“The New Mel Brooks Musical Young Frankenstein,” presented in its local premiere at the Schuster Center by the Victoria Theatre Association’s Good Samaritan and Miami Valley Hospitals Broadway Series, lacks the comedic ingenuity and melodic strength of Brooks’ historic, lucrative 2001 adaptation of “The Producers,” but it’s still a highly entertaining, impressively designed show that remains faithful to the classic 1974 film.

Adapted in 2007 by Brooks and Thomas Meehan based on Brooks’ Oscar-nominated screenplay co-written by Gene Wilder, “Young Frankenstein” tells the funny if slight story of New York brain surgeon Frederick Frankenstein (pronounced “Fronkensteen”) who travels to spooky Transylvania to claim his inheritance. Along the way, with able support from his trusty sidekick Igor, sexy assistant Inga and his legendary grandfather’s ex-lover Frau Blucher, Frederick heeds his ancestors’ advice and creates a monster. Naturally, his monstrous handiwork wreaks havoc across the countryside, eventually kidnapping and falling in love with Frederick’s glamorous fiancée Elizabeth.

The nostalgic appeal that stems from being reunited with the film’s clever jokes and sight gags (such as the gigantic door knockers, revolving bookcase and horse whinnies at the sheer utterance of Blucher’s name) is a huge plus because Brooks and Meehan have difficulty expanding and sustaining the plot’s momentum over two and a half hours. They particularly opted not to spoof musical theater conventions a la “The Producers” or provide a deeper backstory for the characters. In fact, there really isn’t anything fresh that revitalizes this tale besides its original songs, solely composed by Brooks, which are merely serviceable rather than sensational. In turn, as in the film, the finest moment belongs to Irving Berlin’s “Puttin’ on the Ritz,” brilliantly conceived by director/choreographer Susan Stroman and sharply recreated by choreographer James Gray. The imaginatively show-stopping number, worth the price of admission and just as good here as it was on Broadway thanks to a razzle dazzle ensemble, nearly rivals Stroman’s exuberant staging of “Springtime for Hitler” from “The Producers.”

Director Jeff Whiting, working with Stroman’s fantastic original design team consisting of scenic artist Robin Wagner, costumer William Ivey Long, lighting designer Peter Kaczorowski and sound designer Jonathan Deans, dutifully recreates her witty, vaudevillian vision and coaxes first-rate performances across the board. A.J. Holmes is a perfectly high strung Frederick with an appropriately astute Gene Wilder sensibility. The scene-stealing Christopher Timson portrays Igor with terrifically impish enthusiasm. The lovely Elizabeth Pawlowski is an adorably sweet Inga. Pat Sibley, an effortless comedienne with great timing, is a delightfully authentic Frau Blucher. The imposing Rory Donovan effectively juggles the Monster’s humorous and threatening characteristics. Lexie Dorsett, suitably swanky and divalicious as Elizabeth, hilariously emphasizes the innuendo within “Deep Love.” Britt Hancock shines in the dual roles of Inspector Kemp and the Hermit. As Victor, Frederick’s grandfather, Wright State University alumnus Jerome Doerger notably leads the jubilant “Join the Family Business.”

“Young Frankenstein” isn’t on par with “The Producers,” but it’s a naughty roll in the hay intended to tickle your funny bone as only Brooks can.

The New Mel Brooks Musical Young Frankenstein continues through Oct. 9 at the Schuster Center, Second and Main Streets. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 75 minutes; Act Two: 55 minutes. Tickets are $37-$92. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Wright State University opens its 37th season with an emotionally compelling production of Arthur Miller’s “Death of a Salesman,” the 1949 Pulitzer Prize-winning tragedy about the downward spiral of a hapless breadwinner and his hopelessly dysfunctional family.

Guest artist Scott Stoney of the Human Race Theatre Company – who co-directed and appeared in the fantastic WSU/Human Race regional premiere of “August: Osage County” last season – simply delivers one of his most electrifying performances as the iconic Willy Loman, the terribly flawed patriarch wallowing in the depths of despair whose specific inability to salvage the past and reshape his murky future fuels the gripping potency within this three-hour memory play. From the moment Stoney sluggishly steps into the spotlight with two suitcases and an exasperated weariness in his eyes, Willy’s incredibly multifaceted persona captivates with aplomb. Without resorting to histrionics or detrimentally appearing larger-than-life, Stoney consistently produces visceral shockwaves as Willy’s prickly stubbornness, volatile uproars and heartbreaking regret palpably connect without letting go. However, it’s not just the flashy, intense scenes that are impactful. Late in Act Two, in a sublime, tear-jerking moment conceived by Greg Hellems in his impressive straight play directorial debut, Stoney gently reciprocates a loving embrace that speaks volumes in advance of Willy’s subsequent epiphany. It is a touching hallmark of this production and an image you’ll never forget.

Equally superb guest artist Lee Merrill, a WSU musical theater professor with extensive opera and musical theater credits across the country, marvelously epitomizes the devoted selflessness of Linda Loman, the good housewife willing to stand by her man and embrace his shortcomings even when she’s rudely berated. In Act One, Merrill splendidly heightens the meaningfully profound dialogue encompassing Linda’s legendary assertion that “attention must be paid.” Toward the conclusion, she wonderfully sheds Linda’s coy demeanor with thrilling rage and is completely devastating in the gut-wrenching final minutes that still packs a wallop after all these years.

