On Stage Dayton Reviews

‘Million Dollar Quartet’ Review – Victoria Theatre Association – That Old Time Rock & Roll

June 19, 2014 By Russell Florence, Jr. Leave a Comment

There’s a whole lotta shakin’ goin’ on at the Schuster Center as the outstanding national tour of “Million Dollar Quartet,” nominated for the 2010 Tony Award for Best Musical and based on a true event, lets loose with feel-good exuberance courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

(l to r) John Countryman, Kelly Lamont, H. Bradley Waters, Corey Kaiser, Scott Moreau, and Tyler K. Hunter (seated) in “Million Dollar Quartet” (Contributed photo)

A jukebox musical written by Colin Escott and Floyd Mutrux unabashedly concerned with tone and era instead of plot or storyline, “Million Dollar Quartet” captures a glimpse of rock and roll history in 100 breezy minutes under Eric Schaeffer’s crisp direction. On Dec. 4, 1956 in Memphis, Tennessee, Sun Records owner Sam Phillips concocted a jam session featuring four titans he discovered: Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley. This immensely talented and unique quartet, whose genuine love of music permeated within their souls, come together at the dawn of their careers, which gives the material an immediately endearing edge beyond the cavalcade of hits. Humorous clashes (primarily instigated by the outspoken Lewis) and interesting tidbits (televangelist Jimmy Swaggart is Lewis’ cousin; Perkins resented Presley for snatching “Blue Suede Shoes,” a hit he wrote and recorded first) keep the action engaging when the fantastic music subsides, but a deeper investigation into the lives and personalities of each artist, including Phillips, would have added considerable substance. Granted, Cash and Perkins provide a relatively juicy slice of drama when revealing their decision to move on from Sun Records, but stakes should have been raised elsewhere. Also, the presence of a random girlfriend for Presley, intended to boost the show’s sex appeal, is particularly superfluous and underwritten.

Nonetheless, this rip-roaring experience thrives on its thoroughly energetic and entertaining foursome who impressively play their own instruments while marvelously embodying the titular legends. Phenomenal pianist John Countryman is a funny firecracker as Lewis, a fiery Southerner longing to write his first hit. Countryman brings incredible passion to “Real Wild Child” and “Great Balls of Fire.” The suave Tyler K. Hunter effortlessly channels the hip-swiveling Presley in “That’s All Right” and “Hound Dog,” but wonderful sensitivity also abounds as he terrifically leads “Memories Are Made of This” and “Peace in the Valley.” As the plain-spoken Perkins, H. Bradley Waters provides satisfying versions of “Who Do You Love?” and “See You Later Alligator.” Scott Moreau is also perfectly cast as the understated Cash, pleasing audiences with toe-tapping renditions of “Folsom Prison Blues,” “Sixteen Tons” and “I Walk the Line.” Vince Nappo brings folksy joy to his portrayal of Phillips, the show’s narrator. As Presley’s current flame Dyanne, Kelly Lamont, who originated the role, seductively captivates in “Fever.” Bass player Corey Kaiser and drummer Patrick Morrow provide first-rate accompaniment.

“Million Dollar Quartet” only scratches the surface of Cash, Lewis, Perkins, Phillips and Presley’s greatness, but it’s an undeniable crowd pleaser just as winning on tour as it was on Broadway.

“Million Dollar Quartet” continues through June 22 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. The production is performed in 100 minutes without intermission. Tickets are $40-$96. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘The Dead Guy’ Review – Dayton Theatre Guild – Reality Bites

June 5, 2014 By Russell Florence, Jr. Leave a Comment

Chris Hahn and Amy Askins in the Dayton Theatre Guild production of “The Dead Guy” (Contributed photo by Peter Wine)

Would you kill yourself on live TV in a manner determined by viewers for the luxury of spending $1 million
in a week?

Eldon Phelps ponders this intriguing notion hastily in the local premiere of Eric Coble’s fascinating 2005 dark comedy “The Dead Guy,” currently receiving a thoroughly engaging and thought-provoking presentation at the Dayton Theatre Guild deftly directed by Saul Caplan.
At a nondescript bar in the nondescript town of Leadville, unemployed and aloof Eldon (a first-rate, credibly impulsive Christopher Hahn) is persuaded to become the Dead Guy, the focal point of a new reality TV show of the same name created by ruthless producer Gina Yaweth (a splendidly shrewd, fixated Amy Askins). Eldon is the perfect bait because his hopeless indifference about life leads him to believe money and suicide would make him someone to remember in the eyes of his family and community. His logic is terribly flawed, but the decision he faces marvelously addresses the greater concern of desperation within the human condition. What exactly is the price of fleeting fame in today’s society? Have we become numb to entertainment that morphs from frivolous to grotesque? Through Eldon and Gina’s eye-opening perspectives, Coble allows us to fully examine the unsavory yet profitable depths of our media-craved culture and the get-rich-quick schemes that infiltrate the most vulnerable for the titillation of millions.
The very physical Hahn, making his Guild debut following memorable turns at Sinclair Community College, is totally relatable and fittingly rough around the edges. As Eldon’s outlook and bank account evolves, a mild, transformative “Pygmalion”-esque quality encircles him which Hahn embraces with spunk, charm and maturity. He also finds terrific support in Askins, who winningly conveys Gina’s insatiable quest for ratings which leads her on a very unattractive path. Askins is so convincing and captivating in her juicy role you’ll wonder if she has attended her share of reality TV casting calls in our region.
Caplan’s amiable, compatible cast also includes an enjoyably understated K.L. Storer as Gina’s trusty videographer Dougie, Aaron Brewer as Eldon’s modest brother Virgil, a comical Teresa Connair as Eldon’s outspoken mom Roberta, an engaging Angela Timpone as Eldon’s ex-girlfriend Christy, Wayne Wolfe as an assertive Security Guard, the overdue return of Timothy Walling-Moore (excellent in the Guild’s 2010 local premiere of “Kimberly Akimbo”) as Leon, Carly Risenhoover-Peterson as Sheila, and Jenna Burnette as Nancy. Technical issues hindered the performance attended (the action relies heavily on multimedia and props), but the material’s essence wasn’t diminished thanks to the astute cast.

In a savvy move, Gina gives fans of “The Dead Guy” an option for a write-in vote regarding Eldon’s demise. For a split second, I actually thought the vote would be in favor of sparing his life. After all, thanks to Hahn’s fine portrayal, there always seemed to be a glimmer of hope amid the darkness. Well, maybe next season.

“The Dead Guy” continues through June 15 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act One: 50 minutes; Act Two: 55 minutes. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Tickets are $18 for adults, $16 for seniors, and $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

‘Beauty and the Beast’ Review – Victoria Theatre Association – Delightful Disney Magic

May 29, 2014 By Russell Florence, Jr. Leave a Comment

Darick Pead and Hilary Maiberger star in Disney’s “Beauty and the Beast” (Contributed photo)

A top-notch national tour of Disney’s “Beauty and the Beast,” the recipient of nine 1994 Tony Award nominations including Best Musical, has arrived at the Schuster Center as part of the Victoria Theatre Association’s Premier Health Broadway Series.

