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‘The Little Foxes’ Review – Dayton Theatre Guild – Southern Scoundrels

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Lillian Hellman’s riveting 1939 drama The Little Foxes excellently launches the Dayton Theatre Guild’s 2018-2019 season.
Set in the Alabama spring of 1900, this compelling, three-act saga – methodically directed by Kathy Mola, beautifully costumed by Carol Finley, and attractively designed by Chris Harmon – concerns greed spinning out of control among a dysfunctional, power-hungry family. Brothers Oscar and Benjamin Hubbard (Saul Caplan and Dave Nickel, respectively) along with their sister Regina Giddens (Cheryl Mellen) are excited to invest in a new cotton mill, but Regina can’t sign on because her late father didn’t see fit to leave her on equal financial footing with them. As so, she turns to her sickly husband Horace (Don Campbell) for approval, but he has other ideas in mind. Still, Regina has the last laugh in a shockingly disgraceful display of betrayal and revenge opening the door to a future likely to leave her abandoned, regretful and paranoid despite her bank account.

(left to right) Maximillian Santucci (Leo Hubbard), Gail Andrews Turner (Addie), Saul Caplan (Oscar Hubbard), Libby Holley Scancarello (Birdie Hubbard), Jeff Sams (William Marshall), Cheryl Mellen (Regina Giddens), and Hannah Stickel (Alexandra Giddens) in Dayton Theatre Guild’s production of “The Little Foxes.” (Contributed photo)

Mola skillfully handles the play’s juicy melodrama, coaxing performances from her cohesive cast that are grounded rather than overdone. Caplan (in a refreshing departure from comedic roles) and Nickel (very impressive) are terrifically devious cohorts.

Libby Holley Scancarello (Birdie Hubbard) and Hannah Stickel (Alexandra Giddens) in Dayton Theatre Guild’s production of “The Little Foxes.” (Contributed photo)

In particular, Nickel wonderfully juggles Benjamin’s smooth charisma and furious rage. Mellen dynamically thrives in Act 3 as Regina’s manipulative instincts hit overdrive, but I would’ve liked to have seen the same kind of ferocity applied from her first entrance. Campbell, in one of his finest roles, offers a superb showdown with Mellen late in Act 2 when Horace finally realizes the scope of Regina’s ambition. As Regina’s fragile, alcoholic sister-in-law Birdie Hubbard, Oscar’s wife, the outstanding Libby Holley Scancarello exceptionally explores Birdie’s inability to break free from the monsters surrounding, suffocating and destroying her. She fills the overlooked, ostracized, battered, and abused character with expressive angst throughout, specifically her captivating monologue reflecting on the first time Birdie met Oscar, a day that led to her dreadful unhappiness for the next 22 years. By and large, Scancarello is just as marvelous and vital here as she was as Mrs. Sylvia Fowler in the Dayton Playhouse’s 2017 production of The Women.

In addition, Maximillian Santucci shines as Oscar and Birdie’s hopelessly inept and immature son Leo, Hannah Stickel supplies gentle innocence and acute perceptiveness as Regina and Horace’s daughter Alexandra, Jeff Sams effortlessly charms while hobnobbing in a den of deceivers as Chicago industrialist William Marshall, and Gail Andrews Turner and Steve Easterling are fittingly sharp as Regina and Horace’s dutiful servants Addie and Cal. Turner notably contributes to an engaging discussion at the top of Act 3 focusing on the play’s friendlier characters taking a respite from familial squabbles and wickedness.

Without question, The Little Foxes remains a relevant cautionary tale of pursuing the American Dream with backbiting, destructive intentions. God bless the U.S.A.

 

The Little Foxes continues through Sept. 2 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are at 8 p.m. Friday, 5 p.m. Saturday, and 3 p.m. Sunday. The play is performed in three acts running 40 minutes each with two intermissions. Tickets are $20 for adults, $18 for seniors, and $13 for students. For more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

 

‘The Secret Garden’ Review – Epiphany Lutheran Church – The Girl Who Lived

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If a young girl hadn’t survived a cholera outbreak, a grieving father and son wouldn’t have been able to reconnect and find ultimate joy and peace within The Secret Garden, the 28th annual summer musical of the Epiphany Players Drama Ministry of Epiphany Lutheran Church in Centerville.

(left to right) Marisha Oswoski (Ayah), Tommy Cole (Dickon), Liza Russ (Mary Lennox), Margo Russ (Martha), and Meredith Russ (Fakir) are featured in Epiphany Lutheran Church’s production of The Secret Garden. (Contributed photo)

Adapted in 1991 by librettist/lyricist Marsha Norman and composer Lucy Simon based on the 1911 novel of the same name by Frances Hodgson Burnett, The Secret Garden offers a family reunion through a dark lens circa 1906. Upon the death of her parents in Bombay, India, headstrong 11-year-old Mary Lennox is sent to Yorkshire, England to live with her emotionally detached uncle Archibald Craven, whose life has been shaken by the death of his wife Lily who died giving birth to their sickly son, Colin, who is often hidden from sight. As Mary becomes more inquisitive about her new dwellings in haunted Misselthwaite Manor, she discovers a garden beloved by Lily which begins a rejuvenation process surpassing expectations.

Beautifully staged by Megan Wean Sears and David Brush, skillfully keeping Lily at the communicative heart of the action as she interacts with those she left behind, this splendidly sung presentation features a large, doubled cast of nearly 70 actors. Lily Nevers and Liza Russ bring great spunk and clear focus to their sprightly portrayals of Mary. David Sievers and Michael Shannon are in wondrously resounding voice as Archibald. Eric Pettit and Chavin Medina, equally expressive and very touching in the Come to My Garden sequence, shine as Colin. John Benjamin and Brett Greenwood are properly stern and dismissive as Dr. Neville Craven, Archibald’s brother assigned to Colin’s care. Rachel Woeste and Margo Russ are delightful as Martha, specifically providing wonderfully lyric-driven renditions of Hold On that cut deep as Martha passionately encourages Mary to remain positive despite adversity. Jack Issler and Tommy Cole proudly proclaim Winter’s On The Wing with vim and verve as the playful Dickon, Martha’s brother. The operatic Megan Rehberg and Kara Miller, strikingly costumed by Kim Harvey and Lori Watamaniuk, give Lily profound presence. Kean Petrello (Captain Albert Lennox), Mia Bridgman and Laura Jacobs (Rose Lennox), Sandy Schwartzwalder and Sophia LiBrandi (Mrs. Medlock), John Morgan and Brady Kress (Ben Weatherstaff), Martha Armstrong-Benjamin and Leighanna Hornick (Mrs. Winthtop), Meredith Russ (Fakir), and Marisha Oswoski (Ayah) are also noteworthy.

In addition to Sears filling her choreography with distinct Indian influences for Russ and Oswoski and energetic spirit for the aptly titled Come Spirit, Come Charm, the excellent artistic components include D. Tristan Cupp’s three-tiered, marvelously detailed storybook scenic design, Matthew Benjamin’s outstanding lighting bridging the present and past in stunning fashion akin to Stephen Sondheim’s Follies, and music director Kandis Gibson’s firm orchestra. However, diction and sound problems were an occasional distraction.
In its heartwarming account of acceptance, loss, forgiveness, healing, and remembrance, The Secret Garden opens our eyes to the power of miracles and the vital necessity of family and friends.

The Secret Garden continues through July 22 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday-Saturday at 7:30 pm, and Sunday at 2:30 pm. Tickets are $15 for adults, $10 for students and seniors (60 and over), $5 for children (5 and under), and $20 for front row seating. For tickets, call (937) 433-1449 ext. 105. For more information, visit www.epiphanydayton.org or e-mail drama @epiphanydayton.org.

 

Saluting Dayton’s 2017-18 Theater Season

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Stories about a high school rocked by prejudice, families in Brooklyn and Russia trying to hold on against all odds, a pastor’s controversial epiphany, building connections through online gaming, and the African-American experience from the Harlem Renaissance to the Trump Era were the catalysts for some of the best productions of Dayton’s 2017-2018 theater season.

Dare to Defy Productions Seussical production

One never knows how a season will be shaped by current events, but Sinclair Community College’s relevant instincts about gun violence and racial divisiveness served them well thanks to particularly thought-provoking productions of Bang Bang, You’re Dead! and Blood at the Root, the latter superbly bolstered by poignant images of various social justice movements throughout our country’s history. At Wright State University, Fiddler on the Roof, The Mystery of Edwin Drood, Fun Home, and Urinetown once again showcased the inherent strengths of its esteemed musical theatre department. University of Dayton’s crowd-pleasing Grease was a delight, and Cedarville University impressed with a compelling Diary of Anne Frank.
On professional stages, the Victoria Theatre Association secured an assortment of solid national tours from the breathtakingly choreographed An American in Paris to the Broadway-caliber, kooky Renaissance spoof Something Rotten! The Human Race Theatre Company offered the charming American premiere of the developmental-yet-promising Legendale, the local premiere of the hysterical and biting comedy The House, and a marvelously acted and directed Brighton Beach Memoirs. La Comedia Dinner Theatre put forth its very best with striking productions of Mamma Mia! and The Color Purple. Dare to Defy Productions hit the target with a highly entertaining Seussical and a lovely Little Women. The fantastically raw and reliably risk-taking Playground Theatre cut deep with Tape and a splendid exploration of The Tutors, two knockouts fueling the company’s edgy off-Broadway-flavored pedigree. The pre-professional handiwork of the Muse Machine is also notable considering Sara LiBrandi’s exceptionally mature embodiment of meddlesome matchmaker Dolly Levi in the rousing Hello, Dolly! 

At community theaters, feel-good musicals and diverse plays rose to the top. Dayton Theatre Guild’s penchant for contemporary dramas resulted in a terrifically true-to-life look at The Christians. Young at Heart Players stepped outside the box to deliver a firm local premiere of unconventional Well. Flying under the radar, Undercroft Players warmly appealed with It’s a Wonderful Life: A Radio Play. Before heading to Springboro to begin a new chapter, Playhouse South said farewell to Kettering’s Clark Haines Theatre with a rollicking Rock of Ages. Dayton Playhouse raised the roof with a joyous Sister Act and boosted the potential of FutureFest finalist Desireé York’s The Puppeteer, which feels poised to have a greater cultural impact if given more national exposure. York’s dynamic and topical drama, examining the breadth of the African-American journey as seen through the generational perspective of one woman’s lineage, starred Carolyn L. Seymour in a mesmerizing, decade-shifting execution of style, range and nuance.
Assessing the 80 shows I saw last season, I congratulate the following winners (in bold) and nominees.

