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Coming Up in Dayton Theatre, 4/5 – 4/14

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Welcome back again theatre lovers! Spring is on the wing and so we’re starting to wind down our theatre season, most venues have only one or two shows left up their sleeves. But do not despair! Not only is some of the best stuff coming still, but within the next few weeks we’ll also have new season announcements (seriously, it’s like Christmas in April ’round these parts!). Here’s what’s on the slate for the next fortnight!

Opening This Weekend!

 

HRTC - RaceRace

The Human Race Theatre Company
The Skinny: David Mamet, no stranger to polarizing topics, takes on race relations in this drama starring 3 Human Race Theatre Company resident artists; Bruce Cromer, Alan Bomar Jones and Michael Lippert. Race is the story of twp cynical lawyers—one black and one white— prepare to defend a powerful white businessman accused of raping a young black woman. In the end, they must confront their own perceptions and prejudices.
Dates: Opening Friday, 4/5 and running through 4/21
Tickets: Please visit the Human Race Theatre Department website at www.humanracetheatre.org

 

PrintLeaving Iowa

The Dayton Theatre Guild
The Skinny: A touching collection of memories interspersed with present-day action, this is the story of a family road trip in the middle of middle America. Squabbling backseat kids, road-hogging RVs and arcane roadside attractions abound.
Dates: Opening Friday 4/5 and running weekends through 4/21

Tickets: Please visit the Dayton Theatre Guild website at www.daytontheatreguild.org

 

 

Zoot Theatre - And A Child Shall LeadA Child Shall Lead

Zoot Theatre Company
The Skinny: Starring Zoot’s beautiful and heart breaking puppets, this is the true story of children coming of age in Terezin, the “Jewish city” established by the Nazis as a way station before the death camps. In the face of unspeakable horror, these children use their determination and creativity — playing, studying, making art, and writing an underground newspaper — all at the peril of being executed. Their actual poems and stories are woven into this fast-paced drama.
Dates: Opening Friday 4/5 and closing Sunday, 4/14
Tickets: For all ticket information, please visit the Zoot Theatre Company website at www.zoottheatrecompany.org

 

godspell-200x200Godspell

Sinclair Community College
The Skinny: Sinclair presents the regional premier of the most-recent revival of Stephen Schwartz’s musical retelling of the Gospel of Saint Matthew.
Dates: Opening Friday 4/5 and closing Saturday, 4/13. Please see the Sinclair website for their variety of curtain times.
Tickets: Please visit the Sinclair Community College box office at http://www.sinclair.edu/arts/theatre/box-office/index.cfm

 

Currently Running!

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La Comedia Dinner Theatre
The Skinny: Office politics and revenge go awry in a musical version of the classic comedy film of the same name, featuring new music by Dolly Parton, who of course wrote the famous title song.
Dates: Running through 4/28
Tickets: Tickets are available at La Comedia Dinner Theatre’s website, www.lacomedia.com

 

 

Opening Next Weekend!

ICON-theRetreatFromMoscowThe Retreat From Moscow

Dayton Playhouse
The Skinny: Intense and moving, with moments of natural and real levity, this is a glimps into the very real fallout of a shattered marriage.
Dates: Opening Friday, 4/12 and running 2 weekeds, to close Sunday, 4/21
Tickets: Please visit the Dayton Playhouse website at www.daytonplayhouse.com

 

 

The Women of Lockerbie

lockerbie1Clark State Community College
The Skinny: A mother roams the hills of Lockerbie, Scotland looking for her son’s remains that were lost in the crash of Pan Am 103. She meets the women of Lockerbie who are fighting the U.S. government to obtain the clothing of the victims found in the plane’s wreckage.
Dates: Opening Friday 4/12 and closing Sunday, 4/21
Tickets: Please contact the Clark State University ticket office, Tuesday through Friday, 10 am to 6 pm. 937.328.3874

Victoria Theatre Association Presents PSY + TICKET CONTEST

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PSYThe Victoria Theatre Association invites you to tumble down the dark corridors of the human psyche on April 12 and 13 when it presents PSY, a wild commingling of acrobatics and psychology by the same company that brought last season’s successful Traces.

(NOTE: We’ll stop here and reiterate that this article is not about Psy, the Korean “Gangnam Style” superstar, nor will he be performing in Dayton this month.)

Written and staged by Shana Carroll (who also staged the Cirque du Soleil performance at the 2012 Academy Awards), PSY features an 11-member cast displaying inspired acts based on psychological disorders, beginning in therapy sessions that jump off the couch and into the air in a combination of acrobatics, circus acts, and street dance. House music, obsessive-compulsive disorder, trapeze work–PSY runs the whole gamut. The Boston Herald said, “Watching PSY is like having the front-row seat to someone’s fever dream. … [It] raises the bar on what cirque nouveau can do — not just physically but emotionally.”

An audience favorite on the show’s tour is Olga Kosova, who plays Suzi, a young woman with anger management issues and perform’s two of the evening’s most dangerous acts involving throwing knives and a dazzling aerial rope routine with no visible safety structures.

PSY-rope©Marcus-UrbanKosova, born in Kiev and raised mostly in the U.S., began in rhythmic gymnastics before transitioning into aerial rope and Chinese acrobatics training with Master Lu Yi at San Francisco’s Circus Center, and performed with several circus and acrobatics groups before training at the National Circus School in Montreal.

“Suzi has intermittent explosive disorder,” Kosova said. “That disorder is characterized by anger management issues and are destructive, but after their rage episodes, they’re usually very apologetic and embarrassed. Suzi’s a little angry and hyperactive, and has a very strong personality. She’s not destructive in the show, but does get very, very angry. I try to find the humorous aspect of it too, and so she’s very giggly. The rope routine is the climax of her character’s anger explosion.”

“The throwing knife routine morphs out of a flashback to a birthday party where a game of Pin the Tail on the Donkey kind of becomes something else,” she said. “I started working with knives first in dancing. I learned trapeze and aerial rope, and then picked up dancing knives because they’re very similar to dancing with clubs in rhythmic gymnastics, so I just transferred my knowledge. As far as throwing knives, a few years ago I saw a wonderful French film called The Girl on the Bridge, and it involved knife throwing. It looked exciting, so I contacted a friend who worked with them and started to train.”

Kosova, who will tour with PSY through spring, said, “I really love that when people watch the show, they find at least one character they can relate to, and I think there’s a little of us in every one of the characters. It really depends on what you read into the scenes. There’s a lot of commentary about the seriousness of what’s going on, but also the absurdity and the humor. And it’s awesome seeing how the circus aspect is worked in.”

PSY will be performed at 7:30 p.m. on Friday, April 12, and 8 p.m. on Saturday, April 13. Tickets are $39 – $61. For tickets or discount information, call (937) 228-3630 or visit victoratheatre.com.

[yframe url=’http://www.youtube.com/watch?v=k9pjK_qjlBA’]

TICKET CONTEST

Contest closed – congratulations to our winners!

Aja Delaney

Sarah Muench

Melisa Bissell

William Daniels Jr

 

Zoot Theatre Company Presents “And a Child Shall Lead” + TICKET CONTEST

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Zoot Theatre - And A Child Shall LeadThe Zoot Theatre Company, Dayton’s only professional puppetry and mask company will produce Michael Slade’s AND A CHILD SHALL LEAD at the Dayton Art Institute’s NCR Renaissance Auditorium April 5-14, 2013.

Michael Slade is no stranger to Dayton. He has been in the area twice in the past year, both times at The Human Race Theatre Company, which produced Slade’s UNDER A RED MOON and more recently a reading of GINGERBREAD CHILDREN. Michael was able to stop by the Zoot Studios to get a glimpse of Zoot’s puppets that will tell this moving and heart-wrenching story.

AND A CHILD SHALL LEAD is the true story of children coming of age in Terezin, the “Jewish city” established by the Nazis as a way station before the death camps. In the face of unspeakable horror, these children use their determination and creativity — playing, studying, making art, and writing an underground newspaper — all at the peril of being executed. Their actual poems and stories are woven into this fast-paced drama.

The Zoot Theatre Company brings its beautiful and amazing puppet artistry to life on the stage of the NCR Renaissance Auditorium as a new resident company of The DAI in 2012!

