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October 2008
Beastie Boys, celebs rock the vote
TROTWOOD — The big-name, relatively low-priced concert tour that came to town Thursday night, Oct. 30, to promote voting may be selling out elsewhere, but the show — which featured performances by the Beastie Boys, Sheryl Crow and Ben Harper — barely reached half capacity at our own 6,000-seat Hara Arena.
Perhaps the conflict of Beggars’ Night the same evening affected ticket sales. Or perhaps the $36 price tag (plus $10! to park), was still too high in a tight economy, despite the fact that it was half what Crow charged for her last sell-out performances at Fraze Pavilion summer before last.
Or perhaps we’re suffering from collective election fatigue.
Many people certainly seem weary of hearing how important their votes are, in this important swing state, in this important election year.
While ostensibly a non-partisan event, Thursday night’s show was nonetheless a political affair, with between-set speakers — including an impassioned Max Kennedy, son of Robert F. Kennedy — urging political participation.
“I can’t tell you who I’m going to vote for,” Kennedy said. “But it rhymes with Yo Mama.”
Kennedy’s comments seemed to meet with a more favorable response, however, than Crow’s calls for action.
Performing a 50-minute set that also featured the participation of singer-songwriter Ben Harper, who had opened the show with his own soulful 50-minute set, Crow played a selection of her songs that if they weren’t already politically flavored, certainly took on a political cast in the context of Thursday’s concert setting.
Opening with a solo acoustic version of “Bless This Mess,” and sounding like a classic folk singer in the process, Crow brought out her full band for a rocking “A Change Would Do You Good.” She followed with a trippy “Gasoline,” a Western-vibe “Redemption Day” and a soaring “If It Makes You Happy.” She concluded with “Out of Our Heads,” inspired by a meeting with the Dalai Lama, and a funky cover of Stevie Wonder’s “Higher Ground.”
While Crow had her fans, the crowd went wild for headline act Beastie Boys, which offered up a high-energy hour of hits, punctuated by a priceless appearance by the actor Ben Stiller.
Stiller first came out unannounced, dressed like the be-hatted and baggy-clothed Adam Horovitz (aka Ad-Rock), with whom he exchanged places to finish out a performance of “Root Down.” He came out during the encore as himself to provide an extended scream on “Sabotage,” which the Boys dedicated “to some broken voting machines in Florida.”
Other highlights of the show, throughout which the crowd on the floor moved in a united pulse of bobbing heads and pumping fists, included “Ch-Check It Out,” “No Sleep Till Brooklyn” and “So Wat’cha Want.”
If the Boys didn’t rock the vote, they certainly rocked the house — what there was of it, anyway.
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Buy a Staind ticket get a Hinder ticket free
This Halloween 103.9 WXEG is offering more treats than tricks for Dayton rock fans …
For a limited time, listeners who purchase a Staind X-feast Before Thanksgiving ticket (with Seether, Papa Roach & State of Shock on Saturday, Nov. 22 at Hara Arena) will receive a free ticket to Jagermeister Music Tour (Hinder, Trapt and Rev Theory, plus Shinedown and Red on Monday, Dec. 15 at Nutter Center).
The offer is valid only at the Hara Arena ticket office, Friday, Oct. 31, 9 a.m. to 5 p.m. and Saturday, Nov. 1, 9 a.m. to 5 p.m. or while supplies last and the offer is NOT valid for previously purchased ticket orders.
Hara Arena is located at 1001 Shiloh Springs Road, Dayton. For more information call (937) 278-4776.
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Ballet “Dracula”: No words, sharp bite
Dracula never forgets those with enticing necks and they certainly remember him. It’s not quite the same with Stuart Sebastian’s ballet “Dracula.” Maybe because there are so many variations on vampire tales, it melts from the mind when out of sight.
The Dayton Ballet’s latest revival of the two-act work reminds that it’s considerably more than just another Halloween season dress-up show. It’s a dance drama with physical, visual and design impact.
Particularly by the leading women, the 18-year-old adaptation may never have been performed more effectively than on opening night, Thursday, Oct. 23.