The ensemble cast of the national tour of Something Rotten! (Contributed photo)

BEST TOURING PRODUCTION
An American in Paris, Victoria Theatre Association
Disney’s The Little Mermaid, Victoria Theatre Association, Pittsburgh CLO and Kansas City Starlight Theatre
In the Heights, Victoria Theatre Association and the Ordway Center for the Performing Arts in collaboration with Teatro del Pueblo
The Phantom of the Opera, Victoria Theatre Association
Something Rotten!, Victoria Theatre Association

 

BEST PROFESSIONAL PRODUCTION OF A PLAY
A Christmas Story, Human Race Theatre Company and Victoria Theatre Association
Brighton Beach Memoirs, Human Race Theatre Company
The House, Human Race Theatre Company
Tape, Playground Theatre
The Tutors, Playground Theatre

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
The Color Purple, La Comedia Dinner Theatre
Legendale, Human Race Theatre Company
Little Women, Dare to Defy Productions
Mamma Mia!, La Comedia Dinner Theatre
Seussical, Dare to Defy Productions

Jill Evans and Richard Young in Dayton Theatre Guild’s production of The Christians (Contributed photo)


BEST COMMUNITY THEATER PRODUCTION OF A PLAY
A Few Good Men, Dayton Playhouse
The Christians, Dayton Theatre Guild
It’s a Wonderful Life: A Radio Play, Undercroft Players
The Other Place, Dayton Theatre Guild
Well, Young at Heart Players

The cast of Dayton Playhouse’s production of Sister Act (Contributed photo)

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
Beehive, Dayton Playhouse
Company, Beavercreek Community Theatre
Oklahoma!, Brookville Community Theatre
Rock of Ages, Playhouse South
Sister Act, Dayton Playhouse

left to right) Paige Jacobs, Elisha Chamberlin, Amber J. Smith, and Justin Lampkins in Sinclair Community Theatre’s production of Blood at the Root (Contributed photo)


BEST COLLEGIATE PRODUCTION OF A PLAY
Blood at the Root, Sinclair Community College
Blues for an Alabama Sky, Sinclair Community College
The Diary of Anne Frank, Cedarville University
The Grapes of Wrath, Wright State University
Radio Plays, Sinclair Community College
You Can’t Take it With You, Wright State University

Halle Augenstein as The Fiddler in Wright State University’s production of Fiddler on the Roof (Contributed photo)

BEST COLLEGIATE PRODUCTION OF A MUSICAL
A Charlie Brown Christmas, Sinclair Community College
Fiddler on the Roof, Wright State University
Grease, University of Dayton
The Mystery of Edwin Drood, Wright State University
Urinetown, Wright State University

Sara LiBrandi in Muse Machine’s production of Hello, Dolly! (Contributed photo)

BEST SPECIAL THEATRICAL EVENT
Angels in America: Millennium Approaches, Wright State University
Bang Bang, You’re Dead!, Sinclair Community College
Fun Home, Wright State University
Hello, Dolly!, Muse Machine
Jesus Christ Superstar, Epiphany Lutheran Church

BEST NEW WORK
Andrea Daly and Jeff Bienstock’s Legendale, Human Race Theatre Company
Eli Davis’ First in Flight, Wright State University
Peter Filichia’s Adam’s Gifts, Dayton Playhouse FutureFest
Vince Gatton’s Wake, Dayton Playhouse FutureFest
Olga Humphrey’s Magnificent Hubba Hubba, Dayton Playhouse FutureFest
Desireé York’s The Puppeteer, Dayton Playhouse FutureFest

Eric Deiboldt as Eugene in Human Race Theatre Company’s production of Brighton Beach Memoirs (Contributed photo)

BEST LEADING ACTOR IN A PLAY
Eric Deiboldt as Eugene, Brighton Beach Memoirs
Charles Larkowski as King Lear, King Lear (Clark State Community College)
Skyler McNeely as Toby, The Tutors
Philip Stock as Prior Walter, Angels in America: Millennium Approaches
Scott Stoney as Martyn Redmond, The House
Richard Young as Paul, The Christians

BEST LEADING ACTRESS IN A PLAY
Amy Askins as Juliana Smithson, The Other Place
Bryana Bentley as Angel, Blues for an Alabama Sky
Lisa Ann Goldsmith as Kate, Brighton Beach Memoirs
Jenna Gomes as Heidi, The Tutors
Becky Howard as Lucille (a.k.a. The Magnificent Hubba Hubba), Magnificent Hubba Hubba
Caitlin Larsen as Shanny Redmond, The House

BEST LEADING ACTOR IN A MUSICAL
Josh Beasley as Bruce Bechdel, Fun Home
A.J. Breslin as the Cat in the Hat, Seussical
Max Crumm as Andy, Legendale
David Emery as Bobby Strong, Urinetown
Justin Gregory Lopez as Usnavi, In the Heights
Bobby Mitchum as Jon, Tick, Tick…Boom! (Dare to Defy Productions)

BEST LEADING ACTRESS IN A MUSICAL
Jennifer Allen as Ursula, Disney’s The Little Mermaid
Sarah Bockel as Carole King, Beautiful – The Carole King Musical (Victoria Theatre Association)
Melissa Hall as Jo March, Little Women
Cecelia Monica-Lyn as Celie, The Color Purple
Brianna Russ as Judas Iscariot, Jesus Christ Superstar
Tia Seay as Deloris Van Cartier, Sister Act

BEST SUPPORTING ACTOR IN A PLAY
Mike Beerbower as George Deever, All My Sons (Dayton Theatre Guild)
Richard Buchanan as Stanley, Brighton Beach Memoirs
B. Lee Drew as Colonel Nathan Jessep, A Few Good Men
Vince Gatton as Fischer Libett, The House
Chaney Mason Morrow as Edmund, King Lear (Clark State Community College)
Rory Sheridan as Jack, Brighton Beach Memoirs

 

(left to right) Vince Gatton, Caitlin Larsen, Alex Sunderhaus, and Scott Stoney in the Human Race Theatre Company’s production of The House (Contributed photo)

BEST SUPPORTING ACTRESS IN A PLAY
Kari Carter as Ann Deever, All My Sons (Dayton Theatre Guild)
Jill Evans as Elizabeth, The Christians
Barbara Jorgensen as Ann, Well
Sonia Perez as Blanche, Brighton Beach Memoirs
Fran Pesch as Alice (a.k.a. Headlock Liplock), Magnificent Hubba Hubba
Alex Sunderhaus as Lindsay Libett, The House

BEST SUPPORTING ACTOR IN A MUSICAL
Darren Brown as Uncle Ernie, The Who’s Tommy (Dare to Defy Productions)
Tommy Cole as Barnaby Tucker, Hello, Dolly!
Philip Drennen as Michael, Tick, Tick…Boom! (Dare to Defy Productions)
Justin Matthews as Pontius Pilate, Jesus Christ Superstar
Kyle Miller as John Jasper, The Mystery of Edwin Drood
Nathan Pax as Lonny, Rock of Ages

BEST SUPPORTING ACTRESS IN A MUSICAL
Dana Bixler as Small Allison, Fun Home
Erica Lynn Bridge as Sophie, Mamma Mia!
Abby Church as Cow Maiden/Zelayna, Legendale
Kim Comacho as Gertrude McFuzz, Seussical
Meghan Rupper as Medium Allison, Fun Home
Alejandria Solis as Little Sally, Urinetown

BREAKTHROUGH MALE PERFORMANCE IN A PLAY
Ryan Grissett as Milo, The Tutors
Zach Katris as Stanley Kowalski, A Streetcar Named Desire (Beavercreek Community Theatre)
Justin Lampkins as Guy, Blues for an Alabama Sky
Jack Lockwood as Adam Romano and Young William, Adam’s Gifts
Nick Martin as Joe Pitt, Angels in America: Millennium Approaches
Jamie McQuinn as Morrie Schwartz, Tuesdays with Morrie (Young at Heart Players)

Carolyn L. Seymour in the Dayton Playhouse’s production of The Puppeteer (Contributed photo)

BREAKTHROUGH FEMALE PERFORMANCE IN A PLAY
Isabella Andrews as Harper Pitt, Angels in America: Millennium Approaches
Sydney Baker as Sara, Radio Plays
Gwendolyn Gay as Joanne Galloway, A Few Good Men
Carolyn L. Seymour as Constance/Connie, The Puppeteer
Katie Sinicki as Nora, Brighton Beach Memoirs
Kelsie Slaugh as Amy, Tape

Wright State University’s production of Urinetown: The Musical. (Photo by Courtney Michele Zimmerman)

BREAKTHROUGH MALE PERFORMANCE IN A MUSICAL
Tristan Allen as Caldwell B. Cladwell, Urinetown
Will Graber as Glenn Curtiss, First in Flight
Jake Jones as Horace Vandergelder, Hello, Dolly!
Chavin Medina as Jojo, Seussical
Thomas Pedrotti as Jud Fry, Oklahoma!
Garrett Young as Bat Boy, Bat Boy: The Musical (Dare to Defy Productions)

BREAKTHROUGH FEMALE PERFORMANCE IN A MUSICAL
Casey Borghesi as Princess Puffer, The Mystery of Edwin Drood
Samantha Faye Creech as Shelley Parker, Bat Boy: The Musical (Dare to Defy Productions)
Kara Freeman as Sherrie, Rock of Ages
Sara LiBrandi as Dolly Gallagher Levi, Hello, Dolly!
Alaina Saliba as Sandy Dumbrowski, Grease
Kiama Wa-Tenza as Irene Molloy, Hello, Dolly!

BEST DIRECTION OF A PLAY
Marya Spring Cordes, Brighton Beach Memoirs
Christopher Hahn and Jenna Valyn, The Tutors
Chris Harmon, Blood at the Root
Diane Conrad Merchant, The Diary of Anne Frank
Margarett Perry, The House
Annie Pesch, Magnificent Hubba Hubba

Michaella Waickman (Shprintze), Emma Buchanan (Chava), Kayli Modell (Tzeitel), Danielle Bessler (Hodel), and Dana Bixler (Bielke) in Fiddler on the Roof (Photo by Erin Pence)


BEST DIRECTION OF A MUSICAL
Joe Deer, Hello, Dolly!
Greg Hellems, The Mystery of Edwin Drood
W. Stuart McDowell, Fiddler on the Roof
Megan Wean Sears, Jesus Christ Superstar
John Simpkins, Legendale
Megan Valle, Fun Home

BEST LOCAL CHOREOGRAPHY
Jessica Eggleston, Urinetown
Lula Elzy, Hello, Dolly!
Amy Renee Jones, Grease
Teressa Wylie McWilliams, Fiddler on the Roof
Michael Shepherd, Seussical
Rodney Veal, Blood at the Root

BEST TOURING CHOREOGRAPHY
Scott Ambler, The Phantom of the Opera
Alberto Justiniano and James A. Rocco, In the Heights
John MacInnis, Disney’s The Little Mermaid
Casey Nicholaw, Something Rotten!
Josh Prince, Beautiful: The Carole King Musical (Victoria Theatre Association)
Christopher Wheeldon, An American in Paris

BEST SCENIC DESIGN OF A PLAY
Dick Block, A Christmas Story
David J. Castellano, You Can’t Take it With You
Dan Gray, Brighton Beach Memoirs
Chris Harmon, All My Sons (Dayton Theatre Guild)
Gisela Mullican, The Diary of Anne Frank
Terry Stump, Blues for an Alabama Sky

