Brian Sharp

‘The Best Little Whorehouse in Texas’ Review – Dayton Playhouse – The Oldest Profession

September 23, 2019 By Russell Florence, Jr.

It’s easy to dismiss composer Carol Hall and librettists Larry L. King and Peter Masterson’s hit 1978 musical The Best Little Whorehouse in Texas as nothing but a cutesy tale of prostitution. But often overshadowed by the sight of alluring women and the sound of mattresses getting an extreme workout is a highly relevant show about empowerment, family, security, sisterhood, and second chances.

The cast of the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

In the Dayton Playhouse’s very entertaining production fluidly directed by Brian Sharp, a big-haired, wonderfully grounded Tina McPhearson resoundingly leads the way as the resilient, no-nonsense Miss Mona Stangley, proprietor of the Chicken Ranch in Gilbert, Texas in the late 1970s. With faithful support from her trusty sidekick Jewel (delightfully sassy Pamela Byrd) and good-natured Sheriff Ed Earl Dodd (folksy Ted Eltzroth), Miss Mona and her playpen have been able to avoid catastrophic controversy. However, everything unexpectedly crumbles when fiery TV reporter Melvin P. Thorpe (energetic Ron Maurer, far removed from his reserved Tateh in the Playhouse’s Ragtime two years ago) whips the public into a religiously frenzied uproar. Despite Miss Mona’s tuneful opinion that “there’s nothing dirty goin’ on,” Thorpe vows to expose the ranch’s illegal activity, ultimately receiving help from the hopelessly flighty Governor (playful Matt Owens making the most of the silly Sidestep, a highlight of Sandra Hyde’s choreography).
Still, as chaos overwhelms, the heart of the show remains Miss Mona’s gals, an assortment of colorful women from different backgrounds, different homes and different opportunities just trying to get by while feeling protected by their surrogate mother. Kelli Myers (Shy), Adee McFarland (Angel), Shana Fishbein (Eloise), Amber Pfeifer (Taddy Jo), Alicia Walton (Dawn), Shanna Camacho (Durla), Logan Hylinski (Beatrice), Stacey Ward (Ruby Rae), and Sommer McGuire (Linda Lou) are pleasantly unified. Myers, believably evolving from naivete to confidence, and McFarland, beautifully leading the poignant Hard Candy Christmas, are noteworthy in addition to McPhearson’s quietly descriptive account of Miss Mona’s Galveston winter rendezvous late in Act 2.

Pamela Byrd (Jewel) and Tina McPhearson (Miss Mona Stangley) in the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

Elsewhere, Jackie Pfeifer (waitress Doatsey Mae) provides a tenderly reflective Doatsey Mae, Mark Diffenderfer (recently memorable in Dayton Theatre Guild’s The Man Who Shot Liberty Valance) brings understated authenticity to the Narrator, Sean Gunther (Senator Wingwoah), John Jeurgens (Mayor Rufus Poindexter), Malcolm Casey (CJ Scruggs), Marabeth Klejna (Announcer), and Cheryl MacGowan (Miss Wulla Jean) add greatly to the material’s humor, and there’s plenty of rowdy fun bursting within the sexually rambunctious Aggies consisting of John Carrington, Samuel Hamilton, Adonis Lemke, Sean Mayo, Ryan Petrie, Bryan Schuck, and Josh Vance. Hamilton, Schuck, Vance, and strong tenor Lemke are also notable as the Dogettes Quartet.

Ron Mauer (Melvin P. Thorpe) and the cast of the Dayton Playhouse’s production of “The Best Little Whorehouse in Texas.” (Photo by Art Fabian)

Sharp’s first-rate artistic team includes scenic designer Red Newman, costumer Teresa Kahle, wig designer Steve Burton, lighting designer Richard Lee Waldeck, sound designer Bob Kovach, and music director Ron Kindell. Violinist John Root is particularly excellent among Kindell’s orchestra during Doatsey Mae.