All Zoot MainStage performances are held on Fridays & Saturdays at 8:00 p.m. and Sundays at 2:00 p.m. in the museum’s NCR Renaissance Auditorium.

Season subscriptions for Zoot’s 2012-2013 MainStage Series are on sale now and priced at $45 for adults, $42 for seniors and students, $33 for children 12 & under. Individual tickets go on sale August 27, and will be priced at $18 for adults, $15 for seniors and students, $12 for children 12 & under.

Special Offer!
Combine with Arts Night Out for even better savings!
Zoot has partnered with The Dayton Art Institute for a special subscription package that combines the MainStage Series with DAI’s brand-new Arts Night Out series! The combined subscription package (6 shows) is just $110 for adults, $108 for seniors & students!

Human Race Theatre Company Presents RACE + TICKET CONTEST

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HRTC - RaceThe Human Race Theatre is taking its core mission—“to present universal themes that explore the human condition and startle us all into a renewed awareness of ourselves”—to heart with David Mamet’s Race. No stranger to divisive topics or candid conversation, Pulitzer Prize-winning playwright Mamet (American Buffalo, Glengarry Glen Ross) takes on the explosive subject of race relations. When two cynical lawyers—one black and one white—prepare to defend a powerful white businessman accused of raping a young black woman, they must confront their own perceptions and prejudices. Legal and ethical lines are crossed as shocking revelations come to light. But when their client’s case takes a series of unexpected turns, they realize that not everyone is who they seem in this world of shame and guilt.

Filled with David Mamet’s signature “Mamet speak” true-to-life dialogue and his desire to press hot-button issues, Race has recently become a popular play for regional theatres across the country after its 2009 Broadway premiere, produced by Jeffrey Richards, Jerry Frankel, Jam Theatricals, JK Productions, Peggy Hill and Nicholas Quinn Rosenkranz, Scott M. Delman, Terry Allen Kramer/James L. Nederlander, Swinsky Deitch, Bat-Berry Productions, Ronald Frankel, James Fuld Jr., Kathleen K. Johnson, Terry Schnuck, The Weinstein Company, Marc Frankel and Jay and Cindy Gutterman/Stewart Mercer.

The Human Race Theatre’s production of Race is directed by Resident Artist Richard E. Hess (Doubt, Red, A Delicate Balance), Chair of Drama at the Cincinnati College Conservatory of Music. In preparing for the task, Hess embraced Mamet’s exploration of a universal—though rarely admitted to—truth. “Racism exists in all of us. We are all prejudiced. We are all carefully taught,” he states. “David Mamet dares to point an unwavering finger at prejudice in Race. The story feels like it’s ripped from the headlines of tomorrow’s news.”

Producing Artistic Director Kevin Moore is just as excited about the script. “When I first read Race I could not put it down,” says Moore. “Similar to a good ‘who-done-it’, I loved the dramatic twists and turns. The collision of great theatre and compelling message made it a ‘must see’ for our audiences.”

The 4-member cast includes Human Race Resident Artists Bruce Cromer (Brother Wolf, I am My Own Wife), Alan Bomar Jones (Gem of the Ocean, Permanent Collection) and Michael Kenwood Lippert (Red, The Sunset Limited), plus actress Julia Pace Mitchell (“Sofia Dupre” on The Young and the Restless). “It is rare when we can pull together so many of our talented Resident Artists into one project. I am thrilled to have Alan, Bruce, Michael and Richard all working on this powerful script,” says Kevin Moore. “And the addition of Julia, the gifted newcomer, will add just the right spice to this ‘boys club’.”

The set design is by Mark Halpin, costume design by Charis Weible and lighting design by Resident Artist John Rensel. Kay Carver is the production stage manager and Kristin A. Sutter is the stage manager.

Race runs April 4 through 21, 2013. Opening night is Friday, April 5.

The production sponsor for Race is Morris Home Furnishings, with additional support from Maryann and Jack Bernstein, and Jon and Diana Sebaly and Sebaly Shillito + Dyer.

PERFORMANCE AND SPECIAL EVENT INFORMATION
Tickets for the preview performance of Race on April 4 are $31 for adults, $29 for seniors and $15.50 for students. For all performances April 5 – 21, single ticket prices are $36 and $40 for adults, $34 and $38 for seniors and $17.50 and $19.50 for students. Prices vary depending on the day of the week desired. Group discounts are available. The Human Race Theatre is offering a pair of discount ticket opportunities. Twenty-five special $25 tickets are available at most performances, on sale two weeks prior to that performance. The Sunday, April 7 7:00 p.m. performance is “Sawbuck Sunday”, when a limited number of available seats 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 Race are 8:00 p.m. on Wednesday through Saturday evenings and 7:00 p.m. on Sunday and Tuesday evenings. Sunday matinees are at 2:00 p.m. The Pay-What-You-CAN performance is Wednesday, April 3 at 8:00 p.m. The “Inside Track” pre-show discussion begins at 7:15 p.m. on Thursday, April 4, prior to the 8:00 p.m. preview performance. The opening night performance is Friday, April 5 at 8:00 p.m., followed by a free party with the cast in The Loft Lobby. “Lite Fare at the Loft” with food and drink provided by Citilites begins in The Loft Theatre lobby at 5:30 p.m. on Tuesday, April 9. There is no “While We’re on the Subject” post-show talkback for this production.

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

TICKET CONTEST

Contest Closed – Congratulations to our winners!

Julie Westwood

Christina Tomazinis

ON STAGE DAYTON REVIEW: Grand Hotel: The Musical (Wright State University) – Dazzling Display

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(l to r) Justin King, Mathys Herbert, Sierra Stacy, Taryn Lemmons and Riley Able in Grand Hotel

(l to r) Justin King, Mathys Herbert, Sierra Stacy, Taryn Lemmons and Riley Able in Grand Hotel

Forget London, Paris or Rome. Berlin beckons for the remainder of March, but a passport isn’t required. Just head to Fairborn where Wright State University brilliantly showcases its musical theater department to the hilt with a chorally sublime, stunningly designed production of “Grand Hotel: The Musical,” inspired by Vicki Baum’s 1929 period novel and adapted from the 1932 Academy Award-winning Best Picture of the same name.

Garnering 12 1990 Tony Award nominations including Best Musical and winning five, “Grand Hotel,” set in 1928 and staged with elegant theatricality by Marya Spring Cordes in the Tony-winning vein of its original director/choreographer Tommy Tune, features a book by Luther Davis (“Kismet”), music and lyrics by Robert Wright and George Forrest (“Kismet”) and additional music and lyrics by Maury Yeston (“Nine,” “Titanic”).

As a revolving door of colorful characters primarily cope with financial concerns fueling their desperation, opulent escapism unites them with results varying from euphoric to tragic. But at the glamorous Grand Hotel, where hot jazz scintillates and endless dance intoxicates, there remains the possibility of a new start, a new romance, a new hope. Even though the guests are experiencing a temporary high, it is worthwhile all the same. In fact, in the beguilingly lush tune “At the Grand Hotel,” dying Jewish bookkeeper Otto Kringelein, the only character you instantly root for marvelously embodied by Mathys Herbert in one of the best performances of the season, offers a stirring testimony to the magnetism of his retreat:

 

From the hospital to the town of Berlin

I have taken the train here to begin

My new life though quite soon that must end
But until that occurs I do intend to remain

I want to know that I once was here

While all my faculties still are clear

And check into my room as I planned

At the Grand Hotel

The sleek young men, the slender girls, they please my eyes

Perfumes from France and tropic plants around me rise

I listen to the swish of the silk, the tune the fiddle plays,

And I feel gay and warm and free

In this lobby past these gold-covered walls

Past the tapestries hanging I’ll walk miles of halls

I want to know that I once was here

While all my faculties still are clear

And break out of my shell, living swell,

At the Grand Hotel

The cast of Grand Hotel

The cast of Grand Hotel

The unbridled glee and resolve permeating throughout Herbert’s superb rendition of this delectable number is certainly an early hallmark of his delightfully sincere and life-affirming portrayal, culminating with a thrilling rendition of “We’ll Take a Glass Together” complete with a breathtaking transition revealing an expansive view of the hotel. Still, Herbert’s incredible appeal (so much so you’ll wonder why the curtain call doesn’t contain individual bows) doesn’t masquerade the fact that Davis’ dark, melancholy libretto is overstuffed with principal and supporting characters with differing degrees of likability and purpose, which has a tendency to keep the brisk, intermissionless action unfocused or at a chilly distance emotionally. Every subplot isn’t equally engaging or engrossing, which problematically chips away at establishing great depth or concern. Thankfully, each journey is at least interesting while adhering to the core theme of diverse souls intertwining for better or worse in extravagance.