Stoney and Merrill are winningly and respectively supported by Patrick Ross and Zach Schute as Biff and Happy Loman. Ross, utterly convincing as a star high school athlete ruined by his own immaturity and the earth-shattering horror of his father’s infidelity, dynamically conveys Biff’s fiery temperament and soul-searching insecurity. Schute is an amiable fit as the philandering Happy, who assumes the role of mediator during frequent family arguments that erupt here with strikingly combative, fist-pounding fury.

Hellems’ firm cast, clothed in Mary Beth McLaughlin’s fine period costumes, also includes Mathys Herbert (sharp and endearing as Biff’s childhood friend Bernard), Jenyth Rosati (effectively seductive and aggravating as The Woman), Jason Collins (first-rate as Charley, Bernard’s father and Willy’s financial saving grace), Andrew Quiett, Tyler Edwards, Tess Talbot, Justin King, Chelsey Cavender, Lauren Bernstein and Ben Street. Scenic designer Don David’s angled concept and Nicholas Crumbley’s moody lighting are atmospherically ideal.

Powerfully relevant in the midst of our current economic crisis, WSU’s “Death of a Salesman” splendidly wounds with a brutal honesty that will leave you breathless.

Death of a Salesman continues through Oct. 2 in the Robert and Elaine Stein Auditorium of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 83 minutes. Tickets are $17-$19. For tickets or more information, call (937) 775-2500.

The bizarre, hilarious and intriguing life of legendary eccentric soprano Florence Foster Jenkins, Manhattan’s most reliable musical laughingstock from 1912-1944, takes center stage in Stephen Temperly’s 2005 two-hander “Souvenir,” an unforgettable play with music receiving an outstanding local premiere courtesy of the Dayton Theatre Guild.

Subtitled “A Fantasia on the Life of Florence Foster Jenkins,” “Souvenir” inherently fascinates as it warmly if hurriedly chronicles the childlike naïveté, unyielding determination and non-existent talent of its extremely unique leading lady. Jenkins, a wealthy, musically inept socialite, firmly believed she was a remarkable vocalist even though she possessed an embarrassingly awful sound. Mistaking laughs for cheers, she assumed all was well as her popular charity recitals inside the Ritz Carlton ballroom left audiences baffled, delighted and hungry for more. Jenkins’ rise as a phenomenon ultimately led to her 1944 sellout concert at Carnegie Hall, which solidified her spot in the annals of pop culture and particularly left Marlene Dietrich in hysterics.

Personality and psychology factor into the allure of this intimate tale, but musicianship is the key ingredient that binds every element. Temperley smoothly frames the action in flashback from the vantage point of Jenkins’ devoted pianist Cosmé McMoon, a fledgling composer. Struggling to pay his rent, Cosmé agreed to assist and instruct, but remained perplexed and wary of his employer’s mystique. At one point, he admits Jenkins’ folly “was so stupendous you had to admire its scale.” Still, how far was too far? He eventually accepted the reality that she would never be the marvel imagined in her head, but delicate disagreements surfaced regarding their shared love of music. In fact, Cosmé believed notes were “absolute” while Jenkins felt they were merely “guideposts.” In theory, Cosmé is correct, but Jenkins’ view is valid, particularly by today’s debatable standards as pop singers such as Christina Aguilera, Beyoncé, Mariah Carey, Celine Dion and Jennifer Hudson relish the overuse of melisma, a melodic embellishment in which a series of notes are sung on one syllable.

Under Saul Caplan’s humorous yet tender direction, Reneé Franck-Reed and Charles Larkowski wonderfully and affectionately deliver performances so instinctive you’d think Temperley wrote the play specifically for them. Appealingly costumed by Robin Farinet, Franck-Reed, who has notably appeared with the Dayton Opera, Human Race Theatre Company and Cincinnati’s New Stage Collective, brilliantly tackles the crucial believability of singing off-key with terrible pitch and no sense of rhythm. Hearing a fine soprano like Franck-Reed seamlessly destroy classics by Mozart and Verdi is a thrilling hoot. Still, the chatty charm, oddball delusion and striking innocence that kept Jenkins endearing as a consummate non-professional is not neglected in her marvelously grounded performance, which grows heartbreaking when Jenkins finally grasps the truth at Carnegie Hall. Larkowski, in a very engaging Guild debut, blends perfectly with Franck-Reed. In addition to providing terrific accompaniment and sincere narration, he sharply conveys Cosmé’s deep insecurities while fulfilling his pivotal role as Jenkins’ primary motivator, comforter and protector.

“To abuse my voice would be unthinkable,” Jenkins proudly declares in one of many witty exchanges. Thanks to a beautifully crafted finale that reveals the music inside her mind and the dynamic duo of Franck-Reed and Larkowski, it is certainly unthinkable for you to miss this absolutely captivating production.

Souvenir: A Fantasia on the Life of Florence Foster Jenkins will continue through Sept. 25 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: 55 minutes; Act Two: 40 minutes. Tickets are $11-$18. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

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The vigorous tribal strains heard at the beginning of the Human Race Theatre Company’s excellent local premiere of Yasmina Reza’s fascinating absurdist comedy “God of Carnage,” the 2009 Tony Award winner for Best Play translated by Christopher Hampton, are not erroneous. In fact, they provide a perfect precursor to the hilariously brutal philosophical war that transpires between two New York couples trying to make amends following a playground brawl involving their sons.