Jennifer Grund was transfixing as Lucille Westenra, who encounters the Count (Justin Michael Koertgen in a powerful portrayal) at the opera not long after slapping the cheek of a perfect gentleman (Robert Morrow as Dr. John Seward) for trying to sneak a kiss.
Dracula has way more than a kiss in mind and gets his way following an extended pas de deux in which he lifts, balances, folds, unfolds, embraces and all but devours Lucille. Pale, possessed, but still emoting an instinct to resist, Grund hovers on the tips of her arched feet, perfectly displayed beneath the hem of gown.
Sadness for a lost friend is stronger than fear or desire in Dracula’s next victim, Wilhelmina Murray (Halliet Slack in a performance demonstrating that her dancing as Blanche in last season’s “Streetcar” was no aberration). Richard Grund gave a more than solid effort as her fiance Jonathan Harker, but mere mortal men have a disadvantage in this ballet.
Rino Shinozaki-Greenwood was Victoria Van Helsing and Eduard Forehand was her father, Dr. Van Helsing. Most roles, including those of Dracula (Grant Dettling alternates with Koertgen) and Lucy (Oren Porterfield) were double-cast.
The two most obviously repetitious aspects are the abuse of poor Renfield, danced with balance, flexibility and soft landings by Justin Allen, and the snarling, hissing, windmilling of the bad-girl Vampire Wives. Keenan McLaren, Christy Forehand and Ashley Sass can’t be blamed for that. It’s the choreography.
The overdone elements would be much worse and this would be a less effective production if the members of Dayton Ballet had added overacting to the sauce. They didn’t and some of the credit for that has to go to Karen Russo Burke and former company members Laura Frock Hinders, Sharon Lancaster, Megan McCarthy and Daniel Powers, who team-staged “Dracula.”
Two reasons “Dracula” has gotten better with age are the enduring effectiveness of Lowell Mathwich’s costumes and Chris Phillips’ sets and lighting.
If you haven’t seen it, the Dayton Ballet proves that a “Dracula” without words — but not screams — can be very effective. If you have, you may have forgotten how good it is.
“Dracula” continues through Sunday, Oct. 26, at the Victoria Theatre, First and Main streets. Tickets are $27-$59 at (937) 228-3630 or www.ticketcenterstage.com. Contact this reporter at (937) 225-2377 or tmorris@DaytonDailyNews.com.
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Human Race’s “Ears on a Beatle” well worth a look
Ryan Wesley Gilreath (L) and TIm Lile in “Ears on a Beatle.”
DAYTON — Mark St. Germain’s play “Ears on a Beatle” seems in line with the usual liberal groove when it begins: those who challenge the system positive, brave and exciting, while those who muddle along trying to preserve the status quo by any means possible are disturbing bumblers.
The play without intermission is about two FBI agents. “We always win,” no matter which party is in power, one tells the other as they stalk former Beatle John Lennon in 1971 because of his anti-war views. They’re trying to get enough dirt on him to get his visa revoked. The cause is serious to them, but comically melodramatic from a current point of view.
The amusing, thought-provoking and open-minded 90-minute production by The Human Race Theatre achieves a complete evolution by the time it ends. Directed with detail and a satisfying big picture by Alan Souza, it’s played by Tim Lile and Ryan Wesley Gilreath on an ingenious set by Dan Gray that proves equally transformative. Eleven drawers high and more than 20 wide, it harbors park benches, office desks, pay phones and other equipment. John Rensel’s lighting is another effective element.
Lennon, the focus to begin with, is never seen but always present — whether in projected image, or in recordings. The agents are all but obsessed with him. He turns out to be completely human.
Stereotypes at the start, the agents gradually become complex individuals who reverse earlier perceptions. The play is really about them.
Daniel McClure (Gilreath) progresses from young and sympathetic enough to infiltrate Lennon’s camp to an FBI man through and through less than 10 years later. Howard Ballantine, seemingly a veteran, by-the-books company man, proves to have his own radical side. A high point of the production is Lile’s passionate delivery of an extended near-soliloquy that reveals Ballantine’s intricate nature.
“Ears on a Beatle” will continue through Nov. 2 in the Eichelberger Loft Series at 126 N. Main St. Tickets are $37-$40. Call (937) 228-3630 or (888) 228-3630 or www.ticketcenterstage.com.
