Dayton937

Things to do in Dayton | Restaurants, Theatre, Music and More

On Stage Dayton Reviews

‘Chicago’ Review – Springboro Community Theatre – Jailhouse Jewels

By

The heated competition between merry murderesses Roxie Hart and Velma Kelly is back as Springboro Community Theatre continues its inaugural season with an entertaining production of composer John Kander, lyricist/co-librettist Fred Ebb, and co-librettist Bob Fosse’s classic 1975 musical Chicago.

Photo caption(s) (left to right) Logan Hylinski (Velma Kelly) and Kailey Yeakley (Roxie Hart) are featured in Springboro Community Theatre’s production of John Kander, Fred Ebb and Bob Fosse’s classic musical “Chicago” through Nov. 17. (Contributed photo)

The core 1920s battle inside the Cook County Jail as famed veteran Velma is challenged in publicity and attention by upstart Roxie is well-established and believably grounded by Logan Hylinksi and Kailey Yeakley, respectively. Although their youth significantly lessens the level of desperation inherently built inside both roles, they nonetheless bring charisma, passion, sensuality, and spunk to the stage as stakes are raised. Hylinski, agile, sleek and sly with an impressive grasp of the Fosse style, greatly emphasizes Velma’s unexpected change of course having to share her turf and see her reputation disintegrate as Roxie surpasses her. “I Can’t Do It Alone,” Velma’s plea for Roxie’s assistance, showcases Hylinksi to the fullest as a performer while still reflecting Velma’s vulnerability. Yeakley, filling Funny Honey with a pleasant country twang near the outset, shrewdly embraces Roxie as a cold-hearted killer empowered and reveling in her celebratory rise as the Windy City’s latest craze even as she is doted on by her hopelessly gullible husband Amos (endearing Aaron Brewer) and spars with hotshot lawyer Billy Flynn (Steven Lakes, vocally strong yet lacking in layers and specificity). Her playful rendition of Roxie, which includes a fantastic monologue detailing the character’s adulterous backstory, is a particular highlight.

In addition: Jeannine Geise is a delightfully crass Matron Mama Morton (her brutally blunt rendition of Class opposite Hylinski is wonderfully lyric-driven and sarcastic); Donna Cason keeps the action humming in her central role as Emcee; The Cell Block Tango, one of many flavorful Fosse-inspired routines admirably choreographed by Kara Castle, is terrifically rendered by Lily Newman (Mona), Morgan Gruet (Annie), Ryann Davis (June), and Madison Stapleton (Liz) along with the aforementioned Hylinksi and Castle (Hunyak) who are all costumed seductively by Olivia Dakin; standout ensemble members Jeremy Smith (Fogarty/Harrison) and William Boatwright, Jr. (Harry/Aaron) are great assets in spirit, tone and movement; Tim Fingerle (Fred Casely) proves prominent in flashback during Roxie’s climatic trial; Xander Hildenbrandt is a fittingly fiery Go to Hell Kitty; and Megan Blitz, Lauren Ping, and Allie Staples nicely complement as featured dancers. However, as newspaper reporter Mary Sunshine, Jordan Mckinniss stumbles within the tricky parameters of spoof, specifically lacking authenticity and vocal finesse to properly sell the role and its duality. Trust me: A Little Bit of Good is one of the finest character-specific songs in the Kander and Ebb canon and deserves a far better treatment than exhibited here.


In a unique departure from the standard jailhouse setting, director Jenni Cypher frames the show inside a period nightclub, designed by Wayne Myers complete with tables and bar. It’s an interesting concept at times refreshing but occasionally muddled, particularly Act 1 finale My Own Best Friend, a defiant number devoted to Roxie and Velma’s decision to rely on no one but themselves that gets deflated as Hylinski and Yeakley stroll across the stage as some sort of lounge act to satisfy customers. On the other hand, Cypher’s choice to bring the overwhelming fury of The Cell Block Tango directly into the audience notably appeals. Her production team includes music director Judy Mansky, lighting and sound designer Jason Vogel, and properties master Kurt Cypher.

We can learn a lot from the corruption, betrayal, lies, and treachery that make Roxie and Velma household names. With Hylinksi and Yeakley firmly in the driver’s seat, this cautionary tale rightfully stings with relevancy. Buckle up.

Chicago continues through Nov. 17 at Springboro Community Theatre, 115 Wright Station Way, Springboro. Performances are 8 p.m. Friday and Saturday and 2 p.m. Sunday. Tickets: $20 for adults; $18 for seniors, students, military, and groups. For tickets or more information, call (888) 262-3792 or visit borotheatre.org. Patrons are advised the show contains adult language/situations.

 

‘The Cake’ Review – Human Race Theatre Company – It’s Not Well with Her Soul

By

A mind is a terrible thing not to change. However, for most of her life, Della Brady, North Carolina bakery proprietor extraordinaire, has been inclined to follow the directions, making sure everything is exactly right for herself and her loyal customers. In fact, she’s become so impressive at her craft she excitedly anticipates her upcoming appearance on “The Great American Baking Show.” But the crucial day one of her special customers asks if she would bake her wedding cake, a customer she has known since birth, Della finds it difficult to oblige simply because she disagrees with her lesbian lifestyle. The crisis of conscience that ensues provides the compelling fodder for Bekah Brunstetter’s comedic, gripping and thought-provoking 2018 contemporary dramedy The Cake, excellently presented in its local premiere by the Human Race Theatre Company at the Loft Theatre.

Laurie Carter Rose (Della Brady) in the Human Race Theatre Company’s local premiere of Bekah Brunstetter’s 2018 dramedy “The Cake,” continuing in its local premiere through Nov. 17 at the Loft Theatre. (Photo by Heather N. Powell)

Fluidly staged with riveting instincts by Greg Hellems, The Cake doesn’t hold back in its frequent, even-handed debates about life, love, family, marriage, relationships, religion, and society, an array of themes that have served Brunstetter well as co-producer of NBC’s remarkable Emmy-winning drama This is Us, among my utmost favorite shows. As The Cake unfolds, it’s very easy to grasp why Jen – New York-based daughter of Della’s deceased best friend – would risk embarrassment, risk being viewed as undeserving, and journey all the way to the Bible Belt to personally ask Della to do the honors, especially since she has become somewhat of a second mom. At the same rate, it’s very easy to grasp Della’s biblical stance, her fundamental belief that God created marriage between man and woman. Even so, it breaks Jen’s heart knowing Della’s true feelings even though her southern roots are also an intrinsic part of her down to the core, so much so she privately loathes much of her existence within Brooklyn’s literary gay scene. But as Jen’s highly opinionated yet concerned and protective partner Macy reminds her, “nostalgia is not a belief system.” In other words, Jen today is not Jen of long ago. Either Della accepts that or she doesn’t. There are other bakeries and other cakes.
In a marvelous Human Race debut, Laurie Carter Rose, humorous yet moving, is a terrifically conflicted Della, caught in a severe struggle between the heart and the head while trapped in a stagnant marriage. Brunstetter throws in an unnecessary bit of risqué workplace funny business, but Rose rises above the awkwardness and partial nudity to effectively draw the audience into Della’s desperation, her desire to refuel whatever gas is left in her rusty marital tank. Human Race resident artist Tim Lile is also authentically first-rate as Della’s ultra conservative, inadvertently small-minded, I-tell-you-who-to-vote-for husband Tim. Claire Kennedy, previously a knockout in the titular role in the Human Race’s production of Hail Mary!, returns to the Loft with endearingly superb, passionate and relatable finesse. Her expert handling of Jen’s internal tug-of-war, the deep second guessing of who she actually is, increasingly builds and is particularly impactful when Jen reveals specific details to Della about her recurring dream involving heterosexual sex. As outspoken Macy, Candice Handy, in another striking Human Race debut, dynamically ruffles feathers. Macy may be off-putting and overtly political, but Handy is a force to be reckoned with nonetheless, providing a voice of reason that gives the timely, topical play its blunt balance.
Hellems’ production team includes the wonderful contributions of scenic designer Dan Gray (supplying a revolving set beautifully decorated for Della’s shop complete with spiritual décor recalling Kirkland’s), costumer Jessica Pitcairn, lighting designer John Rensel, and sound designer Jay Brunner’s country-infused music slowly evolving into more distorted, haunting strains as conflict increases.

“It just doesn’t sit right with me,” Della says, weighing the big decision at the crux of the play. Thankfully, the choice to see The Cake isn’t difficult at all. Don’t miss it.

The Cake continues through Nov. 17 at the Loft Theatre, 126 N. Main St., Dayton. Performances are 8 p.m. Thursdays-Saturdays, 2 p.m. Sundays, and 7 p.m. Tuesdays and Wednesdays. The play is performed in 90 minutes without intermission. Tickets are $16-$52; The “Sawbuck Sunday” performance, in which tickets are available for $10, is Nov. 3 at 7 p.m. Tickets are available two hours prior to performance for walk up sales only. Other discounts for groups, students and military are also available. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit humanracetheatre.org. Patrons are reminded the show contains adult language/situations and partial nudity.

Also, the Human Race is partnering with the Neon Movies for a screening of 2004’s “Saving Face” on Monday, Nov. 4 at 7:30 p.m. “Saving Face” is an Asian and gay-themed story about family secrets.

Dr. Nicole Richter, head of the Tom Hanks Center for Motion Pictures at Wright State University, will lead a discussion following the film with James Hughes, retired WSU literature professor. Tickets are available at the Neon, 130 E. Fifth St., Dayton. For more information, visit humanracetheatre.org or neonmovies.com.

 

‘The Addams Family’ Review – Wright State University – Delightful Darkness

By

Full disclosure. I thought I’d seen my local fill of The Addams Family from the national tour to community theater to high school, but Wright State University’s outstanding production is such an absolute hit I’m tempted to see it again.

