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On Stage Dayton

DCDC’s Retro/ACTIVE with Special Guest Sparkle

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After a stunning retirement announcement, Sheri “Sparkle” Williams will re-perform her final solo dance entitled Altar-ing at the up-coming Dayton Contemporary Dance Company performance Retro/ACTIVE on Saturday, February 8 at 7:30 p.m. and Sunday, February 9 at 4pm at the Victoria Theatre, located at 138 N. Main St. in Dayton. 

Sparkle, is an icon not only in the Miami Valley, but known through-out the contemporary dance world. She was the Individual Performance Winner of 1997 NYC Bessie Award and 2014 Ohio Governor’s Award for Individual Artist. People will be flocking to the Victoria to witness Sparkle’s final performance, and pay homage to her dance legacy.

The mixed repertory show also features a nod to Black History Month with Warren Spear’s On the Wings of Angels (premiered 1996), which is a soaring tribute to the Tuskegee airman. The performance also brings back Vespers (premiered 1986), Ulysses Dove’s touching poetic tribute to womanhood, and Indestructible (premiered 2018), Abby Zbikowski’s tribute to the endurance of those who struggle for justice. There will also be a world-premiere and special unveiling of a new work by DCDC’s Chief Artistic Administrator and Producing Director, Debbie Blunden-Diggs.

HOW TO GO?

Retro/ACTIVE 

Saturday, February 8 at 7:30 p.m. and Sunday, February 9 at 4pm

Victoria Theatre, located at 138 N. Main St. in Dayton. 

Tickets for Retro/ACTIVE are available at www.ticketcenterstage.com or by calling 937-228-3630.

 For the latest opportunities to engage with DCDC, visit www.dcdc.org and connect with us on social media: Facebook/Instagram: @daytoncontemporarydancecompany & Twitter: @DCDCLive. 

‘Mr. Rickey Calls a Meeting’ Review – Dayton Theatre Guild – Great Debate

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Brooklyn Dodgers owner Branch Rickey’s crucial, monumental decision to integrate Major League Baseball by signing Jackie Robinson is the fascinating catalyst of Ed Schmidt’s relevant and riveting 1989 drama Mr. Rickey Calls a Meeting, impressively presented by the Dayton Theatre Guild.

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

Shaun Diggs (Jackie Robinson) opposite Edward Hill (Paul Robeson) in Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

Set in April 1947 at New York City’s Roosevelt Hotel (spaciously designed by Chris Harmon) six days before Robinson made his major league debut at age 28, this imaginary Meeting overseen by Rickey (Saul Caplan) with Robinson (Shaun Diggs) as sidekick involves key input from three influential African-American icons: Joe Louis, the world’s heavyweight champion (Robert-Wayne Waldron); popular vaudeville entertainer Bill “Bojangles” Robinson (Franklin Johnson); and celebrated actor-activist Paul Robeson (Edward Hill). Rickey desperately seeks the trio’s support before announcing his decision, but intriguing questions and motives loom large, particularly regarding the future of the Negro National League. Sparks quickly fly and particularly compelling subtext arises when conversation shifts toward the African-American community’s reluctance to trust powerful white males to keep their promises. Rickey provides a unique opportunity to change the course of sports history for African-American athletes, but his chief desire for “slow, orderly, long-term progress” in which “long-term, lasting change happens one man at a time” sounds like defeatism to those in the room, particularly in the eyes of Robeson, a former Rutgers football player. Ultimately, a harsh reality isn’t lost on Jackie. “It ain’t up to us,” he reminds his fellow legends. “It never was. It never will be.”

