On Stage Dayton Reviews

Wright State University supplies a breezy and joyful production of the tuneful tap dance extravaganza “42nd Street,” Michael Stewart, Mark Bramble, Harry Warren and Al Dublin’s hokey yet engaging Depression-era love letter to musical theater based on the 1933 film of the same name.

Much of the success of this highly entertaining showcase, attractively designed by costumer D. Bartlett Blair and scenic artist Tamara L. Honesty, stems from the indelible influence of choreographer Rick Conant, who has staged numerous productions of “42nd Street” across the country and internationally specifically recreating the original choreography of the legendary Gower Champion (“Bye Bye Birdie,” “Hello, Dolly!”). From the rousing tap frenzy of the opening “Audition” and the circular fluidity of “Getting Out of Town” to the cheery exuberance of “We’re In the Money” and the carefree flair of “Lullaby of Broadway,” Conant winningly upholds Champion’s legacy without embellishment. He also seamlessly shares directing credit with Joe Deer, who astutely chose to produce the original 1980 script which is tighter and more succinct than the 2001 revival extraneously equipped with additional scenes/songs.

Conant and Deer’s wonderfully spirited cast is impressively headlined by amiable triple threat Alyssa Hostetler who was born to play Peggy Sawyer, the unassuming hoofer from Allentown, PA who becomes the saving grace of the Broadway-bound musical comedy “Pretty Lady.” Hostetler’s humility and naietve are pleasant attributes as Peggy faces her share of adversity, but her particularly fantastic tap abilities is a hallmark of the opening scene and remains a knockout. Valerie Reaper’s beautiful vocals add to the enjoyment of her deliciously biting yet vulnerable portrayal of aging diva Dorothy Brock. Reaper’s renditions of “Shadow Waltz” and “I Know Now” are as lovely as “About a Quarter to Nine” which she shares with Hostetler. Jason Collins, a firm baritone, is a natural fit as the demanding producer-director Julian Marsh, but he occasionally flubbed his dialogue at the performance attended which lessened Julian’s self-assured persona.

Further, terrific tenor Zach Cossman has slight difficulty balancing the charm and vanity within “Pretty Lady” leading man Billy Lawlor, but he is certainly smooth and debonair while leading the elegant “Dames” and winningly shares the spotlight with Hostetler in a captivating tap sequence during the title number. Hilary Fingerman and Joey Monda are naturally comedic and likable as Maggie Jones and Bert Barry, co-writers of “Pretty Lady.” Alex Sunderhaus, Darien Crago and Sarah Agar are respectively animated, endearing and vivacious as chorines Anytime Annie, Phyllis and Lorraine. Sunderhaus notably joins Monda for a very cute and playful rendition of “Shuffle Off to Buffalo.” Ian Blanco truly shines in “Audition” as choreographer Andy Lee. Alex Horton (Abner Dillon), Riley Able (Pat Denning) and Blaine Boyd (Mac) are solid in additional supporting roles.  Musical director Rick Church leads an outstanding orchestra.

If you’re looking for an upbeat escape featuring some of the finest dancing seen on any stage this season, don’t hesitate to buy a ticket to “42nd Street.”

42nd Street, which opened Thursday, May 12, continues through Sunday, May 29 in the Festival Playhouse Stein Auditorium of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Wednesday at 7 p.m. (May 18 only), Thursday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 45 minutes. Tickets are $17-$19. For tickets or more information, call (937) 775-2500.

The Dayton Playhouse has a history of embracing challenges, but the organization overreaches and stumbles with a shaky season-ending production of Jerry Herman and Harvey Fierstein’s 1983 musical “La Cage aux Folles,” based on the 1973 play by Jean Poiret.

At its core, “La Cage” is a funny, touching and thought-provoking portrait of a family at odds, but it is also a bold look into a world of mystery, seduction and sensuality, pivotal elements missing in director Doug Lloyd’s dispassionate staging saddled with low energy. The titular St. Tropez nightclub specifically thrives on its entertaining chorus line of Cagelles yet the lukewarm individuals cast in the daring roles fail to typify the troupe’s “notorious” and “dangerous” reputation. Timidity and trepidation is not an option for the Cagelles, and although no one expects the Playhouse to produce an expert quality of drag on par with “RuPaul’s Drag Race” (did anyone tell Dayton’s own India Farrah about “La Cage” auditions?), their underdeveloped presence is problematic despite the effort. Without setting the proper tone at the forefront with credible Cagelles, towering examples of individuality and pride defiantly proclaiming “We Are What We Are,” “La Cage” simply loses its identity, morphing into a show that is more about costumes than character.
Even so, the production is primarily and respectively kept afloat by the admirable, witty contributions of Michael Boyd and Richard Croskey in the central roles of La Cage owner/emcee Georges and his female impersonator lover Albin. Croskey, particularly appealing as the flamboyant drag queen Zaza while delivering the saucy title number and the riveting anthem “I Am What I Am,” provides big laughs early in Act 2 when Albin is encouraged to discover his masculinity. This duo establishes a compatible bond and convey genuine parental concern when Georges and Albin’s son Jean-Michel (Zach King) announces his engagement to Anne Dindon (Sarah Parsons), the daughter of unabashedly conservative parents.
In notable featured roles, King, so wonderful ushering in “Springtime for Hitler” in the Playhouse’s marvelous production of “The Producers” last summer, struggled vocally at the performance attended, but is well paired with the winsome Parsons and effectively reiterates Jean-Michel’s insistence that the Dindons meet his parents in the traditional sense by requesting the presence of his estranged birth mother Sybil. Duante Beddingfield is a prime source of comic relief as the fussy Jacob yet his excitable nature  feels out of sync because of the off-kilter dynamic among the cast. At the same rate, due to the show’s sheer unevenness, Jeff Campbell and a particularly terrific Karen Righter are able to steal the show as the uptight Edouard and Marie Dindon. Chris Hammond is very engaging as the bubbly Jacqueline.
Elsewhere, set designer Chris Harmon offers one of his most colorful, efficient creations. Choreographer Stacy Gear’s routines are intended to be lively, but lack zest in execution. Stephanie Dickey, Karen Dickey and Kaitlyn Osborn are responsible for the costumes. Music director Ron Kindell leads a steady off-stage orchestra.
This “La Cage” is underwhelmingly stuck in neutral, reticent to truly sparkle and come alive, but perhaps all involved will coalesce to embrace and simply sell the delightful musical theater magic within the material before the production must sashay away.

