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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How To Go?

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

Saturday, October 5, 2019, 7:30pm

Sunday, October 6, 2019, 4:00pm

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

 

 

Shelly Hulce Signs Off As Dayton Story Slam Begins 4th Season

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Shelly Hulce, photo by Jennifer Taylor

Over 13 years ago Shelly Hulce started a story telling event here in Dayton and called it Story Slamm. From it’s humble beginnings in a coffee shop on 5th in the Oregon District, to Ghostlight on Wayne, then a run at Black Box Improv Theatre, Shelly’s Story Slamm carried the torch for local storytellers.

From the very beginning she was working toward one goal: Grabbing the attention of New York City’s storytelling organization known as The Moth.

It was in 2016 that the Story Slamm was re-ignited by Bryan Suddith after his appearance on a Moth Story stage in Louisville Kentucky. Both he and Shelly with support from Lisa Grigsby and Brian Petro grew Dayton’s Story Slam into the monthly event it is now.

Story Slamm as Shelly envisioned it 13 years ago was an opportunity for people from all parts of Dayton to gather and share stories around a common theme. Story Slamm has done that. More than 100 open mic shows featuring literally hundreds of storytellers and their stories have been shared since Shelly put things into motion on 5th Street over a decade ago.

As Story Slam Dayton enters it’s 4th Season at Wiley’s Comedy Club this Tuesday, Shelly won’t be taking the stage. After 13 seasons, and after The Moth wowed crowds at Victoria Theater with their Mainstage show in April, Shelly is retiring. She is leaving Story Slam Dayton in the hands of co-producer Bryan Suddith and the support of Grigsby and Most Metro. Brian Petro remains on the team as well supporting the event with marketing and graphic design.

Those that love stories, or have experienced an open mic event here in Dayton owe Shelly a debt of gratitude for plugging away at that dream of hers for so long.

Shelly will not be a stranger to Story Slam and you can hear her each Tuesday from 8-11pm as she hosts the Wax Carnival on Oldies 97.3 fm. The Wax Carnival is a specialty show featuring deep cut album rock. This is the music you “didn’t” buy the record for. Digging out the jewels in the grooves a little closer the the center of the record, GladGirl covers psychedelic, progressive (prog rock), blues, jazz, punk, new wave, alt country and some far out silliness of the “counter culture”.

Season 4 of Story Slam Dayton kicks Off Tuesday the 17th of September at Wiley’s in the Oregon District. Just a block away from where Shelly started this ride so long ago.  You can tell a story or just settle in and listen to others tell their story.  Each month tellers are given a topic around which to form their story. The theme for the first show of this 4th season is Kickoff – Stories of great starts and getting started.
More details about Story Slam can be found at Facebook.com/StorySlamDayton.

‘The Book of Mormon’ Review – Victoria Theatre Association – Naughty by Nature

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Forget 42nd Street. There’s nothing more naughty, bawdy and gaudy than Trey Parker, Robert Lopez and Matt Stone’s unapologetically irreverent and utterly hilarious musical The Book of Mormon, skillfully opening the Victoria Theatre Association’s 2019-2020 season at the Schuster Center.

Trey Parker, Robert Lopez and Matt Stone’s 2011 Tony Award-winning musical The Book of Mormon, presented by the Victoria Theatre Association, continues through Sept. 1 at the Schuster Center. (Contributed photo)

Recipient of the 2011 Tony Award for Best Musical and 2012 Grammy Award for Best Musical Theater Album, The Book of Mormon addresses themes of friendship, betrayal, faith, culture clash, oppression, disillusionment, and self-worth centered on the spiritual convictions and mission associated with The Church of Jesus Christ of Latter-day Saints. As two polar opposite Mormon missionaries seek to save souls in dire, disease-stricken Uganda, their journey of initial reluctance and overwhelming adversity comically evolves into a greater understanding of their potential and purpose. Charming tunes such as Hello, Two by Two, You and Me (But Mostly Me), Man Up, and I Am Africa set the perfect tone in both brazen humor and profane substance. In particular, Joseph Smith American Moses, a playful spin on The Small House of Uncle Thomas ballet from The King and I excitedly performed by the Ugandan villagers, is truly one of the most shocking, jaw-dropping numbers ever conceived in musical theatre.

Under the wonderfully witty direction of Parker and Casey Nicholaw, this terrific, ensemble-driven tour, featuring Nicholaw’s dandy choreography, is engagingly led by the outstanding duo of Liam Tobin (cool, confident Elder Price) and Jordan Matthew Brown (awkward, compulsive liar Elder Cunningham). Tobin’s spirited determination, chipper smile and demeanor, humorous obsession with Orlando, and superb rendition of I Believe are hallmarks of his charismatic, sunny portrayal. Brown, relishing his embodiment of the showier Cunningham, is fully committed to the slacker mentality inherent in the role as well as the longing for companionship, attention and accountability simmering within it. In strong, funny featured roles, Andy Huntington Jones delights as the closeted Elder McKinley (Turn It Off is a razzle dazzle hoot), the lovely Alyah Chanelle Scott brings winsome spunk to her endearing portrayal of impressionable Nabulungi (Sal Tlay Ka Siti blossoms with hopeful desire), Ron Bohmer is properly authoritative in multiple roles including Joseph Smith and Mission President, Jacques C. Smith is a credible source of reason as Nabulungi’s dad Mafala, and Corey Jones effortlessly intimidates as the General.

Overall, anyone familiar with the audaciousness of Parker and Stone’s South Park and Lopez’s Avenue Q will not be surprised at the level of vulgarity and silly pop culture cheekiness on display. However, if you’re easily offended by crude language, religious mockery or the sight of Jeffrey Dahmer and Adolph Hitler simulating sex acts in hell this simply may not be the show for you.

