On Stage Dayton Previews

“The Oldest Profession” has found it’s way to Wayne Ave.

August 31, 2011 By Dayton Most Metro 1 Comment

The Oldest Profession by Paula Vogel

The Oldest Profession

THE DAYTON THEATRE GUILD

NOTE: Audition Info for “Lost In Yonkers” below!

The Dayton Theatre Guild run of The Oldest Profession by Paula Vogel, continues through Sunday, September 11, 2011, with Friday performances at 8:00 p.m., Saturday shows at 5:00 p.m. and Sunday matinees at 3:00 p.m. It is directed by Greg Smith and produced by Barbara Jorgensen.

Once the toast of Storyville, the infamous red-light district of New Orleans, five very senior ladies of the night have transferred their talents to Reagan-era New York City. They now find both their clients and their own appearance slipping away with time. But every girl has a right to go out in her own style, doesn’t she? Don’t miss the laugh-filled chronicle of five very special ladies – how they lived the life and how they say goodbye. Warning: This production contains strong language and adult content. (Raunchy, racy and fun!)

The Oldest Profession by Paula Vogel - Dayton Theatre Guild - through September 11

L to R: Marcia Nowik, Ellen Finch, (back) Jackie Engle, Marcella Balin, Patty Bell

The cast includes Jackie Engle from Dayton (Wallis, Pygmalion), Ellen Finch from Kettering (Kimberly Akimbo, Fuddy Meers, Hallelujah Girls), Marcia Nowik from Yellow Springs (Independence, God’s Favorite, and Octette Bridge Club at Beavercreek Community Theatre), Patty Bell from Dayton (Brooklyn Boy,) and Marcella Balin from Xenia, who makes her acting debut with The Oldest Profession.

-DTG Press Release

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

Paula Vogel’s THE OLDEST PROFESSION – through September 11 (Fri/Sat/Sun)

(Times Vary: Click HERE)

Tickets Prices: $10 student / $15 senior / $17 adult

Location: Dayton Theatre Guild at The Caryl D. Philip’s TheatreScape – 430 Wayne Ave. Dayton, Ohio 45410 (MAP)

No one under the age of seven will be admitted.

Tickets are on sale now through DTG’s Online Box Office, or via phone at (937) 278-5993 (due to a volunteer staff, phones are not monitored continually).

For more information about Dayton Theatre Guild’s entire 2011-12 season, visit www.DaytonTheatreGuild.org

Dayton Theatre Guild at the Caryl D. Philips TheatreScape

AUDITION INFORMATION: Lost In Yonkers by Neil Simon

September 6 & 7, 2011

The Dayton Theatre Guild will hold open auditions for Lost in Yonkers by Neil Simon on Tuesday and Wednesday, September 6 and 7, at 7:00 p.m. It is directed by Fran Pesch and produced by Deirdre Bray Root.

The Lost in Yonkers production dates are October 21 through November 6, 2011.
Simon’s Pulitzer Prize and Tony Award-winning laugh-filled piece tells the tale of two young boys left by their widowed father in a strange world called Yonkers. Their father must travel to pay back loan sharks, so the boys are entrusted to a tough-minded grandmother and a child-like aunt. The aunt, now in love with a man who is just as unable to cope with the boys’ care as she is, tries to figure out the next step in this funny, touching and unforgettable drama.

The director is looking to cast seven actors of varying ages:

JAY KURNITZ – mid-teen or older, able to play 16
ARTY KURNITZ – mid-teen or older, able to play 13
EDDIE – 41, Jay and Arty’s father
BELLA – mid-30’s, Eddie’s sister
GRANDMA KURNITZ – 70+, Eddie’s mother
LOUIS – 36, Eddie’s brother
GERT – mid-late 30’s – Eddie’s sister

Lost in Yonkers is a dialect play. Grandma Kurnitz speaks in combination Yiddish/NYC dialect. All other roles speak in NYC/Yonkers dialect. Actors will be asked to read from the script (with dialect.) Head shots & résumés are not required but are encouraged. PLEASE NOTE: If this is your first time auditioning for the director, be prepared to present a one-minute contemporary monologue. Dialect not required for monologue.
The cast meeting and read-through will be Thursday, September 8th at 7 p.m.

Additional casting information may be found on the website at www.daytontheatreguild.org or by calling (937) 654-0400.

ABOUT THE DAYTON THEATRE GUILD:

The Dayton Theatre Guild opened with “Outward Bound” at the Dayton Art Institute in 1945.

The 1963-1964 season opened with “Night of the Iguana” at 2330 Salem Avenue, the Guild’s home for over 45 years, where “Outward Bound” was performed as a part of the final season at that location.
The 2009-2010 season opened with “Les Liaisons Dangereuses” at the Guild’s new home at the Caryl D. Philips TheatreScape at 430 Wayne Avenue in Dayton’s historic Oregon District in August 2009. Over 400 plays have been produced, utilizing all-volunteer casts, crews and administration. You may reach the Dayton Theatre Guild at 937.278.5993 or www.daytontheatreguild.org.

God of Carnage coming to the Loft Theatre

August 30, 2011 By Dayton Most Metro 1 Comment

The Human Race, Dayton’s own professional theatre company, opens its 25th Anniversary Season with the wickedly funny God of Carnage, winner of the 2009 Tony Award for Best Play.

Written by Yasmina Reza in French and originally set in Paris, this comedy of absolutely no manners was translated by Christopher Hampton and set in London (where it won the Olivier Award for Best Play), then Americanized and set in Brooklyn for its Broadway run. Its success in three countries shows that bizarre parents who behave worse than their children are instantly recognizable and worthy of raucous laughter in all of them.

God of Carnage begins as two sets of parents get together to talk about their 11-year old sons’ schoolyard scuffle. It is all very civil. At first. For a moment or two. Then civilization disappears.

The Human Race production, directed by Margarett Perry (last in Dayton for Painting Churches), is sure to provide what the NY Times called “laughter that comes from the gut.” The cast is composed of four local favorites – Human Race Resident Artists Jennifer Joplin (Doubt, Proof) and Tim Lile (Twelfth Night, Lend Me a Tenor) and real-life Indianapolis couple Jennifer (Twelfth Night, A Christmas Carol) and Rob (Wait Until Dark, A Christmas Carol) Johansen.

To put a little twist on relationships – which is very much in the spirit of the play – the Johansens aren’t married to each other in the show. Instead, Jennifer Johansen is married to Lile, to whom she was about to be wed at the end of the recent production of Twelfth Night. “In the next production, maybe we’ll be divorced,” says Lile.

The Broadway production was very much a star vehicle, with four big names, as is the upcoming movie version, just titled Carnage – in the Broadway case Jeff Daniels, Hope Davis, Marcia Gay Harden and James Gandolfini; in the movie, Jodie Foster, John C. Reilly Christoph Waltz and Kate Winslet.

Perhaps the most instantly recognizable of the bunch, thanks to “The Sopranos,” is Gandolfini, and Lile has the challenge of taking over his role. He says the character has a little Tony Soprano in him, but “it would be a pitfall to think of James Gandolfini as the character. I’ll be more influenced by the other three people on the stage, and they’re a powerhouse group.”

The entire play takes place in a living room. That makes the intimate Loft Theatre a perfect venue, with every seat close enough that the audience feels right at home.

For its 25th Anniversary, The Human Race commissioned five prominent local artists to each create a piece for one of the shows of The Eichelberger Loft Season. Marsha Pippenger created a collage for God of Carnage, one depicting the characters as collapsed paper dolls.

God of Carnage opens with a preview night September 8, with opening night September 9 and performances through September 25. Tickets are available via humanracetheatre.org, by calling Ticket Center Stage at (937) 228-3630, or at the Schuster Center Box Office.

As part of the celebration of its 25th season, The Human Race has created a “25-for-25” ticket option, with the 25 seats at each end of The Loft available for just $25 at every performance.

Production sponsors for God of Carnage are Marion’s Piazza, Morris Home Furnishings, Maryann & Jack Bernstein, Penny Profitt and Rand Oliver, and The Flower Shoppe.

The Human Race Theatre Company was founded in 1986 and moved into the Metropolitan Arts Center in 1991, taking up residence at the 219-seat Loft Theatre. In addition to the Eichelberger Loft Season, The Human Race produces for the Victoria Theatre’s Broadway Series, the Musical Theatre Workshop series, and special event programming. The Human Race, under the direction of Producing Artistic Director Kevin Moore, also maintains education and outreach programs for children, teens and adults, as well as artist residencies in area schools, The Muse Machine In-School Tour, and summer youth programs. Human Race organizational support is provided by Culture Works, Montgomery County Arts and Cultural District, Shubert Foundation and the Ohio Arts Council. The Ohio Arts Council helped fund this organization with state tax dollars to encourage economic growth, educational excellence and cultural enrichment for all Ohioans. The Human Race’s 25th Anniversary Season is sponsored by the Miriam Rosenthal Memorial Trust Fund.

A Musical Conspiracy Theory

August 18, 2011 By Dayton Most Metro Leave a Comment

DPO to help audiences find hidden, treasonous meaning in major symphonic work

Say one thing, mean another. It’s a trait of human nature. Fess up; we’ve all done it ourselves, or had others do it to us. Mostly, it’s innocent enough stuff.

But consider what would happen if we did it on a national or even international scale, risked pissing off the powers that be, and by doing so put our lives in danger.

In one of the darkest years of Communism’s long and bloody history of political suppression, a twenties-something Russian pianist and composer did just that. He composed music that seemed to say one thing, but that many believed to have held a completely different – and treasonous – meaning. Long before the Beatles popularized the concept of the backward recording technique known as backmasking with their 1966 album Revolver and the single Rain, Dmitri Shostakovich created a monumental work with a hidden meaning that didn’t require a recording of it to be played backward to be heard.

The music itself was the hidden meaning.

It was 1936, and Stalin’s Soviet Russia was awash in –isms: Communism, Totalitarianism, Bolshevism. The State had forbidden composition of traditional music, except music of – or in the style of – Ludwig von Beethoven. That’s like saying “No more Kings of Leon or Eminem; it’s Bill Haley or nothing.”

Why? Because the Soviet leaders saw artistic standards as political, ideological tools. Suddenly artistic freedom disappeared: books were banned from publication, authors dropped off the face of the earth, theaters were shut down, and musical composers found Big Brother looking over their shoulders at every note they put on paper. It was the State’s way or the highway (often to a gulag or graveyard).

For Dmitri Shostakovich, the handwriting was on the wall. He had fallen from official favor far enough to see 1936 begin with a series of attacks by the Soviet Party newspaper Pravda, best characterized by an article entitled Muddle Instead of Music. He stopped the premiere of his in-your-face Fourth Symphony, a work doubtless to cause a late-night knock on his door by the KGB. 25 years would pass before the Fourth would see the light of day and be performed.

It became clear to Shostakovich: he had to write for his very life. And his get-out-of-jail-free card was his Symphony No. 5.

It saved his butt….literally.

