K.L.'s Bog: A Diary of Artful Things

K.L.'s Blog © 2004-2018 K.L.Storer -- all rights reserved

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Thu, Oct 4, 2018

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Oct-Dec, 2018



CATCHING UP
THIS RANDOM WORLD logo.

Well, Tech Week is wrapped. Last night was Final Dress, rather than tonight (Thursday of Tech Week is customary for Final Dress). The theatre dark tonight, with Director Marjorie Strader giving the cast and crew the night off before Opening Night.

It's been a pretty smooth tech week all the way around, and Tech Sunday went quite well.

SOUND DESIGNING ICON
Of course, there were many adjustments and tweaks to the sound design, all the way up to last night. Theoretically, I am done, but that doesn't preclude me from deciding that a sound or two needs tweaked after hearing it with the house full of audience members -- their bodies do change the acoustics of the room.

One piece of information that I have been holding out is that 99% of the production music for the show is written and performed by the amazing local duo of Sandy and Michael Bashaw of the Dayton-based Puzzle of Light. At the start of the summer Margie and I discussed what sort of music was favored for the scene transitions, and the opening and closing of the show. She thought something in the new age genre, and I immediately thought of a few choices, some being music that I already had in my library.

Then Sandy and Michael did a second weekend of performances at DTG of the Theatre of Sound "Sound Sculptures" concerts this past June (having done the first weekend in June of 2017). After the performance I attended I approached sandy and asked if they had recorded any new-age sort of music. She d=said they had a meditation CD they had recorded using giant kalimbas drums and the alto and bass flute. She said it's a based in Japanese style. Margie had said she was interested in music that had a Japanese sound to it. So I asked if Sandy and Michael would be interested in allow us to use this music for our production. She said they would be delighted. Then I heard the music and knew instantly it was perfect for our needs. Sandy also played a shorter song with Japanese influence titled "Two Japanese Scales," that also works for our needs. I'm using that for the music into the show.

The meditation CD is 44 minutes long with drum rolls into flute work. There's plenty of places to grab the start of the rolls into the flutes to have something for each of the ten scene changes.

It's the perfect aesthetic marriage.

The curtain music is from another artist. You'll have to come to the show to find out who.

SOUND TECH ICON
Opening weekend I am in the booth running sound. Our crack sound tech, Sarah Saunders, has a previous commitment, so I am on the sound board.

Hope I can get it right!      cool icon

DTG Promocast Production logo
As planned, the principal photography for the promocast was Sunday, between the cue-to-cue and the first full tech run. It, too, went rather smoothly, with the usual nagging problems: the biggest being keeping it quiet on the set, which has to pretty much be the whole area around the theatre house because the camera mics pick it all up. I'm constantly "QUIET ON THE SET!" The other thing to add is that this was actually a four-camera shoot, which may become the new norm for me *(see next entry).

Click here for the promocast.


ADVENTURES IN NEW DV CAMERA PURCHASING:
TOYS ICON
VIDEO PRODUCTION STUFF ICON
GENERAL TECHIE STUFF ICON
MOVIE PRODUCTION STUFF ICON
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Canon Vixia HF R800

A little over a week back I wrote here about how I had dropped one of my Canon Vixia HF R40 HD DV cameras during a shoot and damaged it, and that I recently bought a Canon Vixia HF R800 to replace it. It turns out I only thought I'd damaged the camera. I actually had only damaged the memory card. Had I done a more thorough check at the time, I would not have missed that. So now I have four working cameras.

I could have returned the new one gotten my money back, but, who's surprised that I've decided to keep it? So my multi-camera shoots have graduated to four-camera from three-camera -- the shoot for the This Random World promocast was the first.

Some glitches came up. Don't they always when technology is involved. First, when I bought the new camera, I also ordered a 32GB memory card, because I forgot that I am using 64GB cards in the cameras. Once I realized this, I pulled the 64GB card from the "damaged" camera to replace the 32GB in the new camera. That's when I discovered that it was the card that was damaged, all along.

So I had four cameras and two working 64GB cards for them. I dropped into Best Buy to pick up two more 64GB cards. I bought two 64GB MICROSD Ultra Plus cards, only to find that these particular cards are not compatible with my cameras. So I had to go back and exchange them for 64GB SD Ultra Plus cards, which, I am happy to report, do, indeed, work.

Now I have four DV cameras. Of course, we won't discuss the fact that at some point I need to upgrade from consumer DV cameras to some level of professional-class DV camera (or, cameras). When I get to the point that I actual start shooting another bonefide movie, I will need a better camera; I'll need a DP, too, but that's another subject.

And, I'm still thinking seriously about getting a good DSLR camera to take better stills with. That which, of course, I could also shoot better video with than I am right now -- even if I'm not exactly shooting horrible video with what I have.


PATTON OSWALT AT THE TAFT THEATRE:
In Concert icon

Patton Oswalt is absolutely one of my favorite stand-up comics working today, maybe of all time. I find all his comedy specials funny as all hell. I told myself that if he ever were to come to a venue close enough to me, that I'd go see him unless there was a good enough reason (read: gig) to keep me from his show.

When I saw that he's coming to The Taft Theatre in Cincinnati, on April 27 of next year, I made sure to grab a ticket as soon as they went on sale. I got a decent seat too. I think I am three rows back, but I'm not absolutely sure of that. But I have a good seat, regardless.

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COMING SOON!
~~IN ORDER OF OCCURRENCE~~
MINI VACATION
ROADTRIP!

coming soon
Comprehensive account
coming soon
A Sunday afternoon at The Wilds


also

David Byrne American Utopia Tour BANNER


BANNED FROM BASEBALL by Patricia O'Hara at The Human Race Theatre Company.
post mortem




In Memorium
These are less than timely,
but, I wanted to make the acknowledgements,
even if a bit late.

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I figure the first three above are well-enough known, legends in their fields, really, that I need not write any words about them.

