The Artistic World of K.L.Storer

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Mon, Jul 1, 2024

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What's the Agenda
I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress

SUPERIOR DONUTS, by Tracy Letts at The Dayton Theatre Guild
WEDNESDAY'S CHILD, by Mark St. Germain at The Dayton Theatre Guild
FutureFest 2024, Dayton Playhouse, July 19-21, 2024
CAMPAIGNS INC., by Will Allan at The Dayton Theatre Guild
In my last blog post, on the closing day of Superior Donuts, by Tracy Letts, I stated that I'd have a post mortem on it sometime in the near future, but in the meantime I'd probably post a little something about the show, probably the next day, i.e.: one week ago. Well......

What's the term?: "My dance card is full," I believe is the term, or "My plate is full," yadda, yadda, yadda. With Superior Donuts finished, the next thing up is my director's gig for the Dayton Theatre Guild entry into the West Regional Ohio Community Theatre Association (OCTA) Festival this coming Saturday at the Encore Theatre in Lima, Ohio. Also, I'm more forcefully on to my work as the sound designer for FutureFest 2024, which is just around the corner, July 19-21 at the Dayton Playhouse. Then, back to being a DTG director, I'm in some preproduction for Campaigns Inc. by Will Allan, which includes an early audition for the role of Upton Sinclair ‐‐ click here for the audition specs, if you're reading this before 7:00 pm (DST) on July 10.

Stay Tuned, There will be words about all this stuff.... at some point.... maybe soon.... maybe.

Wed, Jul 3, 2024

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SUPERIOR DONUTS, by Tracy Letts at The Dayton Theatre Guild
Yes, we did indeed go out with a BANG! We had a great closing weekend to compliment a fantastic run of the show! We closed our run with another performance that I am personally proud of, and I can confidently say the rest of the company was proud of, too. We closed out a stellar DTG season the right way! "So, K.L., why the frowny-face in the background?" you may ask; I discuss that a little further down below.

First off, I loved being able to play the role of Arthur Przybyszewski (Shoo-ber-SHEF-ski); second, it was a blast playing off of the performances of my strong castmates, with a special mention of the excellent work of Andre Tomlinson (Franco Wicks) and Heather Martin (Officer Randy Osteen) ‐‐ because those are the two key, relevant interactions for Arthur ‐‐ but that's not to underrate the rest of the cast nor their characters' importance to the play's story.

Mike Beerbower's Max Tarasov was marvelous; Maximillian Santucci's Irish mobster, Luther Flynn was truly intimidating; Percy Vera's Officer James Bailey was the perfect Star Trek nerd; Jennifer Lockwood was funny and sometimes poignant as the wino, Lady Boyle; Brandon Teeple was spot-on as Luther's creepy and dangerous henchman, Kevin Magee; and though he didn't have much stage time, Patrick Wanzer was more than simply the script's sight gag, Kiril Ivakin; Patrick made the most of his few minutes on stage as the hulking Russian, about whom Luther exclaims, "It's Ivan Drago, for God's sake," making him a human being, not simply a gimmick.

Then, there was the superb leadership of Director Jared Mola, who had a strong vision for the production, yet still collaborated with the whole company and gave us all space to make our roles our own. Personally, I'm speaking as both an actor and a sound designer, even though this is far, far from one of my complicated sound designs. Though I do have to admit that one of the best production music choices for this one was Jared's, not mine.

There's no way I cannot mention the fantastic fight choreography Kayla Graham cooked up for Max Santucci and me, nor how much fun it was to play it out on stage with Max.

screen shot of a K.L.Storer fb post, with a graphic of a blue frowny face and the word "boo!" over it - the text is, "Well, the beard's gone, the hair is short, the nails are trimmed, and for the first time in weeks, I haven't needed to run my lines. Definitely in the post-show funk."
Because of, rather than in spite of all this, I've had the condition theatre folk can sometimes get known as post-show blues. The stage rats reading this will know exactly what I mean. For the rest of you, this show is indeed one of those hard ones to let go of. It was nothing but a fantastic experience all the way around. The level of talent and skill on stage and off stage, the lovely camaraderie the whole company shared, the brilliance of the material we were working with, the highly-appreciative response all nine audiences gave us: that's all something I just have to miss for a little while; though, a week-and-a-half out, the post-show blues have dissipated some, though I still miss the show.

