On Stage Dayton Reviews

‘Peter and the Starcatcher’ Review – Victoria Theatre Association – Adequate Whimsy

June 11, 2015 By Russell Florence, Jr.

Oliver Wadsworth and Justine Salata in “Peter and the Starcatcher” (Photo by Alexander Weisman)

The fanciful Peter Pan play-with-music prequel “Peter and the Starcatcher” adequately closes the Victoria Theatre Association’s 2014- 15 Premier Health Broadway Series at the Schuster Center.

Sprightly adapted by Rick Elise based on the 2006 novel of the same name by Dave Barry and Ridley Pearson, this “Starcatcher” primarily presents a unique quandary, specifically for theatergoers expecting to see the national tour of its tremendous Broadway mounting, nominated for nine Tony Awards in 2012 ultimately winning five. When the “Starcatcher” tour folded last year, the Victoria searched for a replacement version. Organizers selected a regional theater production conceived by Salt Lake City’s Pioneer Theatre Company, but the show just doesn’t have the shimmering conceptual sparkle, artistic ingenuity and emotional heft of the Broadway production, which certain patrons fondly recall to this very day.

Granted, director Jenn Thompson certainly attempts originality, but unfortunately her pacing is off-kilter in a startlingly humdrum Act 1that finds some actors having trouble projecting in the space, a crucial indication this intimate production truly belongs inside the Victoria Theatre. It’s also extremely odd Thompson allows Leo Ash Evens, who excessively portrays the villainous Black Stache (the precursor Captain Hook), to go unrealistically overboard in a defining moment late in Act 2.

Even so, there are consistently firm performances to be found here amid the fascinating, fun, ensemble-driven storytelling. The sharp, physical Rhett Guter winningly charms as the intuitive and vulnerable Boy/Peter. Justine Salata brings poise, humor and spunk to her terrifically astute portrayal of Molly, future mother of Wendy. José Restrepo (Smee), Austin Archer (Prentiss), Jake P. Evans (Ted), Jeff Gurner (Grempkin/Fighting Prawn), and Oliver Wadsworth (Mrs. Bumbrake/the mermaid Teacher) equally shine in featured comedic capacities.

Additionally, the presentation’s attractive technical elements are courtesy of scenic designer George Maxwell, costumer Carol Wells-Day, lighting designer Michael Gilliam, sound designer Joshua C. Hight, and hair/makeup designer Amanda French. Patricia Wilcox’s playful choreography and Tom Griffin’s crisp music direction suitably complement Wayne Barker’s cheery tunes.

“Starcatcher” enchants at its core due to its very engaging, “Wicked”-esque ability to present familiar lore refreshingly, particularly in its stronger Act 2 detailing the genesis of Tinkerbell and the need for a certain hook. However, when you consider the fundamental fact that the Victoria is responsible for and boasts about delivering national tours, watching an out of state regional theater showcase of this work is a disappointing predicament.

“Peter and the Starcatcher” continues through June 14 at the Schuster Center, Second and Main Streets, Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 65 minutes; Act Two: 58 minutes. Tickets are $25-$97. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘Grease’ Review – Dayton Playhouse – Lukewarm Nostalgia

May 6, 2015 By Russell Florence, Jr.

The cast of the Dayton Playhouse’s production of “Grease” (Contributed photo)

The Dayton Playhouse’s entertaining production of Jim Jacobs and Warren Casey’s 1972 musical “Grease” lacks authenticity where it counts.
Most people assume “Grease” is an easy show to do because the tuneful music fuels the story and the characters are instantly relatable. However, you have to rely on specific types to truly sell the cool factor inherent in the comedic material set in and around Rydell High School in the late 1950s. Director Tina McPhearson assembles a committed cast but there’s too much caricature and not enough character evident in key roles to propel the staging beyond its odd spoof mentality. Granted, due to the slightly clunky, vignette-esque storytelling structure of the original libretto (the Playhouse isn’t using the revised libretto incorporating familiar songs from the popular 1978 film) it can be a challenge for some actors to dig deep and find a three-dimensional purpose in their characterizations. Even so, it isn’t an impossible task, particularly when you consider the emotional unease sweethearts Danny Zuko and Sandy Dumbrowski (a mismatched, reserved Bobby Mitchum and Amanda Carter) should be feeling at almost every turn as they clumsily try to make sense of their newfound relationship while coping with peer pressure. In the same regard, there are complex layers simmering within the playful yet testy bond between roughneck Kenickie and his sarcastic girlfriend Betty Rizzo (perplexingly inhabited by a surprisingly off-kilter Desmond Thomas and Kelli Locker) simply left unexplored.
Nevertheless, as the horny Burger Palace Boys and sassy Pink Ladies bicker and banter with risqué tendencies, fully realized portrayals still arise from a few principals. Tyler Henry, even stronger here than in “The Fantasticks” four months ago, is straightforwardly charming as sensitive guitarist Doody. Max Santucci, in his musical theater debut as Sonny LaTierri, solidly creates character in his speaking voice alone without lessening the believability or impact of his performance. Naman Clark (Roger) and the mature-beyond-her-years Tori Kocher (Jan) are a delightful hoot in “Mooning.” Allie Jackson (Marty) and Emily Church (Frenchy) firmly assist in humor and spirit. Appealing supporting work is offered by Theresa Kahle (Miss Lynch), Melanie Barrett (Patty Simcox), Tyler Smith (Eugene Florczyk), Malcolm Casey (Vince Fontaine), William Scarborough (a very suave, period appropriate Johnny Casino), Tamar Fishbein (Cha-Cha DiGregorio), and strikingly smooth tenor Andrew Spoon (Teen Angel).

Elsewhere, choreographer Paige Hanshaw’s energetic routines are a huge asset, particularly the high spirited “Alma Mater Parody,” “We Go Together,” “Born to Hand Jive,” and special addition/finale “You’re the One That I Want.” Scenic designer Chris Newman’s retro set wonderfully recalls high school exteriors of yesteryear. Steve Burton, Tim Grewe and McPhearson supply terrific costumes and wigs, especially for the comical “Beauty School Dropout.” Musical director Nancy Perrin leads a small yet steady orchestra.

This “Grease” falls short but the songs will keep you engaged nonetheless.

“Grease” continues through May 17 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Act One: 50 minutes; Act Two: 55 minutes. Tickets are $18 for adults and $16 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com.

‘Wicked’ Review – Victoria Theatre Association – Wonderful Witches of Oz

May 2, 2015 By Russell Florence, Jr.

I couldn’t be happier to tell you the current national tour of composer Stephen Schwartz and librettist Winnie Holzman’s blockbuster 2003 musical “Wicked,” a fascinating, humorous and dark revisionist prequel to “The Wizard of Oz” based on the 1995 novel by Gregory Maguire, once again proves its worth as a must-see at the Schuster Center courtesy of the Victoria Theatre Association.