Based on the beloved 1991 Academy Award-winning film, one of the best animated movies containing one of the best cinematic scores courtesy of Alan Menken and Howard Ashman, “Beauty and the Beast” wholeheartedly succeeds on the wonderfully relatable portrayals of Hilary Maiberger as bookworm Belle and Darick Pead as the troubled Beast. Maiberger, a lovely soprano and radiant stage presence, earnestly conveys Belle’s life-affirming journey of hope, loss and romance with a thoroughly engaging, gently contemporary sensibility. Astutely interpreting Belle’s introverted persona and the particularly deep hurt she feels upon imprisonment reiterated in the marvelous ballad “Home,” her performance beautifully evolves with striking resiliency and tenderness. At the same rate, Pead is an equally magnetic component displaying a humorously gruff temperament that exceptionally dissolves as the Beast learns to love and desires to be loved in order to break an enchantress’ spell. Pead injects some of the finest comedic bits I’ve seen in the role (the Beast’s pre-dinner hissy fit is inspired), but also supplies great vulnerability, especially in the touching Act 1 finale “If I Can’t Love Her.”

Maiberger and Pead are so incredibly compatible you’ll likely find yourself wiping away a few tears when the gorgeous title tune, warmly sung by Kristen Stewart (Mrs. Potts), brings Belle and the Beast together for an elegant dinner and heart-tugging waltz solidifying their unexpected bond.
Elsewhere, and in addition to Stewart, enjoyable supporting portrayals are rendered by Tim Rogan (Gaston), Jordan Aragon (LeFou), Josh Feldman and Jack Mullen (Chip), James May (Cogsworth), Stephanie Moskal (Babette), Hassan Nazari-Robati (Lumiere), Roxy York (Madame de la Grande Bouche), Paul Crane (Maurice), Kieron Cindric (Monsieur D’Arque), and Tony D’Alelio (Carpet). Nazari-Robati in particular winningly leads the exuberantly show-stopping “Be Our Guest” and joyously spine-tingling “Human Again,” two numbers sprightly choreographed by Matt West who also brings colorful, character-conscious flourishes to “Belle” and “Gaston.”
Director Rob Roth, Tony-nominated for his original direction, effortlessly and breezily returns to the material with a complete understanding of the tone and charm of the story and its relationships. He also wisely reassess his original outlook by cutting 10 minutes that used to belong to “No Matter What” and “Maison des Lunes,” new songs Menken wrote with lyricist Tim Rice that didn’t advance the plot. Roth’s splendid creative team includes Tony-winning costumer Ann Hould-Ward, Tony-winning lighting designer Natasha Katz, scenic designer Stanley A. Meyer, sound designer John Petrafesa, Jr., hair designer David H. Lawrence, fight designer Rick Sordelt, puppet designer Basil Twist, and illusion designer Jim Steinmeyer. Music director Kevin Frances Finn conducts a solid, well-balanced orchestra.

If feel-good entertainment is your aim don’t miss “Beauty and the Beast.”
Disney’s “Beauty and the Beast” continues through June 1 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: 80 minutes; Act Two: 50 minutes. Tickets are $40-$111. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘Oklahoma!’ Review – Dayton Playhouse – Smokehouse Showdown

May 9, 2014 By Russell Florence, Jr. Leave a Comment

Rodgers and Hammerstein’s “Oklahoma!,” the landmark 1943 musical concerning love and statehood circa 1906 in Oklahoma territory based on Lynn Riggs’ 1930 play “Green Grow the Lilacs,” thrives on its engaging romance between a stubborn farm girl and her folksy suitor. Even so, there is another relationship, a truly alluring collaboration, key to the appeal of the Dayton Playhouse’s entertaining if off-kilter presentation.

David Hallowren (left) and Jeff Sams in the Dayton Playhouse production of “Oklahoma!” (Photo by Art Fabian)

Late in Act 1, an absolute highpoint, cowboy Curly McClain (an immensely charismatic Jeff Sams) arrives at the pornography-adorned smokehouse of surly ranch hand Jud Fry (an impressive David Hallowren). Both men vow to win the heart of Laurey Williams (Amanda Carter), but Curly particularly knows deep within that Laurey only pines for and intends to be with him. Still, Jud has the upper hand for the time being since Laurey promised to go with him to a box social despite Curly’s bewildered disdain. Under director Brian Sharp’s delicate guidance, the fascinating tug-of-war transpiring here over casual conversation and a few shots of gunfire wonderfully conveys the determination and jealousy fueling Curly and Jud’s inherent friction. In fact, Sams, carefree yet astute, hits all the right marks in an appropriately impromptu fashion while building the morbid gem “Pore Jud is Daid,” a humorously somber portrait of Jud’s demise. Having winningly interpreted Curly’s knack for fantasy in “The Surrey With the Fringe on Top,” Sams conjures another imaginary premise with colorful nuances freshly heightening the tune, particularly as Hallowren ensures the clueless Jud falls for the silly scenario perhaps due to nothing more than momentary masculine companionship. When Curly leaves the smokehouse, after intimidating Jud to the core with his confident swagger, Jud’s pain as an unloved, detached outcast is powerfully examined by Hallowren in his dynamic rendition of the haunting, underrated “Lonely Room” filled with ample heartache, vengeance and frightening decisiveness.

Sams and Hallowren are a significant pairing primarily because of Carter’s vocal limitations hindering the cohesion she tries very hard to maintain opposite the more vocally firm Sams. Carter is an endearing presence and gives credence to Laurey’s hopeful yearnings, but the score is simply beyond her range, particularly “Many a New Day” and “People Will Say We’re in Love.” As ruthless peddler Ali Hakim, Christopher Delanis (an amusing Hero in the University of Dayton’s recent “A Funny Thing Happened on the Way to the Forum”) is equally uneven, providing an overly meek, tentative and exasperated portrayal absent of salesman-like savvy and go-getting vigor. Even “It’s a Scandal! It’s an Outrage!,” Ali’s signature tune, falls flat despite cheery backup from the male ensemble.
Nonetheless, this production has its share of strong principals and featured performers. As Aunt Eller, the outstanding Karen Righter provides a wonderfully earthy sparkle, specifically bringing substantive radiance to Eller’s words of wisdom directed to Laurey late in Act 2. Kelli Locker is chock-full of fiery abandon as the hopelessly flirtatious Ado Annie Carnes. Matthew Glenn is a delightfully dimwitted Will Parker. Shawn Hooks is effectively authoritative and sly as Andrew Carnes. Ben Douglas (Ike Skidmore) and Zack Conway (Slim) pleasantly partner as Will’s friends. The absolutely luminous Tiffany Cichanowicz captivates as Dream Laurey in the favorably abridged Dream Ballet, beautifully choreographed by Barbara Pontecorvo.
Notable choreography is also offered by Paige Hanshaw, especially in the rousing “The Farmer and the Cowman.” In-demand scenic designer Chris Newman returns to the Playhouse to create a striking set depicting an authentic homestead essence. Kathleen Carroll supplies fine period costumes. John Falkenbach’s lighting design aptly captures varying moods. Musical director Ron Kindell leads another terrific orchestra.

“Oklahoma!” continues through May 18 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: 90 minutes; Act Two: 50 minutes. Tickets are $17 for adults and $15 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com.

In addition, the Friday, May 16 performance will be “Western Wear Night.” Patrons are encouraged to dress in their favorite farmer or cowboy/cowgirl attire. In addition, two special picnic hampers, containing gift certificates for fried chicken and other picnic delicacies from Benjamin’s Restaurant and sweet treats and coffee from Winans Fine Chocolates and Coffees, will be raffled, as a fundraiser, during all performances and awarded after the closing performance Sunday, May 18. Raffle tickets will be $1 or six for $5.