What I miss the most is Arthur. I really enjoyed playing this man. As I believe I've written in an earlier blog post and I have recently intimated to a few people, both in person and through the keyboard, I often felt like I wasn't doing too good of a job because portraying Arthur, climbing into his skin, was not a difficult task. Arthur and I certainly have many differences, in terms of history and temperament. Yet still I'm a lot like Arthur and I got him my very first reading of the script. I knew this was a role that I could do. But the lack of real struggle to get to him after I was cast threw me, made me sometimes believe I was failing at my task as the actor in the role. Still, even in those places of self-doubt, I was loving trying to get inside Arthur. I loved being Arthur and I loved being him in the world that Jared, the cast, and the rest of the team created. Arthur's going to be a hard one to shake.

If the run had been extended by weeks I would have been just fine with that. However, it wasn't. That is the transient nature of live theatre. You have your moment with the role, with the production, with the temporary family that the cast so often becomes, then, the production goes dark for the final time, it's time to move on, and you're left with that post-show funk.

To help me move on, I got rid of some of Arthur's physical attributes: the beard is gone ‐‐ I stopped shaving after reading the script, months and months ago, specifically because Arthur has a beard; The Monday after closing. I got a haircut; and I trimmed my nails the Sunday evening we closed, I'd let them grow out some for the specific reference Franco makes about them needing to be trimmed.

And, just one more time I want to exclaim just how much I enjoyed working with this cast. They were all fun and easy to play off of on the stage, and almost as important, I enjoyed working with them off stage. It was a relaxed, drama-free atmosphere, with a group of actors, all likable, all there to get down to business and collaborate. It was the same with the crew.

Let me revisit the stage combat for this play. Again, the choreography was most impressive and the audiences loved it. As I suggested above, Max and I made a good team working on this great fight. We pulled off this well-planned sequence excellently, and the feedback from the audiences told me so. There were a couple costume malfunctions, both concerning my head-band ponytail wig: it almost completely came off during one performance, but fortunately we were behind the counter and I was able to quickly bend down behind the counter to get it back in place out of the view of the audience. It started to come off at the end of the fight sequence one other time, as well. I am not sure any audience members caught either incident. Hey: Live theatre.

My one big negative criticisms of my work here was that I had too many line flubs during the run. There was nothing major, but still, blowing lines, even when the audience has no clue, is a great-big undesirable thing for me. There were probably a few that audience members did pick up on but forgive. Still, I hate it. That is however, another thing about live theatre: Word Perfect is a rare, rare animal for virtually all actors.

This isn't a negative criticism of anyone, but I was not thrilled with that head-band wig for Arthur's ponytail. I must acknowledge that it was the best solution for the problem, since my own hair was not quite long enough for a convincing ponytail of forty years, and it is too thin for an extension to have been successful. Yes, the head-band wig, indeed, was the best solution, but I had to pull it down on occasion during the show, and you saw above about the one stage combat incident. But again: live theatre. I also would rather that Arthur didn't wear a head band, at all, but, there ya go.

Now, here are a few production photos from The Guild's staff photographer, Rick Flynn:
Andre Tomlinson (Franco) & me (Arthur)
Heather Martin (Officer Randy Osteen) & me
Percy Vera (Officer James Bailey) & Andre
Jennifer Lockwood (Lady Boyle) & me
Mike Beerbower (Max Tarasov) & Patrick Wanzer (Kiril Ivakin)
Brandon Teeple (Kevin Magee), Andre, & Maximillian Santucci (Luther Flynn)


OCTA (Ohio Community Theatre Association) icon
WEDNESDAY'S CHILD, by Mark St. Germain at The Dayton Theatre Guild
DTG Director icon

For a little bit of catch-up, looking back to the Tuesday, June 25 rehearsal, I cancelled the call for all the available cast members, save our newest, Susie Gutierrez, because a third cast member was not able to attend in addition to the two already excused because they were out of town. I saw no point in trying to run all the scenes with a third actor missing. But since Susie is the newby to the show, I decided it was advantageous to run her scenes, even if I was standing in for her scenemates; I would have been doing that anyway for two of her scenes since those are the two actors who were out of town that week.

