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‘No, No, Nanette’ Review – Wright State University – Nifty Nostalgia

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Forget June. Silly, feel-good fun is bustin’ out all over Wright State University’s outstanding presentation of the rarely staged 1971 revision of the 1925 musical comedy “No, No, Nanette” in the Festival Playhouse of the Creative Arts Center.

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(left to right) Meredith Zahn as Lucille Early, Dakota Mullins as Billy Early, Brandon Kinley as Tom Trainor, Lauren Everett as Nanette, Kyle Krichbaum as Jimmy Smith, Grace Liesch as Sue Smith, and the cast of Wright State University’s production of “No, No, Nanette” perform “Take a Little One-Step.” (Contributed photo)

 

Amusingly adapted by Burt Shevelove (“A Funny Thing Happened on the Way to the Forum”), “No, No, Nanette” is an old-fashioned confection about blossoming romance and kooky shenanigans predominately set in Atlantic City circa 1925. Spunky Nanette loves her chipper boyfriend Tom Trainor, but matters grow complicated through various entanglements and goofy misunderstandings particularly surrounding Jimmy Smith, her guardian, and Billy Early, Jimmy’s lawyer. The unabashedly hokey book by Otto Harbach and Frank Mandel communicates the madcap antics with varying success as some jokes hit their target while others land with an awkward thud. Still, the story rests comfortably within Harbach, Irving Caesar and Vincent Youmans’ dandy score. “Too Many Rings Around Rosie,” “Tea for Two,” “I Want to Be Happy,” and “Take a Little One-Step” are among the many musical numbers fantastically choreographed by guest artist Michael Baxter who recently completed his fifth season as resident choreographer of the MUNY in St. Louis. Baxter’s consistently fabulous tap routines and the importance of capturing the essential, cutesy flavor of the Roaring Twenties is expertly overseen by director Joe Deer who keeps the show’s purely escapist pedigree at a deliriously sunny high.

The bright and bubbly Lauren Everett sparkles in the plucky titular role. In addition to her radiant vocals, Everett conveys keen period-flavored nuances and brings heartfelt earnestness to Nanette’s desire to break free from her sheltered existence. Kyle Krichbaum, as lovable scoundrel Jimmy, aptly handles his chief task of providing befuddled comic relief as Jimmy copes with the shock of being confronted by his former flings (Betty from Boston, Winnie from Washington, and Flora from San Francisco enjoyably and respectively played with dim-witted vivacity by Caroline Chisholm, Danielle Bessler, and physical comedienne Megan Valle). As Billy, dynamically debonair leading man Dakota Mullins (a knockout last season as Tommy Djilas in “The Music Man”) impressively demonstrates his finesse as a marvelously mature, Jerome Robbins-esque dancer in “The Call of the Sea,” a remarkable showcase allowing him to display his terrific lines, masculine elegance, and great agility (notice his cartwheel off a piano!). Grace Liesch is fittingly tightly-wound as Jimmy’s wife Sue, but wonderfully loosens up at the show’s climax (in the vein of Sandy Dumbrowski) to lead a rousing rendition of “Take a Little One-Step.” Amiable tenor Brandon Kinley warmly complements Everett in tone as the straight-laced Tom. The humorous Bailey Edmonds is believably agitated as Jimmy and Sue’s long-suffering maid Pauline. Meredith Zahn, as Billy’s wife Lucille, serves feisty sophistication, particularly shining alongside Mullins in the superb duet “You Can Dance with Any Girl” and bringing compelling yearning to torch song “Where Has My Hubby Gone Blues.” The very talented ensemble offers sharp characterizations and heightens the innate effervescence of many spirited numbers including a charming ukulele finale.

Scenic designer Pam Lavarnway supplies a striking art deco creation for Jimmy and Sue’s swanky NYC home and takes an enchantingly quaint approach for their Atlantic City cottage resting beside a lovely cloudburst backdrop. Costumer Elizabeth Bourgeois, in her WSU debut, provides attractively colorful attire perfectly suited to the era. Jessica Ann Drayton’s lighting design, music director Scot Woolley’s splendid 16-piece orchestra, and the exemplary onstage piano accompaniment of dapper duo John Slate and David Hapner (bolstering the score’s bouncy joys on opposite sides of the proscenium) are added delights.
Reminiscent of tap-driven musicals “42nd Street,” “Dames at Sea,” “Crazy for You,” “Thoroughly Modern Millie,” and current hit “Holiday Inn” to name a few, “No, No, Nanette” stands as a vibrantly entertaining homage to bygone Broadway.


“No, No, Nanette” continues through Nov. 13 at the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Nov. 2, 3, and 10 at 7 pm, Nov. 4, 5, 11, and 12 at 8 pm, and Nov. 5, 6, 12, and 13 at 2 pm. The production is performed in 2 hours and 40 minutes including one 15-minute intermission. Tickets are $22 for adults and $20 students and seniors. For tickets or more information, call (937) 775-2500 or visit https://liberal-arts.wright.edu/theatre-dance-and-motion-pictures.“No, No, Nanette” stands as a vibrantly entertaining homage to bygone Broadway.

In related news, Tony, Emmy and Academy Award-winning scenic and costume designer Tony Walton will discuss his career on Broadway and in Hollywood at Wright State on Wednesday, Nov. 2. Walton will give a public talk from 10 a.m. to noon in the Festival Playhouse of the Creative Arts Center. Admission is free and open to the public. He will also give a workshop to design and technology students in the Department of Theatre, Dance and Motion Pictures from 1:30 to 3:30 pm. Space is available for limited number of observers to attend the 1:30 p.m. workshop. To attend, contact Amanda Brewer, administrative assistant to the Musical Theatre Initiative, at [email protected] or 775-4204.

Walton’s visit to Wright State in sponsored by the Musical Theatre Initiative (MTI) at Wright State University, an international center dedicated to celebrating and exploring the history, culture and craft of the musical theatre through concerts, conferences, teaching workshops and special events. The Musical Theatre Initiative’s focus this year is on “Legacies,” celebrating the work and careers of the creators of many of musical theatre’s greatest works. In addition to Walton, MTI will welcome Broadway documentarian Rick McKay, who produced and directed “Broadway: The Golden Age”; a master teacher from the Verdon Fosse Legacy project who will recreate one of Bob Fosse’s legendary dances from “Sweet Charity”; and famed lyricist Sheldon Harnick, best known for “Fiddler on the Roof” and “She Loves Me.” Dates and information for these guests will be announced soon.

Past guests of the Musical Theatre Initiative have included Tony and Emmy Award-winner Leslie Uggams, Tony-winning composer Jason Robert Brown, “Rent” star Adam Pascal and more than a dozen renowned teachers.

 

‘Dracula’ and ‘Outgoing Tide’ Reviews – Sinclair Community College and Dayton Theatre Guild – Potent Productions

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Sinclair Community College’s impressively dark and disturbing production of Steven Dietz’s breezily faithful adaptation of Bram Stoker’s classic 1897 novel “Dracula” opens the organization’s 2016-2017 season on a high note.

Directed with striking fluidity and expert tone by Kimberly Borst, this “Dracula” is by no means a campy, overtly melodramatic horror show intended to make you giggle for two hours or confirm your decision to dress up as one of Stoker’s characters for Halloween. On the contrary, it’s an emotionally uneasy and outright eerie experience dramatically diving (and occasionally flying) straight to the core of examining the compelling consequences of incessant desire, unrelenting power, possessive affection, and cruel mind games within society. Thankfully, these gripping factors, revealing many unsettling truths, are executed with committed fervor from one of the most chameleonic ensembles Sinclair has assembled.

The wonderfully versatile Leo Santucci is an astutely brooding knockout navigating the titular vampire’s creepily cunning quests of love and supremacy with a sinister booming voice that’ll send shivers down your spine. He also ensures Dracula’s villainy is far from one-dimensional by layering his language-driven portrayal with melancholy, wistfulness and sly humor. Fine work extends to the dynamic Maximilian Santucci as the stalwart Van Helsing, a first-rate Jonathan Kelly as authoritative John Seward, a delightfully physical Tristan Rivera as insane Renfield (his transition at the outset is an early highlight), Gabriella Neuerer as sophisticated Mina, Sydney Baker as Mina’s spellbound best friend Lucy, Thomas Puckett as Mina’s amiable fiancé Jonathan Harker, Nick Baver and Andre Tomlinson as asylum attendants, and Chelsey Hall and Erin McGee as Dracula’s evil vixens.

Borst’s exemplary artistic team, attractively and atmospherically recreating 19th century London and Transylvania, includes set designer Chris Harmon, costumer Kathleen Hotmer, lighting designer Dan Brunk, projection designer Gina Neuerer, fight choreographer Gary Minyard, flying director William G. L. Courson, VertigoTM’s flying effects, prop designer Sarah Gomes, wig/makeup designer Brooke Watson, blood and special effects designer Kaoime E. Malloy, and sound designer Isaiah Parnell.

If you’re in the mood for thrills and chills, do not miss this terrific fright fest.

“Dracula” continues through Oct. 29 inside Blair Hall Theatre of Sinclair Community College, Building 2, 444 W. Third St., Dayton. Performances are Friday and Saturday at 8 p.m., Sunday at 2 p.m., and Thursday at 7 p.m. The Sunday and Thursday performances are American Sign Language interpreted. Tickets are $18 adults and $15 student and seniors. Thursday tickets specifically cost $10. For tickets or more information, call Sinclair Box Office at (937) 512-2808 or visit www.sinclair.edu/tickets

 


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The Dayton Theatre Guild provides a lovely local premiere of Bruce Graham’s thought-provoking 2011 drama “The Outgoing Tide.”

Set in autumn on Chesapeake Bay, evocatively brought to life by scenic designer Fred Blumenthal and sound designer J. Gary Thompson, this poignant and relatable work chronicles the difficult, life-altering choices Gunner and Peg Concannon must face centered on Gunner’s progressive Alzheimer’s. Gunner and Peg have been married for over 50 years, but the time has come for them to take a hard look at what the future must hold. Peg doesn’t mind moving to a senior facility so she can assist Gunner’s need for long-term care, but Gunner vehemently resists. He wants to end his life on his own terms and with dignity. As discussions grow heated and the pain of the past bubbles to the surface, especially as Gunner and Peg’s only son Jack attempts to serve as mediator while coping with his own emotionally fractured household, the play forces us to recognize the value of respecting one’s wishes no matter how distressing or sorrowful.

Under Kathy Mola’s delicate direction, Graham’s trio remarkably connects. Peter Wallace, a standout last season at the Guild in “Slowgirl,” walks the fine line between conveying Gunner’s troubling mental deterioration and amusingly tapping into his opinionated, cantankerous behavior. It’s a tricky game, but Wallace admirably steps up to the plate. As Peg, Barbara Jorgensen delivers another luminous display of outstanding character-specific complexity that will break your heart. Pay heed to her sharp, perceptive work at the top of Act 2, the finest scene in the play addressing Peg’s unwavering commitment to her family, opposite the excellently understated and sensitive Matthew Smith as the conflicted, damaged Jack.
Graham, a film and TV writer who began his playwriting career at the Philadelphia Festival Theatre for New Plays in 1984, notably won Chicago’s Jefferson Award for “The Outgoing Tide.” The Guild winningly charts the play’s emotional course built on the pain of letting go.

