On Stage Dayton Reviews

‘One Slight Hitch’ Review – Human Race Theatre Company – Wedding Woes

April 12, 2016 By Russell Florence, Jr.

Cuteness abounds inside the Loft Theatre as the Human Race Theatre Company presents the second professional production of comedian Lewis Black’s comedy “One Slight Hitch.” The play’s Cincinnati setting is cute. The notion of a summer wedding is cute. A slacker ex-boyfriend provoking chaos is cute. A precocious teenager grooving to music on her Walkman is cute. But conceptual issues dampen this flimsy, problematic farce which transpires like an overlong “Saturday Night Live” sketch pushing hard for laughs and relying heavily on nostalgia for appeal.

Pictured (left to right): Dana Berger, Rita Rehn, Alex Sunderhaus, Cecily Dowd and Brian Dykstra in Lewis Black’s One Slight Hitch.

Directed by Margarett Perry and written by Black roughly 35 years ago, “One Slight Hitch” brews its frenzy from the relatable vantage point of the Colemans, a close-knit suburban Republican family. On her special day, aspiring writer Courtney (Dana Berger) must choose between her just-came-into-town ex Ryan (Alex Curtis) or her super straight-laced therapist-fiancé Harper (Kyle Nunn). Courtney’s devoted, exasperated parents Doc (Brian Dykstra) and Delia (Rita Rehn) would rather her err on the side of caution (a.k.a. stability), but there’s something about bad boy Ryan that still fuels her fire. As wedding preparations reach fever pitch, and as Courtney’s sisters PB (Cecily Dowd) and Melanie (Alex Sunderhaus) attempt to make sense of the madness around them, Courtney has a life-altering epiphany that brings everything to a screeching halt.

Black, an Emmy and two-time Grammy winner who appeared on Broadway in his 2012 one-man show “Running on Empty,” knows a thing or two about sarcasm and timing having built his career on those comedic attributes. But right from the start his foundation is askew here. At the outset, the story is startlingly told from PB’s perspective as she joyfully reflects on all things 1981. Is a pop culture laundry list really necessary in the first five minutes? Also, and in addition to Black creating two oddly unfunny, momentum-stalling moments in which Doc speaks to Harper’s offstage parents, weak character development particularly hinders Doc and Delia from being anything more than an over-the-top, purely observational combination of confusion and mockery. Trouble is we’ve seen this before from the standard sitcom playbook. A husband frantically attempts to maintain peace while keeping close to the alcohol as his wife freaks out as if the world is coming to an end. And I can’t believe the consistently chipper Harper actually exits the stage twice to the sound of chirping birds. Cue laugh track!

Pictured (left to right): Dana Berger, Rita Rehn, Kyle Nunn, Alex Curtis, Cecily Dowd, Alex Sunderhaus and Brian Dykstra in Lewis Black’s One Slight Hitch.

Script quandaries aside, Perry’s energetic cast doesn’t contain any weak links, an absolute saving grace. The hilariously fussy Berger gives credence to Courtney’s frustrating dilemma. The charming, slovenly handsome Curtis conveys Ryan with an edginess suggesting his troublemaker tendencies and an endearing sensitivity proving why Courtney found him attractive in the first place. The bubbly Dowd, a Centerville High School junior who recently gave a breakthrough performance as Winifred Banks in Muse Machine’s production of “Mary Poppins,” impresses in her professional debut with a sweetly sincere and effervescent aura. Sunderhaus, a Wright State University alumna who appeared last season in the Race’s production of “Vanya and Sonia and Masha and Spike,” injects sass and a tinge of sibling rivalry into her fetching portrayal. Dykstra, seen on Broadway in 2013 opposite Tom Hanks in Nora Ephron’s fascinating Tony-nominated dramedy “Lucky Guy,” effectively channels Black’s intonations and mannerisms. He also conducts the ongoing hysteria with ample vivacity despite his occasionally unrealistic gesturing. The hunky Nunn, a clean-cut, All-American epitome of an Abercrombie & Fitch model seen last season in the Race’s “Miracle on South Division Street,” delightfully contrasts Curtis, particularly shining when Harper attempts to diagnose Ryan in one of the play’s strongest and most revealing moments. Rehn, who appeared on Broadway in such musicals as “Nine” and “A Chorus Line,” relishes Delia’s madcap antics, but beautifully pauses the craziness late in Act 2 when Delia poignantly reminds her daughters of her courtship with Doc and the sacrifices they’ve made.
Ray Zupp’s attractively detailed set strikingly signifies the Colemans’ upper-class status. Janet G. Powell, having costumed “Steel Magnolias” for the Race last fall, eye-catchingly evokes the Greed Decade once more in amusing wedding garb for the ladies complete with huge bows and ruffles. John Rensel’s lighting notably spotlights Dowd in her narrative, music-centric duties. Sound designer Todd Mack Reischman (“Seussical,” “Big River”) returns to the Race to ensure the pulsating vibes of “Bette Davis Eyes” and “Jessie’s Girl” haven’t lost their allure.

Pictured: Rita Rehn and Brian Dykstra in Lewis Black’s One Slight Hitch.

In one of his many brainless retorts, Ryan proudly states, “I haven’t worked it all out but it sounds right.” His credo sums up the essence of this forgettable romp.

“One Slight Hitch” continues through April 24 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. April 13-16 and 20-23; 2 p.m. April 17 and 24; and 7 p.m. April 12 and 19. Act One: 60 minutes; Act Two: 50 minutes. Tickets are $35-$50 for adults, $32-$46 for seniors, and $17.50-$25 for students. A “While We’re On the Subject” post-show talkback will be held following the April 17 matinee. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

‘The Wild Party’ Review – Dare to Defy Productions – Revenge & Revelry

April 9, 2016 By Russell Florence, Jr.

Dare to Defy Productions terrifically explores the brutal depths of an extremely complicated relationship in its vibrant and sexy presentation of Andrew Lippa’s 2000 off-Broadway musical “The Wild Party,” adapted from Joseph Moncure March’s 1928 narrative poem of the same name and staged inside the Mathile Theatre of the Schuster Center.

(left to right) Zach King (Burrs), Laura Ellen Moore (Kate), Natalie Sanders (Queenie), and Desmond Thomas (Black) are a conflicted foursome in Dare to Defy Productions’ presentation of Andrew Lippa’s Jazz Age musical “The Wild Party.” (Contributed photo)

In this Prohibition-era New York tale, Queenie, a sultry dancer, and Burrs, a vaudeville comedian, are dangerous, abusive lovers who have reached an emotional breaking point but can’t bear to live without each other. It’s a messy game, a vicious cycle, which worsens when Queenie asks Burrs to co-host a decadent party in their Manhattan apartment, ultimately exposing him for the louse he is in front of their eccentric friends. But situations take an unexpected turn when Queenie’s self-absorbed, drug-addicted best friend Kate arrives with the mysterious Black who falls hard for Queenie. As Queenie discovers a new soulmate in Black, and Kate attempts to ignite a spark with Burrs, the rowdy festivities tragically spiral out of control.

Lippa received a Tony Award nomination for his 2010 score of “The Addams Family,” but his best work thus far rests here with his tuneful array of vivid character numbers and ensemble-driven delights skillfully secured by music director Lorri Topping’s fine orchestra. In particular, Queenie and Burrs’ songs are engagingly introspective (“Out of the Blue,” “Maybe I Like It This Way,” “What is It About Her?,” “How Did We Come to This”) which enjoyably contrasts spirited anthems such as “Raise the Roof,” “A Wild, Wild Party,” and “Let Me Drown.” As librettist, Lippa’s work isn’t as sharp (some of the minor characters are either underwritten or underwhelming), but his firm, fully fleshed portraits of the two key couples effectively fuels passion and suspense as the dramatic action swells.

