On Stage Dayton Reviews

The Muse Machine delivers a first-rate, crowd-pleasing production of L. Frank Baum’s “The Wizard of Oz,” the arts education organization’s 28th annual student musical presented at the Victoria Theatre.

Over 100 Muse students from across the Miami Valley are featured in director Rufus Bonds, Jr.’s faithful, fluid and fast-paced staging of the beloved 1939 film, adapted by John Kane for the Royal Shakespeare Company and fueled with fantastic tunes by Harold Arlen and E.Y. Harburg. In addition to strong, engaging portrayals by key players and music director Timothy Olt’s steady orchestra, a truly vibrant ensemble executes Lula Elzy’s lively choreography with unified joy, especially in the absolutely adorable Munchkinland sequence, sprightly “Merry Old Land of Oz” and exuberant “Jitterbug.”
As Dorothy Gale, Madeline Shelton impresses far beyond her lovely rendition of “Over the Rainbow.” Fully present in each moment and particularly careful not to underplay the pivotal Kansas scenes, Shelton astutely showcases the spectrum of Dorothy’s capricious personality from bratty insensitivity to poignant self-awareness. She is also firmly supported by a delightful trio consisting of the amiably understated Dan Baughn (Hunk/Scarecrow), very endearing Davis Sullivan (Hickory/Tin Man), who delivered a breakthrough performance as Jack in last year’s Muse production of “Into the Woods,” and charming, fittingly Bert Lahr-esque Jeremiah Plessinger (Zeke/Cowardly Lion).
Further, Odette Gutierrez del Arroyo is terrifically intimidating as Miss Gulch/Wicked Witch of the West, Cameron Hale Elliott distinctively tackles the roles of Professor Marvel, Emerald City Guard and The Wizard of Oz, Paige McDonald and Patrick Espy are believably bonded as Aunt Em and Uncle Henry, Kaja Burke-Williams, Carly Snyder (a phenomenal Little Red Ridinghood in “Into the Woods”) and Ellen Geiselman hit the mark as feisty, sashaying trees, and Hayley Penchoff, possessing a striking Billie Burke sensibility and timbre, shines as Glinda.
Equipped with colorful sets and costumes provided by Music Theatre of Wichita, this thoroughly entertaining “Oz,” dynamically accented with whimsical and ominous flourishes courtesy of sound/film designer David Sherman, is an enchanting example of the Muse pedigree.

“The Wizard of Oz” continues through Jan. 15 at the Victoria Theatre, 138 N. Main St. Performances are Saturday at 3 and 8 p.m. and Sunday at 2 p.m. Act One: 65 minutes; Act Two: 60 minutes. Tickets are $25-$59. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

The incredibly tuneful and timeless legacy of American musical theater pioneers Richard Rodgers and Oscar Hammerstein II is saluted in Walter Bobbie’s 1994 Tony Award-nominated revue “A Grand Night for Singing,” fluidly staged and choreographed by Richard Croskey at the Dayton Playhouse.

Infused with romantic ambience and sophistication, “Grand Night” breezily spotlights the joy, sentimentality and wit that colored the dynamic duo’s groundbreaking collaboration, spanning 16 years (1943-1959) and 11 productions (“Oklahoma!” to “The Sound of Music”). Instead of adopting the engagingly anecdotal, composer-driven blueprint of “Side By Side By Sondheim,” the 1977 Tony Award-nominated revue that inserts facts and tidbits to create an expansive, eye-opening narrative, Bobbie links each song by varying relationship-driven themes such as budding love, hurtful rejection and parental tenderness. His decision isn’t conceptually substantive, especially for R&H fans desiring to know more about them as songwriters and producers, but is an accurate reflection of the title, a clear reminder that the music is paramount.

Consisting of 38 songs and an unnecessary intermission, “Grand Night” unfolds as a familiar and eclectic hodgepodge. As with most revues, some of my favorites didn’t make the cut (in this instance, the long list includes “A Cockeyed Optimist,” “A Fellow Needs a Girl,” “Getting to Know You,” “I Am Going to Like It Here,” “I Whistle a Happy Tune,” “In My Own Little Corner,” “Mister Snow,” “My Lord and Master,” “People Will Say We’re in Love,” “That’s for Me,” “The Next Time It Happens,” “What’s the Use of Wond’rin’,” “You Are Beautiful,” “You Are Never Away,” “Younger than Springtime” and “You’ll Never Walk Alone”). Still, I particularly admire the refreshing twists within Fred Wells’ intricate music arrangements, the obscure “All At Once You Love Her” from 1955’s “Pipe Dream,” and the five chestnuts from 1947’s underappreciated “Allegro,” particularly “I Know It Can Happen Again” and sublime “So Far.”

