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Under a Red Moon Review – Human Race Theatre Company – Divine Intervention?

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Bradford Cover and Dee Pelletier in Under a Red Moon (Contributed photo by Scott J. Kimmins)

Michael Slade’s quietly engrossing psychological thriller “Under a Red Moon,” a riveting, relatively sound mind game of mental illness and religion, receives an excellent co-world premiere at the Loft Theatre courtesy of the Human Race Theatre Company and Kentucky’s Carnegie Visual and Performing Arts Center.

Inside a bleak, cold examination room of London’s Lewes Prison (efficiently designed by Scott J. Kimmins and expertly lit by John Rensel), the notorious 1949 “Acid Bath Murderer” John George Haigh (Bradford Cover, deliciously imposing, slick and sophisticated) fights for his life while overseen by prison warden Ralph Gow (an amiable Daniel C. Britt) and tirelessly questioned by the incredibly cool and intuitive Dr. Ruth Covington (Dee Pelletier, terrifically reserved). Awaiting trial, Haigh, the confessed serial killer carrying enormous baggage from his emotionally damaged childhood, entices, threatens and startlingly seduces Covington in the hopes of being deemed insane. For better or worse, Covington takes the bait, but maintains the upper hand in this cat-and-mouse exercise even as Haigh’s shrewd, unyielding prosecutorial aims escalate beyond her expectations

Bradford Cover and Dee Pelletier. Photo: Scott J. Kimmins

Astutely directed with sharp tension by Margarett Perry, whose knack for navigating compelling character studies was also seen in the Human Race’s “God of Carnage” and “The Retreat from Moscow,” “Red Moon” could be shortened by 10 or 15 minutes due to its tendency to go around in circles as Haigh and Covington debate. Even so, the play’s most intriguing, thought-provoking aspects are firm, specifically Haigh’s certainty that his murderous spree was entirely directed by God, a matter smartly left open to interpretation. Considering he was raised within a religious sect, is very familiar with the scriptures and was greatly influenced by a mother who had a fascination with dreams, it’s not surprising how he came to and was continually motivated by this assessment. In fact, and in particularly convincing fashion, Slade parallels Haigh’s penchant for dreams and its repercussions with the biblical story of Joseph, whose visions of supremacy infuriated his brothers so much they sold him into slavery. This interesting comparison gives credence to the effects of Haigh’s religious upbringing while keeping Covington on her toes as she fishes for answers. Slade also effectively dives into Haigh’s psyche as he interprets an eerie dream featuring his mother smiling at him on the titular blood-soaked moon.

Despite a groan-inducing instance that finds rage oddly morphing into romance, “Red Moon” is a fascinating look at evil intertwined with faith.

“Under a Red Moon” continues through Oct. 27 at the Loft Theatre, 126 N. Main St., Dayton.  Performances begin at 8 p.m. The play is performed in 95 minutes without intermission. Tickets are $17.50-$40. For tickets or more information, contact Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

 

On Stage Dayton Review – “And Miss Reardon Drinks a Little” by Dayton Theatre Guild

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The dysfunctional baggage plaguing the Reardon sisters of Paul Zindel’s 1971 dark comedy “And Miss Reardon Drinks a Little” is commendably explored at the Dayton Theatre Guild.

Crisply staged by Debra Kent and set inside an eye-catching apartment designed by Jeff Sams and dressed by Wendi Michael, “Reardon,” an engaging tale that would have been better served as a one-act, steadily examines the betrayal, hardship and heartbreak between three sisters. Damaged by the absence of their father and the bruised memories of their recently deceased mother, they share a common link as educators but are truly disconnected. Like so many families burdened by emotional scars, the Reardons are stymied by their shared pain, wallowing in animosity instead of recognizing the benefits of growing closer and refining their relationship.

Teresa Connair as the uptight Ceil, Cassandra Engber as the hopelessly unstable Anna and Cheryl Mellen as sardonic alcoholic Catherine are a sharp, well-matched trio. With commanding ease they supply fully realized, nuanced assessments of their combative, peculiar characters, especially the dynamic Engber who nails Anna’s compelling anguish and zany hysterics.

Jennie Hawley and Michael Taint provide firm support as humorously overbearing dinner guests Fleur and Bob Stein. Amy Diederich as Mrs. Pentrano and Leo Santucci as Delivery Boy are suitable in extraneous roles.

“And Miss Reardon Drinks a Little” continues through Oct. 21 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. Tickets are $12-$19. Patrons are advised that the production contains live gunshot sounds and adult language. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org.

On Stage Dayton Review – “Dracula” by The Dayton Playhouse

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Alex Carmichal (l) and Jared Mola in Dracula (Contributed photo)

Chills, kills and thrills abound in the Dayton Playhouse’s impressively conceived production of “Dracula,” adapted by William McNulty and originally dramatized by John L. Balderston and Hamilton Deane from Bram Stoker’s classic novel.

Under the striking, cinematic direction of David Shough, “Dracula,” the classic psychological and physical battle between good and evil exposing intriguing aspects of lunacy, power, sexuality and religion, grips from the start and doesn’t let go. Vividly launched by Chris Newman’s stellar prologue illustrations, Shough’s breezily paced, eerily dark and delightfully amusing presentation– effectively heightened with flashy special effects and Puccini’s marvelously melodramatic “Turandot” as inspired underscore –uniformly attacks with purpose. This show could have imploded with actors wallowing in a spooky sea of overblown hysterics or cheesy horror shtick with the rudimentary goal to “be scary,” but Shough ensures his believably conflicted cast remains committed at every turn, giving McNulty’s fully fleshed adaptation, a clear, succinct and tight examination of Count Dracula’s sinister menace and uncontrollable influence pervading Victorian England, the thoroughly engrossing treatment it deserves.

As the titular vampire, the impeccably creepy Alex Carmichal, an actor with a history of villainous roles, delivers one of his best performances. Uniquely possessing a simultaneously charming and contemptible aura, Carmichal meticulously uncovers the multifaceted malevolence within Dracula’s quest for control. He’s certainly good for a laugh, as any Dracula must, but he can also be remarkably seductive, particularly in the terrifying Act 1 finale he shares opposite Sarah Parsons (solid as Lucy Westphal) in which a matter of life and death culminates in hauntingly alluring surrender.

[dropshadowbox align=”right” effect=”lifted-both” width=”250px” height=”” background_color=”#ffffff” border_width=”1″ border_color=”#dddddd” ]”Refreshingly raising the bar for community theater, ‘Dracula’ is a must-see”…[/dropshadowbox]Jared Mola, who delivered a breakthrough performance last season in the Dayton Theatre Guild’s production of “Wittenberg,” is similarly outstanding as delusional inmate Robert Renfield, who relishes his intermediary contributions as the good-natured duo of Thomas Seward (Matthew Lindsay, appropriately conservative) and Abram Van Helsing (Saul Caplan, very authoritative) seek his help in their quest to destroy Dracula, whose allegiance Renfield maintains. Mola’s comedic timing and lively physicality, executed while signaling warnings of impending doom, is a constant joy.

Additionally, Heather Martin wonderfully taps into her inner Carrie White as Margaret Sullivan, Seward’s assistant possessed by Dracula, and her tender bond with David Hallowren (highly enjoyable as the tough yet amiable inmate attendant Norbert Briggs) is palpable. Matthew Glenn as Jonathan Harker, Carolyn Hoogsteden (what a screamer!) as Mina Grant, Margaret Foley, Cari Meixner and Debra Strauss as Dracula’s sadistic brides, David Stephen Thomas as a Monster and Addison Page Wheeler as the Girl completes the cast, attractively costumed by Barbara Pontecorvo. Shough spearheads the production’s terrific atmospherics as set designer, co-lighting designer (with Anita Bachman) and co-sound designer (with Bob Kovach).

Refreshingly raising the bar for community theater, “Dracula” is a must-see.

“Dracula” continues through Oct. 21 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: 75 minutes; Act Two: 50 minutes. Tickets are $15-$17. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.org

Theatre Reviews: The Hobbit – Zoot Theatre Company AND The Taming of the Shrew – Sinclair Community College

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The Hobbit

THE HOBBIT

Zoot Theatre Company, Dayton’s enchanting puppet/mask troupe, supplies a wonderfully inventive and imaginative production of “The Hobbit,” adapted by Patricia Gray from J.R.R. Tolkein’s novel and whimsically co-directed by D. Tristan Cupp and J. Gary Thompson at the Dayton Art Institute.