Gilreath (L) and Lyle as agents McClure and Ballantine in “Ears on a Beatle.”
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My ears are tired! But I’m not complaining (too much)
DAYTON — This past weekend, Oct. 17-19, may well have been the busiest this fall for fine-music patrons.
Vanguard Concerts welcomed award-winning violinist Mayuko Kamio, supported by top-tier accompanist Rohan De Silva, in a recital at the Dayton Art Institute on Friday, while Cityfolk launched its 2008-09 Celtic Series with “An Irish Homecoming” at Victoria Theatre that same evening.
Saturday then presented the dilemma of choosing between the opening-night festivities of Dayton Opera’s new production of Puccini’s “Turandot” at the Schuster Center and the opening recital of the Soirees Musicales International Piano Series, which promised an all-Chopin program by San Diego-based Aleck Karis. What’s more, Cityfolk was hosting a performance of gypsy jazz guitar virtuosity by the John Jorgenson Quintet at Canal Street Tavern.
Then on Sunday, the Bach Society of Dayton pulled out all the stops for a late afternoon organ-centric program at Kettering Seventh-day Adventist Church, followed in the evening by a recital by world-class pianist Robert DeGaetano in the sanctuary of First Presbyterian Church in Yellow Springs.
Needless to say, difficult choices had to be made Friday and Saturday, but the Sunday schedule left enough room to attend both of the day’s offerings — if you ate dinner on the run, that is.
Both of Sunday’s programs felt worthy of attendance, and neither disappointed. But both also seemed to suffer the effects of too much of a good thing.
Perhaps the weariness of a full weekend clouded my perceptions, but the Bach Society seemed to try to do too much, while DeGaetano tried to squeeze a large concert hall sound into a small sanctuary setting. The first felt too long, while the second felt, well, too loud — at least to these overloaded ears.
The length of the Bach Society concert wasn’t just an issue of time, however, because the singers also seemed to flag during the second half of the program, their endurance pushed to the limit.
Nevertheless, the member-run amateur group achieved some remarkable heights, particularly in the opening Kyrie and the closing Agnus Dei of the Josef Gabriel Rheinberger’s Mass in E-flat Major.
The return to town of Peter Ciaschini, former concertmaster of the Dayton Philharmonic Orchestra, to play Rheinberger’s Suite for Violin and Organ was another highlight.
The DeGaetano recital in Yellow Springs, presented by the Adams Foundation of New York in collaboration with the local Yellow Springs Community Council, was big from beginning to end.
The exhaustive — and exhausting — program ranged from a late Beethoven piano sonata, to four variegated Chopin works, to Rachmaninov’s “Variations on a Theme of Corelli,” to a Minimalistic composition by the soloist, to a pair of French Impressionist works by Maurice Ravel and Claude Debussy.
DeGaetano, an extraordinary artist with a driving, assertive approach, never flagged.
The effect was not unlike being knocked over by an ocean wave of musical ideas.
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Dayton Opera’s ‘Turandot’ triumphs
DAYTON — While love triumphs at the conclusion of “Turandot,” the last opera by beloved Italian composer Giacomo Puccini, the Dayton Opera has triumphed in its new production of the work, which opened a three-performance run Saturday night, Oct. 18, at the Schuster Center.
The three-act opera, set in a mythical Imperial China, is an elaborate spectacle of pomp and pageantry that also features moments of intense intimacy.
Stage director Benjamin Spierman writes in his program notes that a major challenge in mounting the work is balancing the private and the public in a convincing and dramatically satisfying way.
He and his strong cast — guided by the floor plan of Puccini’s emotive score — have succeeded spectacularly.
Incisive conducting by Steven M. Crawford, leading the Dayton Philharmonic Orchestra in the pit, also helped the principal singers and large, reliable chorus flesh out the musical nuances.
Anchoring the performance on stage was the Korean-born tenor Dongwon Shin, whose powerful yet tender vocals make him an ideal Prince Calaf; while soprano Robin Follman, in the title role, presented an unqualified princess to die for.
Soprano NaGuanda Nobles infused the story with a purity of heart that nicely balanced Princess Turandot’s initially apparent lack thereof.