Cast of "A Grand Night for Singing"

Croskey’s cast, backed by musical director Ron Kindell’s excellent orchestra complete with harp, cello and grand piano, is comprised of an admirable, cohesively interactive quintet. Carol Chatfield offers lovely renditions of the aforementioned “Allegro” tunes and a very heartfelt “Something Wonderful.” Kathy Clark winningly handles such strong character numbers as “A Wonderful Guy,” “The Gentleman Is A Dope” and “If I Loved You.” Patricia DiPasquale-Krul, who joins Chatfield and Clark for a jazzy version of “I’m Gonna Wash That Man Right Outta My Hair,” pensively interprets “Do I Love You Because You’re Beautiful?” Tom Lehmann, sweetly partnered with DiPasquale-Krul for “When The Children Are Asleep,” supplies an absolutely striking, encore-worthy rendition of the gorgeous ballad “Love, Look Away,” lushly accented by cellist Anna Brossart. Matthew Bone is occasionally pitchy yet specifically succeeds with “This Nearly Was Mine.”

The prickly Rodgers and the sensitive Hammerstein might have been unlikely partners, but “Grand Night” warmly ensures their indelible handiwork, unabashedly heightening the thrill of beautiful mornings and enchanted evenings, will remain impactful for generations to come.

“A Grand Night for Singing” continues through Jan. 15 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: 46 minutes; Act Two: 36 minutes. Tickets are $10-$15. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.org

In any given season the Victoria Theatre Association relishes the opportunity to present unique diversions outside the traditional box office realms of musical theater and straight plays. We have seen the Victoria deliver such crowd-pleasers as Blue Man Group, “Blast” and “Stomp” yet startlingly stumble with “Cirque Dreams” and the excruciating “Aluminum Show.” This time around the alternative bill of fare is “Traces,” a thinly conceived yet highly entertaining display of urban athleticism that breezily fulfills its purpose to astound, engage and surprise. Courtesy of the Premier Health Partners Broadway Series and held at the Victoria Theatre, “Traces,” the circus-inspired brainchild of Montreal-based dance troupe 7 Fingers, pits five dancers inside a bunker framed within the confines of a reality TV competition. Oddly, this premise isn’t clear at the outset and the presentation’s central theme addressing the importance of leaving indelible impressions or traces in one’s life is a surface level narrative device that could be greatly expounded. Still, the fantastic, flawlessly fluid blend of acrobatics and street elements, melded with charming snippets of personal statements from the dancers, creates a genuinely satisfying experience overall. Antoine Auger, Francisco Cruz, Devin Henderson, Genevieve Morin and Xia Zhengqi cohesively execute the clever, ingenious and jaw-dropping routines marvelously choreographed by directors Shana Carroll and Gyspy Snider.  Whether vaulting into the air or scaling two large poles, this confident, personable, musically inclined quintet truly shines. In addition to a delightfully debonair skateboarding segment set to “It’s Only a Paper Moon,” a lively game of basketball and a dynamic finale involving a tower of rings, notable highlights include Auger and Morin’s striking pas de deux, Morin’s lovely aerial work reminiscent of Cirque du Soleil and Henderson’s applause-inducing mastery of a large hoop. Last week, theater critic Richard Zoglin of Time magazine placed “Traces” ninth among his Top 10 plays and musicals of 2011.  Zoglin’s year-end choices can be puzzling (“The Little Mermaid” actually ranked among his favorites of 2008) but there’s no denying the immense appeal this show inherently provides. “Traces” continues through Dec. 18 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 production is performed in 85 minutes without intermission. The cast also includes Camille Legris and Tristan Nielsen. Tickets are $40-$83. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Alain Boublil and Claude-Michel Schonberg’s Tony Award-winning “Les Miserables,” one of the most internationally beloved musicals of our time adapted from the novel by Victor Hugo, returns to Dayton as a freshly reconceived epic impressively heightened by an outstanding array of vocal and visual pleasures.

