On Stage Dayton Reviews

Sinclair Community College wraps a very commendable season with an excellent production of “The Laramie Project,” a gripping account of gay University of Wyoming student Matthew Shepard, the victim of an appalling hate crime on the outskirts of Laramie, Wyoming in the autumn of 1998.

Compiled from over 200 interviews conducted by Moises Kaufman and members of the Tectonic Theater Project, “Laramie Project,” which debuted in 2000, mesmerizes with quiet intensity as wide-ranging perspectives of Shepard and Laramie citizens mesh to form an impressively authentic, brilliantly balanced, brutally honest three-act canvas of heartbreak, horror, humor and hope. Director Scott Stoney refreshingly energizes the storytelling with brisk immediacy (this is the most fast-moving version I have seen), but superbly pauses the pace to beautifully heighten the deeply touching poignancy in the finale of each act. A bicycle slowly crossing in front of the fence where Shepard was bound for 18 hours and hearing the cast mimic the patter of rain upon the announcement of Shepard’s death are some of the unique instances that stir emotions anew before intermission. Stoney, who astutely concludes the play with an inspired local nod, also ensures his wonderfully unified nine-member cast creates sharply distinctive personas while inhabiting multiple roles of varying ages and traits. Some actors are more adept chameleons, but the challenge is admirably met by all.

Angela Dermer, John Dunn, Chris Hammond, Cdynie Hampton, John Ray, Matthew Smith, Matt Turner, Robb Willoughby and Rachel Wilson comfortably handle the fluidity of the material, winningly accented by Patti Celek and Gion Defrancesco’s projections. The ensemble is also memorably spotlighted individually, particularly Ray’s fiery Fred Phelps, Willoughby’s tear-jerking Dennis Shepard, Wilson’s terrific turn as police officer Reggie Fluty, Hammond’s earthy embodiment of Reggie’s mother and Dunn’s excitable portrayal of a college student drawn to “Angels in America.”

The contributions of scenic/property designer Terry Stump, costumer Kathleen Hotmer, lighting designer Gina Neuerer and sound designer Stephen Skiles are equally appealing within this riveting play overflowing with relevant, thought-provoking potency.

“The Laramie Project” continues through May 26 in Blair Hall Theatre, Building 2, of Sinclair Community College, 444 W. Third St. Performances are Friday and Saturday at 8 p.m., Sunday at 2 p.m., Wednesday at 10 a.m. and Thursday at 7 p.m. Act One: 50 minutes, Act Two: 40 minutes; Act Three: 30 minutes. Tickets are $10-$15 (the Thursday performance is an additional $5 and includes pre-show appetizers and a cash bar). For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets

Four months after the Dayton Playhouse elegantly saluted Rodgers and Hammerstein with the musical revue “A Grand Night for Singing,” the organization successfully closes its season with a very pleasant, emotionally honest production of the iconic duo’s final collaboration “The Sound of Music.”

Despite the unmistakable schmaltz inherent in Howard Lindsay and Russel Crouse’s strong libretto and Rodgers and Hammerstein’s marvelously infectious score, this engaging tale circa 1938 Austria of postulant Maria Rainer and her unexpected bond with Captain George von Trapp and his seven children strikes a chord. Director Brian Sharp embraces the material with a surprisingly traditionalist outlook (particularly using the original script/score featuring “An Ordinary Couple” instead of the revised edition containing film favorites “I Have Confidence” and “Something Good”), but he effectively emphasizes the transformative impact of song within the grief-tinged Trapp family thanks to Maria’s influence. The family finally has a reason to feel reborn and grow harmoniously closer when their voices blend, an element I haven’t sensed in previous productions. In fact, when Maria is told she has brought music back into the Trapp household it is a misty-eyed moment of genuine gratitude that touchingly reiterates Sharp’s approach.

Kelli Locker, an actress who sings, is a highly commendable Maria. She not only grasps Maria’s perky innocence and desire to be liked but the conflicted emotions born of her evolution into womanhood. Locker is also perfectly partnered with the absolutely terrific David Shough, the best Georg I have seen in years. In addition to offering a beautifully tender rendition of “Edelweiss,” Shough fully understands the fine line between pertinent sternness and off-putting rigidity, ensuring his well-crafted performance, which evolves impeccably, maintains an authoritative amiability.

In featured roles, Stephanie Shubert (Liesl), Logan Trzeciak (Friedrich), Taylor Winkleski (Louisa), Ben Kneblik (Kurt), Hope Whitestone (Brigitta), Sophia Shannon (Marta) and the particularly adorable Cate Shannon (Gretl) are enjoyable as the Trapp children. Joan Harrah (Mother Abbess), Laura Bloomingdale (Elsa Schraeder) and James Trzeciak (Max Dettweiler) are vocally strong and offer firm portrayals. As frustrated housekeeper Frau Schmidt, Dodie Lockwood offers a sharp perspective of the Trapp family past and present. David Stephen Thomas (an appealing Rolf), Terry Lupp (Sister Margareta), Cathy Long (Sister Berthe), Marabeth Klejna (Sister Sophia), David Lindsley (Franz) and Craig Smith (Herr Zeller) are also notable.

Bruce Brown provides an excellent scenic design. Costumer Marilyn Johnson supplies a lovely blue dress for Locker late in Act 1. Musical director Ron Kindell leads a steady orchestra.

“The Sound of Music” continues through May 27 at the Dayton Playhouse, 1301 E. Siebenthaler Ave. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 90 minutes; Act Two: 55 minutes. Tickets are $10-$15.  For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com

The regional collegiate premiere of Andrew Lloyd Webber’s 1986 melodramatic megahit “The Phantom of the Opera,” which he co-adapted from the Gaston Leroux novel with Richard Stilgoe and Charles Hart, receives a strikingly designed yet off-kilter staging at Wright State University.

Director W. Stuart McDowell’s knack for creating attractive stage pictures is evident once again, but his decision to place the crux of the vocally impressive show in the hands of Casey Jordan is a big mistake. Jordan, familiar to WSU audiences for delightfully comedic work in “Anything Goes” and “Hairspray,” is simply out of his element attempting to embody the obsessive, maniacal, dungeon-dwelling Opera Ghost threatening the artists and owners of the Paris Opera House in the late 19th century. He oddly aims for a softer, introverted interpretation that leads him on the road to disadvantage because the Phantom, although emotionally wounded, is not a timid sentimentalist at his core. Without credible menace or a darkly brooding sensibility, the imposing role’s dramatic weight is basically non-existent. More startling is the fact that Jordan is completely devoid of passion opposite luminous soprano Samantha Helmstetter as Christine Daae. “Music of the Night” is particularly intended to be an Act 1 knockout, but Jordan, whose overdone hand gestures factor prominently in his performance, spends more time caressing the air instead of Helmstetter. In turn the song becomes a frustrating bore awkwardly worsened by the unnecessary presence of three Muses who repeatedly (or purposefully?) steal focus from Jordan. (I’m shocked McDowell changed the ending in favor of the Muses instead of Christine’s best friend Meg Giry, admirably portrayed by Taryn Lemmons.)