BEST SCENIC DESIGN OF A MUSICAL
Bruce Brockman, Hello, Dolly!
Paul Brown, The Phantom of the Opera
Matthew J. Evans, Grease
Pam Knauert Lavarnway, The Mystery of Edwin Drood
Michael Schweikardt, Legendale
Ray Zupp, The Color Purple

BEST COSTUME DESIGN OF A PLAY
David Arevalo, Brighton Beach Memoirs
Elizabeth Bourgeois, The Grapes of Wrath
Carol Finley, All My Sons (Dayton Theatre Guild)
Kathleen Hotmer, Blues for an Alabama Sky
Rebekah Priebe, The Diary of Anne Frank
Courtney Zimmerman, You Can’t Take it With You

left to right) Travis Mitchell, Rachel Flynn, Max Crumm, and Abby Church in the Human Race Theatre Company’s production of Legendale (Contributed photo)

BEST COSTUME DESIGN OF A MUSICAL
Elizabeth Bourgeois, The Mystery of Edwin Drood
Emercita Erb, The Color Purple
Jordan Norgaard, Little Women
Naomi Reisner, Fiddler on the Roof
Dixon Reynolds, Hello, Dolly!
Ayn Kaethchen Wood, Anna Juul Holm and Lotte Blichfeldt, Legendale

BEST LIGHTING DESIGN OF A PLAY
Derek Dunavent, The Tutors
Emily Hope, The Grapes of Wrath
Gisela Mullican, The Diary of Anne Frank
Gabe Reichert, Angels in America: Millennium Approaches
John Rensel, Brighton Beach Memoirs
Jennifer Watson, You Can’t Take it With You

BEST LIGHTING DESIGN OF A MUSICAL
Matthew P. Benjamin, The Mystery of Edwin Drood
Emily Hope, Urinetown
Charlie Morrison, Disney’s The Little Mermaid
Gabe Reichert, Fun Home
John Rensel, Legendale
Richard Lee Waldeck, Bat Boy: The Musical (Dare to Defy Productions)

BEST SOUND DESIGN OF A PLAY
T.L. Denen, The Diary of Anne Frank
James Dunlap, The Grapes of Wrath
Sarah Parrott, Radio Plays
Sarah Saunders, Jonathan Kalis, Mandy Shannon, Allison Clark, Cate Shannon, Terry Morris, and Cassie Wigginton-Hayes, It’s a Wonderful Life: A Radio Play
Silas Sheckels, You Can’t Take it With You
K.L. Storer, All My Sons (Dayton Theatre Guild)

BEST SOUND DESIGN OF A MUSICAL
Jay Brunner, Legendale
Ryan Burgdorf, Fiddler on the Roof
Ed Chapman and Randy Hansen, Disney’s The Little Mermaid
James Dunlap, The Mystery of Edwin Drood
Mick Potter, The Phantom of the Opera
Chuck Young, Bat Boy: The Musical (Dare to Defy Productions)

BEST ORCHESTRA
An American in Paris, Musical Director: David Andrews Rogers
Chess, Musical Director: Andrew Hackworth (Playhouse South)
Fiddler on the Roof, Musical Director: Scot Woolley
Hello, Dolly!, Musical Director: Sean Michael Flowers
Seussical, Musical Director: Lorri Topping
Something Rotten!, Musical Director: Brian P. Kennedy

BEST PROPERTIES
Gregory Davis, Radio Plays
Blake Hansher, Hunter Johnson, Ahna Mellinger, and Sara Warnshuis, The Diary of Anne Frank
John Lavarnway, You Can’t Take it With You
Heather Powell, The House
Heather Powell, Anna Juul Holm and Lotte Blichfeldt, Legendale
Deidre Root, Bakersfield Mist (Dayton Theatre Guild)

BEST PROJECTION DESIGN
David Bengali, Legendale
Matthew P. Benjamin, The Grapes of Wrath
Bobby Morgan, Jesus Christ Superstar
Gary Thompson, The Other Place
Rodney Veal, Fahrenheit 451 (Sinclair Community College)

 


ADDITIONAL ACKNOWLEDGMENTS

  • The cast of Adam’s Gifts: Saul Caplan as William Pront, Matthew Lindsay as Jason Romano and Sam Falcon, Tori Kocher as Glynis, Cassandra Engber as Lisa Pinewski and Mary Chalmers, Jack Lockwood as Adam Romano and Young William, and Kelli Locker as Narrator
  • The cast of Angels in America: Millennium Approaches: Justin Matthews as Roy Cohn, Nick Martin as Joe Pitt, Isabella Andrews as Harper Pitt, Philip Stock as Prior Walter, Hunter Minor as Louis Ironson, Mark Antony Howard as Belize, Heather Cooperman as Hannah Pitt and others, and Kaitlyn Campbell as Angel and others
  • The cast of Bachelorette (Playground Theatre): Kaleigh-Brooke Dillingham as Regan, Mary (Alaska) Stoughton as Gena, MacKenzie Aaryn Stephens as Katie, Jenna Valyn as Becky, Darren Lee Brown as Jeff, and Christopher Hahn as Joe
  • The cast of Beehive: Kailey Yeakley as Alison, Madeline Hart as Pattie, Tamar Fishbein as Wanda, Shanna Comacho as Laura, Elana Elmore as Gina, and Alicia Walton as Jasmine
  • The cast of Blood at the Root: S. Francis Livisay as Justin, Justin Lampkins as De’Andre, Elisha Chamberlin as Colin, Paige Jacobs as Asha, Amber Smith as Raylynn, Chelsey Hall as Toria, and ensemble members DeShawn Christian, Karley Holdeman, Christopher Goez, Valkyrie Williams, and Shaun Diggs
  • The cast of Blues for an Alabama Sky: Bryana Bentley as Angel, Justin Lampkins as Guy, Erin McGee as Delia, S. Francis Livisay as Sam, and Shaun Diggs as Leland
  • The cast of Brighton Beach Memoirs: Richard Buchanan as Stanley, Eric Deiboldt as Eugene, Lisa Ann Goldsmith as Kate, Julie Murphy as Laurie, Sonia Perez as Blanche, Rory Sheridan as Jack, and Katie Sinicki as Nora
  • The cast of The Complete Works of William Shakespeare (abridged) [revised] (Human Race Theatre Company): Bruce Cromer as Bruce, Jordan Laroya as Jordan, and Shaun Patrick Tubbs as Shaun
  • The cast of The Diary of Anne Frank: Gabrielle Bauman as Anne Frank, Andrew J Standley as Mr. Frank, Heather Lange as Mrs. Frank, Christine Amadea Nietert as Margot Frank, Stephen M. De Jong as Mr. van Daan, Claire Feathers as Mrs. van Daan, William Douglas as Peter van Daan, Remy James Patterson as Mr. Dussel, Nathan Robertson as Mr. Kraler, and Susanna Edwards as Miep
  • The cast of Fun Home: Megan Valle as Allison Bechdel, Meghan Rupper as Medium Allison, Dana Bixler as Small Allison, Josh Beasley as Bruce Bechdel, Rachel Mary Green as Helen Bechdel, Aaron Roitman as Christian Bechdel, Kyle Krichbaum as John Bechdel, Hannah Neff as Joan, and Tristan Allen as Pete/Roy/Mark/Bobby/Jeremy
  • The cast of The Grapes of Wrath: Christina Fiala as Reverend Casey, Dylan Tacker as Tom Joad, Louis Kurtzman as Al Joad, Nick Martin as Noah Joad, Hailey Noll as Ruthie Joad, Eric Pettit as Winfred Joad, MacKenzie Stephens as Rose of Sharon, Isaac Ingle as Pa Joad, Alexia Vlahos as Ma Joad, Eli Davis as Grandpa, Haley Knuth as Grandma, Joe Green as Uncle John, Aaron Roitman as Connie Rivers; Female Ensemble: Lauren Everett, Mallory Kraus, Brynann McNeill, Sophie Kirk, Donnasis Allen, Caitlyn Shiner; Male Ensemble: Colin Hodgkin, David Bayes, Jeremy Farley, Rayquon Brown, Everett Walker, Ross Bloedorn, Logan Kitchens, Christian Schaefer, and George Heddleston.
  • The cast of Magnificent Hubba Hubba: Becky Howard as Lucille, Thomas L. Troutman as Roy, Fran Pesch as Alice, Hannah Stickel as Lulu, David Hallowren as Zane/Announcer, Melissa Ertsgaard in various roles, and Shanna Camacho in various roles
  • The cast of Radio Plays: Sydney Baker as Sara and Karla, Chelsea Overman as Amber, Christopher Goetz as Mike/Rumbling Voice/Voice 3, Olivia Weldon as Lindsay, DeShawn Christian as Joshua/Cold Voice, Micah Koverman as Spokesperson/Jim/Voice 1, Sabrina Lundberg as Mom/Ms. Hannigan/Voice 2, Elisha Chamberlin as Jeff, Leonardo Santucci as James Brent, Karley Holdeman as Pam Brent, Sarah Skeans as Mary Curtis/Operator/Woman, Sara Eldred as Fay/Mrs. Lamb, Robert Hyer as Evan Curtis/Porter/Station Announcer/Man, and Maximilian Santucci as Mr. Enerdby/Porter/Inspector Narracott and playwright of Frog Eater
  • The cast of Sex with Strangers (Human Race Theatre Company): Jennifer Johansen as Olivia and Ben Palacios as Ethan
  • The cast of Stella and Lou (Dayton Theatre Guild): Geoff Burkman as Lou, Amy Taint as Stella, and Adam Clevenger as Donnie
  • The cast of Tape: A.J. Breslin as Jon, Christopher Hahn as Vince, and Kelsie Slaugh as Amy
  • The cast of Tick, Tick…Boom! (Dare to Defy Productions): Bobby Mitchum as Jon, Philip Drennen as Michael, and Danielle Ruddy as Susan
  • The cast of The Tutors: A.J. Breslin as Joe, Jenna Gomes as Heidi, Ryan Grissett as Milo, Skyler McNeely as Toby, and Boyang Zhang as Kwan
  • The cast of Well: Annie Pesch as Lisa, Barbara Jorgensen as Ann, Steve Strawser as Howard Norris and others, Bryana Bentley as Lori Jones and others, Kerry Simpson as Joy and others, and Justin Lampkins as Big Oscar and others
  • The women of The Color Purple: Cecelia Monica-Lyn as Celie, Amber Eldreion as Sofia, Kendra Guy as Shug Avery, El More as Church Lady Darlene, Sarah-Gloriel M. Ogayonne as Church Lady Jarene, Samantha Renee’ as Church Lady Doris, Bri Thomas as Squeak, and Tenna Torres as Nettie
  • Celia Arthur as Vi in Wright State University’s The Memory of Water 
  • David Baker as Adam/Felicia in INNOVAtheatre’s Priscilla, Queen of the Desert
  • Danielle Bessler as Mayzie LaBird in Seussical
  • Aaron Brewer as Drew, Nick Bellmyer as Dennis, Jordan Eechaute-Lopez as Regina, Tyler Wessel as Stacee Jaxx, Stephen Gogel as Franz, Ted Elzroth as Hertz, Madison Galloway as Justice, Aeriel Aniballi as Protester, and percussionist Tyler Ohlemacher in Rock of Ages
  • Andrew Brewer as Gerry Goffin, Sarah Goeke as Cynthia Weil, and Jacob Heimer as Barry Mann in Victoria Theatre Association’s Beautiful – The Carole King Musical
  • Ashton Brunn as Josh in Bang Bang, You’re Dead!
  • Geoff Burkman as Gloucester, Mike Taint as Kent, Larry Coressel as Cornwall, Kathleen Day as Goneril, and Emily Parsons as Regan in Clark State Community College’s King Lear
  • Lindsey Cardoza as Florence, TC Schreier as Freddie, TJ Montgomery as Anatoly, Jim Brown as Molokov, Madison Galloway as Svetlana, and Matthew Clifton as Arbiter in Playhouse South’s Chess
  • Kathleen Carroll, Tim Grewe and Tina McPhearson’s costumes, Annette Looper’s choreography, Steve Burton’s wigs, and musical directors Tim Rezash and Ron Kindell’s orchestra for Beehive
  • Patti Celek’s archival photo collection for Blood at the Root
  • Laurence Connor’s direction of The Phantom of the Opera
  • Marya Spring Cordes’ direction of The Grapes of Wrath
  • Bruce Coughlin’s orchestrations and Gina Cerimele-Mechley’s fight choreography for Legendale
  • Tristan Cupp’s set for Dayton Theatre Guild’s Stella and Lou
  • James Dunlap and Rick Good’s original songs for The Grapes of Wrath
  • Sean Michael Flowers’ music direction for First in Flight
  • Steven Greenwalt as Cornelius Hackl, Ben Kneblik as Ambrose Kemper, Charlotte Kunesh as Ermengarde, Diane Isom as Ernestina, Melanie Dodson as Mrs. Rose, David Shockey as Rudolph, Fischer Barnett as Head Cook/Painter, Michael Taylor as Judge, Darian Watson as Court Reporter, and the Parade Kids in Hello, Dolly!
  • Chris Harmon’s set and Josh Hollister’s costumes for Beavercreek Community Theatre’s Urinetown
  • Chris Harmon’s set for Beavercreek Community Theatre’s A Streetcar Named Desire and Company
  • Patrick Allyn Hayes as Mitch Albom in Young at Heart Players’ Tuesdays with Morrie
  • Patrick Allyn Hayes’ set design and Patrick Allyn Hayes, Deirdre Root, Mark Mickle, and Rick Flynn’s set dressing for Dayton Theatre Guild’s Bakersfield Mist
  • Diana Huey as Ariel and Paul Rubin’s flying sequences in the national tour of Disney’s The Little Mermaid
  • De’Aaron Isaac as Curly, Monica Impson as Laurey, Cindi Cuny as Aunt Eller, Kendal Garrett as Will Parker, Elizabeth Pedrotti as Ado Annie Carnes, and Allison Gabert as Dream Laurey in Oklahoma!
  • McGee Maddox as Jerry Mulligan, Allison Walsh as Lise Dassin, Matthew Scott as Adam Hochberg, Kirsten Scott as Milo Davenport, Bob Crowley and 59 Productions’ Tony-winning scenic design/projection design, and Natasha Katz’s Tony-winning lighting design in An American in Paris
  • Greg Mallios as Ralph Parker and others and Katie Pees as Miss Shields and others in A Christmas Story
  • Rob McClure as Nick Bottom, Josh Grisetti as Nigel Bottom, Adam Pascal as William Shakespeare, and Autumn Hurlbert as Portia in Something Rotten!
  • Abbie Miller as April and Danielle Ruddy’s rendition of “Getting Married Today” as Amy in Company
  • Bobby Mitchum as Lorraine in Dare to Defy’s Bat Boy: The Musical
  • William “Kip” Moore’s cultural imagery for The Puppeteer
  • Chris Newman’s artwork for Dayton Playhouse FutureFest’s On Pine Knoll Street
  • The orchestra of Dare to Defy’s The Who’s Tommy, Musical Director: Zac Clemens
  • Kean Petrello as Jesus Christ, Desmond Thomas as Judas Iscariot, Kara Miller and Laura Jacobs as Mary Magdalene, Christian Schaefer as Pontius Pilate, David Egbert and Nick Kress as Caiaphas, Rachel Woeste and Margo Russ as Annas, Bridget Miley and Lily Cutler as Peter, Meghan Rupper and Andrew Gochenaur as Simon Zealotes, Timmy Seiler and Chris Scharf as King Herod, Marisha Osowski as Dancer, and Brian Hoff, Kellie Daab, and Sam Layman as the Priests in Jesus Christ Superstar
  • Angelé Price as Ursula, William “Kip” Moore as Sebastian, Samantha Creech as Scuttle, Chavin Medina as Flounder, Chris “Red” Newman’s sets, Janet Powell’s costumes, Richard Lee Waldeck’s lighting, and Ray Zupp’s projections for Dayton Playhouse’s production of Disney’s The Little Mermaid
  • Rebekah Priebe’s hair and makeup design, Calvin Hitchcock’s music direction, Rebecca Baker’s dialect coaching, instrumentalists Sharri K. Hall and Josh Dissmore, and the vocal talent of Natalia Kirychuk, Jeremy Smith and Josh Gram for The Diary of Anne Frank
  • Jeff Sams as Chris Keller and David Williamson as Joe Keller in Dayton Theatre Guild’s All My Sons
  • Christian Schaefer’s direction of Angels in America: Millennium Approaches
  • Lindsay Sherman as Meg March, Samantha Creech as Amy March, Jessi Stark as Beth March, and Lorri Topping as Marmee March in Little Women
  • Deborah Thomas’ dialect coaching for The Mystery of Edwin Drood
  • Shyra Thomas as Esme in Wake
  • Aaron Vega’s direction and Jay Brunner’s sound design of The Human Race Theatre Company’s The Complete Works of William Shakespeare (abridged) [revised]
  • Alicia Walton as Sister Mary Robert, Shanna Camacho as Sister Mary Patrick, Donna Cason as Sister Mary Lazarus, Elaine Smith as Sister Mary Martin-of-Tours, Dawn Roth-Smith as Sister Mary Theresa, and the Nun Ensemble of Sister Act