This humorous, inspiring road trip through Middle-earth, propelled by fine original music by Thompson and brief moments of eye-catching stagecraft recalling Julie Taymor (“The Lion King”), concerns an unlikely heroic homebody and a merry, opinionated band of 13 dwarves determined to defeat the evil dragon Smaug and retrieve great treasure. The fanciful material’s adventurous magnetism is bolstered by Cupp and Thompson’s decision to dress and conceal the cast in black, allowing the audience to view the story simply through the eyes of various puppets, superbly designed with meticulously distinctive character by Cupp.

Led by an effortlessly winning and sympathetic Darren Brown as the humble Bilbo Baggins, the uniformly strong ensemble features solid supporting work by an authoritatively comedic Jeff Sams as Gandalf, the delightfully gruff Natalie Houliston as Thorin and the terrifically animated Andrew Ian Adams as the simultaneously sly and frustrated Gollum. Eric Arntz, Lisa Bernheim, Michael Favors, Juliet Howard-Welch, Austin Smith, CJ Suchyta, Nicole Thompkins and Ria Villaver complete the cast. Andy Balmert’s evocative lighting, Cupp’s efficient set, Shirley P. Wasser’s skillful costumes and Jon Lamm’s firm sound execution are additional pluses.

“The Hobbit” continues through Oct. 14 in the NCR Renaissance Auditorium of the Dayton Art Institute, 456 Belmonte Park North, Dayton. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 65 minutes; Act Two: 40 minutes. Tickets are $12-$18. For tickets or more information, visit ZootTheatreCompany.org.

 

Haley Penchoff and Isaac Hollister in The Taming of the Shrew (Photo by Patti Celek)

THE TAMING OF THE SHREW

Shakespeare’s “The Taming of the Shrew,” the comedic battle of the sexes between hot-tempered Katherina and cunningly indomitable Petruchio heightened with brutishness, feistiness, impudence and mistaken identity, receives an uneven treatment at Sinclair Community College.

Director Nelson Sheeley’s breezy pace and effective Elizabethan touches (attractively aided by scenic designer Terry Stump, costumer Kathleen Hotmer and music director John Parcell) cannot hide the interpretative inconsistencies within his cast, amiable performers lacking a cohesive grasp of the language, nuances and rhythm in the colorful script. Some actors connect with vibrant adeptness and refreshing wit (Charles Larkowsi in particular is the finest Baptista I have seen) while others hurriedly recite lines without meaning or depth. Instead of fine-tuning key performances, Sheely seems to have been more concerned with thrusting the show into an all-out farce. However, his attempts are more forced than inspired, especially when it comes to flatulence, urination and a bejeweled codpiece.

Still, compatible and commendable leading players Hayley Penchoff and Isaac Hollister establish a convincingly combative rapport that keeps the action engaging and entertaining. The cast also includes Aeriel Aniballi, Samantha Creech, William G.L. Courson, John Dunn, Jordan Duvall, Jordan Huber, Destre Inlow, Rick McClintic, Zach Mills, Lucas Plum, John Ray, Rebecca Sebree, Tray Shelton, Josh Smith and Alayna Spence.

“The Taming of the Shrew” concludes tonight at 8 p.m. at Sinclair Community College, Blair Hall Theatre, Building 2, 444 W. Third St., Dayton. Act One-Three: 65 minutes; Act Four-Five: 55 minutes. Tickets are $15 for adults and $10 for students and seniors. For tickets or more information, call (937) 512-2808 or visit Sinclair.edu.

 

 

 

The Miracle Worker Review – Wright State University – The Special Relationship

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Cyndii Johnson (l) and Kate Mueller in The Miracle Worker (Contributed photo)

Wright State University opens its 38th season with a wonderfully heartfelt production of William Gibson’s 1959 Tony Award-winning drama “The Miracle Worker,” the compelling account of Helen Keller and her teacher Annie Sullivan set in Tuscumbia, Alabama and based on Keller’s 1903 autobiography “The Story of My Life.”

As the deaf, blind and mute Helen, Kate Mueller, a musical theater major, is an impressively expressive presence. With wide eyes and childlike wonder, Mueller, never resorting to off-kilter or exaggerated dramatics, beautifully grasps Helen’s yearning to communicate more fully through sign language while trapped by her own fussy stubbornness and the unhelpful sheltering of overly doting parents. She also makes the smallest revelations prodigious, particularly in Act 2 when Helen, inquisitively sensing competition, becomes jealous of her playmate Percy, adorably played by Julian Rojas.

Helen’s fascinating evolution, astutely guided by director Lee Merrill who doesn’t discount the strain and brokenness within the Keller household, is firmly molded by the commanding presence of Cyndii Johnson, an African-American, as the determined, unflinching and incredibly dedicated Annie, a true survivor in her own right scarred by the harrowing memories of living in a Massachusetts asylum with her brother. Johnson’s non-traditional casting doesn’t work in the play’s societal context, but her stringent, no-nonsense demeanor and occasionally curt attitude registers perfectly as Annie spins the Kellers into a slight frenzy, providing numerous moments of refreshing levity. Even so, it is the special relationship she shares with Mueller that provides the production’s riveting pulse. The volatile breakfast scene, an Act 1 highpoint skillfully aided by combat consultant Bruce Cromer, is a terrifically executed, meticulously paced fury of flying spoons, force-feeding, kicks and screams concluding with a folded napkin signaling victory and relief. More significant are the final iconic moments when Helen’s mastery of 18 nouns and three verbs culminates with her recognition of water, a truly tear-jerking epiphany superbly syncopated by Johnson, Mueller, Merrill and lighting designer Danielle Ferguson.

Additionally, Kelsey Andrae and Andrew Quiett are a solid team as Helen’s parents. Quiett especially creates a properly prickly rapport with Johnson as Captain Keller and Annie battle for authority over Helen. As Helen’s snippy stepbrother Jamie, Cameron Blankenship strikingly depicts the overlooked anger of living in Helen’s shadow while desiring more love, encouragement and support from his emotionally detached father. Kevin Blessing, DeLee Cooper, Tyler Edwards, Caroline Gruber, Amie Lea Heller, Xander Hildenbrandt, Anita Hill, Stephen Kell, Taylor Montgomery, Liz Romey, Tyler Tanner, Amy Wheeler and Renika Williams complete the strong cast attractively costumed by Mary Beth McLaughlin. Michael Amico’s expansive set, James Dunlap’s first-rate sound design and John Lavarnway’s properties are equally noteworthy aspects of this fine presentation.

“The Miracle Worker” continues through Sept. 30 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Wednesday and Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 80 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.

Managing Maxine Review – Human Race Theatre Company – Falling in Love Again

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Jana Robbins and Steve Vinovich in "Managing Maxine" (Photo by Scott J. Kimmins)

Janece Shaffer has created one of the most fascinating females to grace a new play.

In Shaffer’s cute, funny, touching and refreshingly adult comedy “Managing Maxine,” receiving a wonderful Midwest premiere deftly directed by Marya Spring Cordes and attractively designed by Tamara L. Honesty for the Human Race Theatre Company, writer/professor Maxine Levine, newly 70, desires to love again. However, her mission is rather complicated, which is typical of romance whether teenage or septuagenarian. Since Maxine hasn’t dated since the Kennedy Administration and suffers from a Blanche DuBois aversion to natural light, her courage and self-esteem has understandably depleted. But despite the idiosyncrasies within her brash, loveable, stern and endearing temperament, she meets her white knight in the form of the exciting yet practical retired judge Arthur Rinzler. Maxine and Arthur’s relationship naturally blossoms with the potential for marriage, but questions and expectations regarding their respective children/families emerge to chip away at their bond. More importantly, Arthur is reticent to evolve and loosen the feelings he still has for his late wife, a concern deeply testing the couple.

Shaffer, boldly showcasing geriatric bedroom naughtiness with blush-worthy verve (“I think I need to take a breath mint to my upper thigh”), relies heavily on asides, which has a tendency to diminish narrative appeal as scenes progress. Still, her three-dimensional Maxine is superbly realized by New York-based actress and Tony nominated producer Jana Robbins (“Ragtime”). Robbins, who possesses a Linda Lavin quality and left an indelible impression as the tipsy titular character of the Human Race’s 2011 production of “The Drowsy Chaperone,” has been associated with “Maxine” since the play’s 2009 world premiere at Atlanta’s Alliance Theatre. From the inviting first scene, which finds Maxine nervously giddy about her first date with Arthur, it’s apparent how tailor-made the role is for her and how exceptionally she executes the emotional highs and lows, particularly becoming heartbreaking late in Act 2 when Maxine strips down in an honest moment of traumatizing self-examination. She’s also a first-rate comedienne who understands the importance of keeping Maxine’s humor level-headed instead of teetering into the cartoonish, over-the-top realm.