Thankfully, Helmstetter, fantastic two months ago in WSU’s “Berlin to Broadway with Kurt Weill,” steers the show in the right direction whenever she’s front and center. Her sublime vocals and earnest emotions are saving graces even when the plot deflates toward its sappy conclusion. “Think of Me” and “Wishing You Were Somehow Here Again” are poignantly rendered, but I found “Twisted Every Way,” an underrated yet potent moment addressing Christine’s perplexity and torment, to be her finest number in terms of depth. Due to Jordan’s seductive ineptitude, she believably radiates more heat alongside the handsome Patrick Ross (Raoul) who joins her for a heartfelt, lyric-driven “All I Ask of You.”

Kathleen Ferrini as diva Carlotta and Andrew Quiett as Piangi create a humorously conceited bond. They are notably joined by Chrissy Bowen (Madame Giry), Drew Helton (Firmin) Sean Jones (Andre) and the aforementioned Ross for a sharply executed “Notes” and a wonderfully soaring rendition of “Prima Donna” nearly worthy of an encore.
McDowell’s expert tech team consists of set designer Don David, lighting designer Nicholas Crumbley, costumer Lisa Loen, sound designer James Dunlap and properties masters John Lavarnway and Kim Townsend. Choreographer Sarah Wildman specifically ensures “Masquerade” arises with unified flair. Musical director Ryan Heinrich’s terrific orchestra proves Lloyd Webber’s music will always be “Phantom’s” main attraction.

“The Phantom of the Opera” continues through May 27 in the Festival Playhouse Stein Auditorium of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are May 16-17 and 24 at 7 p.m., May 18-19, 25-26 at 8 p.m. and May 19-20, 26-27 at 2 p.m. Act One: 75 minutes; Act Two: 55 minutes. Tickets are $18-$20. For tickets or more information, call (937) 775-2500.

The colorful Gordons of economically grim Harrison, Texas circa 1987 are torn between the importance of legacy and ensuring a viable monetary future in “Dividing the Estate,” Horton Foote’s 2008 Tony Award-nominated comedy having its local premiere at the Dayton Theatre Guild.

In the midst of juicy gossip and seemingly trivial chitchat, Foote’s delightfully dysfunctional and relatable characters sharply uncover the unnecessary strife that occurs when money overtakes love among relatives. As a child of the Great Depression, matriarch Stella (Gayle Smith) loathes talk of dividing the land that has been in her family for generations, but differing viewpoints, personal and practical, are astutely crafted with charming authenticity and occasionally moving poignancy. There is also a startling undercurrent flowing throughout the tale as the overt neediness of Stella’s three supposedly mature children Lucille (Barbara Jorgensen), Mary Jo (Julie Hauwiller) and Lewis (Greg Smith) morphs into a humorous, pathetic and sad display. A lot of blame can be passed around as infighting swells, but Stella’s continual willingness to spoil her brood speaks volumes about her parenting choices and the repercussions of those decisions contributing to her family’s fiscal woes spiraling out of control.

Director Ralph Dennler establishes a great pace and masters the tricky dynamics of uneasy conversation (excellently realized in the Act 1 dinner scene), but a firmly combative attack is missing among his principal players. As Stella rules the roost, Smith is sweet and genteel instead of an authoritative vessel of domineering intimidation, which diminishes her clout and the power of her arguments. Jorgensen, Hauwiller and Smith are a prickly trio that could be more explosive and galvanizing, particularly in Act 1. Still, Jorgensen is well-suited as a devoted, widowed caregiver wholeheartedly invested in her mother as well as her loyal son (the amiable Jeff Sams), Hauwiller grasps Mary Jo’s persnickety personality and fervent desire to be seen as an equal among her siblings, and Smith credibly portrays the agitation and disgust stemming from Lewis’ alcohol and gambling addictions.

Oddly, the standout performances derive from characters who are not Stella’s descendants, fueling the production’s off-kilter nature. Geoff Burkman shrewdly dials up the salesmanship as Bob, Mary Jo’s realtor husband intent to sway Stella to reassess her convictions with forward-thinking results. Franklin Johnson, as memorable here as he was last season at the Guild in “The Boys Next Door,” is absolutely wonderful as elderly servant Doug, a talkative fussbudget prone to jealousy and melodramatics who appreciates the Gordons and his place in their history far more than they could ever comprehend. In many ways, the bond between Doug and Stella, which dates back to Stella’s childhood, runs incredibly deep and gives the play emotional heft.

Claire Alemdar, Tori Easterling Doby, Lori Grissom, Lolita Long, Wendi Michael and Bernadette Rose commendably complete the folksy cast. Alemdar and Grissom’s ’80s-era dresses are notably designed by Carol Finley.  Attractively accented by Blake Senseman’s set, “Estate” lacks intensity yet remains a relevant tale of sacrifice in today’s rocky financial climate.

“Dividing the Estate” continues through May 13 at the Dayton Theatre Guild, 430 Wayne Ave.  (Click here for show schedule).  Act One: 60 minutes; Act Two: 55 minutes. Tickets are $10-$17. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

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Clark State Community College delivers a commendable production of librettist Jeffrey Lane (“Mad About You”) and composer David Yazbek’s (“The Full Monty”) funny, naughty 2005 Tony Award-nominated musical “Dirty Rotten Scoundrels,” a faithful adaptation of the 1988 film of the same name.

Smoothly directed by Geoffrey D. Moss and set on the French Riviera, admirably envisioned by scenic designer Dan Hunt, “Scoundrels” predominately succeeds on the entertaining teamwork of Troy M. Berry and Jimmy Straley as competitive con men Lawrence Jameson and Freddy Benson, respectively. As Lawrence and Freddy wage a bet to swindle $50,000 from American soap heiress Christine Colgate (the radiantly perky Haley Justice), Berry’s sophisticated flair and veteran aptitude fittingly complements Straley’s hilariously immature raunchiness. The tall, comically conceited Berry is also the stronger singer (“Love Sneaks In” is a tender Act 2 highpoint), but Straley, a genuine goofball, excels at physical comedy and sight gags which is essential. They particularly join forces for delightful renditions of “All About Ruprecht” and “Dirty Rotten Number,” terrific standouts within Yazbek’s wonderfully suave, lilting and peppy score, firmly handled by music director Thomas Kushmaul, Jr.’s first-rate orchestra, that reiterate his status as one of the most flavorful composers of contemporary musical theater.

