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SUMMER THEATRE PROGRAMS for Children & Teens |
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ORDINARY DAYS's |
A REAL |
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It’s not true that composer Adam Gwon was frightened by a horde of stampeding fortune cookies in his infancy. The little strips of uplifting sayings that play a key part in his musical Ordinary Days were actually inspired by noted New York street artist James De La Vega, who attaches hopeful epigrams to the chalk works he leaves on sidewalks and walls around Gotham. Inspiration by a New York City artist is appropriate, because Ordinary Days, which is coming to The Loft in June, is about four young New Yorkers whose lives intertwine in extraordinary ways. “New York is very much a character, effecting how they look at their lives,” says Gwon. But the show has proven to connect with audiences far beyond New York he says, “Those outside the city latch onto the themes of struggling to find out what you want to out of life and how to reach those goals.”
New York ties are also prominent among the four cast members in The Human Race production – as are Dayton ties. Two are now NYC residents – Miami Valley School grad Tory Ross, who just finished 9 to 5 on Broadway and Human Race Resident Artist Scott Hunt (Big River, Snapshots) who has been in New York productions of Les Miserables and Rent. The other two cast members are also Resident Artists – Katie Pees (Seussical, Five Course Love), whose stint in New York included a one-woman show, and Wright State MAPP director Jamie Cordes (Wait Until Dark, Man of La Mancha), who once appeared in The New Yorkers, albeit in Florida. Human Race Executive Director Kevin Moore will be directing. Resident Artist Sean Michael Flowers is the musical director. Ordinary Days is Gwon’s third musical, but the first to be produced professionally. It has met with very rapid success – Gwon finished writing the first draft in 2007 and it was very quickly picked up for readings and workshops, and had its world premiere in 2008. The Human Race production is just one of several on tap this year, including one at Roundabout Theatre in New York. The young composer, who has already reaped numerous awards and fellowships, including the prestigious Fred Ebb Award for Musical Theatre Songwriting, says he wrote Ordinary Days by figuring out the ending first – the next-to-last song was the first one written - then going back to create a map of how to get there. “That’s common in writing songs for musical theatre,” Gwon says, because the song has to advance the story. Gwon says that as he worked his way back, the storyline changed some from his original thoughts, just as it often works when writers work forward, “You get in a dialogue with your characters….they’re telling you things.” As for the age-old chicken-and-egg composing question, Gwon says he works on both the music and lyrics at the same time. Of course, Ordinary Days isn’t the only recent hit show about four young New Yorkers – there was a little TV series called Seinfeld. “I see parallels to Seinfeld,” said Gwon, when a relationship was mentioned, “Ordinary Days is also about small experiences...impacting characters’ lives.” And like Seinfeld’s creators, Gwon manages to take characters who tend toward self-obsession and make them likeable. The parallel has limits – Seinfeld may have had The Soup Nazi, but it never had Gwon’s wonderful music. Gwon is working on several new shows simultaneously, with one just about done and ready to premier in Washington next season. He’s going to take time out from writing, though, to come to Dayton for the Human Race presentation of Ordinary Days, and will take part in the While We’re On The Subject Talkback after the June 20 matinee. Ordinary Days will have a preview performance June 10 and official opening June 11, with shows through June 27. Tickets are available by calling Ticket Center Stage at (937) 228-3639 or toll-free (888) 228-3630, or via www.humanracetheatre.org. |
Teens creating their own musicals in the Human Race/Lovewell program By Meredith Moss DAYTON — On that first day, the teens gather as strangers. Three weeks later, they’re entertaining audiences in a full-length musical production that’s sprouted from their own imaginations. This will be the third summer that the Lovewell program has been offered in Dayton through The Human Race Theatre Company. The teens’ final show will be part of the company’s Musical Theatre Workshop: Festival 2010 slated for the weekend of July 16-18. “I love being able to create new things,” says 17-year-old Raheem Uqdah, who plans to return for the third time this summer. The Miamisburg High School student, who designed a duct tape messenger bag for the project, says art “serves as a gateway to emotions and thoughts and allows us to express ourselves.” Lovewell is all about self-expression, according to Marilyn Klaben, education director for the Human Race who’s been part of the project since its local inception in 2008. This year, she’ll serve as overall coordinator. “It’s all about finding your creative voice,” she explains, adding that some teens arrive knowing they can dance or sing or act while others discover talents they hadn’t realized they possessed. The idea for the show always comes from the teens themselves. No previous experience is necessary. “The first year, one boy shared with us something very honest and true about his family, which was that he didn’t see much of his father because his father worked a lot,” says Klaben. “From that basic premise came the whole idea for the show.” Last year’s musical, “Superpowerless,” was about superheroes that had lost their mojo and had to find it again.  