Justin King, droll and sour, sets the proper tone as Colonel-Doctor Otternschlag, the cynical, opinionated overseer. The handsome Riley Able exudes dapper charm and frustrated anxiety as the cash-strapped, indebted Baron Felix Von Gaigern, but has difficulty with the soaring ballad “Love Can’t Happen,” one of Yeston’s most gorgeous yet demanding tunes. Taryn Lemmons, who has received expert dialect coaching from Deborah Thomas and is a bright bundle of promising bliss in “Bonjour Amour,” captivates as aging ballerina Elizaveta Grushinskaya, who visits Berlin on her eighth farewell tour alongside her devoted confidante Raffaela (an excellently understated, vocally enticing Beth Ann Wipprecht), company manager Victor Witt (Ian Benjamin) and Hungarian impresario Sandor (Casey Jordan). Andrew Quiett is fittingly imposing as ethically challenged businessman Hermann Preysing. Sierra Stacy, a fine singer, is attractively poised as Flaemmchen, the genial typist longing to trade her hard knock life for glitzy Hollywood stardom no matter the cost. Jon Hacker is very personable as Erik, the assistant concierge anticipating his son’s birth. Crisp duo Kevin Ferguson and Jordan Adams shine as two African-Americans named Jimmy tunefully considering “Maybe My Baby Loves Me.” Delee Cooper (The Countess) and Drew Bowen (The Gigolo) perform their ballroom routines with mature gusto. Kaitlyn Sage, Lizzy Miller and Amy Wheeler are perfectly perky telephone operators. Jacob Hudilston, Mark Beyer, Tyler Edwards, Cooper Taggard, Hannah Aicholtz, and Bradley Farmer are equally notable among the terrific ensemble.

Additionally, the production’s sleek ambience is cemented in Pam Knauert Lavarnway’s stylish set, D. Bartlett Blair’s lovely period costumes, Matthew Benjamin’s evocative lighting, and guest artist Suzanne Winland’s splendid choreography, particularly rising with an eerie allure during “The Grand Charleston.” James Dunlap’s first-rate sound design and musical director Scot Woolley’s outstanding onstage orchestra are also praiseworthy.

“Grand Hotel” impressively concludes Wright State’s 2012-13 season with a sophisticated finesse recalling its remarkable 2010 production of “The Light in the Piazza.” I can’t wait to book a new reservation because this dazzling display deserves to be seen more than once.

“Grand Hotel: The Musical” continues through March 31 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy, Fairborn. The musical is presented in 120 minutes without intermission. Performances are March 21 and 28 at 7 p.m.; March 22, 23, 29 and 30 at 8 p.m.; and March 24, 30 and 31 at 2 p.m. Tickets are $20 for adults and $18 for students and seniors. For tickets or more information, call (937) 775-2500.

 

 

Experience The Beatles with RAIN

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RAIN-A Tribute to the BeatlesVictoria Theatre Association presents the internationally-acclaimed Beatles concert, EXPERIENCE THE BEATLES WITH RAIN. Direct from their phenomenally successful Broadway engagement. RAIN returns to Dayton on March 26-27 at 8 p.m. at the Benjamin & Marian Schuster Performing Arts Center. Tickets are on sale now at the Ticket Center Stage Box Office, by phone at (937) 228-3630, toll-free (888) 228-3630 or online athttp://www.ticketcenterstage.com.

As “the next best thing to seeing The Beatles!” (Associated Press), RAIN performs the full range of The Beatles’ discography live onstage, including the most complex and challenging songs that The Beatles themselves recorded in the studio but never performed for an audience. In addition, new songs are being included with the launch of the 2012 Tour. Together longer than The Beatles, RAIN has mastered every song, gesture and nuance of the legendary foursome, delivering a totally live, note-for-note performance that’s as infectious as it is transporting. From the early hits to later classics (“I Want To Hold Your Hand”, “Hard Day’s Night”, “Sgt. Pepper’s Lonely Hearts Club Band”, “Let It Be”, “Come Together”, “Hey Jude” and more), this adoring tribute will take you back to a time when all you needed was love, and a little help from your friends!

Like The Beatles, the onstage members of RAIN are not only supreme musicians, but electrifying performers in their own right.

“Just turn off your mind, relax and float downstream for a quick fix of nostalgic cheer!”
– Entertainment Weekly

Single tickets for EXPERIENCE THE BEATLES WITH RAIN start at just $21 and are on sale now at the Ticket Center Stage Box Office, by phone at (937) 228-3630, toll-free (888) 228-3630 or online at http://www.ticketcenterstage.com. Ticket Center Stage Box Office hours are Monday – Friday 10 a.m. – 6 p.m., Saturday noon – 4 p.m., and two hours prior to each performance.
http://www.raintribute.com

 

ON STAGE DAYTON REVIEW: Thoroughly Modern Millie (Dayton Playhouse) – Admirable Adventure

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Thoroughly Modern Millie

Cast of “Thoroughly Modern Millie” (Photo Credit: Art Fabian)

Millie Dillmount’s endearing quest for love and opportunity in the Big Apple during the Roaring ‘20s is well secured in the Dayton Playhouse’s admirable “Thoroughly Modern Millie,” adapted by Richard Morris, Dick Scanlan and Jeanine Tesori based on the 1967 film of the same name.

Under the direction of Gayle Smith, who replaced director/choreographer Richard Croskey prior to the show’s opening, Playhouse newcomer and pleasant vocalist Abby McLean fits comfortably into the colorful persona of the bubbly yet easily perturbed Millie, who craves a better life than her Kansas hometown can supply. Effectively conveying Millie’s fervent desire to become an assertively empowered woman, McLean is especially winning while navigating the engaging relationships key to the adventure at hand. In fact, McLean’s best scenes occur opposite the amusingly uptight and domineering Ryan Fark as Millie’s stern boss Trevor Graydon and the very appealing and confident David Thomas in one of his best performances as easygoing ne’er-do-well Jimmy Smith. In particular, Thomas and McLean’s beautifully tender rendition of “I Turned the Corner” clearly reenergizes the emotional sparks necessary between Millie and Jimmy for McLean to deliver a joyously heartfelt “Gimme Gimme,” the musical’s capstone.

Additionally, the elegant Elana D. Elmore, attractively costumed by Kathy White, nearly steals the show as sophisticated chanteuse Muzzy Van Hossmere, a role she memorably portrayed five years ago in the Muse Machine’s outstanding production. Elmore’s genuine grace and soaring vocals (she received a B.A. in music vocal performance from Hampton University) are a significant attraction. It’s safe to say no one in this town has sung “Only in New York” and “Long As I’m Here With You” better.

Cast of "Thoroughly Modern Millie" (Photo Credit: Art Fabian)

Cast of “Thoroughly Modern Millie” (Photo Credit: Art Fabian)

Elsewhere, fine soprano Annie Nereng decently embodies Miss Dorothy Brown, humorously smitten by Graydon. As the dastardly Mrs. Meers, dabbling in the white slavery trade, Cathy Long has a tendency to deliver her lines leisurely, which chips away at the strength of Meers’ magnetism, but her rendition of “They Don’t Know” hits the mark nonetheless. Malcolm Casey (Ching Ho) and Naman Clark (Bun Foo) are obviously miscast as Asian brothers but are commendably focused. Marabeth Klejna adds flavor to the committed ensemble as Miss Flannery, Graydon’s dutiful secretary. Ever-reliable musical director Ron Kindell leads another solid orchestra.

“Thoroughly Modern Millie” continues through March 17 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Act One: 75 minutes; Act Two: 50 minutes. Tickets are $17 for adults and $15 for seniors and students. For tickets or more information, call (937) 424-8477 or visit www.daytonplayhouse.org.