In featured roles, David M. Schopmeyer brings an understated charm to Andre Thibault, Lawrence’s unassuming accomplice who sparks a middling romance with vacationing divorcee Muriel Eubanks, sharply portrayed by Kate Blackburn. As boisterous oil heiress Jolene, who precedes Christine on Lawrence and Freddy’s devious radar, the energetic Leah Schultz leads the infectious country and western toe-tapper “Oklahoma?,” spiritedly choreographed by Katie Kerry.

“Dirty Rotten Scoundrels” concludes today at 3 p.m. in Kuss Auditorium of the Clark State Performing Arts Center, 300 S. Fountain Ave., Springfield. Act One: 65 minutes; Act Two: 65 minutes. Tickets are $8-$10. The show contains adult language. For tickets or more information, call (937) 328-3874 or visit pac.clarkstate.edu

Redemption and refuge permeates the home of Aunt Ester Tyler, the 285-year-old former slave and prophetess at the moral center of Pulitzer Prize winner August Wilson’s deeply spiritual, beautifully poignant 2005 Tony Award-nominated drama “Gem of the Ocean,” set in 1904 Pittsburgh and marvelously presented in its local premiere by the Human Race Theatre Company.

Known to possess the power to “wash people’s souls,” Ester (the terrifically earthy Dwandra Nickole) embraces the opportunity to help distressed drifter Citizen Barlow (the dynamic Jonathan Berry whose cadence evokes Denzel Washington) overcome his burdensome guilt and murderous past. In the thrilling climax of Act 2, one of the most haunting, mesmerizing passages in Wilson’s repertoire, Ester, craving the credo that life is an adventure, guides Citizen from her quaint abode at 1839 Wylie Avenue (strikingly designed by Dick Block) to the mystifying City of Bones, a mythic voyage across the Atlantic Ocean in the titular ship made of her bill of sale. The intensely gripping, nightmarish excursion, compellingly interpreted by Berry and exceptionally heightened by lighting designer John Rensel and sound designer Rich Dionne, vigorously thrusts Citizen into a renewed awareness of his ancestry in order to gain salvation.

As Ester and Citizen’s genuine kinship evolves, Wilson paints a vividly relevant portrait of the post-Civil War African-American struggle to survive and assimilate in the industrial North while consumed with memories of slavery and loved ones left behind in the South. Clinging to the deep-rooted values of legacy, family and faith, practically every character is moving forward while looking back, desiring some sense of fulfillment despite prejudices, even within their own race, that poison progress. By and large, their future doesn’t look promising, primarily for the simple reason that freedom and being free are not always identical.

Effectively sprinkled with biblical references, the remarkable, authentically-rich dialogue – eloquent, fiery, humorous, joyful, and provocative– significantly fuels the potency of “Gem,” the chronological launching pad for Wilson’s signature 10-play “Pittsburgh Cycle” spotlighting the African-American experience in the 20th century. Whether simple (“sometimes you can find good luck and bad luck in the same place”) or contemplative (“man sometimes get in the way of God’s creation and turn it over to the devil”), Wilson’s captivating words resonate as if heard anew. In fact, when Ester’s kindly friend Eli (the delightfully easygoing Kevin Brown) proudly proclaims he’s going to build a wall, his modest statement wafts through the air like music. Kudos to director Mark Clayton Southers, a 2001 Dayton Playhouse FutureFest finalist for “Ashes to Africa,” for ensuring this masterful work never loses its infectious rhythm by wallowing in melodrama or buffoonery. By all means, it clearly sings with the radiant insight it deserves.

Southers’ sublimely synchronized cast, attractively costumed in period attire by Colleen Alexis Metzger, also features excellently detailed performances by Bryant Bentley as vengeful law enforcement officer Caesar Wilks, Alan Bomar Jones as the colorfully eccentric Solly Two Kings, Scott Stoney as rascally peddler Rutherford Selig (who also appears in Wilson’s “Joe Turner’s Come and Gone”), and the amiable Marva M.B. Williams as Black Mary, Ester’s literate laundress. Bentley’s hypocritical hotheadedness, Jones’ unpretentious gusto, Stoney’s endearing spunk, and Williams’ cool reserve add flavorful dimensions to their character’s respective aims. In addition to providing a wonderfully dramatic City of Bones sequence, Southers firmly tackles Caesar and Ester’s powerful debate concerning the law, firmly executed by Bentley and Nickole, and Citizen and Mary’s romantic cuddle sizzling with charm, nuance and magnetism from Berry and Williams.

Citizen’s life-changing journey of forgiveness, liberation and rebirth will surely grab you without letting go. It should come as no surprise that one of the best productions of the season stems from the brilliant mind of August Wilson.

“Gem of the Ocean” continues through Sunday, April 15 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 80 minutes; Act Two: 70 minutes. Tickets are $18.50-$40.  For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

GOING TO ST. IVES

Lee Blessing’s thought-provoking 2000 two-hander “Going to St. Ives” receives a compelling local premiere at the Dayton Theatre Guild.
Delicately directed by Greg Smith, “Ives” centers on the dueling agendas of two strong women, particularly the life-changing decision to rid the world of evil. At the titular England home of renowned eye surgeon Dr. Cora Gage, May N’Kame, the distinguished mother of a murderous African dictator, shockingly requests a deadly souvenir that thrusts Cora into a considerable moral dilemma, personally and professionally. As situations swell six months later in an African garden, the consequences of their actions speak volumes. May and Cora are cultural opposites (which fuels most of the play’s humor) but each is effectively bruised by the past yet connected through loss and the bond of motherhood. With great potency, they boldly address the individual’s responsibility toward humanity.

In less capable hands, Blessing’s low-key, intellectual, conversation-driven script, a female counterpart to his 1988 Tony Award-nominated international relations drama “A Walk in the Woods,” could easily dissipate in a boring fog of sluggish pacing and implausible characterizations. Thankfully, Smith keeps the action engrossing with a smooth ebb and flow that his first-rate leading ladies consistently uphold. Marianna Harris, attractively costumed in African attire, impressively embodies May’s complex persona, a huge feat considering she joined the production during its opening weekend. Mastering an African dialect and appearing appropriately regal, Harris radiates with inquisitiveness while being an acute source of unexpected levity. She also has the genuine power to break your heart and bring you to tears, especially as May shares more insight about her son as well as her inherent guilt in the gripping Act 2. Katrina Kittle, in a welcomed return to dramatic fare, is equally striking as the conflicted Cora. She particularly soars in Act 2 as Cora’s emotional scars become more prevalent and her frustrated attempt to remedy a dire situation spirals beyond her control.