Reza, who won her first Tony in 1998 for the sophisticated and slightly polarizing “Art,” supplies her most commercial, relatable work to date with “God of Carnage,” a sharp examination of self-righteous parenting and affluent arrogance set inside the attractive home of Michael (Tim Lile) and Veronica (Jennifer Johansen). As the uncouth, destructive sparks fly in Michael and Veronica’s battle with Alan (Rob Johansen) and Annette (Jennifer Joplin) as well as each other, it’s easy to pigeonhole the play as needlessly mean-spirited and over-the-top. However, both well-defined couples, who deceptively appear sensible and accepting at the outset, are justifiably cruel and damaged at the core. Underneath their hysterical facades, they have loveless marriages, bleak futures and no intention to truly agree for the greater good. In 90 engrossing minutes, Reza astutely peels away the hypocritical layers of four incredible fools who presume to know everything when in fact they know nothing.

Director Margarett Perry, expertly establishing an uneasy atmosphere that ebbs and flows between awkward tension and frenzied chaos, assembles a naturally compatible, first-rate quartet. The always striking Jennifer Johansen, rivaling the luminous ferocity of Marcia Gay Harden in the extraordinary original Broadway production, is simply outstanding as a domineering, highly intellectual and startlingly overprotective mother whose interest in Africa is particularly challenged beyond her expectations. Lile, so adept at physical comedy, humorously unleashes Michael’s fatherly pride, frustrated disgust and surprising bigotry. Rob Johansen, Jennifer’s real-life husband, provides a fine example of an annoying workaholic lawyer who would rather cling to his cell phone than his wife. Joplin wonderfully reveals the feistiness brewing below Annette’s unassuming persona.

Additionally, David A. Centers’ stylishly sleek set ranks among his best designs. The contributions of costumer Lacee Rae Hart, lighting designer John Rensel, sound designer Matthew P. Benjamin and properties master Heather Powell are also commendable.

“God of Carnage,” opening the Human Race’s 25th anniversary season, will arrive this fall on the big screen re-titled “Carnage,” directed by Oscar winner Roman Polanksi and featuring Oscar nominee John C. Reilly and Oscar winners Jodie Foster, Christoph Waltz and Kate Winslet (see trailer below). Polanksi’s version sounds promising, but the Human Race undoubtedly proves how audacious, entertaining and shocking Reza’s creation can be.

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God of Carnage continues through Sept. 25 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. The play is performed in 90 minutes without intermission. A special forum discussion will be held following the Sunday, Sept. 18 performance. Tickets are $18.50-$40. However, as part of the celebration of the Human Race’s 25th anniversary season, there is also a ‘25-for-25’ ticket option with the 25 seats at each end of the Loft Theatre available for just $25 at every performance. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

In related news, Jake Lockwood, who has appeared in such Human Race productions as ‘Rounding Third’ and ‘The 39 Steps,’ will conduct a free family improv workshop Saturday, September 24 from 6 to 9 p.m. at the Boonshoft Museum of Discovery’s Dayton Regional Science Festival. The Boonshoft Museum of Discovery is located at 2600 DeWeese Parkway. For more information, call (937) 275-7431 or visit www.boonshoftmuseum.org

Five elderly prostitutes come to terms with their flings, finances and fate in Paula Vogel’s funny, racy, surprisingly touching 2004 comedy “The Oldest Profession,” excellently staged by the Dayton Theatre Guild under Greg Smith’s delicately smooth direction.

Vogel, who won the 1998 Pulitzer Prize for her masterfully dark family drama “How I Learned to Drive,” vividly creates a world of tough love and hard knocks for her seasoned ladies of the night, transplanted from the seedy glamour of New Orleans’ red-light district to the competitive hustle and bustle of New York City’s Upper West Side. The action – transpiring on a park bench in the early 1980s – certainly appeals during moments of risqué chitchat, particularly when the women reminisce about the good old days in Storyville with a candor that would make Blanche DuBois blush, but the journey is unquestionably rooted in survival. After all, the ladies have finally realized their reliable clientele are “a dying breed.” Prostitution, no matter your personal feelings, is a business, and Vogel effectively advances the motivations of her colorful characters by molding the play into an eye-opening reflection on aging and security. The economic-driven tale also contains a topical relevance that’s hard to ignore, especially talk of cost-effective strategies in the midst of a debt crisis. As a result of addressing the stakes involved rather than suffocating the audience with a barrage of raunchy jokes, “The Oldest Profession” rises above mere entertainment to a deeper, poignant plateau.

Marcella Balin, Patty Bell, Jackie Engle, Ellen Finch and Marcia Nowik, humorously and provocatively clothed with assistance from Barbara Jorgensen, establish an absolutely endearing sisterhood that speaks volumes. This marvelously naughty, witty troupe also produces huge laughs based on sheer attitude and comedic timing alone. Engle, in a welcomed return to the Guild, oozes Southern gentility as Mae, the stern, no-nonsense madam trying to keep her bickering gals in line even as her health deteriorates. Bell and Finch are respectively delightful as Lillian and Edna, a very amiable duo. Nowik, outstanding in the Guild’s production of “Independence” two seasons ago, is terrifically sharp as the outspoken Ursula, whose forward-thinking suggestions perturb Mae. Balin, in a pleasant theatrical debut, exudes a natural earnestness as the meek yet chatty Vera, a heartbreaking sight in the final minutes.

Musical numbers, playfully choreographed by John Ueber, are also present offering a glimpse of the women in pure seduction mode. Nowik, attacking the spotlight like an older and wiser Sally Bowles, particularly sells Ursula’s contribution with fierce authoritative flair.

The Oldest Profession continues through September 11 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 50 minutes; Act Two: 60 minutes. Tickets are $11-$18. The play contains strong language and adult themes. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

The Muse Machine enters its 30th year with a musically appealing production of “Tonight: The Songs of ‘West Side Story’ & More,” the arts education organization’s 15th annual summer concert which opened Wednesday, August 10 at the Victoria Theatre.

