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‘Urinetown’ Review – Wright State University – Playful Parody

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Wright State University delivers a delightful production of composer/lyricist Mark Hollmann and lyricist/librettist Greg Kotis’ 2001 Tony Award-winning Urinetown: The Musical, a smart, witty and irreverent spoof of musical theater and corporate greed.

David Emery (Bobby Strong) and cast spoof Les Miserables in Wright State University’s production of Urinetown: The Musical. (Photo by Courtney Michele Zimmerman)

More topical than ever as talk of corruption fills the headlines, Urinetown concerns a terrible water shortage in a Gotham-esque city. A 20-year drought has made private toilets illegal so all must pay to pee. The evil Caldwell B. Cladwell, CEO of Urine Good Company who has fond if salacious memories of the scandalous “stink years,” has set a price for the use of public toilets. However, when he implements a fee hike the good-natured Bobby Strong rallies his fellow citizens to take action. A comical revolt ensues, ultimately raising the stakes for Bobby and his particularly budding attraction to Cladwell’s lovely if simple daughter Hope.

Over the years, director Lee Merrill has staged serious material such as Sweeney Todd, The Magic Fire and The Miracle Worker, but she lets loose here in the black box Herbst Theatre with an exhilarating frivolity recalling her outstanding production of The Gondoliers 11 years ago in the Herbst. She gives her exemplary cast permission to go big and broad, but her wonderfully environmental and intimate staging (featuring evocative lighting design by Emily Hope and a multi-level set by Pam Knauert Lavarnway complete with an assortment of empty water bottles) isn’t an over-the-top free-for-all. In fact, the show’s inherent silliness (and there’s plenty of it) is often dialed back to great effect, allowing for moments of earnest sensitivity and vulnerability within the realm of kooky parody. She also deserves credit for allowing certain lines to refreshingly resonate that might have been buried, hurried or thrown away in previous productions. In other words, you will not miss one of Cladwell’s cronies telling someone with all seriousness that he was once a “good girl.”

This vocally strong production, exceptionally and energetically choreographed with inspired touches by Jessica Eggleston, is a true ensemble showcase with numerous standouts. The physically imposing David Emery winningly portrays the kindhearted Bobby Strong as a valiant hero with an endearingly daft persona. In the same spirit, Celia Arthur, as Hope, supplies attractive gentility and dim-witted charm (notice how she greets the citizens in the opening title number). Arthur and Emery notably unite for a beautifully layered rendition of “Follow Your Heart,” one of many terrific tunes in the score, which predominately serves as a savvy homage to Kurt Weill and Bertolt Brecht’s The Threepenny Opera. Emily Chodan is authoritative and very funny as Penelope Pennywise, Bobby’s strict boss at Amenity No. 9, the “poorest, filthiest urinal in town.” As Cladwell, Tristan Allen exuberantly revels in the role’s despicable glee with giddy flamboyance. The marvelously expressive Alejandra Solis perfectly captures the innocence and insights of the wiser-than-her-years Little Sally. Ian Ashwell and Kyle Sell are respectively compatible and sardonic as Officers Lockstock and Barrel. The cast, properly socio-economically costumed by Jonah Larison and accompanied by music director Sherri Sutter’s solid if small three-piece orchestra, includes Ethan Evans (Senator Fipp), Hunter Minor (a fierce Mr. McQueen), Christian Schaefer (Old Man Strong), Sam Maxwell (a fittingly hot-tempered Hot Blade Harry), Mikalya Shepherd (Old Woman), Casey Borghesi (Josephine Strong), Brynnan McNeill (Little Becky Two Shoes), Rachel Woeste (Mrs. Millennium), Kaitlyn Campbell (Soupy Sue), Lauren Kampman (Cladwell’s Secretary), Veronica Brown (Tiny Tom), Grant Measures (Dr. Belleaux), Nick Martin (Robbie the Stockfish), and Eric Thompson (Billy Boy Bill).

 

Urinetown concludes today at 2 p.m. in the Herbst Theatre of the Creative Arts Center, 3640 Col. Glenn Hwy., Dayton. Tickets are $12 for adults, $10 for seniors and $5 for students. For tickets or more information, call the Box Office at (937) 775-2500 or visit www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information.

 

In related news, a special student-produced local premiere of Lisa Kron and Jeanine Tesori’s acclaimed 2014 Pulitzer Prize-nominated and 2015 Tony Award-winning musical Fun Home will be held today and tomorrow at 8 p.m. in the Director’s Lab of the Creative Arts Center. Based on Alison Bechdel’s 2006 graphic memoir of the same name, this humorous and thought-provoking coming-of-age tale will be directed by Megan Valle. There is free admission.

 

‘Little Women’ Review – Dare to Defy Productions – Home, Love, Family

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Dare to Defy Productions’ heartwarming production of Little Women: The Musical engagingly resonates in the Mathile Theatre of the Schuster Center.

(left to right) Lindsay Sherman (Meg March), Melissa Hall (Jo March), Samantha Creech (Amy March), and Jessi Stark (Beth March) are featured in Dare to Defy Productions’ presentation of Little Women: The Musical through Dec. 9 in the Mathile Theatre of the Schuster Center. (Contributed photo).

At its core, composer Jason Howland, lyricist Mindi Dickstein and librettist Alan Knee’s 2005 adaptation of Louisa May Alcott’s beloved 1868 novel is an unabashedly hurried affair. This coming-of-age Civil War-era tale of the four March sisters – Meg, Jo, Amy and Beth – and their devoted Marmee coping with life on the homefront never really settles down enough to fully grasp the depth of the relationships and situations. In an attempt to cover as much of the book as possible, the passage of time is accelerated and sufficient character development is sacrificed. In fact, Amy’s transformation from childish brat to sophisticated world traveler is a huge stretch. Even so, the colorful and inspiring March women remain a relatable quintet bolstered and bonded by a compelling journey of love, loss, identity, and sisterhood.

Deftly directed by Kristofer Green (making fine use of Zach King’s efficient unit set), this vocally strong showcase contains a terrific cast. Melissa Hall (a complex knockout last summer as unstable Harper Pitt in Columbus’ Short North Stage’s Angels in America) is dynamic as the determined, feisty Jo who dreams of literary greatness. With captivating expressions and spitfire fortitude, the ever-present Hall completely embodies Jo’s willingness to overcome adversity and take the world by storm. She also supplies wonderfully introspective renditions of “Astonishing” and “The Fire Within Me,” the show’s dual centerpiece anthems. Lindsay Sherman, known mostly for comedic roles, is effectively grounded as the mature, romantic Meg who ultimately falls for the friendly John Brooke (amiable Jonathan Collura). Samantha Creech, who recently delivered a breakthrough performance as Shelley Parker in Dare to Defy’s Bat Boy, delightfully portrays Amy with a nod to Lily Tomlin’s iconic Edith Ann. Jessi Stark, appealingly understated as soft-spoken, ill-fated Beth, joins Hall for the truly touching duet “Some Things Are Meant To Be,” a vividly acted moment acknowledging death while treasuring every bit of time left. Lorri Topping, in a welcomed return to the stage, affectionately portrays the resilient Marmee, specifically delivering an emotional “Days of Plenty” which finds Marmee trying to make peace with grief. A.J. Breslin as charmingly smitten Laurie Laurence, Ted Elzroth as persnickety Mr. Laurence, Becky Howard as fussy Aunt March, and Justin King as introverted Professor Bhaer are equally first-rate. The production also contains lively yet fittingly minimal choreography by Tracie Books, attractive period costumes by Jordan Norgaard, lighting design by Derryck Menard, music direction by David McKibbben, and a steady if occasionally overpowering orchestra under the leadership of Judy Mansky.

With potent reminders fueling the importance of family, forgiveness, benevolence, and kindness, Little Women is the perfect vehicle to usher in the holiday season.

 

Little Women: The Musical continues Friday at 8 p.m. and Saturday at 2 and 8 p.m. in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Act One: 80 minutes; Act Two: 60 minutes. Tickets are $16.50-$25. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or ticketcenterstage.com.

 

‘Tuesdays with Morrie’ Review – Young at Heart Players – Life Lessons

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Young at Heart Players presents an excellently heartrending production of Mitch Albom and Jeffrey Hatcher’s stage adaptation of Albom’s 1997 best-seller “Tuesdays with Morrie” at the Dayton Playhouse.

(left) Patrick Allyn Hayes and Jamie McQuinn star in Young at Heart Players’ production of “Tuesdays with Morrie.” (Photo by Fran Pesch)

Fluidly co-directed by YAH founder Fran Pesch and her daughter Annie Pesch, this effectively scaled down two-hander absolutely thrives on the terrific performances of Patrick Allyn Hayes as sports reporter Albom and a remarkable Jamie McQuinn as Albom’s former sociology professor Morrie Schwartz. Believably bonded in the past and present, Hayes and McQuinn forge a fascinating journey unabashedly sentimental at its core but also very enlightening. Significant and meaningful life lessons arise notably rendered by McQuinn with eloquent earnestness.

The story is based on Albom’s endearing reflections with Schwartz, whom he visited over the course of 14 Tuesdays while working for the Detroit Free Press. He hadn’t seen Schwartz since graduating from Brandeis University 16 years prior, but his travels from Michigan to Massachusetts became an important lifeline particularly as drama at work threatened to consume him. As Schwartz battles Amyotrophic Lateral Sclerosis (ALS), also known as Lou Gehrig’s Disease, Albom ultimately realizes the importance of living life to the fullest.

In his first major leading role, McQuinn soars in a quietly astute performance blending charm and whimsy with beautiful sensitivity in a father figure capacity. As Schwartz’s health deteriorates, the script naturally allows McQuinn to become more profound and he certainly succeeds in doing so. When Schwartz reminds Albom to “forgive everyone everything” before it’s too late, it’s difficult not to fall under McQuinn’s gentle and inspiring spell. At the same rate, Hayes, in one of his most vulnerable, emotional and understated performances, equally resonates. He displays great narrative skill and appealingly reiterates Albom’s openness to learn and really grasp Schwartz’s morsels of goodness with each meeting. Hayes and McQuinn are also required to go out of their comfort zones a bit (Hayes mimics playing piano; McQuinn attempts a few dance steps) but do so admirably.

“When you age you grow and when you grow you learn,” says Schwartz. This Thanksgiving, let us be thankful for the special teachers who made a difference in our lives. Be sure to stop by the Playhouse and spend time with one of the greats.

 

“Tuesdays with Morrie” continues through Nov. 26 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. The play is performed in 90 minutes without intermission. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Tickets are $15 for adults and $12 for seniors and students. Tickets may be purchased at the door. For reservations, call Fran Pesch at (937) 654-040. For additional information, visit youngatheartplayers.com

 

‘Fiddler on the Roof’ Review – Wright State University – The Winds of Change

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There are some very special musicals that have stood the test of time because no matter how often you see them they still remain fresh, profound and necessary. Case in point: composer Jerry Bock, lyricist Sheldon Harnick and librettist Joseph Stein’s 1964 classic Fiddler on the Roof, terrifically presented by Wright State University in the Festival Playhouse of the Creative Arts Center.