 

The Book of Mormon continues through Sept. 1 at the Schuster Center, 1 W. Second St., Dayton. Performances are 8 p.m. Saturday and 2 and 7:30 p.m. Sunday. Act One: 62 minutes; Act Two: 60 minutes. Tickets are $30-$133. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. For information about the production’s pre-show lottery, visit victoriatheatre.com/shows/book-of-mormon. Also, patrons are advised the show contains strong adult content and language.

Jennie & Tori are On Tour!

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Jennie Garth & Tori Spelling announced their all new tour today, JENNIE GARTH & TORI SPELLING LIVE. The tour will bring the ladies of 90210 to zip codes across America for the ultimate girls night. The evening promises to be filled with memories and laughs, and of course a ton of fun, at an event best described as an interactive, live talk show hosted by Jennie & Tori.

 

Audience members can expect the unexpected, becoming as much a part of the show as Jennie & Tori. This is the can’t-miss experience that fans who have grown up alongside them have been waiting for – where anything can happen live! It’s Jennie and Tori’s party, and they’ll do what they want! 

The tour announcement coincides with FOX’s new series, “BH90210,” co-created, produced by and starring Garth and Spelling. The new series follows the original cast playing heightened versions of themselves in a brand-new serialized dramedy- showing the making of a show within a show.“BH90210” premieres on Wednesday, August 7 on FOX, at 9/10c.

 

Jennie Garth stated, “Tori and I have been dreaming up this tour for a long time. We’ve wanted to have that one-on-one experience with our fans who have supported us throughout the years. Each night on stage, we’re going to have a brand new show, sharing laughs, playing games, drinking a cocktail, answering your questions and, of course, telling you all of our 90210 stories. What could be better than hitting the road with my best friend?”

 

Tori Spelling added, “I love the relationship I have with my best friend Jennie. No one makes me laugh harder than she does. We have such amazing stories to tell. Now, we get to share our special friendship with our fans LIVE! Bring your BFF and come enjoy an interactive experience with me and my BFF. It’ll definitely be a night to remember!”

Reserved tickets for the show on Tuesday, Nov 12th, are on sale now at www.tafttheatre.org, the Taft Theatre Box Office, and : $62.50, $52.50 & $42.50 (plus applicable fees)www.ticketmaster.com. Tickets run  from  $62.50, $52.50 & $42.50 (plus applicable fees)

 

‘Fall with Me’ wins Dayton Playhouse FutureFest

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Jared Eberlein of Northfield, Massachusetts received top honors at the 29th annual Dayton Playhouse FutureFest of new works for his historical drama Fall with Me, the story of an African-American World War I veteran facing a crossroads.

Set in 1930s Baltimore and inspired by the true story of the 1932 “Bonus Army” who met in Washington D.C. to demand cash-payment redemption of their service certificates, Fall with Me scored highest among six plays showcased at the July 19-21 all-volunteer festival. Five professional adjudicators judged each play (chosen from over 350 submissions) based on criteria including characters/language, plot, story/dramatic concept, page-to-stage, and the next stage.
Presented as a staged reading July 21 and directed by Dawn Roth Smith, who helmed last year’s winner Of Men and Cars, Fall with Me featured Justin Lampkins as Jasper (JJ) Johnston, Bryana Bentley as Bithiah Johnston, Tia Seay as Delia Reddy, Franklin Johnson as Harry Thompkins, Sean Mayo as Lenny Leventhal, and Sadie Hornick as the voice of Bessie Johnston.

(left to right) Franklin Johnson (Harry Thompkins), Sean Mayo (Lenny Leventhal), Justin Lampkins (Jasper JJ Johnston), Bryana Bentley (Bithiah Johnson),and Tia Seay (Delia Reddy) in Jared Eberlein’s historical drama Fall with Me, winner of the 2019 Dayton Playhouse FutureFest of new works. (Photo by Art Fabian)

“Truth be told, I was kind of in shock,” said Eberlein, who received $1,000 for his play but declined to give an acceptance speech. “You learn as a playwright to minimize expectations because there are so many of us trying to find places for our work and there’s no mathematic equation that says one piece should be done over another. There were six wonderful and unique pieces in the festival year. I was also taken aback because the entire weekend felt so familial, community-driven, passionate for new works and supportive of us as a collective of playwrights that it was almost weird that for two-and-a-half minutes it became a competition. Winning was truly a bonus. I was grateful to have my work included in the festival at all. I suppose it’s a lesson to always have a speech in my back pocket or at least have a joke about not having a prepared speech. If I were to do the moment over, with less shock and awe, I, of course, would mention that I owe the play’s director, Dawn Roth Smith, a huge debt of gratitude along with a stellar cast for their work: Bryana Bentley, Franklin Johnson, Justin Lampkins, Sean Mayo, and Tia Seay.”
As Eberlein continues to develop Fall with Me, he looks forward to taking into account the generous feedback he received. The enlightening panel of adjudicators, consisting of theatre critics/writers/dramaturgs, consisted of longtime returning judges David Finkle, Helen Sneed and Eleanore Speert as well as newcomers Stephanie Cowan and Arthur M. Jolly.

Director Dawn Roth Smith, playwright Jared Eberlein, and Playhouse Board Chairman Matthew Lindsay. (Photo by Art Fabian)

“I was encouraged both by the response from the adjudicators and the audience,” he said. “There was some really insightful feedback I’m considering as I make the next round of rewrites on the piece. I think as a whole the piece is getting close to where I want it as playwright. Then it really comes down to who produces it and the actors who are embodying the roles. Actors are amazing beings and they teach you so much about what your piece is (and) can be. And through them, and a wonderful director, what started as ‘my creation’ becomes ‘our creation,’ a collaboration. A primary goal for any play that I write is to provide a strong foundation on which a variety of artists can construct their own unique energy and motivations. Based on the reading of ‘Fall with Me’ that happened prior to FutureFest and then hearing the one this past weekend, I think the play is doing that. And that makes me happy and very excited for whatever comes next.”

