The Loft Theatre

‘Brighton Beach Memoirs’ Review – Human Race Theatre Company – Timely Tenderness

April 9, 2018 By Russell Florence, Jr.

In Neil Simon’s wonderfully endearing 1983 semi-autobiographical dramedy Brighton Beach Memoirs, situations involving a report card, a first date, a tense dinner, a lost salary, a heartbreaking letter, and more poignantly arise as remarkably presented by the Human Race Theatre Company at the Loft Theatre.

Richard Buchanan (Stanley Jerome), Eric Deiboldt (Eugene Jerome) and Rory Sheridan (Jack Jerome) appear in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

Splendidly directed with captivating realism by Marya Spring Cordes and set in 1937 Brooklyn, Brighton Beach Memoirs finds Simon borrowing from the best. As the relatable, fussy and close-knit Jerome family deals with sacrifice while their patience wears thin in cramped quarters (Dan Gray’s outstanding two-story set oozes intimacy in spite of its size), Simon’s comedic sensibilities are expectedly substantial from colorful talk of liver and cabbage to the glories of baseball and raging hormones. Still, it’s easy to recognize the folksy ferocity and poetic beauty of Tennessee Williams, Arthur Miller and Lorraine Hansberry when the compelling story shifts to dramatic conflicts centered on workplace woes, sibling turmoil, health concerns, financial burdens, and the growing possibility of additional family members abroad arriving at a moment’s notice to escape the Nazis. Over the course of a breezy three hours, Cordes handles Simon’s delicate balancing act with seamless finesse, allowing for fascinating sequences when certain characters are not the central focus. In fact, some of the most expressive interplay occurs upstairs while the main action transpires below. Cordes’ cinematic mastering of the seen and unseen – having an actor pause in a hallway, creep downstairs to assess commotion, or quietly contemplate alone in a bedroom – fuels the production’s genuine look at a blended family constantly in motion.

Eric Deiboldt (Eugene Jerome) in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

The charming Eric Deiboldt truly radiates as 15-year-old Eugene, Simon’s lively alter ego and the familiar catalyst of his Eugene Trilogy (including Biloxi Blues and Broadway Bound). Using his spunky physicality to the utmost while displaying marvelous narrative skills and command of Simon’s intricate rhythms, Deiboldt exuberantly engages as Eugene’s pivotal coming-of-age twists and turns. As Eugene’s restlessly discontented older brother Stanley, the handsome and impressive Richard Buchanan vulnerably conveys Stanley’s uncertainty of his place in the world as he faces the responsibilities of adulthood. An emotional Lisa Ann Goldsmith fiercely inhabits the headstrong Kate, a stern matriarch blessed in the present but bruised by the past. The terrific Rory Sheridan is equally strong as Jack, the hardworking patriarch who values the importance of family and desperately tries to keep his intact, especially in a tear-jerking scene in Act 2. Sonia Perez brings lovely complexity to her portrayal of Blanche Morton, Kate’s widowed sister still trying to navigate life and parental obligations while longing to break free and start anew all the same. The vibrant Katie Sinicki, a Wright State University junior acting major, offers a breakthrough portrayal of Blanche’s feisty daughter Nora, particularly shining opposite Perez in a heated, Gypsy-esque showdown that never resorts to overblown melodrama. Oakwood High School student Julie Murphy also delights as Nora’s sickly sister Laurie, an introverted bookworm and the only underwritten role in the play which is odd considering the depths of the other characters. Nonetheless, this show is perfectly cast and the Human Race should honestly consider reuniting Cordes and her actors for Broadway Bound in the 2019-2020 season.

In addition to Gray’s set, a character of its own, the production is artistically bolstered by David Arevalo’s attractive period costumes ranging from casual adolescent attire to snazzy evening wear, John Rensel’s expertly mood-capturing lighting, Jay Brunner’s first-rate sound design and enjoyable original music, and Heather Powell’s nifty properties including an authentic sewing machine.

Eric Deiboldt (Eugene Jerome) and Lisa Ann Goldsmith (Kate Jerome) appear in the Human Race Theatre Company production of Neil Simon’s Brighton Beach Memoirs. (Photo by Immobulus Photography)

A widowed schoolteacher once reminded a group of inquiring ladies to cling very close to those you love. Considering the nation’s current chaotic climate, specifically families breaking apart by their own free will or through government decree, Brighton Beach Memoirs, an All-American defense of immigration, is suddenly more relevant than ever before. “The world doesn’t survive without families,” Kate declares. See for yourself why she’s right, and in doing so, you’ll experience one of the best productions in Human Race history.

