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‘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 .

‘Annie’ Review – Dare to Defy Productions – Timeless Optimism

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Like her or loathe her, Annie is back and she’s a knockout.

Closing a stellar season for Dare to Defy Productions, perhaps its greatest season thanks to the particularly dynamic Assassins and Violet in recent months, composer Charles Strouse, lyricist Martin Charnin and librettist Thomas Meehan’s 1977 musical arises as a surefire winner at the Victoria Theatre. Under the breezy, thoughtful direction of Dare to Defy founder/executive director Rebecca Norgaard, little orphan Annie’s literal rags-to-riches story, a tale of the haves and the have nots set during the Great Depression wonderfully bolstered by her single hope of finding her parents, captures the heart with a sunny, timeless optimism that never grows old.

The adorable Sophie Caton, a true find, perfectly captures Annie’s innate ability to meaningfully connect with those around her. Even in the make-or-break opening seconds Caton understands the importance of Annie as a magnetic mediator, ensuring she commands respect while keeping the peace as her fellow orphans taunt and tease out of jealousy. More significantly, she never discounts Annie’s desire for family, firmly grasping every wishful notion tucked within Maybe which allows the tune to gently soar as the prayerful lullaby it was written to be.

As Annie’s familiar journey evolves, Norgaard’s terrific cast, attractively costumed with a keen socioeconomic eye by John Faas (notice the tatters in Hooverville), fits the bill. The admirable Steven Lakes is firmly authoritative as wealthy Oliver Warbucks, especially undergoing a believable change of heart regarding living for and loving someone besides himself, but I definitely would’ve cut his Act 1 number Why Should I Change a Thing, which brings the action to a screeching halt. The lovely Allie Haines is a graceful Grace Farrell, offering motherly warmth to Caton while being astute about Grace’s attraction to Warbucks. Natalie Houliston’s outstanding portrayal of Miss Hannigan, in which every comedic ounce of the character’s agonizing, loveless hell is on clear display and not just during Little Girls, ranks among her best performances, a memorable list which includes Nancy in Oliver! and the Adult Women in Spring Awakening. Humorous duo David McKibben (suave Rooster) and Lindsay Sherman (ditzy Lily) enjoyably join Houliston for an infectious, vaudeville-esque Easy Street. Philip Drennen (who appeared as Charles Guiteau in the aforementioned Assassins and directed the aforementioned Violet) is only noted in the program as Bert Healy and Franklin D. Roosevelt, and while he is excellently versatile in those roles, his sharp finesse among the ensemble in We’d Like to Thank You Herbert Hoover, I Think I’m Gonna Like It Here, and NYC proves what a singular talent he is. Sadie Hornick (Molly), Julia Stubbs (Kate), Abriella Ruby (Tessie), Caroline Kaibas (Pepper), Jewel Timpson (July), and Morgan Tracy (Duffy) are delightful as the principal orphans, filling It’s the Hard-Knock Life with defiant glee and bringing high-kicking energy to You’re Never Fully Dressed Without a Smile, two numbers among many fabulously choreographed with exuberant spunk and joyful flair by Jessica Eggleston. Noteworthy performers include Zach King as Bundles and Ickes, Mackensie King as Hooverville’s top chef Sophie, Michael Robinson as stern policeman Ward, and Brennan Paulin as Drake. Additionally, the aforementioned McKibben pulls double duty as scenic designer (projections are a huge asset), Kris Smolinksi provides lighting design, Danielle Ruddy supplies properties, Jessi Lyn Stark serves as musical director, and Judy Mansky conducts an impressively solid, well-balanced orchestra.


Annie was conceived during a time of tremendous friction in our country. It ultimately served as a beacon of hope as Americans yearned for better following the Watergate impeachment proceedings and Nixon’s resignation. Flash forward to today’s headlines, it’s not hard to find talk of tremendous friction and impeachment once again. So, it looks as if we still need Annie perhaps now more than ever. Whether the Deal is New or Green, let’s get to work, keep the faith, and hold onto the promise of tomorrow.