The Soviet government loved it. It met all their stern requirements for conforming to the Party Line. Or did it? Musical scholars (and many a Russian man on the street) have always wondered if the music contains hidden meanings?”

In and of itself, it begs a conspiracy theory.

“His cat-and-mouse game with Soviet authorities makes him one of the most controversial composers,” Dayton Philharmonic Orchestra Musical Director Neal Gittleman writes in his Classical Connections Program Notes. “Was Shostakovich a loyal communist or a closet dissident? Did his music reflect the politics of his era? Who do we believe when a composer’s words seem to say one thing and his music seems to say another? How does political interpretation affect musical interpretation?”

“The Fifth Symphony was a change for Shostakovich,” Gittleman notes. “It was less experimental than his earlier music, with soaring lyrical melodies, vigorous march tunes, and powerful emotions. But it was hardly the kind of bright, optimistic music that Stalin wanted. The music is by turns dark, angry, sarcastic, elegiac, and, in the end, defiant. When the Fifth was met with thunderous applause in both Leningrad and Moscow, there was nothing the authorities could do but declare victory and say that Shostakovich had learned his lesson.” The people got it; the party bosses didn’t have a clue.

But does it contain a secret massage? If so, what is it? Contempt for an oppressive, unfeeling government? Hopelessness? Censure? Can we, when we listen to it today, understand what Shostakovich intended it to mean when he wrote it?

There are clues. The markings used to indicate the type of expression he wanted given to the music aren’t much help to the conductor or musicians. All he wrote was “play expressively.” It points toward the conclusion that Shostakovich didn’t want anything on the paper that would provide insight into what he was thinking other than the notes themselves. Musical cloak-and-dagger, nez pas?

And he might have just started an artistic trend.

Jean Anouilh’s Antigone is a play based on Greek mythology first performed in Paris on February 6, 1944 during the Nazi occupation. It apes Shostakovich in that it is deliberately unclear with regard to Antigone’s rejection of the authority of Creon, the former a reference to the French Resistance and the latter to the Nazi occupation. The irony here? It was produced under, and with the blessing of, Nazi censorship! The French people in the audiences got that it was a deliberate slap in Hitler’s face; the Nazis didn’t!

Benjamin George writing in The Musical Times in 1994 believed that Maurice Ravel’s 1920 composition La Valse was intended as a metaphor for the predicament of European civilization in the aftermath of the Great War. Its one-movement design plots the birth, decay, and destruction of a musical genre: the waltz. Concertgoers in occupied Paris in World War Two, however, heard the music as a chilling indictment of the greed, cruelty, and inhumanity of their Nazi captors. Again, the Nazis didn’t get it!

But you can.

On Friday evening September 23 at 8 pm in the Schuster Center, you can join Neal Gittleman and the DPO as they present Shostakovich and Stalin in the 2011-2012 Season premiere of the Demirjian Classical Connections Series. The DPO will perform Shostakovich’s Festive Overture and his Symphony No. 5, and Neal will explain how Shostakovich managed to create a work that sent different messages to two different audiences.

Without having to play it in reverse….

DPO Presents the Ultimate Date Night

August 11, 2011 By Dayton Most Metro Leave a Comment

Philharmonic offers successful romantic formula

There are two ways to plan a date night: the smart, successful way and…uh….

Face it – coming up with the perfect date night is no small feat. So, what exactly are the elements that make up a great date night. Flowers? Okay. Candy? Sure. Why not? Drinks? Dinner? Definitely.

Now what? Head over to the Gridiron Bar for a round of brews and darts with the gang…again? A movie…again? A ballgame? All good under normal circumstances. But ultimate? Hardly. And all the others, the flowers/candy/drinks/dinner? In and of themselves, they’re like a group of cruise ships stranded on the floor of a desert. And the water it will take to get them afloat on the ocean of love? The missing ingredient?

Romance.

Romance is passion, emotional – not physical – passion. Something that stirs the soul before it ever gets to stirring any body parts. So, unless you want your ultimate date night leaving you and your date looking like Steve Carell and Tina Fey facing some fairly dire and unforeseen consequences, you better have a plan that includes romance…real romance.

Your grandparents had a plan. It involved listening to Frank Sinatra crooning Full Moon and Empty Arms, I Think of You, or Ever and Forever. Or the background music in films such as Brief Encounter and The Seven Year Itch. And your parents doubtless listened to Eric Carmen’s All By Myself. These works of former generations share a pedigree with a lot of today’s music performed by such notables as Muse (Space Dementia, Butterflies and Hurricanes, Megalomania, Ruled by Secrecy, and Neutron Star Collision [Love Is Forever]). Amici Forever (Nostalgia). It’s even used in Clint Eastwood’s 2010 film, Hereafter.

What is this musical aphrodisiac that spawned all of the tunes and film scores I just mentioned? It was a singular work by a composer who hailed from Czarist Russia. His name was Sergey Rachmaninoff (Sayr-Gay-Eee Rock-Mawn-In-Nawf). The work was his Second Piano Concerto. And everywhere in it there is passion:

Bell-like ringings on the piano that build tension. A Russian-character melody. The notes of chords played in succession. A lyrical second theme. Agitated and unstable development. A switch to a march-like theme. Then to slow chords. A short climax . Fast tempo. Musical drama. A lyrical theme leads to a long period of development tension. A loud, strong restatement of the second theme ending quickly, ecstatically.

Was it good for you?

All this came from a poor little rich kid, a Russian who became “one of the most formidable pianists of all time and the last truly great composer in the Russian Romantic tradition.” (from allmusic.com) Born in 1873 and conservatory-trained, Rachmaninoff wrote the Second Piano Concerto in 1901. Following the Russian Revolution he left for the U.S. in 1917, living between there and Switzerland while making American and European concert tours. He died in Beverly Hills in 1943 shortly after becoming an American citizen leaving behind a treasure trove of musical compositions.

Passion was the hallmark of Rachmaninoff’s playing and composing. And none of his works are more passionate than Rach 2, the codename touring pianists use when referring to his Second Piano Concerto. Playing Rach 2 is one thing. Playing it with the intensity, passion, and drive required of it by its composer and first performer requires exceptional talent, skill, and game.

And the DPO has just the pianist for the task. His name is Yakov Kasman. Since his debut in America in 1997 as Silver Medalist in the Tenth Van Cliburn International Piano Competition in Fort Worth, he has performed concerts in the U.S., Russia, Europe, and Asia and appeared as soloist with more than 40 orchestras. Did I mention that he is Russian? Can’t hurt, right?

Power, eloquence, a virile technique, and a compelling artistic vision mark Kasman’s playing. In praise of Kasman, the Los Angeles Times wrote: “Kasman’s style glimmers with the best of Russian schooling: the unabashed caressing of a line, the tempo liberties that dance around a solid beat, the virile technique and voluptuous sound ….”

In other words, game.

Romance. Passion. These are the elements that make up a truly great date night. An ultimate date night. And this season, the DPO has a choice of two nights for your ultimate date, Thursday September 22 and Saturday September 24 at 8 pm in the Benjamin and Marian Schuster Performing Arts Center. Two nights on either (or both!) of which you can enjoy Yakov Kasman and the Dayton Philharmonic Orchestra. The program opens with Gian Carlo Menotti’s Lewisohn Stadium Fanfare and ends with the über-powerful Shostakovich Fifth Symphony. In between the two, you and your date will experience all the romance and passion of one of the most widely performed and certainly most prolific sources of musical compositions ever created, “Rach 2”, the Rachmaninoff Second Piano Concerto.

After that, it only remains to say Bonsoir et Bonne Chance!

Keyboard Thunder – Dayton Philharmonic Orchestra
September 22 & 24 at Schuster Center, 8 pm
Take Note at Mead Theatre, 7pm
Order Tickets

Muse Machine Celebrates 30th Year with West Side Story Concert

August 8, 2011 By Shane Anderson Leave a Comment

TONIGHT: The Songs of West Side Story & More

Muse Machine

On Wednesday and Thursday evening Muse Machine, the nationally recognized educational arts group, will kick-off its 30th year with music from one of the most popular musicals of all time: West Side Story. The local organization has gathered together over 200 local students, alumni and guest artists to present TONIGHT: The Songs of West Side Story & More at 8:00 p.m. on the stage at the Victoria Theatre.

“The whirlwind, high-energy numbers will thrill you; the soulful melodies will move you; you can’t help but feel the joy of the show!”

-Kylen Franz, concertmaster

The local arts organization has a mission of changing the lives of kids through the arts. They accomplish this through professional performances both in and out of schools, arts integration training for teachers and student performance opportunities. Over the years, Muse Machine has developed two primary performance programs, including the popular productions of a musical (winter months) and a concert (summer). These productions showcase the most talented student singers, dancers, and musicians in the Greater Dayton region, under the direction of professional directors, conductors, choreographers and designers .

“We all work so hard together to make this a great show and the energy & love in rehearsals is incredible.”

-Rachel Snyder, singer/dancer

As their 2011 concert presentation, Muse Machine (along with support from MeadWestvaco) will present Tonight: The Songs of West Side Story & More on August 10 and 11 at the Victoria Theatre. Tonight features new concepts and arrangements of many favorite songs from the classic Leonard Bernstein score, including “Maria,” “America,” “Somewhere” and many others. The show will fill the stage with nearly 200 student performers, who will also share the spotlight with alumni from previous Muse Machine productions.

“I love to be on stage and hear the audience clapping. It makes me feel good to know they are having a good time. And, it’s fun!”

– Ben Harshbarger, young ensemble (4th grade)

A highlight of the concert will be a huge student orchestra performance of “Rhapsody in Blue” featuring internationally-renowned pianist Leon Bates. Acclaimed by critics and audiences alike, Bates performs with symphonies around the world and the chance to see him bring to life Gershwin’s masterpiece with an orchestra of talented, passionate young musicians should not be missed. The evening also features guest appearances by talented, local gospel singers from the GSJ Youth Choir as well as nationally-acclaimed Stivers Jazz Orchestra and other special guests, including many alumni of Muse Machine productions.

“West Side Story was the first Muse musical, so it’s a way to glance back while also looking forward by bringing new sounds and choreography to this great music. We’ll be joined by exciting guests and we’ll also explore a few ‘related surprises,’ throughout the evening.” -Douglas Merk, producer

[yframe url=’http://www.youtube.com/watch?v=yj0Mbq0Jcgo’]

What is the best part of being in a Muse Machine concert or show?

“The People. Everyone here loves what they’re doing, and that love of performing is evident in every single number…This is a show not to be missed.” -Andrew J. Koslow, singer/dancer

“The feeling of being so welcome and wanted…(and) Rhapsody In Blue because I LOVE THAT PIECE OF MUSIC!!!” – Noah Berry, singer/dancer

“Meeting new friends and seeing old friends.” – Ben Harschbarger, young ensemble (4th grade)

“Getting to work with such great people on great material.” – Mimi Klipstine Dick, singer

“The close family connection of the entire cast/ensemble. We all work so hard together to make this a great show and the energy & love in rehearsals is incredible.” – Rachel Snyder, singer/dancer

“Seeing or hearing the work come to fruition and eliciting the response from the audience.” – Kylen Franz, concertmaster

-SA/Muse Machine Press Release

– Muse Machine Photos by David Sherman

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

TONIGHT: THE SONGS OF WEST SIDE STORY & MORE

at the VICTORIA THEATRE – 138 N. Main St.– map

Tickets for Tonight are available exclusively through Ticket Center Stage, 937/228-3630, online at www.ticketcenterstage.com or at the Ticket Center Stage box office in the Schuster Center in downtown Dayton.