Erik Moth (Fester) and the Ancestors in Wright State University’s production of “The Addams Family.” (Photo by Erin Pence)

Skillfully directed by Joe Deer with breezy transitions, an astute balance of tenderness and zaniness, and a clever nod to The Sound of Music just for kicks, The Addams Family, adapted by librettists Marshall Brickman and Rick Elice as inspired by Charles Addams’ classic cartoons, is an engaging musical comedy about love, acceptance, identity, second chances, and letting go. The sudden news that gloomy Wednesday (strikingly intense Michaella Waickman) is happily engaged to All-American, easygoing Lucas Beineke (amiable tenor Eric Thompson) causes worlds to collide, secrets to fester, and fear to grow. But once Gomez (charismatic and debonair Hunter Minor) and Morticia (elegantly comedic Robin Dunavant) come to terms with recognizing and respecting Wednesday’s maturity as a young woman who knows what she wants, the family bonds are strengthened beyond expectation.

Hunter Minor (Gomez) and the cast of Wright State University’s production of “The Addams Family.” (Photo by Erin Pence)

Brickman and Elice, with incredibly tuneful assistance from composer Andrew Lippa, dabble in the Fiddler on the Roof playbook from the outset (When You’re an Addams is basically Tradition with an emphasis on heritage/lineage instead of culture/faith), but the age-old notion that parents must ultimately learn to step back and see the future through their child’s eyes, especially when marriage is on the agenda, still tugs the heart. In fact, Happy/Sad, sung with beautifully wistful contradiction by Minor with a final embrace by Waickman for added tear-jerking effect, recalls the many meaningful, touching exchanges Tevye has with his devoted daughters. Granted, Fiddler doesn’t contain an elaborate dinner party in which Fydeka’s parents pay Tevye and Golde a visit, but this show smartly gives us ample time to get to know, understand and relate to Lucas’ conservative dad Mal (perfectly hard-nosed, uptight and out of touch Nick Martin) and meek mom Alice (Emma Bratton, impressively conveying Alice’s duality in the uninhibited Waiting). And in doing so, the sheer acknowledgment that all families have their ups and downs, saviors and skeletons, greatly adds to the show’s universality.

Robin Dunavant (Morticia), Hunter Minor (Gomez) and the cast of Wright State University’s production of “The Addams Family.” (Photo by Erin Pence)

By and large, Deer’s cast is utterly delightful. Minor fantastically exudes Spanish flair in his breakthrough performance, bringing sharp suaveness to Trapped with sword in tow and fierce passion to his knockout Not Today complete with chair flair that would make Liza “Mein Herr” Minnelli swoon. He also joins Dunavant for an awesomely sexy, scintillating and humorous Tango De Amor, one of many wonderfully flavorful routines choreographed by WSU alumna Dionysia Williams. Waickman, having a banner year and most recently seen as Alice Russell in the Human Race Theatre Company’s production of Lizzie, is an expressive, endearingly haunting presence, notably reiterating Wednesday’s newfound emotional confliction in Pulled. In addition to the aforementioned Thompson, Martin and Bratton, Erik Moth charms as Fester (playfully showcased in “The Moon and Me”), Amanda Astorga is a hilariously kooky Grandma, Dylan Tacker dutifully stalks mysteriously as Lurch, and Parker Kaibas is a fine fit as Pugsley. The action is also strongly accented by the Male Ancestors (Marcus Antonio, Tommy Cole, Mitchell Lewis, Jake Siwek, Jeremy Weinstein) and Female Ancestors (Lauren Eifert, Tassy Kirbas, Emma Metzger, Maggie Musco, Jeannine Sincic). Matthew Shanahan and Sophie Hardy are the Swings.

Michaella Waickman (Wednesday) and Eric Thompson (Lucas) in Wright State University’s production of “The Addams Family.” (Photo by Erin Pence)

The production’s top-notch, gorgeously ghoulish appeal extends to scenic designer David J. Castellano, costumer Zoë Still (notably providing a nifty journey through time for the Ancestors from the Prehistoric era to the 1920s and more), lighting designer Matthew P. Benjamin, sound designer James Dunlap, dialect coach Deborah Thomas, properties master John Lavarnway, and the WSU debut of music director Wade Russo leading a talented orchestra.

It’s an extremely busy, competitive time within the local arts scene, but don’t miss what is clearly one of the best productions of the season thus far. Move toward the darkness and have a blast.

The Addams Family continues through Nov. 17 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Dayton. Performances are 7 p.m. Wednesdays and Thursdays, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, and 2 p.m. Sundays. Act One: 80 minutes; Act Two: 55 minutes. Tickets are $15-$25. Call (937) 775-2500 or visit wright.edu/tdmp.

 

‘Stained Glass’ Review – Playground Theatre & University of Dayton – Church Hurt Raging in the Storm

By

It’s often said in certain circles that some of the worst people you’ll ever meet are in the church. Granted, there are a lot of evangelicals who have done wonders within their communities and across the globe, particularly the hard-scrabble work of those who have devoted their lives and Christian service as missionaries. Even so, due to the fact that human nature is a tremendously fickle beast, there are still evangelicals who manage to inflict or dabble in the practice of what is commonly known as church hurt. And it doesn’t take long for this weapon to destroy a person to the point that the Great Commission – the three-fold biblical practice of going out into the world to make disciples, baptize, and teach – ultimately falls on deaf ears. In fact, the wounds of church hurt, in word or deed, can be so destructive, painful and vilifying that some dare not step inside a church ever again.

Jillian Mitchell (Cinderella), Chris Jones (Pinocchio) and Jada Gee (Tinkerbell) in Playground Theatre and University of Dayton’s regional premiere of Ingrid DeSanctis’ “Stained Glass.” (Photo by Knack Creative)

Michelle Hayford portrays multiple roles in “Stained Glass.” (Photo by Knack Creative)

In Ingrid DeSanctis’ riveting, largely autobiographical drama Stained Glass, an O’Neill National Playwrights contest semi-finalist receiving a terrific regional premiere courtesy of Playground Theatre and the University of Dayton inside the Black Box Theatre of UD’s Fitz Hall, a young woman named Jewels (compelling Rae Buchanan) is the latest church hurt testimony. Even though she grew up adoring the enchanting biblical stories in Sunday School, particularly the Old Testament account of three men who survived a fiery furnace, Jewels has abandoned her spiritual roots based on the startling truth that her father, a Pentecostal preacher, had sexually inappropriate relationships for 20 years. When Jewels returns home to New Jersey for her father’s funeral at the same exact time of an impending storm, the past ultimately proves to be a huge kick in the gut. As if her homecoming wasn’t going to be sad or tense enough as funeral arrangements take shape, she decides to contact four women victimized by her father. Along the way, five fanciful characters – Tinkerbell (bubbly yet grounded Jada Gee), Moses (authoritatively friendly Chris Hahn), the Little Mermaid (beautifully expressive Michelle Hayford), Cinderella (sweet, concerned Jillian Mitchell), and Pinocchio (humorous Chris Jones) – offer flavorful, sprightly guidance within the framework of magical realism. As reality and fantasy collide, Jewels’ engaging journey of self-discovery, self-love, faith-building, and forgiveness remains insightful.

 

DeSanctis, Assistant Professor of Playwrighting at James Madison University in Harrisonburg, VA, creates a challenging, complex roadmap of shifting locales and sheer whimsicality, but directors Hayford, Jenna Valyn, and Hahn admirably join forces to ensure a quietly captivating experience ripe with intimacy, urgency, merriment, poignancy, and surprise. The strongest, most impactful moments arise in the uncomfortable exchanges between Jewels, dealing with her inner tumultuous storm, and the aforementioned women whose lives were altered by her father’s behavior (Val, Mrs. Clifton, Rose, and Sandy all seamlessly portrayed with excellently distinguished characteristics and varying moods by Hayford, costumed by Kehler Welland). In addition to the charming scenes of magical realism (including an unexpectedly gripping account of the Little Mermaid heightened by an emotive Hayford in the Act 1 finale), there’s also great interplay between Jewels and her mom (believably conflicted Amy Askins) and rebellious sister Tess (delightfully snarky Valyn). I question DeSanctis’ decision denying Jewels’ devoted boyfriend James (amiable A.J. Breslin at his most romantic) the chance to return to New Jersey with her for such a significant homecoming. Nonetheless, I find her intriguing examinations of the Bible, from Jesus saving the adulterous woman to the pivotal decision of Lot’s Wife to look back at the city she left behind, a central part of the play’s theological allure. The production is also bolstered by technical director Matthew Evans’ brilliant lighting design and wind ambience, Hahn’s atmospheric sound design, and Valyn’s efficient set design and character-conscious soundtrack.

 

One of the best new works Dayton has seen in 2019 and a topical character study against the backdrop of the #MeToo climate, Stained Glass strikingly resonates and is unquestionably thought-provoking. As Jewels’ mom tenderly reminds her, “Forgiveness is something mysterious. It’s hard to understand.”

Rae Buchanan (Jewels) and A.J. Breslin (James) in Playground Theatre and University of Dayton’s regional premiere of Ingrid DeSanctis’ “Stained Glass.” (Photo by Knack Creative)

 

Stained Glass continues through Oct. 26 in the Black Box Theatre of University of Dayton’s Fitz Hall, 1529 Brown St., Dayton. Performances are 7:30 p.m. Friday and 1:30 and 7:30 p.m. Saturday. Act One: 63 minutes; Act Two: 55 minutes. Tickets are $12 (general admission) and $8 (students and faculty). For tickets or more information, call (937) 229-3950 or visit udayton.edu/artssciences/academics/theatre/index.php. Also, a post-show talkback featuring DeSanctis will follow every performance.