Brighton Beach Memoirs continues through April 22 at the Loft Theatre of the Metropolitan Arts Center, 126 N. Main St., Dayton. Performances are 8 p.m. Thursday, Friday and Saturday evenings; 7 p.m. Sunday, Tuesday and Wednesdays evenings; and 2 p.m. Sunday matinees. There will be a post-show talkback after the April 15 performance. Act One: 85 minutes; Act Two: 70 minutes. Tickets are $35-$40 for adults; $32-$37 for seniors; and $17.50-$20 for students. Prices vary depending on performance date and seating location. There are a limited number of $12 and $25 side area seats available for each performance. For tickets or more information, call (937) 228-3630 or visit www.humanracetheatre.org or ticketcenterstage.com.

Victoria Theatre Association Announces $30 Million Endowment Campaign

October 22, 2014 By Dayton Most Metro

Victoria Theatre Association (VTA) hosted a private reception Tuesday evening announcing a $30 million endowment campaign with funds designated for the future capital, programming and educational needs of VTA’s arts facilities: the Benjamin & Marian Schuster Performing Arts Center, the Victoria Theatre, and the Metropolitan Arts Center, home to The Loft Theatre.

“Dayton is fortunate to have wonderful arts venues – the Benjamin & Marian Schuster Performing Arts Center, the Victoria Theatre, and the Metropolitan Arts Center, home to the Loft Theatre – that we own and operate on behalf of the community. We take stewardship of these buildings very seriously, “said Ken Neufeld, President & CEO of Victoria Theatre Association and the Arts Center Foundation. “In order to plan for the future and make sure each venue is maintained for generations, VTA requires building our current endowment. And that’s just what we’ve been doing. “

Ken Neufeld

“The Next Stage Campaign has met with phenomenal response,” continues Neufeld. “We are already at 74% of our total goal of a $30 million endowment. Tonight – opening night of the 14-15 Premier Health Broadway Series – is about thanking the incredible companies, foundations, individuals and the State of Ohio who have helped us make it so far so quickly and about engaging a broader circle of friends to help us meet our goal.”

Current-use gifts and endowment funds raised through The Next Stage Campaign will be used to support:

Building upgrades and energy efficiency;
Technology improvements; and
New programming initiatives, with plans to introduce more young people to the special experience of the performing arts.

Projects already funded and completed through The Next Stage Campaign include new carpet throughout the Schuster Center and updated stage lighting controls for both the Mead Theatre (Schuster Center) and The Loft Theatre (Metropolitan Arts Center).

To learn more about The Next Stage Campaign and read what has inspired others to contribute by visitingwww.victoriatheatre.com. For information about how you or your company can participate in The Next Stage Campaign, contact Rosie Melia, Campaign Manager, [email protected] or call 937-228-7591, ext. 3044.

Human Race Announces 2014-2015 season

March 4, 2014 By Dayton Most Metro Leave a Comment

The Human Race Theatre Company, Dayton’s only professional regional theatre company, launches its 28th season next September with a richly diverse 6-play combination of productions on its Eichelberger Loft Series. “Selecting the season is one of the hardest, yet most exciting parts of my job,” says Producing Artistic Director Kevin Moore. “Thanks to a wonderful committee of readers, I am able to hand select just the right shows for our audience. It’s a season for everyone, with something old and something new; something funny, and something blue.”

The 2014-2015 season includes Miracle on South Division Street, a wholly divine intervention; Mame, a larger-than-life laugh riot; the world premiere of Family Shots, a still life in motion; Taking Shakespeare, a lesson in self-discovery; and Crowns, a celebration of spirit; as well as a special added production of the current Off-Broadway hit Buyer & Cellar, a diva lover’s delight.

The six plays perform in The Loft Theatre, The Human Race’s intimate 212-seat downtown performance space, located in the Metropolitan Arts Center at 126 North Main Street. The plays are scheduled for three-week runs and musicals are scheduled for four-weeks, with a number of associated special events: a Thursday night preview performance, preceded by the “Inside Track” discussion with the director; Friday Opening Night with a free post-show party with the cast in The Loft Lobby; Lite Fare at The Loft, a Tuesday night pre-show dining in The Loft Lobby, with food items provided by Citilites Restaurant; a “While We’re on the Subject” talkback following a Sunday matinee; and a Saturday night signed and audio-described performance opportunity.

THE 2014-2015 EICHELBERGER LOFT SERIES SEASON LINEUP

Miracle on South Division Street

by Tom Dudzick

September 4 – 21, 2014

60 years ago, Grandpa Nowak had a vision of the Virgin Mary in his Buffalo, New York barbershop and had an unusual statue of her made to commemorate the miracle. For decades, his family has faithfully tended to his quirky shrine—a source of hope and inspiration in an otherwise run-down part of town. That is until a deathbed confession knocks them for a loop in this hilarious hit comedy that proves when it comes to local legends, there’s more than meets the eye.

Mame

Book by Jerome Lawrence and Robert E. Lee
Music and Lyrics by Jerry Herman
Based on the novel by Patrick Dennis, and the play Auntie Mame by Lawrence and Lee

October 30 – November 23, 2014

Mame Dennis is a free-wheeling eccentric without a care until she becomes the guardian of her ten-year-old nephew, Patrick. Now it’s up to her to open new windows and show the boy worlds he never knew existed. Through the Roaring 20s and the Great Depression, Mame teaches Patrick how to “live, live, live”—whether he’s willing or not. It’s the dazzling Broadway musical that proves life’s a banquet, featuring the classic songs “We Need A Little Christmas”, “It’s Today”, “Bosom Buddies” and, of course, “Mame”.