This 25th anniversary production, presented at the Schuster Center courtesy of the Victoria Theatre Association’s Good Samaritan and Miami Valley Hospitals Broadway Series, uniquely shines without the familiar trademarks “Les Mis” audiences have grown accustomed to such as the revolving turntable or Trevor Nunn and John Caird’s original whirlwind stagecraft. Co-directors Laurence Connor and James Powell, firmly intent to keep the action just under three hours, refreshingly dial down any morsel of spectacle to effectively place the libretto and score front and center with a great sense of urgency that serves the sweeping if melodramatic tale, which chronicles the redemptive journey of ex-convict Jean Valjean in 19th century France. Connor and Powell, embracing the novel idea of color blind casting, have particularly found new ways to approach the emotional potency that fills practically every scene. For example, in “Turning,” the women of Paris remember the fallen rebels by placing candles on the ground which are subsequently carried away by the deceased men during the haunting “Empty Chairs at Empty Tables,” passionately rendered by Max Quinlan as Marius. The production’s conceptual allure extends to the evocative contributions of set designer Matt Kinley whose work, inspired by Hugo’s paintings, nicely compliments the action rather than appearing showy or distracting. Fifty-Nine Productions is responsible for a striking series of cinematic projections which rank among the finest I have seen since viewing the Broadway premiere of Andrew Lloyd Webber’s short-lived “The Woman in White” in 2005. The fantastic sight of the sewers in Act 2 alone is worth the price of admission.

Authentically clothed by Tony winner Andreane Neofitou with additional designs by Christine Rowland, the uniformly terrific cast, clearly propelling the sung-through score to spine-tingling proportions under the steady guidance of musical director Robert Billig, avoids bombastic urges with sharp, expressive portrayals. Sublime tenor J. Mark McVey, an appealing source of conviction, warmth and vitality as Valjean, duly receives the biggest applause of the night for his absolutely heartfelt rendition of the signature tune “Bring Him Home,” initially interpreted as a pensive lullaby yet climaxing as a powerful plea. Robust baritone Andrew Varela is an excellently imposing presence as Inspector Javert, Valjean’s relentless nemesis. Chasten Harmon, a heartbreaking Eponine, delivers a dynamically poignant “On My Own” and an equally stunning “A Little Fall of Rain” so gripping you will feel every inch of Eponine’s tragic fate. As the delightfully dastardly Thenardiers, Richard Vida and a particularly magnetic Shawna M. Hamic breezily insert a few comical Fagin-esque twists and turns into their rousing version of “Master of the House.” Jenny Latimer, as Cosette, creates a strong bond with Quinlan. Jeremy Hays, a fiery Enjolras, leads a stellar “Do You Hear The People Sing.” Understudy Cornelia Luna, as the ill-fated Fatine, supplies a beautifully sincere rendition of “I Dreamed a Dream.” Lucia Giannetta briefly dazzles opposite Luna as an outspoken Factory Girl.

“Les Mis” purists might have qualms with the artistic makeover on display, but the material, a richly woven tapestry of faith, forgiveness, love, loss, and valiance, certainly remains as captivating and compelling as ever.

“Les Miserables” continues through November 27 at the Schuster Center, Second and Main Streets. Performances are Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 93 minutes; Act Two: 65 minutes. Tickets are $40-$101. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Beth Conley in Hairspray

Pure theatrical joy fills Wright State University’s fantastic production of Marc Shaiman, Scott Wittman, Mark O’Donnell and Thomas Meehan’s 2003 Tony Award-winning musical “Hairspray.”

Radiantly performed by one of the most strikingly synchronized ensembles WSU has assembled, this funny, provocative, tuneful and uplifting tale of race and tolerance in 1962 Baltimore, based on the 1988 John Waters film of the same name, totally magnetizes with a breathtaking energy that rivals the original Broadway production. The ideal blend of Joe Deer’s vigorous direction and Teressa Wylie McWilliams’ marvelously sharp and spirited choreography remarkably produces non-stop, smile-inducing thrills effortlessly catapulting this showcase into the rare local realms of musical comedy heaven. The sheer exuberance of “Good Morning Baltimore” and “The Nicest Kids in Town,” the brilliantly precise “I Can Hear The Bells,” the flavorfully decade-inspired “Welcome to the 60’s,” the soulful exuberance of “Run and Tell That,” the seamlessly fluid transitions within “The Madison,” and the incredibly infectious finale are just some of the showstoppers worthy of endless encores.