Halle Augenstein as The Fiddler in Fiddler on the Roof (Photo by Erin Pence)

The sheer magnetism of Fiddler occurs in its tuneful prologue. An entire town pauses to joyfully share what you should know about their lives, responsibilities, hopes, religion, and traditions. But what they don’t know is that their little spot of the world – the tiny village of Anatekva on the eve of the Russian Revolution circa 1905 – will ultimately and drastically transform beyond comprehension. Girls will be taught to read. Men will dance in public with women. A daughter will chose to love outside her faith despite ridicule. Anatekva itself will cease to exist. And along the way, there is great anticipation of how poor dairyman Tevye and his family will cope with the winds of change.

 


Josh Beasley’s playful, lighthearted and physical portrayal of Tevye fittingly conveys the role’s affectionate qualities as a loving father whose frequent chats with God give him purpose and direction. Megan Valle, stern yet comedic as Tevye’s wife Golde, exudes strength and authority, but also conveys tender sensitivity. In fact, during one of the most gorgeously staged renditions of Sunrise, Sunset I have seen, Valle spins her introspective lines into beautiful morsels of bewilderment brought about by the passage of time. Kayli Modell (Tzeitel), Danielle Bessler (Hodel), Emma Buchanan (Chava), Michaella Waickman (Shprintze), and Dana Bixler (Bielke) are uniformly dynamic as Tevye and Golde’s daughters. In particular, Modell is a refreshingly headstrong Tzeitel and Bessler delivers a phenomenally lyric-driven Far From the Home I Love absolutely testifying to the fact that Hodel’s unwavering love for her family will burn bright no matter where she resides (“I must go” never sounded so sure or lovingly defiant). Aaron Roitman (Motel), Kyle Miller (Perchik), and knockout dancer Philip Stock (Fydeka) are equally and respectively appealing as the suitors of Tzeitel, Hodel and Chava. Roitman’s awkward charm, Miller’s determined spirit (Now I Have Everything leaps forth as a meaningful epiphany), and Stock’s fiery flair are fine attributes. The cast also contains notable portrayals from Isabella Andrews as an appropriately nosey and concerned Yente, Joe Green as a firmly grounded Lazar Wolf, Joey Kennedy making the most of the easily perturbed Mendel in unexpected ways, Justin Matthews as the intimidating Constable, Louis Kurtzman as the Rabbi, the aforementioned Bixler as Grandma Tzeitel, Halle Augenstein as the Fiddler, and Rachel Mary Green who blends opera, pop and R&B with ghoulish glee as the frightening Fruma Sarah in Tevye’s Dream.

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)

Director W. Stuart McDowell incorporates a few touches from Broadway’s stunning 2016 Tony-nominated Fiddler revival (for example, featuring all of Tevye and Golde’s daughters in Matchmaker), but adds specific elements of his own which broaden the story’s scope. In addition to allowing Tzeitel one last chance to take a snapshot of the mind while in her family’s presence, McDowell astutely aims for deeper resonance in the exceptional final sequence. Seeing the citizens of Anatevka separate to start their lives anew gives haunting credence to the current plight of refugees throughout the world. In fact, there is a brief, awe-inspiring moment implying that Tevye and his family have arrived in New York City as the spirit of the Fiddler guides them from above. McDowell’s first-rate artistic team includes choreographer Teressa Wylie McWilliams (an exuberant To Life and lively series of Wedding Dances, the aforementioned Tevye’s Dream, and luminous Chava Sequence are among her excellently character-focused routines), set designer David J. Castellano, lighting designer Matthew P. Benjamin, costumer Naomi Reisner, sound designer Ryan Burgdorf (expertly crafting the destruction pivotal to the distressing Act 1 finale), dialect coach Deborah Thomas, and music director Scot Wolley who conducts a superb onstage orchestra.

Now more than ever, it’s time to reassess the relatable potency and urgent relevancy of this marvelous tale of family, community and hope.

Fiddler on the Roof continues through Nov. 19 in the Festival Playhouse of the Creative Arts Center, 3640 Col. Glenn Hwy., Fairborn. Act One: 100 minutes; Act Two: 45 minutes. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call (937) 775-2500 or visit https://liberal-arts.wright.edu/theatre-dance-and-motion-pictures/box-office.

In related news, Broadway producer and author Jack Viertel will speak at Wright State University on Tuesday, Nov. 28 courtesy of the Musical Theatre Initiative. Viertel is Vice-President of Jujamcyn Theatre, one of Broadway’s largest and most successful producers, the artistic director of Encores series at New York City Center, and author of the book The Secret Life of the American Musical. Viertel, a member of MTI’s advisory board, will give a talk on his book from 10 a.m. to noon in the Creative Arts Center’s Jubilee Theatre (Directing Lab) and from 1 to 3 p.m. will give an interview and discussion with MTI Director, Joe Deer, in the same space. All events are free and open to the public.

‘The House’ Review – Human Race Theatre Company – Suburban Hysteria

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A bitter real estate feud fuels the hilarious hijinks within Brian Parks’ kooky 2014 one-act comedy “The House,” currently receiving an outstanding Midwest premiere at the Loft Theatre courtesy of the Human Race Theatre Company.

Pictured (left to right): Vince Gatton, Alex Sunderhaus, Caitlin Larsen and Scott Stoney in The Human Race Theatre Company’s production of THE HOUSE.

Sharply staged with sitcom-esque flair by Margarett Perry, “The House” is a funny yet often uncomfortably nasty look at humanity at its worst. Martyn and Shanny Redmond sold their lovely dream home (attractively designed by Ray Zupp) to overeager thirtysomethings Fischer and Lindsay Libett, but are terribly concerned when the Libetts reveal their desire to make some previously unannounced home improvements. The Redmonds simply can’t fathom the idea of their history being destroyed for the sake of a breakfast nook among other questionable plans. In turn, absolute chaos erupts into a full-throttle tailspin ranging from outlandish accusations and hurt feelings to the mutilation of a large teddy bear (one of Heather Powell’s many great props including an asbestos-ridden pipe).

Thanks to Perry’s wonderfully crisp pace and character-conscious direction, Parks’ rapid fire dialogue doesn’t drag. Plus, the Race has assembled an exemplary quartet who gives their all to a deceptively demanding play that requires total physical commitment. Race resident artists Caitlin Larsen and Scott Stoney are delightfully compatible as the emotionally conflicted Redmonds, happily married but unable to let go of the things they believe their lives are built upon. Zany and unhinged, Larsen is a joy to behold. Due to her incredibly astute portrayal, it’s apparent long before the final seconds that Shanny is an unstable force to be reckoned with. Stoney’s role isn’t as showy as Larsen’s, but he enjoyably conveys Martyn’s sensible nature, especially his knack for mediation, as situations spiral out of control.  Dynamic duo Vince Gatton and Alex Sunderhaus are also perfectly cast as the Libetts, a pair of go-getters who have a lot to learn about compromise. Gatton, a New York-based actor/playwright whose promising new play “Wake” was featured last summer in the Dayton Playhouse FutureFest, terrifically reveals the privileged ugliness festering within Fischer’s personable aura. Sunderhaus, spinning comedic gold even when walking across the stage to obtain keys, effortlessly delivers one of her finest performances, particularly as the seemingly conservative Lindsay becomes increasingly cutthroat and loosens her inhibitions in the process.

Pictured (left to right): Vince Gatton, Caitlin Larsen, Alex Sunderhaus and Scott Stoney in The Human Race Theatre Company’s production of THE HOUSE.

“The House” could be considered a glorified “Saturday Night Live” sketch, but it’s an unforgettably wild ride with surprisingly thought-provoking undertones. Climb aboard, hold on tight, and watch the insults fly.

 

“The House” continues through Nov. 19 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Tuesday and Wednesday at 7 pm, Thursday, Friday and Saturday at 8 pm, and Sunday at 2 pm. The play is performed in 90 minutes without intermission. Tickets are $40 for adults, $37 for seniors and $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 humanracetheatre.org or ticketcenterstage.com.

‘Tape’ Review – Playground Theatre – Riveting Reunion

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Stephen Belber’s dark 1999 drama “Tape,” outstandingly produced by Playground Theatre at the Mathile Theatre, pulls no punches in its brutally honest examination of memory, betrayal, infatuation, deception, vindictiveness, jealousy, and sexual assault encompassing the lives of three high school friends. Seeking to uncover truths with jaw-dropping psychological gamesmanship, Belber creates a blistering portrait of humanity that’s messy, nasty and flawed. Through anger and pain, shock and shame, this fascinating character study, set inside a Michigan motel in real time thereby heightening its conversational allure and emotional stakes, reiterates how impossible it is to move forward if you haven’t made peace with the past.

(left to right) A.J. Breslin (Jon), Christopher Hahn (Vince) and Kelsie Slaugh (Amy) star in Playground Theatre’s production of “Tape.” (Photo by Knack Creative)

Directed with gripping tension by Playground co-founder Jenna Valyn, this intimate outing smoothly evolves from the casual small talk of its more humorous opening moments to a pulse-pounding climax of destructive volatility. Playground co-founder Christopher Hahn fills his astute portrayal of brutish Vince, a volunteer firefighter and dope dealer still searching for his true calling, with sharp sarcasm and passionate unpredictability. In addition to embracing Vince’s man-child essence to the hilt (notice how he makes flushing drugs down the toilet seem utterly devastating), he winningly conveys Vince’s faux nobility when attempting to be the hero of this tale. The dynamically expressive A.J. Breslin shines as Jon, a budding filmmaker whose decision to be “a little rough” one evening 10 years ago comes back to haunt him. Masterfully composed in his early scenes, Breslin eventually erupts with fierce ferocity during Vince and Jon’s pivotal argument involving a taped confession of rape. Due to his proficiency of duality, I absolutely believed the seemingly reserved Jon was capable of producing “violent tendencies” just as much as bad-boy Vince. The magnetic, quietly commanding Kelsie Slaugh delivers a breakthrough performance as the highly perceptive Amy, a local assistant district attorney and Vince’s bygone girlfriend who takes matters into her own professional hands as the horror of what happened (or didn’t happen) with Jon comes into focus. Cunningly and charmingly acknowledging Amy as the smartest and savviest adult in the room, Slaugh particularly mesmerizes in her cutthroat delivery of Amy’s incredibly stinging reprimand to Jon which internally beats him to a pulp. It is the defining moment of the play and rightfully so.


The Playground relishes in edgy, gritty plays addressing the harsh realities of life. “Tape,” bound to incite thought-provoking discussion, continues the organization’s impressive artistic track record while indicating a refreshing desire to broaden its base and brand as it opens its fourth season. Enter Room 32 if you dare.

 

“Tape” continues today at 2 and 8 pm and Sunday at 2 pm inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The production is performed in 70 minutes without intermission. Tickets are $15-$20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. For more information, visit theplaygroundtheatre.org. Patrons are advised the play contains adult language and situations. You can also follow Playground’s Spotify playlist at http://bit.ly/tape-soundtrack.

 

‘Blues for an Alabama Sky’ Review – Sinclair Community College – Captivating Relevance

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The fascinating and heartbreaking shift from the height of the influential Harlem Renaissance to the beginning of the Great Depression serves as the pivotal foundation of Pearl Cleage’s powerful 1995 drama Blues for an Alabama Sky, excellently presented by Sinclair Community College in Blair Hall Theatre.