 

“The Outgoing Tide” continues through Oct. 23 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Saturday at 5 p.m. and Sunday at 3 p.m. 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

 

‘Jersey Boys’ Review – Victoria Theatre Association – Hearty Hitmakers

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The terrific national tour of the 2006 Tony Award-winning musical “Jersey Boys” opens the Victoria Theatre Association’s 2016-2017 Premier Health Broadway Series at the Schuster Center.

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(left to right) Keith Hines as Nick Massi, Aaron De Jesus as Frankie Valli, Drew Seeley as Bob Gaudio, and Matthew Dailey as Tommy DeVito star as the “Jersey Boys” slated through Oct. 23 at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

Humorous, poignant and super cool, “Jersey Boys” takes an engaging look at the highs and lows surrounding iconic hitmakers Frankie Valli and the Four Seasons. The blue-collar troupe, consisting of Valli, Bob Gaudio, Nick Massi, and Tommy DeVito, took the world by storm selling 175 million records throughout the 1960s and 1970s, but it wasn’t an easy journey. DeVito’s massive debts threw the group into a tailspin. The professional chemistry and pivotal collaborative deal between Valli and Gaudio bothered Massi and infuriated DeVito. Instead of merely filling the show with as many hits as possible (the downfall of many jukebox musicals), librettists Marshall Brickman and Rick Elise (“The Addams Family”) astutely realize how dramatic these revelations can be in order to fuel the plot. Topics of love, loss, adultery, family, drugs, and prison also effectively broaden the tale’s scope. In many ways, “Jersey Boys” can be perceived as the male kindred spirit of “Dreamgirls,” an equally vivid and relatable account of a tight-knit music group trying to succeed at all costs in the face of great adversity and infighting.
Briskly directed by Des McAnuff with appealingly masculine choreography by Sergio Trujillo, the production is skillfully led by Aaron De Jesus (Valli), Cory Jeacoma (Gaudio), Matthew Dailey (DeVito), and Keith Hines (Massi). De Jesus, one of the best triple threats to portray Valli, brings his superb falsetto to the forefront in such fantastic performance numbers as “Sherry,” “Walk Like a Man,” and “Big Girls Don’t Cry,” but also displays great tenderness in more moving songs as “My Eyes Adored You” and “Fallen Angel.” The immensely charming Jeacoma expertly conveys Gaudio’s intellectual sensibilities and artistic proficiency. A wonderfully understated Keith Hines shines as the introverted Massi. Matthew Dailey brings authoritative command and smug complacency to the hot-tempered, jealous DeVito. His bond with De Jesus is especially strong considering DeVito took Valli under his wing as a father figure. Enjoyable featured portrayals are offered by Barry Anderson as the flamboyant songwriter/producer Bob Crewe, Kristen Paulicelli as Frankie’s wife Mary Delgado, Leslie Rochette as Frankie and Mary’s daughter Francine, and Jessie Wildman as reporter Lorraine.
Don’t miss this highly entertaining showcase returning to Dayton for the first time since 2012. Oh, what a night indeed.

 

 

“Jersey Boys” continues through Oct. 23 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 p.m. The production is performed in 2 hours and 40 minutes with one 15-minute intermission. Tickets are $30-$107. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. Patrons are advised the show contains adult language.

 

 

’35MM’ Review – Dare to Defy Productions – The Story Within

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Composer Ryan Scott Oliver’s 2012 multimedia song cycle “35MM: A Musical Exhibition” receives an admirable treatment from Dare to Defy Productions through Oct. 8 in the Mathile Theatre of the Schuster Center.

(left to right) Zach King, Natalie Sanders, Alan Ruddy, Danielle Kubasky, and Skyler McNeely rehearse Dare to Defy Productions’ presentation of “35MM: A Musical Exhibition,” a song cycle bridging the worlds of music and photography.

Unique in concept but lacking cohesive depth, “35MM” uses a series of eclectic photographs by Matthew Murphy to tell intriguing, hilarious and occasionally confusing tales of romance, connection, disillusionment, and hope. Overall, this vignette-driven showcase is at its best when love dominates the conversation. For instance, a song centered on a photo of a couple at odds on a playground swing set is certainly more enticing than a song built on the oddities of a kooky doll. Perhaps if Oliver would have created his song cycle based solely on the ups and downs of relationships, the results would have been more distinctive and relatable. Some of the songs are not perfectly matched to the photos as well which halts momentum. Nevertheless, his ambitious work beckons the audience to examine the trials and tribulations of life through focus, perspective and the sheer passage of time.

Director AJ Breslin helms Oliver and Murphy’s world with very little interference. Due to the Mathile’s intimacy, this breezy production instantly conjures a cozy, coffee shop vibe which suits the show’s introspective nature and important attention to projections. Breslin’s minimalist, straightforward approach clearly allows each song to speak for itself, but at the same rate it’s difficult to hear some of the more frenzied lyrics. Still, his committed, energetic and passionate five-member cast, taking on the vocal challenges of the harmonically intricate score with vim and verve under the music direction of David McKibben, joins forces with ample opportunities to entertain. Natalie Sanders and Zach King, a volatile Queenie and Burrs last season in Dare to Defy’s “The Wild Party,” winningly reunite for the spirited “Make Me Happy.” Sanders, looking as statuesque as ever in basic black, wonderfully opens the show with “Stop Time” and notably drives the dark high school drama of “The Ballad of Sara Berry” with gusto. It’s also great to see Alan Ruddy and Danielle Kubasky reuniting for the first time since appearing as and Princeton and Kate Monster in Beavercreek Community Theatre’s 2015 production of “Avenue Q,” Ruddy, effectively balancing comedy and poignancy throughout, strongly renders “The Seraph” while Kubasky shines in “Twisted Teeth.” Skyler McNeely, who appeared with Sanders in Sinclair Community College’s 2015 production of “Songs for a New World,” teams with Kubasky for a terrifically emotive rendition of the heartbreaking “Hemming & Hawing” chronicling the twisted complications and imperfections of love. Keyboardist Nick Garvin leads a fine five-piece band.

The contemporary pop/rock/punk essence of “35MM” may not appeal to musical theater fans more inclined to embrace Rodgers and Hammerstein, but it’s a prime example of Dare to Defy’s eagerness to look outside the box.

 

“35MM: A Musical Exhibition” continues Oct. 7 at 8 p.m. and Oct. 8 at 2 and 8 p.m. inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. The production is performed in 80 minutes without intermission. Tickets are $19.50-$24.50. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. Patrons are reminded the show contains adult language.

 

 

 

 

‘Restoration!’ Review – Wright State University – New Stage, New Age

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Everything old is somewhat new again as Wright State University opens its 42nd season with a terrifically acted and designed quasi-world premiere of “Restoration!,” an adaptation of William Shakespeare’s 1606 dark tragedy “King Lear” inspired by Irish poet Nahum Tate’s sunnier and redemptive 1681 adaptation “The History of King Lear.”

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Wright State University opens its 42nd season and newly renovated Creative Arts Center with “Restoration!” through Oct. 2. The historical drama is based on “The History of King Lear” by Nahum Tate, an adaptation of William Shakespeare’s “King Lear.” (Contributed photo by W. Stuart McDowell)

Written and directed by W. Stuart McDowell, Artistic Director of WSU’s Department of Theatre, Dance and Motion Pictures, “Restoration!” aptly reflects the exhilaration and progressiveness of the Restoration Period. This era welcomed a resurgence of enlightened and thought-provoking English literature and drama specifically the reopening of theatres which had been closed since 1642. Women were allowed to perform on stage for the first time as well. Opening only 65 years after Shakespeare’s death, Tate’s version proved controversial with its lighter additions including an endearing romance between valiant Edgar and Lear’s bold daughter Cordelia, two characters who never meet in Shakespeare’s version. However, these insightful changes mirrored the hope and promise of the era especially Lear being restored to the throne just as Charles II was restored to the British monarchy. Tate’s successful version was performed for nearly 160 years and was notably seen in Williamsburg, Virginia in 1771 by George Washington.
McDowell’s history with “Restoration!” harkens back to his career in New York City spearheading the Riverside Shakespeare Company, a troupe he co-founded in 1977 with his wife Gloria Skurski. Originally adapted in 1985, the play was a hit and the critics heralded it as “a ‘Lear’ for our times.” Even so, McDowell continued to rethink his script over the years and revised the premise which adopts an inviting play-within-a-play framework. The production is set at the first rehearsal of “The History of King Lear” as legendary actor Thomas Betterton faithfully guides his players through the fresh script. Some cast members are wary of tackling “King Lear” anew because they feel Shakespeare and his words are immortal, but a vivid reminder slices doubt, “let the theater set the example for what should be – not what is.” Incorporating charming conceptual touches such as a harpsichord, imaginative sound effects including a wind machine, and colorful period-flavored songs co-created by Sandy Bashaw, McDowell winningly crafts an engaging world of pomp and circumstance, choral glee, familial deceit, sword fights, and sibling catfights befitting the Restoration Period and Shakespeare’s fascinating characters. Costumer Christie Peitzmeijer’s beautiful period attire, David J. Castellano’s efficient raked stage complete with footlights, Matthew P. Benjamin’s exceptionally evocative lighting design, Bruce Cromer’s robust fight choreography, Ryan Burgdorf’s sound design, and Deborah Thomas’ dialect coaching also impress in setting the proper tone and look of this historical drama.
McDowell’s cast of 18 is uniformly strong and distinctly sophisticated. Fine principals include the delightfully energetic Joey Logan as the jovial, determined and passionate Thomas Betterton/King Lear, the dynamic duo of Katlyn Tilt and Julia Gomez as conniving sisters Goneril and Regan, beguiling ingénue Katie Sinicki as Cordelia, Christian Schaefer as Cornwall, Josh Beasley as Gloucester, Jake West as Kent, appealingly earnest WSU newcomer Ross Bloedorn as the noble, crazed Edgar, Dana Bixler tenderly rendering “Long Live the King” as the Fool, and an outstandingly cunning and suave Connor Lysholm as the villainous Edmond. Lysholm, a brooding Jay Gatsby last season in McDowell’s staging of “The Great Gatsby,” injects great nuance (notice how he caresses Lear’s throne chair in Act 1) while displaying a contemporary-esque mastery of the text. He also embraces his treacherous role with a pompous, intimidatingly cool swagger effortlessly transforming the raked stage into a raked runway with every stride and strut. His knockout portrayal clearly indicates how fantastic he would be as King George III in “Hamilton.” Hopefully a smart casting director will someday agree. The cast includes Mallory Kraus, Kenneth Erard, Brynnan McNeill, Jeremy Farley, Isaac Ingle, Zack Pruett, Danni Hepp, and Madeline Musico.
Commemorating the 400th anniversary of Shakespeare’s death and remaining impactful since the idea of “madmen leading the blind” hasn’t lost its cultural or political sting in 2016, “Restoration!” elegantly excels with joy, humor and heart.