 

 

‘Complete Works of William Shakespeare’ Review – Human Race Theatre Company – Three Noble Merrymen

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Incessantly silly and absolutely entertaining, The Complete Works of William Shakespeare (abridged) [revised] cuts loose with energetic glee at the Loft Theatre courtesy of the Human Race Theatre Company.

Bruce Cromer, Jordan Laroya and Shaun Patrick Tubbs star in the Human Race Theatre Company’s production of “The Complete Works of William Shakespeare (abridged), [revised].” (Photo by Immobulus Photography)


Written by Adam Long, Daniel Singer and Jess Winfield, Complete Works is an irreverent, witty tribute to the Bard’s 38 plays (give or take) solely relying on the improvisational and cohesive compatibility of only three actors. The script requires the cast to poke fun at the Bard and themselves with abandon, paying reverence when it’s due but also acknowledging the sheer artistic freedom derived from the zany pleasures of satire. As is humorously stated at one point, “We don’t have to do it justice – just do it!” Throughout the production, some jokes or bits land sharply while others feel strained, but that’s standard practice whether you’re at a comedy club or watching Saturday Night Live. It’s always dangerous when certain plays abide by an anything goes philosophy but that doesn’t mean you can’t have a good time watching it come to life. And a good time is on the menu as Bruce Cromer, Jordan Laroya, and Shaun Patrick Tubbs joyfully drive this wild ride through some of the greatest passages ever written.

Fittingly, the majority of the action covers Romeo and Juliet, Macbeth and Hamlet, three iconic pieces ripe for playful rediscovery under Aaron Vega’s breezy, interactive (introverts beware!), inspired, and pop culture-tinged direction. Whether ensuring certain lines are filled with rousing gospel fervor or a thick Scottish brogue or humorously paying homage to Hamilton, Black Panther or the rock god aura of Prince, Vega creates a rollicking playground of fun, using every bit of the Loft space from aisles to props. In fact, scenic designer Eric Barker, properties master Heather Powell, and sound designer Jay Brunner gives Vega all the comical tools he needs, especially familiar props from past Human Race productions such as the enormous teddy bear from The House presented earlier this season.


Local audiences have grown accustomed to seeing Cromer, one of the most acclaimed and widely respected Shakespearean actors in our region, taking the stage in a surefire leading capacity, but he navigates well in this team effort. Aware that everyone is on equal footing, he smoothly blends with Laroya and Tubbs, helping establish a good-natured rapport suggesting the trio have been pals for years. In fact, Tubbs, a Wright State University alumnus previously seen in the Human Race’s outstanding production of Jitney, is one of Cromer’s former students which aids in their chemistry. Specifically, Cromer is featured to great effect when he breaks from the Hamlet storyline to venture on a nostalgic detour into the backstory behind characters from Downton Abbey, resulting in a hilarious nervous breakdown. The extremely personable Tubbs, conveying stand-up comedian ease even during the show’s curtain speech, keeps the comedy flowing from his valiant Romeo to his kooky and aloof Julius Caesar. Laroya, a Human Race newcomer taking on the persona of being dashing and daft, is an energetic delight who effortlessly brings the show’s absurd frenzy to a calming state of beautiful pensiveness during his dynamic rendering of a Hamlet monologue.

You don’t have to love or understand Shakespeare to enjoy this romp. Leave your troubles outside and let the laughs take over.

The Complete Works of William Shakespeare (abridged) [revised] continues through June 17 at the Loft Theatre, 126 N. Main St., Dayton. 8 pm Thursday, Friday and Saturday evenings; 7 pm Tuesday and Wednesdays evenings; and 2 pm Sunday matinees. There will be a post-show talkback after the June 10 performance. Tickets are $35-$50 for adults; $32-$46 for seniors; and $17.50-$25 for students. Prices vary depending on performance date and seating location. There are a limited number of $12 and $25 side area seats available for each performance. For tickets or more information, call (937) 228-3630 or visit humanracetheatre.org or ticketcenterstage.com.

 

 

‘Well’ Review – Young at Heart Players – This Is Your Life

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Coming to terms with the past in order to embrace a healthier future provides the relatable foundation of Lisa Kron’s fascinating and thought-provoking 2004 autobiographical play Well, terrifically presented by the senior-themed theater troupe Young at Heart Players at the Dayton Playhouse.