Then that Thursday we were only down one actor, and this past Sunday, the next rehearsal, and our first of four quasi-tech rehearsals, we had our full compliment. I'm calling them quasi-techs because the lighting is not a part of these rehearsals; there will be a light tech at Encore Theatre whom I will call our light cues to; in rehearsal, I am calling out when and where the lights go up or down. They are tech rehearsals now because I have started playing the sound cues.

At our next rehearsal, which was last night, we worked out and incorporated the set-up and strike of the set, those actions being a part of our allotted forty-five-minute performance time. A cast member could not be there due to circumstances beyond their control, so tonight that person will get plugged into the set-up/strike. Meanwhile, by delegating the organizing of the set-up/strike to Becky Howard, who has stage manager experience, the set-up and strike are each in the neighborhood of about a minute or two, which gives us a lot slack for those actions to be within our 45-minute time limit.

We also found out yesterday that one of the other theatres had to pull out of the festival due to some conflict having to do with the rights to their excerpt. Thus, our performance is moved up to one hour earlier.

Now it's homestretch time. We have rehearsal tonight and Friday, then, Saturday morning at 10:30, at the Encore Theatre in Lima, Ohio, it's GAME ON!


FutureFest 2024, Dayton Playhouse, July 19-21, 2024
Obviously, with FutureFest 2024 just around the corner (July 19-21), I'm giving as much time and energy as I can to the sound work for the festival. July 13 is the start of its tech rehearsals, and that date is looming BIG on the horizon. I am experiencing some stress about having every show's sound ready in time for that. In the midst of all my other current theatre work, I'm trying hard not let myself feel overwhelmed. I've been meeting with directors and I'm in various stages of putting their sound designs together, from inventory of their needs through to programing their sound cues into Show Cue Systems. With Superior Donuts now closed, Wednesday's Child at OCTA just about off the table, and the early Upton Sinclair audition for Campaigns, Inc. also just about out of the way, I should have breathing room to get the FF24 sound in shape. But it's gonna be down to the wire.

Yeah: I'm trying hard not let myself feel overwhelmed.


CAMPAIGNS INC., by Will Allan at The Dayton Theatre Guild
DTG Director icon
Preproduction icon
Any of you five regulars reading this may remember that this play calls for a short DV movie, that which we will be shooting in early August, and the movie necessitates casting two actors early. I pre-cast one of those actors in the spring, in the role of Charlie Chaplin, and next week are auditions for the other role of Upton Sinclair. I auditioned one actor Monday because that actor could not make the announced July 10 open audition. Right now, of the theatre stuff I have going, Campaigns, Inc. is the lightest load, though there is some more preproduction for the short movie that needs attended to. But I do have a production team to delegate to, don't I? There's a probably a certain amount of preproduction for the show in general that can also get started sometime soon. For instance, it's shortly time to get the audition specs for the whole cast out there into the wild. That will be happening soon, probably the general casting call will be made public on July 10, the same day as the early open audition for Upton Sinclair.

Click here for current audition information for The Guild.

of JULY, 2024

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Image of the top of page 1 of the Declaration of Independence, with the date, "July 4, 1776," and the large words "We the People."


I'm not exactly a powerful political pundit, or even a political commentator of any merit. I'm certainly no old, white-guy version of Heather Cox Richardson, or anyone else who so eloquently and thoroughly gives us good commentary on the political landscape. I'm just a citizen who votes at every election and tries not to be completely ignorant of the issues. I'd last about a minute or so in a debate with any heavy-hitting political thinkers. But on this particular Fourth of July I have something to say, for whatever it's worth.

I just saw a statement from someone: "Only a vote for Trump is a vote for Trump. Saying otherwise is not helpful." To be blunt, I find that quite naive.

