Wright State theater alums shine in London — yes, that London!
If you’re heading to New York City, it’s no secret that Wright State University’s Theatre Department is wellrepresented.
In fact, Law Terrell Dunford ( Javert in 2014’s “Les Misérables”) is in the ensemble of Broadway’s hit musical “Waitress” and Jon Hacker (Curly in 2013’s “Oklahoma!”) portrays Joey in the newly remounted offBroadway production of “Jersey Boys.” But across the pond, three alums have particularly taken London’s West End theater scene by storm.
Heather Douglas, the Department’s first Distinguished Alumna, portrayed Velma Kelly in “Chicago,” Bombalurina in “Cats” and Ulla in “The Producers” to name just a few. Her film contributions include “DeLovely” (starring Kevin Kline) and “The Producers” (she was Uma Thurman’s body double). She credits Suzanne Walker, former WSU dance instructor, for nurturing her artistic gifts.
“The craziest thing in the world is that Suzanne Walker gave me the opportunity to choreograph the 1991 spring musical in my final year at Wright State,” Douglas said.
Douglas currently choreographs gala events and shows throughout England. Her most recent assignment was a project for P&O/Cunard/Carnival Cruise Lines about Dusty Springfield. She remains grateful for the instruction she received at WSU.
“I could not have imagined any better training than the training I received at Wright State,” she said. “One of the greatest things I talk about to this very day is how my training taught me versatility. All of my tutors stressed the importance of this. I realize how lucky I was to learn different styles within each discipline and not just in the execution of the style, but the history and importance of it in every decade that was being taught.”
In addition, KJ Hippensteel, a Tom Hanks Scholar seen in 2005’s “Uncle Vanya” and “Ragtime,” stars as Elder Price in “The Book of Mormon.” He also performed on Broadway in “The Book of Mormon” and toured the U.S. in “Wicked.”
Lastly, Grammy-nominated pop star and reality TV judge Nicole Scherzinger, dynamic in 1997’s “Chicago” and 1998’s “Show Boat,” was nominated for the 2015 Laurence Olivier Award (the London equivalent of the Tony Award) for her portrayal of Grizabella in the revival of “Cats.”
Off-Broadway ‘Hundred Days’ has Dayton roots
Off-Broadway’s captivating and haunting new indie folk/rock song cycle “Hundred Days,” continuing through Dec. 31 at the New York Theatre Workshop and composed by married songwriters Shaun McClain Bengson and Abigail Nessen Bengson, has roots in Dayton.
Shaun, a Dayton native, and Abigail, a Vermont native, immersed themselves in the local arts scene in 2010. Abigail memorably took the role of Mimi in nowdefunct Encore Theater Company’s production of “Rent” to incredible heights of vocal dexterity. She later returned to deliver an equally knockout portrayal of Yitzhak in Encore’s “Hedwig and the Angry Inch.” Together at various venues, the duo often performed tunes from their terrifically eclectic CD “The Proof,” which ultimately laid the groundwork for “Hundred Days,” co-written by Sarah Gancher and developed by San Francisco’s Z Space and Cincinnati’s Know Theatre.
Directed by Anne Kauffman with movement direction by choreographer Sonya Tayeh (“So You Think You Can Dance”), “Hundred Days” is a personable love story based on the Bengsons real-life, topsy-turvy experiences in adolescence and adulthood. The engaging material, sharing a musical kinship to indie/ folk group The Lumineers, is effectively centered on the dramatic conceit of embracing life to the fullest as if you only had 100 days to live. The first song the duo wrote together, the euphoric “Bells,” fittingly serves as the uplifting finale.
The beautifully intimate, concert-esque production opened Dec. 4 to critical praise. “The stage is filled with a series of ecstatic songs that make the case for living and loving,” said New York Magazine. “As for the Bengsons themselves, Shaun is a model of the classically self-effacing, hella-talented indie rock musician and Abigail releases a vocal hurricane. It’s a spine-shaking performance.” Also, The New York Times proclaimed the show as “a luminous musical memoir that celebrates and laments the elusive radiance of a shared life.”