Young at Heart Players presents Lisa Kron’s “Well,” a story centered on family, chronic illness and social activism, through June 10 at the Dayton Playhouse. (Photo by Fran Pesch)

This kooky yet engaging play-within-a-play about parent-child relationships, illness and social activism concerns the playful tug-of-war down memory lane between Lisa Kron (Annie Pesch) and her chronically fatigued mother Ann Kron (Barbara Jorgensen). Lisa’s main goal is to decipher, in a universal context, what makes people sick and what makes them well? What lies within the transition from sickness to wellness? Do you lose a sense of self along the way for good or bad? With a therapeutic mindset and incorporating the innate theatricality of metatheatre, which particularly eliminates the fourth wall allowing actors to directly address and involve the audience, Lisa addresses significant moments of her life, particularly her childhood insecurities and her eye-opening stay at an allergy clinic. As these moments transpire, Ann’s progressive creation of the West Side Neighborhood Association in Lansing, Michigan receives major attention. The Association helped bring people from diverse racial and socioeconomic backgrounds together in order to form a stronger community bound by social activities rather than political ties.

Pesch, seamlessly and fluidly co-directing with her mother and YAH founder Fran Pesch, creates a beautifully complex portrayal of the agitated, befuddled and ultimately grateful Lisa. Her skillful command of the script’s colorfully offbeat structure is effortless and impressive. She also importantly establishes a light yet appropriately uptight rapport with her cast and the audience to fully sell the material’s unconventionality, which at times feels like a one-woman show thanks to a distinct time warp-esque sound cue and Richard Lee Waldeck’s sharp lighting.

Pesch also receives outstanding support from YAH veteran Jorgensen, whose motherly warmth and down-to-earth realism absolutely shines especially as Ann keeps the audience firmly in her grasp. Jorgensen weaves in and out of the action with finesse, humorously commenting on Ann’s diuretics or her admiration for figure skating, but her finest and most poignant scene arrives late in the play. She wonderfully delivers Ann’s life-changing monologue centered on her belief that integration was the key to a better world not only for her but her neighbors. The monologue is so impactful and moving I wonder why Kron didn’t expand the play just a little bit more to allow greater investigation into Ann and her Lansing legacy.

In addition, strong ensemble work is offered by Bryana Bentley, Justin Lampkins, Kerry Simpson, and Steve Strawser who take on multiple roles with charm and vibrancy, particularly Bentley and Lampkins who receive the most flavorful material.

Like life itself, Well is funny yet cynical, enlightening yet complicated, intriguing yet messy. Just when you have it figured out it veers down a road you didn’t know existed. If you’re looking for a unique theatrical experience, don’t miss this show.

Well continues through June 10 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 pm Friday and Saturday and 2 pm Sunday. The production is performed in 90 minutes without intermission. Tickets are $15 for adults and $12 for seniors and students. Tickets may be purchased at the door. Cash or check only. Reservations can be made by calling Fran Pesch at (937) 654-0400. For additional information, visit youngatheartplayers.com.

‘Beautiful’ Review – Victoria Theatre Association – A Tapestry of Melody and Heartbreak

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A striking lesson in perseverance, survival and self-esteem concerning one of pop music’s legendary singer-songwriters, Beautiful – The Carole King Musical warmly and nostalgically satisfies with entertaining, crowd-pleasing familiarity.

Sarah Bockel (Carole King) in Beautiful. Photo by Matthew Murphy.

The finale of the Victoria Theatre Association’s 2017-2018 Premier Health Broadway Series continuing through Sunday, May 27 at the Schuster Center, Beautiful, sleekly directed by Marc Bruni with crisp period choreography by Josh Prince, showcases King from her early songwriting days in 1959 to her career breakthrough writing 1971’s best-selling album Tapestry, which received four Grammys including Album of the Year, Record of the Year, and Song of the Year. Librettist Douglas McGrath smoothly juggles King’s pioneer composing against the backdrop of her rocky marriage to Gerry Goffin, her equally talented collaborator who battled mental illness and had difficulty being grounded in marriage life. King’s ability to ultimately use the pain of her relationship as fodder for her incredibly relatable Tapestry tunes is a testament to her artistic genius, which was also greatly admired by her close friends and fellow songwriters Cynthia Weil and Barry Mann.

Sarah Bockel marvelously inhabits King’s down-to-earth charm and distinct vocal phrasing, especially her interpretations of classics such as So Far Away, Will You Love Me Tomorrow, It’s Too Late, You’ve Got a Friend, (You Make Me Feel Like) A Natural Woman, and the bouncy, inspirational, gospel-tinged title tune. McGrath wholesomely fashions King without imperfection, a considerable flaw, but it’s easy to see why she was so loved and respected by her peers nonetheless thanks to Bockel’s endearing magnetism. The handsomely brooding Andrew Brewer lends great support as the conflicted Goffin, constantly craving more as musical trends change throughout the 1960s. The sardonic Sarah Goeke and comical Jacob Heimer are wonderfully paired as Weil and Mann. James Clow (producer Don Kirshner), Suzanne Grodner (Genie Klein), McKynleih Alden Abraham (Janelle Woods), and Nathan Scherich (Nick) are very effective and purposeful in smaller roles. Many ensemble members shine as well when the focus turns to specific acts such as the Drifters, the Shirelles and the Righteous Brothers whose careers were bolstered by King, Goffin, Weil, and Mann, specifically John Michael Dias and the aforementioned Scherich’s fantastic rendition of You’ve Lost That Lovin’ Feeling.

(l to r) James Clow (Don Kirshner), Jacob Heimer (Barry Mann), Sarah Bockel (Carole King) and Sarah Goeke (Cynthia Weil) perform “You’ve Got a Friend” in Beautiful. Photo by Matthew Murphy.

Without a doubt, King’s empowerment to believe in her potential paved the way for Carly Simon, Joni Mitchell, Janis Ian, Tracy Chapman, Sheryl Crow, Lauryn Hill, Alanis Morissette, Norah Jones, India Arie, Duffy, Adele, Sara Bareilles, and many more. Beautiful certainly resonates as a meaningful tribute to her influential legacy.

Beautiful continues Wednesday-Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. at the Schuster Center, Second and Main Streets, Dayton. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $26-$119. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

Review Roundup: ‘Little Mermaid’ at Dayton Playhouse and ‘Bakersfield Mist’ at Dayton Theatre Guild

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Disney’s The Little Mermaid

(l to r) Steven Lakes (King Triton), Abby Stoffel (Ariel) and Chavin Medina (Flounder) appear in Dayton Playhouse’s production of Disney’s The Little Mermaid. (Photo by Art Fabian)


There’s a lot of cute charm under the sea as the Dayton Playhouse presents composer Alan Menken, librettist Doug Wright, and lyricists Howard Ashman and Glenn Slater’s 2008 musical adaptation of Disney’s The Little Mermaid.
Based on the tale by Hans Christian Andersen and directed by Matthew Smith, The Little Mermaid splashes forth as a decently sweet diversion admirably led by Abby Stoffel as the lovely Ariel, daughter of King Triton (Steven Lakes, looking toned and sounding great). Curious about the human world and longing to leave her ocean home, Ariel falls for handsome prince Eric (strong tenor Garrett Young), but is ultimately lured by treacherous sea witch Ursula (a deliciously evil Angelé Price in one of her finest performances) seeking to usurp Triton’s throne.

Stoffel is pleasant as the main focus (her tender rendition of “Part of Your World” is an early highlight), but the support she receives from Price as well as the entertaining trio of William ‘Kip” Moore (Sebastian), Samantha Creech (Scuttle), and Chavin Medina (Flounder) absolutely bolsters the action, which also features an energetic Brad Bishop as excitable Chef Louis (“Les Poissons”).
Smith’s artistic team includes music director Lorri B. Johnson-Topping (ensuring If Only Quartet is the standout it was written to be), scenic designer Chris “Red” Newman (whose imaginative instincts extend to filling Ariel’s hideaway with an array of eye-catching knickknacks), costumer Janet Powell (supplying  colorful contributions although Ariel’s skirt could be more elegantly distinguished), lighting designer Richard Lee Waldeck (utilizing warm ocean-inspired blues and greens), choreographers Kiersten Farmer and JuanGabriel Encarnacion, sound designer J. Gary Thompson, and projection designer Ray Zupp.

Interestingly, this feel-good production feels artistically at war with itself. Some moments reveal the Playhouse overstepping its bounds in terms of what they can do with space while other moments suggest they simply didn’t go far enough. Regardless of cohesive issues, if you loved the movie you’ll love this show.

Disney’s The Little Mermaid continues through May 20 at the Dayton Playhouse, 1301 E. Siebenthaler, Ave., Dayton. Performances are 8 p.m. Fridays and Saturdays and 2 p.m. Sundays. Tickets are $20 for adults and $18 or seniors, students and military. For more information, call (937) 424-8477 or visit daytonplayhouse.com.

 

Bakersfield Mist

Charles Larkowski (Lionel Percy) and Rachel Oprea (Maude Gutman) star in Dayton Theatre Guild’s production of Bakersfield Mist. (Photo by Craig Roberts)


Artistic authenticity and personal integrity are key factors fueling Stephen Sachs’ timely and topical 2014 two-hander Bakersfield Mist, which has received a firm local premiere at the Dayton Theatre Guild.

Fluidly directed by Doug Lloyd and set in Bakersfield, California, this relatable yet relatively thin dramedy concerns unemployed Maude Gutman (Rachel Oprea), a loud-mouthed loner thrilled to have discovered what may or may not be a Jackson Pollock original. For verification purposes, Maude invites sophisticated Lionel Percy (Charles Larkowski), former director of New York’s Metropolitan Museum of Art, to her trailer park. Tension ensues, sparks fly, and feelings are hurt, but the old-fashioned reminder that polar opposites can find common ground ultimately arises.

Performed without intermission, Bakersfield is at its best when Maude and Lionel stop slinging insults and fully embrace the idea of connection. Both have emotionally scarred pasts, particularly Maude, and during these prized instances of vulnerability the play becomes more credible. After all, I question the believability of Lionel choosing to stay long past his welcome, especially when he’s on his way out the door only to be pulled in by Maude’s admiration for Law & Order. Even so, Larkowski particularly and marvelously delivers a passionate monologue professing Lionel’s love of art, and Oprea handles Maude’s investigatory brashness with earthy aplomb. In addition, Maude’s visually kooky world, encompassing beer bottle wind chimes, hamburger salt and pepper shakers, and a random bowling pin, is wonderfully realized by scenic designer Patrick Allyn Hayes with set dressing by Hayes, Deirdre Root, Mark Mickle, and Rick Flynn.

In our current political climate, and depending on your perspective, there’s something truly inspirational or truly unnerving about Maude. She seems to boldly represent those who feel they’ve been left behind, the ignored underdogs longing for what’s owed them. Laugh if you will but as the midterm election approaches, Sachs supplies a surprisingly cautionary tale of America’s great divide.
Bakersfield Mist continues through May 27 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are at 8 p.m. Fridays, 5 p.m. Saturdays, and 3 p.m. Sundays. Tickets are $20 for adults, $18 for seniors, and $13 for students. For more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

 

‘Brighton Beach Memoirs’ Review – Human Race Theatre Company – Timely Tenderness

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In Neil Simon’s wonderfully endearing 1983 semi-autobiographical dramedy Brighton Beach Memoirs, situations involving a report card, a first date, a tense dinner, a lost salary, a heartbreaking letter, and more poignantly arise as remarkably presented by the Human Race Theatre Company at the Loft Theatre.

