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Dancing Bodies and Melodic Voices Come Together

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Body & Voices_croppedJPEGMusica, Dayton’s Chamber Choir, is partnering with the Dance Department at Stivers School for the Arts to present Body & Voices, a program utilizing the talents of both musicians and dancers.

 

The Musica ensemble will be under the direction of Artistic Director, Dr. Jeffery Stern and the Stivers dancers are under the direction of Adjunct Faculty and Choreographer, Rodney Veal.

The Body & Voices concert will capture the spirit and convey the story of the American Civil War through song and movement. Our program tells this story in four sections: a study of one of the most popular composers of the time, Stephen Foster; a look into the burdens of war; exploration of songs representing the struggle to end slavery; and a finale representing American patriotism. Mr. Veal says, “we are very excited to be collaborating with Musica on this concert, which allows us to interpret these wonderfully arranged classic choral works through modern dance.”

 

Body & Voices will be presented in the recently renovated Eichelberger Hall at Stivers School for the Arts on Saturday, March 12 at 7:00 and Sunday, March 13 at 3:00.

 

Tickets are $15 for adults and $12 for Students and Seniors. For more information, call (937) 619-9755 or visit www.musicadayton.org.

‘Slowgirl’ Review –Dayton Theatre Guild – Redemptive Reunion

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

 

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

Delicately directed by Rick Flynn, this character study examines the loving yet stained relationship between retired lawyer Sterling (Peter Wallace) and his 17-year-old niece Becky (Jenna Gomes). The relatively content Sterling moved to the tiny town of Los Angeles, Costa Rica following his divorce and a highly publicized bad business deal. He is unexpectedly thrust into parental mode when Becky, suspended from school, arrives at his quaint bungalow (attractively designed by Wendi Michael and evocatively lit by Jadon Bischoff) seeking solace having been at the center of a tragedy with her classmates. Sterling’s wisdom and Becky’s obliviousness predictably clash within the context of the generation gap, but as their differences evolve into similarities common ground is formed with palpable introspection.

The awkward title refers to the nickname insensitive Becky and her foolish friends gave to Marybeth, a disabled girl they took advantage of at a house party. Pierce, nephew of Tony and Emmy winner David Hyde Pierce (“Frasier,” “Curtains”), is at his thought-provoking best exploring Becky’s mishandling of the situation and its impending consequences, material which could be fodder for another play entirely. On the contrary, Sterling’s uncertainties about his family and career are less impactful. Even so, there is enough give and take in the Sterling-Becky dynamic to steadily propel this intermission-less outing as ruminations on spirituality, sex, death, denial, forgiveness, miscommunication, and facing fears take shape.

Wallace, last seen at the Guild in the comedy “Leaving Iowa,” brings understatedly engaging appeal to the low-key Sterling who comes to realize his great escape to Costa Rica damaged his family more than he imagined. Most of the action places Sterling in the position of an understanding observer, but when certain conversations swell, particularly when Becky’s behavior takes its toll, Wallace hits hard with ample rage. Gomes, one of Dayton’s finest young chameleon actresses seen earlier this season at the Guild in “The Columnist, “once again delivers a marvelously grounded, character-specific portrayal. Her seemingly effortless work aptly conveys Becky’s outspoken, selfish tendencies, extreme insecurities, and worrisome millennial angst. In fact, Gomes’ brilliantly enigmatic approach to Becky’s life-altering predicament concerning Marybeth packs a considerable punch.

In related news, the Guild’s 2016-17 season will consist of “The Last Lifeboat” (Aug. 19-Sept. 4, 2016, directed by Jeff Sams), “The Outgoing Tide” (Oct. 7-23, 2016, directed by Kathy Mola), “The Unavoidable Disappearance of Tom Durnin” (Nov. 18-Dec. 4, 2016, directed by Margie Strader), “Luna Gale” (Jan. 20-Feb. 5, 2017, directed by Debra Kent), “The Elephant Man” (March 17-April 2, 2017, directed by David Shough) and “Wonder of the World” (May 12-28, 2017, directed by Saul Caplan).

“Slowgirl” continues through March 13 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. The play is performed in 1 hour and 40 minutes without intermission. Tickets are $20 for adults, $18 for seniors, and $13 for students. For tickets or more information, call (937) 278-5993 or visit www.daytontheatreguild.org. Patrons are reminded the play contains adult language and themes.

Stage set for annual ArtsGala at Wright State

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10416 1150The annual Wright State University ArtsGala, which has raised more than $2 million for arts scholarships during its 16-year history, is scheduled for Saturday, April 9, with an impressive program featuring student performances in theatre, dance, motion pictures, music and visual arts.

 

The event will showcase the efforts of Wright State fine and performing arts students and educators who have been recognized for their achievement by Academy Award–winning actor and Wright State supporter Tom Hanks. Hanks and Amanda Wright Lane, great grandniece of the Wright brothers, are co-chairs of Rise. Shine. The Campaign for Wright State University, a $150 million fundraising campaign that promises to further elevate Wright State’s prominence by expanding scholarships, attracting more top-flight faculty and supporting construction of state-of-the-art facilities.

 

“Wright State is training the artists of tomorrow. I know because I’ve worked with some of Wright State’s alumni, and they’re among the best in their fields,” Hanks said about Wright State’s arts students. “Wright State not only has one of the most outstanding arts programs in Ohio, but one of the best in the entire nation.”

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The 6:30 pm to midnight event in the Creative Arts Center is presented by the College of Liberal Arts. The popular black-tie-optional ArtsGala is regarded as one of the area’s premier arts events, drawing nearly 800 patrons each year.

 

“Our students are eager to showcase their tremendous skills to our community at ArtsGala 2016,” said Kristin Sobolik, Ph.D., dean of the College of Liberal Arts. “This year will be particularly special as we unveil the brand-new addition to our world class Creative Arts Center, which includes a two-story art gallery and dance and stage combat studios. This additional space will offer guests even more venues to enjoy our amazingly talented fine and performing arts students.”

 

This year is ArtsGala’s 17t10416 0212h anniversary celebration with many special events designed to celebrate the occasion.