Annie continues today at 2 and 8 p.m. at the Victoria Theatre, 138 N. Main St., Dayton. Act One: 80 minutes. Act Two: 55 minutes. Tickets are $22.50-$54.50. Call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

Dayton Contemporary Dance Company’s Golden Anniversary Celebrated with the Dayton Philharmonic!

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The Dayton Philharmonic Orchestra, under the leadership of Artistic Director and Conductor Neal Gittleman, is honored to be a part of the Dayton Contemporary Dance Company’s 50th Anniversary celebration for a special DCDC Golden Anniversary Concert on Saturday, May 4, 2019 at 6:30pm at the Schuster Center in downtown Dayton.

Founded in 1968 by the late Jeraldyne Blunden, Dayton Contemporary Dance Company (DCDC) is the oldest modern dance company in Ohio. DCDC serves as a cultural ambassador to Dayton, the state of Ohio, the Midwest, and the nation. The company holds the world’s largest archive of classic African American dance works and one of the largest of any kind among contemporary dance companies worldwide. Noteworthy choreographers who have worked with the company include Alvin Ailey, Talley Beatty, Donald Byrd, Bill T. Jones, José Limón, Donald McKayle, Ray Mercer, Bebe Miller, Doug Varone, and Kevin Ward.

Together, the Dayton Contemporary Dance Company and the Dayton Philharmonic Orchestra will present a thrilling performance to honor DCDC’s 50th Anniversary as the region’s outstanding modern dance company rooted in the African American experience. The evening’s performance will consist of three engaging pieces that celebrate the artistry and athleticism of the full DCDC company of dancers.

The first of the three pieces presented will be the World Premiere choreographed by former DCDC artistic director Kevin Ward. The new work is entitledand each day you mean one more and is set to brand new music by composer and musician Derrick Spivey, Jr. and performed by the Dayton Philharmonic Orchestra. Neal, Derrick and Kevin–conductor, composer, and choreographer–have worked closely together over the last several months to bring this work to life.

and each day you mean one more is partly inspired by the poem “The Low Road” by Marge Piercy, which addresses the challenges faced by the lone actor for societal good and how, with the gradual attraction and enlistment of like-minded individuals, a real force for change can be built that can resist destructive reactionary forces. In creating the dance, choreographer Kevin Ward was inspired by many lone actors such as Fanny Lou Hamer, David Hogg, Fred Rogers, James Baldwin, Malala, Claudette Colvin, and many nameless actors, such as the U.S. prisoners who staged a massive strike against systematic abuse, even though it resulted in the cruelest solitary confinement, and how their efforts inspired millions to follow suit.

DCDC will also perform a signature work from their history called Children of the Passage. This work was co-created for DCDC by world-renowned choreographer Ronald K. Brown and Tony-nominated choreographer Donald McKayle, who passed away just over a year ago this April. The work follows a party of decadent lost souls that are haunted and later rescued by spirits that reconnect them to their ancient and ancestral character. The composition is a cadence that is drawn from the traditional marching jazz bands of New Orleans, with the grind and groove of the contemporary jazz and soul music. The language of movements is translated from the visual poetry of African and African American dance and the celebration of cultural rituals of yesterday and today.

The third work on the program is American Mo’, created by choreographer and DCDC Associate Artistic Director Crystal Michelle Perkins. The dance is a celebration of triumph over adversity. Dancers express freedom, courage and joy to Duke Ellington’s “Three Black Kings,” composed in honor of Dr. Martin Luther King, Jr. This work originally premiered on September 19 & 20, 2015 as part ofAmerican Mosaic, Celebrating the 50th Anniversary of the Miriam Rosenthal Foundation for the Arts and was performed with accompaniment by Dayton Philharmonic Orchestra at the Schuster Center. DCDC has performed the innovative piece in New York City, Kazakhstan, and the Bolshoi in Moscow.