Featuring 200 performers, a conglomeration of Muse students and alumni, “Tonight” – helmed by producer Douglas Merk, choreographer Lula Elzy, music director/conductor Timothy Alt and music director/choir master Ann Snyder – infuses a refreshing range of musical styles and vocal/orchestral arrangements into its predominate salute to Leonard Bernstein’s beloved 1957 work, the first Muse student musical. Stephen Sondheim, who made his Broadway debut writing his masterful lyrics for “West Side Story” at the age of 27, is also recognized with nods to his groundbreaking “Company” (1970), sophisticated “A Little Night Music” (1973) and short-lived “Bounce” (2003). George Gershwin’s iconic “Rhapsody in Blue” (1924), which Bernstein conducted and performed with the New York Philharmonic in 1959, is in the mix as well. Peculiarly, selections from Bernstein’s “Candide,” “On the Town” and “Wonderful Town” are absent.

The breezy concert is not without morsels of awkward musicality and stagecraft, but there are significant highlights nonetheless. Jamard Richardson’s “One Hand, One Heart,” Madeline Shelton’s “Send in the Clowns,” Amber Knicole’s “Somewhere” and Abby Brown and Micah Trout’s absolutely lovely “Tonight” duet are wonderfully poignant and heartfelt. Kaja Burke-Williams, Dan Baughn, Monique Cooper and Odette Gutierrez del Arroyo firmly convey the drama within “A Boy Like That.” Noah Berry, Andrew Koslow and Carly Snyder join Brown, Trout and cast for a strong rendition of the “Tonight Quintet.” On a lighter note, Berry, Koslow and Snyder join Cameron Elliott and Khyrsten Mikel for an impressively smooth a capella version of “Something’s Coming.” Jacob Brown, David Sherman and Ryan Vallo comically fuel a non-traditional “I Feel Pretty.” The Young Ensemble has fun with “Gee, Officer Krupke.”

Additionally, the Stivers Jazz Orchestra skillfully steps into the spotlight with “Cool” and “Dance at the Gym.” Stivers string bassist Erica Harvey winningly accents the country-tinged “Jet Song” featuring Shelbi August. Elzy’s choreography, created in the style of Jerome Robbins, particularly sparkles in “Dance at the Gym” as well as “Prologue” and the spirited “America” finale, splendidly led with character-driven zest by Mary Kate O’Neill.

The evening’s centerpiece unquestionably arises from guest artist/renowned pianist Leon Bates’ fantastic, passionate delivery of “Rhapsody in Blue” alongside the Muse orchestra. Bates effortlessly tackles the exhilaratingly evocative composition with playful nuance, lilting beauty and confident gusto, attributes that earned him and the orchestra a well-deserved standing ovation. Bernstein and Gershwin would be proud.

Tonight: The Songs of West Side Story & More continues today at 8 p.m. at the Victoria Theatre, 138 N. Main St. Tickets are $20-$52. The concert is performed in 100 minutes without intermission. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Ohio, specifically Dayton, is regarded as the birthplace of aviation so it isn’t surprising that “Jinxed,” a 1930s account chronicling pioneering colleagues Amelia Earhart and Jackie Cochran written by Stacey Luftig of New York City, received top honors at the Dayton Playhouse’s 21st annual FutureFest of new works, held July 29-31.

Luftig’s historically engaging if considerably cinematic and conceptually conventional tale – which challenged pre-conceived notions of Earhart’s legacy while shedding intriguing light on the relatively forgotten Cochran – garnered the highest scores based on criteria such as dialogue, plot, dramatic concept/theme and page-to-stage. The play’s enjoyable staged reading presentation, fluidly directed by Richard Brock, was marvelously heightened by a fierce, strikingly full-fledged performance by Kate Smith as the abrasive, tough-talking, determined, troubled and unabashedly self-absorbed Cochran, the first woman to break the sound barrier and an influential component in Earhart’s celebrated yet shaky career. Brock’s strong cast included Wendi Michael (an appealing Earhart), Michael Taint, Matt Turner, Franklin Johnson, Cynthia Karns and Mike Rousculp.

Longtime adjudicator Helen Sneed praised the material for its “great exposition” and “magnificent language.” “(‘Jinxed’) has elements of Greek tragedy and history combined,” echoed Eleanore Speert, founder and president of Speert Publishing who returned for her 10th FutureFest. “This play is about fame and what happens to the famous,” added David Finkle, senior theater critic for Theatermania.com. “(Luftig) should sell it to Lifetime.” The panel included 2002 FutureFest finalist Robert Koon of Chicago Dramatists as well as Dayton Theatre Hall of Fame member Dr. Robert W. MacClennan, professor emeritus of Sinclair Community College.

“So many things about FutureFest blow me away,” Luftig reflected. “So much generosity from so many people in such a short time. The planning and coordination that go into putting up three staged readings and three productions in one weekend – each for a single performance – it’s staggering. But you know what’s most amazing to me? An inspired director and a group of seven talented actors rehearse my play for six weeks, three nights a week. They read biographies of the real people my characters are based on. They stop rehearsals and debate, 10 or 15 minutes at a time, about this line or that line and what it means to the play. They devote the energy to create real relationships so that I could see my play not only live, but breathe. The designers give me lighting, a simple, elegant set, and sound effects – the sound of airplanes and radio announcers so critical to realizing my story. As if this weren’t enough, smart, sophisticated theater professionals – five of them! – give me constructive criticism, analysis and encouragement. And then the audience challenges me with their questions and their honest reactions. All these people, this fabulous community, do all these things because they love theater and to help me, a playwright they had never heard of, hear and see my work. And instead of getting an award, they give one to me. I am overwhelmed.”

