On Stage Dayton

WSU’s The Wolves Review

February 12, 2020 By Russell Florence, Jr.

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

February 4, 2020 By LIbby Ballengee

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

January 28, 2020 By Russell Florence, Jr.

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

January 23, 2020 By Russell Florence, Jr.

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

January 17, 2020 By Russell Florence, Jr.

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

January 12, 2020 By Russell Florence, Jr.

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.

How to Score a $20 Ticket for RENT!

January 10, 2020 By Dayton Most Metro

Victoria Theatre Association announced today that seats in the first rows of the orchestra section will be available for $20 for every performance of the Premier Health Broadway Series presentation of RENT, the Pulitzer Prize and Tony Award®-winning musical. The $20 tickets are available for in-person purchases at the Ticket Center Stage Box Office located in the Wintergarden of the Benjamin & Marian Schuster Performing Arts Center on the day of each performance only, two hours prior to the show. The $20 tickets are limited to two tickets per person.

Entries will be accepted at the box office beginning two and a half hours before each performance; each person will print their name and the number of tickets (1 or 2) they wish to purchase on a card that is provided. Two hours before curtain, names will be drawn at random for a limited number of tickets priced at $25 each. Only one entry is allowed per person. Cards are checked for duplication prior to drawing. Winners must be present at the time of the drawing and show valid ID to purchase tickets. Limit one entry per person and two tickets per winner. Tickets are subject to availability.

The tradition of these tickets began in 1996 in New York when the show moved to Broadway after a sold-out run in a small downtown theatre. The producers of the show are committed to continuing the tradition of offering these orchestra seats in each city the show will play.

RENT PERFORMANCE AND LOTTERY TIMES

Tues, Jan. 21 Lottery begins at 5 pm. Drawing is at 5:30 pm. Show starts at 7:30 pm.

Wed, Jan. 22 Lottery begins at 5 pm. Drawing is at 5:30 pm. Show starts at 7:30 pm.

Thurs, Jan. 23 Lottery begins at 5 pm. Drawing is at 5:30 pm. Show starts at 7:30 pm.

Fri, Jan. 24 Lottery begins at 5:30 pm. Drawing is at 6 pm. Show starts at 8 pm.

Sat, Jan. 25 Lottery begins at 11:30 am. Drawing is at noon. Show starts at 2 pm.

Lottery begins at 5:30 pm. Drawing is at 6 pm. Show starts at 8 pm.

Sun, Jan. 26 Lottery begins at 10:30 am. Drawing is at 11 am. Show starts at 1 pm.

Lottery begins at 4 pm. Drawing is at 4:30 pm. Show starts at 6:30 pm.

For general ticket information, call the Ticket Center Stage Box Office at 937-228-3630, (toll-free) 888-228-3630, or visit www.ticketcenterstage.com.

Muse Machine presents “In The Heights” with bonus Pre-Show Celebration!

January 9, 2020 By LIbby Ballengee

One the Dayton’s most valuable assets is its robust arts community, from visual art, music, and all forms of performing arts. We cultivate that talent in our youth, through innovative programs like Muse Machine, which serves over 75,000 students in southwest Ohio.

Every January, Muse Machine presents a musical that features more than 100 young people from across the Miami Valley. I was re-introduced to these musical performances last year, and I was simply blown away by the talent these teenagers display. There is no doubt, several . are bound for Broadway!

This year Muse Machine presents “In the Heights“, a musical by Lin-Manuel Miranda (creator of Hamilton). The story explores three days of the characters’ lives in the NYC Latino neighborhood of Washington Heights. On the brink of change, friends and family bring their hopes and dreams to life. The score features hip-hop, salsa, meringue and soul music.

The Muse Machine musical has been praised by The Dayton Daily News as “a performing arts all-star effort,” while The Oakwood Register has called it “an evening of true theatrical joy… ” You can see it for yourself Thursday January 16th through Sunday January 19th at the Victoria Theatre in Dayton, Ohio, January 16-19, 2020. Tickets available now through Ticket Center Stage.

Of course attending the performance is a fantastic way to support the organization. If you want to go above and beyond, and have some pre-show fun with fabulous people, consider attending Muse Machine’s annual Social & Show from 5:30 – 7:30 on Friday, January 17, 2020.

There you’ll enjoy cocktails & heavy hors d’oeuvres at Table 33. Each ticket will include food and two drink tickets with choice theatre seating. It’s an evening you won’t want to miss! Ticket sales for the Social & Show end January 11, 2020, so don’t delay!

HOW TO GO?

Social & Show Pre-Show Party / Fundraiser

Friday, January 17, 2020

5:30 – 7:30pm
Cocktails & heavy hors d’oeuvres
Table 33 (130 W 2nd St, Dayton OH 45402)

Muse Machine presents the hit musical
IN THE HEIGHTS at 8pm
From Lin-Manuel Miranda, creator of HAMILTON
Victoria Theatre (138 N Main St, Dayton OH 45402)

Each ticket includes food, two drink tickets and deluxe theatre seating (seats will be assigned on a first come, first served basis). $45 Ticket for Social only / $100 Social & Show

For info and registration: http://musemachine.com/social/

In the Heights performances:

Thursday January 16, 2020 7pm

Friday, January 17, 2020 8pm

Saturday, January 18, 2020 3pm

Saturday, January 18, 2020 8pm

Sunday January 19, 20020 2pm

Tickets start at $27 and can be purchased here: https://my.ticketcenterstage.com/overview/6144?fbclid=IwAR04TtWvd-b5JrnGUPpTueUuNmU0tlgtFZOS2nboT3JzjTZBIG_wUJYA77w

‘Icebergs’ Review – Dayton Theatre Guild – Tinseltown Anxiety

December 9, 2019 By Russell Florence, Jr.