In related news, the Playhouse’s 2013-14 season will consist of “Hairspray” (Sept. 6-22, 2013, co-directed by Tina McPhearson and Fran Pesch), “Deathtrap” (Oct. 18-27, 2013, directed by Jennifer Lockwood), “Fellow Passengers” (Dec. 6-15, 2013, directed by Dodie Lockwood), “Working” (Jan. 31-Feb. 16, 2014, directed by Jim Lockwood), “Whales of August” (March 14-23, 2014, directed by John Riley), and “Oklahoma!” (May 1-18, 2014, directed by Brian Sharp). Season tickets are available for a six-show option of $85 for adults and $75 for students/seniors) or a four-show option of $60 for adults and $55 for students/seniors). For more information, call call (937) 424-8477 or visit www.daytonplayhouse.org.

 

 

 

 

Coming up in Dayton Theatre 3/15 – 3/24

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In Julius Caesar, the Shakespeare classic, a soothesayer memorably tells the eponymous ruler to “Beware the Ides of March.” Luckily for you and I and everyone else, this Ides brings nothing about which to be wary, but plenty about which you should be aware! For instance:

Opening This Weekend!

Grand Hotel The MusicalGrand Hotel

Wright State University Theatre

The Skinny: Based on the 1929 Vicki Baum novel and play, Menschen im Hotel (People in a Hotel), and the subsequent 1932 MGM feature film, the musical focuses on events taking place over the course of a weekend in an elegant hotel in 1928 Berlin and the intersecting stories of the eccentric guests of the hotel, including a fading prima ballerina; a fatally ill Jewish bookkeeper, who wants to spend his final days living in luxury; a young, handsome, but destitute Baron; a cynical doctor; and a typist dreaming of Hollywood success.

Dates: Opening this weekend and running through March 31st.

Tickets: Please visit the Wright State Theatre Department website for all ticketing details.

 

Kettering Children's Theatre Alice In WonderlandAlice In Wonderland

Kettering Children’s Theatre

The Skinny: Alice In Wonderland is a retelling of the classic tale of…Alice In Wonderland! The girl, the rabbit hole, the queen, the (Cheshire) cat and all the other delightfully daffy classic characters are present in this production, which features original sets inspired by a local artist! This is a great event for families with young ones, who will enjoy that KCT is theatre for children and by children, with its cast comprised of students grades 5-9.

Dates: Alice opens 3/15 and runs two weekends, closing on 3/24.

Tickets: Tickets are available at the door, by purchase with cash or a check, and are able to be reserved by calling the Rosewood Arts Center office at (937) 296-0294.

 

 

Currently In Production!

La Comedia Dinner Theatre 9 to 5 The Musical9 to 5 – The Musical

La Comedia Dinner Theatre

The Skinny: The classic 1980 black comedy about 3 working women who are just a step on their boss’s ladder was transformed in 2009 into a hit Broadway musical. Dolly Parton, who starred in the original movie alongside Lily Tomlin and Jane Fonda, wrote new original music to compliment her smash hit title single. After the ladies plan for revenge goes wildly awry, hijiks, as they so often due in musical theatre, ensue!

Dates: Running through April 14th!

Tickets: Tickets and reservations are available at the La Comedia website, www.lacomedia.com.

Closing This Weekend!

Dayton Playhouse Thoroughly Modern MillieThoroughly Modern Millie

The Dayton Playhouse

The Skinny: Taking us back to 1922 with the sensation of flappers, the thrill of a budding mystery and the bliss of falling in love, this musical will get your toes tapping as spring peeks ’round the corner. Based on the on 1967 film musical of the same name starring Julie Andrews and Mary Tyler Moore, this one will have you humming as you leave the theatre.

Dates: Millie takes her final bow this weekend, closing on 3/17

Tickets: Please visit the Dayton Playhouse website at www.daytonplayhouse.com

 

Broadway in the BurgBroadway in the ‘Burg

Children’s Performing Arts of Miamisburg

The Skinny: The talented cast will be telling you to Consider Yourself at Home from Oliver, be transported back in time to magical Camelot and ride a train in Iowa to Rock Island from Music Man. Cinderella dances with the Prince in the romantic Ten Minutes Ago and the whole cast will bring you to your feet with the blockbuster title number from Oklahoma!

Dates: March 8, 9, 10, 15, 16 and 17. Show times are Fridays at 7:00 p.m., Saturdays at 2:00 p.m. and 7:00 p.m. and Sundays at 3:00 p.m.

Tickets: Tickets are on sale now at http://www.cpamburg.com

ON STAGE DAYTON REVIEW: American Idiot (Victoria Theatre Association) – Ode to Billie Joe

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Alyssa DiPalma (Whatsername) and Alex Nee (Johnny) in AMERICAN IDIOT

Alyssa DiPalma (Whatsername) and Alex Nee (Johnny) in AMERICAN IDIOT

Much has been said about Green Day frontman Billie Joe Armstrong’s shocking meltdown at the I Heart Radio Musical Festival last fall in addition to his rehab stint for alcoholism and addiction, but his raw musical genius is of utmost importance in this context. After all, Green Day’s bold, provocative “American Idiot,” a 2010 Tony Award nominee for Best Musical expertly derived from the band’s profound 2004 Grammy-winning album of the same name, has arrived at the Victoria Theatre with astounding electricity rivaling the Broadway production.

Helmed and co-adapted by Michael Mayer – who astonishingly did not receive a Tony nomination for his brilliant stagecraft fluidly accented by Steven Hoggett’s vigorous choreography – “American Idiot” is a non-stop, 90-minute kick in the gut depicting post-911 America, particularly the George W. Bush administration, as a well of political lies within a sea of media overkill, an image superbly presented as the curtain slowly rises on an eye-catching multitude of television sets before the pulsating title number fittingly sets the rock concert tone of the evening. Armstrong’s terrifically blunt and poignant songs, co-written with band mates Mike Dirnt and Tré Cool and including tunes from the band’s 2009 Grammy-winning “21st Century Breakdown,” exhilarates and educates with overwhelming energy and attitude as “the land of make believe who don’t believe in me” takes its toll on the youth of Jingletown U.S.A., particularly three close-knit friends longing for purpose despite deep disillusionment stirring within their suburban hell consumed by “signs leading to nowhere.” The angst-filled, in-your-face numbers, presented with impeccably smooth transitions, are distinctively Green Day, especially lively anthems such as “Holiday” and “Know Your Enemy,” but certain passages delightfully recall Andrew Lloyd Webber’s “Jesus Christ Superstar” (“I Don’t Care”), Jonathan Larson’s “Rent” (“Before the Lobotomy”) and the Beatles (“Last Night on Earth”).

Alex Nee, charming, funny and touching, excellently leads the uniformly outstanding cast as Johnny (a.k.a. Jesus of Suburbia), the product of a broken home scarred by the memories of a parent who constantly killed his self-worth. Nee typifies the desperation of a suffocated suburban kid hoping for something better on the outside. The endearing Thomas Hettrick is a fine Tunny, who joins Johnny on a spirited adventure only to become fixated on a handsome celebrity figure (“Favorite Son”) that encourages him to join the military with heartbreaking results. Casey O’Farrell wonderfully completes the trio as the homebound Will, who suffers “Too Much Too Soon” with his pregnant girlfriend Heather (the humorous Kennedy Caughell).

Elsewhere, Trent Saunders thrills as the scarily intense St. Jimmy, Johnny’s drug dealer. Alyssa DiPalma properly supplies sass and tenderness as Whastername, Johnny’s love interest. As the Extraordinary Girl, the lovely Jenna Rubaii joins Hettrick for a beautifully exquisite aerial ballet during the evocative “Extraordinary Girl.” Jared Young, Carson Higgins, Aurie Ceylon, and Daniel C. Jackson are very effective in featured roles.

Unfortunately, the only drawback to this splendid showcase, which includes Christine Jones’ Tony-winning set design and Kevin Adams’ Tony-winning lighting design, is the Victoria itself. The show, specifically its towering sound equipment, is simply too large for the stage, leaving poor sightlines for practically anyone sitting in the right orchestra.

Nonetheless, like “Hair,” “Jesus Christ Superstar” and “The Who’s Tommy,” Green Day’s “American Idiot” firmly stands as another mesmerizing, thought-provoking testament to the powerful influence of rock music in the musical theater universe.