(left to right) Justin Lampkins as Guy, Shaun Diggs as Leland, Erin McGee as Delia, S. Francis Livisay as Sam, and Bryana Bentley as Angel in Blues for an Alabama Sky. (Photo by Patti Celek)

Inspired by Harlem Renaissance poet Langston Hughes’ autobiography The Big Sea, Blues for an Alabama Sky chronicles African-American life in the Harlem summer of 1930 (scenic designer Terry Stump wonderfully conjures the essence of 125th St.) as a place of promise, purpose and pitfalls. Due to the Great Migration of blacks from the South in the early 20th century, Harlem overflowed with enlightening and progressive black voices, straight and gay, male and female, in visual and performing arts, allowing whites a chance to understand the black experience as never before. Even health care activist Margaret Sanger, a birth control pioneer, sought support from blacks as the Renaissance grew into a movement so expansive Josephine Baker dictated fashion trends from Paris. Granted, not every legend from this crucial period is namedropped in the play (Zora Neale Hurston, James Weldon Johnson, Paul Robeson, Fats Waller, and Duke Ellington are among those surprisingly absent), but Cleage still creates an intimate, colorful and extremely tight-knit look at five African-Americans trying to carve a path as the country faces economic disaster. “The Depression has killed all the night life in Harlem,” says aspiring singer Angel, an unchurched, down-on-her-luck, ex-Cotton Club performer clinging to the prospect of something greater at a time when jobs are scarce. So, what do you do when singing the blues gives you the blues? Angel ultimately realizes there’s only one thing she can do: survive.

Bryana Bentley as aspiring blues singer Angel in Blues for an Alabama Sky. (Photo by Patti Celek)

Director Kimberly Borst, whose knack for fluidity impresses once again, creates a communal experience so strong essentially every scene arrives with utmost expectancy. She has also assembled a vibrantly heartfelt ensemble clearly selling the play’s emotional highs and devastating lows. The luminous Bryana Bentley, a vision in costumer Kathleen Hotmer’s attractive period attire, interprets Angel’s complexities with a beguiling mix of passion, anger, arrogance, intimidation, and vulnerability. Her portrayal often stings and seduces in the same breath. Shaun Diggs, in one of his finest performances, is terrific as the religious, judgmental, unyielding, and naïve Leland Cunningham who arrives in Harlem from Tuskegee, Alabama unprepared for the cultural explosion encircling him. After Leland falls head over heels for Angel and learns a few hard truths, Diggs isn’t afraid to show the darker feelings festering underneath Leland’s gentlemanly qualities. The outstanding Justin Lampkins delivers a breakthrough performance as bubbly Guy, Angel’s loyal roommate, confidant and costumer inspired by the beauty and glamour of Josephine Baker. Marvelously embodying Angel’s desire to take Paris by storm as Josephine’s designer, the sophisticated Lampkins invigorates each moment with effortless command of period nuances and a naturally effervescent flair. The endearingly sensitive Erin McGee as progressive social worker Delia hoping to open family planning clinics and amiable S. Francis Livisay as Harlem Hospital physician Sam are very compatible in matters of health and romance.

Blues for an Alabama Sky is a captivating examination of love, loss, discrimination, sexual harassment, intolerance, deception, identity, faith, tragedy, and hope. It’s a historical throwback undeniably educational, meaningful and relevant today. Whether you’re contemplating what your future holds as far away as Europe or as close as your windowsill, always dare to dream.

 

Blues for an Alabama Sky continues through Oct. 14 in Blair Hall Theatre, Building 2, Sinclair Community College, 444 W. Third St., Dayton. Act One: 75 minutes; Act Two: 60 minutes. Performances are Friday and Saturday at 8 p.m. Tickets are $15-$18. For tickets or more information, call (937) 512-2808 or visit sinclair.edu/tickets.

‘You Can’t Take it With You’ – Wright State University – The American Family

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The delightfully chaotic Sycamore household remains a charming portrait of unconditional love and appealing diversity as evident in Wright State University’s lighthearted and attractively designed staging of George S. Kaufman and Moss Hart’s 1937 Pulitzer Prize-winning comedy “You Can’t Take it With You.”

(left to right) Kyle Krichbaum (Mr. DePinna), Mackenzie Kasbaum (Essie Carmichael), Christian Henderson (Donald), Jeremy Farley (Ed Carmichael), Logan Kitchens (Paul Sycamore), Danni Hepp (Penelope Sycamore), Zach Fretag (Boris Kolenkhov), George Heddleston (Tony Kirby), Katie Sinicki (Alice Sycamore), and Isaac Ingle (Martin Vanderhof/Grandpa) are featured in Wright State University’s production of “You Can’t Take it With You” (Photo by Erin Pence).

In the midst of the kookiness at the center of this character-specific romp about a close-knit family with big personalities and zany hobbies is a thoroughly engaging love story merging two distinctively opposite families. The bond between middle class Alice Sycamore (cute and coy Katie Sinicki evoking 1930s nuances) and her Wall Street boyfriend Tony Kirby (dashing, amiable George Heddleston) absolutely holds the emotional core of this relatable if overstuffed classic together as their relationship blooms, fractures and heals. When Tony’s uptight parents visit the Sycamores for dinner, situations turn prickly and uncomfortable (Alice scolding her family for their odd behavior always stings), but the truths that arise from misunderstanding give value to the show’s embrace of universal acceptance.

Director Joe Deer, in his first non-musical outing for WSU, keeps the pace brisk and the comedic timing sharp overall, specifically staging a joyful Act 2 finale complete with fireworks and confetti. However, there are a few offbeat moments when laughs are forced or completely over-the-top, notable miscues particularly apparent in Christine Fiala’s erratic take on alcoholic diva Gay Wellington. Even so, Deer coaxes strong portrayals from many principals. Standout work extends to a terrifically heartfelt Isaac Ingle as Grandpa Martin Vanderhof (whose unique views on income tax and living life to the fullest are hallmarks of the script), Danni Hepp as Penelope Sycamore (her savvy handling of the play’s significant “personality game” is a highlight), bubbly Mackenzie Kasbaum as aspiring ballerina Essie Carmichael, adorably square Jeremy Farley as Essie’s husband Ed, Kyle Krichbaum as eccentric Mr. DePinna, the imposing Zach Fretag as passionately earthy artist-instructor Boris Kolenkov, the wonderfully resonate duo of Kenneth Erard and Heather Cooperman as the Kirbys, Kennedy Cook (a senior at Stivers School for the Arts) as dutiful Rheba, and Christian Henderson as Rheba’s boyfriend Donald. The cast includes Alexia Vlahos as Grand Duchess Olga Katrina, Logan Kitchens as Paul Sycamore, Nick Wasserbauer as Henderson, Thomas Sheffer as G-Man, Jake Siwek as Mac, and Dean McKenzie as Jim.

Additionally, Deer’s fantastic artistic team includes scenic designer David J. Castellano (his handsomely detailed and colorful set is a character of its own), costumer Courtney Zimmerman (providing eye-catching period outfits), lighting designer Jennifer Watson, sound designer Silas Sheckels, dialect coach Deborah Thomas, and properties master John Lavarnway (supplying an authentic printing press).

At a time when our great nation is wounded by tragedy and divided by policy and presidency, “You Can’t Take it With You” represents the best of America. After all, we are our better selves whenever we can accept each other’s differences and unite.

 

“You Can’t Take it With You,” dedicated to Dr. Mary Donahoe, Professor Emeritus, continues through Oct. 8 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Wednesday and Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. The production runs 2 hours and 35 minutes with two intermissions. Tickets are $22 for adults and $20 students and seniors. For more information, call (937) 775-2500 or visit liberal-arts.wright.edu/theatre-dance-and-motion-pictures/box-office.

 

‘Sister Act’ Review –Dayton Playhouse – A Joyful Noise

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She’s fabulous, baby. I’m referring to Tia Seay, a consistent bright spot in many featured roles transitioning into a leading lady with passion, power and purpose in the Dayton Playhouse’s highly entertaining production of Sister Act, fluidly directed by Tim Rezash.

Tia Seay (left, standing, as Deloris Van Cartier), Brian Sharp (center as Monsignor O’Hara) and the Nun Ensemble of Dayton Playhouse’s production of Sister Act. (Photo by Art Fabian).

Whether managing a trailer park, resorting to goofy antics to win quick cash, narrating on Skid Row, or ill-fatedly embracing hope at the dawn of the 20th century, Seay has delivered time and time again with vivid expression, solid stage presence and terrific vocals. So, it’s perfectly fitting she’s finally received an incredible star vehicle catered to her naturally inherent gifts of comedy and soul.

In this breezy 2011 adaptation of the 1992 hit film of the same name, featuring music by Alan Menken, lyrics by Glenn Slater, and a book by sitcom vets Cheri and Bill Steinkellner (Cheers), Seay portrays disco diva Deloris Van Cartier, a struggling Philadelphia nightclub entertainer seeking fame in the late 1970s. When Deloris accidentally witnesses a murder at the hand of her gangster boyfriend Curtis, she’s sent to a local convent for her protection. She humorously clashes with the stern Mother Superior, but ultimately discovers the value of sisterhood when she transforms the convent’s inadequate choir into an overnight sensation.

Seay’s charm, wit and warmth is put to great use as Deloris hilariously fumbles her way through the convent lifestyle like a fish out of water. But don’t get me wrong. She’s not a jokester stuck on autopilot for two-and-a-half-hours. On the contrary, she calculatingly builds her portrayal with nuance and depth, most significantly in her beautiful rendition of the introspective title song which serves as Deloris’ epiphany. Seay also receives pleasant support from an appropriately strict and bewildered Cathy Long as Mother Superior in addition to the truly praiseworthy team of Alicia Walton as introverted Sister Mary Robert (her Life I Never Led is a tender standout), Shanna Camacho as bubbly Sister Mary Patrick, Donna Cason as no-nonsense Sister Mary Lazarus, Dawn Roth-Smith as Sister Mary Theresa (Rezash gives her a very funny stage cross), and the mostly mute Elaine Smith (who nearly brought tears to my eyes in a brief yet heartfelt exchange with Seay) as the eccentric Sister Mary Martin-of-Tours. The colorfully cohesive Nun Ensemble, bringing wonderful vibrancy to Menken and Slater’s marvelous Raise Your Voice, disco-driven Take Me to Heaven and Spread the Love Around, and lovingly Disney-flavored Bless Our Show, consists of Zenobia Curtis, Andrea Wilburn, Amber Pfeifer, Nelani Huntington, Carrin Ragland, Lindsey Cardoza, Elizabeth Lindon, Rebekah Skaroupka, Angelé Price, and Marabeth Klejna.

(left to right) Tia Seay (Deloris Van Cartier), Donna Cason (Sister Mary Lazarus), Shanna Camacho (Sister Mary Patrick), and the Nun Ensemble of Dayton Playhouse’s Sister Act. (Photo by Art Fabian)

Interestingly, the men take a backseat in this musical (a script flaw resulting in underwritten roles), but Rezash allows each an opportunity to shine. Brian Sharp is deliciously dry as the financial-focused Monsignor O’Hara. William “Kip” Moore, memorably partnered with Seay last season in the Playhouse’s Ragtime, gives ominous weight to Curtis’ vengeance. Moore’s rendition of the lyrically clever, R&B-inspired When I Find My Baby is a real hoot. Naman Clark is delightfully earnest as insecure Eddie, the police officer overseeing Deloris’ case smitten with her ever since she led an all-black version of Funny Girl in high school. Trevaun Tolbert as TJ, William “Beau” Boatwright as Joey, and Juan Gabriel Encarnacion as Pablo are crowd-pleasers as Curtis’ kooky henchmen. Also notable are versatile Steve Strawser as Eddie and Solid Gold-esque Kiersten Farmer adding pizazz as Fantasy Dancer.