It's just a fact of reality that the United States is a two-party system. To make it more than two-party is a longgame that those who want such either don't know how to play or don't want to. There would have to be lots of third-plus parties getting elected at local levels to integrate the popularity and power of third-plus parties into the bigger picture. Third parties just don't have the cachet to do more than spoil a national election for one of the two choices, from the Democratic or the Republican party. And since third parties tend to be left leaning, it's almost always the Democrat whose bid is hurt. This is especially true for the presidential election.

Four months from now, this country is once again, as it was the last time, faced with one of the most important presidential elections ever. This one, as far as I can tell, is the most important one, certainly in my lifetime, and I think in the history of this country. We are faced with the choice of continuing our democratic system of government or allowing a person, and an administration who has publicly acknowledge that their plan is to radically alter the nature of American governmental power, to take power and invoke what they, themselves, call a new revolution.

Project 2025 is real and it is remarkably viable to execute. It would move the U.S. into an authoritarian, neuvo-fascist quasi-theocracy. It would. The architects may not see it that way, but that's what it would do. And they may just actually know it, too.

Further, the six "conservative" members of the U.S. Supreme court have handed the president the cart blanch to take any actions he wishes, regardless of the legality, constitutionality, morality, or ethics; and they specifically granted this to the most immoral and unethical being to ever have occupied the oval office, who is vying to again occupy that office. One who has vowed to seek revenge on his opponents, and has just been given the right to do so with impunity by those six members of the Supreme Court. And he will have the staffing to do it. With implementation of Project 2025 he will have the backing of pretty much the whole government. And the agenda is far more than simply the dictatorial retributions against DJT's opponents. The people he will be bringing in have big plans, dismantling plans, elimination of any real separation of church and state plans, and much, much more.

This coming presidential election is far more about which administration is in power in the White House than it is about who occupies the oval office ‐‐ though it is about that, too.

Here's the bottom line: if we keep the White House as a Democratic administration, there is some hope for the future. There is the opportunity for better ideals for future executive branches, and for the continued struggle toward a better democracy and better civil rights (and a restoration of some that have been ripped away). And there is a chance for a future where a more progressive candidate can occupy the oval office.

On the other hand, if we allow the White House to go into the hands of the current version of the Republican party, a concerted and highly likely successful effort to transition to that authoritarian regime is going to happen. It's not going to be good for pretty much anyone but straight, white, right-wing, "Christian" men. And for the wealthier ones it'll be even better.

And here's another thought: I believe that the possibility that a U.S. Cabinet made up of appointees by a Democrat, meaning President Biden, would be far, far more likely to invoke the 25TH Amendment if it would seem necessary, than would a Cabinet appointment by the current Republican candidate, were he to regain the office. I believe there's absolutely no chance in the latter case; it just would not happen.

In the end, more so than ever before, in November we will be voting for a White House executive branch. It's been said so much the last few months that it's sort of becoming a cliché but we are voting for Democracy or for an American brand of Fascism. And one can try to rationalize it, deny it, or reject it, but a vote for a third party is at best a wasted vote, and in reality it's a vote for DJT. And if you're going to protest vote because of the Gaza situation, that for which, in my mind President Biden is greatly misstepping, well, just wait to see what happens if the Dems lose the White House. You think it can't get worse? It can. It would. And a refusal to vote because you don't like either candidate is this time incredibly irresponsible ‐‐ and the argument that the two are almost the same is indefensibly ignorant: the vast and incredible differences greatly outnumber any similarities, and those vast differences are fundamentally, crucially important. For instance, one of them (President Biden) is not a megalomaniacal, sociopathic fascist. The other has never shown anything remotely resembling decency, morality, or ethics.

We cannot let the Republicans have the White House. If we do, the U.S, Democratic experiment is more than likely over, in pretty short time. And this will be possibly the last Fourth of July to have any true merit. If you don't want DJT back in the office, if you don't want that authoritarian, neuvo-fascist, quasi-theocratic executive branch, then you'd best vote for the Democratic ticket, if you don't, like it or not, you're voting for Trump and his administration, even if you don't vote.

In my mind the ideal outcome would be Democrats in the White House and Democrats as the majority in the Senate and House. Four additional liberal members of SCOTUS wouldn't be a bad move, either. That all would be nice....