Green Day’s “American Idiot,” presented in 90 minutes without intermission, continues Wednesday, March 13 and Thursday, March 14 at 8 p.m. at the Victoria Theatre, 138 N. Main St., Dayton. Tickets are $46-$67. Call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com. Patrons are advised the show is recommended for ages 17 and up and includes strong language and adult themes.

Here is an audience reaction, courtesy of Victoria Theatre Association

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Green Day’s American Idiot comes to Dayton + TICKET CONTEST

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Alex Nee (Johnny) and company in AMERICAN IDIOT

Alex Nee (Johnny) and company in AMERICAN IDIOT

The Victoria Theatre Association continues to expand its boundaries in bringing the best of Broadway to Dayton, and will provide a musical theatre experience of a different kind with Green Day’s rock opera American Idiot, playing at the Victoria Theatre March 12 – 14.

A story very much of this era, American Idiot is the tale of three young men who’ve been friends all their lives. The story finds them on the brink of adulthood, and soon they’ll have to decide whether they’ll strike out into the world to follow their hearts or take an easier path and remain in the comfort of the suburbs. The cynicism, ennui, black humor, and paranoia of youth in post-9/11 America is front and center in this Tony- and Grammy-winning show.

The musical is based on punk band Green Day’s multi-platinum 2004 album by the same name. Director Michael Mayer (Spring Awakening) approached the band with the idea of translating it to the stage, and in April 2010, it opened on Broadway with music by Green Day, lyrics by frontman Billie Joe Armstrong, and a book by Armstrong and Mayer. The production ran for one year, with 421 performances logged by the final curtain.

Ensemble cast member Dustin Harris Smith said, “Someone who doesn’t know Green Day will still have a good experience with this show. Right from the start, it’s an explosion, and as long as you — or your parents — don’t mind the F word, then it’s perfectly accessible. It’s definitely not for everybody, but we see people of all ages in the audience and they really enjoy it. The other day, we had a seven-year-old girl in the front row, and we were very happy to have her. As long as the parents are there to accept it, we’ll be happy to yell at your child. Or,” he added, “your grandmother!”

The New York-based actor also occasionally takes on the role of Tunny, one of the lead trio who joins the military and goes off to war. Musical theatre has already taken him abroad as Bobby in an Edinburgh production of Urinetown, and he performed in The Who’s Tommy and other shows during his educaton at NYU and was paid a visit by a casting director while he was still in school. Several callbacks later, he was cast, and workshops of the touring version began in May 2012 as Smith prepared to graduate.

Alyssa DiPalma (Whatsername) and Alex Nee (Johnny) in AMERICAN IDIOT

Alyssa DiPalma (Whatsername) and Alex Nee (Johnny) in AMERICAN IDIOT

“I call myself The Thrasher,” Smith said, “because I do a lot of the high-octane support in the show. I’m in almost every number backing the three leads and thrashing around. I give all my energy for every performance, which is weird on two-show days, when I have to give 200% of myself. We call them ‘two dow shays,’ because at the end of the day, you’re so exhausted nothing works right or makes sense anymore. When we leave the theater around 11 p.m., most people are going out partying. My party is with my pillow!”

“We just finished our 117th performance,” he said by phone from Hartford, Connecticut. “There’s a lot of belting and screaming, and we do it healthily and have to take care of our voices, but every now and then someone has to take a performance off just based on the wear and tear of the show. There are a few people in the company who have never called out, and,” he added with a laugh, “there is something very wrong with them, and they are freaks.”

When not involved with theatre, Smith has a very unique pursuit as a passionate board game enthusiast with a dream of owning his own game company.

“I’ve produced five or six board games that I’m trying to get play-tested to maybe start a company,” he said. “It’s a small passion I don’t usually tell people about, but it’s very fun for me. Board games are a great way to be face to face with people you know, or don’t know, and get to know how they think.

As his own personal favorite game, Smith is particularly fond of the classic Stratego.

“I’m a big strategy guy,” said Smith, “and if I can get in the head of the person I’m playing, it’s a small victory. The deception and randomness is something I love, that anyone can lay their pieces down in any order, and it becomes kind of a logical guessing game, like chess.”

Smith’s tour with American Idiot will take him all over the United States before wrapping in September after lengthy stints in Tokyo and Seoul.

“We’ve had our share of season ticket holders,” he said, “who are just there to experience something they’ve never experienced, and boy, this is it. The show is filled with spectacle, and there’s a bit of acrobatics… It’s almost like reliving the ’70s era of rock concerts, in a way, but it’s also a very moving piece. I’ve gotten to watch it twice myself, and I laughed and cried both times.”

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CONTEST CLOSED

Congratulations to our ticket winner: Mikee Huber

 

ON STAGE DAYTON REVIEW: The Addams Family (Victoria Theatre Association) – Ghoulishly Good

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Addams Family - CastIt’s wonderful to know top-drawer musical comedy is alive and well at the Schuster Center thanks to the outstanding local premiere of “The Addams Family,” the absolutely hilarious 2010 musical inspired by the legendary creations of cartoonist Charles Addams in “The New Yorker” and presented on the Victoria Theatre Association’s Premier Health Broadway Series.

Completely retooled with new songs and tighter character development since its messy 2009 pre-Broadway Chicago tryout (which I loathed) and subsequently shaky Broadway mounting, “The Addams Family” finally gels as its wonderfully witty absurdity, surprisingly touching tenderness and enchanting whimsy clearly, cleanly coalesces. Walking the fine line of glorifying and poking fun at death without being in poor taste, librettists Marshall Brickman and Rick Elice (“Jersey Boys”) have streamlined the material to focus on the coming-of-age subtext stemming from the quickie engagement between morbid Wednesday Addams (a marvelously intense Jennifer Fogarty) and her new boyfriend Lucas Beineke (an appealing Bryan Welnicki). Brickman and Elice oddly glosses over the fact that Wednesday and Lucas seem too young for marriage, but the utter shock of the engagement serves its pivotal purpose nonetheless, especially when Wednesday begs her easygoing dad Gomez (terrific comedian Jesse Sharp) not to tell her assertive, perceptive mom Morticia (the cool, statuesque KeLeen Snowgren) about her big news. As Gomez and Morticia cope with Wednesday’s budding relationship and the arrival of Lucas’ straight-laced parents from Ohio, the notion of what one considers “normal” takes on deep, relatable significance. After all, despite serious eccentricities or overt dysfunction in any family, love can prevail if accepting and appreciating someone’s differences is a priority. And in this breezy tale, tunefully broadened by composer Andrew Lippa’s nifty Tony-nominated score recalling Mel Brooks’ clever ditties for “The Producers” and “Young Frankenstein,” the transformative power of acceptance proves monumental.

Wright State University alum E. Cameron Holsinger skillfully recreates Jerry Zaks’ sharp, fast-moving direction, coaxing excellent portrayals across the board. Sharp, who deserves his own sitcom, maintains a very charming, eager-to-please disposition throughout while believably conflicted and moved as Wednesday’s engagement consumes Gomez’s thoughts. He also has a delightful chemistry with Snowgren, who never allows Morticia’s iciness to supersede her underlying warmth. Fogarty, an impressive vocal knockout who nearly stops the show with a dynamic rendition of “Pulled,” is equally well suited with Welnicki, who particularly joins her for the catchy “Crazier Than You,” a strong pop number that humorously raises the stakes of Wednesday and Lucas’ affection even though their dating history could certainly benefit from more backstory. Shaun Rice endearingly guides the proceedings as the peculiarly moon-adoring Uncle Fester. Jeremy Todd Shinder’s portrayal of devious Pugsley Addams strikes a chord during “What If,” a cute song about Pugsley and Wednesday’s unique bond. Scene-stealer Amanda Bruton is a downright hoot as the daffy, vulgar Grandma. Dan Olson, who is given a prime moment to shine during the finale, scores many laughs as imposing butler Lurch. The appropriately uptight Mark Poppleton and genially offbeat Blair Anderson are great as Mal and Alice Beineke. Ensemble members James Michael Avance, Chloe O. Davis, Jake Delaney, Lexie Dorsett, Aaron Fried, Elizabeth Hake, Katie Mebane, Julia Lancione, Galloway Stevens, and Julio Cataono Yee unobtrusively weave in and out of the action as the Addams ancestors.

