearly 50 years later, the songs and emotions from What’s Going On resonate now more than ever. 

DCDC is interpreting Gaye’s work at the newly remodeled Rose Auditorium, inside the Dayton Art Institute. However, one piece will be shot on location at the Balsley House in the Oregon District. Both locations offer a new and exciting experience for DCDC fans and dancers alike!

After the virtual production, DCDC invites audiences to Lights Up!, a curated online conversation with the artists, which will immediately follow the performance via zoom. 

The initial broadcast of this performance premieres on Sunday November 22nd at 4pm. There will also be a rebroadcast available for viewing between 12 a.m. on Saturday November 28 and 11:59 p.m. on Sunday November 29. Information about how to access the rebroadcast will be included on your email confirmation.

HOW TO WATCH:

FIRST WATCH: Sunday, Nov 22, 2020 at 4:00pm
 
SECOND TIME AROUND: 12 a.m. on Saturday November 28 and 11:59 p.m. on Sunday November 29.
 
COST: $25
 

NOTE: Information about how to access the live watch party via Zoom will be included in your email confirmation. Please plan to log into the Zoom event at least 15 minutes before the watch party begins

MORE INFO: Visit dcdc.org or visit DCDC on Facebook, Twitter or Instagram

DayTony Award Winners for 2020

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The DayTony Awards are presented annually to recognize outstanding performance, whether onstage or behind the scenes, at Miami Valley area theaters. Normally these are awarded at a banquet filled with Dayton’s theater folks.  But as we all know, Covid has changed the way so many things are done, so today Debra Strauss, President DayTony/Dayton Theatre Hall of Fame released this list:

DAYTONY AWARDS 2020

EXCELLENCE
• Carol Finley – Costumer – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Carol Finley – Costumer Dayton Theatre Guild – The Musical Comedy Murders of 1940
• Carol Finley – Costumer Dayton Theatre Guild – Decision Height
• Kara Castle – Dance Choreographer – Springboro Community Theatre – Chicago
• Rick Flynn – Director – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Doug Lloyd – Director – Dayton Theatre Guild – The Musical Comedy Murders of 1940
• Ensemble – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Ensemble – Dayton Theatre Guild – Decision Height


• Ensemble – Dayton Theatre Guild – The Musical Comedy Murders of 1940
• Ensemble – Springboro Community Theatre – The Marvelous Wonderettes
• Edward Hill as Paul Robeson – Lead Performer – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Charles Larkowski as Roger – Lead Performer – Dayton Theatre Guild – The Musical Comedy Murders of 1940
• George Merusi as Eddie – Lead Performer – Dayton Theatre Guild – The Musical Comedy Murders of 1940
• Amanda Schrader as Virginia – Lead Performer – Dayton Theatre Guild – Decision Height
• Jacinda Pine as Virginia – Lead Performer – Beavercreek Community Theatre – Nevermore
• Saul Caplan as Mr Rickey – Lead Performer – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Lindsey Cordoza as Betty Jean – Lead Performer – Springboro Community Theatre – The Marvelous Wonderettes
• Michael Maxson as Scrooge – Lead Performer – Troy Civic Theatre – A Christmas Carol
• TJ Montgomery as Hal – Lead Performer – Troy Civic Theatre – Proof
• Jeff Sams as Ken – Lead Performer – Dayton Theatre Guild – The Musical Comedy Murders of 1940


• Logan Hylinski as Velma Kelly – Lead Performer – Springboro Community Theatre – Chicago
• John Falkenbach – Lighting Designer – Beavercreek Community Theatre – Nevermore
• Judy Mansky – Musical Director – Springboro Community Theatre – Chicago
• Chris Harmon – Scenic Designer – Dayton Theatre Guild – The Musical Comedy Murders of 1940
• Chris Harmon – Scenic Designer – Beavercreek Community Theatre – Nevermore
• Andrew Darr – Scenic Designer – Beavercreek Community Theatre – Nevermore
• Chris Harman – Scenic Designer – Dayton Theatre Guild – Icebergs
• Shannon Michalak – Sound Designer – Xenia Area Community Theatre – Catfish Moon
• Charles Larkowski – Special (Original Music) – Springboro Community Theatre – Willy Wonka and the Chocolate Factory
• Samantha Stark as Eddy – Supporting Performer – Dayton Theatre Guild – Decision Height
• Franklin Johnson as Bill Robinson – Supporting Performer – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Susie Gutierrez as Carol – Supporting Performer – Dayton Theatre Guild – Decision Height
• K.A. Mercuri as Helsa – Supporting Performer – Dayton Theatre Guild – The Musical Comedy Murders of 1940

(left to right) Shaun Diggs (Jackie Robinson), Robert-Wayne Waldron (Joe Louis), Franklin Johnson (Bill Robinson), Edward Hill (Paul Robeson), and Robert Culpepper (Clancy Hope) in the Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

MERIT
• Olivia Dakin – Costumer – Beavercreek Community Theatre – The Humans
• Gerri Nichols – Costumer – Troy Civic Theatre – A Christmas Carol
• Georgann Enright – Costumer – Troy Civic Theatre – A Christmas Carol
• Carol Finley – Costumer – Dayton Theatre Guild – Icebergs
• Olivia Dakin – Costumer – Springboro Community Theatre – Chicago
• Olivia Hildenbrandt – Costumer – Springboro Community Theatre – The Marvelous Wonderettes
• Cydney Byron – Dance Choreographer – Beavercreek Community Theatre – Freaky Friday
• Saul Caplan – Director – Xenia Area Community Theatre – Catfish Moon
• Rebekah Madden – Director – Springboro Community Theatre – The Marvelous Wonderettes
• David Shough – Director – Beavercreek Community Theatre – Freaky Friday
• Niccole Sueann Wallace – Director – Troy Civic Theatre – Proof• Debra Kent – Director – Dayton Theatre Guild – Icebergs
• Ensemble – Troy Civic Theatre – A Christmas Carol
• Ensemble – Beavercreek Community Theatre -The Humans
• Ensemble – Dayton Theatre Guild – Icebergs
• Ensemble – Beavercreek Community Theatre – Nevermore
• Ensemble – Xenia Area Community Theatre – Catfish Moon
• Ensemble – Troy Civic Theatre – Proof
• Shaun Diggs As Jackie Robinson – Lead Performer – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Shawn Hooks As Edward – Lead Performer – Beavercreek Community Theatre – Nevermore
• Lynn Vanderpool As Elsa – Lead Performer – Dayton Theatre Guild – The Musical Comedy Murders of 1940
• Steven Lakes As Billy Flynn – Lead Performer – Springboro Community Theatre – Chicago
• Kathy Campbell As Fiona “Momo” Blake – Lead Performer – Beavercreek Community Theatre – The Humans
• Amy Brady As Suzy – Lead Performer – Springboro Community Theatre – The Marvelous Wonderettes
• Melissa Ertsgaard As Bernice – Lead Performer – Dayton Theatre Guild – The Musical Comedy Murders of 1940
• Rachel Smith As Catherine -Lead Performer – Troy Civic Theatre – Proof
• Liz Maxson As Actor 4 – Lead Performer – Troy Civic Theatre – A Christmas Carol
• Tammy Grubb As Betty – Lead Performer – Xenia Area Community Theatre – Catfish Moon
• Mary Nunnery As Missy – Lead Performer – Springboro Community Theatre – The Marvelous Wonderettes
• Scott Madden As Curley – Lead Performer – Xenia Area Community Theatre – Catfish Moon
• Pat Wanzer As Frog – Lead Performer – Xenia Area Community Theatre – Catfish Moon


• Lillian Robillard As Ellie Blake – Lead Performer – Beavercreek Community Theatre – Freaky Friday
• Lorri B. Topping As Elmira – Lead Performer – Beavercreek Community Theatre – Nevermore
• Lynn Vanderpool As Aimee Blake – Lead Performer – Beavercreek Community Theatre – The Humans
• Dustin Evans As Talbot Twillingham – Lead Performer – Xenia Area Community Theatre – Two Short Plays: The Potman Spoke Sooth and No Mother to Guide Her or To Be Pitied Rather than Censured
• Michael J. Schumacher – As King Sextimus, – The Silent Lead Performer – Troy Civic Theatre – Once Upon a Mattress
• Gretchen Tamplin As Queen Aggravain – Lead Performer – Troy Civic Theatre – Once Upon a Mattress
• Shannon Michalak – Lighting Designer – Xenia Area Community Theatre – Catfish Moon
• Shannon Michalak – Lighting Designer – Beavercreek Community Theatre – The Humans
• Scott Wright – Lighting Designer – Dayton Theatre Guild – Icebergs
• Scott Wright – Lighting Designer – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Jennifer Kaufman – Lighting Designer – Troy Civic Theatre – Proof
• Lorri B Topping – Musical Director – Beavercreek Community Theatre – Nevermore
• Judy Mansky – Musical Director – Springboro Community Theatre – The Marvelous Wonderettes
• Heather Campbell Martin – Properties – Xenia Area Community Theatre – Catfish Moon
• Deirdre Root – Properties – Dayton Theatre Guild – Icebergs
• Michelle Robinson – Properties – Troy Civic Theatre – A Christmas Carol
• Deirdre Bray Root – Properties – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Aaron Brewer – Properties – Beavercreek Community Theatre – The Humans
• Bekki Madden – Properties – Beavercreek Community Theatre – The Humans
• Cast – Properties – Beavercreek Community Theatre – The Humans
• David Senatore – Properties – Dayton Theatre Guild – Decision Height
• Sandy Ehrlich – Properties – Troy Civic Theatre – Proof
• Kelly Wright – Properties – Dayton Theatre Guild – The Musical Comedy Murders of 1940
• Chris Harmon – Scenic Designer – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Michael Stockstill – Scenic Designer – Xenia Area Community Theatre – Catfish Moon
• Steve Dietrich – Scenic Designer – Troy Civic Theatre – Proof
• Jeff Sams – Scenic Designer – Springboro Community Theatre – The Marvelous Wonderettes
• Chris “Red” Neuman – Scenic Designer – Beavercreek Community Theatre – Freaky Friday
• Ted Dehoff – Sound Designer – Beavercreek Community Theatre – Nevermore
• K.L. Storer – Sound Designer – Dayton Theatre Guild – Decision Height
• K.L. Storer – Sound Designer – Dayton Theatre Guild – The Musical Comedy Murders of 1940
• Shannon Michalak – Sound Designer – Beavercreek Community Theatre – The Humans
• Aaron Brewer – Sound Designer – Springboro Community Theatre – The Marvelous Wonderettes
• Jason Vogel – Sound Designer – Springboro Community Theatre – The Marvelous Wonderettes
• K.L.Storer – Sound Designer – Dayton Theatre Guild – Icebergs
• Jennifer Kaufman – Sound Designer – Troy Civic Theatre – Proof
• Michael Stockstill – Special (Set Dressing) – Springboro Community Theatre – The Marvelous Wonderettes
• Robert-Wayne Waldron As Joe Louis – Supporting Performer – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Madison Stapleton As Liz/ Ensemble – Supporting Performer – Springboro Community Theatre -Chicago
• S. Francis Livisay As Reed – Supporting Performer – Dayton Theatre Guild – Icebergs