How To Go!

Saturday, May 4, 2019 at 6:30pm at the Schuster Center
Tickets for DCDC Golden Anniversary Concert begin at $15.50 and are available for purchase by calling Ticket Center Stage at (937) 228-3630 or online at www.daytonperformingarts.org. 
For more information on the Dayton Performing Arts Alliance, including by Dayton Philharmonic, Dayton Opera and Dayton Ballet, visit www.daytonperformingarts.org.
For more information on Dayton Contemporary Dance Company, visit www.dcdc.org.

‘Sylvia’ Review – Human Race Theatre Company – Canine Connection

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Jealousy and obsession rule the roost in A.R. Gurney’s 1995 comedy Sylvia, a fascinating Manhattan love triangle between man, wife and man’s best friend delightfully presented by the Human Race Theatre Company at the Loft Theatre.

photo courtesy of Immobulous.

On one fateful day in the park, unhappy Greg (Jason Podplesky), struggling through a midlife crisis, finds the dog of his dreams in Sylvia (Alex Sunderhaus), an adorable mutt who loves him like no other, even proclaiming him god on multiple occasions. However, their cutesy relationship is quickly upended by the frustrations of Greg’s wife Kate (Jen Joplin), a teacher who’d rather treasure the peace and quiet that comes with being an empty nester added to the fact she can’t stand the idea of caring for another dog at such an inopportune time in her career. So, after 22 years of marriage, battle lines are drawn, leaving Greg to fight with Kate over Sylvia’s place in their lives and home as Kate seeks to fight with Sylvia over Greg’s affection, a decision that leads her to seek advice from gender-fluid therapist Leslie (versatile Rory Sheridan in one of three humorous roles).

In a hugely demanding and physical role, Sunderhaus, a Wright State University alumna hilariously seen last season at the Human Race in The House, is an absolute hoot once again. Whether scratching behind her ears, sliding across the floor, jumping on a table, sniffing furniture, rummaging through magazines, spinning in circles, rolling on the floor, or humping a leg, she epitomizes all the necessary animal characteristics with incredible exuberance and a charming twinkle in her eye. But perhaps most importantly, she grasps Sylvia’s genuine desire to simply please her owners by establishing a deep, sincere and loving connection, particularly Kate in spite of the obvious friction between them (the appealing Joplin is a wonderful foil for Sunderhaus). Throughout the show, lightheartedly directed by Marya Spring Cordes, there are many funny scenes shared between Sunderhaus and the believably infatuated and troubled Podplesky, but I believe the production’s hallmark lies in late Act 2’s beautiful, heartbreaking poignancy as a breakup becomes inevitable. All good things must come to an end, but no one said it wouldn’t sting, especially when the future involves a promise to move into a studio apartment on the Upper West Side near Central Park.

photo courtesy of Immobulous.

In addition, Eric Moore’s terrific revolving set, expertly lit by John Rensel, effectively captures the essence of the Big Apple from skyline to park while astutely maintaining focus on Greg and Kate’s home at all times. Jessica Pitcairn’s costumes for Sunderhaus in particular are equally noteworthy, ranging from casual to flirty with a pinch of leather-clad sexual vixen thrown in for good measure.

Shortly before Sylvia’s opening on April 26, Sunderhaus paused to reflect on the script and the complexities of her portrayal. A fan of legendary comics such as Mel Brooks, Lucille Ball, Carol Burnett, and Madeline Kahn as well as film classics such as Airplane! and Clue, she hopes audiences are ultimately charmed by the story and its heartwarming aims.
“Every being connects in their own way,” she said. “People and animals cross paths for certain reasons in life in order to show, teach or guide. This play is joyful, whimsical, sweet, and really tugs the heart in way that is super relatable. Whether you’re a dog person, a cat person or not even a pet person, everyone can feel what it’s like to have another being, a pet, in your life that creates certain feelings of love, protection, support, and real friendship.”