Richard Buchanan (Stanley Jerome), Eric Deiboldt (Eugene Jerome) and Rory Sheridan (Jack Jerome) appear in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

Splendidly directed with captivating realism by Marya Spring Cordes and set in 1937 Brooklyn, Brighton Beach Memoirs finds Simon borrowing from the best. As the relatable, fussy and close-knit Jerome family deals with sacrifice while their patience wears thin in cramped quarters (Dan Gray’s outstanding two-story set oozes intimacy in spite of its size), Simon’s comedic sensibilities are expectedly substantial from colorful talk of liver and cabbage to the glories of baseball and raging hormones. Still, it’s easy to recognize the folksy ferocity and poetic beauty of Tennessee Williams, Arthur Miller and Lorraine Hansberry when the compelling story shifts to dramatic conflicts centered on workplace woes, sibling turmoil, health concerns, financial burdens, and the growing possibility of additional family members abroad arriving at a moment’s notice to escape the Nazis. Over the course of a breezy three hours, Cordes handles Simon’s delicate balancing act with seamless finesse, allowing for fascinating sequences when certain characters are not the central focus. In fact, some of the most expressive interplay occurs upstairs while the main action transpires below. Cordes’ cinematic mastering of the seen and unseen – having an actor pause in a hallway, creep downstairs to assess commotion, or quietly contemplate alone in a bedroom – fuels the production’s genuine look at a blended family constantly in motion.

Eric Deiboldt (Eugene Jerome) in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

The charming Eric Deiboldt truly radiates as 15-year-old Eugene, Simon’s lively alter ego and the familiar catalyst of his Eugene Trilogy (including Biloxi Blues and Broadway Bound). Using his spunky physicality to the utmost while displaying marvelous narrative skills and command of Simon’s intricate rhythms, Deiboldt exuberantly engages as Eugene’s pivotal coming-of-age twists and turns. As Eugene’s restlessly discontented older brother Stanley, the handsome and impressive Richard Buchanan vulnerably conveys Stanley’s uncertainty of his place in the world as he faces the responsibilities of adulthood. An emotional Lisa Ann Goldsmith fiercely inhabits the headstrong Kate, a stern matriarch blessed in the present but bruised by the past. The terrific Rory Sheridan is equally strong as Jack, the hardworking patriarch who values the importance of family and desperately tries to keep his intact, especially in a tear-jerking scene in Act 2. Sonia Perez brings lovely complexity to her portrayal of Blanche Morton, Kate’s widowed sister still trying to navigate life and parental obligations while longing to break free and start anew all the same. The vibrant Katie Sinicki, a Wright State University junior acting major, offers a breakthrough portrayal of Blanche’s feisty daughter Nora, particularly shining opposite Perez in a heated, Gypsy-esque showdown that never resorts to overblown melodrama. Oakwood High School student Julie Murphy also delights as Nora’s sickly sister Laurie, an introverted bookworm and the only underwritten role in the play which is odd considering the depths of the other characters. Nonetheless, this show is perfectly cast and the Human Race should honestly consider reuniting Cordes and her actors for Broadway Bound in the 2019-2020 season.

In addition to Gray’s set, a character of its own, the production is artistically bolstered by David Arevalo’s attractive period costumes ranging from casual adolescent attire to snazzy evening wear, John Rensel’s expertly mood-capturing lighting, Jay Brunner’s first-rate sound design and enjoyable original music, and Heather Powell’s nifty properties including an authentic sewing machine.

Eric Deiboldt (Eugene Jerome) and Lisa Ann Goldsmith (Kate Jerome) appear in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

A widowed schoolteacher once reminded a group of inquiring ladies to cling very close to those you love. Considering the nation’s current chaotic climate, specifically families breaking apart by their own free will or through government decree, Brighton Beach Memoirs, an All-American defense of immigration, is suddenly more relevant than ever before. “The world doesn’t survive without families,” Kate declares. See for yourself why she’s right, and in doing so, you’ll experience one of the best productions in Human Race history.

 

Brighton Beach Memoirs continues through April 22 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. Thursday, Friday and Saturday evenings; 7 p.m. Sunday, Tuesday and Wednesdays evenings; and 2 p.m. Sunday matinees. There will be a post-show talkback after the April 15 performance. Act One: 85 minutes; Act Two: 70 minutes. Tickets are $35-$40 for adults; $32-$37 for seniors; and $17.50-$20 for students. Prices vary depending on performance date and seating location. There are a limited number of $12 and $25 side area seats available for each performance. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

‘The Other Place’ Review – Dayton Theatre Guild – The Great Darkness

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In Sharr White’s riveting 2011 drama The Other Place, excellently presented by the Dayton Theatre Guild in its local premiere, successful neurologist Juliana Smithson faces the toughest battle of her life. Although she appears to be on top of the world, she realizes, at only 52, that her mental state is extremely fragile and beyond repair.

Jamie McQuinn (Ian) and Amy Askins (Juliana) in the Dayton Theatre Guild’s production of “The Other Place” (Photo by Craig Roberts)

Delicately directed with smooth transitions by Kathy Mola, The Other Place unfolds as an engrossing mystery, an intimate character study, and a visceral psychological drama. Events transpire non-linear, blurring the past and present, which forces the audience to take notice of even the slightest details. As Juliana attempts to disprove reality, she battles her husband, filing for divorce, and her doctor, trying to decipher the depths of her illness. The disappearance of her daughter is also a major factor, a major source of heartache, lingering throughout.
As the distraught Juliana, Amy Askins, last seen at the Guild in The Trip to Bountiful and commonly known for her comedic instincts, delivers her most powerful and dramatic performance. Serving as the play’s narrator, an astute choice by White allowing the audience to keep Juliana’s perspective paramount, she offers an engaging yet stinging flair. She is often personable yet occasionally explosive, a veritable loose cannon in many respects but understandably so considering the sheer complexity of dementia. Askins is particularly dynamic in two scenes accented by the admirable Jamie McQuinn as Ian, Juliana’s husband, and the beguiling Kayla Graham, a befuddled stranger offering compassionate understanding. The former concerns ongoing frustration about Juliana’s daughter (allowing McQuinn one of his strongest moments) while the latter centers on Juliana’s impromptu visit to the titular abode (designed as a fragmented remembrance by Chris Harmon) recalling better days for her and her family. Mark Sharp is also featured in various roles as The Man, particularly notable as a gentle presence in the final moments. The production also incorporates projection coordination by Gary Thompson and lovely beach photography and modeling by Cole Reamey and Rachel Mola, respectively.

Amy Askins (Juliana) in the Dayton Theatre Guild’s production of “The Other Place” (Photo by Craig Roberts)

Although White unfortunately doesn’t venture into enough of Juliana and Ian’s backstory, he nonetheless paints an emotional and relatable portrait of what happens when the mind betrays.

The Other Place continues through April 1 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Saturday at 5 p.m., and Sunday at 3 p.m. The play is performed in 80 minutes without intermission. Tickets are $13-$20. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

‘Bachelorette’ Review – Playground Theatre – Cruel Intentions

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Playground Theatre’s season finale revels in destructive excess and the ugliness of words as evidenced in its excellent production of Leslye Headland’s brutally dark and provocative comedy Bachelorette, continuing through March 11 in the Mathile Theatre of the Schuster Center.

Playground Theatre presents Leslye Headland’s dark comedy “Bachelorette” through March 11 in the Mathile Theatre of the Schuster Center. (Photo by Knack Creative)

Co-directed with captivating realism and savvy use of space by Jenna Valyn and A.J. Breslin, Bachelorette centers on a wild night reuniting Regan, Gena and Katie, high school friends living it up in a swanky Manhattan hotel suite overlooking Central Park. They’re in town for their mutual friend Becky’s wedding, but actually despise her. After all, Becky is getting married before them and at her current weight, fueling extreme jealousy, backbiting and body shaming. Whether or not this amusing clique can look past the past and simply evolve as mature, tolerant women is an underlying factor in the sitcom-esque action, which catapults into an evening of heavy drinking and vicious insults ultimately putting their friendship to the test.

Kaleigh-Brooke Dillingham (Regan), Mary “Alaska” Stoughton (Gena) and MacKenzie Aaryn Stephens (Katie) deliver bold, brave, physical, and heartbreaking performances. Dillingham, memorable in Playground’s local premieres of Really, Really and Reasons to Be Pretty, skillfully attacks with icy intimidation solidifying Regan’s status as the queen bee. She unleashes her stings with laser sharp precision as if at target practice while winningly revealing the layers within Regan’s emotionally wounded fragility, especially pertaining to her unhappy love life and addiction to prescription drugs. Stoughton, funny and unique, nicely balances Gena’s central responsibilities as sidekick and sister. In a complete departure, Stephens, previously seen in Wright State University’s productions of A Streetcar Named Desire and The Grapes of Wrath, approaches her comic relief with impressive abandon while vibrantly conveying how troubled Katie is beneath her giddy party girl exterior. Valyn delivers a brief yet powerful turn as Becky, orchestrating a terrific showdown with Dillingham that is the show’s pivotal centerpiece. Darren Lee Brown (Jeff) and Christopher Hahn (Joe) effectively intermix as confident if underwritten men on the prowl with varying objectives on the evening’s revelry from the bedroom to Motown.

Check out Bachelorette and see why Playground Theatre is Dayton’s foremost cutting edge theater company to have and to hold for many seasons to come.

Bachelorette continues today at 2 and 8 pm and Sunday at 2 pm in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The production runs 80 minutes without intermission. Tickets are $15-$20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. More information can be found at theplaygroundtheatre.org. You can also follow Playground’s Spotify playlist at pgdyt.org/bachelorette. The play contains adult themes, strong language, alcohol and drug use, sexual content, and nudity.

 

‘The Sound of Music’ Review – Victoria Theatre Association – Embracing Love

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The national tour of Rodgers and Hammerstein’s 1959 classic The Sound of Music, the groundbreaking duo’s final collaboration, is a vocally stunning, strongly acted showcase courtesy of the Victoria Theatre Association’s Premier Health Broadway Series at the Schuster Center.

Jill-Christine Wiley as Maria Rainer and the von Trapp children (Photo by Matthew Murphy)

Jill-Christine Wiley brings great joy and endearing naiveté to her terrific portrayal of Maria Rainer, the troublemaking Postulant of Nonnberg Abbey sent to become governess to Captain Georg von Trapp’s seven children. Effortlessly soaring through such iconic numbers as Do-Re-Mi, The Lonely Goatherd and the title number, she radiates warmth, kindness and concern, personable ingredients necessary for Maria to be the life-changing force for good in the von Trapp household.