A World Premiere Production!

Family Shots

by Michael Slade

January 22 – February 8, 2015

Charming family patriarch Sam Baker lies in a hospital bed, recovering from an apparent heart attack, but his wife, Marsha, won’t stop making the crisis all about her—much to the dismay of their son, Aaron. The young photographer wonders why his parents even stay together while dealing with his own issues as a newlywed. Intimate, yet universal, this new work by Michael Slade (Under a Red Moon, Gingerbread Children) is a wildly funny and touching comedy about marriage—its joys, challenges and responsibilities—and what’s worth fighting for.

A Special Valentine’s Event!

Buyer & Cellar

by Jonathan Tolins

February 12 – March 1, 2015

An out-of-work actor in Los Angeles, Alex takes on the oddest of odd jobs when he’s hired to work in the museum-like basement “mall” of an American entertainment icon’s lavish home. He spends his days alone and in awe, tending to a lifetime of countless mementos, until the lady of the house—the “Funny Girl” herself—appears and they strike up the unlikeliest of friendships. It’s an outrageously unbelievable comedy that will go down “like butta” as one talented performer takes on all the roles, even the dynamic “Babs”.

Taking Shakespeare

by John Murrell

April 16 – May 3, 2015

When a longtime, disillusioned college professor is asked to tutor her dean’s son through his freshman Shakespeare class, she finds it to be as much a test for her as it is for him. Although they seem to have nothing in common, as they explore the Bard’s Othello together, they learn more about each other—and themselves—than either is ready to admit. While they draw strength from the play, they come to understand what it means to live up to expectations.

Crowns

by Regina Taylor

adapted from the book by Michael Cunningham and Craig Marberry

June 11 – July 5, 2015

When troubled Brooklyn teenager Yolanda is sent to live with her church-going grandmother down South after the death of her brother, she finds healing in the personal stories of the ladies of the congregation and the hats that adorn their heads. Through time and space, their intimate histories create a soulful, joyous triumph of song, dance, culture and glorious “hattitude” in this powerhouse gospel musical like no other.

SUBSCRIPTIONS AND TICKETS

Subscriptions are available in 3-, 4- and 5-show packages, as well as in Flex Pass plans. Package prices range from $102 – $190, and discounted subscriptions are available for students. Both renewing and new subscribers may place their orders with Ticket Center Stage by calling (937) 228-3630 or by visiting the Schuster Center Box Office. New subscribers will be seated starting May 5. Single tickets to Miracle on South Division Street and Mame go on sale August 5, tickets to Family Shots go on sale October 28, tickets to Buyer & Cellar go on sale December 2, and tickets to Taking Shakespeare and Crowns go on sale February 10. Buyer & Cellar is not part of subscription packages, but subscribers can purchase tickets in advance when renewing or ordering a new subscription. Productions, performance dates and ticket prices are subject to change.

More ticketing and performance information on The Human Race Theatre Company’s 2014-2015 and 2013-2014 Loft seasons are available online or by calling Ticket Center Stage at (937) 228-3630, and at the Schuster Center box office.

The Human Race Theatre Company was founded in 1986 and moved into the Metropolitan Arts Center in 1991, taking up residence at the 212-seat Loft Theatre. In addition to the Eichelberger Loft Season, The Human Race produces for the Victoria Theatre’s Broadway Series, the Musical Theatre Workshop series, and special event programming. The Human Race, under the direction of Producing Artistic Director Kevin Moore, also maintains education and outreach programs for children, teens and adults, as well as artist residencies in area schools, The Muse Machine In-School Tour, and summer youth programs. Human Race organizational support is provided by Culture Works, the Montgomery County Arts and Cultural District, the Shubert Foundation, the Erma R. Catterton Trust Fund, the Jesse & Caryl Philips Foundation Fund for the Development of New Works, the Virginia W. Kettering Foundation and the Ohio Arts Council, which helped fund this organization with state tax dollars to encourage economic growth, educational excellence and cultural enrichment for all Ohioans. The 2013-2014 season sponsor is the Jack W. and Sally D. Eichelberger Foundation of the Dayton Foundation, with additional support from Jim and Enid Goubeaux, KeyBank, the Sam Levin Foundation, Premier Health, Heidelberg Distributing Company and Morris Home Furnishings.

