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‘Wonder of the World’ Review – Dayton Theatre Guild – The Great Escape

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A frustrated and sheltered wife’s decision to turn over a new leaf reaches exciting, shocking, hilarious, and absurd proportions in David Lindsay-Abaire’s whimsical 2001 off-Broadway comedy “Wonder of the World,” excellently produced in its local premiere by the Dayton Theatre Guild.

Photo caption (left to right) Richard Young (Glen), Marcella Balin (Karla), Ian Manuel (Kip Harris), Kari Carter (Cass Harris), Scott Madden (Captain Mike), Debra Strauss (multiple roles), and Kerry Simpson (Lois Coleman) are featured in the Dayton Theatre Guild’s local premiere of David Lindsay-Abaire’s comedy “Wonder of the World” (contributed photo by Craig Roberts)

The absolutely splendid Kari Carter, delivering a knockout Guild debut, impressively drives this kooky if uneven vehicle as the disillusioned yet determined Cass Harris, a free-spirited and conflicted soul longing for adventure and renewed purpose after leaving her husband Kip. Bound for Niagara Falls with a notepad detailing over 280 goals from learning Swedish to wearing velvet, Cass ventures forth to correct mistakes in her life with the hope of finding opportunities to explore possibilities in an attempt to live to the fullest. As is typical in the bizarre and dysfunctional Lindsay-Abaire universe, Cass comes in contact with an assortment of funny eccentrics such as a suicidal alcoholic, goofy private investigators and a clown therapist. His roadmap ultimately grows disjointed (an overlong group therapy scene within the framework of “The Newlywed Game” deflates Act 2), but he appealingly injects great promise into Cass’ journey of self-discovery nonetheless by the end of the play. In fact, the action wonderfully culminates on the rushing waters of Niagara Falls imaginatively staged by director Saul Caplan with black-clad stagehands (the Invisibles) in full view of the audience assisting the action (per the Kabuki tradition of Kuroko).

 
Vividly executing her passionate portrayal with bubbly ease, Carter thrillingly conjures the sitcom-esque vivacity and chatty effervescence of such contemporary comediennes as Sarah Jessica Parker (the original Cass), Lena Dunham, Julie Bowen, and Tracee Ellis Ross. She notably masters the tricky nuances and rhythms enabling the script to remain snappy, witty and conversational while ensuring Cass’ emotional vulnerabilities are evident. As clingy Kip, coping as best as possible with his Barbie fetish, Ian Manuel, in a welcomed return to the Guild, lends very endearing support. He firmly balances Kip’s devotion for Cass with darker undertones giving credence to her choice to seek a new love. Kerry Simpson, in a refreshing principal capacity, is equally winning as Cass’ troubled sidekick Lois Coleman, the aforementioned alcoholic on a mission to become the next Annie Edson Taylor complete with barrel in tow. Marcella Balin and Richard Young are delightfully unified as oddballs Karla and Glen, hired by Kip to track down Cass. Scott Madden is enjoyably pleasant as Maid of the Mist’s Captain Mike, Cass’ desired flame. Debra Strauss is a versatile hoot in multiple zany roles including a helicopter pilot, three waitresses, and a clown. Doug Lowe, Bekki Madden, Carly Risenhoover-Peterson, and Tori T. Tuccillo complete the cast as the dutiful Invisibles, effectively handling the varied moving parts of Richard Lee Waldeck’s efficient set pieces. Linda Sellers’ costumes, Jason Vogel’s lighting design, Ryan Shannon’s sound design, and N. Lynn Brown’s properties and set dressing nicely complement the action.

 
Lindsay-Abaire’s plays include his splendid and heartbreaking 2007 Pulitzer Prize-winning drama “Rabbit Hole” in addition to “Fuddy Meers,” “Good People,” “Kimberly Akimbo,” and “Ripcord.” He also wrote the book and lyrics for “Shrek: The Musical” and the book for the musical “High Fidelity.” “Wonder of the World” isn’t a representation of his best work, but Carter’s wondrously wonderful performance specifically resonates as an affirming reminder to always choose to go on when life gets messy.

 

“Wonder of the World” concludes Sunday, May 28 at 3 p.m. at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Act 1 and Act 2 are performed in 60 minutes. Tickets are $20 for adults, $18 for seniors and $13 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org. Patrons are advised the production contains adult language, fog effects and the sound of gunshots.

 

 

‘Kinky Boots’ Review – Victoria Theatre Association – Saved By the Heel

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Librettist Harvey Fierstein and composer Cyndi Lauper’s delightfully feel-good 2013 Tony Award-winning Best Musical “Kinky Boots” receives an outstanding local premiere at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

The cast of the national tour of “Kinky Boots” (contributed photo)

Based on the 2005 British film of the same name, this upbeat musical comedy of friendship, acceptance and empowerment primarily concerns the economic woes of Price and Son, a shoe manufacturing company in Northhampton, England in dire need of a new target market. Succeeding his deceased father, frequently frustrated Charlie (passionate understudy Ciarán McCarthy) doesn’t have a clue as to what would really spark a turnaround. However, salvation ultimately arrives at the foot of flamboyant drag queen Lola (dynamically fierce Timothy Ware). Lola’s savvy eye for fashion and Charlie’s desire to tap into a niche market and create sexy women’s boots for men provides the lighthearted, opposites attract-driven fuel which keeps the action endlessly entertaining. Still, by no means is this a show without depth or heart-tugging sincerity. After all, Charlie and Lola’s relationship particularly evolves to a better understanding of each other’s faults and similarities, resulting in impactful moments filled with tender respect and occasionally explosive disrespect.

Timothy Ware, currently starring as Lola in the “Kinky Boots” national tour, was the Broadway Lola standby who performed the role 186 times (contributed photo)

McCarthy and Ware compellingly lead this fantastic tour which rivals the original Broadway production in tone and vivacity while retaining Jerry Mitchell’s expert original direction and choreography. McCarthy doesn’t receive the best musical material (in a lopsided decision, Lauper wrote multiple knockouts for Lola), but brings equal amounts of agitation, determination and introspective vulnerability to the forefront nonetheless. He supplies a first-rate performance giving credence to Charlie’s mission to pave his own trail no matter how far it strayed from his father’s vision. The exceptional Ware, the Broadway Lola standby who performed the role 186 times, attacks the Mead Theatre stage as if it were his personal runway with marvelously magnetic flair. In every saunter, swish, sashay, strut, finger snap, and head twirl, Ware thrillingly breathes vivacious life into Lola’s charming aura, particularly in the super sassy “Land of Lola” and “Sex Is in the Heel.” Both disco-flavored numbers are notably heightened by the mesmerizing talents and athleticism of Lola’s Angels (her fellow drag queens) splendidly portrayed by Joseph Anthony Byrd, Tony d’Alelio, John J. Dempsey, Ian Gallagher Fitzgerald, Xavier Reyes, and Andy Richardson. In addition to showcasing Lola’s natural ability to unify those around her as only she can, Ware’s heartfelt interpretation of “Not My Father’s Son” and roof-raising “Hold Me in Your Heart” endearingly explores Lola’s emotional baggage stemming from being raised by an intolerant father.

 
Elsewhere, excellent featured portrayals are delivered by perky understudy Erica Peck (offering a very playful rendition of “The History of Wrong Guys” in the role of Lauren, a Price and Son employee with a huge crush on Charlie), Katerina Papacostas as Charlie’s fiancé Nicola, Jim J. Bullock as overseer George, Aaron Walpole as bigoted Don, Madge Dietrich as loyal Pat, and Dan Tracy as Charlie’s longtime friend Harry.
The uniformly terrific creative team includes scenic designer David Rockwell, costumer Gregg Barnes (supplying specifically striking attire for Lola and her Angels), lighting designer Kenneth Posner, sound designer John Shivers, hair designer Josh Marquette, and make-up designer Randy Houston Mercer. Music director Roberto Sinha leads a solid orchestra.
If you need a proud and strong reminder that it’s okay to love who you are, let “Kinky Boots” bolster your declaration to just be.

 

“Kinky Boots” continues through May 28 in the Mead Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 pm. Act One: 70 minutes; Act Two: 40 minutes. Tickets are $30-$97. For tickets or more information, call Ticket Center Stage (937) 228-3630 or visit ticketcenterstage.com.

 

 

 

‘Ragtime’ Review –Dayton Playhouse – The American Experience

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Musically glorious and undeniably relevant now more than ever, the 1998 Tony Award-winning musical drama “Ragtime” remains an emotionally riveting look at the dawn of the 20th century as evidenced in the Dayton Playhouse’s commendably crowd-pleasing production.