About the Muse Machine:

The Muse Machine is a nationally recognized arts education organization, providing creative experiences and resources for young people of the Miami Valley. Since 1982, they’ve produced 27 annual musicals and 14 concerts for the community and engaged thousands of students through academic-relevant lessons, workshops and in-school projects. For more information, visit www.musemachine.com.

New Musicals on the Rise

August 4, 2011 By Russell Florence, Jr. Leave a Comment

2011 Human Race Festival of New Musicals

The Human Race Theatre Company

Encore Theater Company

This weekend, the Human Race Theatre Company, in collaboration with Encore Theater Company, will continue its ardent support of new works and emerging composers with a musical theater festival containing multigenerational appeal. Nostalgia is a key element in the Human Race presentations of the 1950s jazz-infused “Play it Cool” and an overdue salute to Grammy, Oscar and Tony nominated lyricist/composer Bob Merrill entitled “Love Makes the World Go ’Round.” Encore, fueling the popular trend of movies-turned-musicals, will let loose with “Pump Up the Volume,” adapted from the 1990 film starring Christian Slater. Each show will be delivered as staged readings at the Loft Theatre.

Pump Up The Volume

“Working with Encore seemed like a no-brainer since (Encore founders) David Brush and Jim Farley were a part of the first Human Race musical theater symposium,” said Kevin Moore, Human Race producing artistic director. “Our festival lineup is very exciting. I’ve known about ‘Love Makes the World Go ‘Round’ for a while, ‘Pump Up the Volume’ is something Encore has had in the works, and ‘Play it Cool’ is really timely and relevant.”

“Play it Cool,” conceived by Larry Dean Harris and accented with a terrific jazz score recalling Cy Coleman and David Zippel’s “City of Angels” and Marvin Hamlisch and Craig Carnelia’s “Sweet Smell of Success,” was among the standouts I particularly admired at New York’s National Alliance for Musical Theatre Festival last fall. Featuring music by Mark Winkler, lyrics by Phillip Swann and a book by Harris and Martin Casella, the musical cleverly injects a noir sensibility into its charming, bold tale of five people who fall in and out of love at a secret 1953 Hollywood club called Mary’s Hideaway. The score includes such breezy numbers as “In My Drag,” “Baby’s on Third,” “Future Street,” “Curvy Time Bomb” and the beautifully lush “Jazz is a Special Taste.” Directed by Sharon Rosen, “Play it Cool” will arrive off-Broadway next month with Sally Mayes reprising her amazing performance from the NAMT presentation. Dayton audiences are fortunate to have a chance to see it first, in its re-written form, with a promising cast led by Human Race resident artists Deb Colvin-Tener (“Dirty Blonde,” “Lend Me A Tenor”) and Jamie Cordes (“Play it By Heart,” “right next to me”).

2010 Festival of New Musicals - Tenderly - The Human Race Theatre Co.

2010 Human Race Festival of New Musicals

The songs of Bob Merrill, who famously believed “people who need people are the luckiest people in the world,” fashion “Love Makes the World Go’ Round,” billed as a “revusical” (revue-meets-book musical) by librettist Duane Poole and music arranger Brad Ellis. Directed by Kevin Moore and centered on three women who connect through Merrill’s repertoire at a piano bar, “Love Makes the World Go ‘Round,” featuring Ellis and Human Race resident artist Katie Pees, incorporates 30 numbers including the songwriter’s catchy hits like “How Much Is That Doggie in the Window?” and “Mambo Italiano” in addition to show tunes from his lilting yet underappreciated “Carnival!” (which he wrote both music and lyrics) and legendary “Funny Girl” (music by Jule Styne). Merrill was also a ghost lyricist for “Hello, Dolly!” (“Elegance” and “Motherhood” in particular) and composed an ill-fated version of “Breakfast at Tiffany’s” starring Mary Tyler Moore that closed on Broadway during previews.

Ellis, familiar to fans of “Glee” as the silent choir room accompanist dressed in black, says investigating the Merrill canon to create a balanced tribute was an enjoyably challenging assignment.

2010 Festival of New Musicals - Play It By Heart - The Human Race Theatre Co.

2010 Human Race Festival of New Musicals

“I’ve loved the challenge of rolling up my sleeves, like the old days of off-Broadway, and coming in with strong ideas, then being ready to turn on a dime,” he said. “I’m proud of the arrangements, and I’m also proud that I haven’t lost track of the fact that I’m featuring the songs, not featuring the arranger. Bob Merrill has a surprising range of songs, emotions and musical feels, in part because his work as composer/lyricist inhabits such different worlds than his work as lyricist for composer Jule Styne. I don’t think it’s as much that he’s underrated as it is that people who know the extensive Broadway catalogue don’t know the even-more-extensive pop hits, and vice versa. Here’s hoping our show can bridge that gap, and make him a household name. His song ‘Beautiful Candy’ is in a big national commercial right now, and Seth MacFarland has used his songs for his TV show ‘Family Guy,’ so millions are hearing his music right now, whether they know it or not!”

2010 Human Race Festival of New Musicals

Since its 2009 debut on Fox, the Emmy winning “Glee,” created by Ryan Murphy (“Nip/Tuck”), has been a pop culture phenomenon offering a slew of fantastic musical moments (Kristen Chenoweth’s “Home,” Chris Colfer’s “As If We Never Said Goodbye” and Lea Michele’s “Don’t Rain on My Parade” to name a mere few). As the show’s music director, Ellis, who has written vocal arrangements for various episodes, particularly the pilot, has been pleased with his involvement since the beginning.

“I’ve worked with casting agent Robert Ulrich on musical projects for television before, and we enjoyed working together, so Robert brought me in when Ryan Murphy began casting ‘Glee.’ The three of us worked closely on actor’s songs when bringing our final choices to the network brass for approval. I enjoyed watching how Ryan worked with the auditioners. I think he was pleased with my ability to translate his ideas into musical choices for the singers as well as my gentle but demanding approach, which makes less confident singers feel more comfortable, and therefore, show themselves to best advantage, no matter their experience level.”

Ellis ranks Charice, Chenoweth and Carol Burnett among his favorite “Glee” special guests thus far, but views the entire cast and creative process as special. He also anticipates fresh possibilities for the series as Season Three approaches.

2010 Human Race Festival of New Musicals

“The cast is varied and magical people, who’ve maintained a sense of gratitude in a world where everyone wants a piece of ’em, and everyone else is telling them why they should have large egos, and instead, they stay grounded. A lot of that may be due to Jane Lynch, who is a visibly grateful person herself, and perhaps quietly sets the tone. It helps that Ryan Murphy is the modern equivalent of Jerome Robbins, combining an impish sense of fun with an unerring sense of both culture and craft. For me, Seasons One and Two have been an education in film. ‘Glee’ is shot on film with Panavision cameras, not shot digitally, so it has a lot in common with the way great movies and movie musicals have been shot since the 1930s. I’ve also really enjoyed watching my friends on the show evolve and grow. I’m biased, but I think the Class of ‘William McKinley High’ 2009-2011 (and beyond) will launch a lot of careers, similar to the first few seasons of ‘Saturday Night Live’ and ‘E.R.’ Corey (Monteith), Dianna (Agron), Lea (Michele), Matthew (Morrison), Kevin (McHale), etc., when they break out, will spread out like a billiards shot and light up big segments of the industry. Season Three? I have no predictions. When I read the pilot, I thought, ‘I love this! I am the audience for this, but it’s ‘niche,’ and will probably find a life on FX or USA network.’ I’m an idiot. Don’t go by me. I can say I’m excited about the new writers. Michael Hitchcock, the only one I already know, is one of the funniest, most honest actors I’ve ever had the privilege to work with, so I’m looking forward to some new ideas and surprises.”

2010 Human Race Festival of New Musicals

As “Love Makes the World Go ‘Round” continues to develop, Ellis remains confident in its prospects. Considering recent news of a Broadway-bound production of “Funny Girl” underway starring Lauren Ambrose (“Six Feet Under”), the timing, especially if a New York berth is in its future, couldn’t be more perfect.

“I’ve been fortunate to have helped create a number of very successful off-Broadway and regional shows (such as) ‘Forbidden Broadway,’ ‘Plaid Tidings,’ ‘Tin Pan Alley Rag,’ etc., so I know the markets. This show could be good business. It has small casting and tech requirements. Whenever I cast any show, I’m overwhelmed by the talent out there, especially women who would be great for ‘Love Makes the World Go ‘Round’ who are not working as much as they deserve, which means it won’t be hard to find great actor/singers for productions.”

Pump Up The Volume

Based on the film of the same name written and directed by Allan Moyle, “Pump Up the Volume,” featuring music by Jeff Thomson, book and lyrics by Jeremy Desmon and additional lyrics by Jordan Mann, tells the story of a shy teenager who starts a pirate FM station in his parents’ basement. Directed by Joe Beumer, the show will feature Drew Bowen, Corinne Derusha, Renee Franck-Reed, Tommi Harsch, Justin King, Zach King, Matthew Owens, Elizabeth Wellman, Yvette Williams and Ray Zupp. Encore Theater Company will also present “The Consequences,” an indie rock-flavored love story about high school friends who reunite 10 years later. Written by Kyle Jarrow and Nathan Leigh, “The Consequences,” which has been developed at the New York Theatre Workshop and the Williamstown Theatre Festival, will be directed by Shawn Hooks and star J.J. Parkey, Amy Geist and Alex Carmichal.

Encore progressively continues to sprinkle local community theater with current, contemporary musicals. The troupe presented a delightful regional premiere of Jeff Bowen and Hunter Bell’s ‘[title of show]’ last season, and will tackle Duncan Sheik and Steven Sater’s Tony winning “Spring Awakening” in January, which will be staged by Encore artistic director David Brush. In addition, two projects developed by Encore last season successfully advanced. “Next Thing You Know” received an off-Broadway run two months ago, and the hilarious “Hot Mess in Manhattan” will open in Washington, D.C. later this year.

The Consequences

“By the end of this season, ETC will have hosted five creative teams here in Dayton working on new material to take back to New York,” Brush said. “The process is working and ETC is thrilled to be a part of it.”

Brush is also ecstatic to have Encore join forces with the Human Race as both organizations strive to supply a productive and entertaining musical theater festival.

“Encore Theater Company is really honored to partner with the Human Race Theatre Company, who has really perfected the musical development process for the region. I personally cannot say enough for Kevin Moore and the entire Race staff for both their forward thinking in this area and recognition of what ETC is working to do.”