In related news, the Dayton Playhouse’s 2014 FutureFest of new plays will be held Friday, July 25-Sunday, July 27 at the Playhouse. From a total of 151 submissions across the country, the six finalists are: “Masterwork” and “The Paymaster” by Dayton native M.J. Feely (a previous winner and third playwright to have two plays in final six), “Sugarhill” by Linda Ramsay-Detherage, “The Humanist” by Kuros Charney (previous semi-finalist), “The Killing Jar” by Jennifer Lynne Roberts, and “Wash, Dry, Fold” by Nedra Pezold Roberts (previous semi-finalist). Auditions will be held Sunday, June 1 at 2 p.m. (all plays), Monday, June 2 at 7 p.m. (fully staged plays) and Tuesday, June 3 at 7 p.m. (staged readings). Anyone interested in directing or serving as a member of the production staff should e-mail FutureFest program director Fran Pesch by May 15 at [email protected]. FutureFest weekend passes will go on sale Wednesday, June 11. Single tickets will go on sale Tuesday, July 1. For more information, visit www.daytonplayhouse.com

‘An Inspector Calls’ Review – Dayton Theatre Guild – Evening Confessions

April 25, 2014 By Russell Florence, Jr. Leave a Comment

The cast of “An Inspector Calls” (Contributed photo)

J.B. Priestley’s 1945 drama “An Inspector Calls” is an engrossing, humorous, well-acted, and handsomely designed display at the Dayton Theatre Guild.

Breezily presented in three acts, Priestley’s thorough if heavy-handed chastisement of the privilege and personality of the upper class, an obvious portal into his own staunch views of socialism, concerns the Birling family of Brumley, England circa spring 1912. Inside their beautifully decorated dining room (superbly envisioned with dramatic flair by Chris Newman), the Birlings (attractively costumed with period panache by Carol Finley) gather for a dinner party celebrating Sheila Birling’s engagement to Gerald Croft. But joyful optimism suddenly subsides when the mysterious Inspector Goole arrives to aggressively interrogate everyone about their connection to the suicide of Eva Smith, a factory girl employed by Arthur, the family patriarch. It’s a stretch to assume the entire Birling clan came in contact with Eva (also known as Daisy Renton), but Priestley masterfully weaves credibility by building his case on classism. Goole adamantly feels the Birlings took advantage of Eva simply due to her status, particularly her monetary woes that ultimately lead her on a destructive path.
Director David Shough (responsible for last season’s impressive, tech-savvy production of “Dracula” at the Dayton Playhouse) once again utilizes music to heighten emotions. In this instance, flavorful strains give the drama a pinch of extra spice while simultaneously poking fun at its mystery/thriller essence. More importantly, Shough skillfully coaxes excellent, captivating portrayals from the principal players radiating with genuine passion and sophisticated authenticity.
The formidable Dave Nickel, intimidating and resolute, commands attention and vigorously propels the drama as Inspector Goole. Nickel is specifically astute at scolding in a manner that doesn’t feel excessive or cumbersome. Charles Larkowski, effortlessly firm, expertly embodies Arthur’s brash, forthright, capitalist mindset, which splendidly sets the play’s tone as a reflection of the ostentatious spirit of his fellow industrialists. “We don’t guess, we have experience, we know,” boasts Arthur ominously less than a month before the Titanic sails on her ill-fated maiden voyage. Larkowski also shows great vulnerability as accusations rise within Arthur’s imploding world. The remarkable Annie Branning, in her Guild debut, exquisitely counters as Sybil Birling, Arthur’s dutiful, headstrong wife who takes Goole to task with powerfully defensive pizzazz. As Sheila, Caitlyn Maurmeier, in another fine Guild debut, showcases a lovely evolution from innocence to spitefulness as her relationship with Gerald slowly disintegrates. Maximillian Santucci (a standout last season in the Guild’s local premiere of “100 Saints You Should Know”) underplays appealingly as Gerald, tenderly recounting his compelling history with Eva/Daisy in Act 2. As Eric Birling, Leonardo Santucci, delivering a breakthrough performance, oozes fiery contempt in Act 3 opposite Larkowski in an intense father-son showdown. Christina Tomazinis (as maid Edna) and Jamie McQuinn (as a Beggar) are underutilized but nonetheless serve as intriguing kindred spirits within the action.
“We don’t live alone,” Goole declares whether the Birlings like it or not. Without a doubt, “An Inspector Calls” prompts us to value sympathy and compassion in a world that continually places more significance in individualism.

“An Inspector Calls” continues through May 4 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act One: 40 minutes; Act Two: 42 minutes; Act Three: 37 minutes. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Tickets are $18 for adults, $16 for seniors, and $11 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

In related news, the Dayton Theatre Guild’s 2014-15 season will consist of Lee Blessing’s “Nice People Dancing to Good Country Music” (Aug. 22-Sept. 7, directed by Ralph Dennler), David Lindsay-Abaire’s “Good People” (Oct. 3-19, directed by Debra Kent), Amy Herzog’s “4000 Miles” (Jan. 9-25, directed by Kathy Mola), Eugene O’Neill’s “Desire Under the Elms” (Feb. 27-March. 15, directed by Craig Smith), Jane Martin’s “Criminal Hearts” (April 17-May 3, directed by Saul Caplan), and George Bernard Shaw’s “Heartbreak House” (May 29-June 14, directed by Patrick Hayes).

‘Bring it On’ Review – Victoria Theatre Association – Smells Like Teen Spirit

April 23, 2014 By Russell Florence, Jr. Leave a Comment

Fun, sassy exuberance is the bill of fare at the Schuster Center as the appealing national tour/ local premiere of “Bring it On: The Musical” charms and entertains.
Presented as a special Star Attractions courtesy of the Victoria Theatre Association, “Bring it On,” a 2013 Tony Award nominee for Best Musical, effectively adheres to the silly, fluff-filled cinematic franchise of the same name launched in 2000 starring Kirsten Dunst. Popular Truman High School cheerleader Campbell (truly delightful triple threat Nadia Vynnytsky) is thrown for a loop when she’s suddenly redistricted to urban Jackson High School. In an attempt to assimilate as best as possible, Campbell joins Jackson’s flavorful hip-hop crew led by the fiery, no-nonsense Danielle (a marvelously commanding, vocally strong Zuri Washington). However, Campbell’s insistence that Jackson create a squad that can match the Truman team, now led by the wholesome yet treacherous sophomore Eva (a fittingly coy Emily Mitchell, who was replaced in Act 2 at the performance attended by the comical Mia Weinberger), is a morale-boosting decision that ultimately evolves with disheartening repercussions which shape the musical’s engaging viewpoints of friendship, disloyalty, identity and forgiveness.
Tony-winning librettist Jeff Whitty (“Avenue Q”) crafts a thoroughly engaging and witty look at contemporary high school life although Truman lacks the personality and depth of Jackson. The catchy, tuneful score, co-composed by Tony and Pulitzer Prize winner Tom Kitt (“Next to Normal”), Tony nominee Amanda Green (“Hands on a Hardbody”) and Tony winner Lin-Manuel Miranda (“In the Heights”), contains too many similarly introspective ballads for Campbell, but the upbeat, hip-hop-infused numbers are scintillating, especially “Do Your Own Thing,” “We Ain’t No Cheerleaders,” “Friday Night Jackson,” and “It’s All Happening.”
In addition to the aforementioned principals, excellent performances extend to the hilariously spunky Maisie Salinger as Campbell’s goofy friend Bridget, the terrifically spicy Sharrod Williams as the uniquely flamboyant La Cienega, Jennifer Geller as La Cienega’s lively cohort Nautica, Bailey Purvis as Truman mean girl Skylar, the charismatic Tyler Bertolone as Campbell’s unpretentious love interest Randall, Andy White as Campbell’s dopey ex-boyfriend Steven, and Erin L. Fleming (Twig) and AJ Lockhart (Cameron) as playful Jackson students.
Tony-winning director/choreographer and Cincinnati native Andy Blankenbuehler (“In the Heights”) keeps the fast-paced action breezy and fluid. His sharp vision is nicely complemented by Jeff Sugg’s eye-catching video design, David Korins’ efficient sets, Jason Lyons’ expert lighting, Cody Spencer’s first-rate sound design, and Andrea Lauer’s colorful costumes. Still, Blankenbuehler absolutely pulls out the stops with his jaw-dropping competition routines spotlighted in “What I Was Born to Do,” “Legendary,” “Cross the Line,” and the title number. When this cast flies into the air with zestful abandon, “Bring it On” thrillingly soars.