Director Mackensie King, guiding a cast of 15, absolutely ensures this party is indeed wild. Taking a cue from Queenie and Kate’s pact to approach the evening with “no limits, no boundaries, no compromise,” King amps up the gaiety, mayhem and danger by seating the audience on three sides for complete, impactful effect. Refreshingly, the audience is treated as intimate participants instead of mere observers. Trust me, when the cast sheds their clothes in Act 2 you might as well forget about your ideas of a comfort zone. Furthermore, choreographer Lisa Glover’s outstandingly vivacious and athletic choreography, filled with a fun, Jazz Age flapper essence and shades of Bob Fosse, works in tandem with King’s vision to splendidly heighten the show’s cheeky energy. My eyes were constantly drawn to nearly every movement particularly within the fascinating opening number chronicling Queenie and Burrs’ history (“Queenie Was a Blonde”) as well as the ensemble standouts “What a Party,” “Raise the Roof,” “The Juggernaut,” and “A Wild, Wild Party.” She also strikingly acts and dances the role of Nadine, a young girl who somehow finds her way into these debauched proceedings. Based on Glover’s fantastic contributions, I feel the urge to predict she will lead and choreograph “Sweet Charity” locally or elsewhere one of these days.
King’s cast is led by the appealing, credibly cohesive duo of Natalie Sanders and Zach King. Sanders, a vocal powerhouse, weaves a beautifully complex arc reiterating Queenie’s mind-boggling battle of being simultaneously disgusted by Burrs yet compelled by his charms. King, impressively expanding the breadth of his abilities, intensely attacks with intimidation and unsettling volatility befitting Burrs’ alarmingly unstable behavior. As Black, strong tenor Desmond Thomas is more sweetly sensitive than suavely seductive, but his chemistry with Sanders poignantly evolves in his heartfelt rendition of “I’ll Be Here.” As the feisty Kate, Laura Ellen Moore lacks full-throttle ferocity (her flashy introductory solo “Look At Me Now” is especially weak) but her vulnerability throughout is a plus. A.J. Breslin (mostly shirtless as knucklehead boxer Eddie) and Hayley Penchoff (ditzy Mae) are adorably spotlighted in “Two of a Kind.” As lesbian Madeline True, Samantha Creech winningly shares her longing for “An Old-Fashioned Love Story.” The flamboyance of Jeffrey Mack (Oscar D’Armano) and Brennan Paulin (Phil D’Armano) propels the comedy within “A Wild, Wild Party.” André Tomlinson (the mute Jackie) partners with Glover for a haunting take on “Jackie’s Last Dance” reflecting Queenie and Burrs’ destructive core. The cast includes Thomas Cole Schreier (Sam), Danielle Kubasky (Dolores), Jamal Caan (Max), and Amanda Carter (Daisy). King’s artistic team includes scenic designer Ray Zupp and lighting designer Derek Dunavent.
If you’re in the mood to let loose, don’t miss this daring, edgy showcase.

“The Wild Party” concludes today at 2 and 8 p.m. inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Act One: 70 minutes; Act Two: 45 minutes. Tickets are $21.50. 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 content.

‘Reasons to Be Pretty’ Review – Playground Theatre – Slip of the Tongue

March 26, 2016 By Russell Florence, Jr.

Words hurt. And when it comes to waging a war of words, you can always count on masterfully raw playwright Neil LaBute to go for the jugular. Case in point: “Reasons to Be Pretty,” his vicious yet thought-provoking 2009 Tony Award-nominated tale of relationships gone bad currently receiving a knockout local premiere in the Mathile Theatre of the Schuster Center courtesy of Playground Theatre.

Brett Hill (Kent), Jenna Burnette (Steph), Christopher Hahn (Greg), and Kaleigh-Brooke Dillingham (Carly) star in Playground Theatre’s production of Neil LaBute’s drama “Reasons to Be Pretty” (Photo by Rachel Katz)

Lights up: Greg and Steph, arguing to the profane hilt, explosively dismantle their four-year relationship over an off-the-cuff comment Greg told his best friend Kent about Steph’s appearance. What did he say? He called her face “regular.” As sparks fly, Greg pitifully tries to salvage his insensitive wrongdoing, but it’s too late. Steph has had enough and there’s nothing he can do about it. But as Greg attempts to make sense of this breakup and his meandering lot in life, he’s caught in a precarious firestorm involving Kent and his wife Carly, Steph’s best friend who overheard what Greg said about Steph on that fateful day.

Director David Brush, astutely and fluidly stripping the play down to its gritty, relevant language with an edgy off-Broadway vibe, assembles a truly dynamic quartet. Playground co-founders and real-life couple Christopher Hahn and Jenna Burnette deliver tremendously compatible and visceral portrayals of Greg and Steph that cut deep with earnestness and volatility. Hahn, very engrossing as a millennial underdog, strikingly captures the vulnerability, shock and regret fueling Greg’s journey of self-discovery. In order to become a better man, a mature adult, Greg has to recognize his carelessness in letting his soul mate get away. It’s a tough lesson to learn, but LaBute doesn’t pull any punches as Greg’s fascinating evolution, accented by his desire to leave his dead-end job, climaxes with potent defiance.

The feisty Burnette, firing on all cylinders, relishes some of the nastiest writing LaBute has concocted in a brutal scene which finds Steph facing Greg at a mall food court for an airing of grievances that utterly destroys him to the core. Watching Burnette in this gleeful rage will likely send chills down your spine, but she isn’t a one-note scorned woman by any means. Her complex performance softens as Steph continues to cross paths with Greg to the point of her eventually coming to terms with the fact that he wasn’t exactly the guy of her dreams in the first place. He was never going to be the husband, the provider, she hoped for and this epiphany, albeit heartbreaking, is her truth that must be accepted. As the perplexed Carly, Kaleigh-Brooke Dillingham, memorable last fall opposite Hahn in Playground’s local premiere of “Really Really,” weaves a delicate arc bringing credence to her decision to embrace Greg as an unexpected confidant. As the obnoxious, appallingly superficial Kent, a selfish woman-chasing man-child, handsome newcomer Brett Hill magnetically commands the stage with sneering arrogance and intimidation. His final scene opposite Hahn, a cage match of sorts putting Brush’s wonderfully intimate Mathile configuration to great use as never before, becomes a compelling, unnerving battle as frustration and testosterone collide.
“Reasons to Be Pretty” is the third play of four in LaBute’s signature examination of body image including “The Shape of Things,” “Fat Pig” and “Reasons to Be Happy.” Whether or not you agree with his perspectives and the controversies they ignite, “Reasons to Be Pretty” remains a bold testament to his contemporary craft and the millennial anxiety he exposes which Playground Theatre continues to impressively explore.

“Reasons to Be Pretty” concludes today at 2 and 8 p.m. inside the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Act One: 60 minutes; Act Two. 60 minutes. Tickets are $20. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. For additional information, visit theplaygroundtheatre.org. Patrons are advised the play contains adult language.

In related news, Playground Theatre’s 2016-17 season will consist of “This Is Our Youth” (Sept. 1-4, 2016, directed by John Ray), “Jailbait” (Dec. 1-4, 2016, directed by Burnette) and “Gruesome Playground Injuries” (March 23-26, 2017, directed by Brian DeLuca).

‘The Music Man’ Review – Wright State University – Amazing Americana

March 25, 2016 By Russell Florence, Jr.

Threats of trouble arouse the small town of River City, Iowa in Meredith Willson and Franklin Lacey’s classic 1957 Tony Award-winning musical comedy “The Music Man,” but there are no signs of distress in Wright State University’s fantastic presentation running through April 3 in the Festival Playhouse.

In this exceedingly charming tale about a con artist reawakening love and possibility within a vulnerable community in July 1912, a first-rate Nathan Robert Pecchia leads the way as Professor Harold Hill, a traveling salesman who decides to go back into his bag of tricks during a seemingly slow period. When all else fails, the creation of a boy’s band is a quick fix for Harold and Pecchia commandingly stirs the pot with deliciously assertive glee. In fact, his rip-roaring rendition of “Trouble,” a rapid-fire, talk-sung gem of commotion, disbelief and hysteria, truly mesmerizes as intended. A few scenes later, he returns with whirlwind gusto to address, in joyfully over-the-top fashion, the sight of “Seventy-Six Trombones,” which finally delivers the gullible town firmly in the palm of his shady hand. Without Pecchia’s confidence, magnetism and vocal prowess, attributes which served him well last season as a member of WSU’s equally thrilling and startlingly under-attended regional premiere of “Sondheim on Sondheim,” this “Music Man” would have been completely lopsided, which is always a huge risk for any organization producing what is essentially one of the most formidable star vehicles in the musical theatre canon.
Elsewhere in River City, Emsie Hapner provides strong moments of warmth and frustration as the terse, talked-about spinster Marian Paroo, a librarian who seeks to destroy Harold but ultimately recognizes him as her soul mate. Some of Willson’s numbers challenge Hapner’s vocal range, particularly the gorgeous soprano grandeur of “My White Knight,” but her grounded interpretation is not short of nuance or credibility overall. As Mrs. Paroo, Cassi Mikat, a recent semifinalist in the national Lotte Lenya Competition who gave one of 2015’s best performances in “Sondheim on Sondheim,” supplies feisty Irish earthiness opposite Hapner in “Piano Lesson” and “If You Don’t Mind My Saying So.” Eric Pettit, a memorable Randy Parker in La Comedia Dinner Theatre’s recent regional premiere of “A Christmas Story: The Musical,” is absolutely endearing as the introverted Winthrop. William Mendleson (an aptly befuddled Mayor Shinn) and Caitlin Geisser (beautifully costumed in pink and turquoise as Eulalie Mackecknie Shinn) are a humorous duo. Knockout dancer Dakota Mullins (in a breakthrough portrayal of Tommy Djilas) and lovely Meredith Zahn (Zaneeta Shinn) tremendously conjure the spirit of Gene Kelly and Cyd Charisse in “Marian the Librarian,” stunningly choreographed with exuberant chaos and elation by Dionysia Williams. The bubbly Kyle Sell (Marcellus Washburn) is a winning sidekick for Pecchia and well-paired with the goofy Emily Chodan (Ethel Toffelmier). As Harold’s enraged rival salesman Charlie Cowell, a wonderfully agitated Ben Tracy brings fiery intimidation to his pivotal testimony late in Act 2. The cohesively harmonic team of Elis Davis (Olin Britt), Jordan Adams (Oliver Hix), Connor Lysholm (Ewart Dunlop), and Kyle Krichbaum (Jacey Squires) are outstanding as the bickering school board-turned-barber shop quartet. Grace Leisch (Mrs. Squires), Lauren Everett (Alma Hix), and Madeline Vaughn (Maud Dunlop) perfectly contribute to the giddy amusement of “Pick-A-Little Talk-A-Little.” Emma Fry (Amaryllis), George Heddleston (Constable Locke/Conductor), Kyle Miller, Zach Fretag, Madeline Musico, Allie Jackson, Abbey Fry, Everett Jones, Philip Stock, Cody Westbrook, Danielle Bessler, Brynnan McNeill, Joey Kennedy, and Taylor Patrick are noteworthy.
Director Marya Spring Cordes, staging an achievement on par with her amazing “Grand Hotel” in 2013, once again proves her strengths for navigating huge, ensemble-driven pieces.