The handsomely brooding Mike McLean is a fine fit as Georg, effectively transforming from an emotionally scarred and grieving disciplinarian into a loving father. His beautifully tender rendition of Edelweiss, dramatically framed within Nazi flags, is an Act 2 highpoint. Dynamic soprano Lauren Kidwell conveys gentle compassion and sharp authority as Mother Abbess, bringing down the house with a gorgeous rendition of Climb Ev’ry Mountain at the end of Act 1. Keslie Ward (Liesl), Landon Brimacombe (Friedrich), Maya Karp (Louisa), Arick Brooks (Kurt), Katie Grgecic (Brigitta), Amaryllis C. Miller (Marta), and Sophia Massa (Gretl) are adorably cohesive as the von Trapp children. Ward particularly separates from the pack to enjoyably duet with Chad P. Campbell (Rolf) for Sixteen Going On Seventeen. Pleasant duo Melissa McKamie (Elsa Schraeder) and Jake Mills (Max Detweiler) give sophisticated flair to the underrated How Can Love Survive? and No Way To Stop It. Numerous featured roles are winningly executed as well.

In addition, this Broadway-caliber production, helmed by Matt Lenz recreating Jack O’Brien’s original elegant staging which previously contained refreshing non-traditional casting in principal roles, features a knockout artistic team. The group includes scenic designer Douglas W. Schmidt, costumer Jane Greenwood (providing astute evolutions in Rolf’s attire from messenger boy to Nazi loyalist), lighting designer Natasha Katz, sound designer Shannon Slaton, and choreographer Jonathan Warren recreating Danny Mefford’s original routines. Music director/conductor Michael Uselmann leads a first-rate orchestra.

Schmaltz often undercuts the potency within this meaningful account, adapted by Howard Lindsay and Russel Crouse based on The Trapp Family Singers by Maria Augusta Trapp. Nonetheless, O’Brien’s idea to re-approach the show by reiterating the importance of love entering the hearts of a family who desperately need it serves as a fulfilling foundation. As Georg tells Maria, “You’ve brought music back into my home.” Perfect for families, The Sound of Music is a sheer delight.

 

The Sound of Music continues Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. at the Schuster Center, Second and Main Streets, Dayton. Act One: 90 minutes; Act Two: 47 minutes. Tickets are $45-$114. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘Sex with Strangers’ Review – Human Race Theatre Company – Time’s Up?

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Jennifer Johansen (Olivia) and Ben Palacios (Ethan) star in the Human Race Theatre Company’s local premiere of Sex with Strangers. (Photos by Scott J. Kimmins)

Harvey Weinstein. Kevin Spacey. Charlie Rose. Matt Lauer. Russell Simmons. Casey Affleck. James Franco. Al Franken. Roy Moore. Donald Trump. Ethan Strange. Ethan Strange? You haven’t heard of Ethan Strange? Well, let me fill you in. Ethan is the fictional best-seller who slept with random women for a year, posted his titillating sexcapades on his blog, secured half a million followers, and ultimately wooed Hollywood. However, when faced with the potential love of his life, can Ethan overcome his bad boy reputation and scandalous past which sought pleasure in demeaning young women? This is one of many pertinent and engrossing questions former House of Cards writer Laura Eason poses in her provocative and topical 2014 off-Broadway dramedy Sex with Strangers, currently receiving a first-rate local premiere courtesy of the Human Race Theatre Company at the Loft Theatre.

Ben Palacios, just as handsome and chiseled in face and abs as he was three years ago as spunky Spike in the Race’s production of Vanya and Sonia and Masha and Spike, was absolutely born to play man-child Ethan. Playful yet aggressive, self-absorbed yet attentive, and immature yet shrewd, Palacios creates a fascinating enigma, which makes it very difficult to figure out how Ethan should be perceived. Is he a lost cause? The eternal frat boy who won’t grow up? Can he be held accountable? Can he be redeemed? Can all the women from his past be believed?  Regardless, and perhaps most importantly, Palacios is attractive, seductive, sly, and convincing throughout to allow you to believe any woman could fall under Ethan’s magnetic spell. After all, his sex appeal is a crucial catalyst driving this steamy play considering Ethan meets failed novelist Olivia while snowbound at a bed and breakfast in rural Michigan, cozily conceived by scenic designer Eric Moore. After a few moments of cutesy small talk overflowing with unmistakable chemistry, sparks and clothing fly, smoothly overseen with passionate intimacy by director Greg Hellems and accented with pulsating music by sound designer Jay Brunner.

Jennifer Johansen (Olivia) and Ben Palacios (Ethan) in Sex with Strangers. (Photos by Scott J. Kimmins)

Portrayed by the luminous Jennifer Johansen, a memorable Masha opposite Palacios in the aforementioned Vanya, Olivia arises as a strong, complex woman who doesn’t need the validation and encouragement Ethan readily offers. “I hate to reminisce about sex,” she boldly states, which is the polar opposite of Ethan’s perspective on the subject. Olivia’s genuine passion for literature, from the smell of old books to reflection on great authors, fuels her contentment despite a fading career and recently resorting to teaching to pay the bills. When Ethan invites her to self-publish under a pseudonym on a brand new literary app he’s created, the temptation is real. But why would she fall so easily for Ethan’s emotional and professional advances, essentially being made into his online image? Is she tempted by the allure of a breakthrough or simply the allure of a younger man? Johansen’s performance encompasses both temptations beautifully. In fact, when Olivia discovers the depth of Ethan’s abuse, particularly the fact that he left intoxicated girls unconscious in their own vomit, there’s still something within her that leads you to believe the last straw will never truly be the last straw. Ethan has grown too palpable, exciting and electric. All of these emotions are on display in Johansen’s superb body language as the play reaches its suspenseful conclusion.

Jennifer Johansen (Olivia) and Ben Palacios (Ethan) in Sex with Strangers. (Photos by Scott J. Kimmins)

Some plays mature with time and Eason’s work certainly has. What are we to make of her compelling look at ambition, betrayal, friendship, romance, and unbridled sexuality as powerful men across the country have been accused of demoralizing and sexually harassing women in many industries from the soundstage to the boardroom? If you’re looking for an entertaining, thought-provoking outing, consider the intellectual and physical heat of Sex with Strangers.

 

Sex with Strangers continues through Feb. 18 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Thursday, Friday and Saturday evenings; 7 p.m. Tuesday and Wednesdays evenings; and 2 p.m. Sunday matinees. There will be a post-show talkback after the Feb. 11 performance. Act One: 60 minutes; Act Two: 45 minutes. Tickets are $35-$50 for adults; $32-$46 for seniors; and $17.50-$25 for students. There are a limited number of $12 and $25 side area seats available for each performance. Call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. Patrons are advised the play contains partial nudity, strong language and adult themes.

 

 

‘Stella and Lou’ Review – Dayton Theatre Guild – Un-break My Heart

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What becomes of the brokenhearted? In his tender and engaging dramedy Stella and Lou, playwright Bruce Graham firmly believes the emotionally wounded are able to heal with the passage of time but not without significant prodding.

(l to r) Adam Clevenger (Donnie), Amy Taint (Stella) and Geoff Burkman (Lou) appear in the Dayton Theatre Guild’s local premiere of Stella and Lou. (Photo by Craig Roberts)

Directed with gentle realism by J. Gary Thompson in an excellent local premiere by the Dayton Theatre Guild, this charming story of doubts and uncertainties in one’s twilight years, occurring in real time, concerns the friendship between a Philadelphia bar owner and a divorced nurse. Stella (Amy Taint) has had enough of her humdrum life and feels an opportunity to start anew in Florida is her ticket out. “A registered nurse in Florida?,” she quips. “I get off the plane they’re asking for my resume!” However, Stella isn’t sure about venturing into the great unknown alone. So, she asks Lou (Geoff Burkman), still grieving the loss of his wife, Lucille, to join her. With lighthearted assistance from Donnie (Adam Clevenger), one of Lou’s loyal, younger patrons, the play transpires as a quietly engrossing character study detailing the importance of connection, forgiveness, purpose, and choosing to optimistically embrace the future.

 

The expressive Taint, playful, determined and affecting, endearingly captures Stella’s personable spunk and substantial worries. In her capable hands, there’s no denying Stella’s desire to leave the familiar for a fresh start. Yet along the way, her portrayal, which leans toward comedy, dramatically softens and deepens, particularly bringing beautiful credence to Stella’s fear of aging and living a solitary existence. Burkman, seen last season at the Guild as hospital administrator Carr-Gomm in The Elephant Man, is equally sharp and meaningful. Effectively conveying Lou’s beleaguered and weary essence in physicality and conversation, Burkman powerfully uncovers the depths of Lou’s pain as a widower late in Act Two, specifically Lou’s reflections on coming home to an empty house every night and basically resigning himself to a life of endless stagnation. Although Lou is an introvert of his own making, deliberately closing the door to any possibility of romance or companionship, Burkman cracks the character’s tough, unyielding exterior just enough to prove how vital Stella is as the glimmer of hope he’s been waiting for. Clevenger is an admirable presence in a humorous if superfluous role essentially written to digest and counter thoughtful discussions of marriage and relationships. In addition, D. Tristan Cupp’s wonderfully authentic sports bar set is fittingly accented with nifty memorabilia, numerous bottles of alcohol and a dartboard.
Poignant and relatable, Stella and Lou is a refreshing testament to the joy of second chances.

 

Stella and Lou continues through Feb. 4 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 pm, Saturday at 5 pm, and Sunday at 3 pm. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $13-$20. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

‘Beehive’ Review – Dayton Playhouse – Welcome to the ‘60s

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The socially tumultuous but musically wondrous 1960s takes center stage as the Dayton Playhouse presents an entertaining and warmly nostalgic production of the off-Broadway musical revue Beehive.
Created in the 1980s by the late Larry Gallagher, Beehive salutes various female pop artists of the decade from girl groups such as the Chiffons, the Shirelles, and the Supremes to distinctive legends such as Janis Joplin, Tina Turner and Aretha Franklin. Adhering to the standard revue blueprint, the songs are the main attraction. There’s no need for a trite, shoe-horned storyline when a bevy of 30 fantastic hits from toe-tapping confections (It’s My Party, My Boyfriend’s Back, One Fine Day, You Can’t Hurry Love) to soulful anthems (Will You Still Love Me Tomorrow?, Abraham, Martin and John) breezily fuel the show’s feel-good momentum.