 

“Restoration!” continues Oct. 1at 8 p.m. and Oct. 2 at 2 p.m. inside the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Act One: 80 minutes; Act Two: 60 minutes. Tickets are $22 for adults and $20 students and seniors. For more information, call (937) 775-2500 or visit https://liberal-arts.wright.edu/theatre-dance-and-motion-pictures/boxoffice

 

 

 

 

‘Sweeney Todd’ Review – Human Race Theatre Company – Dark Victory

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The Human Race Theatre Company opens its 30th anniversary season with a wonderfully immersive and impressive production of composer Stephen Sondheim and librettist Hugh Wheeler’s 1979 Tony Award-winning masterpiece “Sweeney Todd: The Demon Barber of Fleet Street.”

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Based on Christopher Bond’s play of the same name, “Sweeney Todd” marvelously intertwines horror, humor, love, regret, revenge, and suspense into its Victorian account of a crazed barber/ex-convict destroying the society that cheated him. The disturbing, cannibalistic nature of Sweeney’s dastardly deeds, fueled by his kooky accomplice Mrs. Nellie Lovett, a pie shop proprietor in Fleet Street, always provides a riveting centerpiece for this ingenious thriller. However, director Scott Stoney refreshingly opts for more than a mere bloody fright fest. By digging deeper into characterization and the humanity of those inhabiting Sweeney’s dark world, Stoney creates one of the most relevant versions of the show I have seen heightened by a striking intimacy that can only be felt within the confines of the Loft Theatre. In fact, due to certain moments staged on platforms located on opposite sides of the venue, the material has never felt more immediate or engrossing. Some organizations would scoff at the notion of producing such an unnerving musical with an approachable mindset, but Stoney’s boldness, insisting the audience follow every morsel of the action, invites an experience unlike any other. But you wouldn’t want to be kept at a distance anyway considering the fantastic attributes of his vocally sublime cast.

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Jamie Cordes plays the title role in “Sweeney Todd.”

Resonant baritone Jamie Cordes, featured as sailor Anthony Hope in the Human Race’s 1996 production of “Sweeney Todd” at the Victoria Theatre starring Stoney, understands the fine line associated with portraying the complex Sweeney, one of the most challenging roles ever conceived. If he aimed too psychotic he’d wallow in overblown histrionics. If he aimed too melodramatic he’d wallow in maudlin shallowness. Thankfully, the evil he concocts is a fetching brew of creepily confident swagger, authoritative menace, distressed paranoia, wounded remorse, and disturbing joy. Toward the end of Act 1, Cordes respectively brings Sweeney’s magnetism and terror to the compelling forefront with splendid renditions of the ravishing ballad “Pretty Women” (terrifically shared with David McDonald as the corrupt Judge Turpin who sent Sweeney to jail on a trumped-up charge and adopted his daughter Johanna while he was incarcerated) and utterly alarming “Epiphany,” one of the scariest songs in the musical theatre canon tailor-made to rip through the fourth wall. Fine comedienne Rebecca Watson (Broadway’s “By Jeeves”) is equally razor sharp as Mrs. Lovett, the Sondheimian equivalent to Shakespeare’s Lady Macbeth. There’s a comical world-weariness in her portrayal befitting Lovett’s down-and-out nature (she’s responsible for “The Worst Pies in London”), but Watson specifically magnetizes as the deceitful Lovett lures Sweeney deeper into vengeance if only to secure his love. I haven’t seen an actress skillfully weigh Lovett’s self-absorbed matters of pleasure and profit since being blown away by Imelda Staunton’s fiery portrayal in London’s West End four years ago.

14202760_10154615224843013_3259308007451069107_nElsewhere in principal roles, strong tenor Zack Steele is an engagingly sensitive and lovestruck Anthony (his rendition of “Johanna” is beautifully emotive), Kimberly Hessler, well-paired with Steele, supplies lilting operatic strains as the lovely, sheltered Johanna (her rendition of the gorgeous “Green Finch and Linnet Bird” holds many colors), Craig McEldowney is a deliciously flamboyant and spiteful Adolfo Pirelli, DJ Plunkett brilliantly conveys tenderness, vulnerability, spunk, and dread as Pirelli’s humble assistant Tobias Ragg (his moving rendition of “Not While I’m Around” is a genuine heartbreaker), Aaron Vega is a delightfully snide and vindictive Beadle Bamford (his clear falsetto is put to great use in “Ladies in Their Sensitivities”), Christine Zavakos is a playful yet foreboding Beggar Woman, and Scott Hunt (Tobias in the 1996 production) is an appropriately malevolent Jonas Fogg. The fantastic and impactful ensemble, connected through Tracey Bonner’s character-conscious choreography and blessed with phenomenal vocal power as well as a unified versatility to fluidly transform whether as mourning Londoners or hysteric lunatics, consists of Gina Handy, Drew Helton, Cassi Mikat, Nathan Robert Pecchia, David Shough, Sherri L. Sutter (Johanna in 1996 production), and Kandis Wean.

Additionally, scenic designer Dan Gray’s efficient, revolving set is bolstered by a throng of windows evoking the Industrial Revolution. Janet G. Powell’s attractive period costumes distinctly range from drab to swanky (notice Sweeney, Lovett and Tobias’ fancy attire at the top of Act 2). John Rensel’s lighting design marvelously captures varying moods, specifically sending chills up my spine when a barrage of lights ominously beam through the windows at the conclusion of Sweeney and Lovett’s cheerfully eerie “A Little Priest” signaling the beginning of the end for customers along Fleet Street. Music director Sean Michael Flowers leads an eight-piece band that occasionally feels distant but is well-balanced nonetheless despite a few timing glitches on opening night. Jay Brunner’s unsettling sound design aids in spooky ambiance but was also shaky on opening night.

One of the production’s final, lasting images involves a young man contemplating an evil plunge into darkness. It is a chilling reminder giving credence to Sondheim’s probing question which should never be taken lightly: “Isn’t that Sweeney there beside you?” After all, anyone at any time has the potential to simply snap. Attend this tale and rediscover why.

 

“Sweeney Todd: The Demon Barber of Fleet Street – A Musical Thriller” continues through Oct. 2 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Act One: 90 minutes; Act Two: 60 minutes. Performances are 8 p.m. Sept. 15-17, 22-24, and 29-Oct. 1; 7 p.m. Sept. 13-14, 20-21, 27-28; and 2 p.m. Sept. 18, 25 and Oct. 2. Tickets are $12-$50 (prices vary depending on performance date). There are a limited number of $12 side area seats available for each performance. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. Patrons are advised the production contains adult language and themes.

 

‘The Last Lifeboat’ Review – Dayton Theatre Guild – Human Error

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One man’s fateful decision during the frightening chaos of one of the world’s greatest tragedies is only a small part of the immense appeal of Luke Yankee’s compelling 2014 drama “The Last Lifeboat,” currently receiving an outstanding regional premiere as the 72nd season opener of the Dayton Theatre Guild.

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(Left to right) Cassandra Engber, J. Gary Thompson, Heather Atkinson, Heather Martin, Mike Beerbower (seated), Kerry Simpson, Matt Lindsay, and Zach Katris in “The Last Lifeboat” (Photo by Craig Roberts)

Yes, Joseph Bruce Ismay, British owner of the White Star Line, notoriously saved himself when the Titanic sank during her maiden voyage in April 1912. But the fundamental events decades before and after, providing the brisk pulse and inherent attraction of the play, offers fascinating insights into a man pigeonholed as a coward throughout history. As depicted by Yankee, balancing years of substantive research with the freedom of artistic liberties, the guilt-ridden Ismay is not portrayed as an entitled villain but simply a victim of circumstance. He was a man who never felt loved or admired by his stern father who particularly scolded him about crying in public. He also had difficulties of discernment when negotiating with rich investors (such as J.P. Morgan) who wanted the Titanic to be constructed in favor of the elite. Survivor’s guilt, legal challenges and relationship challenges took its toll on him as well with his health notably declining in the 1930s due to complications from diabetes. He died of a stroke in 1937 at the age of 74.

 
In his impressive Guild directorial debut, Jeff Sams brings strikingly cinematic and choreographic fluidity to Yankee’s meticulous handiwork, which covers nearly 60 years and over 50 scenes. Sams specifically injects breathtaking poignancy into the play’s gripping centerpiece, the Act 1 finale centered on Ismay entering the lifeboat. The terrifically versatile cast dramatically unifies in slow motion to convey the sinking as “Nearer, My God, to Thee” fittingly propels emotions. In addition to creating an expert scenic design consisting of trunks, tables, crates, antiques, efficient props, and newspaper renderings, Sams wisely keeps the cast, beautifully costumed in period attire by Carol Finley, on stage at all times. His decision allows the play to maintain an impactful, observational immediacy, drawing the audience further into the storytelling accented with first-rate assistance from lighting designer John Falkenbach and sound designer K.L. Storer. Redundant blackouts chip away at momentum but are not a major hindrance.

 

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Heather Atkinson and Matt Lindsay in “The Last Lifeboat” (Photo by Craig Roberts)

Matt Lindsay (Ismay), Heather Atkinson (Mrs. Ryerson and others), Mike Beerbower (William Randolph Hearst and others), Cassandra Engber (Vivian Hilliard and others), Zach Katris (Phillip Franklin and others), Heather Martin (Florence Ismay and others), Kerry Simpson (Margaret Ismay and others), and J. Gary Thompson (Thomas Ismay and others) firmly fashion wonderfully vivid characterizations. Lindsay has the lion’s share of material and his amiable persona sells Ismay’s good intentions (Yankee is pro-Ismay all the way which will infuriate doubters), but the entire cast has ample opportunity to shine. For instance, as first class passenger Mrs. Ryerson, Atkinson sharply trades the character’s inquisitive playfulness in Act 1 for hardened contempt in Act 2 as she attempts to make sense of losing her husband who valiantly went down with the ship. The compassionate Engber is an endearing source of care and concern as Ismay’s former sweetheart Vivian, a character birthed from Yankee’s imagination. Beerbower, memorably understated last season in the Guild’s local premiere of “Outside Mullingar,” is superbly sly and malicious as newspaper magnate Hearst, particularly in a disheartening Act 2 scene opposite Martin when Florence tries to seduce Hearst to protect Ismay. Thompson, a reliable chameleon, weaves through numerous identities with aplomb but is especially formidable as Thomas, Ismay’s successful yet insensitive father. By and large, this cast is one of the finest ever assembled by the Guild.