But, Geoff Emerick: many may not know who he is. He was the recording engineer for The Beatles. He is far more influential on the matrix of pop and rock music than most would have any idea.

He had to invent and innovate to meet the needs of Sir George Martin, and of John and Paul, because they wanted things that had never been heard before, that had never been tried before -- most especially did John and Paul.

Geoff was known to come up with new, innovative ideas on his own, as well.

Yes, Mr. Emerick had far more of an impact on modern music than most would ever guess.

May he rest in peace

~~ 0 ~~



Fri, Oct 5, 2018

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Oct-Dec, 2018



Opening Today

THIS RANDOM WORLD by Steven Dietz, at The Dayton Theatre Guild.

Click here for the promocast of the show




COMING SOON!
~~IN ORDER OF OCCURRENCE~~
MINI VACATION
ROADTRIP!

coming soon
Comprehensive account
coming soon
A Sunday afternoon at The Wilds


also

David Byrne American Utopia Tour BANNER


BANNED FROM BASEBALL by Patricia O'Hara at The Human Race Theatre Company.
post mortem



Mon, Oct 15, 2018

OCT-DEC, 2003
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Oct-Dec, 2018



DRAMATIC READINGS:
Ohio Playwrights Circle
ACTING ICON

This past Saturday I participated in the first of a few dramatic readings I will do for the current play writing class facilitated by Michael London's Ohio Playwrights Circle.

I'm doing four more between now and the end of the year.


THIS RANDOM WORLD logo.
CATCHING UP

The show has now been through two weekends of it's three-weekend run and it's been going quite well. Audience attendance has been a bit anemic, which I think has a lot to do with the fact that it's a newer, lesser-known play. The audiences who have seen it have responded positively, however.

SOUND TECH ICON
SOUND DESIGNING ICON
As I reported earlier that I would be, I was the sound tech the first weekend and I'd love to report that I got through all three performances flawlessly...... I'd love to report that.

Ooops! -- Opening Night I did have a couple "DOH!" moments. First I moved ahead in the script and skipped an upcoming cue that I then missed. One would think that the sound designer, the person who originally built the sound and placed it there, would not forget the cue. Yet, the designer did just that. I also played a cue too early at another spot. But The Saturday and Sunday shows that opening weekend were not hampered by this ridiculousness. As for any further tweaking of the soundwork, there was none.


THE MAN WHO KILLED THE CURE logo.
NEXT icon
SOUND DESIGNING ICON
Now it's time to move on into the next project: sound design for Luke Yankee's The Man Who Killed the Cure.

Tech Sunday is November 11, so I have some time to get it together, I would hope.


FutureFest 2018 BANNER

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FutureFest co-chair Brian Sharp & playwright Carl L. Williams
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Brian & playwright William C. Kovacsik
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Brian & playwright Barbara Snow
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Brian & playwright Randy Neale
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Brian & playwright Jim Geoghan
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Brian & playwright John Minigan
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Helen Sneed (with her award) and co-chair Tina McPhearson -- with co-chair Brian
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Eleanore Speert
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David Finkle
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Peter Filichia
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The adjudicators with Matthew Kagen commenting

It's About Damn Time! -- with frowning eyes graphic

Yes, yes, FutureFest 2018 was almost three months ago; what can I say, priorities are priorities; there've been other things to attend to. So, late to the game as this may be....

Not at all surprising FF18, as have been the past FFs I've attended, and/or participated in, was one of the highlights of my summer.

I'm not at all alone in thinking this was one of the best crops of plays, over all, in quite a while at FutureFest. Of course, I've not been to every single FF, but I have been to the last fourteen, and I think this qualifies as the best group of plays since I've been around. That's not to say there haven't been a few other really good festival line-ups, which enhances the assessment for this year's weekend.

The adjudicators this year were primarily some of the most recurring usual suspects, Peter Filichia, David Finkle, Helen Sneed, Eleanore Speert, with one FF freshman, Matthew Kagen.

Helen Sneed was, in fact, awarded a Lifetime Achievement Award for having been a FF adjudicator for twenty-five years, and as Meredith Moss wrote in an article for The Dayton Daily News, Helen "has become a festival favorite known for her perceptive comments and wit."


Here are the shows and their credits:
The synopses are official from FF, not my words

WHAT ARE WORDS WORTH TO A LONG FELLOW?
by Carl L. Williams

*fully staged

Friday, July 20, 2018 at 8:00 PM
Directed by Debra Kent

A young man intent on living a dissolute, artistic life as a poet becomes infatuated with a new love. But he soon encounters two life-changing dilemmas. Economic necessity, along with the insistence of his older sister, may compel him to forsake his poetic life and accept a mundane, regular job. And secondly, when confronted with the choice, he has to decide if he's willing to sacrifice love in exchange for artistic success. Poetry, love, and self-interest intersect in challenging ways to form the ever-shifting current of the young man's life.

Norris -- Jared Mola
Debbie -- Kayla Graham
Phyllis -- Wendi Michael
Jack -- Scott Madden


FETTERED
by William C. Kovacsik

*staged reading

Saturday, July 21, 2018 at 10:00 AM
Directed by Annie Pesch

In Maryland, in 1620, a white woman could marry an African slave -- but only if she was willing to become enslaved herself, and to see her children and their offspring born into slavery. So when a poor Irish immigrant girl meets an African slave who has been trained by his master to run a large plantation, and they start to think of spending the rest of their lives together, choices have to be made. FETTERED asks: what is the price of love? And how long will it take before we acknowledge the humanity of everyone in our country?