The remaining contenders, selected from over 240 submissions, were: “Drawing Room,” an introspective examination of art and artists by Mark Eisman of New York City; “Roosevelt’s Ghost,” a politically charged drama by Dayton native and 2009 FutureFest winner Michael Feely of Woodland Hills, California; “The Haven,” a wonderfully contemporary, intimate, witty, relationship-driven character study by Richard Etchison of Los Angeles, California that could be a refreshing addition to the Chicago, New York or L.A. theater scene; “Allegro Con Brio,” a farce by Dayton resident Nelson Sheeley of Sinclair Community College; and “A Woman on the Cusp,” a mental illness-themed drama by two-time FutureFest finalist Carl L. Williams of Houston, Texas.

In addition to the cast of “Jinxed,” standout performers in the festival, which remained entertaining despite the lack of air conditioning, included: Mark Jeffers, Annie Pesch and Rachel Wilson of “Drawing Room”; Debra Kent, Charles Larkowski, David Shough and Michael Stockstill of “Roosevelt’s Ghost”; Megan Cooper, Danny Lipps, Deirdre Bray Root and Richard Young of “The Haven”; Cheryl Mellen of “Allegro Con Brio”; and Cher Collins, Lynn Kesson, Scott Knisley and K.L. Storer of “A Woman on the Cusp.” Also, Drawing Room” was terrifically accented by Terry K. Hitt, Patrick Hayes, Wendi Michael and Jacqui Theobald’s illustrations as well as Kirk Sheppard’s photography.

In a rare turn of events, according to FutureFest program director Fran Pesch, determining the audience’s favorite play has become problematic. “With approximately 75 percent of passholders returning ballots, it is impossible to name a definite audience favorite this year,” she said. “Three plays came within four votes of each other: ‘Jinxed,’ “The Haven’ and ‘Roosevelt’s Ghost.’”

My FutureFest rankings:

1. “The Haven”

2. “Roosevelt’s Ghost”

3.  “Jinxed”

4. “Drawing Room”

5. “A Woman on the Cusp”

6. “Allegro Con Brio”

For additional information, call the Dayton Playhouse at (937) 424-8477 or visit www.daytonplayhouse.com.

Terrific vocals, effectively ominous Nazi overtones and a delightful lead performance are great assets to Epiphany Lutheran Church’s sufficient 20th anniversary production of Rodgers and Hammerstein’s “The Sound of Music.”

Lovely soprano Michele Borns – simply excellent in Epiphany’s productions of “Jane Eyre” and “The Music Man” – was born to play Maria, the bubbly, devout postulant-turned-concerned governess. Borns delivers all of her musical numbers with winsome appeal and supplies a convincing evolution from spunky innocence to confident maturity. She doesn’t receive much support from an awkward Wayne Ulman as Captain Georg Von Trapp, but her vital scenes opposite Von Trapp’s seven children (enjoyably and compatibly portrayed by Erin Ulman, Timothy Seiler, Abby Kress, Nick Kress, Megan Ulman, Emily Kennebeck and Abbey Fry) are authentic, warm and humorous, especially “Do Re Mi,” “My Favorite Things” and Annette Looper’s colorfully choreographed “The Lonely Goatherd.”

Renee Franck-Reed, another standout soprano, is also strong as the kind, practical Mother Abbess. Franck-Reed’s firm rendition of “Climb Ev’ry Mountain” certainly brings Act 1 to an emotionally fulfilling finish. Ian Benjamin (Rolf) joins Ulman for a very charming “Sixteen Going on Seventeen.” Megan Rehberg (Baroness Schraeder) is properly sophisticated and attractively costumed by Maria Klueber and Lori Watamaniuk. Ralph Bordner (Max Detweiler), Sandy Schwartzwalder (Frau Schmidt), Chace Beard (Franz), Michael Shannon (Herr Zeller), Martha Armstrong-Benjamin (Sister Berthe), Becki Foster (Sister Margaretta) and Allison Tura (Sister Sophia) and the beautifully harmonious Nun Choir are also noteworthy.

Director Brett Greenwood astutely heightens the inherently sappy yet solid material with chilling archival footage of Hitler’s dark reign. Musical director John Benjamin leads a steady orchestra. Bruce Brown creates another crafty, eye-catching set design.

The Sound of Music continues through Sunday, July 24 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Act One: 1 hour and 45 minutes; Act Two: 55 minutes. The production is double-cast. The cast reviewed will perform Friday, July 22 and Saturday July 23 at 8 p.m. The second cast, starring Kandis Wean as Maria, will perform Saturday, July 23 and Sunday, July 24 at 2:30 p.m. Tickets are $15 for adults and $10 for children 12 and under in addition to seniors 60 and older. For tickets or more information, call Jane Lane at (937) 433-1449 ext. 105 or send her an e-mail at [email protected]. A portion of the proceeds will support the Leukemia & Lymphona Society in honor of the late Kay Frances Wean, longtime director of the Epiphany Players Drama Ministry.

Fourteen years since opening on Broadway, where it continues to reign as the dominant musical theater standard-bearer for kids and adults alike, Disney’s “The Lion King” finally arrives in Dayton to unsurprisingly close the 2010-11 season on a marvelous high note overflowing with visually stunning pizzazz and uniformly excellent performances.