• Aaron Brewer As Amos Hart – Supporting Performer – Springboro Community Theatre – Chicago
• Kara Castle As Hunyak / Ensemble – Supporting Performer – Springboro Community Theatre – Chicago
• Carly Laurette Risenhoover-Peterson As Norma Jean – Supporting Performer – Dayton Theatre Guild – Decision Height
• Kailey Yeakley As Savannah – Supporting Performer – Beavercreek Community Theatre – Freaky Friday
• Naman Clark as Adam – Supporting Performer – Beavercreek Community Theatre – Freaky Friday
• Heather Atkinson As Rosalie – Supporting Performer – Dayton Theatre Guild – Decision Height
• Brad Bishop As Kelly – Supporting Performer – Dayton Theatre Guild – The Musical Comedy Murders of 1940
• Sarah Caplan As Claire – Supporting Performer – Troy Civic Theatre – Proof
• Janell Blanks As Ziggie Lewis – Supporting Performer – Dayton Theatre Guild – Decision Height


• Jeanine Geise As Matron Momma Morton – Supporting Performer – Springboro Community Theatre – Chicago
• Xander Hildenbrandt As Go To Hell Kitty / Ensemble – Supporting Performer – Springboro Community Theatre – Chicago
• Robert Culpepper As Clancy Hope – Supporting Performer – Dayton Theatre Guild – Mr. Rickey Calls a Meeting
• Jennifer Lockwood As Marjorie – Supporting Performer – Dayton Theatre Guild – The Musical Comedy Murders of 1940
• Terry Larson As Grandma, Mrs. Luckenbill – Supporting Performer – Beavercreek Community Theatre – Freaky Friday
• Amy Leigh As Alice – Supporting Performer – Dayton Theatre Guild – Decision Height
• Cadet Ensemble – Supporting Performer – Dayton Theatre Guild – Decision Height
• Wendi Michael As Mrs. Deaton – Supporting Performer – Dayton Theatre Guild – Decision Height
• Ben Evory As Jim O’Connor – Supporting Performer – Xenia Area Community Theatre – Glass Menagerie
• Lorin Dineen As Molly – Supporting Performer – Dayton Theatre Guild – Icebergs
• Titus Unger As Nicky – Supporting Performer – Dayton Theatre Guild – Icebergs
• Liz Farney Maxson As The Jester – Supporting Performer – Troy Civic Theatre – Once Upon a Mattress

 

OUTSTANDING OVERALL PRODUCTION
• Special Recognition for Outstanding Overall Production Dayton Theatre Guild Mr. Rickey Calls a Meeting

‘The Last Five Years’ Review – Dare to Defy Productions – The Way They Were

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Welcome back? As various re-openings occur throughout the city despite the ongoing presence of COVID-19, Dayton’s 2020-2021 theater season officially launches with Dare to Defy Productions’ vocally superb presentation of The Last Five Years. Jason Robert Brown’s heartwarming yet heartbreaking 2002 musical continues through July 11 at The Brightside Music and Event Venue.

Brent and Abby Hoggatt star as Jamie Wellerstein and Cathy Hiatt in Dare to Defy Productions’ presentation of “The Last Five Years.” (Contributed photo)

Set in New York City and simultaneously told chronologically and in reverse, this breezy, intimate, compelling, and smart one-act two-hander details the humorous yet troublesome relationship between struggling actress Cathy Hiatt (full-throttle Abby Hoggatt) and aspiring novelist Jamie Wellerstein (endearing Brent Hoggatt). The engaging, relatable story of optimism and woe begins with Cathy’s sorrowful reflections at the end of their marriage while Jamie’s perspectives joyously start not long after they have met. The couple only meets in the middle at their wedding, exquisitely represented by the gorgeous ballad The Next Ten Minutes. Over the course of 16 skillfully detailed and descriptive songs, an entire relationship arises with an emotional resonance that cuts to the core, proving the cold hard fact that some soulmates come with an invisible expiration date.

My journey with this material dates back to the spring of 2001 when I saw the original production at Northlight Theatre in Skokie, Illinois outside Chicago. The show was so fresh that during a post-show talkback Brown realized he made a significant error in Cathy and Jamie’s timeline, proving the challenge that comes from attempting unorthodox storytelling. And for all of the brilliance overflowing throughout Lauren Kennedy and Norbert Leo Butz’s performances, they were not an actual complex married couple. They were simply great actors interpreting a complex married couple. I mention the original production to specifically highlight how rare it is to see The Last Five Years elevated by the presence of real-life spouses, a substantial reason why the performances of Dare to Defy resident ensemble members Abby and Brent are not only outstanding but undeniably special.

Under the gentle, fluid, flashback-inspired direction of Mackensie King, who previously helmed this show for Dare to Defy in 2015, Abby and Brent, layering their work with authentic love, wonderfully embody Cathy and Jamie’s enjoyable idiosyncrasies and destructive despair. Whether conveying the difficulties Cathy endures while longing for a professional breakthrough or the conflicted betrayal weighing heavily on Jamie’s mind having slept with another woman, this dynamic duo leaves nothing undone. And musically, they soar. At the outset, Abby marvelously sets the tone with Still Hurting and winningly lightens the mood with A Part of That, A Summer in Ohio, When You Come Home to Me, and Goodbye Until Tomorrow. Brent’s delightful charm fuels Shiksa Goddess, Moving Too Fast, playful Schmuel Song, and colorfully conversational A Miracle Would Happen, but he’s equally adept stretching his acting muscles delivering the angrier, wounded If I Didn’t Believe In You and Nobody Needs To Know. Still, there is one number in this production deserving of utmost attention. Sometimes musical theatre only requires a terrific actress to sit in a chair and belt her heart out. As so, Abby’s phenomenal rendition of I Can Do Better Than That, reverberating through The Brightside’s rafters and probably out onto East Third Street, is a stunningly impactful moment worthy of an encore.
Elsewhere, King, who also serves as sound designer, assembles a fine artistic team including music director Norman A. Moxley II and lighting designer Derryck J. Menard. Moxley’s lovely five-piece orchestra consists of pianist Dean Brown, bassist Phillip Detty, violinist Josh van Tilburgh, cellist Tom Watts, and guitarist David Wells. Brown (driving the Billy Joel-esque groove of Moving Too Fast) and van Tilburgh (beautifully stirring the emotional undercurrents of The Schmuel Song and I Can Do Better Than That) excellently repeat their duties from the 2015 production.
Medically, I can’t say if it is in your best interest to see The Last Five Years. Dare to Defy has gone to great lengths in their social distancing precautions, but the choice to attend is yours. However, professionally and theatrically, I can assure you the production is worthwhile. After all, Abby sings the hell out of the score.

The Last Five Years continues at 8 p.m. Friday and 2 and 8 p.m. Saturday at The Brightside Music and Event Venue, 905 E. Third St., Dayton. The production is performed in 85 minutes without intermission. Tickets are $18-$25. A portion of ticket sales will be donated to the Black Lives Matter Movement. For tickets, visit https://broadwaytrivia2d.simpletix.com/e/55037. Seating is limited.

In addition, Dare to Defy has created the following safety plan for actors and audience:

  • Six (or more feet) between each ticket group
  • Capping ticket sales 18.5 percent of venue’s audience capacity
  • All audience members required to wear masks
  • No intermissions/longer intermissions
  • Extra sanitizing before and after shows. (The Brightside has purchased a sanitizing spray machine that quickly sanitizes the air and surfaces for added safety).
  • Checking temperatures at the door
  • All tickets must be purchased online to ensure a completely no-touch ticketing process
  • Spacing the audience more than 35 feet away from the actors
  • The blocking of the show is close and intimate in a safe manner
  • All crew will be masked and socially distanced

 

Saluting Dayton’s 2019-20 Theater Season

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Let’s be real. Dayton’s 2019-2020 theater season didn’t turn out the way anyone expected.
While many of us were busy going about our lives filling late winter weekend plans with the exciting prospect of attending numerous shows around town, who could have foreseen COVID-19? The coronavirus pandemic, a silent game-changer demanding social distancing, has totally upended our local economy, drastically altering the arts landscape in unimaginable fashion. In fact, the Dayton Playhouse recently announced an in-person hiatus until the 2021-2022 season, and it is not out of the question that multiple organizations, including Dayton Live and its reliance on direct-from-Broadway national tours, will remain dark this fall, hoping for a winter rebound at the earliest. Nevertheless, to borrow a phrase from Betty Comden and Adolph Green, “let’s be glad for what we had.” So, here is my annual salute to the outstanding experiences over the past 12 months on a variety of stages and, for the first time, a few virtual platforms.

The national tour cast of the 2018 Tony Award-winning revival of “Once on This Island.” (Photo by Joan Marcus)

Reflecting on current sentiment across the country, specifically the multiracial acknowledgment of the Black Lives Matter movement and the ongoing fight for racial justice, I’m pleased Dayton was ahead of the curve this season recognizing, producing and promoting Black-themed works. The Human Race Theatre Company provided an elegant Lady Day at Emerson’s Bar & Grill starring Tanesha Gary as legendary Billie Holiday. In addition to Dayton Playhouse’s regional premiere of Aaron Sorkin’s refreshingly progressive adaptation of To Kill a Mockingbird, Massachusetts playwright Jared Eberlein took top honors at the Playhouse’s FutureFest for his historical drama Fall With Me, centered on a Black family in 1930s Baltimore. Dayton Live, which notably supplied The Color Purple national tour which I missed, offered a striking Ohio premiere of the Tony Award-winning, Caribbean-flavored Once on This Island, a musical beautifully illuminating the power of love and communal storytelling within racial division. Dayton Theatre Guild delivered Mr. Rickey Calls a Meeting, detailing the fictional yet riveting conversation between Black icons debating Jackie Robinson breaking the color barrier in Major League Baseball. Xenia Area Community Theater and the National Afro-American Museum and Cultural Center joined forces to educate and enlighten with the Ohio premiere of The Face of Emmett Till, a poignant tale of history, heartbreak, hate, and hope. Unmistakably, Emmett Till holds significant relevance as the deaths of George Floyd, Ahmaud Arbery, Breonna Taylor, Rayshad Brooks, and Elijah McClain among others have brought greater attention to the unjust treatment of Blacks in America.

Elsewhere, I was impressed with Wright State University’s wonderful knockouts both comical (Peter and the Starcatcher, The Addams Family, Into the Woods) and thought-provoking (The Wolves, An Enemy of the People, Into the Woods), Muse Machine’s timely, incredibly joyous In the Heights, Human Race Theatre Company’s terrifically compelling regional premieres of The Cake and Gloria: A Life, Dare to Defy Productions’ engagingly heartfelt A New Brain, Playground Theatre and University of Dayton’s atmospheric Midwest premiere of Virginia playwright Ingrid DeSanctis’ whimsical yet gripping religious and relationship-driven dramedy Stained Glass, and the Tennessee Williams-inspired debut of The Virtual Theatre.