Musical Theater Festival Schedule

Thursday, August 4

10 p.m. “The Consequences”

Friday, August 5

7 p.m. “Play it Cool”

10 p.m. “Pump Up the Volume”

Saturday, August 6

12 p.m. Meet the Writers (Loft Lobby)

7 p.m. “Love Makes the World Go ‘Round: The Songs of Bob Merrill”

10 p.m. “The Consequences”

Sunday, August 7

2 p.m. “Love Makes the World Go ‘Round: The Songs of Bob Merrill”

7 p.m. “Pump Up the Volume”

-RF

– Human Race Theatre Co. Photos by Scott J. Kimmins

– Encore Theater Co. Photos by Ray Zupp

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

PLAY IT COOL

LOVE MAKES THE WORLD GO ‘ROUND

PUMP UP THE VOLUME

at the LOFT THEATRE – 126 N. Main St.– map

For more information, call the Human Race at (937) 461-3823 or visit www.humanracetheatre.org.

Tickets are $15 in advance and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting www.ticketcenterstage.com. Beginning August 5, tickets are $20 and will also be available at the Loft Theatre box office two hours before curtain.

THE CONSEQUENCES

performed in the KeyBank building (lower level patio) at Courthouse Square.

For more information, visit www.encoretheatercompany.com

Tickets are $10 and will be available at the door.

The BARD is on the loose!

July 27, 2011 By Shane Anderson 2 Comments

Photo by Alisha McDarris=

A Midsummer Nights Dream

Free Shakespeare!

In many communities around the world, a treasured summer activity is outdoor performances and festivals devoted to classic Shakespeare plays (Shakespeare Fellowship List). Two of the most well-known in Ohio are Cincinnati Shakespeare Co. which tours two shows in fourteen different parks and Actor’s Theatre which is celebrating it’s 30th season presenting shows in Schiller Park in Columbus’ German Village. Suddenly in the past few years there is much interest in this terrific tradition right here in the Miami Valley, ranging from a small neighborhood troupe near downtown (Historic South Park – currently rehearsing for their 4th presentation) and the touring company known as Free Shakespeare! the brainchild of director Chris Shea.

“The experience with GreenStage was incredible. To have a free arts program not only survive, but flourish, for over twenty years, well, it gave me faith that the arts are alive and well. I want to bring that same energy here to Dayton. There really is nothing like a picnic and a play, and the price is right, too” -Chris Shea

Shea, a graduate of Kettering-Fairmont High School, spent time studying acting in the Pacific Northwest. Inspired by the GreenStage Theatre Company’s offering of free outdoor Shakespeare, he decided to bring the concept to the Miami Valley in 2010 in the form of Free Shakespeare! The troupe is described as a traveling community of artists with the goal of creating an event where people can rediscover the power and beauty of language and art. Shea wanted to take the performances to multiple venues throughout the region over a series of summer weekends – and free to audiences.

Shea launched his vision for a theatre company in 2010 with Hamlet, which was received enthusiastically during it’s tour of four venues in Dayton and Yellow Springs. 2011 brings a new production, this time the ever-popular A Midsummer Night’s Dream. After opening last weekend at Antioch Amphitheatre in Yellow Springs, Shea and his team of 14 actors will continue to bring the bard’s best-loved comedy to Dayton stages over the next several weekends. They can be seen at the Wegerzyn Gardens MetroPark (July 29-31), Newcom Founders Park in the Oregon District (August 5-7), The University of Dayton’s ArtStreet (August 12-14). All performances are outdoors and weather permitting and begin at 7PM. Admission is free with donations accepted after the performance to pay the actors.

Photo by Alisha McDarris

The cast of A Midsummer Nights Dream includes Allison Husko (Titania), Chris Shea (Oberon), Will Hutcheson (Demetrius), Travis Cook (Lysander), Amy Brooks (Hermia), Megan Cooler (Helena), Kes-lina Luoma (Puck), Jason Antonick (Theseus), Lauren S. Deaton (Hippolyta), Zach Schute (Nick Bottom), Juliet Howard-Welch (Peter Quince & Peaselblossom), David Harewood (Francis Flute & Cobweb), Philip Titlebaum (Snug & Mustardseed), and, after a 48 year absence from the stage, Bill Styles as Egeus.

The group has recently partnered with Involvement Advocacy, an umbrella organization which fosters community initiatives. Involvement Advocacy’s partnerships include, among others, the Blue Sky Project and the Dayton Arts Project. Involvement Advocacy will act as Free Shakespeare’s! fiscal agent, allowing supporters of Free Shakespeare! to make tax deductible donations to the theatre company.

On the partnership, Free Shakespeare! founder Chris Shea had this to say, “We are very grateful to Peter Benkendorf and the folks at Involvement Advocacy for their tremendous support of our organization. This partnership is the perfect bridge for us as we make arrangements to form our own non profit corporation.”

Photo by Alisha McDarris

“Our purposes shall be proud, our garments poor; For ’tis the mind that makes the body rich” The Taming of the Shrew, Act IV, sc. iii

-SA, Free Shakespeare! Press Release & website.

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

A Midsummer Nights Dream

Weekends through August 14, 2011

Tickets Prices: FREE (donations accepted after the show to pay actors)

Locations: Wegerzyn Gardens MetroPark (July 29-31), Newcom Founders Park in the Oregon District (August 5-7), The University of Dayton’s ArtStreet (August 12-14)

For more information about Free Shakespeare! visit http://freeshakespeare.com/

Back to the FutureFest

July 27, 2011 By Russell Florence, Jr. 1 Comment

Dancing Backwards by John Fiorillo - FutureFest 2010

FutureFest 2011

Dayton Playhouse

This weekend, the Dayton Playhouse will present its 21st annual FutureFest of new plays, one of the most highly anticipated and widely regarded events in the local arts community.

This uniquely structured, nationally recognized festival, co-founded by Dayton Theatre Hall of Fame members Dodie Lockwood and John Riley, openly nurtures the artistic growth of emerging playwrights from across the country and internationally. Within three days, six original, previously unproduced works are showcased fully staged or as staged readings followed by adjudications from theater professionals. Patrons are also encouraged to offer opinions, fueling the weekend’s considerably engaging atmosphere.

How It Works by Carey Pepper

The adjudicators will consist of longtime New York-based judges David Finkle, Helen Sneed and Eleanore Speert along with Robert Koon, resident playwright/dramaturg of the Chicago Dramatists and a 2002 FutureFest finalist for “Vintage Red and the Dust of the Road,” and D. Lynn Meyers, producing artistic director of Ensemble Theatre of Cincinnati. Each play will be judged on criteria including dramatic concept/theme, plot/story development, dialogue/language and character development.

Refuge by Marc Comblatt

Since its inception, FutureFest has been an advantageous launching pad for playwrights hoping to raise their profile. The most successful example in recent years is unquestionably attributed to Brooklyn playwright Beau Willimon, a former political staffer who took the 2005 FutureFest by storm with “Farragut North,” a marvelous political drama. “Farragut North” arrived off-Broadway at New York’s Atlantic Theater Company in 2008 and was recently adapted (and re-titled) for the big screen by Willimon, Grant Heslov and Oscar winner George Clooney as “The Ides of March.” Shot on location in the Cincinnati area and prominently previewed in the July 26 edition of USA Today, “The Ides of March,” which will premiere at the Toronto International Film Festival in September, is officially scheduled for an October 7 release. The film has already received buzz as a major contender for the Golden Globes and Academy Awards. Molly Smith Metzler, also of Brooklyn, is equally noteworthy. Metzler’s terrific relationship-driven comedy drama “Carve” was a highlight of the 2009 FutureFest and her latest work, “Close Up Space,” will be presented off-Broadway at New York’s Manhattan Theatre Club this fall starring Emmy and Tony winner David Hyde Pierce.

This year’s promising contenders were chosen from over 240 submissions. Each finalist recently reflected on their work with onStageDayton in advance of the festival.

2011 FutureFest Performance Schedule

Friday, July 29

8 p.m.

“Drawing Room,” an introspective look at a Supreme Court sketch artist.

Playwright: Mark Eisman of New York City

Cast: Mark Jeffers, Annie Pesch and Rachel Wilson

Director: Matthew Smith

Production format: Fully staged

Since cameras invaded our courtrooms some 20 years ago, I have missed the artists’ renderings which often accompanied the most notorious (and yes, most dramatic) legal spectaculars. The brilliantly colored chalks and pencils have been replaced by the dullness of reality TV. The sketch artists have been forced to scramble and compete against each other, as only the federal courts (with its terrorist defendants) and the Supreme Court (with its familiar cast of characters) remain camera free. When their art is threatened, the characters in ‘Drawing Room’ must confront the realities of their own lives. Life in the theater has never been easy for playwrights. Over the same 20 years, it’s become increasingly difficult due primarily to economic ‘realities.’

~Mark Eisman

Saturday, July 30

10 a.m.

“Roosevelt’s Ghost,” a drama centered on the special assistant to President Franklin D. Roosevelt convicted of perjury and accused of being a member of the Community Party.

Playwright: Dayton native and Woodland Hills, California resident Michael Feely, who won the 2009 FutureFest for “Night and Fog” and was a 2006 finalist for “Bookends.”

Cast: Debra Kent, Charles Larkowski, Jennifer Lockwood, Dave Nickel, David Shough, Michael Stockstill and Debra Strauss

Director: Saul Caplan

Production format: Staged reading

‘Roosevelt’s Ghost’ is (very) loosely based on the Alger Hiss case. It concerns a man, Charles Castle Hunt, who stood at the pinnacle of power until he was accused of treason and espionage for the Soviet Union and convicted of perjury in 1951. It is now 1968 and he’s come home both to vindicate himself by publishing his memoirs and to reconnect with the family he abandoned after his fall. The play is about many things. It is, on one level, about the events of the ’50’s and ’60’s, similar to the other two plays that have appeared in FutureFest, that I believe draw a bright red line through Vietnam to our current involvement in Iraq and Afghanistan. On another level, however, it’s a far more personal play, about family, about what fathers owe their sons and, equally important, what sons owe their fathers. It’s about husbands and wives, what they give each other and what they take from each other. And, lastly, it’s about love, how it sustains us, can let us down and, ultimately, can lift us up.

~Michael Feely

3 p.m.

“The Haven,” a contemporary comic drama concerning a broken marriage and the possibilities of connection.

Playwright: Richard Etchison of Los Angeles, California

Cast: Megan Cooper, Danny Lipps, Deirdre Root and Richard Young

Director: Fran Pesch

Production format: Staged reading

Initially, I set out to write a play about one relationship ending and one relationship at the very beginning. A simple exploration of the nature of marriage and love and youth. The ending came to me midway through the writing process. I also wanted to write a realistic play for once. Previously, my plays have some mind-bending, sometimes surreal elements. In most ways, I succeeded. To me, the theme of this play is that human beings approach both marriage and life with the same attitude: We know it’s going to have its trying moments, moments that take every bit of courage and resolve we have to get through them. Yes, we (as a people) voluntarily embark on it anyway. When you are young, marriage seems a simple matter. So does life. But once deep inside of marriage, we learn otherwise. Same as life in general.