David Spangler, founder of the Lovewell Institute of Ft. Lauderdale, Fla., comes to town each summer to train facilitators who specialize in composing music, writing scripts, choreography and staging. No auditions are involved; students fashion their own roles. Klaben says the process is much more exciting than the traditional method of staging a play. “Everything happens step-by-step, it’s very collaborative and democratic,” she says. “You vote, you brainstorm, then it’s by consensus how the show unfolds.” Spangler says the origins of Lovewell date back to his growing up days in Kansas when groups of friends would gather to write songs, perform a play or concert. A nearby lake was called Lovewell. He says he’s hoping to keep creativity alive at a time when he feels traditional education too often destroys it. “Especially now, we can’t afford to lose that creativity in our culture,” he says. Spangler insists it’s a myth that creativity can’t be taught. His guided brainstorming process is designed to do just that, teaching kids how to “flex their creative muscle.” *Reprinted with permission  "Superpowerless: An Action-Packed Musical," last years  Get what you need and help Visit www.shoptoearn.net/humanracetheatre Over 1,400 popular retail sites like |
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ORDINARY DAYS's Extraordinary Composer A REAL 'HIGH SCHOOL MUSICAL' - THE LOVEWELL PROGRAM - Meredith Moss More on LOVEWELL - I HEAR AND I FORGET - Shelley Outlaw SPONSOR SPOTLIGHT - EMERSON CLIMATE TECHNOLOGIES SUMMER THEATRE PROGRAMS for Children & Teens Smorgas-BOARD musings from our trustees BEHIND THE SCENES - with Heather Jackson EXECUTIVE RAMBLINGS from across the hall MTW News - Musical Theatre Workshop: FESTIVAL 2010 |
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"I HEAR AND I FORGET. I SEE AND I REMEMBER. I DO AND I UNDERSTAND." By Shelley Outlaw YIKES! Summer break is almost upon us! I don’t want my child (or grandchild) to sleep until noon, just hanging out at the pool and eating me out of house and home. What can they do to keep busy and out of trouble? What is it going to take to keep them from saying those dreaded words, “I’m bored.” Is there something constructive, dare I say educational, that they could do? Have I missed the deadline?! Yes there is and indeed you have not. I would like you to consider a great summer program that is educational and that participants describe as an, “awesome time. “ The Human Race will once again sponsor two outstanding summer programs: the Lovewell/Summer Stock Teens (ages 13 – 19,) and the Summer Stock Kids (ages 8 – 12). (Details later in this newsletter) Youth theatre, that is, theatre created by youth and presented to the public allows for a unique opportunity for participants to learn about all aspects of theatre production. In the process they learn about themselves, their peers, community and possibly even their world. An experiential program such as this is holistic in that it requires using all the senses, the head, the heart, the body, in space and time. It allows students to expand their world by meeting new people and be a part of something bigger than themselves. Being a part of a creative and collaborative process challenges young people to think critically, articulate, evaluate, integrate, communicate and defend their own ideas and feelings. They learn to synthesize their ideas with others to create something special together. So special that it has never existed before in the world nor will exist again – a once in a lifetime experience! Wow! Who wouldn’t think that was, “way cool!” |
Students learn how the kernel of an idea can grow and mature to become a complete production ready for a public performance in a very short time. Parents should realize (whether their child realizes it or not) that valuable lessons and skills are being taught about dreaming, setting goals, planning, collaborating, negotiating, selling, compromising, and generally, working together. These are the same skills that the work world requires such as working in teams, leadership, responsibility and, innovative thinking. Students will not have to wait until the work world to use these skills but will use them to plan where they might like to go to college, discern what career they are suited for, and what roles they want to fulfill in life. Students come to understand and respect their own gifts and talents and those of others. They learn about roles of leaders and of followers, those in front of and behind the curtain. They learn that just as in life and work, it takes a great many people with a great many skills and a great many hours of hard work to make a production successful. They learn that commitment to themselves and commitment to others combined with perseverance can have its rewards. Through such theatre experiences, students learn that determination to meet a challenge and the pride of accomplishment is something worth working toward. The quote of Confucius is true. “I hear and I forget. I see and I remember. I do and I understand.” Experiential lessons are perhaps the most unforgettable lessons of all. As a parent and an education and arts advocate, I applaud The Human Race for seeking out and sponsoring theses innovative summer programs. So if you think that a summer theatre program is just good fun to keep kids from being bored or out of mischief, you would be right. You would be just as right to think that you are providing your child with valuable memories and lessons for a lifetime. Shelley Outlaw is a long-time Dayton resident and volunteer working to support education, creativity and community. |
