On Stage Dayton Reviews

ON STAGE DAYTON REVIEW: Little Shop of Horrors (Playhouse South)

March 2, 2013 By Russell Florence, Jr. Leave a Comment

Cari Meixner and Desmond Thomas in Little Shop of Horrors (Photo by Rob Breving)

Terrific vocalists Desmond Thomas and Cari Meixner are the absolutely delightful beacons of Playhouse South’s decent “Little Shop of Horrors,” set in the 1950s on Skid Row and written in 1982 by composer Alan Menken and lyricist-librettist Howard Ashman based on the 1960 film of the same name.

Under the direction of Jenni Cypher, Thomas, a nice case for non-traditional casting, and Meixner, so kind and touching, were born to play ill-fated lovebirds Seymour and Audrey, florist shop co-workers whose affection for each other grows as big as the infamously blood-thirsty plant Audrey II (amusingly voiced by music director Jim Brown and operated by set designer Kurt Cypher) that ultimately comes between them. By the team this special duo reaches their truly sincere rendition of “Suddenly Seymour” you’ll wish Ashman created a different outcome. Individually, the open, honest Thomas doesn’t lose one ounce of tenderness as he copes with the problems and popularity that comes his way on his quest for revenge. He makes it clear that Seymour’s seedy actions are simply out of overwhelming concern for his beloved, battered Audrey, sentiments beautifully upheld in Thomas’ pleasantly pensive solo within “The Meek Shall Inherit.” He’s also great at the outset, notably fueling the powerful, spine-tingling “Skid Row (Downtown)” with meaningful urgency. Meixner primarily makes her mark musically, particularly delivering the gorgeous ballad “Somewhere That’s Green” with a sweet, music box delicacy that immediately grabs the heart.

Elsewhere, TC Schreier, in his best role to date, accents his personable portrayal of florist shop proprietor Mr. Mushnik with a comical shuffle. Zach King, an enjoyably twisted Orin Scrivello, wisely avoids the temptation to go over the top in “Dentist” and “Now (It’s Just the Gas).” Sarah-Grace Griswold (Ronette), Megan Rademacher (Crystal) and Erika Rogers (Chiffon) offer ample attitude but have a tendency to become pitchy and overly forceful in their R&B inflections. Angie Thacker and Jamal Cann offer humorous support in various roles.

The contributions of choreographer Mackensie Vonderbrink, costumer Maggie Carroll and lighting designer/technical director Jason Vogel are noteworthy. Conductor/keyboardist Brett Greenwood leads a small but steady four-piece orchestra.

“Little Shop of Horrors” continues through March 9 at the Clark Haines Theatre (Kettering Board of Education Building) 3750 Far Hills Ave., Kettering. Performances are Friday and Saturday at 8 p.m. Act One: 55 minutes; Act Two: 37 minutes. Tickets are $13 for adults, $11 for seniors and military and $8 students. Call 1-888-262-3792 or visit www.playhousesouth.org. The show contains adult language and themes.

ON STAGE DAYTON REVIEW: 100 Saints You Should Know (Dayton Theatre Guild)

March 2, 2013 By Russell Florence, Jr. Leave a Comment

(l to r): Barbara Jorgensen, Maximillian Santucci, Alex Carmichal, Katrina Kittle, Corinne Engber in 100 Saints You Should Know (Photo by Craig Roberts)

Kate Fodor’s darkly comedic 2007 character study “100 Saints You Should Know,” currently receiving a fine regional premiere at the Dayton Theatre Guild, brings faith, faithlessness and forgiveness to the forefront in an engaging and compelling fashion under the delicate direction of Ellen Finch.

Alex Carmichal, who left an indelible impression earlier this season as the titular villain of the Dayton Playhouse’s production of “Dracula,” brings understated potency to his excellently conflicted portrayal of Father Matthew McNally, the play’s centerpiece. Grappling with unmentionable desires that betray his duties, a predictable yet reasonable notion, Matthew leaves his parish without a game plan for the future, causing him to question his beliefs as never before while returning to his childhood home for refuge. The reason behind Matthew’s hurried, vague departure, involving the provocative artwork of George Platt Lynes, is reserved for late Act 1, but Carmichal’s astutely perplexing nature remains thoroughly intriguing, especially as Matthew finds solace in reading “Dark Night of the Soul” and comes to grips with the acknowledgement that his spirituality, his connection to God, is completely broken. Amiable cleaning woman and single mom Theresa (a first-rate, emotionally distressed Katrina Kittle) inquisitively looks to Matthew for answers to her burgeoning thoughts of religion, but Fodor primarily keeps their budding relationship and insightful faith discussions ambiguous, which some may find perturbing. After all, this lonely pair feels very bonded as lost souls in search of intimacy and purpose, elements heartwarmingly fueled by Carmichal and Kittle’s innate chemistry.

Kittle also establishes a wonderfully exasperating rapport with the sassy Corinne Engber as Abby, Theresa’s startlingly rebellious, foul-mouthed 16-year-old daughter who deeply resents her and their meager existence. Theresa and Abby’s bickering showdowns are off-putting (Abby is one of the nastiest characters to come along in years), but Kittle and Engber build to a heartfelt climax nonetheless as Abby particularly grows to understand the cost of being utterly mean-spirited for selfish gain. The cast also includes the very endearing Maximillian Santucci as the gawky, gullible Garrett, a sexually confused delivery boy ridiculed by Abby to devastating proportions, and the marvelously grounded Barbara Jorgensen as Matthew’s stern, caring, Scrabble-adoring Irish mother Coleen, who has difficulty grasping his sudden change of heart and the sheer importance of acceptance.

Marcia Nowik’s efficient set as well as Patrick Hayes’ appropriate costumes and believably bloodied makeup for Santucci are also significant as this impactful tale of inner fulfillment runs its surprisingly heartbreaking course.

“100 Saints You Should Know” continues through March 10 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. Act One: 60 minutes; Act Two: 45 minutes. Cost: $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org. Also, in conjunction with the Dayton Visual Arts Center, the Guild will display the works of local artist C.A. Tiedemann in its lobby during the run of “100 Saints,” which contains mature subject matter.

ON STAGE DAYTON REVIEW: Lombardi (Human Race Theatre Company) – Imperfect Icon

February 14, 2013 By Russell Florence, Jr. 1 Comment

Edward Furs as “Vince Lombardi” (photo by Scott J. Kimmins)

The enduring legacy of Vince Lombardi (1913-1970), the renowned coach who led the Green Bay Packers to five championships in seven seasons and the first two Super Bowl victories, resonates with candid, entertaining potency in Eric Simonson’s aptly titled character study “Lombardi,” which receives a terrific local premiere at the Human Race Theatre Company.

Based on David Maraniss’ novel “When Pride Still Mattered: A Life of Vince Lombardi” and directed with crisp urgency by Tim Lile, “Lombardi” spotlights the temperamental Vince (the marvelously abrasive Edward Furs) in 1965 before the Packers’ winning streak defined his career. Eager, statistics-adoring cub reporter Michael McCormick (an endearing Jarred Baugh) is sent to interview the extremely passionate coach, but their exchanges are not always smooth. The duo attempts to establish a meaningful father-son connection, but Vince’s prickly, off-putting persona often undercuts their bond, especially when he scolds Michael for interviewing a few players at practice without his permission. Still, football is the tie that binds them together for good and bad. Michael ultimately grows to comprehend, accept and respect the aggressively perfectionist spirit that kept Vince, a heavy drinker who refused to be treated for stomach problems which eventually led to his death from colon cancer, tirelessly motivated to inspire his team for greatness and play for pride on the field.