Town Crier (and others) -- Richard Young
Lord Baltimore -- Michael Plaugher
Nell -- Karley Holdeman
Major Boarman -- Ray Geiger
Charles -- Thomas Troutman
Mrs. Boarman -- Jennifer Lockwood


LATE IN THE GAME
by Barbara Snow

*staged reading

Saturday, July 21, 2018 at 3:00 PM
Directed by Shawn Hooks

This play looks at the experience of aging from the perspective of Baby Boomers. How does the generation that opposed the Vietnam War and marched for civil and women's rights, settle into their new role as senior citizens? The short answer is, not very gracefully. This is a story of life, death, love, aging, and that most frightening of all experiences: change.

Margaret -- Fran Pesch
Iris -- Becky Howard
Callie/Assistant -- Cher Collins
Donald -- Jim Lockwood
James/John Miller -- Mark Sharp
Gina Mae -- Pamela Byrd
Narration -- Brian Sharp


LAST RITES-DETROIT, 1967
by Randy Neale

*fully staged

Saturday, July 21, 2018 at 8:00 PM
Directed by Kip Moore

On the second day of the riots in Detroit in July of 1967, three people take refuge from the chaos on the streets in a gas station/convenience store on 12th St. in the epicenter of the riot. While the riots mount, we learn what has brought these people to be in this place at this time, and we watch as all three people must come to grips with their losses as a result of the violence and fires outside, while dealing with each other and their racial and generational differences. Their differing experiences and points of view clash even while they are giving each other comfort, until they reach a point where the violence outside spills over to their refuge. The play examines the roots of what is happening on the streets through the lives and eyes of these three disparate people and raises many questions about how much or how little has changed in the 50 years since the riots.

Ron -- Michael Schumacher
Esther -- Joyce Barnes
Sydney -- Naman Clark


OF MEN AND CARS
by Jim Geoghan

FutureFest 2018 Winner
& Audience Favorite

*staged reading

Sunday, July 22, 2018 at 10:00 AM
Directed by Dawn Roth Smith

Jim stole his father's '39 Ford when he was four and soon realized some of the greatest events and memories in his life would happen in cars. From the Bronx to Beverly Hills and places in between, Of Men and Cars follows Jim's life and his relationships with all sorts of people including his father. If you want to have a meaningful conversation with a man, especially your father, it's best to do it in a car.

Jim -- Spencer Berta
Dad -- Saul Caplan
Mom/Anna/NY Woman/Dorothy -- Pam McGinnis
Frankie Two Fingers/Salesman/Warren/Shrink/Man -- Chuck Larkowski
Girl Next Door/College Girl/LA Woman/Saleswoman -- Heather Martin
Dominic/Man/Soldier/Jack -- Brennan Paulin
Russo/Pot Head/Dumb Guy -- Michael Boyd


QUEEN OF SAD MISCHANCE
by John Minigan

*fully staged

Sunday, July 22, 2018 at 3:00 PM
Directed by Richard Lee Waldeck

A play about gender, race, academia, and belonging. Kym thinks she's lucked into the perfect resume-builder for a biracial college senior determined to find a career in academia: helping renowned feminist scholar Beverly Norden finish her ground-breaking book on Shakespeare's Queen Margaret before Alzheimer's makes the task impossible. As the passing months make clear that Beverly's failing memory is not the greatest obstacle to their work, Kym reassesses her connection with Beverly, Beverly's son, and academia itself. What can the Margaret story tell her about her own path forward?

Beverly -- Amy Taint
Kym -- Carrin Ragland
Roy -- Jamison Meyer


FF Planning Committee: Brian Sharp (co-chair), Tina McPhearson (co-chair), Fran Pesch, Matthew Lindsay, & Peggy Mangan.
Play Reading Committee: Jennifer Lockwood (chair), Margaret Baird, Marlene Bireley, Sarah Caplan, Cecile Cary, Joyce Emory, Mary Ellen Griswald, Charlotte Harris, Chuck Larkowski, Heather martin, Jared Mola, Fran Pesch, Pat Ronald, Deirdre Root, DJ Shade, & Gayle Smith.
Final Play Reading Committee: Dodie Lockwood, Debra Kent, Chuck Nickerbocker, Russell Florence, & Sue Eisner.
Production Stage Manager: Logan Dabney
Scenic Design: Red Newman
Lighting Design & Operator: Richard Waldeck
Sound Design & Operator: Hanna Stickel
Program: Stacy Ward

more photos from the weekend:
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COMING SOON!

MINI VACATION
ROADTRIP!

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David Byrne American Utopia Tour BANNER BANNED FROM BASEBALL by Patricia O'Hara at The Human Race Theatre Company.
post mortem


Sun, Oct 21, 2018

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Oct-Dec, 2018



Closing Today

THIS RANDOM WORLD by Steven Dietz, at The Dayton Theatre Guild.

Directed by Marjorie Strader
Produced by Deirdre Root

We want to believe that serendipity brings us together, but how often do we travel parallel paths through the world without noticing? From an ailing woman who plans one final trip, to her daughter planning one great escape, and her son falling prey to a prank gone wrong, this funny, intimate, and heartbreaking play explores the lives that may be happening just out of reach of our own. Following a web of characters whose interwoven lives collide but never quite connect, This Random World shows us that, through the power of chance, we might be closer to each other than we know.

The Cast of This Random World

CHARACTER
           ACTOR
Scottie ward
           Jane McBride
Tim ward
           Ranger Puterbaugh
Beth Ward
           Susie Gutierrez
Bernadette Mitchell
           Teresa Lynn
Rhonda Mitchell
           Erin McGee
Claire
           Sara Duibley
Gary
           Matthew W. Smith

The Promocast for THIS RANDOM WORLD



MINI VACATION ROADTRIP! A Sunday Afternoon at The Wilds, Aug 5, 2018 - BANNER

The photos from my excursion. In some cases I might misidentify some species, but, what-a-ya-gonna-do?
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I think this is a Common Eland. Of course, that is another of the open-air tour buses.
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A herd of Common Elands, probably.
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A Greater One-Horned Asian Rhino
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Two Greater One-Horned Asian Rhinos -- one in the forefront and one in the far back, about to enter the water (if you can make it out)
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Parakeet Landing.
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Inside Parakeet Landing.