 

‘Once on This Island’ Review – Victoria Theatre Association – Stronger Together

By

Community is the driving force behind the sea of emotions fueling lyricist-librettist Lynn Ahrens and composer Stephen Flaherty’s wonderfully heartfelt, relevant, tuneful, and inspirational 1990 musical Once on This Island. As recent disasters and current events at home and abroad strike a deep chord, specifically the Memorial Day tornadoes in Dayton, it is all too clear how important this show has become since its inception and how outstanding it is on tour at the Schuster Center in its Ohio premiere courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

The cast of the North American tour of Lynn Ahrens and Stephen Flaherty’s “Once on This Island,” recipient of the 2018 Tony Award for Best Revival of a Musical. The tour is presented by the Victoria Theatre Association’s Premier Health Broadway Series through Oct. 27 at the Schuster Center. (Photo by Joan Marcus)

 

The recipient of the 2018 Tony Award for Best Revival of a Musical, Once on This Island, adapted from Rosa Guy’s novel My Love, My Love, is an ill-fated, haves vs. have nots, Caribbean-infused love story set in the French Antilles. As the islanders gather in the aftermath of a huge storm, a group of Storytellers share the tale of orphan Ti Moune (radiantly winsome and confident Courtnee Carter), a poor, dark-skinned peasant girl who boldly defies all logic in her valiant quest to win the heart of the wealthy, light-skinned Daniel Beauxhomme (charming tenor Tyler Hardwick). Despite the pleas and warnings of her devoted adoptive parents Mama Euralie (sincere yet formidable Broadway veteran Danielle Lee Greaves) and Tonton Julian (Tony nominee Phillip Boykin reprising his role from Broadway and gently displaying authoritative concern), impulsive Ti Moune throws caution to the wind and demands she leave home to journey to the other side of the island to care for the injured Daniel, whose car accident near the outset is the catalyst for their budding romance. As Ti Moune and Daniel ultimately grow closer causing rumors to fly and suspicions to swell, four gods (Agwe: Water; Asaka: Mother of the Earth; Papa Ge: Death; Erzulie: Love) closely monitor and converse with Ti Moune in an attempt to discover whether death or love is more powerful, especially villainous Papa Ge (dynamically disturbing American Idol alumna Tamyra Gray, reprising her role from Broadway and commanding the stage with a fierce strut, intimidating cloak, and husky demonic voice) who doesn’t forget Ti Moune’s startlingly determined declaration that she would give her life for Daniel.

Kyle Ramar Freeman as Asaka and Courtnee Carter as Ti Moune in “Once on This Island.” (Photo by Joan Marcus)

Ahrens and Flaherty, who won the Best Original Score Tony for 1998’s marvelous, timelessly topical Ragtime, terrifically capture the tropical essence and overall earnestness of the story and its inhabitants. Spirited opening number We Dance, a perfect example of the A&F songwriting pedigree, sets a wondrously introductory tone in the vein of Tradition from Fiddler on the Roof.  The equally upbeat finale Why We Tell the Story also thrives on communal joy and the significance of legacy. But an array of knockout solos is at the core of the score, among the most remarkable in the A&F canon. Carter, who understudied the role of Ti Moune on Broadway, pours superb longing, desire, innocence, vulnerability, and excitable frustration into Waiting for Life. Actor-musician Cassondra James, beautifully portraying Erzulie in addition to playing the flute, is a beguiling source of sophisticated grace and warmth throughout The Human Heart. Hardwick fills tender waltz Some Girls with clear introspection, allowing a vivid portal into Daniel’s inner conflict and responsibility. Colorful Kyle Ramar Freeman, a sensationally sassy Asaka, brings down the house with an electrifying Mama Will Provide, awesomely vocal riffing to the rafters while delectably sashaying to the hilt clothed in makeshift eleganza realness by costumer Clint Ramos.

The unique, progressive decision to have Freeman and Gray embody their particular roles is one of the great benefits of director Michael Arden’s luminous contributions. Reexamining gender identity works effortlessly in this context, particularly suggesting all communities should embrace equality and inclusivity simply due to the realization we are all more alike than we are different. Elsewhere, Arden, an environmental master whose detailed work here matches his splendid 2015 staging of Spring Awakening, supplies thrilling drama in Rain (heightened by Jahmaul Bakare’s strong vocals as Agwe and Jules Fisher and Peggy Eisenhauer’s stunningly evocative lighting design), cinematic stagecraft in Pray, and an inspired nod to late, legendary director Hal Prince in the historical Sad Tale of the Beauxhommes, an intriguing look at Daniel’s family lineage, customs and prejudice. Still, the smallest moments shine just as bright. In addition to being moved by the heartbreaking poignancy of Ti Moune quickly departing her home without hugging her parents at the conclusion of the tear-jerking Ti Moune, I totally felt the deflating shock and disappointment in Carter’s voice and demeanor when Ti Moune reaches Daniel’s bedside only to discover he has no recollection of her crucial caregiving during his recovery. Arden also gives choreographer Camille A. Brown ample opportunities to pulsate the action with earthy, exuberant, Afrocentric vigor, notably Ti Moune’s Dance dazzlingly led by Carter.

Danielle Lee Greaves as Mama Euralie and Phillip Boykin as Tonton Julian in “Once on This Island.” (Photo by Joan Marcus)

On Broadway, this production was intimately mounted in the round at Circle in the Square, placing the audience within reach of the action with eye-catching atmospherics including substantial amounts of sand, a large pool of water and a live goat. On tour, there are noticeable space constraints, especially center stage, and less sand and water to bolster ambience. No live animals are featured as well which is mostly disappointing for those with fond remembrances of the Broadway presentation. Even so, scenic designer Dane Laffrey’s exemplary set, efficiently comprised of scaffolding, a boat, a telephone pole, rows of onstage seating, sheets enveloping the proscenium, found objects and much more, is a visual treat. Shannon Slaton’s expertly moody sound design and music director Steven Cuevas’ vibrant orchestra, placed onstage above the actors, also boosts the show’s appeal.

In my estimation, this exhilarating, must-see production remains one of the finest musical revivals of the past decade, ranking on par with Pippin, The King and I, The Color Purple (slated for Dayton Valentine’s Day weekend), Hello, Dolly!, and Oklahoma! Arden and Co. have brilliantly reassessed Once on This Island’s potency at a time when its meaningful themes of acceptance, understanding and unity is under siege. America needs this show now more than ever due to its striking reminder that it takes all of us to keep the human heart beating.

 

Once on This Island continues through Oct. 27 at the Schuster Center, 1 W. Second St. Dayton. Performances are 7:30 p.m. Wednesday and Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; and 1 and 6:30 p.m. Sunday. The musical is performed in 90 minutes without an intermission. Tickets are $26-$99. A limited number of onstage, bleacher-style seating is priced at $25. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

 

‘A New Brain’ Review – Dare to Defy Productions – Pain and Glory

By

In the opening minutes of William Finn and James Lapine’s 1998 musical A New Brain, fledgling composer Gordon Michael Schwinn suddenly realizes something is wrong with his body, specifically his head. He is ultimately diagnosed with an arteriovenous malformation (AVM), a troubling predicament requiring a craniotomy, but his fascinating journey from overwhelming fear to contented recovery provides many quirky, riveting and tender pleasures as terrifically envisioned by Dare to Defy Productions at the PNC Arts Annex.

(left to right) Abby Hoggatt (Nancy), Brandon Leatherland (seated, Mr. Bungee), John Woll (Richard), Brent Hoggatt (Roger), Bobby Mitchum (Gordon Michael Schwinn), Danielle Ruddy (Rhoda), Garrett Young (Minister), and Lindsay Sherman (Mimi) are featured in Dare to Defy Productions’ presentation of A New Brain. (Contributed photos)

(left to right, back row) Lindsay Sherman (Mimi), Danielle Ruddy (Rhoda), (left to right, front row) Brent Hoggatt (Roger) and Bobby Mitchum (Gordon Michael Schwinn) in Dare to Defy Productions’ presentation of A New Brain. (Contributed photo)

Skillfully directed by Philip Drennen and based on Finn’s battle with AVM, “A New Brain” thrives on the importance of connection and relationships as Gordon (outstandingly heartfelt and understated Bobby Mitchum) fights for his life while consumed with professional and personal strife. His severe bout of writer’s block doesn’t abandon him in the hospital, impairing obligations to his friend/co-worker Rhoda (playfully stern Danielle Ruddy) as well as his demanding boss/children’s TV show host Mr. Bungee (comical, sprightly and haunting Brandon Leatherland). At the same traumatic rate, he is bombarded by his fussy mother Mimi (fittingly overbearing Lindsay Sherman, admirably disguising her youth) and conflicted about the depths of his love for boyfriend Roger (handsome tenor Brent Hoggatt in full swoon mode). Rhoda, Mr. Bungee, Mimi, and Roger take precedence, but Finn and co-librettist Lapine smartly expands the engaging narrative to include the enthusiastic, concerned hospital staff (exuberant Zach King as Dr. Jafar Berensteiner, sterling soprano Abby Hoggatt as thin nurse Nancy, charming John Woll in a delectable breakthrough portrayal of nice nurse Richard, and kindly Garrett Young as Minister) and a mysterious, no-nonsense, entrepreneurial Homeless Lady (overly presentational but vocally beguiling Vanae Stevee Pate) who primarily interacts with Gordon and Roger but is still a nifty part of the whole.

Reality and fantasy enjoyably collide throughout, allowing Drennen to remarkably pull out the stops with a rarity known as good old-fashioned musical staging. In Gordo’s Law of Genetics, a funny look at Gordon’s family medical history, he offers an homage to A Chorus Line as the delightful cast joins forces to sing amazing vocal arrangements courtesy of Jason Robert Brown (Songs for a New World, Parade, The Bridges of Madison County). Immediately afterward, he marvelously conceives And They’re Off, a compelling number detailing Gordon’s unhealthy relationship with his abusive, deadbeat, horse gambling-addicted father. Heightened by fantastic, volatile chemistry between

Bobby Mitchum (Gordon Michael Schwinn) and Garrett Young (Minister) in Dare to Defy Productions’ presentation of A New Brain. (Contributed photo)

Sherman and King, the scene essentially morphs into a full-throttle mini-musical. Other knockouts, accented by Ara Beal’s expert lighting design, include Whenever I Dream (featuring Mitchum and Ruddy’s homage to Chicago) and The Music Still Plays On (beautifully sung by Sherman with a breathtaking, torch song-esque poignance recalling Losing My Mind from the equally surreal Loveland sequence in Follies).