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WE'RE STEPPING OUT TO A BIG 2010-2011 SEASON |
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FROM OKLAHOMA TO IRAQ, WITH STOPS IN ENGLAND, A DISCO CLUB,
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The Human Race is opening the 2010-2011 Eichelberger Loft Season with something we’ve never done before – a Loft Season show that’s not in The Loft. We’re teaming up with the Theatre Department at Wright State to present Tracy Letts’ Tony and Pulitzer Prize-winning comedy/drama,  The New York Times called August “Highly entertaining! A riproarer.” Variety said it’s “consistently rich, raw and intense.” The saga of the Weston family of Oklahoma and its many issues – and, boy, do they have issues - won five Tony Awards and the 2008 Pulitzer Prize for Drama. The show is too big for The Loft – literally – so it will be presented at WSU from September 23 – October 10, and individual show ticket sales will be handled by the WSU box office. The cast will be a mixture of professionals selected by The Human Race and WSU students from an anticipated 200 who will be auditioning. One familiar face will be in the cast for sure – Resident Artist Scott Stoney will play family patriarch Beverly Weston, whose mysterious disappearance sets the action in motion. After August’s run in September and October, it’s back to The Loft for the rest of the season:
Getting a van onto the stage at The Loft for Rounding Third was nothing compared to what we have to fit in there for The 39 Steps – a whole train. The 1935 movie of The 39 Steps, based on John Buchan’s novel, was a typical Hitchcock masterpiece – an innocent Englishman caught up in a deadly ring of spies tries to figure out what’s going on – and being a Hitchcock, it had a chase on a train. The stage adaptation is a masterpiece of comedic invention, an hilarious romp that was a huge hit in London, on Broadway, and through a national tour, and you can’t do a masterful take-off without the train – or also, in this case, four actors playing 150 or so characters.  Conceived by Rick Seeber Put on your platform shoes and dredge that white suit with the big lapels out of the basement - it’s rockin’ nostalgia for the holidays in this new musical revue that presents the songs of the ‘70s in all their glory, or lack thereof. Expect plenty of flashy outfits and hairdos as four talented performers rediscover the heart and soul of the forgotten decade, with music made famous by artists from Donna Summer to the Eagles to Debby Boone. |
From disco to Denver, you’ll be “Stayin’ Alive” as you ride “The Peace Train” to the “YMCA.” The LA Times called 8-Track “powerful good fun” and the Minneapolis Star Tribune said it’s “an infectious, joyous celebration.”  By William Shakespeare They didn’t have PowerPoint in Elizabethan times, so instead of producing a giant slide with a gazillion arrows pointing out who’s pretending to be who while actually in love with whom but not letting who know about it, Shakespeare had to write a play. “Some are born great, some achieve greatness, and some have greatness thrust upon them” is one of the many famous lines from a play that was born great and has stayed that way through the centuries. A work that begins with the plaint “If music be the food of love, play on” and arrives at “Many a good hanging prevents a bad marriage” has to be one of the Bard’s greatest comedies, especially with characters named Belch and Malvolio.  By Thomas Gibbons Loosely based on the real story of the Barnes Foundation of suburban Philadelphia, the eccentric creator and benefactor of the fictional Morris Foundation takes an odd turn when he wills his important art collection to an historically black college. When the college selects an African-American businessman – played by Human Race Resident Artist Alan Bomar Jones - as the museum’s director, he discovers significant African sculptures stored away and intends to display them, setting off gripping battles on both racial and artistic fronts. The Los Angeles Times called Permanent Collection “sophisticated and deft.”  By Gregg Coffin Premiere of a new musical about a military wife caught between Iraq and a heart place when her husband is sent to war, and the family that supports her, from the gifted composer/playwright who created the Human Race hits Convenience and Five Course Love. right next to me has evolved from a workshop by The Human Race in July 2009. Creator Gregg Coffin calls right next to me a story about the distance between people and the space love leaves behind when it goes. The Sacramento Bee calls it “a beautifully moving piece.” |