“Going to St. Ives” continues through April 1 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. Tickets are $10-$18. Act One: 50 minutes; Act Two: 45 minutes. Due to unforeseen circumstances, Marianna Harris freely uses her script. For tickets, call (937) 278-5993 or visit www.daytontheatreguild.org. In related news, the Guild’s 2012-2013 season, dubbed “’Til Death Do Us Part,” will consist of Michael Hollinger’s “Opus” (Aug. 24-Sept. 9, directed by Greg Smith), Paul Zindel’s “And Miss Reardon Drinks a Little” (Oct. 5-21, directed by Debra Kent), Christopher Hampton’s adaptation of Henrik Ibsen’s “Ghosts” (Jan. 11-27, directed by Matthew Smith), Kate Fodor’s “100 Saints You Should Know” (Feb. 22-March 10, directed by Ellen Finch), Tim Clue and Spike Manton’s “Leaving Iowa” (April 5-21, directed by Rob Willoughby) and Martin McDonagh’s “The Pillowman” (May 17-June 2, directed by Natasha Randall).

URINETOWN: THE MUSICAL

Greg Kotis and Mark Hollman’s deliciously satirical 2002 Tony Award-winning “Urinetown: The Musical” greatly entertains at the University of Dayton.  This smart, wacky and marvelously melodic tale of corporate greed and environmental disaster, filled with superb Bertolt Brecht and Kurt Weill influences and efficiently designed by Darrell Anderson, concerns a drought-stricken city and its ban on private toilets. Despite tough economic times and the sheer reality of paying to urinate, budding romance and a cyclone of revolt propels the cause of the downtrodden against the privileged (shades of the Occupy Movement) with a hilariously tongue-in-cheek sensibility.

In a sharp contrast to previous “Urinetown” productions in our area, director Gina Kleesattel and choreographer John Ueber surprisingly dial down the clever musical theater parodies within the material, especially the “Fiddler on the Roof”-inspired “What Is Urinetown?” Even so, both work in tandem to create an atmosphere playfully grounded without blatantly or excessively going over-the-top.

Kleesattel’s vocally strong cast (“Run, Freedom, Run” is a highpoint) particularly features firm contributions from its principals. Brennan Paulin’s crowd-pleasing portrayal of tightly-wound Officer Lockstock is uniquely crafted in a delightfully quirky, mildly flamboyant fashion with a glimmer of mystery underneath. Kate Hunt, the epitome of goofy authoritativeness, is outstanding as public amenity supervisor Penelope Pennywise, specifically delivering a knockout rendition of “It’s a Privilege to Pee.” Tim Gorman supplies a cool demeanor as Caldwell B. Cladwell, the CEO of Urine Good Company. Stephen Kallenberg and Stephanie Jabre are tenderly intertwined as the rebellious Bobby Strong and winsome Hope Cladwell. Emily Smith endearingly shines as the wiser-than-her-years Little Sally. Natalie Adler as Josephine Strong, Patrick Lillis as Hot Blades Harry, Alexandra Cole as Little Becky Two Shoes and Bryan Bryk as Officer Barrel are notable among the lively ensemble. Musical director Susan Carlock conducts a fine orchestra.

“Urinetown: The Musical” continues through March 31 in the Kennedy Union Boll Theatre at the University of Dayton, 300 College Park. Performances are Thursday-Saturday at 8 p.m. Act One: 65 minutes; Act Two: 55 minutes. Tickets are $7-$10. For tickets or more information, call (937) 229-2545 or visit www.udayton.edu/artssciences/theatre

BUS STOP

The Dayton Playhouse adequately tackled William Inge’s classic 1955 comedy “Bus Stop,” presented March 16-25 under the direction of Matthew Smith.  Inge’s engaging, folksy account of strangers connecting at a Kansas diner during a snowstorm looked great (Josh Hollister’s inviting, detailed set was the most eye-catching thus far this season at the Playhouse) but was specifically hindered by an unbalanced cast with colliding interpretations. In fact, a few featured roles surpassed the leads, a problematic concern that stifled the play’s impact.

Ellen Ballerene as ditzy singer Cherie and Scott Knisley as rugged cowboy Bo Decker were supposed to be squabbling lovebirds igniting emotional fireworks. However, issues of age-appropriateness and chemistry in addition to a frequent desire to rush the dialogue halted their momentum. Ballerene, unwisely emphasizing personality above all, was particularly unable to transform Cherie into a three-dimensional woman. Interestingly, she was stronger opposite the authentically understated performances of Margaret Foley as waitress Elma Duckworth and Mike Rousculp as Bo’s guitarist cohort Virgil Blessing.

The most richly satisfying portrayal stemmed from the delightfully earthy Lorrie Sparrow as proprietor Grace Hoylard. Sparrow wonderfully revealed the vulnerability of a woman satisfied with her independence yet craving for more. Her final scene, transpiring at closing time and excellently shared with Rousculp, was infused with a brutal honesty that made Inge’s relatable slice of life briefly resonate with aplomb. After all, in search of one’s purpose it is very easy to be left behind without a clear path in sight. This production certainly could have used more convincing, reflective moments on par with its memorable conclusion.

Craig Smith as amiable sheriff Will Masters, Rick Flynn as the self-absorbed Dr. Gerald Lyman and Mark Hassel as bus driver Carl completed the cast.

AUGUST WILSON SYMPOSIUM

In conjunction with its local premiere of August Wilson’s “Gem of the Ocean,” which opens Friday, March 30, the Human Race Theatre Company will present an August Wilson Symposium Saturday, March 31 at 1 p.m. at the Loft Theatre, 126 N. Main St.  The panel, moderated by local attorney/musician David Greer, will feature Mark Clayton Southers, the director of “Gem of the Ocean,” Sala Udin, an actress and childhood friend of Wilson, Christopher Rawson, senior theater critic for the Pittsburgh Post-Gazette, and Charles Holmond, an Earlham College professor. Tickets are $10 in advance and $15 on Saturday. For more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

CHILDREN OF EDEN

Playhouse South’s purposeful, engaging, vocally strong presentation of composer Stephen Schwartz and librettist John Caird’s 1991 biblical musical “Children of Eden” clearly ranks among the organization’s finest productions.
Staged with minimalist cohesiveness by Carrie Thurston and based on a concept by Charles Lisanby, “Children of Eden” puts a family-oriented, contemporary spin on the familiar tales of creation (Act 1) and the great flood (Act 2) from the Book of Genesis. The parent/child-themed Act 1 is more engrossing than Act 2 due to the emotional value of Adam and Eve’s journey from bliss to banishment, but there is potency throughout, especially in the parallels of brotherly strife (Cain vs. Abel / Japeth vs. Ham) and the struggle God (named Father) undergoes while coping with the generational disobedience of His children.