Furs, dynamically boisterous, gruff and imposing, is not an exact physical representation of Vince, but his sharp eye contact and rousing cadence certainly gives ample, intimidating credibility to his astute portrayal. Baugh warmly guides the audience through the action as the play’s narrator, remaining believably focused on obtaining the true story behind the legend. Marcy McGuigan brings delicious sarcasm and wit to her excellent, gently seductive portrayal of Vince’s tipsy wife Marie, an unyielding support system emotionally drawn to Michael and the Packers, particularly Paul Hornung, appealingly portrayed by the very charismatic Brandon Dahlquist. Gabriel Lawrence (Dave Robinson) and Ryan Imhoff (Jim Taylor) are also first-rate as teammates with deep animosity toward each other. Imhoff in particular shines opposite Furs in a heated argument regarding Taylor’s loose lips and desire for more money, which absolutely infuriates Vince.

Marcy McGuigan and Edward Furs (photo by Scott J. Kimmins)

Taking a page from his co-direction of the Human Race’s sublime 2007 production of “Take Me Out,” Lile begins the proceedings with the national anthem. The inviting atmospherics extend to his wonderful creative team consisting of scenic designer Tamara L. Honesty, lighting designer John Rensel, costumer Ayn Wood, sound designer Matthew P. Benjamin and video designer Shaunn Baker. Honesty’s chalkboard set immersed in various football plays, Rensel’s stadium-inspired lighting and Baker’s projections featuring period images and footage are noteworthy.

By conceiving the play as a one-act, Simonson doesn’t completely delve into Vince’s intriguing, flawed personal history, which is unfortunate. Mentions of Vince’s children, especially his testy relationship with his son, only scratches the surface. Additional flashbacks focusing on his marriage, faith, family and upbringing would have added greater depth.
Nonetheless, “Lombardi” is a fascinating look at an imperfect icon.

“Lombardi,” which is performed in 100 minutes without intermission, continues through Feb. 24 at the Loft Theatre, 126 N. Main St. Performances are Tuesday at 7 p.m., Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. Tickets are $36-$40. There are a limited number of $25 tickets available for each performance. A talkback forum will be held following the Feb. 17 performance. Additionally, during the run of “Lombardi” an assortment of Lombardi memorabilia from Sinclair Community College athletic director Jack Giambrone’s vast collection will be on display in the Loft lobby. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit online at www.ticketcenterstage.com

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ON STAGE DAYTON REVIEW: Intimate Apparel (Sinclair Community College) – Dangerously in Love

February 9, 2013 By Russell Florence, Jr. 1 Comment

Marva M.B. Williams in Intimate Apparel (Photo by Patti Celek)

Sinclair Community College supplies an absorbing local premiere of Lynn Nottage’s poignant 2003 drama “Intimate Apparel,” the heartwarming and heartbreaking account of African-American seamstress Esther Mills set in and around a Lower Manhattan boarding house circa 1905.

Delicately directed by Sinclair and Wright State University alumnus Monica L. Williams, “Intimate Apparel,” refreshingly grounded as a melting pot of diverse cultures and personalities, is firmly led by Marva M.B. Williams, a standout in the Human Race Theatre Company’s production of “Gem of the Ocean” last season. Williams brings grace, humility and ample naiveté to her commendable portrayal of Esther, a God-fearing, 35-year-old spinster defying the odds of her race and status by making a comfortable living designing and sewing garments for the upper and lower classes. As the illiterate yet talented Esther, a true survivor and descendant of slaves, becomes enamored by the letters she receives from the exotic George (an admirable Tray Shelton sustaining a thick Barbadian accent) and ultimately marries him with alarming consequences, Williams strikes an emotional chord that lingers long after the final bows. In fact, when Esther’s world comes crashing down thanks to the candor of sassy prostitute Mayme (a playful Sade Oyeyemi), Williams transforms Nottage’s rich text into poetry. Toward the conclusion she also wonderfully conveys Esther’s undeniable hurt of having been enticed by lies and to have married a stranger only to become a stranger to herself.

The marvelously earthy Catherine A. Collins, who appeared in Sinclair’s terrific 2006 production of “Flyin’ West” also directed by Williams, absolutely shines as meddlesome boarding house proprietress Mrs. Dickson, who takes Esther under her wing as is she were her mother. Collins particularly captivates when Mrs. Dickson discusses the intimacies of marriage. Kevin Erman is equally impressive in a quieter fashion as the kindly Mr. Marks, a Jewish merchant attracted to Esther but afraid to make his feelings known. Katie Beyoglides, in her stage debut, has the potential to take her portrayal of conflicted socialite Mrs. Van Buren to great depths, but oddly stops short, especially when divulging a pivotal revelation immersed in juicy drama. Even so, she ensures her character is a credible confidant throughout.

Guest scenic designer Chris Harmon supplies a striking, multileveled set proficiently lit by Dan Brunk. Kathleen Hotmer supplies lovely period costumes. Jennifer Kramer’s properties, Gina Neurer’s projection design and Kate Joss Glasheen’s dialect coaching are also noteworthy.

“Intimate Apparel” intriguingly looks back at a time when strong African-American women were bound by limitations and a narrow sense of purpose. Thankfully, they can hold their heads high today as equal and worthy without fear of leaving an unidentified legacy.

“Intimate Apparel” continues through Feb. 10 in Blair Hall Theatre, Building 2, of Sinclair Community College, 444 W. Third St., Dayton. Performances are Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 50 minutes; Act Two: 40 minutes. Tickets are $15 for adults and $10 for seniors and students. For tickets or more information, visit online.

ON STAGE DAYTON REVIEW – 1913: The Great Dayton Flood (Wright State University) – Harrowing History

February 7, 2013 By Russell Florence, Jr. 2 Comments

Cyndii Johnson and Donnella Barbour (center) and the cast of 1913: The Great Dayton Flood

As images of Hurricane Katrina and Hurricane Sandy linger in the recesses of the mind, Wright State University remounts its acclaimed 1996 production of “1913: The Great Dayton Flood” with compelling performances, soul-stirring music and outstanding atmospherics.

Inspired by Allan W. Eckert’s Pulitzer Prize-nominated novel “A Time of Terror: The Great Dayton Flood” and adapted by W. Stuart McDowell and Timothy J. Nevits, “1913” skillfully and seamlessly chronicles the catastrophic storm which changed the Miami Valley forever in March of that year. In order to gain a deeper understanding of the defining account, which affected a population of 116,000 and killed over 350, McDowell and Nevits interviewed numerous survivors whose captivating stories of heroism, resilience and tragedy terrifically propel the emotional potency within the insightful, moving play, which migrates all the way to the White House and particularly offers an eye-opening, unified portrait of Dayton’s diversity and spirituality at the time. The sheer connection to familiar individuals (John H. Patterson of the National Cash Register Company) and landmarks (the Rike’s building, the Victoria Theatre) are added benefits inherent to the episodic framework, heightened by Michael and Sandy Bashaw’s evocative new music and the colorful, commanding recorded narration of Ossie Davis, Ruby Dee and Dayton native Martin Sheen.