(l to r) Madeline Hart (Pattie), Elana Elmore (Gina), Alicia Walton (Jasmine), Tamar Fishbein (Wanda), Kailey Yeakley (Alison), and Shanna Comacho (Laura) in Dayton Playhouse’s Beehive. (Photo by Art Fabian)

Director Tina McPhearson (who memorably helmed the Playhouse’s Hairspray) and choreographer Annette Looper (playfully evoking the spirit of American Bandstand and Hullabaloo) seemingly work in tandem to bring lighthearted joy to this fast-moving, audience-friendly outing. McPhearson’s lively and compatible six-member cast, attractively costumed by McPhearson, Kathleen Carroll and Tim Grewe with fabulous wigs by Steve Burton, beautifully blend vocally while enjoying individual opportunities to bask in the spotlight. Tamar Fishbein (Wanda) winningly takes on the role of narrator, gleefully offering commentary on important fashion trends and the significance of certain songs to provide greater context. Playhouse newcomer Kailey Yeakley (Alison) absolutely charms in full debutante mode rendering a lovingly demure and strong version of Where the Boys Are. Madeline Hart (Pattie) also provides a fine Playhouse debut, notably shining with You Don’t Own Me and Son of a Preacher Man. Alicia Walton (Jasmine), a standout earlier this season as Sister Mary Robert in the Playhouse’s Sister Act, returns with a particularly spirited River Deep –Mountain High. Shanna Comacho (Laura) continues her impressive versatility this season with a gently poignant To Sir, With Love (a personal favorite that still sounds as earnest and impactful as the day it was written) and a fully committed, Woodstock-esque embodiment of Somebody to Love, Cry Baby and Me and Bobby McGee. The marvelously expressive Elana Elmore (Gina), trained in opera but skillfully navigating R&B in this instance, delivers a rousing Proud Mary and wonderfully lyric-driven renditions of Chain of Fools and (You Make Me Feel Like) A Natural Woman. She effortlessly interprets Chain of Fools and A Natural Woman with delicate nuances and unique vocal flourishes that make its dual assessments of love, complicated vs. satisfying, arise fresh and new.

l to r) Alicia Walton (Jasmine), Shanna Comacho (Laura), Madeline Hart (Pattie), Tamar Fishbein (Wanda), Elana Elmore (Gina), and Kailey Yeakley (Alison) in Dayton Playhouse’s Beehive. (Photo by Art Fabian)

The production is also bolstered by Chris “Red” Newman’s variety show-inspired scenic design, John Falkenbach’s expert lighting, Bob Kovach’s terrific sound design, and conductor Ron Kindell’s well-balanced orchestra.  Accented by amusing photos and commercials of yesteryear, Beehive is a worthwhile trip down memory lane.

Beehive continues through Sunday, Feb. 4 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. The musical is performed in 90 minutes without intermission. Tickets are $16-$18. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com.

 

‘Hello, Dolly!’ Review – Muse Machine – Embracing Life & Looking Swell

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If you thought the Muse Machine pulled out the stops last year with Hairspray, wait until you get a load of its equally enthusiastic and marvelous production of composer Jerry Herman and librettist Michael Stewart’s 1964 Tony Award-winning classic Hello, Dolly!, the arts education organization’s 34th annual student musical continuing through Sunday, Jan. 14 at the Victoria Theatre.

The cast sings “Put On Your Sunday Clothes” in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

It is customary for this feel-good show to specifically spotlight the inherent charm, quick wit and gleeful mischief of one beloved woman who has the pleasure of being serenaded by a throng of overjoyed waiters. However, the Muse universe rightfully abides by a different pedigree. In fact, over 170 students from across the Miami Valley have cohesively united to bring the entire musical comedy genius of the material to life with a refreshing level of ensemble-friendly, production-savvy magic. By and large, the Muse’s Dolly! concerns the journey of a woman who is more of a catalyst than a centerpiece. It’s a departure from the norm, especially if you saw the current Broadway revival starring Bette Midler, but you wouldn’t want it any other way within the spirited context of what the Muse does best.

Sara LiBrandi (Dolly Gallagher Levi) and restaurant staff in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

Based on Thornton Wilder’s The Matchmaker and set in 1890s New York, this tale is an engaging account of widow Dolly Gallagher Levi, the most celebrated matchmaker in New York City. Although she already paired wealthy Yonkers businessman Horace Vandergelder with lovely Manhattan milliner Irene Molloy, Dolly actually has her eyes and pocketbook set on Horace. Using her meddlesome skills to the utmost with sly instinct and skillful improvisation, she ultimately obtains her goal while encouraging those around her to embrace life to the fullest and never underestimate the power of love.

Breezily directed with ample humor and earnest sensitivity by Joe Deer, this fast-paced outing is impressively led by Sara LiBrandi, a truly delightful and determined Dolly. LiBrandi’s breakthrough performance, mesmerizing in its maturity especially in frequent asides focused on Dolly’s late husband Ephraim, wonderfully conveys Dolly’s pivotal epiphany in Before the Parade Passes By. As hard-nosed Horace, the comical Jake Jones is an excellently stubborn authoritarian and relishes the playfulness of It Takes a Woman alongside the male ensemble. The admirable Steven Greenwalt and endearing Tommy Cole, a great dancer, are a respectively appealing duo as best friends Cornelius Hackl and Barnaby Tucker, Horace’s dutiful employees. Kiama Wa-Tenza is an absolutely radiant Irene, exuding sophisticated elegance and offering a gorgeously introspective rendition of Ribbons Down My Back. The bubbly Ana Smith is tailor-made for Minnie Fay, Irene’s talkative and easily excitable sidekick. Ben Kneblik is a perfectly agitated Ambrose Kemper. Charlotte Kunesh wails with humorous abandon as Ermengarde, Horace’s distressed niece and Ambrose’s girlfriend. Diane Isom scores big laughs as the over-the-top Ernestina. The striking David Shockey commands attention as Rudolph, head waiter of the posh Harmonia Gardens restaurant. Principals also include Fischer Barnett as an enraptured Head Cook and exasperated painter, Melanie Dodson as the kindly Mrs. Rose, Michael Taylor as a sympathetic Judge, and Darian Watson as a befuddled Court Reporter.

The male ensemble sings “It Takes a Woman” in Muse Machine’s production of “Hello, Dolly!” (Photo by Daniel Rader)

In addition, choreographer Lula Elzy delivers some of her finest and liveliest work, particularly building Before the Parade Passes By with exceptionally astute scope (including a cute group of flag-waving kids) and filling the rousing title number with jubilantly cheery gusto and the unique sight of adoring female staff. The New Orleans native also choreographs a nifty curtain call which fittingly pays tribute to Louis Armstrong’s classic rendition of the title song and the exuberant jazz essence of the Big Easy. Bruce Brockman’s grand sets and Dixon Reynolds’ colorful period costumes, coordinated by Toni Donatio Shade and Alisa Vukasinovich, are courtesy of Music Theatre Wichita. John Rensel supplies expert lighting design. Musical director Sean Michael Flowers leads a vibrant orchestra.
In spite of winter’s bitter chill, whirl away your worry and see this outstanding, life-affirming presentation which ranks among the best in Muse history.

 

Hello, Dolly! continues today at 3 and 8 pm and Sunday at 2 pm at the Victoria Theatre, 138 N. Main St., Dayton. Act One: 65 minutes. Act Two: 50 minutes. Tickets are $26-$60. For tickets or more information, call (937) 228-3630 or visit www.ticketcenterstage.com.

 

‘The Tutors’ Review – Playground Theatre – Craving Connection

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The local theater scene welcomes 2018 with a bang thanks to Playground Theatre’s outstanding local premiere of Erica Lipez’s 2013 off-Broadway dramedy The Tutors in the Mathile Theatre of the Schuster Center.

(left to right) Ryan Grissett (Milo), Jenna Gomes (Heidi), A.J. Breslin (Joe), Boyang Zhang (Kwan), and Skyler McNeeley (Toby) appear in Playground Theatre’s local premiere of “The Tutors.” (Photo by Knack Creative)

Set in New York City circa 2007, the play revolves around the disillusioned lives of Joe, Toby and Heidi, friends and roommates whose dream of creating a Facebook-esque social networking site has sputtered. In order to pay the bills, they tutor wealthy prep school students. “Our time is coming,” Heidi states. “But the only thing coming is the rent.” Although their dream is built on connection, Lipez powerfully plants their relationship in various modes of disconnect. Heidi, suffering from mental illness, specifically agoraphobia, refuses to leave the apartment and imagines intimacy with an Asian student. Joe, a schemer responsible for naming the website joinme2u.com, seduces his students with drugs in the hope that their parents will become investors in the floundering site. Toby, the closeted and introverted tech expert, appears to be the most grounded but is still coming to terms with his identity and purpose. Disappointed and distressed, lonely and confused, the trio questions their future while craving connection.

Just when you think you have Lipez all figured out, she creates fascinating and thought-provoking detours. Along the way, the trio significantly damages each other while perceiving to cling to their ride or die friendships. But friendships change. Dreams change. One must be willing to navigate a new path sometimes and it’s perfectly fine to break free. They learn this the hard way even when discussions turn destructive and nasty. However, nothing in the play is more beautifully complicated than the final moments of Act 1, a sequence exquisitely directed with overlapping fluidity and sensitivity by Playhouse co-founders Christopher Hahn and Jenna Valyn. Hahn and Valyn’s incredibly intimate atmosphere is notably bolstered by a savvy soundtrack featured during scene changes and Derek Dunavent’s evocative lighting.

Inhabiting Lipez’s relevant world is a cast that ranks among the finest assembled so far this season. A.J. Breslin, meticulously composed and reserved in Playground’s production of Tape a few months ago, is in full attack mode here recalling his strong and defiant performance as Dennis in Playground’s This is Our Youth last season. Breslin doesn’t disguise Joe’s overbearingly snarky qualities, but he’s wise not to make him a complete jerk unworthy of redemption. The radiant Gomes effortlessly navigates Heidi’s whimsical journey with ample humor and drama, a skillful balancing act recalling the arc of the equally unstable Harper Pitt in Angels in America. Skyler McNeely, new to the Playground but recently seen alongside Breslin in Dare to Defy Productions’ presentation of Seussical, is remarkable in one of his best and most vulnerable performances. Conveying tenderness, concern, frustration, and hope sometimes within the same breath, McNeely, astutely accenting his expressive work with a tinge of mystery to keep the audience on its toes, is firmly grounded as the play’s appealing emotional center. Breakthrough performances are offered by Ryan Grissett as Joe and Toby’s privileged and disenchanted pupil Milo and Boyang Zhang who pulls double duty as the real and fictional embodiments of Kwan. Grissett, a recent graduate of Beavercreek High School, gleefully agitates Breslin and McNeely for much of the play but explodes with heartbreaking fury when Milo’s world is flipped upside down especially within his fractured home. Zhang, a Cincinnati-based actor, expertly differentiates cool suaveness and buttoned-up reticence in his dual roles.

Lipez knows of what she writes. She was once a tutor and actually wrote this play while in graduate school at New York University. She also served as producer and writer of such TV series as Lone Star, Suits and Bates Motel. Her captivating look at millennials embracing the digital age without any idea of how to truly connect face-to-face with attention and focus rises as both a cautionary tale and another splendid example of the Playground’s riveting artistry.


The Tutors continues through Jan. 7 in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Act One: 60 minutes. Act Two: 60 minutes. Tickets are $15-$20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. Patrons are advised the show contains adult language and situations. For more information, visit theplaygroundtheatre.org. Also, you can follow Playground’s Spotify playlist at http://pgdyt.org/tutors-soundtrack. The indie/rock/folk artists featured include Vampire Weekend, Blitzen Trapper, Band of Horses, The Shins, and Arctic Monkeys.