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‘Gloria: A Life’ Review – Human Race Theatre Company – Lady Liberty

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Gloria Steinem’s influential legacy is on terrifically insightful display at the Loft Theatre courtesy of the Human Race Theatre Company’s timely regional premiere of Emily Mann’s enlightening, thought-provoking and relevant 2018 one-act drama Gloria: A Life.

Gloria Steinem’s life and career is the subject of Emily Mann’s drama “Gloria: A Life,” slated through March 15 at the Loft Theatre. (Contributed photo)

Chronicling the 85-year-old Steinem from her humble beginnings in Toledo, Ohio to her currently impactful stances on advocacy and equality, Gloria: A Life predominately seeks to put to rest preconceived notions about who she is and what she continues to fight for. It’s no surprise her undercover stint as a Playboy Bunny, co-founding of Ms. magazine and definitive impact as leader of the feminist movement typically grabbed the headlines over the decades. However, Mann astutely goes beyond the history and controversy to draw a deeper, relatable portrait of this strong woman greatly motivated by passionate African-American women such as Dorothy Pitman Hughes, Florynce Kennedy, Shirley Chisholm, and Angela Davis who not only dreamed of being a Rockette but was actually reticent to embrace the limelight of activism. In fact, even as she received her share of help and hell at the dawn and height of the feminist movement, she remained haunted by “the unlived life” of her insecure yet talented mother trapped in an unfulfilling marriage. Still, this self-described “hope-aholic” believed in the necessity of people-building, reminding everyone of all backgrounds of their value and self-worth in order to change the world. After all, “don’t agonize – organize” is a fundamental principle applying as significantly to men as it does to women.

Jennifer Johansen (standing in black) as Gloria Steinem and the cast of the Human Race Theatre Company’s production of “Gloria: A Life,” slated through March 15 at the Loft Theatre. (Photo by Heather N. Powell)

Providing breezy transitions while expansively using the Loft space to the fullest from the rear of the audience to every corner of the stage, director Marya Spring Cordes briskly guides an outstanding, diverse seven-member female cast through various aspects of Steinem’s complex journey. The personable, statuesque Jennifer Johansen winningly embodies the titular role with commanding confidence, narrating the proceedings with elegance, wit and reflective sincerity. The remaining members vividly portray multiple roles: Burgess Byrd brings feisty joy to Hughes and Kennedy and gentle reverence to Coretta Scott King; Sherman Fracher zestfully captures New York Congresswoman Bella Abzug; Rae Buchanan is heartbreaking as Steinem’s mother; Andréa Morales, memorable in the Human Race’s Hail, Mary! and The Full Monty as well as Magnolia Theatre Company’s Parallel Lives and Gidion’s Knot, displays her inherent versatility throughout; Eileen Earnest equally convinces as a spunky kid enamored with Steinem and a prickly mother despising her; and Aurea Tomeski gracefully shines with warm wisdom as Wilma Mankiller, Steinem’s friend, mentor, mother figure, and the first contemporary female Principal Chief of the Cherokee Nation.

(left to right) Eileen Earnest (Woman 6), Sherman Fracher (Woman 3), Andrea Morales (Woman 4), Jennifer Johansen (Gloria Steinem), Rae Buchanan (Woman 5), Burgess Byrd (Woman 2) and Aurea Tomeski (Woman 1) comprise the cast of the Human Race Theatre Company’s production of “Gloria: A Life,” slated through March 15 at the Loft Theatre. (Photo by Heather N. Powell)

In addition to John Riechers’ exceptional projections – heightening this educational experience with archival footage encompassing cutesy 1950s commercials, eye-rolling Harry Reasoner and Richard Nixon commentary, and a photo of the 127 women currently serving in the United States Congress – the first-rate production team includes set designer Tamara L. Honesty, costumer Ayn Kaethchen, lighting designer John Rensel, sound designer Jay Brunner, and stage manager Jacquelyn Duncan.
At the conclusion, a talking circle forum is moderated by Michelle Zimmerman with the cast. Attendance isn’t mandatory (the play is still a one-act) but I encourage you to stay and be open to discussing your thoughts on Steinem, the play and other topics that arise. The Human Race has offered a safe space which, in many respects, unites the audience in a meaningful way, bringing credence to Steinem’s advice: “Don’t look up – look out –  and find shared power.”

Gloria: A Life continues through March 15 at the Loft Theatre, 126 N. Main St., Dayton. Performances are 8 p.m. Thursdays-Saturdays; 2 p.m. Sundays; and 7 p.m. Tuesdays and Wednesdays. The play is performed in 90 minutes without intermission. Tickets are $16-$52. For tickets, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com. Parents are also cautioned some material may be inappropriate for children under the age of 15.

Human Race Announces 2020 – 2021 Loft Season

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The Human Race, Dayton’s premier professional theatre company, is excited to announce the 2020-2021 Season at the Loft Theatre. This, their 34th season of producing in the Miami Valley, emphasizes The Human Race’s mission – to explore the human experience and promote enlightenment, inclusion and understanding through quality entertainment – with their Dayton Premieres.

“Every show this season is a first in Dayton,” states Human Race Artistic Director and Founding Member, Kevin Moore. “This includes a collaborative world premiere, as well as multiple regional and local premieres that will stimulate the conscience of our community and the talents of our artists.”

”We are very excited about our 34th season because it exemplifies the work we are known for” said Executive Director, Kappy Kilburn. “It’s all new, smart, funny, touching, insightful, important and thought provoking.”

The 34th season kicks off early this year, in August, with the mysterious comic-drama, Now And Then by Sean Grennan. Then in October, they’ll rock the Loft Theatre with Airness, a new play by Chelsea Marcantel that follows whacky participants in the Air Guitar World Championship.  The winter brings us the thoughtful and timely drama of a family dealing with a transgender child, Everything That’s Beautiful by Elyzabeth Gregory Wilder.  Spring blooms with laughter as the O’Shea family must confront the Incident At Our Lady Of Perpetual Help by Katie Forgette.  And closing the season in June is a new musical, co-written by a WSU grad and Human Race alum, Christian Duhamel, and composer Edward Bell – the title says it all – My 80-Year-Old Boyfriend.