La Cage aux Folles, which opened Friday, May 13, continues through Sunday, May 29 at the Dayton Playhouse, 1301 E. Siebenthaler Ave. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 65 minutes. Tickets are $10-$15. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.org. In related news, the Playhouse’s 2011-12 season will consist of Jekyll & Hyde, Abie’s Irish Rose, Scrooge, Nunsense, Bus Stop and The Sound of Music.

Alexandra Finke of Centerville and Mimi Klipstine Dick of West Milton took top honors at the Human Race Theatre Company’s fourth annual Stephen Schwartz Musical Theatre Scholarship competition Tuesday, April 26 at the Loft Theatre.

Named in honor of the prolific composer of such musicals as “Godspell,” “Pippin,” “The Prince of Egypt” and “Wicked,” the competition, truly competitive and musically engaging, featured six collegiate and four high school students who prepared a Schwartz selection and a show tune from another composer.

Finke, a Muse Machine alumna and a junior at the University of Michigan who performed “Corner of the Sky” (“Pippin”) and “Pulled” (“The Addams Family”), received a $2,500 scholarship. She was also co-winner of the 2008 inaugural competition. “It’s a huge honor,” Finke said. “It was wonderful to perform with such amazing singers. It’s great that the Human Race Theatre Company provides such opportunities.”

Dick, a senior at the Interlochen Arts Academy who performed “Defying Gravity” (“Wicked”) and “Blow, Gabriel, Blow” (“Anything Goes”), received a $1,000 scholarship. Equally thrilled as Finke, Dick looks forward to pursuing her musical theater aspirations in college. “It feels amazing!,” she said. “I love musical theater. I want to be on Broadway – that’s the dream.”

The remaining finalists were Joanna Draper of Oakwood High School, Bradley Farmer of Springboro High School, Mary Kate O’Neill of Kettering-Fairmont High School, Jamard Richardson of the University of Oklahoma and Wright State University students Blaine Boyd, Alyssa Hostetler, Jenyth Rosati and Lucian Smith. Each finalist received marvelous accompaniment courtesy of music director-pianist Julie Spangler of the University of Cincinnati-College Conservatory of Music. Human Race resident artist Scott Stoney served as acting coach. Nathan D. Dean handled sound duties.

In addition to Finke and Dick’s radiant performances, musical highlights included Boyd’s dynamic “Proud Lady” (“The Baker’s Wife”), Draper’s cute and coy “Times Like This” (“Lucky Stiff”), Farmer’s perfectly perky “Popular” (“Wicked”), Hostetler’s magnetic “The Wizard and I” (“Wicked”), O’Neill’s outstanding deliveries of “Ain’t It Good” (“Children of Eden”) and “The Worst Pies in London” (“Sweeney Todd”), Richardson’s cool and smooth “It Ain’t Necessarily So” (“Porgy and Bess”), Rosati’s tender “Where Is the Warmth?” (“The Baker’s Wife”) and Smith’s gently authentic “With You” (“Pippin”).

Judges were Human Race producing artistic director Kevin Moore, Human Race resident artist Patricia Linhart of the University of Cincinnati-College Conservatory of Music and Victoria Theatre Association vice president of programming Tina McPhearson. The audience also provided a collective vote. Dayton Philharmonic Orchestra music director Neal Gittleman hosted the festivities, which included an intriguing preview of scenes from Schwartz’s first opera “Seance on a Wet Afternoon.”

For more information, visit www.humanracetheatre.org

The Human Race Theatre Company, a continual advocate of potent works spotlighting the African-American experience, returns to the hot button topic of race with an outstanding presentation of Thomas Gibbons’ museum drama “Permanent Collection,” which appropriately opened at the Loft Theatre the day after probable presidential hopeful Donald Trump reassured the country of his great relationship with “the blacks.”

Delicately yet crisply directed by Schele Williams, responsible for the Human Race’s marvelous 2009 production of “Ethel Waters: His Eye Is On The Sparrow,” “Permanent Collection” examines a controversial 2003 feud, loosely based on a true account and ensuing documentary, between two hardnosed men that forever changes Pennsylvania’s Morris Foundation. Exclusively tucked away in the suburbs of Philadelphia with a by-appointment-only admission policy, the Foundation, beautifully conceptualized by scenic designer Tamara L. Honesty, is caught in a period of major transition following the untimely death of its creator/benefactor Alfred Morris (Scott Stoney, playfully shrewd and spry). Alfred peculiarly willed his vast art collection, primarily known for its Impressionist and Post-Impressionist treasures to be displayed without interference, to a historically black college who chose former corporate executive Sterling North (a tremendous Alan Bomar Jones) as the Foundation’s new director. Sterling, a Jaguar-driving African-American who has endured his share of prejudice, doesn’t ruffle feathers until he contemplates diversifying the museum’s 23 galleries by displaying eight pieces of African art found in storage. This bold idea deeply troubles the Foundation’s veteran curator Paul Barrow (Scott McGowan, a terrific adversary) who feels any disruption to the collection completely violates Alfred’s intent. As Sterling and Paul debate the preservation of legacy versus advancing the Foundation’s future, Gibbons credibly creates a volatile den of racially charged hostility that manages to sustain its neutrality, leaving the engrossing guessing game of right or wrong in the eye of the beholder.

When tempers rise and the race card is dealt, Gibbons predictably takes Sterling’s angry black male mentality too far, but Jones, magnetically commanding the stage with every move and gesture, rises above the tired stereotype with an impeccably crafted portrayal dynamically conveying Sterling’s dignity, intelligence, tenacity, wit and forward-thinking perspective. There is so much more to Sterling than mere rage and resentment, and I shudder to think what would have transpired in the hands of a lesser talent. McGowan, commendably holding his own in the face of the intimidating Jones, conveys Paul’s proficiency as an art aficionado with full veracity. He also excellently adopts a fiery persona in Act 2 when Paul, having sued Sterling for libel when called a racist in the local newspaper, leads various demonstrations against the Foundation after prodding from highly perceptive reporter Gillian Crane (Christine Brunner at her finest).

Additionally, the lovely Melissa Joyner radiates with cool sophistication as Kanika Weaver, Sterling’s associate who remains a loyal friend to Paul despite the heat of battle. Joyner is truly compelling late in Act 2 when Kanika, created by Gibbons as a means to explore common ground between the races, weighs her fate and shares an eye-opening epiphany. The likable Sharon Hope portrays Ella Franklin, Alfred’s longtime assistant.