Surprisingly, considering the subject matter, the Playhouse offers a relatively genteel, sexually tame Whorehouse. By no means does this production ever ascend to questionable levels of gritty, carnal ecstasy in tone or characterizations, clearing allowing for a genuinely fun, worthwhile outing.

The Best Little Whorehouse in Texas continues through Sept. 29 at 8 p.m. Friday and Saturday and 2 p.m. Sunday at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Act One: 80 minutes; Act Two: 40 minutes. Tickets are $20 for adults and $18 for seniors, students and military. For tickets or more information, call (937) 424-8477 or visit daytonplayhouse.com. Patrons are advised the show contains adult content, language and situations.

‘My Fair Lady’ Review – Dayton Playhouse – Bravo, Eliza!

September 24, 2018 By Russell Florence, Jr.

The Dayton Playhouse’s pleasant production of Alan Jay Lerner and Frederick’s Loewe’s classic 1956 musical My Fair Lady, the organization’s 60th anniversary season opener, ascends to another level thanks to Sarah Viola’s marvelously sung and skillfully interpreted portrayal of Cockney flower girl Eliza Doolittle.

(left to right) David Shough as Professor Henry Higgins, Sarah Viola as Eliza Doolittle, Brian Laughlin as Colonel Hugh Pickering, and the cast of Dayton Playhouse’s My Fair Lady (Photo by Art Fabian)

A classically trained, Cincinnati-based soprano and graduate of the San Francisco Conservatory of Music, Viola vocally dazzles with warmhearted wistfulness in Wouldn’t It Be Loverly?, playful vengeance in Just You Wait, fierce fervor in Show Me, and empowering confidence in Without You. But in one of the most thrilling numbers at the Playhouse in recent memory, she jumps an octave at the conclusion of the signature tune I Could Have Danced All Night. It is a blissfully breathtaking, nearly showstopping moment not even attempted by Julie Andrews (the original Eliza), Marni Nixon (the singing voice of Audrey Hepburn in the 1964 film) or Lauren Ambrose (the Tony-nominated Eliza in Lincoln Center’s current, lavish revival). Vocals aside, Viola initially ensures Eliza is conveyed within a tough, scrappy mindset, an honest reflection of her hard-knock life acquiring a few shillings, pounds or pence on the streets of 1913 London. But as Eliza attempts a better life personally and professionally under the strict tutelage of linguistics Professor Henry Higgins (David Shough), she astutely blossoms with elegance, femininity, and self-worth, solidifying the pivotal transformation at the core of this story of socioeconomics, gender wars, family, love, and forgiveness based on George Bernard Shaw’s 1913 play Pygmalion.
The equally praiseworthy Shough creates palpable chemistry with Viola and doesn’t overreach in communicating Higgins’ arrogance and cruelty, a wise choice since the role can be terribly unnerving. After all, a powerful man second-guessing a woman’s potential by calling her heartless, disgusting and a disgrace is tough to digest when viewed in context of today’s #MeToo movement. Nonetheless, Shough’s nuances are great (notice how he says “America” in Why Can’t the English?) and the forceful fury he brings to Higgins’ dismay of Eliza joining forces with his former student Zoltan Karpathy signals a betrayal that would sting forever. Shough also keeps the contemplative poignancy of I’ve Grown Accustomed To Her Face intact and unhurried in spite of the production’s problematic pacing which has the number arriving well after the three-hour mark.

Furthermore, enjoyable featured roles are offered by Brian Laughlin (a lovingly daft Colonel Pickering), Brad Bishop (a hearty Alfred P. Doolittle), Dodie Lockwood (a delightfully sophisticated Mrs. Higgins), Donna Bostwick (a fittingly dutiful Mrs. Pearce), Jamie McQuinn (a kooky Karpathy), Drew Roby (a believably smitten Freddy Eynsford-Hill), Jackie Pfeifer (Mrs. Eynsford-Hill), Steve Strawser and Karla Enix (Lord and Lady Boxington), Mark Sharp and Jim Spencer (Alfred’s boozy chums Harry and Jamie), Ryan Petrie (a dashing Prince of Transylvania), and Angelé Price-Maddah (making the most of meddlesome Mrs. Hopkins). Ensemble members include CJ Suchyta, Benjamin Jones, Elainah Skaroupka, Shana Fishbein, Stacey Brewer, Amber Pfeifer, Neve Barker, Jamie Pavlofsky, Annie Sayers, Cathy Long, Marabeth Klejna, Jacob Christy, and Samuel Hamilton.