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

Historical characters are the centerpiece, but director Rick Flynn effectively opted not to cast actors who are literal representations. Just as Chevy Chase hilariously embodied President Gerald Ford on Saturday Night Live, the essence of the characters takes precedence over exact physical likeness. Caplan, authoritatively intimidating, wonderfully captures the spirit of Rickey’s ambitious aims, including his genuine admiration for Jackie and a slew of strict rules as well as an unyielding determination to embrace baseball open-mindedly. Diggs, believably athletic, paints an excellently vivid portrait of a man refusing to limit his talents, his American Dream, in spite of an onslaught of racism. Hill, in a dynamic breakthrough performance, is a sophisticated voice of reason and ridicule, sometimes unnervingly in the same breath. Johnson, bubbly, agile and raspy, credibly evokes Robinson’s happy-go-lucky showmanship. Waldron, gruff and imposing, is enjoyably understated. Robert Culpepper, charmingly wide-eyed and crisply costumed in period by Carol Finley, completes the cast as excitable, starstruck bellhop Clancy Hope. Interestingly, based on the standout merits of Caplan and Hill, this Meeting would be just as gripping as an intimate two-hander. After all, Rickey and Robeson’s dueling perspectives from politics to power plays deserves expansion, particularly Robeson’s defiant view that Rickey waited 40 years too late to integrate. I suspect Schmidt was heavily inspired by August Wilson’s Fences when writing Robeson’s fiery arc, which includes many Troy Maxson-esque sermons fueled by issues of class, identity, race, and resentment.
African-American athletes have come a long way since Robinson paved the way, but that doesn’t mean the fight for social justice is over. It’s important for owners and players across all leagues to continue to make strides for the sake of future generations, especially minorities longing to join a coaching staff or become an executive. If not, inequality, in words famously sung by Robeson, just keeps rolling along.

Mr. Rickey Calls a Meeting continues through Feb. 9 at Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are 8 p.m. Fridays; 5 p.m. Saturdays; and 3 p.m. Sundays. The production runs 90 minutes without intermission. Tickets are $13-$20. Patrons are advised the show contains strong language. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org

 

‘Man of La Mancha’ Review – Dayton Playhouse – A Quest Fulfilled

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The artistic stars have aligned at the Dayton Playhouse as evidenced in its impressively grounded production of librettist Dale Wasserman, composer Mitch Leigh and lyricist Joe Darion’s 1965 musical Man of La Mancha, astutely directed with clarity and commendable atmospherics by Dawn Roth Smith.

The cast of Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

As is typical with any production of La Mancha, set in a dingy dungeon of despair during the Spanish Inquisition, the engaging, inspirational and dark material lives and breathes on the merits of whomever portrays Miguel de Cervantes/Don Quixote and Aldonza. Thankfully, Tim Rezash and Sarah Viola are firmly at the helm, delivering winning performances layered in deft characterization and vocal assurance. Rezash, instilling noble passion within The Impossible Dream and heartwarming yearning within Dulcinea, wonderfully commands and stimulates the interests of Cervantes’ fellow prisoners, drawing them into the valiant, illusion-driven world of Don Quixote with playful imagination and spirited hope. Viola, an accomplished soprano and a luminous Eliza Doolittle in the Playhouse’s My Fair Lady last season, returns with aplomb, providing gorgeous renditions of It’s All the Same, What Does He Want of Me? and gripping Aldonza.

Ted Eltzroth (left, Sancho) and Tim Rezash (Cervantes/Quixote) in Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

Elsewhere: Ted Eltzroth offers dopey charm as Cervantes’ faithful sidekick Sancho Panza; William “Kip” Moore supplies fun and flair as the Padre (notably interpreting To Each His Dulcinea with gentle grace); Charles Larkowski is a delightfully gleeful Barber; Brad Bishop, in a refreshing departure, is believably formidable as brutish, violent Pedro; Danny Klingler brings appealing sophistication to the Duke/Carrasco/Knight of Mirrors; lovely sopranos Bryn Corbett (Antonia) and Kate Young (Housekeeper) join Klingler and Moore for a terrifically sung and staged I’m Only Thinking of Him; and Lindsey Cardoza (Maria) and dancer Kiersten Farmer (Moorish Lady) uniquely entertain. The admirable company, attractively costumed by Theresa Kahle, includes Richard Lee Waldeck (Captain), Kevin Rankin (Governore/Innkeeper), John Wysong (Jose/Mirror Guard), Stephen Gogol (Tenorio/Mirror Guard), Jamison Meyer (Paco/Moorish Man), Jamie McQuinn (Juan/Moorish Man), and Michael Plaugher (Anselmo/Mirror Guard).

Sarah Viola (Aldonza) and the male ensemble of the Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

In addition to Jonathan Sabo’s excellent scenic design and the evocative lighting design of the aforementioned Waldeck, Smith’s first-rate production team includes choreographer Jeffrey M. Payne, sound designer Bob Kovach, properties designer Laura Rea, and music director Sarah Plaugher, leading a fine orchestra.
La Mancha is really staged these days, so I highly recommend taking the time to catch this classic, which has been treated with great respect and reverence at the Playhouse.