 

Granted, not every number in Finn’s score, firmly in the hands of music director Norman Moxley II’s seven-piece orchestra, is a home run. In fact, The Homeless Lady’s Revenge and Mimi’s emotional breakdown Throw it Out are lifted from true accounts, but feel thematically superfluous and stalling. Regardless, Drennen, who impressively staged the challenging Violet last season for Dare to Defy, has an incredible knack for storytelling. Once again, he instills his savvy, lyric-conscious expertise among his cast, even in the smallest moments (Hoggatt, conveying complete serenity, sincerely delivers one of the most gorgeously introspective renditions of I’d Rather Be Sailing I have heard).

A New Brain, one of the best productions in Dare to Defy history, is an inspiring testament to the beauty of second chances, the power of perseverance, the joy of artistic rejuvenation, the support of family and friends, and the enduring gift of time. Even when your very existence hangs in the balance, don’t give in. Life is worth fighting for. Hold fast to the promise of spring.

 

A New Brain concludes today at 2 and 8 p.m. in the PNC Arts Annex, 46 W. Second St., Dayton. The show is performed in 100 minutes without an intermission. Tickets are $18-$30. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

 

‘Peter and the Starcatcher’ Review – Wright State University – Back to Before

By

Magical is the most apt description of J.M. Barrie’s timeless creation of Peter Pan. So, it’s not surprising that the entertaining Peter Pan prequel Peter and the Starcatcher, winner of five 2012 Tony Awards and adapted by Rick Elice (Jersey Boys, The Addams Family) from Dave Barry and Ridley Pearson’s 2004 bestseller, enjoyably retains the adventurous awe grounded in Barrie’s foundation while being completely refreshing due to the sheer amusement of putting the origin pieces of the Pan puzzle together.

Wright State University presents Rick Elice’s adaptation of “Peter and the Starcatcher,” based on the novel by Dave Barry and Ridley Pearson. (Photo by Erin Pence)

In this Victorian tale, Peter is an orphan, a lost boy, downcast and dejected on the high seas aboard the Neverland where he meets Molly and her father Lord Aster, two Starcatchers proficient in the knowledge of starstuff, an enchanting sand-like substance that can give people and animals special powers. At all costs, Peter and Molly seek to protect the special trunk of starstuff from the villainous Black Stache and his band of pirates. After a violent storm causes the Neverland to shipwreck, Peter and Molly find themselves on Mollusk Island, where a gang of natives, an iconic crocodile and a terrific climax elevates Peter’s story to warmhearted heights. As an added bonus throughout the spirited action, rousingly and imaginatively staged by Bruce Cromer, colorful British Music Hall-esque songs by Elice and composer Wayne Barker arise, particularly the lively vaudevillian Act 2 opener.

Will Graber (center as Peter) and cast in Wright State University’s production of “Peter and the Starcatcher.” (Photo by Erin Pence)

The versatile Will Graber, a knockout in WSU’s productions of First in Flight and Crazy for You, is outstanding in the titular role in both physicality and emotional depth. Absolutely capturing the joy, innocence and hopefulness of youth, even when running, tumbling or falling in midair, Graber’s performance is magnetic and expressive, especially in the soaring Act 1 finale in which his face beams and his strong tenor can be heard as Peter rapturously sees his future home in the distance. Lauren Kampman, a standout last season in The Liar, is a dynamic, strong-willed Molly, effortlessly endearing, perfectly matched with Graber, and keenly aware that her character can’t survive simply on sentimentality. As Black Stache, Josh Aaron McCabe, WSU Professor and Guest Artist who skillfully directed The Liar, attacks his plum role with equal amounts of pompous swagger and egotistical goofiness, effectively swelling to a fantastic reveal concerning the character’s need for a certain hook. Julie Dye and Dean McKenzie are humorous as Peter’s jovial cohorts Ted and Prentiss. Louis Kurtzman (Lord Aster) and Kenneth Christian Erard (Slank/Hawking Clam) provide earnest authority and imposing intimidation respectively. Having portrayed mostly serious roles, Kaitlyn Campbell, a memorable Kattrin in last season’s Mother Courage and Her Children, loosens up with abandon as Molly’s nanny Mrs. Bumbrake and specifically the all-knowing mermaid referred to as Teacher who clearly did not attend the Billie Burke School of Whimsical Prophecy. Christopher Wells (Scott), Sophie Kirk (Alf), Ethan Evans (Grempkin/Mack/Sanchez/Fighting Prawn), and comical Jake Jones (Smee) complete the energetic cast, attractively costumed with period finesse by Michelle Sampson and Victoria Gifford.

Lauren Kampman (center as Molly) and cast in Wright State University’s production of “Peter and the Starcatcher.” (Photo by Erin Pence)

Cromer’s top-notch artistic team includes dialect coach Deborah Thomas, sound designer Lara Sagraves, lighting designer Autumn Light, music director Matt Ebright with musician Kevin Anderson (bolstering the action with clever pop culture underscoring from composers such as John Williams, Henry Mancini, James Horner, Richard Rodgers, and the Sherman Brothers), properties by Terry Webb, and the particularly eye-catching, storybook-inspired contributions of scenic designer Pam Knauert Lavarnway, filling the stage with an assortment of scaffolding, trunks, crates, boxes, ladders, planks, tropical foliage, and more.

Josh Aaron McCabe (center as Black Stache) and cast in Wright State University’s production of “Peter and the Starcatcher.” (Photo by Erin Pence)

If you’re used to the version of Peter Pan tunefully reminding you to “think of lovely things and your heart will fly on wings,” I encourage you to take a different flight this time and savor the discoveries within this charming, family-friendly showcase.

Peter and the Starcatcher continues through Oct. 6 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Dayton. Act One: 70 minutes; Act Two: 60 minutes. Performances are Oct. 3 at 7 p.m., Oct. 4 and 5 at 8 p.m., and Oct. 5 and 6 at 2 p.m. Tickets are $25 for adults, $23 for seniors and $15 for students. For tickets or more information, call the Box Office at (937) 775-2500 or visit wright.edu/theatre-tickets.

‘The Best Little Whorehouse in Texas’ Review – Dayton Playhouse – The Oldest Profession

By

It’s easy to dismiss composer Carol Hall and librettists Larry L. King and Peter Masterson’s hit 1978 musical The Best Little Whorehouse in Texas as nothing but a cutesy tale of prostitution. But often overshadowed by the sight of alluring women and the sound of mattresses getting an extreme workout is a highly relevant show about empowerment, family, security, sisterhood, and second chances.

The cast of the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

In the Dayton Playhouse’s very entertaining production fluidly directed by Brian Sharp, a big-haired, wonderfully grounded Tina McPhearson resoundingly leads the way as the resilient, no-nonsense Miss Mona Stangley, proprietor of the Chicken Ranch in Gilbert, Texas in the late 1970s. With faithful support from her trusty sidekick Jewel (delightfully sassy Pamela Byrd) and good-natured Sheriff Ed Earl Dodd (folksy Ted Eltzroth), Miss Mona and her playpen have been able to avoid catastrophic controversy. However, everything unexpectedly crumbles when fiery TV reporter Melvin P. Thorpe (energetic Ron Maurer, far removed from his reserved Tateh in the Playhouse’s Ragtime two years ago) whips the public into a religiously frenzied uproar. Despite Miss Mona’s tuneful opinion that “there’s nothing dirty goin’ on,” Thorpe vows to expose the ranch’s illegal activity, ultimately receiving help from the hopelessly flighty Governor (playful Matt Owens making the most of the silly Sidestep, a highlight of Sandra Hyde’s choreography).
Still, as chaos overwhelms, the heart of the show remains Miss Mona’s gals, an assortment of colorful women from different backgrounds, different homes and different opportunities just trying to get by while feeling protected by their surrogate mother. Kelli Myers (Shy), Adee McFarland (Angel), Shana Fishbein (Eloise), Amber Pfeifer (Taddy Jo), Alicia Walton (Dawn), Shanna Camacho (Durla), Logan Hylinski (Beatrice), Stacey Ward (Ruby Rae), and Sommer McGuire (Linda Lou) are pleasantly unified. Myers, believably evolving from naivete to confidence, and McFarland, beautifully leading the poignant Hard Candy Christmas, are noteworthy in addition to McPhearson’s quietly descriptive account of Miss Mona’s Galveston winter rendezvous late in Act 2.

Pamela Byrd (Jewel) and Tina McPhearson (Miss Mona Stangley) in the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

Elsewhere, Jackie Pfeifer (waitress Doatsey Mae) provides a tenderly reflective Doatsey Mae, Mark Diffenderfer (recently memorable in Dayton Theatre Guild’s The Man Who Shot Liberty Valance) brings understated authenticity to the Narrator, Sean Gunther (Senator Wingwoah), John Jeurgens (Mayor Rufus Poindexter), Malcolm Casey (CJ Scruggs), Marabeth Klejna (Announcer), and Cheryl MacGowan (Miss Wulla Jean) add greatly to the material’s humor, and there’s plenty of rowdy fun bursting within the sexually rambunctious Aggies consisting of John Carrington, Samuel Hamilton, Adonis Lemke, Sean Mayo, Ryan Petrie, Bryan Schuck, and Josh Vance. Hamilton, Schuck, Vance, and strong tenor Lemke are also notable as the Dogettes Quartet.

Ron Mauer (Melvin P. Thorpe) and the cast of the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

Sharp’s first-rate artistic team includes scenic designer Red Newman, costumer Teresa Kahle, wig designer Steve Burton, lighting designer Richard Lee Waldeck, sound designer Bob Kovach, and music director Ron Kindell. Violinist John Root is particularly excellent among Kindell’s orchestra during Doatsey Mae.