I congratulate the following winners (in bold) and nominees. Looking toward the future with Betty and Adolph in mind, I trust we’ll catch up at the theater some other time.

BEST TOURING PRODUCTION
The Book of Mormon, Dayton Live
Once on This Island, Dayton Live
Rent, Dayton Live 
The SpongeBob Musical, Dayton Live

BEST PROFESSIONAL PRODUCTION OF A PLAY
The Cake, Human Race Theatre Company
Gloria: A Life, Human Race Theatre Company
Lady Day at Emerson’s Bar & Grill, Human Race Theatre Company

Laurie Carter Rose (left as Della) and Claire Kennedy (Jen) in the Human Race Theatre Company’s production of “The Cake.” (Photo by Heather N. Powell)

 

 

 


BEST PROFESSIONAL PRODUCTION OF A MUSICAL
A New Brain, Dare to Defy Productions
Elf the Musical, La Comedia Dinner Theatre


Bobby Mitchum (center as Gordon Michael Schwinn) and the cast of Dare to Defy Productions’ presentation of “A New Brain.” (Contributed photo)


BEST COMMUNITY THEATER PRODUCTION OF A PLAY
The Face of Emmett Till, Xenia Area Community Theater and The National Afro-American Museum and Cultural Center
Icebergs, Dayton Theatre Guild
Mr. Rickey Calls a Meeting, Dayton Theatre Guild
On the Horizon, Dayton Playhouse
Still Alice, Young at Heart Players
To Kill a Mockingbird, Dayton Playhouse

(left to right) Shaun Diggs (Jackie Robinson), Robert-Wayne Waldron (Joe Louis), Franklin Johnson (Bill Robinson), Edward Hill (Paul Robeson), and Robert Culpepper (Clancy Hope) in the Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
The Best Little Whorehouse in Texas, Dayton Playhouse
Chicago, Springboro Community Theatre
Freaky Friday, Beavercreek Community Theatre
Man of La Mancha, Dayton Playhouse
The Marvelous Wonderettes, Springboro Community Theatre
The Wizard of Oz, Brookville Community Theatre

BEST COLLEGIATE PRODUCTION OF A PLAY
An Enemy of the People, Wright State University
Bang, Bang, You’re Dead!, Sinclair Community College
Peter and the Starcatcher, Wright State University
Slut, Sinclair Community College
Treasure Island, Sinclair Community College
The Wolves, Wright State University

BEST COLLEGIATE PRODUCTION OF A MUSICAL
The Addams Family, Wright State University
Into the Woods, Wright State University
Joseph and the Amazing Technicolor Dreamcoat, Sinclair Community College

BEST VIRTUAL PRODUCTION
A Streetcar Named Desire, The Virtual Theatre
Beyond Glory, Renegade Stage
Cat on a Hot Tin Roof, The Virtual Theatre
The Glass Menagerie, The Virtual Theatre
Look Into My Eyes, Human Race Theatre Company

(from left) Claire Kennedy (Blanche DuBois), Chelsey Cavender (Stella Kowalski) and Rene Millan (Stanley Kowalski) in The Virtual Theatre’s production of “A Streetcar Named Desire.” (Contributed photo)

BEST SPECIAL THEATRICAL EVENT
Gratitude Project Brings the Arts to Life!, Oral Funk Theatre and Productions
In the Heights, Muse Machine
Stained Glass, Playground Theatre and University of Dayton
Why We Tell the Story: Broadway Songs and Stories, Epiphany Lutheran Church

BEST NEW WORK
Shelli Pentimall Bookler’s On the Horizon, Dayton Playhouse FutureFest
Ingrid DeSanctis’ Stained Glass, Playground Theatre and University of Dayton
Norman Mathews’ Drone, Dayton Playhouse FutureFest
Robert Weibezahl’s Which Way the Wind Blows, Dayton Playhouse FutureFest
Robb Willoughby’s Look Into My Eyes, Human Race Theatre Company
Desireé York’s Fractured, Dayton Playhouse FutureFest

BEST LEADING ACTOR IN A PLAY
Saul Caplan as Branch Rickey, Mr. Rickey Calls a Meeting
Shaun Diggs as Jackie Robinson, Mr. Rickey Calls a Meeting
Will Graber as Peter, Peter and the Starcatcher
Ryan Hester as Tom Wingfield, The Glass Menagerie (Xenia Area Community Theater)
Nick Martin as Dr. Thomas Stockmann, An Enemy of the People
Maximillian Santucci as Calder, Icebergs


Nick Martin (center as Dr. Thomas Stockmann) and the cast of Wright State University’s production of “An Enemy of the People.” (Contributed photo)

 

BEST LEADING ACTRESS IN A PLAY
Bryana Bentley as Joey, Slut
Rae Buchanan as Jewels, Stained Glass
Lindsay Cardoza as Scout Finch, To Kill a Mockingbird
Cassandra Engber as Alice, Still Alice
Jennifer Johansen as Gloria Steinem, Gloria: A Life
Laurie Carter Rose as Della, The Cake

BEST LEADING ACTOR IN A MUSICAL
Jordan Matthew Brown as Elder Cunningham, The Book of Mormon
Hunter Minor as Gomez, The Addams Family
Bobby Mitchum as Gordon Michael Schwinn, A New Brain
Lorenzo Pugliese as SpongeBob SquarePants, The SpongeBob Musical
Tim Rezash as Cervantes/Alonso/Quixote, Man of La Mancha
Liam Tobin as Elder Price, The Book of Mormon

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

BEST LEADING ACTRESS IN A MUSICAL
Megan Arseneau as the Baker’s Wife, Into the Woods
Casey Borghesi as the Witch, Into the Woods
Courtnee Carter as Ti Moune, Once on This Island
Robin Dunavant as Morticia, The Addams Family
Tina McPhearson as Miss Mona Stangley, The Best Little Whorehouse in Texas
Sarah Viola as Aldonza/Dulcinea, Man of La Mancha

BEST SUPPORTING ACTOR IN A PLAY
Will Graber as Peter Stockmann, An Enemy of the People
Samuel Hamilton as Dill, To Kill a Mockingbird
Louie Kurtzman as Hovstad, An Enemy of the People
Tim Lile as Tim, The Cake
S. Francis Livisay as Reed, Icebergs
Josh McCabe as Black Stache, Peter and the Starcatcher

BEST SUPPORTING ACTRESS IN A PLAY
Burgess Byrd as Woman 2, Gloria: A Life
Candice Handy as Macy, The Cake
Lauren Kampman as Molly, Peter and the Starcatcher
Claire Kennedy as Jen, The Cake
Rachel Oprea as Herself, Still Alice
Hayley Penchoff as Mayella Ewell, To Kill a Mockingbird

BEST SUPPORTING ACTOR IN A MUSICAL
Philip Boykin as Tonton Julian, Once on This Island
Kyle Ramar Freeman as Asaka, Once on This Island
Mark Antony Howard as Rapunzel’s Prince and Granny, Into the Woods
Andy Huntington Jones as Elder McKinley, The Book of Mormon
Chavin Medina as Sonny, In the Heights
William “Kip” Moore as the Padre, Man of La Mancha

Nate Saner (center as Usnavi) with Chavin Medina (Sonny) and the cast of Muse Machine’s production of “In the Heights.” (Contributed photo)

BEST SUPPORTING ACTRESS IN A MUSICAL
Tamyra Gray as Papa Ge, Once on This Island
Charlotte Kunesh as Vanessa, In the Heights
Sara LiBrandi as Camila Rosario, In the Heights
Hailey Noll as Little Red Riding Hood and Rapunzel, Into the Woods
Meghan Rupper as Featured Soloist, Why We Tell the Story
Michaella Waickman as Wednesday, The Addams Family

BREAKTHROUGH MALE PERFORMANCE IN A PLAY
Brian Buttrey as George Stewart, On the Horizon
Ben Evory as Jim O’Connor, The Glass Menagerie (Xenia Area Community Theater)
Cole Frasher as Aslasken, An Enemy of the People
Samuel Hamilton as Jimmy Gibson, On the Horizon
Edward Hill as Paul Robeson, Mr. Rickey Calls a Meeting
Christopher Wells as Billing, An Enemy of the People

BREAKTHROUGH FEMALE PERFORMANCE IN A PLAY
Kristin Curby as Laura Wingfield, The Glass Menagerie (Xenia Area Community Theater)
Lauren Eifert as No. 7 – Striker, The Wolves
Michelle Hayford as Little Mermaid and The Women, Stained Glass
Hailey Marshall as Catherine Stockmann, An Enemy of the People
Margo Russ as No. 11 – Midfield, The Wolves
Annika Whetsone as Petra Stockmann, An Enemy of the People

Michelle Hayford portrayed Val, Mrs. Clifton, Rose, Sandy, and the Little Mermaid in the University of Dayton and Playground Theatre’s production of “Stained Glass.” (Photo by Knack Creative)

BREAKTHROUGH MALE PERFORMANCE IN A MUSICAL
Austin Gladstone as the Wolf and Cinderella’s Prince, Into the Woods
Jared Levy as Jack and the Steward, Into the Woods
Erik Moth as Fester, The Addams Family
Nate Saner as Usnavi, In the Heights
Rafael Santillan as Potiphar, Joseph and the Amazing Technicolor Dreamcoat
John Woll as Richard, A New Brain

BREAKTHROUGH FEMALE PERFORMANCE IN A MUSICAL
Gabby Casto as Abuela Claudia, In the Heights
Logan Hylinski as Velma Kelly, Chicago
Lillian Robillard as Ellie Blake, Freaky Friday
Molly Seybert as Cinderella, Into the Woods
Jenna Vance as Miss Almira Gulch/Wicked Witch of the West, The Wizard of Oz
Kailey Yeakley as Roxie Hart, Chicago

BEST ACTOR IN A VIRTUAL PRODUCTION
Chris Bishop as Big Daddy, Cat on a Hot Tin Roof
Scott Christian as Harold “Mitch” Mitchell, A Streetcar Named Desire
Ryan Imhoff as Tom Wingfield, The Glass Menagerie
René Millán as Stanley Kowalski, A Streetcar Named Desire
Jeff Sams as Theo, Look Into My Eyes
Michael Wright as Brick, Cat on a Hot Tin Roof

Ryan Imhoff portrayed Tom Wingfield in The Virtual Theatre’s production of “The Glass Menagerie.” (Contributed photo)

BEST ACTRESS IN A VIRTUAL PRODUCTION
Rachel Barkalow as Maggie, Cat on a Hot Tin Roof
Chelsey Cavender as Stella Kowalski, A Streetcar Named Desire
Merrie Drees as Laura Wingfield, The Glass Menagerie
Claire Kennedy as Blanche DuBois, A Streetcar Named Desire
Caitlin Larsen as Zelda, Look Into My Eyes
Rhonda Lucas as Big Mama, Cat on a Hot Tin Roof

BEST SOLO PERFORMANCE
Tanesha Gary as Billie Holiday, Lady Day at Emerson’s Bar & Grill
Annie Pesch as Laurel and others, Fractured