The wonderfully vibrant Beth Conley endearingly portrays plus-sized teenage heroine Tracy Turnblad, who faces adversity while attempting to integrate the popular Corny Collins TV show. Tracy’s staunch desire to change the world in spite of numerous obstacles is not lost in Conley’s appealing performance complete with conviction, spunk, commendable vocals and fine dancing. Drew Helton equally shines as Edna, Tracy’s plain-spoken mother notably self-conscious about her weight. Exuding convincing femininity in drag, the hilarious Helton conveys a sweet sensitivity that humorously evaporates whenever his voice dips into a threatening lower register. He also establishes a bubbly rapport with the delightful Casey Jordan as Edna’s goofy husband Wilbur. They particularly interpret “Timeless to Me” beyond mere clowning to impressively depict a genuine reflection of an affectionate, enduring love between a man and a woman.

The cast of Hairspray

Jordan’s fellow featured players also provide strong, well crafted characterizations. Charming triple threat Ian DeVine dazzles as heartthrob Link Larkin, a budding pop artist forever changed by Tracy’s love and defiance. DeVine, a dynamite dancer compatibly paired with Conley, supplies a crisp, seductive rendition of “It Takes Two.” DeShawn Bowens, another fiery dancer, hits the mark as Seaweed J. Stubbs, who falls for Tracy’s ditzy best friend Penny Pingleton, amusingly embodied by Melissa Hall. Kylie Santoro and Nikki Nathan are deliciously and respectively vengeful as Velma and Amber Von Tussle, a cunning mother/daughter team seeking to destroy Tracy. The handsome James Oblak oozes charisma as Corny Collins. Aziza Macklin brings a sunny groove to her vocally demanding role as rhyming radio personality Mothermouth Maybelle. Dani Cox is enjoyable as Maybelle’s daughter Little Inez. Terrific chameleons Justin Talkington and Chrissy Bowen nearly steal the show in multiple roles. As the glamorous Dynamites, Jessica Horton, Cyndii Johnson and Taylor Montgomery beautifully capture the Motown essence fueling “Welcome to the 60’s.” Hannah Aicholtz, Alimamy Barrie, Ian Blanco, Zach Cossman, Kevin Ferguson, Darius Fincher, Kenneth Foster, Jon Hacker, Jessica Horton, Derrick Jordan, Taryn Lemmons, Layne McDuffie, Amy Murphy and Sierra Stacy complete the highly entertaining cast.

Act 2 opener “The Big Dollhouse” is curiously cut, but it is a minor quibble within a staging splendidly accented by Pam Knauert-Lavarnway’s eye-catching, nostalgic scenic design, Matthew P. Benjamin’s colorful lighting design and musical director Rick Church’s top-notch orchestra. There is also a topical relevance that resonates here in the midst of our current climate, specifically as Maybelle reminds Tracy and others to stay strong in their quest for change prior to the gospel power ballad “I Know Where I’ve Been.” Her inspirational words are intended to address civil rights yet could be a rallying cry for the Occupy Wall Street movement.

“Hairspray” is a familiar title for many Miami Valley theatergoers, but WSU’s version contains an inherently youthful enthusiasm unmatched by any previous production of the show in our area. Bravo!

“Hairspray” continues through Nov. 13 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Thursdays at 7 p.m. Fridays at 8 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. Act One: 73 minutes; Act Two: 50 minutes. Tickets are $18-$20. For tickets or more information, call (937) 775-2500.

In related news, Wright State’s 2012-13 mainstage season will consist of “The Miracle Worker,” “Funny Girl,” “Witness for the Prosecution” and “Grand Hotel: The Musical.”

This intrepid reviewer, a lover of the art form of dance in all of its permutations has viewed two concerts for DCDC and Dayton Ballet. Unfortunately, except for a couple of bright spots, this reviewer was left under whelmed to the point of concern.

I am fully aware that we are in perilous times in regards to funding for the arts, and as a native Daytonian I want to provide an enthusiastic, supportive review. I believe that honest dialogue about the works being presented is critical to the growth of beleaguered arts institutions. What was presented artistically by these two venerable institutions left this reviewer with a vexing quandary. I went into both concerts ever hopeful that my willingness to be in the audience would somehow be rewarded with exquisite transporting terpsichorean art that would engage me on so many levels. After attending several concerts by both companies I have shed my naïve beliefs that things will progress.