 
Yankee notably attended the Saturday, Aug. 27 performance and participated in a lively and informative talkback to share his thoughts on the creative process. It was apparent how much he admired Ismay’s legacy and the entirety of the Titanic account. As so, in his appreciation of Ismay, responsible for the “largest floating object in the world,” “The Last Lifeboat” stands as a cautionary tale proving that in the midst of great darkness and despair redemption is never too far away.

 
“The Last Lifeboat” continues through Sept. 4 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: 42 minutes; Act Two: 50 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.

 

‘Big Fish’ Review – Epiphany Lutheran Church – Tall Tales Terrifically Told

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big fishThere’s no one like Edward Bloom, the traveling salesman and small town savior from Alabama who crossed paths with witches, mermaids, werewolves, and giants. His life sounds totally far-fetched, but getting to know the man behind the myths is great fun as seen in Epiphany Lutheran Church’s absolutely heartwarming local premiere of librettist John August and composer Andrew Lippa’s 2013 adaptation of “Big Fish.”
The 26th annual summer musical presentation of the Epiphany Players Drama Ministry, “Big Fish” is a whimsical account based on the 1998 novel of the same name by Daniel Wallace and the acclaimed 2003 Tim Burton film written by August. The relatively easygoing yet ailing Edward, happily married to the former Sandra Templeton, is thrown for a loop when his son Will presses him for answers to the fascinating tall tales he’s heard since he was a child. In his attempt to appease the soon-to-be-married Will, Edward proudly recalls his glory days, but his trips down memory lane are not without heartache or disagreement. As Edward nears the end of his life, Will, expecting a child of his own, ultimately grasps the importance of his wife Josephine’s reminder that “if you understand the stories, you’ll understand the man.”

When I saw “Big Fish” on Broadway, I can honestly tell you it was a big flop. Lippa’s flavorful songs were a saving grace (gorgeous ballad “I Don’t Need a Roof” is among the top tier of an underrated score), but an overblown design and lopsided conception (Norbert Leo Butz oddly and perplexingly portraying Edward from child to adult) chipped away at the material’s believability and resonance. Thankfully, Epiphany’s breezy staging, delightfully directed and choreographed by Megan Wean Sears, significantly alters the show’s pivotal generational scope by having three actors portray Edward and two actresses portray Sandra. Granted, Epiphany encourages large casts (this year’s company totals 75 and is double-cast per tradition), but in recognizing the possibilities afforded to multiple actors, Sears has truly changed the show for the better despite artistic liberties.
John Benjamin (an endearing, vocally strong everyman) and Brady Kress (a folksy charmer) bring authority and tenderness to the good-natured Edward with both interpretations culminating poignantly in Act 2’s deeply moving finale “How It Ends.” As the ever-supportive Sandra, Kandis Wean Gibson (recalling the depth and musicianship of role originator Kate Baldwin) and Kellie Daab (lovingly warm) are respectively and engagingly paired with Benjamin and Kress. In the middle of Act 1, when the action appealingly turns to Edward’s popular teenage years in his hometown of Ashton, Desmond Thomas (a chipper All-American) and Eric Thompson (a radiant pop tenor who will hopefully land a record deal one of these days) take the spotlight with terrific vibrancy. The teenage Sandra is wonderfully embodied by triple threats Brianna Russ (opposite Thomas) and Abby Kress (opposite Thompson). The bruised, frustrated Will arises with impactful introspection thanks to Jeffrey Mack (offering a soaring, lyric-driven rendition of “Stranger”) and Timmy Seiler (very contemplative and vulnerable). Kathy Meyer and Lily Cutler are sweetly sincere as Josephine.

 
Additionally noteworthy among a fine cast are Bobby Klosterman and John Morgan as Young Edward, Liam Utt and Curtis LeMieux as Young Will, Eric Pettit and Eryn Barrett as Will’s son, Brian Hoff and Mikey Fried as Karl the Giant, the flamboyance of Justin Matthews and Bobby Morgan as Amos Calloway, the fieriness of Margo Russ and Mia Bridgman as The Witch, Chris Scharf and Nick Kress as Don Price, Jessica Pettit and Kate Barrett as Jenny Hill, Bridget Miley and Laura Jacobs as teenage Jenny, the fancifulness of Sarah Crawford and Marisha Osowski as The Mermaid, Olivia Engler and Jessica Pettit as the USO Singer leading patriotic Act 2 opener “Red, White and True,” and Brianna Mallare and Maria Jasek as Sandra’s friends who join her for the cutesy “Little Lamb from Alabama.”

 
Along with the unified joy bursting throughout ensemble numbers “Be the Hero,” “Showdown” and “Out There on the Road,” Sears particularly creates a fierce routine for the Witches (dramatically clothed in black hooded capes by the consistently remarkable duo of Maria Klueber and Lori Watamaniuk for “I Know What You Want”) and a jubilant tap dance (“Red, White and True”). Still, prepare to be blown away by the breathtaking beauty of Act 1 finale “Daffodils,” teen Edward and Sandra’s heartfelt duet bolstered by the dazzling elegance of female dancers surrounding them while sprinkling the stage with daffodils. It is simply one of the most stunningly romantic sequences you’ll see on any stage this year.

 
In addition to Klueber and Watamaniuk, the first-rate production team includes music director David Brush, scenic designers Matt Carson and Tristan Cupp (providing an eye-catching proscenium featuring images of Edward’s various adventures and encounters), sound designer Chris Pentecost, lighting designer Ryan McCoy, prop designers Adrienne Ausdenmoore (Drama Ministry Chair) and Jason Hamen, assistant director/choreographer Sarah Egbert, and dance captain Abby Kress.

 
The proverbial love of storytelling and the desire to live one’s life bigger are vital attributes fueling this study of family, friendship and legacy. Edward Bloom may be a fantastical soul, but he’s relatable nonetheless. In fact, you may see one of your relatives or perhaps yourself within him. As Sandra reminds Will, “There is magic in the man, please find it while you can.” Kudos to Epiphany for bringing truly wondrous magic to a show that would still be running on Broadway if it had incorporated Sears’ inspired vision.

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“Big Fish” continues through July 24 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: 70 minutes; Act Two: 55 minutes. Tickets are $15 for adults, $10 for students and seniors (60 and over), and $5 for children (5 and under). For tickets call, call (937) 433-1449 ext. 105. For additional information, visit www.epiphanydayton.org or e-mail [email protected]. In addition, every summer a charitable organization is selected to receive a portion of the proceeds. This year’s beneficiary is the Storybook Project, a ministry centered on ensuring incarcerated parents have the opportunity to read to their children. Volunteers from Epiphany record these parents reading a children’s book of their choosing and a personal message to the child. Epiphany volunteers have been visiting prisoners since 2001 and have sent over 10,000 recordings and books.

 

Saluting Dayton’s 2015-16 Theater Season

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10443106_10152241549014755_6691478090546029427_oAmerica’s independence, murderesses at odds, family dysfunction upended by a gentleman caller, brave children thriving on creativity to survive the horrors of a concentration camp, and disheartened young adults navigating a post-9/11 world are some of the stories that bolstered Dayton’s 2015-16 theater season.

Looking back, let’s start with the bold, risk-taking Playground Theatre, a millennial-focused troupe changing the landscape of Dayton theater with an edgy off-Broadway vibe. Case in point: An exceptionally acted, up close and personal local premiere of Reasons to Be Pretty, Neil LaBute’s scathing account of image, regret, deception, and disillusionment directed with razor sharp tension and riveting intimacy by David Brush. Fine premieres thrived elsewhere at community theaters thanks to the Dayton Theatre Guild’s lovely Outside Mullingar and Last Gas as well as Young and Heart Players’ kooky, introspective Circle Mirror Transformation. As for musicals, Dayton Playhouse scored with challenging classics 1776 and Carousel while Beavercreek Community Theatre offered highly engaging accounts of The Addams Family and Spring Awakening

Collegiate theaters also hit the mark with a solid slate of musicals. Wright State University’s Chicago, The Music Man and Miss Mayor showcased the superior quality audiences have come to expect while Sinclair Community College notably produced an infectious, playful and soul-stirring Wiz. Drama standouts included University of Dayton’s captivatingly poignant staging of the Holocaust drama And A Child Shall Lead (co-produced by Zoot Theatre Company), Sinclair’s terrifically ensemble-driven One Flew Over the Cuckoo’s Nest, and Clark State Community College’s commendable Angels in America: Millennium Approaches.

On professional stages, the fantastic return engagement of The Lion King gave the Victoria Theatre Association late-season momentum, but the production was actually one of an assortment of outstanding national tours this season including A Night with Janis Joplin, Once, Pippin, The Book of Mormon, and The Bridges of Madison County. Human Race Theatre Company specifically excelled with a wonderfully haunting and heartfelt Glass Menagerie. Feminine-centric Magnolia Theatre Company produced a splendid local premiere of the engrossing one-woman show K of D, but also greatly entertained with the delightful cabaret Broadway Beveled. Dare to Defy Productions pulled out the stops with American Idiot, but also impressed with the hilarious Great American Trailer Park Musical and snazzy, dance-heavy Wild Party.
Assessing the 65 shows I saw this season, I congratulate the following winners (in bold) and nominees.

glass menagerie

Jennifer Joplin, Claire Kennedy and Scott Hunt in the Human Race Theatre Company’s production of “The Glass Menagerie” (Photo by Scott J. Kimmins)

reasons to be pretty

(l to r) Brett Hill, Jenna Burnette, Christopher Hahn, and Kaleigh-Brooke Dillingham in “Reasons to Be Pretty” (Photo by Rachel Katz)

BEST TOURING PRODUCTION
The Book of Mormon, Victoria Theatre Association
The Bridges of Madison County, Victoria Theatre Association
Disney’s The Lion King, Victoria Theatre Association
Once, Victoria Theatre Association
Pippin,Victoria Theatre Association
Rodgers and Hammerstein’s Cinderella, Victoria Theatre Association

BEST PROFESSIONAL PRODUCTION OF A PLAY
The Glass Menagerie,Human Race Theatre Company
The K of D, An Urban Legend, Magnolia Theatre Company
Master Class, Human Race Theatre Company
Steel Magnolias, Human Race Theatre Company

BEST LOCALLY-PRODUCED PROFESSIONAL MUSICAL
A Christmas Story: The Musical, La Comedia Dinner Theatre
American Idiot, Dare to Defy Productions
The Full Monty, Human Race Theatre Company
The Great American Trailer Park Musical,Dare to Defy Productions
The Wild Party,Dare to Defy Productions

BEST COMMUNITY THEATER PRODUCTION OF A PLAY
Circle Mirror Transformation, Young at Heart Players
Fools,Undercroft Players
Last Gas,Dayton Theatre Guild
Outside Mullingar, Dayton Theatre Guild
Reasons to Be Pretty, Playground Theatre