Steve Vinovich, whose extensive stage and screen credits includes Jerry Herman’s ill-fated but tunefully rich 1979 musical “The Grand Tour” and the films “The Santa Clause” and “Awakenings,” is simply terrific as Arthur. Genially seductive and totally charming, Vinovich keeps his innate chemistry with Robbins at fever pitch. He also establishes a warmly sincere and protective rapport with Michelle Zimmerman, who makes a fine return to the Human Race as Arthur’s disapproving, icy daughter Ivy.

Additionally, Debra Whitfield and Tim Lile are excellent as Maxine’s fussy daughter Emmie and discontented son-in-law Larry trying to rekindle their loveless marriage, a relatable subplot that evolves with potency and never feels inconsequential. “Try to remember what it was like in the beginning” is not only sound advice intended for Emmie and Larry but for anyone who has ever said “I do.” Kay Bosse and Scott Stoney respectively provide great comic relief and brief yet striking moments of depth as Maxine’s amiable neighbor Joanne and Arthur’s earthy buddy Louis.

The Human Race has broadened its support of new plays this season and certainly found a gem in “Maxine,” which warmly suggests it’s never too late to love and be loved. By and large, this crowd-pleasing play seems bound for Broadway and could be another Tony nominated vehicle for Robbins.

“Managing Maxine” continues through Sept. 23 at the Loft Theatre, 126 N. Main St., Dayton (click here for full schedule). Act One: 60 minutes; Act Two: 55 minutes. Tickets are $19.50-$40. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit http://humanracetheatre.org

Side by Side by Sondheim Review – Dayton Playhouse – Good Times and Bum Times

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Shawn Hooks (l) and David Moyer rehearsing "Side by Side by Sondheim" (Contributed photo)

Two months ago at the Smith Center in Las Vegas I attended an incredibly informative forum featuring acclaimed lyricist/composer Stephen Sondheim, who boldly awakened the complex possibilities of adult musical theater storytelling throughout the 1970s.

Questioned by moderator Michael Kerker of ASCAP (American Society of Composers, Authors and Publishers), a very humble, surprisingly candid Sondheim reflected on his groundbreaking legacy with a wide range of anecdotes, particularly shedding light on supervising the original cast recording of “West Side Story” in Leonard Bernstein’s absence, coping with Jule Styne’s peculiar approach to rewrites during their “Gyspy” collaboration, and enduring a rocky relationship with Richard Rodgers during their creation of 1965’s “Do I Hear a Waltz?,” which he admittedly agreed to do entirely out of obligation to his mentor Oscar Hammerstein II. In fact, Sondheim submitted humorous yet derisive lyrics for the bouncy Act 2 duet “We’re Gonna Be All Right” that were scrapped purely based on the disapproval of Rodgers’ wife. According to Sondheim, his lyrics “hit too close to home.”

Thankfully, you can hear “We’re Gonna Be All Right” as originally intended in the musical revue “Side by Side by Sondheim,” a special presentation opening the Dayton Playhouse’s 2012-13 season. Created in London in 1976 and transferring to Broadway a year later receiving five Tony Award nominations including Best Musical, “Side by Side” consists of nearly 30 songs and encompasses nearly 20 years of Sondheim’s repertoire from his early, aforementioned collaborations (writing only lyrics) to his definitive works such as “A Funny Thing Happened on the Way to the Forum,” “Company,” “Follies,” “A Little Night Music” and “Pacific Overtures.” “Anyone Can Whistle,” “Evening Primrose” and “The Seven-Per-Cent Solution,” three little known projects, are also included.

Director Brian Sharp, establishing a smooth fluidity, seamlessly expands, with assistance from musical director Ron Kindell, the original concept of three singers to six. Laura Bloomingdale, Carol Chatfield, Kathy Clark, Bonnie Dobbs, Shawn Hooks and David Moyer blend beautifully while embracing Sondheim’s tricky lyrical and rhythmic challenges with just a few stumbles along the way. The lyrically sublime Bloomingdale (supplying an absolutely lovely “I Remember” and a delectable “Ah, Paris”) and Clark (a back-to-back knockout with “Anyone Can Whistle” and “Send in the Clowns” in addition to “The Boy From”) are standouts, but Moyer’s heartfelt “Marry Me A Little,” Hooks’ personable “Could I Leave You?,” Chatfield’s heartbreaking “Losing My Mind,” and Dobbs’ operatic flourishes within the saucy “I Never Do Anything Twice” are certainly noteworthy.

However, in a startling move, Ned Sherrin’s original continuity/narration has been altered with references to Sondheim’s later works (such as “Into the Woods”) which have nothing to do with the revue’s framework. Saul Caplan is an enjoyably easygoing narrator, but his comments are oddly disjointing. Moreover, a bizarrely reprehensible moment arrives at the climax of Act 2. Dobbs delivers “I’m Still Here,” a powerful “Follies” anthem of survival pinpointing Herbert Hoover and the Great Depression among America’s social landscape, with new, contemporary lyrics referencing Botox, O.J. Simpson, George Bush and Barack Obama. Why the Playhouse would cheapen one of Sondheim’s most respected, beloved songs is a total mystery. It is simply one of the worst, most blatantly pointless artistic decisions the Playhouse has ever made.

Even so, considering the strengths of the vocalists and the fantastic piano accompaniment of Bryon Dobbs and Nancy Perrin, “Side by Side” remains a clear testament to Sondheim’s distinctive, alluring and timeless career.

“Side by Side by Sondheim” continues through Sept. 16 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: 70 minutes; Act Two: 55 minutes. Tickets are $15-$17. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com.

 

 

Opus Review – Dayton Theatre Guild – How Do You Keep the Music Playing?

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The cast, as shown in(L to R): Franklin Johnson, Mary Mykytka, Matthew W. Smith, K.L. Storer and (standing) Michael Boyd in Opus (Contributed photo)

Backbiting, betrayal and Beethoven coalesce in Michael Hollinger’s wobbly 2006 drama “Opus,” the story of an acclaimed New York string quartet in crisis receiving a commendable local premiere at the Dayton Theatre Guild.

Delicately directed and elegantly designed by Greg Smith, “Opus,” steeped in conflict encompassing gender, love and repertoire, particularly addresses the dangers of division when pride and ego seek to destroy. As the Lazara Quartet prepares for a high profile engagement at the White House, the troupe is suddenly sidetracked by the disappearance of its passionate yet deceptive and headstrong founder Dorian (an appropriately slick Michael Boyd). Attempting to pick up the pieces in a short amount of time, the sarcastic, high strung Elliot (a dynamic Matthew Smith), laidback Alan (Franklin Johnson, amiable as always) and rational Carl (a wonderfully grounded K.L. Storer) bring meekly ambitious violist Grace (appealing Guild newcomer Mary Mykytka) into the fold with great expectations that scar amid trivial volatility and emotional baggage.

Hollinger, a classically trained violinist, obviously has a fondness for the stringency of perfectionism and the sheer language of music. After all, some of the best moments in the play occur among the quartet’s rigorous rehearsals reflecting their quest to remain harmonious as musicians and friends. However, and in addition to a very choppy opening, he slices the potency of the action with an implausible, heavy-handed climax that finds the troupe too swift to forgive. He also inserts a series of underdeveloped flashbacks notably diminishing the intriguing romance between Dorian and Elliot, leaving Boyd and Smith to fill in the blanks with body language.

Nonetheless, this season opener is a fully engaging experience thanks to enjoyable cast. In fact, Smith, delivering one of his best performances, is completely immersed in Elliot’s deliciously persnickety persona whether succumbing to cat allergies or sharing his detest for symphony orchestras reveling in boom chick. As a whole the ensemble suitably mimics the poise and musicianship of classical instrumentalists thanks to coaching by former Dayton Philharmonic Orchestra violinist Karen Young.

In a surprising turn of events for the local theater scene and the Guild, Greg Smith, after living in Dayton for nearly 30 years, will soon relocate to Jackson, Tennessee. “Opus” is certainly an artistically satisfying farewell.

“Opus” continues through Sept. 9 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: 40 minutes. Tickets are $11-$18. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org.

 

‘Nureyev’s Eyes’ wins Dayton Playhouse FutureFest

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Darren Brown (l) and Tim Behnken in Nureyev's Eyes (Photo by Art Fabian)

Introspective character study “Nureyev’s Eyes” by David Rush of Murphysboro, Illinois took top honors at the 22nd annual Dayton Playhouse FutureFest, a nationally recognized festival of previously unproduced works in progress held July 27-29 at the Playhouse.