Whether the core issue is race or art, “Permanent Collection,” incredibly relevant while fascinating with mystery, brings thought-provoking awareness to the pitfalls and repercussions of narrow-mindedness. Dissension is an inescapable fact of life, but perhaps after reflecting on the gorgeous universality of such masters as Cezanne, Matisse, Renoir, Seurat and Van Gogh in Gibbons’ captivating context, everyone can agree with Paul’s assessment that “art can make us better human beings – deeper, richer, more alive.”

Permanent Collection, which opened Friday, April 15, continues through Sunday, May 1 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 65 minutes; Act Two: 50 minutes. Tickets are $20.50-$40. A talkback discussion will be held following the Sunday, April 24 performance featuring Will South, chief curator of the Dayton Art Institute. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org

Tom Griffin’s humorous and poignant 1987 comic drama “The Boys Next Door,” a story of four mentally disabled roommates and their compassionate social worker, receives an excellently character-driven presentation at the Dayton Theatre Guild.

Director Natasha Randall, subtly inserting Christina Aguilera’s “Beautiful” for topical relevance at one point, deftly establishes the varying tones in the challenging play which encompass moments of utter pandemonium, charming levity and heartrending potency. Whenever the action particularly plummets into chaos, the hyperactive tendencies of the meticulous Arnold Wiggins (Darren Maddox), the childlike Lucien P. Smith (Franklin Johnson), the doughnut-craving Norman Bulanksy (William Fulmer) and the golf-adoring Barry Klemper (Craig Roberts) unintentionally rise to grating levels, but these unique men are endearingly and energetically brought to life nonetheless which is paramount.

Griffin doesn’t provide many conceptual fireworks in the mildly meandering Act 1, but supplies two terrific scenes in the more substantive, emotionally engaging Act 2. The tense arrival of Barry’s abusive, bigoted father, played with casually cruel ease by Mark Jeffers, completely demolishes Barry’s self-esteem and psychological well-being, which Roberts, in perhaps his most sympathetic performance to date, skillfully conveys. Shortly after Barry is reduced to tears, Lucien appears before the state senate in heartbreaking fashion to fight for his benefits. While questioned, Lucien delivers a powerful out of body monologue, a fervent plea for tolerance and understanding which also serves as the highpoint of this production,   superbly and passionately rendered with dignified dynamism by Johnson, whose fully absorbing, applause-inducing portrayal is among the finest of the season.

Jeffers, Roberts and Johnson are fortunate to have the most compelling material, but Maddox, Fulmer and an appealingly understated Jeff Sams as Jack, the friendly caregiver coping with uncertainty in his personal and professional life, are equally solid. The tall, lanky Maddox, wearing a funny assortment of hats throughout, effortlessly lays the quirky groundwork for the play in the opening scene. Fulmer, speaking loudly and vigorously barreling his way through the action, shines during his tender scenes opposite Lisa Sadai as the adorably smitten Sheila. Sams, very good at being totally unpretentious, embodies Jack with a genuinely supportive, paternal temperament which makes the final moments unquestionably touching. Ellen Ballerene and Darren McGarvey effectively portray multiple roles that accent the authenticity of this meaningful and thought-provoking Guild achievement.

The Boys Next Door, which opened Friday, April 1, continues through Sunday, April 17 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 57 minutes; Act Two: 70 minutes. Tickets are $11-$18. For tickets or more information, visit www.daytontheatreguild.org or call (937) 278-5993.

In related news, the Guild’s 2011-12 season, dubbed Truth and Consequence, will feature Paula Vogel’s The Oldest Profession (Aug. 26-Sept. 11, 2011 directed by Greg Smith), Neil Simon’s Lost in Yonkers (Oct. 21-Nov. 6, 2011 directed by Fran Pesch), Tom Stoppard’s adaptation of Gerald Sibleyras’ Heroes (Jan. 6-22, 2012 directed by Fred Blumenthal), David Davalos’ Wittenberg (Mar. 16-Apr. 1, 2012 directed by Saul Caplan), Lee Blessing’s Going to St. Ives (Feb. 10-26, 2012 directed by Greg Smith) and Horton Foote’s Dividing the Estate (Apr. 27-May 13, 2012, directed by Ralph Dennler). The season extra productions will consist of Stephen Temperley’s Souvenir (Sept. 16-25, 2011), Ed Graczyk’s The Blue Moon Dancing (Dec. 2-8, 2011, directed by Greg Smith) and Neil Bartram and Brian Hill’s The Story of My Life (June 1-17, 2012, directed by Debra Kent). Additional information about the season including audition dates will soon be found online at www.daytontheatreguild.org or by calling (937) 278-5993.

Cedarville University wraps another winning season with an entertaining production of “See How They Run,” Philip King’s simple yet amusing 1944 British farce.

Cohesively directed by Rebecca Baker and attractively designed by Donald N.C. Jones and Robert Clements, the three-act “Run” centers on a flurry of mistaken identity inside the home of Reverend Lionel Toop (Josiah Hutchings, a standout in Cedarville’s marvelous “Hello, Dolly!” two months ago). Lionel’s musically inept wife Penelope (Sara Daransky), a former actress, does her best to keep her sanity intact amid the madness, but it’s a difficult task as the men around her are caught in a whirlwind of confused hilarity while dressed in priestly garb. King strangely builds the farcical essence of the piece with an awkwardly slow progression, which certainly hinders Act 1 from being a total laugh riot, but the sparks begin to fly in Act 2 and truly soar in Act 3.

In addition to Hutchings and Daransky’s admirable performances, “Run” features a strong supporting cast who sharply executes Matthew Michael Moore’s fight choreography and embraces spontaneity while avoiding the temptation to go over the top. The very charming Dylan Cimo naturally embodies the easygoing Corporal Clive Winthrop, who previously starred with Penelope in a production of “Private Lives” and longs for nothing more than his Army uniform once he’s trapped in black. Jordan Link and Eric Rasmussen are respectively and delightfully daft as the Bishop of Lax and Reverend Arthur Humphrey. Allister Littrell brings appealing menace and humor to his role as a foreign Intruder, especially in Act 3 when he humorously tries to fool everyone as Lionel while clinging to Penelope. Keely Heyl, possessing an impressive knack for physical comedy, is outstanding as tightly-wound parishioner Miss Skillon, who is continually shoved in a closet. Perfectly prim and proper at the outset yet completely disheveled toward the end, Heyl notably performs an inspired bit involving a group of coats that would make James Burrows (“Cheers,” “Frasier,” “Will & Grace”) proud. Emily Dykeman scores big laughs as Ida, Lionel and Penelope’s dutiful maid. Ben Lenox offers fine authority as Sergeant Towers in the final moments.