Features this year include:

  • Wind Symphony, featuring Stars and Stripes Forever
  • Selections from our spring musical, The Music Man
  • Live artistic creation by student artists
  • Student film festival
  • Chamber orchestra
  • Opera performances
  • Dance performances
  • Five themed dining rooms
  • Cigar tent
  • Top-quality wine, bourbon and craft beer tastings
  • Martini lounge featuring music and dancing

 

A silent auction will offer over 100 items for bidding, including:20150328-ArtsGala-B0412

 

  • Artwork by Wright State faculty, students and alumni
  • Wide variety of wines
  • Assortment of luxury gift baskets, gift cards and dining certificates

 

ArtsGala’s presenting sponsors are Barnes & Noble at Wright State and Morris Home Furnishings. Other major sponsors include Chartwells, Emerson Climate Technologies, Gloria and Don Graber, HORAN, Zoe Dell Nutter, ThinkTV, Pamela and Malte von Matthiessen and WHIO-TV.

ArtsGala tickets ($200 each) and information are available at (937) 775-5512 or http://www.wright.edu/artsgala.

 

‘Kinky Boots,’ ‘Motown,’ ‘Dirty Dancing’ headline Victoria season

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seasonBox office and pop-friendly titles, familiar and new, are on the horizon from the Victoria Theatre Association for its 2016-2017 season.

 
The VTA’s Premier Health Broadway Series, Projects Unlimited Star Attractions, Morris Company Family Series, National Geographic Live! Series, and Frank M. Tait Foundation Discovery Series were announced Monday, Feb. 22 in the Wintergarden of the Schuster Center. Emceed by Meteorologist Tara Hastings of WDTN, the ceremony was attended by more than 400 people and incorporated business/community leaders, media personalities, and Victoria subscribers, donors and friends.

 
The nostalgia-driven, six-show Broadway Series, to be held solely at the Schuster Center, consists of the return engagements of “42nd Street” (last seen at the Victoria Theatre over a decade ago) and “Jersey Boys” (last seen in 2012) along with the local premieres of “Dirty Dancing” (based on the 1987 film of the same name), “Motown the Musical”(one of the most highly entertaining musicals conceived in recent years), the 2013 Tony Award-winning Best Musical “Kinky Boots” (featuring a terrific score by Cyndi Lauper), and the in-development magic/puppetry spectacular “Circus 1903” (from the creators of “The Illusionists” and “War Horse”). The local premiere of the family-friendly “Elf the Musical,” based on the 2003 film of the same name and the only production announced thus far on the Star Attractions slate, will arrive Thanksgiving week at the Schuster Center.

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The cast of “Kinky Boots” (contributed photo)

“Broadway is very good at balancing the traditional with the new,” said VTA President and CEO Ken Neufeld who humorously wore a pair of kinky boots during the event’s climax to accent his enthusiasm for the hit musical. “I think our season offers a balance that will appeal to everyone. ‘Circus 1903’ is a particular leap of faith for us because it is still being developed in Australia, but we are fortunate to be among only about a dozen organizations in America to have the chance to present it.”

 
Additionally, musical selections were notably offered by the Deron Bell Band, Gina Handy of Magnolia Theatre Company, and students from Wright State University’s musical theater department.


Premier Health Broadway Series
(all shows at Schuster Center) 

Jersey Boys (Oct. 18-23, 2016)

42nd Street (Jan. 10-15, 2017)

Dirty Dancing (March 14-19, 2017)

Motown the Musical (April 11-16, 2017)

Kinky Boots (May 23-28, 2017)

Circus 1903 (June 13-18, 2017)

CIRCUS

Projects Unlimited Star Attractions

Elf the Musical (Nov. 22-27, 2016 – Schuster Center)


Frank M. Tait Foundation Discovery Series
(all shows at Victoria Theatre)

We the People (Nov. 7, 2016)

The Wright Brothers (Nov. 15-16, 2016)

Edward Tulane (Nov. 17, 2016)

Brown Bear, Brown Bear (Feb. 1, 2017)

I Have A Dream (Feb. 16, 2017)

The Lightning Thief (Feb. 28, 2017)

Anne of Green Gables (April 4, 2017)

The Cat in the Hat (April 7, 2017)

Mufaro’s Beautiful Daughters (April 21, 2017)

The Mayhem Poets (May 1, 2017)
Morris Furniture Company Family Series
(all shows at Victoria Theatre)

 Muts Gone Nuts (Oct. 29, 2016)

A Year with Frog and Toad (Jan. 21, 2017)

Pinkalicious The Musical (Feb. 25, 2017)

The Cat in the Hat (April 8-9, 2017)

Mufaro’s Beautiful Daughters (April 22, 2017)

 

National Geographic Live! Series
(all lectures at Victoria Theatre)

Hilaree O’Neill, mountaineer: Down to Nothing (Jan. 31, 2017)

Steve Winter, wildlife photojournalist: On the Trail of Big Cats (March 6, 2017)

Pete McBride, adventurer/photographer: Chasing Rivers (April 24, 2017)

 

Season tickets are on sale for the Premier Health Broadway Series. New season ticket holders will be seated once current season ticket holders’ renewals are fulfilled. Renewal packets for all current Premier Health Broadway Series season ticket holders were mailed the morning of Feb. 22. The deadline for current season ticket holders to request changes to Broadway Season ticket packages is March 14. The deadline to renew 2016-2017 Broadway Season ticket packages is March 28.  Season ticket sales for the Morris Furniture Company Family Series and National Geographic Live! Series begin later in the spring, as well as new packages for the Projects Unlimited Star Attractions. Additional Star Attractions will be announced at a later date. For more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com or www.victoriaheatre.com

 

‘Cinderella’ Review – Victoria Theatre Association – A Lovely Night

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Marvelously inventive costumes, gorgeous vocals, terrific performances, and timely social themes fuel the outstanding national tour of the 2013 Tony Award-winning Broadway revival of “Rodgers and Hammerstein’s Cinderella,” continuing through Sunday at the Schuster Center courtesy of the Victoria Theatre Association’s Premier Health Broadway Series.