ON STAGE DAYTON REVIEW: Race (Human Race Theatre Company) – A Most Incendiary Topic

April 12, 2013 By Russell Florence, Jr. Leave a Comment

Cast of RACE (left to right) Bruce Cromer, Richard B. Watson, Alan Bomar Jones and Julia Pace Mitchell (photo by Scott J. Kimmins)

Let’s face it. In the proverbial melting pot that is the United States of America, racism is absolutely inescapable every day of every month of every year. In fact, this week’s hot-button racial controversy involves the release of country superstar Brad Paisley’s new CD featuring a collaborative tune with rapper LL Cool J entitled “Accidental Racist.” Whether race is embraced or sidestepped, it will always be a divisive magnet.

So it’s not surprising the topic inspired Pulitzer Prize-winning playwright David Mamet (“Glengarry Glen Ross”), the icon of dramas consumed with men behaving badly while speaking profanely. In his 2009 legal character study “Race,” receiving a riveting local premiere at the Human Race Theatre Company sharply directed by Richard E. Hess, he boldly confronts the subject with the deliberate aim of clearing the air. With brash fury, Mamet has come to realize in matters of prejudice avoidance leads to nowhere.

The prickly, extremely heated office debate between two cynical lawyers – one white, the other black – defending a wealthy white businessman accused of raping a young black woman tackles stereotypes and deep-seated acuities with stinging perceptiveness. You may not agree with the assessments deliberated and you may even be outright offended in the process, but Mamet daringly provokes thought nonetheless in his familiarly distinct, no holds barred manner. However, it’s not just the core rape dispute that finds Mamet at his investigatory best. He shrewdly expands his juicy, fast-moving script to explore the testy waters of race in employment applications, which allows the intermissionless play to resonate on a more personable level beyond the predictably titillating areas of sex and violence.

Richard B. Watson, who joined the cast last week replacing an ill Michael Kenwood Lippert, is terrifically combative as Jack Lawson, the sardonic, smug hotshot prepared to win at all costs. Watson supplies a remarkable gusto in his showy, off-putting role which he occasionally flavors with comical facial expressions revealing Jack’s disgust as situations twist and turn. He also pushes the dialogue’s nasty nuances to the hilt, particularly Jack’s infuriated response to the testimony of a hotel cleaning lady he assumes is an illegal immigrant. The equally excellent Alan Bomar Jones effectively counters as confidant and instigator in his firmly grounded portrayal of Jack’s partner Henry Brown, Mamet’s fairly accurate gateway into the black point of view. Bruce Cromer supplies one of his most brilliantly understated performances as the meek and mousy Charles Strickland, whose insistence to talk to the press about his questionable actions is met with disdain by Jack and Henry. Thanks to Cromer’s superb embodiment of Charles’ humility and seemingly Jekyll & Hyde guise the play thoroughly maintains its gripping guessing game foundation. As Susan, Jack and Henry’s intriguing black apprentice, the marvelously forthright Julia Pace Mitchell ensures her sassy, mysterious character is tough enough to be considered on equal footing with her bosses yet fierce enough to be believed as a strong black woman unafraid to rock the boat. Mitchell’s briefly animated interplay with Jones during Susan and Henry’s contentious clash toward the conclusion is also striking, especially considering the foreground of Mark Halpin’s fine set resembles an expansive boxing ring.

Challenging, enlightening and uncomfortable, “Race” packs a dynamic punch you’ll never forget.

“Race” continues through April 21 at the Loft Theatre, 126 N. Main St., Dayton. The play, performed in 85 minutes without intermission, is held Wednesday-Saturday evenings at 8 p.m. and Sundays at 2 p.m. Tickets are $36-$40. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org. Also, 25 special $25 tickets are available at most performances.

Human Race Theatre Company Presents RACE + TICKET CONTEST

March 28, 2013 By Dayton Most Metro Leave a Comment

The 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: Lombardi (Human Race Theatre Company) – Imperfect Icon

February 14, 2013 By Russell Florence, Jr. 1 Comment

Edward Furs as “Vince Lombardi” (photo by Scott J. Kimmins)

The enduring legacy of Vince Lombardi (1913-1970), the renowned coach who led the Green Bay Packers to five championships in seven seasons and the first two Super Bowl victories, resonates with candid, entertaining potency in Eric Simonson’s aptly titled character study “Lombardi,” which receives a terrific local premiere at the Human Race Theatre Company.

Based on David Maraniss’ novel “When Pride Still Mattered: A Life of Vince Lombardi” and directed with crisp urgency by Tim Lile, “Lombardi” spotlights the temperamental Vince (the marvelously abrasive Edward Furs) in 1965 before the Packers’ winning streak defined his career. Eager, statistics-adoring cub reporter Michael McCormick (an endearing Jarred Baugh) is sent to interview the extremely passionate coach, but their exchanges are not always smooth. The duo attempts to establish a meaningful father-son connection, but Vince’s prickly, off-putting persona often undercuts their bond, especially when he scolds Michael for interviewing a few players at practice without his permission. Still, football is the tie that binds them together for good and bad. Michael ultimately grows to comprehend, accept and respect the aggressively perfectionist spirit that kept Vince, a heavy drinker who refused to be treated for stomach problems which eventually led to his death from colon cancer, tirelessly motivated to inspire his team for greatness and play for pride on the field.