“Run” doesn’t race until Act 2, but serves its overall purpose as playful theatrical escapism.

See How They Run, which opened Thursday, April 7, continues through Sunday, April 17 in the DeVries Theatre of the Stevens Student Center at Cedarville University, 251 N. Main St., Cedarville. Performances are Thursday and Friday at 8 p.m. and Sunday at 3 p.m. Act One: 33 minutes; Act Two: 34 minutes; Act Three: 45 minutes. Tickets are $8-$12. For tickets or more information, visit http://www.cedarville.edu/ticketinfo

Jukebox musicals, shows that use preexisting songs to craft a story or revue, remain a popular staple on Broadway despite their artistic and financial unpredictability. Three weeks ago I was dazzled by the pop-friendly extravagance of “Priscilla, Queen of the Desert: The Musical,” a hodgepodge of Madonna, Burt Bacharach, Cyndi Lauper and Donna Summer tunes among others that could possibly receive a Best Musical Tony nomination next month. But even though “Priscilla” proved equally entertaining as still-running jukebox magnets “Jersey Boys,” “Mamma Mia!,” Million Dollar Quartet” and “Rock of Ages,” the genre has had its share of flops (“Good Vibrations,” “Lennon,” “The Look of Love,” “Ring of Fire”). In particular, Twyla Tharp won a Tony for “Movin’ Out,” but stumbled with “Times They Are A-Changin’” and “Come Fly Away.”

Presently, the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospitals Broadway Series offers the local premiere of 2005’s “All Shook Up,” a comical look at a tiny, traditionalist Midwestern town circa 1954 featuring over 20 songs from the Elvis Presley repertoire. Incorporating a clever nod to “Twelfth Night,” Tony winning librettist Joe DiPietro (“I Love You, You’re Perfect, Now Change,” “Memphis”) admirably balances the jokey silliness of the premise (a cool roustabout has his emotions tested while swiveling his way into the hearts of a conservative community) with period appropriate potency (an engaging subplot examining interracial romance). Some tunes are shoehorned better than others, a typical downside of the jukebox blueprint, but DiPietro specifically scores with the placement of “C’mon Everybody,” in which rebellious Chad (the very charismatic Brian Kess) spins the town into a colorful frenzy, and “It’s Now or Never,” a wonderfully tender moment given to lovebirds Lorraine (Caitlyn Renee) and Dean (Alex Herrera) heightened by cute, spine-tingling stagecraft from director M. Seth Reines who adapts Christopher Ashley’s original concept.

In addition, Khristy Chamberlain is delightful as Natalie Haller, a mechanic smitten with Chad who disguises herself as the macho Ed in an attempt to befriend him. Chamberlain’s endearing spunk is a plus and her belting soprano sparkles throughout “One Night With You,” the particularly feisty “A Little Less Conversation” and “Fools Fall in Love.” Powerful vocalist Brooke Aston, who brings the house down with “There’s Always Me,” is a super sassy Sylvia, Lorraine’s no-nonsense mother. Ben Martin is charming and quite comedic as Dennis, a Shakespearean devotee hopelessly in love with Natalie. The statuesque Hannah Zold is a fine fit as Miss Sandra, Chad’s object of affection who is actually head over heels for Ed. Ellen Karsten is effectively crabby, insensitive and overbearing as Mayor Matilda Hyde, Dean’s mother, and has an amiable sidekick in Ricky Pope as Sheriff Earl. Paul Crane brings humor and warmth to his portrayal of Natalie’s widowed father Jim. Muse Machine and Wright State University alum Matt Kopec is notable among the surprisingly small ensemble joyfully executing Marc Robin’s lively choreography.

Arriving on the heels of the outstanding national tour of “Avenue Q” which played the Victoria Theatre Wednesday, March 30, “All Shook Up” ultimately arises as a breezy, feel-good option ranking among the more tolerable jukebox creations.

All Shook Up, which opened Tuesday, April 5, continues through Sunday, April 17 at the Victoria Theatre, 138 N. Main St. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $39-$81. For tickets or more information, contact Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

One wouldn’t assume the story of a German transsexual and his botched sex change operation would be deemed as universal musical theater, but thanks to the incredibly compelling and engaging framework seamlessly conceived by librettist John Cameron Mitchell and composer Stephen Trask, 1998’s cult hit “Hedwig and the Angry Inch” leaps past its seemingly niche appeal to speak to anyone who has made a monumental sacrifice, experienced betrayal, questioned their identity or individuality, or longed to find a soul mate while searching for true love.

In Encore Theater Company’s authentically raw, terrifically intimate presentation, which opened Thursday, April 7 at Club Vex smoothly directed by Shane Anderson, the remarkable JJ Parkey completely inhabits the witty, glamorous, opinionated, sarcastic, heartbroken and steadfast Hedwig, an “internationally ignored” wannabe rock star born Hansel Schmidt to an East German mother and an American G.I. As Hedwig’s unique tale breezily evolves from his rocky childhood in tumultuous Berlin to life post transgender surgery in a Kansas trailer park as a divorcee and babysitter hoping for stardom, Parkey, unafraid to interact with the audience while strutting through the aisles with fetching flair, becomes a vulnerable, captivating storyteller, particularly in terms of his astute narrative abilities and seamless transitions when embodying other characters, specifically Hedwig’s seductive “Sugar Daddy” Luther and his lover-turned-nemesis Tommy Gnosis. Musically, he fully embraces the grittiness of rock numbers “Tear Me Down,” “The Angry Inch” and “Exquisite Corpse,” leads the snazzy sing-a-long “Wig in a Box” with carefree whimsy, and unhurriedly savors the lyrically introspective beauty of “The Origin of Love” and the poignant “Wicked Little Town,” hauntingly reprised with evocative assistance from lighting designers Brian Cox and Nicholas Crumbley.