Alyssa Fox and Carrie St. Louis as Oz witches Elphaba and Glinda in “Wicked.” (Photo by Joan Marcus)

The production’s tremendous technical elements heighten the show’s appeal as usual, but this mounting, even stronger than its well-received 2010 engagement, uncovers new depths in the vital relationship between the green-skinned, misunderstood Elphaba and the beautiful, bubbly Galinda, the engaging duo that respectively becomes the Wicked Witch of the West and Glinda the Good Witch of the South. Emphasizing the importance of connection and sisterhood, director Joe Mantello finds refreshing avenues for the characters to explore primarily during their impressionable time at Shiz University, the launching pad for their iconic wizardry. In fact, the moment Elphaba arrives at the Stardust Ballroom only to be humiliated by her peers yet ultimately encouraged by Galinda is filled with a revitalizing, extended sense of empowerment, respect and understanding between these characters I haven’t seen in previous productions. Mantello molds their newfound camaraderie wonderfully in the following scene which finds Galinda enthralled with Elphaba with a passion that grows to makeover proportions. By and large, it’s great to witness a “Wicked” completely rooted in the value of Elphaba and Galinda’s friendship no matter the cost, especially as political corruption and the intricacies of love threaten to dismantle their bond.
Alyssa Fox brings fierce urgency to her firm, commanding portrayal of Elphaba, effectively showcasing the intelligent, vulnerable and determined facets fueling the character’s complexity. Her superb renditions of “The Wizard and I,” “No Good Deed” and phenomenal Act 1 finale “Defying Gravity” contain terrific pop inflections. As perky Glinda, the absolutely dynamic Carrie St. Louis, a gorgeous soprano with a vibrant Elle Woods sensibility, skillfully balances the role’s pristine sophistication and playful undercurrents. She fantastically inhabits the exuberant “Popular,” an Act 1 hallmark, with hyperactive, cheerleader finesse while blending hilarious shades of Kate McKinnon (“Saturday Night Live”) and Salt-N-Pepa in the process.
Elsewhere, TV legend John Davidson is a kooky, grandfatherly delight as the Wizard, particularly filling “Wonderful” with a good old-fashioned vaudeville vibe. Kristine Zbornik is equally winning as the haughty, menacing Madame Morrible. Handsome former boy band star Ashley Parker Angel (O-Town) brings innate charisma and pleasant vocals to his understated portrayal of Fiyero. Michael DeVries (Dr. Dillamond), Liana Hunt (Nessarose) and Lee Slobotkin (Boq) provide solid work. The sharp ensemble, very astute and full of personality, is also commendable along with conductor P. Jason Yarcho’s excellent orchestra including nine local musicians.
Whether you’ve seen it before or you’re tempted to finally discover what all the fuss is about, “Wicked” resonates to the fullest in one of its finest touring incarnations.

“Wicked” continues through May 17 at the Schuster Center, Second and Main Streets., Dayton. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $43-$157. Discounts are available. A lottery for a limited number of orchestra seats is also held 2 ½ hours before each performance in the Wintergarden of the Schuster Center. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

‘Taking Shakespeare’ Review – Human Race Theatre Company – You Have To Be Carefully Taught

April 24, 2015 By Russell Florence, Jr.

The incredibly testy, life-changing relationship between a disheartened Shakespeare professor and her unmotivated student drives the humor and poignancy of John Murrell’s intimate, relatable two-hander “Taking Shakespeare,” a highlight of Canada’s 2013 Stratford Festival currently receiving a terrific Midwest premiere at the Loft Theatre courtesy of the Human Race Theatre Company.
Set in a non-descript town on the ground floor of an old house, attractively realized with disheveled, lived-in finesse by designer Dan Gray, “Taking Shakespeare,” delicately directed with atmospheric acuteness by Shakespeare devotee Aaron Vega, is primarily fueled by a very impressive cast, certainly one of the best assembled on the Loft stage this season. Johanna Leister as the seasoned, critical and concerned Prof and Jon Kovach as 24-year-old slacker Murph are a marvelously well-matched duo, meticulously, and at times, breathtakingly uncovering the beauty, mystery, rage, and significance of “Othello,” one of the Bard’s deepest, most complex plays, without forgetting the importance of connection and the subtlety of executing scenes with realistic impulses.

Johanna Leister and Jon Kovach in The Human Race Theatre Company’s production of Taking Shakespeare. Photo courtesy of Scott J. Kimmins.

Over the course of five strenuous, enlightening weeks (lighting designer John Rensel and sound designer Jay Brunner expertly mark the moody passage of time), Prof educates Murph on the Bard’s fascinating intricacies while also revealing truths behind the politics and professionalism of academia. The stern yet droll Leister, sustaining a wonderfully agitated discontentedness, dynamically engrosses. In fact, she is specifically mesmerizing in the dramatic moments which stir emotions. In addition to bringing power and vulnerability to Prof’s reflections on her upbringing and a serious crush that left an indelible imprint which hasn’t subsided, she masterfully interprets Shakespeare’s challenging, illuminating language. Trust me, when Leister steps into Othello’s shoes late in Act 1, a pulsating moment of epiphany for Prof and Murph, the descriptive passage “Villain, be sure thou prove my love a whore. Be sure of it. Give me the ocular proof…” will linger in the recesses of your mind. By and large, don’t be shocked if the drive and fervor within her tremendous portrayal conjures memories of one of your memorable, unabashedly passionate teachers and the invaluable lessons learned.
Likewise, Kovach, returning to the Race following a 2012 appearance in “Band Geeks!,” is equally captivating. His perfectly awkward, nonchalant aura strikingly dissipates as Murph, attempting to regain some inkling of goal-driven maturity having particularly disappointed his mother, one of Prof’s former students, advances to a better understanding of the Bard’s intentions. Due to the magnetic credibility of Kovach’s excitable evolution, it’s easy to root for Murph’s success and his future potential, particularly as he grows more confident in his textual debates with Prof and gets to the heart of what “Othello” truly means not only on the page but within his soul.
“Taking Shakespeare,” a reminder that the Bard’s legacy extends far beyond his use of iambic pentameter, would have flowed better as a one-act and has an ambiguously forced conclusion, but it’s easily one of the most absorbing, pleasantly surprising new plays you’re likely to see this spring.

“Taking Shakespeare” continues through May 3 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesday-Saturday at 8 p.m., Tuesday at 7 p.m.; Sunday at 2 p.m. Act 1: 65 minutes; Act 2: 35 minutes. Tickets are $35-$45, but discounts are available. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org.

Ticket Contest

DMM has 2 pairs of tickets to giveaway for some lucky winner to see this show. Like and share this post and fill out the entry below to enter our random drawing. Feel free to leave a comment below to convince the judges to pick you. We’ll name a winner Sunday night. [form 55 “DMM Contest Entry – Generic”]

‘Sondheim on Sondheim’ Review – Wright State University – Let Him Entertain You

April 22, 2015 By Russell Florence, Jr.

Art isn’t easy but it can certainly be glorious. Case in point: Wright State University’s excellent regional premiere of the 2010 musical revue “Sondheim on Sondheim,” a fascinating, revelatory tribute to Grammy, Oscar, Tony and Pulitzer Prize-winning composer Stephen Joshua Sondheim, who celebrated his 85th birthday last month.

The cast of Wright State University’s regional premiere of the musical revue “Sondheim on Sondheim,” a celebration of the life and career of composer Stephen Sondheim. (Contributed photo)

Conceived by James Lapine, who shared the Pulitzer with Sondheim as librettist of “Sunday in the Park with George,” “Sondheim on Sondheim” is a marvelous, multimedia rarity in the revue mold. Unlike most revues confined by a song to song format and a thin story structure, this project is astutely constructed around Sondheim’s vivid, humorous and heartbreaking descriptions of his life and career executed within the archival framework of over 100 video segments. Lapine’s documentary-driven decision to allow Sondheim to be as open and vulnerable as possible about himself in addition to the rigors and joys of the collaborative creative process gives the audience an opportunity to connect with the seemingly reserved composer on a deeper, engaging level, particularly as he reflects on his rocky relationship with his cynical, melancholic mother and how he came to terms with his sexuality.
Propelled to prominence in the 1950s by writing lyrics to “West Side Story” and “Gypsy” yet perhaps best known for composing “Send in the Clowns,” Sondheim, a proudly neurotic only child, primarily embraced musical theater due to the encouragement of his mentor and neighbor Oscar Hammerstein II. His legacy as a Broadway composer began with a hilarious bang (“A Funny Thing Happened on the Way to the Forum”), but he ultimately transformed musical theater with exceeding bite and maturity in the 1970s creating such sophisticated, dark, intelligent, and thought-provoking shows as “Company,” “Follies,” “A Little Night Music,” and “Sweeney Todd.” Curiously, this revue doesn’t incorporate any songs from his stellar “Pacific Overtures,” delightful “Dick Tracy” or quirky “Frogs,” but ample room is given to cult favorites such as “Merrily We Roll Along,” “Assassins” and “Passion” as well as a handful of terrific cut songs specifically from “Company.” As an added bonus, it’s refreshing to know Sondheim doesn’t mind poking fun at his genius as evidenced in the original tune “God.”