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Fluidly directed with subtly substantive flair by Mark Brokaw and cleverly reconceived with contemporary flourishes by Douglas Carter Beane (“Xanadu”), “Cinderella,” originally written for television in 1957, is new and improved for all the right reasons. What used to feel merely sweet and safe arises with inspired twists and a refreshingly current vivacity specifically as the musical’s look at finding The One and the townspeople’s quest for revolution respectively conjures the giddy awkwardness of “The Bachelor” and the excitement of Bernie Sanders’ stump speeches. As this romantic tale evolves, Ella (as she’s known here) truly desires to wed royalty, but she wants to change her world in the process. After she appears at the swanky ball (a sumptuous sequence heightened by choreographer Josh Rhodes’ dazzling waltzes) and cheerfully adjusts everyone’s perspective by flipping a cruel game of ridicule (a fascinating addition to this updated version), Ella eventually raises the stakes by returning to face Prince Topher in an attempt to make him understand what is really happening outside the palace walls. Her bold tenacity coupled with a determination to make her dreams come true makes her wonderfully three-dimensional. Thanks to Beane, a comic master bolstered by Rodgers and Hammerstein’s delightfully tuneful foundation, the Cinderella ideal has never been more compelling or progressive than in this production’s captivating depiction of her conviction, strength and kindness.

 


The very endearing Kaitlyn Davidson, a lovely soprano particularly bringing sweetness and depth to “In My Own Little Corner,” is an absolutely effervescent Ella. Davidson is well-matched by the handsome and charming Andy Huntington Jones as the relatable, contemplative Topher, a sheltered leader who grows in confidence for his own sake and the future of his country. As Ella’s Fairy Godmother Marie, the humorous, enchanting Liz McCartney provides radiant renditions of “Impossible” and the beautifully soaring “There’s Music in You.” Blair Ross is a superbly stern and malicious Madame, Ella’s wicked stepmother. Kimberly Fauré (kindly Gabrielle) and understudy Summer Broyhill (kooky Charlotte) are compatibly goofy as Ella’s spoiled stepsisters. The amiable David Andino is a spirited Jean-Michel, the sensitive rebel inciting revolt. Blake Hammond is fussy and slick as the treacherous Sebastian, Topher’s royal administrator. As the trusty Lord Pinkleton, Chauncey Packer impressively displays operatic heft while proudly proclaiming “The Prince Is Giving a Ball,” an Act 1 ensemble highlight.

 
Additionally, William Ivey Long’s applause-inducing, Tony Award-winning period costumes are simply stunning, particularly his meticulously crafted outfits for Ella and Marie which transform in full view of the audience. Long’s 330 costumes are notably inspired by French painter Pieter Breughel’s “The Wedding Feast” as well as the French court of Catherine de Medici. Scenic designer Anna Louizos’ colorful storybook sets, Kenneth Posner’s exemplary evocative lighting, Nevin Steinberg’s striking sound design, Paul Huntley’s superb hair and wig design, and music director Valerie Gebert’s excellent orchestra are noteworthy.
Having seen the “Cinderella” revival on Broadway with its original cast and later in its run when Keke Palmer became the first African-American to portray the titular role on the Great White Way, I can say with all honesty that this equally top-notch tour, perfectly timed for Valentine’s Day, is not to be missed.

 

“Rodgers and Hammerstein’s Cinderella” continues through Feb. 14 at the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m.  Act One: 60 minutes; Act Two: 60 minutes. Tickets are $25-$132. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

In addition, a special activity for the week of “Cinderella” is Cinderella’s Clo12671951_10153425950780886_2667580626704899256_oset. Please go through your closets and find new or gently-used prom or formal dresses and bring them to Cinderella and help us make dreams come true for teen girls in Dayton. Victoria Theatre Association has partnered with YWCA Dayton and Girls Inc. to collect prom dresses, evening gowns, party dresses, shoes and accessories (shawls, clutches, jewelry and hair pins/clips etc.) for young ladies who do not have a fairy godmother to provide them with a gown of their dreams.  The collection area will be open starting two hours prior to show time for each performance.

 

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

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

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

Set in a St. Louis apartment in the 1930s, this potent saga of a disillusioned, regretful Southern belle stuck in the past and her two emotionally scarred children meandering in the present never fails to entice. In stark contrast to Williams’ equally marvelous “A Streetcar Named Desire,” a masterpiece primarily fueled by anger, violence and betrayal, “Glass Menagerie” mesmerizes with a gentler magnetism propelled by remarkable poetry and a powerfully relatable familial sting. As Tom Wingfield (Williams’ alter ego) looks back on his troubled life, specifically the squabbles with his overbearing mother Amanda, the overprotection given to his insecure sister Laura, and the pain of being abandoned by his father, he conjures memories which are entirely one-sided and purposefully askew. He opts for “truth in the pleasant disguise of illusion” because it is his most viable means of acceptance. It’s natural to suspect Tom was born to experience more than what St. Louis could offer which makes his ultimate decision to leave his family behind far from outrageous. Even so, he forever remains a prisoner of regret with no escape.

Pensively directed by Greg Hellems, the production is superbly led by Race resident artist Scott Hunt as the frustrated, soul-searching Tom. In one of his finest performances, Hunt, in his first non-musical role on the Loft stage, conveys a tremendous mastery of the text (and its beauty) along with a grounded sense of confinement and yearning which makes the character’s struggles so palpable. Race resident artist Jennifer Joplin, seen as the daughter of a political power couple in “Other Desert Cities” two seasons ago, is too young to be credible as an aging matriarch, but delivers nonetheless in terms of vigor, motherly concern and Southern charm. I would have preferred her portrayal to be more abrasively domineering (which perhaps contributes to the low-wattage electricity of her Act 1 exchanges with Hunt), but at the same rate, it’s refreshing to see this play tilt in Tom’s direction. The luminously expressive Claire Kennedy, a Wright State University alumna with numerous Race credits, dazzles as the introverted, awkward Laura whose passion for her glass menagerie is her only solace. Whether awaiting an autograph or opening a door, Kennedy fills every moment with a captivating, beguiling delicacy. In his Race debut, handsome Drew Vidal (recalling John Krasinksi of “The Office”) terrifically embodies the affable, smooth-talking Jim O’Connor (a.k.a. The Gentleman Caller), a high school alum of Tom and Laura who stops by the Wingfields for dinner only to awaken feelings within Laura she thought would never spring to life beyond her yearbook. Due to Kennedy and Vidal’s exceptional chemistry, Laura and Jim’s Act 2 heart-to-heart conversation by candlelight effortlessly evolves into the splendid centerpiece Williams intended.

