Archives for May 2012

Laramie Cast (l to r): Matt Turner, Matthew Smith, Angela Dermer, Robb Willoughby, Rachel Wilson, John Ray and Chris Hammond. (kneeling) Cydnie Hampton and John Dunn

Sinclair Community College wraps a very commendable season with an excellent production of “The Laramie Project,” a gripping account of gay University of Wyoming student Matthew Shepard, the victim of an appalling hate crime on the outskirts of Laramie, Wyoming in the autumn of 1998.

Compiled from over 200 interviews conducted by Moises Kaufman and members of the Tectonic Theater Project, “Laramie Project,” which debuted in 2000, mesmerizes with quiet intensity as wide-ranging perspectives of Shepard and Laramie citizens mesh to form an impressively authentic, brilliantly balanced, brutally honest three-act canvas of heartbreak, horror, humor and hope. Director Scott Stoney refreshingly energizes the storytelling with brisk immediacy (this is the most fast-moving version I have seen), but superbly pauses the pace to beautifully heighten the deeply touching poignancy in the finale of each act. A bicycle slowly crossing in front of the fence where Shepard was bound for 18 hours and hearing the cast mimic the patter of rain upon the announcement of Shepard’s death are some of the unique instances that stir emotions anew before intermission. Stoney, who astutely concludes the play with an inspired local nod, also ensures his wonderfully unified nine-member cast creates sharply distinctive personas while inhabiting multiple roles of varying ages and traits. Some actors are more adept chameleons, but the challenge is admirably met by all.

Angela Dermer, John Dunn, Chris Hammond, Cdynie Hampton, John Ray, Matthew Smith, Matt Turner, Robb Willoughby and Rachel Wilson comfortably handle the fluidity of the material, winningly accented by Patti Celek and Gion Defrancesco’s projections. The ensemble is also memorably spotlighted individually, particularly Ray’s fiery Fred Phelps, Willoughby’s tear-jerking Dennis Shepard, Wilson’s terrific turn as police officer Reggie Fluty, Hammond’s earthy embodiment of Reggie’s mother and Dunn’s excitable portrayal of a college student drawn to “Angels in America.”

The contributions of scenic/property designer Terry Stump, costumer Kathleen Hotmer, lighting designer Gina Neuerer and sound designer Stephen Skiles are equally appealing within this riveting play overflowing with relevant, thought-provoking potency.

“The Laramie Project” continues through May 26 in Blair Hall Theatre, Building 2, of Sinclair Community College, 444 W. Third St. Performances are Friday and Saturday at 8 p.m., Sunday at 2 p.m., Wednesday at 10 a.m. and Thursday at 7 p.m. Act One: 50 minutes, Act Two: 40 minutes; Act Three: 30 minutes. Tickets are $10-$15 (the Thursday performance is an additional $5 and includes pre-show appetizers and a cash bar). For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets

Four months after the Dayton Playhouse elegantly saluted Rodgers and Hammerstein with the musical revue “A Grand Night for Singing,” the organization successfully closes its season with a very pleasant, emotionally honest production of the iconic duo’s final collaboration “The Sound of Music.”

Despite the unmistakable schmaltz inherent in Howard Lindsay and Russel Crouse’s strong libretto and Rodgers and Hammerstein’s marvelously infectious score, this engaging tale circa 1938 Austria of postulant Maria Rainer and her unexpected bond with Captain George von Trapp and his seven children strikes a chord. Director Brian Sharp embraces the material with a surprisingly traditionalist outlook (particularly using the original script/score featuring “An Ordinary Couple” instead of the revised edition containing film favorites “I Have Confidence” and “Something Good”), but he effectively emphasizes the transformative impact of song within the grief-tinged Trapp family thanks to Maria’s influence. The family finally has a reason to feel reborn and grow harmoniously closer when their voices blend, an element I haven’t sensed in previous productions. In fact, when Maria is told she has brought music back into the Trapp household it is a misty-eyed moment of genuine gratitude that touchingly reiterates Sharp’s approach.

Kelli Locker, an actress who sings, is a highly commendable Maria. She not only grasps Maria’s perky innocence and desire to be liked but the conflicted emotions born of her evolution into womanhood. Locker is also perfectly partnered with the absolutely terrific David Shough, the best Georg I have seen in years. In addition to offering a beautifully tender rendition of “Edelweiss,” Shough fully understands the fine line between pertinent sternness and off-putting rigidity, ensuring his well-crafted performance, which evolves impeccably, maintains an authoritative amiability.