It's About Damn Time! -- with frowning eyes graphic AGAIN!

When I was planning my little weekend-getaway, mini-vacations this summer, I had originally targeted a return to The Indianapolis Zoo, which I had visited in the mid-nineties. But at the time I was laying down plans for these excursions this summer, someone told me about The Wilds. I was intrigued. I got on the web and looked it up. I was further intrigued. I tried to fit both The Wilds and the Indy Zoo into my schedule but could not quite do it. So, The Wilds won as a destination. It just looked and sounded like such an interesting place; add to that, that it was the choice from the two that I had not yet experienced.

Indeed, the Wilds is, a wonderful place. It's seriously interesting for people of all ages. If you, reading this, have kids, this is a great little road trip for your family -- I guarantee it!

The Wilds is on a large swath of land (just shy of ten-thousand acres) outside of Cumberland in southeastern Ohio, that for most of the mid-twentieth century was mined for coal. It was donated as land for a wild animal preserve by the Central Ohio Coal Company, a subsidiary of American Electric Power Company. In 1992 the first animals, Przewalski's Wild Horses were introduced onto the land, with other species to follow. By 1994, public tours were introduced.

In the 2000s the Columbus Zoo assumed governance of The Wilds and the compound has continued to grow and progress both in terms of animals introduced and facilites built and utilized. For the history page at the official site, click here.

There are several tours offered, I took the Open-Air Safari, which, just as suggested, the visitors are in an open-air bus that drives through the open-range animal areas, where animals, mostly but not exclusively, herd animals, roam. It ran a little more than two hours.

Here's a list of the animals, all endangered, that one can see on the tour:
We didn't see all of the animals, but we saw all but a few. In some cases, they were pretty far off so we didn't get a good look. This was another of the cases, here lately, where I've wished I owned a much better camera than I do, one with a much better zoom lense, for certain.

Some animals were pretty far off and the lack of a good zoom stopped me from getting a good photo. In some cases I took pictures but they are not worth posting here. My lack of a good pair of binoculars also stopped me from getting a good view of such. Some animals just weren't in the area of their designated ranges close to us, the Cheetahs for instance. The Wild African Dogs (African Painted Dogs) where all escaping the sun and heat in the shade of little structures so, though they were relatively close, I couldn't get terribly good shots of them.

Other animals, as you can see in the photos I took, were quite close. The Southern White Rhinos being the most exciting one for me. There was a small herd right by the driving path. We stopped and a couple strolled right up next to the bus. One was so close that I literally could have reach out and touched it.

I fully intend to go back next summer for a more elaborate visit. The Wilds offers several overnight experiences and I have my mind set on two nights on Nomad Ridge, staying in a yurt.

There is a complementary Open-Air Safari included, but I think I want to add on some other events, which one can do at reduced rates. There's the Wildside Tour where one gets up close to some animals and feed or otherwise interact with them, I'm also thinking about doing the Sunset Wildside Tour -- same tour but, obviously, at sunset, and with the addition of buffet dinner.

There's also the Evening at the Outpost, which is similar to the Sunset Wildside tour, but specifically says to "Relax and enjoy the scenic views of our pastures and herds while experiencing our newly-designed Giraffe and rhino encounter areas, where you may get up close and personal with our herds." If I do this as I'm currently planning it's gone to run me just shy of $1000, at current rates, anyway.
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More Parakeets
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More Parakeets
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Another tour member feeds a Parakeet.
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A Przewalski's Wild Horse
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Przewalski's Wild Horses
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Bantengs, aka: Bali Cattle
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I love the Columbus Zoo system's sense of humor!
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The best photo of the African Painted Dogs I could get.
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The open-air buses.
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Fringed-Eared Oryxes
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Ostrich
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The tour guide warned us to stay back when the Ostrich was close to the bus, and to especially not put our hands or faces out the window -- the Ostriches will bite.
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Scimitar Horned Oryxes
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An adolescent Giraffe just after he drank from the water puddle.
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More Giraffes
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Another Giraffe
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The newest Giraffe at The Wilds, only a few weeks old at the time. The tour guide was excited because: 1) the baby had not been that close to the road before; 2) the mother was allowing it to get that close to the road and allowing it to stray a little bit of distance from her.
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The highlight of the two-hour safari was the visit with the Southern White Rhinos, with their pasture just next to the Giraffes'. Once again, our tour guide was excited because the small herd stroled right up next to the bus, which is uncommon for them to do.

She also said that the rhinos knew her and she could actually have been able to get out of the bus and mingle with them but that while doing the open-air tours the guides were not allowed to do that. One big point is that encouraging that behavior from tour members was greatly discouraged because how the Rhinos would react to strangers in their midst was unpredictable.

We also stopped and parked on an incline so she was, under that circumstance, not allowed to stand up, otherwise she would have leaned out the window and talked to the Rhinos, who love to hear what she called "baby talk."

One wonders of they knew she was in the bus, because several of them came strolled close to the vehicle, one right next to us, so close that I actually could have reached out and touched it. It was literally right beside me.
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This Rhino came right up to the bus....
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....right up
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The best photo I could get of the Grévy's Zebras
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Bactrian Camels
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Bactrian Camels
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Some Wilds vistas
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Of course, this being a weekend-getaway, mini-vacation, how could I not at some point in my day have an ice cream cone? Had to do it.

It's become a vacation tradition.

There not being a good ice crem option at The Wilds, I had to drop by Young's Dairy on the way home.

Too bad I don't keep my ice cream consumption limited to my litte expeditions. Although, at least at home I usually do frozen yogurt rather than straight-out ice cream, which is a little better.

{ | - - - - ( 0 ) - - - - | }



COMING SOON!