The trio of Ping, Pang and Pong — played, respectively, by baritone Kyungmook Yum and tenors Jin Ho Hwang and Joesph Hu — provided their requisite levity, along with a sense of personality that transcended stock characterizations — not to mention some lovely singing.
Additional performances are Oct. 24 and 26; call (937) 228-3630 for tickets.
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‘An Irish Homecoming’
DAYTON — The “Irish Homecoming” concert Friday night, Oct. 17, at Victoria Theatre was everything you might think an Irish homecoming would be.
The multiple act showcase, hosted by the all-female Irish-American band Cherish the Ladies, featured lots of laughter, a few tears, a variety of stories, plenty of dancing, some group sing-alongs and several moments of pure musical magic.
“This is just the second time we’ve done this show,” Cherish the Ladies’ leader and spokeswoman Joanie Madden told the audience near the end of the more than 2½-hour performance.
“Can you tell?” she asked, knowing full well that the answer was likely, “Well, yes, we can.”
But did it matter? Not really.
The evening had a certain slap-dash quality of not having yet fully jelled, but the spontaneous, unpredictable aspect offered its own rewards.
The effect was like a family reunion where certain family members could be counted on to stir things up.
Veteran vocalist Maura O’Connell was one of the main stirrer-uppers Friday, with a mischievous wit and a forceful personality that matched Madden’s own powerful presence.
The six women of Cherish the Ladies stayed on stage most of the evening, welcoming to their midst not only O’Connell, but also the Chicago-based accordion and guitar duo bohola, singer-songwriter Dermot Henry, fiddler and step-dancer Dan Stacey and a six-person ensemble of Irish step-dancers that included the area’s own John and Heather Timm.
The performance, the opening concert of Cityfolk’s 2008-09 Celtic Series, had the audience on its feet by evening’s end.
Hugs all around seemed the appropriate response.
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CMT on tour redux
FAIRBORN — When the CMT on Tour ‘08 show — featuring headliner Jason Aldean, the trio Lady Antebellum and newcomer Eric Durrance — rolled into Wright State University’s Ervin J. Nutter Center last week, representatives of the Country Music Television network stopped by as well.
More specifically, Lance Smith, host of the cable network’s “Top 20 Countdown” program, was in town shooting footage for this week’s show. According to the CMT Web site, the program (airing first at 1 p.m. Friday, Oct. 17) invites viewers to “(t)une in and get the latest as (the concert) stars perform … and tailgate outside of their buses. Also, watch as Smith visits the sites in the area, including the US Air Force Museum and Carillon Historical Park.”
For those who missed it, below is the concert review that ran the next day in the Life section of the “Dayton Daily News’” print edition:
Hot ticket warms up a sparse crowd
Jason Aldean headlines Nutter show with Lady Antebellum and Eric Durrance.
FAIRBORN — The folks at Country Music Television (CMT) put together an undeniably hot ticket when they tapped hit-maker Jason Aldean to headline a tour bill that also features smokin’ trio Lady Antebellum and newcomer Eric Durrance.
What they apparently forgot to take into consideration — as far as the tour’s Friday night, Oct. 10, stop at Wright State University’s Ervin J. Nutter Center — is that a fall Friday night around these parts means high school football to a good portion of the show’s target audience.
Surely, that explains the Nutter Center’s relatively sparse crowd, since the show’s modestly priced tickets would normally invite a fuller arena.
But then, these aren’t normal times, as the opening song of Lady Antebellum’s 40-minute set seemed to refer — despite being written more than a year ago: “This world keeps spinning faster, into a new disaster …”
That’s for sure.
The crowd’s warm appreciation for Lady A turned to adulation when headliner Aldean took the stage.
An entertainer who combines the energy of rock with the real-life themes of country music, Aldean filled his show with musical variety.
Rough and rowdy tunes such as his mega-hit “Hicktown” which concluded the Georgia-native’s more than 60-minute set, hit their mark with the mostly young crowd.
But the ballad “Asphalt Cowboy,” the first of three encore tunes, had the crowd cheering the chorus as well.