Returning to direct and aided by the cinematic appeal of Danielle Ferguson’s splendid lighting and projection design as well as scenic designer Pam Knauert-Lavarnway’s efficiently shifting platforms, McDowell provides sleek, sweeping staging for over 20 actors portraying over 150 characters. The excellently authoritative Sean Jones shines as the concerned Patterson, who kept NCR at the forefront of relief efforts and helped implement the Miami Conservancy District. Lawrence Dunford, genuine and humorous, absolutely charms as Negro League pitcher W.G. Sloan, a disinclined churchgoer who saved more than 300 people in his rowboat. Caroline Gruber relishes her saucy role as Pearl Street madame Lib Hedges. Cyndii Johnson brings Act 1 to a dynamic close as the staunchly determined Mrs. Stanton, who breaks through the roof of her house alongside her daughter (Donnella Barbour) to escape the rising waters. Tyrell Reggins as Rev. Primus Alston, Jim Miller as George McClintock, Samuel Blackburn and President Woodrow Wilson, Kelsey Pohl as Minnie Althoff, William Mendelson as Ray Stansbury, Ben Tracy as Charles Hopkins, Tyler Simms as Edward Hanley, and Samantha Kerger as Mildred Young are also notable among the endearing cast, tackling multiple roles with interchangeable ease and attractively costumed in period attire by Mary Beth McLaughlin. In addition, Nikki Wetter’s wonderfully choreographed depiction of the fateful weather pattern is vigorously executed at the outset.

As Dayton prepares to commemorate the 100th anniversary of the flood, “1913” remains a crowning achievement not to be missed.

“1913: The Great Dayton Flood” continues through Feb. 10 in the Festival Playhouse 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. (view performance calendar here). Act One: 70 minutes; Act Two: 50 minutes. Tickets are $20 for adults and $18 for students and seniors. For more information, call the WSU box office at (937) 775-2500.

ON STAGE DAYTON REVIEW: The Importance of Being Earnest Review (Dayton Playhouse) –Wonderfully Witty Wilde

January 31, 2013 By Russell Florence, Jr. Leave a Comment

(L to R): Matthew Glenn, Jackie Darnell, Laura Bloomingdale and Duante Beddingfield in The Importance of Being Earnest

There’s a lot of “bunburying” going on at the Dayton Playhouse as the organization delivers an admirable presentation of Oscar Wilde’s wonderfully witty 1895 comedy “The Importance of Being Earnest.”

A prime topic of discussion in this eventful affair, “bunburying” concerns the delicate attempt to assume another identity for purposes of avoidance. Algernon Moncrieff and Jack Worthing, the engaging, flawed friends at the heart of the breezy three-act play, revel in such behavior for laughably selfish reasons until their deception gets the best of them. But in “Earnest,” deception, fueled by mistaken identity and the folly of love, is a key ingredient to its sophisticated triviality, marvelously addressing the foolishness and hypocrisy of the upper class with such juicy lines as “he has nothing but he looks everything.” After all, Wilde, expertly dissecting the Victorian worldview of marriage and status, wouldn’t have it any other way.

As the incredibly droll and vain Algernon, a dapper cad who cannot shake a craving for cucumber sandwiches, Duante Beddingfield, benefitting from non-traditional casting, effortlessly shines in his first leading role after stealing many scenes in a featured capacity over the years. With eager assurance, Beddingfield grasps the rhythmic zingers within Wilde’s clever, tricky text, displaying sharp timing and a highbrow, sitcom-esque flair reminiscent of “Frasier.” He also astutely inhabits Algernon’s flippant, slightly off-putting personality. In fact, his appeal, which is vital, never wanes as he walks the fine line between slick and snide, particularly scoring big laughs in unexpected moments and showcasing a tender chemistry with Laura Bloomingdale as the affably daft Cecily Cardew.

Matthew Glenn, who delivered a breakthrough performance last summer in the Playhouse’s FutureFest production of “A Political Woman,” is equally strong as Jack, who has grown accustomed to living life as Ernest in the city and is particularly mystified about his upbringing. Smoothly navigating a wave of frustrated, perplexed and elated emotions from start to finish, Glenn warmly conveys Jack’s love for Algernon’s cousin Gwendolyn Fairfax (an excellent Jackie Darnell), and shows great fortitude when he finally has the upper hand against the formidable, nitpicky Lady Augusta Bracknell, Gwendolyn’s society-driven mother haughtily portrayed by Patti King.

Matthew Lindsay (Lane), Cheryl Mellen (Miss Prism), Jim Lockwood (Canon Chasuble) and Katie Wenzel (Merriman) delightfully complete the cast, who are attractively costumed by Linda Sellers and sustain proper British accents under the fluid direction of Jennifer Lockwood.

Oddly, the production’s slapdash scenic design is a disappointment, especially since the play oozes Victorian grandeur. Even so, the sheer entertainment value compensates for the visual shortcomings.

“The Importance of Being Earnest” continues through Feb. 3 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: 45 minutes; Act Two: 45 minutes; Act Three: 25 minutes. Tickets are $17 for adults and $15 for seniors and students. For tickets or more information, call (937) 424-8477 or visit DaytonPlayhouse.org.

ON STAGE DAYTON REVIEW: Ghosts (Dayton Theatre Guild) – Sins of the Father in a Filthy House

January 25, 2013 By Russell Florence, Jr. Leave a Comment

Lisa Howard-Welch (standing background), Jared Mola (seated) and Angela Timpone (standing foreground) in Ghosts. Photo by Craig Roberts

The moody, methodical landscape of Henrik Ibsen’s controversial and engrossing 1881 drama “Ghosts,” a blistering commentary on Victorian morality, strikingly resonates in a well-acted and attractively designed production at the Dayton Theatre Guild.

Set in late 19th century Norway, the aptly titled “Ghosts,” originally banned for religious purposes, meticulously uncovers the substantial loathing and pain permeating within an emotionally scarred family splintered by history and lies. Throughout three acts, compelling matters of adultery, authority, lunacy, marriage, money, parenting, principles and status are expertly intertwined, arising with contemporary relevance without feeling stodgy under the delicate, introspective direction of Matthew Smith.

The firm, formidable Lisa Howard-Welch wonderfully captures the antipathy and heartbreak within Mrs. Helene Alving, who remains appalled by the reprehensible behavior of her philandering late husband Captain Alving. Embracing Ibsen’s thought-provoking language to scintillating effect, Howard-Welch initially captivates when Helene, torn between duty and truth, reveals the cruel depths of her marital woes to the startlingly out of touch Pastor Manders (a marvelously bewildered, gently commanding Chuck Larkowski). All the same, her deeply emotional scenes opposite the terrifically passionate Jared Mola as Helene’s sickly son Osvald are equally potent, especially as Osvald erupts into fits of rage and succumbs to his illness which Helene can hardly bear. In fact, Howard-Welch and Mola’s palpable connection contains Oedipal overtones that speak volumes about the problematic bond their characters have created to masquerade reality.