Surprisingly, considering the subject matter, the Playhouse offers a relatively genteel, sexually tame Whorehouse. By no means does this production ever ascend to questionable levels of gritty, carnal ecstasy in tone or characterizations, clearing allowing for a genuinely fun, worthwhile outing.

The Best Little Whorehouse in Texas continues through Sept. 29 at 8 p.m. Friday and Saturday and 2 p.m. Sunday at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Act One: 80 minutes; Act Two: 40 minutes. Tickets are $20 for adults and $18 for seniors, students and military. For tickets or more information, call (937) 424-8477 or visit daytonplayhouse.com. Patrons are advised the show contains adult content, language and situations.

 

‘Lady Day’ Review – Human Race Theatre Company – Fragile Greatness

By

Jazz phenom Billie Holiday’s influential imprint on American music coupled with her humorous, unsettling and resilient testimony as an African-American woman facing incredible adversity while consumed with addiction fuels the magnetism of Lanie Robertson’s 1986 play-with-music Lady Day at Emerson’s Bar & Grill.

Tanesha Gary as Billie Holiday in the Human Race Theatre Company’s production of Lady Day at Emerson’s Bar & Grill.

Excellently presented by the Human Race Theatre Company at the Loft Theatre and set in 1959 Philadelphia, Lady Day brings forth the heartache and joys of Holiday’s career, spoken four months before her death at age 44, with bold, blunt and naughty purpose. Structurally, it’s easy to pigeonhole this play as far-fetched, especially when you consider the likelihood of any prominent celebrity in the 1950s sharing such personal, tragic details of their lives with relative abandon, including accounts of abuse, racism and imprisonment. But Holiday loved to sing, and truly loved her audience in return, so it’s not unsurprising that she would be a completely open book, especially in her drunken, drug-addicted haze. With assistance from her concerned, supportive accompanist Jimmy Powers (Keigo Hirakawa), Holiday (an absolutely luminous Tanesha Gary) transforms into a compelling storyteller, particularly and vividly reflecting on touring the segregated South with bandleader Artie Shaw and being denied access to a restroom.

Beautifully costumed in a gleaming white gown with matching gloves by David M. Covach, Gary, a terrific Caroline Thibodeaux in the Human Race’s 2011 production of Caroline, or Change, smoothly executes Holiday’s journey with colorful sting (director Scott Stoney astutely ensures her repartee is flavorful yet impactful) and stellar vocals. She notably resists providing a full-throttle impersonation of Holiday akin to Audra McDonald’s performance in the 2014 Broadway revival, but her work is effective nonetheless in terms of paying homage to the spirit of Holiday’s definitive magic. Backed by an exemplary jazz trio consisting of knockout keyboardist Hirakawa, percussionist/music director Deron B. Bell Sr., and bassist Eddie Brookshire, her many standout renditions include the swinging groove of What a Little Moonlight Can Do (impeccably bolstered by Hirakawa) and breezy Easy Livin,’ in addition to her outstanding phrasing within God Bless the Child and her powerfully descriptive, chill-inducing Strange Fruit. All of these tuneful moments and more are accented by the wonderfully intimate ambience established in the work of scenic designer Scott J. Kimmins, lighting designer John Rensel and sound designer Jay Brunner. In fact, the final seconds eerily transition into a gorgeously surreal dreamscape courtesy of Rensel.
Holiday left this world far too soon, but her iconic legacy unquestionably inspired an array of brilliant vocalists such as Diana Ross, Ledisi and Amy Winehouse. Her life was not in vain and her story deserves your attention.

Lady Day at Emerson’s Bar & Grill continues through Sept. 29 at the Loft Theatre, 126 N. Main St., Dayton. The production is performed in 75 minutes without intermission. Performances are 8 p.m. Thursdays-Saturdays; 2 p.m. Sundays; and 7 p.m. Tuesdays and Wednesdays.  Tickets: $19.50-$37. There are also select side-area seats available for $16 and $28 at all performances. In addition, all adult priced tickets are discounted at 50 percent for students with proof of a student I.D. Stage seating (five tables intended for couples) is also available for $27.50-$52. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit humanracetheatre.org or ticketcenterstage.com.

FYI: The Human Race Theatre Company is partnering with the Neon Movies for the Women of Influence in the Movies Series. On Monday, Sept. 23 at 7:30 p.m., the Neon will screen a double bill of New Orleans, in which a gambling hall owner entertains his patrons with hot jazz by Louis Armstrong and Billie Holiday, and the newly restored short film Symphony in Black, in which Billie Holiday makes her screen debut as Duke Ellington plays his symphonic jazz piece. Tickets are $8 each or $30 for a series pass, available at neonmovies.com.

 

 

‘The Book of Mormon’ Review – Victoria Theatre Association – Naughty by Nature

By

Forget 42nd Street. There’s nothing more naughty, bawdy and gaudy than Trey Parker, Robert Lopez and Matt Stone’s unapologetically irreverent and utterly hilarious musical The Book of Mormon, skillfully opening the Victoria Theatre Association’s 2019-2020 season at the Schuster Center.

Trey Parker, Robert Lopez and Matt Stone’s 2011 Tony Award-winning musical The Book of Mormon, presented by the Victoria Theatre Association, continues through Sept. 1 at the Schuster Center. (Contributed photo)

Recipient of the 2011 Tony Award for Best Musical and 2012 Grammy Award for Best Musical Theater Album, The Book of Mormon addresses themes of friendship, betrayal, faith, culture clash, oppression, disillusionment, and self-worth centered on the spiritual convictions and mission associated with The Church of Jesus Christ of Latter-day Saints. As two polar opposite Mormon missionaries seek to save souls in dire, disease-stricken Uganda, their journey of initial reluctance and overwhelming adversity comically evolves into a greater understanding of their potential and purpose. Charming tunes such as Hello, Two by Two, You and Me (But Mostly Me), Man Up, and I Am Africa set the perfect tone in both brazen humor and profane substance. In particular, Joseph Smith American Moses, a playful spin on The Small House of Uncle Thomas ballet from The King and I excitedly performed by the Ugandan villagers, is truly one of the most shocking, jaw-dropping numbers ever conceived in musical theatre.

Under the wonderfully witty direction of Parker and Casey Nicholaw, this terrific, ensemble-driven tour, featuring Nicholaw’s dandy choreography, is engagingly led by the outstanding duo of Liam Tobin (cool, confident Elder Price) and Jordan Matthew Brown (awkward, compulsive liar Elder Cunningham). Tobin’s spirited determination, chipper smile and demeanor, humorous obsession with Orlando, and superb rendition of I Believe are hallmarks of his charismatic, sunny portrayal. Brown, relishing his embodiment of the showier Cunningham, is fully committed to the slacker mentality inherent in the role as well as the longing for companionship, attention and accountability simmering within it. In strong, funny featured roles, Andy Huntington Jones delights as the closeted Elder McKinley (Turn It Off is a razzle dazzle hoot), the lovely Alyah Chanelle Scott brings winsome spunk to her endearing portrayal of impressionable Nabulungi (Sal Tlay Ka Siti blossoms with hopeful desire), Ron Bohmer is properly authoritative in multiple roles including Joseph Smith and Mission President, Jacques C. Smith is a credible source of reason as Nabulungi’s dad Mafala, and Corey Jones effortlessly intimidates as the General.

Overall, anyone familiar with the audaciousness of Parker and Stone’s South Park and Lopez’s Avenue Q will not be surprised at the level of vulgarity and silly pop culture cheekiness on display. However, if you’re easily offended by crude language, religious mockery or the sight of Jeffrey Dahmer and Adolph Hitler simulating sex acts in hell this simply may not be the show for you.

 

The Book of Mormon continues through Sept. 1 at the Schuster Center, 1 W. Second St., Dayton. Performances are 8 p.m. Saturday and 2 and 7:30 p.m. Sunday. Act One: 62 minutes; Act Two: 60 minutes. Tickets are $30-$133. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. For information about the production’s pre-show lottery, visit victoriatheatre.com/shows/book-of-mormon. Also, patrons are advised the show contains strong adult content and language.

‘Fall with Me’ wins Dayton Playhouse FutureFest

By

Jared Eberlein of Northfield, Massachusetts received top honors at the 29th annual Dayton Playhouse FutureFest of new works for his historical drama Fall with Me, the story of an African-American World War I veteran facing a crossroads.

Set in 1930s Baltimore and inspired by the true story of the 1932 “Bonus Army” who met in Washington D.C. to demand cash-payment redemption of their service certificates, Fall with Me scored highest among six plays showcased at the July 19-21 all-volunteer festival. Five professional adjudicators judged each play (chosen from over 350 submissions) based on criteria including characters/language, plot, story/dramatic concept, page-to-stage, and the next stage.
Presented as a staged reading July 21 and directed by Dawn Roth Smith, who helmed last year’s winner Of Men and Cars, Fall with Me featured Justin Lampkins as Jasper (JJ) Johnston, Bryana Bentley as Bithiah Johnston, Tia Seay as Delia Reddy, Franklin Johnson as Harry Thompkins, Sean Mayo as Lenny Leventhal, and Sadie Hornick as the voice of Bessie Johnston.