Tia Seay (Sarah) and Kip Moore (Coalhouse Walker, Jr.) sing “Wheels of a Dream” (Photo by Art Fabian)

An epic account of race relations and cultural change set in and around New York beginning in 1902, “Ragtime” skillfully interweaves three compelling, familial stories rooted in the pursuit of the American Dream. White, upper-crust New Rochelle traditionalists, close-knit blacks embracing a new form of musical expression wafting throughout Harlem, and Eastern European immigrants hoping for a better life powerfully collide in a palpable sea of misunderstanding. Pulled apart by their differences, these well-defined groups are vividly accented by historical figures whose legacies defined the era such as magician Harry Houdini, vaudeville star Evelyn Nesbit, financier J.P. Morgan, industrialist Henry Ford, controversial political activist Emma Goldman, and African-American scholar Booker T. Washington.
Librettist Terrence McNally, astutely adapting E.L. Doctrow’s acclaimed 1975 novel of the same name, impressively balances the dramatic arcs of the characters and sweeping themes. In fact, one group isn’t more important or significant than another, which can be considered the true test of the show’s greatness ultimately displayed in its depiction of a lovingly blended family. Further, lyricist Lynn Ahrens and composer Stephen Flaherty’s splendid score, one of the finest of the 1990s, wondrously captivates with thrilling anthems (“Wheels of a Dream,” “Back to Before,” “Make Them Hear You”), tender ballads (“Your Daddy’s Son,” “Gliding,” “Our Children”), and ensemble-driven gems (“Ragtime,” “Crime of the Century,” “Getting Ready Rag,” “Till We Reach That Day,” “Atlantic City”). Due to the cohesive strengths of this Tony-winning creative team, currently represented on Broadway with the outstanding if underappreciated musical “Anastasia,” “Ragtime” is a rare breed of musical in which the show itself is the star.
The sophisticated citizens of New Rochelle leap forth by way of Father (Jeff Sams), Mother (Rachel Jensen), Mother’s Younger Brother (Garrett Young), Grandfather (Brian Sharp), and Little Boy (Avi Gilbert). Musician Coalhouse Walker, Jr. (Kip Moore) and his girlfriend Sarah (Tia Seay) are examples of African-American struggle. Tateh (Ron Maurer) and his Little Girl (Peyton Deutsch) represent the aforementioned throng of immigrants bravely determined to make America their new land of opportunity. When Mother finds Sarah’s newborn baby buried in her garden, an extremely chilling turning point, a flurry of pivotal events unfold. Eventually, Coalhouse, scarred by racism and discrimination, turns to anarchy, Tateh evolves from poor peddler to prominent film director, and Mother turns her reticence into empowerment.

The cast of “Ragtime” perform “New Music” (Photo by Art Fabian)

Moore, an endearing knockout bursting with likability and charm, winningly handles the score’s vocal demands, specifically immersing himself lyrically into “Wheels of a Dream” with aplomb. Seay, well-paired with Moore in a beautifully stylized performance befitting her classical training, renders one of the most heartbreaking, regret-tinged renditions of “Your Daddy’s Son” I have heard (her pause before the final verse is an inspired moment of unrushed potency). Jensen, a Playhouse newcomer and fine soprano, takes time to settle into Mother’s domain, but thankfully trades her presentational instincts for a deeper, more well-rounded characterization as the stakes are raised, solidifying her portrayal with a stirring rendition of “Back to Before.” The terrifically authoritative and hard-nosed Sams, commanding attention with every tap of his cane, gives credence to Father’s annoyed dismay at the world around him as his values are put to the test. Young, another Playhouse newcomer, sincerely conveys Younger Brother’s introverted innocence, but is somewhat of a perplexing paradox throughout due to his inability to break free of the role’s timid shell. Sharp offers delightful deadpan humor as the family curmudgeon. Gilbert, a memorable Randy in La Comedia Dinner Theatre’s regional premiere of “A Christmas Story: The Musical,” brings adorable wonder to the whimsicality inherent within the Little Boy. Maurer, passionately optimistic and frustrated as Tateh’s rocky journey of acceptance transpires, fuels the warmth of “Gliding” and “Our Children” but is also very fun and playful in “Buffalo Nickel Photoplay, Inc.” Maurer also establishes a caring bond with the mostly mute yet winsome Deutsch.
Elsewhere, Becky Howard is wonderfully fiery as Emma Goldman, Hayley Penchoff cutely beguiles as Eveyln Nesbit, and Andrea Wilborn (Sarah’s Friend) absolutely brings down the house at the close of Act 1 leading a soulfully sanctified rendition of “Till We Reach That Day.” Michael Shannon, Brad Bishop and Franklin Johnson are also respectively convincing as J.P. Morgan, Henry Ford, and Booker T. Washington. Michael Plaugher is miscast as Houdini but committed nevertheless. Jack Enix is smile-inducing as Coalhouse Walker III. Renee Franck-Reed, Jamie Pavlofsky, Tim Rezash, and Richard Lee Waldeck effectively bolster the score’s magnitude as an off-stage quartet (Rezash and Waldeck also join the action in featured roles). The large ensemble cast includes Krissy McKim Barker, Damon Barnett, Jr., Shayla James Birdsong, Shanna Camancho, John Carrington, Zenobia Curtis, Jackie Darnell, Shaun Diggs, Juan Gabriel Encarnacion, Kiersten Farmer, Tamar Fishbein, Michael Groomes, Adee McFarland, Robert McAdory, Carrin Ragland, Thomas Schoen, Jai-Ln Stafford, and Malcolm Walker.

 
Matthew W. Smith’s fluid direction is an asset considering the scope of the tale and its many musical numbers. Even when the stage is overcrowded, a strong sense of community remains palpable. In fact, “New Music,” my favorite song in the score, appropriately reaches grand operatic heights as Seay, exhibiting perfect timing and clear purpose, climatically joins Moore for one of the most blissful reunions in the musical theater canon. In addition, choreographer Nabachwa Ssensalo (formerly of Dayton Contemporary Dance Company) and guest choreographers Michael Shepherd and SMAG Dance Collective founder Groomes create flavorfully first-rate routines marvelously demonstrating character-in-dance, specifically the rousing, encore-worthy “Getting Ready Rag” (Groomes, Encarnacion and the ever-reliable Walker, strutting and swaying with finesse, are standouts among the personable Harlem ensemble). Musical director Ron Kindell’s excellent 18-piece orchestra is placed front and center, a great visual due to the score’s magnificent grandeur, but they often overpower the microphoned cast. Theresa Kahle’s attractive period costumes are culturally distinctive, but I’m curious why parasols are absent in “Atlantic City.” Chris “Red” Newman’s efficient set pieces, John Falkenbach’s lighting design, Heather Campbell Martin’s properties, Bob Kovach’s sound design, and Steve Burton’s wig design are equally noteworthy.

(center left to right) Malcolm Walker, Kip Moore (Coalhouse Walker, Jr.) and Michael Groomes perform “Getting Ready Rag” with the Harlem ensemble (Photo by Art Fabian)

As our polarized country continues to navigate shifting winds whether cultural (Black Lives Matter) or political (the rise of Trumpism), may “Ragtime” forever stand as a beacon for what makes America truly great.

 

“Ragtime” continues through May 21 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 p.m. Fridays and Saturdays; 2 p.m. Sundays. Act One: 95 minutes; Act Two: 60 minutes. Tickets are $18 for adults and $16 for seniors, students and military. For tickets or more information, visit www.daytonplayhouse.com.

‘Dogfight’ Review –Dare to Defy Productions – Innocence Lost

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Composers Benj Pasek and Justin Paul and librettist Peter Duchan’s compelling, unnerving and romantic 2012 off-Broadway musical “Dogfight” receives a terrific regional premiere courtesy of Dare to Defy Productions in the Mathile Theatre of the Schuster Center.

Mackensie King as Rose Fenny and Ray Zupp as Eddie Birdlace in Dare to Defy Productions’ presentation of “Dogfight: The Musical” (Contributed photo)

Based on the 1991 film of the same name and set in 1960s San Francisco, “Dogfight,” deftly directed by Angie Thacker, is craftily told in flashback. At the center is a trio of young marines nicknamed The Three Bees: Eddie Birdlace, distraught and disillusioned; Boland, viewing duty to country and comrades as chief above all; and Bernstein, a straight-laced nerd determined to lose his virginity. Before deploying to seemingly uneventful Vietnam, they decide to have one final evening of rowdy fun by coordinating a dogfight, a mean game in which each member seeks to bring the ugliest date to a party and earn the collected winnings. However, when Eddie chooses shy waitress Rose Fenny, he inadvertently makes a much-needed leap into adulthood bolstered by valuable lessons in tolerance and acceptance. In fact, during one pivotal moment, Eddie adamantly tells Rose, “I don’t care what you look like.” She responds, “I wish you would.” At the outset, the story hints that not all will end well for Eddie or his close band of brothers (an unfortunately underwritten group), especially as views of patriotism and Vietnam shift greatly during its course. Nonetheless, there is hope that through Rose’s influence, a redemptive Eddie will become a better man, perhaps fulfilling his purpose beyond what he originally thought possible.