Additionally, Angela Timpone offers a tenderly understated portrayal of Regine Engstrand, Helene’s dutiful, buxom maid who catches the attention of Osvald and, to a lesser, humorous degree, Pastor Manders. Regine, an innocent victim of circumstance typifying how past mistakes destroy the future, desires Osvald but cannot truly win his heart due to Captain Alving’s secret sin from long ago. Dave Nickel is appropriately earthy and vociferous as Jakob Engstrand, Regine’s overbearing father.

Josh Hollister’s lovely, multi-level set, complete with multiple chandeliers and particularly slanted windows astutely suggesting the household’s lopsided nature, is evocatively lit by John Falkenbach. Robin Farinet and Carol Finley supply fine, authentically detailed costumes. Michael Boyd’s effective sound design is also a plus.

According to Pastor Manders, “A wife cannot sit in judgment of her husband.” If that line made you cringe or laugh, take time to immerse yourself in Helene’s complex world of Victorian womanhood. You’ll be grateful society has come a long way in 132 years.

“Ghosts” continues through Jan. 27 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. Act One: 50 minutes; Act Two: 40 minutes; Act Three: 25 minutes. There are two intermissions. Tickets are $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit http://daytontheatreguild.org

ON STAGE DAYTON REVIEW: Shrek The Musical (Victoria Theatre Association) – Enchanting Delight

January 19, 2013 By Russell Florence, Jr. Leave a Comment

“Shrek The Musical” – January 15-27, 2013 – Victoria Theatre

The Victoria Theatre Association’s Premier Health Broadway Series supplies a highly entertaining local premiere of composer Jeanine Tesori and lyricist-librettist David Lindsay-Abaire’s 2008 Tony Award-nominated “Shrek The Musical,” based on the 2001 Academy Award-winning film of the same name and presented at the Victoria Theatre.

Fluidly directed by Stephen Sposito with lively choreography by Chris Bailey, “Shrek” arrives in Dayton with an appealing intimacy and a sharper connection to the source material, two elements enabling this refreshing tour to surpass the more opulent, excessive Broadway incarnation. In fact, Tesori and Lindsay-Abaire’s witty, tuneful score (wisely retaining “Welcome to Duloc” and “I’m A Believer” from the film) has an added bonus here thanks to “Forever,” a new Act 1 solo for the intimidating Dragon reminiscent of the 1960s R&B vibe permeating Tesori’s marvelous 2004 musical “Caroline, or Change.” A pure diva moment featuring terrific puppetry and awesome offstage vocals from Courtney Daniels, “Forever” replaces the bombastic “Donkey Pot Pie,” which proved problematic on Broadway. Still, “Shrek,” attractively visualized by scenic artist James Kronzer, costumer Austin K. Sanderson and lighting designer Paul Miller, is at its best when poking fun at musical theater conventions (paying homage to “42nd Street, “Gypsy,” “Les Miserables,” “The Lion King” and “Wicked” among others) in addition to conveying the humor and heart within the titular green ogre’s life-changing journey of love, friendship and acceptance.

Big, Bright Beautiful World with Perry Sook as Shrek. Shrek The Musical. Photo by LvR /Paparazzi By Appointment

Big, Bright Beautiful World with Perry Sook as Shrek. (Photo by LvR /Paparazzi By Appointment)

The amiable Perry Sook, a fine singer and charming presence, is perfectly cast as the funny, crude Shrek, whose solitary life is turned upside down when he’s asked to save a princess in order to reacquire his swamp. Sook, who manages to emote despite heavy makeup, effectively displays Shrek’s independent nature, the total exasperation of being attached to his endlessly fussy yet faithful sidekick Donkey (excellent Wright State University alum Jeremy Gaston) and the sudden feelings of romance that arises as he grows to care for the feisty yet fetching Princess Fiona (the amusingly first-rate Whitney Winfield, a lovely soprano). In winning fashion, Sook, Gaston and Winfield fully comprehend the meaningful bond between their engaging characters, particularly Shrek and Fiona’s shared sense of childhood abandonment.

Also, the flamboyant, audience-friendly Christian Marriner is an absolute hoot (and gives his knees an impressive workout) as the diminutively domineering Lord Farquaad, who ruthlessly rules the kingdom of Duloc. Schuyler Midgett (Gingy, Sugar Plum, Teen Fiona), Tony Johnson (Pinocchio) and Wright State alumna Tiffani Robbins (Ugly Duckling) are among the standout fairy tale oddballs who deliver wonderful renditions of “Story of My Life” and the exuberant, life-affirming “Freak Flag.” Musical director Kevin Casey leads a skillful orchestra.

By embracing individuality and true love as it is meant to be, “Shrek” strikes an endearing chord with children and adults alike.

“Shrek The Musical” continues through Jan. 27 at the Victoria Theatre, 138 N. Main St. 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: 70 minutes; Act Two: 65 minutes. Tickets are $15-$86. Patrons are advised that the show is recommended for children 6 and up. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

ON STAGE DAYTON REVIEW: Crazy For You (Muse Machine) – Grand Gershwin

January 12, 2013 By Russell Florence, Jr. Leave a Comment

Cast of “Crazy About You”

The Muse Machine supplies an absolutely delightful production of the 1992 Tony Award-winning musical “Crazy for You,” the arts education organization’s 29th annual student presentation firmly staged at the Victoria Theatre with breezy enthusiasm and character-driven assurance by Joe Deer of Wright State University.

Featuring over 100 Muse students across the Miami Valley and nearly 20 George and Ira Gershwin gems, “Crazy for You,” adapted by Ken Ludwig (“Lend Me A Tenor”), is a humorous 1930s account centered on Bobby Child (a very engaging Davis Sullivan). Bobby is a wealthy New York banker and Broadway hopeful sent to foreclose on a rundown theater in the sleepy town of Deadrock, Nevada. In Deadrock, he is immediately smitten by earthy postwoman Polly Baker (an effortlessly radiant Carly Snyder) and ultimately caught up in a hilarious case of mistaken identity that threatens their relationship.

Sullivan and Snyder, a fine duo reuniting in principal roles for the first time since respectively portraying Jack and Little Red Ridinghood in the Muse Machine’s 2011 production of “Into the Woods,” display an infectious chemistry effectively conveying the ups and downs of Bobby and Polly’s bumpy road to love. Sullivan, an adept comedian and commendable song-and-dance man, is particularly impressive when disguised as Broadway impresario Bela Zangler, whose arrival in Deadrock heightens the action in Act 2. Snyder, a true knockout as Little Red, offers an appealing array of emotional layers. She has great fun exhibiting Polly’s rough, no-nonsense demeanor and sunny twang, but a beautiful vulnerability lies within, particularly in her incredibly touching, exceptionally controlled rendition of “Someone To Watch Over Me” filled with hope, humor, wistfulness and yearning.

Additionally, strong featured performances are offered by Jeremiah Plessinger as the flamboyant Zangler, Paige McDonald as Irene, Joel Daniel as the constantly annoyed Lank Hawkins, Philip Stock (Junior), Sean Cheatwood (Mingo), William Peters (Moose) and Rollie Fisk (Sam) who join forces for “Bidin’ My Time” and “The Real American Folksong,” Kaja Burke-Williams as the adorably ditzy Patsy, Christina Fiala as Tess, Laura Walters as Bobby’s strict mother, and Michael Canada, Ellen Geiselman and Joshua Bodey as the Fodors.