Plus, there are two Human Race “Extras” this season.  The first is the eight-organization collaborative performance, The Art Of Us: A Dayton Mosaic on September 12 and 13 at the Schuster Center – which will include the commissioned World Premiere performance of “Miriam.”  And in December, the Dr. Seuss lampoon Who’s Holiday will play December 10-27 in the Loft Theatre for a hysterical look at what became of “Cindy Lou Who.”

Subscription renewal packets will be available at all performances of Gloria: A Life.  Subscribers will have until May 3rd to renew their subscriptions.  Subscribers will also be able to add the “Extras” at a special rate, but these are limited time offers.  The Art Of Us: A Dayton Mosaic discount is availble through May 30, 2020;  Who’s Holiday discount is available through August 17, 2020.

New subscribers can join anytime and enjoy all the benefits as well as the early discount ticket prices to the two “Extras.”  Contact Ticket Center Stage at 937-228-3630 or www.ticketcenterstage.com.

Join Dayton’s professional theatre for a season of Dayton Premieres.

Full descriptions of each show is included below.

The Human Race Theatre Company

2020-2021 Loft Theatre Season – Dayton Premieres

NOW AND THEN by Sean Grennan    Aug 20 – Sept 6, 2020

Sometimes what happens after last-call just might change your life forever.  One night in 1981, just as Jamie is closing the bar where he works, a desperate last-minute customer offers him and his girlfriend Abby two thousand dollars to sit and have a drink with him.  Who wouldn’t take it? As the trio swaps stories and Jamie considers the decisions he faces about his musical career and his future with Abby, the young couple begins to realize that this older man is unusually invested in their choices…and the reason he gives them is completely unbelievable. But when a very displeased second stranger arrives, the unbelievable begins to look like it just might be true. Now and Then is a heartfelt romantic comedy about the costs of the choices we make, and the people who make them with us.

AIRNESS by Chelsea Marcantel         Oct 15 – Nov 1, 2020

When Nina enters her first air guitar competition, she thinks winning will be easy. But as she befriends a group of charismatic nerds all committed to becoming the next champion, she discovers that there’s more to this art form than playing pretend; it’s about finding yourself in your favorite songs, and performing with raw joy. Will Nina be able to let go and set herself free onstage? Following her mission to shred or be shredded, Airness is an exuberant reminder that everything we need to rock is already inside us. A comedy about competition, completion, and finding the airness inside yourself.

EVERYTHING THAT’S BEAUTIFUL by Elyzabeth Gregory Wilder     

Feb 18 – Mar 7, 2021

When Luke and Jess decide to allow their 8-year-old Morgan, who was assigned  male at birth, to identify as female, they relocate in order to give the family a clean start. Luke takes a job at the local waterpark, where he meets Gaby, the girl in the mermaid tank. With money tight, Jess starts working at a local coffee shop where she meets Will. These new relationships provide an escape from an already complicated family life. But when an accident threatens to expose the truth about Morgan, tensions run high. Luke finally admits the real reason they moved, a confession that could potentially destroy their family. Faced with losing his child and his family, Luke must decide what’s worth fighting for.

INCIDENT AT OUR LADY OF PERPETUAL HELP by Katie Forgette                         Apr 15 – May 2, 2021

A money-strapped family tries to cope in 1973. 19-year-old Linda O’Shea is our narrator and she is attempting to re-enact the most turbulent day of her life, but her family keep interrupting to tell their side of the story.  The 70s were a time of old school living; no social media, and public ridicule in a close-knit community was the ultimate nightmare. When her parents ask her to explain to her younger sister about the birds and the bees, somehow the blunt explanation is overheard by the parish priest and he is not amused. When he confronts her parents about the “corruption of their eldest daughter’s very soul,” all “holy Hell” and hysteria breaks loose in this nostalgic comedy.

MY 80-YEAR-OLD BOYFRIEND: A New True Musical       Jun 10 – 27, 2021

Book & Lyrics by Christian Duhamel          Music & Lyrics by Edward Bell

Originally Conceived & Performed by Charissa Bertels

In this delightful new musical, Charissa, a quirky, twenty-something actress, meets Milton, a quick-witted, eighty-something millionaire who loves Schubert, Shakespeare, and Dallas BBQ. From a chance encounter to the unlikeliest of friendships, Charissa discovers there’s much she can learn from her surprising new companion. Based on the true story of performer Charissa Bertels, My 80-Year-Old Boyfriend reveals the thrill of chasing a dream, the power of living in the now, and all that can happen when we let ourselves say “yes.”

HUMAN RACE EXTRAS

THE ART OF US: A DAYTON MOSAIC                  Sept 12 and 13, 2020

The 2020–2021 season offers a truly spectacular event showcasing eight of Dayton’s cultural treasures. This collaborative performance highlights the Bach Society of Dayton, Dayton Contemporary Dance Company, Dayton Ballet, Dayton Opera, Dayton Philharmonic, Dayton Gay Men’s Chorus, Muse Machine and The Human Race Theatre Company. The Art of Us is made possible with generous support from the Miriam Rosenthal Foundation for the Arts.

This once-in-a-lifetime event at the Schuster Center will include The Human Race, DCDC and Dayton Ballet performing together in a new work, Dancing Dreams, and a commissioned world premiere that will feature performers from all eight organizations.

A special price of $25 for any seating is available to Human Race subscribers through May 30, 2020.

WHO’S HOLIDAY by Matthew Lombardo                   Dec 10 -27, 2020

Our special holiday show is a wildly funny and heartfelt adults-only comedy that tells the story of Cindy Lou Who as she recalls that Christmas Eve she first met the Grinch and the twisted turn of events her life has now taken.

You saw her last when she was just two
Celebrate the holidays with Cindy Lou Who
Pull up a seat and fill up your cup
‘Cause your favorite little Who is all grown up

A special price of $30 for any seating is available to Human Race subscribers through August 17, 2020.