David Byrne American Utopia Tour BANNER BANNED FROM BASEBALL by Patricia O'Hara at The Human Race Theatre Company.
post mortem


Thu, Nov 1, 2018

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Oct-Dec, 2018



David Byrne American Utopia Tour BANNER
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The stage before the show as seen from my seat.
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Benjamin Clementine
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The stage after Benjamin's show and just prior to David's
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Minutes before David
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David at the opening of the show, doing "Here"
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David on the monitor during "Here" -- before David requested the screens be turned off
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The whole band on stage, not sure what song.
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Again, no idea what song
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During "Once in a Lifetime"

Once AGAIN! It's About Damn Time! -- with frowning eyes graphic

In Concert icon
There are a lot of recording artists I've never seen live but have wanted to, some which it won't be possible to see, because the artist has died, truly retired, or the band is no more. I regret greatly that I never saw Talking Heads live, but, in August, I sort of remedied that by seeing their front man, the incomparable David Byrne live at The Rose Music Center -- my first time at that venue as well as my first time seeing David in concert.

The opening act was Benjamin Clementine, whom I had never heard of, though some younger folk who sat close to me were familiar with. Benjamin is a prodigious pianist whose music is a nice blend of folk and R&B, with flourishes of modern production tricks, that he delivers with a distinct second tenor voice and vocal phrasing that reminds me somewhat of Tracy Chapman's delivery.

The pre-show "music," both before Benjamin's performance then before David's show, consisted of recordings of bird songs, that at first sounded like from a forest but gradually more and more as if from a jungle setting. Shortly before David came on, the recording phased into a rainstorm with thunder.

Just as I was sure it would be, David Byrne's show was nothing less than excellent. The stage was completely bare. David and all the musicians were wireless, David and his vocal accompanists had headgear mics. Everyone was constantly on the move in choreographed movements that not only were reminiscent of, but I think, technically were colorguard choreographies. To add to the marching band sort of motif, there was not a single drum kit, but several percussionists that made up the elements of the drum kit work.

It may sound like it was nerdy or dorky, but it was absolutely amazing and just about as definitively cool as it could be. The colorguard movements of the band worked excellently with the music. Byrne has been interested in incorporating colorguard into rock and pop for about a decade now, and has been involved in several previous incorporations in the past. In 2015, David even attended the annual Winter Guard International Championship, which happens in Dayton every year -- and gave it a shout out during the show, by-the-way. He even writes about it at his website. One of his passages is titled, "Colorguard and the Failure of Irony."

I had never seen David live before, as I wrote earlier, so one thing that I was not expecting was for David, since he has such an eccentric mystique to his public persona, to be so normal when he spoke to the audience. I expected little direct verbal interaction with the audience, and what there was, I expected would be theatrical in some sort of strange, offbeat manner. But he was just a guy up there, interacting with his fans, though clearly an intelligent, eloquent guy. One interesting note: about thirty or forty minutes in, he said, "Could somebody turn off the big screen monitors, they're very bright," and then, "the show's here on stage not on the screens." He didn't continue the show until the screens were off. I know someone who went to the show the next night in Cincinnati at Riverbend and she reported that the screens were never turned on. I suspect any such screens were off for the rest of the tour.

In one of his first times speaking to the audience, early in the show, he mentioned Headcount, an organization that accompanied David on the tour, giving assistance and information about registering to vote. He even engaged with a woman down front who was at the show with her young adult daughter, saying to the mother, "I'm sure you are registered to vote," then to the daughter, "Are you?" Then to the younger members of the crowd in general he said, "You young people out there, if you want a future, you need to vote."

As you can see from the photos (and the videos I've linked to, below), David's stage was a clean, open space, there were beaded ropes hanging three sides of the retangular parimeter, what could be called the stage left, stage right, and up stage walls. All of the band's amplification was hidden behind those walls, and the band members were free to enter onto stage from just about anywhere, in their wireless-miked, untethered states.
    The American Utopia Tour band:
    Angie Swan -- guitarist
    Karl Mansfield -- keyboardist
    Bobby Wooten -- bassist
    Gustavo Di Dalva -- drummer
    Daniel Freedman -- drummer
    Aaron Johnston -- drummer
    Tim Keiper -- drummer
    Mauro Refosco -- drummer
    Davi Vieira -- drummer
    Chris Giarmo -- backing vocalist
    Tendayi Kuumba -- backing vocalist
The untethered, colorguard movement of the band, utilizing the entirety of their clean, open stage was quite a theatrical experience. The unique manner of instrumentation, which refers chiefly to the marching-band style approach to the drumming, was striking in that, though it was technically a revisioning of the music, the band still gave us renditions of the music that may have been different from the original recordings but still did not stray from the effect of the original instrumentations nor arrangements by too far a measure. It was really not easy to detect a difference between what we were hearing live and the studio recordings.

The concept of the show was an inventive one that succeeded most wonderfully. Byrne has been quoted as saying that the American Utopia Tour is "the most ambitious show I've done since the shows that were filmed for Stop Making Sense."

To give you just a little taste of the show, click here for the opening number, "Here," as captured by an audience member in Houston, last April. "Here" is the closing cut from David's new album, also the namesake of the tour, American Utopia. And for one more taste, also from the Houston show, and clearly captured by the same audience member, Talking Heads' "Once in a Lifetime." I'm linking the Houston performances on the hopeful assumption that mechanical fees have been paid on these youtube postings. I'm probably grabbing at straws with that hope....
    David's Set List:
    Here
    Lazy
    I Zimbra [Talking Heads]
    Slippery People [Talking Heads]
    I Should Watch TV [David Byrne & St. Vincent]
    Dog's Mind
    Everybody's Coming to My House
    This Must Be the Place (Naive Melody) [Talking Heads]
    Once in a Lifetime [Talking Heads]
    Doing the Right Thing
    Toe Jam [Brighton Port Authority]
    Born Under Punches (The Heat Goes On) [Talking Heads]
    I Dance Like This
    Bullet
    Every Day Is a Miracle
    Like Humans Do
    Blind [Talking Heads]
    Burning Down the House [Talking Heads]

    ENCORE 1:
    Dancing Together
    The Great Curve [Talking Heads]

    ENCORE 2:
    Hell You Talmbout [Janelle Monáe]

Here's a good article from last May about the tour that also touts some more great audience-captured video from some of the shows: "Happy Birthday David Byrne: Performing Talking Heads Songs On American Utopia Tour."