“The Lion King,” based on the 1994 animated film of the same name and presented by the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospitals Broadway Series, is the technically brilliant brainchild of director Julie Taymor and a recipient of six 1998 Tony Awards including Best Musical. The production simply astounds at the outset due to the incomparable pageantry of “Circle of Life,” one of the finest opening numbers ever created. Within five applause-inducing minutes of spine-tingling splendor, a whimsical actor-puppet assemblage of birds, elephants, gazelles, giraffes, rhinoceroses, zebras and more gather together on stage and off. Although this ingeniously conceived prologue feels slightly rushed here and could benefit from more processional surprises in the aisles, a concern I’ve had with previous “Lion King” tours over the years, it is a crowd-pleasing hallmark worth the price of admission.

Elsewhere, Taymor’s finesse as an avant garde visionary stunningly elevates the action from her incorporation of shadow puppets to moments of high drama (the wildebeest stampede) and emotional poignancy (the sight of lionesses in mourning). Still, her artistic wizardry, particularly her fascinating mask/puppet designs co-created with Michael Curry that never hide the actors, doesn’t overshadow the material, a significant attribute oddly ignored during her muddled creation of “Spider-Man: Turn Off the Dark.” After all, this engaging yet character-overloaded tale of a young lion’s struggle with doubt, insecurity and fear following the premeditated murder of his father certainly resonates on its own without flashy conceptual interference as formulated by librettists Roger Allers and Irene Mecchi, who remain faithful to the charm and heartbreak of the original screenplay co-written by Mecchi, Jonathan Roberts and Linda Woolverton. An assortment of strikingly authentic and atmospheric African-infused tunes from Lebo M., Mark Mancina, Jay Rifkin, Taymor and Oscar winner Hans Zimmer also seamlessly accent Elton John and Tim Rice’s original songs, which include the Oscar winning “Can You Feel the Love Tonight.” Curiously, “The Morning Report,” a breezy ditty by John and Rice written for the stage version, has been cut from Act 1 but is not a detrimental loss.

Jelani Remy brings terrific soul-searching introspectiveness to his portrayal of Simba, who mistakenly flees Pride Rock in shame and ultimately confronts his past along the way. Remy’s achingly tender rendition of “Endless Night” is a truly compelling Act 2 highpoint. Dionne Randolph is fittingly regal yet compassionate as Mufasa, Simba’s imposing father. J. Anthony Crane embodies Simba’s treacherous uncle Scar with cool understatement and appealing sarcastic malevolence. Brenda Mhlongo, a joyful and playful Rafiki, particularly ushers in a dynamically uplifting version of “He Lives in You” opposite Remy late in Act 2. The delightful Tony Freeman, an expert puppeteer, exudes tightly wound sophistication as the fussy yet devoted Zazu. As Timon and Pumbaa, Nick Cordileone and Ben Lipitz respectively fulfill their comic relief duties with carefree zest. Andrew Arrington (Banzai), Monica L. Patton (Shenzi) and Ben Roseberry (Ed) are a compatible trio of silly hyenas. Syndee Winters, a fiercely determined Nala, supplies a lovely rendition of “Shadowlands.” Dusan Brown, Jerome Stephens, Jr., Monique Lee and Madai Monica Williams respectively alternate the roles of Young Simba and Young Nala. Tryphena Wade as Sarabi and Sharron Williams as the Cheetah are also noteworthy.

In addition to Taymor’s dazzling costumes, a particular explosion of color in the eye-catching “One by One,” Richard Hudson and Donald Holder are respectively responsible for an utterly remarkable set and lighting design. Garth Fagan’s spirited choreography is energetically executed with precision and passion. Music director Rick Snyder leads a solid orchestra featuring percussionists Stefan Monssen and Reuven Weizberg.

Whether you’re interested in seeing “The Lion King” for the first or fifth time, it remains an awesome spectacle not to be missed.

Disney’s The Lion King, which opened Thursday, June 16, continues through Sunday, July 10 at the Schuster Center, Second and Main Streets. Performances are Wednesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 1 and 6:30 p.m. Act One: 68 minutes; Act Two: 60 minutes. Tickets are $32-$141. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

In addition, the Downtown Dayton Partnership and Victoria Theatre Association have partnered with local businesses to offer special discounts for Lion King ticket holders. For a complete list of promotions, along with parking information and more, visit www.downtowndayton.org

Beavercreek Community Theatre delivers a zestful, warmly interactive and impressively sung production of Rupert Holmes’ tuneful, rarely staged 1986 Tony Award-winning musical “The Mystery of Edwin Drood,” an audience-friendly show within a show circa 1892 adapted from the unfinished novel of the same name by Charles Dickens.

Crisply directed in a witty tongue in cheek manner by Chris Harmon, also responsible for an attractive set complete with footlights and theater box, this breezy, well cast “Drood” engages from the start as a throng of Victorian performers from The Music Hall Royale casually connects with the audience before launching into the titular tale as an assortment of colorful characters. The love triangle-driven plot centers on crazed choirmaster John Jasper (Jonathan Berry) who, in Phantom-esque fashion, pines for his self-effacing student Rosa Bud (Bethany Locklear), a beautifully demure soul engaged to his carefree nephew Edwin Drood (Amy Leigh). When Edwin inexplicably disappears on Christmas Day, it’s anyone guess as to what happened. Since Dickens was unable to provide closure, the enjoyment of determining the mystery is left entirely in the hands of the audience, a conceptual hallmark ensuring appealing unpredictability.