Whether molding believable idiosyncrasies among the townspeople or providing a new perspective for Charlie in an inspired moment in the final scene, her vision is sound and inviting. In addition to the rollicking opener “Rock Island,” her handiwork specifically hits the mark in her heartfelt execution of “The Wells Fargo Wagon,” an upbeat testament to the power of expectancy which exceptionally resolves as a tear-jerking reminder that dreams can become reality. The aforementioned Williams, so in sync with Cordes, also shines by evoking legendary choreographers Onna White and Michael Kidd in “Seventy-Six Trombones” and giving “Shipoopi” a very spirited hoedown. Cordes’ top-notch artistic team includes scenic designer Pam Knauert Lavarnway, lighting designer Jacob Brown, costumer Christie Peitzmeier, sound designer Emily Hutton, dialect coach Deborah Thomas, and music director Scot Woolley.
Showcasing WSU’s musical theatre program to the fullest, “Music Man” brings the organization’s mainstage season to a rousing finish.
“The Music Man” continues through April 3 in the Creative Arts Center Festival Playhouse of Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are March 25, 26, April 1 and 2 at 8 p.m., March 26, 27, April 2 and 3 at 2 p.m., and March 31 at 7 p.m. Act One: 90 minutes; Act Two: 60 minutes. Tickets are $22 for adults and $20 for students and seniors. For tickets or more information, call (937) 775-2500 or visit wright.edu/theatre-tickets.

‘The Bridges of Madison County’ Review – Victoria Theatre Association – Sublime Desire

March 19, 2016 By Russell Florence, Jr.

Andrew Samonsky (Robert Kincaid) and Elizabeth Stanley (Francesca Johnson) appear in the regional premiere of “The Bridges of Madison County” through March 20 at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series. (Photo by Matthew Murphy)

A handsome stranger forever changes the life of an Italian-born Iowa housewife in “The Bridges of Madison County,” a gloriously romantic heartbreaker of a musical written in 2014 by composer/lyricist Jason Robert Brown (“Parade”) and librettist Marsha Norman (“The Secret Garden”) based on the 1992 best-seller by Robert James Waller. As evidenced in its sublime regional premiere at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series, “Bridges,” set in Winterset, Iowa in 1965 and the following years, remains an impactful, fascinating and complex study of desire.

While her husband and children participate in 4-H festivities in Indianapolis, Francesca Johnson anticipates four days of personal downtime from the frenzy of cooking and cleaning. But her seemingly mundane world is turned upside down by the unexpected arrival of Robert Kincaid, a National Geographic photographer on assignment to capture the historic bridges in the area. Robert’s decision to ask Francesca for directions, and Francesca’s willingness to oblige, sets in a motion a palpable whirlwind of conflict. Even Francesca’s well-intentioned neighbors become curious about what’s going on in and around her home. Ultimately Francesca and Robert’s unbridled attraction, bolstered by the possibility of a life together, is crushed by the sheer reality of Francesca’s devotion to her family.
Brown, seen last month in concert at the Victoria Theatre, duly won Tonys for his incredibly passionate, quasi-operatic, choral-soaring score and sweeping orchestrations. In fact, his compelling score, an impressive departure from anything he has written in his usual pop/rock vein, offers some of the finest romantic tunes heard in an original musical since Adam Guettel’s 2005 masterpiece “The Light in the Piazza.” Ravishing songs such as “Falling Into You, “Before and After You,” “One Second and A Million Miles,” and “It All Fades Away” are among the magnetic, introspective numbers revealing the full depth of emotion simmering within Francesca and Robert’s infatuation. In flavorful contrast, Brown winningly provides country/folk and blues numbers for additional characters such as Francesca’s blunt husband Bud and nosy neighbor Marge. Norman, expanding Waller’s template, sufficiently brings more clarity and focus to Bud, Francesca’s children Michael and Carolyn, and the Winterset community as a whole in addition to Francesca’s life in Naples during World War II (stunningly brought to life in the poignant musical flashback “Almost Real”). She oddly rushes the action in Act 2 as characters age and decades fly (the same can be said of her Tony-nominated libretto for “The Color Purple”), but it is not a detriment.
An absolutely revelatory Elizabeth Stanley, a spirited comedienne in many musical comedies from “Cry-Baby” to “On the Town,” delivers one of the most dramatic and vulnerable performance of her career. From the captivating opener “To Build a Home” to the spine-tingling finale “Always Better,” Stanley, possessing a firm Italian dialect and rivaling Kelli O’Hara who originated the role, creates a masterfully nuanced portrait of a woman longing for new love, new awakenings, and a renewed sense of self. An astutely understated and rugged Andrew Samonsky, appealing to the eyes and ears, delicately navigates Robert’s yearnings as not to appear too forward or needy in his pursuit of Francesca. Samonsky’s heartfelt rendition of “It All Fades Away” notably cuts deep with aching epiphany considering the palpable chemistry established with Stanley. Terrific featured roles are offered by Cullen R. Titmas (a no-nonsense yet caring Bud), Mary Callanan (a delightfully earthy Marge especially in the bluesy “Get Closer”), David Hess (Marge’s devoted if underwritten husband Charlie), John Campione (a commanding Michael), Caitlin Houlahan (an endearing Carolyn), and Katie Klaus (excellently versatile as Marian/Chiara/State Fair Singer).
Director Tyne Rafaeli’s skillfully recreates original director Bartlett Sher’s strikingly seamless, community-driven staging complete with omnipresent townspeople silently observing scenes on each side of the stage. Danny Medford’s fluid movement, Michael Yeargan’s simple, suggestive sets, Catherine Zuber’s fine period attire, Donald Holder’s exquisitely evocative lighting design, and musical director Keith Levenson’s marvelous orchestra, amply spotlighting thrilling strings and soulful guitar, heighten the allure of this top-notch, Broadway-caliber tour.
It’s safe to say “Bridges” is primarily familiar due to the lovely strengths of its 1995 Academy Award-nominated film starring Meryl Streep and Clint Eastwood. Still, the intoxicating beauty of Brown’s career-defining score is enough to catapult the material into a refreshingly different dimension that will leave you breathless.

“The Bridges of Madison County” continues through March 20 at the Schuster Center, Second and Main Streets, Dayton. Act One: 75 minutes; Act Two: 55 minutes. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. Tickets are $25-$92. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

Take a fresh look at ‘Bridges of Madison County’

March 17, 2016 By Dayton937

The simplistic set design keeps the attention on the actors.

The simplistic set adaptation keeps the attention on the actors.

Megan Cooper

In yet another remarkable instance of Dayton’s big-city-small-town dynamic, we witness the wealth of arts found in large metros that’s still accessible for all potential audiences. Now through March 20, the touring cast of The Bridges of Madison County will be performing at the Schuster Center in Dayton as its makes its limited run around the country. Dayton is fortunate to land one of these few performances, and tickets start at just $25.

Val Beerbower

Those who are familiar with the story of Bridges will find the musical closely follows, but takes some creative departures. Here with their reflections and comparisons are Megan Cooper and Val Beerbower, cultural arts enthusiasts.

VB: This adaptation from book to musical bypasses some of the conventions used to adapt the book to the 1995 film starring Meryl Streep and Clint Eastwood. The musical pulled out story lines from other characters, including the neighbors, who offer a little comedic relief. We also get to know lead female character Francesca’s family better through the musical, which gives the story more depth.

Other characters’ storylines are more prominent in this musical adaptation.