 
Long before Pasek and Paul took Hollywood by storm winning an Academy Award for writing the lyrics to “City of Stars” from “La La Land,” they molded their witty and insightful character-driven songwriting here with many Broadway and pop/rock influences. Eddie and Rose’s “Come to a Party” contains conversational shades of Jonathan Larson’s “Rent.” Rose’s beguiling and introspectively jumpy “Nothing Short of Wonderful” recalls the works of Stephen Sondheim and Adam Guettel. The rousing “Hey, Good Lookin’” and the thrilling yet devastatingly false anthem “Hometown Hero’s Ticker Tape Parade,” defiantly warning “no confetti for the boys who stayed,” fits comfortably into Billy Joel and Jason Robert Brown’s wheelhouse. Pasek and Paul could win a Tony and Pulitzer Prize this spring for their luminous hit “Dear Evan Hansen,” but “Dogfight” remains a signature moment of evolution for their fantastic partnership.

 
The outstanding duo of Ray Zupp and Mackensie King are perfectly compatible while navigating the complexities within Eddie and Rose. Zupp, arrogant yet tender with sharp intensity, truly masters Eddie’s charming duality of appearing brutish with his buddies and outright vulnerable with Rose. He also vividly expresses Eddie’s insecure quandary of holding tightly to his tough guy façade when he’s actually attempting to simply figure out his place in the world. In one of her finest roles, King, appropriately introverted but far from a pushover, accomplishes the feat of ensuring the emotionally wounded Rose is credibly openhearted enough to look past Eddie’s immaturity and recognize his potential. It’s tough to love a jerk, but King’s grasp of Rose’s dilemma and her willingness to forgive resonates.

 
Thacker’s excellent, vocally strong cast is also filled with commendable featured players. The commanding Layne Roate dynamically intimidates with Southern swagger as cocky Boland. Bobby Mitchum, a bundle of energy and nervous trepidation, delights as bespectacled Bernstein. Tia Seay brings comedic flavor to her portrayal of shrewd and savvy Marcy, Boland’s deceitful date. Seay also joins King for a marvelous rendition of the fiery title song in which Marcy and Rose come to terms with the cruelty of the game. David Baker (Stevens), Jesse Daniel (Fector), Brett Norgaard (Gibbs), and TC Schreier provide enthusiastic vigor as fellow marines. Skyler McNeely offers lighthearted levity throughout in multiple roles. Danielle DeLorme (Mama), Samantha Creech (Ruth Two Bears) and Natalie Sanders are also effective, especially Creech’s funny choices during the dogfight.

 
In addition, Zupp’s striking scenic design, complete with a tattered American flag as an ominous backdrop, aptly evokes the memory play concept inherent in the material. Olivia Dakin’s fine assortment of period-appropriate wardrobe includes an endearingly tacky costume party outfit for King. Choreographer Lisa Glover skillfully establishes conversation in dance in the sprightly “Hey, Good-Lookin.’” Along with Lorri Topping’s music direction, the show notably features a six-piece orchestra accented with splendid piano accompaniment from conductor Nick Garvin.

 

“Dogfight” stings but it’s an unforgettable experience. Don’t miss it.

 
“Dogfight: The Musical” continues through April 8 inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Act One: 60 minutes; Act Two: 50 minutes. Performances are 8 p.m. Friday and 2 and 8 p.m. Saturday. Tickets range from $19.50-$24.50. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. The production contains adult themes and language. Patrons should also note understudy Jesse Daniel portrays Eddie Birdlace at the Saturday matinee.

‘The Elephant Man’ Review – Dayton Theatre Guild – Beauty Underneath

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Transformation has always been a wondrously inherent part of theater magic. So, without reservation, I assure you Jared Mola’s splendidly visceral and physically impressive embodiment of John Merrick in the Dayton Theatre Guild’s excellent production of Bernard Pomerance’s thought-provoking 1979 Tony Award-winning drama “The Elephant Man” provides one of the finest transformations you’ll see on any stage in the Miami Valley this season.

(l to r) Patrick Hayes as Frederick Treves and Jared Mola as John Merrick in the Dayton Theatre Guild’s production of “The Elephant Man” (Photo by Craig Roberts)

Anyone familiar with Mola’s credits will not be surprised by this latest revelation. After all, he’s already proven his chameleon prowess in a string of dynamically lived-in performances ranging from dim-witted Roy Manual in “Nice People Dancing to Good Country Music” to intensely crazed Robert Renfield in “Dracula,” and most recently, the utterly distressed yet honestly hopeful Prior Walter in “Angels in America: Perestroika.” Still, John Merrick is in a completely different league because of the challenging physicality it requires. Without the benefit of makeup or prosthetics, Mola must become, with every fiber of his being, the startlingly deformed freak show attraction who ultimately and remarkably hobnobbed with the Victorian elite at London Hospital. He smoothly handles the physical stresses of this demanding exercise (you can sense the pain in his crooked posture as well as his curved hands and feet), but he’s savvy enough to ensure his incredibly astute portrayal isn’t just about physique. On the contrary, his compelling work is rooted in nuance, charm, wit, wonderment, and gratitude. As these attributes heighten the potent value of the story’s rags-to-riches allure and telling look at society’s treatment of the “other,” Merrick’s magnetism doesn’t wane. Whether facing ridicule from gawkers or an angry mob or astonishing the upper-class willing to see beyond the surface and into his soul, he commands our attention. We cannot look away, and thanks to Mola, there’s no reason why we should.
Elsewhere, Patrick Hayes, returning to the Guild stage for the first time since 2013’s “The Pillowman,” is greatly inquisitive and concerned if calculatingly cerebral as Dr. Frederick Treves, Merrick’s savior, champion and friend. Hayes navigates his complicated role well, but there are times I wish he wasn’t so emotionally reserved, particularly as Treves grows regretful and hopeless about his own insecurities. The elegant and inviting Heather Martin warmly and sophisticatedly portrays Mrs. Kendal, a celebrated actress guiding Merrick into enlightening conversations about “Romeo and Juliet” and intriguing facets of femininity. As Ross, Merrick’s shady manager, Jim Lockwood is terrifically demanding in an Act 2 showdown with Mola when Ross begs Merrick to return to the freak show. Geoff Burkman brings cool authority and scientific reasoning to his sharp portrayal of Carr Gomm, the administrator of London Hospital influential to securing funding for Merrick to remain at the hospital for life. Kevin Grego, Mark Reuter, Melissa Kerr Ertsgaard, Meredith Hollingsworth, and Lorin Dineen are firm and colorful in multiple roles.
David Shough’s deftly fluid staging, an asset considering the play’s episodic nature, is accented by his fittingly circus-inspired, Merrick-as-the-main-attraction, show-within-a-show concept and co-scenic design with Chris “Red” Newman complete with efficient moving pieces. N. Lynn Brown’s lovely assortment of attractive period costumes and J. Gary Thompson’s sound design are also praiseworthy.
One of the play’s most striking moments involves a clever role reversal in which Merrick offers a lecture on Treves’ deformities. It is the only time Mola appears outside the physical boundaries of the role, giving credence to his fascinating versatility and the overall breadth of his achievement.

 

“The Elephant Man” continues through April 2 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 p.m., Saturday at 5 p.m., and Sunday at 3 p.m. Act One: 45 minutes; Act Two: 40 minutes. Tickets are $19 for adults, $17 for seniors and $12 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org. Patrons are advised the play contains brief nudity.

 

 

‘9 to 5’ – Wright State University – Divine Vengeance of the Corporate Sisterhood

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Broadway is abuzz about a certain matchmaker’s overdue return, but the Dolly I’d like to bring to your attention can be found atop center stage at Wright State University’s first-rate production of the 2009 Tony Award-nominated musical comedy “9 to 5” inside the Festival Playhouse of the Creative Arts Center.

(center) Meredith Zahn as Judy Bernly, Bailey Edmonds as Violet Newstead, and Natalie Girard as Doralee Rhodes in Wright State University’s production of Dolly Parton and Patricia Resnick’s 2009 Tony Award-nominated musical comedy “9 to 5” (Photo by Erin Pence)

No, Dolly Parton isn’t actually roaming or haunting the CAC these days, but her gleefully earthy, videotaped narration is a huge part of the great charm abundantly flowing from this delightfully humorous yet incredibly stinging satire of female empowerment in the workplace circa 1979. It’s true this show would be just fine without Dolly (her narration was not part of the Broadway production), but she will always represent the film’s nostalgic appeal nonetheless due to her iconic, toe-tapping title tune, one of the best movie songs never to win an Academy Award.