Photo by Geek With a Lens Photography

Envisioning the show with an informal, cozy living room approach inside the intimate black box Herbst Theatre, director Jamie Cordes, at his finest when showcasing songs from “Assassins,” “Company” and “Merrily We Roll Along,” assembles an energetic, vocally dynamic cast skillfully interpreting over 40 character-conscious numbers. The spectacular Cassi Mikat, showcasing exquisite lyric aptitude in one of the best performances of the season, takes charge with sublime renditions of “Take Me to the World” (a gem from the little known “Evening Primrose”), “Not a Day Goes By” and “In Buddy’s Eyes.” Just as mesmerizing and vital here as Barbara Cook in the Broadway production, Mikat is such a pro that her truly breathtaking embodiments of “Passion” numbers “I Read” (one of the most challenging arias in the Sondheim canon) and “Loving You” as well as “Send in the Clowns,” the fitting climax of the revue, are enough to tell me she’s immediately ready to offer her own Sondheim showcase at New York’s 54 Below or Joe’s Pub. Katie Momenee, a beguiling mix of delicacy and fieriness, offers a lovely “Good Thing Going” and exuberant deliveries of “The Wedding Is Off” (which became “Getting Married Today”) and “Ah, But Underneath.” Soprano Abby Murray Vachon nicely accents the comedy fueling “The Wedding Is Off” and winningly inhabits the breeziness of “Do I Hear a Waltz?” Kelsey Pohl, so natural and grounded, effortlessly drives the truth permeating “Now You Know” and charms throughout the terrific “Opening Doors,” which Sondheim regards as his most autobiographical song. Strong tenor Nathan Pecchia commands attention while relishing the malevolent rage of “Epiphany” and the eerie moodiness of “The Gun Song.” The very personable Ian Benjamin gives firm, heartfelt versions of “Is This What You Call Love?” and “Being Alive.” Logan Torbet vibrantly tackles “Franklin Shepard, Inc.” The solid, expressive Keaton Eckhoff winningly joins Pohl and Torbet for “Opening Doors,” one of the show’s best sequences along with “Waiting for the Girls Upstairs” and “Something Just Broke.” Ensemble members/understudies Zachary Fretag, Natalie Girard, Caitlin Geisser, and Jim Miller pleasantly support the principal cast albeit in a lesser capacity.

Additionally, music director/pianist Sean Michael Flowers leads a small yet superb band including guitarist Mark Beyer and cellist Emsie Hapner. Scenic designer Pam Knauert Lavarnway straightforwardly fills the space with chairs, rugs and a couch but adds two staircases for greater dimension. Costumer Emily Sollinger provides attractive formal wear for the ladies in Act 2. Jessica Drayton’s lighting design and James Dunlap’s sound design are equally fine.

Without a doubt “Sondheim on Sondheim” is an absolute must-see for Sondheim fans, but even if you prefer the company of other composers you will find something appealing in his journey. By and large, getting to know the greatest living composer of American musical theater is an immense treat in WSU’s impressive hands. I’m glad Sondheim is still here fully prepared to give us more to see.

“Sondheim on Sondheim” continues through April 26 in the downstairs, black box Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Act One: 65 minutes; Act Two: 65 minutes. Tickets are $12 for adults, $10 for seniors and $5 for students. All shows have general admission seating. For tickets or more information, call (937) 775-2500 or visit www.wright.edu/tdmp.

‘Songs for a New World’ Review – Sinclair Community College – Embracing the Moment

April 10, 2015 By Russell Florence, Jr.

Jason Robert Brown’s tuneful, reflective and stirring 1995 Off-Broadway song cycle “Songs for a New World” receives a very commendable and engagingly intimate treatment inside Sinclair Community College’s Black Box Theatre.

(l to r) Andre Tomlinson, Anna Shedon, A.J. Breslin, Natalie Sanders, and Skyler McNeely are featured in Sinclair Community College’s production of Jason Robert Brown’s musical revue “Songs for a New World” (Photo by Patti Celek)

This contemporary musical revue, one of the most popular of its kind, expresses an array of emotions grounded in the expectancy, wonder, vulnerability, and discovery of a single moment. In fact, Brown has stated: “It’s about hitting the wall and having to make a choice, or take a stand, or turn around and go back.” The songs are not connected, which may puzzle or polarize those in search of a traditional plot or story structure. Even so, they certainly strike a chord and stand alone with a sparkling wit, depth and romantic flair only Brown can provide. The varied numbers run an intriguing gamut from Christopher Columbus’ voyage to America (“On the Deck of a Spanish Sailing Ship, 1492”) and an act of sheer desperation (“Just One Step”) to the mysteries of love and desire (“Stars and the Moon”) and the heartache of war (“The Flagmaker, 1775”). Brown, who won Tony Awards for his marvelous scores of “Parade” and “The Bridges of Madison County,” particularly crafts his splendid, uplifting music with rhythmic and vocal complexities which have become his artistic signature. Even so, director Kimberly Borst’s appealing, lyric-driven five-member ensemble, strikingly communicating with each other and the audience on various platforms, embraces the demanding score assuredly and purposefully on the whole.
Borst, setting the revue amid the backdrop of what appears to be a new, mysterious land of possibilities attractively designed by Chris Harmon, assembles some of Sinclair’s strongest vocalists who aptly sell the story in each song aided by Rodney Veal’s expressive choreography. A.J. Breslin, outstanding last fall in “bare” and “A Charlie Brown Christmas,” endearingly connects, revealing a wonderfully soulful urgency in the aforementioned “On the Deck…” as well as the passionate pleas fueling “King of the World.” Skyler McNeely, a memorable King Arthur in “Monty Python’s Spamalot,” steps away from his musical comedy persona to display a mature, sincere tenderness in such relationship-centric numbers as “She Cries” and “I’d Give It All For You.” Anna Sheldon, another standout from “Charlie Brown Christmas,” firmly inhabits her character-driven numbers, particularly the aforementioned “Just One Step” and the humorous “Surabaya-Santa.” Vocal powerhouse Natalie Sanders, tailor-made for this show, effectively blends with her fellow actors, but dynamically steps into the spotlight with “I’m Not Afraid of Anything” and provides great warmth in “Christmas Lullaby.” André Tomlinson, seen in “bare,” is the weakest vocalist but his commitment is unmistakable. Music director Daniel Greene leads a fine, well-balanced five-piece orchestra. Brandy L. Simmons’ costumes and Pauline Humber’s sound design are also noteworthy.
Overall, Sinclair ensures “Songs for a New World” still speaks to the universal power of community, togetherness and hope. In the grand scheme of things, all of us matter and have a special song to sing.

“Songs for a New World” continues through April 11 in the Black Box Theatre, Building 2, Fourth Floor, of Sinclair Community College, 444 W. Third St., Dayton. Jennifer Smith and David Brandt serve as Swings. Performances are Friday and Saturday at 8 p.m. Act One: 40 minutes; Act Two: 45 minutes. Tickets are $15 (general admission seating). For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets.

Review Roundup – Friendships & Feuds

March 8, 2015 By Russell Florence, Jr.

In the mood for sketch comedy, musical theater or classic drama? Here’s a rundown of a few offerings currently on local stages.

