Wright State University opens its 37th season with an emotionally compelling production of Arthur Miller’s “Death of a Salesman,” the 1949 Pulitzer Prize-winning tragedy about the downward spiral of a hapless breadwinner and his hopelessly dysfunctional family.

Guest artist Scott Stoney of the Human Race Theatre Company – who co-directed and appeared in the fantastic WSU/Human Race regional premiere of “August: Osage County” last season – simply delivers one of his most electrifying performances as the iconic Willy Loman, the terribly flawed patriarch wallowing in the depths of despair whose specific inability to salvage the past and reshape his murky future fuels the gripping potency within this three-hour memory play. From the moment Stoney sluggishly steps into the spotlight with two suitcases and an exasperated weariness in his eyes, Willy’s incredibly multifaceted persona captivates with aplomb. Without resorting to histrionics or detrimentally appearing larger-than-life, Stoney consistently produces visceral shockwaves as Willy’s prickly stubbornness, volatile uproars and heartbreaking regret palpably connect without letting go. However, it’s not just the flashy, intense scenes that are impactful. Late in Act Two, in a sublime, tear-jerking moment conceived by Greg Hellems in his impressive straight play directorial debut, Stoney gently reciprocates a loving embrace that speaks volumes in advance of Willy’s subsequent epiphany. It is a touching hallmark of this production and an image you’ll never forget.

Equally superb guest artist Lee Merrill, a WSU musical theater professor with extensive opera and musical theater credits across the country, marvelously epitomizes the devoted selflessness of Linda Loman, the good housewife willing to stand by her man and embrace his shortcomings even when she’s rudely berated. In Act One, Merrill splendidly heightens the meaningfully profound dialogue encompassing Linda’s legendary assertion that “attention must be paid.” Toward the conclusion, she wonderfully sheds Linda’s coy demeanor with thrilling rage and is completely devastating in the gut-wrenching final minutes that still packs a wallop after all these years.

Stoney and Merrill are winningly and respectively supported by Patrick Ross and Zach Schute as Biff and Happy Loman. Ross, utterly convincing as a star high school athlete ruined by his own immaturity and the earth-shattering horror of his father’s infidelity, dynamically conveys Biff’s fiery temperament and soul-searching insecurity. Schute is an amiable fit as the philandering Happy, who assumes the role of mediator during frequent family arguments that erupt here with strikingly combative, fist-pounding fury.

Hellems’ firm cast, clothed in Mary Beth McLaughlin’s fine period costumes, also includes Mathys Herbert (sharp and endearing as Biff’s childhood friend Bernard), Jenyth Rosati (effectively seductive and aggravating as The Woman), Jason Collins (first-rate as Charley, Bernard’s father and Willy’s financial saving grace), Andrew Quiett, Tyler Edwards, Tess Talbot, Justin King, Chelsey Cavender, Lauren Bernstein and Ben Street. Scenic designer Don David’s angled concept and Nicholas Crumbley’s moody lighting are atmospherically ideal.

Powerfully relevant in the midst of our current economic crisis, WSU’s “Death of a Salesman” splendidly wounds with a brutal honesty that will leave you breathless.

Death of a Salesman continues through Oct. 2 in the Robert and Elaine Stein Auditorium of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 p.m. Act One: 70 minutes; Act Two: 83 minutes. Tickets are $17-$19. For tickets or more information, call (937) 775-2500.

The bizarre, hilarious and intriguing life of legendary eccentric soprano Florence Foster Jenkins, Manhattan’s most reliable musical laughingstock from 1912-1944, takes center stage in Stephen Temperly’s 2005 two-hander “Souvenir,” an unforgettable play with music receiving an outstanding local premiere courtesy of the Dayton Theatre Guild.

Subtitled “A Fantasia on the Life of Florence Foster Jenkins,” “Souvenir” inherently fascinates as it warmly if hurriedly chronicles the childlike naïveté, unyielding determination and non-existent talent of its extremely unique leading lady. Jenkins, a wealthy, musically inept socialite, firmly believed she was a remarkable vocalist even though she possessed an embarrassingly awful sound. Mistaking laughs for cheers, she assumed all was well as her popular charity recitals inside the Ritz Carlton ballroom left audiences baffled, delighted and hungry for more. Jenkins’ rise as a phenomenon ultimately led to her 1944 sellout concert at Carnegie Hall, which solidified her spot in the annals of pop culture and particularly left Marlene Dietrich in hysterics.

Personality and psychology factor into the allure of this intimate tale, but musicianship is the key ingredient that binds every element. Temperley smoothly frames the action in flashback from the vantage point of Jenkins’ devoted pianist Cosmé McMoon, a fledgling composer. Struggling to pay his rent, Cosmé agreed to assist and instruct, but remained perplexed and wary of his employer’s mystique. At one point, he admits Jenkins’ folly “was so stupendous you had to admire its scale.” Still, how far was too far? He eventually accepted the reality that she would never be the marvel imagined in her head, but delicate disagreements surfaced regarding their shared love of music. In fact, Cosmé believed notes were “absolute” while Jenkins felt they were merely “guideposts.” In theory, Cosmé is correct, but Jenkins’ view is valid, particularly by today’s debatable standards as pop singers such as Christina Aguilera, Beyoncé, Mariah Carey, Celine Dion and Jennifer Hudson relish the overuse of melisma, a melodic embellishment in which a series of notes are sung on one syllable.