This musical is often considered a one-man show, but has always been a solid two-hander due to the presence of Yitzhak, Hedwig’s obsessive, occasionally bickering husband superbly portrayed with crazed, wide-eyed intensity by the mesmerizing Abigail Nessen Bengson, who took Dayton by storm last season as Mimi in Encore’s production of “Rent.” Yitzhak is primarily a reaction role, but Bengson, while never stealing focus from Parkey or reducing the compatible rapport they establish, commands attention with every dynamic, character-specific move she makes. Despite the fact that Parkey sings the lion’s share of the score, Bengson, one of the most vocally dexterous and magnetic singers I have heard, offers wonderful back-up and a few solo moments to be treasured. Her brief and unassuming rendition of “I Will Always Love You” contains soulful inflections that rival Whitney Houston’s definitive interpretation. Equally thrilling is her passionately full throttle and fiery version of “The Long Grift,” Yitzhak’s prime occasion to bask in the spotlight. The number is a hallmark of this production and a joy to behold.

Guitarist Shaun McClain Bengson, Abigail’s husband, is a member of the excellently balanced on stage band led by music director/pianist John Faas and also featuring percussionist Shea Castle and bassist Luke Dennis.

Encore impressively executes Hedwig’s fascinating, humorous and gripping journey of survival. Parkey and Bengson’s outstanding performances are not to be missed.

Hedwig and the Angry Inch continues Friday, April 8 at Club Vex, 101 S. St. Clair St., and Saturday, April 9 at MJ’s Cafe, 119 E. Third St. Performances begin at 8 p.m. The musical, which is performed in 90 minutes without intermission, contains adult language and mature themes. Tickets are $15. For tickets or more information, visit www.encoretheatercompany.com

In related news, Encore’s 2011 summer mainstage series, in association with Sinclair Community College, includes ETC’s Big Fat Concert Series Vol. 2: I Feel So Much Spring-Seasons and Celebrations (April 29-30 at The Color of Energy Gallery), Altar Boyz (June 16-18 at Sinclair’s Blair Hall Theatre), In My Blood (July 14-16 at Sinclair’s Blair Hall Theatre), Pump Up The Volume and The Consequences (Aug. 4-6 at the Loft Theatre in conjunction with the Human Race Theatre Company) and ETC’s Big Fat Concert Series Vol. 3: The Best of Big Fat (TBA).

We all know about my ongoing addiction problem with dance.  With my recent experience with dance events, I was less than satisfied by the end results. Then I went to the Wright State University Dance Ensemble Winter Dance Concert and I could not wait to get home and tell you all about it. This gave me such a buzz that will stay with me to the Rise to Dance concert and the New Music for New Dance concert being presented this week.

While the concert was far from perfect, it had so much going for it, that by final stunning dance work choreographed by Susanne Payne it didn’t matter what my quibbles and personal dislikes were.  But for the purpose of a complete review, full disclosure is a must. What I love about dance programs presented by colleges and universities, is that you are given a buffet of artistic choices. If one choreographic work is not your cup of tea, something else on the menu might do the trick.

These types of shows are filled with risky choreographic choices and dancers eager to push themselves and the audience in new and exciting directions. Mostly hit or miss but at least an attempt is being made by all involved. And the fact that a college dance concert is more exciting than a professional dance concert should be of concern to this community.

The choreography of assistant professor, Gina Walthers kicked off the concert with a modern pedestrian/propulsive style of choreography that showcased the dancers in the most flattering of ways. The swooping curvilinear forms carried by the always dependable music styling of Kevin Anderson with a mighty assist from the distinctive vocalize of Nina Simone.  The quartet section was of particular choreographic note. Bravo Gina.

Next on the bill was the work of Justin Gibbs, Assistant professor, The Re-Player. A slightly quirky piece, it contained some interesting angular upper body positions that lead to beautiful turning combinations.

I was blown away by the work of student choreographer Joanie Evans, Unscripted.  She is a confident young artist with a very mature movement vocabulary and a burgeoning skill at creating movement sequences that swept the audience (myself included) up in a moody and intense exploration of young women on the edge of emotional vortexes beyond their control. It held the audiences attention from beginning to end. My only quibble is the lighting changes were too frequent and distracting. As you progress as a choreographer Joanie, deliberate you lighting choices very carefully.

Kudos to Abigail Beam for taking the helm of Dayton Ballet II and choreographing, Danza Scherzi, a work that  I feel is only the beginning of a renaissance of dancing at the pre-professional level.  In the past I have not been a fan of all of the works presented by DB II at the Wright State concert.  This work left me hopeful for a revitalization of this pre-professional training program. Since I began my dancing life there, I will always have a soft spot for DBII. And I want to encourage her to keep developing her choreographic chops and build upon her keen sense of musicality and overall aesthetic vision. Keep pushing their technical training.

What happened next on the concert bill nearly caused me to OD. Visiting guest choreographer Adam Hoagland, presented Risk of Flight, a daring, ambitious vertiginous work that left me speechless. Where does one begin with a choreographic work of such sublime intensity? This sublimity compelled me to stalk his choreographic output and to seek out the next show that contained his work. Not since the presentation of the solo Monster Partitur by the king of contemporary choreography at the Wexner a couple of years ago have I been so inspired by someone’s choreographic efforts.  Startlingly simplistic shapes of distorted limbs, like alien life forms, that the dancers thrust themselves into had a visceral freshness that cut through hubris presented by most contemporary choreography. This guy is the real deal.

The fact that Wright State performed his work has elevated their stature in my eyes.  This is a program that bounced back in a major way. If you are a lover of dance you must seek out his work wherever it is being performed (hint, he is the resident choreographer at Cincinnati Ballet). Dayton Ballet should be speed dialing him right now.

A Corps of Individuals, by Justin Gibbs, while not my favorite piece on the concert, had its moments.  I still had a buzz from Risk of Flight that allowed me to sit through it. The pointe work of the dancers was not as strong in sections as it could have been. As a satirical work about the machinations of ballerinas, the humor could have been more acerbic and witty had their technique been sharper this could been a lot o fun.

Nox, a stunning duet by former DCDC dancer Rodney Brown, was an incredibly poignant piece that pulled me into its intimacy. Amelia Dietz and Jordan McMahan danced this work with grace and nuance that served the piece incredibly well. He is another choreographer who we should all be following.

Gina Walther presented excerpts of Bernstein’s Mass, which will be performed on May 13, and 14 as part of a creative collaboration between the Dayton Philharmonic Orchestra and the Wright State University Theater, Dance and Music departments. A powerfully meditative work that evoked a quiet spirituality that allowed for flowing sparkling group sections that spun off into, solo, duet and various other groupings. The dancers  were dressed in blue tunic style belted dresses that flattered the sweeping gestural quality of the work.  As a preview this was a wonderful teaser of what is to come in May at the Schuster (look for the preview). I have always been a fan of Gina’s work.