MC: Reviews of the film are lopsided because people loved the acting and the actors but weren’t wild about the script. Fortunately, the musical avoids this fate because they introduced these additional storylines. Additionally, the musical provides a little extra closure between the characters you don’t get in the film. One could argue that if you didn’t care for the film, you should see the musical, thanks to these adaptations.

VB: The musical styles selected by the composer (Jason Robert Brown, The Last Five Years, Parade, Songs for a New World) reflect another kind of adaptation. Italian-born Francesca is somewhat of a misfit as a housewife on an Iowa farm, and her solos are sweeping arias that are more opera than musical. It’s an interesting way to juxtapose a character using the songs themselves as the medium.

Bridges of Madison County the musical is in Dayton through March 20 on its limited US tour.

MC: Agreed, the music was phenomenal. You might not catch yourself humming the tunes the next day, but they are very well composed and do a great job of conveying the story. The music moves the plot along rather than create a distraction. Likewise, the set design was very simplistic and not distracting. The set cleverly employed the actors to move the staging around, and the actors’ movements coupled with strategic lighting cued you into whether they were an active part of the scene or simply adding background.

VB: It was unusual that in the musical – a story about a photographer shooting covered bridges – you didn’t really see a single physical bridge in the play. But it worked because your focus was on the actors.

MC: Don’t worry, there are still plenty of covered bridges to see in the Schuster’s gallery spaces. The current display, “The Bridges of the Miami Valley,” presented by the Visual Art Center of Preble County, showcases an array of paintings, sculptures, and other locally produced works of art depicting the Dayton region’s covered bridges.

The Bridges of the Miami Valley is the current visual arts display in the Schuster Center.

The Visual Art Center of Preble County put together this gallery featuring local artists depicting famous covered bridges in the region.

‘Slowgirl’ Review –Dayton Theatre Guild – Redemptive Reunion

March 4, 2016 By Russell Florence, Jr.

Greg Pierce’s quietly compelling 2012 two-hander “Slowgirl,” a contemporary tale of reunion and redemption, has received a terrific local premiere at the Dayton Theatre Guild.

Peter Wallace (Sterling) and Jenna Gomes (Becky) star in the Dayton Theatre Guild’s local premiere of “Slowgirl” (Photo by Craig Roberts)

Delicately directed by Rick Flynn, this character study examines the loving yet stained relationship between retired lawyer Sterling (Peter Wallace) and his 17-year-old niece Becky (Jenna Gomes). The relatively content Sterling moved to the tiny town of Los Angeles, Costa Rica following his divorce and a highly publicized bad business deal. He is unexpectedly thrust into parental mode when Becky, suspended from school, arrives at his quaint bungalow (attractively designed by Wendi Michael and evocatively lit by Jadon Bischoff) seeking solace having been at the center of a tragedy with her classmates. Sterling’s wisdom and Becky’s obliviousness predictably clash within the context of the generation gap, but as their differences evolve into similarities common ground is formed with palpable introspection.
The awkward title refers to the nickname insensitive Becky and her foolish friends gave to Marybeth, a disabled girl they took advantage of at a house party. Pierce, nephew of Tony and Emmy winner David Hyde Pierce (“Frasier,” “Curtains”), is at his thought-provoking best exploring Becky’s mishandling of the situation and its impending consequences, material which could be fodder for another play entirely. On the contrary, Sterling’s uncertainties about his family and career are less impactful. Even so, there is enough give and take in the Sterling-Becky dynamic to steadily propel this intermission-less outing as ruminations on spirituality, sex, death, denial, forgiveness, miscommunication, and facing fears take shape.
Wallace, last seen at the Guild in the comedy “Leaving Iowa,” brings understatedly engaging appeal to the low-key Sterling who comes to realize his great escape to Costa Rica damaged his family more than he imagined. Most of the action places Sterling in the position of an understanding observer, but when certain conversations swell, particularly when Becky’s behavior takes its toll, Wallace hits hard with ample rage. Gomes, one of Dayton’s finest young chameleon actresses seen earlier this season at the Guild in “The Columnist, “once again delivers a marvelously grounded, character-specific portrayal. Her seemingly effortless work aptly conveys Becky’s outspoken, selfish tendencies, extreme insecurities, and worrisome millennial angst. In fact, Gomes’ brilliantly enigmatic approach to Becky’s life-altering predicament concerning Marybeth packs a considerable punch.
In related news, the Guild’s 2016-17 season will consist of “The Last Lifeboat” (Aug. 19-Sept. 4, 2016, directed by Jeff Sams), “The Outgoing Tide” (Oct. 7-23, 2016, directed by Kathy Mola), “The Unavoidable Disappearance of Tom Durnin” (Nov. 18-Dec. 4, 2016, directed by Margie Strader), “Luna Gale” (Jan. 20-Feb. 5, 2017, directed by Debra Kent), “The Elephant Man” (March 17-April 2, 2017, directed by David Shough) and “Wonder of the World” (May 12-28, 2017, directed by Saul Caplan).
“Slowgirl” continues through March 13 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. The play is performed in 1 hour and 40 minutes without intermission. 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. Patrons are reminded the play contains adult language and themes.

‘The Glass Menagerie’ Review – Human Race Theatre Company – Dissecting Memory

February 9, 2016 By Russell Florence, Jr.

Dysfunction reigns and happiness is fleeting within Tennessee Williams’1945 semi-autobiographical drama “The Glass Menagerie,” a powerhouse of a play currently receiving a lovely, attractively designed presentation courtesy of the Human Race Theatre Company at the Loft Theatre.

Drew Vidal and Claire Kennedy. Photo courtesy Scott J. Kimmins.

Set in a St. Louis apartment in the 1930s, this potent saga of a disillusioned, regretful Southern belle stuck in the past and her two emotionally scarred children meandering in the present never fails to entice. In stark contrast to Williams’ equally marvelous “A Streetcar Named Desire,” a masterpiece primarily fueled by anger, violence and betrayal, “Glass Menagerie” mesmerizes with a gentler magnetism propelled by remarkable poetry and a powerfully relatable familial sting. As Tom Wingfield (Williams’ alter ego) looks back on his troubled life, specifically the squabbles with his overbearing mother Amanda, the overprotection given to his insecure sister Laura, and the pain of being abandoned by his father, he conjures memories which are entirely one-sided and purposefully askew. He opts for “truth in the pleasant disguise of illusion” because it is his most viable means of acceptance. It’s natural to suspect Tom was born to experience more than what St. Louis could offer which makes his ultimate decision to leave his family behind far from outrageous. Even so, he forever remains a prisoner of regret with no escape.
Pensively directed by Greg Hellems, the production is superbly led by Race resident artist Scott Hunt as the frustrated, soul-searching Tom. In one of his finest performances, Hunt, in his first non-musical role on the Loft stage, conveys a tremendous mastery of the text (and its beauty) along with a grounded sense of confinement and yearning which makes the character’s struggles so palpable. Race resident artist Jennifer Joplin, seen as the daughter of a political power couple in “Other Desert Cities” two seasons ago, is too young to be credible as an aging matriarch, but delivers nonetheless in terms of vigor, motherly concern and Southern charm. I would have preferred her portrayal to be more abrasively domineering (which perhaps contributes to the low-wattage electricity of her Act 1 exchanges with Hunt), but at the same rate, it’s refreshing to see this play tilt in Tom’s direction. The luminously expressive Claire Kennedy, a Wright State University alumna with numerous Race credits, dazzles as the introverted, awkward Laura whose passion for her glass menagerie is her only solace. Whether awaiting an autograph or opening a door, Kennedy fills every moment with a captivating, beguiling delicacy. In his Race debut, handsome Drew Vidal (recalling John Krasinksi of “The Office”) terrifically embodies the affable, smooth-talking Jim O’Connor (a.k.a. The Gentleman Caller), a high school alum of Tom and Laura who stops by the Wingfields for dinner only to awaken feelings within Laura she thought would never spring to life beyond her yearbook. Due to Kennedy and Vidal’s exceptional chemistry, Laura and Jim’s Act 2 heart-to-heart conversation by candlelight effortlessly evolves into the splendid centerpiece Williams intended.

Scott Hunt, Jennifer Joplin and Claire Kennedy The Glass Menagerie. Photo courtesy of Scott J. Kimmins.

Hellems’ first-rate artistic team, contributing authenticity and an evocative allure, includes scenic designer Eric Barker, costumer Ayn Kaethchen Wood, lighting designer John Rensel, composer/sound designer Jay Brunner, properties master Heather Powell, and dialect coach Deborah Thomas.
Surprisingly, “Glass Menagerie” marks the first time a play by Williams has been presented in the Race’s nearly 30-year history. Here’s hoping it will not be the last.

“The Glass Menagerie” continues through Feb. 21 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. Feb. 10-13, Feb. 18-20; 2 p.m. Feb. 14 and 21; and 7 p.m. Feb. 16. Act One: 70 minutes; Act Two: 70 minutes. Tickets are $35-$50 for adults, $32-$46 for seniors, and $17.50-$25 for students. Select side-area seats available for $25 at all performances. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com. Group sales: contact Betty Gould at (937) 461-8295 or [email protected]

Review Roundup – ‘A Streetcar Named Desire,’ ‘Roar of the Greasepaint…’ and ‘Broadway Beveled’

January 30, 2016 By Russell Florence, Jr.