Based on the popular 1980 film of the same name starring Parton, Lily Tomlin and Jane Fonda, “9 to 5,” featuring a libretto by original screenwriter Patricia Resnick, bluntly examines discrimination and sexism as Violet Newstead, Doralee Rhodes and Judy Bernly join forces to put their “sexist, egotistical, lying, hypocritical bigot” boss Franklin Hart, Jr. in his place. During a night of partying, the trio playfully imagines how they’d kill Franklin, but through a series of accidental shenanigans they eventually kidnap him and smoothly turn Consolidated into a rejuvenated utopia of productivity, positivity and promise. One of the joys of Resnick’s witty and relevant script stems from the ladies joining in solidarity to accomplish the seemingly impossible. Sure, one of them could have taken the lead and received the credit, but the fact that the three of them became stronger together as friends, women and brave examples makes all the difference in the world.

Firmly directed with a keen comical eye by Greg Hellems, assuring the action is continually bolstered by Violet, Doralee and Judy’s compatibility, the production is enjoyably and respectively led by Bailey Edmonds, Natalie Girard and Meredith Zahn. The lovably stern Edmonds, notably beginning Act 2 with a snazzy rendition of “One of the Boys,” one of many new tuneful if generic songs Parton wrote for the stage version, effectively interprets Violet’s desire for advancement having been bypassed for promotions by those she particularly trained. Girard, a recent knockout as Heather Chandler in “Heathers: The Musical,” completely inhabits the required Southern delicacy and spitfire attack necessary to portray the bubbly vivacious Doralee. She effortlessly accomplishes the amazing feat of being on par with the original actress actually present in spirit. Does it get any better than that? In addition to her hilariously impeccable delivery of Doralee’s fiery speech putting to rest a workplace rumor, Girard supplies dynamic vocals during introspective moments (“Backwoods Barbie”) and spirited anthems (“Shine Like the Sun,” “Change It”). Zahn, elegantly dancing up a storm earlier this season as Lucille Early in “No, No, Nanette,” endearingly conveys Judy’s sweet naivety and specific determination to start anew, leading to a wondrously life-affirming rendition of “Get Out and Stay Out” late in Act 2 that nearly stops the show.

Elsewhere, Joey Logan is despicably good as the one-dimensional, utterly insensitive Franklin, shrewdly and eerily injecting shades of President Trump when the mood suggests. Emily Chodan scores big laughs as nosey secretary Roz Keith who secretly pines for Franklin with sensual abandon in the aptly titled “Heart to Hart.” Zach Fretag (Violet’s love interest/co-worker Joe), David Emery (Doralee’s husband Dwayne), Joey Kennedy (Violet’s son Josh and a standout among the male ensemble in “One of the Boys”), Eli Davis (Judy’s ex-husband Dick), Mackenzie Kasbaum (tipsy Margaret), and Cody Westbrook (Tinsworthy in the deliciously playful vein of Leslie Jordan) are notable among an excellent ensemble cast.

Choreographer Megan Wean Sears’ lively and character-conscious routines, Michael S. Brewer’s efficient set design, Jessica Drayton’s expert lighting, Emily Sollinger’s colorful period attire, and music director Scot Woolley’s rip-roaring orchestra are also noteworthy.

Women have made significant strides in the nearly 40 years since “9 to 5” took America by storm, but there’s still room for growth from equal pay to reproductive health care to the presidency. Let us aim to keep moving forward until the tide turns and rolls everyone’s way.

 

“9 to 5: The Musical”continues through April 2 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are March 30 at 7 p.m.; March 24, 25, 31, and April 1 at 8 p.m.; and March 25, 26, April 1 and 2 at 2 p.m. Act One: 80 minutes; Act Two: 45 minutes. Tickets are $22 for adults and $20 students and seniors. For tickets or more information, call (937) 775-2500 or visit www.wright.edu/theatre-tickets.

 

 

 

 

 

 

 

“Toruk” Flies into Nutter and Amazes

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After attending last evening’s premier of Toruk The First Flight, as told by world-renowned Cirque Du Soleil and inspired by James Cameron’s magical Avatar, I realize I learned two important lessons while being entertained more than I have been in ages: there is life outside our own planet, and the inhabitants of at least one of those worlds are in MUCH better shape than me! The nonstop performance and acrobatic displays made me truly appreciate the passion of the players and their ability to display that passion nonstop for the duration of the show. And flawlessly, I might add. Films are great but shot over long periods of time, and edited for the big screen. “Toruk” plays out “live” before our eyes.

I’ve been reviewing for nearly four decades and the one thing most reviewers face is to tell what we witnessed without revealing too much for those who will be attending. As with all Cirque performances the real entertainment is the majesty and breath-taking acrobatics, and “Toruk” lives up to that promise from the opening scene to the curtain call.

A Storyteller walks us through a story that took place on Pandora long ago, as the people of Pandora were facing a great time of struggle. Toruk is a giant, magnificent winged “monster” feared by most. The story takes us on a journey of two childhood friends, as close as brothers, in their coming-of-age training to become great hunters. The ultimate of their hunting adventures is to face Toruk and save their people. That salvation takes an ironic, yet visually spectacular, turn as the story winds down.

I have heard some suggest that “Avatar” (the inspiration) may be too old for some to remember and that the story and its magnificent set are too “busy” for some to follow the story. I suggest neither is the case. “Avatar” introduced us to a magical new world and the “busyness“ of what should be an award-winning set kept us on the edge of our seats all-performance long! If I have one suggestion, although I have no solution for it, some form of subtitling would benefit at times since most in the audience don’t speak or understand Pandorese.

The journey of the two friends takes us through earthquakes, floods and fires that you truly buy into as actually happening before your eyes. Peppered in amongst those elements are the signature death-defying performances that have made Cirque a household name by a team of global actors and technicians. From the moment we took our seats until our exit, we escaped totally to another blue world and lived the sadness, struggles, battles and joys. And after all, isn’t that what an evening away from reality is supposed to do?

TORUK – The First Flight is performing at the Wright State Nutter Center in Dayton, OH from March 22-26th 2017.  For more information and full schedule visit www.cirquedusoleil.com/toruk.

I’m told great seats are still available. Box Office 937-775-4789

 

This guest post is written by Mike Scinto, a veteran radio/TV talk show host, award-winning columnist and a USAF disabled veteran

‘The Children’s Hour’ Review – Wright State University – Alternative Facts Run Amok

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Two schoolteachers accused of lesbianism at an all-girls boarding school cannot escape the onslaught of lies encircling them in Lillian Hellman’s provocative, rarely staged 1934 drama “The Children’s Hour,” excellently presented by Wright State University under the delicately firm direction of Marya Spring Cordes.

(left to right) Megan Valle (Mrs. Amelia Tilford), Zac Pruett (Dr. Joseph Cardin), Katie Post (Karen Wright), and Haley Knuth (Martha Dobie) appear in Wright State University’s production of Lillian Hellman’s “The Children’s Hour.” (Contributed photo by Chris Snyder)

Karen Wright (Katie Post) and Martha Dobie (Haley Knuth) are shocked to the core when troublesome 12-year-old student Mary Tilford (Dana Bixler) tells her stern yet doting grandmother Amelia (Megan Valle) what she thinks she heard about their behavior behind closed doors. As Mary’s vicious falsehoods spin out of control, Karen’s engagement to good-natured Dr. Joseph Cardin (Zac Pruett) is put to the test while an infuriated Martha ultimately faces a harsh reality.

 
Hellman’s Pulitzer Prize-nominated script, inspired by an 1810 incident at a school in Edinburgh, Scotland, is very impactful but overlong and a bit stodgy. There’s also a peculiarity in the climax some might find terribly cold or downright humorous depending on one’s mood. Nevertheless, the keen perspectives Hellman presents from bullying to intolerance to same-sex desires to the power of manipulation are truly relevant (and Arthur Miller-esque) in the wake of current societal and political strife.

 
Post and Knuth are heartbreaking and emotionally savvy, giving subtle insight into the depths of Karen and Martha’s relationship without suggesting anything more than friendship. In fact, notice how this talented duo beautifully consoles each other with a blanket in Act 2, a visual that speaks volumes in its warmth and sensitivity. The spiritedly vindictive Bixler, the epitome of a spoiled brat on the verge of utter psychosis, is a tremendous force to be reckoned with as Mary orchestrates her madness. The very endearing Pruett effectively conveys Joe’s loyalty to Karen and his heartfelt understanding of her deep bond with Martha. Valle, a skillful chameleon memorably dynamic last summer as the Mute in Columbus’ Short North Stage’s “The Fantasticks,” marvelously grasps Amelia’s elderly austerity as well as her pivotal uncertainty when faced with Mary’s wild claims.

