Brooklyn-based playwright Dominic Finocchiaro’s compelling, intimate and thought-provoking drama “angel’s share” took top honors at the 34th annual Dayton Playhouse FutureFest of new works held July 18-20.
Performed July 19 as a staged reading and exploring the realm of speculative fiction, Finocchiaro’s fascinating story of a grieving couple determining whether or not to move forward in hope or use a tiny implant to cling to the past scored highest among the festival’s five contenders.
“I write a lot about grief and loss, particularly mothers and dead sons, and it’s a primary theme for me in my work,” Finocchiaro said. “I’ve written a lot about it but I’m interested in different approaches to shine a different light on the topic.”
Credit: Ray Geiger
Credit: Ray Geiger
The judging criteria included story/dramatic concept, characters/language, plot, page-to-stage and the next stage. This year’s professional adjudicators were: Joe Deer, former chair/artistic director of Wright State University’s Department of Theatre, Dance and Motion Pictures; Peter Filichia, journalist, author and playwright; Matt Kagen, poet, playwright and producer; Helen Sneed, longtime FutureFest adjudicator and theater scholar; and Emily N. Wells, artistic director of the Human Race Theatre Company.
“Dominic has a real command of language and it reveals itself within the dialogue,” Sneed said. “The dialogue is abbreviated, truncated and often sparse. With just a few words he can burst into indelible images. And, for me, it becomes poetry, which is the real sign of amazing dramatic writing.”
“Using an imagined, possible technology really opens up the human experience of loss, grief and how we connect to one another,” Wells said. “Each character has an extraordinary arc in this play. I think it’s incredibly relatable and I can’t wait to see what happens next.”
The outstanding cast, astutely directed by Melissa Ertsgaard, featured Mike Beerbower (Dad), Sarah Caplan (Mom), Theo Hoskins (Counselor) and Kai Kelly (Stephen). The considerable depth and convincing strife between Beerbower (at his stoic best) and Caplan (delivering her finest work) along with delightful levity from Kelly (an extraordinary newcomer) kept the production engaging and moving.
Credit: Ray Geiger
Credit: Ray Geiger
This year’s finalists included: Hutchins Foster’s “The Art of Arson,” directed by David Shough and featuring Caitlin Larsen Deer (Zelda), Scott Stoney (Gabe), Saul Caplan (Oompah), Matt Lindsay (Rex), Angelé Price-Maddah (Paulette), Amy Askins (Mavis), Colson Littrel (Coe), Dylana Harris (Ranny) and Jai-Ln Stafford (Tucker); Brent Alles’ “The Locke Inn,” directed by Tim Rezash and featuring Nick Beard (Matt), Carly Laurette Risenhoover-Peterson (Abby/Stephanie), Ryan Hester (Toby/Dr. Tobias/Parker/Brad), Wren Mikesell (Jimmy) and Holland Penn (Samantha); Sopan Deb’s “The Good Name,” directed by Jenna Gomes and featuring Dipankar Dey (Vikas Choudhary), Shazia Rahman (Susmita Ghosh), Spandana Pokla (Shivani Ghosh), Ilan Newaz (Dulal Ghosh), Ravi Saini (Amin Khondakar) and John Paul Raj Lourdusamy (Narrator); and Erik Gernand’s “Prayer Circle,” directed by Matt Meier and featuring Cassandra Engber (Marilyn), Aaron Hill (Doug), Isabella Japs (Addy), Jared Mola (Pastor Evans), Ronda Ogletree (Carol) and David Sherman (Narration).
In his acceptance speech Finocchiaro was appreciative of the support he received from the Playhouse.
“Thank (you) for (your) amazing hospitality and generosity as Daytonians and Ohioans,” he said. “It’s been a blast getting to know all of you and all the other playwrights. It’s been a wonderful weekend.”
The 2026 FutureFest will take place July 17-19. For more information, visit daytonplayhouse.com.