And last but not least, we had the sensual finale of Shake by Susanne Payne. I cannot think of another choreographer working in the Dayton region, other than William McClellan Jr., who possesses such superlative dance making chops. She has invested her energy and talents into transforming the ladies on stage into creatures of silken and sassy muscularity. I found myself keeping rhythm by slapping hand against my thigh, marveling at how she created a large cast group piece that managed to highlight the singular gifts of each talented dancer.  Susanne Payne is a choreographer of merit and note that deserves all of the accolades that she has coming. Any chance to see her work is a must see event.

The dancers were all in black skirts and shoulder length sleeves that swayed and twirled with a life of its own. As the dancers propelled themselves across the stage with shuffles and arm swings that enveloped the audience in a rapturous energy.

Finally a satisfying dance fix. I am looking forward to the New Music for New Dance  concert at Dayton Ballet coming this weekend.

In the delightful musical comedy “The Drowsy Chaperone,” the winner of 2006 Tony Awards for Best Book and Best Original Score which opened Tuesday, March 8 at the Victoria Theatre produced by the Human Race Theatre Company and presented on the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospital Broadway Series, a musical theater devotee simply named Man in Chair reflects on his adoration for a 1928 musical of the same name by playing its cast recording for the audience. As an assortment of colorful characters spring to life in his Manhattan apartment, the show-within-a-show marriage of fantasy and reality, meticulously constructed with hilarious, sardonic anecdotes by librettists Bob Martin and Don McKellar, cleverly soars, authentically propelled by Lisa Lambert and Greg Morrison’s bubbly pastiche songs.

This well cast, Broadway caliber presentation, fluidly directed by director/choreographer Kevin Crewell who predominately adapts the original Tony-nominated contributions of Casey Nicholaw, stars Wally Dunn whose outstanding portrayal of Man in Chair contains an easygoing humility and infectious bursts of bliss. Whether sipping on a juice box or gesturing dramatically under a crescent moon, Dunn wholeheartedly embraces the passion and quirks inherent in his unassuming role which is pivotal since the material would be deflated without an enthusiastic, fully committed narrator.

Although the show relies heavily on Dunn’s engaging personality, the featured roles are also winningly performed. Megan Nicole Arnoldy offers lovely vocals and an appealing stage presence as showgirl Janet Van de Graaff, whose impending marriage to Robert Martin (the handsome Robb Sapp) serves as the catalyst for “Drowsy Chaperone.” Sapp particularly shines near the outset with the catchy tap dance number “Cold Feets” opposite the excellent Richard Vida as George, Robert’s best man. Jana Robbins wonderfully tackles the tipsy titular role with boozy flair. Christopher Gurr displays sharp comedic timing as Latin lothario Aldolpho. Saul Caplan is believably exasperated as Janet’s producer Mr. Feldzieg, who spends the proceedings preoccupied with ditzy ingénue Kitty (a period-appropriate Adrienne Gibbons) and two vaudevillian-esque gangsters posing as pastry chefs (a humorously unified Scott Cote and Steven M. Goldsmith). Human Race resident artists Patricia Linhart and Scott Stoney are a charming duo as Mrs. Tottendale and her dutiful Underling. Shawn Storms, as aviatrix Trix, puts her belting voice to good use as she leads the cast in the cheerful “I Do, I Do In The Sky.” J.J. Tiemeyer, Amy Wren, Eric Byrd and Erica Steinhagen are compatible ensemble players.

In addition to incorporating Gregg Barnes’ stylish Tony-winning costumes, the creative sets, nicely modeled after David Gallo’s Tony-winning creations, are designed by J Branson courtesy of Music Theatre of Wichita. John Rensel and Nathan D. Dean respectively supply effective lighting and sound design. Musical director John Faas energetically conducts a terrific orchestra.

Like the Man in Chair, I encourage you to escape from the dreary horrors of the real world and sample the theatrical joy that is “The Drowsy Chaperone.”

The Drowsy Chaperone continues through Sunday, March 20 at the Victoria Theatre, 138 N. Main St. Performances are Wednesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. The show is performed in 105 minutes without intermission. Tickets are $39-$81. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Wright State University admirably delivers Jason Howland, Mindi Dickstein and Allan Knee’s poignant yet unremarkable 2005 musical “Little Women,” based on the classic Civil War-era novel by Louisa May Alcott.

Alcott’s semi-autobiographical coming of age tale centers on the colorful, tightly bonded March sisters of Concord, Massachusetts coping with life on the homefront with their mother while their father serves his country. This sprawling adaptation, which takes a few conceptual liberties, offers heartwarming sentimentality, but particularly lacks a wealth of strong, dynamic, period-appropriate tunes from Howland and Dickstein. Both acts open with lengthy, forgettable numbers emphasizing the adventurous writings of the fiery Jo (Jennifer Lamourt), and there are also songs that could have been discarded in favor of allowing librettist Knee to craft more compelling book scenes. Nevertheless, director Lee Merrill injects joy, sincerity and tenderness into the material which keeps the three hour presentation – which opened Friday, March 4 in the Herbst Theatre fluidly executed by a unified cast, smoothly music directed by Susan Carlock and attractively costumed by Vinicius Vargas – thoroughly engaging.

The spunky Lamourt doesn’t possess the vocal range required to belt her big solos, particularly the musical’s signature anthem “Astonishing,” but she effectively relies on her acting strengths to convey Jo’s spitfire determination to become a successful author while simply embracing the independent woman she is. In a welcomed touch of non-traditional casting, Ria Villaver effectively transitions from bratty immaturity to attractive sophistication as Amy. Kathleen Ferrini is nicely understated as Meg. Darien Crago is lovely as the quiet, reserved Beth and also serves as choreographer, specifically staging “Five Forever” with carefree enthusiasm. These ladies form a naturally compatible connection with Madeleine Casto, excellently commanding as the affectionately stern Marmee. Additionally, Michelle Weiser is terrifically authoritative as the society-driven Aunt March, and Lauren S. Deaton, a standout in productions at Sinclair Community College, fares well as boarding house owner Mrs. Kirk.