Hip thirtysomethings evaluating life and love is the foundation of Alena Smith’s 2016 contemporary comedy Icebergs, currently receiving an enjoyable local premiere at the Dayton Theatre Guild through Sunday, Dec. 15.

(back row left to right) Sha-Lemar Davis (Abigail), Lorin Dineen (Molly), (front row left to right), Maximillian Santucci (Calder), S. Francis Livisay (Reed), and Titus Unger (Nicky) comprise the cast of the Dayton Theatre Guild’s production of Alena Smith’s comedy “Icebergs,” continuing through Dec.15. (Photo by Craig Roberts)

Set in Los Angeles on the Day of the Dead and adeptly directed by Debra Kent with realistic casualness befitting a laid-back get-together among close friends, Icebergs revolves around the latest film project from up-and-coming indie writer/director Calder (Maximillian Santucci, terrifically fretful and passionate). Calder has his heart set on adapting a melancholy memoir about a couple facing adversity at the North Pole, but situations aren’t going according to plan at work or at home. In fact, he’s without a major female star and has begun to second-guess his decision not to have initially offered the role to his aspiring actress wife Abigail (Sha-Lemar Davis, believably distraught and paranoid). As Calder deals with questions surrounding his film and Abigail grows uncertain about her career, their evening is broadened by the eventful arrivals of Calder’s old college buddy Reed (outstanding S. Francis Livisay), Abigail’s longtime friend Molly (quirky yet sophisticated Lorin Dineen) and Calder’s slick, supportive agent Nicky (admirable Titus Unger). Together, this opinionated quintet, nestled comfortably within the attractive suburban chic domain of set designer Chris Harmon, engages in a series of random, thought-provoking topics ranging from earthquakes, climate change and carbon footprints to parenthood, homophobia and social media.

Smith, who notably served as writer and producer of Showtime’s The Affair and also wrote for HBO’s The Newsroom, captures the spirited essence of L.A. to the tee. For example, if you’re a cinefile, you’ll love the references to Jessica Chastain, Kirsten Dunst, the Oscars, and Children of Men among others. But on a deeper level, she effectively uses Calder and Abigail’s marriage to expose the complexities of family planning, specifically whether or not it’s ever an apt time to bring innocent children into a world in which the odds seem stacked against them environmentally and socially. In particular, Davis, smoothly maintaining a sense of depressed unease throughout, excellently accelerates the stakes at play for the future of humanity. Elsewhere, the delightfully charismatic Livisay receives a prime moment of chilling reflection late in Act 2 as the previously upbeat Reed reveals details surrounding the racism he has encountered back home in Missouri.

Icebergs isn’t life-changing theater, but it’s certainly a refreshing change of pace for the Guild, in the midst of celebrating its 75th anniversary season. It’s been a while since this troupe, carrying an affinity for the classics and other works with a tendency to look back, has embraced a script containing a distinctively young, cool, profane, and progressive off-Broadway vibe. Seeing this wonderfully diverse cast feel the groove of Drake’s Hotline Bling is a hopeful sign that the Guild is prepared to take more risks, loosen up, and embrace the possibilities of unchartered territory.

Icebergs continues through Dec. 15 at the Dayton Theatre Guild, 430 Wayne Ave., Dayton. Performances are 8 p.m. Friday, 5 p.m. Saturday and 3 p.m. Sunday. Act One: 55 minutes; Act Two: 40 minutes. Tickets are $20 for adults, $18 for seniors and $13 for students. For tickets or more information, call (937) 278-5993 or visit daytontheatreguild.org. Patrons are advised the show contains strong adult language.

Join in DCDC’s “In the Spirit of… Abundant Blessings” Holiday Performance

December 3, 2019 By LIbby Ballengee

Dayton’s own world renowned Dayton Contemporary Dance Company is back for a hometown an unforgettable holiday extravaganza with In the Spirit of… Abundant Blessings, a celebration of the African-American church. Performances take place on Saturday, December 7 at 7:30pm or Sunday, December 8 at 4pm at the Victoria Theatre, located at 138 N. Main St. in Dayton.

This holiday performance is a switch up from recent years. The company has been performing the beloved Littlest Angel production traditionally. Although a tradition, this swap up is sure to excite Dayton audiences. Not only is the dance quality tremendous, there is live music too!

Music is provided by a collection of amazing talent including The Jeremy Winston Chorale, the Frederick Douglass Elementary Children’s Choir, Judah Band, Music Director Deron Bell with a mass community choir, and nationally renowned gospel singer – the legendary Shirley Murdock. This performance transports audiences to a higher plane of joy and belonging. It’s a holiday offering the entire family is sure to enjoy!

DCDC will also be paying tribute to Sheri “Sparkle” Williams’ 46th year with the company, as is DCDC’s and one of the nation’s most recognized contemporary dance artists.

“This is a wonderful culminating event for our 50th Anniversary. In the Spirit of .. is one of my favorite offerings because it brings the community together. It is a season for giving and sharing. Stepping into our 51st season is no small feat; if not for our dream of our founder, Jeraldyne Blunden, we would not have this wonderful legacy that lives on throughout Dayton, the nation, and the globe. I’m looking forward to celebrating with you the gifts of our abundant blessings.” – Debbie Blunden-Diggs, DCDC Chief Artistic Administrator and Producing Director.