(left to right) Franklin Johnson (Harry Thompkins), Sean Mayo (Lenny Leventhal), Justin Lampkins (Jasper JJ Johnston), Bryana Bentley (Bithiah Johnson),and Tia Seay (Delia Reddy) in Jared Eberlein’s historical drama Fall with Me, winner of the 2019 Dayton Playhouse FutureFest of new works. (Photo by Art Fabian)

“Truth be told, I was kind of in shock,” said Eberlein, who received $1,000 for his play but declined to give an acceptance speech. “You learn as a playwright to minimize expectations because there are so many of us trying to find places for our work and there’s no mathematic equation that says one piece should be done over another. There were six wonderful and unique pieces in the festival year. I was also taken aback because the entire weekend felt so familial, community-driven, passionate for new works and supportive of us as a collective of playwrights that it was almost weird that for two-and-a-half minutes it became a competition. Winning was truly a bonus. I was grateful to have my work included in the festival at all. I suppose it’s a lesson to always have a speech in my back pocket or at least have a joke about not having a prepared speech. If I were to do the moment over, with less shock and awe, I, of course, would mention that I owe the play’s director, Dawn Roth Smith, a huge debt of gratitude along with a stellar cast for their work: Bryana Bentley, Franklin Johnson, Justin Lampkins, Sean Mayo, and Tia Seay.”
As Eberlein continues to develop Fall with Me, he looks forward to taking into account the generous feedback he received. The enlightening panel of adjudicators, consisting of theatre critics/writers/dramaturgs, consisted of longtime returning judges David Finkle, Helen Sneed and Eleanore Speert as well as newcomers Stephanie Cowan and Arthur M. Jolly.

Director Dawn Roth Smith, playwright Jared Eberlein, and Playhouse Board Chairman Matthew Lindsay. (Photo by Art Fabian)

“I was encouraged both by the response from the adjudicators and the audience,” he said. “There was some really insightful feedback I’m considering as I make the next round of rewrites on the piece. I think as a whole the piece is getting close to where I want it as playwright. Then it really comes down to who produces it and the actors who are embodying the roles. Actors are amazing beings and they teach you so much about what your piece is (and) can be. And through them, and a wonderful director, what started as ‘my creation’ becomes ‘our creation,’ a collaboration. A primary goal for any play that I write is to provide a strong foundation on which a variety of artists can construct their own unique energy and motivations. Based on the reading of ‘Fall with Me’ that happened prior to FutureFest and then hearing the one this past weekend, I think the play is doing that. And that makes me happy and very excited for whatever comes next.”

(left to right) Samuel Hamilton (Jimmy Gibson), Brandon Shockney (Herbert Stone), Will Taylor (Charlie Groves), Matthew Lindsay (Captain Stanley Lord), director Annie Pesch, Brian Buttrey (George Stewart), and Jefferson Smith (Cyril “Sparks” Evans) represent Shelli Pentimall Bookler’s historical drama On the Horizon, named FutureFest Audience Favorite. (Photo by Art Fabian)

North Wales, Pennsylvania playwright Shelli Pentimall Bookler’s historical drama On the Horizon, an engaging, tense look at the crew of the SS Californian that watched Titanic sink the evening of April 14, 1912 even though they were only within 10 miles from them, was named Audience Favorite. Directed by Annie Pesch and strikingly scenic designed by Chris “Red” Newman, On the Horizon featured Playhouse Board Chairman Matthew Lindsay as Captain Stanley Lord, Brian Buttrey as George Stewart, Brandon Shockney as Herbert Stone, Will Taylor as Charlie Groves, Jefferson Smith as Cyril “Sparks” Evans, and Samuel Hamilton as Jimmy Gibson. The imposing Buttrey, remarkable in a rare stage appearance, and the vibrant, humorous Hamilton delivered breakthrough performances.
Other contenders included Commerce, Michigan playwright Linda Ramsay-Detherage’s historical drama The Princess at Midnight (directed by Dorothy Michalski), New York City playwright Norman Mathews’ contemporary military drama Drone (directed by Craig Smith), Westlake Village, California playwright Robert Weibezahl’s gentle, nostalgic friendship dramedy Which Way the Wind Blows (directed by Abe J. Bassett), and New York City playwright Rich Orloff’s contemporary generational family dramedy Men Overboard (directed by Janet Powell). Ramsay-Detherage notably won the 2011 FutureFest for Sugarhill. Orloff was a 1993 finalist for Veronica’s Position. Bookler, Ramsay-Detherage, Weibezahl, and Orloff received $100.

(left to right) The 2019 Dayton Playhouse FutureFest finalists: Jared Eberlein of Northfield, MA; Rich Orloff of New York City; Shelli Pentimall Bookler of North Wales, PA; Linda Ramsay-Detherage of Commerce, MI; and Robert Weibezahl of Westlake Village, CA. (Photo by Art Fabian)

Due to a family medical emergency, Mathews was unable to attend the festival and disqualified from the competition. However, Drone, a relevant, riveting examination of family, culture and prejudice concerning a Nevada drone pilot surveilling a Pakistani suspected of being a Taliban insurgent, was performed nonetheless. The cast featured Fran Pesch as Farishta Khan, Brendan Milligan as Arman Kahn, Shanna Camacho as Diwa Kahn, Karan Singh as Salar Kahn, Ray Geiger as Lieutenant Mike Powell, Lynn Vanderpool as Sergeant Tonya Spanger, Jefferson Smith as Robbie Powell, Elise Laskowski as Kristen Powell, Mike Taint as Colonel Andrews, and Becky Howard as TV Announcer. Drone and On the Horizon greatly benefitted from terrific dialect coaching by Fran and Annie Pesch.
Additionally, the cast of Which Way the Wind Blows featured Charles Larkowski as Marty O’Neill, Krissy McKim-Barker as Thalia Whetstone, Michael Markus as Gerald Freeman, Cynthia Karns as Carol O’Neill, Benjamin Jones as Paul Travis (age 11) and Peter Freeman (age 11), Chavin Medina as Marty O’Neill (age 11), Spencer Berta as Paul Travis (age 18), and Jennifer Lockwood as Peggy O’Neill; the cast of The Princess at Midnight featured Jamison Meyer as Jacob Simon, Tamar Fishbein as Rachel Simon, Spencer Berta as Benjamin, Ryan Shannon as Michael, Treonte King as William, and Carrin Ragland as Princess; and the cast of Men Overboard featured David Nickel as Ernie Silver, Michael Schumacher as Doug Silver, Steve Voris as Jay Silver, Sean Mayo as Robert Silver, Ana Ryan Kennedy as Eva Fuzesi, and Connor Egloff as Abraham Silver.

 

Furthermore, on July 18 at the Playhouse, Annie Pesch delivered a stellar performance in Desiree York’s one-woman show Fractured, a fascinating psychological mystery/drama centered on a woman coping with the loss of her father through the escapism of video games. The Los Angeles-based York was a 2017 FutureFest finalist for her outstanding African-American-themed generational drama “The Puppeteer,” which will have its world premiere Jan. 9-Mar. 15, 2020 at Detroit Repertory Theatre.

Mark your calendars: FutureFest’s 30th anniversary will be held July 17-19, 2020.

My FutureFest rankings:
1. On the Horizon
2. Drone
3. Which Way the Wind Blows
4. Fall with Me
5. Men Overboard
6. The Princess at Midnight

‘Why We Tell the Story’ Review – Epiphany Lutheran Church – Songs in the Key of Life

By

Musical revues are like politics. Sometimes they can become extremely divisive. If the songs favor progressive choices, there’s great risk in throwing the conservative-leaning fans into a tizzy because they didn’t hear tunes from The Sound of Music or anything written before the dawn of television. On the other hand, if a program is full of Golden Age standards, those who know Hamilton like their back of their hand will be bored to death. But in spite of boldly embracing progressive tastes, including numbers from Broadway flops and little-known off-Broadway properties, the Epiphany Players Drama Ministry of Epiphany Lutheran Church miraculously manages to please both sides of the musical theatre aisle with Why We Tell the Story, the troupe’s 29th annual summer presentation featuring nearly 70 performers.

The Epiphany Players Drama Ministry of Epiphany Lutheran Church presents Megan Wean Sears and David Brush’s original musical revue “Why We Tell the Story: Broadway Songs and Stories” through July 21. The show features songs from “Cats,” “Dear Evan Hansen,” “Sweeney Todd,” “The 25th Annual Putnam County Spelling Bee,” “West Side Story,” “Wicked,” and more. (Contributed photo)

Conceived and created by director/choreographer Megan Wean Sears and music director David Brush, Why We Tell the Story is an enjoyably breezy, eclectic array of 26 songs simply reflecting the emotional ups and downs of life. In fact, the title is borrowed from the spirited finale of lyricist Lynn Ahrens and composer Stephen Flaherty’s 1990 musical Once On This Island, joyously presented by Epiphany in 2014. In the song, Ahrens pinpoints seven reasons why the journey of life is ripe for storytelling, specifically addressing pain, love, grief, hope, and faith. Sears and Brush admirably selected a variety of tunes that fit contextually for the seven sections. Composers Jason Robert Brown, Lin-Manuel Miranda, Benj Pasek, Justin Paul, Stephen Schwartz, and Stephen Sondheim are notable for being chosen more than once.

The large, multi-generational, vocally stunning cast confidently, energetically and tenderly inhabits the wide-ranging material. Near the outset, during Life Is Why, Jackie Darnell, Bridget Miley and John Benjamin terrifically convey the heartache and nuances within The I Love You Song from The 25th Annual Putnam County Spelling Bee. Next, as Pain Is Why leaps forth, a defiant Ella Brunt leads the children’s ensemble (cutely clothed in schoolhouse uniformity by Kim Harvey and Lori Watamaniuk) in a rousing Revolting Children from Matilda. The Ballad of Sweeney Todd from Sweeney Todd, headlined by an imposing Brian Hoff, concludes the section with appropriately eerie resonance. Love Is Why charms due to the graceful elegance of Sarah Portman, Meredith Russ, Mary Bryan, Abbey Fry, Zoe Miller, Kathy Meyer, and Margo Russ dancing to She’s Got a Way from Movin’ Out (warmly accented by Andrew Hackworth’s saxophone solo), Jack Issler and Kara Miller’s touching You Matter to Me duet from Waitress, and John Benjamin and Brett Greenwood’s poignant Dear Theodosia from Hamilton. Grief Is Why includes Kathy Meyer’s wistful, commanding, go for broke Memory from Cats, Reese Hornick’s firm Everlasting from Tuck Everlasting, Michael Shannon’s reflective yet dynamic Dust and Ashes from Natasha, Pierre and the Great Comet of 1812, and the truly marvelous trio of Margo Russ, Jessica Pettit and Andrew Gochenaur incredibly attacking the anguish, glee and resentment fueling Superboy and the Invisible Girl from Next to Normal, an encore-worthy rendition on par with the original Broadway cast.  