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Closing the main show: "Burning Down the House"
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Encore: "Hell You Talmbout"



COMING SOON!

BANNED FROM BASEBALL by Patricia O'Hara at The Human Race Theatre Company.
post mortem

stay tuned for a link in this spot to the new K.L.'S FINE ARTS VITA
Meanwhile, click here for K.L.'s up-to-date résumé




Tue, Nov 6, 2018

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COMING SOON!

BANNED FROM BASEBALL by Patricia O'Hara at The Human Race Theatre Company.
post mortem




email me at KL_Storer@yahoo.com. And visit www.facebook.com/klstorer






Dayton Theatre Guild
forthcoming
AUDITION NOTICES
of the 2018/2019 season

The Shadow Box by Michael Cristofer
OUR MOTHER'S BRIEF AFFAIR by Richard Greenberg
NICE GIRL by Melissa Ross

*Graphics art by Wendi Michael     



The Shadow Box
by Michael Cristofer
The Shadow Box by Michael Cristofer

Audition Dates: Mon & Tue, Nov 19 & 20, 2018*, starting at 7:00 pm both nights.

The Dayton Theatre Guild at the Caryl D. Philips TheatreScape
430 Wayne Ave, Dayton OH, 45410
937-278-5993  ;  www.daytontheatreguild.org

Directed by David Shough
Produced by K.L.Storer
Assistant produced by Ryan Shannon

Production Dates: Jan 11-27, 2019

The Shadow Box made its Broadway debut in 1977, winning both the Tony Award for Best Play and the Pulitzer Prize for Drama. Joe, Brian, and Felicity come from different walks of life, but all three are spending their final days with family in hospice cottages on the grounds of a large California hospital in the mid-1970s. Joe’s wife Maggie is in denial, as they both struggle to accept the truth. Agnes dutifully cares for her mother Felicity, who pines for the return of her other daughter, and Brian must play referee between his brassy ex-wife and his male lover. Each day, the residents are observed and counseled by an invisible Interviewer as they explore their emotional and physical struggles.

Casting Requirements:

  • Auditions will consist of selected readings from the script.
    Audition selections will be available for download in early November.
    Familiarity with (but not memorization of) the selections is requested at the audition
  • Please provide a résumé if possible.
  • Please bring all scheduling conflicts between Nov 21, 2018 and Jan 27, 2019.

    Note: the rehearsal schedule will accommodate the holidays, but extended vacations (more than a week) could be a problem. Contact the director with any concerns -- see contact info below

THE CHARACTERS: These are strong roles for strong actors. Race is not relevant to the story so casting will be done without consideration of the actor's race. Stated ages are the ages the actors must be capable of appearing, not the actors' actual ages. Listed in order of speaking.

CHARACTER
           NOTES
The Interviewer
           30+, unseen, either gender. A therapist who speaks with the patients and caregivers. A calming, empathetic voice.

Joe
           40-55. A burly, pleasant, working class man, full of energy; New Jersey born and bred (but go easy on the accent). Husband of Maggie. Dying soon, though not apparently ill at this time. Puzzled, and a bit angry.

Steve
           14-year-old son of Joe and Maggie. Bright, active, loves his parents. Knows something is off, but does not know his father is dying. Some ability to play guitar (or to learn to do) is a plus for this actor.

Maggie
           35-50 (old enough to have 14-year old son, young enough to have a 75-year-old father). Wife of Joe. A strong, loving woman struggling to accept a frightening truth.

Brian
           40-60. Athletic, intelligent, educated, a writer. Formerly married to Beverly; now has a young male lover. Dying soon; in some pain that he tries to ignore, and with occasional episodes that embarrass him. Trying to be philosophical, but frightened more than he wishes he were. Working hard not to waste his remaining time.

Beverly
           35-45s. Beautiful, brash, frank, loves a party, a serial adulteress and ex-wife of Brian, whom she still loves.

Mark
           Late 20s. Attractive, intelligent. A former male hustler, now Brian's lover and, under the circumstances, his caregiver, a role he may not relish but performs out of duty, or love.

Felicity
           Elderly. Wheelchair bound, suffering from dementia and numerous physical problems. Dying soon, and angry, either that she is dying or that she is still living. Fixated on the return of her long lost other daughter.

Anges
           35-45. Felicity's daughter and caregiver. The playwright describes her: "Agnes is a plain looking middle-aged woman -- very neat, very tense, very tired. . . . She has tried all her life to do the right thing, and the attempt has left her confused, awkward, and unsure of herself."

For more information please contact:
Director David Shough at davids@pbstudios.com
Producer K.L.Storer kl.storer@daytontheatreguild.org





Our Mother's Brief Affair
by Richard Greenberg
OUR MOTHER'S BRIEF AFFAIR by Richard Greenberg

Audition Dates: Mon & Tue, Jan 14 & 15, 2019*, starting at 7:00 pm both nights.

The Dayton Theatre Guild at the Caryl D. Philips TheatreScape
430 Wayne Ave, Dayton OH, 45410
937-278-5993  ;  www.daytontheatreguild.org

Directed by Patrick Allyn Hayes
Produced by Christina Tomazinis

Production Dates: Mar 1-17, 2019

Anna is in the hospital having the latest of her frequent deathbed scenes, and this one looks like it may be the real deal. She makes a shocking confession to her grown children about an affair from her past that just might have resonance beyond the family. But how much of what she says is true? While her children try to separate fact from fiction, Anna fights for a legacy she can be proud of. With razor-sharp wit and extraordinary insight, Our Mother's Brief Affair considers the sweeping, surprising impact of indiscretions both large and small.