 

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

Hellems’ first-rate artistic team, contributing authenticity and an evocative allure, includes scenic designer Eric Barker, costumer Ayn Kaethchen Wood, lighting designer John Rensel, composer/sound designer Jay Brunner, properties master Heather Powell, and dialect coach Deborah Thomas.

Surprisingly, “Glass Menagerie” marks the first time a play by Williams has been presented in the Race’s nearly 30-year history. Here’s hoping it will not be the last.

 

 

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

Zoot Theatre Company Names Executive Director

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Zoot Theatre Company, a forward-thinking theatrical design company, specializing in puppets and masks, has announced the selection of Emily von Stuckrad-Smolinski as its new Executive Director.

“We are ecstatic to welcome Emily as our new Executive Director.” reported Natasha Randall, Zoot Theatre Company’s Board Chair. “We feel that we have found the perfect person to lead Zoot into its next phase of growth. Emily will bring a fresh perspective, passion and creativity to Zoot, building upon its strengths and deep sense of commitment to our region’s arts sector. She has served nonprofits at all technical levels and has a breadth of perspective and experience. We look forward to what the future holds.”

“I feel that Emily’s love and understanding of the arts and its importance in the community will strengthen Zoot’s presence here in Dayton and abroad. Emily has the enthusiasm and the creative thought to take this unique company on a wonderful journey,” mused Tristan Cupp, Artistic Director.

Emily’s resume includes over 17 years of theatrical and arts management throughout Dayton’s major arts leaders. She spent the majority of her time with the Victoria Theatre Association advancing tours that graced the Victoria’s stage working with IATSE Local 66. She also took great care of the Rike’s Animated Figures. Prior to that, she filled her days at Memorial Hall before the stage fell dark. Emily volunteers with Dayton Visual Arts Center and serves on the Montgomery County Arts and Cultural Board of Directors. She also serves on the Board for Zoot Theatre Company.

“I look forward as I continue to serve and partner with the area’s non-profit organizations in this new capacity,” remarks Emily. “I am dedicated to Zoot Theatre Company because it provides cultural enrichment and enlightenment to our community and is one of the few theatrical touring companies in Dayton.”
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Since the enactment of the “Reboot Zoot” campaign in 2014, ZTC has been restructuring itself to put a focus back on collaboration and touring and 2015 showed signs of how strong the company could be in both sectors. With puppets in Town Hall’s production of BUNNICULA, full production design of Mid-Ohio Opera’s ELIXIR OF LOVE in Mansfield, caroling puppets at WOODLAND LIGHTS, a performance art piece called IRRECONCILABLE DIFFERENCES in collaboration with University of Dayton, a stunning original work for TEDX DAYTON, a mini-tour of Miami Valley Libraries for children, and our original touring production of GOBLINS that traveled all over southern Ohio, Zoot is ready to continue the path toward fiscal health and artistic integrity.

We’re excited to announce that 2016 will see Zoot getting back to the roots of what has made it one of the most exciting companies in Dayton. ZTC will be reviving their critically acclaimed AND A CHILD SHALL LEAD as part of a semester long University of Dayton residency with Tristan Cupp. They will also be restoring “Zoot Tales,” puppet short stories that they can offer in an array of venues & prices, continue their legacy of collaboration with the best arts organizations and artists in the Miami Valley and, of course, continuing to add new titles to their touring line-up, playing to an ever growing collection of venues in Dayton and beyond. The Zoot Theatre Company.

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

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A STREETCAR NAMED DESIRE

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

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

 

When faded, fragile Southern belle Blanche DuBois (Ellie Margolis) enters the New Orleans home of her sister Stella Kowalkski (MacKenzie Stephens) and brother-in-law Stanley (Tommy DiMassimo), it’s puzzling to see Stella greet Blanche nonchalantly. There should be an immediate connection, an immediate history, established between these two women. Strangely, it seems as if Blanche is initially viewed as an intruder rather than a loved one genuinely seeking solace emotionally and physically. Many scenes later, Stanley overhears Blanche telling Stella how much she despises him, but Stanley’s contemplative reactions are intended to generate sympathy which doesn’t feel authentic to the moment. As one of the most arrogant, disgraceful and crude men ever created, Stanley shouldn’t have to pause to second guess anything because his temperament simply doesn’t call for it. Why should he care about Blanche’s opinion? On the opposite end of the spectrum, the utmost importance of David J. Castellano’s set is to indicate cramped, dingy intimacy, but his design is too clean and spacious. When did the Kowalskis move to the Homearama section of working class Elysian Fields?

Still, these artistic predicaments do not hinder an assortment of powerful performances. The remarkably astute Ellie Margolis (attractively costumed by Emily Sollinger and memorable last season as Lady Catherine de Bourgh in WSU’s “Pride and Prejudice”) impressively navigates the role’s challenging, multifaceted arc especially Blanche’s humorously tipsy tendencies (Margolis’ comedic timing is very enlivening) and heartbreaking unease stemming from the death of her gay ex-husband which still rattles her to the core. The physically imposing DiMassimo (another “Pride and Prejudice” standout as Mr. Darcy) winningly embodies Stanley’s volatile, dangerous and unpredictable brutishness just as Williams intended, particularly as Stanley launches into detective mode setting in motion Blanche’s unfortunate demise. Stephens, pleasantly compatible with DiMassimo, becomes very impactful when Stella reminds Stanley of Blanche’s hardships in an attempt to help fill in the blanks. The dynamic Cody Lewis is a perfectly genial fit as vulnerable bachelor Harold “Mitch” Mitchell, Stanley’s military buddy/co-worker who sides with him when the going gets tough and perhaps lives to regret allowing Blanche to walk out of his life. The cast includes Julia Gomez (particularly terrific as Eunice Hubell in the unnerving final scene), Joey Logan (Steve Hubell), Owen Kresse (Pablo Gonzales), Christian Schaefer (Doctor), Megan Valle (Nurse), Brittany Williams (Neighbor Woman), Nerissa Johnson and Alejandria Solis (beautifully haunting Flower Women), and Ian Patrick Ashwell (Young Collector) along with ensemble members Kenneth Erard, Clint Hinderer, Kat Tilt, Alexia Vlahos, and trombonist Haley Knuth.