(Rated R for adult language and sexual innuendo)

‘An Enemy of the People’ Review – Wright State University – Bold and Unafraid

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Within the past year, the following organizations and individuals chose to speak up even if there was hell to pay: CNN; MSNBC; The New York Times; The Washington Post; The Intelligence Community Whistleblower; Marie Yovanovitch; William Taylor; Gordon Sondland; Fiona Hill; Alexander Vindman; David Holmes; Joseph Maguire; Michael Atkinson; John Bolton; John Kelly; Lev Parnas; Andrew McCabe; Lisa Page; Adam Schiff; Nancy Pelosi; Mitt Romney; Bernie Sanders; Alexandria Ocasio-Cortez; Ilhan Omar; Ayanna Pressley; Rashida Tlaib; Tulsi Gabbard; Beto O’Rourke; Greta Thunberg; The Hong Kong Protestors; Dr. Li Wenliang; Colin Kaepernick; Wade Robson; James Safechuck; Annabella Sciorra; Stacey Abrams; and Nan Whaley.

Nick Martin (center as Dr. Stockmann) and the cast of Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

Those diverse notables have a kindred spirit in Dr. Thomas Stockmann, the emotional, determined and heroic truth-teller at the center of Arthur Miller’s 1950 adaptation of Henrik Ibsen’s 1882 drama An Enemy of the People, dynamically presented in the Herbst Theatre of Wright State University under the remarkably astute, atmospheric and intimate direction of W. Stuart McDowell. In his small Norwegian town, well-respected Dr. Stockmann is put to the test when his shocking discovery of polluted waters rips his community apart. On the verge of becoming a booming tourist resort thanks to its purported healing waters, the town eagerly awaits reaping financial rewards regardless of whether or not society is destroyed in the process. Despite heated warnings from his brother Peter, the Mayor and chief champion of the town’s impending spa, Dr. Stockmann passionately persists, finding support among the local press but ultimately losing control of the narrative due to an overwhelming majority unwilling to budge. “The public doesn’t want new ideas,” he’s told. “The public is much better off with old ideas.” In addition to environmental issues, the incredibly timely themes bolstering this thought-provoking showcase, expertly staged in-the-round, include freedom of the press, political gamesmanship, corporate corruption, and majority vs. minority friction.

(left to right) Annika Whetstone (Petra Stockmann), Hailey Marshall (Catherine Stockmann) and Nick Martin (Dr. Stockmann) in Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

As Dr. Stockmann, towering knockout Nick Martin is a moral pillar of strength and unyielding purpose, stressing the importance of courageously standing in one’s truth specifically in Act 2’s unnerving town meeting. In fact, Martin is so convincingly attacked as The Other I’m surprised McDowell didn’t encourage his cast to shout “lock him up!” for the sake of contemporary rally relevancy. Charismatic, handsome and versatile Will Graber, slickly commanding the stage with top hat and baton in tow as if camouflaging as a genteel Macheath, outstandingly portrays arrogant Peter, who will stop at nothing to see his pet project succeed even if it forever fractures his own family. The splendidly matched Martin and Graber are so believably adversarial yet bonded (at the town meeting, Graber cautiously dials down Peter’s vitriol in an attempt to stop the citizens from resorting to violence against Thomas after getting them revved up) that I found myself wondering about the backstories of their fascinating characters. What fueled their sibling rivalry? Who was the favored son growing up? Is Peter jealous of Thomas for being the patriarch of a loving family? Miller and Ibsen keep matters in the present, but the possibilities of the past entice nonetheless due to Martin and Graber’s skillfully mature finesse.

Nick Martin (Dr. Stockmann), Will Graber (Peter Stockmann) and the cast of Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

Elsewhere in principal roles, Hailey Marshall is supportive yet formidable as matriarch Catherine Stockmann, Annika Whetstone sparkles as Thomas and Catherine’s bright, perceptive daughter Petra, Christopher Wells (Billing) Cole Frasher (Aslaksen) and Louie Kurtzman (Hovstad) are superb as fickle journalists, Aidan Lord exudes elderly credibility as Catherine’s father Morten Kiil, Matthew Shanahan (Ejlif Stockmann) and Mikey Fried (Morten Stockmann) charm as Thomas and Catherine’s rambunctious sons, Dylan Roll offers comic relief as The Drunk, and Jake Siwek tenderly embodies Captain Horster, Thomas’ friend soon journeying to America. The large, terrifically focused ensemble bringing furious rage to the town meeting and whose repeatedly whispered chants against the Stockmanns eerily haunt the recesses of the mind consists of Abbie Bookman, Kyle Channell, Abby Choi, Xiao Ni Denker, Branden Fisher, Sydney Freihofer, Chap Hollin, Amanda Jacobson, Theo Karras, Kevin Lausche, Alexis Muhlenkamp, Brie Parsons, Nick Salazar, and Alex Tischer.
In addition to costumer Tatyana Kowalski’s attractive period designs including Graber’s dapper, runway-ready suit, McDowell’s excellent production team includes scenic designer Carleigh Siebert, lighting designer Malia Dalba, sound designer James Dunlap, dialect coach Deborah Thomas, and properties master John Lavarnway. McDowell also incorporates Academy Award winner Hildur Guonadóttir’s (Joker) Emmy and Grammy-winning music from the HBO series Chernobyl as dramatic underscore and creates a striking, Equus-esque Act 1 finale recalling the visceral sensual nuance of recent Broadway revivals staged by Tony-winning avant garde director Ivo van Hove (A View From the Bridge, West Side Story).
In stinging fashion, walking a delicate tight rope between comedy and drama, impeccable dialogue overflows in this richly resonate play: “You’re an official – you keep your convictions to yourself”; “We live and die on what the outside world thinks of us”; “Without moral authority there can be no government”; “The majority is never right until it does right.” Without a doubt, Miller and Ibsen are speaking to us at this crucial moment in American history. You won’t hear exact references to current affairs but the subtext is absolutely inescapable. After all, you’d be hard-pressed to find a more important piece of theater happening in Dayton right now. In a perfect world, Wright State would take this show on tour to local high schools this spring and be remounted in some capacity this fall in conjunction with a voter registration drive as the presidential election intensifies.