Meaningful portrayals are offered by full-throttle tenor Sean Hurley as Father, Muse Machine alum Jacob McGlaun as Adam/Noah, Natalie Sanders as Eve/Mama, Bobby Mitchum as Snake/Cain/Japeth, David Stephen Thomas as Abel/Ham, Mackensie Vonderbrink as Yonah, and Jamal Cann as Seth/Shem. McGlaun, a wonderfully practical and sensitive Adam/Noah, has an appealing chemistry with the effectively inquisitive Sanders, a knockout vocalist. In fact, Sanders’ renditions of “The Spark of Creation” and the gospel-centric “Ain’t it Good” are among the best I have heard. I’m surprised “Ain’t it Good,” vigorously heightened by an uncredited pianist in conductor Brett Greenwood’s fine orchestra, does not receive a brief encore due to its nearly show-stopping magnitude. The ever-reliable Mitchum also hits the mark with pleasant versions of “The Pursuit of Excellence” (a highlight among choreographer Davy Folger’s routines), “Lost in the Wilderness,” and “In Whatever Time We Have” (opposite Vonderbrink).
The cast also includes Laura Bloomingdale, Alli Brown, Jess Evans, Tamar Fishbein, Jessica Freesen, Sherry Fox, Bobby Gray, Pauline Humbert, Leah Kushmaul, Kaylei Lowe, Ria Megnin, Brett Norgaard, Jordan Norgaard, Bethany Scearce, Bradley Scearce, TC Schrier, Victoria Tuccillo, Hailey Walters and Ashley York.
“Children of Eden” ends tonight. Catch it if you can.

“Children of Eden” concludes March 10 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: 55 minutes. Tickets are $7-$12. For tickets or more information, call (888) 262-3792 or visit www.playhousesouth.org.

THE BIG PICTURE

Dayton continues to be a hotbed for burgeoning musicals, but no one ever said the process was easy. The most recent example is lyricist-librettist David Brush and composer Jim Farley’s “The Big Picture,” originally workshopped in 2004 and currently receiving its world premiere at Beavercreek Community Theatre.
Set in 1962 Pine Springs, Illinois with flashbacks to 1942, “The Big Picture” centers on college student Billy Carson (Brian Kester), who returns home for the summer seeking answers about his long-lost father Jack (Michael Shannon). However, questions arise when Billy’s agitated mother Maggie (Pam McGinnis) refuses to reveal the past, particularly Jack’s history as a B-movie screenwriter/director. Family drama aside, romantic subplots emerge in the form of Billy’s affection for his high school crush Ellie Patterson (Angela Umstead) and Maggie’s topsy-turvy relationship with her amiable suitor Charlie (Shawn Hooks).

Brush and Farley attempt to create a poignant small town coming-of-age tale, but their foundation lacks cohesion, balance and depth. Jack and Maggie’s USO courtship is stagnant (more flashbacks would be beneficial). Billy and Ellie’s bond is awkwardly underdeveloped. Billy’s best friend Sam Morris (Eric Bracht) serves as comic relief, but is basically an annoying distraction. Further, the score, containing shades of Big Band, is merely serviceable than impactful (Act 2 ballad “What A Little Moonlight Can Do” is the strongest of 20 songs). Perhaps if the bulk of the score was cemented to the era a la “Hairspray,” also set in 1962, the show would have considerable flavor.

Artistically, director Doug Lloyd’s cast fails to engage or coalesce. Some actors have difficulty overcoming issues of age-appropriateness and memorization while others suffer from shaky musicality. Chris Harmon’s cinema-inspired scenic design and John Falkenbach’s efficient lighting design are technical pluses.

Instead of tweaking “The Big Picture,” Brush and Farley should consider retooling/resurrecting their 2003 musical “Summer of My German Soldier,” a sharper endeavor based on Bette Greene’s novel of the same name.  

“The Big Picture” concludes March 11 at the Lofino Center, 3868 Dayton-Xenia Rd., Beavercreek. Performances are Saturday at 8 p.m. and Sunday at 3 p.m. Act One: 50 minutes; Act Two: 38 minutes. Tickets are $11-$13. The cast also includes Matt Owens as the Soldier. For tickets or more information, call (937) 429-4737 or visit www.bctheatre.org. In related news, BCT’s 2012-13 season will consist of “Musical Chairs” (Sept. 7-16, directed by Matt Owens), “The Sugar Bean Sisters” (Oct. 26-Nov. 4, directed by Doug Lloyd), “On Christmas Day In The Morning” (Nov. 30-Dec. 9, directed by Teresa Connair), “Steppin’ Out” (Jan. 25-Feb. 3, directed by John Falkenbach), “A Chorus Line” (March 1-10, directed by Doug Lloyd), “The Canterbury Tales or Geoffrey Chaucer’s Flying Circus” (Apr. 19-28, directed by Teresa Connair), “Legally Blonde The Musical” (June 21-30, directed by Chris Harmon).

BERLIN TO BROADWAY WITH KURT WEILL: A MUSICAL VOYAGE

Wright State University saluted the melodically rich legacy of composer Kurt Weill (1900-1950) with an excellent presentation of the 1972 revue “Berlin to Broadway with Kurt Weill: A Musical Voyage” March 2-4 in the Herbst Theatre.
As the title indicates, “Berlin to Broadway” chronicled Weill from his German benchmarks (particularly “The Threepenny Opera,” his legendary 1928 Bertolt Brecht collaboration featuring his muse/wife Lotte Lenya) to his New York successes (such as “Lady in the Dark,” “Lost in the Stars,” “Love Life” and “One Touch of Venus”). Weill, who became an American citizen in 1943, notably won the first original score Tony Award for 1947’s “Street Scene,” co-written by Langston Hughes. His diverse collaborators also included Maxwell Anderson, Ira Gershwin, Oscar Hammerstein II, Alan Jay Lerner and Ogden Nash.