Man of La Mancha continues through Feb. 2 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 p.m. Fridays and Saturdays and 2 p.m. Sundays. The production is performed in two hours without intermission. Tickets are $18-$20. Call (937) 424-8477 or visit daytonplayhouse.com.

 

‘In the Heights’ Review – Muse Machine – This Is America

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Recognizing and respecting other cultures is what truly makes America great. Don’t believe me? Check out Muse Machine’s exhilaratingly joyful production of In the Heights, a wonderfully touching, relatable, topical, and tuneful look at the Hispanic experience in New York City’s Washington Heights neighborhood.
The winner of the 2008 Tony Award for Best Musical and the 36th annual Muse student musical, In the Heights, written by Pulitzer Prize winners Lin-Manuel Miranda (Hamilton) and Quiara Alegría Hudes (Water by the Spoonful), excellently examines love, fear, financial woes, disillusionment, regret, and hope within a small yet busy block of close-knit family and friends. Dominican Republic native and bodega/convenience store owner Usnavi (Nate Saner), holding down the fort with his cousin Sonny (Chavin Medina) while caring for his Abuela Claudia (Gabby Casto), is the central focal point, propelling the immigrant narrative forward in humorous and insightful ways. Elsewhere, cab company owners Kevin and Camila Rosario (Michael Taylor and Sara LiBrandi) have difficulty coming to terms with the news that their beloved daughter Nina (Julie Murphy) hasn’t adjusted to life at Stanford University. Beautician Daniela (Courtney Collinsworth), Daniela’s assistants Vanessa (Charlotte Kunesh) and Carla (Chynia Crane), Kevin and Camila’s faithful employee and Nina’s love interest Benny (Desmond Kingston), Piragua Guy (Nick Bradley), and Graffiti Pete (Quinn Bennett) along with his trusty sidekick Pete (Darian Watson) also accent the colorful action, occurring over an eventful Fourth of July weekend in 2008.

The cast of Muse Machine’s production of “In the Heights” performs “Carnaval del Barrio.” (Photo by Ben Morrison)

Under the breezy, thoughtful co-direction of Jeffrey Polk and longtime Muse choreographer Lula Elzy, the winning principal cast and large ensemble supply strong, witty and mature performances. In a striking Muse debut, the charismatic, sensitive Saner delivers a breakthrough portrayal grounded in authority, vulnerability and a specific mastery of Miranda’s hip-hop lyrics in a manner that would make Jay-Z, Kanye West and Twista very proud. Medina, a standout in past seasons with Dare to Defy Productions and Epiphany Lutheran Church, is back in top form yet refreshingly stretching his gifted abilities in a looser fashion to believably interpret Sonny’s street-savvy swag. The endearingly earnest Castro powerfully renders Pacienca y Fe (Patience and Faith), a signature flashback detailing Abuela Claudia’s thought-provoking account of her Cuban immigrant past. Taylor, a memorable Curly in Carroll High School’s Oklahoma! last year, and LiBrandi, whose remarkable 2018 portrayal of Dolly Levi has already gone down in Muse history, are credibly concerned and compatible. LiBrandi especially ignites Act 2 with a fierce rendition of Enough, which finds Camila caught in the middle of the stubbornness between her husband and daughter. Murphy, a tender Laurie in the Human Race Theatre Company’s 2018 production of Brighton Beach Memoirs, and Kingston, seen as Sam in last year’s Muse production of Mamma Mia! offer pleasant vocals, particularly Murphy’s heartrending Everything I Know and their lovely duet When You’re Home. Kunesh, an outstanding Sophie in Mamma Mia!, absolutely dazzles vocally (It Won’t Be Long Now is an early highlight), choreographically (The Club) and in costume (her snazzy collection of Project Runway-esque day and evening wear are courtesy of Nikki Sherck and Alisa Vukasinovich). Collinsworth, receiving fine support from the appropriately ditzy and enjoyably strut-happy Crane, is as delightfully sassy here as she was last year as Tanya in Mamma Mia! Bradley, a vibrant, athletic tenor, brings sunny optimism to the cheery Piragua.