Sylvia continues through May 12 at the Loft Theatre, 126 N. Main St., Dayton. Act One: 65 minutes; Act Two: 50 minutes. Performances are 8 p.m. Thursday, Friday and Saturday evenings; 7 p.m. Tuesday and Wednesday evenings; and 2 p.m. Sundays. Tickets are $37-$55 for adults; $34-$48 for seniors; and $19.50-$27 for students. Select side-area seats available for $14 and $27 at all performances. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit humanracetheatre.org. or ticketcenterstage.com. In addition, on May 7 at 5:30 p.m., the Human Race will host a “Puppies and Pints” event at the Loft Theatre in which craft beer and furry friends up for adoption will be on hand. The event is sponsored by the Humane Society of Greater Dayton and Toxic Brew Company. Patrons are also advised Sylvia is rated PG-15. Parents are strongly cautioned. Some material may be inappropriate for children under the age of 15.

 

‘The Library’ Review – Playground Theatre and University of Dayton – Blame Game

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Conflicting stories and incredible heartache are at the brutal center of Scott Z. Burns’ riveting 2014 drama The Library, terrifically presented by Playground Theatre and the University of Dayton in UD’s Black Box Theatre of Fitz Hall.

The cast of Playground Theatre and University of Dayton’s local premiere of Scott Z. Burns’ gun violence drama The Library. (Photo by Knack Creative)

Inspired by a series of events which spun out of control in the aftermath of the Columbine High School massacre 20 years ago, The Library, expertly and fluidly directed with grippingly intimate intensity by Michelle Hayford, concerns 16-year-old Caitlin Gabriel, a sophomore who survives a school shooting yet surprisingly becomes a community outcast. Caitlin’s account of the horrific event, particularly about her devout Christian classmate Joy Sheridan who was among the deceased, is at odds with what her fellow survivors believe. The play is effectively fueled by questions of whose truth, whose narrative, carries the most weight (a dicey blame game that even becomes fodder for surgery gossip), but the drama dealing with Caitlin’s home life, specifically her father’s infidelity, is an unnecessarily heavy-handed distraction. Still, the secrets and lies bolstered by misinformation in the media shaped around the dueling perspectives of Caitlin and Joy’s grieving, opportunistic mother Dawn heighten the play’s thought-provoking impact.

Jillian Mitchell as Caitlin Gabriel in Playground Theatre and University of Dayton’s local premiere of Scott Z. Burns’ gun violence drama The Library. (Photo by Knack Creative)

Jillian Mitchell, in a breakthrough performance, is an emotional knockout as conflicted Caitlin, whose intriguing relationship with gunman Marshall Bauer (an unnerving Skyler McNeely, who also composes an engrossing score) briefly takes the play to a deeply, fittingly disturbing level. Playground co-founders/artistic directors Chris Hahn and Jenna Valyn are a believably fractured duo as Caitlin’s devoted and worried parents Nolan and Elizabeth. The multifaceted Rae Buchanan shines as the religious, unyielding Dawn, who walks in faith without realizing her faults. Jacob Lee also delivers a strong breakthrough performance as Joy’s churchgoing friend Ryan Mayes, seeking to protect her legacy. A wonderfully authoritative Jenna Gomes De Gruy excels as Detective Washburn, whose recounting of the shooting sets up a dynamic finale impressively accented by Andrew Martin’s striking lighting design. Brett Bartlett (Nurse), Annabelle Harsch (Surgeon), William Boatwright Jr. (The Publisher), AJ Breslin (Father Dunston), and Shaun Diggs (Special Master Thornton) greatly complement the action.
Two months ago, primarily in response to last year’s school shooting at Marjory Stoneman Douglas High School in Parkland, Florida which killed 17 people, the U.S. House of Representatives passed legislation requiring a universal background check for firearm purchases, the first major gun control legislation in Congress in nearly 25 years. Burns unfortunately avoids the gun control debate, a misstep which also hindered Eric Ulloa’s Sandy Hook-inspired drama 26 Pebbles produced by the Human Race Theatre Company in 2017, but there’s no denying the timeliness of his script’s underlying message. After all, The Library is a testament to the serious work that must be done in order for true healing to begin in America.