 
The strong cast includes Caitlin Shiner as Mrs. Lily Mortar, Brynnan McNeill (terrific opposite Bixler) as naïve Rosalie Wells, Madeline Musico (eavesdropping with “Downton Abbey”-style finesse) as Amelia’s maid Agatha, Heather Cooperman as Peggy Rogers, Rachel Woeste as Evelyn Munn, Taylor Patrick as Lois Fisher, Drew Longmore as Helen Burton, Kayli Modell as Catherine, Celia Arthur as Janet, Donnasia Allen as Leslie, and Grant Measures as Grocery Boy.
Cordes’ first-rate artistic team includes scenic designer David J. Castellano (projections heighten his fine work smoothly depicting altering locales), lighting designer Jennifer Watson (evocatively incorporating shadow as the story grows bleak), costumer Naomi Reisner (supplying attractive period attire), and sound designer Rachel Haas.

 
In addition, it’s significant to note “The Children’s Hour,” filmed in 1961 starring Audrey Hepburn and Shirley MacLaine, was the subject of one of the first landmark court cases to address censorship of gay and lesbian subject matter. The show was to play Boston after its acclaimed Broadway run but was banned by the city’s public censor because of its “lesbian content.” In 1936, the play’s producer and the American Civil Liberties Union partnered to challenge the ruling in federal court, marking the A.C.L.U.’s first “gay rights” case and prompting censorship of gay-themed content in the arts to become part of the national conversation.

 
“The Children’s Hour” continues through Feb. 12 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Act One: 100 minutes; Act Two: 50 minutes. Tickets are $22 for adults and $20 students and seniors. For more information, call (937) 775-2500 or visit wright.edu/theatre-tickets. Patrons are advised the play is intended for adult audiences.

 

 

’26 Pebbles’ Review – Human Race Theatre Company – Healing in the Aftermath

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The tragic December 14, 2012 shooting at Sandy Hook Elementary School in Newtown, Connecticut, which took the lives of 20 children and six adults, is examined with relatable earnestness and resilience in Eric Ulloa’s touching if uneven new play “26 Pebbles,” currently receiving its professional premiere from the Human Race Theatre Company.

All photo’s courtesy of Scott J. Kimmins

Six months after the incident, Ulloa, a New York actor and playwright recently featured in the entertaining new Gloria and Emilio Estefan bio- musical “On Your Feet!,” traveled to Newtown for answers. Angry and frustrated, he sought solace in discovering how the quaint community was affected by such a heinous act. He held over 60 interviews with various residents which became the catalyst for the monologue-heavy, one-act play.

Ulloa has said “26 Pebbles” can be viewed as a contemporary offshoot of Thornton Wilder’s classic drama “Our Town,” but I find its theatrical DNA akin to Moises Kaufman and the Tectonic Theater Project’s Matthew Shepard-inspired, interview-driven drama “The Laramie Project.” In fact, his play could use more of the realistic bite and edge which gives “Laramie” its palpable sting. I understand his desire to keep the structure Americana-infused with the folksy charm of Grover’s Corners, but it’s not an absolutely engaging decision. In fact, the opening sequence, set in a town hall, is a cutesy introduction that doesn’t go anywhere. Practically 15 minutes is spent convincing the audience why Newtown is a fantastic and welcoming place to live (even a meteor shower is praised) when five minutes or less would have sufficed. Thankfully, the action quickly kicks into gear (and scenic designer Scott J. Kimmins’ wonderfully efficient set terrifically disconnects) when reflections of the shooting occurs. The sea of frantic responses, the disbelief of New England utopia coming under siege, is very invigorating, providing some of director Igor Goldin’s strongest moments of stagecraft.


Now I understand there might be reticence in Ulloa dwelling on 20-year-old shooter Adam Lanza, but this play finds its footing in its insightful debate of what went wrong inside Lanza’s home and inside his psyche. Everyone knows blame makes for great drama. After all, we wouldn’t feel the same about the Wingfields or the Tyrones or the Maxsons without it. So, it’s not surprising Lanza’s mental illness, detachment, isolationism, his upbringing as a child of divorce, the laundry list of weapons in his possession, and even his good qualities provide compelling fodder. Also, when one woman suggests it takes a village to raise a child, it intriguingly brings into question Newtown bearing responsibility for Lanza’s behavior. It is a thought-provoking nugget gently raising the stakes for the play. It’s perfectly fine to know Newtown received over 63,700 teddy bears, but darker, uncomfortable shades shouldn’t be ignored, especially in the pursuit of the impactful.

Goldin’s excellently chameleonic sextet, nicely dressed in upper-middle class everyday fashion courtesy of costumer Jessica Pitcairn, weaves through multiple roles with fluidity and magnetism. Christine Brunner is warmly winning as an Australian adjusting to life in America (whenever the Oscar-nominated film “Lion” is adapted for the stage I hope she receives a call to play the Nicole Kidman role). A very chipper Caitlin McWethy is an appealing fit in her primary narrative role recalling the Stage Manager in “Our Town.” Scott Hunt, who recently gave one of the finest performances of his career as Molina in Columbus’ Short North Stage’s central Ohio premiere of “Kiss of the Spider Woman: The Musical,” is very endearing as a concerned rabbi wishing he could have mentored Lanza. Jason Podplesky also showcases genuine sensibility in a fatherly capacity. Jennifer Joplin and Gina Handy are delightfully paired as entrepreneurs Jerian and Starr who provide healing and angel readings. John Rensel’s expert lighting design and Jay Brunner’s evocative music and gripping sound design are noteworthy.

Ulloa states “26 Pebbles” is not about the victims, but perhaps it should be. As issues of gun violence continue to swell, especially in this divisive age of President Trump and Secretary of Education Betsy DeVos, it’s time for a statement to be made. Placing a litany of inspirational words on a chalkboard is a feel-good solution, but there are other steps worth exploring. His well-meaning play, conceived during Obama era optimism, concludes lovey-dovey, but has the potential to make a courageous and riveting ripple throughout the nation if given a deeper look at current anxieties.


“26 Pebbles” continues through Feb. 19 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 90 minutes without intermission. Tickets are $20-$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 betty.gould@victoriatheatre.com. 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 with a spokesperson from Sandy Hook Promise following the Sunday, Feb. 12 performance

‘Luna Gale’ Review – Dayton Theatre Guild – Little Girl Lost

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The battle for custody of a 6-month-old baby girl entices with compelling magnetism in Rebecca Gilman’s 2014 contemporary drama “Luna Gale,” currently receiving an outstanding local premiere at the Dayton Theatre Guild and directed with superb, true-to-life delicacy by Debra Kent.

(front row left to right) Andrew Poplin as Peter, Kayla Graham as Karlie, Cheryl Mellen as Caroline, (back row left to right), John-Michael Lander as Pastor Jay, Cassandra Engber as Cindy, Heather Atkinson as Lourdes, and Timothy Moore as Cliff comprise the cast of the Dayton Theatre Guild’s local premiere of Rebecca Gilman’s contemporary drama “Luna Gale” (Photo by Craig Roberts)

 

Misunderstanding, confusion, regret, and hope bolsters this fascinating tale fueled by Caroline, a veteran social worker in Cedar Rapids, Iowa trying to place the title character, neglected by her drug addicted teen parents Karlie and Peter, in the best environment. Fully invested in her job almost to her detriment, Caroline is thrown for a loop when Luna’s grandmother Cindy, Karlie’s estranged mom, reveals her devout evangelical beliefs during her request for permanent adoption. Finding Cindy’s motives off-putting, Caroline tries to figure out how the recently rehabilitated Karlie and Peter can stake their case. What transpires unfolds as an intriguing war of ideology and responsibility as matters of love and devotion as well as the complicated search for the truth leaps to the forefront with riveting flourish.

As Caroline, the terrifically formidable Cheryl Mellen gives one of her finest, most multifaceted performances. Cool, strict, empathetic, and splendidly investigatory, Mellen conveys the total breadth of a complex woman trying to cope with bureaucracy at work and the pain of her emotionally scarred past while fighting for what is right no matter how dicey the result. Appealing Guild newcomers Kayla Graham and Andrew Poplin deliver breakthrough performances as the troubled Karlie and Peter, providing skillful transformations as both characters progress over time. In particular, Graham’s edginess, frustration and anguish typifies Karlie’s despair while perfectly contrasting Poplin’s affable, caring and mature attributes signaling Peter’s potential as a meaningful father and provider. As the faith-based Cindy, Cassandra Engber is wonderfully credible and passionately outspoken in her heated exchanges with Mellen. She’s also strong in her brief appearance opposite Poplin in his knockout moment late in Act 2 gently revealing a key moment in Karlie’s life that contributed to her downward spiral unbeknownst to Cindy. Timothy Moore, in a refreshing change of pace from his previous string of well-meaning good guys, is flawlessly snide as Cliff, Caroline’s overbearing, ruthless supervisor. John-Michael Lander is also winningly grounded as Cindy’s cheery, Joel Osteen-esque minister Pastor Jay. Heather Atkinson, memorable earlier this season alongside Engber in the Guild’s “The Last Lifeboat,” solidly completes the cast as Lourdes, one of Caroline’s wayward if superfluous clients intended to provide insight into her weighty workload and messy upbringing.