Choreographer Lula Elzy’s graceful, energetic routines authentically reflect the era and the carefree spirit of the West. The exuberantly perky “I Can’t Be Bothered Now,” the lovely “Shall We Dance,” the ensemble-heavy “Slap That Bass” and “Stiff Upper Lip,” and the hoedown-inspired thrills in “I Got Rhythm” (winningly led by Snyder at the close of Act 1) are just some of the highlights of Elzy’s wonderful contributions. Musical director Timothy Olt, astutely incorporating a snippet of “Rhapsody in Blue” when the action briefly returns to the hustle and bustle of New York, leads an excellent orchestra.

“Crazy for You” continues tonight at 8 p.m. and Sunday at 2 p.m. at the Victoria Theatre, 138 N. Main St. Act One: 80 minutes; Act Two: 65 minutes. Tickets are $29-$59. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

ON STAGE DAYTON REVIEW: A Christmas Carol (Zoot Theatre Company) – Holiday Whimsy

December 13, 2012 By Russell Florence, Jr. Leave a Comment

A CHRISTMAS CAROL -John Gary Thompson, JJ Parkey, Heather Atkinson and Lizzy Miller (Photo: Scott J. Kimmins)

Excellent puppetry boosts Zoot Theatre Company’s production of Charles Dickens’ “A Christmas Carol” at the Dayton Art Institute.

As the familiar, redemptive Christmas Eve journey of the miserly Ebenezer Scrooge transpires, adapted and helmed by Aaron Vega, it’s difficult not to be amazed by puppet designer D. Tristan Cupp’s artistry. Every marvelously detailed creation brims with personality from Ebenezer’s beak-like nose and thin frame to an adorably diminutive youngster with a penchant for caroling. Most eye-catching is his clever reimagining of the Ghost of Christmas Past (recounting Ebenezer’s history in the form of a film projector) and the Ghost of Christmas Present (a humorous copper conception). Due to the slight monotony of Vega’s narrative-driven adaptation, which emotionally resonates but could have been better paced without an intermission, Cupp’s contributions, which also include fine illustrations, are vital to selling the story in a fresh, unexpected fashion.

Still, Vega sprinkles the proceedings with inspired moments including the wonderful reveal of Ebenezer’s late partner Jacob Marley (expertly lit by John Rensel) and the spooky use of videography for the Ghost of Christmas Yet To Come. His decision to place the actors in shadow late in Act Two is a notable misstep (the actors are occasionally unintelligible which slows the action), but his staging is atmospheric, fluid and playful nonetheless.

Exhibiting great versatility as puppeteers, the compatible cast, adopting decent British accents and nicely costumed with a Victorian sensibility by Shirley P. Wasser, features the welcomed return of Wright State University theater graduates Ryan James Imhoff and JJ Parkey along with Heather Atkinson, Lizzy Miller and J. Gary Thompson. The tall, striking Imhoff is a terrifically conflicted Young Ebenezer and an absolutely earthy delight as the boozy Ghost of Christmas Present. Parkey, bubbly and expressive as ever, is a funny, genial and warm Bob Cratchit as well as a fittingly ominous Marley. Atkinson and Miller, a charming pair, respectively shine as Mrs. Cratchit and the Ghost of Christmas Past. Oddly, Thompson, comfortably strapped to the Ebenezer puppet akin to Julie Taymor’s visualization of Timon in “The Lion King,” is more cranky than colorful, lessening his appeal in a role with numerous layers. Even so, he endearingly reiterates the joy permeating throughout Ebenezer’s chuckle-inducing transformation, which remains the ultimate heartwarming hallmark of this enduring tale.

“A Christmas Carol” continues through Dec. 15 in the NCR Renaissance Auditorium of the Dayton Art Institute, 456 Belmonte Park N., Dayton. Performances are Friday and Saturday at 8 p.m. Act One: 45 minutes; Act Two: 48 minutes. Tickets are priced at $18 for adults, $15 for students and seniors and $12 for children 12 and under. For tickets, visit www.daytonartinstitute.org. For more information, visit http://zootttheatrecompany.org.

ON STAGE DAYTON REVIEW: Oliver! (Human Race Theatre Company) – A Dynamic Dickensian Delight

December 3, 2012 By Russell Florence, Jr. 2 Comments

Pictured: The cast of Oliver! Photo by Scott J. Kimmins

Lionel Bart’s perennial “Oliver!,” his immensely tuneful 1960 adaptation of Charles Dickens’ classic novel “Oliver Twist,” has been thrillingly reborn as a dynamic, ensemble-driven triumph at the Human Race Theatre Company.

Astutely conceived with inspired direction by Alan Souza, previously associated with the Human Race productions of “Was” and “Ears on a Beatle,” “Oliver!” doesn’t begin in the traditional confines of a workhouse with a throng of hungry orphans. In Souza’s innovative landscape, the Dickensian London setting is Christmas Eve 1838 in a modest British pub, handsomely designed by David A Centers. The “Food, Glorious Food” is still praised, but the song primarily belongs to an assortment of ordinary, tough, working class men who know the tavern and each other very well, particularly the curiously combative, foreshadowing relationship between the bartender and his significant other whose child he derides. Souza doesn’t reveal their identities, which may be perturbing or perplexing to some, but these individuals are undeniably unified as their rough and tumble existence finds welcomed relief and unexpected similarities in an impromptu decision to interpret this musical rendering of “Oliver Twist,” originally published in monthly installments in “Bentley’s Miscellany” periodical beginning in 1837.

Pictured: The cast of Oliver! Photo by Scott J. Kimmins

As the bouncy title song kicks into gear, this rowdy bunch, appropriately with periodical in hand, seamlessly transition from the tavern backdrop into the familiar framework of the tale, full of the engaging, iconic characters Dickens meticulously constructed to mirror the corrupt, hypocritical, impoverished and menacing society he knew so well. Thanks to Souza’s incredibly versatile 10-member cast, Spencer Liff’s phenomenal choreography, Helen Gregory’s first-rate musical direction, and John Rensel’s excellently subtle lighting design, the two worlds smoothly coalesce without overt confusion. Fortunately, Souza’s fresh, communal approach doesn’t produce a dull moment and is consistently arresting. Even the altered if abrupt conclusion, authentically correlating with “Oliver Twist” remaining unfinished in “Bentley’s Miscellany” until 1839, packs a dark, dramatic punch. It’s extremely exciting and rare to see a director reinterpret a tried and true product with intimate boldness. In fact, Souza’s vision recalls John Doyle’s scaled-down, ensemble-centric 2005 Tony-winning revival of “Sweeney Todd,” which also lived uniquely outside the box within an intriguing milieu. And for pure ingenuity, Souza, Liff and Gregory’s kinship recalls Roger Rees and Alex Timbers’ equally creative handling of this year’s Tony-nominated play-with-music “Peter and the Starcatcher.”