~Richard Etchison

8 p.m.

“Allegro Con Brio,” a farce about a musical couple plotting revenge.

Playwright: Dayton resident Nelson Sheeley of Sinclair Community College

Cast: Michael Boyd, Matt Curry and Cheryl Mellen

Director: Nick Moberg

Production format: Fully staged

I got the idea for the play when I turned on the radio and heard one of the Mendelssohn Piano Concertos played faster than anyone should be able to play it. I wondered what the conversation backstage after the concert between the conductor and the pianist would be. Also, once I got into it, the theme of the piece seemed to shift a bit to include the music critic…how people behave who have unquestioned authority and power in their fields. I love farce and there’s a dearth of good contemporary farce in the American theatre. Farce seems to be the poor stepchild of comedy. My first play ‘…And Call Me In The Morning’ got a begrudgingly good review from The New York Times. Jacques LeSourde liked it and in the review sounded a little embarrassed that he did! So here I am leading a crusade to get those slapstick lovers out of their comedy closet and have a good laugh.

~Nelson Sheeley

Sunday, July 31

10 a.m.

“Jinxed,” a 1930s aviatrix-themed account of Amelia Earhart and Jackie Cochran.

Playwright: Stacey Luftig of New York City

Cast: Franklin Johnson, Cynthia Karns, Wendi Michael, Kate Smith, Mike Rousculp, Mike Taint and Matt Turner

Director: Richard Brock

Production format: Staged reading

Amelia Earhart is an American icon. But only history buffs and aviation fans remember Jackie Cochran, whose rags-to-riches story and groundbreaking achievements in aviation rival those of any pilot, including Amelia. Brash Jackie and sophisticated Amelia were close friends for the last two years of Amelia’s life. Their lives had many parallels: among them, husbands who were tremendously supportive of their careers, a practicing knowledge of ESP and a preoccupation with luck. Their focus on luck is not surprising. The dangers faced by pilots in the 1930s, especially those who sought to set records and win races, were enormous. Forced landings and even crashes were commonplace, airplane parts would malfunction, engines would blow up. Like baseball players, aviators often placed faith in talismans and other superstitions. It is hard to say how much of any aviator’s career at that time depended on skill, and how much on luck. Based on this uncertain balance, a key question arose for the main characters of my play: How far do you go to allow a pilot you love to follow her dreams – knowing that to do so could result in her death?

~Stacey Luftig

3 p.m.

“A Woman on the Cusp,” a drama concerning mental illness and sibling treachery.

Playwright: Two-time FutureFest finalist Carl L. Williams of Houston, Texas (“Under a Cowboy Moon,” 2003; “Coming Back to Jersey,” 2008)

Cast: Cher Collins, Lynn Kesson, Scott Knisley and K.L. Storer

Director: Ray Gambrel

Production format: Fully staged

‘A Woman on the Cusp’ started out as a 20-minute one-act for a festival in Houston. I quickly realized the length wasn’t nearly sufficient to explore all the facets of character in this story, as well as the underlying issues of emotional trauma, mental instability, deceit and treachery. A buried subtext concerns how people can do the wrong thing for a right reason or the right thing for a wrong reason. For the full-length play I was better able to develop a backstory for the major character, providing a fuller explanation for her current situation. I could also explore the relationships between and among the characters to a greater degree and with a more gradual revelation of their secrets. In addition, I changed certain elements of the basic plot as I transitioned the piece to a more complete story. I can’t say that I set out to make any particular point with this play or convey any central message. Mainly I just wanted to engage the audience with these characters and their conflicts. The FutureFest production offers the opportunity of judging to what degree I succeeded.

~Carl L. Williams

The 21st annual Dayton Playhouse FutureFest will be held Friday, July 29-Sunday, July 31 at the Playhouse, 1301 E. Siebenthaler Ave. Weekend passes for all six shows are $90. Single tickets are $17. For tickets or more information, call the Playhouse at (937) 424-8477 or visit www.daytonplayhouse.com.

-RF

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

21st Annual Dayton Playhouse FutureFest

July 29-31, 2011

Tickets Prices: $17 for single show tickets / $90 for weekend pass (includes all shows)

Location: The Dayton Playhouse
1301 East Siebenthaler Ave
Dayton, OH 45414 (map)

Tickets are on sale now through DP’s Online Box Office, or via phone at (937) 424-8477

For more information about The Dayton Playhouse visit http://www.daytonplayhouse.org/

Photo Highlights of 2010 FutureFest

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[yframe url=’http://www.youtube.com/watch?v=w6prD48dheE’]

Songs of the Undead: Encore Premieres “In My Blood”

July 12, 2011 By Dayton Most Metro 6 Comments

IN MY BLOOD

Encore Theater Company

Win Tickets to this new musical! Read on!

Vampires are everywhere. Not since Transylvania has a nation been so overrun with the undead. Is there an area of pop culture devoid of these little bloodsuckers? On television, I guess we have Joss Whedon to blame for his electrifying Buffy The Vampire Slayer all the way through more current hits like HBO’s True Blood and any of a number of copycat shows just like it. In cinema, there’s no other place to look but the Twilight series for the source of teen vampire mania. Walk into any Barnes & Noble and you’re likely to find title after title featuring some collection of sex-crazed vampires. Even in music, isn’t there a band called Vampire Weekend?

One thing’s for sure: this is not your father’s vampire craze. This new breed of vampire is less B-movie and more B-cup. (Immortality doesn’t seem so bad when everyone is ridiculously attractive, right?) Despite a marketing blitz like no other, the trend has been unable to sink its teeth into Broadway – try as it may! Elton John attempted (it’s the kindest word I can use here) a musical-adapted Anne Rice with Lestat and Jim Steinman penned the ill-fated Dance of The Vampires. Even Frank (Jekyll and Hyde) Wildhorn couldn’t capture musical thriller lightning in a bottle twice. His musical Dracula was an infamous bomb in New York. But there’s hope – this weekend in Dayton – that Encore Theater Company could break the curse when the regional premiere of Mark Weiser’s vampire rock musical In My Blood plays three performances at Sinclair Theatre’s Blair Hall.

The show, written by New-York Based composer Mark Weiser has been called “The right combination of romance, conflict, humor and drama” (Theatremania). In the tradition of contemporary vampire stories, In My Blood deals primarily with Gray and Alex, two childhood friends, who reunite for one last night of partying. They learn of an annual, secret soiree, at a hidden location called SANCTUARY. There, they meet Unique and Sasha, two of the revelers. Over the course of the evening, the pairs fall in love. The two friends come to learn that this is the home of the world’s last surviving vampires, and are offered a chance to join them, and live forever. Ultimately, everyone must choose sides – for love, for life and for family. The casts features 10 local performers including ETC Company member JJ Parkey (featuring previously this season in the title role of Hedwig & The Angry Inch). In partnership with Sinclair Theatre, the show is directed by Kimberly Borst with musical direction by John Faas.

“In My Blood deals with real people with real issues of isolation and social shunning who ALSO just happen to be vampires.”

“What works in Mark’s script that hasn’t worked in previous vampire-themed musicals is intent,” says ETC Artistic Director David Brush, “The ‘vampire’ element here is a device and not the primary concern, so people connect to the characters on real levels.” But don’t fear, there’s plenty of bloodshed for every taste level and a healthy dose of rock ‘n’ roll. ETC first came in contact with the show on their Litehouse New Musicals Reading series under the name The Cure. In My Blood continues ETC’s primary mission of developing new musicals right here in Dayton before heading off to New York. Weiser himself spent several days in Dayton last week working directly with the cast an creative team in an effort to work out some of the new material – it’s a part of the process ETC values enormously.

[yframe url=’http://www.youtube.com/watch?v=yDmfuWAxVyQ’]

In My Blood opens Thursday July 14 for three performances.

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information

In My Blood – July 14 – 16, 8:00 pm

Encore Theater Company

Performances will be held at Sinclair Community College’s Blair Hall Theatre.

Tickets are $15 and can be reserved through http://brushfire.e-vent.info/Events/Sinclair/Default.aspx, by contacting (937) 512-2808 (be sure to leave a message as regular box office hours are not kept during the summer)

For more information, check out the Encore Theater Company.

Win Free Tickets!

Encore Theater Company & onStageDayton on DaytonMostMetro.com have teamed up to give you a chance to win tickets to In My Blood! We will be giving away up to SIX pairs of tickets for the show! All you need to do is:

Share this article on Facebook or Twitter…just click the appropriate button at the top of this page (We’ll give away one pair of tickets for every FIVE FB/Twitter Shares).
Fill out the contact form at the bottom of this post.
…and the fun part: leave a comment below, answering the following question…IF YOU WERE TO BECOME A VAMPIRE…WHAT VAMPIRE-Y TRAIT WOULD YOU MOST BE EXCITED TO HAVE?
The deadline to enter is NOON on THURSDAY, JULY 14TH.
Winners will be selected randomly from all of the entries.

[contact-form 6 “Contest Entry”]

Behind the Masks – The Lion King

June 14, 2011 By Shane Anderson Leave a Comment

Nick Cordileone & Ben Lipitz

Disney’s THE LION KING

The Victoria Theatre Association

I have a confession to make: I, Shane Anderson, admittedly know very little about The Lion King. In fact, I know very little about most of the Disney films and musical adaptations. I’ve certainly seen some, but I have no children of my own, therefore I typically don’t choose to spend my entertainment budget on a movie ticket to a film marketed to kids. I get it…I get it… I hear that they are terrific for anybody at any age, but I don’t have that added motivation of a really excited 5 year old persuading me to go catch the latest Disney princess or talking/singing animal movie.

Characters from Disney's Lion King, as interpreted by Noah, age 5

The Lion King mask illustration by Noah, age 5

So, since I am not the Disney aficionado that many Americans are, I had to do a little research about Disney’s THE LION KING, which just rolled into town and opened at the Schuster Center this evening. So what else was I to do? I called up my favorite nephew, 5 year old Noah.

First bit of information I needed, was what is the plot of this show? Noah replied with a knowing smile (did I sense the slightest amount of a smirk at his silly Uncle Shane?) that THE LION KING is all about this baby lion named Simba, who’s daddy Mufasa dies because of a bad lion named Scarrrr (grrrRR..!), then the Pumbaa and Timon (not sure which is which, but one is a warthog with big horns) come in and sing Hakuna Matata and then Simba gets big and the girl lion tells Simba to come back and be king. Oh, and be careful of the 3 Hyenas, they laugh.

Ok, stay clear of the laughing Hyenas. Of course I already knew a little bit about this classic musical adaptation, it is a legendary production that very successfully melded together a very cool artistic vision with the business sense of a major corporate producer. I know that it was directed by the very talented Julie Taymor. I realize that even though the musical premiered on Broadway nearly fourteen years ago, it is still selling tickets both on the “Great White Way” and in multiple touring companies. This collaboration between a truly gifted artist and a major corporate entity has been highly successful, with no signs of slowing down. I knew all of that, but this is one highly acclaimed Broadway spectacle that I have yet to experience, and I am thrilled that the show will be spending four weeks right here in Dayton, Ohio!