Despite the fact that a few punch lines in the libretto fall flat or feel forced, Holmes nonetheless interweaves the world of the Music Hall Royale and Dickensian London with great skill, guided with crowd-pleasing vitality by Dean Swann as Chairman William Cartwright/Mayor Thomas Sapsea. Swann, a memorable Dr. Scott in BCT’s “The Rocky Horror Show” who possesses a knack for improvisation, winningly accents his slightly kooky, deceptively calculated portrayal with a jolly Zach Galifianakis sensibility. The equally excellent Berry, effortlessly brooding and primarily known for plays, supplies his most vocally arresting musical theater performance to date. Near the outset, he absolutely solidifies his strikingly unhinged embodiment of Jasper with an intense yet humorous rendition of “A Man Could Go Quite Mad.” Locklear, an outstanding soprano who commands the stage with graceful gentility, is a true find. Her plaintive interpretation of the gorgeous “Moonfall” is absolutely stunning. At the same rate, “The Name of Love,” her duet with Berry aided by John Falkenbach’s fiery red lighting design, pulsates with an alluring seductiveness recalling “The Point of No Return” from “The Phantom of the Opera” and “Dangerous Game” from “Jekyll & Hyde.” Leigh, who doubles as Dick Datchery, particularly fills her titular portrayal with charm, but I wish the excitable sparks prevalent within her stirring rendition of “The Writing on the Wall,” which concludes the show, were consistent in her work throughout.

Additionally, as the seedy Princess Puffer, Pam McGinnis is a reliably earthy joy delivering “The Wages of Sin” and “The Garden Path to Hell.” Charles Larkowski (Rev. Mr. Crisparkle), Shawn Hooks (Neville Landless), Jim Lockwood (Durdles), Bryan Wilcox (Deputy) and Thomas Cole Schreier (Bazzard) are apt comedians. Lindsay Sherman (Helena Landless), Jenna Owens (Wendy) and Tara Nicole Murphy (Beatrice) join Locklear for the lovely “Moonfall Quartet.” Megan Vander Kolk, Michael J. Stockstill, Matt Owens, Nicole Dine, Jennifer Wilson and Jeremy D. King complete the very compatible cast, who are nicely costumed in Victorian garb by Josh Hollister and energetically executes Annette Looper’s commendable choreography.

The Mystery of Edwin Drood, which opened Friday, June 10, will continue through Sunday, June 19 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: 79 minutes; Act Two: 55 minutes. Tickets are $13 for adults and $11 for students, seniors and BCT members. For tickets or more information, call (937) 429-4737 or visit www.bctheatre.org

The Young at Heart Players, Dayton’s only senior theater troupe, ushers in its second decade with a heartwarming and humorous production of Kathleen Clark’s 2006 two-hander “Southern Comforts,” presented in collaboration with the Dayton Theatre Guild.

Fluidly directed by YAHP founder Fran Pesch and set in a Victorian home in New Jersey circa 1996, “Southern Comforts,” as seen at its well paced final dress rehearsal, features very charming turns by Barbara Jorgensen and Greg Smith as Amanda Cross and Gus Klingman, a colorfully opinionated duo who learn to love again despite their personal and geographical differences. Clark predictably lays the groundwork for a happy ending in the first scene, but Jorgensen and Smith’s endearing chemistry and sharp characterizations keep the breezy action thoroughly engaging, particularly in the final minutes which provide touching closure.

Jorgensen effortlessly handles the casual ease and subtle complexities inherent in Amanda, a churchgoing chatterbox from Tennessee who loves baseball and still longs for romantic pleasures. She particularly shines with a captivating mix of anger and bewilderment late in Act 2 when Amanda grows perturbed and perplexed about Gus’ decision not to share a burial plot with her. As the strong-willed Gus, a New Jersey native still shaken by his late wife’s unhappiness and emotional detachment, Smith winningly reveals the inner struggle of a man reticent of losing his independence while genuinely longing for meaningful companionship. Although Gus totally desires a new chapter with Amanda, Smith astutely reiterates how difficult compromise can be.

“Southern Comforts” is intended for an older audience, but its tender sentiments and lasting reminder that all relationships must evolve and adapt has unlimited appeal.

Southern Comforts will be staged Friday, June 10 and Saturday, June 11 at 8 p.m. and Sunday, June 12 at 3 p.m. at the Dayton Theatre Guild, 430 Wayne Ave. The play is performed in 90 minutes with one 15 minute intermission. Tickets are $12 for seniors and students and $15 for adults. For more information, visit www.daytontheatreguild.org

Composer Gregg Coffin, familiar to local musical theater aficionados for his masterful portrait of a fractured family (“Convenience”) and zany dose of musically flavorful romance (“Five Course Love”), is in the spotlight once more as the Human Race Theatre Company presents the regional premiere of his genuinely affecting, sung-through opus “right next to me,” a poignant, solemn and timely musical about love, loss and acceptance that in some respects feels as if it’s still a work in progress.

Since its 2009 Human Race workshop, “right next to me” underwent major rewrites resulting in a more succinct vision. It has smoothly advanced from a tale of three interweaving storylines to one that specifically focuses on the depressed, heartbroken Jen (Maria Couch), a widow struggling to move forward a year after her husband, Marine Major David Marshall (Jamie Cordes), was killed in Iraq. With the help of her brother-in-law, Marine Captain Michael Marshall (Jim Poulos), Jen is ultimately able to assess and endearingly reflect on the past and her current state of transition as she joins Michael in scattering David’s ashes at a variety of meaningful places per his request such as a sledding hill, a trestle bridge and an amusement park.