Pictured: The cast of Oliver! Photo by Scott J. Kimmins

Liff, a Broadway standout who received an Emmy nomination four months ago for his splendid routines on last season’s edition of Fox’s “So You Think You Can Dance,” absolutely pulls out the stops using nearly every inch of the Loft Theatre stage for a dazzling array of breathtaking, energetic, applause-inducing sequences reflecting his trademark athletic artistry. In addition to his fantastic use of set pieces and props adhering to the tavern setting, I was particularly in awe of the jubilant atmospherics of the show-stopping “Consider Yourself,” the fast-paced cleverness permeating “You’ve Got to Pick a Pocket or Two,” the humorously posh sensibilities within “I’d Do Anything,” the amusing nod to “Les Miserables” in “Be Back Soon,” the rambunctious kicks, leaps and twirls of “Oom-Pah-Pah,” and the sliding, gliding, gleeful exuberance of “Who Will Buy?” The spirited ensemble is vigorously immersed in every mesmerizing routine to the utmost, undergoing the epitome of a theatrical workout. I wouldn’t be surprised if Gatorade is stored backstage for this hard-working crew.

Attractively costumed in period attire by Molly Walz, Souza’s marvelously cohesive cast portrays multiple roles with expertly detailed aplomb. In the titular role, Blaise Bouschard is an appealingly innocent, humble presence offering pleasant vocals, especially in his sincerely plaintive rendition of “Where is Love?” Gary Troy’s humorously slick, shrewd interpretation of Fagin, the scoundrel who craves his treasure and independence with equal passion, culminates with a delectably superb “Reviewing the Situation.” As the saucy, abused Nancy, Sara Sheperd, a terrific vocalist and a lively source of vigor and warmth, particularly supplies a compelling rendition of the lovely torch ballad “As Long as He Needs Me.” Nicholas Belton, another fine singer, is a perfectly brooding Bill Sikes. Joseph Medeiros, a skillfully sharp dancer with numerous Broadway credits, is a charming, crafty and witty Artful Dodger. He also scores big laughs as Widow Corney in “I Shall Scream” opposite the fittingly authoritative and droll Scott Stoney as Mr. Bumble. Adam Lendermon delights as creepy undertaker Mr. Sowerberry and is strikingly believable as the gentle, soft-spoken Mrs. Bedwin. Chris Shea is a great fit as the kindly Mr. Brownlow and the hopelessly agitated Mrs. Sowerberry. Ian DeVine, a Wright State University senior musical theater major who continues to amaze, winningly startles and intimidates as the cruel Noah Claypole. As Bet, the aforementioned, multitasking Gregory amiably partners with Sheperd for back-to-back knockouts “It’s a Fine Life” and “I’d Do Anything.”

Pictured: The cast of Oliver! Photo by Scott J. Kimmins

Brilliantly enhancing the art of storytelling through concept, song and dance, Souza, Liff and Gregory have overseen a must-see showcase, coinciding with the bicentennial of Dickens’ birth, which could have a life beyond Dayton in regional theaters or beyond. After all, Broadway hasn’t revived “Oliver!” since 1984, and considering the current success of the Roundabout Theatre Company’s terrific production of “The Mystery of Edwin Drood,” there could be a timely Dickens resurgence brewing which this version could promisingly accentuate.

Purists may scoff, but the Human Race supplies a joyously refreshing experience expanding the possibilities of what musical theater can be.

“Oliver!” continues through Dec. 22 in the Loft Theatre of the Human Race Theatre Company, 126 N. Main St., Dayton. Act One: 60 minutes; Act Two: 40 minutes. Performances are Tuesday at 7 p.m., Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. There is also a 2 p.m. performance on Dec. 22. The Dec. 11 performance is sold out. A post-show discussion will follow the Dec. 9 performance. Jonah Sorscher is also featured in the cast as the Oliver understudy. Tickets are $17.50-$45. A limited number of $25 tickets are available for each performance. Call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org or www.ticketcenterstage.com. For more information, call the Human Race at (937) 461-3823 or visit www.humanracetheatre.org.

ON STAGE DAYTON REVIEW: Irving Berlin’s White Christmas (Victoria Theatre Association) – Happy Holiday

November 29, 2012 By Russell Florence, Jr. 1 Comment

(L to R) Mara Davi, David Elder, James Clow and Stefanie Morse in Irving Berlin’s White Christmas (Contributed Photo)

A grand dose of warmhearted nostalgia and fantastic tap dancing fuels the infectious vibrancy within the national tour of the 2009 Tony Award-nominated musical “Irving Berlin’s White Christmas,” the Broadway caliber season opener of the Victoria Theatre Association’s Premier Health Partners Broadway Series presented at the Schuster Center.

Sharply staged by Norb Joerder and faithfully adapted by Tony nominee David Ives (“Venus in Fur”) and Paul Blake from the 1954 Academy Award-nominated film of the same name, “White Christmas” tells an engaging if old-fashioned tale of song-and-dance duo Bob Wallace (James Clow) and Phil Davis (David Elder), close-knit World War II veterans who partner with singing sisters Betty Haynes (Stefanie Morse) and Judy Haynes (Mara Davi) to raise money for a struggling Vermont inn run by Bob and Phil’s stern yet sincere former commanding general. Romance, wisecracks and misunderstanding are key components in the hokey, simple plot greatly accented by some of Berlin’s finest songs. The film’s familiar treasures are here (“Count Your Blessings Instead of Sheep,” “Sisters,” “Snow” and the title song) along with toe-tapping extras from the vast Berlin canon such as “Happy Holiday,” “Love and the Weather,” “Falling Out of Love Can Be Fun” and “I’ve Got My Love to Keep Me Warm.”

Berlin’s tunes, overflowing with charm and tenderness, are certainly a main attraction, but Randy Skinner’s Tony-nominated choreography, brilliantly executed with crisp preciseness and debonair finesse, simply dazzles. The breezy “Let Yourself Go” effortlessly sets a spirited tone for the evening. The elegant, jazzy “Blue Skies” and the terrifically cute “I Love a Piano” are applause-inducing knockouts recalling Skinner’s remarkable contributions to the 2001 Broadway revival of “42nd Street,” which memorably featured Elder, a radiant tenor, as Billy Lawlor.

Further, it’s not surprising this show clicks as well as it does because its leading players, a dandy group of Broadway standouts, are no strangers to the material. Elder portrayed the good-natured Phil on tour three years ago. Clow, Morse and Davi appeared in the Broadway production along with Ruth Williamson (Martha Watson) and Cliff Bemis (Mr. Snoring Man/Ezekiel Foster). When they join forces their chemistry and camaraderie is palpable. In fact, Elder and Davi, exceptional dancers, create Fred and Ginger sparks while gliding across the stage in “The Best Things Happen While You’re Dancing.” Clow (an appealingly awkward Bob) and Morse are equally strong in a classy scene comprising the lovely torch song “Love, You Didn’t Do Right By Me” (beautifully sung by Morse) and “How Deep is the Ocean.” The wonderfully earthy Williamson, a hilarious Eulalie Mackecknie Shinn in the 2000 Broadway revival of “The Music Man,” belts “Let Me Sing and I’m Happy” with gusto. Bemis scores his share of laughs in tailor-made roles. Joseph Costa is austerely authoritative and genuinely touching as General Waverly. Tony Lawson as Ralph Sheldrake, Kilty Reidy in multiple roles and the fittingly precocious, vocally pleasant Andie Mechanic as Susan Waverly are also notable. It’s particularly great to see Wright State University alumna Darien Crago among the first-rate ensemble.