The DCDC concert, Director’s Cut, held the one choreographic bright spot of both concerts; the invigorating and bracingly contemporary work of Rodney Brown. The rest of the concert consisted of works presented in a collage from the forty years of artistic product from the DCDC legacy of classic works of the modern dance vernacular. My only disappointment in Rodney Brown’s work was that it highlighted the creakiness of everything else on the concert. I am a huge advocate of dance reconstruction and restoration. My love of Balanchine is steadfast and absolute. Unfortunately, watching the historic works of DCDC in this context was like looking at a tenth generation Xerox copy, washed out and barely legible as to render it useless.

Rodney Brown, a former dancer with DCDC, brought to the Dayton dance scene a glimpse of what is happening in the dance world. His work was a strikingly original work with a dance vocabulary shaped and influenced by the Europeans, Wayne McGregor, William Forsythe, Crystal Pite and Pina Bausch and grounded in the asthetitics of the post modernist legend Bebe Miller. Mr. Brown created a world that was both strange as well as unpredictable and utterly captivating. The Nearing was set on a quartet of the men from the company, who never looked better. The movement material was rooted in a relentless repetition that was punctutuated by moments of individual expression. It was like being transported into a dystopian dance drama that reminded me of Fritz Lang’s Metropolis, the 21st century forgotten men. I have not been this captivated since seeing the restaging of Adam Hoagland’s choreography at the Wright State Spring Dance Concert in the spring.

The Haunted series presented by Dayton Ballet contained two highlights; that it was mercifully brief and was at least danced with conviction. Watching this concert I will acknowledge that choreographically Sleepy Hollow was the most accomplished work of the two ballets presented and that is faint praise.

I believe that Dayton Ballet is filled with incredibly gifted performers that are completely invested. My fondest wish is that later in the year they will be showcased in vehicles worthy of those skills and talents.
The problem with both of these ballets resides in the question of “taste levels”. This was a strictly middlebrow production that held little charm or genuine delights to walk away with.
Every major performing arts organization in the United States wrestles with creating work that will attract audiences and fill the coffers, ie., safe entertainment that will appeal to the lowest common denominator. Our dance companies are not immune to this paradox. Yet in appealing to the lowest common denominator they are exposing not only their faults, but also the audience’s as well.

The Dayton arts audiences are complicit in this spiraling artistic bankruptcy. We simply have no concept of what well-produced dance looks like. I will give credit to the valiant efforts to reverse the declining fortunes of two formerly great artistic pillars of community; this is my only act of charity. I am saving my most barbed commentary for the Dayton arts audiences.

All of the art forms that are being presented in our community are typical to any city with a significant population. You have been great in your dutifulness in attending the arts events, purchasing season tickets, and being present. I applaud your levels of support. But are you aware that you are being presented work that is not reflective and indicative of the rest of the world? You are being short changed by not asking for more and knowing the difference.

Professionals in other fields (i.e, the medical fields, accounting & finance) are required to maintain some knowledge and awareness of trends on regional, national and international levels. This is no different for the arts. Yet our arts institutions are caught in a catch-22 in which they want to embrace change and new. We [the audience] are holding the arts back in our community by being so provincial.

Dayton Ballet is 74 years old and is older than New York City Ballet and younger than San Francisco Ballet, and we don’t possess any of the artistic chutzpah or forward thinking of either organization. Dayton Ballet can’t if the audience is not receptive to it. If Alvin Ailey can come back from the brink of collapse then DCDC can do it as well. It requires that you ramp up you skills as an arts patron and embrace quality. Here is what you need.

Knowledge

In the day and age of the lightning fast Internet connections, YouTube is your friend. Instead of wasting so much time on the cute kittens playing with balls of yarn or the ridiculous acts of human vacuity, invest in looking at the work of other dance companies from around the world before your brain rots. I will start you off with a list of companies and choreographers to experience.

Companies

• New York City Ballet
• San Francisco Ballet
• Pacific Northwest Ballet
• Boston Ballet
• Houston Ballet
• Alvin Ailey Dance Theatre
• Cleo Parker Robinson
• Lulu Washington

Choreographers

• Wayne McGregor
• William Forsythe
• Bebe Miller
• Adam Hoagland
• Paul Taylor
• Merce Cunningham
• Pina Bausch

Knowledge Part 2

Read up on dance. Don’t say you love dance and your exposure is restricted to what is being seen on our stages. (And no your nieces or nephews recital does not count). It is time for you to invest a little more effort. There are excellent reviews of dance online in the New York Times. The libraries carry Dance Magazine and you can also rent DVD’s on NetFlix or stream them on Amazon. What have you got to lose?