BEST DIRECTION OF A PLAY
Marya Spring Cordes, Gloria: A Life
Bruce Cromer, Peter and the Starcatcher
Michelle Hayford, Jenna Valyn and Chris Hahn, Stained Glass
Greg Hellems, The Cake
W. Stuart McDowell, An Enemy of the People
Annie Pesch, On the Horizon

W. Stuart McDowell retired June 30 having chaired Wright State University’s Department of Theatre, Dance and Motion Pictures for 22 years. He also directed 26 productions including “An Enemy of the People.” (Contributed photo)

BEST DIRECTION OF A MUSICAL
Michael Arden, Once on This Island
Joe Deer, The Addams Family
Philip Drennen, A New Brain
Tina Landau, The SpongeBob Musical
Lee Merrill, Into the Woods
Jeffrey Polk and Lula Elzy, In the Heights

BEST LOCAL CHOREOGRAPHY
Chris Beiser, Elf the Musical
Kara Castle, Chicago
Jessica Eggleston, Joseph and the Amazing Technicolor Dreamcoat
Lula Elzy, In the Heights
Sandra Hyde, The Best Little Whorehouse in Texas
Dionysia Williams, The Addams Family

BEST TOURING CHOREOGRAPHY
Camille A. Brown, Once on This Island
Christopher Gattelli, The SpongeBob Musical
Casey Nicholaw, The Book of Mormon
Marlies Yearby, Rent

BEST SCENIC DESIGN OF A PLAY
Dan Gray, The Cake
Chris Harmon, The Musical Comedy Murders of 1940 (Dayton Theatre Guild)
Scott J. Kimmins, Lady Day at Emerson’s Bar & Grill
Pam Knauert Lavarnway, Peter and the Starcatcher
Carleigh Siebert, The Wolves
Terry Stump, Treasure Island

Will Graber (center as Peter) and the cast of Wright State University’s production of “Peter and the Starcatcher.” (Contributed photo)

BEST SCENIC DESIGN OF A MUSICAL
David J. Castellano, The Addams Family
Dane Laffrey, Once on This Island
Anna Louizos, In the Heights
Red Newman, The Best Little Whorehouse in Texas
Jonathan Sabo, Man of La Mancha
David Zinn, The SpongeBob Musical

BEST COSTUME DESIGN OF A PLAY
David M. Covach, Lady Day at Emerson’s Bar and Grill
Carol Finley, The Musical Comedy Murders of 1940 (Dayton Theatre Guild)
Kathleen Hotmer, Treasure Island
Ayn Kaetchen, Gloria: A Life
Tatyana Kowalski, An Enemy of the People
Michelle Sampson and Victoria Gifford, Peter and the Starcatcher

BEST COSTUME DESIGN OF A MUSICAL
Kevin Alberts, Joseph and the Amazing Technicolor Dreamcoat
Theresa Kahle, Man of La Mancha
Clint Ramos, Once on This Island
Nikki Sherck and Alisa Vukasinovich, In the Heights
Zoë Still, The Addams Family
David Zinn, The SpongeBob Musical

BEST LIGHTING DESIGN OF A PLAY
Malia Dalba, An Enemy of the People
Matthew Evans, Stained Glass
Gabriel Hrin, Treasure Island
Autumn Light, Peter and the Starcatcher
John Rensel, Lady Day at Emerson’s Bar & Grill
Richard Lee Waldeck, Decision Height (Dayton Theatre Guild)

BEST LIGHTING DESIGN OF A MUSICAL
Kevin Adams, The SpongeBob Musical
Ara Beal, A New Brain
Matthew P. Benjamin, The Addams Family
Jules Fisher and Peggy Eisenhauer, Once on This Island
Jessy Henning, Joseph and the Amazing Technicolor Dreamcoat
Richard Lee Waldeck, Man of La Mancha

Daria Pilar Redus as Sandy Cheeks and Lorenzo Pugliese as SpongeBob SquarePants in “The SpongeBob Musical.” (Photo by Jeremy Daniel)

BEST SOUND DESIGN OF A PLAY
Dan Brunk, Treasure Island
Jay Brunner, Lady Day at Emerson’s Bar & Grill
James Dunlap, An Enemy of the People
Chris Hahn, Stained Glass
Lara Sagraves, Peter and the Starcatcher
K.L. Storer, Decision Height (Dayton Theatre Guild)

BEST SOUND DESIGN OF A MUSICAL
James Dunlap, The Addams Family
Bob Kovach, Man of La Mancha
Aaron Poland and James Dunlap, Into the Woods
Shannon Slaton, Once on This Island
Walter Trarbach, The SpongeBob Musical
Ryan Vallo, In the Heights

BEST ORCHESTRA
The Addams Family (Music Director: Wade Russo)
In the Heights (Music Director: Jeffrey Powell)
Lady Day at Emerson’s Bar & Grill (Music Director: Deron B. Bell Sr.)
Man of La Mancha (Music Director: Sarah Plaugher)
Once on This Island (Music Director: Steven Cuevas)
Rent (Music Director: Mark Binns)

BEST PROPERTIES
Mikayla Burr, The Cake
John Lavarnway, An Enemy of the People
John Lavarnway, The Addams Family
Deirdre Root, Icebergs
Terry Stump, Treasure Island
Terry Webb, Peter and the Starcatcher

BEST PROJECTION DESIGN
John Riechers, Gloria: A Life
Mike Taint, The Glass Menagerie (Xenia Area Community Theater)

Jennifer Johansen (center as Gloria Steinem) and the cast of the Human Race Theatre Company’s production of “Gloria: A Life.” (Photo by Heather N. Powell)

 