Gina Handy and Andrea Morales in “Parallel Lives” (Contributed photo)

PARALLEL LIVES
Magnolia Theatre Company, a professional theater troupe, joins Dayton’s budding arts scene with a terrific production of Mo Gaffney and Kathy Najimy’s two-hander sketch comedy “Parallel Lives” inside the Mathile Theatre of the Schuster Center.
The brainchild of founding artistic director Gina Handy, Magnolia Theatre Company, established in Pennsylvania in 2012, is dedicated to producing fresh, funky and feminine plays incorporating female actors, technicians and administrative staff. “Parallel Lives,” a smart, thought-provoking account of modern life told from the female perspective notably filmed by HBO in 1991, is the epitome of the organization’s creed because it embraces the wonders of womanhood with tremendous feminist spunk. At the same rate, the play examines love, truth, communication, friendship, performance art, sisterly strife, and more with an impactful, gleeful purpose that doesn’t ostracize the male audience.
Gaffney and Najimy’s 11 flavorful skits, a playground of possibilities deftly staged by Marya Spring Cordes particularly encompassing ruminations on “West Side Story” and a comical support group for Disney moms, are superbly inhabited by Handy and Andréa Moralés in their local acting debuts. Portraying multiple characters, male and female, this colorfully energetic duo impresses with transformative finesse. Handy is very touching as an elderly aunt discovering her nephew is gay, but she is also a genuine laugh riot as Southern cornball Hank, who only has a few pick-up lines to his credit which he doesn’t mind incessantly repeating at his favorite bar. The dazzling Moralés, displaying great physicality, utilizes her chameleon strengths in the funny, tender “Three Sisters,” and marvelously interprets the mundane morning grind in the exceptionally expressive “Silent Torture” set to the brisk music of Georges Bizet.
Presented under the auspices of the Victoria Theatre Association’s formerly dormant ImPACt program, Magnolia Theatre Company isn’t planning to produce another show until next season. Even so, I eagerly anticipate its return.

“Parallel Lives” concludes March 8 at 2 p.m. in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The play is performed in 100 minutes without intermission. Tickets are $20. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. The production will also be performed March 26 and 27 at the Garden Theatre of Short North Stage in Columbus. For more information about Magnolia, visit www.magnoliatheatrecompany.com

(l to r) Caitie Erker, Megan Weyrauch, Kristen Danley, Jose Gutierrez del Arroyo, Bobby Escamilla, and Brett Norgaard in “The 25th Annual Putnam County Spelling Bee” (Contributed photo)

THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE
Playhouse South delivers a thoroughly charming and entertaining presentation of composer William Finn, librettist Rachel Sheinkin and conceiver Rebecca Feldman’s 2005 musical comedy “The 25th Annual Putnam County Spelling Bee.”
Casting is paramount to the success of this witty and tender show, which contains some of Finn’s most vibrant, beautiful melodies. Director Carrie Thurston assembles a winning cast who pours equal amounts of zaniness and warmth into engaging, relatable characters that are more than mere kooky caricatures. In particular, the six actors who must be believable as smart-mouthed, fiercely competitive, highly peculiar, and emotionally scarred kids absolutely hit the mark.
Brett Norgaard (Chip Tolentino/Jesus Christ), Meagan Kuchan (Logainne Schwartzandgrubenniere), Jose Gutierrez del Arroyo (Leaf Coneybear/Carl Dad), Bobby Escamillia (William Barfee), Caitie Erker (Marcy Park), and Megan Weyrauch (Olive Ostrovsky) are a delightfully humorous bunch. Bolstered by Annette Looper’s energetic choreography and smoothly handling crucial audience participation (audience volunteers join the actors onstage), they cohesively work together to make the comedy sparkle, an important attribute that keeps the focus from tilting toward one character or characters. Still, it’s imperative to point out how distinctive they are as individuals as evidenced in Norgaard’s comical agony, Kuchan’s unyielding perseverance, Gutierrez del Arroyo’s outstanding intertwining of hilarity and heartbreak, Escamillia’s oddball agitation, Erker’s disgust, and Weyrauch’s endearing sensitivity. Also, Kristen Danley (as bee coordinator Rona Lisa Perretti/Olive’s Mom), Steve Voris (Vice Principal Douglas Panch) and Michael Shannon (comfort counselor Mitch Mahoney/Dan Dad/Olive’s Dad) provide solid support. The lovely Danley and vocally strong Shannon join Weyrauch for a stirring rendition of the gorgeous “I Love You Song,” a fantastic, dreamlike sequence centered on Olive and her parents which fittingly reminds how vital the presence of a supportive parent is to a child’s well-being.

“The 25th Annual Putnam County Spelling Bee” continues through March 15 at Playhouse South located in the Clark Haines Theatre (Kettering Board of Education Building) 3750 Far Hills Ave., Kettering. Performances are Friday and Saturday at 8 p.m., and Sunday at 2 p.m. Act One: 50 minutes; Act Two: 45 minutes. Tickets are $13 for adults, $11for seniors and military and $8 for students. Call 1-888-262-3792 or visit www.playhousesouth.org

The cast of “Desire Under the Elms” (Contributed photo)

DESIRE UNDER THE ELMS
The Dayton Theatre Guild’s valiant attempt at Eugene O’Neill’s 1924 drama “Desire Under the Elms” feels stiff, awkwardly paced and conceptually askew.
Directed by Craig Smith, the dysfunctional, soap opera-esque “Elms” moves to a frustrating rhythm as engrossing themes of betrayal, greed, jealousy, lust, pride, and vengeance intermingle unevenly in three acts. A constant flow of sturdy moments followed by weaker moments hinders the allure of this forgotten tragedy about a rural New England family dismantled by the new bride of its patriarch.
Smith significantly acquires three convincing leading players, but I wonder if the production, in dire need of scene transition music to sustain momentum, would have benefitted from a completely different artistic approach. Instead of a literal mounting that adheres to the material’s melodrama and extraneous ensemble, perhaps a darker, minimalist, scaled down take would have given the action a more compelling immediacy or contemporary sting. Also, the pretty exterior of the Cabot family farmhouse (the largest set built at the Guild’s new space courtesy of designer Fred Blumenthal) could have been replaced by projections. The farmhouse satisfies visually but forces Smith into producing cumbersome blocking, especially for audiences unfamiliar with the play’s intricacies.
Nonetheless, Dave Nickel (as hardnosed patriarch Ephraim), Alexander Chilton (as Ephraim’s conflicted, haunted and distraught son Eben), and Danielle Dawler (as Ephraim’s treacherous young wife Abbie) give completely committed portrayals. Nickel, furious and harsh, excellently interprets Ephraim’s monologue reflecting on the history of the farm, a former “field of stones.” He also gives credence to Ephraim’s laughably clueless inability to recognize Abbie and Eben are infatuated with each other. Chilton, delivering a remarkable breakdown in Act 2, and Dawler, fiercely manipulative and an effective emotional wreck in Act 3, are compatible lovers although I prefer “Elms” served passionately unbuttoned. Oddly, skin is not in, which seems disingenuous considering the first word in the title. The cast includes Mark Anderson (Simeon), Adam Clevenger (Peter), William Styles (Sheriff/Old Farmer), Rick Flynn (Fiddler father), Alex Bindemann (Fiddler), Breanna Caron (Young Girl), Harry Shepard (Man), and Sarah Saunders (Woman).

“Desire Under the Elms” continues through March 15 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 p.m., Saturday at 5 p.m., and Sunday at 3 p.m. The production lasts two hours and includes two intermissions. Patrons are advised the play contains mature themes. Tickets are $19 for adults, $17 for seniors and $12 for students. Call (937) 278-5993 or visit www.daytontheatreguild.org

‘Nice Work If You Can Get It’ Review –Victoria Theatre Association – Giddy, Glorious Gershwin

February 12, 2015 By Russell Florence, Jr.

Hugely entertaining and marvelously accented by the timeless tunes of George and Ira Gershwin, “Nice Work If You Can Get It,” a 2012 Tony Award nominee for Best Musical presented at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series, pleases as a giddy throwback to bygone musical comedy.

Based on Guy Bolton and P.G. Wodehouse’s book for the 1926 Gershwin musical “Oh, Kay!,” “Nice Work” is a silly, summertime, Prohibition-era romantic farce that finds goofy criminals, sexy dames, handsome henchmen, and the haughty upper crust colliding on Long Island. As is standard fare for such zany stories, mistaken identity runs rampant nearly to the point of excess. However, librettist Joe DiPietro, who won Tonys for Best Book and Score for “Memphis,” keeps the tale peppy and engaging with enough twists, particularly in Act 2, to genuinely delight even when corny jokes and double entendres provoke eye rolls along the way.