Crisply staged with lyric-driven intent by Jamie Cordes and fittingly accented with mood-setting projections by Nicholas Crumbley, this breezy revue featured 38 songs and a dynamic octet solidly supported by musical director/pianist Susan Carlock. Highlights included Chrissy Bowen and Lizzy Miller’s fiery “Jealousy Duet,” Ian DeVine and Drew Helton’s playful “Progress,” Samantha Helmstetter’s beguilingly personable “That’s Him,” Jonathan Hacker’s reflective “Lonely House,” Cooper Taggard’s splendid “Lost in the Stars,” and Emily Thomas’ strikingly firm  “Surabaya Johnny,” “Pirate  Jenny” and “Saga of Jenny.” Helmstetter, a terrific soprano, also rendered a fabulously captivating, character-consumed “I Wait for a Ship” pulsating with seduction and strength. It is no surprise she is a semifinalist in the Kurt Weill Foundation’s esteemed Lotte Lenya Competition and will be seen as Christine in WSU’s spring production of “The Phantom of the Opera.”
Although a deeper, more compelling account of Weill’s illustrious career, including his relationship with Lenya, can be found in Alfred Uhry’s little known 2007 musical “LoveMusik,”“Berlin to Broadway” proved thoroughly satisfying.

WICKED TICKETS ON SALE SOON

Tickets for the Victoria Theatre Association’s four-week return engagement of “Wicked” go on sale to the general public Monday, March 19 at 8 a.m. in the Wintergarden of the Schuster Center, Second and Main Streets. Tickets will also be available at 9 a.m. online (www.ticketcenterstage.com) and 10 a.m. by phone (937-228-3630). Tickets are $42-$121. There is an eight-ticket limit per patron. “Wicked” will be performed May 30-June 24 in the Mead Theatre of the Schuster Center. For more information, visit www.ticketcenterstage.com

Love, in many forms and stages, permeates the mythical air of John Cariani’s tender comedy “Almost, Maine,” fluidly directed with a dash of whimsy by Kimberly Borst at Sinclair Community College.

Transpiring on a wintry Friday evening in the sleepy titular town, excellently envisioned by scenic designer Terry Stump and lighting designer Gina Neuerer, “Almost, Maine” flows as a series of nine vignettes effectively grounded in self-reflection and emotional connection. Cariani’s concept, which should have been conceived as a one-act, is predictably fueled by the universal desire of finding The One, but he astutely avoids the temptation to drown his appealing, relatable characters in melodramatic romanticism or mundane rom-com hijinks.

Cariani’s couples are particularly impactful when vulnerable or attempting a deeper intimacy and understanding. In fact, the Act 1 finale (“Getting It Back”) and Act 2 opening (“They Fall”) typify the play’s engrossing charm. “Getting It Back,” an eye-opening, symbolic look at love measured in bags of varying sizes, likely resonates with any woman who has endured a serious, long-term relationship without a wedding ring to show for it. The feisty Angela Dermer and sensitive Chris Hahn, paired as strongly here as they were last fall portraying Abigail Williams and John Proctor in “The Crucible,” wonderfully explore the frustrated discontent that arises when the end seems near even though a bright future actually looms over the horizon. In a striking role reversal, Hahn, opposite the admirable Josh Smith, is also featured in “They Fall,” a terrific bromance innocently peppered with random chatter encompassing bad hygiene and an impromptu Queen salute that endearingly climaxes with unexpected honesty and funny physical comedy.

Jenna Burnette and Isaac Hollister’s subtle love-at-first-sight compatibility in “This Hurts,” an intriguing account of a young man immune to pain, and Michael Marvin and Becca Sebree’s believably bruised “Where It Went,” a tale of a rocky marriage, are equally sharp.  Amanda Hanisch, John Ray, costumer Kathleen Hotmer and the evocative strains of composer Julian Fleisher also contribute to the success of this perfect date night outing.

“Almost, Maine” continues through March 3 in Blair Hall Theatre, Building 2, at Sinclair Community College, 444 W. Third St. Performances are Thursday at 7 p.m. and Friday and Saturday at 8 p.m. Act One: 50 minutes; Act Two: 45 minutes. Tickets are $10-$15 with the exception of the Downtown Dayton Thursday Night performance which is an additional $5 and includes pre-show appetizers and cash bar. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets.

Love in all its complicated, glorious infectiousness was on display at the Dayton Ballet Romance Series performance. While it was not a perfect concert there was enough of a incipient charm that kept me going as a lover of dance.

In talking about showcasing “relationships” in ballets, George Balanchine may have made a matter of fact observation. “ You have a man and woman, How much more story do you need?” In this cynical age in which people can get married and divorced in seventy-two days (the Kardashians immediately come to mind) we are all holdouts for true love. And this slightly imperfect showcase held steadfast to this premise.

The concert began with Stephen Mills Red Roses set to a musical score of the incomparable Edith “The Sparrow” Piaf. The work, which began perfunctorily with group unison partnering, while very well crafted held no surprises. When we moved into the solo danced by Erika Cole set to La Vieux Piano, the energy of the ballet ramped up considerably and more nuanced work began to emerge. We started to embrace the familiarities of couples falling in and out of love, because it showcased how love is complicated and unpredictable in an accessible way. The highlight of the piece was the comedic juxtaposition of the couples in C’est Peut-Etre Ca (The Apache), with an inspired full throttled performance by Abby Phillips along with Paul Gilliam, Erika Cole and Justin Koertgen.

The world premiere of Between Heaven and Earth by Gina Gardner-Walther was a beautiful meditation on a love that matures and transcends the shadows. Beautifully costumed in shades of plums, violets and lilac this was a work that challenged the dancers to work with choreographic material that was contemporary and allowed us to see the dancers in a fresh light. As I was watching the ballet the textured choreography of Mark Morris came to mind. The sensitive gestural movement vocabulary and the subtle caressing and framing of the face by the dancers spoke poignantly to this reviewer. This was a work that suggested the weathering of a very personal storm that only committed couples in love can overcome. For all of you single people out there this is the point you are trying to get to in any relationship, a real place. This sensitive and mature choreographic work was an excellent showcase for the contemporary movement ability of Case Bodamer. When I see works like this presented on the stage I am giddy with anticipation at what this company is truly capable of. My only quibble is a technical one. The ladies need to smooth out there landings in pirouettes, which were a little clunky. Overall this is a work that invites repeated viewing.

The Butterfly Suite as choreographed by the artistic director Karen Russo Burke had moments of theatricality that made me sit up and take notice and then there were moments that did not add up artistically. Because the libretto of the Madame Butterfly, in my opinion, is iconic and instantly identifiable even to those who may not have seen the opera, the viewing of this particular ballet is hampered by this previous knowledge. This is a work about grand passion and the huge emphasis needs to be on the “grand”. The opening and closing segments delivered on the grand passion and heightened theatricality. The middle section lost something in translation. I think Ms. Burke is on to something here and I think if she were to look at maybe re-working the mid-section of this ballet, I think it can be an even stronger work.