Additionally, Jonathan Ritter recreates Sergio Trujillo’s original choreography with finesse, specifically the amusingly energetic opening number “When You’re an Addams” and Sharp and Snowgren’s sultry “Tango de Amor.” James Kronzer’s set design modifications of Julian Crouch and Phelim McDermott’s original creations retain a stately allure. Crouch and McDermott’s costumes are also attractive. Natasha Katz’s lighting design is strikingly moody. Basil Twist and Gregory Meeh respectively supply eye-catching puppetry and special effects.

Trust me when I say “The Addams Family” would still be playing on Broadway if this splendid cast and revised script were involved. Peering into the dark side has never been more delectably entertaining.

“The Addams Family” continues through March 10 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: 65 minutes; Act Two: 50 minutes. Tickets are $15-$96. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

 

 

ON STAGE DAYTON REVIEW: A Chorus Line (Beavercreek Community Theatre) – What They Did For Fun

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Beavercreek Community Theatre - Chorus LineOverreaching can be precarious in the topsy-turvy world of community theater, especially when an organization has to live up to iconic material. A recent case can be found at Beavercreek Community Theatre where James Kirkwood, Nicholas Dante, Marvin Hamlisch and Ed Kleban’s 1975 Tony and Pulitzer Prize-winning “A Chorus Line” receives a bizarre treatment.

Director Doug Lloyd, who rarely missteps when staging musical theater, startlingly assembles a jarring hodgepodge of clashing ages, skills and sizes for this classic look at aspiring hopefuls longing to join an upcoming Broadway musical. Each dancer’s wonderfully insightful background remains attractive as always, but the sheer legitimacy of their world, including the critical proficiency to appear as viable Broadway-caliber dancers, is totally amiss here, cheapening the show’s legacy and intent. In fact, the awkward costuming appallingly suggests the show takes place at some point between 1975 and 2013. It also doesn’t help matters that the pre-recorded use of Hamlisch and Kleban’s dandy score, including such gems as “At the Ballet,” “Nothing,” “What I Did for Love” and “One,” sounds so thin and distant you’d think it was playing in a car stereo in the parking lot.

As for the cast, only Mick Merkle (Larry), Tina de Alderete (Diana), Joshua Hughes (Mark), Sandra Hyde (Sheila), Matt Curry (Richie), Lisa Glover (Connie) and Akayla Crawford (Maggie) walk away marginally unscathed. Matt Owens, who hardly dances even in the crucial opening number, particularly barks and bellows his way through his one-dimensional portrayal of director/choreographer Zach, who has difficulty grasping the job-hungry desperation of his former flame Cassie (an uncomfortable, reserved Kristan Stanforth who truly struggles in “The Music and the Mirror”). Lloyd’s ensemble, attempting Stacy Gear’s Michael Bennett-inspired choreography to the best of their abilities, also includes Lindsay Sherman, Maggie Carroll, Danielle Kubasky, Meagan Kuchan, Brian Kester, Ben Douglas, Nicholas Sutton Brown, Mike Stockstill, Anthony Fende, Gary Watts, Jordan DuVall, Ryan Garner, and Allison Willardson.

I’ve no doubt Beavercreek Community Theatre greatly admires “A Chorus Line.” However, the troupe fails to present it realistically. They haven’t gone as far as to stage an all-black version of “1776” but authenticity matters.

“A Chorus Line” continues through March 10 at the Lofino Center, 3868 Dayton-Xenia Rd., Beavercreek. Performances are Friday and Saturday at 8 p.m. and Sunday at 3 p.m. The production is performed in 120 minutes without intermission. Tickets are $13 for adults and $11 for students and seniors. For tickets or more information, call (937) 429-4737 or visit online at http://bctheatre.org

 

 

Family Matters – The Addams Family musical scares up laughs at the Schuster

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Addams Family - OriginalThey say you can never go home again, but that’s not always true. From March 5 – 10, people in the Dayton area can return to one of everyone’s favorite childhood haunts, Addams Manor, as the hit Broadway musical The Addams Family takes up residence at the Schuster Center. And whether you grew up with their New Yorker cartoons, the original 1960s sitcom, the ‘90s films, or any of the various animated and live-action spinoffs over the decades, you know that once you’ve met these characters, they’re always a part of you.

A beloved staple of American pop culture, the Addams Family has walked among us for 75 years, tracing back to their first appearance — unnamed but looking essentially as we know them today — in The New Yorker as drawn by cartoonist Charles Addams. The artist was best known for his one-panel illustrations in the famed magazine; frequently accompanied by a devastatingly witty one-liner, the humor in his work tended toward jet-black macabre. The familiar Family characters populated a total of 150 single panel cartoons, and approximately half of them were published in the 50 years between their debut and the artist’s death in 1988.

In 1964, ABC debuted (the same week as CBS’ similarly freaky The Munsters, no less) a sitcom based on the characters, which gave them names and fleshed out their lives and connections. Though it only ran for two seasons (ending, also, the same week as The Munsters in 1966), it remained a cult hit that rose from the grave again and again. There was the failed 1973 pilot for
The Addams Family Fun-House, a musical comedy variety show(?!) with Jack Riley and Liz Torres as Gomez and Morticia, comedian Stubby Kaye as Fester, and Butch Patrick (Eddie Munster!) as Pugsley. There was an animated appearance on an episode of The New Scooby Doo Movies, with most of the original series cast voicing the characters…which led to a 1973-75 Saturday morning cartoon produced by Hanna-Barbera. Oddly enough, this show featured the family cruising the country in a Victorian mansion-type RV — oh, and eight-year-old Jodie Foster voicing Pugsley. In ‘77, the live-action series cast reunited for a (dreadful) TV-movie, Halloween with the New Addams Family.

The casts of the 1966 TV series and the 1991 film

The casts of the 1966 TV series and the 1991 film

And then, they returned to the A-list. Paramount’s 1991 big-screen take on the characters was a smash hit and introduced the characters to a new generation. Helmed by the late Raul Julia’s gleefully madcap Gomez and Academy Award winner Anjelica Huston’s seductively steely Morticia, the movie spun off another Saturday morning cartoon and a popular sequel, Addams Family Values, as well as launching the career of Christina Ricci, who played Wednesday.

Broadway beckoned, and after more than three years of development, The Addams Family slithered onto the stage in April 2010 with the picture-perfect casting of Tony and Emmy winners Nathan Lane and Bebe Neuwirth heading the cast. It was a success, running for 725 performances and snagging two Tony nominations (Best Score, and Best Featured Actor in a Musical for Kevin Chamberlin as Fester) and eight Drama Desk nods. (Interesting piece of trivia: Cassandra “Elvira” Peterson was in talks to take over the role of Morticia when the show closed.) Now, touring productions of the musical are planned for almost every continent.

In the musical, we meet the family at a time of great conflict. This premise will be familiar to anyone who’s seen La Cage Aux Folles, also known as The Birdcage: 18-year-old Wednesday invites her boyfriend to dinner to meet her folks. Unfortunately, he’s also bringing his folks, who happen to be a couple of bland, uptight buzzkills from — of course — Ohio. She begs her family to act “normal,” a word which, of course, carries a somewhat different meaning to the Addamses…

The show, written by Marshall Brickman and Rick Elice (Jersey Boys) with music by Andrew Lippa (The Wild Party), has been significantly reworked for the tour version, which differs a good bit from the original Broadway incarnation. Four-time Tony winner Jerry Zaks guided an extensive revision that cut three songs, added three new ones, and restructured two others. Storylines were changed and rebuilt as well, including some major changes that removed a plot twist involving the family’s giant pet squid. The effort paid off, fashioning a tighter, fast-moving, more character-driven show that places Gomez and Morticia front and center and ties everything together in a more organic fashion.

Shaun Rice as Uncle Fester

Shaun Rice as Uncle Fester

The jovial Uncle Fester is our guide for the evening’s events, which provide plenty of the expected laughs and romance while also showing off these classic characters in ways we’ve never seen before. Happy-go-lucky Gomez seems to ruin everything he touches and can’t please anyone. Eternal beauty Morticia, approaching middle age, fears growing older, and the two find themselves having their first marital spat and staring into a half-empty nest as their firstborn prepares to take flight. We see Wednesday as an adult with her well-known independent streak now influenced by the realization that the real world and the world she grew up in are two very different things. Pugsley is afraid that if he loses his sister, there’ll be no one to torture him anymore. And, perhaps most touching of all, this incarnation of Fester is almost childlike in his innocence and unconditional love.