The men of “Women” are equally appealing. Casey Jordan creates a pleasant rapport with Lamourt in the charming yet underwritten role of Professor Bhaer. Fine tenor Zach Cossman is an endearing presence as Laurie, who pines for Jo yet ultimately falls for Amy. Jason D. Collins, marvelously paired with Casto in “August: Osage County” earlier this season, offers another satisfying turn as Mr. Laurence. The adorably meek Justin Talkington nearly steals the show as John Brooke, Laurie’s tutor smitten with Meg.

Little Women continues through Sunday, March 13 in the downstairs Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 90 minutes; Act Two: 70 minutes. Tickets are $7-$10. For tickets or more information, call (937) 775-2500.

In related news, WSU’s 2011-12 mainstage season will consist of Death of a Salesman (directed by Greg Hellems and tentatively featuring Scott Stoney and Lee Merrill), Hairspray (directed by Joe Deer and choreographed by Teressa Wylie McWilliams), Rent (directed by W. Stuart McDowell), The Merchant of Venice (directed by Sandra Crews) and The Phantom of the Opera (directed by W. Stuart McDowell). Part 2 of Bruce Cromer’s adaptation of Barnaby Rudge will be featured in the Herbst Theatre along with two productions yet to be determined which will be respectively directed by Marya Spring Cordes and Jamie Cordes. The mainstage and Herbst selections are subject to change.

Dance Reviews

Dayton Ballet – Streetcar Named Desire

Dayton Contemporary Dance Company – In The Spirit Of:  The Spirit Within

As a lover of dance in all of its incarnations, my passion for the art will compel me to seek out every performance that I can find, fit into my schedule and afford. I am owning up to my addiction to dance.

When I discovered that both Dayton Ballet and Dayton Contemporary Dance Company were both performing, I felt like I scored the biggest fix of my life. Now after my weekend binge, standing in the light of the rising sun  I realize that it was not a particularly great batch of…

Part of the pleasure of dance addiction is the almost perverse visceral joy you get by parading your addiction in public. The ritualistic anticipation of the heavy velvet curtain rising to  expose a portal to a world of incredible aesthetic beauty inhabited by  beings possessing  an invigorating super human physicality, what a rush.

The captivating elements of theatricality and music combined with choreographed movement that when it works can leave you breathless.  Addiction is about extremes and so I make no apologies for wanting the experience to elevate me.

Dayton Ballet – Streetcar Named Desire

At the Dayton Ballet performance of Streetcar Named Desire and mixed repertory program was the beginning of my “lost” dance weekend, the curtain rose on the first ballet, Freudian Slip. A quartet of ballerinas in gray athletic cut mini dresses with pink  under-skirts was the perfect opening work, a delightful minor ballet that provided just enough of an initial rush for the ballet addiction to kick in.

The crisscrossing patterns accented by losses of ballet decorum, movement hiccups that hinted at a desire to break free, was danced by Erika Cole, Erica Lehman, Halliet Slack and Annalise Woller with a subtle precision. I get the sense that the choreographer Mrs. Russo Burke, wants to not play it so safe. I question what is holding her back, more on that later.

This was followed by a presentation of the centerpiece of the evening, a ballet interpretation of Streetcar Named Desire, Tennessee Williams seminal drama of lust, brutality, and madness interpreted by the choreography of Mrs. Russo Burke.

The ballet for the most part contained some interesting choreographic passages that effectively portrayed the relationships of the central characters, Stella, Blanche and Stanley.  But as the ballet progressed I felt as if the underlying salient sexual tension, which is truly integral to Blanche and her falling into the pit of madness had been stripped away and neutered. I felt sorry for the plight of this Blanche but not devastated for her.

Choreographically, the Pas de deux between Stella and Stanley, (beautifully danced by Erika Cole and Justin Michael Koertgen) set us up perfectly for what is the lynch pin of the play, the sexual brutalization of Blanche at the hands of Stanley. And somehow this was woefully underplayed.

Might I suggest that if this is going to be a part of the repertory of Dayton Ballet under Mrs. Russo Burke’s direction that some time is taken to rework this ballet and give it some teeth.  This is one dangerous sexy beast of a story that should make us more than a little uncomfortable.  I know it is possible because Mrs. Russo Burke provided us the underlying reason for Blanche’s descent into madness (husband is a closet case and commits suicide) and to display that choreographically was a bold decision.

This was an intimate chamber drama that played more like a Sophia Coppola film, a drama that skirts around the dark matters of the heart when it should have played like the first “Godfather” film, going straight for the visceral sucker punch.

And then came Five Flights Up, a work whose charms utterly failed to inflict its mojo on me. I desperately wanted to like this ballet. The dancers tirelessly gave an energetic performance of the choreography set to songs by the Squirrel Nut Zippers. I was completely in their corner, yet it did nothing for me.

All of the elements were there like a choreographic shopping list’ Fun music, check, cheeky partnering sections, check, colorful costumes, check. As the ballet progressed I kept waiting for it to get better as if the high would kick in soon.  Wait? Had I gotten a hold of a bag of mediocre dance “chronic”? The choreography played it way too safe. I love repetition and developing a phrase of movement material that resurfaces through out a piece, but to what end if the ballet fails to deliver as a piece of great entertainment?  I just could not get past its lackluster construction.

“Basics” like the other ballets on the program hinted at the possibilities what this ballet company could deliver; strong and committed dancing, they could lose some of the rigidity in their upper backs and necks.

A word of advice to Mrs. Russo Burke, as one of my local dance “dealers” In the future I am looking for the best buzz that I can get from being in the audience for a live dance concert, delight me, scare me and don’t be afraid to turn me on. I will do my job to get others hooked on your artistic stuff.  Quit diluting your stash, The buzz never fully kicked in when it should have.

Dayton Contemporary Dance Company – In The Spirit Of : The Spirit within

In The Spirit Of : The Spirit within… A cacophonous celebration of dance and gospel music reminded me of church sermons from when I was growing up. The perfunctory duties were up front, shout out to the infirmed, a few hymns sung, passing the collection plate   and as the service progressed it finally got to the point of why we were there, a reaffirmation of our faith. The big fiery sermon by a dynamic and captivating pastor was the big payoff.  Like the sermons from my childhood we had to witness a lot of  perfunctory stuff to get to the big payoff of this concert as well.

Because of my professed dance addictions, this was the perfect scenario. Contemporary dance and gospel music on a Sunday afternoon; what a way to make up for the mild buzz from the Dayton Ballet performance on Friday and great buzz from the Encore Theatre Company presentation on Saturday, “Hot Mess in Manhattan”, How could one not be elated after that workshop performance.