Rezash’s first-rate production team includes scenic designer Chris “Red” Newman, costumer Elaine Smith (filling the finale with glitz and glamour), lighting designer John Falkenbach, properties designer Tina McPhearson, choreographer Michael Groomes, sound designer Bob Kovach (conveying the convent’s acoustics with finesse), and musical director Ron Kindell who leads a steady nine-piece orchestra.

Bolstered by Seay’s outstanding performance, this feel-good show is a fun kickoff to the Playhouse’s 2017-2018 season. Do yourself a favor and go see Sister Act!

Sister Act continues through Oct. 1 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton.
Act One: 70 minutes; Act Two: 55 minutes. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are $18 for adults and $16 for seniors, students and military. For tickets or more information, visit www.daytonplayhouse.com.
 

 

‘Legendale’ Review – Human Race Theatre Company – Reality Bites

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The Human Race Theatre Company enters its 31st season with the American premiere of composer/librettist Andrea Daly and lyricist/librettist Jeff Bienstock’s charmingly relatable and delightfully tuneful musical Legendale, an original story of a disillusioned gamer escaping the monotony of the real world by embracing the exciting camaraderie of the virtual world.

Twentysomething IT manager Andy survives everyday boredom and stresses by playing the titular online role-playing game even at his thankless job at Magnets “n” More. After all, in Legendale, Andy is the master of his domain, calling the shots and attempting new levels and challenges. In fact, the thought of winning a new competition with the grand prize of a million dollars and the title “Lord of Legendale” has him poised for greatness. However, when saddled with competing as a milkmaid (all other avatars were taken) his hopes are quickly deflated. But along the way, and from an unlikely source, Andy discovers the value of perseverance and self-esteem as romance and adventure spark refreshing possibilities.

Daly and Bienstock jump-started Legendale in 2015 when the show was featured in the National Alliance for Musical Theatre’s Festival of New Works. Following a December 2016 workshop at the Human Race, it received its world premiere at Denmark’s Fredericia Teater. As it currently stands, the best attribute of the material, outside the realm of introducing musical theater to an untapped niche market, is its pop-infused if ballad-heavy score. Standouts include fantastic opener When We Play, introspective Dead Again, catchy anthem Lord of Legendale, striking duets Here and Now and Anticipation, and spirited Why Not Me? The score is splendidly orchestrated by Tony Award winner Bruce Coughlin (The Light in the Piazza, one of the most gorgeously orchestrated musicals of all time).

On the other hand, the book is underdeveloped. Andy is a likable focal point with palpable strife, but his scope is oddly limited. Whenever Andy is in Legendale, marvelously and inventively conceived by projection designer David Bengali (Dear Evan Hansen), the kookiness of the avatars and their situations only appeal for brief periods. As so, there needs to be additional investment in Andy and his backstory. Who is he? What makes him tick? What happened in his life pre-Legendale? He’s certainly more than a mere gamer and his journey should address matters greater than the fascination of online game culture. Perhaps the appearance of a Young Andy or Andy’s parents would better address any semblance of a past. Further, perhaps Andy shouldn’t live alone. It would be interesting to see his existence expand to include a roommate or an ex-girlfriend. Daly and Bienstock pepper their script with sound ideas recalling Dear Evan Hansen, She Loves Me, The Wizard of Oz, and Grey Gardens, but they’ve only begun to scratch the surface of millennials seeking connection in the digital age.

Nonetheless, off-Broadway director/choreographer John Simpkins, Head of Musical Theatre at Penn State University, brings Legendale forth with considerable style, skillfully contrasting the real and fantasy domains, particularly Legendale’s funny eccentricities. Simpkins’ entertaining, fully committed cast is also a plus. Max Crumm (Danny Zuko in Broadway’s 2007 Grease revival and Scott in the short-lived 2016 musical Disaster!) terrifically embodies the introverted, insecure and geeky Andy, conveying social detachment and the budding hope of relationship with endearing, nuanced finesse. Abby Church, perky and personable, engagingly captures the extremely specific vernacular and physicality of the Legendale universe as comical milkmaid-turned-fierce warrior Zelayna, Andy’s avatar and girl power sidekick. Rachel Flynn exudes lovely sensitivity as timid temp Beth, Andy’s co-worker who shares more in common with him than he initially realizes. Jesse Sharp, an exceptional Gomez Addams in the national tour of The Addams Family, supplies goofy charisma as grandstanding and devious Legendale creator Paul Jansen who particularly persuades Andy to join his tech-savvy team in Silicon Valley. (However, Jansen’s introductory number, I Make the Magic, could be cut.) Travis Mitchell is appropriately hardcore as Steve, Andy’s annoying boss. Nathan Robert Pecchia, Cody Westbrook and Colin Hodgkin, an excellently versatile trio connected to Wright State University, playfully appear in various roles from energetic gamers to freaky brain-craving zombie robots.

Scenic designer Michael Schweikardt’s efficient turntable in addition to a series of video and sliding panels propels the show’s cinematic fluidity, expertly heightened by John Rensel’s lighting design. Costumer Ayn Kaethchen Wood incorporates wardrobe from Denmark designers Anna Juul Holm and Lotte Blichfeldt, but her notable contemporary outfits are precisely true to character especially Andy’s casual attire and Jansen’s flashy pink jeans. Jay Brunner’s first-rate sound design, Heather Powell’s unique properties, and Gina Cerimele-Mechley’s vibrant fight choreography bolster Legendale’s fanciful aura. Music director Scot Woolley leads a remarkably solid and full-sounding seven-piece off-stage band.

Whether it’s the tale of a bachelor willing to give marriage a try or a group of outcasts demanding attention be paid, musicals about connection – to simply belong to someone or something or thriving to become somebody – will always have the power to resonate. “You’re alone. I’m part of a team,” Andy proclaims in a valiant moment of epiphany. “Opportunity is everywhere.” Like Legendale, Andy is still a work in progress, but it’s a pleasure watching him come to terms with the joys of being alive.

Legendale – A New Musical continues through Oct. 1 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Thursdays-Saturdays at 8 p.m., Tuesday and Wednesday at 7 p.m., and Sundays at 2 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $17.50-$50. There are discounts for select side-area seats available for $12 and $25 for all performances. For group sales, contact Betty Gould at (937) 461-8295 or e-mail [email protected]. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. In addition, there will be Young Professionals Board Game Night Saturday, Sept. 16 at 5 p.m., and a post-show talk-back following the Sunday, Sept. 17 performance. For more information about the Young Professionals Board Game Night, visit the Human Race’s Facebook page at facebook.com/humanracetheatre.

 

 

‘Magnificent Hubba Hubba’ wins Dayton Playhouse FutureFest

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2017 FutureFest winner Olga Humphrey of New York City (Photo by Art Fabian)

New York City playwright Olga Humphrey’s kooky comedy “Magnificent Hubba Hubba,” chronicling the fierce rivalry between elderly professional female wrestlers, received top honors Sunday, July 23 at the 27th annual Dayton Playhouse FutureFest of new, unproduced plays held July 21-23.

Set in San Diego and inspired by the 2004 documentary “Lipstick & Dynamite, Piss & Vinegar: The First Ladies of Wrestling,” “Hubba Hubba” reunites hardnosed, vulgar Lucille (a.k.a. The Magnificent Hubba Hubba) and genteel Alice (a.k.a. Headlock Liplock) for a full-throttle smackdown for the ages. As their contentious relationship transpires among a gaggle of eccentric characters, introverted teenager Roy weaves his way into their lives as an unexpected confidant, especially for Lucille whose estranged granddaughter Lulu is the object of Roy’s affection.

Melissa Ertsgaard (Referee), Becky Howard (Lucille), Thomas L. Troutman (Roy), and Fran Pesch (Alice) in “Magnificent Hubba Hubba” (Photo by Art Fabian)

“Magnificent Hubba Hubba” scored highest among six plays, evenly split as a staged reading or fully staged performance, based on judging criteria including dramatic concept, character/language, plot, and page-to-stage. Forty percent of the vote was based on the judges’ initial reading of the script. The remaining 60 percent derived from the judges’ revised ranking at the festival. This year’s professional adjudicators were New York-based journalist Peter Filichia, New York-based director/producer/writer Ashley Rodbro, Texas-based director/producer/writer Helen Sneed, Eileen J. Morris, Artistic Director of the Ensemble Theatre in Houston, Texas, and James Vagias, Co-Founder and Producing Artistic Director of the American Theater Group in South Orange, New Jersey. The play was also named this year’s Audience Favorite.

“These characters are easy to love,” Morris said of Humphrey’s script. “The language is varied and delightfully intriguing. You definitely see the emotional arcs of the characters.”
“There is something believable about this play’s universe,” Sneed added. “This play could have a real life, a real future and extended life, not just in the professional world but the non-professional world. It’s a standout comedy.”
“It’s a real laugh-fest,” echoed Vagias.

Cast of “Magnificent Hubba Hubba” (left to right): Hannah Stickel, Shanna Camacho, David Hallowren, director Annie Pesch, playwright Olga Humphrey, Thomas L. Troutman, Fran Pesch, Becky Howard, and Melissa Ertsgaard

“I’m really shocked,” reflected Humphrey who received the top prize of $1,000. “One of my favorite things is going to a new city and hearing my work done. I enjoyed all the playwrights and hearing our perspectives. I was so impressed with all of the plays. They were so strong and there was a really high bar. We experienced great writing. It’s very exciting to have a comedy honored. I’m really excited about that. I couldn’t have asked for a more wonderful birth of this play.”

Under the lively, flavorfully authentic, how-in-the-world-did-she-pull-it-off direction of Annie Pesch, the production’s stellar, fully staged presentation Saturday, July 22 was led by the outstandingly committed duo of Becky Howard as Lucille and Fran Pesch as Alice. Funny and savvy support stemmed from Thomas L. Troutman as Roy, Hannah Stickel as Lulu, David Hallowren as Zane/Announcer, and Melissa Ertsgaard and Shanna Camacho in various roles. Jeff Sams notably served as wrestling coach and assisted Annie Pesch with fight choreography. As Humphrey develops her work, she should consider fleshing out or eliminating the prickly relationship between Lulu and Roy, a subplot too prominent to remain unengaging. Also, creating a surprisingly tender Act 2 moment for Lucille and Alice, establishing a sense of sisterhood addressing the hard knocks of competing in the wresting world, would be a refreshing addition in terms of broadening the play’s depth. Still, “Magnificent Hubba Hubba” is the epitome of unforgettable. After all, I saw things I can never unsee which is part of its offbeat charm.