Photo by Jeremy Daniel (www.JeremyDanielPhoto.com)

Alex Enterline (Jimmy Winter) and the female ensemble of “Nice Work If You Can Get It.” (Photo by Jeremy Daniel)

In a refreshing turn of events for a national tour, the leading players actually outshine their Broadway counterparts. As wealthy, spoiled playboy Jimmy Winter, created to one-dimensional effect by Matthew Broderick, Alex Enterline truly sparkles with charm, finesse and excellent, lyric-conscious vocals. He is perfectly matched by the outstanding Mariah MacFarlane as bootlegger Billie Bendix, who pines for Jimmy although he’s been married three times and is currently engaged. MacFarlane, a sublime soprano specifically navigating “Someone to Watch Over Me” with lovely tenderness and surprising humor, surpasses Tony nominee Kelli O’Hara in the role due to a more convincing grasp of Billie’s tough, tomboy sensibilities. Enterline and MacFarlane’s beautifully breezy treatment of “’S Wonderful,” which director/choreographer David Eggers winningly recreates from Kathleen Marshall’s original vision, is particularly joyful and smile-inducing as the carefree duo dances merrily throughout Jimmy’s living room.

In addition to splendid Tony-nominated costumes designed with period panache by the late, great Martin Pakledinaz and a top-notch orchestra conducted by Charlie Reuter, the featured performers are strong overall. Reed Campbell and Aaron Fried terrifically and respectively fuel the comedic chaos as Cookie McGee and Duke Mahoney, Billie’s cohorts. Rachael Scarr is a ditzy pleasure as modern dance interpreter Eileen Evergreen, Jimmy’s fiancé. Stephanie Gandolfo beguilingly seduces as the incredibly daft Jeannie Muldoon, who is convinced Duke is heir to the British throne. Thomas Schario admirably appears in the thankless role of Chief Barry. The terrific Barbara Weetman hits the mark as Millicent Winter, Jimmy’s sassy, sophisticated mother. Benjamin Perez duly commands attention as uptight Senator Max Evergreen. As Duchess Estonia Dulworth, Max’s no-nonsense, pro-prohibition sister, Stephanie Harter Gilmore is too young to fully sell Estonia’s seasoned, domineering gravitas, but steals the show during a kooky Act 2 dinner sequence that finds her hilariously “Looking for a Boy.”

“Nice Work” doesn’t possess the conceptual aptitude of “Crazy for You,” the finest Gershwin-inspired tribute to date, but certainly satisfies as a warm, inviting dose of feel-good fun to cure the chilly winter blues.

“Nice Work if You Can Get It” continues through Feb. 15 at the Schuster Center, Second and Main Streets, Dayton. Performances are today and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 75 minutes; Act Two: 60 minutes. Tickets are $25-$97. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘The Fantasticks’ Review –Dayton Playhouse – Love Is In the Air

February 6, 2015 By Russell Florence, Jr.

Lyricist/librettist Tom Jones and composer Harvey Schmidt’s tender, intimate 1960 musical “The Fantasticks,” loosely based on Edmond Rostand’s 1894 play “Les Romanesques,” receives a visually engaging, strikingly designed presentation at the Dayton Playhouse.

Matthew W. Smith spearheads his finest directorial achievement thus far by envisioning the material with nods to commedia dell’arte and vaudeville with particularly lovely sprinkles of whimsicality recalling Jones’ superb direction of the current off-Broadway production. Smith’s show-within-a-show concept is marvelously heightened by scenic designer Chris Newman’s treasure trove of collectibles. Books, lampshades, drums, candles, candelabras, curtains, trunks, and more accent the minimalist approach that has worked so well for this musical since its inception. After all, “The Fantasticks” can be told anytime, anyplace so it’s great to see such an imaginative focus soundly implemented and executed.

Kami Flanders as Luisa and Tyler Henry as Matt in Dayton Playhouse’s production of “The Fantasticks” (Contributed photo by Art Fabian)

Tyler Henry and Kami Flanders, in lead acting Playhouse debuts, are compatibly cute as Matt and Luisa, lovebirds separated by a wall unaware their scheming fathers have been their matchmakers for years. Henry, confident and mature, and Flanders, demure and capricious, are responsible for singing the majority of the vocally challenging score and do so admirably, particularly the gorgeous “Soon It’s Gonna Rain” and “They Were You.” The duo also brings ample dismay and potency to Matt and Luisa’s pivotal if drawn-out Act 2 separation that finds the couple searching for more after realizing every happy ending has a price.

Rob Willoughby (as Matt’s father Hucklebee) and Brian Sharp (as Luisa’s father Bellomy) create a warm, humorous partnership genuinely grounded in friendship and mutual parental interest, wonderfully displayed in their rendition of “Plant a Radish.” As wistful narrator El Gallo, Shawn Hooks, in excellent voice from the very first strains of the straightforwardly sublime “Try to Remember,” lessens the brooding, mysterious qualities of the role in favor of an amiable, conversational approach that is more magnetic and accessible. Charles Larkowski (Henry) and Saul Caplan (Mortimer) are a comical joy as a pair of veteran actors who help El Gallo in a fake kidnapping ultimately transpiring with Matt as a hero. Caplan is hilarious in his American Indian garb/makeup, and Larkowski, effortlessly natural and inviting in a funny, refined, attention-grabbing role that requires him to be slightly over-the-top, keeps the frivolity of their scenes at an entertaining high. The handsomely mirthful William Scarborough has great presence and smoothly fuel’s the production’s fancifulness as the Mute who at times represents the wall.
Smith’s terrific creative team includes costumer Janet G. Powell (Willoughby and Sharp’s colorful outfits are particularly appealing), lighting designer Anita Bachmann, sound designer Bob Kovach, choreographer Mike Embree (who actually releases “Much More” from its typical stiltedness), fight choreographers Natasha Randall and Craig Roberts, and musical director Ron Kindell whose fine four-piece orchestra features lilting piano accompaniment by Bryon Dobbs.

As Valentine’s Day beckons, “The Fantasticks” certainly satisfies as a romantic escape worth exploring.

“The Fantasticks” continues through Feb. 8 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Friday and Saturday at 8 p.m., and Sunday at 2 p.m. Act One: 60 minutes; Act Two: 45 minutes. Tickets are $18 for adults and $16 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com

‘Fiddler on the Roof’ Review – Cedarville University – Prolonged Exodus

February 5, 2015 By Russell Florence, Jr.

Robert Rhodes as Tevye in Cedarville University’s production of “Fiddler on the Roof”

Cedarville University’s production of Joseph Stein, Jerry Bock and Sheldon Harnick’s classic 1964 musical “Fiddler on the Roof,” based on the stories of Sholom Aleichem, is deflated by awkward, inadequate musicality.

Barring technical difficulties, there’s no reason in the world why anybody’s staging of “Fiddler” should produce an Act 1 heading toward two hours. But this is exactly what’s happened at Cedarville due to weak music direction by conductor Carlos Elias who hasn’t mastered the timing within Bock and Harnick’s score, superbly accenting an endearing story of a poor Jewish family coping with change in their tiny Russian village of Anatevka in 1905.

In Elias’ hands, the waltzes are startlingly slow (“Sunrise, Sunset” is particularly painful) and the sprightly sentiments (“If I Were a Rich Man,” “To Life,” snippets of “Tevye’s Dream”) lack vigor. The only number that truly resonates in terms of musicianship is “Do You Love Me?,” an Act 2 gem containing an engaging, conversational essence (akin to “I Remember It Well” from “Gigi”) that constantly flows thereby avoiding any sense of derailment.