The Library continues through April 28 in the University of Dayton’s Black Box Theatre of Fitz Hall, corner of Brown and Caldwell Streets, Dayton. The play is performed in 1 hour and 45 minutes without intermission. Performances are 8 pm Friday, 2 and 8 pm Saturday, and 2 pm Sunday. Tickets are $5-$12. For tickets or more information, call (937) 229-2545 or visit udaytontickets.com. Patrons are advised that talkbacks will follow each performance.

VTA presents Sebastian Maniscalco’s You Bother Me tour

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Fresh off a wildly successful, two-year-plus run on his Stay Hungry Tour, Billboard’s inaugural Comedian of the Year Sebastian Maniscalco is back with the You Bother Me tour, which is currently set to visit 12 cities in the U.S. and Canada throughout its fall run. Maniscalco performs at the Benjamin & Marian Schuster Performing Arts Center, Saturday, Sept. 28. Tickets go on sale Friday, April 26 at Ticket Center Stage, by calling 937-228-3630, (toll-free) 888-228-3630 or online at www.ticketcenterstage.com.

 

Touted as ‘the comedian’s comedian” by People, Maniscalco finds himself “at the vanguard of a live comedy revolution” according to Pollstar. And the man “NBC Nightly News” called “comedy’s new superstar” is showing no signs of stopping.

 

In addition to stops in high-profile cities such as Boston, Charlotte and Montreal, the new tour will also have the Chicago native returning to the Windy City for a performance at the famed United Center in Chicago. Tickets for You Bother Me tour dates will go on sale to the general public on Friday, April 26 beginning at 10:00 am local time.

 

“There’s nothing like going to a live show and seeing it in real life,” Maniscalco says in a recent interview with Forbes, who named him as one of the Top 10 highest-grossing comedians in the world in both 2017 and 2018. “Is there a comedy bubble that’s going to pop soon? Yet to be seen, but as I’ve been in this business, it has gotten progressively better each year and I don’t see it slowing down.”

 

Not only has the star power of Maniscalco rocketed upward in the past few years thanks to shows described by Billboard as ‘devastatingly full force comedy,” but also due to his high energy Netflix Original special – Stay Hungry – streaming now. The special, which was taped over a span of five sold-out shows at the legendary Radio City Music Hall, had Maniscalco playing for a total of 28,312 long-time fans and early believers in his unique comedic voice.

 

Vulture recently said of the entertainer’s journey to success, “Maniscalco, without a breakout TV or film role, built a tremendous fan base the old-fashioned way: one joke at a time, one audience at a time.” Although he may not have started his career in film, Maniscalco’s loyal fans will continue to see more acting roles from him with a performance oppositeRobert DeNiro, Al Pacino and Joe Pesci in Martin Scorcese’s The Irishman on Netflix this fall.

 

2019 You Bother Me Tour Dates:

9/12/19               River Spirit Casino                                            Tulsa, OK

9/13/19                WinStar World Casino                                    Thackerville, OK

9/14/19                Orpheum Theatre                                            Wichita, KS

9/26/19                Ovens Auditorium                                           Charlotte, NC

9/27/19                Harrah’s Cherokee Event Center                 Cherokee, NC

9/28/19                Mead Theatre at Schuster Center             Dayton, OH

10/3/19                Blue Cross Arena                                              Rochester, NY

10/4/19                TD Garden                                                          Boston, MA

10/25/19              Landmark Theatre                                           Syracuse, NY

11/2/19                United Center                                                   Chicago, IL

11/15/19              Bell Centre                                                          Montreal, Canada

11/16/19              Canadian Tire Centre                                      Ottawa, Canada

 

Tickets for the Dayton engagement go on sale Friday, April 26 at Ticket Center Stage, by calling 937-228-3630, (toll-free) 888-228-3630 or online at www.ticketcenterstage.com.