The Ensemble of Wright State University’s production of “An Enemy of the People.” (Photo by Steve Tischer)

Cutting deep as a fiercely urgent call to action, An Enemy of the People is simply one of the best productions of the season.

An Enemy of the People continues through March 1 in the downstairs, black box Herbst Theatre of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Dayton. Act One: 65 minutes; Act Two: 50 minutes. Performances are 7 p.m. Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; and 2 p.m. Sunday. Tickets are $15 for adults, $10 for seniors and $5 for students. For tickets or more information, call (937) 775-2500 or visit wright.edu/tdmp

‘Joseph’ Review – Sinclair Community College – Favorite Son, Favorite Coat

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Andrew Lloyd Webber and Tim Rice’s delightfully breezy musical Joseph and the Amazing Technicolor Dreamcoat, based on the biblical tale concerning family, faith and forgiveness, receives a joyful, surprisingly moving presentation under the direction of Kimberly Borst at Sinclair Community College.

David Shockey as Joseph in Sinclair Community College’s production of “Joseph and the Amazing Technicolor Dreamcoat.” (Photo by Patti Celek)

In the deceptively demanding titular role requiring the utmost in personality and vocals, tenor David Shockey certainly masters the art of charmingly arrogant bravado. In his capable hands, there’s no question that Joseph adores being the center of attention and overzealously embraces his unique gift for interpreting dreams, attributes contributing to his downfall at the hands of his 11 treacherous, non-fashionable brothers. In addition to creating an arc believably grounded in various stages of distress from torture to slavery to imprisonment, Shockey sings terrifically throughout. In fact, he sincerely fuels the emotional drama of the gorgeous ballad Close Every Door and provides a wonderfully touching rendition of the heartwarming finale Any Dream Will Do, giving beautiful credence to Joseph’s enduring hope of one day reuniting with his father Jacob (CJ Suchyta).

Callista Kinney (center) with members of the Women’s Ensemble and David Shockey in Sinclair Community College’s production of “Joseph and the Amazing Technicolor Dreamcoat.” (Photo by Patti Celek)

Furthermore: Soprano Callista Kinney, a memorable Glinda in Brookville Community Theatre’s The Wizard of Oz earlier this season, sings with ease, grace, humor, and passion as the Narrator with a lovely rendition of Pharaoh Story among her many standouts; Joseph’s energetic, dastardly, kooky, and close-knit Brothers, enjoyably coalescing to the hilt for the Parisian-inspired Those Canaan Days, compatibly consist of Russell Paquay (strongly leading Benjamin’s Calypso as Reuben), Patrick Greco (Simeon), Chase Niemitalo (Levi), Kofi Gunter (Napthali), Rafael Santillan (Issachar), Gabriel Hrin (Asher), Matt Poliachik (Dan), Connor Gray (Zebulon), Mark Kreutzer (Gad), Micah Koverman (Benjamin), and Kasaahn Johnson (Judah); Raushawn Parker appears opposite Shockey as the dutiful Guard; The Women’s Ensemble/Wives are effectively portrayed by Rachel Charles, Riley Karr, Zoe Miller, Mackenzie Moore, Alexis Paige, Kylee Pauley, Trinity Rice (the striking soprano of One More Angel in Heaven), and Lilly Robillard; and the adorable, impressively focused Children’s Choir, unexpectedly given a great deal of interactive stage time especially in Borst’s contemporary-centric Prologue, consists of George Giese, Sasha Greco, Maria Greely, Sadie Hornick, Kaydence Kinney, Carmen Medina, and Rachael Updike.

In dual roles, Santillan excellently exudes expressive, masculine flair and fury as sophisticated Potiphar, Pauley seductively lures as Mrs. Potiphar, Gunter and Paquay respectively bond as the inquisitive Butler and Baker, and Greco playfully evokes the spirit of Elvis Presley in the aptly titled Song of the King.

Patrick Greco (Pharoah) leads “Song of the King” in Sinclair Community College’s production of “Joseph and the Amazing Technicolor Dreamcoat.” (Photo by Patti Celek)

In addition to an inspired use of the orchestra pit as a storytelling device, Borst assembles a first-rate production team. Choreographer Jessica Eggleston, creating flavorful movement even in the smallest, synchronized instances within Joseph’s Dreams, The Brothers Come to Egypt and Who’s the Thief?, particularly supplies nifty odes to Bob Fosse’s Chicago (Potiphar) and Michael Bennett’s Dreamgirls (Pharaoh Story). Music director David Brush’s solid if muted nine-piece orchestra keeps the dandy score pulsating. Scenic designer Terry Stump’s scaffolding and staircases efficiently aid the action in look and scale. Kevin Alberts’ outstanding costumes including the snazzy titular coat are courtesy of Utah Shakespeare Festival and coordinated by Kathleen Hotmer. Jessy Henning’s vibrant lighting is exemplary, especially the spine-tingling radiance of Joseph’s Coat. Dan Brunk’s sound design and William Bierley’s property design are also noteworthy.
Perfect for families, Joseph stands as a feel-good testament to Webber and Rice’s tuneful legacy plus a valid reason why Sinclair should do more musicals.

Joseph and the Amazing Technicolor Dreamcoat concludes today at 7 p.m. in Blair Hall Theatre, Building 2, of Sinclair Community College, 444 W. Third St., Dayton. Act One: 40 minutes; Act Two: 30 minutes. Tickets: $18 for adults; $15 for students and seniors. For tickets or more information, visit Sinclair.edu/tickets

WSU’s The Wolves Review

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Sarah DeLappe’s outstanding 2017 Pulitzer Prize-nominated drama “The Wolves,” a contemporary, coming-of-age character study about a girls’ indoor soccer team, has received an excellent local premiere at Wright State University.