I walked into the Masonic Temple eager for a fix.  I knew I was in for an ebullient performance from the company, they have reliably delivered that kind of performance every time before.

The first half of the show contained many individual moments from the quiet beauty of Crystal Michelle’s choreography, the unified and beautiful dancing of the second company of DCDC and the strength of  the authoritative choreography of William McClellan Jr. Yet I was left with the sense that this was not the strongest presentation of this dance company’s singular skills.  As the stylish lady who sat next to me tersely asked, “What is this?”

The second half to the show delivered what the first half the show could not; Art that was also entertaining and uplifting.  From the incredible marriage of choreography and music that was The Central State Men’s Choir and Shonna Hickman Matlock and William McClellan Jr. to the soul stirring sound of Shirley Murdoch and the raise the roof finale (Special shout out to our greatest natural resource, Sheri Williams), I felt the salvation of a masterful sermon about the spiritual power of dance. It was worth the wait but waiting for a fix is never the most comfortable situation to be in.

As with Dayton Ballet, I am sending you a similar but different message Mrs. Blunden-Diggs, make sure that everything that you send out on stage transports the audience to the next level and I will do everything in my power to help get people hooked, but all your stuff has to truly be world class.



Wright State University commendably stages William Inge’s 1953 Pulitzer Prize-winning romantic drama “Picnic,” an authentically engaging slice of life about family, friendship, love and regret boiling over on a hot Labor Day weekend in 1950s Kansas.

The tall, lanky and handsome Riley Able is a personable focal point as Hal Carter, a drifter who sets hearts aflutter in the shared backyard of Flo Owens (Tess Talbot, reminiscent of a young Judith Ivey) and Helen Potts (an excellent Kelsey Hopkins). Hal, a former football hero with a troubled past, has grown accustomed to making women swoon, but finally finds what he’s looking for in Flo’s pretty daughter Madge (Stephanie Tucker), the girlfriend of wholesome Alan Seymour (Greg Mallios), Hal’s college friend.

“Picnic,” which opened Thursday, February 17 delicately directed by Marya Spring Cordes, thrives on its central love triangle, and there is palpable chemistry between Able and Tucker, particularly during an impromptu dance that hints at the sexual fireworks to come. Tucker fully conveys Madge’s soul-searching essence and supplies an emotional tug-of-war as her pivotal choice of suitor begins to blur. The moment of truth arises in a flustered frenzy which Tucker wonderfully infuses with touching optimism. The appealing Able, astutely remembering Hal doesn’t feel comfortable being “natural,” exudes a charming, sunny bravado that rarely wanes. Mallios, an effectively straight-laced contrast, is especially strong late in the play when Alan’s aims turn to betrayal.

Along withMallios,  Talbot and Hopkins (who is heartbreaking in the final minutes when Helen recalls her fondness for Hal), fine featured portrayals stem from the delightful Chelsey Cavender as sassy tomboy Millie Owens, Becca Frick and Dani Cox as respective teachers Irma Kronkite and Christine Schoenwalder, Joey Monda as paperboy Bomber and the voice of Helen’s mother, and Valerie Reaper as the opinionated Rosemary Sydney, who fears growing old and is desperate to wed Howard Bevans (Zach Schute). The ladies are particularly clothed in striking period designs by D. Bartlett Blair, and Nicholas Crumbley’s lovely lighting design is also a plus.

Picnic continues through Sunday, February 27 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Wednesday at 7 p.m., Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 80 minutes; Act Two: 38 minutes. Tickets are $17 and $19. For tickets or more information, call (937) 775-2500.

In related news, Wright State is in need of storage space for sets and props. “We want  and need to recycle our sets, reuse major portions in future shows, as a major way of economizing and being more green,” said W. Stuart McDowell, chair and artistic director of WSU’s Department of Theatre, Dance and Motion Pictures. McDowell, who will stage WSU’s Ohio collegiate premiere of Andrew Lloyd Webber’s The Phantom of the Opera in spring 2012, can be reached by phone at (937) 775-3784 or by e-mail at [email protected]

Despite the fact that Larry Shue decided to use the Ku Klux Klan as the momentum-killing dark underbelly of his 1983 Southern fried farce “The Foreigner,” it doesn’t deter the amusement of Sinclair Community College’s entertaining presentation, which opened Friday, February 18 nimbly directed by Nelson Sheely.

The charming Isaac Hollister is perfectly cast as Charlie, the unassuming titular Englishman who visits a quaint fishing lodge (rustically designed by Terry Stump) to escape the worry of his wife’s ailing health. The opening minutes are slow, but the comedy kicks into gear once the colorfully unsuspecting folks at the rural Georgia lodge are told Charlie is from a faraway country and doesn’t speak English. It’s a treat to see Hollister exude a sense of timid bewilderment, particularly in moments of eavesdropping, that delightfully evolves into sly confidence as Charlie settles into his surroundings and ultimately becomes an unlikely hero. He is particularly terrific uttering gibberish in Act 2.

Melissa Kerr Ertsgaard, one of Sinclair’s most versatile performers, returns with another strong turn as Betty, the hospitable lodge owner who wants nothing more than to ensure Charlie’s comfort even while screaming in his face. Steven Brotherton, a standout in Sinclair’s marvelous production of “Dog Sees God” last season, is likeable once more as the dim-witted Ellard, who humorously becomes Charlie’s English teacher. As Ellard’s sister Catherine, Sarah Parsons forms a pleasant rapport with Hollister and is well-matched with Nicklaus Moberg as David, a minister with evil on his mind. Travis Clyburn energetically tackles the stereotypical Owen, David’s redneck partner in crime. Chris Hahn has fun as Froggy, Charlie’s British confidant. Aisha Ahmed, Nicole Dine, Lyrit Ertsgaard, Katie Kluck, Rebecca Knowles and Josh Smith complete the cast.

The Foreigner continues through Saturday, February 26 in Blair Hall Theatre, Building 10, at Sinclair Community College, 444 W. Third St. Performances are Thursday at 7 p.m. and Friday and Saturday at 8 p.m. Act One: 70 minutes. Act Two: 60 minutes. All seats are reserved and cost $15 for adults and $10 for students and seniors. All Thursday tickets cost an additional $5 and includes pre-show appetizers and cash bar. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/arts