Sarah Viola as Eliza Doolittle in Dayton Playhouse’s My Fair Lady (Photo by Art Fabian)

Director Brian Sharp should’ve tightened many scenes and quickened scene changes, but his desire to incorporate shades of the film version will likely please many patrons. I honestly couldn’t help but think of Hepburn when Viola stunningly enters in her white Embassy Ball gown (costumer Theresa Kahle is responsible for the Cecil Beaton-esque recreation). However, he curiously borrows a page from the aforementioned Broadway revival at the show’s conclusion, but fails to establish enough romantic subtext between Eliza and Higgins from the outset to make the climactic moment truly resonate. Considering the fact that the film seems to be one of Sharp’s major influences, Shough simply should’ve slumped in his chair with Viola standing nearby approvingly as the orchestra swells.
In addition to Kahle, who also does a swell job coordinating Ascot in black, gray and white, the artistic team includes choreographer Sandra Hyde (supplying variety from the easygoing breeziness of Wouldn’t It Be Loverly? and With a Little Bit of Luck to the tiptoe synchronization of Ascot Gavotte and the spiritedness of Get Me To The Church on Time), scenic designer Red Newman (notably providing a beautiful backdrop for Mrs. Higgins’ home), lighting designer Richard Lee Waldeck, sound designer Bob Kovach, music director Ron Kindell (leading a fine 16-piece orchestra), vocal director Tim Rezash, property designer Tina McPhearson, and wig designer Marvel Elcessor.

My Fair Lady will always be remembered for its wonderful score defining the Golden Age of Broadway, but perhaps more significantly, it remains a cautionary tale about communication, specifically the importance of treating others with respect. As Eliza overcomes adversity to embrace her future with hope, Viola displays considerable strength and power, attributes vocally exemplified in her glorious final note of I Could Have Danced All Night. In a perfect world, we would look forward to seeing her again as a member of Lincoln Center’s 2019-2020 My Fair Lady national tour, or better yet, in the immediate future, she’d be a stellar addition to the Dayton Philharmonic Orchestra’s upcoming concert My Fair Broadway: The Hits of Lerner and Loewe. Nevertheless, let us be grateful she’s at the Dayton Playhouse effortlessly singing songs you’d think were written just for her.

My Fair Lady continues through Sept. 30 at the Dayton Playhouse, 1301 E. Siebenthaler, Ave., Dayton. Performances are 8 p.m. Friday and Saturday and 2 p.m. Sunday. At the performance attended, the production ran 3 hours and 15 minutes. Tickets are $20 for adults and $18 or seniors, students and military. For more information, call (937) 424-8477 or visit daytonplayhouse.com

‘Sister Act’ Review –Dayton Playhouse – A Joyful Noise

September 20, 2017 By Russell Florence, Jr.

She’s fabulous, baby. I’m referring to Tia Seay, a consistent bright spot in many featured roles transitioning into a leading lady with passion, power and purpose in the Dayton Playhouse’s highly entertaining production of Sister Act, fluidly directed by Tim Rezash.

Tia Seay (left, standing, as Deloris Van Cartier), Brian Sharp (center as Monsignor O’Hara) and the Nun Ensemble of Dayton Playhouse’s production of Sister Act. (Photo by Art Fabian).

Whether managing a trailer park, resorting to goofy antics to win quick cash, narrating on Skid Row, or ill-fatedly embracing hope at the dawn of the 20th century, Seay has delivered time and time again with vivid expression, solid stage presence and terrific vocals. So, it’s perfectly fitting she’s finally received an incredible star vehicle catered to her naturally inherent gifts of comedy and soul.