This “Streetcar” is not without bumps, but arrives at a satisfying finish nonetheless anchored by Margolis’ captivating finesse.


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



THE ROAR OF THE GREASEPAINT, THE SMELL OF THE CROWD

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

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

 

Set at a rocky place at dawn, colorfully realized within a forest setting by scenic designer Chris Newman, “Roar…” symbolically examines status and power between the privileged and downtrodden by way of a continuous, tiresome game of one-upmanship. The wealthy Sir, authoritatively representing the upper class, cruelly and constantly bends the rules to his advantage which absolutely perplexes the meek, kindhearted Cocky, embodying the lower class. As Sir’s treachery and teasing progresses, Cocky realizes he’s been trapped in a foolish, embarrassing exercise. He ultimately seeks to outwit Sir and valiantly regain his self-esteem.
Sir and Cocky’s peculiar relationship runs an odd gamut from charming to deplorable, but director Jim Lockwood commendably keeps spirits high even when the stagnant script dips into racist waters. Bricusse and Newley briefly pulls the rug out from under the audience in Act 2 by having Cocky swap ranks with Sir when an African-American desires to join their offbeat contest. It is an alarmingly uncomfortable moment serving as a cautious reminder that not much has changed in 50 years. Beyond race relations, it is also apparent how relevant this material is in terms of one’s pursuit of happiness. After all, at some point in time, a Sir or Cocky will enter your life determined to keep you from believing in your potential.

J. Gary Thompson (a fittingly arrogant, hypocritical Sir) and Ted Eltzroth (an amiable Cocky) are well-matched and receive the bulk of the dandy score which includes such standards as “A Wonderful Day Like Today,” “The Joker,” “Who Can I Turn To (When Nobody Needs Me),” and “Nothing Can Stop Me Now!” Eltzroth particularly shines in the pulsating “Joker” fueled by firm accompaniment by musical director Judy Mansky’s orchestra, specifically percussionists Zach Green and Felicia Dellis. Admirable featured portrayals are offered by Christy Carson (The Kid, Sir’s trusty sidekick), lovely soprano Krissy McKim-Barker (joining Eltzroth for the beautiful “My First Love Song” as The Girl), Naman Clark (providing an expressive rendition of “Feeling Good” as The Negro), Don Ray (formidable as The Bully), and an engaging ensemble of Urchins consisting of Malcolm Casey, Kathleen Durig, Jamie Pavlofsky, Carrin Ragland, Stacey Ward, and Alicia Walton. Choreographer Allison Eder’s playful routines, particularly in numbers as “It Isn’t Enough” and “Put It In the Book,” are also noteworthy in this showcase bound to appeal to diehard musical theater fans who crave opportunities to see forgotten musicals.


“The Roar of the Greasepaint, The Smell of the Crowd” continues through Feb. 7 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Act One: 70 minutes. Act Two: 50 minutes. Tickets are $18 for adults and $16 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com


BROADWAY BEVELED

Magnolia Theatre Company, Dayton’s only professional troupe devoted to producing female-centric plays/showcases, closes its second season with a wonderfully entertaining presentation of “Broadway Beveled: A Feminine Cabaret” at the Mathile Theatre of the Schuster Center.

In a fresh, unique twist, all the material in this breezy, intermission-less show (which is so good it should have been extended to two acts) stem from male-centric songs, scenes and monologues. How refreshing it is to see women expressing their viewpoints and nuances inside relationships, debates and yearnings typically revealed by men. In fact, it’s an outright thrill to see director/Magnolia founding artistic director Gina Handy and her enjoyable, elegantly dressed cast storm the stage as a female Congress in the terrific opener “Sit Down, John” (“1776”). But the boldest, most fascinating moments belong to two portions of David Mamet’s testosterone-driven “Glengarry Glen Ross” directed by Andréa Morales featuring Morales, Handy, Mandy Goodwin, Annie Pesch, and Fran Pesch. These diverse women of varying ages and personalities attack Mamet’s rhythms, vulgarity and cutthroat intent with compelling bite.

Additional standout sequences include Caitlin Larsen Deer’s hilarious “Drowsy Chaperone” monologue, Leah Mikesell, Annie Pesch and Morales’ New Yawkish take on the infectious “Fugue for Tinhorns,” Annie Pesch’s knockout physicality in a monologue from “One Man, Two Guvnors,” Handy’s smooth, pop-flavored “Corner of the Sky,” Megan Rehberg’s plaintive “This Nearly Was Mine,” Linda Kinnison Roth and Katie Momenee’s “Razzle Dazzle,” and an inspired “Rent”/“Newsies” mashup of “One Song Glory,” “King of New York,” and a double “Santa Fe” featuring Jasmine Easler, Annie Kalahurka (who also serves as a comical emcee), Goodwin, Momenee, and Morales. Also, Becca Kloha Strand provides choreography and Rebecca Childs serves as music director.

broadway beveled

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



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


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

Human Race Presents A Classic: The Glass Menagerie

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glass-menagerieThe Human Race begins the second half of its 29th season with Tennessee William’s first great masterpiece, The Glass Menagerie. Memories come alive and love becomes desperate in this shimmering drama of a family on the edge. Tom struggles to make it in a modern day world while his reclusive sister hides amongst the small glistening crystalline creatures she collects. Their mother holds tight to a fantasy of Southern gentility and the belief that a certain gentleman caller will be the answer to their problems. With an edge as sharp as broken glass, it’s a story that cuts deep into the longing of human hearts. The production at The Human Race’s downtown Dayton home at The Loft Theatre is directed by Greg Hellems and features actors Scott Hunt, Jennifer Joplin, Claire Kennedy and Drew Vidal.