Furs, dynamically boisterous, gruff and imposing, is not an exact physical representation of Vince, but his sharp eye contact and rousing cadence certainly gives ample, intimidating credibility to his astute portrayal. Baugh warmly guides the audience through the action as the play’s narrator, remaining believably focused on obtaining the true story behind the legend. Marcy McGuigan brings delicious sarcasm and wit to her excellent, gently seductive portrayal of Vince’s tipsy wife Marie, an unyielding support system emotionally drawn to Michael and the Packers, particularly Paul Hornung, appealingly portrayed by the very charismatic Brandon Dahlquist. Gabriel Lawrence (Dave Robinson) and Ryan Imhoff (Jim Taylor) are also first-rate as teammates with deep animosity toward each other. Imhoff in particular shines opposite Furs in a heated argument regarding Taylor’s loose lips and desire for more money, which absolutely infuriates Vince.

Marcy McGuigan and Edward Furs (photo by Scott J. Kimmins)

Taking a page from his co-direction of the Human Race’s sublime 2007 production of “Take Me Out,” Lile begins the proceedings with the national anthem. The inviting atmospherics extend to his wonderful creative team consisting of scenic designer Tamara L. Honesty, lighting designer John Rensel, costumer Ayn Wood, sound designer Matthew P. Benjamin and video designer Shaunn Baker. Honesty’s chalkboard set immersed in various football plays, Rensel’s stadium-inspired lighting and Baker’s projections featuring period images and footage are noteworthy.

By conceiving the play as a one-act, Simonson doesn’t completely delve into Vince’s intriguing, flawed personal history, which is unfortunate. Mentions of Vince’s children, especially his testy relationship with his son, only scratches the surface. Additional flashbacks focusing on his marriage, faith, family and upbringing would have added greater depth.
Nonetheless, “Lombardi” is a fascinating look at an imperfect icon.

“Lombardi,” which is performed in 100 minutes without intermission, continues through Feb. 24 at the Loft Theatre, 126 N. Main St. Performances are Tuesday at 7 p.m., Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. Tickets are $36-$40. There are a limited number of $25 tickets available for each performance. A talkback forum will be held following the Feb. 17 performance. Additionally, during the run of “Lombardi” an assortment of Lombardi memorabilia from Sinclair Community College athletic director Jack Giambrone’s vast collection will be on display in the Loft lobby. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit online at www.ticketcenterstage.com

[yframe url=’http://www.youtube.com/watch?v=aC1zmHjPH7U’]

The Human Race Theatre Company Presents LOMBARDI + TICKET CONTEST

February 4, 2013 By The Human Race Theatre Company 8 Comments

Edward Furs as Coach Vince Lombardi in Lombardi (photo by Scott J. Kimmins)

Football fans and novices alike will discover a new side of the beloved national icon Vince Lombardi as The Human Race Theatre Company presents Eric Simonson’s bio-play, Lombardi. The legend of the gridiron comes to life on stage. The year is 1965, and cub reporter Michael McCormick has been assigned to follow the Green Bay Packers’ winning coach. Hoping to discover what makes Vince Lombardi so successful, he uncovers Lombardi the man—husband, father, bully and friend—full of passion and drive without equal. As McCormick explores Lombardi’s relationships with his wife and players, he finds the coach to be a perfectionist whose every breath is football, and a source of inspiration with a few surprises of his own. Based on the novel When Pride Still Mattered: A Life of Vince Lombardi by Pulitzer-Prize winning author David Maraniss, Lombardi has enjoyed a successful run on Broadway and been a hit with audiences and critics alike at its numerous regional theatre productions.

The Human Race Theatre’s production of Lombardi is directed by Resident Artist Tim Lile. The set design is by Tamara L. Honesty, costume design by Ayn Wood, lighting design by Resident Artist John Rensel, sound design by Matthew P. Benjamin and video design by Shaunn Baker. Kay Carver is the production stage manager. Tara Lail is the producer. Lombardi runs February 7 through 24, 2013. Opening night is Friday, February 8 with special guest Paul Hornung who will be on hand to sign autographs and copies of his book prior to the performance. Mr. Hornung is a member of the College and Professional Football Halls of Fame, a Heisman Trophy recipient and one of three real-life Green Bay Packers portrayed in Lombardi.

The 6-member cast of Lombardi includes: Edward Furs as Vince Lombardi, Jarred Baugh as Michael McCormick, Marcy McGuigan as Marie Lombardi, Gabriel Lawrence as Dave Robinson, Brandon Dahlquist as Paul Hornung and Ryan Imhoff as Jim Taylor.

Edward Furs as Coach Vince Lombardi in Lombardi (photo by Scott J. Kimmins)

In celebration of The Human Race’s production, Sinclair Community College Athletic Director and former football coach Jack Giambrone is lending the theatre company selected items from his personal 400+-piece collection of Vince Lombardi-related memorabilia to display in The Loft Theatre Lobby during the run of the play. Mr. Giambrone will be the speaker during the free “While We’re on the Subject” talk-back discussion following the Sunday, February 17 matinee performance where he will talk about the life and career of Coach Lombardi.