(left to right) Bridget Lorenz, Jessica Greenwald, Julie Deye, Margo Russ, Mady McCabe, Lauren Eifert, Caroline Utz, Tina Hohman, and Megan Ledford are the titular team in Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Photo by W. Stuart McDowell)

In this delightfully chatty and incredibly insightful one-act, nine nameless teenagers walking the delicate balance between giddy adolescence and confident womanhood gather for a series of unsupervised practice drills. Unsurprisingly, the topics on their bubbly, curious, information-overloaded minds are colorfully wide-ranging. Cambodia? Check. Abu Ghraib prison? Check. Feminine health? Check. Feminism? Check. Kids in cages? Check. Instagram? Check. Jude Law? Check. Game of Thrones? Check. As their conversations evolve into deeper explorations of betrayal, class, jealousy, miscommunication, and grief, DeLappe ultimately brings this team to a renewed sense of maturity. By the end, and in spite of great differences, there’s no question how vital they have become to one another. They have been forever changed as a family of sisters bonded by the higher goal of acceptance, connection, love, and mutual respect.

In this delightfully chatty and incredibly insightful one-act, nine nameless teenagers walking the delicate balance between giddy adolescence and confident womanhood gather for a series of unsupervised practice drills. Unsurprisingly, the topics on their bubbly, curious, information-overloaded minds are colorfully wide-ranging. Cambodia? Check. Abu Ghraib prison? Check. Feminine health? Check. Feminism? Check. Kids in cages? Check. Instagram? Check. Jude Law? Check. Game of Thrones? Check. As their conversations evolve into deeper explorations of betrayal, class, jealousy, miscommunication, and grief, DeLappe ultimately brings this team to a renewed sense of maturity. By the end, and in spite of great differences, there’s no question how vital they have become to one another. They have been forever changed as a family of sisters bonded by the higher goal of acceptance, connection, love, and mutual respect.

Mady McCabe (No. 00 – Goalie) in Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Contributed photo)

Breezily directed by Marya Spring Cordes with an astute awareness of peaks, valleys and subtleties within casually overlapping conversation (an equally significant attribute of her 2018 Human Race Theatre Company production of Brighton Beach Memoirs), The Wolves features wonderfully compatible actresses. The strong, believably athletic cast consists of quietly reserved and focused Mady McCabe (No. 00 – Goalie) endearingly sweet Megan Ledford (No. 2 – Defense), sensitive Julie Deye (No. 8 – Defense), snarky jokester Jessica Greenwald (No. 13 – Midfield), formidable Bridget Lorenz (No. 14 – Midfield), terrifically firm Tina Hohman (No. 25 – Defense and Team Captain), effective outsider Caroline Utz (No. 46 – Bench), poignant Sophie Kirk (Soccer Mom), and breakthrough performers Lauren Eifert (dynamic as the competitive, intimidating and foul-mouthed No. 7 – Striker) and Margo Russ (vibrant as the opinionated, commanding and current affairs-savvy No. 11 – Midfield).
In addition to providing scene changes fittingly set to tuneful female empowerment anthems from pop divas Beyoncé, Ariana Grande and Demi Lovato, Cordes assembles a top-notch production team. Carleigh Siebert’s eye-catching set, expertly co-lit by designers Matthew J. Benjamin and Gabe Reichert, supplies a huge, ascending AstroTurf design complete with large netting in front of the stage, heightening the action’s immediacy. Costumer Victoria Gifford appropriately ensures athletic uniformity. James Dunlap’s sound design is clear and crisp.

The cast of Wright State University’s local premiere of Sarah DeLappe’s “The Wolves,” continuing through Feb. 16 in the Festival Playhouse of the Creative Arts Center. (Contributed photo)

There’s a reason why The Wolves is one of the most popular plays in the country. Akin to Academy Award nominee Greta Gerwig (Lady Bird, Little Women), DeLappe has a unique, cross-generational gift for witty, whip-smart dialogue and creating relatable angst among women that is incredibly entertaining and palpable. So, make sure you catch this singular experience. These ladies are in it to win it.

The Wolves continues through Feb. 16 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glen Hwy., Dayton. Performances are 7 p.m. Wednesday and Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, and 2 p.m. Sunday. The play is performed in 95 minutes without intermission. Tickets are $15-$25. For tickets or more information, call (937) 775-2500 or visit wright.edu/tdmp. Patrons are advised the play contains strong language.

DCDC’s Retro/ACTIVE with Special Guest Sparkle

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After a stunning retirement announcement, Sheri “Sparkle” Williams will re-perform her final solo dance entitled Altar-ing at the up-coming Dayton Contemporary Dance Company performance Retro/ACTIVE on Saturday, February 8 at 7:30 p.m. and Sunday, February 9 at 4pm at the Victoria Theatre, located at 138 N. Main St. in Dayton. 

Sparkle, is an icon not only in the Miami Valley, but known through-out the contemporary dance world. She was the Individual Performance Winner of 1997 NYC Bessie Award and 2014 Ohio Governor’s Award for Individual Artist. People will be flocking to the Victoria to witness Sparkle’s final performance, and pay homage to her dance legacy.

The mixed repertory show also features a nod to Black History Month with Warren Spear’s On the Wings of Angels (premiered 1996), which is a soaring tribute to the Tuskegee airman. The performance also brings back Vespers (premiered 1986), Ulysses Dove’s touching poetic tribute to womanhood, and Indestructible (premiered 2018), Abby Zbikowski’s tribute to the endurance of those who struggle for justice. There will also be a world-premiere and special unveiling of a new work by DCDC’s Chief Artistic Administrator and Producing Director, Debbie Blunden-Diggs.

HOW TO GO?

Retro/ACTIVE 

Saturday, February 8 at 7:30 p.m. and Sunday, February 9 at 4pm

Victoria Theatre, located at 138 N. Main St. in Dayton. 

Tickets for Retro/ACTIVE are available at www.ticketcenterstage.com or by calling 937-228-3630.