It’s tough to top Superboy and the Invisible Girl, but Hope Is Why majestically closes Act 1 with a knockout Till We Reach That Day from Ragtime superbly led by Meghan Rupper. Surprisingly, Sears leaves the song’s relevant message to the imagination (footage of Charlottesville, Pulse Orlando, Sandy Hook Elementary School, or Marjory Stoneman Douglas High School would’ve been a huge asset), but the number, heightened by Matthew Benjamin’s striking lighting design, is a highpoint nonetheless despite the missed opportunity for multimedia. After intermission, Hope Is Why continues its dominance with a thrilling One Day More from Les Misérables (Meredith Russ is particularly strong in the role of Éponine), Taryn Lightcap, Abbey Fry and Margo Russ delightfully joining forces for the comical I Know It’s Today from Shrek the Musical, the phenomenal return of Rupper absolutely slaying The Wizard of I from Wicked as if Schwartz secretly wrote it just for her and she’s already in negotiations to play Elphaba in the film version, and the splendid, costume-savvy Tonight Quintet from West Side Story wonderfully led by Kathy Meyer (in fiery red as Anita along with the Sharks), Andrew Gochenaur (in optimistic yellow as Tony), Megan Rehberg (white and yellow as Maria), and Mitchell Goecke (in blue as Riff along with the Jets).

In addition, Faith Is Why consists of Liza Russ’ spunky My Grand Plan from The Lightning Thief, Meredith Russ’ beautifully complex Breathe from In the Heights, and Jackie Darnell’s soaring, operatic I Still Believe from Amazing Grace. Lastly, You Are Why centers on Samuel Layman’s heartfelt lead vocals on the introspective You Will Be Found from Dear Evan Hansen featuring Siobhan McAleer, Eric Pettit and Zoe Miller and incorporating attributes each cast member associates with themselves such as compassionate, kind, determined, and worthy.

In a break from tradition, this show is only slated for one weekend. So, go ahead and quickly plan to escape the heat at Epiphany. You’ll be glad you did.

Why We Tell the Story continues Saturday, July 20 at 8 p.m. and Sunday, July 21 at 2:30 p.m. at Epiphany Lutheran Church, 6430 Far Hills Avenue, Centerville. Act One: 55 minutes; Act Two: 37 minutes. Advance ticket sales are $15 for adults, $10 for students (any age) and seniors (60 and older), $5 for children 5 and under, and $20 for front row. Tickets sold at the door are $17 for adults, $12 for students (any age) and seniors (60 and older), $7 for children 5 and under, and $22 for front row. For tickets or more information, call (937) 433-1449 ext. 105 or e-mail [email protected].

 

‘Waitress’ Review – Victoria Theatre Association – Bruised But Not Broken

By

Life can often be terribly messy and completely blissful at the same time. Case in point: Jenna Hunterson, an expectant mother and pie baking extraordinaire at the center of the heartfelt joy and compelling drama within Waitress, the 2016 Tony Award-nominated musical receiving an outstanding local premiere courtesy of the Victoria Theatre Association’s Premier Health Broadway Series at the Schuster Center.

left to right) Melody A. Betts as Becky, Christine Dwyer as Jenna, and Ephie Aardema as Dawn in the national tour of Waitress. (Contributed photo)

Featuring firm direction by Diane Paulus, a terrifically introspective and humorous pop-infused score by Grammy nominee Sara Bareilles, and a witty, relevant book by Jessie Nelson based on the 2007 film of the same name by the late Adrienne Shelly, Waitress finds hard-working, meek and unassuming Jenna (an excellent Christine Dwyer) at a critical crossroads. Stuck in a loveless marriage with her abusive husband Earl (Jeremy Woodard, a believably one-dimensional jerk), she receives overdue respect and passionate romance in the arms of her handsome gynecologist Dr. Pomatter (a delightfully charming and neurotic Steven Good). But is her affair, her pursuit of happiness, really worth it, especially with a little one on the way? Actually, Jenna doesn’t want a kid, readily admitting to Dr. Pomatter that her pregnancy is not a party. Even so, the birth of her child, the eventual true love of her life, holds the key to realizing her existence has only just begun.

 

Steven Good as Dr. Pomatter and Christine Dwyer as Jenna in the national tour of Waitress. (Contributed photo)

Dwyer, a stunning Elphaba in the 2012 Dayton engagement of “Wicked,” returns with understated finesse, warmly tapping into the therapeutic nature of Jenna’s penchant for pies (her mother was also a pro in the kitchen, an element deserving deeper exploration) and providing a superb transformation late in the show climaxing with the emotional ballad She Used to Be Mine coupled with Jenna’s decision to finally take matters into her own hands. In addition to the aforementioned Good, she receives wonderful support from the sassy, motherly Melody A. Betts and kooky, naïve Ephie Aardema as Jenna’s thoughtful co-workers Becky and Dawn, respectively. Betts, a vocal powerhouse, notably provides a knockout rendition of the soulful I Didn’t Plan It. Jovial standout Jeremy Morse is a hoot as Dawn’s overexcited beau Ogie, a plum comedic role he also portrayed on Broadway. Ryan G. Dunkin commands attention as Cal, head cook and Jenna’s boss.

Paulus’ first-rate artistic team includes choreographer Lorin Latarro (filling many transitions with expressive fluidity), scenic designer Scott Pask, costumer Suttirat Anne Larlarb, lighting designer Ken Billington, sound designer Jonathan Deans, music director Robert Cookman, and conductor/pianist Lilli Wosk.

Without a doubt, this national tour of Waitress, on par with the original Broadway production, brings Dayton’s 2018-2019 season to a winning close.

Waitress continues through Sunday, June 30 at the Schuster Center, Second and Main Streets, Dayton. Performances are 8 p.m. Wednesday-Friday; 2 and 8 p.m. Saturday; and 2 and 7:30 p.m. Sunday. Act One: 75 minutes; Act Two: 65 minutes. Tickets are $26-$115. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com.

‘Lizzie’ Review – Human Race Theatre Company – The Dark She Knows Well

By

It’s been 126 years since Andrew and Abby Borden were gruesomely murdered in their Fall River, Massachusetts home on a relatively uneventful August morning. Their daughter Lizzie would go down in history as the prime suspect, but what in the world could’ve driven her to commit such an evil act with ax in tow? Reasons abound in the aptly titled Lizzie, an electrifying, compelling, disturbing, humorous, and unapologetically bad ass punk rock musical receiving a thrilling local premiere courtesy of the Human Race Theatre Company at the Loft Theatre.

Natalie Bird (Emma), Leslie Goddard (Bridget), Deanna Giulietti (Lizzie), and Michaella Waickman (Alice) in the Human Race Theatre Company’s production of Lizzie. (Photo by Scott J. Kimmins)

Featured at the 2010 National Alliance for Musical Theatre Festival, premiering as a student production in 2012 at Baldwin Wallace University, and conceived with artistic license by composer/lyricist Steven Cheslik-DeMeyer, composer Alan Stevens Hewitt and lyricist/librettist Tim Maner, Lizzie is an in-your-face, slickly irreverent look at a 19th century subject and framework reexamined within a 21st century context. Sure, we’ve seen this before (Spring Awakening and Bloody Bloody Andrew Jackson walked the same tight rope in 2006 and 2010, respectively), but it remains an attractive device, especially if musical theatre is to grow by appealing and connecting to a younger generation of artists and audiences open to embracing the untraditional (such as the current, daring and groundbreaking Tony Award-winning revival of Oklahoma!). And it certainly appeals here as microphone stands and hand held microphones heighten the inherent concert vibe fueling the angst, despair, resentment, and longing on display in the vein of Pat Benatar, Heart and Joan Jett among other legendary female rock goddesses. Stifled and silenced by society and disrespected and devalued in her own home, there’s no mistaking the fact that Lizzie Borden was simply driven to the point of no return.

(left to right) Leslie Goddard (Bridget), Michaella Waickman (Alice), Rachel Mary Green (Understudy), Deanna Giulietti (Lizzie), and Natalie Bird (Emma) in the Human Race Theatre Company’s production of Lizzie. (Photo by Scott J. Kimmins)

Skillfully staged with attention to movement and nuance by Human Race Resident Artist Jamie Cordes in his Human Race directorial debut, Lizzie is performed by four outstanding actresses. In the demanding titular role, New York-based Deánna Giulietti, a vocal powerhouse, is a true knockout. Her explosive rage in This Is Not Love, her opening solo detailing Lizzie’s sexual abuse, cuts deep in its heartache and emotional release, strikingly setting the dark, frank tone of the show. Wright State University alumna Natalie Bird, in a welcomed return to the area, is hilarious, biting, tough, and cynical as Emma, Lizzie’s blunt older sister who doesn’t fail to remind Lizzie of Abby’s shortcomings as a stepmother added to her belief that she’s trying to push them out of their father’s will. Emma is underwritten (she unfortunately leaves in the middle of Act 1 yet thankfully returns in proud profane fashion near the top of Act 2), but Bird’s scintillating stage presence is remarkable throughout. In fact, I couldn’t get enough of her during Lizzie’s intriguing if hurried trial (delivering lines with comically unassuming perfection) in addition to the sight of her reverently strolling through the audience alongside Giulietti delectably interpreting the solemn hymn Watchmen for the Morning (imagine Roxie Hart and Velma Kelly singing Amazing Grace in Chicago). Leslie Goddard, who notably appeared as Georgie in the Human Race’s The Full Monty, is enjoyably playful and sarcastic as Bridget Sullivan, Lizzie and Emma’s maid with a lot to say about the House of Borden. Michaella Waickman, a Wright State musical theatre major memorably seen this season as Fredrika in A Little Night Music, beautifully portrays sensitive, vulnerable Alice Russell, Lizzie’s close friend and neighbor who pines for her (tender ballad If You Knew is an Act 1 highlight). This fierce quartet repeatedly joins forces, but special mention goes to the back-to-back brilliance of the Hair-esque Burn The Old Thing Up (regarding Lizzie’s decision to destroy her blood-stained dress) and marvelously investigatory Questions Questions (bolstered by Katie Johannigman’s wonderfully fluid choreography). Rachel Mary Green, a dynamic vocalist who starred in Wright State’s local premiere of If/Then this season, serves as understudy.