Director Greg Hellems revealed his unique and exciting vision of the play:

Even before it opened on Broadway in 1945, The Glass Menagerie had proved itself to be a powerhouse hit with audiences and critics, quickly earning the then unknown Tennessee (real name “Thomas”) Williams national recognition as a voice of his generation. Considered to be semi-autobiographical in nature, the play takes elements of Williams’ own early life—growing up in St. Louis with an overprotective Southern mother and an emotionally troubled sister, toiling in a shoe factory, a difficult relationship with his father—and pours them into the tortured soul of its protagonist and narrator, “Tom Wingfield.” Described by the playwright as a “memory play,” The Glass Menagerie was unusual for its time, the script was filled with considerable and detailed stage directions from Williams to ensure its presentation in the manner he envisioned, the story is filled with intentional symbolism and its dialogue highly poetic and lyrical in nature. Even after Williams went on to win two Pulitzer Prizes for A Streetcar Named Desire and Cat on a Hot Tin Roof, his The Glass Menagerie was heralded as a defining work that changed the American Theatre and opened up new ways of writing dramatic literature.

In defining his vision of The Glass Menagerie for The Human Race, director Greg Hellems focused on Williams’ early life and how he sought to purge himself of guilt and regret, just as his doppelganger on stage, “Tom,” must do. “I see the theatre as Tom’s purgatory,” explains Hellems, “in which he must make his nightly confession to explain his actions and to justify his decision to abandon his mother and his disabled sister.” The story in the play is Tom’s memory, but it’s telling has an unintended consequence. “The ghosts of Tom’s illusion—his mother, his sister, his co-worker, Jim—respond with vitality and life, and won’t succumb to Tom’s conscious desire to win us over,” Hellems says. “Once Tom steps into his memory, it is no longer under his control, and he must face the reality of his past decision.”
12440517_10153973782553013_419460117151032450_oThe four-member cast of The Human Race’s production features two of the company’s Resident Artists, native Daytonian Scott Hunt (Rent and Les Misérables on Broadway, Big River and Shenandoah with HRTC) as the troubled son, “Tom,” and Cincinnati’s Jennifer Joplin (HRTC’s Miracle on South Division Street, Other Desert Cities and God of Carnage) as his mother, “Amanda,” as well as Wright State University graduate Claire Kennedy (HRTC’s Lend Me a Tenor, Twelfth Night, Romeo and Juliet) as sister “Laura” and Ball State University assistant professor Drew Vidal (The Three Musketeers at Illinois Shakespeare Festival, Red Light Winter at Shafer Street Playhouse) as the gentleman caller, “Jim.”

Earlham College professor Eric Barker’s (The Repertory of St. Louis, CATCO, Richmond Shakespeare Festival) set combines a stylistic setting with real world furnishings in his first turn as scenic designer for The Human Race. Local artist/designer Ayn Kaethchen Wood (The Zoot Theatre Company, Yellow Springs Kids Playhouse, HRTC’s Under a Red Moon) serves as costume designer. Resident Artist John Rensel returns to set the mood as lighting designer. Sound designer Jay Brunner (HRTC’s The Santaland Diaries, The Full Monty, Family Shots) has created an original musical score to accompany the action onstage. Kay Carver is the production stage manager. The show’s producer is Human Race Associate Artistic Director Tara Lail.
Tickets for the preview performance of The Glass Menagerie on February 4 start at $35 for adults, $32 for seniors and $17.50 for students. For all performances February 5  – 21, single ticket prices start at $40 for adults, $37 for seniors and $20 for students. Prices vary depending on the day of the week and seating location. Group discounts are available for parties of 10 or more. The Human Race is offering a pair of discount ticket opportunities. Side-area seats are available at all performances for $25 each, on sale two weeks prior to performance. The Sunday, February 7 7:00 pm performance is “Sawbuck Sunday”, when any available seat can be purchased in person for just $10 at The Loft Theatre box office two hours prior to the show. Discounts are subject to availability and some restrictions apply.

All performances are at the Metropolitan Art Center’s Loft Theatre, located at 126 North Main Street in downtown Dayton, Ohio. Show times for The Glass Menagerie are 8:00 p.m. on Wednesday through Saturday evenings. Performances on Sunday and Tuesday evenings begin at 7:00 pm and at 2:00 pm on Sunday matinees.

Tickets and performance information on The Glass Menagerie are available at www.humanracetheatre.org or by calling Ticket Center Stage at (937) 228-3630, and at the Schuster Center box office.

6 Tips To Ace Your Next Audition and 7 Upcoming Auditions

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images-35Other than Opening Night, going to an audition is perhaps one of the scariest parts of theater work.  However, auditioning is a necessary part of being involved in the performing arts.  If you  want to be involved in the theater, knowing how to audition is a skill you’ll need to learn.  While the process is not necessarily difficult, it can be more than just a little nerve-wracking.  So we’ve shared 6  things that you should know in order to make the best impression possible, and to improve your chances of getting a part!

1.  Act. Don’t just read.
Remember, you are auditioning to act in a play.   So many people stand before the director and read the lines they were given that when someone really tries to act out the part they make a big impression.  And that’s what you want…to stand out from the crowd.


2. Learn a little bit about the play you are auditioning for.
 The more you understand the play and the characters, the more you will be able to do with the piece of script you will be given to audition with.


3.  Slow down and enunciate every word.
One sure sign of nervousness is speeding through the lines.  When you talk too fast it is harder to make sure each word is understood, and the emotion that should accompany those words does not come through.  Slow down and make sure you say each word clearly.



4.  If you make a mistake, battle though it.
Even the best actors occasionally make mistakes on stage.  But good actors know how to work through their mistakes without letting the audience realize that a mistake was made.  If you do make a mistake, don’t apologize.  Don’t ask to start over.  Just pick up from where the mistake was made and push forward.