 For the latest opportunities to engage with DCDC, visit www.dcdc.org and connect with us on social media: Facebook/Instagram: @daytoncontemporarydancecompany & Twitter: @DCDCLive. 

‘Mr. Rickey Calls a Meeting’ Review – Dayton Theatre Guild – Great Debate

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Brooklyn Dodgers owner Branch Rickey’s crucial, monumental decision to integrate Major League Baseball by signing Jackie Robinson is the fascinating catalyst of Ed Schmidt’s relevant and riveting 1989 drama Mr. Rickey Calls a Meeting, impressively presented by the Dayton Theatre Guild.

(left to right) Robert-Wayne Waldron (Joe Louis), Saul Caplan (Branch Rickey), Shaun Diggs (Jackie Robinson), Edward Hill (Paul Robeson), Franklin Johnson (Bill “Bojangles” Robinson), and Robert Culpepper (Clancy Hope) in Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

Shaun Diggs (Jackie Robinson) opposite Edward Hill (Paul Robeson) in Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

Set in April 1947 at New York City’s Roosevelt Hotel (spaciously designed by Chris Harmon) six days before Robinson made his major league debut at age 28, this imaginary Meeting overseen by Rickey (Saul Caplan) with Robinson (Shaun Diggs) as sidekick involves key input from three influential African-American icons: Joe Louis, the world’s heavyweight champion (Robert-Wayne Waldron); popular vaudeville entertainer Bill “Bojangles” Robinson (Franklin Johnson); and celebrated actor-activist Paul Robeson (Edward Hill). Rickey desperately seeks the trio’s support before announcing his decision, but intriguing questions and motives loom large, particularly regarding the future of the Negro National League. Sparks quickly fly and particularly compelling subtext arises when conversation shifts toward the African-American community’s reluctance to trust powerful white males to keep their promises. Rickey provides a unique opportunity to change the course of sports history for African-American athletes, but his chief desire for “slow, orderly, long-term progress” in which “long-term, lasting change happens one man at a time” sounds like defeatism to those in the room, particularly in the eyes of Robeson, a former Rutgers football player. Ultimately, a harsh reality isn’t lost on Jackie. “It ain’t up to us,” he reminds his fellow legends. “It never was. It never will be.”

(left to right) Shaun Diggs (Jackie Robinson), Robert-Wayne Waldron (Joe Louis), Franklin Johnson (Bill “Bojangles” Robinson), Edward Hill (Paul Robeson), and Robert Culpepper (Clancy Hope) in Dayton Theatre Guild’s production of “Mr. Rickey Calls a Meeting.” (Photo by Craig Roberts)

Historical characters are the centerpiece, but director Rick Flynn effectively opted not to cast actors who are literal representations. Just as Chevy Chase hilariously embodied President Gerald Ford on Saturday Night Live, the essence of the characters takes precedence over exact physical likeness. Caplan, authoritatively intimidating, wonderfully captures the spirit of Rickey’s ambitious aims, including his genuine admiration for Jackie and a slew of strict rules as well as an unyielding determination to embrace baseball open-mindedly. Diggs, believably athletic, paints an excellently vivid portrait of a man refusing to limit his talents, his American Dream, in spite of an onslaught of racism. Hill, in a dynamic breakthrough performance, is a sophisticated voice of reason and ridicule, sometimes unnervingly in the same breath. Johnson, bubbly, agile and raspy, credibly evokes Robinson’s happy-go-lucky showmanship. Waldron, gruff and imposing, is enjoyably understated. Robert Culpepper, charmingly wide-eyed and crisply costumed in period by Carol Finley, completes the cast as excitable, starstruck bellhop Clancy Hope. Interestingly, based on the standout merits of Caplan and Hill, this Meeting would be just as gripping as an intimate two-hander. After all, Rickey and Robeson’s dueling perspectives from politics to power plays deserves expansion, particularly Robeson’s defiant view that Rickey waited 40 years too late to integrate. I suspect Schmidt was heavily inspired by August Wilson’s Fences when writing Robeson’s fiery arc, which includes many Troy Maxson-esque sermons fueled by issues of class, identity, race, and resentment.
African-American athletes have come a long way since Robinson paved the way, but that doesn’t mean the fight for social justice is over. It’s important for owners and players across all leagues to continue to make strides for the sake of future generations, especially minorities longing to join a coaching staff or become an executive. If not, inequality, in words famously sung by Robeson, just keeps rolling along.

Mr. Rickey Calls a Meeting continues through Feb. 9 at Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are 8 p.m. Fridays; 5 p.m. Saturdays; and 3 p.m. Sundays. The production runs 90 minutes without intermission. Tickets are $13-$20. Patrons are advised the show contains strong language. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org

 

‘Man of La Mancha’ Review – Dayton Playhouse – A Quest Fulfilled

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The artistic stars have aligned at the Dayton Playhouse as evidenced in its impressively grounded production of librettist Dale Wasserman, composer Mitch Leigh and lyricist Joe Darion’s 1965 musical Man of La Mancha, astutely directed with clarity and commendable atmospherics by Dawn Roth Smith.

The cast of Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

As is typical with any production of La Mancha, set in a dingy dungeon of despair during the Spanish Inquisition, the engaging, inspirational and dark material lives and breathes on the merits of whomever portrays Miguel de Cervantes/Don Quixote and Aldonza. Thankfully, Tim Rezash and Sarah Viola are firmly at the helm, delivering winning performances layered in deft characterization and vocal assurance. Rezash, instilling noble passion within The Impossible Dream and heartwarming yearning within Dulcinea, wonderfully commands and stimulates the interests of Cervantes’ fellow prisoners, drawing them into the valiant, illusion-driven world of Don Quixote with playful imagination and spirited hope. Viola, an accomplished soprano and a luminous Eliza Doolittle in the Playhouse’s My Fair Lady last season, returns with aplomb, providing gorgeous renditions of It’s All the Same, What Does He Want of Me? and gripping Aldonza.