Under Saul Caplan’s humorous yet tender direction, Reneé Franck-Reed and Charles Larkowski wonderfully and affectionately deliver performances so instinctive you’d think Temperley wrote the play specifically for them. Appealingly costumed by Robin Farinet, Franck-Reed, who has notably appeared with the Dayton Opera, Human Race Theatre Company and Cincinnati’s New Stage Collective, brilliantly tackles the crucial believability of singing off-key with terrible pitch and no sense of rhythm. Hearing a fine soprano like Franck-Reed seamlessly destroy classics by Mozart and Verdi is a thrilling hoot. Still, the chatty charm, oddball delusion and striking innocence that kept Jenkins endearing as a consummate non-professional is not neglected in her marvelously grounded performance, which grows heartbreaking when Jenkins finally grasps the truth at Carnegie Hall. Larkowski, in a very engaging Guild debut, blends perfectly with Franck-Reed. In addition to providing terrific accompaniment and sincere narration, he sharply conveys Cosmé’s deep insecurities while fulfilling his pivotal role as Jenkins’ primary motivator, comforter and protector.

“To abuse my voice would be unthinkable,” Jenkins proudly declares in one of many witty exchanges. Thanks to a beautifully crafted finale that reveals the music inside her mind and the dynamic duo of Franck-Reed and Larkowski, it is certainly unthinkable for you to miss this absolutely captivating production.

Souvenir: A Fantasia on the Life of Florence Foster Jenkins will continue through Sept. 25 at the Dayton Theatre Guild, 430 Wayne Ave. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $11-$18. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org

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The vigorous tribal strains heard at the beginning of the Human Race Theatre Company’s excellent local premiere of Yasmina Reza’s fascinating absurdist comedy “God of Carnage,” the 2009 Tony Award winner for Best Play translated by Christopher Hampton, are not erroneous. In fact, they provide a perfect precursor to the hilariously brutal philosophical war that transpires between two New York couples trying to make amends following a playground brawl involving their sons.

Reza, who won her first Tony in 1998 for the sophisticated and slightly polarizing “Art,” supplies her most commercial, relatable work to date with “God of Carnage,” a sharp examination of self-righteous parenting and affluent arrogance set inside the attractive home of Michael (Tim Lile) and Veronica (Jennifer Johansen). As the uncouth, destructive sparks fly in Michael and Veronica’s battle with Alan (Rob Johansen) and Annette (Jennifer Joplin) as well as each other, it’s easy to pigeonhole the play as needlessly mean-spirited and over-the-top. However, both well-defined couples, who deceptively appear sensible and accepting at the outset, are justifiably cruel and damaged at the core. Underneath their hysterical facades, they have loveless marriages, bleak futures and no intention to truly agree for the greater good. In 90 engrossing minutes, Reza astutely peels away the hypocritical layers of four incredible fools who presume to know everything when in fact they know nothing.

Director Margarett Perry, expertly establishing an uneasy atmosphere that ebbs and flows between awkward tension and frenzied chaos, assembles a naturally compatible, first-rate quartet. The always striking Jennifer Johansen, rivaling the luminous ferocity of Marcia Gay Harden in the extraordinary original Broadway production, is simply outstanding as a domineering, highly intellectual and startlingly overprotective mother whose interest in Africa is particularly challenged beyond her expectations. Lile, so adept at physical comedy, humorously unleashes Michael’s fatherly pride, frustrated disgust and surprising bigotry. Rob Johansen, Jennifer’s real-life husband, provides a fine example of an annoying workaholic lawyer who would rather cling to his cell phone than his wife. Joplin wonderfully reveals the feistiness brewing below Annette’s unassuming persona.

Additionally, David A. Centers’ stylishly sleek set ranks among his best designs. The contributions of costumer Lacee Rae Hart, lighting designer John Rensel, sound designer Matthew P. Benjamin and properties master Heather Powell are also commendable.

“God of Carnage,” opening the Human Race’s 25th anniversary season, will arrive this fall on the big screen re-titled “Carnage,” directed by Oscar winner Roman Polanksi and featuring Oscar nominee John C. Reilly and Oscar winners Jodie Foster, Christoph Waltz and Kate Winslet (see trailer below). Polanksi’s version sounds promising, but the Human Race undoubtedly proves how audacious, entertaining and shocking Reza’s creation can be.

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God of Carnage continues through Sept. 25 at the Loft Theatre, 126 N. Main St. Performances are Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. The play is performed in 90 minutes without intermission. A special forum discussion will be held following the Sunday, Sept. 18 performance. Tickets are $18.50-$40. However, as part of the celebration of the Human Race’s 25th anniversary season, there is also a ‘25-for-25’ ticket option with the 25 seats at each end of the Loft Theatre available for just $25 at every performance. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

In related news, Jake Lockwood, who has appeared in such Human Race productions as ‘Rounding Third’ and ‘The 39 Steps,’ will conduct a free family improv workshop Saturday, September 24 from 6 to 9 p.m. at the Boonshoft Museum of Discovery’s Dayton Regional Science Festival. The Boonshoft Museum of Discovery is located at 2600 DeWeese Parkway. For more information, call (937) 275-7431 or visit www.boonshoftmuseum.org