Disney's The Lion King ~ presented by The Victoria Theatre Association, Dayton, OH ~ June 14 - July 10, 2011

Ben Roseberry

I got the opportunity to spend some time chatting with three cast members of the show on the phone last week. The cast was in Toronto, Canada, where they had an extended stay. I spoke with vocal ensemble member and “Sarabi” understudy Electra Weston, Ben Roseberry who portrays “Ed” the laughing hyena, and the ever-popular Ben Lipitz who livens up the stage as “Pumbaa” the optimistic warthog.

I asked the group of actors about touring with Disney Theatricals, working with Taymor and what the experience is like in a production that thrills audiences of all ages.

The first thing of note is the appreciation the actors express for the company itself. “It is the best contract I’ve ever worked for,” Roseberry declares, “we are in each city for four weeks or more.” All three of the actors pointed out the fact that through Disney’s intention to keep the company in a city for an extended run of at least four weeks, allows the actors time to settle in and actually experience each city. Most other touring shows will have shorter runs, some as little as a day in each city, which leave the actors living out of their suitcase. Roseberry, an aviation enthusiast, says that he is very excited to have time in Dayton to explore the Aviation Trail, Hall of Fame and Wright Brother sites.

Electra Weston

A surprise to me was the fact that the touring company has the opportunity to make their own housing arrangements, some choosing extended stay hotels, others are able to find short-term furnished apartments. Electra Wilson indicated that in her four years on the tour, she’d never stayed in a hotel. She ships her bicycle and typically manages to find an apartment within biking distance to the venue. This gives her the opportunity to become a member of the community, if only for a short time.

I was curious to know more about the experience of being onstage for these actors, what it was like to be on the other side of the curtain. The technical aspects of performing the show utilizing these puppets and intricate scenic elements must certainly be an incredible thing to watch not only from the audience perspective, but also from backstage.

All three actors found their roles very taxing, but for very different reasons. Weston says that her most difficult transition into the role was the English language. She had previously been a part of the German company of the show, so even though she is American, she found it difficult to sing her parts in English. She had to relearn the show in her native tongue, and had a tough time doing so!

“I can’t say it’s a bigger thrill than what the audience is experiences, but it certainly is comparable.” says Ben Lipitz, ” Performing in The Lion King is a rare experience in theatre, it is a landmark event for the audience, as a performer I have to take the storytelling very seriously. We have a responsibility to live up to the expectations [of the audience]. It is a privilege to tell this story”

“It took a good eight weeks of performing for the role to get in my body.” Roseberry said he was very nervous performing in his “Ed” the hyena puppet for the first several weeks he was on tour. He pointed out that he had to learn to harness that nervous energy, translating it into a good energy. Additionally he spent hours in front of a mirror learning how to operate the hyena puppet in as many expressive ways as possible, since the character does not speak, but simply communicates through laughter. (btw…”Ed” is not “stupid”, but rather he is “verbally challenged”)

Ben Lipitz has been with the show for nine years, both on Broadway as well as the touring company. He recounted that while his very first entrance on stage in this show was very exciting, that the thrill continues to this day. Ben’s experience as an actor (on stage, film & television, including a role on The Sopranos) didn’t really prepare him for operating the puppet, especially Pumbaa which weighs in heaviest at 46 pounds. Creating the physical articulation with the puppet is his biggest challenge, but also the biggest reward.

Ben Lipitz

The beauty of Julie Taymor’s design is the duality of the character on stage. You see the actor manipulating the puppet, but you also see the humanity within the animal character. The actors praise the brilliance of Taymor’s vision and her famous “hands-on” approach to direction an upkeep of her vision. They report that there is a touring director and staff that continually monitor the show, maintaining the quality of the performance. This team works with the cast so that what we see in Dayton is precisely the same as the original intent of every step, word and note performed when Julie Taymor’s vision became reality in 1997. Taymor will even stop in to check on the show herself occasionally to be sure that her vision is never compromised (though this hasn’t happened recently due to her involvement in another theatrical project).

“I have been truly touched by how inspiring working with Julie is,” claims Lipitz, “[it is] her spirit and her energy. She is a gifted, visionary artist.”

While THE LION KING is a very complex machine of a show, with many moving parts and people manipulating every aspect of it, it is also child’s play. Experiencing this show on our side of the curtain will certainly be exciting, but imagine how thrilling it must be to make it all happen behind the scenes. These actors spoke as if it was truly an honor to tell this story, and be a part of the magic daily.

Before I got off the phone with Pumbaa, I had one more question I was required to ask. Noah wanted to know “what do you do with your horns?” Pumbaa claimed that his daily regimen included trying not to stay up too late, staying out of the sunlight and plenty of moisturizer. Pretty good advice for all you warthogs reading this.

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

Disney’s THE LION KING

Wednesday, June 15 through Sunday, July 10, 2011

at The Schuster Center’s Mead Theatre – Performance Times Vary

Tickets range from $27 – $141

Tickets are ONLY available through Ticket Center Stage.

Visit the Schuster Center box office in downtown Dayton or order by phone, at (937) 228-3630 or toll free (888) 228-3630. Ticket Center Stage hours are Monday-Friday, 10 a.m. – 6 p.m., Saturday, noon – 4 p.m., and two hours prior to each performance.

Tickets may also be purchased online at www.ticketcenterstage.com.

For more information about Victoria Theatre Association visit www.victoriatheatre.com.

Downtown Dayton Partnership and the Victoria Theatre Association have teamed up to provide roaring deals and promotions for the The Lion King patrons. Read more about these exiting offers HERE.

Click for details.

Sing it Strong, Sing it Loud

June 14, 2011 By Dayton937 Leave a Comment

Altar Boyz

ENCORE THEATER COMPANY

The quintessential Boy Bands: upbeat (and often emotional) music… slick choreography… the perfect individual and group images… slightly-too-perfect rhymes… the Soul Sensor DX-12? Well, maybe not for any other boy band, but for the Altar Boyz, it’s key! During the final concert of their “Raise the Praise” tour, the Boyz seek to reduce the number of burdened souls in the audience (indicated by the number on the Sensor) to zero.

“Jesus called me on my cell phone / No roaming charges were incurred / He told me that I should go out in the world / And spread His glorious word”

Altar Boyz, presented in real time as that concert, is a satirical, “foot-stomping, rafter-raising musical comedy,” and the fictitious Christian boy band includes five Ohio members: Matthew, Mark, Luke, Juan, and Abraham (who, actually, is Jewish). Some of the Boyz’ signature hits include “Rhythm in Me,” “The Calling,” and “I Believe.” Directed and choreographed by Lauren Morgan and musically directed by Mark Barnhill, this Dayton premiere kicks off Encore Theater Company’s summer season, and runs for one weekend only, June 16 – 18.

“We think that church is super fine / We are the Altar Boyz / We love the wafers and the wine / We are the Altar Boyz / And I think / You’ll find….. We’re gonna altar your mind!”

This show is unique in that each cast member must be a triple-strength performer, because everyone is acting, singing, and dancing for nearly the entire show! Therefore, learning the show has been hard work, but the actors I spoke with were excited about the challenges they’ve faced and the strides they’ve taken as performers. The cast includes students and/or Dayton residents Drew Bown, Andrew Koslow, Korey Harlow, Zack Steele, and Zach King, with a special appearance by local Muse Machine alumnus and Broadway performer Tyler Maynard as “the Voice of God.”

“When I hold your body next to mine / it feels so good / and feels so right / and it also makes my Levis feel real tight… / and I know that there is something about you, baby…/ Girl, you make me want to wait.”

Not only does the cast play a great team onstage, but everyone has an excellent collaboration as well. Each of the cast members are or have studied some type of theatre at the collegiate level, and most are new to Encore Theater Company’s mainstage; however, they’ve all contributed unique talents and abilities to make this show strong and fluid, to refine timing of the show’s extensive humor and rehearse even the most difficult 5-part harmonies. Koslow, who plays Mark, explained in an interview with onStageDayton,

Andrew Koslow, "Mark"

“The most rewarding thing for me about this show is how much we’ve truly banded together (pardon the pun) to make this show happen. We’ve run into a thousand road blocks, from losing cast members to sometimes only having two Boyz available for certain rehearsals due to commitments to other shows. Despite all that, we’ve put together an incredible and entertaining show… I truly couldn’t be prouder of our entire cast and production team.”

That commitment and collaboration have paid off: Zack Steele, who plays Juan, praises,

Zach Steele, "Juan"

“[Altar Boyz] will have [audience members] crying from laughing so hard. The script is bulletproof and the Boyz’ chemistry on stage will carry you on a journey all the way through curtain call. The singing is great and the satire is ever-present.”

Koslow added,

“I truly believe there is something for everyone in this show, and no one can prove me wrong unless they come and see for themselves.”

“You know The Bible tells you God’s the one that made you / So get out on the dance floor And shake what He gave you!”

So, whether you’re holding onto music of the early ‘90s or just love to make fun of boy bands, Altar Boyz is the perfect show for you. Don’t miss it!

Tickets & Performance Information

Altar Boyz – June 16 – 18, 8:00 pm

Encore Theater Company

Performances will be held at Sinclair Community College’s Blair Hall Theatre. Tickets are $15 and can be reserved through http://brushfire.e-vent.info/Events/Sinclair/Default.aspx, by contacting (937) 512-2808 (be sure to leave a message) or [email protected]

For more information, check out the Altar Boyz blog or Encore Theater Company.

~KN

Coming Up in Dayton Theatre: 06/09 – 06/22

June 9, 2011 By Dayton937 Leave a Comment

THURSDAY, JUNE 9 – WEDNESDAY, JUNE 22, 2011

Evil Dead: the Musical at CATCO (Photo Credit Dave Alkire and CATCO-Phoenix)

The unexpected happens a lot in theatre. Everything rarely goes exactly as planned; that is the nature of live theatre, and we have to learn to deal quickly to make things work. And yesterday, the show I’m ASMing (Evil Dead: the Musical at CATCO; it’s a professional show and well worth the drive out to Columbus, so come see it!) was no exception. Halfway through the show, the hinge on the trap door broke when one character stomped to close it; so my crew and I scrambled around backstage alerting actors and shuffling duties so that a crew person could be underneath the door as needed. We averted any potential injuries or changes to the blocking, finished the show well and fully, and fixed the door immediately after.

At first, the thought of problems is irritating. Why can’t things just work all the time? Why can’t we be in control of everything during a show? As Assistant Stage Manager, if something backstage goes wrong, it’s my fault. I really like when the show and the effects run smoothly.