Ted Eltzroth (left, Sancho) and Tim Rezash (Cervantes/Quixote) in Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

Elsewhere: Ted Eltzroth offers dopey charm as Cervantes’ faithful sidekick Sancho Panza; William “Kip” Moore supplies fun and flair as the Padre (notably interpreting To Each His Dulcinea with gentle grace); Charles Larkowski is a delightfully gleeful Barber; Brad Bishop, in a refreshing departure, is believably formidable as brutish, violent Pedro; Danny Klingler brings appealing sophistication to the Duke/Carrasco/Knight of Mirrors; lovely sopranos Bryn Corbett (Antonia) and Kate Young (Housekeeper) join Klingler and Moore for a terrifically sung and staged I’m Only Thinking of Him; and Lindsey Cardoza (Maria) and dancer Kiersten Farmer (Moorish Lady) uniquely entertain. The admirable company, attractively costumed by Theresa Kahle, includes Richard Lee Waldeck (Captain), Kevin Rankin (Governore/Innkeeper), John Wysong (Jose/Mirror Guard), Stephen Gogol (Tenorio/Mirror Guard), Jamison Meyer (Paco/Moorish Man), Jamie McQuinn (Juan/Moorish Man), and Michael Plaugher (Anselmo/Mirror Guard).

Sarah Viola (Aldonza) and the male ensemble of the Dayton Playhouse’s production of “Man of La Mancha,” continuing through Feb. 2. (Photo by Art Fabian)

In addition to Jonathan Sabo’s excellent scenic design and the evocative lighting design of the aforementioned Waldeck, Smith’s first-rate production team includes choreographer Jeffrey M. Payne, sound designer Bob Kovach, properties designer Laura Rea, and music director Sarah Plaugher, leading a fine orchestra.
La Mancha is really staged these days, so I highly recommend taking the time to catch this classic, which has been treated with great respect and reverence at the Playhouse.

Man of La Mancha continues through Feb. 2 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are 8 p.m. Fridays and Saturdays and 2 p.m. Sundays. The production is performed in two hours without intermission. Tickets are $18-$20. Call (937) 424-8477 or visit daytonplayhouse.com.

 

‘In the Heights’ Review – Muse Machine – This Is America

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Recognizing and respecting other cultures is what truly makes America great. Don’t believe me? Check out Muse Machine’s exhilaratingly joyful production of In the Heights, a wonderfully touching, relatable, topical, and tuneful look at the Hispanic experience in New York City’s Washington Heights neighborhood.
The winner of the 2008 Tony Award for Best Musical and the 36th annual Muse student musical, In the Heights, written by Pulitzer Prize winners Lin-Manuel Miranda (Hamilton) and Quiara Alegría Hudes (Water by the Spoonful), excellently examines love, fear, financial woes, disillusionment, regret, and hope within a small yet busy block of close-knit family and friends. Dominican Republic native and bodega/convenience store owner Usnavi (Nate Saner), holding down the fort with his cousin Sonny (Chavin Medina) while caring for his Abuela Claudia (Gabby Casto), is the central focal point, propelling the immigrant narrative forward in humorous and insightful ways. Elsewhere, cab company owners Kevin and Camila Rosario (Michael Taylor and Sara LiBrandi) have difficulty coming to terms with the news that their beloved daughter Nina (Julie Murphy) hasn’t adjusted to life at Stanford University. Beautician Daniela (Courtney Collinsworth), Daniela’s assistants Vanessa (Charlotte Kunesh) and Carla (Chynia Crane), Kevin and Camila’s faithful employee and Nina’s love interest Benny (Desmond Kingston), Piragua Guy (Nick Bradley), and Graffiti Pete (Quinn Bennett) along with his trusty sidekick Pete (Darian Watson) also accent the colorful action, occurring over an eventful Fourth of July weekend in 2008.

The cast of Muse Machine’s production of “In the Heights” performs “Carnaval del Barrio.” (Photo by Ben Morrison)

Under the breezy, thoughtful co-direction of Jeffrey Polk and longtime Muse choreographer Lula Elzy, the winning principal cast and large ensemble supply strong, witty and mature performances. In a striking Muse debut, the charismatic, sensitive Saner delivers a breakthrough portrayal grounded in authority, vulnerability and a specific mastery of Miranda’s hip-hop lyrics in a manner that would make Jay-Z, Kanye West and Twista very proud. Medina, a standout in past seasons with Dare to Defy Productions and Epiphany Lutheran Church, is back in top form yet refreshingly stretching his gifted abilities in a looser fashion to believably interpret Sonny’s street-savvy swag. The endearingly earnest Castro powerfully renders Pacienca y Fe (Patience and Faith), a signature flashback detailing Abuela Claudia’s thought-provoking account of her Cuban immigrant past. Taylor, a memorable Curly in Carroll High School’s Oklahoma! last year, and LiBrandi, whose remarkable 2018 portrayal of Dolly Levi has already gone down in Muse history, are credibly concerned and compatible. LiBrandi especially ignites Act 2 with a fierce rendition of Enough, which finds Camila caught in the middle of the stubbornness between her husband and daughter. Murphy, a tender Laurie in the Human Race Theatre Company’s 2018 production of Brighton Beach Memoirs, and Kingston, seen as Sam in last year’s Muse production of Mamma Mia! offer pleasant vocals, particularly Murphy’s heartrending Everything I Know and their lovely duet When You’re Home. Kunesh, an outstanding Sophie in Mamma Mia!, absolutely dazzles vocally (It Won’t Be Long Now is an early highlight), choreographically (The Club) and in costume (her snazzy collection of Project Runway-esque day and evening wear are courtesy of Nikki Sherck and Alisa Vukasinovich). Collinsworth, receiving fine support from the appropriately ditzy and enjoyably strut-happy Crane, is as delightfully sassy here as she was last year as Tanya in Mamma Mia! Bradley, a vibrant, athletic tenor, brings sunny optimism to the cheery Piragua.