 

For more information about the 2019-2020 Season and the remainder of the 2018-2019 Season, please visitwww.victoriatheatre.com.

For more information, please visit sebastianlive.com.

About Sebastian Maniscalco:

With a string of record-breaking sold-out comedy appearances, a best-selling memoir Stay Hungry and a role in the award-winning Green Book, 2018 was a milestone year that culminated in comedian, actor and best-selling author Sebastian Maniscalco receiving Billboard’s inaugural Comedian of the Year award. The always “hungry” multi-hyphenate followed up that success with arguably “the biggest week of his career” to-date according to Entertainment Weekly by kicking off 2019 with a week that included performing four shows at “The World’s Most Famous Arena,” Madison Square Garden, and releasing his new Netflix Original special– Stay Hungry – streaming now.

 

Dubbed “comedy’s new superstar” in a profile by “NBC Nightly News with Lester Holt,” fans will continue to see more serious film roles from Maniscalco with a performance opposite Robert DeNiro, Al Pacino and Joe Pesci in Martin Scorcese’s The Irishman on Netflix this fall. Maniscalco continues an already remarkable year with his ongoing, blockbuster Stay Hungry Tour. The road warrior’s wildly successful tour hits cities across the country until Aug. 31, 2019. His new You Bother Me Tour kicks off Sept. 12, 2019 in Tulsa, OK. To purchase tickets for what Billboard called “devastatingly full-force comedy,” visit sebastianlive.com.

 

Enjoy an early evening of folk music with Ellis Paul!

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Enjoy an early evening and intimate performance with the one and only, Ellis Paul at Brightside Music Room this Sunday April 14, 2019. It’s going to be a true Sunday Funday with doors opening at 5pm with food from Twisted Taco food truck, and music from 6-8pm. Cozy, early evening that is perfect for Dayton music fans!

Ellis Paul is a renowned troubadour, singer/songwriter, folky, and storyteller. He’s been inspired by the likes of Woody Guthrie, Joni Mitchell, Bob Dylan, and James Taylor, and their spirits seem to occasionally grace his work. With an acoustic guitar in hand, he weaves intimate, provocative, and romantic tales of lives that were obviously witnessed by a most-talented voyeur.

Based in Massachusetts, Paul has been called the quintessential Boston songwriter more than a few times and has garnered the recognition and awards to back up that claim, including a shelf full of Boston Music Awards. Since coming onto the scene in 1993 with his independent debut, Say Something, Paul hasn’t slowed or weakened as a performer or a writer.

Spending two-thirds of most years on the road has helped him perfect both crafts, with a lot of practice on-stage and a lot of people whose stories he retells in song.  Over the years and albums, his songs have gotten more personal. Paul is on tour celebrating his 20th and latest studio album, The Storyteller’s Suitcase.

How to Go?

Sunday April 14 at Brightside Music & Event Venue (903 E 3rd St).

Doors 5pm. Show 6-8pm. Tickets $20 each (available online and at the door).

‘A Little Night Music’ Review – Wright State University – The Look of Love

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Wright State University closes its 2018-2019 mainstage season with an excellent production of composer Stephen Sondheim and librettist Hugh Wheeler’s sophisticated, biting, naughty, and witty 1973 Tony Award-winning musical romance A Little Night Music.