This strikingly designed recreation of the Broadway production features attractive costumes by Carrie Robbins, proficient lighting by Ken Billington and Kenneth Foy’s seamless adaptation of Anna Louizos’ colorful sets. Musical director Michael Horsley’s conducts an excellent orchestra.

“Irving Berlin’s White Christmas” continues through Dec. 2 at the Schuster Center, Second and Main Streets. 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: 80 minutes; Act Two: 50 minutes. Tickets are $15-$101. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

ON STAGE DAYTON REVIEW: Legally Blonde (Playhouse South) – Pretty in Pink

November 16, 2012 By Russell Florence, Jr. Leave a Comment

Katie McCarthy, bubbly, jovial and endearing, delightfully anchors Playhouse South’s admirable production of the upbeat, silly and surprisingly touching “Legally Blonde: The Musical,” breezily directed by Jim Brown and adapted in 2007 by Laurence O’Keefe, Nell Benjamin and Heather Hach based on the 2001 film of the same name.

McCarthy, colorfully costumed by Jenni Cypher, was born to play fashion-conscious sorority star Elle Woods, who optimistically journeys to Harvard Law School in order to reclaim her ex-boyfriend. Displaying pleasant vocals and a perky spirit that sidesteps annoyance, she firmly grasps Elle’s innate cheerleading instincts, particularly as a Pied Piper enthusiastically drawing crowds, and tender vulnerability, specifically when her world crumbles late in Act 2 after she rediscovers the beauty of staying true to self.

Elsewhere, the supporting cast cohesively gels. The amiable Josh Livecchi is appropriately unassuming as Emmett Forest, the introverted teaching assistant who grows to care for Elle in spite of her outgoing flair. Brad Bishop is sharply hard-nosed as Callahan, Elle’s ruthless professor. Angie Thacker adds enjoyable comic relief as Paulette, the beauty shop proprietor whose self-esteem and love life is reborn. The lively Jackie Darnell, as Elle’s sorority sister Serena, particularly leads the infectious “Bend and Snap” with vim and verve. Meagan Kuchan and Stefanie Dodge are respectively solid as liberal Enid Hoopes and imprisoned fitness guru Brooke Wyndham. Megan Rademacher is effectively snippy as Elle’s nemesis Vivienne Kensington. Matthew Scheerschmidt and Brett Norgaard are funny cohorts in “There! Right There!” Waky Harris fits the bill as Kyle, Paulette’s crush. Jessica Jones, appearing briefly, is a hoot as Elle’s tipsy mother. Brian Kester is too old to play Elle’s boyfriend Warner Huntington III but his efforts are serviceable nonetheless.

Energetic routines from choreographer Greg Andrus and a fine set designed by Ray Zupp are added benefits within this artistically sound endeavor.

“Legally Blonde: The Musical” continues through Nov. 17 at the Clark Haines Theatre of the Kettering Board of Education Building, 3750 Far Hills Ave., Kettering. Performances are Friday and Saturday at 8 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $13 for adults, $11 for seniors and military and $8 for students. For tickets or more information, call (888) 262-3792 or visit www.playhousesouth.org

ON STAGE DAYTON REVIEW: Spring Awakening (Wright State University) – Complex Adolescence

November 16, 2012 By Russell Florence, Jr. Leave a Comment

Composer Duncan Sheik and lyricist/librettist Steven Sater’s dynamic “Spring Awakening,” 2007’s Tony-winning Best Musical, receives an outstanding local collegiate premiere at Wright State University.

Based on Frank Wedekind’s banned, controversial 1891 novel of the same name, “Spring Awakening” is a powerfully provocative coming of age tale set in 19th century Germany with contemporary flourishes. In fact, Sheik’s marvelous melodies, evocatively tied to Sater’s poetic lyrics, are written in the pop/alt rock vein. The musical’s riveting potency cuts deep as issues of abortion, abuse, angst, incest, isolation, suicide and more are explored. Staged by Joe Deer in the black box Herbst Theatre with firm, character-driven intimacy, the thought-provoking story of close-knit, inquisitive, sexually curious teenagers caught between childhood innocence and the dawn of adulthood doesn’t miss a beat, particularly as their questions and desires are regrettably disregarded by authority figures.

The central, ill-fated romance involving headstrong Melchoir Gabor (portrayed with great self-awareness and sensitivity by Jon Hacker) and the sheltered Wendla Bergman (an appealing, vocally beguiling Tommi Harsch) is skillfully executed, but Deer heightens the compelling landscape by emphasizing the awkwardness and emotional scars between parents and their children. Chrissy Bowen and Andrew Quiett portray multiple adult roles, but Bowen’s maternal reticence and fierce admonishment as Wendla’s mother and Quiett’s incredibly irascible disgust as the father of troubled Moritz Stiefel (Drew Helton, splendid and heartbreaking) are specifically striking. Moreover, in favor of an introspective approach, Deer lessens the material’s rock concert essence by eliminating hand-held microphones and microphone stands, a definitive concept of the off-Broadway and Broadway productions.

Helton, a wonderful Edna Turnblad in “Hairspray” last season, uniquely interprets Moritz with a stutter, a decision that generates more empathy for the character and reiterates his peculiarities. Helton is also in terrific voice, particularly in the frenzied “Don’t Do Sadness” brilliantly aided by Erin Jones’ lighting design. Ria Villaver, bringing tender fragility to her role as Ilse Neumann, and Paige Dobkins as Martha Bessell weave a gripping tapestry throughout “The Dark I Know Well.” Caroline Gruber, Liz Romey, Justin King, Logan Torbet, Sean Jones, Zach Warner and Lauren Schorr are uniformly strong in such haunting numbers as “Touch Me,” “I Believe” and “The Guilty Ones” in addition to the carefree “My Junk” and rip-roaring “Totally Fucked.” The cast’s heartwarming rendition of “The Song of Purple Summer,” the absolutely beautiful Act 2 finale, is among the best I have heard.

Choreographer Dionysia Williams’ expressively first-rate routines balance succinct rigor and ecstatic exuberance with the gentility of caressing hands and soft candlelight. Zoe Still provides attractive period costumes and dresses her appropriately stark set with flowing tattered fabric. Musical director Sherri Sutter leads a solid five-piece orchestra.

Wright State offers the third “Spring Awakening” Dayton has seen in two years, but the organization has certainly produced a worthwhile winner.

“Spring Awakening” continues through Nov. 18 in the downstairs, black box Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 55 minutes. The show contains adult language and themes. Tickets are $10 adults and $7 for students and seniors. All seats are $2 for the Saturday matinee. For tickets, call Victoria Oleen at (937) 775-3789.

ON STAGE DAYTON REVIEW: Funny Girl (Wright State University) – Hello, Gorgeous

November 3, 2012 By Russell Florence, Jr. 4 Comments

Wright State University supplies an entertaining production of the rarely attempted but incredibly tuneful 1964 musical comedy “Funny Girl,” the Jule Style, Bob Merrill and Isobel Lennart classic chronicling the rise of legendary vaudeville comedienne-turned-Ziegfeld Follies star Fanny Brice.