In this breezy 2011 adaptation of the 1992 hit film of the same name, featuring music by Alan Menken, lyrics by Glenn Slater, and a book by sitcom vets Cheri and Bill Steinkellner (Cheers), Seay portrays disco diva Deloris Van Cartier, a struggling Philadelphia nightclub entertainer seeking fame in the late 1970s. When Deloris accidentally witnesses a murder at the hand of her gangster boyfriend Curtis, she’s sent to a local convent for her protection. She humorously clashes with the stern Mother Superior, but ultimately discovers the value of sisterhood when she transforms the convent’s inadequate choir into an overnight sensation.

Seay’s charm, wit and warmth is put to great use as Deloris hilariously fumbles her way through the convent lifestyle like a fish out of water. But don’t get me wrong. She’s not a jokester stuck on autopilot for two-and-a-half-hours. On the contrary, she calculatingly builds her portrayal with nuance and depth, most significantly in her beautiful rendition of the introspective title song which serves as Deloris’ epiphany. Seay also receives pleasant support from an appropriately strict and bewildered Cathy Long as Mother Superior in addition to the truly praiseworthy team of Alicia Walton as introverted Sister Mary Robert (her Life I Never Led is a tender standout), Shanna Camacho as bubbly Sister Mary Patrick, Donna Cason as no-nonsense Sister Mary Lazarus, Dawn Roth-Smith as Sister Mary Theresa (Rezash gives her a very funny stage cross), and the mostly mute Elaine Smith (who nearly brought tears to my eyes in a brief yet heartfelt exchange with Seay) as the eccentric Sister Mary Martin-of-Tours. The colorfully cohesive Nun Ensemble, bringing wonderful vibrancy to Menken and Slater’s marvelous Raise Your Voice, disco-driven Take Me to Heaven and Spread the Love Around, and lovingly Disney-flavored Bless Our Show, consists of Zenobia Curtis, Andrea Wilburn, Amber Pfeifer, Nelani Huntington, Carrin Ragland, Lindsey Cardoza, Elizabeth Lindon, Rebekah Skaroupka, Angelé Price, and Marabeth Klejna.

(left to right) Tia Seay (Deloris Van Cartier), Donna Cason (Sister Mary Lazarus), Shanna Camacho (Sister Mary Patrick), and the Nun Ensemble of Dayton Playhouse’s Sister Act. (Photo by Art Fabian)

Interestingly, the men take a backseat in this musical (a script flaw resulting in underwritten roles), but Rezash allows each an opportunity to shine. Brian Sharp is deliciously dry as the financial-focused Monsignor O’Hara. William “Kip” Moore, memorably partnered with Seay last season in the Playhouse’s Ragtime, gives ominous weight to Curtis’ vengeance. Moore’s rendition of the lyrically clever, R&B-inspired When I Find My Baby is a real hoot. Naman Clark is delightfully earnest as insecure Eddie, the police officer overseeing Deloris’ case smitten with her ever since she led an all-black version of Funny Girl in high school. Trevaun Tolbert as TJ, William “Beau” Boatwright as Joey, and Juan Gabriel Encarnacion as Pablo are crowd-pleasers as Curtis’ kooky henchmen. Also notable are versatile Steve Strawser as Eddie and Solid Gold-esque Kiersten Farmer adding pizazz as Fantasy Dancer.

Rezash’s first-rate production team includes scenic designer Chris “Red” Newman, costumer Elaine Smith (filling the finale with glitz and glamour), lighting designer John Falkenbach, properties designer Tina McPhearson, choreographer Michael Groomes, sound designer Bob Kovach (conveying the convent’s acoustics with finesse), and musical director Ron Kindell who leads a steady nine-piece orchestra.