As I was watching the plight of Cio-Cio San, beautifully danced by Erika Cole, I immediately thought of the plight of Giselle, another ballet character sacrificed on the alter of love. As Giselle progresses we as an audience are made aware of what is at stake for her character almost immediately which allows us to embrace the tragic journey that she subsequently takes us on. I needed to viscerally feel and see what is at stake for the character of Cio-Cio San in the same way and in my opinion this is what is missing from Butterfly Suite. Fundamentally this story is all about navigating the difference between love and lust and the dangers that not knowing the difference exposes one to in relationships. It is also about the tragedy of searching for that knight in shining armor, who turns out to be a cad. I think that there is a goldmine waiting to be explored in this ballet and I have faith that Ms. Burke has the capacity to bring it out. In the final moments of the ballet when Cio-Cio San has resigned herself to commit suicide and seek redemption, the staging of the finale was in my opinion nothing short breathtaking. This story is about how the grand passion of love can tragically carry you to heights of unforeseen passion. If we as the audience had been transported to that place, the pay off would be magnificent.

The world premiere of “Tenderly: The Rosemary Clooney Musical” reveals a tunefully appealing dose of nostalgia in search of a shaper narrative.
Written by Cincinnati-based composers Janet Yates Vogt and Mark Friedman (“Green Gables”) and produced by the Human Race Theatre Company at the Victoria Theatre, “Tenderly” tolerably tackles the triumphs and pitfalls that framed the career of the legendary singer-actress from Maysville, Kentucky. Widely known for the cheeky hit “Come On-A My House” (among 15 songs featured in this one-act), Rosemary rose to fame in the 1954 film “White Christmas” and several TV variety shows of the era, but her rocky upbringing (she regarded her grandmother’s house as home), relationship woes (she married and divorced Tony and Oscar winner Jose Ferrer twice, a union which produced five children) and personal destruction (pill addiction) are the key compelling factors attempting to propel this project past mere jukebox musical thrills.
Vogt and Freidman introduce Rosemary at age 40 in 1968, a month after she heard the shots which killed Bobby Kennedy at the Ambassador Hotel in Los Angeles. While performing at a Reno, Nevada club she had a nervous breakdown which led to her hospitalization and eight years of psychoanalysis therapy. Oddly, Vogt and Freidman’s decision to begin the show with Rosemary’s frazzled, mean-spirited breakdown (which occurs while she happily sings “Come On-A My House”) produces one of the most jarring, disconcerting openings I have seen. I don’t doubt the moment’s authenticity, but it cruelly pulls the rug out from under the audience when the musical’s tone is freshly gestating. In addition to a revamped opening, the material would be better served as a one-woman outing. Rosemary’s amiable doctor doubles as various individuals in her life, but it’s an occasionally distracting, needlessly cutesy device that hinders her thoughts being front and center. I’m instantly reminded of how well the Human Race’s 2009 production of “Ethel Waters: His Eye is on the Sparrow” flowed as Ethel’s experiences vividly resonated with greater depth in her own words.
Despite navigating through conceptual shortcomings and appearing roughly 10 years too young, Muse Machine alumna Tory Ross (Broadway’s “9 to 5: The Musical” and “Cry-Baby”) wonderfully excels as Rosemary. Delicately guided by director Kevin Moore and admirably supported by Scott Stoney, the vibrant, funny Ross warmly embraces Rosemary’s lighthearted persona and grows believably tortured as her downward spiral and resentment of success takes shape. Most importantly, she delivers terrific vocals. Instead of outright impersonation, Ross astutely adopts the legend’s familiar phrasing and lyric-driven flair, particularly delivering marvelous renditions of “When October Goes,” “Hey There,” “Mambo Italiano,” “Slow Boat to China,” “Count Your Blessing Instead of Sheep” (beautifully lit by John Rensel in a soft pink hue), and the gorgeously lush title tune. The final numbers, “What Are You Doing the Rest of Your Life?” and “From This Moment On,” are given upbeat jazz treatments, expertly performed by music director Scot Woolley’s orchestra, perfectly evoking Rosemary’s breezy technique.
“Tenderly” hasn’t reached its potential, but hearing Ross execute some of the timeless standards in the Great American Songbook is a significant plus.
“Tenderly: The Rosemary Clooney Musical” continues through March 4 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. The show is performed in 90 minutes without intermission. Tickets are $40-$83. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

“Familiar Crossings” the latest offering from The Dayton Contemporary Dance Company brought together works from the African-American choreographic legend Donald McKayle, contemporary master Ronald K. Brown, to the up and coming choreographic voice of Robert Priore and the Artistic Director Debbie Blunden Diggs. As the concert was structured or “programmed” this allowed for a viewing experience that was much more balanced artistically and contextually than their previous outing.

I believe that this balance, or mixture of older repertory works and newer works in the life of any dance company, depends on the commitment to the “ why” of presenting the historically significant choreographic works. In the case of The Donald McKayle’s masterpiece Rainbow ‘Round my Shoulder would have significantly benefited from the consideration of this essential question. Many dance companies struggle in dealing with this responsibility. New York City Ballet and Alvin Ailey are two organizations that deal with the weight and burden of said responsibility of performing iconic historical works of revered dance titans. The difficulty often lies in the lack of context for the audience of the importance and significance that it might possess. So the burden falls on the artist to present the work as potent and fully measured as possible.

Rainbow ‘Round My Shoulder was first premiered in 1959, a time period in America’s cultural history in which the depiction of the deeply rich source material of African American life was not always being represented on our artistic stages. The chain- gang imagery of incarcerated black men is a powerful image that served its intended purpose to expose and generate a dialogue on race relations. As I was watching the work I immediately thought of an exhibition of James Pates visual art that is being presented at Bing Davis’s Ebonia Gallery (Check it out if you can), a powerful tour de force collection that conjures up these similar questions of identity and representation.

The opening imagery of the five men linked hand in hand speaks to the invisible bind that connects all of us as human beings. It is meant to jolt us and transport us to an unfamiliar cultural and psychological landscape. While this performance did not initially possess that power, it grew to possess it by the end. While the men performing possessed an impressive physicality. I felt as if something was missing on a spiritual/psychological level that this piece inherently possesses and requires. The literal primal cries of incarceration/ entrapment still provoked a response, which speaks to the artistic mastery of Donald McKayle’s choreography.