“Bring it On: The Musical” concludes tonight at 7:30 p.m. at the Schuster Center, Second and Main Streets, Dayton. Act One: 58 minutes; Act Two: 60 minutes. Tickets are $25-$70. Students are encouraged to take advantage of the student rush discount for half off tickets. For tickets or more information, call Ticket Center Stage (937) 228-3630 or visit www.ticketcenterstage.com

‘Memphis’ Review – Victoria Theatre Association – Music of the Soul

April 11, 2014 By Russell Florence, Jr. Leave a Comment

Jasmin Richardson and Joey Elrose in Memphis (Contributed photo)

The current national tour of Joe DiPietro and David Bryan’s “Memphis,” recipient of the 2010 Tony Award for Best Musical, vigorously thrills with potency and heart in its firm local premiere at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

Set in the 1950s and based on a concept by George W. George, “Memphis” centers on the forbidden interracial romance between kooky DJ Huey Calhoun (an immensely amiable Joey Elrose) and R&B nightclub singer Felicia Farrell (a radiant Jasmin Richardson). Huey, an uneducated outcast who feels a deep kinship to black music culture, longs to turn Felicia into a star thanks to the popularity of his radio show, but his dream isn’t universally embraced. In fact, Huey and Felicia face significant challenges as they seek to make their relationship work in a segregated climate. Huey’s mother and Felicia’s brother particularly express their contempt, fueling the production’s forthright authenticity to appropriately shocking degrees. Even so, Huey and Felicia’s charming, heartbreaking journey smoothly drives the action, accented by a very tuneful score and complex characterizations.
The endearing, goofy Elrose injects great persistence, determination, arrogance and stubbornness into the socially awkward Huey, loosely inspired by trailblazer Dewey Phillips who was the first DJ to play Elvis Presley’s debut record. Elrose specifically gives Huey’s passionate anthem “Memphis Lives in Me” an aptly earnest treatment. Vocal powerhouse Richardson, fierce and vivacious with an appealing Diana Ross sensibility to boot, provides dynamite renditions of “Make Me Stronger,” “Colored Woman,” “Someday” and “Love Will Stand When All Else Falls.”
Well-defined, engaging supporting portrayals are offered by RaMond Thomas as Felicia’s hardnosed, overprotective brother Delray, D. Scott Withers as Huey’s boss Mr. Simmons, Kyshawn K. Lane as the timid Gator, Jerrial T. Young as the bubbly Bobby, and Pat Sibley as Huey’s bigoted Mama. Thomas’ fiery “She’s My Sister” and Sibley’s humorous “Change Don’t Come Easy” fittingly add spice and color to their solid work.
Christopher Ashley’s original direction and Sergio Trujillo’s original choreography is smoothly, respectively recreated by Adam Arian and Jermaine R. Rembert. Rembert’s contributions distinctively retain Trujillo’s astuteness and vivacity, especially the exuberant “Radio” skillfully commenting on race through dance in an inspired manner not seen since Jerry Mitchell’s exhilarating choreography for “Hairspray.”
David Gallo’s terrifically stark sets, Paul Tazewell’s attractive period costumes, Howell Binkley’s expert lighting, and conductor Alan J. Plado’s first-rate orchestra are additional attributes of this energetic showcase.
“Memphis” continues through April 13 at the Schuster Center, Second and Main Streets, Dayton. Performances are today 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: 55 minutes. Tickets are $40-$96. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

Cautiously Optimistic Step in the Right Direction

April 7, 2014 By Rodney Veal Leave a Comment

As I arrived at the Victoria Theatre on spring-like Sunday afternoon, I was curious to see how this season would end for this venerable troupe. While there were a few surprises, the final spring concert of the Dayton Ballet season ended on a quiet note.

The concert began with former artistic director Dermott Burke’s Fete des Courtiers; a swirling confection of neoclassical formalism, it was perfectly perfunctory in form and execution as couples moved through formations that hinted at a noble engagement. While Fete Des Courtiers broke no new ground choreographically, it nevertheless engaged both the performers and the viewer.

Susanne Payne’s Interactions was a winner of the choreographic competition that Dayton Ballet held three years ago and it has not lost any of it’s charm or choreographic vitality. I have always believed that Ms. Payne is a tremendous artistic asset to Dayton Ballet and to the cultural fabric of our community when she creates works like this. Her talents for generating unique movement vocabulary is wildly entertaining. This was the first time we had a chance to explore the talents that she possesses and she continues to grow and develop artistically. It is evident that over the past few years Dayton Ballet has benefited from an influx of new performers with their energy and ability to tackle the modernist movement vocabulary of Ms. Payne; in turn helping to illuminate her work to dazzling effect. Interactions felt as vibrant and thrilling now as its did during its world premiere a few years ago.

Jessica Lang

Next up on the bill was Jessica Lang’s From Foreign Lands and People. And what a powerful and unique work. When the curtaine opened we were presented with several four-sided columns from five to ten feet tall as well as a group of dancers. As a viewer you were automatically expecting some interaction or engagement with the columns. As the work progressed you were surprised just how farthat interaction would go. The dancers manipulated the columns into slides and hurdles that they moved across, rolled and leaped under and over, respectively. They then proceeded to stack the columns into evocative sculptural tableaus. The choreography was sublime in the economy of its construction. Jessica Lang weaved a magical spell on the audience that left more than one person in the theatre swooning with giddy satisfaction. This is a work that bears repeating and deserves to be in the repertory of the company. It is a sure fire audience pleaser and beautifully constructed work of art.

The concert concluded with Karen Burke Russo’s Canyons, a semi-abstract work that highlights her skills as a choreographer to maximum effect. Canyons evoked a Native-American motif in the imagery and movement vocabulary without being so literal as to fall into tropes and mawkish triviality. The dancers danced it with a beautifully modulated sense of control and abandonment, which they displayed consistently throughout the concert. Dayton Ballet is benefiting from a similar scenario that exists for Dayton Contemporary Dance Company; an A company of young and eager performers that are pushing the performance quality of older works in the rep as well providing a blank canvas for new and thrilling choreographers in which to create their particular form of artistic alchemy. Now is the time to be bold and decisive. While it may not draw record crowds, it makes a better case for relevancy and the right for continued support from the community.

