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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

 

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

 

 

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

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

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

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

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

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

 

“Last Gas” continues through June 12 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Act One: 70 minutes; Act Two: 65 minutes. Tickets are $20 for adults, $18 for seniors, and $13 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org.

 

Call for FutureFest Actors!

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DP_mask_LogoThe Dayton Playhouse will hold auditions for it’s annual “FutureFest” new play festival on the following dates:  May 30 & 31 at 7 p.m. Fully staged plays will audition on Monday and staged readings on Tuesday.

FutureFest is a festival of previously unproduced plays, which have been submitted from playwrights across the United States.  Hundreds of submissions are read and the top six are selected to be performed at the festival.  Playwrights of these plays will attend the festival, as will five adjudicators from across the country.  Three plays will be performed as staged readings and three will be fully staged over the 3-day festival.  Feedback will be given by adjudicators and audience members and a festival winner will be selected.  This year marks the 26th FutureFest, which is the largest new play festival in the country sponsored by a community theatre.

The finalists in this year’s “FutureFest” include:

Memories of the Game (fully staged)

Synopsis:   Memories of the Game centers on the McIntosh household, an African-American family of four, who must struggle with the father’s progressing Alzheimer’s disease, while grappling with their own demons and strained family dynamics.

Cast:  2m, 2f

  • Kenneth McIntosh: mid-late 60s, African-American, big personality, loving father and husband, loves the game of football.
  • Karen McIntosh: early 60s, African-American, faithful wife and mother, loves her family.
  • Sharon Evans: mid 30s, African-American, the good child, always willing to help, dealing with a great loss.
  • Michael McIntosh: early 30s, African-American, a drug addict who uses his family for money to feed his habit. Has a good soul that has been lost.

[Miss] (fully staged)

Synopsis:  Frances Oldham Kelsey saved an estimated 20,000 American children from crippling deformities by battling the William S. Merrell Company over the release of thalidomide in the United States from September 1960 to November 1961. Merrell’s brand of thalidomide, called Kevadon, was one of the first two drugs Dr. Kelsey was given upon starting her career at the FDA.  Despite constant threats and intimidation, Dr. Kelsey stubbornly refused to approve the drug because she had concerns about its possible effect on the fetus. When the story broke that thalidomide had caused a world-wide epidemic of infant deformities and death, Dr. Kelsey learned that Merrell had been distributing the drug without approval through a sham investigational study. The fall-out from this revelation combined with the heroism of Dr. Kelsey’s actions caused the United States to reform its regulation of prescription drugs.

Cast:  6m (4m with doubling), 4f

  • Dr. Frances Oldham Kelsey:  40s for most of the play, FDA investigator
  • Dr. Raymond Stehle: McGill professor
  • Dr. Eugene Geiling: University of Chicago professor
  • John: husband of Betty
  • Betty: pharmaceutical rep
  • Dr. Joseph Murray: Merrell contact man
  • Dr. Raymond Pogge:  Merrell medical director
  • FDA staff: female
  • Mary: pharmaceutical rep
  • Dr. Ray Nulsen: physician

The Griots (fully staged)

Synopsis:  Set in rural Georgia in the late 1930s, The Griots focuses on an elderly African-American woman (Ada) who grew up in slavery, a young woman who is the descendant of the plantation owner’s family (Lizzie), and a young white man from Ohio (John) who has been sent to the South to interview ex-slaves as a part of the WPA Writers’ Project. As John gains Ada’s trust over a period of several weeks, her stories turn from quaint tales of happy field hands, to brutal accounts of violence and intolerance. And when her tales contradict Lizzie’s family legends, exposing the truth may have too great a cost.

Cast:  1m, 2f

  • Lizzie Dupree:  mid 20s, pleasant looking, Caucasian. Lizzie has grown up in rural Georgia, in a relatively affluent family.
  • John Holt: mid 20s, a somewhat bookish Caucasian man who has grown up in a Quaker family in Ohio.
  • Ada Coalson:  elderly, African-American, a former slave who now lives alone in a cabin on the land that used to be part of Lizzie’s great grandfather’s plantation.

Shepherd’s Bush  (staged reading)

Synopsis:  England, 1930: renowned man-of-letters E. M. Forster, 52, meets and falls in love with 28 year old policeman, Bob Buckingham. Their secret romance blossoms until police scrutiny inspired Bob to court and eventually marry May, a young nurse. Jealousy and rivalry evolves into a lifelong friendship with surprising consequences.

Cast:  3m, 2f

  • Bob Buckingham: 28 to 68, roguish young policeman with aspirations of being more.  Forster’s friend and lover. Darkly handsome, masculine, athletic and temperamental.  Bob is very physically affectionate.
  • May Buckingham: 23 to 62. Formerly May Hockey. Bob’s fiancée and later his wife. A nurse. Strong willed, direct and patient. Never wears make-up.
  • E. M. Forster: 51 to 91.  The writer. Acerbic, witty, generous, either a cynical romantic or a romantic cynic.
  • J. R. Ackerley: Friend of Forster & the Buckinghams. Strikingly handsome and distinguished radio producer and writer. Flamboyant homosexual.
  • Lily Forster: 70s-80s, E. M. Forster’s mother. A very strong, often overbearing woman.

N   (staged reading)

Synopsis:  “N”   explores both the personal relationship and the working relationship from the opening of The Emperor Jones in 1920 through the last major revival of the play  of African-American actor Charles S. Gilpin and playwright Eugene O’Neill, 1926.