Courtney Collinsworth (center as Daniela) leads “Carnaval del Barrio” with Desmond Kingston (far left as Benny) and Chynia Crane (far right as Carla) in Muse Machine’s production of “In the Heights.” (Photo by Ben Morrison)

Additionally, Elzy unsurprisingly pulls out the stops as a hip-hop and Latin-infused storyteller. Along with the aforementioned Pacienca y Fe, in which she injects dramatic 1940s scorn into Abuela Claudia’s memories of perseverance, and The Club, a fantastic, character-conscious routine soaring with lively thrills on the level of The Dance At The Gym from West Side Story, her spirited creations of 96,000 and Carnaval del Barrio are flavorful testaments to her diverse expertise in fluidity, movement and rising momentum. In fact, the particularly electrifying, flag-adorning Carnaval del Barrio contains a cavalcade of eye-catching moments, including some cool hip-hop moves performed on the upstage stoop.

The top-notch production team includes producer Douglas Merk (securing the original set design by Anna Louizos), musical director Jeffrey Powell (conducting an impressive 15-piece orchestra), lighting designer John Rensel (bringing beautiful awe to a series of fireworks during Blackout) sound designer Ryan Vallo, property master/rehearsal stage manager Shannon Sellars, production stage manager Morgan Jergens, and artistic consultants G. Armando Silva, Joe Deer, Tyson Randolph, and Lynda Casto.

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

You will not find this In the Heights ethnically accurate in terms of overall casting. However, the relevancy of its themes, its universal reflections of family, community, legacy, goodwill, and cultural pride wrapped inside the common pursuit of the American Dream, remain terrific hallmarks genuinely stirring the soul.

In the Heights continues through Sunday, Jan. 19 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are 8 p.m. today, 3 and 8 p.m. Saturday, and 2 p.m. Sunday. Act One: 70 minutes; Act Two: 50 minutes. Tickets: 27-$65. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com

‘The Glass Menagerie’ Review – Xenia Area Community Theater – Chemistry by Candlelight

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Sparks both dramatic and dysfunctional fly profoundly in Tennessee Williams’ landmark 1945 semi-autobiographical memory play The Glass Menagerie. However, in the event those sparks lack pizzazz, two significant safety nets typically make up for any shortcomings, which defines Xenia Area Community Theater’s presentation.

(left to right) Amy Taint (Amanda Wingfield), Kristin Curby (Laura Wingfield) and Ryan Hester (Tom Wingfield) in Xenia Area Community Theater’s production of The Glass Menagerie. (Photo by Mike Taint)

Ben Evory as Jim O’Connor in Xenia Area Community Theater’s production of The Glass Menagerie. (Photo by Mike Taint)

As the centerpieces of Act 2 under the direction of Mike Taint, Kristin Curby and Ben Evory, both delivering XACT debuts, are worth the wait as Laura Wingfield and Jim O’Connor, also known as the Gentleman Caller. The moment a hearty dinner concludes in the dark and Jim is asked to spend some quality time with hopelessly shy Laura by candlelight, this emotionally mild production suddenly finds its footing, enjoyably transitioning into the heartwarming and heartbreaking reunion Williams intended. In high school, the physically challenged Laura pined for All-American Jim, but her deep insecurities and his overwhelming popularity kept them from becoming more than social acquaintances. As if in a dream, after years of wondering what became of Jim, Laura finally has him all to herself, but the unexpected momentousness of the occasion and the hard truth Jim reveals about his relationship status is ultimately too much for her fragile soul to bear.

Kristin Curby as Laura Wingfield in Xenia Area Community Theater’s production of The Glass Menagerie. (Photo by Mike Taint)

Curby, soft-spoken, believably frazzled and nicely costumed by Dee Berdine and Debra Zweber, wonderfully conveys Laura’s expressive arc from reticence (delightfully taking only a pinch of Jim’s chewing gum when offered) to acceptance (energetically recalling Jim’s glory days via her trusty yearbook and lovingly giving him a souvenir from her meaningful glass menagerie). Evory, charismatic, vibrant and sensitive, equally appeals with sharp authenticity recognizing Jim’s delicate balance of attempting to be Laura’s life coach while acknowledging the pitfalls, desires and uncertainty fueling his own topsy-turvy trajectory. In particular, Evory’s effortlessness is an extension of his knack for characterization as a recent graduate of Wright State University’s BFA film program. In fact, his excellent, humorous short film Slushie was featured on opening night of the Dayton LGBT Film Festival last fall.