A STREETCAR NAMED DESIRE
Wright State University respectably embraces the sexual heat and damaging dysfunction within Tennessee Williams’ splendid 1948 Pulitzer Prize-winning drama “A Streetcar Named Desire.” However, the action, directed by Jason Podplesky, occasionally glides off-kilter, specifically in Act 1 when character-conscious decisions are paramount to ground this searing tale of betrayal and pain.

(left to right) Tommy DiMassimo as Stanley Kowalski, Ellie Margolis as Blanche DuBois and MacKenzie Stephens as Stella Kowalski in Wright State University’s production of “A Streetcar Named Desire” (Contributed photo by Chris Snyder)

When faded, fragile Southern belle Blanche DuBois (Ellie Margolis) enters the New Orleans home of her sister Stella Kowalkski (MacKenzie Stephens) and brother-in-law Stanley (Tommy DiMassimo), it’s puzzling to see Stella greet Blanche nonchalantly. There should be an immediate connection, an immediate history, established between these two women. Strangely, it seems as if Blanche is initially viewed as an intruder rather than a loved one genuinely seeking solace emotionally and physically. Many scenes later, Stanley overhears Blanche telling Stella how much she despises him, but Stanley’s contemplative reactions are intended to generate sympathy which doesn’t feel authentic to the moment. As one of the most arrogant, disgraceful and crude men ever created, Stanley shouldn’t have to pause to second guess anything because his temperament simply doesn’t call for it. Why should he care about Blanche’s opinion? On the opposite end of the spectrum, the utmost importance of David J. Castellano’s set is to indicate cramped, dingy intimacy, but his design is too clean and spacious. When did the Kowalskis move to the Homearama section of working class Elysian Fields?
Still, these artistic predicaments do not hinder an assortment of powerful performances. The remarkably astute Ellie Margolis (attractively costumed by Emily Sollinger and memorable last season as Lady Catherine de Bourgh in WSU’s “Pride and Prejudice”) impressively navigates the role’s challenging, multifaceted arc especially Blanche’s humorously tipsy tendencies (Margolis’ comedic timing is very enlivening) and heartbreaking unease stemming from the death of her gay ex-husband which still rattles her to the core. The physically imposing DiMassimo (another “Pride and Prejudice” standout as Mr. Darcy) winningly embodies Stanley’s volatile, dangerous and unpredictable brutishness just as Williams intended, particularly as Stanley launches into detective mode setting in motion Blanche’s unfortunate demise. Stephens, pleasantly compatible with DiMassimo, becomes very impactful when Stella reminds Stanley of Blanche’s hardships in an attempt to help fill in the blanks. The dynamic Cody Lewis is a perfectly genial fit as vulnerable bachelor Harold “Mitch” Mitchell, Stanley’s military buddy/co-worker who sides with him when the going gets tough and perhaps lives to regret allowing Blanche to walk out of his life. The cast includes Julia Gomez (particularly terrific as Eunice Hubell in the unnerving final scene), Joey Logan (Steve Hubell), Owen Kresse (Pablo Gonzales), Christian Schaefer (Doctor), Megan Valle (Nurse), Brittany Williams (Neighbor Woman), Nerissa Johnson and Alejandria Solis (beautifully haunting Flower Women), and Ian Patrick Ashwell (Young Collector) along with ensemble members Kenneth Erard, Clint Hinderer, Kat Tilt, Alexia Vlahos, and trombonist Haley Knuth.
This “Streetcar” is not without bumps, but arrives at a satisfying finish nonetheless anchored by Margolis’ captivating finesse.

“A Streetcar Named Desire” continues through Feb. 7 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Jan. 30, Feb. 5 and Feb. 6 at 8 p.m., Feb. 3 and Feb. 4 at 7 p.m., and Jan. 31, Feb. 6 and Feb. 7 at 2 p.m. The production runs 2 hours and 50 minutes with one 15-minute intermission. Tickets are $22 for adults and $20 for seniors and students. For tickets or more information, call WSU box office at (937) 775-2500 or visit www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information

THE ROAR OF THE GREASEPAINT, THE SMELL OF THE CROWD
Delightful tunes and a committed cast are great benefits within Dayton Playhouse’s sufficient production of Leslie Bricusse and Anthony Newley’s rarely staged 1965 British musical comedy “The Roar of the Greasepaint, The Smell of the Crowd.”

(left to right) J. Gary Thompson as Sir, Christy Carson as The Kid, Ted Eltzroth as Cocky, and the Urchin ensemble in Dayton Playhouse’s production of “The Roar of the Greasepaint, The Smell of the Crowd” (Contributed photo by Art Fabian)

Set at a rocky place at dawn, colorfully realized within a forest setting by scenic designer Chris Newman, “Roar…” symbolically examines status and power between the privileged and downtrodden by way of a continuous, tiresome game of one-upmanship. The wealthy Sir, authoritatively representing the upper class, cruelly and constantly bends the rules to his advantage which absolutely perplexes the meek, kindhearted Cocky, embodying the lower class. As Sir’s treachery and teasing progresses, Cocky realizes he’s been trapped in a foolish, embarrassing exercise. He ultimately seeks to outwit Sir and valiantly regain his self-esteem.
Sir and Cocky’s peculiar relationship runs an odd gamut from charming to deplorable, but director Jim Lockwood commendably keeps spirits high even when the stagnant script dips into racist waters. Bricusse and Newley briefly pulls the rug out from under the audience in Act 2 by having Cocky swap ranks with Sir when an African-American desires to join their offbeat contest. It is an alarmingly uncomfortable moment serving as a cautious reminder that not much has changed in 50 years. Beyond race relations, it is also apparent how relevant this material is in terms of one’s pursuit of happiness. After all, at some point in time, a Sir or Cocky will enter your life determined to keep you from believing in your potential.
J. Gary Thompson (a fittingly arrogant, hypocritical Sir) and Ted Eltzroth (an amiable Cocky) are well-matched and receive the bulk of the dandy score which includes such standards as “A Wonderful Day Like Today,” “The Joker,” “Who Can I Turn To (When Nobody Needs Me),” and “Nothing Can Stop Me Now!” Eltzroth particularly shines in the pulsating “Joker” fueled by firm accompaniment by musical director Judy Mansky’s orchestra, specifically percussionists Zach Green and Felicia Dellis. Admirable featured portrayals are offered by Christy Carson (The Kid, Sir’s trusty sidekick), lovely soprano Krissy McKim-Barker (joining Eltzroth for the beautiful “My First Love Song” as The Girl), Naman Clark (providing an expressive rendition of “Feeling Good” as The Negro), Don Ray (formidable as The Bully), and an engaging ensemble of Urchins consisting of Malcolm Casey, Kathleen Durig, Jamie Pavlofsky, Carrin Ragland, Stacey Ward, and Alicia Walton. Choreographer Allison Eder’s playful routines, particularly in numbers as “It Isn’t Enough” and “Put It In the Book,” are also noteworthy in this showcase bound to appeal to diehard musical theater fans who crave opportunities to see forgotten musicals.

“The Roar of the Greasepaint, The Smell of the Crowd” continues through Feb. 7 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: 70 minutes. Act Two: 50 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

BROADWAY BEVELED
Magnolia Theatre Company, Dayton’s only professional troupe devoted to producing female-centric plays/showcases, closes its second season with a wonderfully entertaining presentation of “Broadway Beveled: A Feminine Cabaret” at the Mathile Theatre of the Schuster Center.
In a fresh, unique twist, all the material in this breezy, intermission-less show (which is so good it should have been extended to two acts) stem from male-centric songs, scenes and monologues. How refreshing it is to see women expressing their viewpoints and nuances inside relationships, debates and yearnings typically revealed by men. In fact, it’s an outright thrill to see director/Magnolia founding artistic director Gina Handy and her enjoyable, elegantly dressed cast storm the stage as a female Congress in the terrific opener “Sit Down, John” (“1776”). But the boldest, most fascinating moments belong to two portions of David Mamet’s testosterone-driven “Glengarry Glen Ross” directed by Andréa Morales featuring Morales, Handy, Mandy Goodwin, Annie Pesch, and Fran Pesch. These diverse women of varying ages and personalities attack Mamet’s rhythms, vulgarity and cutthroat intent with compelling bite.
Additional standout sequences include Caitlin Larsen Deer’s hilarious “Drowsy Chaperone” monologue, Leah Mikesell, Annie Pesch and Morales’ New Yawkish take on the infectious “Fugue for Tinhorns,” Annie Pesch’s knockout physicality in a monologue from “One Man, Two Guvnors,” Handy’s smooth, pop-flavored “Corner of the Sky,” Megan Rehberg’s plaintive “This Nearly Was Mine,” Linda Kinnison Roth and Katie Momenee’s “Razzle Dazzle,” and an inspired “Rent”/“Newsies” mashup of “One Song Glory,” “King of New York,” and a double “Santa Fe” featuring Jasmine Easler, Annie Kalahurka (who also serves as a comical emcee), Goodwin, Momenee, and Morales. Also, Becca Kloha Strand provides choreography and Rebecca Childs serves as music director.