Os Padröes (Portuguese for “The Standards”), a quirky –pop fizzy, Pan-African, world mélange of music and imagery inspired by the works of Willis ”Bing” Davis, was an absolute delight. While I am not familiar with his previous work, Robert Priore brought a unique movement vocabulary that revved up the energy of both the audience and the dancers. I believe that the greatest strength this company possesses lies in its ability to attract fresh choreographic voices. I felt this performance was no exception. Using the bold geometric patterns of Mr. Davis’s painting as a blueprint, Mr. Priore was able to fully integrate his aesthetic into that of his chief inspiration. By having a rotating slideshow of Bing’s paintings projected on the scrim, we were allowed to be lost in the connection between these two artists. While I was watching this performance I was reminded of a portfolio of photographs by Daniel Tamagni, Gentlemen of Bakongo, that I recently reviewed. The photos and accompanying text brought to life the vivid colors and texture of this particular segment of Congolese society that dresses in vibrant and colorful tailored menswear. Juxtaposed against the backdrop of a region still reeling from the effects of civil war. The power of the photographic imagery was jolting and invigorating, much like this choreography. The jittery rhythmic pulses and clever transitional segments were a complete joy. I am sending specific kudos to Kimberly Jones and Jarel Waters for the lovely pas de deux that was a nice humanizing moment in the midst of this energetic work. This was just pure fun.

Common Threads, a world premiere by artistic director Debbie Blunden-Diggs, primary charm lied in its old school choreographic construction and intentions. Here we were presented with a contextual moment in the concert that allowed us to the examine contractions and weighted movement modern dance technique at its purest and most direct usage. A solo male figure dancing against a black background led us through a pretty much straightforward choreographic enterprise that enveloped us into a opaque narrative thread with three women joining him in the proceedings. This was not a work rooted in innovation but rather the significance of how modernism is represented by this mostly Horton technique driven company. This ultimately provides the answer to the question of “why” DCDC can and should matter.

The concert concluded with a re-staging of Children of the Passage, a collaborative work by Donald McKayle and Ronald K. Brown. This piece went through a similar evolutionary performance process that Rainbow ’Round My Shoulder went through earlier in the evening. What brought this rollicking, and what could be very mesmerizing piece into a clearer focus was the presence of Sheri “Sparkle” Williams. I marvel at what a true and mature artistic presence can do to elevate any artistic performance. What Ms. Williams brought to this work goes beyond technical skill, which she still has in abundance. It goes to what I can only describe as a transcendent ability to invigorate even the most sketchy of works with a joyous artistry. Leaving the theatre after witnessing her performance still inspires hope for what this company can and should be.

The Little Sisters of Hoboken are back and aim to please in the Dayton Playhouse’s lively production of Dan Goggin’s simplistically silly 1985 musical “Nunsense.”

Playfully directed by Greg Smith, “Nunsense” concerns the accidentally poisoned deaths of 52 nuns who have not been buried as a whole due to bad financial planning. In order to remedy the situation, five of the 19 survivors stage a small fundraiser that quickly erupts into a jokey talent show filled with goofy antics, naughty puns, adequate tunes, and good-natured audience participation.

Tina McPhearson, a natural comedienne with a zestful personality, is perfectly cast as no-nonsense Mother Superior Mary Regina who attempts to keep the zaniness under control to no avail. In addition to solidifying her appeal with a joyously carefree rendition of “Turn Up the Spotlight,” she’s truly amusing late in Act One letting loose with a nod to “Driving Miss Daisy.” Sherri Sutter, a sweetly ditzy Sister Amnesia even in terms of choreography, turns up the charm for “A Word from Reverend Mother” and gives her lovely soprano an effective country twang for the toe-tapping “I Could’ve Gone to Nashville.” As Sister Robert Anne, an aspiring thespian with a tough edge, the enjoyably droll Amy Askins is adept at impersonation and nails her big solo “I Just Want to Be a Star.” The amiable Kelli Locker is a suitable fit for Sister Mary Leo, the weakest character. In her first local musical role, Ellen Finch warmly embodies the practical Sister Hubert. Finch, particularly fine opposite McPhearson, isn’t the strongest vocalist but manages to end Act One on a high note while leading “Tackle That Temptation With a Time Step.”
If you’re looking for an upbeat diversion this weekend, give “Nunsense” a try.

“Nunsense” continues through Feb. 19 at the Dayton Playhouse, 1301 E. Siebenthaler Ave. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Tickets are $10-$15. Act One: 55 minutes; Act Two: 45 minutes. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com

David Davalos’ intellectually engaging 2008 comedy “Wittenberg,” a delightfully imaginative meeting of the minds between polar opposites John Faustus and Martin Luther, receives a firm regional premiere at the Dayton Theatre Guild.

Crisply directed by Saul Caplan and set at the titular German university circa 1517, “Wittenberg” wittily addressees the fundamental agitation and complexity that arises when deep-rooted viewpoints are challenged to the core. Faustus, dramatized as a sociology professor although famously fictionalized as a scholar-turned-magician who sells his soul to the devil in Christopher Marlowe’s play “The Tragical History of Doctor Faustus,” and Luther, pioneer of the Protestant Reformation and founder of the Lutheran Church dramatized as a theology professor, are relatively cordial colleagues who relish their doctrinal differences. The self-assured, psychoanalytical Faustus (expertly portrayed by a cunning, teasing and intimidating David Shough) adamantly believes in free will (“you are what you choose”) while the constipated, slightly skeptical Luther (Charles Larkowski, terrifically stern and sincere) remains spiritually grounded (“the language of the Lord speaks to our souls not our minds”).
This didactic tug of war is not without odd shifts in tone and certainly could have transpired as a one-act, but Davalos, giving equal credence to both protagonists, interestingly flavors and extends the debate with the insertion of Hamlet (endearing Guild newcomer Jared Mola). Davalos humorously depicts the Prince of Denmark as an undeclared student with a penchant for tennis whose moodiness and startling visions is an effective bit of Shakespearean foreshadowing. Having Faustus and Luther’s eye-opening perspectives permeate in Hamlet’s indecisive, impressionistic mind is a key ingredient to the play’s battle of wills and collegiate authenticity. Lynn Kesson’s admirable portrayals of the female roles and K.L. Storer’s excellent sound design are also noteworthy.

Davalos’ commendable examination of reason vs. faith isn’t compelling, but is a worthwhile draw for theatergoers who prefer to think while being entertained.

“Wittenberg” continues through Feb. 26 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: 60 minutes; Act Two: 55 minutes. Tickets are $11-$18. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

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