BEST COMMUNITY THEATER PRODUCTION OF A MUSICAL
1776, Dayton Playhouse
The Addams Family,Beavercreek Community Theatre
Carousel, Dayton Playhouse
Spring Awakening, Beavercreek Community Theatre

BEST COLLEGIATE PRODUCTION OF A PLAY
A Streetcar Named Desire, Wright State University
And A Child Shall Lead, University of Dayton with Zoot Theatre Company
Angels in America: Millennium Approaches, Clark State Community College
The Great Gatsby, Wright State University
One Flew Over the Cuckoo’s Nest, Sinclair Community College

BEST COLLEGIATE PRODUCTION OF A MUSICAL
Chicago, Wright State University
Miss Mayor, Wright State University
The Music Man, Wright State University
Once Upon a Mattress, University of Dayton
The Wiz, Sinclair Community College

k-of-d

Dayton native and Wright State University grad Annie Pesch Contributed photo

BEST SPECIAL THEATRICAL EVENT
A Night with Janis Joplin, Victoria Theatre Association
American Mosaic, Dayton Philharmonic Orchestra, Dayton Opera, Dayton Ballet, Human Race Theatre Company, Muse Machine, DCDC, and Bach Society of Dayton
An Evening with Jason Robert Brown, Wright State University Musical Theatre Initiative
Mary Poppins, Muse Machine
Tarzan,Epiphany Lutheran Church

BEST LEADING ACTOR IN A PLAY
Mike Beerbower as Anthony Reilly, Outside Mullingar
Saul Caplan as Roy Cohn, Angels in America: Millennium Approaches
Tommy DiMassimo as Stanley Kowalski, A Streetcar Named Desire
Christopher Hahn as Greg, Reasons to Be Pretty
Scott Hunt as Tom Wingfield, The Glass Menagerie
David Shough as Joseph Alsop, The Columnist (Dayton Theatre Guild)

BEST LEADING ACTRESS IN A PLAY
Christine Brunner as Truvy, Steel Magnolias
Jenna Burnette as Steph, Reasons to Be Pretty
Teresa Connair as Rosemary Muldoon, Outside Mullingar
Jenna Gomes as Becky, Slowgirl (Dayton Theatre Guild)
Ellie Margolis as Blanche DuBois, A Streetcar Named Desire
Annie Pesch as The Girl, The K of D, An Urban Legend

BEST LEADING ACTOR IN A MUSICAL
Christian Johnson as Bert, Mary Poppins
Nathan Robert Pecchia as Harold Hill, The Music Man
Layne Roate as Johnny, American Idiot
Andrew Samonsky as Robert Kincaid, The Bridges of Madison County
Jeff Sams as Billy Bigelow, Carousel
Cody Jamison Strand as Elder Cunningham, The Book of Mormon

BEST LEADING ACTRESS IN A MUSICAL

STEEL-prod-pic-4

Pictured: Carolyn Popp, Christine Brunner, Caitlin Larsen, Patricia Linhart and Maretta Zilic


Kaitlyn Davidson as Ella, Rodgers and Hammerstein’s Cinderella
Mackenzie Lesser-Roy as Girl, Once
Gabrielle McClinton as Leading Player, Pippin
Bailey Rose as Roxie Hart, Chicago
Brianna Russ as Mary Poppins, Mary Poppins
Elizabeth Stanley as Francesca Johnson, The Bridges of Madison County

 

BEST SUPPORTING ACTOR IN A PLAY
Eric Arntz as Martin Lowy, And A Child Shall Lead
Sean Frost as Louis Ironson, Angels in America: Millennium Approaches
Cody Lewis as Harold “Mitch” Mitchell, A Streetcar Named Desire
Dave Nickel as Tony Reilly, Outside Mullingar
John Spitler as Dr. Zubritsky, Fools
Drew Vidal as Jim O’Connor, The Glass Menagerie

BEST SUPPORTING ACTRESS IN A PLAY
Megan Cooper as Theresa, Circle Mirror Transformation

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The cast of Dayton Playhouse’s production of “1776” (Photo by Art Fabian)

Kaleigh-Brooke Dillingham as Carly, Reasons to Be Pretty
Claire Kennedy as Laura Wingfield, The Glass Menagerie
Caitlin Larsen as Ouiser, Steel Magnolias
Pam McGinnis as Freida, The Tale of the Allergist’s Wife (Dayton Playhouse)
Rachel Wilson as Cherry-Tracy Pulcifer, Last Gas

BEST SUPPORTING ACTOR IN A MUSICAL
Tim Rezash as John Dickinson, 1776
John Rubenstein as Charles, Pippin
Tyler Simms as Amos Hart, Chicago
J. Gary Thompson as Jigger Craigin, Carousel
Malcolm Walker as The Wiz, The Wiz
Richard Young as Benjamin Franklin, 1776

 

BEST SUPPORTING ACTRESS IN A MUSICAL
Cecily Dowd as Winifred  Banks, Mary Poppins
Lisa Glover as Whatsername, American Idiot
Priscilla Lopez as Berthe, Pippin
Krissy McKim-Barker as Carrie Pipperidge, Carousel
Tia R. Seay as Betty, The Great American Trailer Park Musical
Megan Valle as Jacqueline “Jacq” Greer, Miss Mayor

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(left to right) Rob Willoughby, Angie Thacker, Tori Kocher, Tia R. Seay, Eric Julian Walker, and Hayley Penchoff appear in Dare to Defy Productions’ presentation of “The Great American Trailer Park Musical.” (Contributed photo; not pictured Lisa Glover)


BREAKTHROUGH MALE PERFORMANCE
Evan Benjamin as Jack, Into the Woods (Dare to Defy Productions)
David E. Brandt as The Lion, The Wiz
Brett Hill as Kent, Reasons to Be Pretty
Dakota Mullins as Tommy Djilas, The Music Man
Thomas Cole Schreier as St. Jimmy, American Idiot
Eric Thompson as Enoch Snow, Carousel

 

BREAKTHROUGH FEMALE PERFORMANCE
Bryana Bentley as Rose, Fences (The Signature: A Poetic Medley Show/Sinclair Community College)
Caroline Chisholm as Velma Kelly, Chicago
Natalie Girard as Evelyn “Evie” Ensler (a.k.a. Helen Hensler), Miss Mayor
Adrienne (Adee) McFarland as Julie Jordan, Carousel
Vanae Pate as Dorothy, The Wiz
Madeline Sensenstein as Myrtle Wilson, The Great Gatsby

BEST DIRECTION OF A PLAY
Kimberly Borst, The K of D, An Urban Legend
David Brush, Reasons to Be Pretty
Greg Hellems, The Glass Menagerie
David Shough, Outside Mullingar
Jerome Yorke, And A Child Shall Lead

BEST DIRECTION OF A MUSICALwsu chicago
Marya Spring Cordes, The Music Man
Joe Deer, Chicago
Chris Harmon, The Wiz
Megan Wean Sears, Tarzan
Angie Thacker, American Idiot

BEST CHOREOGRAPHY
Lula Elzy, Mary Poppins
Lisa Glover, The Wild Party
Kimberly Isaacs, American Idiot
Teressa Wylie McWilliams, Chicago
Rodney Veal, The Wiz
Dionysia Williams, The Music Man

BEST SCENIC DESIGN OF A PLAY
Bruce Brown, Last Gas
Matthew J. Evans, And A Child Shall Lead
Chris Newman, The Tale of the Allergist’s Wife (Dayton Playhouse)
Chris Newman and David Shough, Outside Mullingar
Terry Stump, One Flew Over the Cuckoo’s Nest

BEST SCENIC DESIGN OF A MUSICAL
Dick Block, The Full Monty
Adam Koch, Chicago
Pam Knauert Lavarnway, The Music Man
Terry Stump, The Wiz
Ray Zupp, Tarzan

BEST COSTUME DESIGN OF A PLAY
Donna Beran, And A Child Shall Lead
Carol Finley, The Columnist (Dayton Theatre Guild)
Mary Beth McLaughlin, The Great Gatsby
Janet G. Powell, Steel Magnolias
Emily Sollinger, A Streetcar Named Desire

BEST COSTUME DESIGN OF A MUSICAL
Kathleen Carroll, 1776
Kathleen Hotmer, The Wiz
Maria Klueber and Lori Watamaniuk, Tarzan
Christie Peitzmeier, The Music Man
Michelle Sampson, Chicago

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UD’s production of AND A CHILD SHALL LEAD. Photo by: Tony Beran

BEST LIGHTING DESIGN OF A PLAY
Jadon Bischoff, Slowgirl (Dayton Theatre Guild)
Daniel Brunk, One Flew Over the Cuckoo’s Nest
Jessica Ann Drayton, A Streetcar Named Desire
Matthew J. Evans, And A Child Shall Lead
Jessy Henning, The K of D, An Urban Legend

BEST LIGHTING DESIGN OF A MUSICAL
Matthew Benjamin, American Idiot
Jacob Brown, The Music Man
Sammy Jelinek, Into the Woods (Dare to Defy Productions)
Gina Neuerer, The Wiz
John Rensel, Mary Poppins

BEST SOUND DESIGN OF A PLAY
Megan Banfield, And A Child Shall Lead
Jay Brunner, The Glass Menagerie
Emily Hutton, The K of D, An Urban Legend
Alex Koker, A Streetcar Named Desire
K.L. Storer, Last Gas

BEST SOUND DESIGN OF A MUSICAL
Daniel Brunk, The Wiz
James Dunlap, Chicago
Emily Hutton, The Music Man
Chris Pentecost, Tarzan
Ben Selke, A Night with Janis Joplin

BEST ORCHESTRA
A Night with Janis Joplin (Music Director: Mark Berman)
The Bridges of Madison County (Music Director: Keith Levenson)
Chicago (Music Director: Scott Woolley)
Mary Poppins (Music Director: Claude Lucien Thomas)
The Wiz (Music Director: David McKibben; Conductor: Dr. Kenneth Kohlenberg)

BEST PROPERTIES
Jason Hamen and Adrienne Ausdenmoore, Tarzan
Jennifer Kramer, The Wiz
Heather Powell, Steel Magnolias
Shannon Sellars, Mary Poppins
Mo Stinehart, And A Child Shall Lead