However, thinking about it, I realize a certain exhilaration, too. Having something go wrong, but being able to work together to get past it and make the show work, is a mark of good collaboration and communication within a show. If our cast and crew weren’t working well together, we couldn’t fix problems like the cellar door on the spot. Those elements are part of the very essence of theatre, whether garage, community, or Equity, and seeing them lived out successfully reminds me why I love theatre, and why Dayton theatre is so great. These next couple of weeks, we have venue and artistic collaborations on shows, as well as the individual process of each performance. Support those this weekend, and go see one of these great productions.

Another Openin’, Another Show

…SHOWS OPENING SOON

The Mystery of Edwin Drood

BEAVERCREEK COMMUNITY THEATRE

The Story: John Jasper, a Jekyll-and-Hyde choirmaster, desperately loves his music student, Miss Rosa Bud, who is engaged to Jasper’s nephew, Edwin Drood. However, when Edwin Drood disappears mysteriously one stormy Christmas Eve, suspicions abound. In this adaptation of Dickens’ last and unfinished manuscript and a show-within-a-show, audiences choose the ending!
Dates: June 10 – 19, 2011
Tickets & More Information: BC Theatre: Edwin Drood

…SHOWS CLOSING SOON

right next to me

HUMAN RACE THEATRE COMPANY

The Story: A war widow, attempting to cope with her Marine husband’s death in Iraq, goes with her brother-in-law on a quest to scatter her husband’s ashes where he required, remembering and seeing flashbacks along the way in an emotionally moving and uplifting journey. This show premiered in an earlier and very different version as part of the Human Race Musical Theatre Workshops in 2009.
The Dates: May 21 – June 12, 2011
Tickets & More Information: Human Race Theatre Company

…ONE WEEKEND ONLY

Southern Comforts

YOUNG AT HEART PLAYERS and DAYTON THEATRE GUILD

The Story: Some people thrive and grow enervated with change; others, run from any potential unsettlement. In a Victorian era New Jersey, a taciturn Yankee widower and a vivacious Tennessee grandmother find a second chance at love, but the relationship is filled with surprise and unpredictable tribulation. A collaboration between two theatres, “this off-Broadway success is an affecting, late-in-life journey of compromise and rejuvenation, of personal risk and the rewards of change” (DTG).
Dates: June 10 – 12, 2011
Tickets and More Information: Dayton Theatre Guild, DMM Event

Altar Boyz

ENCORE THEATER COMPANY

The Story: In this foot-stomping, rafter-raising, musical comedy, a fictitious Christian boy band performs on the last night of their national “Raise the Praise” tour. The Boyz are five all-singing, all-dancing heartthrobs from Ohio: Matthew, Mark, Luke, Juan and Abraham. Performed in Sinclair CC’s Blair Hall Theatre, this show is perfect for those who love (and to love to make fun of) boy bands!
Dates: June 16 – 18, 2011
Tickets and More Information: Encore Theater Company

Part of it All

…AUDITIONS AND CASTING CALLS

Into the Woods

PLAYHOUSE SOUTH

Auditions: June 13 & 14
Performances: August 12 – 21, 2011
The Story: After a Witch curses a Baker and his wife with childlessness, the couple embarks on a quest for special objects from classic fairy tales to break the spell, stealing from and lying to Cinderella, Little Red, Rapunzel, and Jack (of beanstalk fame). But the characters didn’t count on the consequences of their actions or the disasters that would ensue…
More Information: Playhouse South: Into the Woods

Harvey

BEAVERCREEK COMMUNITY THEATRE

Auditions: June 13 & 14, 2011
Performances: August 26 – September 4, 2011
The Story: Elwood P. Dowd begins introducing his imaginary friend, Harvey (a six and a half foot rabbit) at a society party; his sister, Veta, can’t tolerate the embarrassment and has him committed to a sanitarium. However, problems arrive when Veta explains that years of living with Elwood have made her see Harvey, too! The doctors commit Veta instead of Elwood, but when the truth comes out, the search is on for Elwood and his invisible companion.
More Information: BC Theatre: Auditions

~KN

Whodunit? The Mystery of Edwin Drood

June 8, 2011 By Shane Anderson 1 Comment

The Mystery of Edwin Drood

Beavercreek Community Theatre

Win Tickets! Read on!

One hundred forty one years ago today (08 June 1870) Charles Dickens suffered a stroke. The next day: dead. His last novel: unfinished.

Flash forward those 141 years (+a couple days): the audiences at Beavercreek Community Theatre will get an opportunity to determine how the plot of Dickens’ incomplete The Mystery of Edwin Drood concludes.

The novel was adapted into a Tony Award winning musical comedy in the mid-eighties by Rupert Holmes. The playwright put a unique twist on the show, by writing multiple endings that requires the audience to make choices about various characters and actions, choosing a murderer, a detective and other various participants and events that lead up to the ending. This sounds like an entertaining whodunit musical for the audience, but on the other side of the curtain…it sounds like a lot of work! Multiple endings to learn, different songs to perfect, and multiple sets of blocking and choreography to refine all must lead to hours upon hours of rehearsal devoted just the last few minutes of the production.

The show is described as a hilariously loony Victorian musical troupe takes over the stage for its production of a flamboyant rendition of an unfinished Dickens mystery.

It’s the story of John Jasper, a Jekyll-and-Hyde choirmaster portrayed by Jonathan Berry of Centerville. He is madly in love with his music student, the fair Miss Rosa Bud, played by Bethany Reid Locklear of Englewood. She, in turn, is engaged to Jasper’s nephew, young Edwin Drood, portrayed by Amy Leigh of Kettering.

onStageDayton contacted director and scenic designer Chris Harmon with a few questions about the show:

onStageDayton: The Mystery of Edwing Drood is not a title commonly found on season schedules in the area, what drew you to the script?

Chris Harmon, director

Chris Harmon: I saw The Mystery of Edwin Drood performed at the Victoria by the Human Race around 1995, I went out and bought the original Broadway cast cd and have listened to it ever since. Last year I became a member of the play selection committee at BCT and it happened to be on the list and I was immediately interested in directing it.

oSD: The show has a few unique aspects, such as the audience participation and the “show-within-a-show” concept. What kind of complications did these create for rehearsals?

CH: The audience gets to choose the detective, murderer and lovers in the show. There are so many possible combinations which make the show’s ending fresh and new every night. I am lucky to have amazing actors who took the initiative to learn their possible parts so well. The endings can’t help but to be under-rehearsed, since it would be impossible to run them all every night. It saddens me that only having 6 performances, some of the possible murderer’s will not even get a chance.

oSD: You have developed a terrific reputation as a director and scenic designer in the Miami Valley…what was your approach in your designs for this show? How did you come up with the concept & how do you go about making your design come to life?

CH: Drood is set just before the turn of the century in “The Music Hall Royale”. My inspiration for the set was actually the first place i saw the show, The Victoria Theatre. Drood is a show within a show, so the Grand Drape is used for the scene changes, so I created a music hall thrust to have enough playing space for the actors in front of the curtain. I am a very visual person and when reading a script or listening to the music, I get a picture in mind instantly, the hard part is figuring out how to execute the designs within budget and time frame.

oSD: What is your next project?

CH: My next project is directing Camp Rock at Town Hall Theatre (where i am the resident scenic artist). In community theatre I am directing Evil Dead and Chicago at BCT next season and could not be more excited about it. I am thrilled to be working with Annette Looper as choreographer for both of these.

The cast of unique and zany characters also includes Bryan Wilcox of Riverside, Jeremy D. King of West Carrollton, Jim Lockwood of Huber Heights, Lindsay Sherman of Bellbrook, Matt Owens of Beavercreek, Tara Nichole Murphy of Miamisburg, Pam McGinnis of Oakwood, Charles Larkowski and Megan Vander Kolk of Fairborn and Dayton residents, Dean Swann, Jenna Burnette, Jennifer Wilson, Michael J. Stockstill, Nicole Dine, Thomas Cole Schreier and Shawn Hooks.

Besides Chris Harmon, the production staff includes Annette Looper of Centerville as choreographer, Dr. James Tipps of Beavercreek as music director, and Kristie Lickliter of Fairborn filling the role of stage manager.

John Falkenbach of Dayton is the lighting designer, Brad Mattingly of Franklin is the orchestra director, Hans Unser of Beavercreek is the stage assistant and assistant set builder and Diana Blowers of Beavercreek is the producer.

-SA/BCT Press Release

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

THE MYSTERY OF EDWIN DROOD – June 10 – 19

8pm on Fridays & Saturdays / 3pm on Sundays

Tickets are $12 for adults and $11 for members, students and senior citizens.

A group discount of $1 per ticket is available to groups of 10 or more, when purchased at the same time for the same performance.

Tickets can be reserved by calling (937) 429-4737 and leaving a message or by e-mailing [email protected]. For more information, visit the theater’s Web site at www.bctheatre.org where tickets can also be purchased online.

Beavercreek Community Theatre is located within the Lofino Adult Enrichment and Cultural Arts Center at 3868 Dayton-Xenia Road in Beavercreek.

The show, which will be presented at 8 p.m. on Fridays and Saturdays and 3 p.m. on Sundays from June 10 through June 19, is actually a show within the show.

Win Free Tickets!

Beavercreek Community Theatre & onStageDayton on DaytonMostMetro.com have teamed up to give you a chance to win tickets to The Mystery of Edwin Drood! We will be giving away up to SIX pairs of tickets…We’ll select 1 winner (of a set of tickets) for every 5 FB/Twitter Shares! All you need to do is:

Share this article on Facebook or Twitter…just click the appropriate button at the top of this page.
Fill out the contact form at the bottom of this post.
The deadline to enter is Noon on SATURDAY, June 11th.
Winners will be selected randomly from all of the entries.

Error: Contact form not found.

Sondheim at the Movies with Jill Paice

June 3, 2011 By Russell Florence, Jr. Leave a Comment

Jill Paice

The New York Philharmonic’s star-studded concert production of Stephen Sondheim and George Furth’s breakthrough Tony Award-winning 1970 musical “Company” begins limited showings in movie theaters across the country Wednesday, June 15 featuring Muse Machine alumna Jill Paice of Beavercreek as Susan.

Sondheim and Furth’s dated yet comical, thought-provoking and vignette-driven account of seemingly content bachelor Bobby (Emmy winner Neil Patrick Harris) and his close knit circle of “good and crazy” married friends was filmed live April 7-9 at Lincoln Center’s Avery Fisher Hall under the direction of Lonny Price. Along with Paice and Harris, the impressive, promising cast consists of Tony winner Patti LuPone as the boozy Joanne, Emmy winner Stephen Colbert as Harry, Emmy and Tony nominee Martha Plimpton as Sarah, Emmy winner Jon Cryer as David, Tony nominee Jennifer Laura Thompson as Jenny, Tony winner Katie Finnernan as Amy, Tony nominee Craig Bierko as Peter, Emmy nominee Christina Hendricks as April, Tony winner Anika Noni Rose as Marta, Jim Walton as Larry, Aaron Lazar as Paul and Chryssie Whitehead as Kathy.