(clockwise) Caitlin Larsen Deer, Mandy Goodwin, Fran Pesch, Leah Mikesell, Gina Handy, Annie Pesch, Megan Rehberg, and Andrea Morales are among the ladies of Magnolia Theatre Company’s production of “Broadway Beveled: A Feminine Cabaret” (Contributed photo by Gina Handy)

In an evening filled with joy and tenderness, special mention must be given to Annie and Fran Pesch’s radiant “No More” duet. The bond between mother and daughter cuts deep here as layers of subtext, memories and legacy fuels Stephen Sondheim’s gentle tune with a soaring, tear-jerking resonance. I can only hope Magnolia gives us more “Broadway Beveled” to see next season.

“Broadway Beveled: A Feminine Cabaret” continues through Jan. 31 in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Saturday at 2 and 8 p.m. and Sunday at 2 p.m. The production runs 80 minutes without intermission. Tickets are $20 general admission and $15 for military, educators and students. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

‘Once’ Review – Victoria Theatre Association – Intimate Magnetism

January 22, 2016 By Russell Florence, Jr.

Musical theater romances are conceived in many shapes and sizes, but perhaps none more beautifully intimate than “Once,” the winner of eight 2012 Tony Awards including Best Musical currently receiving an outstanding local premiere at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

Set in Dublin and based on the 2007 Academy Award-winning independent film of the same name, “Once” chronicles the unlikely meeting between a struggling Irish street musician/vacuum repairman (identified as Guy) and an inquisitive young Czech woman (identified as Girl) who reawakens his gifted artistry through her persistent encouragement. These fascinating kindred spirits, brought together by fate, eventually embark on a simple yet complicated journey of self-discovery rooted in the promise of music as the driving force to overcome life’s tribulations. “No one who writes this song is finished,” exclaims Girl after her first meaningful duet with Guy.
Although the breezy, witty and touching libretto by Enda Walsh doesn’t fully broaden the lives of this intriguing duo (Guy’s relocated ex-girlfriend and Girl’s daughter and estranged husband could have been more significant dramatic factors in the storytelling), the action nonetheless evolves with a gently compelling ease. The terrific, angst-flavored folk-rock score by Glen Hansard and Markéta Irglová, who starred in the film, certainly contributes to the material’s deep emotional resonance. The gorgeous ballad “Falling Slowly,” winner of the Academy Award for Best Original Song, remains a signature tune, but plaintive, introspective and descriptive songs such as “Leave,” “If You Want Me,” “Say It to Me Now,” and “Gold” are equally impactful. In the same regard, the exuberant essence of “North Strand” and “When Your Mind’s Made Up” adheres to sprightly Irish sensibilities.
Director John Tiffany’s remarkable ensemble of 13 actor-musicians, authentically on par with the original Broadway cast and terrifically interpreting choreographer Steven Hoggett’s character-conscious movement, is marvelously led by the tender and vocally strong performances of Sam Cieri and Mackenzie Lesser-Roy. The handsome Cieri, a dynamic indie-folk singer deserving of a major record deal, skillfully portrays Guy with a wounded, vulnerable fragility that astutely dissipates whenever music frees him from his introverted shell. The endearingly lovely Lesser-Roy, sharp, humorous and beguiling, maintains a pensive aura of attractive mystery throughout that gives credence to Girl’s innate charm as an unexpected muse. Marlene Ginader (Réza), John Hays (Billy), Nyssa Duchow (Ex-Girlfriend), Jenn Chandler (Bank Manager), Patricia Bartlett (Baruṧka), Isaac Haas (Andrej), and Bristol Pomeroy (Da) are among the featured standouts. Additionally, the cast merrily launches this top-notch presentation, expertly enhanced by scenic designer Bob Crowley’s unit bar set and Natasha Katz’s evocative lighting, long before the lights dim. In fact, the audience is encouraged to go on stage 30 minutes before curtain time for a better view (and grab a drink) during the lively pre-show atmospherics reflecting the easygoing jubilance and tuneful frivolity of a Dublin pub.

“Once” is so captivating you’ll wish you could purchase a cast recording of this touring company at intermission. At its core, it truly thrives as a genuinely earnest ode to the bonds of friendship, the therapeutic power of music, and the alluring complexities of love.

“Once” continues through Jan. 24 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. Act One: 60 minutes; Act Two: 40 minutes. Tickets are $25-$82. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

Once – For The First Time

January 20, 2016 By Nikki Nett

If you love music, if you like music, if you heard music one random Tuesday and didn’t hate it, you should make your way to the Schuster Center between now and January 24. Run, skip, interpretive dance your way there, just do it.

The Victoria Theatre Association has brought to Dayton a story of love and music and the way they intertwine in the complicated lives of a Guy and a Girl. Eight time Tony winner, Once The Musical, stormed into town on Tuesday (barely – due to travel delays!) an kept the audience in the Schuster Center captivated from the first note to the last.

On our way to our seats, the usher mentioned, “don’t forget to go on stage and have a drink at the bar”. What? I thought surely this was an error. I was wrong. On stage, before the show there was a raucous party underway. Live music being played, singing and dancing, drinks being poured, and you were encouraged to join in the fun!

The scene was set in Dublin, Ireland with a ragtag group of energetic musicians. As the first act progressed, the Guy stood out with his melancholy songs. We were then intoduced to the Girl, an immigrant who saw something special in this sad musician. From there, we witness their complicated lives unfolding and their relationship growing. Or not growing. Maybe just changing. But their story was beautiful and their songs together are both haunting and hopeful.

There were some scenes that reminded you of a mix of Mumford & Sons + Fiddler On The Roof + Bruno Mars combined. Weird combination? Maybe, but it worked. It worked magically.

We had the chance to chat with some familiar faces after the show. This is what they had to say:

Josh Stucky

I have to say, it’s music with mass appeal. I’d see Once, twice!

Jonathan McNeal

You don’t need to be a fan of the incredible film to fall in love with the great voices and musicians of Once!

Sunni Russo

We thought it was genius the way they handled the set changes and how the cast was also the musical accompaniment and played along the sides of the stage when they were not in the scene.

All in all, it was a fun night. I had no expectations going in, and although I had heard that Once was fantastic, I simply wasn’t familiar with the story before Tuesday night. It took the chill off this wintery week and I am still singing the songs today (fortunately for those around me, the songs are in my head and not out loud).

You can catch the Tony Award winning Once nightly through Sunday Jan 24th with 2pm matinee’s on Saturday and Sunday at the Schuster Center. Tickets range from $39-$92 and can be purchased at Ticket Center Stage

‘Mary Poppins’ Review – Muse Machine – Wondrous Whimsy

January 15, 2016 By Russell Florence, Jr.

The Muse Machine presents “Mary Poppins” through Sunday at the Victoria Theatre. Alter High School senior Brianna Russ stars as the high flying, “practically perfect” nanny. (Contributed photo)

In wonderfully uplifting fashion, the mighty Muse Machine has done it again. The arts education organization supplies an outstanding, heartwarming and smile-inducing presentation of the 2006 Tony Award-nominated adaptation of Disney and Cameron Mackintosh’s “Mary Poppins,” the Muse’s 32nd annual student musical continuing through Sunday at the Victoria Theatre.
Featuring 150 Muse students from across the Miami Valley and based on the beloved 1964 Academy Award-winning film of the same name and the books by P.L. Travers, “Mary Poppins” absolutely shines due to the simple fact that cohesiveness reigns supreme. Even the Muse’s eye-popping ability to fill the Victoria stage with students galore isn’t cause for crowded concern. In fact, there are so many students featured this time a large ensemble of youngsters confidently storm the aisles to great effect during the climax of the Act 1 showstopper “Supercalifragilisticexpialidocious,” the largest musical number in Muse history. Thankfully, co-directors Lula Elzy, Joe Deer and Douglas Merk, creating one of the breeziest “Poppins” I have seen, once again have a clear understanding of what suits the organization in terms of character and scope.
This touching tale of love, family and reconciliation, adapted by librettist Julian Fellowes (“Downton Abbey”) and set in 1910 England, is remarkably led by Brianna Russ in the sophisticatedly chipper titular role and striking tenor Christian Johnson as friendly chimney sweep Bert. A knockout last year as Nancy in the Muse’s terrific “Oliver!,” the vocally strong Russ returns with aplomb, conveying a beguiling blend of sternness, gleefulness and warmth. Johnson’s breakthrough portrayal recalls the high-kicking magnetism of Gavin Lee who originated Bert in London’s West End and on Broadway. A charming narrator and an agile triple threat, Johnson particularly impresses with aerial acrobatics in the marvelously rhythmic “Step in Time,” one of the most glorious numbers Elzy has choreographed in her 17 years with Muse. He is also vibrantly partnered with Russ in such songs as “Jolly Holiday” and the aforementioned “Super…”
Additionally, the Banks household, forever changed by Mary’s magical influence, is enjoyably grounded in the radiant performances of Mitchell Rawlins (effectively displaying the frustration and transformation of the uptight George), Cecily Dowd (fascinatingly mature beyond her years as the concerned Winifred), Megan Braun (Jane), and the adorable Jamey Paul (Michael). Well-matched Lindsey Smith (Mrs. Brill) and Rollie Fisk (Robertson Ay) provide delightful comic relief. Jack Blair (Northbrook), Leo Deer (Von Hussler), Katie Hubler (Bird Woman), James Fields IV (Neleus), Tyler Hanson (Constable), Jack Lewis (a humorously elderly Bank Chairman), and Mackenzie Wolcott (a formidable Miss Andrew) are noteworthy.
Accented by musical director Claude Lucien Thomas’ robust orchestra, John Rensel’s expert lighting design, and an array of fantastic, colorful period costumes courtesy of coordinators Lyn Baudendistel, Robin Brown, Toni Donato Shade, and Alisa Vukasinovich, “Mary Poppins” is a wondrously whimsical theatrical experience not to be missed.