A civilization is defined by the culture it produces and our community is being defined by the middlebrow entertainment that we seem to continually want to embrace. It is time for the audience to stop being complicit and develop a more sophisticated arts patronage. The artist in this community and this reviewer are desperately waiting for you to play catch up. Rise to the challenge.

I will start sharing my discoveries on the dance front through DMM. I will become your Sherpa guide through the vast terrain of dance material out there on the Internet. Hopefully this will lead us all to a better artistic mountain top. I believe that the arts organizations will figure out how to give you quality artistic productions if people on both sides of the curtain make the investment.

The cast of Lost in Yonkers (Contributed photo)

In the midst of a busy, predominately impressive fall theater season, the Dayton Theatre Guild has effortlessly produced another hit. One month after the luminous local premiere of “Souvenir: A Fantasia on the Life of Florence Foster Jenkins,” the Guild offers an outstanding production of Neil Simon’s 1991 Tony Award and Pulitzer Prize-winning dramatic comedy “Lost in Yonkers.”

A delightfully authentic staging tenderly helmed by Fran Pesch, “Yonkers,” set in 1942-43, charms and captivates as the Kurnitz clan of Yonkers, New York lovingly squabbles with a domineering, opinionated matriarch known for ruling with an iron fist. The fiercely resolute Grandma (exquisitely portrayed with astute perception by Barbara Jorgensen) particularly failed to show a great deal of love for her children, who often describe her as being made of steel due to her harsh German upbringing. Although no one can erase the hurtful feelings  from years of emotional neglect, there is some sense that family wounds will continue to heal based on Grandma’s credo which values strength and survival. As she fittingly reminds her grandson, “It’s not so important that you hate me… It’s only important that you live.”

Jorgensen, as wonderful as she is, doesn’t have to carry the weight of this production on her shoulders. She is truly a key component within an ensemble, which allows her role to properly remain formidable and imposing without becoming overpowering. Philip Stock and Joel Daniel are equally and respectively terrific as Jay and Arty, whose coming-of-age journey under their grandmother’s guardianship frames the action. Perfectly cast as close-knit brothers trapped in a circumstance beyond their control for 10 months, Stock and Daniel endearingly embrace the bluntness, innocence and vulnerability within their colorful characters. Amy Diederich also shines as the incessantly chatty, childlike Bella, Jay and Arty’s doting aunt. Diederich’s superb delivery of Bella’s heartbreakingly poignant Act 2 monologue, in which she shares her desire to become a wife and have a family of her own, will bring tears to your eyes. Saverio Perugini, slick and shady, brings a cool, tough and intimidating edge to Louie, Jay and Arty’s gangster uncle. Rob Breving is nicely understated as Eddie, Jay and Arty’s father. Rachel Wilson delightfully portrays the audibly odd Gert, who prefers silence whenever possible.

In the Guild’s film hands, it’s a comfort to know “Lost in Yonkers” remains a splendid testament to the importance of legacy, unity and forgiveness as well as the invaluable maturity gained from lessons learned.

Lost in Yonkers continues through Nov. 6 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: 60 minutes. Tickets are $11-$18. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

(L to R) Dean Swann, Jonathan Berry and Darren Brown with Bethany Locklear in Evil Dead: The Musical (Contributed photo)

Just in time for Halloween, Beavercreek Community Theatre’s alternative Edge of the Creek Productions seeks to entertain rather than amaze with its local premiere of the mediocre “Evil Dead: The Musical,” a bloody, naughty, pop culture-friendly spoof based on Sam Raimi’s cult film classics.