Thankfully, “Do You Love Me?” is also a signature moment because of the wonderful rapport and lyric-driven astuteness of Robert Rhodes and Anna Caroline Porter as Tevye and Golde. Throughout the tune, which finds Tevye and Golde tenderly reminiscing about their marriage, Rhodes and Porter beautifully connect with humor, depth and a mutual understanding that their love will survive no matter what the future holds. Excellent portrayals under the direction of Diane Conrad Merchant extend to the sharp, witty David Widder-Varhegyi as humble tailor Motel and a marvelously firm Madison Hart as the daring Chava who defies her family with dramatic results.

Choreographer Carrie Anthony’s commendable routines bursting with personality and colorful exchanges, Robert Clements’ first-rate scenic and lighting design, and Debbie Hamrick’s attractive period costumes are additional assets of this presentation still in search of its musical pulse.

“Fiddler on the Roof” continues through Feb. 8 in the DeVries Theatre of the Stevens Student Center at Cedarville University, 251 N. Main St., Cedarville. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 3 p.m. Act One: 1 hour and 45 minutes; Act Two: 55 minutes. Tickets are $12-$15. For tickets or more information, call (937) 766-7787 or visit www.cedarville.edu

‘Family Shots’ Review – Human Race Theatre Company – Matters of the Heart

January 26, 2015 By Russell Florence, Jr.

Pictured (left to right): Randy Brooks, Corbin Bleu and Colleen Zenk. Photo by Scott J. Kimmins.

Inside a suburban New Jersey hospital, the Baker family has come undone. Crisis brings them together, but what will keep them together? Playwright Michael Slade provides clues with wonderfully relatable authenticity and astute, unresolved ambiguity in his new original play “Family Shots,” an excellent, touching comic drama superbly presented in its world premiere at the Loft Theatre courtesy of the Human Race Theatre Company.

Recalling Nicky Silver’s comedy “The Lyons” coupled with the quiet sophisticated intimacy of Richard Greenberg (“Three Days of Rain”), “Family Shots,” deftly helmed by Race producing artistic director Kevin Moore, concerns the heart health of patriarch Sam (Randy Brooks), a plastics entrepreneur and frequent tennis player whose seemingly fit body has been driven to the breaking point due to Viagra. Sam’s fussy, self-absorbed wife Marsha (Colleen Zenk) and concerned, devoted son Aaron (Corbin Bleu) try to make sense of it all, but the unexpected quality time they now share and prize with Sam eventually opens old wounds.

Slade, in a refreshing departure from his dark, disturbing and polarizing dramas “Under a Red Moon” and “Gingerbread Children” previously presented by the Race, impressively turns his attention to more interesting, engaging themes of marriage and commitment. Sam and Marsha have been together 40 years. Aaron has only been married one year to retail salesman Malcolm Harrison (Adam Halpin). Creating two colorfully complex and contrasting relationships, particularly Aaron and Malcolm’s deteriorating journey involving the dangers of fiscal irresponsibility and casual flirting, gives Slade many avenues to explore that are ripe for compelling drama, especially since the action transpires in the uncomfortable confines of a hospital thereby fueling the need for venting emotions. It’s fascinating how Sam and Marsha have been rattled by too much love while Aaron and Malcolm, who believed they were ready for marriage, cope with the regret of not having loved enough. By and large, Aaron and Malcolm’s arc particularly contains some of the finest morsels of contemporary playwrighting you’ll find right now on a regional theater or NYC stage.

Pictured: Corbin Bleu and Colleen Zenk. Photo by Scott J. Kimmins.

Bleu, who starred as energetic sidekick Chad Danforth in Disney’s megahit “High School Musical,” brings striking confidence and genuine warmth to the conflicted Aaron, a talented photographer humble enough to accept unglamorous assignments as he awaits a breakthrough. When it is revealed that Aaron’s sexuality troubled Marsha years ago and continues to bother his homophobic sister-in-law, who apparently keeps his brother from visiting even during a family emergency, Bleu expressively connects with anger, hurt and dismay. Overall, without resorting to flashiness or melodrama, he delivers a terrifically sharp, effortlessly magnetic performance solidifying his mature evolution as one of the most skilled actors of his generation.

Zenk, a three-time Emmy nominee as villainous Barbara Ryan on “As the World Turns,” is a flustered, worrisome joy brilliantly conveying the nervous agitation derived from accepting and embracing the unknown. In addition to marvelously describing the peculiar noises that arise when living alone in silence, Zenk never fails to reiterate the love Marsha feels for Sam in spite of their disagreements. It is apparent Marsha’s fragile world would surely crumble if she didn’t have her husband, her favorite travel companion and close confidant, by her side.

The remarkably understated Brooks, a TV and film veteran, is an amiable, comical source of stability amid instability. He is well aware of how vital it is for Sam to be grounded as a mediator as commotion swells around him. Brooks is basically confined to a bed throughout, but his down-to-earth presence and plain spoken insightfulness appealingly resonates.

Pictured: Corbin Bleu and Randy Brooks. Photo by Scott J. Kimmins.

Featured players Halpin, Arash Mokhtar as Sam’s cardiologist Dr. Patel, and Annie Pesch as Sam’s nurse Joyce truly shine. Compatible with Bleu and very strong opposite Brooks, Halpin delicately uncovers the disappointment and frustration dwelling underneath Malcolm’s chipper, materialistic Bergdorf Goodman façade. Mokhtar brings a gentle aura of suave charisma to Patel, who is attracted to Aaron but remains entirely professional. One of the play’s singular moments involves Patel and Malcolm examining Aaron’s photographs from opposite ends of Sam’s room fully aware of how much they adore the artist and his art. Pesch, in an earnestly kindhearted role reminiscent of Vivian Bearing’s dutiful nurse Susie Monahan in “Wit,” greatly supports Brooks with encouraging verve and sensitivity.
This stellar production, the best Race offering thus far this season, is expertly accented by Scott J. Kimmins’ efficient, revolving scenic design incorporating three platforms and two large walls beautifully showcasing photos at the conclusion of every scene, costumer Janet G. Powell’s fashionably modern attire, John Rensel’s proficient lighting, Nathan D. Dean’s first-rate sound design, and Sean Michael Flowers’ satisfying incidental music.

“Sometimes you have to talk. Sometimes you have to listen.” Sam’s important advice serves as the universal foundation for any productive relationship, any productive family. In order to grow closer, in order to be more understanding and forgiving of each other’s faults and imperfections, relationships must value correct communication. The road ahead for the Bakers will not be easy, but as long as there is love there is hope.

“Family Shots” continues through Feb. 8 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesdays-Saturdays at 8 p.m., Tuesdays at 7 p.m., and Sundays at 2 p.m. The play is performed in 90 minutes without intermission. Tickets are $17.50-$45. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.humanracetheatre.org.

‘Flashdance’ Review – Victoria Theatre Association – The Maniac Returns

January 22, 2015 By Russell Florence, Jr.

A 1980s pop culture explosion can be found at the Schuster Center with the presence of the national tour of “Flashdance – The Musical” courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

It’s quickly apparent how important nostalgia is to the appeal of this middling adaptation of the 1983 film of the same name set in and around a steel mill in blue-collar Pittsburgh. The Schuster lobby contains various images of the Greed Decade from Culture Club to Cabbage Patch Kids and the show curtain recalls MTV’s glory days. But eye-catching distractions can’t disguise the show’s weaknesses, specifically its mediocre score (music by Robbie Roth with lyrics by Roth and Robert Cary) and predictable, uneven and humdrum book (co-written by Cary and original co-screenwriter Tom Hedley). The score in particular, a flimsy attempt at pop pastiche evoking Debbie Gibson, Michael Jackson, Billy Joel, Kenny Loggins, the Pointer Sisters, and more, is startlingly forgettable despite inserting pop/rock classics “What a Feeling,” “Maniac,” “Manhunt,” “Gloria,” and “I Love Rock ‘N’ Roll.” Conceptual concerns extend to director/choreographer Sergio Trujillo whose attempts to fill the stage with skin (and there’s a lot of it in a PG-13 sense akin to “Rock of Ages”) feels desperate and borders on overkill.