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WINE CELLAR RAFFLE |
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SPONSOR SPOTLIGHT |
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EMERSON CLIMATE TECHNOLOGIES |
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SUMMER THEATRE PROGRAMS 2010 for Children and Teens |
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All classes are held in our inspiring space, The Caryl D. Philips Creativity Center at 116 N. Jefferson Street in downtown Dayton. There are payment options for each program, see below. Partial scholarships are available thanks to the generous support of PNC Bank. Download scholarship applications now. Contact Education Director Marilyn Klaben at (937) 461-3823, extension 3132 for more information. |
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SUMMER STOCK KIDS 2010 |
Ages 8-12 |
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June 14-25, 2010 |
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Enrollment Fee: $350 Directed by Adventures In Theatre instructor Jene Rebbin Shaw, Summer Stock Kids is a summer theatre camp which culminates in a production that is totally produced by Jene and the kids - sets, costumes and props. And considering that the kids are ages 8 – 12 the challenges are great but oh, so rewarding for the young performers as well as family and friends. Rehearsals and performances are held at our Caryl D. Philips Creativity Center. The Old Woman Who Lived in a Shoe By Stacey Lane You know that the old woman who lived in a shoe had so many children she didn’t know what to do. But did you know that her children were Jack, Jill, Little Red Riding Hood, Goldilocks, Hansel, Gretel, and Mary? Joining the adventure are a witch, a wolf, a lamb, three bears, Little Miss Muffet, the Gingerbread Man, and more of your fairy tale favorites! Download the Registration Form* (in PDF format) or register online and make payment securely online via PayPal**. * You must have Adobe Acrobat reader installed to view and print the registration form. To obtain the free Adobe Reader, click here. ** Your browser must be set to enable Javascript and to accept cookies in order to use the online form. For information on how to enable Javascript, click here. For information on how to enable cookies, click here. |
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THE LOVEWELL EXPERIENCE - Summer Stock TEENS |
Ages 13-19 |
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June 28-July 16, 2010 |
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Creating/Rehearsing |
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Enrollment Fee: $575 This three week internationally acclaimed program for teens focuses on developing the creative artist within us. Participants will be actively engaged from 9- 5 each day in conceiving a story idea for their original musical play production. The next steps involve writing the script, composing the music and lyrics and helping to choreograph the dances that will be featured in the public performance which will be held in The Loft Theatre the final weekend of the program. Classes are held at our Caryl D. Philips Creativity Center located at 116 N. Jefferson Street in downtown Dayton. Download registration forms now (PDF)
Pay the Full Enrollment Fee of $575 via PayPal |
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PRIVATE COACHING Private Coaching for acting, singing and audition preparation is available year-round for students ages 13 and up. Schedule your one-on-one coaching session with The Human Race Resident Artist who will best meet your needs by calling Education Director Marilyn Klaben at (937) 461-3823, extension 3132 or at mlk131@aol.com. |
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PRESIDENT'S MESSAGE |
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Ah! What to write about? The exciting 2010-2011 Season has already been announced. The Musical Theatre Workshop programs and summer classes are in place. You have probably heard that Kevin and Marsha are the recipients of this year’s Governor’s Award for Arts Administration. So perhaps I will simply share a few observations from my perspective as a Trustee. I have discovered that producing great plays requires considerably more than I ever imagined; from selecting scripts, obtaining the rights to present the plays, cost analysis in which not only the pay and benefits for the actors, directors and designers (lighting, set, sound and costume) must be considered but the cost of props and materials to build the sets, down to the nuts and bolts, publicity, etc., etc. and that there is no way that ticket sales can ever be expected to fully cover those costs and this is the reason we must continually look for additional support from the community and individuals like you. It has become evident that to consistently produce quality shows and programs over the years, requires a cohesive group of individuals who are talented not only artistically, but also in their organizational skills, who are both passionate and compassionate, who are committed to the mission of the organization, and who do whatever it takes to get it done! The staff of The Human Race Theatre Company is the epitome of such a staff and it is because of them that we can all count on the exceptional quality of each production. |