(left to right) Samuel Hamilton (Jimmy Gibson), Brandon Shockney (Herbert Stone), Will Taylor (Charlie Groves), Matthew Lindsay (Captain Stanley Lord), director Annie Pesch, Brian Buttrey (George Stewart), and Jefferson Smith (Cyril “Sparks” Evans) represent Shelli Pentimall Bookler’s historical drama On the Horizon, named FutureFest Audience Favorite. (Photo by Art Fabian)

North Wales, Pennsylvania playwright Shelli Pentimall Bookler’s historical drama On the Horizon, an engaging, tense look at the crew of the SS Californian that watched Titanic sink the evening of April 14, 1912 even though they were only within 10 miles from them, was named Audience Favorite. Directed by Annie Pesch and strikingly scenic designed by Chris “Red” Newman, On the Horizon featured Playhouse Board Chairman Matthew Lindsay as Captain Stanley Lord, Brian Buttrey as George Stewart, Brandon Shockney as Herbert Stone, Will Taylor as Charlie Groves, Jefferson Smith as Cyril “Sparks” Evans, and Samuel Hamilton as Jimmy Gibson. The imposing Buttrey, remarkable in a rare stage appearance, and the vibrant, humorous Hamilton delivered breakthrough performances.
Other contenders included Commerce, Michigan playwright Linda Ramsay-Detherage’s historical drama The Princess at Midnight (directed by Dorothy Michalski), New York City playwright Norman Mathews’ contemporary military drama Drone (directed by Craig Smith), Westlake Village, California playwright Robert Weibezahl’s gentle, nostalgic friendship dramedy Which Way the Wind Blows (directed by Abe J. Bassett), and New York City playwright Rich Orloff’s contemporary generational family dramedy Men Overboard (directed by Janet Powell). Ramsay-Detherage notably won the 2011 FutureFest for Sugarhill. Orloff was a 1993 finalist for Veronica’s Position. Bookler, Ramsay-Detherage, Weibezahl, and Orloff received $100.

(left to right) The 2019 Dayton Playhouse FutureFest finalists: Jared Eberlein of Northfield, MA; Rich Orloff of New York City; Shelli Pentimall Bookler of North Wales, PA; Linda Ramsay-Detherage of Commerce, MI; and Robert Weibezahl of Westlake Village, CA. (Photo by Art Fabian)

Due to a family medical emergency, Mathews was unable to attend the festival and disqualified from the competition. However, Drone, a relevant, riveting examination of family, culture and prejudice concerning a Nevada drone pilot surveilling a Pakistani suspected of being a Taliban insurgent, was performed nonetheless. The cast featured Fran Pesch as Farishta Khan, Brendan Milligan as Arman Kahn, Shanna Camacho as Diwa Kahn, Karan Singh as Salar Kahn, Ray Geiger as Lieutenant Mike Powell, Lynn Vanderpool as Sergeant Tonya Spanger, Jefferson Smith as Robbie Powell, Elise Laskowski as Kristen Powell, Mike Taint as Colonel Andrews, and Becky Howard as TV Announcer. Drone and On the Horizon greatly benefitted from terrific dialect coaching by Fran and Annie Pesch.
Additionally, the cast of Which Way the Wind Blows featured Charles Larkowski as Marty O’Neill, Krissy McKim-Barker as Thalia Whetstone, Michael Markus as Gerald Freeman, Cynthia Karns as Carol O’Neill, Benjamin Jones as Paul Travis (age 11) and Peter Freeman (age 11), Chavin Medina as Marty O’Neill (age 11), Spencer Berta as Paul Travis (age 18), and Jennifer Lockwood as Peggy O’Neill; the cast of The Princess at Midnight featured Jamison Meyer as Jacob Simon, Tamar Fishbein as Rachel Simon, Spencer Berta as Benjamin, Ryan Shannon as Michael, Treonte King as William, and Carrin Ragland as Princess; and the cast of Men Overboard featured David Nickel as Ernie Silver, Michael Schumacher as Doug Silver, Steve Voris as Jay Silver, Sean Mayo as Robert Silver, Ana Ryan Kennedy as Eva Fuzesi, and Connor Egloff as Abraham Silver.

 

Furthermore, on July 18 at the Playhouse, Annie Pesch delivered a stellar performance in Desiree York’s one-woman show Fractured, a fascinating psychological mystery/drama centered on a woman coping with the loss of her father through the escapism of video games. The Los Angeles-based York was a 2017 FutureFest finalist for her outstanding African-American-themed generational drama “The Puppeteer,” which will have its world premiere Jan. 9-Mar. 15, 2020 at Detroit Repertory Theatre.

Mark your calendars: FutureFest’s 30th anniversary will be held July 17-19, 2020.

My FutureFest rankings:
1. On the Horizon
2. Drone
3. Which Way the Wind Blows
4. Fall with Me
5. Men Overboard
6. The Princess at Midnight

‘Why We Tell the Story’ Review – Epiphany Lutheran Church – Songs in the Key of Life

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Musical revues are like politics. Sometimes they can become extremely divisive. If the songs favor progressive choices, there’s great risk in throwing the conservative-leaning fans into a tizzy because they didn’t hear tunes from The Sound of Music or anything written before the dawn of television. On the other hand, if a program is full of Golden Age standards, those who know Hamilton like their back of their hand will be bored to death. But in spite of boldly embracing progressive tastes, including numbers from Broadway flops and little-known off-Broadway properties, the Epiphany Players Drama Ministry of Epiphany Lutheran Church miraculously manages to please both sides of the musical theatre aisle with Why We Tell the Story, the troupe’s 29th annual summer presentation featuring nearly 70 performers.