ADDITIONAL CAST ACKNOWLEDGMENTS

  • The cast of A New Brain: Bobby Mitchum as Gordon Michael Schwinn, Vanae Stevee Pate as Homeless Lady, Danielle Ruddy as Rhoda, Abby Hoggatt as Waitress/Nancy, Brandon Leatherland as Mr. Bungee, John Woll as Richard, Zach King as Dr. Jafar Berensteiner, Garrett Young as the Minister, Brent Hoggatt as Roger Delli-Bovi, and Lindsay Sherman as Mimi Schwinn
  • The cast of A Streetcar Named Desire: René Millán as Stanley Kowalski, Claire Kennedy as Blanche DuBois, Chelsey Cavender as Stella Kowalski, Scott Christian as Harold “Mitch” Mitchell, Matt Guion as Steve, Jody Hart as Eunice, and Usman Enam as Pablo/Young Collector
  • The cast of The Addams Family: Hunter Minor as Gomez, Robin Dunavant as Morticia, Michaella Waickman as Wednesday, Erik Moth as Fester, Dylan Tacker as Lurch, Amanda Astorga as Grandma, Eric Thompson as Lucas, Emma Bratton as Alice, Nick Martin as Mal, Parker Kaibas as Pugsley, Male Ancestors: Marcus Antonio, Tommy Cole, Mitchell Lewis, Jake Siwek, and Jeremy Weinstein, Female Ancestors: Lauren Eifert, Tassy Kirbas, Emma Metzger, Maggie Musco, and Jeannie Sincic, and Swings Matthew Shanahan and Sophie Hardy
  • The cast of An Enemy of the People: Nick Martin as Dr. Stockmann, Hailey Marshall as Catherine Stockmann, Annika Whetstone as Petra Stockmann, Will Graber as Peter Stockmann, Christopher Wells as Billing, Cole Frasher as Aslaksen, Louie Kurtzman as Hovstad, Aidan Lord as Morten Kiil, Jake Siwek as Captain Horster, Matthew Shanahan as Ejlif Stockmann, Mikey Fried as Morten Stockmann, Dylan Roll as The Drunk, Male Ensemble members Kyle Channell, Xiao Ni Denker, Branden Fisher, Chap Hollin, Theo Karras, Kevin Lausche, Alex Tischer, Female Ensemble members Abbie Bookman, Abby Choi, Amanda Jacobson, Alexis Muhlenkamp, Brie Parsons, and Swings Nick Salazar and Sydney Freihofer
  • The cast of Bang, Bang, You’re Dead!: Christopher Koehler as Josh, Devontae Wheaton as Michael, Rebecca Shelley as Katie, Raushawn Parker as Matt, Leia Gaddis as Jessie, Katelyn Pennington as Emily, Robert Shutts as Actor 1/Judge/Principal, Christopher Leavitt as Actor 2/Prisoner/Drummer, Sabrina Smith as Actor 3/Witness/Jury Forewoman, Kiarra Matos as Actor 4/Prosecutor, and Darion Roberts as Actor 5/Defender
  • Miss Mona’s Girls of The Best Little Whorehouse in Texas: Kelli Myers as Shy, Adee McFarland as Angel, Alicia Walton as Dawn, Shanna Camacho as Durla, Logan Hylinski as Beatrice, Stacey Ward as Ruby Rae, and Sommer McGuire as Linda Lou
  • The cast of Beyond Glory: Ben Rinehart as Lewis L. Millet, Hector Cafferata and Daniel Inouye; Fernando Romero as Clarence Sasser and Vernon Baker; and Don Hurst as John Finn, James Bond Stockdale and Nick Bacon
  • The cast of Cat on a Hot Tin Roof: Rachel Barkalow as Maggie, Michael Wright as Brick, Chris Bishop as Big Daddy, Rhonda Lucas as Big Mama, Tyler Owen Parsons as Gooper, Hannah Brown as Mae, Bob McClain as Reverend Tooker, and Usman Enam as Doc Baugh
  • The cast of Decision Height (Dayton Theatre Guild): Heather Atkinson as Rosalie Hartson, Janell Blanks as Ziggie Lewis, Susie Gutierrez as Carol Henderson, Kat King as Mildred Simmons, Amy Leigh as Alice Hawkins, Wendi Michael as Mrs. Deaton, Carly Laurette Risenhoover-Peterson as Norma Jean Harris, Amanda Schrader as Virginia Hascall, and Samantha Stark as Edith “Eddie” Harknell
  • The cast of Drone: Shanna Camacho as Diwa Kahn, Ray Geiger as Lieutenant Mike Powell, Becky Howard as TV Announcer, Elise Laskowski as Kristen Powell, Brendan Milligan as Arman Kahn, Fran Pesch as Farishta Kahn, Karen Singh as Salar Kahn, Jefferson Smith as Robbie Powell, Mike Taint as Colonel Andrew, and Lynn Vanderpool as Sergeant Tonya Spanger
  • The cast of The Face of Emmett Till: Mendu Khanyile as Mamie Till-Bradley, John Lawson as JW Milam, Bendali Eugene as Emmett Till, Daria Dillard Stone as Mahalia Jackson, Marquesha “Free” Martin as Chorus, Dawn Andrews as Chorus, Carter Hume as Roy Bryant, Charlotte Harris as Rosa Parks/Reporter, Marceia Cornwell as Musician/Man at the Party, Matthew Benefiel as Gerald Chatham, Ronnie Copeland as Mose Wright, Olivia Ekler as Carolyn Bryant, Vincent Moorman as Henry Spearman, Yvette Watson as Alma Spearman, Kyle Mercuri as Mrs. Burke/Juanita Milam, Amanda Walton as Lawyer Whitten, Trenton Spencer as Roy Wilkins, Eberechukwu S. Cooper as Willie Reed/AA Raynor, Troy Reaves as Maurice, Edith Waugh as Senator James Eastland/Judge Swango, Timothy Hall-Norman as Man at the Party, and understudies RJ Geier and Akil R. Sharif
  • The cast of The Glass Menagerie (Virtual Theatre): Merrie Drees as Laura Wingfield, Chase Engel as Jim O’Connor, Rose Vanden Eynden as Amanda Wingfield, and Ryan Imhoff as Tom Wingfield
  • The cast of Gloria: A Life: Jennifer Johansen as Gloria Steinem, Burgess Byrd as Woman 2, Rae Buchanan as Woman 5, Eileen Earnest as Woman 6, Sherman Fracher as Woman 3, Andréa Morales as Woman 4, and Aurea Tomeski as Woman 1
  • The cast of The Humans (Beavercreek Community Theatre): Jim Spencer as Erik Blake, Jenni Cypher as Diedre Blake, Lynn Vanderpool as Aimee Blake, Natalie Marie Ruscello as Brigid Blake, Kathy Campbell as Fiona “Momo” Blake, and Jose Gutierrez del Arroyo as Richard Saad
  • The cast of Icebergs: Sha-Lemar Davis as Abigail, Lorin Dineen as Molly, S. Francis Livisay as Reed, Maximillian Santucci as Calder, and Titus Unger as Nicky
  • The principal cast of In the Heights: Quinn Bennett as Graffiti Pete, Nick Bradley as Piragua Guy, Gabby Casto as Abuela Claudia, Courtney Collinsworth as Daniela, Chynia Crane as Carla, Steven Greenwalt as Jose, Leila Halili as Yolanda, Desmond Kingston as Benny, Charlotte Kunesh as Vanessa, Sara LiBrandi as Camila Rosario, Chavin Medina as Sonny, Julie Murphy as Nina Rosario, Nate Saner as Usnavi, Michael Taylor as Kevin Rosario, and Darian Watson as Pete
  • The cast of Into the Woods: David Bays as Narrator/Mysterious Man, Molly Seybert as Cinderella, Jared Levy as Jack/Steward, Bridget Lorenz as Jack’s Mother/Cinderella’s Stepmother, Jonathan Crawford as the Baker, Megan Arseneau as Baker’s Wife, Elisabeth Mies as Florinda/Sleeping Beauty, Andrea Gutierrez as Lucinda/Snow White, Hailey Noll as Little Red Riding Hood/Rapunzel, Casey Borghesi as the Witch, Delaney O’Toole as Cinderella’s Mother/Milky White/Giant, Austin Gladstone as Wolf/Cinderella’s Prince, and Mark Antony Howard as Granny/Rapunzel’s Prince
  • The cast of Look Into My Eyes: Barbara Dirr as Billie, Libby Holly Scancarello as Gloria, Scott Stoney as Lonnie, Jeff Sams as Theo, Lauren Kampman as Lily, Jeremy Todd Farley as Junior, and Caitlin Larsen as Zelda
  • The cast of The Marvelous Wonderettes: Amy Brady as Suzy, Lindsey Cardoza as Betty Jean, Mary Nunnery as Missy, and Natalie Ruscello as Cindy Lou
  • The cast of Mr. Rickey Calls a Meeting: Saul Caplan as Branch Rickey, Shaun Diggs as Jackie Robinson, Edward Hill as Paul Robeson, Robert Culpepper as Clancy Hope, Robert-Wayne Waldron as Joe Louis, and Franklin Johnson as Bill “Bojangles” Robinson
  • The cast of The Musical Comedy Murders of 1940 (Dayton Theatre Guild): Brad Bishop as Kelly, Melissa Ertsgaard as Bernice, Charles Larkowski as Roger, Jennifer Lockwood as Marjorie, K.A. Mercuri as Helsa, George Merusi as Eddie, Lolli Mitchell as Nikki, Dave Nickel as O’Reilly, Jeff Sams as Ken, and Lynn Vanderpool as Elsa
  • The cast of On the Horizon: Brian Buttrey as George Stewart, Samuel Hamilton as Jimmy Gibson, Matthew Lindsay as Captain Stanley Lord, Brandon Shockney as Herbert Stone, Jefferson Smith as Cyril “Sparks” Evans, and Will Taylor as Charlie Groves
  • The Gods of Once on This Island: Jahmaul Bakare as Agwe, Kyle Ramar Freeman as Asaka, Tamyra Gray as Papa Ge, and Cassondra James as Erzulie
  • The cast of Peter and the Starcatcher: Will Graber as Peter, Lauren Kampman as Molly, Julie Deye as Ted, Dean McKenzie as Prentiss, Kaitlyn Campbell as Mrs. Bumbrake/Teacher, Louis Kurtzman as Lord Aster, Christopher Wells as Scott, Sophie Kirk as Alf, Kenneth Erard as Slank/Hawking Clam, Ethan Evans as Grempkin/Mack/Sanchez/Fighting Prawn, Jake Jones as Smee, and Josh McCabe as Black Stache
  • The cast of Slut: Bryana Bentley as Joey, Callista Kinney as Jane, Kylee Pauley as Anna, Kiarra Matos as Danielle, Rebecca Shelley as Sylvie, Rachel Charles as Leila, Alexis Paige as Dominique, Leia Gaddis as Julie, Sabrina Smith as Grace, Cormari Pullings as Christina, Lilly Robillard as Natalie, Kasaahn Johnson as George, Devante Wheaton as Luke, and Matt Poliachik as Tim
  • The cast of Stained Glass: Amy Askins as Mom, A.J. Breslin as James, Rae Buchanan as Jewels, Jada Gee as Tinkerbell, Chris Hahn as Moses, Michelle Hayford as Little Mermaid/Val/Mrs.Clifton/Rose/Sandy, Chris Jones as Pinocchio/Gabe, Jillian Mitchell as Cinderella, and Jenna Valyn as Tess
  • The cast of Still Alice: Cassandra Engber as Alice, Rachel Oprea as Herself, Steve Strawser as John, Brandon Shockney as Thomas, Chelsey Hall as Lydia, Cher Collins as Dr. Tamara/Beth, and Shawn Hooks as Dr. Davis/Dan
  • The cast of Which Way the Wind Blows: Spencer Berta as Paul Travis, Benjamin Jones as Paul Travis and Peter Freeman, Cynthia Karns as Carol O’Neill, Charles Larkowski as Marty O’Neill, Jennifer Lockwood as Peggy O’Neill, Michael Markus as Gerald Freeman, Krissy McKim-Barker as Thalia Whetstone, and Chavin Medina as Marty O’Neill
  • The principal cast of The Wizard of Oz: Elainah Skaroupka as Dorothy, Adonis Lemke as Scarecrow/Hunk, Kendal Garrett as Tinman/Hickory, Mark Van Luvender as Cowardly Lion/Zeke, Jenna Vance as Miss Almira Gulch/Wicked Witch of the West, Callista Kinney as Glinda, Bill Stewart as Professor Marvel/Oz Guard/The Wizard of Oz, Sheryl Koontz as Aunt Em, and Bill Bicknell as Uncle Henry
  • The cast of The Wolves: Mady McCabe as No. 00 – Goalie, Megan Ledford as No. 02 – Defense, Lauren Eifert as No. 7 – Striker, Julie Deye as No. 08 – Defense, Margo Russ as No. 11 – Midfield, Jessica Greenwald as No. 13 – Midfield, Bridget Lorenz as No. 14 – Midfield, Tina Hohman as No. 25 – Defense, Caroline Utz as No. 46 – Bench, and Sophie Kirk as Soccer Mom