As Alexandra “Alex” Owens, the welder/exotic dancer who longs to become a professional performer, the fiery and feisty Karli Dinardo dances and sings terrifically but doesn’t evolve beyond the surface. As Alex’s conflicted boss-turned-boyfriend Nick Hurley, excellent tenor Adam J. Rennie (bringing to mind Matthew Morrison of “Glee”) has a tendency to become stiff and detached in his book scenes but is more adept in his musical numbers. As Alex’s friends, Heidi Friese (Gloria), Brianna-Marie Bell (Kiki) and Danielle Marie Gonzalez (Tess) embody their roles with energy and personality. The sensitive Friese, believably fueling Gloria’s yearning for pop stardom, notably has a dramatic arc that manages to be more heartrending than Alex’s journey, one of the book’s odd flaws. Patricia Bartlett (Hannah), Jacob Tischler (Jimmy), Randy Charleville (C.C.), Michael Kingston (Harry), and Ryan J. MacConnell (Andy) lend amiable support. The artistic team of scenic designer Klara Zieglerova, costumer Paul Tazewell, lighting designer Howell Binkley, projection designer Peter Nigrini, and sound designer Kevin Kennedy is first-rate. Conductor Eric Fotre Leach leads a vibrant, well-balanced seven-piece orchestra.

“Flashdance” is tailor-made for Generation X but misses the mark at its core.

“Flashdance – The Musical” continues through Jan. 25 at the Schuster Center, Second and Main Streets, Dayton. Performances are today and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $25-$97. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. Patrons are advised the show contains adult situations and themes.

‘Oliver!’ Review – Muse Machine – Pleasures, Large and Small

January 16, 2015 By Russell Florence, Jr.

The Muse Machine’s incredibly entertaining, excellently cohesive production of Lionel Bart’s 1960 musical “Oliver!,” the arts education organization’s 31st annual student musical, touches the heart and radiates with joy at the Victoria Theatre.
Based on Charles Dickens’ 1838 novel “Oliver Twist,” “Oliver!” totally charms as performed by over 100 students from across the Miami Valley who smoothly navigate the comedic highs and dramatic tension within this breezy, occasionally dark tale of Victorian England ethics and hypocrisy. The production –co-directed with marvelous synergy by choreographer Lula Elzy, producer Douglas Merk, and Wright State University musical theater professor Joe Deer –is inspired by Cameron Mackintosh’s reconceived 1994 London revival (for instance, the show briefly opens ominously with Oliver’s backstory instead of launching directly into “Food, Glorious Food”), but retains the requisite elements of character and community that keep the story familiar and inviting.

Brianna Russ of Alter High School portrays Nancy in the Muse Machine’s production of Lionel Bart’s “Oliver!” (Photo courtesy of Muse Machine)

Joey Schairbaum, in an endearing musical theater debut, conveys a quiet, gentle humility as the titular workhouse orphan thrown out of the only home he’s ever known to be sold to an undertaker and ultimately seek refuge and love with the lower and upper class. Oliver Twist is a very demanding role for a young actor, and Schairbaum tackles his duties with observant, understated commitment. Rollie Fisk, an easygoing, crowd-pleasing Fagin, fully embraces his juicy role as a cunning father figure and mediator with firm authority and humorous flamboyance. Fisk’s terrific, believably perplexed version of “Reviewing the Situation” clearly dissects the various scenarios Fagin considers as he mulls over his uncertain future. Brianna Russ, vocally dynamic and appealingly earthy as the friendly, abused Nancy, commands the stage with fierce vivacity. Her superbly lyric-driven renditions of “It’s a Fine Life,” “Oom-Pah-Pah,” and “As Long As He Needs Me” are signature moments that take this presentation to professional heights.
Elsewhere, Sean Cheatwood (Mr. Bumble) and Christine Fiala (Widow Corney) are a hilariously compatible duo, Mitchell Rawlins (a delightfully creepy Mr. Sowerberry), Callia Tellez (Mrs. Sowerberry), and Cecily Dowd (Charlotte Sowerberry) rule their roost with cruel glee, Leo Deer (Noah Claypole) intimidates to the hilt with impressive dialect, Isaac Bement (Artful Dodger) is a sunny, animated encourager, Tyler Hanson (Bill Sikes) strikes fear with imposing heft (although “My Name” is unfortunately absent), William Peters (Mr. Brownlow) is fittingly amiable and caring, Joel Daniel (Charley Bates) lends fine support among the pickpocket ensemble, and there are particularly lovely vocals from Anna Hlinomaz (Bet), Anna Knippling (Mrs. Bedwin), and the uncredited street vendors/quartet bringing beauty to “Who Will Buy?,” one of many energetic numbers Elzy flavors with personality and originality.

Dennis Hassan’s expertly detailed set, attractive period costumes from the team of Lyn Baudendistel, Robin Brown, Patty Peters, Toni Donato Shade, and Alisa Vukasinovich, first-rate lighting and sound by John Rensel and David Sherman respectively, the vocal music direction of Carol Chatfield, and orchestral musical director Claude Thomas’ splendid orchestra are additional pluses.
Consider yourself informed that the Muse Machine has created a hit.

“Oliver!” continues through Jan. 18 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are Friday at 8 p.m., Saturday at 3 and 8 p.m., and Sunday at 2 p.m. Tickets are $26-$60. For tickets or more information, call (937) 228-3630 or visit www.ticketcenterstage.com

‘4000 Miles’ Review – Dayton Theatre Guild – Someone to Watch Over Me

January 14, 2015 By Russell Florence, Jr.

Jared Mola as Leo Joseph-Connell and Barbara Jorgensen as Vera Joseph in rehearsal for the Dayton Theatre Guild’s local premiere of Amy Herzog’s dramatic comedy “4000 Miles.” (Contributed photo)

The Dayton Theatre Guild enters 2015 with a solid local premiere of Amy Herzog’s 2013 Pulitzer Prize-nominated dramatic comedy “4000 Miles,” an emotionally awkward and surprisingly poignant depiction of two headstrong individuals in need of stability and protection.

Sharply directed by Kathy Mola with an excellent grasp of tone,”4000 Miles” concerns 21-year-old college student Leo Joseph-Connell who travels by bike from Seattle to New York’s Greenwich Village to visit his 91-year-old grandmother Vera. Grief, tragedy, uncertainty, and disillusionment cause Leo to seek temporary solace, but misunderstandings are ultimately unavoidable, especially since it seems Leo, still trying to find his purpose in life, and Vera, suffering from dementia, can be irritable relatives. Affection just doesn’t come easy to them, and in turn, Herzog threatens to keep the audience at a cool distance due to prickly quarrels. Still, their complex relationship evolves for the better when vulnerability arises, particularly as Leo reveals the details of his best friend’s death which occurred on his excursion. Inevitably, Vera, on the brink of requiring a caregiver, comes to understand how difficult it is for young adults to remain planted when Leo rejects her offer to extend his stay in her cozy apartment, attractively designed by Fred Blumenthal and accented by Wendi Michael.

Jared Mola, superb earlier this season as Roy in the Guild’s “Nice People Dancing to Good Country Music,” and Barbara Jorgensen, a longtime Guild member inducted last year into the Dayton Theatre Hall of Fame, create terrifically grounded portrayals that sting and soothe. The energetic, engaging Mola inhabits Leo with a defensive, easily agitated edge signifying how troubled and confused he is underneath his tough exterior, especially when Leo’s journey involves the odd reality that he kissed his sister at a party. Mola, wonderfully astute, not only fills this quandary with believable ambiguity, but particularly captivates in his marvelous delivery of Leo’s heartbreaking monologue reflecting on the final moments he shared with his friend. The magnetic Jorgensen, conveying a feeble, sluggish sensibility, greatly appeals with outspoken charm, genuine feistiness, and a gentle awareness that Vera is heading into her twilight years with dignity and grace. Appealing Guild newcomers Lindsey Kortyka (as Leo’s testy ex-girlfriend Bec) and Anna Prince (very funny as Amanda, Leo’s boozy date) complete the cast in thankless, underwritten roles.

