Yearly Archives: 2017

BEAUTIFUL: The Carol King Musical Runs May 2-14

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Curt Bouril as Don Kirshner, Liam Tobin as Gerry Goffin, Abby Mueller as Carole King, Ben Fankhauser as Barry Mann & Becky Gulsvig as Cynthia Weil. Photo by Joan Marcus.

BEAUTIFUL: The Carol King Musical
Broadway in Cincinnati
May 2-14
Aronoff Center [Downtown]

Long before she was Carole King, chart-topping music legend, she was Carol Klein, Brooklyn girl with passion and chutzpah. She fought her way into the record business as a teenager and, by the time she reached her twenties, had the husband of her dreams and a flourishing career writing hits for the biggest acts in rock ‘n’ roll. But it wasn’t until her personal life began to crack that she finally managed to find her true voice.

Beautiful: The Carole King Musical tells the inspiring true story of King’s remarkable rise to stardom, from being part of a hit songwriting team with her husband Gerry Goffin, to her relationship with fellow writers and best friends Cynthia Weil and Barry Mann, to becoming one of the most successful solo acts in popular music history. Along the way, she made more than beautiful music, she wrote the soundtrack to a generation.

  • Tue-Thu, May 2-4 at 7:30pm
  • Fri, May 5 at 8pm
  • Sat, May 6 at 2pm & 8pm
  • Sun, May 7 at 1pm & 6:30pm
  • Tue-Thu, May 9-11 at 7:30pm
  • Fri, May 12 at 8pm
  • Sat, May 13 at 2pm & 8pm
  • Sun, May 14 at 1pm & 6:30pm

Official page |

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THE TEMPEST Runs April 28-May 20

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Nicholas Rose as Prospero in THE TEMPEST. Photo by Mikki Schaffner Photography.

THE TEMPEST
Cincinnati Shakespeare Company
April 28-May 20
Downtown

Betrayed and exiled to a deserted island, with only his books and his infant daughter for company, the magician Prospero has spent years plotting his revenge. When fate places all his old enemies within his reach, Prospero summons a magical storm that brings them crashing down onto his shores. This romantic tale replete with magic and monsters, love and liquor, and retribution and redemption is a voyage you won’t want to miss.

  • In preview, Wed-Thu, April 26-27 at 7:30pm. All seats $25.
  • Fri-Sat, April 28-29 at 7:30pm
  • Thu-Sat, May 4-6 at 7:30pm
  • Sun, May 7 at 2pm
  • Thu-Sat, May 11-13 at 7:30pm
  • Sun, May 14 at 2pm
  • Thu-Fri, May 18-19 at 7:30pm
  • Sat, May 20 at 2pm & 7:30pm

Official page |

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The Human Race Theatre Company Announces the Cast and Creative Team for World Premiere of FAMILY TIES

One of the most beloved television families of the 1980s returns as Alex and the Keatons take to the stage in Daniel Goldstein’s new comedy, June 1 – 25, 2017 at the Loft Theatre.

Jim Stanek

Jim Stanek.

(Dayton, OH) — The Human Race Theatre Company (HRTC) announces the cast and creative team for its 30th anniversary season closer, the world premiere comedy Family Ties, written by Daniel Goldstein (The Song of Songs, Unknown Soldier and Row), based on the classic television series, directed by HRTC President & Artistic Director Kevin Moore and produced by special arrangement by Araca Media & Entertainment. The preview performance of Family Ties is Thursday, June 1. Opening night is Friday, June 2, and the production runs through June 25 at HRTC’s home at downtown Dayton’s Loft Theatre.

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Eve Plumb.

The six-member cast features Jim Stanek (Fun Home, Lestat, The Rivals on Broadway) as “Alex,” Eve Plumb (TV’s The Brady Bunch, Dawn: Portrait of a Teenage Runaway and Fudge, Unbroken Circle Off-Broadway) as “Elyse” and Lawrence Redmond (Intelligence at Arena Stage, A Prayer for Owen Meany at Cincinnati Playhouse in the Park, Elmer Gantry at Signature Theatre) as “Steven.” Thea Brooks (Dirty Dancing 1st national tour, I Love Lucy, Live on Stage national tour) plays “Mallory,” Sara Mackie (Hands on a Hardbody and Other Desert Cities at Ensemble Theatre of Cincinnati, Green Gables for HRTC) is the youngest daughter, “Jennifer.” Maggie Lou Rader (Heavier Than… at Know Theatre Cincinnati, Emma and Little Women at Cincinnati Shakespeare Company) rounds out the ensemble as Alex’s love interest, “Ellen.”