‘Other Desert Cities’ Review – The Cost of Thriving Ticket Contest

April 2, 2014 By Russell Florence, Jr. 1 Comment

Painful lies and political allegiances consume the dysfunctional Wyeth family of Palm Springs in Jon Robin Baitz’s compelling 2011 Tony Award and Pulitzer Prize-nominated drama “Other Desert Cities,” commendably staged by Margarett Perry in its local premiere by the Human Race Theatre Company.
On Christmas Eve 2004, envisioned within beautifully stylish surroundings by set designer Tamara L. Honesty, the Wyeths are far from merry and bright. Republican hotshots Polly and Lyman fiercely clash with their liberal, emotionally scarred daughter Brooke, a novelist who plans to publish her scandalous “Love and Mercy: A Memoir” that startlingly reveals some unsettling truths about her privileged upbringing. More concerned with perception than reality, Polly and Lyman quickly scold and threaten Brooke, calling her characterizations of their friends “grotesque” in the hope she will postpone or completely scrap her plans. “You’d still be my daughter, but the meaning of it would change,” warns Polly in particular before planting a chilling kiss on her cheek that speaks volumes. However, Brooke finds favor and encouragement from her recovering alcoholic aunt Silda, Polly’s liberal sister, as well as her easygoing brother Trip, who has become somewhat of a black sheep due to his frowned upon association with reality television.

Baitz’s battle of wills, sometimes unnecessarily overtly political, is tightly drawn in Act 1 giving the audience a productive pathway into rooting for or against Brooke’s mission. Even so, he masterfully raises the stakes by fashioning a more engrossing Act 2 crafted around a secret that would destroy the family if the public ever knew. Carefully taught “how to control things” by none other than Nancy Reagan, Polly and Lyman ultimately risk everything to explain the cost of thriving, the ability to navigate among certain circles without blemish in order to fuel discretion and protect image.
An exceptionally domineering Kate Young and admirable Scott Stoney compatibly blend as the core couple whose scorn sets the action in motion, far more noticeable as a driving force here than the original Broadway production which tipped the scales in favor of Brooke (Rachel Griffiths, an alumna of Baitz’s terrific ABC family drama “Brothers & Sisters”) and Silda (a phenomenal Judith Light). Young and Stoney memorably partnered under Perry’s direction nine years ago in the Human Race’s splendid local premiere of “The Retreat from Moscow” (Young’s electrifying portrayal of a rejected wife remains among the best I have seen on a local stage) and their welcomed reunion is long overdue. Skillfully attacking her role with incredible nuances and an impressive proficiency of language, Young is a force to behold as Polly spews her opinionated, often politically incorrect views while ruling the roost. Stoney, in a less showy capacity, becomes too stiff when exuding Lyman’s rigidity, but amiably showcases the character’s softer side when revealing his genuine love and concern for Brooke.

Additionally, Jennifer Joplin brings intensity, compassion and wit to the tenacious Brooke in a solid portrayal effortlessly escalating to heartbreaking degrees when her dreams are unexpectedly shattered. As Silda, Sherman Fracher surprisingly stops short of taking her juicy role to sardonic, Edward Albee-esque proportions but provides apt comic relief and an astute understanding of her character’s familial disdain and discontent. Aaron Vega, humorous and impactful, turns Trip into an engaging, entertaining mediator.
“I don’t like weakness,” says Polly during one of her diatribes. “You can die from too much sensitivity in this world.” It’s clear the Wyeths may never recover from their self-inflected wounds. Thankfully, Baitz and the Human Race certainly make their journey rewarding and unforgettable.

“Other Desert Cities” continues through April 13 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Wednesday-Saturday evenings at 8 p.m., Tuesday evenings at 7 p.m.; Sunday matinees at 2 p.m. Act One: 65 minutes; Act Two: 47 minutes. Tickets are $36-$43 (prices vary depending on performance date and discounts are also 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:

We’ve got 2 pairs of ticket to giveaway for Other Desert Cities. To enter our drawing, just like this article, comment below on why you should win and fill out the form below. Contest now closed. Congratulations to Jamie McQuinn and Vicki Thompson.

‘Les Misérables’ Review – Wright State University – Stunning Success

March 27, 2014 By Russell Florence, Jr. Leave a Comment

Mark Beyer as Enjolras (center) and the cast of Les Miserables (contributed photo)

Wright State University delivers an outstanding local collegiate premiere of Alain Boublil, Claude-Michel Schönberg and Herbert Kretzmer’s “Les Misérables,” the popular, unabashedly sentimental 1987 Tony Award-winning pop opera based on Victor Hugo’s legendary 1862 novel exploring the human condition through plight and promise within turbulent France.
Inspired by the harrowing June revolt of 1832 (the French Revolution concluded 33 years prior), “Les Miz” hasn’t lost one morsel of its angst-ridden, melodramatic urgency under W. Stuart McDowell’s excellently firm, fluid and inventive direction. As a throng of fascinating, emotionally-charged characters leap forth spanning nearly 20 years, McDowell ensures every individual is clearly defined and every moment counts. Incorporating unique flourishes beyond the use of a turntable, a signature component of Trevor Nunn and John Caird’s original iconic stagecraft, he allows the show to resonate anew with a skillful grasp of atmosphere and tone. In addition to sprinkling the action with red, white and blue in a patriotic nod to the French flag, the opening seconds single-handedly stimulates the ensuing drama with a fresh grip by reiterating the magnitude of the story in a historical context. McDowell’s large, passionate cast, vocally on par with WSU’s fabulous productions of “The Light in the Piazza” and “Grand Hotel,” is powerfully led by Andrew Quiett as ex-convict Jean Valjean. Quiett gave one of the finest performances of this season last fall as Jud Fry in “Oklahoma!,” and his return is equally praiseworthy as he fills Valjean’s redemptive journey with engrossing humility and searing potency, especially in his gorgeously heartfelt “Bring Him Home.” At the same rate, Law Dunford, in a breakthrough performance benefitted by non-traditional casting, truly captivates as Inspector Javert, a devout Christian whose unforgiving heart and obsessive drive clouds his judgment as he relentlessly pursues Valjean. Instilling fear with a marvelously formidable demeanor and razor sharp intensity, Dunford avoids morphing into a one-dimensional antagonist by astutely interpreting Javert’s harsh convictions from the perspective of duty and principle instead of blatant vengeance.

Andrew Quiett as Jean Valjean (contributed photo)

Quiett and Dunford are explosive adversaries (“Confrontation” is a knockout), but the featured players are very strong as well. The lovely, disenchanted Amy Wheeler is heartbreaking as the doomed Fantine, treating “I Dreamed a Dream” with sorrowful, lyric-driven, speak-sung eloquence. Ian Benjamin and Cassie Mikat playfully coalesce as the treacherous Thenardiers seeking to thwart Valjean. As lovebirds Marius and Cosette, an appealingly resolute Zack Steele and sweetly genteel Kaitlyn Sage beautifully intertwine although Steele (filling “Empty Chairs at Empty Tables” with poignant solemnity) finds more depth in his portrayal than Sage who is saddled with thinner material. As the street-tough Eponine, hopelessly in love with Marius, the luminous Liz Romey blossoms into a superb storyteller in her fantastic “On My Own” radiating with anger, yearning and an eerily extended silence illustrating Eponine’s loneliness on the streets of Paris. Terrific tenor Mark Beyer brings fiery zeal to his striking, comforting portrayal of student rebel leader Enjolras.
Additionally, as Young Cosette, Emma Fry refreshingly embraces “Castle on a Cloud” as the haunting lullaby it was written to be by adding a few chilling inflections. Connor Iverson is a scrappy, spunky Gavroche. Abbey Fry is a delightful Young Eponine, particularly aiding in the frenzied swindling throughout “Master of the House” expertly choreographed by Dionysia Williams. Drew Bowen is delectably creepy opposite Wheeler as the cruel Factory Foreman and snobbish Bamatabois. Bowen also shines as Jean Prouvaire alongside Connor Lysholm (Combeferre), Brandon Kinley (Feuilly), Jordan Adams (Courfeyrac), Bailey Olean (Joly), Keaton Eckoff (Grantaire), and Jim Miller (Lesgles) as the defiant rebels of the ABC Café stirring the souls of their countrymen upon the death of General Lamarque (an advocate of the poor) in the rousing “Do You Hear the People Sing?” Bradley Farmer and Paige Dobkins are among the standouts of the female ensemble fiercely attacking “Lovely Ladies.” The cast also includes Bailey Edmonds, Peter Cutler, Caitlyn Geisser, Emsie Hapner, Haley Iverson, King Jones, Owen Kresse, Kody Mullins, Kate Mueller, Kelsey Pohl, Brandon Ramos, Tyrell Reggins, Alyson Snyder, MacKenzie Stephens, Ben Tracy, Abby Murray Vachon, Jake West, Sabria Wynn, and Meredith Zahn.