“4000 Miles,” a hit among regional theaters, is mildly puzzling in terms of its dramatic structure, but the Guild’s breezy presentation is delightfully first-rate.

“4000 Miles” continues through Jan. 25 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. The play is performed in two acts which run roughly 45 minutes each. Tickets are $19 for adults, $17 for seniors, and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org. Patrons are advised the show contains adult language and themes.

‘The Last Five Years’ Review – Dare to Defy Productions – Falling In and Out of Love

January 3, 2015 By Russell Florence, Jr.

Jason Robert Brown’s incredibly emotional and warmly intimate two-person, one-act musical “The Last Five Years” receives an endearingly performed, vocally splendid treatment courtesy of Dare to Defy Productions inside the Mathile Theatre of the Schuster Center.

In just 80 compelling minutes, “Last Five Years,” delicately directed with contemplative touches by Mackensie Vonderbrink, paints a fascinating portrait of twentysomething lovebirds in New York City particularly torn apart by differing career paths. Jamie Wellerstein, an emerging writer taking the publishing world by storm, and Cathy Hiatt, a struggling actress longing for her big break, happily meet and eventually marry, but simply cannot make their relationship work. In a clever use of unorthodox storytelling, Brown tells Jamie’s story in standard, chronological fashion while Cathy’s journey progresses from heartbreak to joy. This conceptual device can be confusing, especially if you’re unfamiliar with the material, but it isn’t burdensome. In fact, the opportunity to piece together the entire journey from both perspectives is a fun challenge allowing the action to unfold with attention-grabbing fluidity without fear of becoming stagnant. The dual stories, vividly detailed and remarkably engaging in terms of relatability, appropriately intersect at Jamie and Cathy’s wedding, but separately entice throughout with terrific, character-driven panache by Wright State University acting/musical theater students Ian Benjamin and Kelsey Pohl.
Benjamin, very memorable last season as Thenardier in WSU’s “Les Misérables,” is a strikingly sharp, mature Jamie, impressively navigating the difficulty of appearing adorably lovestruck, energetic and humorous, lovingly supportive, tearfully ashamed, and boldly committed to moving on without seeming arrogant, misunderstood or ambiguous. Musically, Benjamin specifically brings lighthearted spunk to the jaunty “Moving Too Fast” (featuring tremendous piano accompaniment by musical director Dean Brown) and fills the melancholy “Nobody Needs to Know” with ample heartache. Pohl, an awesome Kate last season in WSU’s “The Wild Party,” brilliantly conveys Cathy’s agitation, disgust, hurt, and hopefulness. In particular, her marvelously refreshing rendition of “I’m a Part of That” clearly finds Cathy questioning her place in Jamie’s life. Pohl’s lyric-driven finesse continues with exceptionally honest, wonderfully conversational, encore-worthy versions of “A Summer in Ohio,” “Audition Sequence” and “I Can Do Better Than That.” Due to the considerable technical complexities of Brown’s enthralling, melodic score, a mild hybrid of Stephen Sondheim and Billy Joel sensibilities, it’s great to see Benjamin, Pohl and pianist Brown skillfully rise to the occasion.

In addition to scenic designer Chris Harmon’s efficient platforms and large clock reiterating the material’s passage of time, the beautiful contributions of violinist Josh Van Tilburgh, bassist Parisa Samavati and cellist Rebekah Thompson greatly accent the proceedings. However, unfortunate sightlines occur for patrons seated toward the rear of the Mathile due to some numbers performed at the front lower level of the stage.

Even so, Dare to Defy, quickly becoming a musical theater force in the Gem City, delivers another hit.

“The Last Five Years” continues tonight at 8 p.m. in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton, and Tues. Jan. 6 at 7:15 p.m. at Mimi’s Cafe, 4402 Walnut St., Beavercreek. Tickets to tonight’s performance are $20, and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting www.ticketcenterstage.com. For more information about the Mimi’s Cafe presentation, visit www.d2defy.com.

In related news, Dare to Defy’s 2015 season includes “The Songs of Hair in Concert” (March 13 and 14), “Assassins” (July 17-25), “Into the Woods” (Sept. 5 and 6), and “Godspell” (Oct. 9-17).

‘A Charlie Brown Christmas’ Review – Sinclair Community College – Holiday Joy

December 19, 2014 By Russell Florence, Jr.

One of the finest seasons at Sinclair Community College continues with an absolutely adorable local premiere of “A Charlie Brown Christmas,” Eric Schaeffer’s enjoyably by-the-book adaptation of Bill Melendez and Lee Mendelson’s funny, meaningful and touching 1965 Emmy Award-winning holiday cartoon of the same name by “Peanuts” creator Charles M. Schulz.

You know the drill. Charlie Brown, bothered and bewildered as ever, can’t seem to get into the holiday spirit because he feels the season has become too commercial. He even turns to his ever-reliable therapist Lucy (a.k.a. the Christmas Queen) for help. But everything changes when Lucy pulls Charlie out of his doldrums by asking him to direct the school play. He unfortunately takes his plum assignment too seriously, but ultimately comes to understand the true meaning of Christmas thanks to the Gospel of Luke and a peculiar tree in need of a little love.

Woody Hieb as Charlie Brown in Sinclair Community College’s production of “A Charlie Brown Christmas.” (Contributed photo by Patti Celek)

Director Gina Kleesattel, with impressive assistance from scenic designer Terry Stump, costumer Kathleen Hotmer and lighting designer Gina Neuerer, terrifically brings the cartoon to life in 30 swift minutes with the same playfulness and vibrancy we’ve grown accustomed for generations. Her totally engaging 11-member cast has carefully studied their animated predecessors to the tee. In fact, try not to smile when these committed actors, choreographed by Rodney Veal, dance in classic “Peanuts” fashion to Vince Guaraldi’s toe-tapping “Linus and Lucy” complete with overgrown bass for Pig Pen. Even so, the cast doesn’t merely take the stage as copycats. Although their dialogue and actions may be familiar, they’re still able to find a path into these relatable if occasionally snarky characters and make them their own whether overtly or with gentle, humorous nuance.

The very endearing Woody Hieb brings great honesty and sensitivity to worrisome Charlie, whose reflective journey remains impactful. Audience favorite A.J. Breslin displays outstanding physicality and comedic timing as colorful, energetic and mischievous Snoopy. Anna Sheldon is fittingly sharp and sassy as bratty Lucy. As the kindhearted Linus, Greyson Calvert specifically injects warmth and tenderness into the aforementioned biblical recitation, the poignant hallmark of the cartoon and this production. Matt Poliachik (Pig Pen), Sade Oyeyemi (Frieda), Austin DeVaughn (Schroeder), Sha-Lamar Davis (Violet), Haven Bradem (Sally), Rebecca Henry (Patty), and Naman Clark (Shermy) distinctively connect to their roles with personable flavor. DeVaughn in particular hilariously glares at Sheldon when Schroeder becomes exasperated with Lucy’s inability to correctly identify Christmas carols.
After nearly 50 years, “A Charlie Brown Christmas,” delightfully concluding with wintry atmospherics and sing-a-long, still resonates as a charming look at the power of friendship and goodwill.

“A Charlie Brown Christmas” continues through Dec. 20 in Blair Hall Theatre, Building 2, of Sinclair Community College, 444 W. Third St., Dayton. Performances are Friday at 7 p.m., and Saturday at 2, 4 and 7 p.m. The production is performed in 30 minutes. Tickets are $8. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets. Also, a special “shadowing” ASL performance is slated for the Friday performance (interpreters follow actors onstage while interpreting instead of being located off to the side of the action); In addition, Sinclair’s regular house policy stating “no children under 6” has been lifted for the show’s run.