The League of Cincinnati Theatres (LCT)
presented awards for the 2012-2013 theater season on May 20 at Know
Theatre, too late to report the results in this issue of CityBeat.
So I want to offer some thoughts and my own choices.
We’ve been here before, but it wasn’t quite the same. The frequently sun-struck paintings in the engaging exhibition, Continuity and Change: The Return to Figurative Painting,
now at Cincinnati Art Galleries, are the work of seven area artists...
This winter I upgraded my point-and-shoot
camera to a mirrorless Sony NEX. Finally having a nice camera to use, I
googled “photography contest” and came across a curiously titled site
called Capture Cincinnati.
In New York, under the
stage name Patti Astor, she became a club habitué and Queen of the
Downtown Screen. She was a star of some of the underground No Wave films
of the late 1970s/early 1980s that helped spark New York’s grungy and
wildly creative East Village arts scene.
For the past three years, Building Value has included a “designer challenge” element at their ReUse-apalooza fundraiser, which demonstrates the remarkable work that artists and creative types can make out of the materials the nonprofit acquires from various deconstruction jobs, donations and retail recycling projects.
David Zlatic designed a production — scenery, lighting in
the style of film noir and a stream of well executed photographic and
video projections in moody black-and-white — that works very well, including Desmond’s mansion with a sweeping central staircase.
The Hilton Brothers — photographers
Christopher Makos and Paul Solberg — have arrived in Cincinnati with
food on their minds. They don’t specify that it needs to be organic, but
it might as well be. The term pops up repeatedly as the New Yorkers
discuss their natural, open-ended approach to life, art and
collaboration.
“If something is worth doing, it’s worth overdoing,” proclaims one of the spunky gals in the current iteration of The Marvelous Wonderettes
at Ensemble Theatre Cincinnati this month. ETC apparently agrees, since
this is the fourth consecutive year it has staged one of Roger Bean’s
retro shows featuring music from the ’50s and ’60s.
Cincinnati Rollergirl rookie Sydney “Big
Ugly” Greathouse is anything but unsightly. She has an infectious smile
to match her peaceful demeanor, which probably has something to do with
the fact that she blows off steam by beating up her friends at practice
three times a week.
Not many libraries can claim to be a room
with a view. The Mary R. Schiff Library of the Cincinnati Art Museum,
now in its new space and again open to the public, has a spectacular
one.
Director Brian Isaac Phillips has set his production in the U.S. in the 1920s.
It’s a good match to Jacobean London and we
are given visual insight into the characters — from puritanical tyrants
in three-piece business suits to loose men in fur coats and lowlife
women as flappers.
Tough guys. Dames. Desperation. Shadows. Cynical narration. Sexual motivation. The Cincinnati Playhouse’s production of Double Indemnity
has all the requisite elements of film noir.
The gap between comic books when I was a
kid and comic books today is like the difference between Bruce Wayne and
Batman. My obsession dates back to the Big Three: DC, Marvel and Dell.
In 2009, after Cincinnati Magazine
ran a story about a virtually unknown but magnificent early Modernist
home in Woodlawn that was endangered, I drove over to see it. Or,
rather, I tried.