The creative team includes Tamara L. Honesty (Other Desert Cities, Becky’s New Car and Lombardi at HRTC), scenic design; Janet G. Powell (Sweeney Todd, The Full Monty and the world premiere of Family Shots at HRTC), costume design; Human Race Resident Artist John Rensel (The Glass Menagerie, Crowns and Next to Normal for HRTC), lighting design; Human Race Resident Artist Jay Brunner (the world premiere of 26 Pebbles, The Glass Menagerie and Hail Mary! at HRTC) sound design; and Lexi Muller, production stage manager.

Family Ties reunites audiences with one of the most beloved television families of the 1980s. Twenty years have passed and Alex P. Keaton, now running for Congress, returns to his parents’ Columbus home with his sisters, Mallory and Jennifer, who are parents of their own. Gathered together once again, they relive some of the most important moments from their childhood—the growing pains, heartbreaks and reconciliations—with fondness and appreciation for simpler times that defined a generation.

The Human Race Theatre Company’s production of Family Ties is under license by CBS Consumer Products and sponsored by the Miriam Rosenthal Foundation for the Arts, Marion’s Piazza, Beth and Alan Schaeffer and The George B. Quatman Foundation – Fifth Third Bank, Trustee.

PERFORMANCE AND SPECIAL EVENT INFORMATION
Tickets for the preview performance of Family Ties on June 1 start at $35 for adults, $32 for seniors and $17.50 for students. For all performances June 2 – 25, single ticket prices start at $40 for adults, $37 for seniors and $20 for students. Prices vary depending on the day of the week and seating location. Group discounts are available for parties of 10 or more. The Human Race is offering a pair of discount ticket opportunities during the run of the show. A limited number of $12 and $25 side-area seats are available in advance for all performances. The Sunday, June 4 7:00 p.m. performance is “Sawbuck Sunday,” when any available seat 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 Human Race’s home in the Metropolitan Art Center’s Loft Theatre, located at 126 North Main Street in downtown Dayton, Ohio. Show times for Family Ties are 8:00 p.m. on Thursday, Friday and Saturday evenings. Performances on Sunday, Tuesday and Wednesday evenings begin at 7:00 p.m., and at 2:00 p.m. on Sunday matinees.

Tickets and performance information for Family Ties are available at www.humanracetheatre.org or by calling Ticket Center Stage at (937) 228-3630, and at the Schuster Center box office.

# # #

Now celebrating its 30th anniversary, 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 new works development and special event programming. Under the direction of President and Artistic Director Kevin Moore, the company also maintains education and outreach programs for children, teens and adults, as well as artist residencies in area schools, an In-School Tour, and a summer youth program. 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, 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 2016-2017 Sustainability Sponsors are the ELM Foundation, Anne F. Johnson, Steve and Lou Mason, and Morris Home Furnishings. The 2016-2017 Loft season sponsor is the Jack W. and Sally D. Eichelberger Foundation of the Dayton Foundation, with additional support from Premier Health.

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DISENCHANTED! Review

DISENCHANTED! presented The Carnegie through April 9. Click here for more information on the production. I attended the opening night performance.

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Blair Godshall as Sleeping Beauty, Sara Kenny as Snow White & Allison Evans as Cinderella. Photo by Mikki Schaffner Photography

Closing out their theater season, The Carnegie offers a big and bawdy cabaret show featuring some of your favorite princesses from the House of Mouse.

The show is well-cast. All the performers have lovely singing voices, a Disney trademark, in addition to strong comic timing that make the bits work.

Leading the ladies, whether they want her to or not, is Sara Kenny as Snow White. Kenny has always been a comedy gem, but this role gives her comic chops a bit more bite and the result is extremely funny.

As Cinderella, Allison Evans is great fun as that too perfect, too perky friend. Blair Godshall is a treat as the physically awkward, slightly-narcoleptic Sleeping Beauty. Brittany Hayes has some great vocal chops; it’s just a shame that her Princess Who Kissed the Frog doesn’t hit the stage until Act II.

Mikayla Renfrow shows great versatility as Mulan, Pocahontas and Jasmine. I would have enjoyed seeing more physicality in the three characters to help define them individually.

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Gabriella Francis as the Little Mermaid. Photo by Mikki Schaffner Photography

Gabriella Francis is hilarious as a trapped Belle and a wrong-side-of-the-tracks Little Mermaid. The Rapunzel number, “Not V’One Red Cent,” didn’t quite gel for me. This might be the one number where the choreography didn’t quite fit. Based on Rapunzel’s costume, maybe something more “Blond Ambition” or “Chicago”-esque. 🙂

During several songs, comic bits interrupt the musical numbers. The issue I saw was that the energy level from the song drops during the comedy, so when the cast returns to the finish out the number it ends a bit flat comparatively.