The Epiphany Players Drama Ministry of Epiphany Lutheran Church presents Megan Wean Sears and David Brush’s original musical revue “Why We Tell the Story: Broadway Songs and Stories” through July 21. The show features songs from “Cats,” “Dear Evan Hansen,” “Sweeney Todd,” “The 25th Annual Putnam County Spelling Bee,” “West Side Story,” “Wicked,” and more. (Contributed photo)

Conceived and created by director/choreographer Megan Wean Sears and music director David Brush, Why We Tell the Story is an enjoyably breezy, eclectic array of 26 songs simply reflecting the emotional ups and downs of life. In fact, the title is borrowed from the spirited finale of lyricist Lynn Ahrens and composer Stephen Flaherty’s 1990 musical Once On This Island, joyously presented by Epiphany in 2014. In the song, Ahrens pinpoints seven reasons why the journey of life is ripe for storytelling, specifically addressing pain, love, grief, hope, and faith. Sears and Brush admirably selected a variety of tunes that fit contextually for the seven sections. Composers Jason Robert Brown, Lin-Manuel Miranda, Benj Pasek, Justin Paul, Stephen Schwartz, and Stephen Sondheim are notable for being chosen more than once.

The large, multi-generational, vocally stunning cast confidently, energetically and tenderly inhabits the wide-ranging material. Near the outset, during Life Is Why, Jackie Darnell, Bridget Miley and John Benjamin terrifically convey the heartache and nuances within The I Love You Song from The 25th Annual Putnam County Spelling Bee. Next, as Pain Is Why leaps forth, a defiant Ella Brunt leads the children’s ensemble (cutely clothed in schoolhouse uniformity by Kim Harvey and Lori Watamaniuk) in a rousing Revolting Children from Matilda. The Ballad of Sweeney Todd from Sweeney Todd, headlined by an imposing Brian Hoff, concludes the section with appropriately eerie resonance. Love Is Why charms due to the graceful elegance of Sarah Portman, Meredith Russ, Mary Bryan, Abbey Fry, Zoe Miller, Kathy Meyer, and Margo Russ dancing to She’s Got a Way from Movin’ Out (warmly accented by Andrew Hackworth’s saxophone solo), Jack Issler and Kara Miller’s touching You Matter to Me duet from Waitress, and John Benjamin and Brett Greenwood’s poignant Dear Theodosia from Hamilton. Grief Is Why includes Kathy Meyer’s wistful, commanding, go for broke Memory from Cats, Reese Hornick’s firm Everlasting from Tuck Everlasting, Michael Shannon’s reflective yet dynamic Dust and Ashes from Natasha, Pierre and the Great Comet of 1812, and the truly marvelous trio of Margo Russ, Jessica Pettit and Andrew Gochenaur incredibly attacking the anguish, glee and resentment fueling Superboy and the Invisible Girl from Next to Normal, an encore-worthy rendition on par with the original Broadway cast.  

It’s tough to top Superboy and the Invisible Girl, but Hope Is Why majestically closes Act 1 with a knockout Till We Reach That Day from Ragtime superbly led by Meghan Rupper. Surprisingly, Sears leaves the song’s relevant message to the imagination (footage of Charlottesville, Pulse Orlando, Sandy Hook Elementary School, or Marjory Stoneman Douglas High School would’ve been a huge asset), but the number, heightened by Matthew Benjamin’s striking lighting design, is a highpoint nonetheless despite the missed opportunity for multimedia. After intermission, Hope Is Why continues its dominance with a thrilling One Day More from Les Misérables (Meredith Russ is particularly strong in the role of Éponine), Taryn Lightcap, Abbey Fry and Margo Russ delightfully joining forces for the comical I Know It’s Today from Shrek the Musical, the phenomenal return of Rupper absolutely slaying The Wizard of I from Wicked as if Schwartz secretly wrote it just for her and she’s already in negotiations to play Elphaba in the film version, and the splendid, costume-savvy Tonight Quintet from West Side Story wonderfully led by Kathy Meyer (in fiery red as Anita along with the Sharks), Andrew Gochenaur (in optimistic yellow as Tony), Megan Rehberg (white and yellow as Maria), and Mitchell Goecke (in blue as Riff along with the Jets).

In addition, Faith Is Why consists of Liza Russ’ spunky My Grand Plan from The Lightning Thief, Meredith Russ’ beautifully complex Breathe from In the Heights, and Jackie Darnell’s soaring, operatic I Still Believe from Amazing Grace. Lastly, You Are Why centers on Samuel Layman’s heartfelt lead vocals on the introspective You Will Be Found from Dear Evan Hansen featuring Siobhan McAleer, Eric Pettit and Zoe Miller and incorporating attributes each cast member associates with themselves such as compassionate, kind, determined, and worthy.

In a break from tradition, this show is only slated for one weekend. So, go ahead and quickly plan to escape the heat at Epiphany. You’ll be glad you did.

Why We Tell the Story continues Saturday, July 20 at 8 p.m. and Sunday, July 21 at 2:30 p.m. at Epiphany Lutheran Church, 6430 Far Hills Avenue, Centerville. Act One: 55 minutes; Act Two: 37 minutes. Advance ticket sales are $15 for adults, $10 for students (any age) and seniors (60 and older), $5 for children 5 and under, and $20 for front row. Tickets sold at the door are $17 for adults, $12 for students (any age) and seniors (60 and older), $7 for children 5 and under, and $22 for front row. For tickets or more information, call (937) 433-1449 ext. 105 or e-mail [email protected].