Bolstered by Seay’s outstanding performance, this feel-good show is a fun kickoff to the Playhouse’s 2017-2018 season. Do yourself a favor and go see Sister Act!

Sister Act continues through Oct. 1 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton.
Act One: 70 minutes; Act Two: 55 minutes. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Tickets are $18 for adults and $16 for seniors, students and military. For tickets or more information, visit www.daytonplayhouse.com.

The Classical Musical Camelot Open Dayton Playhouse Season

September 7, 2016 By Dayton Most Metro

A shot from rehearsal with Chuck Larkowski (left) playing Pellinore and Mark VanLuvender playing King Arthur.

The Dayton Playhouse will open its 2016-2017 season with the classic musical Camelot, book and lyrics by Alan Jay Lerner and music by Frederick Loewe. According to Dayton Playhouse Board Chair, Brian Sharp, “We are excited to introduce director Ranger Puterbaugh to the Dayton Playhouse audience. We love adding bright, young talent with fresh ideas to our directing pool.” Puterbaugh is a Language Arts teacher and director of the Drama Club at Northmont High School. His recent directing credits include The Addams Family, Moon Over Buffalo, and Children of Eden. Musical director for the production will be Brennan Paulin. Production dates for Camelot are September 16 – October 2 (Fridays through Sundays).

Camelot is the timeless legend of King Arthur brought to the stage. Based on the classic work The Once and Future King, Camelot was a successful Broadway show before being turned into a musical movie in 1967. The story begins with a young Arthur nervous to meet his new wife, Guinevere. Before disappearing forever, Merlin offers some last advice, and Arthur sets out to build the ideal society of knights. With the help of Guinevere, Lancelot, and Pellinore, Arthur begins his quest to establish the Knights of the Round Table. However, it’s not long before old sins and new betrayals threaten to undo all the things they’ve built. This musical blends humor with drama in a wonderful story of chivalry and the legacy we leave behind.

Performances will be September 16 – October 2, 2016. Friday and Saturday performances are at 8 p.m. and Sunday matinees are at 2 p.m. The Dayton Playhouse is located at 1301 E. Siebenthaler Ave, Dayton, Ohio 45414.

Tickets for the production are available at www.daytonplayhouse.com. The cost is $18 for adults and $16 for seniors, students and military. You also have the option to purchase a season pass for all 5 shows of the season for $75 for adults, $70 for students. Group rates are available when purchasing 10 or more tickets.

Season subscriptions may be purchased through the box office, 937-424-8477, which is staffed Mondays, Wednesdays 1:30pm-4:30pm. Messages may be left for the box office at any time and calls will be returned.

The rest of the shows for the season include Neil Simon’s Proposal in November, Xanadu will be this winter, The Women will be a March show and Ragtime will wrap the season in May.

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

Les Miserables Collaboration Creates Big Sound

October 21, 2014 By Megan Cooper

Do you hear the people sing? You will – but it’s this weekend only. Les Miserables is getting a fresh staging and a BIG sound with a collaboration between Dayton Playhouse and Miami Valley Symphony Orchestra at the Masonic Center for an orchestral and vocal production. The team of Brian Sharp (Director), Erik Strope (Vocal Director), and Ron Kindell (Orchestra Conductor) is working together to bring this show to Dayton. I recently talked to Brian Sharp for some insights into how the production came together and what audiences can expect.

Is Les Mis a personal favorite of yours? Do you remember when you first saw it and how you felt?

I saw Les Mis the first time on Broadway…and loved the music…but was not fond of the original staging, etc. I always found the music thrilling and emotional.

Les Mis has been around for a while and is fairly well-known. What makes now the right time for a community theatre to produce it locally in Dayton?

As far as why is this right now…and still appropriate? There is really no way for a community theatre to mount a production this large. The idea of a partnership was perfect. It would allow a full symphony and the opportunity to fill the cast with voices from all over the Miami Valley area. The music is timeless…and is much loved!

This is a pretty huge show to tackle. Did you have any concerns with such a big endeavor?

