Arts & Entertainment

We all know about my ongoing addiction problem with dance.  With my recent experience with dance events, I was less than satisfied by the end results. Then I went to the Wright State University Dance Ensemble Winter Dance Concert and I could not wait to get home and tell you all about it. This gave me such a buzz that will stay with me to the Rise to Dance concert and the New Music for New Dance concert being presented this week.

While the concert was far from perfect, it had so much going for it, that by final stunning dance work choreographed by Susanne Payne it didn’t matter what my quibbles and personal dislikes were.  But for the purpose of a complete review, full disclosure is a must. What I love about dance programs presented by colleges and universities, is that you are given a buffet of artistic choices. If one choreographic work is not your cup of tea, something else on the menu might do the trick.

These types of shows are filled with risky choreographic choices and dancers eager to push themselves and the audience in new and exciting directions. Mostly hit or miss but at least an attempt is being made by all involved. And the fact that a college dance concert is more exciting than a professional dance concert should be of concern to this community.

The choreography of assistant professor, Gina Walthers kicked off the concert with a modern pedestrian/propulsive style of choreography that showcased the dancers in the most flattering of ways. The swooping curvilinear forms carried by the always dependable music styling of Kevin Anderson with a mighty assist from the distinctive vocalize of Nina Simone.  The quartet section was of particular choreographic note. Bravo Gina.

Next on the bill was the work of Justin Gibbs, Assistant professor, The Re-Player. A slightly quirky piece, it contained some interesting angular upper body positions that lead to beautiful turning combinations.

I was blown away by the work of student choreographer Joanie Evans, Unscripted.  She is a confident young artist with a very mature movement vocabulary and a burgeoning skill at creating movement sequences that swept the audience (myself included) up in a moody and intense exploration of young women on the edge of emotional vortexes beyond their control. It held the audiences attention from beginning to end. My only quibble is the lighting changes were too frequent and distracting. As you progress as a choreographer Joanie, deliberate you lighting choices very carefully.

Kudos to Abigail Beam for taking the helm of Dayton Ballet II and choreographing, Danza Scherzi, a work that  I feel is only the beginning of a renaissance of dancing at the pre-professional level.  In the past I have not been a fan of all of the works presented by DB II at the Wright State concert.  This work left me hopeful for a revitalization of this pre-professional training program. Since I began my dancing life there, I will always have a soft spot for DBII. And I want to encourage her to keep developing her choreographic chops and build upon her keen sense of musicality and overall aesthetic vision. Keep pushing their technical training.

What happened next on the concert bill nearly caused me to OD. Visiting guest choreographer Adam Hoagland, presented Risk of Flight, a daring, ambitious vertiginous work that left me speechless. Where does one begin with a choreographic work of such sublime intensity? This sublimity compelled me to stalk his choreographic output and to seek out the next show that contained his work. Not since the presentation of the solo Monster Partitur by the king of contemporary choreography at the Wexner a couple of years ago have I been so inspired by someone’s choreographic efforts.  Startlingly simplistic shapes of distorted limbs, like alien life forms, that the dancers thrust themselves into had a visceral freshness that cut through hubris presented by most contemporary choreography. This guy is the real deal.

The fact that Wright State performed his work has elevated their stature in my eyes.  This is a program that bounced back in a major way. If you are a lover of dance you must seek out his work wherever it is being performed (hint, he is the resident choreographer at Cincinnati Ballet). Dayton Ballet should be speed dialing him right now.

A Corps of Individuals, by Justin Gibbs, while not my favorite piece on the concert, had its moments.  I still had a buzz from Risk of Flight that allowed me to sit through it. The pointe work of the dancers was not as strong in sections as it could have been. As a satirical work about the machinations of ballerinas, the humor could have been more acerbic and witty had their technique been sharper this could been a lot o fun.

Nox, a stunning duet by former DCDC dancer Rodney Brown, was an incredibly poignant piece that pulled me into its intimacy. Amelia Dietz and Jordan McMahan danced this work with grace and nuance that served the piece incredibly well. He is another choreographer who we should all be following.