 

‘Waitress’ Review – Victoria Theatre Association – Bruised But Not Broken

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Life can often be terribly messy and completely blissful at the same time. Case in point: Jenna Hunterson, an expectant mother and pie baking extraordinaire at the center of the heartfelt joy and compelling drama within Waitress, the 2016 Tony Award-nominated musical receiving an outstanding local premiere courtesy of the Victoria Theatre Association’s Premier Health Broadway Series at the Schuster Center.

left to right) Melody A. Betts as Becky, Christine Dwyer as Jenna, and Ephie Aardema as Dawn in the national tour of Waitress. (Contributed photo)

Featuring firm direction by Diane Paulus, a terrifically introspective and humorous pop-infused score by Grammy nominee Sara Bareilles, and a witty, relevant book by Jessie Nelson based on the 2007 film of the same name by the late Adrienne Shelly, Waitress finds hard-working, meek and unassuming Jenna (an excellent Christine Dwyer) at a critical crossroads. Stuck in a loveless marriage with her abusive husband Earl (Jeremy Woodard, a believably one-dimensional jerk), she receives overdue respect and passionate romance in the arms of her handsome gynecologist Dr. Pomatter (a delightfully charming and neurotic Steven Good). But is her affair, her pursuit of happiness, really worth it, especially with a little one on the way? Actually, Jenna doesn’t want a kid, readily admitting to Dr. Pomatter that her pregnancy is not a party. Even so, the birth of her child, the eventual true love of her life, holds the key to realizing her existence has only just begun.

 

Steven Good as Dr. Pomatter and Christine Dwyer as Jenna in the national tour of Waitress. (Contributed photo)

Dwyer, a stunning Elphaba in the 2012 Dayton engagement of “Wicked,” returns with understated finesse, warmly tapping into the therapeutic nature of Jenna’s penchant for pies (her mother was also a pro in the kitchen, an element deserving deeper exploration) and providing a superb transformation late in the show climaxing with the emotional ballad She Used to Be Mine coupled with Jenna’s decision to finally take matters into her own hands. In addition to the aforementioned Good, she receives wonderful support from the sassy, motherly Melody A. Betts and kooky, naïve Ephie Aardema as Jenna’s thoughtful co-workers Becky and Dawn, respectively. Betts, a vocal powerhouse, notably provides a knockout rendition of the soulful I Didn’t Plan It. Jovial standout Jeremy Morse is a hoot as Dawn’s overexcited beau Ogie, a plum comedic role he also portrayed on Broadway. Ryan G. Dunkin commands attention as Cal, head cook and Jenna’s boss.

Paulus’ first-rate artistic team includes choreographer Lorin Latarro (filling many transitions with expressive fluidity), scenic designer Scott Pask, costumer Suttirat Anne Larlarb, lighting designer Ken Billington, sound designer Jonathan Deans, music director Robert Cookman, and conductor/pianist Lilli Wosk.

Without a doubt, this national tour of Waitress, on par with the original Broadway production, brings Dayton’s 2018-2019 season to a winning close.

Waitress continues through Sunday, June 30 at the Schuster Center, Second and Main Streets, Dayton. Performances are 8 p.m. Wednesday-Friday; 2 and 8 p.m. Saturday; and 2 and 7:30 p.m. Sunday. Act One: 75 minutes; Act Two: 65 minutes. Tickets are $26-$115. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

‘Lizzie’ Review – Human Race Theatre Company – The Dark She Knows Well

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It’s been 126 years since Andrew and Abby Borden were gruesomely murdered in their Fall River, Massachusetts home on a relatively uneventful August morning. Their daughter Lizzie would go down in history as the prime suspect, but what in the world could’ve driven her to commit such an evil act with ax in tow? Reasons abound in the aptly titled Lizzie, an electrifying, compelling, disturbing, humorous, and unapologetically bad ass punk rock musical receiving a thrilling local premiere courtesy of the Human Race Theatre Company at the Loft Theatre.

Natalie Bird (Emma), Leslie Goddard (Bridget), Deanna Giulietti (Lizzie), and Michaella Waickman (Alice) in the Human Race Theatre Company’s production of Lizzie. (Photo by Scott J. Kimmins)

Featured at the 2010 National Alliance for Musical Theatre Festival, premiering as a student production in 2012 at Baldwin Wallace University, and conceived with artistic license by composer/lyricist Steven Cheslik-DeMeyer, composer Alan Stevens Hewitt and lyricist/librettist Tim Maner, Lizzie is an in-your-face, slickly irreverent look at a 19th century subject and framework reexamined within a 21st century context. Sure, we’ve seen this before (Spring Awakening and Bloody Bloody Andrew Jackson walked the same tight rope in 2006 and 2010, respectively), but it remains an attractive device, especially if musical theatre is to grow by appealing and connecting to a younger generation of artists and audiences open to embracing the untraditional (such as the current, daring and groundbreaking Tony Award-winning revival of Oklahoma!). And it certainly appeals here as microphone stands and hand held microphones heighten the inherent concert vibe fueling the angst, despair, resentment, and longing on display in the vein of Pat Benatar, Heart and Joan Jett among other legendary female rock goddesses. Stifled and silenced by society and disrespected and devalued in her own home, there’s no mistaking the fact that Lizzie Borden was simply driven to the point of no return.