Just the sheer magnitude of the auditions was an undertaking. We had over 200 people audition and had them scheduled every ten minutes…we auditioned over the course of a week…and then had a follow up chorus audition. There were concerns with rehearsal space because of the size of the cast and orchestra. Once the auditions were complete…I had no concerns with the voices…these really are the best of the best!

10689863_10204014886963901_7241925580107383312_n

Brian Sharp

Is this adaptation different than the shows come of our readers may have seen traveling? All the same songs, setting, staging?

This adaptation will be similar to what was seen on the 10th and 25th anniversary shows. However, there is a twist. My big concern with this type of version is how do we keep the story clear to the audience. We have worked with a Broadway projection company to use projections that have never been seen anywhere in the Midwest. It will truly be sensory overload…the visual piece of the costumed actors/singers, the magnificent symphony orchestra and then this visual element is sure to add another amazing element.

Can you tell me about the collaboration between the Playhouse and the MVSO?

The collaboration was just kind of a natural fit. Many of their musicians have played in the pit orchestras for our musicals. This is an opportunity for us to give back.

Does the setting of the Masonic Center add to the drama of the show?

The Masonic Center is grand, and allows us to sell up to 1500 seats per performance, so there are plenty of tickets available. It will definitely add to the performance and they have been fantastic to work with.

Anything else our audiences should know?

I simply hope the community realizes what an opportunity this is for them…we have positioned the orchestra in such a way that the audience will feel up close and personal with the musicians. This is a production that should not be missed. Tickets are only $20/$18 and that is a bargain for what you will be receiving.

Tickets are available now for the performances Friday, October 24 and Saturday, October 25 (both at 8 p.m.) and Sunday, October 26 at 2 p.m. They can be purchased online at wordpress.thedaytonplayhouse.com. However, a lucky Dayton Most Metro reader will have the chance to win a pair of tickets to see the show! Just fill out this form below and tell us in the comments why you should win! [form 55 “DMM Contest Entry – Generic”]

Coming up in Dayton Theatre, 9/20 – 9/29

September 19, 2013 By Sarah Caplan Leave a Comment

Hello again! Welcome back and hello! We’ve got three good shows closing this weekend, a couple still running and one getting ready to open. Let’s get right on stage.

Closing This Weekend!

Hairspray!

Dayton Playhouse
The Skinny: This high-spirited musical musical takes place in 1962 in Baltimore, Maryland. Teenager, Tracy Turnblad, dreams of dancing on The Corny Collins Show, a local TV dance program. When Tracy wins a role on the show, she becomes a celebrity overnight. She then launches a campaign to integrate the show. The show deals with injustices of parts of American society in the 1960’s.
Dates: Hairspray runs this weekend, closing Sunday, 9/22.
Tickets: Please visit the Dayton Playhouse website at www.daytonplayhouse.com

Hair

Beavercreek Community Theatre

The Skinny: The American Tribal Love-Rock Musical!This show introduced America to the “Rock musical”, with songs that became standards, such as “The Age Of Aquarius” and “Easy To Be Hard.” Hair focuses on a “tribe” of hippies, touching on several different individual stories, woven throughout with the tragedy of the Vietnam conflict.
Dates: Hairs also closes this weekend, Sunday 9/22.
Tickets: Please visit www.bctheatre.org

First Baptist of Ivy Gap

The Skinny: During WWII, six women gather at the church to roll bandages and plan the church’s 75th anniversary. Overseeing things is Edith, the pastor’s wise-cracking wife who dispenses Red Cross smocks and witty repartee to Luby, whose son is fighting in the Pacific; Mae Ellen, the church’s rebellious organist who wants to quit but hasn’t the courage; Olene, who dreams of a career in Hollywood; Sammy, a shy newcomer with a secret; and Vera, an influential Baptist with a secret of her own. When Luby learns her son has been wounded, she confounds the others by blaming the vulnerable Sammy. Twenty-five years later, our “First Baptist Six” reunite!