The rebels at the barricades in Les Miserables (contributed photo)

The marvelous tech artists accenting this experience with color, dimension, nuance, realism and vigor include scenic designer Pam Knauert Lavarnway, lighting designers Matthew P. Benjamin and Erin Jones, costumer D. Bartlett Blair, sound designer James Dunlap, musical director Scot Woolley, fight choreographer Bruce Cromer, and dialect coach Deborah Thomas.
“Les Miz” dynamically champions freedom and faith, but it also serves as an impressive landmark in the history of WSU’s musical theater department and one of the best productions the Miami Valley will witness in 2014.

“Les Misérables” continues through April 6 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are March 27, April 2 and 3 at 7 p.m., March 28, 29, April 4 and 5 at 8 p.m., and March 29, 30, April 5 and 6 at 2 p.m. The production, running slightly over three hours including one 20-minute intermission, is sold-out. For more information or to inquire about ticket availability, contact the WSU box office at (937) 775-2500.

‘I Love You, You’re Perfect, Now Change’ Review – Dare to Defy Productions – Love Is In The Air

March 22, 2014 By Russell Florence, Jr. Leave a Comment

Bobby Mitchum and Jackie Darnell get some Legal Assistance from Mackensie Vonderbrink in “I Love You, You’re Perfect, Now Change” (Contributed photo)

It can be extremely challenging for emerging troupes to stake their claim within Dayton’s continuously expansive theater scene. However, Dare to Defy Productions has done so with highly entertaining ease as evidenced in its very charming production of “I Love You, You’re Perfect, Now Change,” Joe DiPietro and Jimmy Roberts’ hit 1996 off-Broadway musical revue.
Presented in the Mathile Theatre of the Schuster Center fashioned in a colorful 1950s, Roy Lichtenstein–inspired decor by set designer Ray Zupp, “I Love You…” paints an amusing, appealing portrait of the relatable ups and downs of love and relationships from dating disasters and personal insecurities to wedding jitters and family squabbles.

Framing the show as vignettes keeps the witty action inviting and steadily paced, but there are signs the material has become dated since it was famously heralded as “‘Seinfeld’ set to music.” After all, Sharon Stone isn’t an apt lyric choice these days when referring to film bombshells. Nevertheless, that is a minor quibble among an otherwise playfully sound and surprisingly tender examination of the pursuit men and women undergo in order to find and cherish The One.

Director Rebecca Norgaard, Dare to Defy founder/CEO, assembles a totally engaging, vocally strong ensemble consisting of Jackie Darnell, Bobby Mitchum, Zach King and Mackensie Vonderbrink, familiar faces from Kettering’s Playhouse South. Inhabiting more than 50 roles, the cast, impressively accompanied by pianist Julia Brown and violinist Josh Vantilburgh, is versatile and sharply prepared which isn’t surprising considering this production was previously held in January and February at Mimi’s Café in Beavercreek. When featured as a foursome, the cast’s noteworthy moments include opening number “Cantata for a First Date,” funny double bill “Single Man Drought”/”Why? Cause I’m a Guy,” and the equally comical “Hey There, Single Gal/Guy” that hilariously musicalizes a breakup from a parental perspective. Individually, they firmly step into the spotlight with character-conscious intent. Darnell, a fine soprano, supplies a beautifully gentle “I Will Be Loved Tonight” and is also an operatic joy during “He Called Me.” Mitchum, one of the best tenors in town, fills the moving ballad “Shouldn’t I Be Less in Love with You?” with compellingly mature wonder. King, a source of comic relief, scores big laughs with “The Baby Song.” Vonderbrink, in one of her most endearing appearances, fully embraces “Always a Bridesmaid” with lovelorn radiance.
Dare to Defy’s promising path has only begun, but if the company’s future productions are as good as “I Love You…” I have a feeling audiences will keep coming back.

“I Love You, You’re Perfect, Now Change” concludes today in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are at 2 and 8 p.m. Act One: 57 minutes; Act Two: 55 minutes. Tickets are $20 and can be purchased by calling Ticket Center Stage at (937) 228-3630 or visiting www.ticketcenterstage.com. For more information about Dare to Defy auditions and its 2014 season (featuring “You’re A Good Man, Charlie Brown,” “Altar Boyz,” “Rent” and “Nunsense”) visit daretodefyllc.com, call (937) 999-9949 or send an e-mail to [email protected].

A couple of sublime moments at the ballet

March 16, 2014 By Rodney Veal Leave a Comment

With the “Diversity in Dance” concert, Dayton Ballet highlighted what works well for this regional ballet company. Once again the tantalizing prospects for a full fledged renaissance are on display. From the work of legendary choreographer and co-founder of the Joffrey Ballet to the rich and tantalizing movement construction of Susie Payne, This was a concert of bountiful returns.

I have to impress upon the Dayton arts community what a rarity it is to see classical and or neoclassical ballet repertory being presented with a live orchestra. This symbiosis of elements adds a third contextual layer of interpretation and experience for the viewer. Having performed to live orchestration many times myself as a performer it changes how and what is being danced at the molecular level not to mention the spiritual. The fact that we got to see it in conjunction with the re-staging of a Gerald Arpino masterwork is worth the price of admission.

Dayton Ballet in Gerald Arpino’s Reflections. Photo Credit: Scott Kimmins

“Reflections” was a neoclassical master class in what is usually missing from present day choreographers, innate musicality and the ability to translate it into choreography. With it’s almost Balanchine-like phrasing and musical weaving, The Dayton Ballet dancers accompanied by the Dayton Philharmonic under the masterful baton of Neil Gittleman kicked off this concert with a Joie de Vivre that was at once effervescent and steely in design. In shades of gray and pink, the women and men weaved beautifully rendered lattice work of patterns and tableaus. with particular attention being payed to several playful, athletic variations and Pas de Deux’s, most notably Abby Phillips and Evan Pitts, which left an indelible impression long after the bows.

The second work on the concert was “Dreams of Flight” by Dayton original, Susanne Payne. This was a bravura choreographic work that showcased the incredible skills of the Dayton Ballet men. In her program notes she says the work was loosely inspired by “The Alchemist” by Paulo Coehlo and that it is rigorously athletic. The latter part was an understatement as the piece evolved and built to it’s rousing conclusion. While Susanne was weaving her metaphoric choreographic alchemy, you could not help but be pulled into its intoxicating adrenaline-spiked power. This was a visceral, heart-stopping epic work that in lesser hands could have been maudlin and overwrought. “Dreams of Flight” tapped into layers of emotional, intellectual and spiritual connectivity wrapped up in a rich and utterly original movement vocabulary. It was in turns, playful and childlike, mature and insightful. While it was danced with athletic vigor and panache, this was a triumphant success for not only the dancers and the choreographer but also the company itself. I have always stated that when a dance company breaks out of routine and embraces the new and unexpected, we all walk away winners.