They are also the reason that The Human Race enjoys a national reputation among arts organizations for the quality of its work, particularly in the development of new musicals, and as a quality place in which to work. In the “Gem City,” The Human Race Theatre Company is a true gem, offering diverse programming, Broadway quality shows at Dayton Prices, a wide range of educational offerings, facilitation of the development of new musicals, and let us not forget, jobs, not only for artists, but for all those providing supporting products and services. As The Human Race nears its 25th year of existence, please join with us in celebrating the best regional professional theatre in this area and one of the best in the Nation! We will keep you posted as to future celebration events. With your continued support, we will be poised to climb to the next level. Thank you for being an important part of The Human Race Theatre “family,” we really do appreciate seeing you in the audience, and a special thanks to all of the Trustees who have devoted their time, talent, and resources to keeping the Company vibrant! Respectfully Submitted, |
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BEHIND THE SCENES with Heather Jackson |
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Some People Go Through Stages - Others Manage Them |
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The history of the position of stage manager is a trifle vague. It evolved sometime between the late 15th century, when player and playwright and director and producer and manager were all apt to be the same person, and the late 20th century, when Heather Jackson was in high school and stage managed a dance performance at the Davis Discovery Center in Columbus. These days a stage manager tends to be the COO to a director’s CEO, handling everything from paperwork to scheduling to calls to cues to props, and then running a production completely after the director is done with it. Heather at one point had a future as a prima ballerina in mind, a future cut short by injuries and realistic self-assessment of the chances of stardom, and she took to the behind-the-scenes work right away. She came to Dayton as one of Wright State’s first technical theatre majors, and worked on occasion as a production assistant at The Human Race, her first show being The Beauty Queen of Leenane during the 1998-99 season. The lure of dance took Heather to the Alabama Ballet, where she spent eight years. To this day, her favorite show to manage is The Nutcracker. “It’s such a tradition, “she says. “And you get to see performers work their way up through the years, beginning as angels and eventually becoming Sugar Plum Fairies.” Despite the love of tradition, too much repetition got to Heather. There are only so many ballets, and many get performed a lot. She decided “I just couldn’t do Cinderella one more time,” and came back to Ohio to become The Human Race’s full-season stage manager in 2007. Not that all ballet was mundane. Early in her career, Heather was stage manager for a rehearsal of Romeo & Juliet, and Juliet began rehearsing her death scene with an uncapped dagger, “I said, ‘no way she’ll actually stab herself, she knows it’s not capped.” But stab herself Juliet did, not only bruising her stomach, but, on the backswing, blacking her own eye. The fledgling stage manager learned never to assume anything, and always to cover pointy things. |
On the theatre side, Heather says her favorite show is whatever one she’s working on at the time – and her favorite part of a production is one most participants dread. “I really enjoy the tech weekend, putting all the elements together. I get to be instrumental in making sure the show does what we want it to do.” The low part for her comes early on, when actors are first going through their lines, “I know it’s important, but hearing lines again and again can get really boring.” Many a movie or show about theatre has had actors duking it out backstage, and stage managers trying to break up the battle. Heather says she’s been in productions where disagreements got a tad heated, but never dealt with a conflict that led to shoving , let alone fisticuffs. And she’s never had to deal with the legendary drunken actor who has to be doused in icy water to be revived in order to stumble onto the stage. “There was a suspicion about an actor who drank once, but it was only a suspicion,” which she reported to the producer, and that was that. On the personal front, Heather lives in Oakwood with Wright State Associate Professor of Lighting and Sound Design Matt Benjamin, who has a son, Dylan, and daughter, Taylor. Their two cats, Lucca and Della, are both graduates of SICSA. As for future goals, Heather’s as vague as the history of stage managing – “I haven’t yet dealt with what I want to do when I grow up.” |
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EXECUTIVE RAMBLINGS from across the hall |
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Christmas at The Human Race “We supply the writers with a place to live, work and rehearse their show,” said Kevin Moore, Human Race Executive Director. “We give them actors so they can hear it, and a small, dedicated audience so they can get feedback. Then we get out of the way and let the magic happen.”