Casting Requirements:

CHARACTER
           NOTES
Anna
           to be announced

Seth
           to be announced

Abby
           to be announced

Lover
           to be announced

Dad
           to be announced






Nice Girl
by Melissa Ross
NICE GIRL by Melissa Ross

Audition Dates: Mon & Tue, Mar 4 & 5, 2019*, starting at 7:00 pm both nights.

The Dayton Theatre Guild at the Caryl D. Philips TheatreScape
430 Wayne Ave, Dayton OH, 45410
937-278-5993  ;  www.daytontheatreguild.org

Directed by Debra Kent
Produced by K.L.Storer

Production Dates: Apr 19-May 5, 2019

In suburban Massachusetts in 1984, thirty-seven-year-old Josephine Rosen has a dead-end job as a secretary and still lives at home with her hypochondriac mother. She started college but never finished, and has settled into a life that doesn't offer much hope for the future. But when a new friendship at work and a chance flirtation with an old classmate give her hope for the possibility of change, she dusts off the Jane Fonda tapes and begins to take tentative steps towards a new life. This is a play about the tragedy and joy of figuring out who you are and letting go of who you were supposed to be.

Casting Requirements:

CHARACTER
           NOTES
Josephine (Jo)
           somewhere around mid-30's or so

Francine
           Josephine's mother

Sherry
           mid-30's

Donny
           Josephine's co-worker, late 30's, a butcher

For more information please contact:
Producer K.L.Storer at kl.storer@daytontheatreguild.org

*ALL AUDITION DATES ABOVE MAY BE SUBJECT TO CHANGE



PROMOTIONS:

BE OR NOT, a movie by K.L.Storer. Starring Natasha Randall and Craig Roberts. Director of photography, Fred Boomer



Still for sale, 'STILL ME' on DVD, http://brookwoodfilms.com/buy.html
As an actor I was privileged to have a small roll in this multi-award winning, very touching, most poignant short film. I was further privileged to accept the award, on behalf of Beth McElhenny, for Best Family Film at the 2008 Secret City Film Festival in Oakridge, Tennessee. The film has won awards far more than that one time. Click on the image to go to the official site and see the successes, thus far.



AND NOW, TO PROMOTE SOME THEATRE....

THE COMING ATTRACTIONS AT MY HOME THEATRE, THE DAYTON THEATRE GUILD

Continuing the 2018/2019 Season:

THE MAN WHO KILLED THE CURE by Luke Yankee, at The Dayton Theatre Guild.

Directed by Jeff Sams
Produced by Debra Kent

The Man Who Killed the Cure, a controversial new play by The Last Lifeboat playwright Luke Yankee, is based on the life and death of Dr. Max Gerson, one of the fathers of natural healing. Two doctors, who are colleagues, friends, and men of science, survive Nazi Germany and make their way to America. Dr. Max Gerson believes in natural healing techniques while his former best friend and new adversary gets rich trying to stop him. This play is about the times we live in, one man's betrayal of another, and a timeless investigation of the hypocrisy that poisons the world of modern medicine.

The Cast of The Man Who Killed the Cure

CHARACTER
           ACTOR
Dr. Max Gerson
           J. Gary Thompson
Dr. Rudolph Heller
           David Williamson
Charlotte Gerson, and others
           Melissa Kerr Ertsgaard
Helga, and others
           Kristyna Zaharek
Mr. Carmichael, and others
           Ryan Shannon
Long John Nebel, and others
           Scott Madden

And following The Shadow Box at the Guild
SHADOW BOX by Michael Cristofer, at The Dayton Theatre Guild.

Directed by David Shough
Produced by K.L.Storer
Assistant produced by Ryan Shannon

The Shadow Box made its Broadway debut in 1977, winning both the Tony Award for Best Play and the Pulitzer Prize for Drama. Joe, Brian, and Felicity come from different walks of life, but all three are spending their final days with family in hospice cottages on the grounds of a large California hospital in the mid-1970s. Joe’s wife Maggie is in denial, as they both struggle to accept the truth. Agnes dutifully cares for her mother Felicity, who pines for the return of her other daughter, and Brian must play referee between his brassy ex-wife and his male lover. Each day, the residents are observed and counseled by an invisible Interviewer as they explore their emotional and physical struggles.

Audition Dates: Mon & Tue, Nov 19 & 20, 2018*, starting at 7:00 pm both nights.

Casting Requirements:

  • Auditions will consist of selected readings from the script.
    Audition selections will be available for download in early November.
    Familiarity with (but not memorization of) the selections is requested at the audition
  • Please provide a résumé if possible.
  • Please bring all scheduling conflicts between Nov 21, 2018 and Jan 27, 2019.

    Note: the rehearsal schedule will accommodate the holidays, but extended vacations (more than a week) could be a problem. Contact the director with any concerns -- see contact info below

THE CHARACTERS: These are strong roles for strong actors. Race is not relevant to the story so casting will be done without consideration of the actor's race. Stated ages are the ages the actors must be capable of appearing, not the actors' actual ages. Listed in order of speaking.

CHARACTER
           NOTES
The Interviewer
           30+, unseen, either gender. A therapist who speaks with the patients and caregivers. A calming, empathetic voice.

Joe
           40-55. A burly, pleasant, working class man, full of energy; New Jersey born and bred (but go easy on the accent). Husband of Maggie. Dying soon, though not apparently ill at this time. Puzzled, and a bit angry.

Steve
           14-year-old son of Joe and Maggie. Bright, active, loves his parents. Knows something is off, but does not know his father is dying. Some ability to play guitar (or to learn to do) is a plus for this actor.