Additionally, the intimate world of the play is efficiently brought to life by set designer Blake Senseman, costumer Kristine Caffrey, lighting designer Tony Fende, Deidre Root and Debra Strauss’ properties, and K.L. Storer’s effective soundtrack, a source of rich musical commentary that remains a hallmark of his collaborations with Kent (which extends to her equally marvelous Guild productions of “Time Stands Still” and “Good People”).

Gilman’s plays include “Spinning Into Butter,” which received its local premiere at the Human Race Theatre Company in 2001, and “Boy Gets Girl,” which received its local premiere at the Guild in 2003. “Luna Gale,” among her most relatable works, captivatingly brings harsh realities to the surface with the promise and anticipation of reunion and new beginnings.


“Luna Gale” continues through Feb. 5 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 p.m., Saturday at 5 p.m., and Sunday at 3 p.m. Act One: 60 minutes; Act Two: 60 minutes. Tickets are $19 for adults, $17 for seniors, and $12 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org. Patrons are advised the play contains adult language.

 

X Marks THE Spot….in XANADU!

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Aaaahhh, the doldrums of late January, early February. What to do, and where to go…..how about ‘A place where nobody dared to go….The love that we came to know…They call it XANADU!!’
The tongue-in-cheek tribute to the 1980 movie of the same title, has skated into the Dayton Playhouse through February 5th.
“It’s a small musical, with a cast 9 people, yet it has everything you expect from the show!” says Amy Askins, one of the show’s cast members. “There is roller-skating, great sets (by Chris Newman), fabulous wigs (by Steve Burton) and of course the music!” (For ELO fans, welcome back to your past!)
It is probably the skating that people remember most about the movie, which many think may have knocked Olivia Newton-John’s career on its rump. Somehow, this musical takes off, with its classic Mt. Olympus tale blended perfectly with 80’s music and underlying love story.
“The story remains the same, with the lovely Muse meeting the California boy and helping him realize his artistic calling!” says Askins. “And the beat goes on!” XANADU could not be XANADU without the throwbacks to Ancient Greece. “Some of the real fun is in the characters.” Askins adds. “We have a Cyclops, Medusa, a Centaur and even a Flying Pegasus!” (I’M SOLD!)
The play, directed by the high energy, much respected, Tina McPherson, is the perfect pick-me-up this time of year. Her decision to bring this play to Dayton Playhouse now, is no accident.
“The story still has the drama as well. Of course, there are the villainous sisters, ” of which Askins plays Melpomene, “Trying to thwart their sister’s love affair. And what connects to people is the music!”
Think you don’t know any songs from XANADU except XANADU…think again. The show contains the classics “Evil Woman,” “All over the World,” “Strange Magic,” and of course, the beautiful melody of Newton-John’s hit, “Suddenly.”
The choreography (expertly put together by Annette Looper), the skating (and, oh yes, falls do happen), and the costumes (Tim Grewe gets it right!) all combine to lift the show to ‘dream come true’ status!
The central message of ‘self-expression is the key to being human’ is truly brought to life in this local production!
So, Strap on your Skateworld Rentals and head to the Playhouse for this throwback love story where Kira (Ellie Krug who can Skate & Sing!) and Sonny (lovable Desmond Thomas) prove this cast is worth the ‘million lights dancing’ in XANADU!

 


XANADU is playing at the Dayton Playhouse  through February 5, 2017.
The Playhouse is located at 1301 E. Siebenthaler Ave, Dayton, OH 45414.
Tickets are $18 for Adults, $16 for Seniors (55+)/Students/Military and can be purchased through the box office, 937-424-8477.

‘Xanadu’ Review – Dayton Playhouse – Fun Frivolity

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Life got you down? Head over to the Dayton Playhouse for a delightful dose of feel-good nostalgia in the form of “Xanadu,” the hilarious 2008 Tony Award-nominated musical comedy continuing its local premiere through Feb. 5.

The Dayton Playhouse continues its local premiere of the 2008 Tony Award-nominated musical comedy “Xanadu” through Feb. 5. (Photo by Art Fabian)

Based on the campy 1980 movie musical of the same name starring Olivia Newton-John and breezily directed by Tina McPhearson, “Xanadu” brings Greek mythology to Los Angeles circa 1980. Beautiful muse Clio attempts to rejuvenate the creative impulses within struggling chalk artist Sonny Malone, whose artistic dream is to open a roller disco. Disguised as an Australian named Kira, Clio throws herself into her mission but not without interference. Her jealous, spiteful sisters Melpomene and Calliope try to thwart matters, but ultimately the bonds of true love and the sheer joy of artistic inspiration prevails.

Douglas Carter Beane’s snappy libretto, full of clever one-liners and tongue-in-cheek barbs, warmly pokes fun at the movie’s cheesy lore. Due to the weaknesses of the screenplay, Beane’s savvy decision to revise the tale with an emphasis on Greek mythology, musical theater conventions, and a cute pop culture sensibility is a welcomed relief. Still, the singular asset of the material remains the incredibly tuneful pop/rock/disco numbers by Academy Award nominee John Farrar (“Hopelessly Devoted to You”) and Jeff Lynne (of ‘70s rock band Electric Light Orchestra, a 2017 Rock and Roll Hall of Fame inductee). Memorable songs such as “I’m Alive,” “Magic,” “Suddenly,” “All Over the World,” and the dandy title tune are still hummable treats after nearly 40 years. I wish the cast would have attacked the score with more power and punch (it’s impossible to hide behind these songs), but any moments of vocal timidity are not a grave misstep.

Desmond Thomas, an engagingly dim-witted surfer dude-esque Sonny, and Playhouse newcomer Ellie Krug, a high school senior impressively navigating the whimsicality of Clio/Kira, are compatible lovebirds. Thomas is the stronger singer (rock ballad “Don’t Walk Away” is a highpoint), but Krug’s winsome vibrancy and grasp of many funny nuances is highly commendable. As Melpomene and Calliope respectively, standouts Amy Askins and Tamar Fishbein are a wonderfully comedic and vindictive duo, specifically offering a terrific take on “Evil Woman” winningly setting the show’s goofy tone. David Shough is fittingly sophisticated and silly as Danny McGuire, a real estate developer torn by greed and allured by memories of Kira in his youth. In particular, “Whenever You’re Away From Me,” a ‘40s flashback between Danny and Kira excellently choreographed by Annette Looper, finds Shough and Krug dazzlingly joined by a smoothly suave John Nussbaum as Young Danny. In multiple roles, Adee McFarland, Shanna Camacho, and Richard Lee Waldeck enjoyably complete the cast, a cohesive troupe impressively roller skating with a fair amount of ease and most significantly in the upbeat finale. Waldeck, as Cyclops, and Nussbaum, as a roller skating Centaur, notably add to the hysterical joy of “Have You Never Been Mellow.”
In addition to Looper, McPhearson’s first-rate artistic team includes music director Judy Manksy (leading a firm four-piece band), scenic designer Chris Newman (his colorful creation of Pegasus brings giddy charm to Krug’s rendition of “Suspended in Time”), lighting designer John Falkenbach, sound designer Bob Kovach, dialect coaches Fran Pesch and Annie Pesch, and costumers/wig makers Steve Burton and Tim Grewe (in collaboration with McPhearson).

For all its zany kookiness, “Xanadu” manages to deliver a warmhearted reminder that absolute fulfillment or contentment simply comes from loving someone and creating art. So, forget your Sunday clothes. Put on your leg warmers, roller skates, and glitter for an entertaining trip down memory lane.


“Xanadu” continues through Feb. 5 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. The production is performed in 100 minutes without intermission. Tickets are $18 for adults and $16 for seniors, students and military. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com

‘Hairspray’ Review – Muse Machine – You Can’t Stop the Joy!

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Marc Shaiman, Scott Wittman, Mark O’Donnell and Thomas Meehan’s 2002 Tony Award-winning musical comedy “Hairspray” is a glorious hit all over again thanks to the Muse Machine’s truly delightful, impressively cast and genuinely crowd-pleasing production continuing through Sunday, Jan. 15 at the Victoria Theatre.