The 2017 FutureFest playwrights/finalists (left to right): Desiree York, Angela J. Davis, Olga Humphrey, Vince Gatton, J. Thalia Cunningham, and Mark Cornell (Photo by Art Fabian)

The praiseworthy remaining finalists chosen from across the country were: “On Pine Knoll Street,” a touching family dramedy about aging, connection and forgiveness by Mark Cornell of Chapel Hill, North Carolina delicately directed fully staged by Richard Lee Waldeck on Friday, July 21; “First, Do No Harm,” a drama about race and healthcare by J. Thalia Cunningham of Delmar, New York directed as a staged reading by Jackie Darnell on Saturday, July 22; “Wake,” a fascinating contemporary ghost story about marriage, sacrifice and the beguiling power of storytelling by Vince Gatton of New York City directed as a staged reading by Tim Rezash on Saturday, July 22; “The Spanish Prayer Book,” a drama concerning history and ethics by Angela J. Davis of Los Angeles, California directed as a staged reading by KJ Melson on Sunday, July 23; and the Maya Angelou and social justice-inspired racial drama “The Puppeteer,” an excellently sweeping, gripping and relevant account of identity and struggle within the African-American experience from the glories of the Harlem Renaissance to the angst of the Trump Era by Desireé York of Rancho Santa Margarita, California strikingly directed fully staged with cultural flair by Kip Moore on Sunday, July 23. Each playwright was awarded $100.

The remaining commendable casts were: “On Pine Knoll Street,” featuring Renee Franck-Reed as Thelma, Cheryl A. Mellen as Marilyn, John-Michael Lander as Curtis, Kari Carter as Kristie, and Raef Norgaard as Mitchell; “First, Do No Harm,” featuring A. Slate as Dr. Elissa Kerry, Shanna Camacho as Dr. Alison Taylor, Joyce Barnes as Mattie Clester, Kip Moore as Dwayne Hatcher, Jennifer Lockwood as Female Actor, Keshawn Mellon as Male Actor, and Charlotte Harris as Narrator; “Wake,” featuring Brian Sharp as Dan, Mark Sharp as Eric, Michael Groomes as Terrell, Shyra Thomas as Esme, and Jason Penix as Charlie; “The Spanish Prayer Book,” featuring Jim Lockwood as Jacob Adler, Cynthia Karns as Joan Adler, Kerry Simpson as Michaela Adler, Matthew Lindsay as Julien Nazir, Jonathan Horwitz as Alexander Adler/Christopher Howell, Karin Henhapel in multiple roles, understudies/stage readers Michael Juergens and Niccole Sue Ann Wallace, and guitarist Richard Prigozen; and “The Puppeteer,” dynamically led by versatile newcomer Carolyn L. Seymour (remarkably conveying various ages and emotions while navigating a journey spanning nearly 100 years) as Constance/Connie and featuring Jacob Smith as Robert/Christopher, Michael Schumacher as Ernie/Mr. Hotchkiss, Chelsey Hall as Miss Dunston, Corrine Duperree as Mrs. Covington, Tamar Fishbein as Ms. Jenkins, and Vicki Thompson Tuccillo as Ms. Evans.

Carolyn L. Seymour delivered a standout, multi-generational performance as Constance/Connie in Desiree York’s powerful and timely racial drama “The Puppeteer” (Photo by Art Fabian)

Additionally, the festival kicked off Thursday, July 20 with a special staged reading of Filichia’s new play “Adam’s Gifts,” a contemporary, endearing, briefly unnerving, and uniquely non-seasonal update of “A Christmas Carol” with nods to “Oliver Twist” and “Pygmalion.” Directed by Tina McPhearson and narrated by Kelli Locker, the fine cast featured Saul Caplan as illiterate slumlord William Pront, Matthew Lindsay as William’s overworked employee Jason Romano and mobster Sam Falcon, Tori Kocher as sassy spiritual guide Glynis, Cassandra Engber as Jason’s ex-wife Lisa Pinewski and William’s former flame Mary Chalmers, and a heartfelt Jack Lockwood in a breakthrough performance as Jason and Lisa’s sickly son Adam Romano and impressionable Young William, raised by Sam amid troubling circumstances.

Mark your calendars: The 28th annual FutureFest will be held July 20-22, 2018. For more information, visit www.daytonplayhouse.com.

My FutureFest Rankings:
1. “The Puppeteer”
2. “Magnificent Hubba Hubba”
3. “Wake”
4. “On Pine Knoll Street”
5. “First, Do No Harm”
6. “The Spanish Prayer Book”

 

 

‘Jesus Christ Superstar’ Review – Epiphany Lutheran Church – The Man and His Movement

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Texting isn’t mentioned in the Bible. However, it figures prominently within Jesus of Nazareth’s final days as winningly interpreted in the Epiphany Players Drama Ministry of Epiphany Lutheran Church’s wonderfully contemporary production of composer Andrew Lloyd Webber and lyricist/librettist Tim Rice’s classic 1971 rock opera “Jesus Christ Superstar,” the organization’s 27th annual summer musical.

 

Kean Petrello (Jesus Christ), Laura Jacobs (Mary Magdalene) and Brianna Russ (Judas Iscariot) are featured in Epiphany Lutheran Church’s production of Andrew Lloyd Webber and Tim Rice’s classic rock opera “Jesus Christ Superstar” (Contributed photo)

Directed with stirring immediacy and intensity by Megan Wean Sears, “Jesus Christ Superstar” leaps forth as compelling and thought-provoking as today’s headlines. Set in contentious New York City (representing our currently divisive America), the show first and foremost uncomfortably stings as it should while remaining a cautionary tale of human folly. All the vital events leading to Jesus’ crucifixion and death are colorfully, grippingly and passionately executed by the 61-member cast. However, Sears takes the action to a fascinating new level with the aid of savvy multimedia/projections expertly designed by Bobby Morgan. Part of her artistic intent ponders what it would be like if Jesus was among us now, energizing “a movement of both rebellion and compassion.” In turn, seeing a throng of texts pop up on a big screen in excitable “Dear Evan Hansen”-esque fashion, including “I’m right next to JC,” makes the material feel instantly fresh. By the time apostle Simon Zealotes tweets a call to revolution in Times Square, it is an undeniable hallmark of Sears’ forward-thinking storytelling. And I dare not spoil how a certain cable news network vividly accents the drama or how a certain late night TV talk show host is flavorfully parodied. Bottom line: Sears has created one of the most relevant productions of “Jesus Christ Superstar” the Miami Valley has ever seen.

Still, without credible performances the production would lack true connection. Thankfully, the Epiphany talent pool, double-cast per tradition, delivers once again. Kean Petrello, a pop tenor tailor-made to play the kindhearted Jesus, genuinely exudes warmth, concern and soulfulness throughout. He offers a powerful yet introspective rendition of “Gethsemane” and brings great anger and overwhelming dismay to “The Temple.” As Judas Iscariot, dynamic vocalists Desmond Thomas and Brianna Russ are equally vibrant yet shady antagonists. Even so, due to the sheer rarity of a woman in the role, Russ receives special mention for exploring betrayal, fear, insecurity, and jealousy with marvelous complexity and a fitting punk-rock edge. In addition to jumping octaves like it’s a walk in the park in such numbers as “Heaven on Their Minds,” “Damned for All Time/Blood Money,” “The Last Supper,” “Judas’ Death,” and “Superstar,” the astute choices she makes in the pivotal Jesus-Judas power struggle and conveying Judas’ peculiar distrust and dislike of Mary Magdalene are simply remarkable. As Mary Magdalene, Kara Miller and Laura Jacobs offer beautifully sincere renditions of “I Don’t Know How to Love Him.” The genteel and introverted Miller interestingly contrasts the more expressive Jacobs, keenly aware of Russ’ vindictive Judas. Justin Matthews and Christian Schaefer excellently stir the conflicted emotions within Pontius Pilate, filling “Pilate’s Dream” with quiet melancholy and injecting ample bewilderment and rage into “Trial By Pilate.” Timmy Seiler and Chris Scharf are playful yet tough as flamboyant showman King Herod in “King Herod’s Song,” the only opportunity for Sears to choreograph with snazzy levity. Bridget Miley and Lily Cutler (Peter) and Meghan Rupper and Andrew Gochenaur (Simon Zealotes) are firmly grounded apostles. (Rice’s decision not to elaborate on Jesus’ relationships with his chosen 12 remains a script shortcoming). Imposing bassists David Egbert and Nick Kress (Caiaphas), crisply stern Rachel Woeste and Margo Russ (Annas), and terrifically menacing Brian Hoff, Kellie Dabb (someone please cast her as Madame Thenardier in “Les Misérables”) and Sam Layman (Priests) are also noteworthy along with lovely featured dancer Marisha Osowski.

Musically, the score drives with urgency under the direction of David Brush and his solid seven-piece offstage band. Some liberties have been taken with the score (the title tune is briefly introduced as a bluesy rock ballad) but these unique choices fuel the production’s character-driven pulse nonetheless. At times, the band sounds more distant than they are, but at the same rate, they don’t overpower the cast either which is an asset. Set designer Tristan Cupp’s gritty, urban vibe, Matthew Benjamin’s reliably evocative lighting, Maria Klueber and Lori Watamainiuk’s astutely assorted attire (casual wear for Jesus and the apostles; traditional biblical garment for Mary Magdalene; sophisticated business wear for the priests; stylish black and purple for Pontius Pilate), and Adrienne Ausdenmoore and Jason Hamen’s props effectively aid the storytelling. Ben Hale and Brayden Rittner’s sound design is unfortunately spotty so the cast should try to sing-out and enunciate more assuredly in order for the audience not to lose any of Rice’s witty lyrics.

If a “radical son of God” actually took this country by storm, a country enamored with cries of fake news and an insatiable desire to follow the latest social media celebrity, it’s not entirely clear how situations would transpire. But if you’re able to witness this “Superstar,” you’ll be treated to profound perspectives about faith, grace, hope, deceit, love, and sacrifice set against the backdrop of current angst that will linger in your mind for years to come. Don’t miss it.

 

“Jesus Christ Superstar” continues through July 23 at Epiphany Lutheran Church, 6430 Far Hills Ave., Centerville. Performances are Thursday-Saturday at 7:30 p.m. and Sunday at 2:30 p.m. Act One and Act Two run roughly 50 minutes. 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. Patrons are advised the show is double-cast (Jeffery Mack covers the role of Jesus). For more information, visit www.epiphanydayton.org or e-mail drama @epiphanydayton.org.

 

 

Saluting Dayton’s 2016-17 Theater Season

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Productions centered on a sadistic barber wreaking havoc in Victorian London, stubborn Iowans forever changed by a charming con artist, America coping with race relations in turn of the century New York and 1960s Baltimore, a progressive novice sending shockwaves throughout a Catholic elementary school, an iconic record company reshaping the landscape of American music, and a legendary ship deemed unsinkable were among the best of Dayton’s 2016-17 theater season.

Jamie Cordes and Rebecca Watson in the Human Race Theatre Company’s Sweeney Todd (Photo by Scott J. KImmins)

On professional stages, the Human Race Theatre Company’s 30th anniversary season was memorably illuminated by Scott Stoney’s immersive, ensemble-friendly Sweeney Todd (attended on opening night by Academy Award nominee Jesse Eisenberg of The Social Network) and the local premiere of Hail Mary!, a pleasantly surprising and gently thought-provoking character study. Hail Mary! was specifically bolstered by Claire Kennedy’s masterfully complex portrayal of a woman challenging authority for the betterment of her students.