ADDITIONAL ACKNOWLEDGMENTS

  • David Alfano’s video and projection design for And A Child Shall Lead
  • Lynn Baudendistel, Robin Brown, Toni Donato Shade, and Alisa Vukasinovich’s costume coordination for Mary Poppins
  • Brad Bishop as Gomez Addams and Becky Barrett-Jones as Morticia Addams in The Addams Family
  • Jay Brunner’s incidental music for The Glass Menagerie
  • David Brush and Chris Harmon’s respective reconfigurations of the Mathile Theatre and Beavercreek Community Theatre for Reasons to Be Pretty and Spring Awakening
  • Steven Burton and Tim Grewe’s wig design for 1776
  • The Tony-winning creative team for The Lion King: Director/designer Julie Taymor, scenic designer Richard Hudson, lighting designer Donald Holder, and choreographer Garth Fagan
  • The creative team for Miss Mayor: Christian Duhamel (music and lyrics), Ellie Margolis (book) and Greg Hellems (concept/additional book)
  • Micah Koverman as Colin in The Secret Garden (Playhouse South)
  • Bob Crowley’s Tony-winning scenic design, Natasha Katz’s Tony-winning lighting design, John Tiffany’s Tony-winning direction, and Steven Hoggett’s movement for Once
  • Tristan Cupp’s puppet design for And A Child Shall Lead
  • Cicily Daniels, Tawny Dolley, Q. Smith, and Jennifer Leigh Warren as the Joplinaries in A Night with Janis Joplin
  • Mary Bridget Davies’ Tony-nominated portrayal of Janis Joplin in A Night with Janis Joplin
  • Elis Davis, Jordan Adams, Connor Lysholm, and Kyle Krichbaum as The Quartet in The Music Man
  • Jonathan Deans and Garth Helm’s Tony-nominated sound design, Paul Kieve’s illusions, Dominique Lemieux’s Tony-nominated costumes, Scott Pask’s Tony-nominated scenic design, Diane Paulus’ Tony-winning direction, Kenneth Posner’s Tony-nominated lighting design, Gypsy Snider’s circus creation, and Chet Walker’s Tony-nominated choreography for Pippin
  • Jasmine Easler as Oprah Winfrey in Miss Mayor
  • Carol Finley’s costumes for Five Women Wearing the Same Dress (Beavercreek Community Theatre)
  • TJ “Tyler” Fortson, Katelyn Gross, Ashlee Ferrell, and Maximillian Santucci in Quid Pro Quo (Sinclair Community College)
  • Mierka Girten as Maria Callas, musical director Sean Michael Flowers’ accompaniment and Cassi Mikat as Sharon Graham in Master Class
  • Jose Gutierrez del Arroyo as Franklin Shepard in Merrily We Roll Along (Beavercreek Community Theatre)
  • Chris Harmon’s scenic design for California Suite, Five Women Wearing the Same Dress and Spring Awakening (Beavercreek Community Theatre)
  • William Ivey Long’s Tony-winning costumes and Josh Rhodes’ choreography for Rodgers and Hammerstein’s Cinderella
  • Jeffrey Mack as Tarzan in Tarzan
  • Gary Minyard’s fight choreography for She Kills Monsters (Sinclair)
  • Wendi Michael’s scenic design for Slowgirl (Dayton Theatre Guild)
  • Jared Mola as Nat Paradis and Rick Flynn as Guy Gagnon in Last Gas
  • The Murderesses of “Cell Block Tango” in Chicago (Caroline Chisholm, Alex Caldwell, Haylee Dobkins, Alyson Snyder, Megan Valle, and Meredith Zahn)
  • Chris Newman’s scenic design for The Diary of Anne Frank (Dayton Playhouse)
  • Casey Nicholaw’s Tony-winning choreography of The Book of Mormon
  • Annie Pesch and Fran Pesch’s rendition of “No More” in Broadway Beveled: A Feminine Cabaret
  • Micah Stock as Tom Wingfield (The Glass Menagerie) in American Mosaic
  • Matthew Tabor’s Hungarian dialect coaching for Chicago
  • Deborah Thomas’ dialect coaching for The Great Gatsby
  • André Tomlinson, Bryana Bentley, Greyson Calvert, and Rebecca Henry as The Yellow Brick Road in The Wiz
  • ZFX, Inc.’s flying effects for Tarzan

‘Master Class’ Review – Human Race Theatre Company – An Education

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Famed opera diva Maria Callas, one of the most gifted performers of the 20th century widely regarded as La Divina, comes alive through a satisfying lens at the Loft Theatre as seen in the Human Race Theatre Company’s production of Terrence McNally’s 1996 Tony Award-winning drama “Master Class.”

Master Class 2

Pictured (left to right): Jeremy Carlisle Parker, Mierka Girten and Sean Michael Flowers. Photo courtesy of Scott J. Kimmins.

Fluidly directed by Scott Stoney and set in the mid-1970s, McNally’s work provides a compelling, fantasized look at a voice master class Callas conducts at the Julliard School, based on actual accounts from her 23 sessions held during the 1971-72 school year. The strengths of her remarkable voice long gone having retired in the early 1960s, Callas resorts to teaching to sustain her as she molds the next generation hoping to reach her level of acclaim. In her eyes, artistry, discovery, expression, meaning, intonation, history, truth, and commitment are paramount. While instructing three aspiring singers, she engagingly reflects on her humble beginnings, formidable lessons, supposed rivals, topsy-turvy romances, and lauded roles. But above all, she stresses the importance of education. “You’re not in a theater,” she warns at the outset. “You’re in a classroom.”
Master Class 1Mierka Girten, a Cincinnati native and Wright State University alumna, fittingly embodies the cool, stern, opinionated, and intimidating bluntness overflowing within Callas’ superiority and influence. Sophisticatedly dressed by costumer Hyun Sook Kim in sparkling black attire accented with strings of pearls, Girten, who looks the part and, at 47, is roughly the same age as Callas when she conducted her sessions, astutely relies on vocal dexterities and mannerisms to capture the role’s dramatic sensibilities. As an actress living with multiple sclerosis and its complications, she navigates the role gingerly by using the script and holding notes throughout. Nevertheless, her acting choices are far from precarious, particularly in scenes detailing Callas’ fascinating coaching and the time she recalls her affair with shipping tycoon Aristotle Onassis.
Wonderfully assisted by pianist/musical director Sean Michael Flowers as Emmanuel Weinstock, Girten shines opposite three fantastic vocalists. As confident tenor Anthony Candolino, the charming, sunny Blake Friedman, who appeared as tenor soloist in “Liebeslieder Walzer” with New York City Ballet at Lincoln Center, dynamically interprets a portion of Puccini’s “Tosca,” which Girten guides with delightfully descriptive beauty. Singing Bellini’s “Sonnambula,” Jeremey Carlisle Parker, a Dayton native and University of Cincinnati College-Conservatory of Music alumna, brings personable unease and reticence to her endearing portrayal of timid soprano Sophie De Palma. Recent Wright State University alumna Cassi Mikat, tremendous last season in “Sondheim on Sondheim,” delivers another vocally thrilling performance as the flummoxed yet determined soprano Sharon Graham. Sharon’s shrewd choice of the letter scene from Verdi’s “Macbeth” invigorates Callas to the point of dissecting the piece from entrance to epiphany while conjuring her stellar Lady Macbeth at La Scala.Master Class 4
Stoney, briefly appearing as a stagehand, also assembles a first-rate artistic team including scenic designer Scott J. Kimmins (whose 17th design for the Race exudes the proper look and feel of an academic studio), lighting designer John Rensel, sound designer Jay Brunner, and the aforementioned Friedman as dialect coach. Projections are effectively incorporated as well when Callas recalls her past.
“How can you have rivals when no one else can do what you do?,” Callas colorfully questions. McNally’s striking assessment of one of the world’s singular talents is an insightful guide to grasping her legacy and the music she adored.

“Master Class” continues through June 26 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. June 15-18 and 22-25; 2 p.m. June 19 and 26; and 7 p.m. June 14 and 21. The production runs 2 hours and 10 minutes including intermission. Tickets are $40 for adults, $37 for seniors, and $20 for students. A “While We’re On the Subject” post-show talkback featuring special guest Thomas Bankston, artistic director of the Dayton Opera, will be held following the June 19 matinee. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

‘The Lion King’ Review – Victoria Theatre Association – Amazing Artistry

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Disney’s “The Lion King” still has a mighty roar.

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Photo caption Mukelisiwe Goba as Rafiki in Disney’s “The Lion King” (Photo by Matthew Murphy)

Five years after its sold-out premiere engagement at the Schuster Center, this global phenomenon, winner of six 1998 Tony Awards including Best Musical and the season finale of the Victoria Theatre Association’s Premier Health Broadway Series, returns to Dayton to deliver its incomparable blend of atmospheric splendor and imaginative razzle dazzle. The latest national tour treads a delicate course (the energy level on opening night was surprisingly off-kilter), but it satisfies visually nonetheless bolstered by terrifically firm performances.
Gifted director/designer Julie Taymor certainly broke the mold devising “Circle of Life,” a mesmerizing, tear-jerking and applause-inducing procession of birds, elephants, giraffes, rhinoceroses, zebras, and more revealing a key component to her marvelous vision. Stressing duality, particularly in the superb masks co-created by Michael Curry, she offers what she calls “the double event,” which enables the audience to see the characters as animal and human simultaneously. What a sight to behold! Her avant-garde pedigree also elevates the action from her clever use of shadow puppets to vivid moments of high drama (the wildebeest stampede) and emotional poignancy (the sight of lionesses in mourning).

 
Still, in a testament to the strengths of the story, this engaging if character-overloaded and awkwardly cutesy tale of a young lion’s struggle with doubt, insecurity and fear following the premeditated murder of his father resonates beyond the technical wizardry. Librettists Roger Allers and Irene Mecchi retain the charm and heartbreak of the original 1994 screenplay co-written by Mecchi, Jonathan Roberts and Linda Woolverton. An array of strikingly authentic and distinctive African-infused tunes from Lebo M., Mark Mancina, Jay Rifkin, Taymor and Academy Award winner Hans Zimmer also seamlessly accent Elton John and Tim Rice’s original songs including the Academy Award-winning “Can You Feel the Love Tonight.” In an attempt to make Act 1 tighter and breezier, “The Morning Report,” an upbeat but superfluous tune written for the stage version by John and Rice, remains cut as it was in the previous tour.

 
The very entertaining, roughly 50-member cast is uniformly strong. As the villainous Scar, Patrick R. Brown, approaching the role with a Rex Harrison, sing-speak sensibility, is deliciously sarcastic and vain. As Mufasa, the dynamic Gerald Ramsey, offering a moving rendition of “They Live in You,” is a comforting and dignified authoritarian. The delightful Mukelisiwe Goba wholeheartedly embraces the show’s flavorful African essence as kooky, wise shaman Rafiki. Aaron Nelson brings warmth and conviction to his portrayal of the spirited, soul-searching Simba, particularly in his tender rendition of “Endless Night.” Nick Cordileone (Timon), Drew Hirshfield (Zazu), Ben Lipitz (Pumbaa), Keith Bennett (Banzai), Tiffany Denise Hobbs (Shenzi), and Robbie Swift (Ed) provide witty comic relief, especially Cordileone and Hirshfield who find refreshing new avenues to explore within the silliness. Nia Holloway (Nala) nearly stops the show with her heartfelt interpretation of the gorgeously evocative ballad “Shadowland.” BJ Covington and Savanna Fleisher respectively provide spunk and sass as Young Simba and Young Nala, roles shared by Julian Rivera-Summerville and Imani Pullum.
In addition to Taymor’s astonishing costumes, a particularly radiant explosion of color in “One by One,” Richard Hudson and Donald Holder respectively supply a truly magnificent set and lighting design. In fact, over 700 lighting instruments were used to create the show’s lighting plot. Garth Fagan’s crisp, exuberant choreography effortlessly captivates. Music director Rick Snyder leads a solid orchestra featuring percussionists Stefan Monssen and Reuven Weizberg.
Seen by more than 85 million theatergoers worldwide and blessed with stagecraft that will leave you breathless, “The Lion King” is an extraordinarily eye-catching spectacle unlike any other. Don’t miss it.