Tickets for the preview performance of Lombardi on February 7 are $31 for adults, $29 for seniors and $15.50 for students. For all performances February 8 – 24, 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 several discount ticket opportunities. Twenty-five special $25 tickets are available at most performances, on sale two weeks prior to that performance. The Sunday, February 10 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. The Tuesday, February 19 7:00 p.m. performance is “Team Jersey Tuesday”, when patrons can purchase an available ticket at The Loft Theatre box office for $20 if they arrive at the performance wearing any football team jersey. Discounts are subject to availability and some restrictions apply.

Tickets and performance information on Lombardi are available online at Ticket Center Stage, by phone at (937) 228-3630, and at the Schuster Center box office. Check the DMM Event Calendar for show dates and times.

Dayton Most Metro Ticket Contest

We have TWO PAIRS OF TICKETS to give away to see LOMBARDI – simply fill out the form below AND leave a FB comment telling us that YOU want to win tickets from Dayton Most Metro (please check the “Post to Facebook” box). We’ll announce winners on Wednesday 2/6 – GOOD LUCK!

CONTEST CLOSED

Congratulations to our winners!

Steven Leigh

Renee Reed

Coming up in Dayton theatre, 12/14 – 12/23

December 13, 2012 By Sarah Caplan Leave a Comment

Hello again, one and all. I can’t believe that this edition will bring us right up to the edge of Christmas and, ergo, nearly to the dawn of 2013. Things do tend to slow down a bit as we coast into the Holiday Season, most shows are done with their runs before Christmas and new ones don’t really start up again until we get into January. But there are still several offerings out here for you to sample. For starts!

Closing This Weekend!

12 Dancing Princess

Xenia Area Community Theatre (X*ACT)

The Skinny:X*ACT bills this production as a “Holiday family show,” and indeed this story is one that will please the youngest among us. Based on the Brothers Grimm fairy tale, it follows the 12 daughters of a king who are locked in their bedroom each night, and yet appear each morning with shoes worn out from dancing.

Dates: Closing on the 16th.

Tickets: Tickets are available at the door, for more information please visit the X*ACT website, here.

A Christmas Carol

Zoot Theatre Company

The Skinny: Dayton’s puppet theatre company takes on Dickens seasonal classic, delightfully retelling this classic morality play as only Zoot can.

Dates: Closing this weekend, on the 15th.

Tickets: Tickets are available at the Dayton Art Institute website, here.

Scrooge

The Dayton Playhouse

The Skinny: Adapted from the Charles Dickens classic, “A Christmas Carol,” this musical closely follows the classic story with the miserly Ebenezer undergoing a profound experience of redemption over the course of a Christmas Eve night, after being visited by the ghost of his former partner Jacob Marley and the Spirits of Christmas past, present and future.

Dates: Three performances left, closing on 12/16.

Tickets: Tickets are available at the Dayton Playhouse website, here.

Annie

Troy Civic Theatre

The Skinny: The famous musical version of Lil’ Orphan Annie is,indeed, a Christmas-set offering. This show is a heart-warming favorite, sure to please families with kids, or without.

Dates: One more weekend, closing on the 15th.

Tickets: Tickets are available for reservation by calling 937-339-7700. Pricing information can be found at the Troy Civic Theatre website, here.

Continuing!

Oliver!

The Human Race Theatre Company

The Skinny: Christmas Eve in London, 1838. A small group of working-class, wayward souls gather in a tavern to celebrate when a small, unexpected guest prompts a spontaneous telling of the popular Oliver Twist. With traditional music-hall flair, they delve into Charles Dickens’ haunting moral tale as the lines between story and reality blur. Sized perfectly for The Loft Theatre, this reimagining of the classic Tony Award®-winning musical will touch your heart and challenge your spirit. It’s Oliver with a twist, indeed! Dayton Most Metro’s Russell Florence reviewed Oliver! Click here to read it!

Dates: You’ve got several more chances to catch this wonderful production, which runs through the 22nd.

Tickets: Tickets are available through the Human Race Theatre Company website, here.

One Weekend Only!

In The Spotlight!

Playhouse South

The Skinny: Playhouse Souths annual revue-style evening of musical theatre selections, this year entitled “At The Movies” and featuring numbers from musicals, TV shows and movies.

Dates: Two performances only, December 2oth and 21st.

Tickets: Tickets are available at the Playhouse South website, here.

So, that all gives you plenty to see up to Christmas eve eve eve (12/22)! Remember, a night at the theatre is not only a wonderful date, it’s also a splendid holiday gift! There’s 9 days til Christmas and 2 nights of Hanukkah left…head to your favorite theatre box office and buy tickets!