As for Laura’s overbearing mother Amanda and incredibly disillusioned brother Tom, the central duo driving this landmark drama set in 1937 St. Louis, Amy Taint and Ryan Hester tussle admirably but a fundamental disconnect exists. In his XACT debut, Hester, a notably outstanding George Gibbs in Springfield Stageworks’ Our Town, certainly fares better, giving credence to Jim’s volcanic behavior and overt frustration when pushed to the breaking point and splendidly delivering his quietly reflective and poetic monologues on the deck of the SS Pennwar six years later with great maturity. Conversely, Taint inhabits Amanda with gentle, passive and comedic sensibilities, off-kilter choices diminishing the play’s electricity and Amanda’s inherently dynamic matriarchal strengths. She only rises to an impressive level of domineering authority when Amanda defiantly throws Tom out of her house and her life.

Nevertheless, thanks primarily to Mike Taint’s effective projections and delicately staging one of the greatest scenes in American playwrighting with affection and surprise bolstered by Curby and Evory’s chemistry, this Menagerie still manages to shine.

The Glass Menagerie continues through January 19 at Xenia Area Community Theater, 45 E. Second St., Xenia. Performances are 7:30 p.m. Friday and Saturday and 3 p.m. Sunday. Act One: 75 minutes; Act Two: 75 minutes. Tickets are $17. For tickets or more information, call (937) 372-0516 or visit xeniaact.org.

How to Score a $20 Ticket for RENT!

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Victoria Theatre Association announced today that seats in the first rows of the orchestra section will be available for $20 for every performance of the Premier Health Broadway Series presentation of RENT, the Pulitzer Prize and Tony Award®-winning musical.   The $20 tickets are available for in-person purchases at the Ticket Center Stage Box Office located in the Wintergarden of the Benjamin & Marian Schuster Performing Arts Center on the day of each performance only, two hours prior to the show.  The $20 tickets are limited to two tickets per person.

 

Entries will be accepted at the box office beginning two and a half hours before each performance; each person will print their name and the number of tickets (1 or 2) they wish to purchase on a card that is provided. Two hours before curtain, names will be drawn at random for a limited number of tickets priced at $25 each. Only one entry is allowed per person. Cards are checked for duplication prior to drawing. Winners must be present at the time of the drawing and show valid ID to purchase tickets. Limit one entry per person and two tickets per winner. Tickets are subject to availability.

The tradition of these tickets began in 1996 in New York when the show moved to Broadway after a sold-out run in a small downtown theatre.  The producers of the show are committed to continuing the tradition of offering these orchestra seats in each city the show will play.

 

RENT PERFORMANCE AND LOTTERY TIMES

Tues, Jan. 21          Lottery begins at 5 pm. Drawing is at 5:30 pm.  Show starts at 7:30 pm.

Wed, Jan. 22    Lottery begins at 5 pm. Drawing is at 5:30 pm.  Show starts at 7:30 pm.

Thurs, Jan. 23        Lottery begins at 5 pm. Drawing is at 5:30 pm.  Show starts at 7:30 pm.

Fri, Jan. 24             Lottery begins at 5:30 pm. Drawing is at 6 pm.  Show starts at 8 pm.

Sat, Jan. 25         Lottery begins at 11:30 am. Drawing is at noon. Show starts at 2 pm.

                              Lottery begins at 5:30 pm. Drawing is at 6 pm.  Show starts at 8 pm.

Sun, Jan. 26           Lottery begins at 10:30 am. Drawing is at 11 am.  Show starts at 1 pm.

                                  Lottery begins at 4 pm. Drawing is at 4:30 pm.  Show starts at 6:30 pm.

 

 

For general ticket information, call the Ticket Center Stage Box Office at 937-228-3630, (toll-free) 888-228-3630, or visit www.ticketcenterstage.com.

 

Muse Machine presents “In The Heights” with bonus Pre-Show Celebration!

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One the Dayton’s most valuable assets is its robust arts community, from visual art, music, and all forms of performing arts. We cultivate that talent in our youth, through innovative programs like Muse Machine, which serves over 75,000 students in southwest Ohio.