It works, and it makes for a terrific evening of theatre. The script is packed with huge belly laughs and so many throwaway gags that by the time you finish laughing at one, you’ve likely missed two more. The in-law characters have depth and humor (Blair Anderson as Alice is particularly dynamite in her showcase number). Jennifer Fogarty’s deadpan delivery and incredibly strong voice make Wednesday a real standout. And Amanda Bruton nearly steals the whole show as Grandma, played like a salty, funky, ancient hippie just old enough to not care what comes out of her mouth. Jesse Sharp as Gomez drives the proceedings with boundless energy and zest, bringing the house down with his mindless comedic rants and witty asides. He and Bruton easily score the biggest and longest laughs of the evening, while Shaun Rice’s joyous, soulful Fester unexpectedly forms the heart of the show.

“He’s a little different from how we’ve seen him in the movies and the TV show,” said Rice. “He’s more similar to the original comics. He’s very sweet and is kind of the narrator of the show. Each character has their own sort of musical style in terms of the songs they do, and he has this kind of old-timey, song-and-dance, vaudeville style. There’s a wonderful song in Act Two where Fester sort of interrupts the action to tell us about the love of his life that really shows him at his best.”

Rice started out doing theatre in the Tampa Bay area at a very young age, then began directing before enrolling in the American Academy of Dramatic Arts in New York. And this isn’t his first experience bringing a treasured ‘60s sitcom to the stage: Rice put in some time playing Jonas “The Skipper” Grumby in Gilligan’s Island: The Musical back in the ‘80s.

“This show has been my proudest achievement so far,” he said. “It’s been fantastic. The Addams Family is so iconic. I grew up watching the Hanna-Barbera cartoon, and of course, I saw the movies as an adult, and it’s just a dream come true to be part of such an iconic thing in pop culture. These characters are so simple and silly in some ways, but they’re also more than that because they represent that part of us that never quite fit in. Everyone loves this family. When certain characters show up, the audience just goes nuts for them, and we don’t have to spend a lot of time laying groundwork or explaining who we are. The minute we walk out onstage, you know where you are and who you’re with, and you can really feel how excited and comfortable the audience is being with these characters again. It’s so much fun.”

Actor Jesse Sharp as Gomez

Actor Jesse Sharp as Gomez

“People just eat it up,” said Jesse Sharp, who plays Gomez. “I’ve been on a couple of Broadway tours before and never had audiences react to a show the way they do here. I like that it’s a very sweet family show, but it’s also a comedy. People can expect to have an easy, good time.”

Frazier Park, California native Sharp studied acting at UCLA while performing sketch and improv comedy before relocating to New York to pursue musical theatre and eventually landing in classical theatre doing the Shakespeare festival circuit. His pet creation, the raucous Hamlet Project (“basically a drinking game version of Hamlet we do in bars”) caught on big enough in L.A. that it now has a spinoff version in Chicago and is continuing to expand.

And in the meantime, he’s spending the next year and a half traveling the U.S., Canada, and Asia with the world’s favorite ghoulish gaggle.

“I’ve played a lot of best friends and funny sidekicks during my career, so playing Gomez has been a real highlight. Our tour is still just getting started. It’s still early on for us, and down the line, we’re heading to a part of the world I’ve never been to, and we just go onstage and have fun every night. I’m incredibly excited.”

The Addams Family runs March 5 – 10 at the Schuster Center. Tickets are $40 – $96. For military and student and more information, visit http://www.victoriatheatre.com/shows/the-addams-family/ or call (937) 228-3630.

ON STAGE DAYTON REVIEW: Little Shop of Horrors (Playhouse South)

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Cari Meixner and Desmond Thomas

Cari Meixner and Desmond Thomas in Little Shop of Horrors (Photo by Rob Breving)

Terrific vocalists Desmond Thomas and Cari Meixner are the absolutely delightful beacons of Playhouse South’s decent “Little Shop of Horrors,” set in the 1950s on Skid Row and written in 1982 by composer Alan Menken and lyricist-librettist Howard Ashman based on the 1960 film of the same name.

Under the direction of Jenni Cypher, Thomas, a nice case for non-traditional casting, and Meixner, so kind and touching, were born to play ill-fated lovebirds Seymour and Audrey, florist shop co-workers whose affection for each other grows as big as the infamously blood-thirsty plant Audrey II (amusingly voiced by music director Jim Brown and operated by set designer Kurt Cypher) that ultimately comes between them. By the team this special duo reaches their truly sincere rendition of “Suddenly Seymour” you’ll wish Ashman created a different outcome. Individually, the open, honest Thomas doesn’t lose one ounce of tenderness as he copes with the problems and popularity that comes his way on his quest for revenge. He makes it clear that Seymour’s seedy actions are simply out of overwhelming concern for his beloved, battered Audrey, sentiments beautifully upheld in Thomas’ pleasantly pensive solo within “The Meek Shall Inherit.” He’s also great at the outset, notably fueling the powerful, spine-tingling “Skid Row (Downtown)” with meaningful urgency. Meixner primarily makes her mark musically, particularly delivering the gorgeous ballad “Somewhere That’s Green” with a sweet, music box delicacy that immediately grabs the heart.

Elsewhere, TC Schreier, in his best role to date, accents his personable portrayal of florist shop proprietor Mr. Mushnik with a comical shuffle. Zach King, an enjoyably twisted Orin Scrivello, wisely avoids the temptation to go over the top in “Dentist” and “Now (It’s Just the Gas).” Sarah-Grace Griswold (Ronette), Megan Rademacher (Crystal) and Erika Rogers (Chiffon) offer ample attitude but have a tendency to become pitchy and overly forceful in their R&B inflections. Angie Thacker and Jamal Cann offer humorous support in various roles.

The contributions of choreographer Mackensie Vonderbrink, costumer Maggie Carroll and lighting designer/technical director Jason Vogel are noteworthy. Conductor/keyboardist Brett Greenwood leads a small but steady four-piece orchestra.

“Little Shop of Horrors” continues through March 9 at the Clark Haines Theatre (Kettering Board of Education Building) 3750 Far Hills Ave., Kettering. Performances are Friday and Saturday at 8 p.m. Act One: 55 minutes; Act Two: 37 minutes. Tickets are $13 for adults, $11 for seniors and military and $8 students. Call 1-888-262-3792 or visit www.playhousesouth.org. The show contains adult language and themes.

ON STAGE DAYTON REVIEW: 100 Saints You Should Know (Dayton Theatre Guild)

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(l to r): Barbara Jorgensen, Maximillian Santucci, Alex Carmichal, Katrina Kittle, Corinne Engber in 100 Saints You Should Know (Photo by Craig Roberts)

(l to r): Barbara Jorgensen, Maximillian Santucci, Alex Carmichal, Katrina Kittle, Corinne Engber in 100 Saints You Should Know (Photo by Craig Roberts)

Kate Fodor’s darkly comedic 2007 character study “100 Saints You Should Know,” currently receiving a fine regional premiere at the Dayton Theatre Guild, brings faith, faithlessness and forgiveness to the forefront in an engaging and compelling fashion under the delicate direction of Ellen Finch.

Alex Carmichal, who left an indelible impression earlier this season as the titular villain of the Dayton Playhouse’s production of “Dracula,” brings understated potency to his excellently conflicted portrayal of Father Matthew McNally, the play’s centerpiece. Grappling with unmentionable desires that betray his duties, a predictable yet reasonable notion, Matthew leaves his parish without a game plan for the future, causing him to question his beliefs as never before while returning to his childhood home for refuge. The reason behind Matthew’s hurried, vague departure, involving the provocative artwork of George Platt Lynes, is reserved for late Act 1, but Carmichal’s astutely perplexing nature remains thoroughly intriguing, especially as Matthew finds solace in reading “Dark Night of the Soul” and comes to grips with the acknowledgement that his spirituality, his connection to God, is completely broken. Amiable cleaning woman and single mom Theresa (a first-rate, emotionally distressed Katrina Kittle) inquisitively looks to Matthew for answers to her burgeoning thoughts of religion, but Fodor primarily keeps their budding relationship and insightful faith discussions ambiguous, which some may find perturbing. After all, this lonely pair feels very bonded as lost souls in search of intimacy and purpose, elements heartwarmingly fueled by Carmichal and Kittle’s innate chemistry.