 

Disney’s “The Lion King” continues through July 3 at the Schuster Center, Second and Main Streets, Dayton. Performances are Tuesdays-Fridays at 8 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 and 7:30 p.m. Act One: 70 minutes; Act Two: 55 minutes. Tickets are $25-$157. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘Circle Mirror Transformation’ Review – Young at Heart Players – Games People Play

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Yelling gibberish and embodying a baseball glove are among the assignments within a quirky acting class in Annie Baker’s kooky if polarizing 2009 Off-Broadway comedy “Circle Mirror Transformation,” currently receiving an excellent local premiere at the Dayton Playhouse courtesy of Young at Heart Players, a senior-focused troupe founded by Fran Pesch celebrating its 15th anniversary.

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(left to right) Steve Strawser as Schultz, Megan Cooper as Theresa, Cheryl Mellen as Marty, David Gaylor as James, and Jordan Norgaard as Lauren in Young at Heart Players’ local premiere of Annie Baker’s 2009 comedy “Circle Mirror Transformation,” the tale of a quirky acting class in Vermont. (Photo by Art Fabian)

Over the course of six summer weeks inside a windowless dance studio in Shirley, Vermont, five people attempt to connect by way of humorous, eye-opening theater games built to expose, entice and entertain. Counting to 10 in an attempt to be “totally present” or acting like a stuffed snake in order to conjure the feeling of being in a childhood bedroom develop as fascinating, playful exercises intended to stretch abilities and vulnerabilities. Some audience members might be perturbed by the detached nature of Baker’s stop-and-start structure, including the constant use of blackouts, but her choices bolster the fantastic realism she establishes from the outset even if the majority of the scenes, which are accented with pauses and improvisation, could be fodder for a “Saturday Night Live” sketch. Even so, Baker, the recipient of the 2014 Pulitzer Prize for her comedy “The Flick,” upholds the perspective of theater games as an expressive guide to understanding how strangers can become friends and gain new perspectives in their lives and the lives of others.

 
This fast-moving premiere, deftly directed with impressive, character-conscious timing by Annie Pesch and incorporating onstage seating, features a first-rate cast. As drama instructor Marty, Cheryl Mellen is an effortlessly encouraging and motivating presence staunchly proud of redefining the expectations of what an acting class can and should be. Finances and family drama get under Marty’s skin, but Mellen astutely showcases the light and dark sides within the character, particularly as her world comes crashing down late in the play. As Marty’s husband James, who only seems to be in the class to help his wife reach the required number of students, David Gaylor provides amiable support as an eager classmate willing to assist where needed. Megan Cooper is outstanding as the multilayered Theresa, an actress who left New York City to return to Vermont to be near her ailing parents. Conveying glamour, elegance, wit, a tinge of despair, and an emotionally scarred past with ample magnetism, Cooper strikingly illuminates Theresa’s desire for a better, meaningful future. As divorced carpenter Schultz, a timid soul who probably signed up for the class just to meet women, Steve Strawser offers a very endearing and honest portrait of a good-natured man simply yearning for more. Straswer is particularly strong when Schultz attempts to save Marty and James’ marriage and is given the cold shoulder by Theresa. As quiet, reserved high school junior Lauren, Jordan Norgaard strikingly evolves from introverted loner to confident contributor.

 
In addition to receiving the Obie Award for Best New American Play, “Circle Mirror Transformation” was named one of the Top 10 plays of 2009 by The New York Times and The New Yorker. Baker’s acclaimed material is more interesting than engaging, but a worthwhile look at unconventional unity nonetheless.

 

 “Circle Mirror Transformation” continues through June 12 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Remaining performances are June 11 at 8 p.m. and June 12 at 2 p.m. The play is performed in 90 minutes without intermission. Tickets are $15 for adults and $12 for seniors/ students. Seating is general admission both onstage and off. Tickets may be purchased with cash or check only. For more information, call (937) 654-0400 or visit online at www.youngatheartplayers.com. Patrons are advised the show contains some strong language and sensitive topics not suitable for younger audiences.

 

 

‘Last Gas’ Review – Dayton Theatre Guild – In Pursuit of Happiness

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Last_GasThe Dayton Theatre Guild supplies a terrific local premiere of John Cariani’s surprisingly fascinating and engrossing 2010 comedy “Last Gas.”
On the surface, Cariani’s tale, which takes place over the course of roughly 24 hours, is merely a humorous account of small town life in Maine centered on Paradis’ Last Convenient Store, the last place to get what you need from gas to groceries before the Canadian border to the north and the North Maine Woods to the west. The quaint family business is run by Nat Paradis, a huge Red Sox fan particularly proud of his son Troy and appreciative of the friendship he has with childhood buddy Guy Gagnon. Still, something is truly amiss underneath. After all, Nat, hoping to put to rest what’s ailing him psychologically, has been fixated on advertisements promising various forms of relief. He’s trying to “get back to happy,” but has no idea what that means. Even when his high school sweetheart Lurene Legassey Soloway returns home to attend her mother’s funeral, he still feels incomplete and awkward. However, with intriguing, relatable effectiveness, Cariani uncovers the truth behind Nat’s conflicted persona with the clear understanding that loving yourself is paramount in the pursuit of happiness.

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(left to right) Rick Flynn as Guy Gagnon, Rachel Wilson as Cherry-Tracy Pulcifer, Dave Williamson as Dwight Paradis, Jack Lewis as Troy Paradis-Pulcifer, Angela Dermer as Lurene Legassey Soloway, and Jared Mola as Nat Paradis in the Dayton Theatre Guild’s local premiere of John Cariani’s comedy “Last Gas,” a story of discovery and acceptance in small town Maine. (Photo by Craig Roberts)

As Debra Kent’s wonderfully delicate and honest staging fluidly transpires without one morsel of emotional overkill, Cariani’s world vividly arises thanks to a marvelously authentic sextet. Jared Mola, embracing material which pushes him to a refreshingly new level of vulnerability, splendidly embodies Nat’s doubts and insecurities without falling into a stereotypical trap. Rick Flynn, who has had a banner season at the Guild as an actor and director, astutely underplays as the shy, determined Guy. As Nat’s roughneck dad Dwight, David Williamson conveys the character’s old-school charm and unforgiving ferocity with equal vitality. Angela Dermer, recently seen as the kindly Thelma in the Guild’s “The Trip to Bountiful,” firmly radiates joy, perplexity and regret in her multifaceted portrayal of the bubbly, bruised Lurene. The absolutely delightful Rachel Wilson is an offbeat, Coen brothers-esque standout as incredibly stern forest ranger Cherry-Tracy Pulcifer, Troy’s combative, no-nonsense mother who relishes the chance to use and abuse her authority. Jack Lewis, memorably endearing earlier this season as Peter Van Daan in the Dayton Playhouse’s “The Diary of Anne Frank,” is a strong, sensitive presence once more. He’s particularly impactful in Act 2 when introverted Troy unexpectedly opens up to Lurene about his future plans and ongoing familial strife.

 
Additionally, longtime area scenic designer and Dayton Theatre Hall of Fame member Bruce Brown steps out of retirement to provide an outstanding two-level set, one of the largest in Guild history, complete with back staircase. Brown’s simultaneously large yet intimate design is greatly accented by Deidre Root’s fine assortment of props. Also noteworthy are Margie Strader’s evocative lighting, Kristine Caffrey’s satisfying costumes, dance choreographer Stefanie Pratt’s playful routine for Mola, Dermer and Flynn in Act 2, George Spelvin, Teresa Connair, Joseph Knead, and Barbara Jorgensen’s appealing voiceovers, and K.L. Storer’s hilariously story-specific sound design.

 
Cariani, raised in Maine, is predominately known in theater circles for his first and widely produced comedy “Almost, Maine,” which also explored themes of love and perception. With unforced, heartfelt potency, “Last Gas” gently resonates as an unexpectedly striking portrait of acceptance and forging a new path.

 

“Last Gas” continues through June 12 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Act One: 70 minutes; Act Two: 65 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.

 

‘American Idiot’ Review –Dare to Defy Productions – Explosive Angst

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Green Day’s 2010 Tony Award-nominated rock musical “American Idiot,” based on the 2004 Grammy-winning album of the same name with additional tunes from the 2009 Grammy-winning album “21st Century Breakdown,” receives a wonderfully compelling and vigorous presentation courtesy of Dare to Defy Productions at the Victoria Theatre.

AMERICAN IDIOT

The cast of Dare to Defy Productions’ presentation of Green Day’s “American Idiot” (Contributed photo)

Under the terrifically fluid, character-specific direction of Angie Thacker and bolstered by expressively exuberant and physical choreography by Kimberly Isaacs, “American Idiot” certainly retains its post-9/11 sociopolitical sting. However, there is much more within the soul-searching journeys of slacker buddies Johnny, Tunny and Will fueling this version, one of the strongest, seamless and emotionally-driven I’ve seen since the Broadway original. For instance, Johnny (a.k.a. Jesus of Suburbia) is still a disillusioned man-child venturing down a dark path of drug abuse, but he’s also in search of being loved no matter the risk. In the same regard, Tunny is attracted to the idea of joining the military, but is very wary underneath even when he’s in basic training. Will spends most of his time reacting rather than participating (an underwritten misstep in an otherwise sturdy collaboration between Green Day frontman Billie Joe Armstrong and co-librettist Michael Mayer), but his perspective entices nonetheless as his woeful suburban existence with his pregnant girlfriend Heather suffocates and perplexes him. Thanks to Thacker’s desire to go beyond the surface, the fundamental truth that choices have consequences is not lost here by any means. And the vocally strong, communicative ensemble vividly interprets Isaacs’ movement as they drive and push this trio along. With passion and intensity, they are absolutely fascinating extensions of the characters.

Layne Roate (Johnny), Bobby Mitchum (Tunny) and Zach Erhardt (Will) are remarkably paired. In fact, Roate and Erhardt, Dare to Defy newcomers, are very talented guitarists. The tall, lanky and animated Roate fittingly reveals Johnny’s anger and frustration, but greatly captivates in terms of vulnerability. His stellar rendition of “Boulevard of Broken Dreams,” complete with stage pictures recalling “Say Anything” and “West Side Story,” is filled with haunting melancholy, and I also found his plaintive rendition of “Whatsername” beautifully mysterious. Mitchum’s sensitivity propels Tunny’s distressing yet inspirational arc accented by the fiery presence of Maddie Vaughn as the Extraordinary Girl who changes Tunny’s outlook. The contemplative, striking Erhardt leads a pensive “Give Me Novacaine” and turns Will’s anthem “Nobody Likes You” into a powerful epiphany.