Every January, Muse Machine presents a musical that features more than 100 young people from across the Miami Valley. I was re-introduced to these musical performances last year, and I was simply blown away by the talent these teenagers display. There is no doubt, several . are bound for Broadway!

This year Muse Machine presents “In the Heights“, a musical by Lin-Manuel Miranda (creator of Hamilton). The story explores three days of the characters’ lives in the NYC Latino neighborhood of Washington Heights. On the brink of change, friends and family bring their hopes and dreams to life. The score features hip-hop, salsa, meringue and soul music.

The Muse Machine musical has been praised by The Dayton Daily News as “a performing arts all-star effort,” while The Oakwood Register has called it “an evening of true theatrical joy… ” You can see it for yourself Thursday January 16th through Sunday January 19th at the Victoria Theatre in Dayton, Ohio, January 16-19, 2020. Tickets available now through Ticket Center Stage.

Of course attending the performance is a fantastic way to support the organization. If you want to go above and beyond, and have some pre-show fun with fabulous people, consider attending Muse Machine’s annual Social & Show from 5:30 – 7:30 on Friday, January 17, 2020.

There you’ll enjoy cocktails & heavy hors d’oeuvres at Table 33. Each ticket will include food and two drink tickets with choice theatre seating.  It’s an evening you won’t want to miss!  Ticket sales for the Social & Show end January 11, 2020, so don’t delay!

HOW TO GO?

Social & Show Pre-Show Party / Fundraiser

Friday, January 17, 2020

5:30 – 7:30pm
Cocktails & heavy hors d’oeuvres
Table 33 (130 W 2nd St, Dayton OH 45402)

Muse Machine presents the hit musical
IN THE HEIGHTS at 8pm
From Lin-Manuel Miranda, creator of HAMILTON
Victoria Theatre (138 N Main St, Dayton OH 45402)

Each ticket includes food, two drink tickets and deluxe theatre seating (seats will be assigned on a first come, first served basis). $45 Ticket for Social only / $100 Social & Show

For info and registration: http://musemachine.com/social/

In the Heights performances:

Thursday January 16, 2020 7pm

Friday, January 17, 2020 8pm

Saturday, January 18, 2020 3pm

Saturday, January 18, 2020 8pm

Sunday January 19, 20020 2pm

Tickets start at $27 and can be purchased here:  https://my.ticketcenterstage.com/overview/6144?fbclid=IwAR04TtWvd-b5JrnGUPpTueUuNmU0tlgtFZOS2nboT3JzjTZBIG_wUJYA77w

‘Icebergs’ Review – Dayton Theatre Guild – Tinseltown Anxiety

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Hip thirtysomethings evaluating life and love is the foundation of Alena Smith’s 2016 contemporary comedy Icebergs, currently receiving an enjoyable local premiere at the Dayton Theatre Guild through Sunday, Dec. 15.

(back row left to right) Sha-Lemar Davis (Abigail), Lorin Dineen (Molly), (front row left to right), Maximillian Santucci (Calder), S. Francis Livisay (Reed), and Titus Unger (Nicky) comprise the cast of the Dayton Theatre Guild’s production of Alena Smith’s comedy “Icebergs,” continuing through Dec.15. (Photo by Craig Roberts)

Set in Los Angeles on the Day of the Dead and adeptly directed by Debra Kent with realistic casualness befitting a laid-back get-together among close friends, Icebergs revolves around the latest film project from up-and-coming indie writer/director Calder (Maximillian Santucci, terrifically fretful and passionate). Calder has his heart set on adapting a melancholy memoir about a couple facing adversity at the North Pole, but situations aren’t going according to plan at work or at home. In fact, he’s without a major female star and has begun to second-guess his decision not to have initially offered the role to his aspiring actress wife Abigail (Sha-Lemar Davis, believably distraught and paranoid). As Calder deals with questions surrounding his film and Abigail grows uncertain about her career, their evening is broadened by the eventful arrivals of Calder’s old college buddy Reed (outstanding S. Francis Livisay), Abigail’s longtime friend Molly (quirky yet sophisticated Lorin Dineen) and Calder’s slick, supportive agent Nicky (admirable Titus Unger). Together, this opinionated quintet, nestled comfortably within the attractive suburban chic domain of set designer Chris Harmon, engages in a series of random, thought-provoking topics ranging from earthquakes, climate change and carbon footprints to parenthood, homophobia and social media.