Dates: Closing Sunday, 9/22

Tickets: To make ticket reservations, please call the Brookville Flower Shop at 937-833-3531

Opening This Weekend!

Harvey

The Wright State Theatre Company
The Skinny: Elwood P. Dowd is an endlessly pleasant & delightfully eccentric bachelor living in a small town that isn’t quite aware that its newest citizen is a 6’3″ white rabbit named “Harvey,” that only certain people can see.
Dates: Harvey opens Thursday, 9/19 and runs through 9/29
Tickets: Please visit the WSU Theatre Department box office website: http://www.wright.edu/theatre-dance-and-motion-pictures/performances/ticket-information

Currently In Production

Becky’s New Car

The Human Race Theatre Company

The Skinny: Becky Foster is stuck in neutral—middle aged, in middle management and a middling marriage—until an honest misunderstanding with a wealthy widower offers her the chance at an exciting double life…and she takes it. Now she’s frantically juggling to keep her two worlds apart before everything threatens to come crashing down on her. It’s enough to drive Becky off a cliff, and she’s taking the audience along for the ride!

Dates: Running through the 29th.
Tickets: Please visit the Human Race Theatre Company website at www.humanracetheatre.org

A Mighty Fortress Is Our Basement

La Comedia Dinner Theatre

The Skinny: The fourth installment in the popular Church Basement Ladies series takes place in 1960, and reformation is underway. The Church Basement Ladies are once again required to face chance head-on, but they will stand strong in their faith and their friendships.

Dates: Closing 10/27.

Tickets: Please visit the La Comedia website at www.lacomedia.com

Coming Up In Dayton Theatre, 9/5 – 9/22

September 4, 2013 By Sarah Caplan Leave a Comment

Welcome back! Has everyone had a good and fulfilling summer? I sure have. But I’m ready to jump back into Dayton’s exciting theatre scene.

Closing This Weekend!

45 Seconds From Broadway

The Skinny: Neil Simon’s 2001 Broadway-based comedy takes place in the Polish Tea Room, a haunt of Broadway-types in general, and comedian Mickey Fox in specific.Taking place over the course of 1 year (4 scenes, 4 seasons), this story follows Mickey and his friends as they do all those play things; live, laugh, love and learn.

Dates: 45 Seconds closes this weekend. Friday, 9/6 at 8, Saturday 9/7 at 5 and Sunday 9/8 at 3.

Tickets: For ticket information, please visit the Dayton Theatre Guild website, www.daytontheatreguild.com

Opening This Weekend!

Hairspray

The Dayton Playhouse

The Skinny: This high-spirited musical musical takes place in 1962 in Baltimore, Maryland. Teenager, Tracy Turnblad, dreams of dancing on The Corny Collins Show, a local TV dance program. When Tracy wins a role on the show, she becomes a celebrity overnight. She then launches a campaign to integrate the show. The show deals with injustices of parts of American society in the 1960’s.

Dates: Hairspray opens this Friday, 9/6 and runs 3 weekends, closing on Sunday, 9/22.

Tickets: For ticketing information, please see the Dayton Playhouse website, www.daytonplayhouse.com

A Mighty Fortress Is Our Basement

La Comedia Dinner Theatre

The Skinny: The fourth installment in the popular Church Basement Ladies series takes place in 1960, and reformation is underway. The Church Basement Ladies are once again required to face chance head-on, but they will stand strong in their faith and their friendships.

Dates: This show opens Thursday, 9/5 and runs through 10/27.

Tickets: For information regarding tickets, schedule and menu, please visit La Comedia’s website at www.lacomedia.com

Opening Next Weekend!

Becky’s New Car

The Human Race Theatre Company

Dates: Becky debuts Thursday, 9/12 and runs through Sunday, 9/29.