Delicately directed by Annie Pesch, “Nureyev’s Eyes” chronicled the 1970s bond between American painter Jamie Wyeth and legendary Russian dancer Rudolph Nureyev. This one-act two-hander, told from Wyeth’s perspective and heightened by projections of his attractive creations, commendably if tamely explored the depths of artistic complexity and the value of friendship. Although the play, bound to entice the New York arts community, remains unbalanced in terms of its narrative and thematic appeal (the meekly Wyeth isn’t as compelling or exciting as the deliciously fussy Nureyev) perhaps Rush will regard the protagonists as engrossing equals in future rewrites. Darren Brown’s breakthrough performance as Nureyev, an impressive blend of sophistication, flair, pomposity and heartbreak authentically molded vocally by dialect coach Fran Pesch, and Tim Behnken’s earnest portrayal of Wyeth memorably climaxed with a tender pas de deux choreographed by Gayle Smith.

“I was surprised that I had won because the quality of all the plays was so high,” said Rush, awarded $1,000 for his winning work. “But I was very pleased to learn that my play held the stage and had the power to entertain and move an audience. I have had several other readings of the play and have had a few production inquiries. I now feel the play is ready to move ahead.”

“Nureyev’s Eyes” was also chosen as the audience favorite, scored highest among six finalists based on criteria such as character development, concept, language and plot. This year’s professional adjudicating team consisted of New York-based trio David Finkle, Helen Sneed and Eleanore Speert, 2002 FutureFest finalist Robert Koon (“Vintage Red and the Dust of the Road”) of Chicago Dramatists and 1997 FutureFest winner Faye Sholiton (“The Interview”), who founded Interplay Jewish Theatre in Cleveland.

“Nureyev’s Eyes”  has a lot of theatricality in a play with just two people – that is extraordinary,” said Sholiton. “Language is character, and there is growth and consistency with each character.” “The most moving thing “Nureyev’s Eyes” does is make us understand ourselves,” added Koon. “This is a wonderful play about the power of art to make our lives bigger.”

The remaining finalists, chosen from over 170 submissions across the country and internationally, were the Canadian suffrage-themed romantic comedy “A Political Woman” by 2010 FutureFest finalist Joel Fishbane (“Short Story Long”) of Quebec, Canada; the wine and World War II-themed drama “Provenance” by Daniel Weber of Great Neck, New York; noir-tinged mystery “Curve” by Sam Havens of Houston, Texas; overlapping fossil and family-themed drama “Excavation” by Robert Barron of New York City; and futuristic family drama “This Rough Magic” by 2009 FutureFest finalist Richard Manley (“Quietus”) of New York City. Each playwright received $100.

In addition to Brown and Behnken, the FutureFest casts consisted of Sarah Caplan, Matthew Glenn, Ray Geiger, Shawn Hooks, Jennifer Lockwood and Laura Bloomingdale of “A Political Woman” under the direction of Cynthia Karns; Saul Caplan, Ellen Finch, Megan Cooper and Alex Carmichael of “Provenance” under the direction of David Shough; Geoff Burkman, Ernest Lawson, Debra Strauss and Laura Estandia of “Curve” under the direction of Jim Lockwood; Dave Gaylor, Shawn Hooks, Aidan Kesson, Lynn Kesson, Brad Bishop, Michael D. Halsey, Charles Larkowski, Annie Branning and Franklin Johnson of “Excavation” under the direction of Nancy Campbell; and Richard Croskey, Carol Narigon, John Bukowski, Wendi Michael, Kelli Locker and Richard Young of “This Rough Magic” under the direction of Gayle Smith.

Rush won the 2006 FutureFest for his whimsical comedy “Estelle Singerman” (he is the first repeat winner in the festival’s history) and remains grateful for the opportunity to have been showcased once more. He warmly regards the festival as a vital component in the growth of emerging plays and playwrights.

“Festivals like FutureFest are very important to the development of new plays for the American theater because it gives writers a chance to see how their play works before an audience in a non-commercial, no-risk situation,” he said. “We learn what holds the audience, what material is clear or not, what needs to be added or cut. Plus, such festivals give us a chance to meet and share our work with fellow playwrights.”

For more information about FutureFest or to submit a play for next year’s festival, visit www.daytonplayhouse.com. For additional information, contact FutureFest program director Fran Pesch at (937) 424-8477 or e-mail [email protected].

My FutureFest Rankings:

  1. “A Political Woman”
  2. “Excavation”
  3. “Nureyev’s Eyes”
  4. “Provenance”
  5. “Curve”
  6. “This Rough Magic”

In other news:

  • The Dayton Playhouse’s special fundraising screening of Frank Catalano’s family drama “Autumn Sweet,” originally presented by First Stage Productions under the direction of Greg Smith, will be held Saturday, August 4 at 7 p.m. at the Playhouse, 1301 E. Siebenthaler Ave. The film is produced by John and Marty Riley and features John Riley, Ame Clase, Dodie Lockwood, Micah Stock and Jim Harworth. A suggested donation of $10 will be accepted at the door. For more information, contact the Playhouse at (937) 424-8477.
  • David Brush, artistic director of Encore Theater Company, is the lead producer of the Aug. 31-Sept. 8 New York developmental production of “Hot Mess in Manhattan: The Musical,” starring Cait Doyle. “This funny, touching musical features the work of no less than 12 of the most exciting new songwriters and songwriting teams working today,” said Brush in an e-mail statement. “If you want to hear the new sound of the American musical, ‘Hot Mess in Manhattan’ is it. And if you want to see the birth of a star, look no further than Cait Doyle.” In order to fund the workshop, to be held in association with the New York Theatre Barn and the Araca Project, the “Hot Mess” creative team is reaching out to the public for tax-deductible contributions. If you would like to contribute or would like more information about the show, visit hotmessinmanhattan.com.
  • The Muse Machine will present “Too Darn Hot: The Songs of Summer” Thursday, August 9 at 8 p.m. at the Victoria Theatre, 138 N. Main St. Concert selections encompass Broadway, disco, classical and pop. Tickets are $20-$52. For tickets or more information, contact Ticket Center Stage at (937) 228-3630 or www.ticketcenterstage.com.

Willy Wonka: The Musical REVIEW, plus Dayton Playhouse FutureFest Schedule

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Ralph Bordner and the Oompa-Loompas of Roald Dahl's Willy Wonka

ROALD DAHL’S WILLY WONKA

The Epiphany Players Drama Ministry of Epiphany Lutheran Church cures the summertime blues with a charming presentation of “Roald Dahl’s Willy Wonka: The Musical,” breezily adapted by Leslie Bricusse and Timothy Allen McDonald.

Based on Dahl’s 1964 novel “Charlie and the Chocolate Factory” and incorporating Bricusse and Anthony Newley’s delightful songs from the 1971 film “Willy Wonka and the Chocolate Factory,” the entertaining production, fluidly directed by Brett Greenwood, greatly benefits from strong visuals and pleasant principals offering grounded portrayals.

As Charlie Bucket, a London lad living in poverty with his kindly parents and grandparents, fine tenor Christian Johnson delivers an effortlessly endearing performance brimming with humility. Watching Charlie’s life drastically transform thanks to the worldwide scavenger hunt put in motion by the eccentric titular chocolatier (a sufficient Ralph Bordner) constantly stirs emotions due to Johnson’s appealing earnestness. Jim Evans is equally affable as Grandpa Joe, who joins Charlie for a memorable tour of Wonka’s wonderland, efficiently designed by Chris Harmon and Daniel Ungard.

Dahl’s pertinent look at the dangers of shoddy parenting and spoiled children is also effectively upheld in the comical relationships formed by Sandy Schwartzwalder and Trent Beard (Mrs. Gloop and Augustus Gloop), Charlie Arthur and Cecily Dowd (Mr. Salt and Veruca Salt), Anne Potter and Emily Kennebeck (Mrs. Beauregarde and Violet Beauregarde) and Moira Betts and Evan Benjamin (Ms. Teavee and Mike Teavee). Dowd’s rendition of “I Want It Now” and Betts and Benjamin’s “I See It All on TV” (also featuring Sarah Armantrout as Phyllis Trout) are notable.

Connor Betts, Hannah Scaglione, Martha Armstrong-Benjamin, Cheryl Kayser and Larry Klueber comprise the Bucket family. Chace Beard portrays the Candy Man. The unified, morals-driven Oompa-Loompas are colorfully costumed by Maria Klueber and Lori Watamaniuk and cutely choreographed by Erin Ulman. John Benjamin conducts a solid orchestra.