Smith, who notably served as writer and producer of Showtime’s The Affair and also wrote for HBO’s The Newsroom, captures the spirited essence of L.A. to the tee. For example, if you’re a cinefile, you’ll love the references to Jessica Chastain, Kirsten Dunst, the Oscars, and Children of Men among others. But on a deeper level, she effectively uses Calder and Abigail’s marriage to expose the complexities of family planning, specifically whether or not it’s ever an apt time to bring innocent children into a world in which the odds seem stacked against them environmentally and socially. In particular, Davis, smoothly maintaining a sense of depressed unease throughout, excellently accelerates the stakes at play for the future of humanity. Elsewhere, the delightfully charismatic Livisay receives a prime moment of chilling reflection late in Act 2 as the previously upbeat Reed reveals details surrounding the racism he has encountered back home in Missouri.

Icebergs isn’t life-changing theater, but it’s certainly a refreshing change of pace for the Guild, in the midst of celebrating its 75th anniversary season. It’s been a while since this troupe, carrying an affinity for the classics and other works with a tendency to look back, has embraced a script containing a distinctively young, cool, profane, and progressive off-Broadway vibe. Seeing this wonderfully diverse cast feel the groove of Drake’s Hotline Bling is a hopeful sign that the Guild is prepared to take more risks, loosen up, and embrace the possibilities of unchartered territory.

Icebergs continues through Dec. 15 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are 8 p.m. Friday, 5 p.m. Saturday and 3 p.m. Sunday. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $20 for adults, $18 for seniors and $13 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org. Patrons are advised the show contains strong adult language.

 

 

Join in DCDC’s “In the Spirit of… Abundant Blessings” Holiday Performance

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Dayton’s own world renowned Dayton Contemporary Dance Company is back for a hometown an unforgettable holiday extravaganza with In the Spirit of… Abundant Blessings, a celebration of the African-American church. Performances take place on Saturday, December 7 at 7:30pm or Sunday, December 8 at 4pm at the Victoria Theatre, located at 138 N. Main St. in Dayton.

This holiday performance is a switch up from recent years. The company has been performing the beloved Littlest Angel production traditionally. Although a tradition, this swap up is sure to excite Dayton audiences. Not only is the dance quality tremendous, there is live music too!

Music is provided by a collection of amazing talent including The Jeremy Winston Chorale, the Frederick Douglass Elementary Children’s Choir, Judah Band, Music Director Deron Bell with a mass community choir, and nationally renowned gospel singer – the legendary Shirley Murdock. This performance transports audiences to a higher plane of joy and belonging. It’s a holiday offering the entire family is sure to enjoy!

DCDC will also be paying tribute to Sheri “Sparkle” Williams’ 46th year with the company, as is DCDC’s and one of the nation’s most recognized contemporary dance artists.

“This is a wonderful culminating event for our 50th Anniversary. In the Spirit of .. is one of my favorite offerings because it brings the community together. It is a season for giving and sharing. Stepping into our 51st season is no small feat; if not for our dream of our founder, Jeraldyne Blunden, we would not have this wonderful legacy that lives on throughout Dayton, the nation, and the globe. I’m looking forward to celebrating with you the gifts of our abundant blessings.” – Debbie Blunden-Diggs, DCDC Chief Artistic Administrator and Producing Director.

HOW TO GO?

Saturday, December 7 at 7:30 p.m. or Sunday, December 8 at 4:00pm

Victoria Theatre, located at 138 N. Main St. in Dayton.

Tickets are $28 are available at ticketcenterstage.com (scroll to pick Sunday performance) or by calling 937-228-3630.

Group Tickets available for groups of 10+. For group tickets contact [email protected]. Student, Veteran & Senior discounts are also available.

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

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

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

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

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

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

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

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

 

‘Chicago’ Review – Springboro Community Theatre – Jailhouse Jewels

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

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

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

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


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

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

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

 

Comedian Bert Kreischer To Play the Schuster

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

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

 

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

 

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

 

 

 

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

 

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

 

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

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

 

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

 

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

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

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

 

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

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

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

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

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

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

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

 

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