 

(left to right) Gabriella Whiting, Allison Semmes and Tavia Rivee in Motown the Musical (Photo by Joan Marcus)

Elsewhere, the Victoria Theatre Association offered outstanding national tours with Motown particularly rising to the top thanks to a splendidly versatile, crowd-pleasing cast. Dare to Defy Productions gave local talent exciting platforms to rediscover and reinterpret tried and true material (Mackensie King’s Children of Eden strikingly emphasized family ties and generational repercussions as never before). Female-centric Magnolia Theatre Company offered a riveting local premiere of tense parent-teacher conference drama Gidion’s Knot. Reliably edgy Playground Theatre delivered a local premiere of Jailbait overflowing with gripping realism as its searing account of love, deceit and embracing adulthood stirred to the core.

 

(left to right) Mike Beerbower, J Gary Thompson, Matt Lindsay, Cassandra Engber, and Zach Katris in the Dayton Theatre Guild’s The Last Lifeboat (Photo by Craig Roberts)

At community theaters, strong musicals as well as a fine balance of classic and contemporary fare enticed. Dayton Theatre Guild’s eclectic impulses served them well with local premieres of The Last Lifeboat, Luna Gale and Wonder of the World (heightened by sitcom savvy knockout Kari Carter) in addition to a mesmerizing Elephant Man accented by Jared Mola’s remarkable physicality. Dayton Playhouse scored with Ragtime, The Women, Xanadu, and another enjoyably competitive FutureFest (last year’s winner Shepherd’s Bush is now titled Nonsense and Beauty; powerfully acted Memories of the Game was named audience favorite). Senior-themed Young at Heart Players delighted with the overdue return of the adorable First Kisses, a 2003 FutureFest finalist. Brookville Community Theatre supplied a whimsically entertaining Beauty and the Beast. Beavercreek Community Theatre’s artistic risks paid off with a lovely, vocally impressive Nine (brought to life by Jeffrey Murphy in the vibrantly elegant spirit of original director Tommy Tune) and a commendable local premiere of Bonnie and Clyde.

Highlights from area colleges included Wright State University’s tap-happy No, No, Nanette and beautifully staged/designed Shakespearean play-with-music Restoration!, Cedarville University’s rousing and heartwarming Music Man, and Sinclair Community College’s darkly atmospheric Dracula. Other notables across the city included the Muse Machine’s tremendously feel-good Hairspray (featuring marvelously mature newcomer Fischer Barnett), Epiphany Lutheran Church’s better-than-Broadway Big Fish (expertly conceived by Megan Wean Sears), and under-the-radar-but-dynamic Standing on Ceremony (Sinclair), Hello Again (Wright State), and Four Women: A Tribute to Nina Simone & The Black Arts Movement (Oral Funk Poetry Productions and University of Dayton).

Assessing the 80 shows I saw last season, I congratulate the following winners (in bold) and nominees.

BEST TOURING PRODUCTION
42nd Street, Victoria Theatre Association
Elf, Victoria Theatre Association
Jersey Boys, Victoria Theatre Association
Kinky Boots, Victoria Theatre Association
Motown the Musical, Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A PLAY
Gidion’s Knot, Magnolia Theatre Company
Hail Mary!, Human Race Theatre Company
Jailbait, Playground Theatre
This is Our Youth, Playground Theatre
Thurgood, Human Race Theatre Company

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
The 25th Annual Putnam County Spelling Bee, Dare to Defy Productions
Children of Eden, Dare to Defy Productions
Dogfight: The Musical, Dare to Defy Productions
Guys and Dolls, Dare to Defy Productions
Sweeney Todd: The Demon Barber of Fleet Street, Human Race Theatre

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
The Elephant Man, Dayton Theatre Guild
First Kisses, Young at Heart Players
The Last Lifeboat, Dayton Theatre Guild
Luna Gale, Dayton Theatre Guild
Vanya and Sonia and Masha and Spike, Beavercreek Community Theatre
The Women, Dayton Playhouse

Rachel Joy Rowland, Robbie Lindmark and the cast of Cedarville University’s The Music Man (Contributed photo)

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
Disney’s Beauty and the Beast, Brookville Community Theatre
Bonnie and Clyde, Beavercreek Community Theatre
Nine, Beavercreek Community Theatre
Ragtime, Dayton Playhouse
Xanadu, Dayton Playhouse

BEST COLLEGIATE PRODUCTION OF A PLAY
A Midsummer Night’s Dream, Sinclair Community College
Angels in America: Perestroika, Clark State Community College
The Children’s Hour, Wright State University
Dracula, Sinclair Community College
Restoration!, Wright State University

BEST COLLEGIATE PRODUCTION OF A MUSICAL
9 to 5, Wright State University
Heathers, Wright State University
The Music Man, Cedarville University
No, No, Nanette, Wright State University
The Toxic Avenger, Sinclair Community College

BEST SPECIAL THEATRICAL EVENT
Big Fish, Epiphany Lutheran Church
Four Women: A Tribute to Nina Simone & The Black Arts Movement, Oral Funk Poetry Productions and University of Dayton
Hairspray, Muse Machine
Hello Again, Wright State University
Standing on Ceremony: The Gay Marriage Plays, Sinclair Community College

BEST NEW WORK
Daniel Goldstein’s Family Ties, Human Race Theatre Company
W.L. Newkirk’s [Miss], Dayton Playhouse FutureFest
Scott C. Sickles’ Shepherd’s Bush, Dayton Playhouse FutureFest
Kristy Sharron Thomas’ Memories of the Game, Dayton Playhouse FutureFest
Eric Ulloa’s 26 Pebbles, Human Race Theatre Company

BEST LEADING ACTOR IN A PLAY
Mike Beerbower as Robert, Jailbait
A.J. Breslin as Dennis, This Is Our Youth
Franklin Johnson as Kenneth McIntosh, Memories of the Game
Alan Bomar Jones as Thurgood Marshall, Thurgood
Jared Mola as John Merrick, The Elephant Man
Leo Santucci as Dracula, Dracula

Claire Kennedy in the Human Race Theatre Company’s Hail Mary! (Photo by Scott. J. Kimmins)

BEST LEADING ACTRESS IN A PLAY
Jenna Gomes as Claire, Jailbait
Amy Handra as Heather Clark, Gidion’s Knot
Claire Kennedy as Mary Wytkowski, Hail Mary!
Cheryl Mellen as Caroline, Luna Gale
Andréa Morales as Corryn Fell, Gidion’s Knot
Marva Williams as Karen McIntosh, Memories of the Game

BEST LEADING ACTOR IN A MUSICAL
Jamie Cordes as Sweeney Todd, Sweeney Todd: The Demon Barber of Fleet Street
Robbie Lindmark as Harold Hill, The Music Man
Ron Mauer as Tateh, Ragtime
Kip Moore as Coalhouse Walker, Jr., Ragtime
Timothy Ware as Lola, Kinky Boots
Ray Zupp as Eddie Birdlace, Dogfight

BEST LEADING ACTRESS IN A MUSICAL
Esther Hyland as Eve, Children of Eden
Rachel Jensen as Mother, Ragtime
Mackensie King as Rose Fenny, Dogfight
Allison Semmes as Diana Ross, Motown the Musical
Maddie Vaughn as Veronica Sawyer, Heathers
Rebecca Watson as Mrs. Lovett, Sweeney Todd: The Demon Barber of Fleet Street

BEST SUPPORTING ACTOR IN A PLAY
Ross Bloedorn as Mr. Smith/Edgar, Restoration!
Geoff Burkman as Carr Gomm, The Elephant Man
Christopher Hahn as Mark, Jailbait
Charles Larkowski as Joe, Standing On Ceremony: The Gay Marriage Plays
Connor Lysholm as Mr. Jo Williams/Edmund/Bastard, Restoration!
Maximillian Santucci as Van Helsing, Dracula

BEST SUPPORTING ACTRESS IN A PLAY
Catherine A. Collins as Clemma Diggins, Proposals (Dayton Playhouse)
Lisa Glover as Emmy, Jailbait
Debra Kent as Sonia, Vanya and Sonia and Masha and Spike
Heather Martin as Mrs. Kendal, The Elephant Man
Libby Scancarello as Mrs. Sylvia Fowler, The Women
Jennifer Dorr White as Mother Regina Marie, Hail Mary!

The cast of Dayton Playhouse’s Ragtime (Photo by Art Fabian)

BEST SUPPORTING ACTOR IN A MUSICAL
Mark Antony Howard as Seaweed J. Stubbs, Hairspray
Brett Norgaard as Leaf Coneybear, The 25th Annual Putnam County Spelling Bee
Remy James Patterson as Marcellus Washburn, The Music Man
DJ Plunkett as Tobias Ragg, Sweeney Todd: The Demon Barber of Fleet Street
Layne Roate as Boland, Dogfight
Aaron Vega as The Beadle, Sweeney Todd: The Demon Barber of Fleet Street

BEST SUPPORTING ACTRESS IN A MUSICAL
Natalie Girard as Heather Chandler, Heathers
Becky Howard as Emma Goldman, Ragtime
Krissy McKim-Barker as Mrs. Potts, Disney’s Beauty and the Beast
Tia Seay as Sarah, Ragtime
Sherri Sutter as Rona Lisa Peretti, The 25th Annual Putnam County Spelling Bee
Kimberly Warrick as Guido’s Mother, Nine

BREAKTHROUGH MALE PERFORMANCE
Fischer Barnett as Edna Turnblad, Hairspray
Naman Clark as Jerry, Standing on Ceremony: The Gay Marriage Plays
Brent Hoggatt as Chip Tolentino, The 25th Annual Putnam County Spelling Bee
S. Francis Livisay as Tom, Standing on Ceremony: The Gay Marriage Plays
Andrew Poplin as Peter, Luna Gale
Andre Reece Tomlinson as Michael McIntosh, Memories of the Game

BREAKTHROUGH FEMALE PERFORMANCE
Kari Carter as Cass Harris, Wonder of the World
Kennedy Cook as Motormouth Maybelle, Hairspray
Kayla Graham as Karlie, Luna Gale
Abby Land as Marcy Park, The 25th Annual Putnam County Spelling Bee
Nabachwa Ssensalo as Sharon Evans, Memories of the Game
Sarah Zaffiro as Sarraghina, Nine

BEST DIRECTION OF A PLAY
Kimberly Borst, Dracula
Michelle Hayford, Gidion’s Knot
W. Stuart McDowell, Restoration!
Margarett Perry, Hail Mary!
Jeff Sams, The Last Lifeboat
Jenna Valyn, Jailbait

BEST DIRECTION OF A MUSICAL
Rebecca Baker, The Music Man
Joe Deer and Lula Elzy, Hairspray
Mackensie King, Children of Eden
Jeffrey Murphy, Nine
Megan Wean Sears, Big Fish
Scott Stoney, Sweeney Todd: The Demon Barber of Fleet Street

BEST CHOREOGRAPHY
Carrie Anthony, The Music Man
Michael Baxter, No, No, Nanette
Lula Elzy, Hairspray
Michelle Lynch, Dirty Dancing – The Classic Story on Stage (Victoria Theatre Association)
Megan Wean Sears, 9 to 5
Nabachwa Ssensalo, Michael Shepherd and Michael Groomes, Ragtime

BEST SCENIC DESIGN OF A PLAY
Chris Harmon, Dracula
Chris Newman and David Shough, The Elephant Man
Chris Newman, Proposals (Dayton Playhouse)
Jeff Sams, The Last Lifeboat
Terry Stump, A Midsummer Night’s Dream

The cast of Wright State University’s Restoration! (Contributed photo)

BEST SCENIC DESIGN OF A MUSICAL
J. Branson, Hairspray
Bob Clements, The Music Man
Dan Gray, Sweeney Todd: The Demon Barber of Fleet Street
Kacie Hultgren, 42nd Street
Pam Lavarnway, No, No, Nanette

BEST COSTUME DESIGN OF A PLAY
N. Lynn Brown, The Elephant Man
Carol Finley, The Last Lifeboat
Kathleen Hotmer, Dracula
Kathleen Hotmer, A Midsummer Night’s Dream
Christie Peitzmeijer, Restoration!