Gina Walther presented excerpts of Bernstein’s Mass, which will be performed on May 13, and 14 as part of a creative collaboration between the Dayton Philharmonic Orchestra and the Wright State University Theater, Dance and Music departments. A powerfully meditative work that evoked a quiet spirituality that allowed for flowing sparkling group sections that spun off into, solo, duet and various other groupings. The dancers  were dressed in blue tunic style belted dresses that flattered the sweeping gestural quality of the work.  As a preview this was a wonderful teaser of what is to come in May at the Schuster (look for the preview). I have always been a fan of Gina’s work.

And last but not least, we had the sensual finale of Shake by Susanne Payne. I cannot think of another choreographer working in the Dayton region, other than William McClellan Jr., who possesses such superlative dance making chops. She has invested her energy and talents into transforming the ladies on stage into creatures of silken and sassy muscularity. I found myself keeping rhythm by slapping hand against my thigh, marveling at how she created a large cast group piece that managed to highlight the singular gifts of each talented dancer.  Susanne Payne is a choreographer of merit and note that deserves all of the accolades that she has coming. Any chance to see her work is a must see event.

The dancers were all in black skirts and shoulder length sleeves that swayed and twirled with a life of its own. As the dancers propelled themselves across the stage with shuffles and arm swings that enveloped the audience in a rapturous energy.

Finally a satisfying dance fix. I am looking forward to the New Music for New Dance  concert at Dayton Ballet coming this weekend.

In the delightful musical comedy “The Drowsy Chaperone,” the winner of 2006 Tony Awards for Best Book and Best Original Score which opened Tuesday, March 8 at the Victoria Theatre produced by the Human Race Theatre Company and presented on the Victoria Theatre Association’s Miami Valley and Good Samaritan Hospital Broadway Series, a musical theater devotee simply named Man in Chair reflects on his adoration for a 1928 musical of the same name by playing its cast recording for the audience. As an assortment of colorful characters spring to life in his Manhattan apartment, the show-within-a-show marriage of fantasy and reality, meticulously constructed with hilarious, sardonic anecdotes by librettists Bob Martin and Don McKellar, cleverly soars, authentically propelled by Lisa Lambert and Greg Morrison’s bubbly pastiche songs.

This well cast, Broadway caliber presentation, fluidly directed by director/choreographer Kevin Crewell who predominately adapts the original Tony-nominated contributions of Casey Nicholaw, stars Wally Dunn whose outstanding portrayal of Man in Chair contains an easygoing humility and infectious bursts of bliss. Whether sipping on a juice box or gesturing dramatically under a crescent moon, Dunn wholeheartedly embraces the passion and quirks inherent in his unassuming role which is pivotal since the material would be deflated without an enthusiastic, fully committed narrator.

Although the show relies heavily on Dunn’s engaging personality, the featured roles are also winningly performed. Megan Nicole Arnoldy offers lovely vocals and an appealing stage presence as showgirl Janet Van de Graaff, whose impending marriage to Robert Martin (the handsome Robb Sapp) serves as the catalyst for “Drowsy Chaperone.” Sapp particularly shines near the outset with the catchy tap dance number “Cold Feets” opposite the excellent Richard Vida as George, Robert’s best man. Jana Robbins wonderfully tackles the tipsy titular role with boozy flair. Christopher Gurr displays sharp comedic timing as Latin lothario Aldolpho. Saul Caplan is believably exasperated as Janet’s producer Mr. Feldzieg, who spends the proceedings preoccupied with ditzy ingénue Kitty (a period-appropriate Adrienne Gibbons) and two vaudevillian-esque gangsters posing as pastry chefs (a humorously unified Scott Cote and Steven M. Goldsmith). Human Race resident artists Patricia Linhart and Scott Stoney are a charming duo as Mrs. Tottendale and her dutiful Underling. Shawn Storms, as aviatrix Trix, puts her belting voice to good use as she leads the cast in the cheerful “I Do, I Do In The Sky.” J.J. Tiemeyer, Amy Wren, Eric Byrd and Erica Steinhagen are compatible ensemble players.