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Greg Smith ‘roast’ more of a hug
The “roast” of local theater icon Greg Smith on the occasion of his 60th birthday Saturday, Oct. 18, didn’t really approach the broiling point. It was closer to a simmering than a scalding.
That reflected the attitudes of the approximately 100 guests who attended to honor the actor, director, designer, founder of the Daytony Awards and member of the Dayton Theatre Hall of Fame.
Organized by Smith’s associates at Entertainment Unlimited Events and his longtime partner, Ron Kemper (shown above at right, arriving with Smith), the surprise black-tie festivities were held amidst the warehoused Porsches and pro sports memorabilia on display at the Taj Ma Garage on South Perry Street.
“Roasters” included actor Natasha Randall and Stephanie Via-Hagar of Entertainment Unlimited, actor Craig Roberts, Dayton Theatre Guild representative Carol Finley, actor-director Michael Boyd, and actor-singers Henni Fisher and Kim Reiter.
Entertainment included lip-synching and dancing by three members of the Rubi Girls. When Via-Hagar presented Smith with a fur coat, he said, “The only people who don’t wear fur don’t own fur!”
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Michael Buble sings pretty, talks trashy
DAYTON — The members of the storied Rat Pack were known to get a little randy during their notoriously booze-fueled Las Vegas appearances.
But Canadian-born crooner Michael Buble, whose retro-pop stylings take particular inspiration from Sinatra, Martin and company, may have gone a tad too far Tuesday night, Oct. 7, during a concert at Wright State University’s Ervin J. Nutter Center.
The guy’s locker room humor and language clashed with the finely polished musical selections, creating a jarring juxtaposition of crass and class. One woman looked increasingly mortified — on large-screen video, no less — as Buble made insinuating sexual suggestions to the man assumed to be her husband. Such was Buble’s stage banter.
Sometimes the clash between the sordid and the suave can be funny; sometimes it’s uncomfortable — the way a drunk can be variously charming and vulgar.
And Buble does indeed have his charms — endearingly goofy ears and all.
His evocative vocals range from a velvety tenor to a tender bass, the depths of which are enhanced by a powerhouse eight-man horn section and a four-man rhythm and strings unit.
When everything hits, including the Vegas-style stage lighting, the effect is electric.
Oh, FYI to the Buble newbies in the audience: Trombonist Nick Vayenas, supposedly “Dayton’s own,” is a noted jazz musician and composer born and reared in Boston. The bit where he steps in for Buble, after the singer storms off the stage in a pretend snit, only to return and “play” Vayenas’ trombone, is a standard part of the show.
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WSU’s ‘Raisin’ not just a history lesson
DAYTON — If you haven’t seen it for a while, or ever, it’s easy to relegate Lorraine Hansberry’s 49-year-old play “A Raisin in the Sun” to the category of dusty old classic on the shelf.
Approached with the fresh vitality Wright State University Theatre is taking in its season-opening production in the Festival Playhouse, “Raisin” is a cornerstone of American theater and a living drama that connects past to present.
As directed by Mary Donahoe, the play is far more than two crucial scenes emphasized at the expense of others. In one, Walter Younger (Bryant Bentley) and Mama (Monica Williams) discover he has lost two-thirds of his father’s life insurance benefits in a scam. In the other, Walter redeems himself to spearhead the family’s move into the known and unkown — an all-white Chicago suburb.
Other moments contain fewer words, but Donahoe has made them just as expressive. One example comes in Act 1 when Mama tells Walter that his wife Ruth (Shawn Storms) may be considering an abortion. She’s right there in the room, but doesn’t speak. The tension and energy that flows between the three of them until Walter leaves to find a drink explains things the text doesn’t.
Especially in Act 1, the staging elevates Ruth’s importance.
Played by Jasmine Batchelor, college student Beneatha’s scenes with rich, shallow suitor George Murchinson (Jeremy Gaston) and Nigerian student Joseph Asagai (Brandon L. Kelly) illustrate two mainstreams of African-American thought, but are also entertaining and amusing.
Stivers School for the Arts student Trey Melvin’s relaxed and happy portrayal of young Travis Younger also helps make this a confident and hopeful “Raisin,” not an angry or doubting one. The pain Walter reveals upon learning the cost of one dream turns out to be more a reason to care about him than to condemn him.