ON STAGE DAYTON REVIEW: Oliver! (Human Race Theatre Company) – A Dynamic Dickensian Delight

December 3, 2012 By Russell Florence, Jr. 2 Comments

Pictured: The cast of Oliver! Photo by Scott J. Kimmins

Lionel Bart’s perennial “Oliver!,” his immensely tuneful 1960 adaptation of Charles Dickens’ classic novel “Oliver Twist,” has been thrillingly reborn as a dynamic, ensemble-driven triumph at the Human Race Theatre Company.

Astutely conceived with inspired direction by Alan Souza, previously associated with the Human Race productions of “Was” and “Ears on a Beatle,” “Oliver!” doesn’t begin in the traditional confines of a workhouse with a throng of hungry orphans. In Souza’s innovative landscape, the Dickensian London setting is Christmas Eve 1838 in a modest British pub, handsomely designed by David A Centers. The “Food, Glorious Food” is still praised, but the song primarily belongs to an assortment of ordinary, tough, working class men who know the tavern and each other very well, particularly the curiously combative, foreshadowing relationship between the bartender and his significant other whose child he derides. Souza doesn’t reveal their identities, which may be perturbing or perplexing to some, but these individuals are undeniably unified as their rough and tumble existence finds welcomed relief and unexpected similarities in an impromptu decision to interpret this musical rendering of “Oliver Twist,” originally published in monthly installments in “Bentley’s Miscellany” periodical beginning in 1837.

Pictured: The cast of Oliver! Photo by Scott J. Kimmins

As the bouncy title song kicks into gear, this rowdy bunch, appropriately with periodical in hand, seamlessly transition from the tavern backdrop into the familiar framework of the tale, full of the engaging, iconic characters Dickens meticulously constructed to mirror the corrupt, hypocritical, impoverished and menacing society he knew so well. Thanks to Souza’s incredibly versatile 10-member cast, Spencer Liff’s phenomenal choreography, Helen Gregory’s first-rate musical direction, and John Rensel’s excellently subtle lighting design, the two worlds smoothly coalesce without overt confusion. Fortunately, Souza’s fresh, communal approach doesn’t produce a dull moment and is consistently arresting. Even the altered if abrupt conclusion, authentically correlating with “Oliver Twist” remaining unfinished in “Bentley’s Miscellany” until 1839, packs a dark, dramatic punch. It’s extremely exciting and rare to see a director reinterpret a tried and true product with intimate boldness. In fact, Souza’s vision recalls John Doyle’s scaled-down, ensemble-centric 2005 Tony-winning revival of “Sweeney Todd,” which also lived uniquely outside the box within an intriguing milieu. And for pure ingenuity, Souza, Liff and Gregory’s kinship recalls Roger Rees and Alex Timbers’ equally creative handling of this year’s Tony-nominated play-with-music “Peter and the Starcatcher.”

Pictured: The cast of Oliver! Photo by Scott J. Kimmins

Liff, a Broadway standout who received an Emmy nomination four months ago for his splendid routines on last season’s edition of Fox’s “So You Think You Can Dance,” absolutely pulls out the stops using nearly every inch of the Loft Theatre stage for a dazzling array of breathtaking, energetic, applause-inducing sequences reflecting his trademark athletic artistry. In addition to his fantastic use of set pieces and props adhering to the tavern setting, I was particularly in awe of the jubilant atmospherics of the show-stopping “Consider Yourself,” the fast-paced cleverness permeating “You’ve Got to Pick a Pocket or Two,” the humorously posh sensibilities within “I’d Do Anything,” the amusing nod to “Les Miserables” in “Be Back Soon,” the rambunctious kicks, leaps and twirls of “Oom-Pah-Pah,” and the sliding, gliding, gleeful exuberance of “Who Will Buy?” The spirited ensemble is vigorously immersed in every mesmerizing routine to the utmost, undergoing the epitome of a theatrical workout. I wouldn’t be surprised if Gatorade is stored backstage for this hard-working crew.

Attractively costumed in period attire by Molly Walz, Souza’s marvelously cohesive cast portrays multiple roles with expertly detailed aplomb. In the titular role, Blaise Bouschard is an appealingly innocent, humble presence offering pleasant vocals, especially in his sincerely plaintive rendition of “Where is Love?” Gary Troy’s humorously slick, shrewd interpretation of Fagin, the scoundrel who craves his treasure and independence with equal passion, culminates with a delectably superb “Reviewing the Situation.” As the saucy, abused Nancy, Sara Sheperd, a terrific vocalist and a lively source of vigor and warmth, particularly supplies a compelling rendition of the lovely torch ballad “As Long as He Needs Me.” Nicholas Belton, another fine singer, is a perfectly brooding Bill Sikes. Joseph Medeiros, a skillfully sharp dancer with numerous Broadway credits, is a charming, crafty and witty Artful Dodger. He also scores big laughs as Widow Corney in “I Shall Scream” opposite the fittingly authoritative and droll Scott Stoney as Mr. Bumble. Adam Lendermon delights as creepy undertaker Mr. Sowerberry and is strikingly believable as the gentle, soft-spoken Mrs. Bedwin. Chris Shea is a great fit as the kindly Mr. Brownlow and the hopelessly agitated Mrs. Sowerberry. Ian DeVine, a Wright State University senior musical theater major who continues to amaze, winningly startles and intimidates as the cruel Noah Claypole. As Bet, the aforementioned, multitasking Gregory amiably partners with Sheperd for back-to-back knockouts “It’s a Fine Life” and “I’d Do Anything.”