Vandalia Youth Theatre delivers captivating ‘Hadestown’
Vandalia Youth Theatre’s impressive production of “Hadestown: Teen Edition,” presented July 18-20 at Northmont High School, will not only be remembered as one of the best in the organization’s 30-year history but one of the best youth productions in the Dayton region this year.
Twenty-three high schools were represented in director Dionne Meyer’s skillful handling of Anais Mitchell’s Tony Award-winning jazz musical about decisions, desires and disappointments. Inspired by Greek mythology, particularly the relationships between Orpheus, Eurydice, Hades and Persephone, the musical casts a magnetic yet dark spell that is both heartening in its romance and eerily timely in its relevance.
Credit: Silver Studios Photo Video
Credit: Silver Studios Photo Video
Meyer’s large cast of truly committed, vocally stunning performers was choreographed with evocative whimsicality and military precision by Dayton Contemporary Dance Company veteran Sheri Williams. Costumes were courtesy of Abby Ramos, Kim Ticknor, Traeln Hoover, Carrie Smith and Lori Spanjers. Jessi Stark provided vocal direction.
Credit: Silver Studios Photo Video
Credit: Silver Studios Photo Video
In addition, the principals were uniformly dynamic. Haylie Chavez’s splendidly authoritative yet inviting Hermes, remarkable tenor Gavin Poronsky’s wonderfully earnest Orpheus, understudy Molly Wade’s beautifully introspective Eurydice, Finnegan Smith’s unnervingly intense Hades, Caroline Kaibas’ strikingly perceptive Persephone, and Lily Bihl, Grace McGuire, Annie Sikora, Karisa Ticknor and Faye Young as the harmonizing, foreboding Fates (“When The Chips Are Down” sizzled and their a cappella “Nothing Changes” mesmerized) ensured the action captivated at every turn.
Towne & Country Players produce joyful ‘Joseph’
Towne & Country Players’ excellent, lively production of Andrew Lloyd Webber and Tim Rice’s biblical musical “Joseph and the Amazing Technicolor Dreamcoat,” the inspirational tale of the titular son-turned-slave who rose to power in Egypt, coalesced with colorful ease July 17-19 at the Versailles Performing Arts Center.
Director Erin McKibben’s inspired storytelling was smoothly executed overall in part by the commendable leadership of her vocally appealing principals within the very entertaining, large cast: an endearing Kyle Wuebker as Joseph (bringing his own flavor to the finale of “Close Every Door” which took the song to another level); the radiant trio of Denise Groff, Lynn Blakeley and Julia Greber as Narrators; and Carter Qualls (Rueben), Dominic Reese (Simeon), Ben Hill (Levi), Jacob Riley (Naphtali), Brock Swiger (Issachar), Benjamin Boyd (Asher), Eli Gels (Dan), Andrew Crane (Zebulon), Wade Qualls (Gad), Anthony Kellner (Judah) and Landon Urlage (Benjamin) as the playful, believably bonded Brothers.
Credit: TOWNE & COUNTRY PLAYERS
Credit: TOWNE & COUNTRY PLAYERS
Noteworthy featured roles extend to Chad Peyton (Jacob/Potiphar), Cali Wuebker (Potiphar’s Wife), Tucker Qualls (Butler), Lindsey Ausborn (Baker), Krystal Swiger (Twirler) and the aforementioned Hill (Pharaoh). Notable solos were offered by the aforementioned Reese (“Those Canaan Days”), Kellner (“Benjamin’s Calypso”) and Carter Qualls (“One More Angel in Heaven”).
McKibben, who also choreographed with Logan Schulze, assembled a knockout artistic team: additional choreographers Anthony Kellner, Anna Libertini, Isabel Rawlins, Gabrielle Sharp and Cali Wuebker; costumers Robin Brown, the aforementioned Ausborn, Joni Robinson, Stacee Froning, Marie Ballas, Erin Rismiller, Megan Rismiller and Dianna Gerlach; orchestra director Brian McKibben; vocal directors Bruce Swank and the aforementioned Blakeley; technical director Jacob Brown; and sound designer Larry Weyand.
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