Case Bodamer and Abby Phillips in Susie Payne’s “Interactions”.

Your next chance to see the Dayton Ballet in action will be in the upcoming show, New Directions.
The show opens this Thursday March 20th and runs through Sunday March 23rd at the Victoria Theatre.

This performance includes:
Dermot Burke’s “Fête des Courtiers”
Susie Payne’s “Interactions”
Jessica Lang’s “From Foreign Lands and People”
Karen Russo Burke’s “Canyons”

Buy New Directions tickets online or by calling
the box office at (888) 228-3630.

‘Expecting Isabel’ Review – Dayton Theatre Guild – Whatever It Takes

March 13, 2014 By Russell Florence, Jr. 1 Comment

The cast of Expecting Isabel includes (back row l to r) Rick Flynn, Dorothy Michalski, Ellen Ballarene, Joshua Lisec, Amy Taint (front row l to r) Rachel Wilson and Angela Timpone. Not featured: Shawn Hooks and Angele Price. (Contributed photo)

Lisa Loomer tackles the very delicate subject of infertility with humor and tenderness in her eye-opening 1998 contemporary comedy “Expecting Isabel,” breezily directed by Robb Willoughby at the Dayton Theatre Guild.

Down-to-earth Manhattan couple Nick and Miranda, respectively relatable as an aspiring sculptor and greeting card writer, eagerly endeavor to have a child, but face continuous obstacles along the way. In addition to coping with colorful input from Nick’s larger-than-life Italian family and Miranda’s tipsy mother, the duo attempts everything from marriage counseling and support groups to fertility drugs and medical tests incorporating animal experiments. In fact, their painstaking pursuit leads them to separation, particularly as Miranda seeks solace with her mom while Nick moves back in with his animated brood. Even so, in spite of disappointing setbacks, they remain committed to their ultimate desire to start a family, a decision that eventually leads them on the complicated yet fulfilling road to adoption.
Rachel Wilson and Shawn Hooks are believably compatible in the leading roles. Quickly pulling the audience in at the outset during Miranda’s revealing opening monologue, Wilson delivers a firm, appealing portrayal. Her performance possesses the engaging complexity and tangible exasperation required to bring credence to the play’s most fascinating character, an emotionally scarred woman with a rocky family history who honestly hadn’t thought about having a child. Hooks, amiable and supportive in a less flashy role, earnestly conveys Nick’s genuine longing to become a father, especially in Act 2 as his benevolent impulses gets the best of him.
Loomer, perhaps best known as the co-screenwriter of “Girl, Interrupted,” propels the comedy by having the ensemble portray multiple characters. Ellen Ballerene (Tina), Rick Flynn (Sal), Joshua Lisec (Dominic), Dorothy Michalski (Yolanda), Angelé Price (Pat), Amy Taint (Lila), and Angela Timpone (Isabel) step up to the plate beyond stereotypical caricature. Most of their moments are geared toward comic relief, but Price deserves special mention for bringing substantive poignancy to her portrayal of Lupé, an overburdened Hispanic mom faced with a critical decision.
One day amid a parade of baby carriages, Miranda is gently reminded “everything you went through was part of the path.” Parenthood certainly spurs challenges and Loomer cautiously advises to expect the unexpected.

“Expecting Isabel” continues through March 16 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. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more info: Call (937) 278-5993 or visit daytontheatreguild.org

A Triumph of the Will and Artistry: DCDC Returns to the Victoria Theatre Stage

March 12, 2014 By Rodney Veal Leave a Comment

As a diverse cross-section of concert-goers filled the Victoria Theatre there was a palpable buzz that vibrated through the space. Seasoned lovers of dance and neophytes alike, eagerly awaited the concert of “world” premieres to begin. Seeing this many patrons still clamoring for artistic offerings of this Dayton institution, one cannot help imagining one angel in particular is smiling from heaven.

To make the case for being a world class dance troupe, it requires that the talents and skills of the dancers and choreographers be showcased and presented to maximum effect. Performing at the Victoria Theatre truly provided the best framing vehicle for the beauty and youthful vitality that moved before us.

It was stated in one of the three curtain speeches of the evening that it had been the dream of the artistic director, Debbie Blunden-Diggs , that she was committed to a vision of an all new choreographic works concert in honor of the forty-five year anniversary of the DCDC. That commitment produced one of the strongest concerts performed by the company in years.

with Marlayna Elyse Locklear, Dorse Brown, Kimberly Jones, Abby Leithart and Hershel Deondre Horner III. Photo provided by Geek With A Lens Photography.

The concert began with a polymorphic collage of kinetic movement specificity from Ronen Koresh. “Exit 7” began with a taut, repetitive ensemble section that evocatively set the the tone for the loosely linked dance vignettes to come. Dancers moved with a punchy precision while navigating rows of chairs highlighted individually by shafts of overhead lights. The choreography had a refined ritualistic tone that echoed throughout the rest of the work. There was a collective need to make sense of our rapidly splintering and fragmented society. This fragmentation led us on a journey, that was filled with at times moments of sensual despair, cheeky humor, and audacious physicality. It was brought to a dazzling close by the ensemble of dancers generating a sound collage of their own voices as an accompaniment to the visceral climax of the highly engaging and unique work of Mr. Koresh.

The work of Donald Byrd was a master class in combining engaging modernist movement material with spoken word in a heady mix of social and geo-political commentary and satirical undertones. It is the type of artistic work that only someone of his elevated artistic ability can accomplish.

Watching this work unfold and weave its intellectual spell on us in the audience, I could not help but envision this as being a truly post-modernist effort in every sense of the word. From the sublime verbal barrage of the narrator, exquisitely brought to life by Nabachawa Ssensalo, to the beautifully patterned and group movement invoking the bio-mechanics of cotton picking, this is a work worth savoring and repeating.

In the work of Rodney Brown”The Gatherer/wee Thing”, a tribute to the indomitable spirit of Sheri “Sparkle” Williams. One comes away with a sensory trip contemplating of not only Sheri as 40 year veteran, but also the future of DCDC as relevant fixture of the arts community. I would argue that DCDC is the only element of our community as a cultural component that transcends the bounds of our provinciality. An exportable cultural product that would hold up well under the glare and scrutiny of the world stage. All this from watching a “lion in winter” dancing star perform a nuanced solo on the Victoria theatre stage.

All photos provided by Geek With A Lens Photography.

The evening concluded with the work of Ray Mercer, “Tossed Around”; a work whose brevity was not welcomed. This work felt incomplete for all of the right reasons. Visually engaging, physically energized choreography that hit you in the solar plexus and that filled this reviewer with with pure unmitigated joy for being in its presence. As the yellow chairs flew from the wings to be caught by the dancers as they moved in ever increasing complex movement patterns, you were left wondering if and how frenzied and complex the choreography could evolve into. It was like getting your hands on the first chapters of an amazing serialized page-turning novel. You were hungry for more.

Seeing this company of young dancers and seasoned veterans in this concert performing such world class and dynamic artistic works left me breathless and most importantly hungry for more.

‘The Magic Fire’ Review – Wright State University – Our Private World

February 7, 2014 By Russell Florence, Jr. 1 Comment

The cast of Wright State University’s production of “The Magic Fire” (Contributed photo)

Wright State University returns to sophisticated fare with a beautifully executed regional premiere of Lillian Groag’s semi-autobiographical, thought-provoking Argentinean drama “The Magic Fire.”