In featured roles, Stephanie Shubert (Liesl), Logan Trzeciak (Friedrich), Taylor Winkleski (Louisa), Ben Kneblik (Kurt), Hope Whitestone (Brigitta), Sophia Shannon (Marta) and the particularly adorable Cate Shannon (Gretl) are enjoyable as the Trapp children. Joan Harrah (Mother Abbess), Laura Bloomingdale (Elsa Schraeder) and James Trzeciak (Max Dettweiler) are vocally strong and offer firm portrayals. As frustrated housekeeper Frau Schmidt, Dodie Lockwood offers a sharp perspective of the Trapp family past and present. David Stephen Thomas (an appealing Rolf), Terry Lupp (Sister Margareta), Cathy Long (Sister Berthe), Marabeth Klejna (Sister Sophia), David Lindsley (Franz) and Craig Smith (Herr Zeller) are also notable.

Bruce Brown provides an excellent scenic design. Costumer Marilyn Johnson supplies a lovely blue dress for Locker late in Act 1. Musical director Ron Kindell leads a steady orchestra.

“The Sound of Music” continues through May 27 at the Dayton Playhouse, 1301 E. Siebenthaler Ave. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 90 minutes; Act Two: 55 minutes. Tickets are $10-$15.  For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.com

Casey Jordan and Samantha Helmstetter in The Phantom of the Opera (contributed photo)

The regional collegiate premiere of Andrew Lloyd Webber’s 1986 melodramatic megahit “The Phantom of the Opera,” which he co-adapted from the Gaston Leroux novel with Richard Stilgoe and Charles Hart, receives a strikingly designed yet off-kilter staging at Wright State University.

Director W. Stuart McDowell’s knack for creating attractive stage pictures is evident once again, but his decision to place the crux of the vocally impressive show in the hands of Casey Jordan is a big mistake. Jordan, familiar to WSU audiences for delightfully comedic work in “Anything Goes” and “Hairspray,” is simply out of his element attempting to embody the obsessive, maniacal, dungeon-dwelling Opera Ghost threatening the artists and owners of the Paris Opera House in the late 19th century. He oddly aims for a softer, introverted interpretation that leads him on the road to disadvantage because the Phantom, although emotionally wounded, is not a timid sentimentalist at his core. Without credible menace or a darkly brooding sensibility, the imposing role’s dramatic weight is basically non-existent. More startling is the fact that Jordan is completely devoid of passion opposite luminous soprano Samantha Helmstetter as Christine Daae. “Music of the Night” is particularly intended to be an Act 1 knockout, but Jordan, whose overdone hand gestures factor prominently in his performance, spends more time caressing the air instead of Helmstetter. In turn the song becomes a frustrating bore awkwardly worsened by the unnecessary presence of three Muses who repeatedly (or purposefully?) steal focus from Jordan. (I’m shocked McDowell changed the ending in favor of the Muses instead of Christine’s best friend Meg Giry, admirably portrayed by Taryn Lemmons.)

Thankfully, Helmstetter, fantastic two months ago in WSU’s “Berlin to Broadway with Kurt Weill,” steers the show in the right direction whenever she’s front and center. Her sublime vocals and earnest emotions are saving graces even when the plot deflates toward its sappy conclusion. “Think of Me” and “Wishing You Were Somehow Here Again” are poignantly rendered, but I found “Twisted Every Way,” an underrated yet potent moment addressing Christine’s perplexity and torment, to be her finest number in terms of depth. Due to Jordan’s seductive ineptitude, she believably radiates more heat alongside the handsome Patrick Ross (Raoul) who joins her for a heartfelt, lyric-driven “All I Ask of You.”

Kathleen Ferrini as diva Carlotta and Andrew Quiett as Piangi create a humorously conceited bond. They are notably joined by Chrissy Bowen (Madame Giry), Drew Helton (Firmin) Sean Jones (Andre) and the aforementioned Ross for a sharply executed “Notes” and a wonderfully soaring rendition of “Prima Donna” nearly worthy of an encore.
McDowell’s expert tech team consists of set designer Don David, lighting designer Nicholas Crumbley, costumer Lisa Loen, sound designer James Dunlap and properties masters John Lavarnway and Kim Townsend. Choreographer Sarah Wildman specifically ensures “Masquerade” arises with unified flair. Musical director Ryan Heinrich’s terrific orchestra proves Lloyd Webber’s music will always be “Phantom’s” main attraction.

“The Phantom of the Opera” continues through May 27 in the Festival Playhouse Stein Auditorium of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are May 16-17 and 24 at 7 p.m., May 18-19, 25-26 at 8 p.m. and May 19-20, 26-27 at 2 p.m. Act One: 75 minutes; Act Two: 55 minutes. Tickets are $18-$20. For tickets or more information, call (937) 775-2500.