At the first gathering, the writers told the handful of actors that tonight would be the first time they’ve heard anyone sing or say their words – except for the writers. The actors included 11 year-old Jeremy Cleary as “Buddy” and 13 year-old Ilana Frankel as his neighbor, “Nelle.” The adult actors included Deb Colvin-Tener, Jamie Cordes, Reneé Franck-Reed and Kevin Moore.
By the end of the week – and only 15 hours of rehearsal with the actors - the writers had been able to hear their entire show, make changes, and hear it again with their producing team. We were also able to share portions of the show with our Board, Sponsors and Producers’ Circle members. Larry, Carol & Duane are now in a great position to take their show to the next level. We wish them lots of success!!! Our “Christmas” spirit continued when the National Fund for New Musicals awarded our 2010-11 production of Gregg Coffin’s right next to me AND the Theatreworks production of A Christmas Memory each a $10,000 grant. Creativity thrives in Dayton! 
Three New Musicals, Three Great Parties, In Three Short Days! We are pleased to announce our Musical Theatre Workshop: Festival 2010 for this July 16-18, and two shows represent writers that have a history at The Human Race. Based upon our successful residency last September, we will be mounting a full two-week workshop and staged reading of Play It By Heart by Brian Yorkey (Tony Award-winning writer of Broadway’s Next To Normal), David Spangler (composer of Nefertiti), and Jerry Taylor (Nashville songwriter/producer). Play It By Heart is the story of a country music top female star battling her family and a changing industry. “It’s the quintessential story of a family in country music,” stated co-writer Jerry Taylor. The cast will feature some of the finest performers in the area, including Leslie Jo Bissett-Hood as the country music star “Jeannine Jasper”, Scott Stoney as her father, “Buck Jasper”, Jamie Cordes as her long-lost boyfriend, “Billy Tucker”, CCM student Carlyn Connolly as her rebel sister, “Jamie Lynn,” and JJ Tiemeyer as her road manager, “Robbie.” The real head of the Jasper family, tough-as-nails mother, Naomi Jasper, will be played by the Seattle actress who originated the role in the very first workshop, Sharva Maynard. Rounding out the cast are Jerome Doerger, Mike Kennedy, Christine Brunner and James Roselli. Kevin Moore will direct the workshop and Jay Brunner will serve as music director. The second show is titled Tenderly and is about the incredible Rosemary Clooney – native to Southwestern Ohio/Northern Kentucky. It is written by the Cincinnati team of Janet Yates Vogt and Mark Friedman, who also penned Green Gables, which we developed and produced at the Victoria Theatre in 2005. The show incorporates many of the songs that Clooney made famous - “Come On-a My House” “Mambo Italiano” “Count Your Blessings” “Hey There” and more, including songs by Vogt and Friedman. The cast of two will be Cincinnati actress a. Beth Harris and Human Race Resident Artist Scott Stoney. Marya Spring will direct. Janet Yates Vogt will serve as music director, with Scot Woolley at the keyboard providing musical arrangements. The weekend will also include an original musical created and performed by area teens through our collaboration with The Lovewell Institute for the Creative Arts. The event and performance schedule is as follows:
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INSIDE THE RACE |
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The temperatures outdoors are rising and so is the excitement for SUMMER THEATRE AT THE HUMAN RACE! There are limited spots available for our Summer Stock KIDS program and our Lovewell/ Summer Stock TEENS program, so I encourage you to