In addition to incorporating Gregg Barnes’ stylish Tony-winning costumes, the creative sets, nicely modeled after David Gallo’s Tony-winning creations, are designed by J Branson courtesy of Music Theatre of Wichita. John Rensel and Nathan D. Dean respectively supply effective lighting and sound design. Musical director John Faas energetically conducts a terrific orchestra.

Like the Man in Chair, I encourage you to escape from the dreary horrors of the real world and sample the theatrical joy that is “The Drowsy Chaperone.”

The Drowsy Chaperone continues through Sunday, March 20 at the Victoria Theatre, 138 N. Main St. Performances are Wednesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. The show is performed in 105 minutes without intermission. Tickets are $39-$81. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Wright State University admirably delivers Jason Howland, Mindi Dickstein and Allan Knee’s poignant yet unremarkable 2005 musical “Little Women,” based on the classic Civil War-era novel by Louisa May Alcott.

Alcott’s semi-autobiographical coming of age tale centers on the colorful, tightly bonded March sisters of Concord, Massachusetts coping with life on the homefront with their mother while their father serves his country. This sprawling adaptation, which takes a few conceptual liberties, offers heartwarming sentimentality, but particularly lacks a wealth of strong, dynamic, period-appropriate tunes from Howland and Dickstein. Both acts open with lengthy, forgettable numbers emphasizing the adventurous writings of the fiery Jo (Jennifer Lamourt), and there are also songs that could have been discarded in favor of allowing librettist Knee to craft more compelling book scenes. Nevertheless, director Lee Merrill injects joy, sincerity and tenderness into the material which keeps the three hour presentation – which opened Friday, March 4 in the Herbst Theatre fluidly executed by a unified cast, smoothly music directed by Susan Carlock and attractively costumed by Vinicius Vargas – thoroughly engaging.

The spunky Lamourt doesn’t possess the vocal range required to belt her big solos, particularly the musical’s signature anthem “Astonishing,” but she effectively relies on her acting strengths to convey Jo’s spitfire determination to become a successful author while simply embracing the independent woman she is. In a welcomed touch of non-traditional casting, Ria Villaver effectively transitions from bratty immaturity to attractive sophistication as Amy. Kathleen Ferrini is nicely understated as Meg. Darien Crago is lovely as the quiet, reserved Beth and also serves as choreographer, specifically staging “Five Forever” with carefree enthusiasm. These ladies form a naturally compatible connection with Madeleine Casto, excellently commanding as the affectionately stern Marmee. Additionally, Michelle Weiser is terrifically authoritative as the society-driven Aunt March, and Lauren S. Deaton, a standout in productions at Sinclair Community College, fares well as boarding house owner Mrs. Kirk.

The men of “Women” are equally appealing. Casey Jordan creates a pleasant rapport with Lamourt in the charming yet underwritten role of Professor Bhaer. Fine tenor Zach Cossman is an endearing presence as Laurie, who pines for Jo yet ultimately falls for Amy. Jason D. Collins, marvelously paired with Casto in “August: Osage County” earlier this season, offers another satisfying turn as Mr. Laurence. The adorably meek Justin Talkington nearly steals the show as John Brooke, Laurie’s tutor smitten with Meg.

Little Women continues through Sunday, March 13 in the downstairs Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 90 minutes; Act Two: 70 minutes. Tickets are $7-$10. For tickets or more information, call (937) 775-2500.

In related news, WSU’s 2011-12 mainstage season will consist of Death of a Salesman (directed by Greg Hellems and tentatively featuring Scott Stoney and Lee Merrill), Hairspray (directed by Joe Deer and choreographed by Teressa Wylie McWilliams), Rent (directed by W. Stuart McDowell), The Merchant of Venice (directed by Sandra Crews) and The Phantom of the Opera (directed by W. Stuart McDowell). Part 2 of Bruce Cromer’s adaptation of Barnaby Rudge will be featured in the Herbst Theatre along with two productions yet to be determined which will be respectively directed by Marya Spring Cordes and Jamie Cordes. The mainstage and Herbst selections are subject to change.