(left to right) Amber Butler (Little Inez), Ana Smith (Penny Pingleton), Mark Antony Howard (Seaweed J. Stubbs), and Kyle Bates (Link Larkin) perform “Run and Tell That” in the Muse Machine’s production of “Hairspray.” (Contributed photo)

“Hairspray” is the arts education organization’s 33rd annual student musical and features 170 Muse students from across the Miami Valley. Based on the 1988 John Waters film of the same name, the show cleverly uses humor and cultural/societal attitudes to examine important and delicate subjects from racism and discrimination to body image and identity in segregated 1962 Baltimore. It speaks volumes that Tracy Turnblad’s fiery quest to integrate “The Corny Collins Show” is bolstered by the African-American community particularly because of the bond shared among them as outsiders. There is a warmhearted appeal in the foundation of “Hairspray,” but it’s hard to ignore Tracy’s tenacious boldness of accomplishing the impossible primarily for the sake of others. It would’ve been easy for co-director Joe Deer and co-director/choreographer Lula Elzy to gloss over some of the prickly paths along Tracy’s journey to avoid ruffling anyone’s feathers. However, sufficient time is spent focusing on the pivotal adversity Tracy endures ultimately allowing her to become a stronger, more confident young woman unafraid to change her world.
Inclusion is a key factor in the storytelling which inherently provides Muse Machine the opportunity to present one of its most terrifically diverse casts. The very endearing, vocally firm Kaite Hubler is spunky and steadfast as the plus-sized Tracy, effortlessly pulling the audience into the action at the outset proclaiming “Good Morning Baltimore.” As Tracy’s devoted yet introverted mom Edna, Muse newcomer Fischer Barnett delivers an utterly believable, breakthrough performance that will be discussed for years to come. Thanks to his marvelously grounded maturity, Barnett (a freshman!) astoundingly interprets Edna’s anxieties, longings, desires, and nuances as her sheltered existence unexpectedly blossoms with fresh possibilities. Jack Lewis, a standout last season in Dayton Playhouse’s “The Diary of Anne Frank” and Dayton Theatre Guild’s “Last Gas,” is wonderfully zany as Tracy’s dad/joke shop proprietor Wilbur, particularly joining Barnett for a lovingly comedic rendition of “Timeless to Me.” As aspiring singer Link Larkin, Tracy’s handsome object of affection and a popular component of “Corny Collins,” Kyle Bates (notably offering a seductively suave rendition of “It Takes Two” hilariously concluding with quick coldness) masters Link’s charming duality as an amusingly square heartthrob. Clare Kneblik as intolerant, unethical “Corny Collins” producer Velma Von Tussle and Lauren Eifert as Velma’s equally malicious daughter Amber are first-rate villainesses and vocalists. Jack Blair is perfectly chipper as forward-thinking showman Corny Collins. Ana Smith, another great vocalist, is a true find and a natural comedienne as Tracy’s goofy best friend Penny Pingleton. As dance-happy Seaweed J. Stubbs, Penny’s boyfriend, Mark Antony Howard electrifies with a fantastically energetic rendition of showstopper “Run and Tell That.” As Seaweed’s mom/R&B music celebrity Motormouth Maybelle, splendidly sassy Kennedy Cook, another knockout Muse newcomer and a dynamic vocalist, brings down the house with a spine-tingling, standing ovation-worthy rendition of the emotional, gospel-infused anthem “I Know Where I’ve Been.” Winning featured portrayals extend to Amber Butler as the plucky Little Inez, Adam Clark as the excitable Mr. Pinky, Jacob Jones as Mr. Spritzer, Mackenzie Wolcott as Prudy Pingleton, Michelle Strauss as Gym Teacher/House of Detention Matron, and Hannah Bradshaw, Mae’Lesha Cooper, Aliya Johnson, Nivella Ochen, and Kiama Wa-Tenza as the elegant, Motown-esque Dynamites soulfully belting “Welcome to the ’60s.” The cute array of “Baltimore Kids” featured in the show is also noteworthy.
In addition, Elzy’s rip-roaring, flavorful choreography authentically and vibrantly captures the spirit and grooves of the 1960s. In fact, there’s a fitting homage to Tina Turner within exuberant finale “You Can’t Stop the Beat.” Tiia E. Torchia’s colorful period costumes (expertly coordinated by Toni Donato Shade and Alisa Vukasinovich), J. Branson’s striking sets, and music director Sean Michael Flowers’ professional-caliber orchestra are added benefits. Missed cues dampened John Rensel’s lighting design and David Sherman’s sound design on opening night but the errors weren’t a major hindrance.
One of the hallmarks of this infectiously joyful “Hairspray” is certainly its scope and size. What a treat to see Muse Machine uniquely fill the entirety of the Victoria stage to make Baltimore look and feel like a credible, thriving city, specifically propelling “Good Morning Baltimore” into one of the finest, excellently active opening numbers the organization has conceived. The impact is on par with longtime Muse director/choreographer Nat Horne’s stylish execution of opener “A Weekend at Hareford” in 1997’s “Me and My Girl.”
Having seen 21 Muse musicals, trust me when I say “Hairspray” is absolutely one of the best. Bravo!

“Hairspray” continues through Jan. 15 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are Saturday at 3 and 8 p.m., and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 50 minutes. Tickets are $26-$60. For tickets or more information, call (937) 228-3630 or visit ticketcenterstage.com. The production, produced by Douglas Merk, is dedicated to Michael Kenwood Lippert, Director of the Preschool and Elementary School Program and Program Artist for Muse Machine.

‘The 25th Annual Putnam County Spelling Bee’ – Dare to Defy Productions – A Very Nice Beginning

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The “Bee” is back and charming as ever thanks to Dare to Defy Productions.
Composer William Finn, librettist Rachel Sheinkin and conceiver Rebecca Feldman’s entertaining and tuneful 2005 Tony Award-winning musical comedy “The 25th Annual Putnam County Spelling Bee” has been a popular, ensemble-driven choice for many area theaters over the years. After all, the witty material’s clever brew of zaniness, eccentricity and tenderness is innately appealing in a kooky fashion. So, it’s no surprise Dare to Defy is the latest troupe to provide their own take, a firm, fast-paced, excellently character-conscious outing ranking among its finest presentations.

(l to r) Brent Hoggatt (Chip Tolentino), Jamal Caan (Mitch Mahoney), Laura Falb (Olive Ostrovsky), Sherri Sutter (Rona Lisa Perretti), Brennan Paulin (William Barfee) Abby Land (Marcy Park), Tori Kocher (Logainne Schwartzandgrunenierre), Brad Bishop (Douglas Panch), and Brent Norgaard (Leaf Coneybear) appear in Dare to Defy Productions’ presentation of “The 25th Annual Putnam County Spelling Bee.” (Contributed photo)

 

 

Formulated from Feldman’s improvisational play “C-R-E-P-U-S-C-U-L-E” originally performed by the New York-based improvisational troupe The Farm, “Spelling Bee” chronicles the promise, skepticism, joys, and woes of six children (played by adults) attempting victory at the spirited competition spearheaded by Rona Lisa Perretti (Sherri Sutter) and Vice Principal Panch (Brad Bishop) with assistance from “Comfort Counselor” Mitch Mahoney (Jamal Caan). The eager finalists are Leaf Coneybear (Brett Norgaard), returning champ Charlito “Chip” Tolentino (Brent Hoggatt), Logainne Schwartzandgrunenierre (Tori Kocher), Marcy Park (Abby Land), Olive Ostrovsky (Laura Falb), and William Barfée (Brennan Paulin). All can be considered oddballs, but they’re nonetheless bonded by a deep admiration for words. We may not understand why they’re so enamored with language, but they create relatable connections in other areas including fears of not being good enough, the temptation of overachieving, and the anxiety of familial strife in a broken home. In these moments, we see ourselves in their angst thereby rooting for them to the fullest.

 
Casting is paramount in order for this show to have the perfect tone to suit an assortment of extremely specific characters. Thankfully, Dare to Defy assembles a winningly cohesive ensemble under the direction of Matthew Smith, a memorable Barfée (pronounced Bar-FAY) in the Dayton Playhouse’s 2011 production seamlessly balancing pandemonium with softer, sensitive touches. Dare to Defy newcomer Falb, a standout last season as Wendla in Beavercreek Community Theatre’s “Spring Awakening,” is very sweet and endearing as the introverted Olive. The wonderfully goofy and warmly openhearted Norgaard delivers one of his best performances as the loveably insecure Leaf. Kocher, a reliable comedienne, is sharply grounded in Logainne’s confidence and fortitude as a fiery, outspoken go-getter. The effectively perturbed Paulin is a hoot and avoids overplaying William’s unique “magic foot” spelling method. Striking vocalists Hoggatt and Land, recently seen as lovebirds Japeth and Yonah in Dare to Defy’s outstanding “Children of Eden,” are terrific as the ultimately bewildered Chip and reserved overachiever Marcy. Land’s rendition of “I Speak Six Languages” complete with athletic showmanship is particularly impressive. Sutter, a beautiful soprano, is enjoyably chipper and nurturing as host/former spelling bee champ Perretti, particularly joining Caan (in one of his strongest portrayals) for a splendid rendition of the gorgeously haunting and soulful duet “The I Love You Song.” The delightfully droll Bishop has an easy rapport with Sutter and relishes the interplay he shares with audience members invited to join the fun with the cast. Musical director Charles Larkowski’s commendable orchestra and choreographer Jessica Eggleston’s energetic choreography are additional assets.