Sondheim’s fantastic score, one of his crowning achievements, includes “Another Hundred People,” “Barcelona,” “Being Alive,” “Company,” “Getting Married Today,” “The Little Things You Do Together,” “Side by Side by Side,” “Someone Is Waiting,” “Sorry-Grateful,” “You Could Drive A Person Crazy” and the signature standout “The Ladies Who Lunch,” which should be an amazing highlight as sung by LuPone. The concert notably features Jonathan Tunick’s splendid original orchestrations.

Neil Patrick Harris, Craig Bierko and Jill Paice

In addition, Paice will soon star in the off-Broadway world premiere of “Death Takes a Holiday,” a musical adaptation of the Alberto Casella play of the same name from Tony-winning librettist Thomas Meehan (“Annie,” “The Producers,” “Hairspray”) and Tony-winning and Oscar-nominated composer Maury Yeston (“Nine,” “Titanic”). Directed by Tony winner Doug Hughes (“Doubt”), “Death Takes a Holiday,” memorably remade in 1998 as “Meet Joe Black,” begins previews at New York’s Laura Pels Theatre Friday, June 10 in advance of an opening Thursday, July 21. Paice’s New York credits include the Broadway productions of “The Woman in White,” “Curtains” and “The 39 Steps.”

At present, “Company” is scheduled to be screened locally Wednesday, June 15 and Thursday, June 16 at 7:30 p.m., Sunday, June 19 at 2 p.m. and Tuesday, June 21 at 7:30 p.m. at Rave Motion Pictures The Greene 14, 4489 Glengarry Dr., Beavercreek. You can catch a sneak peek of the cast when they reunite to perform Sunday, June 12 at the 65th annual Tony Awards, which will be broadcast live on CBS at 8 p.m. hosted by Harris.

For additional information, visit www.companyonscreen.com

Coming Up in Dayton Theatre: 05/26 – 06/08

May 25, 2011 By Dayton937 1 Comment

Thursday, May 26 – Wednesday, June 8, 2011

Dayton Theatre Guild: Mauritius

Yesterday, when friends asked about having a picnic on Monday, I returned the question with a confused stare until they prompted me that it was Memorial Day. Wow! The holiday seems like it has completely snuck up on me. And with it has come some break in the rain (just some) and the beginning of summer.
Even in the midst of cookouts and vacations, there’s still the opportunity to see shows in the Dayton area this summer and these next few weeks. This can be a great time to celebrate school letting out and the warmer weather, and what better way than by doing something creative? A few shows are closing this weekend, so make sure to catch them before they do!

Another Openin’, Another Show

…SHOWS OPENING SOON

right next to me

HUMAN RACE THEATRE COMPANY

…SHOWS CLOSING SOON

La Cage aux Folles

DAYTON PLAYHOUSE

The Story: George (a glitzy nightclub owner) and his partner Albin (also the glamorous changeuse Zaza)’s son is getting married… and in this musical, he brings his fiancee’s conservative parents home to meet the flashy pair. “The bonds of family are put to the test as the feather boas fly [in this] tuneful and touching tale of one family’s struggle to stay together… stay fabulous… and above all else, stay true to themselves!”

Date: May 13 – 29, 2011

Tickets and More Information: Dayton Playhouse, DMM Review, DMM Preview

Mauritius

DAYTON THEATRE GUILD

The Story: Only together after the death of their mother, two estranged half-sisters discover a book of rare-and potentially extremely valuable – stamps. One sister embraces the stamp collecting, the other resists – but both are targets of three seedy, high-stakes collectors who are willing to do anything to claim a particularly rare find as their own.

Dates: May 13 – 29, 2011

Tickets & More Information: Dayton Theatre Guild, DMM Preview

One Short Day

…SPECIAL EVENTS FOR THE THEATRICALLY MINDED

First Annual Talent Show

PLAYHOUSE SOUTH

The Basics: The talent pool in this area is great and diverse… and Playhouse South has selected 21 people of various ages, from singers and dancers to comics and beat-boxers, to show off their skills and compete for a $250 Grand Prize. Part of the contest is the audience’s ranking, so get ready to cheer for your favorite act!
The Date: Friday, May 27, 8:00 pm
More Information: Playhouse South

~KN

Sinclair presents The Women of Lockerbie

May 18, 2011 By Dayton Most Metro Leave a Comment

The Women of Lockerbie

Sinclair Theatre

Sinclair Community College welcomed to campus Award-winning playwright Deborah Brevoort, author of THE WOMEN OF LOCKERBIE, (through May 21, Blair Hall Theatre) Ms. Brevoort was on campus for a series of events culminating in a Meet-the-Artist reception after the opening night performance on May 13th.

The Women of Lockerbie is based on events surrounding the tragic bombing of Pan Am Flight 103 over Lockerbie, Scotland. It is the winner of a Silver Medal, Onassis International Playwriting Competition and the Kennedy Center Fund for New American Plays Award.

The Women of Lockerbie - Sinclair Theatre - through May 21

"A moving, thoughtful exploration of how grief changes over time." —The New Yorker

The story revolves around a mother from New Jersey who roams the hills of Lockerbie, Scotland looking for her son’s remains, which were lost in the crash of Pan Am 103. She meets the women of Lockerbie, who are fighting the US Government to obtain the clothing of the victims found in the plane’s wreckage. The women, determined to convert an act of hatred into an act of love, want to wash the clothes of the dead and return them to the victim’s families. The Women of Lockerbie is loosely inspired by a true story, although the characters and situations in the play are purely fictional. Written in the structure of a Greek tragedy, it is a poetic drama about the triumph of love over hate.

“Playwright Deborah Brevoort has a gift for high poetry and her descriptions of the day when death came raining down on Scotland are impressively moving…endowed with character, poetry and a core of touching emotion…” —Time Out London

Director Kimberly Borst, new performance faculty member at Sinclair, has selected a cast including: Allison Husko, William Courson, Rachel Wilson, Rebecca Sebree, Angela Dermer, Laura Wagner and Chris Hahn.

-SA/SCC Press Release

We encourage local theatre companies to submit calendar items HERE, and official press releases to [email protected].

Tickets & Performance Information:

THE WOMEN OF LOCKERBIE – through May 21

Remaining performances include the Downtown Dayton Thursday Nights performance at 7 p.m. on May 19th. as well as 8pm performances on Friday and Saturday, May 20-21.

All seats are reserved and cost $15 adults and $10 for students/seniors. For more information or to purchase tickets online now go to: Sinclair.edu/arts.

Box office is open 11-3 Monday through Friday and one hour prior to performances. 937-512-2808.

NOTE: ALL Thursday tickets cost an additional $5 each and include pre-show appetizers and cash bar for Sinclair’s popular Downtown Dayton Thursday Nights.

Sinclair Theatre Fall 2011 Auditions

Sinclair Theatre Holds Auditions
For Two Fall Productions

Sinclair Community College’s Theatre Department will hold open auditions for its fall productions of The Crucible and I Love You, You’re Perfect, Now Change, on Monday, June 6 from 6-8 pm in room 2L12, building 2, on the Sinclair campus.

Performance dates for The Crucible, by Arthur Miller, are October 14-22 in Blair Hall Theatre. Callbacks will be from 6:00 – 8:00 pm on June 7th.

Performance dates for I Love You, You’re Perfect, Now Change, book & lyrics by Joe Dipietro, music by Jimmy Roberts, are November 3-6 in the building 2 Studio. Callbacks will be from 6:00 – 8:00 pm on June 8th.

Participants may prepare an audition of up to 4 minutes and must include: a classic/dramatic monologue, AND either a contemporary/comedic monologue or
16-32 bars of a song from a Broadway musical (accompanist provided).

Call 512-4580 for an audition appointment or sign up in room 2220.

On Stage Dayton Previews

The Oldest Profession by Paula Vogel The Oldest Profession

THE DAYTON THEATRE GUILD

NOTE: Audition Info for “Lost In Yonkers” below!

Tickets & Performance Information:

AUDITION INFORMATION: Lost In Yonkers by Neil Simon

September 6 & 7, 2011

DPO to help audiences find hidden, treasonous meaning in major symphonic work

TONIGHT: The Songs of West Side Story & More

Muse Machine

What is the best part of being in a Muse Machine concert or show?

Tickets & Performance Information:

2011 Human Race Festival of New Musicals

The Human Race Theatre Company

Encore Theater Company

Musical Theater Festival Schedule

Tickets & Performance Information:

A Midsummer Nights Dream

Free Shakespeare!

Tickets & Performance Information:

A Midsummer Nights Dream

Weekends through August 14, 2011

Dancing Backwards by John Fiorillo - FutureFest 2010 FutureFest 2011

Dayton Playhouse

2011 FutureFest Performance Schedule

Friday, July 29

8 p.m.

Saturday, July 30

10 a.m.

3 p.m.

8 p.m.

Sunday, July 31

10 a.m.

3 p.m.

Tickets & Performance Information:

21st Annual Dayton Playhouse FutureFest

July 29-31, 2011

Photo Highlights of 2010 FutureFest

IN MY BLOOD

Encore Theater Company

Win Tickets to this new musical! Read on!

“In My Blood deals with real people with real issues of isolation and social shunning who ALSO just happen to be vampires.”

Tickets & Performance Information

Win Free Tickets!

Nick Cordileone & Ben Lipitz Disney’s THE LION KING

The Victoria Theatre Association

Tickets & Performance Information:

Altar Boyz

ENCORE THEATER COMPANY

“Jesus called me on my cell phone / No roaming charges were incurred / He told me that I should go out in the world / And spread His glorious word”

“We think that church is super fine / We are the Altar Boyz / We love the wafers and the wine / We are the Altar Boyz / And I think / You’ll find….. We’re gonna altar your mind!”

“When I hold your body next to mine / it feels so good / and feels so right / and it also makes my Levis feel real tight… / and I know that there is something about you, baby…/ Girl, you make me want to wait.”

“You know The Bible tells you God’s the one that made you / So get out on the dance floor And shake what He gave you!”

Tickets & Performance Information

Another Openin’, Another Show

…SHOWS OPENING SOON

The Mystery of Edwin Drood

BEAVERCREEK COMMUNITY THEATRE

…SHOWS CLOSING SOON

right next to me

HUMAN RACE THEATRE COMPANY

…ONE WEEKEND ONLY

Southern Comforts

YOUNG AT HEART PLAYERS and DAYTON THEATRE GUILD

Altar Boyz

ENCORE THEATER COMPANY

Part of it All

…AUDITIONS AND CASTING CALLS

Into the Woods

PLAYHOUSE SOUTH

Harvey

BEAVERCREEK COMMUNITY THEATRE

The Mystery of Edwin Drood

Beavercreek Community Theatre

Win Tickets! Read on!

Tickets & Performance Information:

Win Free Tickets!

Another Openin’, Another Show

…SHOWS OPENING SOON

right next to me

The Oldest Profession by Paula Vogel

The Oldest Profession

Dancing Backwards by John Fiorillo - FutureFest 2010

FutureFest 2011

Nick Cordileone & Ben Lipitz

Disney’s THE LION KING

Sinclair Theatre Holds Auditions
For Two Fall Productions