Courtney Collinsworth (center as Daniela) leads “Carnaval del Barrio” with Desmond Kingston (far left as Benny) and Chynia Crane (far right as Carla) in Muse Machine’s production of “In the Heights.” (Photo by Ben Morrison)

Additionally, Elzy unsurprisingly pulls out the stops as a hip-hop and Latin-infused storyteller. Along with the aforementioned Pacienca y Fe, in which she injects dramatic 1940s scorn into Abuela Claudia’s memories of perseverance, and The Club, a fantastic, character-conscious routine soaring with lively thrills on the level of The Dance At The Gym from West Side Story, her spirited creations of 96,000 and Carnaval del Barrio are flavorful testaments to her diverse expertise in fluidity, movement and rising momentum. In fact, the particularly electrifying, flag-adorning Carnaval del Barrio contains a cavalcade of eye-catching moments, including some cool hip-hop moves performed on the upstage stoop.

The top-notch production team includes producer Douglas Merk (securing the original set design by Anna Louizos), musical director Jeffrey Powell (conducting an impressive 15-piece orchestra), lighting designer John Rensel (bringing beautiful awe to a series of fireworks during Blackout) sound designer Ryan Vallo, property master/rehearsal stage manager Shannon Sellars, production stage manager Morgan Jergens, and artistic consultants G. Armando Silva, Joe Deer, Tyson Randolph, and Lynda Casto.

Nate Saner (center as Usnavi) with Chavin Medina (Sonny) and the cast of Muse Machine’s production of “In the Heights.” (Photo by Ben Morrison)

You will not find this In the Heights ethnically accurate in terms of overall casting. However, the relevancy of its themes, its universal reflections of family, community, legacy, goodwill, and cultural pride wrapped inside the common pursuit of the American Dream, remain terrific hallmarks genuinely stirring the soul.

In the Heights continues through Sunday, Jan. 19 at the Victoria Theatre, 138 N. Main St., Dayton. Performances are 8 p.m. today, 3 and 8 p.m. Saturday, and 2 p.m. Sunday. Act One: 70 minutes; Act Two: 50 minutes. Tickets: 27-$65. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit ticketcenterstage.com

‘The Glass Menagerie’ Review – Xenia Area Community Theater – Chemistry by Candlelight

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Sparks both dramatic and dysfunctional fly profoundly in Tennessee Williams’ landmark 1945 semi-autobiographical memory play The Glass Menagerie. However, in the event those sparks lack pizzazz, two significant safety nets typically make up for any shortcomings, which defines Xenia Area Community Theater’s presentation.

(left to right) Amy Taint (Amanda Wingfield), Kristin Curby (Laura Wingfield) and Ryan Hester (Tom Wingfield) in Xenia Area Community Theater’s production of The Glass Menagerie. (Photo by Mike Taint)

Ben Evory as Jim O’Connor in Xenia Area Community Theater’s production of The Glass Menagerie. (Photo by Mike Taint)

As the centerpieces of Act 2 under the direction of Mike Taint, Kristin Curby and Ben Evory, both delivering XACT debuts, are worth the wait as Laura Wingfield and Jim O’Connor, also known as the Gentleman Caller. The moment a hearty dinner concludes in the dark and Jim is asked to spend some quality time with hopelessly shy Laura by candlelight, this emotionally mild production suddenly finds its footing, enjoyably transitioning into the heartwarming and heartbreaking reunion Williams intended. In high school, the physically challenged Laura pined for All-American Jim, but her deep insecurities and his overwhelming popularity kept them from becoming more than social acquaintances. As if in a dream, after years of wondering what became of Jim, Laura finally has him all to herself, but the unexpected momentousness of the occasion and the hard truth Jim reveals about his relationship status is ultimately too much for her fragile soul to bear.

Kristin Curby as Laura Wingfield in Xenia Area Community Theater’s production of The Glass Menagerie. (Photo by Mike Taint)

Curby, soft-spoken, believably frazzled and nicely costumed by Dee Berdine and Debra Zweber, wonderfully conveys Laura’s expressive arc from reticence (delightfully taking only a pinch of Jim’s chewing gum when offered) to acceptance (energetically recalling Jim’s glory days via her trusty yearbook and lovingly giving him a souvenir from her meaningful glass menagerie). Evory, charismatic, vibrant and sensitive, equally appeals with sharp authenticity recognizing Jim’s delicate balance of attempting to be Laura’s life coach while acknowledging the pitfalls, desires and uncertainty fueling his own topsy-turvy trajectory. In particular, Evory’s effortlessness is an extension of his knack for characterization as a recent graduate of Wright State University’s BFA film program. In fact, his excellent, humorous short film Slushie was featured on opening night of the Dayton LGBT Film Festival last fall.

As for Laura’s overbearing mother Amanda and incredibly disillusioned brother Tom, the central duo driving this landmark drama set in 1937 St. Louis, Amy Taint and Ryan Hester tussle admirably but a fundamental disconnect exists. In his XACT debut, Hester, a notably outstanding George Gibbs in Springfield Stageworks’ Our Town, certainly fares better, giving credence to Jim’s volcanic behavior and overt frustration when pushed to the breaking point and splendidly delivering his quietly reflective and poetic monologues on the deck of the SS Pennwar six years later with great maturity. Conversely, Taint inhabits Amanda with gentle, passive and comedic sensibilities, off-kilter choices diminishing the play’s electricity and Amanda’s inherently dynamic matriarchal strengths. She only rises to an impressive level of domineering authority when Amanda defiantly throws Tom out of her house and her life.

Nevertheless, thanks primarily to Mike Taint’s effective projections and delicately staging one of the greatest scenes in American playwrighting with affection and surprise bolstered by Curby and Evory’s chemistry, this Menagerie still manages to shine.

The Glass Menagerie continues through January 19 at Xenia Area Community Theater, 45 E. Second St., Xenia. Performances are 7:30 p.m. Friday and Saturday and 3 p.m. Sunday. Act One: 75 minutes; Act Two: 75 minutes. Tickets are $17. For tickets or more information, call (937) 372-0516 or visit xeniaact.org.