The production is dedicated to Dayton actor and director Sheila Ramsey, who is recovering from a serious illness. It marked the successful debut of acoustical improvements to the WSU theater, where the spoken word sometimes used to vanish in the air.
“A Raisin in the Sun” will continue through Sunday, Oct. 12, in the WSU Creative Arts Center. Tickets are $17-$19. Call (937) 775-2500.
Contact this reporter at (937) 225-2377 or tmorris@DaytonDailyNews.com.
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DCDC celebrates 40th with extended family
The Dayton Contemporary Dance Company opened its 40th season Saturday, Oct. 4, with “Footprints,” a program by four choreographers who had performed with the troupe and were trained by its founder, Jeraldyne Blunden.
A near-capacity audience saw the one-night performance at the Victoria Theatre.
Preceded by a video presentation about the company, the dancing was interspersed with onstage introductions — of staff, board members and supporters.
The lone premiere was “Still Present” by Gina Walther, a direct and symbolic tribute to Blunden in three movements to songs by Marlena Shaw, Shirley Horn and Dizzy Gillespie that evoked her personality, indomitable drive and the pleasure she took in bringing out the best in others who didn’t know they were capable of it.
Maurita Elam’s costumes lent a tinge of Egyptian nobility to eight dancers who proceeded in front of an evolution of colors by lighting designer Matthew P. Benjamin. Powerful dancer Alise Craig was given an opportunity to display her more expressive side in a solo.
Sometimes a dance work grows in stature years after its premiere. So it is with Dwight Rhoden’s “Beyond a Cliff.” Now an internationally known dance-maker, he was a novice when he took the new choreographer’s leap of faith and ego for DCDC in 1991 to music by Michael Shreve, Olfra Haza and Martin Birkenstock.
The second movement was a solo for Sheri “Sparkle” Williams, but the sections juxtaposing different combinations of performers were most compelling.
Rhoden’s dances generally brim with big, flashy movements done rapidly without restraint. It was a pleasure to be able to linger over motifs, shapes and developments done more deliberately — dancers chopping the air with two hands pressed together sideways, undulating their hips as a result of stepping quickly forward in tiny, rolling steps, or repeatedly pulling their spread feet together on the floor, then pushing them apart on straight legs.
Shonna Hickman Matlock’s 2002 duet “Unresolved,” performed by Crystal Michelle and William B. McClellan Jr. to music by Henryk Gorecki, not only doesn’t tie up loose ends with a clear conclusion, it finds its strength in that. Almost simultaneously, this couple experiences attraction and rejection, or the urge to embrace another and the will to go one’s own way.
The theatricalized worship service of artistic director Debbie Blunden-Diggs’ “In My Father’s House” has become a company signature that serves two purposes: reviving the faithful and initiating the newcomers — both dancers and audience members.
It taps and expresses the spirituality that represents a major tributary of DCDC’s heritage. The abdominal contractions, hovering backward descents to the floor, whirling turns, falls and outstretched curving arms are challenging, but leave room for individual expression.
G.D. Harris has claimed the role of the caring and inspirational pastor every bit as securely as he has the solo “Ostrich” (Awassa Astrige), which he performed again in New York in September.
Those who missed the performance can still see the celebratory DCDC exhibit “Balancing Point” at the Link Gallery, 519 E. Fifth St. The photographs and art works by Andy Show, Tess Little and Terry Hitt will continue through Nov. 1. Call (937) 224-7707 or go to www.linkgallery.org.
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Short Dayton film wins honor
“Y Not,” a short film shot in the Dayton area by Derek W. Beck, received an honorable mention in the 2008 Chicago International REEL Shorts Fest in September.
Ohio native Beck, who now lives in Los Angeles but continues to serve in the U.S. Air Force Reserves at Wright-Patterson Air Force Base, said the honor was his first official recognition as a filmmaker. He plans to submit the film to other festivals.
Filmed in 16mm color, “Y Not” was done with Dayton area actors and crew. It’s about a real estate agent who pauses during a busy day to help a complete stranger who turns out to have a surprising connection to her.
For more information, visit Beck’s website: www.cartala.com
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