Fri, Jul 5, 2024

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OCTA (Ohio Community Theatre Association) icon
WEDNESDAY'S CHILD, by Mark St. Germain at The Dayton Theatre Guild
DTG Director icon
In Tech Rehearsal icon

Tonight is our Final Dress before the OCTA Western Regional Festival tomorrow at the Encore Theatre in Lima, Ohio. In a few hours I'll be renting the truck, which we'll load with the set pieces, props, and costumes after rehearsal.

Wednesday was our penultimate rehearsal and, unfortunately, once again we were down an actor due to a situation they could not avoid. I had wanted to run the show twice ‐‐ we had the time ‐‐ but the actor is a quite principal character and I didn't see a point in running the show again with me reading that character's lines from the audience and the other actors addressing a phantom on stage for a second time. The situation wasn't ideal, but that's the way it goes, and my cast is a group of rock stars, so they'll do just fine, tonight AND tomorrow.


FutureFest 2024, Dayton Playhouse, July 19-21, 2024
Not a whole lot to report, but I am plugging along. As before, I am in various stages of sound work for various of the five shows, from harvesting their sound needs to programing their shows in Show Cue Systems. Last night I recorded another actor speaking lines for a different show than the last time.

I'm still a little anxious about getting everything finished before tech rehearsals begin for the festival. I'm sure I'll make it, but I am terribly aware of that finish line not far down this final stretch of racetrack.

Sat, Jul 6, 2024

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OCTA (Ohio Community Theatre Association) icon
WEDNESDAY'S CHILD, by Mark St. Germain at The Dayton Theatre Guild
DTG Director icon
On Stage icon

6:35 a.m.:
Just minutes away from leaving my abode with the rental truck and drive north about 75 miles to the OCTA Western Regional Festival at the Encore Theatre in Lima, Ohio.

Last night's final rehearsal was just what I expected it would be from this great cast. They were, indeed, on their games. They rocked! I believe that in just a few hours, this cast is going to kill it on the Encore stage!

The cast and me by the side of the rental truck last night, after we'd loaded it: left to right ‐ Jamie McQuinn (Det. Dixon), Heather Atkinson (Sam), Ryan Hester (Martin), Susie Gutierrez (Becca), Stephanie Henry (Susan), Becky Howard (Strutt), Ghiovanna Dennis (Det. Valez), and me, kneeling.

Sun, Jul 7, 2024

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OCTA (Ohio Community Theatre Association) icon
WEDNESDAY'S CHILD, by Mark St. Germain at The Dayton Theatre Guild
DTG Director icon
On Stage icon

The big news is that the adjudicators at the OCTA Western Regional Festival at the Encore Theatre in Lima, Ohio chose the Troy Civic Theatre's excerpt of Godspell to represent OCTA West at the state conference.

And congratulations to them!

Wednesday's Child may be going as an alternate along with the Troy excerpt, a concept that I do not understand; we will know about that in about a week.

I will say right here and right now that my cast gave an all-around outstanding performance, regardless of what awards we garnered. Here are the awards the we took home:

  • Excellence in Ensemble
  • Heather Atkinson ‐ Award of Merrit as Prof. Samantha Sutton
  • Ghiovanna Dennis ‐ Award of Merrit as Det. Aleese Valez
  • Susie Gutierrez ‐ Award of Excellence as Becca Conner
  • Becky Howard ‐ Award of Excellence as Molly Strutt
  • Jamie McQuinn ‐ Award of Excellence as Det. Walt Dixon
The verbal responses we got from the three responders, directly after our performance, seem to suggest that there would be more awards and that many, if not all, would be at the level of Outstanding, but it seems we all misread that. There were a few suggestions about staging that I will consider if we do perform this at State, specifically dealing with where the set pieces would be placed. Some other staging and directorial suggestions were, well, that person's opinion, but to my mind that person didn't get it ‐‐ i.e.: the suggestions are a matter of opinion that I don't agree with and they ain't happening.

Here's the bottom line: the cast DID, as a whole and as individuals, give OUTSTANDING(!!) performances regardless of the unfortunate fact that they were not justly recognized for such, and we all well know it.