BEST COSTUME DESIGN OF A MUSICAL
Elizabeth Bourgeois, No, No, Nanette
Maria Klueber and Lori Watamaniuk, Big Fish
Janet G. Powell, Sweeney Todd: The Demon Barber of Fleet Street
Rebekah Priebe, The Music Man
Tiia E. Torchia, Toni Donato Shade and Alisa Vukasinovich, Hairspray

BEST LIGHTING DESIGN OF A PLAY
Matthew P. Benjamin, Restoration!
Daniel Brunk, Dracula
Travis Dwire, Gidion’s Knot
John Falkenbach, The Last Lifeboat
Jennifer Watson, The Children’s Hour

BEST LIGHTING DESIGN OF A MUSICAL
Jadon Bischoff, The Toxic Avenger
Bob Clements and Megan Howell, The Music Man
Jessica Ann Drayton, No, No, Nanette
Derryck Menard, Dogfight
John Rensel, Sweeney Todd: The Demon Barber of Fleet Street

BEST SOUND DESIGN OF A PLAY
Jay Brunner, Family Ties
Jay Brunner, On Golden Pond
Ryan Burgdorf, Restoration!
Isaiah Parnell, Dracula
K.L. Storer, The Last Lifeboat

BEST SOUND DESIGN OF A MUSICAL
Daniel Brunk, The Toxic Avenger
Jay Brunner, Sweeney Todd: The Demon Barber of Fleet Street
James Dunlap, Heathers
Bob Kovach, Xanadu
Sam Partridge, The Music Man

BEST ORCHESTRA
Children of Eden, Musical Director: Lorri Topping
Hairspray, Musical Director: Sean Michael Flowers
The Music Man, Musical Director: Jeff Beste; Orchestra Conductor: Carlos Elias
No, No, Nanette, Musical Director: Scot Woolley
Ragtime, Musical Director: Ron Kindell

BEST PROPERTIES
Sarah Gomes, Dracula
John Lavarnway, Restoration!
Marly Masterson, The Last Lifeboat
Victoria Osewski, The Elephant Man
Heather Powell, Sweeney Todd: The Demon Barber of Fleet Street


ADDITIONAL ACKNOWLEDGMENTS

  • The cast of Family Ties: Thea Brooks as Mallory, Sara Mackie as Jennifer, Eve Plumb as Elyse, Maggie Lou Rader as Ellen, Lawrence Redmond as Steven, and Jim Stanek as Alex
  • The cast of Hello Again: Celia Arthur as The Whore, Philip Stock as The Soldier, Rachel Green as The Nurse, Kyle Miller as The College Boy, Megan Valle as The Young Wife, Kyle Krichbaum as The Husband, Zach Fretag as The Young Thing, Eli Davis as The Writer, Robin Dunavent as The Actress, and Christian Schaefer as The Senator
  • The cast of The Last Lifeboat: Matt Lindsay as J. Bruce Ismay, Heather Atkinson as Mrs. Ryerson and Others, Mike Beerbower as William Randolph Hearst and Others, Cassandra Engber as Vivian Hilliard and Others, Zach Katris as Phillip Franklin and Others, Heather Martin as Florence Ismay and Others, Kerry Simpson as Margaret Ismay and Others, and J. Gary Thompson as Thomas Ismay and Others
  • The cast of Nine: Brice Thomas as Guido Contini, Micah Koverman as Young Guido, Shannon Carlson as Luisa, Hayley Penchoff as Carla, Danielle DeLorme as Claudia, Kimberly Warrick as Guido’s Mother, Joyce Murphy as Liliane La Fleur, Cynthia Karns as Lina Darling, Courtney Kakac as Stephanie Necrophorus, Meghan McConnell as Our Lady of the Spa, Sarah Zaffiro as Sarraghina, Renee Franck-Reed as Renata, Aeriel Aniballi as Annabella, Krista Ann Werts as Francesca, and Jack Lockwood and Max Kieselhorst as Young Guido’s school mates
  • The cast of On Golden Pond (Human Race Theatre Company): Kaleb Barlow as Billy Ray, Charlie Clark as Charlie Martin, Ken Early as Bill Ray, Dale Hodges as Ethel Thayer, Jennifer Joplin as Chelsea Thayer Wayne, and Joneal Joplin as Norman Thayer
  • The cast of Vanya and Sonia and Masha and Spike: Cassandra Engber as Masha, Debra Kent as Sonia, Charles Larkowski as Vanya, Cassidy Manley as Nina, Erin McGee as Cassandra, and Ryan Petrie as Spike; Also, Charles Larkowski’s interpretation of Vanya’s tirade
  • The cast of The Women: Rachel Oprea as Mary, Tori Toccillo as Nancy, Yara Khalil as Peggy, Libby Scancarello as Sylvia, Amy Taint as Edith, Jenna Gomes as Crystal Allen, Renee Franck-Reed as Countess De Lage, Marcia Nowik as Mrs. Morehead, Ashley Sisson as Jane, Danikah Skaroupka as Little Mary, and ensemble members Tamar Fishbein, Carrin Ragland, Heather Carrell, Caitlin Blackford, Becky Howard, Cheryl Mellen, Lindsey Cardoza, and Tiffany Williams
  • The ensemble of Sweeney Todd: The Demon Barber of Fleet Street: Gina Handy, Drew Helton, Scott Hunt, Cassi Mikat, Nathan Robert Pecchia, David Shough, Sherri L. Sutter, and Kandis Wean
  • Children of Eden’s Storytellers: Lisa Glover, Kaitlyn Hiltibran, Zach King, Danielle Kubasky, Bobby Mitchum, Brennan Paulin, T.C. Schreier, Tia Seay, Angie Thacker, Desmond Thomas, Jesse Daniel Trieger, and William Boatwright
  • Lola’s Angels in Kinky Boots: Joseph Anthony Byrd, Tony d’Alelio, John J. Dempsey, Ian Gallagher Fitzgerald, Xavier Reyes, and Andy Richardson
  • Amy Askins as Melpomene, Tamar Fishbein as Calliope, and John Nussbaum as Young Danny and Centaur in Xanadu
  • Sandy Bashaw and W. Stuart McDowell’s music for Restoration!
  • Kyle Bates as Link Larkin, Jack Blair as Corny Collins, Amber Butler as Little Inez, Adam Clark as Mr. Pinky, Lauren Eifert as Amber Von Tussle, Kaite Hubler as Tracy Turnblad, Clare Kneblik as Velma Von Tussle, Jack Lewis as Wilbur Turnblad, Ana Smith as Penny Pingleton, and Michelle Strauss as Gym Teacher/Matron in Hairspray
  • Kyle Bates as Billy Crocker and Cecily Dowd as Reno Sweeney in Anything Goes (Centerville High School)
  • N. Lynn Brown’s costumes for Nine
  • Jay Brunner’s original music for On Golden Pond
  • Saul Caplan as Roy Cohn and Jared Mola as Prior Walter in Angels in America: Perestroika
  • Circus 1903, Victoria Theatre Association
  • Sarah Clark as Belle, Preston Eberlyn as The Beast, and Andrew Sollenberger as Lumiere in Disney’s Beauty and the Beast
  • William G.L. Courson’s flying direction, Kaoime E. Malloy’s blood and special effects, Gina Neuerer’s projection design, Gary Minyard’s fight choreography, and Brooke Watson’s wig and makeup design for Dracula
  • Bailey Edmonds as Violet Newstead, Natalie Girard as Doralee Rhodes and Meredith Zahn as Judy Bernly in 9 to 5
  • Sean Michael Flowers’ musical direction of Hello Again
  • Nick Garvin’s piano accompaniment for Dogfight
  • Ray Geiger as Tom Durnin and Karen Righter as Karen Brown-Canedy in The Unavoidable Disappearance of Tom Durnin (Dayton Theatre Guild)
  • Lisa Glover’s choreography for Children of Eden, Dogfight and Guys and Dolls
  • Chester Gregory as Berry Gordy, Jarran Muse as Marvin Gaye, David Kaverman as Smokey Robinson, Emilio Sosa’s costumes, and Patricia Wilcox and Warren Adams’ choreography in Motown the Musical
  • Patrick Allyn Hayes’ Toxie mask and suit design for The Toxic Avenger
  • Tamara L. Honesty’s set design for Family Ties
  • In the roles of Sky Masterson and Sarah Brown, Bryan Hupp and Esther Hyland’s rendition of “I’ve Never Been in Love Before” in Guys and Dolls
  • Barbara Jorgensen as Peg Concannon and Fred Blumenthal’s scenic design in The Outgoing Tide (Dayton Theatre Guild)
  • Theresa Kahle’s costumes and Steve Burton’s wig designs for Ragtime
  • Debra Kent as Alexandra Benton and Robb Willoughby as Chris Benton in The Velocity of Autumn (Undercroft Players)
  • Matt Lindsay as Quince/Prologue, Tristan Rivera as Snug/Lion, Jonathan Kelly as Bottom/Pyramus, Elisha Chamberlin as Flute/Thisby, and Spencer Boden as Snout/Wall in A Midsummer Night’s Dream
  • TJ Montgomery as Clyde Barrow, Kami Flanders as Bonnie Parker, Sam Hamilton as Buck Barrow, Jackie Darnell as Blanche Barrow, Aaron Brewer as Ted Hinton, and Josh Clifford as Preacher in Bonnie and Clyde
  • Dakota Mullins as Billy Early and his execution of “Call of the Sea” in No, No, Nanette
  • Annie Pesch as Mary and J. Gary Thompson as John in First Kisses
  • Rachel Joy Rowland as Marian Paroo and Jonathan Kimble as Winthrop Paroo in The Music Man
  • Megan Wean Sears’ choreography for Big Fish
  • Tia Seay as Crystal, Samantha Wright-Norman as Ronnette, and Courtney Dortch as Chiffon in Little Shop of Horrors (Dare to Defy Productions)
  • David Shough as E.M. Forster and Brian Sharp as J.R. Ackerley in Shepherd’s Bush
  • Randy Skinner’s Tony Award-nominated choreography (recreated by Stephanie Brooks) and Roger Kirk’s Tony Award-nominated costumes for 42nd Street
  • John Slate and David Hapner’s piano accompaniment for No, No, Nanette
  • Debra Strauss as Barbara, Helicopter Pilot, Waitresses, and Janie in Wonder of the World
  • Christopher Tierney as Johnny Castle, Jillian Mueller as Frances “Baby” Houseman, Jennifer Mealani Jones as Penny Johnson, and Jon Driscoll’s video and projection design in Dirty Dancing – The Classic Story on Stage (Victoria Theatre Association)
  • Andrea Wilborn as Sarah’s Friend leading “Till We Reach That Day” in Ragtime
  • Zoot Theatre Company’s collaborative Angels in America with Columbus’ Short North Stage featuring puppet design by Tristan Cupp

 

 

 

‘Circus 1903’ Review – Victoria Theatre Association –Under the Big Top

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In the mood to embrace the fantastical?