ADDITIONAL ARTISTIC ACKNOWLEDGMENTS

  • Joyce Barnes’ direction of The Face of Emmett Till
  • Matthew P. Benjamin and Gabe Reichert’s lighting design for The Wolves
  • Brad Bishop as Pedro in Man of La Mancha
  • Casey Borghesi’s renditions of Stay with Me and Last Midnight in Into the Woods
  • Nick Bradley’s rendition of Piragua in In the Heights
  • Jay Brunner’s score for The Cake
  • David Brush’s music direction for Why We Tell the Story 
  • Steve Burton’s wig design for The Best Little Whorehouse in Texas
  • Pamela Byrd as Jewel in The Best Little Whorehouse in Texas
  • Lindsey Cardoza’s rendition of That’s When the Tears Start in The Marvelous Wonderettes
  • Courtnee Carter’s rendition of Waiting for Life in Once on This Island
  • The cast of In the Heights performing Carnaval del Barrio
  • Gabby Casto’s rendition of Pacience y Fe in In the Heights
  • Ronnie Copeland’s delivery of the Why I Live in Mississippi monologue as Mose Wright in The Face of Emmett Till
  • Marya Spring Cordes’ direction of The Wolves
  • Jonathan Crawford and David Bays’ rendition of No More in Into the Woods
  • Jackie Darnell, Bridget Miley and John Benjamin’s rendition of The I Love You Song in Why We Tell the Story 
  • Philip Drennen’s musical staging of A New Brain including And They’re Off
  • Matt Ebright’s musical direction of Peter and the Starcatcher
  • Ted Eltzoth as Sancho in Man of La Mancha
  • Lula Elzy’s choreography of 96,000, The Club and Carnaval del Barrio in In the Heights
  • Rick Flynn’s direction of Mr. Rickey Calls a Meeting
  • Kyle Ramar Freeman’s rendition of Mama Will Provide in Once on This Island
  • Jeannine E. Geise as Katherine Blake in Freaky Friday and Matron Mama Morton in Chicago
  • Chris Harmon’s set for Icebergs and Mr. Rickey Calls a Meeting
  • Kim Harvey and Lori Watamaniuk’s costumes for Why We Tell the Story
  • Brent Hoggatt’s rendition of Sailing in A New Brain
  • The Hope Is Why portion of Why We Tell the Story: Meghan Rupper (lead vocals) and cast singing Till We Reach That Day; Michael Shannon, Jack Issler, Kara Miller, Meredith Russ, Samuel Layman, Brett Greenwood, John Benjamin, Martha Armstrong-Benjamin (lead vocals) and cast singing One Day More; Meghan Rupper’s rendition of The Wizard and I; Taryn Lightcap, Abbey Fry, and Margo Russ’ rendition of I Know It’s Today; and Kathy Meyer, Andrew Gochenaur, Megan Rehberg, Mitchell Goecke (lead vocals), and ensemble singing Tonight Quintet
  • Jack Issler and Kara Miller’s rendition of You Matter to Me in Why We Tell the Story
  • Callista Kinney as Narrator in Joseph and the Amazing Technicolor Dreamcoat
  • Micah Koverman as Jim Hawkins in Treasure Island
  • Charlotte Kunesh’s rendition of It Won’t Be Long Now in In the Heights
  • John Lawson as Vernon Dupace, Stewart and Mr. Leonce in Quilt – A Musical Celebration (INNOVAtheatre)
  • Samuel Layman, Siobhan McAleer, Eric Pettit, Zoe Miller and cast rendering You Will Be Found in Why We Tell the Story
  • Adonis Lemke as Horace Gilmer in To Kill a Mockingbird
  • Sierra Leone’s poem Vision Perfected for A Night of Symphonic Hip Hop with Wyclef Jean (Dayton Philharmonic Orchestra)
  • Sara LiBrandi’s rendition of Enough in In the Heights 
  • Matthew Lindsay as Atticus Finch in To Kill a Mockingbird
  • Sean Mayo as Bob Ewell in To Kill a Mockingbird
  • W. Stuart McDowell’s staging of the Act 1 deluge finale (featuring Will Graber) and Act 2 town hall meeting (entire company) in An Enemy of the People
  • Hunter Minor’s rendition of Not Today in The Addams Family
  • Hunter Minor and Robin Dunavant’s Tango De Amor in The Addams Family
  • Bobby Mitchum and cast rendering Heart and Music, Gordo’s Law of Genetics, And They’re Off, and I Feel So Much Spring in A New Brain
  • Leslie Monnig’s costumes for The Wizard of Oz
  • The Musicians of Lady Day at Emerson’s Bar & Grill: Pianist Keigo Hirakawa (as Jimmy Powers), percussionist Deron B. Bell Sr., and bassist Eddie Brookshire
  • Matt Neal’s direction of A Streetcar Named Desire and Cat on a Hot Tin Roof
  • Rodney Neal’s technical direction for The Virtual Theatre
  • Gina Neuerer’s direction of Slut
  • The Orchestra of Into the Woods: Music director/keyboardist Melissa Yanchak, cellist Emsie Hapner and keyboardist David Hapner
  • Tonya Oslack (Shirley) and company rendering A Fifth of Beethoven in Disaster! (La Comedia Dinner Theatre)
  • Matt Owens (Governor) and company rendering The Sidestep in The Best Little Whorehouse in Texas
  • Vanae Stevee Pate’s renditions of Change and Homeless Lady’s Revenge in A New Brain
  • Annie Pesch’s direction of Still Alice
  • Annie and Fran Pesch’s dialect coaching for Drone and On the Horizon
  • Janet G. Powell’s costumes for Nevermore (Beavercreek Community Theatre)
  • John Rensel’s lighting design for In the Heights
  • Margo Russ, Jessica Pettit and Andrew Gochenaur’s rendition of Superboy and the Invisible Girl in Why We Tell the Story
  • Megan Wean Sears’ direction and choreography for Why We Tell the Story
  • Molly Seybert’s rendition of On the Steps of the Palace in Into the Woods
  • Michael Shannon’s rendition of Dust and Ashes in Why We Tell the Story 
  • Brian Sharp as Judge Taylor in To Kill a Mockingbird
  • Michael Shepherd’s fight choreography for The Face of Emmett Till
  • Lindsay Sherman’s rendition of The Music Still Plays On in A New Brain
  • David Shockey as Joseph and his renditions of Close Every Door and Any Dream Will Do in Joseph and the Amazing Technicolor Dreamcoat
  • G. Armando Silva, Joe Deer and Tyson Randolph’s creative contributions for In the Heights
  • G. Armando Silva and Lynda Casto’s Spanish language coaching for In the Heights
  • Aiyana Smash as Mimi Marquez and her rendition of Out Tonight in Rent 
  • Dawn Roth Smith’s direction of Man of La Mancha
  • Daria Dillard Stone’s vocals in The Face of Emmett Till
  • Scott Stoney’s direction of Lady Day at Emerson’s Bar & Grill
  • Amy Taint as Amanda Wingfield in The Glass Menagerie (Xenia Area Community Theater)
  • David Thomas as Buddy in Elf the Musical
  • Deborah Thomas’ dialect coaching for Peter and the Starcatcher
  • Sahe West as Tom Robinson in To Kill a Mockingbird
  • John Woll’s renditions of Eating Myself Up Alive and You Boys Are Gonna Get Me In Such Trouble in A New Brain
  • Michelle “Elle” Zimmerman as the Moderator for Gloria: A Life

The cast of Dayton Playhouse’s production of “Man of La Mancha.” (Photo by Art Fabian)

Hans Unser named Dayton Theatre Hall of Fame inductee

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Hans Unser, who has been involved with local theatre for nearly 20 years, is the 2020 Dayton Theatre Hall of Fame inductee.


Unser, 86, currently serves on the Beavercreek Community Theatre Board of Directors and is the organization’s facilities manager as well. His theatre associations include Dayton Theatre Guild, Town Hall Theatre, Sinclair Community College, Dayton Playhouse, Dare to Defy Productions, and Springfield Arts Council. He has notably assisted in the construction and painting of nearly 100 sets, served on stage crew for numerous shows, and has stage managed others. In particular, he is typically seen atop a 12 foot ladder painting a set, hanging teasers or changing light bulbs.

He moved to Dayton in 1996 from California after retiring from the film industry, first as a film editor. In fact, the Beach Blanket genre contains his handiwork. He eventually formed his own subtitle company. He is also a veteran and received a purple heart during the Korean Conflict.

Due to COVID-19, this year’s DayTony gala and Dayton Theatre Hall of Fame ceremony has been canceled. However, Unser will be honored at next year’s gala. The DayTony Awards for excellence and merit will be announced Saturday, July 25. Organizers say recipients will be able to pick up their awards at the theatres where the performances took place. “We will miss the opportunity to celebrate together this year,” said DayTony President and Dayton Theatre Hall of Fame member Debra Strauss. “But I look forward to how wonderful it will be to honor our friends and colleagues next year.”

‘Gloria: A Life’ Review – Human Race Theatre Company – Lady Liberty

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Gloria Steinem’s influential legacy is on terrifically insightful display at the Loft Theatre courtesy of the Human Race Theatre Company’s timely regional premiere of Emily Mann’s enlightening, thought-provoking and relevant 2018 one-act drama Gloria: A Life.

Gloria Steinem’s life and career is the subject of Emily Mann’s drama “Gloria: A Life,” slated through March 15 at the Loft Theatre. (Contributed photo)

Chronicling the 85-year-old Steinem from her humble beginnings in Toledo, Ohio to her currently impactful stances on advocacy and equality, Gloria: A Life predominately seeks to put to rest preconceived notions about who she is and what she continues to fight for. It’s no surprise her undercover stint as a Playboy Bunny, co-founding of Ms. magazine and definitive impact as leader of the feminist movement typically grabbed the headlines over the decades. However, Mann astutely goes beyond the history and controversy to draw a deeper, relatable portrait of this strong woman greatly motivated by passionate African-American women such as Dorothy Pitman Hughes, Florynce Kennedy, Shirley Chisholm, and Angela Davis who not only dreamed of being a Rockette but was actually reticent to embrace the limelight of activism. In fact, even as she received her share of help and hell at the dawn and height of the feminist movement, she remained haunted by “the unlived life” of her insecure yet talented mother trapped in an unfulfilling marriage. Still, this self-described “hope-aholic” believed in the necessity of people-building, reminding everyone of all backgrounds of their value and self-worth in order to change the world. After all, “don’t agonize – organize” is a fundamental principle applying as significantly to men as it does to women.

Jennifer Johansen (standing in black) as Gloria Steinem and the cast of the Human Race Theatre Company’s production of “Gloria: A Life,” slated through March 15 at the Loft Theatre. (Photo by Heather N. Powell)

Providing breezy transitions while expansively using the Loft space to the fullest from the rear of the audience to every corner of the stage, director Marya Spring Cordes briskly guides an outstanding, diverse seven-member female cast through various aspects of Steinem’s complex journey. The personable, statuesque Jennifer Johansen winningly embodies the titular role with commanding confidence, narrating the proceedings with elegance, wit and reflective sincerity. The remaining members vividly portray multiple roles: Burgess Byrd brings feisty joy to Hughes and Kennedy and gentle reverence to Coretta Scott King; Sherman Fracher zestfully captures New York Congresswoman Bella Abzug; Rae Buchanan is heartbreaking as Steinem’s mother; Andréa Morales, memorable in the Human Race’s Hail, Mary! and The Full Monty as well as Magnolia Theatre Company’s Parallel Lives and Gidion’s Knot, displays her inherent versatility throughout; Eileen Earnest equally convinces as a spunky kid enamored with Steinem and a prickly mother despising her; and Aurea Tomeski gracefully shines with warm wisdom as Wilma Mankiller, Steinem’s friend, mentor, mother figure, and the first contemporary female Principal Chief of the Cherokee Nation.

(left to right) Eileen Earnest (Woman 6), Sherman Fracher (Woman 3), Andrea Morales (Woman 4), Jennifer Johansen (Gloria Steinem), Rae Buchanan (Woman 5), Burgess Byrd (Woman 2) and Aurea Tomeski (Woman 1) comprise the cast of the Human Race Theatre Company’s production of “Gloria: A Life,” slated through March 15 at the Loft Theatre. (Photo by Heather N. Powell)

In addition to John Riechers’ exceptional projections – heightening this educational experience with archival footage encompassing cutesy 1950s commercials, eye-rolling Harry Reasoner and Richard Nixon commentary, and a photo of the 127 women currently serving in the United States Congress – the first-rate production team includes set designer Tamara L. Honesty, costumer Ayn Kaethchen, lighting designer John Rensel, sound designer Jay Brunner, and stage manager Jacquelyn Duncan.
At the conclusion, a talking circle forum is moderated by Michelle Zimmerman with the cast. Attendance isn’t mandatory (the play is still a one-act) but I encourage you to stay and be open to discussing your thoughts on Steinem, the play and other topics that arise. The Human Race has offered a safe space which, in many respects, unites the audience in a meaningful way, bringing credence to Steinem’s advice: “Don’t look up – look out –  and find shared power.”

Gloria: A Life continues through March 15 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. For tickets, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. Parents are also cautioned some material may be inappropriate for children under the age of 15.

Human Race Announces 2020 – 2021 Loft Season

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The Human Race, Dayton’s premier professional theatre company, is excited to announce the 2020-2021 Season at the Loft Theatre. This, their 34th season of producing in the Miami Valley, emphasizes The Human Race’s mission – to explore the human experience and promote enlightenment, inclusion and understanding through quality entertainment – with their Dayton Premieres.

“Every show this season is a first in Dayton,” states Human Race Artistic Director and Founding Member, Kevin Moore. “This includes a collaborative world premiere, as well as multiple regional and local premieres that will stimulate the conscience of our community and the talents of our artists.”

”We are very excited about our 34th season because it exemplifies the work we are known for” said Executive Director, Kappy Kilburn. “It’s all new, smart, funny, touching, insightful, important and thought provoking.”