Our rehearsal space on the Guild mainstage at Friday's rehearsal.
Earlier that day, on my apartment patio office, working on the sound.
More from the apartment patio office session.
My director/sound tech table setup for our last rehearsals.
The prop table.
Our set pieces in their stacked configuration for the excerpt performance.
Another shot of the cast & me at the rental truck, after we had loaded it, Friday night.
The cabin of the rental truck at about the half-way mark to Lima.
Leaning against the truck, at the same rest stop.


ENCHANTED COTTAGE, by Sir Arthur Wing Pinero at The Dayton Theatre Guild
I have just agreed to be sound designer for our Guild opening show of the new season, The Enchanted Cottage. Because, you know, I haven't been busy enough.....


FutureFest 2024, Dayton Playhouse, July 19-21, 2024
Right now, I've spent too much time on this blog post, so I'll blog about this sound work, later; I have to actually do some ‐‐ [MUCH] ‐‐ work on it, starting shortly after I finish this and post it. I already feel like I'm running to catch a bus that's speeding away!

Picture of Ringo Starr giving the Peace sign, with the words to his left: Happy Birthfday Ringo!

Wed, Jul 17, 2024

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FutureFest 2024, Dayton Playhouse, July 19-21, 2024
In Tech Rehearsal icon
For the last week, or so, most of my awake-time, when not at the rent-payer, has been focused on FF24 sound design. I've even used vacation-leave hours for a little more time. I will confess there have been some more of those moments of stress, about the soundwork, that I wrote of in recent entries. It's not been anything I can't handle, but there have been moments of: "Okay, K.L., take some deep breaths and chill-out."

The festival opens this Friday with Unabashedly, by Mike Teverbaugh. We are in the midst of Tech Week, with each show now getting their one and only dress/tech rehearsal; I suppose you could call each one a Final Dress, which is technically true, but Only Dress is more accurate ‐‐ such is the way with most play festivals. Unabashedly happens to be the first Dress, tonight. This past Saturday through Monday was the festival's Tech Weekend: two shows on Saturday, two on Sunday, one, Monday evening.

You see the sound tech icon up above because, unfortunately, the person who had signed on to run sound had to drop out, or backed out, or something. The FF committee was working to replace the sound tech, but had not by Sunday afternoon when we had already done those first techs on three of the five shows. Really, the sound op needs to be at both these first tech rehearsals and the single dress rehearsals for all the shows, otherwise, hitting the cues correctly during the festival performances becomes precarious. So, despite that I really, really, REALLY want to sit in the audience for the festival, I've decided to be in the booth. In case you didn't pick up on it, I would much rather experience the weekend from an audience seat. Not this year.

Setting up in the booth at The Guild to record voices for The Four, by Catherine Butterfield back on June 26.
Friday morning, July 5, recording some Creative Commons audio for Unabashedly.
Later that Friday, before the last Wednesday's Child OCTA rehearsal, virtually finishing off the sound cue programing for The Four in Show Cue Systems.
A working dinner, a little later that day, processing some sound for Unabashedly.
The sound op station in the booth at The Playhouse, last Sunday.
At work, yesterday, harvesting sound from a SFX website, during the end of lunch.
At home, listening to a last-minute sound mix, yesterday.

Fri, Jul 19, 2024

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Opening Today

FutureFest 2024, Dayton Playhouse, July 19-21, 2024

Tech Week was wrapped last night with the final dress of The Totality of All Things, by Erik Gernand, though I do have a few sound-design tweaks to make before the festival weekend starts.

And, the festival weekend starts tonight with Unabashedly, by Mike Teverbaugh. This year the festival has slightly changed the format, presenting only five plays, rather than the six they presented in the past festivals, and all the performances will be some form of reader's theatre, from straight readers to staged reading. But the festival is no longer producing fully-staged performances.

Here's the roster for the weekend:

UNABASHEDLY, by Mike Teverbaugh
Directed by Lynn Vanderpool
Tonight at 8:00 pm

Two people, with a past they had no idea they shared, meet in the newsroom of a major American newspaper and are drawn inexorably together.