5. Audition often.
One of the biggest obstacles between you and getting cast in a play is your nervousness.  Nervousness makes you more timid.  It makes you rely on the script in your hand too much, so you end up reading and not acting.  It makes you talk too fast.  The best way to overcome your nervousness is to practice.  That means auditioning more.  If you don’t get the part, shake it off as a learning experience, and when the next show roles around, go out and audition again.  The more you go through the process, the easier it becomes.


6.  If you don’t get the part, don’t argue about it.
 If the director decides that you are not the best fit for this show, please respect their decision about what they feel is best for the show they are directing.  It doesn’t always mean that you had a bad audition, or that you’re not a good actor.  It just means that you were not the best actor for this part in this show.



Upcoming Auditions:

Monday January 25, 2016
Auditins for The Tale of the Allergist’s Wife Auditins for The Tale of the Allergist’s Wife

Dayton Playhouse
Monday January 25, 2016 7:00 PM
Tuesday January 26, 2016
Auditins for The Tale of the Allergist’s Wife Auditins for The Tale of the Allergist’s Wife

Dayton Playhouse
Tuesday January 26, 2016 7:00 PM
Auditions: ANGELS IN AMERICA: MILLENNIUM APPROACHES Auditions: ANGELS IN AMERICA: MILLENNIUM APPROACHES

Clark State Performing Arts Center
Tuesday January 26, 2016 7:00 PM
Saturday January 30, 2016
Local Auditions for Grease Local Auditions for Grease

La Comedia
Saturday January 30, 2016 9:00 AM
OPEN AUDITIONS FOR TEEN ACTORS OPEN AUDITIONS FOR TEEN ACTORS

X*ACT Gallery
Saturday January 30, 2016 10:00 AM
Monday February 22, 2016
OPEN Auditions: One Flew Over The Cuckoo's Nest OPEN Auditions: One Flew Over The Cuckoo’s Nest

Sinclair Community College
Monday February 22, 2016 6:00 PM – 10:00 AM
Friday February 26, 2016
Dare To Defy Auditions Dare To Defy Auditions

Dare to Defy
Friday February 26, 2016 reserve your time
Saturday February 27, 2016
Dare To Defy Auditions Dare To Defy Auditions

Dare to Defy
Saturday February 27, 2016 reserve your time
Monday March 21, 2016
Auditions for Southern Baptist Sissies Auditions for Southern Baptist Sissies

Harmony Creek Church
Monday March 21, 2016 7:00 PM

‘Once’ Review – Victoria Theatre Association – Intimate Magnetism

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

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Set in Dublin and based on the 2007 Academy Award-winning independent film of the same name, “Once” chronicles the unlikely meeting between a struggling Irish street musician/vacuum repairman (identified as Guy) and an inquisitive young Czech woman (identified as Girl) who reawakens his gifted artistry through her persistent encouragement. These fascinating kindred spirits, brought together by fate, eventually embark on a simple yet complicated journey of self-discovery rooted in the promise of music as the driving force to overcome life’s tribulations. “No one who writes this song is finished,” exclaims Girl after her first meaningful duet with Guy.

Although the breezy, witty and touching libretto by Enda Walsh doesn’t fully broaden the lives of this intriguing duo (Guy’s relocated ex-girlfriend and Girl’s daughter and estranged husband could have been more significant dramatic factors in the storytelling), the action nonetheless evolves with a gently compelling ease. The terrific, angst-flavored folk-rock score by Glen Hansard and Markéta Irglová, who starred in the film, certainly contributes to the material’s deep emotional resonance. The gorgeous ballad “Falling Slowly,” winner of the Academy Award for Best Original Song, remains a signature tune, but plaintive, introspective and descrOncewordleiptive songs such as “Leave,” “If You Want Me,” “Say It to Me Now,” and “Gold” are equally impactful. In the same regard, the exuberant essence of “North Strand” and “When Your Mind’s Made Up” adheres to sprightly Irish sensibilities.

Director John Tiffany’s remarkable ensemble of 13 actor-musicians, authentically on par with the original Broadway cast and terrifically interpreting choreographer Steven Hoggett’s character-conscious movement, is marvelously led by the tender and vocally strong performances of Sam Cieri and Mackenzie Lesser-Roy. The handsome Cieri, a dynamic indie-folk singer deserving of a major record deal, skillfully portrays Guy with a wounded, vulnerable fragility that astutely dissipates whenever music frees him from his introverted shell. The endearingly lovely Lesser-Roy, sharp, humorous and beguiling, maintains a pensive aura of attractive mystery throughout that gives credence to Girl’s innate charm as an unexpected muse. Marlene Ginader (Réza), John Hays (Billy), Nyssa Duchow (Ex-Girlfriend), Jenn Chandler (Bank Manager), Patricia Bartlett (Baruṧka), Isaac Haas (Andrej), and Bristol Pomeroy (Da) are among the featured standouts. Additionally, the cast merrily launches this top-notch presentation, expertly enhanced by scenic designer Bob Crowley’s unit bar set and Natasha Katz’s evocative lighting, long before the lights dim. In fact, the audience is encouraged to go on stage 30 minutes before curtain time for a better view (and grab a drink) during the lively pre-show atmospherics reflecting the easygoing jubilance and tuneful frivolity of a Dublin pub.

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

“Once” continues through Jan. 24 at the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 and 7:30 p.m. Act One: 60 minutes; Act Two: 40 minutes. Tickets are $25-$82. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.

 

 

Once – For The First Time

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

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

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

file_54184d691ae2aThe scene was set in Dublin, Ireland with a ragtag group of energetic musicians. As the first act progressed, the Guy stood out with his melancholy songs. We were then intoduced to the Girl, an immigrant who saw something special in this sad musician. From there, we witness their complicated lives unfolding and their relationship growing. Or not growing. Maybe just changing. But their story was beautiful and their songs together are both haunting and hopeful.