The 34th season kicks off early this year, in August, with the mysterious comic-drama, Now And Then by Sean Grennan. Then in October, they’ll rock the Loft Theatre with Airness, a new play by Chelsea Marcantel that follows whacky participants in the Air Guitar World Championship.  The winter brings us the thoughtful and timely drama of a family dealing with a transgender child, Everything That’s Beautiful by Elyzabeth Gregory Wilder.  Spring blooms with laughter as the O’Shea family must confront the Incident At Our Lady Of Perpetual Help by Katie Forgette.  And closing the season in June is a new musical, co-written by a WSU grad and Human Race alum, Christian Duhamel, and composer Edward Bell – the title says it all – My 80-Year-Old Boyfriend.

Plus, there are two Human Race “Extras” this season.  The first is the eight-organization collaborative performance, The Art Of Us: A Dayton Mosaic on September 12 and 13 at the Schuster Center – which will include the commissioned World Premiere performance of “Miriam.”  And in December, the Dr. Seuss lampoon Who’s Holiday will play December 10-27 in the Loft Theatre for a hysterical look at what became of “Cindy Lou Who.”

Subscription renewal packets will be available at all performances of Gloria: A Life.  Subscribers will have until May 3rd to renew their subscriptions.  Subscribers will also be able to add the “Extras” at a special rate, but these are limited time offers.  The Art Of Us: A Dayton Mosaic discount is availble through May 30, 2020;  Who’s Holiday discount is available through August 17, 2020.

New subscribers can join anytime and enjoy all the benefits as well as the early discount ticket prices to the two “Extras.”  Contact Ticket Center Stage at 937-228-3630 or www.ticketcenterstage.com.

Join Dayton’s professional theatre for a season of Dayton Premieres.

Full descriptions of each show is included below.

The Human Race Theatre Company

2020-2021 Loft Theatre Season – Dayton Premieres

NOW AND THEN by Sean Grennan    Aug 20 – Sept 6, 2020

Sometimes what happens after last-call just might change your life forever.  One night in 1981, just as Jamie is closing the bar where he works, a desperate last-minute customer offers him and his girlfriend Abby two thousand dollars to sit and have a drink with him.  Who wouldn’t take it? As the trio swaps stories and Jamie considers the decisions he faces about his musical career and his future with Abby, the young couple begins to realize that this older man is unusually invested in their choices…and the reason he gives them is completely unbelievable. But when a very displeased second stranger arrives, the unbelievable begins to look like it just might be true. Now and Then is a heartfelt romantic comedy about the costs of the choices we make, and the people who make them with us.

AIRNESS by Chelsea Marcantel         Oct 15 – Nov 1, 2020

When Nina enters her first air guitar competition, she thinks winning will be easy. But as she befriends a group of charismatic nerds all committed to becoming the next champion, she discovers that there’s more to this art form than playing pretend; it’s about finding yourself in your favorite songs, and performing with raw joy. Will Nina be able to let go and set herself free onstage? Following her mission to shred or be shredded, Airness is an exuberant reminder that everything we need to rock is already inside us. A comedy about competition, completion, and finding the airness inside yourself.

EVERYTHING THAT’S BEAUTIFUL by Elyzabeth Gregory Wilder     

Feb 18 – Mar 7, 2021

When Luke and Jess decide to allow their 8-year-old Morgan, who was assigned  male at birth, to identify as female, they relocate in order to give the family a clean start. Luke takes a job at the local waterpark, where he meets Gaby, the girl in the mermaid tank. With money tight, Jess starts working at a local coffee shop where she meets Will. These new relationships provide an escape from an already complicated family life. But when an accident threatens to expose the truth about Morgan, tensions run high. Luke finally admits the real reason they moved, a confession that could potentially destroy their family. Faced with losing his child and his family, Luke must decide what’s worth fighting for.

INCIDENT AT OUR LADY OF PERPETUAL HELP by Katie Forgette                         Apr 15 – May 2, 2021

A money-strapped family tries to cope in 1973. 19-year-old Linda O’Shea is our narrator and she is attempting to re-enact the most turbulent day of her life, but her family keep interrupting to tell their side of the story.  The 70s were a time of old school living; no social media, and public ridicule in a close-knit community was the ultimate nightmare. When her parents ask her to explain to her younger sister about the birds and the bees, somehow the blunt explanation is overheard by the parish priest and he is not amused. When he confronts her parents about the “corruption of their eldest daughter’s very soul,” all “holy Hell” and hysteria breaks loose in this nostalgic comedy.

MY 80-YEAR-OLD BOYFRIEND: A New True Musical       Jun 10 – 27, 2021

Book & Lyrics by Christian Duhamel          Music & Lyrics by Edward Bell

Originally Conceived & Performed by Charissa Bertels

In this delightful new musical, Charissa, a quirky, twenty-something actress, meets Milton, a quick-witted, eighty-something millionaire who loves Schubert, Shakespeare, and Dallas BBQ. From a chance encounter to the unlikeliest of friendships, Charissa discovers there’s much she can learn from her surprising new companion. Based on the true story of performer Charissa Bertels, My 80-Year-Old Boyfriend reveals the thrill of chasing a dream, the power of living in the now, and all that can happen when we let ourselves say “yes.”

HUMAN RACE EXTRAS

THE ART OF US: A DAYTON MOSAIC                  Sept 12 and 13, 2020

The 2020–2021 season offers a truly spectacular event showcasing eight of Dayton’s cultural treasures. This collaborative performance highlights the Bach Society of Dayton, Dayton Contemporary Dance Company, Dayton Ballet, Dayton Opera, Dayton Philharmonic, Dayton Gay Men’s Chorus, Muse Machine and The Human Race Theatre Company. The Art of Us is made possible with generous support from the Miriam Rosenthal Foundation for the Arts.

This once-in-a-lifetime event at the Schuster Center will include The Human Race, DCDC and Dayton Ballet performing together in a new work, Dancing Dreams, and a commissioned world premiere that will feature performers from all eight organizations.

A special price of $25 for any seating is available to Human Race subscribers through May 30, 2020.

WHO’S HOLIDAY by Matthew Lombardo                   Dec 10 -27, 2020

Our special holiday show is a wildly funny and heartfelt adults-only comedy that tells the story of Cindy Lou Who as she recalls that Christmas Eve she first met the Grinch and the twisted turn of events her life has now taken.

You saw her last when she was just two
Celebrate the holidays with Cindy Lou Who
Pull up a seat and fill up your cup
‘Cause your favorite little Who is all grown up

A special price of $30 for any seating is available to Human Race subscribers through August 17, 2020.

(Rated R for adult language and sexual innuendo)

‘An Enemy of the People’ Review – Wright State University – Bold and Unafraid

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Within the past year, the following organizations and individuals chose to speak up even if there was hell to pay: CNN; MSNBC; The New York Times; The Washington Post; The Intelligence Community Whistleblower; Marie Yovanovitch; William Taylor; Gordon Sondland; Fiona Hill; Alexander Vindman; David Holmes; Joseph Maguire; Michael Atkinson; John Bolton; John Kelly; Lev Parnas; Andrew McCabe; Lisa Page; Adam Schiff; Nancy Pelosi; Mitt Romney; Bernie Sanders; Alexandria Ocasio-Cortez; Ilhan Omar; Ayanna Pressley; Rashida Tlaib; Tulsi Gabbard; Beto O’Rourke; Greta Thunberg; The Hong Kong Protestors; Dr. Li Wenliang; Colin Kaepernick; Wade Robson; James Safechuck; Annabella Sciorra; Stacey Abrams; and Nan Whaley.

Nick Martin (center as Dr. Stockmann) and the cast of Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

Those diverse notables have a kindred spirit in Dr. Thomas Stockmann, the emotional, determined and heroic truth-teller at the center of Arthur Miller’s 1950 adaptation of Henrik Ibsen’s 1882 drama An Enemy of the People, dynamically presented in the Herbst Theatre of Wright State University under the remarkably astute, atmospheric and intimate direction of W. Stuart McDowell. In his small Norwegian town, well-respected Dr. Stockmann is put to the test when his shocking discovery of polluted waters rips his community apart. On the verge of becoming a booming tourist resort thanks to its purported healing waters, the town eagerly awaits reaping financial rewards regardless of whether or not society is destroyed in the process. Despite heated warnings from his brother Peter, the Mayor and chief champion of the town’s impending spa, Dr. Stockmann passionately persists, finding support among the local press but ultimately losing control of the narrative due to an overwhelming majority unwilling to budge. “The public doesn’t want new ideas,” he’s told. “The public is much better off with old ideas.” In addition to environmental issues, the incredibly timely themes bolstering this thought-provoking showcase, expertly staged in-the-round, include freedom of the press, political gamesmanship, corporate corruption, and majority vs. minority friction.

(left to right) Annika Whetstone (Petra Stockmann), Hailey Marshall (Catherine Stockmann) and Nick Martin (Dr. Stockmann) in Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

As Dr. Stockmann, towering knockout Nick Martin is a moral pillar of strength and unyielding purpose, stressing the importance of courageously standing in one’s truth specifically in Act 2’s unnerving town meeting. In fact, Martin is so convincingly attacked as The Other I’m surprised McDowell didn’t encourage his cast to shout “lock him up!” for the sake of contemporary rally relevancy. Charismatic, handsome and versatile Will Graber, slickly commanding the stage with top hat and baton in tow as if camouflaging as a genteel Macheath, outstandingly portrays arrogant Peter, who will stop at nothing to see his pet project succeed even if it forever fractures his own family. The splendidly matched Martin and Graber are so believably adversarial yet bonded (at the town meeting, Graber cautiously dials down Peter’s vitriol in an attempt to stop the citizens from resorting to violence against Thomas after getting them revved up) that I found myself wondering about the backstories of their fascinating characters. What fueled their sibling rivalry? Who was the favored son growing up? Is Peter jealous of Thomas for being the patriarch of a loving family? Miller and Ibsen keep matters in the present, but the possibilities of the past entice nonetheless due to Martin and Graber’s skillfully mature finesse.