Kittle also establishes a wonderfully exasperating rapport with the sassy Corinne Engber as Abby, Theresa’s startlingly rebellious, foul-mouthed 16-year-old daughter who deeply resents her and their meager existence. Theresa and Abby’s bickering showdowns are off-putting (Abby is one of the nastiest characters to come along in years), but Kittle and Engber build to a heartfelt climax nonetheless as Abby particularly grows to understand the cost of being utterly mean-spirited for selfish gain. The cast also includes the very endearing Maximillian Santucci as the gawky, gullible Garrett, a sexually confused delivery boy ridiculed by Abby to devastating proportions, and the marvelously grounded Barbara Jorgensen as Matthew’s stern, caring, Scrabble-adoring Irish mother Coleen, who has difficulty grasping his sudden change of heart and the sheer importance of acceptance.

Marcia Nowik’s efficient set as well as Patrick Hayes’ appropriate costumes and believably bloodied makeup for Santucci are also significant as this impactful tale of inner fulfillment runs its surprisingly heartbreaking course.

“100 Saints You Should Know” continues through March 10 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are Friday at 8 p.m., Saturday at 5 p.m. and Sunday at 3 p.m. Act One: 60 minutes; Act Two: 45 minutes. Cost: $18 for adults, $16 for seniors and $11 for students. For tickets or more information, call (937) 278-5993 or visit online at www.daytontheatreguild.org. Also, in conjunction with the Dayton Visual Arts Center, the Guild will display the works of local artist C.A. Tiedemann in its lobby during the run of “100 Saints,” which contains mature subject matter.

 

 

Awesome Audra: A Chat with Audra McDonald

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audra-mcdonaldLuminous soprano and Broadway sensation Audra McDonald, one of the finest actresses/vocalists of her generation, will be in concert Friday, March 1 in celebration of the Schuster Center’s 10th anniversary.  McDonald, 42, has received five Tony Awards for her outstanding work in “Carousel,” “Master Class,” “Ragtime,” “A Raisin in the Sun” and “Porgy and Bess.” She has also been nominated for her splendid performances in “Marie Christine” and “110 in the Shade,” and memorably appeared in Lincoln Center Theater’s production of “Henry IV” and the Public Theater’s “Twelfth Night.” In addition to portraying Dr. Naomi Bennett on ABC’s “Private Practice” for four seasons, she has been featured in television adaptations of “A Raisin in the Sun,” “Annie” and “Wit,” receiving an Emmy nomination for the latter. She also won two Grammy Awards for “Rise and Fall of the City of Mahagonny.”

In advance of her highly anticipated concert, accompanied by the Dayton Philharmonic Orchestra for the first time since 2005, the very engaging McDonald discussed her distinguished career and future plans.

Q: On Feb. 11 you were honored by the Drama League for your contributions to Broadway. How did it feel to be saluted in such a grand fashion by so many of your colleagues?

A: It was amazing! I wept, laughed and screamed the entire evening. To see people I love, people I adore, people I’ve worked with, people I want to work with attending the event was really overwhelming.

Q: When you reflect on your legacy, particularly your multiple Tony victories and nominations, does it seem like a blur? What does it all mean to you at this point in your career?

A: It does seem like a blur. When you’re in a show, your mind is on the show and you’re living another life on stage. Then the Tonys come, it happens, and then it’s gone. You’re a pumpkin again. But when I accumulate it all it feels like a big, fantastic blur. The biggest memories I have of the Tonys is the emotions of how it all felt. And at the end of it, you still have to go on with your daily life.

Q: But when you look at your hardware, your five Tonys, does it give you greater motivation? You could certainly win five more Tonys in the future.

A: I’m not done yet. There is still more theater I want to do. I don’t ever pursue projects looking for Tonys, but this is what I’ve wanted to do since I was 9 years old. For me, it’s all about looking for the next challenge. For me, the Tonys represent an incredible honor and something for me to be grateful for, but also something that reminds me that I’m lucky to do what I love and I must continue to grow, give back, and continue to live in the world that is theater.

Q: Assessing your many roles, which character or characters were the most challenging?
A: Without a doubt, it would be Bess, particularly in terms of stamina. To be able to sustain the performance and make that journey eight times a week was the most challenging. The hardest character to grasp was Ruth in “A Raisin in the Sun.” I had a hard time succumbing to her sadness and world-weariness.

Q: Do you have any dream roles? Are there roles you haven’t tackled that you would like to pursue?
A: I would like to do more Shakespeare, particularly playing Cleopatra in “Antony and Cleopatra.” As far as musical theater, as long as a role scares me, challenges me, I’m completely open to whatever comes along.

060704Celebs52ARQ: Would you consider starring in another Michael John LaChuisa (“Marie Christine”) musical?

A: Of course. There is some stuff in the pipeline with him. He’s such a prolific writer.

Q: Are there any directors or performers you would like to work with that you haven’t yet?

A: I would like to work with Bartlett Sher (“The Light in the Piazza”), who has been doing fantastic work, as well as Joe Mantello (“Wicked”). I would also like to work with Dan Sullivan (“Twelfth Night”), Lonny Price (“110 In the Shade”), Diane Paulus (“Porgy and Bess”) and Kenny Leon (“A Raisin in the Sun”) again. All of them are directors I admire greatly.

Q: Would you ever consider directing or producing?

A: Maybe directing, but I need to build my confidence. I just started teaching some master classes and really felt quite challenged and fulfilled by it. I would not count out directing in the future.

Q: What are your views on the current state of Broadway? Are improvements needed? What shows are you recommending to friends?

A: I think it’s a very fertile time on Broadway. For a while it seemed as if Broadway was only for superstars and “face projects.” But I feel there is a lot of good stuff out there that isn’t necessarily a star vehicle. For instance, “Once,” which is a tiny little show which had some recognition from the movie but it didn’t have stars in it and took Broadway by storm. There’s room for all of the above, but as long as there are new musicals being produced, and Broadway continues to replenish and nurture, I’m happy.

Q: You have been a trailblazer for non-traditional casting from Broadway to television. Would you like to see more non-traditional casting implemented?

A: Always. I understand that in some cases, like historical pieces, it doesn’t work, but whenever it can be utilized it’s a great thing.

Q: I remember many years ago you were being considered to star in a Broadway revival of “My Fair Lady.”

A: Yes, but some things come into fruition and some things don’t. And now I’m too old!

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Q: What words of advice do you have for aspiring performers?

A: Always say yes to your artistic instincts. Don’t ever say no to yourself. If you think there’s a role you can play go out and audition for it, work on it, study it. There will be enough people in the business that will say no to you. You cannot be one of those people. Also, I’d advise anyone to get on stage anywhere. It doesn’t have to be on Broadway, but your local church or dinner theater. Get used to being in front of a live audience, which is an experience that is the same as being on Broadway or in your school musical. The dynamic is the same and very important.

Q: You are currently working on your fifth studio album released by Nonesuch Records. What should your fans expect this time around? Will it be musical theater-heavy or are you aiming for more eclectic selections?
A: The new album will have more full-throated singing. It will be Audra full-throttle! My last album was a bit more contemplative, but the new album will have some wonderful older songs, newer songs, and songs from composers I just haven’t sung a lot of like Kander and Ebb.

Q: It’s wonderful to know you will be appearing once more in Dayton at the Schuster Center. What will your program consist of?

A: It’s going to be an eclectic mix, but it’s always nice when you can take advantage of performing with an entire orchestra, which is the case in Dayton. I’ll be singing songs by Stephen Sondheim, Rodgers and Hammerstein, Bock and Harnick, Kander and Ebb, Leslie Bricusse, and Henry Mancini among others. It’s going to be a great concert.

A gala concert starring Audra McDonald will be presented Friday, March 1 at 8 p.m. at the Schuster Center, Second and Main Streets., Dayton. Tickets are $40-$90. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com.