 “Roald Dahl’s Willy Wonka: The Musical” continues through July 22 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday and Friday at 7:30 p.m., Saturday at 2:30 and 7:30 p.m. and Sunday at 2:30 p.m. Act One: 55 minutes; Act Two: 55 minutes. Tickets are $10-$15. Call (937) 433-1449 ext. 105 or e-mail Jane Lane at [email protected]. Patrons should be advised the show is double- cast featuring CJ Suchyta, Brendan Plate, Timmy Seiler, Jimmy Basner, Brianna Russ, Margo Russ and Josh Schmellenkamp in principal roles. For additional information, visit www.epiphanydayton.org

DAYTON PLAYHOUSE
The dress rehearsal schedule for the Dayton Playhouse’s 22nd annual, six-show FutureFest of new works has been announced. The rehearsals are open to the public and cost $5 per show.

Monday, July 23

6:30 p.m. “Curve,” a mystery involving neighbors by Sam Havens of Houston, Texas. Director: Jim Lockwood. Production format: Fully staged.

8:30 p.m. “Nureyev’s Eyes,” a 1970s account of the imagined meeting between American painter Jamie Wyeth and legendary Russian dancer Rudolph Nureyev by 2006 FutureFest winner David Rush (“Estelle Singerman”) of Murphysboro, Illinois. Director: Annie Pesch. Production format: Staged reading.

Tuesday, July 24

6:30 p.m. “This Rough Magic,” a futuristic family drama by 2009 FutureFest finalist Richard Manley (“Quietus”) of New York City. Director: Gayle Smith. Production format: Fully staged.

8:30 p.m. “Provenance,” a contemporary tale of wine, history, deception and the search for truth by Daniel J. Weber of Great Neck, New York. Director: David Shough. Production format: Staged reading.

Wednesday, July 25

6:30 p.m. “Excavation,” a drama overlapping the stories of a contemporary single parent and a 19th century fossil hunter by Robert Barron of New York City. Director: Nancy Campbell. Production format: Staged reading.

8:30 p.m. “A Political Woman,” a suffrage-themed romantic comedy set in 1916 Ontario (inspired by J.M. Barrie’s play “What Every Woman Knows”) by 2010 FutureFest finalist Joel Fishbane (“Short Story Long”) of Quebec, Canada. Director: Cynthia Karns. Production format: Fully staged.

In addition, the Playhouse will screen Frank Catalano’s family drama “Autumn Sweet,” directed by FutureFest co-founder John Riley, Saturday, August 4 at 7 p.m. A suggested donation of $10 will be accepted at the door.

For additional information about FutureFest or “Autumn Sweet” contact (937) 424-8477. The Playhouse is located at 1301 E. Siebenthaler Ave.

Saluting Dayton’s 2011-12 Theater Season

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Dwandra Nickole (l) and Marva M.B. Williams in Gem of the Ocean

Excellent premieres, impressive resurgences and a superb anniversary heightened Dayton’s commendable 2011-12 theater season.

First and foremost, the Human Race Theatre Company turned 25 with an absolutely marvelous season of diverse local premieres that will surely be remembered as one of its best. In fact, elements of “Caroline, or Change” (which I saw three times) and “Red” clearly surpassed its Broadway counterparts.  Also, an insightful August Wilson Symposium accented the splendid run of “Gem of the Ocean,” and the very promising “Band Geeks!” was a charming, touching finale. Human Race resident artist Scott Stoney also experienced one of his most productive seasons in recent memory as an actor (“Gem of the Ocean,” “Tenderly: The Rosemary Clooney Musical,” Wright State’s “Death of a Salesman”) and director (“Caroline, or Change,” Sinclair’s “The Laramie Project”). Moreover in the professional realm, the Victoria Theatre Association struck box office gold ($4.5 million) with the terrific return of “Wicked” featuring the vocally sublime Christine Dwyer’s Broadway-caliber Elphaba. The technically reconceived “Les Miserables,” feel-good “Jersey Boys” and thrillingly acrobatic “Traces” were additional standouts.

HUMAN RACE THEATRE COMPANY Caroline or Change

"Caroline, or Change" - Human Race Theatre Company

Elsewhere, the Dayton Playhouse, responsible for a sweltering FutureFest that led to the elimination of its fall musical, firmly recovered with the tried and true “Scrooge” and a pair of Rodgers and Hammerstein winners (“A Grand Night for Singing,” “The Sound of Music”). Playhouse South delivered its most pleasantly surprising artistic success in years with “Children of Eden.” Encore Theater Company wonderfully revealed the jubilance, heartbreak and loss of innocence within “Spring Awakening.” Zoot Theatre Company produced a little-seen yet mesmerizing adaptation of “The Pearl” that deserves a return engagement. The Dayton Theatre Guild, particularly attempting musical theater for the first time in ages thanks to the regional premiere of “The Story of My Life,” produced a dynamic “Lost in Yonkers” and a luminously engaging “Souvenir.” (Beginning July 5, “Souvenir” returns with the Guild cast at Brookville Community Theatre. Don’t miss it!).

At the collegiate level, Wright State pulled out the stops with an exceptionally infectious “Hairspray” (which I saw three times), but “Death of a Salesman” was an unforgettably gripping showcase. Also, Sinclair supplied a consistent, wonderfully ensemble-driven slate, and the University of Dayton grew stronger with “Eleemosynary” and “Urinetown: The Musical.”

On Saturday, August 11 at Sinclair Community College’s Ponitz Center, Dayton’s theater community will gather for the ninth annual DayTony Awards, honoring the achievements of designers, performers and productions across the area as voted on by participating theaters. The event will be held in conjunction with the 11th annual Dayton Theatre Hall of Fame induction celebrating scenic designer Bruce Brown.
In the meanwhile, assessing the 60 shows I saw this season, here are my choices for the most outstanding artists and productions.


BEST PROFESSIONAL PRODUCTION OF A PLAY
“Gem of the Ocean,” Human Race Theatre Company

Honorable Mentions:
“God of Carnage,” Human Race Theatre
“Red,” Human Race Theatre
“Wishful Drinking,” Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A MUSICAL
“Caroline, or Change,” Human Race Theatre

Honorable Mentions:
“The Color Purple,” Springfield Arts Council
“Jersey Boys,” Victoria Theatre Association
“Les Miserables,” Victoria Theatre Association
“Wicked,” Victoria Theatre Association

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
“Lost in Yonkers,” Dayton Theatre Guild

Honorable Mentions:
“Going to St. Ives,” Dayton Theatre Guild
“The Oldest Profession,” Dayton Theatre Guild
“The Pearl,” Zoot Theatre Company
“Wittenberg,” Dayton Theatre Guild

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
“Spring Awakening,” Encore Theater Company

Honorable Mentions:
“A Grand Night for Singing,” Dayton Playhouse
“Children of Eden,” Playhouse South
“The Sound of Music,” Dayton Playhouse
“The Story of My Life,” Dayton Theatre Guild

BEST COLLEGIATE PRODUCTION OF A PLAY
“Death of a Salesman,” Wright State University

Honorable Mentions:
“Almost, Maine,” Sinclair Community College
“The Crucible,” Sinclair Community College
“Eleemosynary,” University of Dayton
“The Laramie Project,” Sinclair Community College

BEST COLLEGIATE PRODUCTION OF A MUSICAL
“Hairspray,” Wright State University

Honorable Mentions:
“Berlin to Broadway with Kurt Weill: A Musical Voyage,” Wright State
“The Phantom of the Opera,” Wright State
“Rent,” Wright State
“Urinetown: The Musical,” University of Dayton

BEST NEW WORK
“Band Geeks!,” Human Race Theatre

Honorable Mentions:
“The Haven,” Dayton Playhouse FutureFest
“Love Makes the World Go ‘Round,” Human Race Theatre
“Play it Cool,” Human Race Theatre
“Pump Up the Volume,” Encore Theater Company

BEST SPECIAL THEATRICAL EVENT
“Souvenir,” Dayton Theatre Guild

Honorable Mentions:
“‘Master Harold’…and the Boys,” Dayton Playhouse
“The Wizard of Oz,” Muse Machine
“Tonight: The Songs of West Side Story & More,” Muse Machine
“Traces,” Victoria Theatre Association

BEST LEADING ACTOR IN A PLAY
Scott Stoney as Willy Loman, “Death of a Salesman”