Director Greg Hellems, offering a fluid, cinematic vision, curiously double casts the spirited, vocally demanding leading role so it’s imperative to tell you this show specifically dazzles in the hands of Melissa Hall, a charming actress who was just as winning and hilarious last season as Penny Pingleton in “Hairspray.” A lively bundle of energy worth rooting for, Hall endearingly depicts Fanny’s larger than life personality, appealing go-getter spirit and the engaging stage presence that fueled her reputation throughout the early 20th century. She also handles Styne and Merrill’s lovely score with impressive vigor and nuance, adeptly conveying the rip-roaring determination within “I’m the Greatest Star” and the tender sentimentality of “People,” “Who Are You Now?” and “The Music That Makes Me Dance.” Most importantly, Hall beautifully interprets “People” as a philosophy and her dynamic “Don’t Rain on My Parade” perfectly captures Fanny’s firm resolve at the end of Act 1 and her amazing resilience at the end of Act 2.

In contrast, Mimi Klipstine-Dick, who particularly portrays Fanny at matinees, eagerly desires to connect with the character but lacks surefire comedic timing and unwisely chooses to sing in the vein of Barbra Streisand, the iconic Fanny of stage and screen. Originality is the crucial requirement missing from Klipstine-Dick’s underwhelming performance, a committed effort that doesn’t evolve into the knockout this show demands.

Nonetheless, both ladies are surrounded by an excellent cast. Zack Steele, sharp, suave and exuding a maturity far beyond his years as flawed gambler Nick Arnstein, skillfully examines Nick’s pride, ambition and disappointment as a breadwinner. Justin Talkington, an exuberant presence recalling Broadway veteran Lee Roy Reams in his prime, lights up the stage as choreographer Eddie Ryan, Fanny’s pal who molded her talents in vaudeville and remained skeptical of Nick’s motives. The equally radiant Michelle Weiser takes her role as Fanny’s earthy mother Rose to compelling heights late in Act 2 when Rose confronts Fanny about Nick’s criminality. The absolutely delightful Kelsey Pohl as Mrs. Strakosh, fine tenor Mark Beyer’s resounding delivery of “His Love Makes Me Beautiful” and Emma Jordan as Fanny’s dutiful assistant Emma are also notable among the featured performers.

Additionally, Teresa Wylie McWilliams (“Hairspray”) creates wonderful routines once again from the busy activity of “Henry Street” and the seductive playfulness of “Cornet Man” to the tap dancing panache of “Rat-Tat-Tat-Tat” featuring scenic designer Pam Knauert Lavarnway’s grand staircase reminiscent of “42nd Street.” Andy Balmert’s first-rate lighting design, D. Bartlett Blair’s attractive period costumes and Scot Woolley’s outstanding orchestra are also pleasurable.
“Funny Girl” is a night and day experience due to Hall and Klipstine-Dick’s polar opposite tactics, but it clearly satisfies as feel-good musical theater.

“Funny Girl” continues through Nov. 11 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Nov. 7-8 at 7 p.m., Nov. 3, 9-10 at 8 p.m. and Nov. 3-4, 10-11 at 2 p.m. Act One: 95 minutes; Act Two: 50 minutes. Tickets are $20 for adults and $18 for students and seniors. For tickets or more information, call (937) 775-2500.

The Past and Future by The Dayton Ballet on Splendid Display (Review)

October 29, 2012 By Rodney Veal Leave a Comment

Photo Credit: sskphoto

What a whirlwind of a Saturday evening, I knew that I would be running to see Dayton Ballet and then off to the most delirious and over the top fundraiser party in Dayton, ARC’s Masquerage. This is proof positive that there are a plethora of really amazing events happening in our midst. Both events inspire the terpsichorean muse in us all as performers and spectators and illuminate the unseen threads that connect both of them.

Being the 75th anniversary of the Dayton Ballet, this year affords us a rare opportunity to envisage the past, present and future versions of the organization. At first I was very apprehensive about this upcoming season turning into an indulgent trip down memory lane, but after Saturdays concert, my fears have been silenced.

The concert opened with a restaging of Mozart Dances, a work by former Artistic Director, Stuart Sebastian. A structurally sophisticated and cheeky ballet for nine dancers, that reminds us as viewers of the former glory that this institution could possibly reclaim. With a mixture of stalwart veterans and energized newcomers all elegantly coached by Laura Frock Hinders, Mozart Dances highlights a major skill of Stuart’s; his ability to weave intuitive musicality with a wicked sense of humor that never stopped providing pleasures for this reviewer. I marveled at how he transitioned dancers on and off the stage that made the tropes of jeté’s on the diagonal fresh and interesting.

The added bonus to this performance of Mozart Dances was having the live accompaniment of the Dayton Philharmonic. The rarity of having live versus canned music highlights another positive outcome of the newly formed Dayton Performance Alliance. The joy of watching Neal Gittleman conduct was seeing how connected he was to the dancers. They way he maintained tempos and adapted according to the needs of the performers was a joy to behold.

The second ballet on the program was a world premiere of Chasing Ghosts, choreographed by Amy Seiwart. Ms. Seiwart was named one of the “25 to watch” by Dance Magazine and she lives up to the moniker. Watching Chasing Ghosts with the waves of stark and emotionally textured choreography, I was reminded of the power of a beautifully and skillfully constructed work to elevate and inspire. The surging entrances and exits of the dancers combined with the intimate partnering sections of a sensuously ambiguous tactility, which alludes to a mysterious and unknowable narrative. It reminded me of the undercurrents of the painter Edward Hopper combined with the enigmatic directorial skills of Wim Wenders and his seminal film Baghdad Café (This is worth checking out on NetFlix)
The solo work of newcomer Jammie Walker was heartbreaking and artistically so rewarding it deserved to be singled out. To be so thoroughly engaged and mesmerized by a work, I consider Chasing Ghosts to be work that is worth repeat viewings. This bodes well for the future.

While I am not a fan of the final ballet, Sleepy Hollow, I will credit the skills of the dancers in helping to elevate this into an average work at best. After seeing the first two-thirds of this program, Sleepy Hollow felt like an anti-climatic moment for the company. I would have love to have seen one of Karen’s non-narrative works which plays to her strengths as a choreographer and director. As a part of this concert it would have been a better programming choice.

As I entered the Vixen and Villains themed Masquerage, The 11th annual charity fundraiser conducted by the Aids Resource Center, on a perceptible high from the ballet performance, I thought about Stuart Sebastian. We were afforded the opportunity to see his particular brand of craft, wit and musicality as a part of this seventy-fifth season one more time and wistfully recall the potential we lost with his passing from AIDS over twenty years ago. What we lose by not marshalling our collective efforts supporting the cause of the ARC goes beyond a loss for the stage and speaks to the loss of creative voices of a generation and it’s impact on our community, nation and the world. The opener of the Seventy Fifth anniversary season of Dayton Ballet made the compelling case for another seventy-five years of artistic output. Dayton Ballet is now ripe for re-discovery.