Deangelo Powell as Young Man
Brandon Shockney as Dave
Dylan Reed Roll as Robert
Kelli Locker as Helen
Addie Imundo as Amy
Cynthia Schindler as Catherine

THE FOUR, by Catherine Butterfield
Directed by Debra Kent
Tomorrow at 2:00 pm

They were best friends when their children were growing up, but now one of their sons has committed a violent racial act that has attracted national attention. Can an interracial friendship sustain that kind of stress? How far do you go to protect a child whose actions you abhor?

Cassandra Engber as Joan Welch
Jeff Engber as Jack Welch
Jamie McQuinn as Ken Kincaid
Ghiovanna Dennis as Didi Kincaid
Derek Dunn-Melvin as Tyler Kincaid and others
Daniel Cox as Zack Welch and others

Directed by Aaron Eechaute-Lopez
Tomorrow at 8:00 pm

How do you say goodbye to a houseful of memories? It’s been over a year since John Sicura’s beloved wife of 45 years passed away. When his adult children (artsy Vicky, workaholic Kerri and her husband, stay-at-home-dad Colin) come for Sunday dinner to their childhood home, John announces he is selling the house. Over an epic eight weeks of preparing the house to be sold, digging through boxes and boozy late-night talks on the roof lead to self-reflection and surprising confessions.

Jim Walker as Dr. John Sicura
Carly Risenhoover-Peterson as Kerrigan Sicura
Jordan Ostrum as Colin
Jackie Randall as Vicki Sicura
Jordan Lopez as Olivia DeSantos
Carly Wheeler as Reader (Narration & Stage Direction)

THE CURE, by Alex Dremann
Directed by Saul Caplan and Sarah Caplan
Sunday at 10:00 am

When her twenty-four year old son wills himself to death and donates all his organs, Joan goes on a quest to understand why. Along the way, she meets five of the organ recipients who all seem to remind her of different parts of her son’s personality, but it’s not until she meets her son’s heart that she finally learns the truth.

Libby Scancarello as Joan
Tim Welsh as Matt, et al.
Kerry Simpson as Annette
Jenna Gomes as Amanda
Mandy Shannon as Nancy
Tracie Puckett-Knight as Dagney

Directed by Matt Meier
Sunday at 3:00 pm

Judith Benson runs a world-class high-school newspaper program in a small town in Indiana where she convinces her students to strive for truth in journalism. When an act of graphic vandalism rocks the small, quaint town where everyone used to get along, Judith goes on a mission to catch who did it.

Jennifer Lockwood as Judith Benson
Melissa Ertsgaard as Deeann
Cydnie Hampton as Chelsea Carter
Dave Williamson as Principal Frank Benson
Matt Lindsay as Gregg Humphrey
Reed Meeker as Micah


ENCHANTED COTTAGE, by Sir Arthur Wing Pinero at The Dayton Theatre Guild
Showing Aug 23-Sep 8, 2024
Tickets available...
DTG Buy Your Tickets Now
The opening show of The Guild's 2024/2025 season has it's cast, but also a little bit of a production-team shake-up; unfortunately, the original director, Ray Gambrel ‐‐ who would have been making his directorial debut at DTG ‐‐ has had to drop out due to unavoidable circumstances. Debra Kent has stepped in to direct the show, and she finished up the casting of the show toward the end of this week, while, I might add, in the finishing stretch of rehearsals for the FutureFest 2024 play she's directing, The Four.

Here is the Cast of The Enchanted Cottage, (in order of appearance):

Mrs. Minnett
      Karen Righter

Laura Pennington
      Racheal Tingley

Major Hillgrove
      Dave Williamson

Oliver Bashforth
      Frank Maranje

Mr. Corsellis
      Don Campbell

Mrs. Corsellis
      Rhea Smith

Mrs. Smallwood
      Caitlin Larsen Deer

Mr. Smallwood
      Jim Walker

      John Spitler


Dayton Theatre Guild
On another DTG note, the theatre will host a one-hour stage manager workshop, three times on three separate occasions: August 24, September 1, and September 4. The workshop will be free, but registration will be required. The exact times of the workshop and more information will follow soon.

*click here for audition information for
upcoming Dayton Theatre Guild productions

click here for the album's official page, which includes info on the single releases


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