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

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

Josh Stucky 

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

Jonathan McNeal

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

Sunni Russo

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

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

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

‘Mary Poppins’ Review – Muse Machine – Wondrous Whimsy

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muse mary

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


In wonderfully uplifting fashion, the mighty Muse Machine has done it again. The arts education organization supplies an outstanding, heartwarming and smile-inducing presentation of the 2006 Tony Award-nominated adaptation of Disney and Cameron Mackintosh’s “Mary Poppins,” the Muse’s 32nd annual student musical continuing through Sunday at the Victoria Theatre.

Featuring 150 Muse students from across the Miami Valley and based on the beloved 1964 Academy Award-winning film of the same name and the books by P.L. Travers, “Mary Poppins” absolutely shines due to the simple fact that cohesiveness reigns supreme. Even the Muse’s eye-popping ability to fill the Victoria stage with students galore isn’t cause for crowded concern. In fact, there are so many students featured this time a large ensemble of youngsters confidently storm the aisles to great effect during the climax of the Act 1 showstopper “Supercalifragilisticexpialidocious,” the largest musical number in Muse history. Thankfully, co-directors Lula Elzy, Joe Deer and Douglas Merk, creating one of the breeziest “Poppins” I have seen, once again have a clear understanding of what suits the organization in terms of character and scope.

This touching tale of love, family and reconciliation, adapted by librettist Julian Fellowes (“Downton Abbey”) and set in 1910 England, is remarkably led by Brianna Russ in the sophisticatedly chipper titular role and striking tenor Christian Johnson as friendly chimney sweep Bert. A knockout last year as Nancy in the Muse’s terrific “Oliver!,” the vocally strong Russ returns with aplomb, conveying a beguiling blend of sternness, gleefulness and warmth. Johnson’s breakthrough portrayal recalls the high-kicking magnetism of Gavin Lee who originated Bert in London’s West End and on Broadway. A charming narrator and an agile triple threat, Johnson particularly impresses with aerial acrobatics in the marvelously rhythmic “Step in Time,” one of the most glorious numbers Elzy has choreographed in her 17 years with Muse. He is also vibrantly partnered with Russ in such songs as “Jolly Holiday” and the aforementioned “Super…”

Additionally, the Banks household, forever changed by Mary’s magical influence, is enjoyably grounded in the radiant performances of Mitchell Rawlins (effectively displaying the frustration and transformation of the uptight George), Cecily Dowd (fascinatingly mature beyond her years as the concerned Winifred), Megan Braun (Jane), and the adorable Jamey Paul (Michael). Well-matched Lindsey Smith (Mrs. Brill) and Rollie Fisk (Robertson Ay) provide delightful comic relief. Jack Blair (Northbrook), Leo Deer (Von Hussler), Katie Hubler (Bird Woman), James Fields IV (Neleus), Tyler Hanson (Constable), Jack Lewis (a humorously elderly Bank Chairman), and Mackenzie Wolcott (a formidable Miss Andrew) are noteworthy.

Accented by musical director Claude Lucien Thomas’ robust orchestra, John Rensel’s expert lighting design, and an array of fantastic, colorful period costumes courtesy of coordinators Lyn Baudendistel, Robin Brown, Toni Donato Shade, and Alisa Vukasinovich, “Mary Poppins” is a wondrously whimsical theatrical experience not to be missed.


 

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

 

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

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

night watch

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

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

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

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

 

“Night Watch” continues through Jan. 24 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Fridays at 8 p.m., Saturdays at 5 p.m., and Sundays at 3 p.m. Act One: 55 minutes; Act Two: 45 minutes.  Tickets are $20 for adults, $18 for seniors, and $13 for students. For tickets or more info, call (937) 278-5993 or visit www.daytontheatreguild.org

 

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

 

trailer park copy

(left to right) Rob Willoughby, Angie Thacker, Tori Kocher, Tia R. Seay, Eric Julian Walker, and Hayley Penchoff appear in Dare to Defy Productions’ presentation of “The Great American Trailer Park Musical.” (Contributed photo; not pictured Lisa Glover)

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

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

“The Great American Trailer Park Musical” continues through Jan. 16 in the Mathile Theatre of the Schuster Center, Second and Main Streets, Dayton. Performances are Friday at 8 p.m., and Saturday at 2 and 8 p.m. The production is performed in 100 minutes without intermission. Tickets are $20. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. Patrons are advised the show contains adult language and themes.

 

 

 

Dayton Playhouse To Offer Technical Theater Workshops

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Dayton-Playhouse-ColorIn 2016, The Dayton Playhouse will host a series of short, informative workshops on a range of technical theater topics. Dayton Playhouse volunteers can enhance their skills and explore new interests and ways to become a part of community theater productions at Dayton Playhouse.

Stage Management Workshop
Facilitator: Melanie Brenner
Saturday, January 30, 2016       3:00 pm to 6:00 pm

CLICK HERE TO REGISTER NOW!

Learn the basics of the many roles a Stage Manager plays in musical and play productions at the Dayton Playhouse. This workshop will include discussion of the audition and rehearsal periods, script analysis, working with production designers, tech week, and leading the Stage Crew. Melanie Brenner is an experienced Stage Manager (SM) having worked both plays and musicals at The Dayton Playhouse, the Dayton Theatre Guild, V5408e7250bd37.imageandalia Youth Theater and other locations.

Workshop fee of $15 will be collected at the time of the session (Cash or Check). Minimum number of participant is 4; maximum number is 12. Questions? Please contact Matt Lindsay, DPI Board Secretary, at (937) 272-5939 or [email protected].

A Medieval Feaste in Springfield

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https---img.evbuc.com-https%3A%2F%2Fcdn.evbuc.com%2Fimages%2F17031140%2F52695645380%2F1%2ForiginalA newly reimagined splendid Medieval Feaste and costumed pageant will take place in the Springfield Masonic Temple under candlelight January 21-23rd at 7:30pm, doors open at 7pm & January 24th at 5pm, doors open at 4:30pm. The great hall of an English 15th Century manor will be filled with madrigal singers, mummers, dancers, jesters and medieval and renaissance vocal and instrumental pieces – known as the ‘Feaste of Epiphany.’