“Mary Poppins” continues through Jan. 17 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are today at 8 p.m., Saturday at 3 and 8 p.m., and Sunday at 2 p.m. Act One: 75 minutes; Act Two: 60 minutes. Tickets are $26-$60. For tickets or more information, call (937) 228-3630 or visit www.ticketcenterstage.com

‘Night Watch’ & ‘Trailer Park’ Reviews – Dayton Theatre Guild & Dare to Defy Productions – Madness & Mayhem

January 12, 2016 By Russell Florence, Jr.

Night Watch
It can be taxing and uncomfortable watching a character implode from mental illness, but there’s enough levity and genuine creepiness to ease the blow as evidenced in the Dayton Theatre Guild’s satisfying production of Lucille Fletcher’s 1972 suspense “Night Watch.”

Photo caption (top row) Andre Tomlinson, Cynthia Karns, Lorin Dineen, Rick Flynn, Julie Hauwiller, (front row) David Shough, and Debra Strauss appear in the Dayton Theatre Guild’s production of “Night Watch” (Contributed photo, not pictured Dave Nickel & Richard Young)

Inside her New York townhouse, the wealthy and extremely unnerved insomniac Elaine Wheeler (a terrifically distraught Debra Strauss) is at her wits end having adamantly believed she’s seen the dead bodies of a man and woman from a nearby tenement building. Prone to fits of unsettled frenzy, Elaine, emotionally scarred from the memories of her first marriage and miscarriage, simply cannot cope with the thought of death in plain sight so close to home. Her supportive yet conniving husband John (a very sly David Shough) continually tries to calm and reassure her but to no avail. However, is Elaine truly unstable? Is her delusional state part of a bigger strategy? Is she merely being taken advantage of by those seeking to lock her away under the assumption she’s losing her mind? These questions are just a few which linger and provoke, fueling Fletcher’s intriguing guessing game. Best known for writing the 1943 radio play “Sorry, Wrong Number,” Fletcher, whose film adaptation of “Night Watch” was released in 1973 starring Elizabeth Taylor, exasperatingly pads this tale with nervous breakdown overkill in Act 1. Nonetheless, she enjoyably raises the stakes in Act 2 with twists and turns that may leave you gasping with shock and delight.

Under the direction of Saul Caplan, occasionally inserting a moody, cinematic underscore to heighten the mystery, the cohesive cast delivers commendable work. Strauss, passionately befuddled and bewildered, brings to heart the agony of a woman at war with herself while relishing the pleasure of matters not always appearing as they seem. Shough, recently memorable at the Guild in “The Columnist,” completely embodies the frustration derived from watching an ill spouse on a dangerous down spiral. Lorin Dineen offers a wonderfully vivid Guild debut as Elaine’s shady best friend Blanche Cook. Rick Flynn, another plus from “The Columnist,” is a pleasantly upbeat Curtis Appleby. Julie Hauwiller, no-nonsense and dubious, is totally grounded as dutiful German housekeeper Helga. Cynthia Karns, in a welcomed return to the Guild, brings inquisitive, supportive earnestness to her gentle portrayal of Dr. Tracey Lake. Dave Nickel, overflowing with blustery agitation, is a fittingly angered Lieutenant Walker who has had enough of Elaine’s constant, hysteric calls to his department. Richard Young (proprietor Sam Hoke) and Andre Tomlinson (Matisse-adoring police officer Vanelli) also appealingly hit the mark in featured roles.

Additionally, Caplan’s artistic team includes scenic designer Fred Blumenthal, costumer Linda Sellers (attractively capturing the essence of the early 1970s specifically for Strauss and Dineen), lighting designer Tony Fende, and sound designer K.L. Storer.

“Night Watch” continues through Jan. 24 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: 55 minutes; Act Two: 45 minutes. Tickets are $20 for adults, $18 for seniors, and $13 for students. For tickets or more info, call (937) 278-5993 or visit www.daytontheatreguild.org

THE GREAT AMERICAN TRAILER PARK MUSICAL
Need a good laugh? Make a mad dash to the Mathile Theatre of the Schuster Center to see Dare to Defy Productions’ hilariously entertaining production of composer David Nehls and librettist Betsy Kelso’s irreverent 2005 Off-Broadway satire “The Great American Trailer Park Musical.”

(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)

Spiritedly directed by Matthew Smith, the raunchy, jaw-dropping “Trailer Park” cleverly spoofs the ins and outs of trashy living while also examining the importance of self-esteem and embracing acceptance within a community. Inside North Florida’s Armadillo Acres mobile home park, the nearly 20-year marriage between tollbooth collector Norbert and his agoraphobic wife Jeannie (who hasn’t stepped outside her trailer in nearly 20 years) is turned upside down when sexy stripper Pippi (and I don’t mean Longstocking) moves in next door to escape her ex-boyfriend Duke. As this love triangle evolves, a funny Greek chorus (recalling the R&B trio from “Little Shop of Horrors”) complements the action with engaging sass.

Angie Thacker and Rob Willoughby, authentically compatible, bring sincerity and charm to the insecure Jeannie and the endearingly foolish Norbert, a couple you root for in spite of Norbert’s infidelity. Thacker, effectively conveying Jeannie’s fear and trepidation, notably offers a heartfelt rendition of “Flushed Down the Pipes.” As Pippi, powerful pop vocalist Lisa Glover effortlessly turns up the heat in “The Buck Stops Here” while solidifying the character as a confident, tough young woman one might consider an underdog but never a pushover. Eric Julian Walker (a humorously vengeful Duke) needs to reevaluate his comedic timing, but his over-the-top urgencies are not a detriment. Tia R. Seay (Betty), Tori Kocher (Linoleum) and Hayley Penchoff (Pickles) are an absolutely crowd-pleasing trio full of feisty spunk. The exuberant Seay, another vocal knockout, specifically makes the most of the kookiness within the “Jerry Springer”-inspired dream sequence “The Great American TV Show” and the toe-tapping, disco-flavored “Storm’s A-Brewin,’” the latter concluding with her high notes amusingly wailed to the hilt atop Pippi’s trailer.
In addition to a colorful set by Willoughby and Entertainment Unlimited Events and character-specific costumes courtesy of Bobby Mitchum and Olivia Dakin, the production features light and sound design by Jason Vogel, properties by Dionne Meyer, and music direction by Lorri Topping who leads a fine four-piece band.

“The Great American Trailer Park Musical” continues through Jan. 16 in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., and Saturday at 2 and 8 p.m. The production is performed in 100 minutes without intermission. Tickets are $20. 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 and themes.

‘A Charlie Brown Christmas’ Review – Sinclair Community College – Love and Goodwill

December 18, 2015 By Russell Florence, Jr.

Jonathan Kelly stars as Charlie Brown in Sinclair Community College’s return engagement of “A Charlie Brown Christmas” (Photo by Patti Celek)

Welcome back, Charlie Brown. You’re still a good man and just as endearing as before as evidenced in Sinclair Community College’s delightful return engagement of “A Charlie Brown Christmas,” Eric Schaeffer’s faithful adaptation of Bill Melendez and Lee Mendelson’s humorous, touching and inspiring 1965 Emmy Award-winning holiday special of the same name by “Peanuts” creator Charles M. Schulz.