Tickets: For ticketing information, please visit www.humanracetheatre.org

Hair

Beavercreek Community Theatre

The Skinny: The American Tribal Love-Rock Musical!This show introduced America to the “Rock musical”, with songs that became standards, such as “The Age Of Aquarius” and “Easy To Be Hard.” Hair focuses on a “tribe” of hippies, touching on several different individual stories, woven throughout with the tragedy of the Vietnam conflict.
Dates: Hair opens next weekend, 9/13 and closes 9/22.
Tickets: For ticketing information, please visit the BCT website at www.bctheatre.org

First Baptist of Ivy Gap

Brookville Community Theatre

The Skinny: More Church ladies! During WWII, six women gather at the church to roll bandages and plan the church’s 75th anniversary. Overseeing things is Edith, the pastor’s wise-cracking wife who dispenses Red Cross smocks and witty repartee to Luby, whose son is fighting in the Pacific; Mae Ellen, the church’s rebellious organist who wants to quit but hasn’t the courage; Olene, who dreams of a career in Hollywood; Sammy, a shy newcomer with a secret; and Vera, an influential Baptist with a secret of her own. When Luby learns her son has been wounded, she confounds the others by blaming the vulnerable Sammy. Twenty-five years later, our “First Baptist Six” reunite!

Dates: Opening Friday, 9/12 and running through 9/22.

Tickets: To make ticket reservations, please call the Brookville Flower Shop at 937-833-3531

Dayton Playhouse presents ‘Side by Side by Sondheim’

August 8, 2012 By Dayton Most Metro Leave a Comment

Dayton Playhouse will present Side by Side by Sondheim as its 2012-2013 Season extra September 7 – 16. This energetic musical, highlighting the most endearing of Sondheim’s early work, will be directed by Brian Sharp with musical direction by Ron Kindell, both of whom won acclaim for last season’s sold-out production of The Sound of Music.

Side by Side by Sondheim will feature local actor Saul Caplan as the master of ceremonies and vocalists Carol Chatfield and Bonnie Dobbs of Kettering, Kathy Clark of Centerville, Laura Bloomingdale of Beavercreek, Shawn Hooks of Dayton, and David Moyer of Springboro. Nancy Perrin and Bryon Dobbs are featured pianists.

When, in 1976, the owners of a small, struggling theater asked Stephen Sondheim for permission to produce a musical revue of his work as a fundraiser, the composer said he “couldn’t think of anything more boring.” However, Sondheim underestimated the appeal of his music, and when Side by Side by Sondheim opened, it charmed its initial audiences and caught the eye of a young Cameron Macintosh, who moved it to the Mermaid theater in London, where it became one of his first successful productions.

Widely produced, and popular with regional groups, Side by Side by Sondheim is often given credit for solidifying Sondheim’s reputation beyond London and New York theaters. This “boring” show has enjoyed numerous revivals, five Tony nominations, and over 800 performances on three continents.

Shawn Hooks and David Moyer in 'Side by Side'

Side by Side by Sondheim is unique in that it is the only revue of Sondheim’s work to include music from West Side Story and Gypsy, shows for which Sondheim wrote the lyrics, but did not compose the music. It is also one of the only places for audiences to hear some of his lesser-known works such as “Love is in the Air,” which was initially intended to be the opening number for A Funny Thing Happened on the Way to the Forum, but was replaced with the well known “Comedy Tonight.”

Other musicals highlighted in the revue include the popular Company, Follies, and A Little Night Music, as well as rarely performed shows such as Evening Primrose, Anyone Can Whistle, and Pacific Overtures. The show features music and lyrics by Stephen Sondheim, music by Leonard Bernstein, Mary Rodgers, Richard Rodgers, and Jule Styne, and Continuity by Ned Sherrin. It was produced on Broadway by Harold Prince in association with Ruth Mitchell.

Side by Side by Sondheim opens September 7th and runs through September 16th, Fridays and Saturdays at 8PM, and Sundays at 2PM. Tickets, priced at $17.00 for adults and $15.00 for students and seniors, are available at www.DaytonPlayhouse.com or through the Dayton Playhouse box office at 937-424-8477.

(from Dayton Playhouse)