Cast:  2m, 1f

  • Charles S. Gilpin: 35-40 (40 at the start of the play), African-American, Charles is an average size and build, but he has confidence, and a presence. He’s intelligent, somewhat sophisticated, and always looks sharp.  Charles lives and dies by his emotions but also knows how to live in his very segregated times.
  • Eugene O’Neill: 35-40 (37 at the start of the play), Caucasian. O’Neill, the brooding master playwright, early in his career. He is brilliant, cynical, and dryly sarcastic; he doesn’t smile or laugh easily so when he does it is noticeable.
  • Florence Gilpin: 25-30 (30 at the start of the play), African-American, Charles’s wife. She’s pretty and curvy.  She is the woman behind the man who is proud of the man she loves but tries to keep him grounded.

The Violin Maker (staged reading)

Synopsis:  The Violin Maker is the story of Karl Mosel, who after his father’s death, tries to learn from his grandfather the family trade of Violin making.  Ultimately he must decide whether he will continue the 300 year old family tradition or let the family legacy go.

Cast:  2m, 1f

  • Wilhelm Mosel:  80s, a Master violin maker.
  • Karl Mosel:  early 20s, Wilhelm’s grandson.
  • Angela Brunelle:  20s, an intern.

Auditions will consist of cold readings from the scripts.

Auditions will be held at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton, OH 45414.   Those auditioning should bring a list of any scheduling conflicts through July 24.  Rehearsals are typically in the evening, or on weekends.

FutureFest performances will be July 22-24.  Weekend passes are $100 and will be available by calling the box office at 937-424-8477. The box office is staffed Mondays and Wednesdays from 1:30 – 4:30 p.m., however messages may be left at any time and calls will be returned.  Tickets to individual performances will be $18.

The Dayton Playhouse is a community theatre providing outstanding theatrical productions to Miami Valley audiences of all ages for more than fifty years. The Playhouse is nationally recognized for “FutureFest,” a festival of new plays.

 

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

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

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

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

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

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

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

 

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

 

Check Out American Idiot This Weekend

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American Idiot is based on the 2004 Grammy-winning album by punk rock band Green Day, written by front man Billie Joe Armstrong and Tony Winner Michael Mayer.
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Dare to Defy Productions will present American Idiot,  a show that  follows the journey of three life long friends on different paths. Two of them leave the unsatisfying, yet safe, suburban life for the excitement of the Big City- and eventually the war-torn Middle East. The third stays behind in their hometown with this pregnant girlfriend and an uncertain future.

Check out this preview trailer:


Featuring chart topping hits including “21 Guns,” “Boulevard of Broken Dreams,” “Wake Me Up When September Ends,” “Holiday,” and title song “American Idiot,” the Tony Award winning show uses the music of the album to tell the story. Love and Loss, Addiction and redemption, life and death, and the endless pursuit of The American Dream, everyone can relate to this telling story.
American Idiot will be presented in the Victoria Theatre, at 8pm  on May 20th and 2pm and 8pm on May 21st, 2016. Tickets can be purchased online at ticketcenterstage.com or by calling the Box Office at 1-888-228-3630.

 

 

‘1776’ Review – Dayton Playhouse – Creating America

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

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

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

 

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

 

 

 

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

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

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

 

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

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

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

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

WSU Spring Dance Concert Feature Premiere Of Six Works

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The annual Spring Dance Concert on April 21-24 will feature the Wright State Dance Ensemble and works by guest choreographers Jon Lehrer and Greg Robinson. (Photos by Scott Robins/Geek with a Lens)

The Wright State Dance Ensemble will premiere six works and feature dances by nationally known guest choreographers Jon Lehrer, of Lehrer Dance, and Greg Robinson during its annual Spring Dance Concert.

Performances take place in the Festival Playhouse in the Creative Arts Center on Thursday, April 21, at 7 pm; Friday and Saturday, April 22 and 23, at 8pm; and Sunday, April 24, at 2 pm.

The concert will feature eight varied pieces reflecting the breadth and vision of the Dance Program, as well as guest works by the Dayton Contemporary Dance Company II and Dayton Ballet II.

“The concert is sure to have something for everyone. From the music of The Pointer Sisters to the guitar riffs of Richie Havens we paint a canvas in concert dance with athletic, vibrant works of variety,” said Teressa Wylie McWilliams, dance program coordinator and professor.

“The WSU University Dance Ensemble is exquisite. They produce some of the most electric dancers around,” said Greg Graham, Broadway veteran who was guest choreographer at Wright State last year and in 2008.

Jon Lehrer’s “Pantheon Rising,” originally choreographed for Lehrer Dance in 2013, is about the gods and goddesses that created the universe and features a bold musical score by Damien Simon.

Greg Robinson’s “Girls, Girls, Girls!!!” is an appreciation and evocation of “all things showgirl” and features music by Dan Hicks and His Hot Licks, the Young Sinatras and The Pointer Sisters.to-see-more-and-order-prints-go-to-httpbit-ly1bbumzn-2

Premiering at the concert will be “Revel in the Now,” choreographed by Gina Walther, associate professor of dance, exuberant work for 11 dancers that pays homage to the philosophy of living in the moment; and “A Gathering of Crows” by Justin Gibbs, assistant professor.

The Dance Ensemble will also perform McWilliams’ “The Cost,” featuring music by Richie Havens and Jimi Hendrix, and a senior student work by Elizabeth Ramsey.

Tickets cost $12 for adults, $10 for seniors and $5 for students and can be ordered onlineor by calling the Theatre Box Office at 937-775-2500.

This article by  first appeared in on the WSU Newsroom

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

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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.

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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!

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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.

 

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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

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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.

 

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(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

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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.

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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

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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.

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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

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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’

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The simplistic set design keeps the attention on the actors.

The simplistic set adaptation keeps the attention on the actors.

Megan Cooper

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

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.

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.

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 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.

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