As the frenzy of the holiday rush escalates, it’s great to be reminded of the beautiful simplicity within this terrific tale frankly pinpointing the true reasons for the season. Disappointed and extremely bothered by Christmas growing increasingly commercial, Charlie Brown takes it upon himself to get to the heart of the matter despite cynics and his own reservations. And in doing so, he ultimately discovers the power of goodwill wrapped in the enduring value of love, friendship and faith.

“Charlie Brown Christmas” retains much of the same splendid artistic team that impressively conceived Schulz’s wonderfully relatable world last season. Gina Kleesattel’s breezy, astute direction excellently complements the vibrant, expertly cartoon-inspired visuals of scenic designer Terry Stump and costumer Kathleen Hotmer. Choreographer Rodney Veal also adds appealing familiarity ensuring the cast dances Vince Guaraldi’s iconic “Linus and Lucy” with unique glee. Music director/keyboardist Katherine Frauman’s three-piece band (including bassist Briana Pepilascov-Childers and drummer Kerry Kennard) also handles Guaraldi’s timeless jazz score with ease.

Kleesattel’s committed, entertaining 11-member cast, a mix of returning players and newcomers, effectively captures the physicality and expressions seen in the cartoon while incorporating their own nuances. Jonathan Kelly, in a strong Sinclair debut, supplies an amiably worrisome aura befitting the troubled Charlie. Greyson Calvert, spunky and animated, is a comically mischievous Snoopy. An appropriately demanding Erin Waldon brings a funny, frantic energy to the opinionated Lucy. The magnetic David Brandt, a sensitive and compassionate presence, meaningfully recites the Gospel of Luke with tender delicacy. Spencer Boden charms as the perturbed, introverted Schroeder. Bryana Bentley, a memorable Janet Weiss earlier this season in Sinclair’s “The Rocky Horror Show,” scores laughs as the peppy Sally. Thomas Puckett (Pig Pen), Marley Judd (Frieda), Chelsea Overman (Violet), Brooke Watson (Patty), and Jesse MaGill (Shermy) are equally carefree and lighthearted.
Whether you saw it last season or would like to see it again, “Charlie Brown Christmas” is a family-friendly, adorably nostalgic experience you’re bound to enjoy.

“A Charlie Brown Christmas” continues today at 12 p.m. and Saturday at 2 and 7 p.m. in Blair Hall Theatre, Building 2, Sinclair Community College, 444 W. Third St., Dayton. The production is performed in 35 minutes. Tickets are $8. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets. In addition, a special “shadowing” ASL performance will be provided for today’s performance (interpreters follow actors onstage while interpreting instead of being located off to the side of the action). Interpreters include Katie Fritz, Maria Vecchi, Laura Wild, and Amy Sabin. Also, the regular house policy of “no children under 6” has been lifted. All patrons, regardless of age, must have a ticket.

‘The Santaland Diaries’ Review – Human Race Theatre Company – Unhappy Holidays

December 14, 2015 By Russell Florence, Jr.

Christmas can be a time of goodwill but also a living hell as perceived by Crumpet, the Macy’s department store elf at his wits end in David Sedaris’ humorous if thin holiday comedy “The Santaland Diaries” based on his 1992 essay made famous on National Public Radio.

Presented as a season extra by the Human Race Theatre Company and adapted as a one-act, one-man play in 1996 by Joe Mantello, “Santaland Diaries” admirably thrives on Crumpet’s naughty, grumpy perspective as a 33-year-old slacker on the verge of reaching rock bottom. “I was $40 away from walking dogs,” he admits before launching into a series of comical and occasionally jaw-dropping misadventures as one of Santa’s busy helpers. Inside the hustle and bustle of Santaland, Crumpet eventually became a whiz at vomit duty and guaranteeing an African-American Santa upon request among other quirky responsibilities.

Under the personable direction of Race resident artist Scott Stoney, ensuring the script and scenes flow conversationally and with as much intimacy as possible, Race resident artist Tim Lile (amusingly costumed in gaudy garb by Christie Peitzmeier) exudes delightful exasperation. Lile has always been one of the Race’s funniest actors (he’s particularly comfortable in farce) and his comedic timing is greatly beneficial once again. One of his strongest moments involves Crumpet’s hilarious description of elf training including the use of sign language. And even when the script grows offensive or settles too long in off-kilter language, his delivery is so funny it’s easy to forgive the stinging barbs. In spite of a few moments of uncertainty on opening night when he called for a line, Lile is nonetheless in sync with Crumpet’s irritable aura and certainly fills the Loft stage. Granted, Stoney could have brought the action and set nearer downstage, but his decision isn’t a detriment considering the appeal of scenic designer Scott J. Kimmins’ colorful, retail-inspired winter wonderland complete with oversize throne chair.

“Santaland Diaries” may leave you wanting more but it’s an entertaining and welcomed respite from traditional holiday fare.

“The Santaland Diaries” continues through Dec. 19 in the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 7 p.m. Tuesday-Friday, and 5 and 9 p.m. Saturday. The play is performed in one hour without intermission. Tickets are $24. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

‘Really Really’ Review – Playground Theatre – He Said, She Said

December 5, 2015 By Russell Florence, Jr.

Murky events surrounding an evening of partying and drinking dismantles relationships forever in Paul Downs Colaizzo’s riveting 2013 collegiate drama “Really Really,” currently receiving a terrifically compelling local premiere in the Mathile Theatre of the Schuster Center courtesy of emerging Playground Theatre.

Deftly directed by Playground co-founder/artistic director Jenna Burnette and set at a prestigious university, Colaizzo’s fascinating and often humorous look at Millennials navigating through an uncertain future riddled by their own insecurities centers on an intimate encounter between popular rugby player Davis (Playground co-founder/artistic director Christopher Hahn) and the reserved, enigmatic Leigh (Kaleigh-Brooke Dillingham). Leigh specifically accuses Davis, a guy she’s had a crush on since freshman year, of rape although he has no recollection of the incident because he was drunk. The ensuing tug-of-war of words and feelings, resulting in a jaw-dropping climax, opens the door to gripping social commentary on class, privilege, egotism, and hypocrisy which Colaizzo potently explores. And in doing so, and without reservation, he keeps his audience grappled with questions. Would Leigh, who grew up in poverty abused and without prospects, have pursued Davis if he wasn’t wealthy? Did Davis, coming off a relationship that ended badly, pursue the unglamorous Leigh because he thought she was an easy rebound who would leap at the chance to be with him? No one really knows, and in turn, this tale immensely entices and provokes even from the very first scene which powerfully sets the mystery in motion with a very innocent and quiet acknowledgement of pain.

Hahn and Dillingham only appear together in two scenes but they’re an electrifying, honest pair. In one of his most vulnerable and visceral portrayals, Hahn conveys great sensitivity and responsibility throughout to credibly fuel Davis’ good intent and noble reputation. At the same rate, he fiercely taps into Davis’ dark side when his world crashes down. Dillingham, a memorably perky Elle Woods in Beavercreek Community Theatre’s “Legally Blonde,” strikingly inhabits Leigh with needy ruthlessness feeding the vindictive character’s chief desire to rest in the arms of a guy who can truly protect and provide for her. Dillingham, fiery to the hilt in the final moments, proves love and security matter most to Leigh and she will stop at nothing to accomplish her mission even if she has to destroy Davis in the process. After all, in a furious rage, Leigh reminds him, “I’m choosing not to fail.”
Accenting Davis and Leigh’s combustible world are an assortment of colorfully opinionated characters embodied by a uniformly excellent supporting cast. As Leigh’s skeptical, goal-oriented roommate Grace, Jenna Gomes scores laughs and astutely interprets Colaizzo’s enlightening dialogue in two juicy Millennial-driven monologues addressing The Future Leaders of America. Alaska Stoughton is a sarcastic joy in the unnecessary yet entertaining role of Leigh’s snide older sister Haley. As Davis’ brutish, slacker roommate Cooper, Zack Duncan, a towering presence and an appealing newcomer to Dayton’s theater scene, fits the jock stereotype while smoothly balancing blustery machismo with genuine earnestness. As Davis’ studious, thoughtful friend Johnson, the endearing Timothy Moore provides a wonderful moment of reflection involving loyalty. Tyler Henry, in a shrewd bit of casting, is a source of dramatic heft as Leigh’s gullible boyfriend Jimmy, a guy no one likes but everyone needs since he’s the entitled son of one of the university’s power players.

Additionally, Burnette’s commendable artistic team includes scenic designer Isaac Hollister (ensuring the play’s dual apartments differ in tone and personality), lighting designer Derek Dunavent, and sound engineer Luke Tandy. Playground Theatre debuted last season with an amusing and committed look at “The Breakfast Club,” but “Really Really” impressively solidifies this troupe as Dayton’s risk-taking, Millennial-centric outlet for contemporary, edgy theater you need to see.

“Really Really” continues through Dec. 6 in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are 8 p.m. today and 2 p.m. Sunday. Act One: 55 minutes; Act Two: 60 minutes. Tickets are $20 for adults and $15 for students. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.