Step right up as the Victoria Theatre Association concludes its 2016-2017 Premier Health Broadway Series with a crowd-pleasing Midwest premiere of “Circus 1903” at the Schuster Center.

Circus 1903

A nostalgic ode to P.T. Barnum’s legacy and influence, “Circus 1903,” which premiered in Australia last year and had its American debut in Los Angeles in February, is not a play or musical. Arriving in town mere days after the 71st annual Tony Awards, the show may feel jarringly out of place to theatergoers accustomed to traditional Broadway Series programming. Nonetheless, it is a very entertaining and flashy theatrical depiction of a traveling circus, showcasing marvelous international talent fully prepared to amaze and astound with vibrant, death-defying displays under the direction of Neil Dorward (“The Illusionists”).

Act One standouts include dynamically jaw-dropping contortionist Senayet Assefa Amara (The Elastic Dislocationist) and lovely aerialist Elena Gatilova (Lucky Moon).

In the far stronger and better paced Act Two, exuberant speed juggler Francois Borie (The Great Gaston), skillful acrobats Anny Laplante and Andrei Kalesnikau (Les Incredibles), and handsome foot jugglers Alejandro and Ricardo Rossi (Fratelli Rossi) notably provide breathtaking, encore-worthy routines of astounding athleticism and showmanship.

The entire proceeding is admirably guided by the grandfatherly charm, narrative magnetism and quick wit of David Williamson as Ringmaster Willy Whipsnade. Williamson’s pleasant banter with impressionable youngsters bolsters the show’s heartwarming nature.

A show within a show

By and large, a lack of story structure is an issue and the show-within-a-show concept would be better served in a one-act format. Even so, the superb talent, mostly derived of generations of circus families from Mexico to Russia, and unique puppetry, under the direction of Mervyn Millar, are worth the price of admission. In fact, the show’s two puppet elephants are the brainchild of London-based Significant Object, the creative puppeteers behind acclaimed drama “War Horse.” Todd Edward Ivins’ eye-catching set, Angela Aaron’s attractively colorful turn of the century costumes, Paul Smith’s dazzlingly evocative lighting, and composer Evan Jolly’s dramatic score are added benefits fueling the captivating look and feel of a bygone era.

It can be argued “Circus 1903” is a programming option more inclined to suit a Las Vegas hotel than a Broadway touring house, but it’s certainly a worthwhile, family-friendly, thrill-inducing spectacle.

“Circus 1903: The Golden Age of Circus” continues through June 18 at 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 and 7:30 pm. Act One: 50 minutes; Act Two: 45 minutes. Tickets are $30-$97. For tickets or more information, call Ticket Center Stage (937) 228-3630 or visit ticketcenterstage.com.

Circus 1903 flies into the Schuster Center!

 

 

 

 

‘First Kisses’ Review –Young at Heart Players – Through the Years

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Jay D. Hanagan’s wonderfully endearing two-hander “First Kisses,” a humorous and touching love story spanning 60 years and a memorable finalist in the 2003 Dayton Playhouse FutureFest, receives a terrific staging courtesy of the senior-themed theater troupe Young at Heart Players at the Dayton Playhouse.

J. Gary Thompson and Annie Pesch portray lifelong friends John and Mary in the Young at Heart Players production of Jay D. Hanagan’s tender dramedy “First Kisses” (Contributed photo by Fran Pesch)

Annie Pesch and J. Gary Thompson are delightfully cast as Mary and John, childhood friends who blossom into spouses while sharing the intimacy of a shack in the woods where they converse and reflect. Portraying a range of ages from 11 to 72 would appear to be a challenging or daunting task, but not for this talented and compatible duo. In fact, Pesch’s ability to vibrantly tap into her inner child with exuberant precociousness and playful spunk certainly aids in setting the correct tone in the opening minutes. Still, both actors bring impressive nuance and versatility to the proceedings, deftly directed by Young at Heart founder Fran Pesch. Thompson is particularly great in a scene which finds the emotionally reserved John finally expressing his love for Mary while hilariously tipsy. Annie, who memorably originated the role of Mary in the FutureFest staged reading also directed by Fran, notably ages gracefully throughout. She finds multiple opportunities to convey meaningful depth whether interpreting Mary’s uncertainties as a spouse or quietly absorbing a life well lived in her golden years. More importantly, Pesch and Thompson are equally captivating in the show’s finest and most dramatic scene involving Mary and John discussing the shakiness in their marriage centered on John’s desire to catch up with his ex-fiancé.
“First Kisses,” nicely accented by Fran Pesch’s set design, Sandy Lemming and Pesch’s costumes, and John A. Falkenbach’s lighting design, is a simple yet charming look at the power of love and the dedicated commitment it takes to make a relationship work and endure. By and large, Mary and John heartwarmingly prove first kisses can last a lifetime.


“First Kisses” continues through Sunday, June 11 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 40 minutes; Act Two: 50 minutes. Tickets are $15 for adults and $12 for seniors and students. Tickets may be purchased at the door. Reservations can be made by calling Fran Pesch at (937) 654-0400. For additional information, visit www.youngatheartplayers.com. Patrons are advised the production contains some adult language.

‘Family Ties’ Review – Human Race Theatre Company – Seems Like Old Times

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Let’s talk TV. In case you hadn’t heard, reboots are the latest nostalgic trend taking pop culture by storm. In fact, a resurrected “Twin Peaks” is currently spooking Showtime, the Disney Channel repackages “That’s So Raven” as “Raven’s Home” next month, deliciously glamourous “Dynasty” will be rebranded for a new generation this fall on the CW, and plans are ongoing for Emmy Award-winning “Roseanne” to return next year to ABC or Netflix. At a time when investing in the untested comes with sizable risk, it is apparent producers are more willing to embrace tried and true projects, particularly derived from titles engrained in the psyche for decades.

The cast of Family Ties. Photo courtesy of Scott Kimmins.

One of those ready-made titles hoping to make big theatrical waves in the future is “Family Ties,” the popular sitcom (1982-1989) concerning the lovable and intellectual Keaton family from Columbus, Ohio. Starring Michael J. Fox, who won three Emmys for his portrayal of Alex P. Keaton, the show, created by Gary David Goldberg, brought relatable wholesomeness and humor to the table with entertaining political and cultural bite. Whenever he wasn’t perturbing his sisters Mallory and Jennifer, conservative Alex enjoyed a battle of wills with his ex-hippie, liberal parents Steven and Elyse. But at the end of the day, their bond always remained heartwarmingly intact.
“Family Ties” is the most recent TV property (now in the hands of CBS) being translated to the stage following a laundry list of classics such as “Cheers,” “Happy Days” and “I Love Lucy” among others. It has received a world premiere courtesy of the Human Race Theatre Company at the Loft Theatre produced by special arrangement with Araca Media & Entertainment. Written by Daniel Goldstein, who helmed an exhilarating and underrated 2011 Broadway revival of “Godspell,” the one-act play borrows certain episodes from the series (most notably “The Real Thing” in which Alex meets his future girlfriend Ellen Reed) as the foundation to tell a fresh story of reunion, forgiveness and heartbreak. Set 20 years later at the Keaton residence circa 2008 (minus little brother Andy Keaton serving overseas in the Peace Corps), the tale centers on Alex’s homecoming detailing exciting news of a run for Congress as well as the announcement he’ll soon be a father. However, laughter and reminiscing ultimately gives way to tragedy, a pivotal component Goldstein doesn’t have a tight grip on. Alex’s arrival contains a great deal of odd insensitivity which seems illogical considering the play’s trajectory toward bereavement. In turn, a series of flashbacks doesn’t necessarily help set the proper groundwork for the play’s plot twist, leaving portions of the dizzying action confusing and perplexing. In many respects, Goldstein wants “Family Ties” to feel emotionally akin to “Next to Normal,” another tale of close-knit family dynamics and underlying sorrow, but it’s a precarious notion. After all, no one wants to feel cheated by conceptual trickery so a better grasp of how this show navigates its time traveling structure is imperative.

The cast of Family Ties. Photo courtesy of Scott Kimmins.

Nevertheless, director Kevin Moore, fluidly helming with an excellent awareness of sitcom sensibilities, assembles an enjoyably cohesive sextet paying fine homage to the essence of their familiar characters. Immensely charming Jim Stanek (who gave a definitive rendition of “Love, I Hear” as Hero in the 1996 Tony Award-nominated revival of “A Funny Thing Happened on the Way to the Forum”) is a thoroughly engaging focal point as Alex, particularly embodying Fox’s quirky persona with energetic glee (notice the way he bounces atop the kitchen counter in true Fox fashion). As Elyse, sitcom icon Eve Plumb, the unforgettable Jan Brady of “The Brady Bunch,” skillfully interprets the speech patterns and tenderly authoritative spirit of Meredith Baxter-Birney while offering a solidly endearing portrayal all her own. One of Plumb’s finest dramatic moments occurs opposite Stanek in flashback when Elyse and Alex debate Alex’s decision to celebrate his 18th birthday with his buddies in West Virginia, a firm reminder of the importance of checks and balances between parents and children. Lawrence Redmond lovingly conveys sincerity and gentleness as Steven and is especially strong in a scene detailing how Steven’s views of fatherhood were affected by his emotionally detached dad. Thea Brooks (whiny Mallory) and Sara Mackie (lively Jennifer) establish an appealing sisterhood. Maggie Lou Rader, mesmerizing in three flashbacks opposite Stanek at his most charismatic, truly delights as Ellen, Alex’s eventual wife.
In addition, set designer Tamara L. Honesty impeccably recreates the Keaton home from the stained glass front door to the linoleum kitchen floor. Janet G. Powell’s contemporary and period attire admirably accent the play’s tone despite the script unfortunately not allowing many costume changes. John Rensel’s lighting design and Jay Brunner’s sound design are expertly rendered, particularly Brunner marvelously turning back the hands of time with radio-inspired finesse. The production also effectively incorporates “Without Us,” the beautifully melodic “Family Ties” theme song, and Billy Vera and The Beaters’ romantic ballad “At This Moment.”

 

Eve Plumb and Jim Stanek Photos courtesy of Scott J. Kimmin

Personally, I’d be head over heels if someone decided to dramatize “Little House on the Prairie,” “Felicity,” “Sex and the City” or “Downton Abbey” to name only a few. So, if you’re a longtime fan of “Family Ties,” I totally understand why you would want to take advantage of catching up with characters who feel like old friends. Just be aware the play is in need of a hiatus in order to determine a clearer, more focused path on the road to substantively fulfilling resonance.

 

“Family Ties” continues through June 25 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Thursdays-Saturdays at 8 p.m., Tuesday and Wednesday at 7 p.m., and Sundays at 2 p.m. The production is performed in 80 minutes without intermission. Tickets are $12-$40. There are discounts for select side-area seats available for $12 and $25 for all performances. For group sales, contact Betty Gould at (937) 461-8295 or e-mail [email protected]. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. In addition, there will be a post-show talk-back following the Sunday, June 11 performance.