Commissioned and originally produced in 1997 by the Oregon Shakespeare Festival, the engrossing, highbrow “Magic Fire” concerns a close-knit family of European immigrants living in Buenos Aires circa 1952 during the divisive Juan Peron regime. As chaos consumes the streets with ever-present military force, the argumentative, opinionated, opera-adoring Bergs are reticent to join the fray, opting instead to safeguard themselves within their own private world of culture and music they hope cannot be vanquished. The symbolism of their behavior and the play’s title astutely mirrors the final act of Richard Wagner’s opera “Die Walküre,” specifically Wotan’s decision to encircle his sleeping daughter Brünnhilde with an artificial wall of fire that only the bravest of men can penetrate. However, when the brother of the family’s housekeeper seeks shelter in their home, it becomes impossible to ignore the political turmoil swirling in their midst.

Groag’s poetic, female-driven look at differing generations and changing times is simultaneously endearing and confusing in its scope. Her decision to conceive the material as a nearly three-hour memory play lends itself to numerous moments of heartfelt earnestness and subtle grandeur, but the key reason why narrator/protagonist Lise (Layan Elwazani) looks back on her life is muddled. In Tennessee Williams’ “The Glass Menagerie,” one of the greatest memory plays, disillusioned Tom is kicked out of his home by his domineering mother only to be haunted by the memory of his fragile sister, prompting him to reflect. Here, it is a mystery why Lise so emphatically desires nostalgia. Nonetheless, despite conceptual flaws including an abundance of overlapping arcs, director Lee Merill supplies elegant stage pictures bolstered by her innate grasp of classical music and superbly evocative assistance from lighting designer Samantha Jelinek.

The aforementioned Elwazani is an emotionally strong focal point seamlessly weaving in and out of the flashbacks shaped around the events of Lise’s seventh birthday. She also establishes a gentle kinship with the adorably precocious Ally Miller, who portrays young Lise with tenderness and feistiness. As Otto Berg, Lise’s father who fled Nazi-occupied Austria, Mathys Herbert excellently grasps the character’s pivotal choices and deep affection for opera. DeLee Cooper (who also choreographs) is a genial presence as Amalia, Otto’s dutiful wife. Mimi Klipstine completely satisfies as diva Elena Guarneri, Amalia’s actress-sister out of work because she refuses to support Peron. Tommy DiMassimo vigorously inhabits Gianni “Juan” Guarneri, Amalia’s passionate father. Kristina Hopkins is perfectly tipsy as Paula Guarneri, Amalia’s aunt. The terrifically expressive Alyssa Brembeck charms as 98-year-old Mussolini-hating matriarch Maddalena Guarneri, who arrived in Argentina with her husband in 1890. The handsome Stephen Kell is fittingly authoritative and enigmatic as General Henri Fontannes, a Peron loyalist and neighbor of the Bergs specifically drawn to young Lise. Logan Torbet is firm and fiery as newspaper publisher Alberto Barcos, who despises Peron and therefore loathes Henri. Jasmine Easler brings quiet dignity and a no-nonsense sensibility to her role as housekeeper Rosa Arrua. Diana Frankhauser (Clara Stepaneck), Julia Gomez (Leila) and Julian Rojas (Santa Arrua) are noteworthy. Taylor Hinkle portrays young Lise at certain performances. Merrill’s first-rate artistic team includes costumer David J. Castellano, scenic designer Lydia Watson (filling the revolving stage with trunks and crates suggesting a family on the move), sound designer James Dunlap, and dialect coach Deborah Thomas.

In related news, WSU’s 40th anniversary 2014-15 season will consist of “Fences” (Sept. 18-28, co-directed by W. Stuart McDowell and Sheila Ramsey), “Hot Mikado” (Oct. 23-Nov. 9, directed by Greg Hellems with choreography by Teressa Wylie McWilliams), “Romeo and Juliet” (Nov. 14-23, directed by Sandra Crews in the Herbst Theatre) “Pride and Prejudice” (Jan. 29-Feb. 8, directed by Marya Spring Cordes), the musical “Peter Pan” (Mar. 19-Apr. 5, directed by Joe Deer and starring Bruce Cromer as Captain Hook), and the local premiere of “Sondheim on Sondheim” (Apr. 17-26, directed by Jamie Cordes in the Herbst Theatre).

“The Magic Fire” continues through Feb. 9 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Feb. 5 and 6 at 7 p.m., Feb. 7 and 8 at 8 p.m., and Feb. 8 and 9 at 2 p.m. Act One: 1 hour and 50 minutes; Act Two: 45 minutes. Tickets are $22 for adults and $20 seniors and students. For tickets or more information, call the WSU box office at (937) 775-2500.

‘Working’ Review – Dayton Playhouse – It’s a Living

February 4, 2014 By Russell Florence, Jr. Leave a Comment

Suzanne Clabaugh and William “Kip” Moore rehearse a scene from “Working” with director Jim Lockwood (Contributed photo)

The Dayton Playhouse delivers an admirable, often touching production of Stephen Schwartz and Nina Faso’s 1978 musical “Working,” based on Studs Terkel’s 1974 book “Working: People Talk About What They Do and How They Feel About What They Do.”

Nearly 30 wide-ranging occupations from a publicist and project manager to a community organizer and fundraiser are the lifeblood of this meaningful, intermissionless outing insightfully conceived from a series of interviews. The allure of the material, including additional contributions by Gordon Greenberg, rests in its endearing simplicity reminding us that every worker contributes to the productivity of our society. Some jobs may seem trivial or underhanded, but all of them undeniably serve a purpose. The dialogue, flowing with smooth transitions by director Jim Lockwood, is peppered with personality and depth by an assortment of terrific songwriters including Schwartz, Craig Carnelia, Mary Rodgers, Micki Grant and James Taylor. The Playhouse uses the revised 2011 version, which particularly trims the cast to six and incorporates new professions (including a Verizon tech support and fast food delivery employee) and two songs from Tony Award-winning composer Lin-Manuel Miranda (“In the Heights”). Interestingly, the revised script also effectively remembers the unemployed.

A true ensemble showcase, “Working” features enjoyable, entertaining portrayals from a vocally sufficient cast. Matt Poliachik incites laughs and groans as a privileged student who seemingly has his life all planned out. He also offers a sincerely plaintive rendition of Carnelia’s wonderful Billy Joel-esque tune “The Mason.” Matthew Clifton is equally humorous as the aforementioned fast food worker and a crazed ex-newsroom assistant. Lynn Kesson, sweet and grounded, particularly joins Clifton for the impactful duet “A Very Good Day,” which focuses on the joys and concerns of an elder care worker and a nanny. Suzanne Clabaugh gives credence to her earthy assignments as a prostitute and cleaning lady. Tori T. Tuccillo adeptly inhabits an agitated school teacher (“Nobody Tells Me How”) and an energetic waitress (“It’s an Art”). In addition to rendering a tender version of Schwartz’s moving “Fathers and Sons,” William “Kip” Moore, in a welcomed return to the Playhouse, simply mesmerizes as a retiree discussing the monotony of his daily routine (“Joe”).
Scenic designer Chris Newman’s metropolitan backdrop, Allison Eder’s understatedly organic choreography, and musical director Lorri B. Topping’s fine onstage band are added benefits.

“Working” continues through Feb. 16 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. The production is performed in 90 minutes without intermission. Tickets are $17 for adults and $15 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com