Honorable Mentions:
Jonathan Berry as Citizen Barlow, “Gem of the Ocean”
Franklin Johnson as Sam, “‘Master Harold’…and the Boys”
Tim Lile as Michael, “God of Carnage”
Michael Kenwood Lippert as Mark Rothko, “Red”

BEST LEADING ACTRESS IN A PLAY
Renee‘ Franck-Reed as Florence Foster Jenkins, “Souvenir”

Honorable Mentions:
Cassandra Engber as Blanche DuBois, “A Streetcar Named Desire” (Xenia Area Community Theater)
Jennifer Johansen as Veronica, “God of Carnage”
Dwandra Nickole as Aunt Ester Tyler, “Gem of the Ocean”
Kate Smith as Jackie Cochran, “Jinxed” (Dayton Playhouse FutureFest)

BEST LEADING ACTOR IN A MUSICAL
Drew Helton as Edna Turnblad, “Hairspray”

Honorable Mentions:
Mykal Kilgore as Elliott Goodman, “Band Geeks!”
J. Mark McVey as Jean Valjean, “Les Miserables”
David Shough as Captain Georg von Trapp, “The Sound of Music”
Ray Zupp as Melchior Gabor, “Spring Awakening”

BEST LEADING ACTRESS IN A MUSICAL
Christine Dwyer as Elphaba, “Wicked”

Honorable Mentions:
Deb Colvin-Tener as Mary, “Play it Cool”
Beth Conley as Tracy Turnblad, “Hairspray”
Tanesha Gary as Caroline Thibodeaux, “Caroline, or Change”
Ashley Ware as Celie, “The Color Purple”

BEST SUPPORTING ACTOR IN A PLAY
Will Allan as Ken, “Red”

Honorable Mentions:
Kevin Brown as Eli, “Gem of the Ocean”
Alan Bomar Jones as Solly Two Kings, “Gem of the Ocean”
Charles Larkowski as Cosme’ McMoon, “Souvenir”
Patrick Ross as Biff Loman, “Death of a Salesman”

BEST SUPPORTING ACTRESS IN A PLAY
Barbara Jorgensen as Grandma Kurnitz, “Lost in Yonkers”

Honorable Mentions:
Kes-lina Luoma as Mary Warren, “The Crucible”
Lee Merrill as Linda Loman, “Death of a Salesman”
Marcia Nowick as Ursula, “The Oldest Profession”
Marva M.B. Williams as Black Mary, “Gem of the Ocean”

BEST SUPPORTING ACTOR IN A MUSICAL
Drew Bowen as Moritz Stiefel, “Spring Awakening”

Honorable Mentions:
Bobby Mitchum as Snake/Cain/Japeth, “Children of Eden”
Chris Shea as Adult Man, “Spring Awakening”
Zachary Jordan Steele as Will, “Play it Cool”
Christopher Timson as Igor, “Young Frankenstein” (Victoria Theatre Association)

BEST SUPPORTING ACTRESS IN A MUSICAL
Taprena Augustine as Dotty Moffett, “Caroline, or Change”

Honorable Mentions:
Samantha Helmstetter as herself, “Berlin to Broadway with Kurt Weill: A Musical Voyage”
Natalie Houliston as Adult Woman, “Spring Awakening”
Kate Hunt as Penelope Pennywise, “Urinetown: The Musical”
Katie Klaus as Laura Jane Kirk, “Band Geeks!”

BREAKTHROUGH MALE PERFORMANCE
Ian DeVine as Link Larkin, “Hairspray”

Honorable Mentions:
Joel Daniel as Arty, “Lost in Yonkers”
Chris Hahn as John Proctor, “The Crucible”
Jared Mola as Hamlet, “Wittenberg”
Philip Stock as Jay, “Lost in Yonkers”

BREAKTHROUGH FEMALE PERFORMANCE
Yvette Williams as Emmie Thibodeaux, “Caroline, or Change”

Honorable Mentions:
Amy Diederich as Bella, “Lost in Yonkers”
Tametha Divvleeon as Tituba, “The Crucible”
Lisa Glover as Wendla Bergman, “Spring Awakening”
Katie Kerry as Roxie Hart, “Chicago” (Beavercreek Community Theatre)

BEST DIRECTION OF A PLAY
Mark Clayton Southers, “Gem of the Ocean”

Honorable Mentions:
Greg Hellems, “Death of a Salesman”
Richard E. Hess, “Red”
Sharon Leahy, “The Pearl”
Scott Stoney, “The Laramie Project”

BEST DIRECTION OF A MUSICAL
Joe Deer, “Hairspray”

Honorable Mentions:
Scott Hunt, “Rent”
Gina Kleesattel, “Urinetown: The Musical”
JJ Parkey, “Spring Awakening”
Scott Stoney, “Caroline, or Change”

BEST CHOREOGRAPHY
Teressa Wylie McWilliams, “Hairspray”

Honorable Mentions:
Lula Elzy, “The Wizard of Oz”
Greg Hellems, “Band Geeks!”
Annette Looper, “Chicago” (Beavercreek Community Theatre)
Nikki Wetter, “Spring Awakening”

BEST SCENIC DESIGN OF A PLAY
Dick Block, “Gem of the Ocean”

Honorable Mentions:
David A. Centers, “God of Carnage”
Don David, “Death of a Salesman”
Mark Halpin, “Red”
Terry Stump, “The Crucible”

BEST SCENIC DESIGN OF A MUSICAL
Pam Knauert-Lavarnway, “Hairspray”

Honorable Mentions:
Don David, “The Phantom of the Opera”
Dan Gray, “Caroline, or Change”
Matt Kinley, “Les Miserables”
Robin Wagner, “Young Frankenstein” (Victoria Theatre Association)

BEST COSTUME DESIGN OF A PLAY
Colleen Alexis Metzger, “Gem of the Ocean”

Honorable Mentions:
Kathleen Hotmer, “The Crucible”
Mary Beth McLaughlin, “Death of a Salesman”
Linda Sellers, “Wittenberg”
Shirley Wasser, “The Pearl”

BEST COSTUME DESIGN OF A MUSICAL
Lisa Loen, “The Phantom of the Opera”

Honorable Mentions:
Costume Department/Costumer Janet Denman, “Hairspray”
Kristine Kearney, “Caroline, or Change”
Linda Sellers and Kim Kroll, “Chicago” (Beavercreek Community Theatre)
Molly Walz, “Spring Awakening”

BEST LIGHTING DESIGN OF A PLAY
John Rensel, “Gem of the Ocean”

Honorable Mentions:
Andy Balmert, “The Pearl”
Nicholas Crumbley, “Death of a Salesman”
Gina Neurer, “The Crucible”
John Rensel, “Red”

BEST LIGHTING DESIGN OF A MUSICAL
Nicholas Crumbley, “The Phantom of the Opera”

Honorable Mentions:
Matthew P. Benjamin, “Hairspray”
Matthew P. Benjamin, “Rent”
Nicholas Crumbley, “Spring Awakening”
John Rensel, “Caroline, or Change”

BEST SOUND DESIGN OF A PLAY
Rich Dionne, “Gem of the Ocean”

Honorable Mentions:
Matthew J. Evans and Kyle Himsworth, “Eleemosynary”
Jon Lamb, “The Pearl”
Bob Mills and Fran Pesch, “Lost in Yonkers”
K.L. Storer, “Souvenir”

BEST SOUND DESIGN OF A MUSICAL
James Dunlap, “The Phantom of the Opera”

Honorable Mentions:
Nathan D. Dean, “Caroline, or Change”
James Dunlap, “Hairspray”
Mick Potter, “Les Miserables”
David Sherman, “The Wizard of Oz”

BEST VIDEO/PROJECTION DESIGN OF A PLAY
Patti Celek and Gion Defrancesco, “The Laramie Project”

Honorable Mentions:
Jake Pinholster and Daniel Brodie, “Wishful Drinking”
Tessa Trozzolillo, Alvoro Leite and Alfred C. Taylor, “Eleemosynary”

BEST VIDEO/PROJECTION DESIGN OF A MUSICAL
Fifty-Nine Productions, “Les Miserables”

Honorable Mentions:
Michael Clark, “Jersey Boys”
Nicholas Crumbley, “Berlin to Broadway with Kurt Weill: A Musical Voyage”
Jackson Gallagher, “Pump Up the Volume”
David Sherman, “The Wizard of Oz”

BEST ORCHESTRA
“Hairspray,” Musical director: Rick Church

Honorable Mentions:
“A Grand Night for Singing,” Musical director: Ron Kindell
“Dirty Rotten Scoundrels,” Musical director: Thomas Kushmaul, Jr. (Clark State Community College)
“The Phantom of the Opera,” Musical director: Ryan Heinrich
“Wicked,” Musical director: Adam Souza