Oddly, the first and second scenes are slow, confusing and musically unexciting. Jen’s loyal friend Trish Holmes (Dana Mierlak) particularly opens the show with a bundle of energy, but there isn’t a clear indication of who she is or why she is an important presence. It is understandable Jen would need someone to confide in, but Trish, a busy supermom, is presently underdeveloped to the point of being superfluous. Mierlak, a fine vocalist, tries to inject depth into the role but her forced efforts, including her comedic timing, fall short under the otherwise fluidly focused direction of Melissa Rain Anderson.

Still, Jen and David’s appealingly surreal exchanges, a series of well-conceived flashbacks and the impactful journey of reconciliation between Jen and Michael evolving from rocky discord to tender hopefulness keep the action emotionally resonant while providing an assortment of tuneful pluses. Coffin, responsible for the expert orchestrations, admirably infuses evocative Middle Eastern inflections into the pop/ballad-friendly score for some of David’s Iraq-inspired numbers, solidly interpreted by Cordes in one of his most striking portrayals. Couch, a naturally emotive actress very compatible with Cordes throughout, especially in the delightful “Two Chilly People,” brings Act 1 to a tear-jerking finish with a beautifully pensive rendition of “I Can’t Believe You’re Gone,” a plaintive anthem detailing Jen’s shell-shocked existence. Poulos, so marvelous in “Convenience” opposite Anderson, equally shines, fully conveying Michael’s conflicted nature and bringing heartfelt sincerity to his desire to follow David’s example and become a better man. He also winningly sings the Billy Joel-esque “Confirm/Deny” and terrific title number, a quietly captivating song that deserves a reprise by Jen in the final scene.

Despite conceptual shortcomings, “right next to me” is one of the most engaging new works of the season. It certainly has the potential to be catapulted from decent to dynamic.

right next to me, which opened Friday, May 27, continues through Sunday, June 12 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. There will be special 7 p.m. performances Sunday, June 5 and Tuesday, June 7. Act One: 73 minutes; Act Two: 40 minutes. The Friday, June 3 performance has been designated ‘Blue Star Mothers Night’ in which $10 from each adult single ticket purchase will be donated to the Dayton Chapter of Blue Star Mothers, an organization supporting military personnel and families. In addition, there will be a post-show talkback following the Sunday, June 5 matinee moderated by Human Race marketing director Leigh Allan and featuring composer Gregg Coffin. Before the June 7 performance, the Lite Fare at The Loft event, offering gourmet sandwiches and desserts for patrons in the Loft lobby courtesy of Citilites, will begin at 5:30 p.m. For tickets or additional information, call (937) 228-3630 or visit www.humanracetheatre.org.

In related news, the Human Race’s 2011 Festival of New Musicals will be held August 5-7 at the Loft Theatre. This year’s selections are Love Makes the World Go ’Round: The Songs of Bob Merrill, Pump Up the Volume (presented by Encore Theater Company and based on the 1990 film of the same name) and Play It Cool.

Cincinnati native Theresa Rebeck’s terrifically engrossing 2007 comic drama “Mauritius” receives an excellent local premiere at the Dayton Theatre Guild.

Sharply staged with subtle nuances by Saul Caplan, “Mauritius” concerns the sibling rift between half-sisters Jackie (a dynamic Amy Brooks) and Mary (a firmly unyielding Teresa Connair) who differ on the sentimental value of a family stamp collection they possess following their mother’s death. In Jackie’s eyes, the rare collection –  potentially worth $6 million and containing a one-penny and two-penny “Post Office” stamp printed incorrectly in 1847 on the titular island near Madagascar – is the quick answer to her financial problems, but Mary feels it should be preserved in a museum as a tribute to her late grandfather. This intriguing conflict is the source of the play’s emotionally compelling pulse yet the astutely woven inclusion of three colorful stamp aficionados broadens the material past familial baggage in an attempt to raise its suspenseful stakes while addressing the complex delicacy associated with bargaining and negotiating.

Brooks, in a strikingly meticulous performance rivaling Alison Pill’s turn in the original Broadway production, embodies Jackie with marvelous tenacity and gumption. With casually instinctive yet passionate flair, she transforms Jackie into a formidable force and an impressively quick study into the world of stamp collecting. She also beautifully reveals the hurt and agony set into motion by Mary’s absence as their mother grew ill and during her youth, winningly implying late in the play that Jackie was abused by her father. Still, one of her finest moments, arriving at the end of Act 1 as Jackie and Mary reach a breaking point in their struggle to compromise, is splendidly shared with Connair, who avoids seeming prudish or uncaring in a role that is borderline icy and detached.

Additionally, Geoff Burkman absolutely shines as the foul-mouthed, easily irritable and incessantly stringent Sterling, an intimidating businessman who craves the art of the deal and prefers to call the shots. Burkman’s piercingly calm and cool delivery of Sterling’s enticing monologue about commerce and the stark reality of transactions, in which “the rules become your enemy,” is a magnetic high point. Alex Carmichal is equally convincing as Sterling’s less menacing colleague Dennis. Pat Santucci completes the cast as Philip, an ethically challenged philatelist at the center of one of the play’s juicy twists.

Choosing to live in the past or present is a key concern in this appealing creation from Rebeck, a Pulitzer Prize finalist for “Omnium Gatherum” who recently wrote the pilot episode for next season’s NBC Broadway-themed series “Smash.” Jackie and Mary’s bickering battle tears them apart, but witnessing their journey is well worth your time.

Mauritius, which opened Friday, May 13, continues through Sunday, May 29 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 54 minutes; Act Two: 53 minutes. Tickets are $10-$17. The play contains adult language. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org