 
By and large, this “Spelling Bee” is a very nice beginning to all the theatrical experiences awaiting us in 2017.

“The 25th Annual Putnam County Spelling Bee” continues through Jan. 14 in the Renaissance Auditorium of the Dayton Art Institute, 456 Belmonte Park North. Performances are Friday and Saturday at 8 p.m. The production is performed in 100 minutes without intermission. Tickets are $15-$30. For tickets, call the Dayton Art Institute at (937) 223-4278 or visit daytonartinstitute.org. The production is not recommended for anyone younger than 13. For additional information, call (937) 999-9949 or visit d2defy.com

 

‘Jailbait’ Review – Playground Theatre – Dangerous Game

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Every day is Saturday. This no holds barred philosophy seems to suit 15-year-old sophomores Emmy and Claire, a naive duo on the prowl for unassuming older men in Deirdre O’Connor’s riveting contemporary dramedy “Jailbait,” which receives an outstanding local premiere in the Mathile Theatre of the Schuster Center courtesy of millennial-centric Playground Theatre.

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(left to right) Christopher Hahn (Mark), Lisa Glover (Emmy), Mike Beerbower (Robert), and Jenna Gomes (Claire) star in Playground Theatre’s local premiere of Deirdre O’Connor’s contemporary dramedy”Jailbait” (Contributed photo)

Instead of clinging to the innocence of youth, the reticent Claire (an expertly cautious and emotionally wounded Jenna Gomes) and confidently sly Emmy (magnetically effervescent Lisa Glover) dress up in their sexiest attire (the beginning of Claire’s transformation greatly impacts the dynamics of the opening scene) to meet thirtysomething friends Mark (Playground co-founder Christopher Hahn in skillful attack mode) and Robert (an endearingly square Mike Beerbower) at a club. Arrogantly brutish Mark, the epitome of a player, and sensitive Robert, still reeling from a bad breakup and particularly suffering from commitment issues, have no idea they’re stepping into dangerous territory, fueling the action and its momentum to the hilt.

 
When situations go too far, everything crashes in a heartrendingly predictable sea of anger, guilt, shame, and tears. How could it not? Even so, O’Connor daringly and vividly weaves themes of intimacy, connection and the complexities of adulthood into a frankly conversational, real-time framework. Desperation, enticement and sexual politics play out with snappy language that shocks and titillates often in the same breath. The game being played only transpires in one night but is potent enough to leave you questioning the depths some are willing to take to simply hit it off with a stranger. As Mark warns Robert in a moment of indecision, “Don’t think of it as lying. Think of it as improv in a bar.”

 
Staged with superbly character-conscious, slice of life realism by Playground co-founder Jenna Valyn, “Jailbait” soars as the radiant cast sharply uncovers varying degrees of deception and desire. Hahn, savvy enough to display Mark’s vulnerabilities, has a fun, brotherly rapport with Beerbower and smoothly engages with the fabulously flirtatious Glover. Having memorably appeared in two Dare to Defy Productions this season, Glover is a knockout once more navigating Emmy’s arc ranging from drunken daze to tempting tease to regretful confidant. Gomes and Beerbower’s charming awkwardness in their first meeting appealingly lays the groundwork for a pivotal, confrontational exchange, grippingly performed by the duo, which brings the hard truth to the surface. Additionally, the excellent sound design, specifically in the club scenes, complements the cast without overpowering them. R&B beats pulsate underneath the dialogue, but every word can be heard, which is an impressive feat.

 
Accented with “Alice in Wonderland” subtleties and a cool Spotify playlist, this terrific experience is one of the finest of the fall. Don’t miss it.

 

“Jailbait” continues through Dec. 4 at in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Saturday at 2 and 8 p.m., and Sunday at 2 p.m. The play is performed in 90 minutes without intermission. Tickets are $20. For tickets, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. For additional information, visit theplaygroundtheatre.org. Patrons are advised the play contains adult language and situations.

 

‘Hail Mary!’ Review – Human Race Theatre Company – An Education

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Mary Wytkowski, a feisty novice unashamed to ruffle feathers in a climate built on long-standing ideologies and rigid structure, is a truly fascinating brew of complexity, boldness and hope in Tom Dudzick’s surprisingly engrossing comedy “Hail Mary!,” currently receiving a terrific local premiere courtesy of the Human Race Theatre Company at the Loft Theatre.

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Set in 2003 at Saint Aloysius Catholic Elementary School in upstate New York, “Hail Mary!” is a smart and savvy reminder of how consequential words can be especially when addressed to impressionable third-graders. When Mary tells one of her students that God’s feelings cannot be hurt, she is scolded by Mother Regina Marie, overseer of novice management, for creating an atmosphere of “dangerous ideas.” Viewing theology from a progressive mindset, Mary is fueled by the desire to have students openly question, to simply use their brains, which is in direct contrast to Mother Regina Marie’s orthodox perspective. In turn, these two distinctly staunch women, bonded by faith yet torn by principle, passionately engage in a full-scale philosophical and spiritual tug-of-war. For every defiant declaration Mary delivers (“morals change as the times change”), Mother Regina Marie astutely counters (“God’s thoughts come first. His ideas take precedence always”). In an attempt to keep the play from being bogged down in dogma, Dudzick inserts a humorous love story (the father of one of Mary’s students is her old flame), but it’s the central conflict that fuels the play’s pulse. And for added measure, director Margarett Perry skillfully balances the continually shifting comedic and dramatic flow, recalling her fine work helming the varied layers and nuances in the Human Race’s 2015 production of “Vanya and Sonia and Masha and Spike” at the Victoria Theatre.

 
hail-mary-press-2-copyClaire Kennedy thrillingly embraces the titular role with dynamic acumen and fiery attack as if she spent weeks in religious fundamentalism debate prep before rehearsals began. A student of the classics (her Shakespearean training is apparent), Kennedy, who portrayed meek wallflower Laura Wingfield in the Human Race’s “The Glass Menagerie” nine months ago, once again brings her marvelous versatility to the forefront. Her well-defined characterization of a woman who can be a trusted ally and a hard-nosed agitator sometimes in the same captivating breath is simply remarkable. Jennifer Dorr White supplies great intimidation and unexpected heartbreak as Mother Regina Marie, particularly in the heated Act 2 which uncovers her past in touching detail and gently humanizes her along the way. The charmingly chipper Joshua Levine is a bundle of joy as Joe Sykarczek, a widowed carpenter who falls back in love with Mary while wanting the best for his son, academically and spiritually, in the way he alone feels is correct. The reliably comical Andréa Morales as Mary’s spunky pal Sister Felicia and Human Race resident artist Scott Stoney as the kindly Father Stanley provide wonderful support. Stoney particularly has some very winning emotional moments whenever Father Stanley reflects on his genuine admiration for Mary’s opinionated bravado, referring to her at one point as “a lighthouse” and “our hope for the future.” It’s hard to disagree.

 
Scenic designer Eric Moore’s colorfully cute classroom, accented with images of inspirational spiritual leaders and adorned with inspirational spiritual reminders, is an inviting haven of learning proclaiming “a peaceful world” on the chalkboard. The expert artistic team includes costumer Janet G. Powell, lighting designer John Rensel, and sound designer Jay Brunner.

 
Hail Mary!” notably marks the third Dudzick work the Race has produced following “Over the Tavern” in 2008 and “Miracle on South Division Street” in 2014. This play is certainly Dudzick’s finest and most thought-provoking, creating an educational experience that makes you sit up and lean forward as it pulls you further into its enlightening battle of wills. In fact, when Mary addresses 9/11, speaking to the idea that there’s no such thing as absolute right or wrong, her views will linger in the recesses of your mind.
What does the future hold for Mary Wytkowski? Priesthood? The presidency? It’s difficult to tell because she dreams big. But if you want to get to know this marvel of a woman, and you most certainly should, class is in session until Nov. 20. Don’t be tardy.

 

“Hail Mary!” continues through Nov. 20 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are Nov. 10-12 and 17-19 at 8 p.m.; Nov. 8, 15, and 16 at 7 p.m.; and Nov. 13 and 20 at 2 p.m. Act One: 65 minutes; Act Two: 50 minutes. Tickets are $35-$50 for adults; $32-$46 for seniors; $17.50-$25 for students. 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 betty.gould@victoriatheatre.com. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.