Nick Martin (Dr. Stockmann), Will Graber (Peter Stockmann) and the cast of Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

Elsewhere in principal roles, Hailey Marshall is supportive yet formidable as matriarch Catherine Stockmann, Annika Whetstone sparkles as Thomas and Catherine’s bright, perceptive daughter Petra, Christopher Wells (Billing) Cole Frasher (Aslaksen) and Louie Kurtzman (Hovstad) are superb as fickle journalists, Aidan Lord exudes elderly credibility as Catherine’s father Morten Kiil, Matthew Shanahan (Ejlif Stockmann) and Mikey Fried (Morten Stockmann) charm as Thomas and Catherine’s rambunctious sons, Dylan Roll offers comic relief as The Drunk, and Jake Siwek tenderly embodies Captain Horster, Thomas’ friend soon journeying to America. The large, terrifically focused ensemble bringing furious rage to the town meeting and whose repeatedly whispered chants against the Stockmanns eerily haunt the recesses of the mind consists of Abbie Bookman, Kyle Channell, Abby Choi, Xiao Ni Denker, Branden Fisher, Sydney Freihofer, Chap Hollin, Amanda Jacobson, Theo Karras, Kevin Lausche, Alexis Muhlenkamp, Brie Parsons, Nick Salazar, and Alex Tischer.
In addition to costumer Tatyana Kowalski’s attractive period designs including Graber’s dapper, runway-ready suit, McDowell’s excellent production team includes scenic designer Carleigh Siebert, lighting designer Malia Dalba, sound designer James Dunlap, dialect coach Deborah Thomas, and properties master John Lavarnway. McDowell also incorporates Academy Award winner Hildur Guonadóttir’s (Joker) Emmy and Grammy-winning music from the HBO series Chernobyl as dramatic underscore and creates a striking, Equus-esque Act 1 finale recalling the visceral sensual nuance of recent Broadway revivals staged by Tony-winning avant garde director Ivo van Hove (A View From the Bridge, West Side Story).
In stinging fashion, walking a delicate tight rope between comedy and drama, impeccable dialogue overflows in this richly resonate play: “You’re an official – you keep your convictions to yourself”; “We live and die on what the outside world thinks of us”; “Without moral authority there can be no government”; “The majority is never right until it does right.” Without a doubt, Miller and Ibsen are speaking to us at this crucial moment in American history. You won’t hear exact references to current affairs but the subtext is absolutely inescapable. After all, you’d be hard-pressed to find a more important piece of theater happening in Dayton right now. In a perfect world, Wright State would take this show on tour to local high schools this spring and be remounted in some capacity this fall in conjunction with a voter registration drive as the presidential election intensifies.

The Ensemble of Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

Cutting deep as a fiercely urgent call to action, An Enemy of the People is simply one of the best productions of the season.

An Enemy of the People continues through March 1 in the downstairs, black box Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Dayton. Act One: 65 minutes; Act Two: 50 minutes. Performances are 7 p.m. Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; and 2 p.m. Sunday. Tickets are $15 for adults, $10 for seniors and $5 for students. For tickets or more information, call (937) 775-2500 or visit wright.edu/tdmp

‘Joseph’ Review – Sinclair Community College – Favorite Son, Favorite Coat

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Andrew Lloyd Webber and Tim Rice’s delightfully breezy musical Joseph and the Amazing Technicolor Dreamcoat, based on the biblical tale concerning family, faith and forgiveness, receives a joyful, surprisingly moving presentation under the direction of Kimberly Borst at Sinclair Community College.

David Shockey as Joseph in Sinclair Community College’s production of “Joseph and the Amazing Technicolor Dreamcoat.” (Photo by Patti Celek)

In the deceptively demanding titular role requiring the utmost in personality and vocals, tenor David Shockey certainly masters the art of charmingly arrogant bravado. In his capable hands, there’s no question that Joseph adores being the center of attention and overzealously embraces his unique gift for interpreting dreams, attributes contributing to his downfall at the hands of his 11 treacherous, non-fashionable brothers. In addition to creating an arc believably grounded in various stages of distress from torture to slavery to imprisonment, Shockey sings terrifically throughout. In fact, he sincerely fuels the emotional drama of the gorgeous ballad Close Every Door and provides a wonderfully touching rendition of the heartwarming finale Any Dream Will Do, giving beautiful credence to Joseph’s enduring hope of one day reuniting with his father Jacob (CJ Suchyta).

Callista Kinney (center) with members of the Women’s Ensemble and David Shockey in Sinclair Community College’s production of “Joseph and the Amazing Technicolor Dreamcoat.” (Photo by Patti Celek)

Furthermore: Soprano Callista Kinney, a memorable Glinda in Brookville Community Theatre’s The Wizard of Oz earlier this season, sings with ease, grace, humor, and passion as the Narrator with a lovely rendition of Pharaoh Story among her many standouts; Joseph’s energetic, dastardly, kooky, and close-knit Brothers, enjoyably coalescing to the hilt for the Parisian-inspired Those Canaan Days, compatibly consist of Russell Paquay (strongly leading Benjamin’s Calypso as Reuben), Patrick Greco (Simeon), Chase Niemitalo (Levi), Kofi Gunter (Napthali), Rafael Santillan (Issachar), Gabriel Hrin (Asher), Matt Poliachik (Dan), Connor Gray (Zebulon), Mark Kreutzer (Gad), Micah Koverman (Benjamin), and Kasaahn Johnson (Judah); Raushawn Parker appears opposite Shockey as the dutiful Guard; The Women’s Ensemble/Wives are effectively portrayed by Rachel Charles, Riley Karr, Zoe Miller, Mackenzie Moore, Alexis Paige, Kylee Pauley, Trinity Rice (the striking soprano of One More Angel in Heaven), and Lilly Robillard; and the adorable, impressively focused Children’s Choir, unexpectedly given a great deal of interactive stage time especially in Borst’s contemporary-centric Prologue, consists of George Giese, Sasha Greco, Maria Greely, Sadie Hornick, Kaydence Kinney, Carmen Medina, and Rachael Updike.

In dual roles, Santillan excellently exudes expressive, masculine flair and fury as sophisticated Potiphar, Pauley seductively lures as Mrs. Potiphar, Gunter and Paquay respectively bond as the inquisitive Butler and Baker, and Greco playfully evokes the spirit of Elvis Presley in the aptly titled Song of the King.

Patrick Greco (Pharoah) leads “Song of the King” in Sinclair Community College’s production of “Joseph and the Amazing Technicolor Dreamcoat.” (Photo by Patti Celek)

In addition to an inspired use of the orchestra pit as a storytelling device, Borst assembles a first-rate production team. Choreographer Jessica Eggleston, creating flavorful movement even in the smallest, synchronized instances within Joseph’s Dreams, The Brothers Come to Egypt and Who’s the Thief?, particularly supplies nifty odes to Bob Fosse’s Chicago (Potiphar) and Michael Bennett’s Dreamgirls (Pharaoh Story). Music director David Brush’s solid if muted nine-piece orchestra keeps the dandy score pulsating. Scenic designer Terry Stump’s scaffolding and staircases efficiently aid the action in look and scale. Kevin Alberts’ outstanding costumes including the snazzy titular coat are courtesy of Utah Shakespeare Festival and coordinated by Kathleen Hotmer. Jessy Henning’s vibrant lighting is exemplary, especially the spine-tingling radiance of Joseph’s Coat. Dan Brunk’s sound design and William Bierley’s property design are also noteworthy.
Perfect for families, Joseph stands as a feel-good testament to Webber and Rice’s tuneful legacy plus a valid reason why Sinclair should do more musicals.

Joseph and the Amazing Technicolor Dreamcoat concludes today at 7 p.m. in Blair Hall Theatre, Building 2, of Sinclair Community College, 444 W. Third St., Dayton. Act One: 40 minutes; Act Two: 30 minutes. Tickets: $18 for adults; $15 for students and seniors. For tickets or more information, visit Sinclair.edu/tickets

WSU’s The Wolves Review

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Sarah DeLappe’s outstanding 2017 Pulitzer Prize-nominated drama “The Wolves,” a contemporary, coming-of-age character study about a girls’ indoor soccer team, has received an excellent local premiere at Wright State University.

(left to right) Bridget Lorenz, Jessica Greenwald, Julie Deye, Margo Russ, Mady McCabe, Lauren Eifert, Caroline Utz, Tina Hohman, and Megan Ledford are the titular team in Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Photo by W. Stuart McDowell)

In this delightfully chatty and incredibly insightful one-act, nine nameless teenagers walking the delicate balance between giddy adolescence and confident womanhood gather for a series of unsupervised practice drills. Unsurprisingly, the topics on their bubbly, curious, information-overloaded minds are colorfully wide-ranging. Cambodia? Check. Abu Ghraib prison? Check. Feminine health? Check. Feminism? Check. Kids in cages? Check. Instagram? Check. Jude Law? Check. Game of Thrones? Check. As their conversations evolve into deeper explorations of betrayal, class, jealousy, miscommunication, and grief, DeLappe ultimately brings this team to a renewed sense of maturity. By the end, and in spite of great differences, there’s no question how vital they have become to one another. They have been forever changed as a family of sisters bonded by the higher goal of acceptance, connection, love, and mutual respect.

In this delightfully chatty and incredibly insightful one-act, nine nameless teenagers walking the delicate balance between giddy adolescence and confident womanhood gather for a series of unsupervised practice drills. Unsurprisingly, the topics on their bubbly, curious, information-overloaded minds are colorfully wide-ranging. Cambodia? Check. Abu Ghraib prison? Check. Feminine health? Check. Feminism? Check. Kids in cages? Check. Instagram? Check. Jude Law? Check. Game of Thrones? Check. As their conversations evolve into deeper explorations of betrayal, class, jealousy, miscommunication, and grief, DeLappe ultimately brings this team to a renewed sense of maturity. By the end, and in spite of great differences, there’s no question how vital they have become to one another. They have been forever changed as a family of sisters bonded by the higher goal of acceptance, connection, love, and mutual respect.

Mady McCabe (No. 00 – Goalie) in Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Contributed photo)

Breezily directed by Marya Spring Cordes with an astute awareness of peaks, valleys and subtleties within casually overlapping conversation (an equally significant attribute of her 2018 Human Race Theatre Company production of Brighton Beach Memoirs), The Wolves features wonderfully compatible actresses. The strong, believably athletic cast consists of quietly reserved and focused Mady McCabe (No. 00 – Goalie) endearingly sweet Megan Ledford (No. 2 – Defense), sensitive Julie Deye (No. 8 – Defense), snarky jokester Jessica Greenwald (No. 13 – Midfield), formidable Bridget Lorenz (No. 14 – Midfield), terrifically firm Tina Hohman (No. 25 – Defense and Team Captain), effective outsider Caroline Utz (No. 46 – Bench), poignant Sophie Kirk (Soccer Mom), and breakthrough performers Lauren Eifert (dynamic as the competitive, intimidating and foul-mouthed No. 7 – Striker) and Margo Russ (vibrant as the opinionated, commanding and current affairs-savvy No. 11 – Midfield).
In addition to providing scene changes fittingly set to tuneful female empowerment anthems from pop divas Beyoncé, Ariana Grande and Demi Lovato, Cordes assembles a top-notch production team. Carleigh Siebert’s eye-catching set, expertly co-lit by designers Matthew J. Benjamin and Gabe Reichert, supplies a huge, ascending AstroTurf design complete with large netting in front of the stage, heightening the action’s immediacy. Costumer Victoria Gifford appropriately ensures athletic uniformity. James Dunlap’s sound design is clear and crisp.

The cast of Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Contributed photo)

There’s a reason why The Wolves is one of the most popular plays in the country. Akin to Academy Award nominee Greta Gerwig (Lady Bird, Little Women), DeLappe has a unique, cross-generational gift for witty, whip-smart dialogue and creating relatable angst among women that is incredibly entertaining and palpable. So, make sure you catch this singular experience. These ladies are in it to win it.

The Wolves continues through Feb. 16 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glen Hwy., Dayton. Performances are 7 p.m. Wednesday and Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, and 2 p.m. Sunday. The play is performed in 95 minutes without intermission. Tickets are $15-$25. For tickets or more information, call (937) 775-2500 or visit wright.edu/tdmp. Patrons are advised the play contains strong language.