BEST PROPERTIES
Heather Powell, “Red”

Honorable Mentions:
John Lavarnway, “Hairspray”
John Lavarnway and Kim Townsend, “The Phantom of the Opera”
Heather Powell, “God of Carnage”
Terry Stump, “The Crucible”

SPECIAL ACKNOWLEDGMENTS
Stephen Brooker, Chris Jahnke and Stephen Metcalfe’s new and additional orchestrations for “Les Miserables”
Musical director Susan Carlock’s piano accompaniment for “Berlin to Broadway with Kurt Weill: A Musical Voyage”
Shana Carroll and Gypsy Snider’s acrobatic choreography for “Traces”
Cirque du Soleil’s “Michael Jackson: The Immortal World Tour” (Nutter Center)
Tristan Cupp’s mask design for “The Pearl”
Musical director Brad Ellis’ piano accompaniment and portrayal of Henry in “Love Makes the World Go ‘Round”
Robin Farinet’s costumes for the role of Florence Foster Jenkins in “Souvenir”
Carrie Fisher as herself in “Wishful Drinking”
Julian Fleisher’s original music for “Almost, Maine” (Sinclair)
Margaret Foley as Auditioner #10 in “The Auditioners”/Nebraska or Bust!: A Theater Benefit (Stivers School for the Arts)
Rick Good’s original music for “The Pearl”
Terry K. Hitt, Patrick Hayes, Wendi Michael and Jacqui Theobald’s illustrations for “Drawing Room” (Dayton Playhouse FutureFest)
Ashanti J’Aria, Kimberly Shay Hamby and Shawn Storms as the Radio in “Caroline, or Change”
Sharon Leahy’s choreography for “The Pearl”
Eugene Lee’s Tony-winning scenic design, Susan Hilferty’s Tony-winning costumes and Kenneth Posner’s Tony-nominated lighting design for “Wicked”
Natalie Sanders’ vocals as Eve/Mama in “Children of Eden”
Musical director Scot Woolley’s piano accompaniment for “Play it Cool”

And All That Dance – Review of BCT’s “Chicago”

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Tina De Alderete and the cast of Chicago (contributed photo)

Musicals have been tough for Beavercreek Community Theatre this season. “Evil Dead” and “The Big Picture” were forgettable missteps, and the current Edge of the Creek production of “Chicago” arises unevenly under Chris Harmon’s hit and miss direction.

John Kander, Fred Ebb and Bob Fosse’s 1975 satire, a marvelous look at greed, murder and celebrity, is primarily fueled here by the terrific contributions of choreographer Annette Looper. Looper’s Fosse-inspired work is commendably performed by a fine ensemble that includes the ever-reliable Malcolm Walker, one of Dayton’s best Fosse interpreters. From the vengeful, “Cabaret”-esque allure of “Cell Block Tango” to the wonderfully circus-themed “Razzle Dazzle,” Looper’s routines, brimming with personality and enticement, are the main selling point of this production, which peculiarly uses pre-recorded music instead of a live orchestra/band.

By and large, the hilariously biting jailhouse rivalry between acerbic veteran killer Velma Kelly (Tina De Alderete) and dopey upstart Roxie Hart (Katie Kerry) is topsy-turvy. De Alderete possesses a striking physicality, but lacks passion and intensity, particularly at the outset while leading the most underwhelming version of “All That Jazz” I’ve heard. Conversely, the confident Kerry infectiously conveys Roxie’s sly innocence and deep desire for fame. Her songs are also executed with clear emotional intent. “Funny Honey” winningly transforms from adoration to rage, and “Roxie” and “Me and My Baby” are delightful. Kerry also creates a satisfying rapport with Dean Swann, effectively oily and conceited as hotshot lawyer Billy Flynn.

Enjoyable featured roles are provided by the endearing Michael Shannon as Roxie’s dim-witted husband Amos, strong vocalist Monique Hobbs as the Matron, handsome Jordan Duvall as Fred Casely, radiant Muse Machine alum Odette Gutierrez del Arroyo as June, and the excellent B. Mitchum whose humorous portrayal of Mary Sunshine is believably fixated on Billy.

Accented with attractive costumes by Linda Sellers and Kim Kroll and moody lighting by John Falkenbach, “Chicago” entertains but falls short.

“Chicago” continues through June 24 at the Lofino Center, 3868 Dayton-Xenia Rd., Beavercreek. Performances are Friday at 8 p.m., Saturday at 3 and 8 p.m. and Sunday at 3 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $11-$13. For tickets or more information, call (937) 429-4737 or visit www.bctheatre.org.

 

Friends and Lovers – Review of “bare” at Playhouse South

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Mike Embree (l) and Zach King in Bare (contributed photo)

Religion, sexuality and teen angst collide in Jon Hartmere and Damon Intrabartolo’s gay-themed, sung-through 2000 pop opera “bare,” adequately staged in its local premiere by Playhouse South.

Warmly incorporating a “Romeo and Juliet” subtext, “bare” vividly and provocatively captures a coming of age romance at a co-ed Catholic boarding school. As the common thread of teen concerns take shape from body image and drug use to the questioning of faith and authority, Peter (Mike Embree in his most complex, emotionally gripping performance to date) and Jason (an equally admirable Zach King) are depicted as soul mates realistically trapped by fear. While Peter grapples with God’s will in his life, Jason, popular and closeted, struggles with sexual identity, ultimately directing his attention toward the oblivious Ivy (pleasant soprano Chelsea Walters) with serious consequences. This melodramatic yet engaging love triangle adds momentum to the plot since the dominant cultural vs. spiritual debate, which remains polarizing among religious circles, grows predictably heavy-handed.

Additionally, Lindsay Sherman, TC Schreier, Eric Bracht and Angie Thacker are strong in featured roles. Sherman, witty and heartbreaking as the self-conscious Nadia, delivers a lovely rendition of “Quiet Night at Home.” Schreier is appropriately intimidating as Matt. Bracht effectively embodies the hardened Priest who refuses to acknowledge the anguish in his students. The zestful, comedic Thacker, who sings the gospel-tinged “God Don’t Make No Trash,” delights as Sister Chantelle, a sassy drama teacher. The vocally strong cast also includes Matthew Glenn, Stephanie Shubert, Amber Todd, Jess Freesen, Angela Dermer, Brett Norgaard and Ann Potter.

Director Jamal Cann grasps the earnestness of the material, specifically in the confessional scenes, but his vision would have been better served in an intimate concert setting. After all, musical director Kyle Freeson’s overpowering band is so loud they repeatedly drown out the cast, rendering multiple lyrics utterly unintelligible. Perhaps if the show was only accompanied by a keyboardist and drummer and staged with the cast permanently planted center stage, the score, a melodic yet overstuffed blend of introspective ballads and pop anthems, could come alive with greater comprehension.

Even so, “bare” boldly resonates at its core and packs a thought-provoking punch.

“bare” continues June 21 and 23 at 8 p.m. at the Clark Haines Theatre (Kettering Board of Education Building), 3700 Far Hills Ave., Kettering. Act One: 75 minutes; Act Two: 60 minutes. Tickets are $7-$12. In addition, the gay-themed relationship drama “Stop Kiss” runs concurrently with “bare” and will have its final performance June 22 at 8 p.m. Both shows are involved with the Trevor Project. For tickets or more information to both shows, call 1-888-262-3792 or visit www.playhousesouth.org.

Opposites Attract in Oz

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Composer Stephen Schwartz and librettist Winnie Holzman’s 2003 blockbuster “Wicked,” a clever, intriguing and tuneful reimagining of “The Wizard of Oz” lore adapted from Gregory Maguire’s novel of the same name, returns to Dayton with outstanding flourish courtesy of the Victoria Theatre Association’s Premier Health Partners Broadway Series.
Set prior to Dorothy Gale’s arrival in Oz and previously seen in 2010 with equally eye-popping finesse under Joe Mantello’s crisp, polished direction, “Wicked” flies into the Schuster Center led by the terrific duo of Christine Dwyer and Tiffany Haas as the misunderstood, green-toned Elphaba and adorably superficial Glinda (originally Galinda), respectively. Portraying polar opposites who meet at Shiz University and form an unexpected yet endearing bond that defies the odds, these actresses skillfully convey the emotional depth and delicious wit inherent in their vocally challenging roles.