The cast of Wright State University’s production of Stephen Sondheim and Hugh Wheeler’s 1973 Tony Award-winning musical “A Little Night Music.” (Contributed photo)

Skillfully directed by Greg Hellems who also provides elegant choreography, A Little Night Music, based on Ingmar Bergman’s 1955 film Smiles of a Summer Night, pinpoints the agitation, hopelessness, jealousy, and sexual frustration among the disenchanted upper class of 1900 Sweden. The primary love triangle concerns legendary actress Desiree Armfeldt (luminous Celia Arthur) who has feelings for her former lover Frederik Egerman (a successful lawyer portrayed with calm, cool and collected authority by Kenneth Erard) and present paramour Count Carl-Magnus Malcolm (a self-absorbed dragoon portrayed by a remarkably pompous and dynamically focused Ross Bloedorn). The fact that both men are in complicated marriages doesn’t bother Desiree, but their devoted wives (lovely Rachel Glynn as virginal Anne and outstanding Isabella Andrews as vindictive Countess Charlotte) ultimately seek to settle the score. Peering on the outside looking in is Frederik’s melancholy son Henrik (believably tortured Aaron Roitman) who pines for Anne yet is often teased by his frisky maid Petra (playful Hailey Noll). Observing these connections are Madame Armfeldt (delightful Heather Cooperman), Desiree’s opinionated mother who reminds her precocious granddaughter Fredrika (beguiling and inquisitive Michaella Waickman), Desiree’s daughter, to keep watch for the night to smile three times; first on the young lovers, then on the fools, and lastly on the old.

Ross Bloedorn (Count Carl-Magnus Malcolm) and Isabella Andrews (Countess Charlotte Malcolm) in Wright State University’s production of Stephen Sondheim and Hugh Wheeler’s 1973 Tony Award-winning musical “A Little Night Music.” (Contributed photo)

In a stroke of genius, Sondheim musicalizes the material’s dicey entanglements as a series of waltzes, signifying the fluidity and unexpectedness which comes from falling in and out of love. After all, finding the right partner while pursuing or recognizing true love is imperative. Noteworthy standouts within his ravishing score include You Must Meet My Wife (casual small talk smoothly interpreted by Erard and Arthur as Frederik and Desiree’s underlying chemistry takes shape), Liaisons (a storytelling ode to bygone dalliances wistfully sung by Cooperman), therapeutic heart-to-heart Every Day a Little Death (fabulously led by Andrews opposite Glynn as Charlotte recounts Carl-Magnus’ antics with a complex mixture of disgusted agony and honest sincerity), phenomenal Act 1 finale A Weekend in the Country (one of the finest ensemble numbers in the musical theatre canon), The Miller’s Son (fiercely sung by Noll as Petra, fully intent to survive whatever life throws at her, shares perspectives on the various men of her dreams), and Send in the Clowns (gorgeously and purposefully sung by Arthur as Desiree ponders her relationship with Frederik and takes stock of the choices she has made).

Celia Arthur (Desiree Armfeldt) and Kenneth Erard (Frederik Egerman) in Wright State University’s production of Stephen Sondheim and Hugh Wheeler’s 1973 Tony Award-winning musical “A Little Night Music.” (Contributed photo)

The vocally strong cast, attractively costumed in striking period attire by Courtney Michele and superbly accompanied by musical director Steve Hinnenkamp’s nine-member orchestra, includes Jeremy Farley as Frid, Robin Dunavant as Mrs. Anderssen, Kayli Modell as Mrs. Nordstrom, Emma Buchanan as Mrs. Segstrom, David Emery as Mr. Erlanson, Jonathan Crawford as Mr. Lindquist, Molly Seybert as Malla, Justin Mathews as Bertrand, Savannah Slaby as Osa, and Bridget Lorenz as Swing. In particular, Dunavant, Modell, Buchanan, Emery, and Crawford are wonderful Liebeslieders, an operatic Greek Chorus offering beautiful, insightful commentary in such songs as Remember?, The Sun Won’t Set and Perpetual Anticipation.

Hellems’ expert artistic team includes set designer Pam Lavarnway, lighting designers Matthew Benjamin and Emily Hope, sound designer James Dunlap, voice and speech coach Deborah Thomas, and the late Scot Woolley, who served as musical director at the time of his death Jan. 26 and will be dearly missed.