Pictured: The cast of Oliver! Photo by Scott J. Kimmins

Brilliantly enhancing the art of storytelling through concept, song and dance, Souza, Liff and Gregory have overseen a must-see showcase, coinciding with the bicentennial of Dickens’ birth, which could have a life beyond Dayton in regional theaters or beyond. After all, Broadway hasn’t revived “Oliver!” since 1984, and considering the current success of the Roundabout Theatre Company’s terrific production of “The Mystery of Edwin Drood,” there could be a timely Dickens resurgence brewing which this version could promisingly accentuate.

Purists may scoff, but the Human Race supplies a joyously refreshing experience expanding the possibilities of what musical theater can be.

“Oliver!” continues through Dec. 22 in the Loft Theatre of the Human Race Theatre Company, 126 N. Main St., Dayton. Act One: 60 minutes; Act Two: 40 minutes. Performances are Tuesday at 7 p.m., Wednesday-Saturday at 8 p.m. and Sunday at 2 p.m. There is also a 2 p.m. performance on Dec. 22. The Dec. 11 performance is sold out. A post-show discussion will follow the Dec. 9 performance. Jonah Sorscher is also featured in the cast as the Oliver understudy. Tickets are $17.50-$45. A limited number of $25 tickets are available for each performance. Call Ticket Center Stage at (937) 228-3630 or visit www.humanracetheatre.org or www.ticketcenterstage.com. For more information, call the Human Race at (937) 461-3823 or visit www.humanracetheatre.org.

Coming up in Dayton Theatre, 11/30 – 12/9

November 29, 2012 By Sarah Caplan Leave a Comment

Welcome back, theatre lover! Hope you had a wonderful Thanksgiving. We’ve gotten into the cinematic heavyweight season now, with all the studios releasing their highly anticipated pieces, hoping to garner little golden statues. But remember, there are also pieces of theatre in the area just as highly anticipated and every bit as delightful!

Closing This Weekend!

White Christmas

The Schuster Center

The Skinny: Irving Berlin’s classic Christmas tale comes to the Schuster Center stage in all it’s glory!

Dates: Only a few performances left, closing on Sunday, 12/2!

Tickets: All ticketing information is available online, here

Now Running!

A Tuna Christmas

The Dayton Theatre Guild

The Skinny: It’s Christmas time and local radio personalities Thurston Wheelis and Arles Struvie tell us all about the annual Christmas lawn display contest that Viola Carp keeps winning (14 times), the troubled local production of A Christmas Carol and along the way introduce us to a host of colorful characters, each one funnier than the last, in this little mythical Texas town. Two actors portray more than twenty roles in this hilarious production.

Dates: A Tuna Christmas runs 2 more weekends, closing Sunday the 9th. The Saturday performances for this weekend and next are at 5 pm.

Tickets: Ticketing information is available via the DTG website, here.

Opening This Weekend!

Oliver!

The Human Race Theatre Company

Dates: With a run extended past it’s original dates, Oliver! now opens Friday, 11/30 and runs through 12/22, making it a perfect Christmastime date.

Tickets: Tickets are available online at the Human Race Theatre Company website, here.

Scrooge

The Dayton Playhouse

Dates: Opening on 11/30 and running three weekends to close 12/16.

Tickets: Tickets are available online at the Dayton Playhouse website, here.

A Christmas Carol

Zoot Theatre Company

The Skinny: Dayton’s puppet theatre company takes on Dickens seasonal classic, retelling a familiar story in the way only Zoot can.

Dates: Opening 11/30 and running 3 weekends, closing December 15th.

Tickets: Tickets are available for purchase online at the Dayton Art Institute website, here.

Annie

Troy Civic Theatre

The Skinny: The famous musical version of Lil’ Orphan Annieis,indeed, a Christmas-set offering. This show is a heart-warming favorite, sure to please families with kids, or without.

Dates: Opening 11/30 and running 3 weekends, to close on 12/15.

Tickets: Tickets are available for reservation by calling 937-339-7700. Pricing information can be found at the Troy Civic Theatre website, here.

One Night Only!

How The Grinch Stole Christmas

Tipp City Players

The Skinny: Another Christmas-themed offering; Tipp City is bring a readers-theatre rendition of the Dr. Seuss morality play of a green man whose heart “grew three sizes that day.”

Tickets: Admission is free, but donations are warmly appreciated. Information is available on the Tipp City Players website, here.