(left to right) Leslie Goddard (Bridget), Michaella Waickman (Alice), Rachel Mary Green (Understudy), Deanna Giulietti (Lizzie), and Natalie Bird (Emma) in the Human Race Theatre Company’s production of Lizzie. (Photo by Scott J. Kimmins)

Skillfully staged with attention to movement and nuance by Human Race Resident Artist Jamie Cordes in his Human Race directorial debut, Lizzie is performed by four outstanding actresses. In the demanding titular role, New York-based Deánna Giulietti, a vocal powerhouse, is a true knockout. Her explosive rage in This Is Not Love, her opening solo detailing Lizzie’s sexual abuse, cuts deep in its heartache and emotional release, strikingly setting the dark, frank tone of the show. Wright State University alumna Natalie Bird, in a welcomed return to the area, is hilarious, biting, tough, and cynical as Emma, Lizzie’s blunt older sister who doesn’t fail to remind Lizzie of Abby’s shortcomings as a stepmother added to her belief that she’s trying to push them out of their father’s will. Emma is underwritten (she unfortunately leaves in the middle of Act 1 yet thankfully returns in proud profane fashion near the top of Act 2), but Bird’s scintillating stage presence is remarkable throughout. In fact, I couldn’t get enough of her during Lizzie’s intriguing if hurried trial (delivering lines with comically unassuming perfection) in addition to the sight of her reverently strolling through the audience alongside Giulietti delectably interpreting the solemn hymn Watchmen for the Morning (imagine Roxie Hart and Velma Kelly singing Amazing Grace in Chicago). Leslie Goddard, who notably appeared as Georgie in the Human Race’s The Full Monty, is enjoyably playful and sarcastic as Bridget Sullivan, Lizzie and Emma’s maid with a lot to say about the House of Borden. Michaella Waickman, a Wright State musical theatre major memorably seen this season as Fredrika in A Little Night Music, beautifully portrays sensitive, vulnerable Alice Russell, Lizzie’s close friend and neighbor who pines for her (tender ballad If You Knew is an Act 1 highlight). This fierce quartet repeatedly joins forces, but special mention goes to the back-to-back brilliance of the Hair-esque Burn The Old Thing Up (regarding Lizzie’s decision to destroy her blood-stained dress) and marvelously investigatory Questions Questions (bolstered by Katie Johannigman’s wonderfully fluid choreography). Rachel Mary Green, a dynamic vocalist who starred in Wright State’s local premiere of If/Then this season, serves as understudy.

Cordes’ splendid artistic team includes scenic designer Ray Zupp (incorporating an effective nod to the Ten Commandments), costumer Liz Bourgeois (providing an attractive mixture of leather, corsets, plaid, and denim for the ladies as well as a cool final look for Giulietti in flashy gold), lighting designer John Rensel (supplying expertly evocative and vibrant work), sound designer Brian Retterer (ensuring top-notch balance and clarity), and music director/guitarist Jay Brunner (assembling a phenomenal onstage band including percussionist Kevin G. Anderson, keyboardist Matthew Ebright, cellist Emsie Hapner, and Joel Greenberg on bass).

Lizzie isn’t perfect, but it’s bold, exciting, raw, and certainly one of the best productions of the season. Don’t miss it.

Lizzie continues through June 30 at the Loft Theatre, 126 N. Main St., Dayton. Performances are 7 p.m. Tuesdays and Wednesdays, 8 p.m. Thursdays-Saturdays, and 2 p.m. Sundays. Act One: 50 minutes; Act Two: 35 minutes. Tickets are $37 for adults, $34 for seniors, and $19.50 for students. Prices vary depending on performance date. Select side-area seats available for $14 and $27 at all performances. “Sawbuck Sunday” performance June 16 offers $10 seats available for walk up sales only. Military discounts are also available. For tickets, call Ticket Center Stage at (937) 228-3630 or visit humanracetheatre.org or ticketcenterstage.com. In addition, there will be a post-show discussion following the June 23 performance; Patrons are advised the show is rated PG-15 and contains strong language as well as references to abuse, murder and sexual situations.

 

’20th Century Blues’ Review – Young at Heart Players – Time to Reminisce

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In Susan Miller’s relatable 2016 dramedy 20th Century Blues, pleasantly presented in its regional premiere by Young at Heart Players at Actor’s Theatre of Fairborn, four close-knit baby boomers look back on 40 years of friendship with humor and poignancy while holding steadfast to the future with hope and resilience.

(left to right) Pam McGinnis (Sil), Gail Andrews Turner (Mac), Heather Martin (Danny), and Jackie Pfeifer (Gabby) lead the cast of Young at Heart Players’ regional premiere of Susan Miller’s 2016 dramedy “20th Century Blues” at Actor’s Theatre of Fairborn. (Contributed photo)

Gathering once a year for a ritual photo shoot, Danny (Heather Martin), Sil (Pam McGinnis), Mac (Gail Andrews Turner), and Gabby (Jackie Pfeifer) are eager to reunite, but Danny’s desire to turn their private tradition into a public exhibition for New York’s Museum of Modern Art stirs skepticism and debate. Motives are questioned, but ultimately a decision is made that pleases everyone while acknowledging the sheer fact that aging should be celebrated not hidden.

In the feminine vein of The Dixie Swim Club, Five Women Wearing the Same Dress and Steel Magnolias among others, Miller’s one-act work leans heavily on comical characterization and colorful chit-chat, which in this case grows inadvertently mundane due to the lack of forward action. Mere discussion, even when interrupted by a few plates of French Toast, isn’t plot. There’s also an awkward Motown moment evoking The Big Chill which feels forced. Still, there are an assortment of relevant, vital themes driving the play’s intentions such as ageism, identity, loss, financial stability, technological advances, and the emotional weight of being a caregiver.