Cordes’ splendid artistic team includes scenic designer Ray Zupp (incorporating an effective nod to the Ten Commandments), costumer Liz Bourgeois (providing an attractive mixture of leather, corsets, plaid, and denim for the ladies as well as a cool final look for Giulietti in flashy gold), lighting designer John Rensel (supplying expertly evocative and vibrant work), sound designer Brian Retterer (ensuring top-notch balance and clarity), and music director/guitarist Jay Brunner (assembling a phenomenal onstage band including percussionist Kevin G. Anderson, keyboardist Matthew Ebright, cellist Emsie Hapner, and Joel Greenberg on bass).

Lizzie isn’t perfect, but it’s bold, exciting, raw, and certainly one of the best productions of the season. Don’t miss it.

Lizzie continues through June 30 at the Loft Theatre, 126 N. Main St., Dayton. Performances are 7 p.m. Tuesdays and Wednesdays, 8 p.m. Thursdays-Saturdays, and 2 p.m. Sundays. Act One: 50 minutes; Act Two: 35 minutes. Tickets are $37 for adults, $34 for seniors, and $19.50 for students. Prices vary depending on performance date. Select side-area seats available for $14 and $27 at all performances. “Sawbuck Sunday” performance June 16 offers $10 seats available for walk up sales only. Military discounts are also available. For tickets, call Ticket Center Stage at (937) 228-3630 or visit humanracetheatre.org or ticketcenterstage.com. In addition, there will be a post-show discussion following the June 23 performance; Patrons are advised the show is rated PG-15 and contains strong language as well as references to abuse, murder and sexual situations.

 

’20th Century Blues’ Review – Young at Heart Players – Time to Reminisce

By

In Susan Miller’s relatable 2016 dramedy 20th Century Blues, pleasantly presented in its regional premiere by Young at Heart Players at Actor’s Theatre of Fairborn, four close-knit baby boomers look back on 40 years of friendship with humor and poignancy while holding steadfast to the future with hope and resilience.

(left to right) Pam McGinnis (Sil), Gail Andrews Turner (Mac), Heather Martin (Danny), and Jackie Pfeifer (Gabby) lead the cast of Young at Heart Players’ regional premiere of Susan Miller’s 2016 dramedy “20th Century Blues” at Actor’s Theatre of Fairborn. (Contributed photo)

Gathering once a year for a ritual photo shoot, Danny (Heather Martin), Sil (Pam McGinnis), Mac (Gail Andrews Turner), and Gabby (Jackie Pfeifer) are eager to reunite, but Danny’s desire to turn their private tradition into a public exhibition for New York’s Museum of Modern Art stirs skepticism and debate. Motives are questioned, but ultimately a decision is made that pleases everyone while acknowledging the sheer fact that aging should be celebrated not hidden.

In the feminine vein of The Dixie Swim Club, Five Women Wearing the Same Dress and Steel Magnolias among others, Miller’s one-act work leans heavily on comical characterization and colorful chit-chat, which in this case grows inadvertently mundane due to the lack of forward action. Mere discussion, even when interrupted by a few plates of French Toast, isn’t plot. There’s also an awkward Motown moment evoking The Big Chill which feels forced. Still, there are an assortment of relevant, vital themes driving the play’s intentions such as ageism, identity, loss, financial stability, technological advances, and the emotional weight of being a caregiver.

Despite the script’s shortcomings, co-directors Annie and Fran Pesch assemble and smoothly guide a committed and compatible cast. Martin, although too young, is a credible ringleader proving why Danny has succeeded throughout the decades as the warm, feisty, funny, and free-spirited glue holding this foursome together even as her mother Bess (Gayle Smith, heartbreaking) battles dementia. McGinnis, a fine fit as outspoken Sil, scores many laughs, especially considering Sil’s fixation on having a facelift (“It’s not about being younger but refreshed!). Turner, benefitting from some of the strongest dialogue, finds engaging introspectiveness in the complex Mac, proud to stand in her truth as a gay black female. Pfeifer, performing in only her second play, particularly draws the audience in when Gabby quietly reflects on her delicate relationship with her transgendered granddaughter. Jamison Meyer tenderly completes the cast as Danny’s caring, thoughtful son Simon.
20th Century Blues falls short of being a truly compelling journey, but its depiction of sisterhood surviving the test of time is undeniably heartfelt.

20th Century Blues concludes today at 2 p.m. at Actor’s Theatre of Fairborn, 23 E. Main St. The play is performed in 100 minutes without intermission. Tickets are $15 for adults and $12 for seniors and students. Cash or check only. There is open seating. Call (937) 654-0400 to make a reservation. For more information, visit youngatheartplayers.com. Patrons are advised the show contains strong language and adult situations.

 

 

‘Mamma Mia!’ Review – Dayton Playhouse – Super Troupers

By

ABBA. Whether you loved the 1970s Swedish pop group for their tunes or fashion, there’s no denying their lasting impact on pop culture and the global landscape of pop music. Mamma Mia!, the 1999 musical blockbuster currently receiving its entertaining local community theater premiere at the Dayton Playhouse under the direction of Richard Lee Waldeck, enjoyably continues the group’s iconic legacy by featuring over 20 popular earworms written by Benny Andersson and Björn Ulvaeus.

Lindsey Cardoza (Rosie), Denise A. Schnieders (Donna) and Amy Askins (Tanya) perform “Dancing Queen” in Dayton Playhouse’s production of “Mamma Mia!” (Photo by Art Fabian)

At its core, Mamma Mia!, like all jukebox musicals, is primarily about the music, but this isn’t one of those poorly conceived jukebox musicals constantly stalling until the next song arrives due to a weak or scattershot plot. Here, a sweet, relatable, witty, and fun story of connection, female empowerment and friendship arises on a tiny Greek island centered on single mother Donna Sheridan, who delicately balances the upcoming nuptials of her only daughter Sophie with the surprise of being reunited with her three former lovers. As Donna and Sophie attempt to make sense of the past, in addition to Sophie’s desire to discover the identity of her father, both learn important lessons in forgiveness and acceptance.

Despite vocal strain at the performance attended, Playhouse newcomer Denise A. Schnieders is an admirable, believably conflicted Donna, holding firm to her strong ideals of independence while showcasing genuine, heartfelt concern for Sophie’s future, beautifully realized in the poignant ballad Slipping Through My Fingers (greatly heightened by Derek Dunavent’s lovely lighting design). Lillian Robillard, in her Playhouse debut, warmly navigates Sophie’s journey with winning vocals (most significantly The Name of the Game and I Have a Dream) and charming investigatory impulses. As Donna’s friends and former bandmates Rosie and Tanya, Lindsey Cardoza and Amy Askins are a delightful pair of comedic opposites. The nerdy, flirty Cardoza and sassy, sophisticated Askins bring kooky glee to Chiquitita and Dancing Queen while separately and respectively shining in energetic Take a Chance on Me (opposite humorous Brad Bishop as Bill Austin) and Does Your Mother Know (opposite Treonté King as ladies man Pepper).

Denise A. Schnieders (Donna) performs “Slipping Through My Fingers” opposite Lilly Robillard (Sophie) in Dayton Playhouse’s production of “Mamma Mia!” (Photo by Art Fabian)

Pleasant featured performances extend to Naman Clark as Sophie’s fiancée Sky, Ron Mauer (providing a comical, wistful Our Last Summer) as Harry Bright, Ted Elzroth (filling Knowing Me, Knowing You with clear intention) as Sam Carmichael, Ryan Petrie as Eddie, Kailey Yeakley as Lisa, Shana Fishbein as Ali, and Matt Wirtz as Father Alexandrios. Spirited ensemble members include Juangabriel Encarnacion, Casey Dillon, Nate Strawser, Bryan Schuck, Shanna Camacho, Anna Ryan Kolb, Kaylee Maple, Rachael Kindred, and Amber Pfeifer.

Waldeck’s artistic team includes choreographer Kara Castle (the oddly nonchalant Money, Money, Money notably lacks attack but Under Attack is a standout), set designer Red Newman, costumer Theresa Kahle, technical director Bob Kovach, prop mistresses Cathy Finn-Long and Ann Pelsor-Jones, and dialect coaches Fran Pesch and Annie Pesch. Interestingly, Waldeck places the orchestra above the audience in a booth in the rear of the auditorium. As the performance transpired, his decision led me to wonder at times if the orchestra was too loud or whether the cast wasn’t loud enough. Nonetheless, musical director/keyboardist Andrew Hackworth assembles an excellent group of seven musicians, particularly drummer Tyler Ohlemacher who wonderfully drives the beat in Knowing Me, Knowing You.

The ensemble of Dayton Playhouse’s production of “Mamma Mia!” (Photo by Art Fabian)

If you’re in the mood for a good dose of nostalgic escapism, don’t miss Mamma Mia! ABBA, thank you for the music.

Mamma Mia! continues through Sunday, May 19 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Act One: 60 minutes; Act Two: 60 minutes. Performances are 8 p.m. Friday and Saturday and 2 p.m. Sunday. Tickets are $20 for adults and $18 for seniors, students and military. For more information, visit daytonplayhouse.org.