Featuring book and lyrics by George Reinblatt and music by Frank Cipolla, Christopher Bond, Melissa Morris and Reinblatt, “Evil Dead” concerns a spring break getaway gone awry in an abandoned cabin in the woods. Hook-ups, dismemberment, killer trees and Candarian demons factor into the mayhem, but the incredibly silly, envelope-pushing material, hindered by a forgettable score chock full of hokey lyrics and melodies, just isn’t clever or hysterical enough to remain totally engaging. The one-liners are seriously hit and miss, and a lack of heart is particularly problematic. It’s entirely possible for an oddball, risqué show like “Evil Dead” to succeed on broad camp appeal and profane thrills, but an audience must ultimately care about the characters. Reinblatt and Co. should have found a way to humanize the humor and transform the story into a simultaneously outlandish and emotional product akin to “Bat Boy: The Musical,” a wonderful example of BCT’s Edge of the Creek programming in 2006.
Thankfully, director/scenic designer/costumer/co-properties master Chris Harmon, enjoyably aided by choreographer Annette Looper, keeps the thin action brisk and lively with a sufficient amount of sight gags to keep you awake. Harmon’s appropriately over-the-top ensemble particularly grasps the material’s tongue-in-cheek intentions with great skill. The versatile Jonathan Berry delivers another full-fledged performance as Ash, a heroic housewares employee. Berry is romantically linked with the lovely Bethany Locklear, who makes the most of the underwritten Linda. Darren Brown and Lindsay Sherman are equally compatible as Scott and Shelly. The infectiously goofy Angelé Price is a joy as Cheryl, Ash’s sister. As the rustic Jake, Michael Shannon humorously embodies the backwoods stereotype. The reliably comical Dean Swann tackles an assortment of featured roles including a talking moose. Lynn Kesson, sharp and precise, relishes her role as the overbearing Annie, who notably proclaims “All the Men in My Life Keep Getting Killed by Candarian Demons.”
If that song title made you giggle, “Evil Dead” might be your cup of tea.

Evil Dead: The Musical continues through Oct. 30 at the Lofino Center, 3868 Dayton-Xenia Rd., Beavercreek. Performances are Friday and Saturday at 8 p.m. and Sunday at 3 p.m. Act One: 52 minutes; Act Two: 40 minutes. The production contains adult language and themes. Tickets are $11-$13. For tickets or more information, call (937) 429-4737 or visit www.bctheatre.org

Allison Husko and Chris Hahn with Angela Dermer (foreground) in The Crucible (Photo by Patti Celek)

Sinclair Community College provides a commendably performed, terrifically designed presentation of “The Crucible,” Arthur Miller’s marvelous 1953 Tony Award-winning parable of 1950s McCarthyism set in Salem, Massachusetts circa 1692.

“The Crucible,” a well-timed season opener for Sinclair considering Wright State University’s production of Miller’s “Death of a Salesman” last month, centers on a God-fearing community grappling with issues of intolerance and morality as accusations of witchcraft by a group of vengeful teenage girls spreads like wildfire. Despite an opening half hour mired in ponderous pacing and off-kilter chemistry, director Stephen Skiles’ staging, neatly confined within Terry Stump’s excellently stark, wooden set expertly lit by Gina Neuerer, ultimately coalesces with gripping results.

As this powerfully relevant tale of betrayal, deceit and hypocrisy unfolds, Chris Hahn’s breakthrough performance as John Proctor firmly remains a towering depiction of a flawed man completely engulfed in rage, bewilderment and regret while circumstances implode beyond his control. Totally grounded and convincing as an earnest, rustic, hard working husband and father reaching his emotional and spiritual breaking point, Hahn wonderfully conveys the disgust and guilt that defines John’s infidelity with vindictive ringleader Abigail Williams (Angela Dermer) and the cold distance fueling his strained marriage to the plain Elizabeth (Allison Husko).

Additional standouts include Kes-lina Luoma as the conflicted Mary Warren, the splendidly sharp, authoritative Patrick Hayes as the unyielding, merciless Deputy-Governor Danforth, John Ray as the inquisitive, eventually distraught Reverend John Hale, and the simply fascinating Tametha Divvleeon as Tituba. Possessing an authentic dialect in her dynamic stage debut, Divvleeon supplies the first theatrical fireworks of the evening during Tituba’s passionate response to claims she conjured the devil in the forest. Embracing the sheer emotional drama of the moment for all its worth, she attacks center stage, arms outstretched and audibly winded, with a strikingly compelling intensity that seems to overtake every fiber of her being. It is an unforgettably riveting highlight within a production that unnervingly and upsettingly provokes just as Miller intended.

The Crucible continues through Oct. 22 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: 68 minutes; Act Two: 68 minutes. Tickets for the Downtown Dayton Thursday performance are $20 for adults and $15 for students and seniors. Tickets for Friday and Saturday are $15 for adults and $10 for students and seniors. For additional information, visit www.sinclair.edu/tickets