Despite the script’s shortcomings, co-directors Annie and Fran Pesch assemble and smoothly guide a committed and compatible cast. Martin, although too young, is a credible ringleader proving why Danny has succeeded throughout the decades as the warm, feisty, funny, and free-spirited glue holding this foursome together even as her mother Bess (Gayle Smith, heartbreaking) battles dementia. McGinnis, a fine fit as outspoken Sil, scores many laughs, especially considering Sil’s fixation on having a facelift (“It’s not about being younger but refreshed!). Turner, benefitting from some of the strongest dialogue, finds engaging introspectiveness in the complex Mac, proud to stand in her truth as a gay black female. Pfeifer, performing in only her second play, particularly draws the audience in when Gabby quietly reflects on her delicate relationship with her transgendered granddaughter. Jamison Meyer tenderly completes the cast as Danny’s caring, thoughtful son Simon.
20th Century Blues falls short of being a truly compelling journey, but its depiction of sisterhood surviving the test of time is undeniably heartfelt.

20th Century Blues concludes today at 2 p.m. at Actor’s Theatre of Fairborn, 23 E. Main St. The play is performed in 100 minutes without intermission. Tickets are $15 for adults and $12 for seniors and students. Cash or check only. There is open seating. Call (937) 654-0400 to make a reservation. For more information, visit youngatheartplayers.com. Patrons are advised the show contains strong language and adult situations.

 

 

Inductees Announced for 2019 Dayton Theatre Hall of Fame

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Actress/instructor Becky Barrett-Jones, choreographer Stacy Gear, and actress Debra Strauss will be inducted the Dayton Theatre Hall of Fame Saturday, July 27 at the Dayton Woman’s Club, 225 N. Ludlow Street, Dayton.

Barrett-Jones, wife of Human Race Theatre Company Resident Artist Alan Bomar Jones, is the owner of The Music In Me voice studio, a voice teacher in the musical theatre department of Wright State University, a music director, and actress. She has appeared in numerous productions locally and regionally, including portrayals of Donna Sheridan in La Comedia Dinner Theatre’s “Mamma Mia!,” Diana Goodman in Beavercreek Community Theatre’s “Next to Normal” and Fanny Brice in Dayton Playhouse’s “Funny Girl.”

Gear, a Wright State University graduate in dance, has choreographed over 50 shows in the Miami Valley for theatres and schools including Beavercreek Community Theatre, Dayton Playhouse, Vandalia Youth Theatre, and Miami University. She has also appeared on stages locally and regionally including La Comedia Dinner Theatre.

Strauss, who has been involved with the local theatre community for 20 years, has acted, danced, choreographed, and worked behind the scenes with such organizations as Dayton Theatre Guild, Beavercreek Community Theatre, Troy Civic Theatre, and Dayton Playhouse. She has also served on the board of directors at the Guild, Dayton Playhouse and the DayTonys. She has notably served as president of the DayTonys for the past four years.

The Hall of Fame inductions will coincide with the annual DayTony Awards gala, which will recognize outstanding contributions of the 2018-2019 season.

The Dayton Dance Initiative “Makes Moves” on Saturday!

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Dayton Dance Initiative lifts off on Saturday May 18, 2019 at the PNC Arts Annex. Dancers featured in performance include Katy Bowlby and Evan Pitts. Photo by Briana Paige.

The Dayton Dance Initiative, a collective of local, professional dancers has been formed and presents their inaugural show, “Making Moves” on May 18th, 2019 at 2:00pm and 7:30pm at the PNC Arts Annex in downtown Dayton. Tickets are on sale now through Ticket Center Stage.

Founded by Dayton Ballet dancer Jocelyn Green, this initiative brings together dancers from the Dayton Ballet, the Dayton Contemporary Dance Company, and Arthur Murray Dance Center in an effort to expand opportunities for dancers to choreograph their own works. The aim is also to provide employment for the dancers during their “off” season and to broaden the reach of dance in Dayton.

“It’s been a challenging yet incredibly rewarding process so far. The dancers are working on completing their pieces and I think this show is really going to inspire the community.”, says Green. She is a recipient of the 2018/19 Artist Opportunity Grant through Culture Works (funded by Montgomery County Arts and Cultural District) which she is using to help fund this initiative. The group has recently reached their goal of raising an additional $10,000 to fund the performance.

“Making Moves” features 8 world premieres, each by a different choreographer, ranging in style from to contemporary to modern and includes ballroom as well. Local composer Austin Jaquith has created a brand new composition for one of the choreographic pieces. In keeping with the group’s mission to build bridges between artist and audience, a post show Q&A with the choreographers will follow both shows.

Check out a sneak peek at the YouTube link below!

Dayton Dance Initiative lifts off on Saturday May 18, 2019 at the PNC Arts Annex. Dancers featured in performance include Miranda Dafoe, Isaac Jones, Nathaly Prieto. Photo by Scott Robbins of https://www.geekwithalens.com/

HOW TO GO?

“Making Moves” runs for two shows on May 18th, 2019

2pm and 7:30pm at PNC Arts Annex

Cost: $20.00, Tickets at (937) 228-3630 or https://my.ticketcenterstage.com/5428

WEBSITE: www.daytondanceinitiative.com

Contact: Jocelyn Green, (314)5206144 or at [email protected]

 

 

 

 

‘Mamma Mia!’ Review – Dayton Playhouse – Super Troupers

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ABBA. Whether you loved the 1970s Swedish pop group for their tunes or fashion, there’s no denying their lasting impact on pop culture and the global landscape of pop music. Mamma Mia!, the 1999 musical blockbuster currently receiving its entertaining local community theater premiere at the Dayton Playhouse under the direction of Richard Lee Waldeck, enjoyably continues the group’s iconic legacy by featuring over 20 popular earworms written by Benny Andersson and Björn Ulvaeus.