Aaron Roitman (Henrik Egerman) and Rachel Glynn (Anne Egerman) in Wright State University’s production of Stephen Sondheim and Hugh Wheeler’s 1973 Tony Award-winning musical “A Little Night Music.” (Contributed photo)

In terms of entertainment, A Little Night Music typically runs the risk of being too blasé, rigid or stuffy, but Hellems, who has handled his share of musical comedy over the years, finds sufficient room for humor amid the angst. And in doing so, this production becomes the perfect marriage of story and song it was written to be.

A Little Night Music, dedicated in memory of Scot Woolley, continues through April 7 in the Festival Playhouse of the Creative Arts Center of Wright State University, 3640 Col. Glenn Hwy., Dayton. Act One: 95 minutes; Act Two: 60 minutes. Performances are March 30, April 5 and 6 at 8 p.m., March 30, 31, April 6 and 7 at 2 p.m., and April 4 at 7 p.m. Tickets are $5-$25. For tickets or more information, call (937) 775-2500 or visit wright.edu/theatre-tickets. Patrons are advised the show contains adult themes.

 

 

In a Fractured World, ‘Violet’ seeks to Heal.

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‘Violet’ is not a musical many Daytonians have seen, and Dare to Defy hopes to change that. ‘I know people will love this show if they just take the chance.’ Says Philip Drennen, who directs the show. ‘This is such a timely musical, and it hits on the themes we are facing today…but it does it in a real and relatable way.’

D2D’s ‘Violet’ sheds light on troubled times.

DFD’s ‘Violet’ sheds light on troubled times.

‘Violet,’ focuses on a young lady, filled with hope and expectation, making her way across country, hoping to heal her scar(s). ‘It’s truthful and it’s grounded. It has traditional musical components but the story is real world.’ Says Drennen.

The musical was the winner of the Drama Critics’ Circle Award in it’s first inception. Tony Winner, Sutton Foster, starred in the 2014 revival.

Although the show is well-loved, it is rarely produced.

‘ It’s a tough one to pull off. It has complex music, needs strong singing voices, and superior acting. You need the tri-fecta, and I think we have found it!’

‘Violet’ relies heavily on the cast’s vocals.

‘Violet’ relies heavily on the cast’s vocals.

Mackensie King, who co-directs adds, ‘It’s a love story, but it’s so true to life. ‘Violet’ is us!’
‘Violet’ tackles some heavy issues without getting stuck in the darkness.
‘Racism. Vietnam. Questioning Religion. Women trying to live up to some unattainable standard of beauty. It’s all in here. And, somehow, these themes are relevant all over again.’ Drennen pauses for a moment. ‘In our society, social media allows us to show only our best moments…this play shows us the reality of people. It’s not always pretty!’

‘Violet’ tackles all kinds of controversial issues, in an honest way.

‘Violet’ tackles all kinds of controversial issues, in an honest way.

The music in ‘Violet’ is quite a mix. Toe-tapping gospel, fun-loving blues, and heart wrenching ballads all combine for one incredible score. In its quieter moments, ‘Violet’ reaches within us, and audience tears have been known to fall.

‘These are the kind of musicals D2D set out to produce. They are unique. They deal with personal issues and make you think, make you feel.’ says Drennen. ‘And this cast….oh my goodness! Their energy, their drive and their desire to make a great show!! I know it’s cliche, but this is a family. Because the show is so emotionally driven, we have had to be vulnerable at times. Everyone takes care of each other, and the positive energy has been astounding.’

Judy Mansky, musical director, added, ‘You know the underlying story they are telling, and this cast does it with honesty, and heart! It’s a wow!’

‘Violet’ is redemptive, and quite poignant.

‘Violet’ is redemptive, and quite poignant.

‘Violet’

PNC Arts Annex
46 W 2nd St, Dayton, OH 45402.

Friday 3/15 at 8pm,

Saturday 3/16 at 2pm & 8pm

Friday 3/22 at 8pm,

Saturday 3/23 at 2pm & 8pm,

Some tickets remain: https://my.ticketcenterstage.com/4373