Additionally, the supremely fierce Lisa Glover is a highly energetic knockout as the sexual, rebellious Whatsername, Johnny’s love. Glover’s defiant scream in the pulsating “Letterbomb,” her brief appearance in “Boulevard of Broken Dreams,” and her gentle pleading in “21 Guns” (notably shared with Vaughn and a very effective Natalie Sanders as Heather) are highlights. The marvelously menacing Thomas Cole Schreier delivers a breakthrough portrayal of St. Jimmy, the personification of Johnny’s drug addiction, with fantastic renditions of “St. Jimmy” and “Know Your Enemy” containing vocal flourishes that elevate both numbers. The rip-roaring ensemble includes A.J. Breslin (notable in “Holiday”), Aaron Brewer (notable in “Rock and Roll Girlfriend”), Naman Clark, Samantha Creech, Brent Hoggatt (notable in “East 12th St.”), Mackensie King, Zach King, Abby Land, Jeffrey Mack, Skyler McNeely, Laura Moore (notable in “Too Much Too Soon”), Brett Norgaard (notable in “Favorite Son”), Desmond Thomas, Andre Tomlinson, Jenna Valyn, and Ella Wylie.

Thacker’s first-rate artistic team includes scenic designer Ray Zupp (creating a gritty world of dismantling and decay with great use of scaffolding), superbly evocative lighting designer Matthew Benjamin (in a rare departure from his duties at Wright State University), and musical director Lorri Topping who assembles a firmly balanced seven-piece orchestra that doesn’t overpower the actors. There were multiple sound hindrances on opening night, but it didn’t deter momentum.
In the words of Whatsername, there is nothing left to analyze. Go see this show.

 

“American Idiot” concludes today at 2 and 8 p.m. at the Victoria Theatre, 138 N. Main St., Dayton. Act One: 45 minutes; Act Two: 50 minutes. Tickets are $26.50-$51.50. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. Patrons are advised the show contains adult themes.

 

‘1776’ Review – Dayton Playhouse – Creating America

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There’s no need for debate. The Dayton Playhouse’s production of “1776” is a winner.
Librettist Peter Stone and composer Sherman Edwards’ 1969 Tony Award-winning musical has always been one of the most artistically challenging shows ever conceived. In addition to requiring the participation of nearly 25 men, the score’s deceptively complicated demands and the sheer commitment to historical accuracy can take its toll on any organization bold enough to attempt it. In fact, it’s been nearly 20 years since this show was last seen in Dayton courtesy of a stellar national tour at the Victoria Theatre. Nonetheless, when done well, as is evident in Tina McPhearson’s brisk, crisp and jovial staging, you can’t help but be completely enticed by this brilliantly written, three-hour re-enactment of the birth of our nation at the hands of our brave, flawed Founding Fathers.

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In May 1776 in Philadelphia, independence is of utmost importance to John Adams of Massachusetts who vows to free the 13 colonies from the grip of Great Britain. However, the Second Continental Congress has had enough of Adams’ grandstanding. So, with fervent persuasion and occasional bullying, he looks to his fellow congressmen to discover who would be most willing to aid in his seemingly impossible dream. The infamous and ingenious Benjamin Franklin of Pennsylvania, the friendly and upbeat Richard Henry Lee of Virginia, and the intellectual and introspective Thomas Jefferson of Virginia become chief players. But in Adams’ valiant quest, dissension comes into view, particularly from the opinion of John Dickinson, Franklin’s cohort in the Pennsylvania delegation along with James Wilson. Dickinson insists independence be voted upon unanimously. Matters become pricklier when hard-nosed Edward Rutledge of South Carolina detests the notion that slavery will be abolished. In order to appeal to the greater good, sacrifices are ultimately made to ensure the promise of life, liberty and the pursuit of happiness.
David Shough, who has had a standout season as an actor, director and designer, is perfectly cast as the hated, volatile Adams. His vocally firm and terrifically complex portrayal is fittingly abrasive but very passionate, which keeps the audience in his corner. A nearly unrecognizable Richard Young delivers one of his finest, most colorful performances as the cheerful Franklin who vividly reminds Adams of what is really at stake as the drama swells late in Act 2. Chris Tuell, a Playhouse newcomer, is enjoyably unobtrusive as the mild-mannered Jefferson. Tim Rezash brings sophisticated sting to the unyielding Dickinson while particularly leading the clever gavotte “Cool, Cool Considerate Men.” Shawn Hooks, as Rutledge, chillingly renders “Molasses to Rum,” one of the most intensely unnerving songs in the musical theater canon. The delightful Gary Watts, another Playhouse newcomer, brings lively glee to “The Lees of Old Virginia.” Charles Larkowski, as president John Hancock, oversees the action with grace and humility with delightful support from Matthew Lindsay as the humorously monotone secretary Charles Thomson. Additionally noteworthy are Brad Bishop as the meek Wilson, John Beck as the sickly Caesar Rodney, Alain Alejandro as Roger Sherman and Mark Reuter as Robert Livingston (a fine duo contributing to “But Mr. Adams”), Jon Horwitz as Dr. Lyman Hall, Steve Thompson as Dr. Josiah Bartlett, John Falkenbach as Stephen Hopkins, Greg Dixon as Lewis Morris, Jamie McQuinn as Rev. John Witherspoon, Brian Laughlin as Col. Thomas McKean, Sean Gunther as George Read, Mark Van Luvender as Samuel Chase, C.J. Suchyta as Joseph Hewes, and Andrew Spoon as the dedicated courier who delivers George Washington’s revealing correspondence from the front lines. Spoon’s beautifully poignant rendition of “Momma, Look Sharp” marvelously closes Act 1 with harmonic assistance from Thomas Caldwell as custodian Andrew McNair and Christian Johnson as Leather Apron. Outside the congressional chamber, an excellently conversational Sherri Sutter fills her radiant portrayal of Abigail Adams with warmth and wit, particularly joining Shough for the lovely duets “Till Then” and “Yours, Yours, Yours.” As Martha Jefferson, Maggie Carroll’s effervescence heightens the gorgeous waltz “He Plays the Violin.”

Pre-production video of 1776 by Art Fabian.
McPhearson, who also supplies props, assembles an artistic team including choreographer Allison Eder, musical director Ron Kindell, scenic designer Chris Newman, costumer Kathleen Carroll (the attractive period outfits for the men and Maggie’s striking gown are eye-catching), wig designers Steven Burton and Tim Grewe, lighting designer Anita Bachmann, and sound designer Bob Kovach. Kindell’s 14-member orchestra sounds tiny and distant but is not a hindrance.
Compromise didn’t come easy 240 years ago and feelings certainly remain strained among current lawmakers. But the suspense leading up to the signing of the Declaration of Independence still resonates to the fullest in this outstanding, rarely staged musical. So, be sure to visit the Dayton Playhouse for a history lesson you’ll never forget. Don’t let another 20 years pass you by.

 

1776” continues through May 22 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Act One: 105 minutes; Act Two: 55 minutes. Tickets are $18 for adults and $16 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com

 

 

 

‘The Trip to Bountiful’ Review –Dayton Theatre Guild – Homeward Bound

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3eprxfj7tjwqfhrqqc57s14kd3v4es2nCarrie Watts, a feisty widow, takes matters into her own hands by embarking on a bittersweet journey to her past in Horton Foote’s tender, touching drama “The Trip to Bountiful,” set in 1953 Texas and admirably presented by the Dayton Theatre Guild through Sunday, May 1.

 
Before Carrie (Gayle Smith) ventures on her titular excursion to her childhood home, which is the absolute heart and soul of the play, Foote humorously reminds us why on earth she’d want to take such a leap of faith. It seems as if she’s simply had enough of being a bother, a sheer inconvenience, to her dutiful son Ludie (Ray Geiger) and persnickety daughter-in-law Jessie Mae (Amy Askins) inside their cramped Houston apartment. Although she provides Ludie and Jessie Mae with a portion of her monthly government check, Carrie realizes her life and what she can contribute is worth so much more than a dollar amount. She can’t even sing her favorite hymn, “No Not One,” without Jessie Mae scolding her. So, with great conviction and determination, she boldly bolts from the apartment, her prison of conflict and confinement, to find some semblance of peace and happiness in her beloved Bountiful, a small town 12 miles from Harrison. Situations don’t go according to plan, but there is a feeling of contentment within Carrie’s spirit nonetheless as she comes to terms with an emotional tug-of-war derived from battling memory and reality.

 

Trip to Bountiful Photo

(front row left to right) Angela Dermer, Gayle Smith, Amy Askins, (top row left to right), Ryan Shannon, Scott Madden, and Ray Geiger comprise the cast of the Dayton Theatre Guild’s production of “The Trip to Bountiful” (Photo by Craig Roberts)

The delightfully folksy Smith lovingly conveys Carrie’s endearing resilience, particularly as others attempt to set her back. In Smith’s capable hands, particularly in Act 2’s dramatic passages, it’s easy to understand why Carrie longed to break free and make a change if only to restore her dignity and purpose. The effectively understated Geiger delicately uncovers Ludie’s relatable agitations and disappointments, specifically his concerns about job security and not having fathered a child. A terrifically overbearing Amy Askins ensures Jessie Mae’s insensitivity doesn’t dissipate, but she also paints a vivid portrait of a cooped up housewife longing for more (particularly time with her husband and friends) who needs to flee just as much as Carrie. In addition, Angela Dermer charmingly portrays the kind if underwritten Thelma, a military wife who befriends Carrie. Scott Madden (Sheriff) and Ryan Shannon (Roy/Harrison Ticket Man) aid in authenticity.
Director Craig Smith doesn’t guide the slow-going, off-kilter Act 1 with enough flavorful interplay between Smith, Geiger and Askins, but his vision for Act 2 establishes stronger connections, specifically his staging of the poignant final scene. His commendable artistic team includes scenic designer Del Johnston, lighting designer Scott Wright, costumer Carol Finley, and sound designer K.L. Storer.

 
In the play’s haunting, heartbreaking final moments, Carrie stands in front of her Bountiful home with immense fondness and pride. What she views as a sight of magnificent glory would appear to the average person as nothing more than a symbol of deterioration, dilapidation and neglect. But if beauty is truly in the eye of the beholder, I proudly side with Carrie.

 
“The Trip to Bountiful” continues today at 5 p.m. and tomorrow at 3 p.m. at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Both acts run roughly 55 minutes. Tickets are $20 for adults, $18 for seniors, and $13 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org.