Maggie
           35-50 (old enough to have 14-year old son, young enough to have a 75-year-old father). Wife of Joe. A strong, loving woman struggling to accept a frightening truth.

Brian
           40-60. Athletic, intelligent, educated, a writer. Formerly married to Beverly; now has a young male lover. Dying soon; in some pain that he tries to ignore, and with occasional episodes that embarrass him. Trying to be philosophical, but frightened more than he wishes he were. Working hard not to waste his remaining time.

Beverly
           35-45s. Beautiful, brash, frank, loves a party, a serial adulteress and ex-wife of Brian, whom she still loves.

Mark
           Late 20s. Attractive, intelligent. A former male hustler, now Brian's lover and, under the circumstances, his caregiver, a role he may not relish but performs out of duty, or love.

Felicity
           Elderly. Wheelchair bound, suffering from dementia and numerous physical problems. Dying soon, and angry, either that she is dying or that she is still living. Fixated on the return of her long lost other daughter.

Anges
           35-45. Felicity's daughter and caregiver. The playwright describes her: "Agnes is a plain looking middle-aged woman -- very neat, very tense, very tired. . . . She has tried all her life to do the right thing, and the attempt has left her confused, awkward, and unsure of herself."

For more information please contact:
Director David Shough at davids@pbstudios.com
Producer K.L.Storer kl.storer@daytontheatreguild.org

Dayton Theatre Guild -- Family Ties - 2018-19 Season

the rest of the season....

OUR MOTHER'S BRIEF AFFAIR by Richard Greenberg
Our Mother's Brief Affair
by Richard Greenberg

Anna is in the hospital having the latest of her frequent deathbed scenes, and this one looks like it may be the real deal. She makes a shocking confession to her grown children about an affair from her past that just might have resonance beyond the family. But how much of what she says is true? While her children try to separate fact from fiction, Anna fights for a legacy she can be proud of. With razor-sharp wit and extraordinary insight, Our Mother's Brief Affair considers the sweeping, surprising impact of indiscretions both large and small.

Directed by Patrick Allyn Hayes
Produced by Christina Tomazinis

Show runs Mar 1-17, 2019

Auditions will be held Mon & Tue, Jan 14 & 15, 2019*


NICE GIRL by Melissa Ross
Nice Girl
by Melissa Ross

In suburban Massachusetts in 1984, thirty-seven-year-old Josephine Rosen has a dead-end job as a secretary and still lives at home with her hypochondriac mother. She started college but never finished, and has settled into a life that doesn't offer much hope for the future. But when a new friendship at work and a chance flirtation with an old classmate give her hope for the possibility of change, she dusts off the Jane Fonda tapes and begins to take tentative steps towards a new life. This is a play about the tragedy and joy of figuring out who you are and letting go of who you were supposed to be.

Directed by Debra Kent
Produced by K.L.Storer

Show runs Apr 19-May 5, 2019

Auditions will be held Mon & Tue, Mar 4 & 5, 2019*


THE MAN WHO SHOT LIBERTY VALANCE by Jethro Compton
The Man Who Shot Liberty Valance
by Jethro Compton

Journey into the Wild West in the year 1890, in this classic story of good versus evil, law versus the gun, one man versus Liberty Valance. When a young scholar from New York City travels west in search of a new life, he arrives beaten and half-dead on the dusty streets of Twotrees. Rescued from the plains, the town soon becomes his home. A local girl gives him purpose in a broken land, but is it enough to save him from the vicious outlaw who wants him dead? He must make the choice to turn and run or to stand up for what he believes.

Directed by J. Gary Thompson
Produced by Rick Flynn
Assistant produced by Scott Wright

Show runs June 7-23, 2019

Auditions will be held Mon & Tue, Apr 22 & 23, 2019*


*AUDITION DATES ARE SUBJECT TO CHANGE


DTG Buy Your Tickets Now click for information
on purchasing tickets


The Dayton Theatre Guild
at the
Caryl D. Philips TheatreScape
430 Wayne Ave.
Dayton, Ohio  45410
937-278-5993

www.daytontheatreguild.org

*Graphics art by Wendi Michael     




And, if you live close by or will be visiting soon, check out these other theatres in the greater Dayton Ohio area for their upcoming or current productions:

  • Beavercreek Community Theatre
  • Bespoke Theatre *(facebook page) -- Dayton
  • The Black Box Improv Theatre -- Dayton
  • Brookville Community Theatre
  • Caesar's Ford Theatre, Inc -- Xenia
  • Cedarville University -- Cedarville
  • Clark State Community College Theatre Program -- Springfield
  • Dare to Defy Productions -- Dayton
  • Dayton Playhouse
  • Encore Theater Company -- Dayton
  • Epiphany Players Drama Ministry -- Dayton
  • Human Race Theatre Company -- Dayton
  • Lebanon Theatre Company -- Lebanon
  • La Comedia Dinner Theatre -- Springboro
  • The Magnolia Theatre Company -- Dayton
  • The Playground Theatre -- Dayton
  • Playhouse South -- Kettering
  • Sinclair Community College Theatre -- Dayton
  • Springfield Civic Theatre
  • Springfield StageWorks
  • Tipp City Players Community Theatre
  • Town Hall Theatre -- Centerville
  • Troy Civic Theatre -- Troy
  • Undercroft Players -- Dayton
  • University of Dayton *U.D. link is here, but it seems difficult to find the season at the site
  • Victoria Theatre Association -- Dayton
  • Wright State University -- Beavercreek
  • X*ACT: Xenia Area Community Theater
  • Yellow Springs Center Stage -- Yellow Springs
  • Young at Heart Players -- Dayton
  • tHe Zoot Theatre Company -- Dayton
  • KNOW OF A LOCAL THEATRE COMPANY THAT SHOULD
    BE ADDED? LET ME KNOW AT KL_Storer@yahoo.com

    That is, one within a 60 minute
    drive from the Dayton, Ohio area




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