Lindsey Cardoza (Rosie), Denise A. Schnieders (Donna) and Amy Askins (Tanya) perform “Dancing Queen” in Dayton Playhouse’s production of “Mamma Mia!” (Photo by Art Fabian)

At its core, Mamma Mia!, like all jukebox musicals, is primarily about the music, but this isn’t one of those poorly conceived jukebox musicals constantly stalling until the next song arrives due to a weak or scattershot plot. Here, a sweet, relatable, witty, and fun story of connection, female empowerment and friendship arises on a tiny Greek island centered on single mother Donna Sheridan, who delicately balances the upcoming nuptials of her only daughter Sophie with the surprise of being reunited with her three former lovers. As Donna and Sophie attempt to make sense of the past, in addition to Sophie’s desire to discover the identity of her father, both learn important lessons in forgiveness and acceptance.

Despite vocal strain at the performance attended, Playhouse newcomer Denise A. Schnieders is an admirable, believably conflicted Donna, holding firm to her strong ideals of independence while showcasing genuine, heartfelt concern for Sophie’s future, beautifully realized in the poignant ballad Slipping Through My Fingers (greatly heightened by Derek Dunavent’s lovely lighting design). Lillian Robillard, in her Playhouse debut, warmly navigates Sophie’s journey with winning vocals (most significantly The Name of the Game and I Have a Dream) and charming investigatory impulses. As Donna’s friends and former bandmates Rosie and Tanya, Lindsey Cardoza and Amy Askins are a delightful pair of comedic opposites. The nerdy, flirty Cardoza and sassy, sophisticated Askins bring kooky glee to Chiquitita and Dancing Queen while separately and respectively shining in energetic Take a Chance on Me (opposite humorous Brad Bishop as Bill Austin) and Does Your Mother Know (opposite Treonté King as ladies man Pepper).

Denise A. Schnieders (Donna) performs “Slipping Through My Fingers” opposite Lilly Robillard (Sophie) in Dayton Playhouse’s production of “Mamma Mia!” (Photo by Art Fabian)

Pleasant featured performances extend to Naman Clark as Sophie’s fiancée Sky, Ron Mauer (providing a comical, wistful Our Last Summer) as Harry Bright, Ted Elzroth (filling Knowing Me, Knowing You with clear intention) as Sam Carmichael, Ryan Petrie as Eddie, Kailey Yeakley as Lisa, Shana Fishbein as Ali, and Matt Wirtz as Father Alexandrios. Spirited ensemble members include Juangabriel Encarnacion, Casey Dillon, Nate Strawser, Bryan Schuck, Shanna Camacho, Anna Ryan Kolb, Kaylee Maple, Rachael Kindred, and Amber Pfeifer.

Waldeck’s artistic team includes choreographer Kara Castle (the oddly nonchalant Money, Money, Money notably lacks attack but Under Attack is a standout), set designer Red Newman, costumer Theresa Kahle, technical director Bob Kovach, prop mistresses Cathy Finn-Long and Ann Pelsor-Jones, and dialect coaches Fran Pesch and Annie Pesch. Interestingly, Waldeck places the orchestra above the audience in a booth in the rear of the auditorium. As the performance transpired, his decision led me to wonder at times if the orchestra was too loud or whether the cast wasn’t loud enough. Nonetheless, musical director/keyboardist Andrew Hackworth assembles an excellent group of seven musicians, particularly drummer Tyler Ohlemacher who wonderfully drives the beat in Knowing Me, Knowing You.

The ensemble of Dayton Playhouse’s production of “Mamma Mia!” (Photo by Art Fabian)

If you’re in the mood for a good dose of nostalgic escapism, don’t miss Mamma Mia! ABBA, thank you for the music.

Mamma Mia! continues through Sunday, May 19 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Act One: 60 minutes; Act Two: 60 minutes. Performances are 8 p.m. Friday and Saturday and 2 p.m. Sunday. Tickets are $20 for adults and $18 for seniors, students and military. For more information, visit daytonplayhouse.org.

 

THE FREAKSHOW FAMILY SHOW

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From FreakShow Deluxe – Hollywood’s own & ONLY carnival-style sideshow comes THE FREAKSHOW FAMILY SHOW!

Performing live Saturday at 7pm at The Brightside Music & Event Venue.

A show full of sideshow stunts, comedy, western arts, mentalism, magic, and more – ALL LIVE! ALL REAL! This is their ONLY scheduled Dayton, Ohio appearance. If you miss the chance to see this LIVE – you’ll have to wait until they are on TV again.

AS SEEN ON TV – the first family of sideshow, The FreakShow Family is a REAL family:
1. REVEREND TOMMY GUNN – the patriarch of the family is the founder of the FreakShow Deluxe and the Best Talker On the West Coast.
2. MISS MALICE AFORETHOUGHT – the Queen Bee of Sideshow runs a tight ship during the dangerous acts. She is mad, bad, & dangerous to know.
3. GRENNAN THE GREEN MONSTER – this 13-year-old is the World’s Youngest Professional Knife Thrower – and has been performing over 7 years.
4. LA PEQUEÑA ARAÑITA – the Most Dangerous Little Girl On 3 Continents, at only 11-years-old, has been on stage practically since the day she was born.

 

VIP SEATING $30 – get reserved seating in the front row, PLUS an intimate early meet & greet, photo with the cast, AND some exclusive FreakShow Family swag! These are the ONLY reserved seats available – and there are a limited number!

GENERAL ADMISSION $15 – order early and get tickets at a discount! Tickets are $20 day of show.

Get your tickets here .