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Sara Kenny as Snow White, Brittany Hayes as the Princess Who Kiss the Frog, Allison Evans as Cinderella, Gabriella Francis as the Little Mermaid & Mikayla Renfrow as Hua Mulan. Photo by Mikki Schaffner Photography

For the most part, I really enjoyed the costumes for the production, designed by Cheyenne Hamberg. Favorites include Snow White, The Little Mermaid, and Princess Badroulbador (aka Jasmine). I always loved Cinderella’s replacement footwear. The only costume that seems to miss its target is the one designed for the Princess Who Kissed the Frog.

Unfortunately sound issues continue to trouble productions at The Carnegie. Volume and balance was great, but the problem usually reared its head during the group numbers. As my guest for the performance said, “I can hear them; I just can’t understand them.” I wish I had some insight to help address this issue.

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Allison Evans as Cinderella, Sara Kenny as Snow White & Blair Godshall as Sleeping Beauty. Photo by Mikki Schaffner Photography

The set design by Tyler Gabbard is resplendent in purple and pink and just screams Disney. The stage curtain, lighted proscenium, footlights, and crown over the stage well defined the space and showed great attention to detail.

Overall, a funny and entertaining night out for adults. Find out what happens when princesses stop being polite – and start getting real…

My rating: 4.5 out of 5

I would enjoy hearing what you think about the show or my review. All I ask is that you express your opinion without attacking someone else’s opinion. You can post your comments below.

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A RAISIN IN THE SUN Review

A RAISIN IN THE SUN presented by Cincinnati Shakespeare Company through April 15. Click here for more information on the production. I attended the opening night performance.

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Burgess Byrd as Lena Younger. Photo by Mikki Schaffner Photography.

Cincinnati Shakespeare Company’s dedication to bringing theater Classics to the stage reaches new heights with their amazing production of Lorraine Hansberry’s A RAISIN IN THE SUN.

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Geoffrey Warren Barnes as Walter Younger and Torie Wiggins as Ruth Younger. Photo by Mikki Schaffner Photography.

Guest director Christopher V. Edwards has a clear vision for the production and easily pulls the audience into the completely believable world he has created. I really can’t remember anything that pulled me out of the moment. Although the three acts clock in at two and a half hours, I never found the pace lagging.

As family matriarch Lena Younger, Burgess Byrd shines. Her character is equal parts strong-willed and God-fearing, who doesn’t suffer fools lightly, especially within her own family. Byrd is easily likable and completely believable in a role beyond her years. Her joys and sorrows touch the audience.

Geoffrey Warren Barnes II is appropriately, borderline-unlikable as Lena’s son, Walter Lee. Unhappy with his lot in life, he pins his hopes that a looming family windfall will open the door to his search for success. Walter Lee’s jealousy, rise, fall, and redemption are handled extremely well by the actor.

The old saying that men tend to marry a woman like their mother rings true with Torie Wiggins in the role of Ruth Younger, Walter Lee’s wife. Many of the qualities of Lena are mirrored in her character. I very much enjoyed how Torrie maintained an active presence in every scene.

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Darnell Pierre Benjamin as Joseph Asagai and Renika Williams as Beneatha Younger. Photo by Mikki Schaffner Photography.

Renika Williams is a force of nature as Benetha Younger (Lena’s daughter). She brings a maturity beyond her years and a great sense of self to the character.

The solid ensemble is rounded out with Shadow Avili as Travis Younger (Ruth and Walter Lee’s son), Darnell Pierre Benjamin as Joseph Asagai (the Nigerian student in love with Benetha), Jeremy Dubin as Karl Lindner (the Clybourne Park Improvement Association representative), Sylvester Little, Jr. as Bobo (Walter Lee’s business partner), George Murchison as Crystian Wiltshire (a wealthy suitor of Benetha’s) and Shanessa Sweeney in a hilarious turn as the Younger’s busy-body neighbor, Mrs. Johnson.

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Burgess Byrd as Lena Younger, Torie Wiggins as Ruth Younger, and Shanessa Sweeney as Mrs. Johnson. Photo by Mikki Schaffner Photography.

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Burgess Byrd as Lena Younger and Shadow Avili’ as Travis Younger. Photo by Mikki Schaffner Photography.

The set, properties, and costumes convincingly defined the period. Congratulations to scenic designer Shannon Moore, costume designer Amanda McGee, lighting designer Justen N. Locke, sound designer Douglas J. Borntrager, property master Sara Sharos and their supporting teams.

Many times, reviewers speak of how an older script (this one debuted on Broadway in 1959) remains relevant today. Sadly, almost 60 years later, A RAISIN IN THE SUN speaks to how little progress has been made on many of the social issues explored in this drama.

Overall a near-perfect, emotionally-satisfying production of this wonderful, seldom-staged production. I highly recommend that you take advantage of this rare opportunity.

My rating: 5 out of 5

I would enjoy hearing what you think about the show or my review. All I ask is that you express your opinion without attacking someone else’s opinion. You can post your comments below.

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