The absolutely dynamic, fully engrossing Dwyer, supplying one of the best performances of the season, splendidly embraces Elphaba’s outcast status, distaste for Ozian hypocrisy and nurturing spirit in respect to guardianship of her wheelchair-bound sister Nessarose (a formidable Catherine Charlebois). Musically, and with a sublime pop sensibility, she belts Schwartz’s songs with a beguiling force on par with Tony winner Idina Menzel who originated the role. Dwyer’s strikingly lyric-driven “The Wizard and I” deserves an encore along with her phenomenally defiant, liberating “Defying Gravity,” awash in lighting designer Kenneth Posner’s dazzling purple, white and green hues. The bubbly Haas, a lovely soprano whose range is attractively showcased in “No One Mourns the Wicked” and “Thank Goodness,” particularly masters Glinda’s tricky balancing act of being self-obsessed without seeming annoyingly uncouth. When a touching love triangle develops as the handsome Fiyero (fine tenor Billy Harrigan Tighe) puts a kink into Elphaba and Glinda’s relationship, Haas’ vulnerability and maturity winningly arises. Together, Dwyer and Haas offer a very humorous rendition of “What Is This Feeling?” and a beautifully poignant “For Good.”

Elsewhere, Marilyn Caskey exudes prim sophistication and dastardly menace as Shiz headmistress Madame Morrible, Timothy Britten Parker excellently reiterates the dark underbelly of Oz as Dr. Dillamond, Dan Pacheco is a likably smitten Boq, a Munchkin who pines for Glinda to Nessarose’s dismay, and Paul Kreppel is an amiably aloof as the infamous Wizard, who convinces the citizens of Oz that it’s dangerous for animals to talk and be considered as equals. Eugene Lee’s fabulous, Tony winning scenic design, Susan Hilferty’s superb, Tony winning costumes abounding with personality and music director Adam Souza’s solid orchestra are additional treats.
Although the more iconic elements of the Oz landscape are not addressed until Act 2, a slight conceptual hindrance, you’re bound to enjoy the unique history of the Wicked Witch of the West and the Good Witch of the North in this darker, deeper context. Having witnessed “Wicked” eight times from the Broadway original to the West End to numerous national tours, I can honestly say this production is among the best. Don’t miss it!

“Wicked” continues through June 24 at the Schuster Center, Second and Main Streets. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $42-$121. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

 

The Story of My Life – The Joys and Woes of Friendship

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Scott Knisley (l) and Jeff Sams in The Story of My Life (Contributed photo)

The Dayton Theatre Guild supplies a commendable regional premiere of composer Neil Bartram and librettist Brian Hill’s under-appreciated 2009 musical “The Story of My Life,” an intimate small town account of a lifelong friendship which closed on Broadway after five performances.

Delicately directed with musical seamlessness by Debra Kent, “Story” swiftly and intriguingly details the funny, joyous and heartbreaking kinship between successful author Thomas Weaver (Scott Knisley) and sensitive book seller Alvin Kelby (Jeff Sams), whose story begins at the end as Thomas prepares Alvin’s eulogy. From impressionable adolescence to the pains of adulthood, Thomas and Alvin’s emotive journey, grounded with a mutual affection for Frank Capra and Mark Twain, is a relatable one signifying a bond that appeared charmingly unbreakable yet ultimately fizzled into a haze of regret. A deeper subtext of unrequited love isn’t explored here, which could have given the production a stronger dramatic appeal and a pinch of unpredictability, but Kent and her cast embrace Hill’s smart, sentimental plot at face value without detriment.
Stepping into the musical theater realm, the believably bonded Knisley and Sams, primarily known for their work in straight plays, provide their best performances to date. Knisley skillfully interprets Thomas’ frustrated agony and overt arrogance as Alvin routinely cajoles him into a whirlwind of reflection not only about their childhood but the splinters within their friendship and the sheer acknowledgement that he was his muse. Sams, adopting an enthusiastic, childlike wonder recalling a tamer version of Will Ferrell, charms throughout while displaying a striking vulnerability. Musically, both are relatively comfortable within the confines of Bartram’s lilting yet vocally challenging, Sondheim-esque score. They tend to become pitchy when aiming for high notes, but are admirable on the whole as accompanied by Rebecca Nicely Childs. In fact, Sams memorably delivers a wonderfully poignant rendition of “People Carry On,” a beautiful ballad detailing Alvin’s reaction to the loss of his mother. Knisley strongly counters with “1876,” “The Butterfly” and the hauntingly melancholic “I Like It Here.”
“Relationships thrive or dissolve without our knowing why,” Thomas admits. “Story” doesn’t answer every question, but it deserves to be discovered for it certainly proves its worth at the Guild.

“The Story of My Life” continues through June 17 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 50 minutes; Act Two: 45 minutes. Raymonde Nicely Rougier will provide piano accompaniment for the remainder of the production. Tickets are $10-$17. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org.

Band Geeks! – Let Your Geek Flag Fly

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The cast of Band Geeks! (Photo by Scott J. Kimmins)

The Human Race Theatre Company concludes its outstanding 25th anniversary season with a terrifically entertaining Midwest premiere of the charming, comical and touching musical “Band Geeks!,” a feel-good collaboration by Tommy Newman, Gordon Greenberg, Gaby Alter and Mark Allen innately recalling “Glee” without being a witless copycat.

Set in the late 1990s in Northeastern Ohio, “Band Geeks!,” perfectly cast with actor-musicians by Human Race producing artistic director Kevin Moore and fluidly directed and meticulously choreographed by Greg Hellems, is a warmly credible slice of life about adolescent oddballs making their way through high school hell as participants of a belittled, underfunded marching band. Whether forced to rehearse in a closet or parking lot, the close-knit, 10-member Cuyahoga High Marching Beavers, striving to uphold its motto that “nobody marches alone,” desperately attempts to remain harmonious despite budget cuts, pessimism from prickly Principal Dixon (Jennifer Joplin), the inclusion of a troubled jock from another school, and the jealousy that arises when puppy love threatens to ruin friendships.
Librettists Greenberg and Newman smoothly frames the simple yet delightfully droll action (accented with giggle-inducing school announcements) around the well-defined, three-dimensional trio of band captain Elliott Goodman (Mykal Kilgore), a shy tubist living in the shadow of his popular meteorologist brother, Laura Jane Kirk (Katie Klaus), a flautist and Elliott’s best friend whose parents prefer her to pursue medicine, and percussionist Jake Fowler (Zach Cossman), whose shady history hinders him from total assimilation. The show is also conceived with predictable teen archetypes from goth to gay with a foreign exchange student thrown in for good measure, but these characters are sharply written with hilarious authenticity. In fact, I wish more of them had solos, particularly flamboyant trombonist Alvin Freeman (an amusing Tyler J. Baranski). Alvin’s colorful opinions and his implied attraction to “Dungeons and Dragons” fan Kyle Watson (Jon Kovach) screams to be sung. Given that band director Mr. Hornsby (John Robert Armstrong) has the weakest material in Newman, Alter and Allen’s largely pleasant and bouncy score, his musical moments should have been transferred to more appealing characters, which extends to Nicole Murray (Sarah Agar, so luminous in Wright State University’s “The Light in the Piazza”), Spitz (Richard Cerato), Natasha Vosavich, (Liz Fye), Stewart Dixon (John Fisher) and Molly Winerman (Jennifer Roehm).
Kilgore, Klaus and Cossman are specifically associated with some of the best musical numbers, which resonated despite muddled, unbalanced sound concerns at the performance attended rendering some lyrics unintelligible. The excellent Kilgore, blessed with an absolutely dynamic, R&B-tinged tenor, leads the toe-tapping “Twirler Girl” (be prepared for his final note!) and joins Cossman for the surprisingly spine-tingling “Loser,” a thrillingly divisive squabble (think “Take Me or Leave Me” from “Rent”) culminating in unexpectedly tender common ground. The endearingly introverted Klaus, a lovely flautist, belts a genuinely sincere “Lost in the Brass.” Cossman, an impressive drummer who will join Blue Man Group this fall, duly receives applause while spotlighted in the sprightly ensemble number “Team Player.”
In addition, Scott J. Kimmins’ efficient set briskly establishes various locations, particularly transforming rows of bleachers into a school bus. Janet G. Powell’s fine costumes appropriately reflect the era and elevate the finale. Musical director Scot Woolley leads a proficient off stage band.
Truly topical with bubbly tunes and a vital message of self-acceptance and empowerment appealing to every demographic, “Band Geeks!” winningly restores faith in the value of being true to your school and yourself.

“Band Geeks!” continues through June 17 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 60 minutes; Act Two: 58 minutes. Tickets are $18.50-$40. A talkback discussion will take place following the Sunday, June 10 performance. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com