In a “Curtain Call” column last August, I
pointed out the scarcity of plays by women staged locally. But I
neglected to mention one of the most important writers of the late 20th
century: Wendy Wasserstein.
This weekend, 14 Tribe dancers (along
with Hubbard, who will solo) will perform at the Aronoff’s Jarson-Kaplan
Theater in a mixed bill revisiting a selection of characteristic
vignettes from the past 10 years of evening-length productions.
Lynn Meyers, producing artistic director at Ensemble Theatre Cincinnati, has a knack for finding thoughtful, engaging new plays that haven’t been seen on any local stage and giving them memorable productions.
Were Claude Monet to look at the
black-and-white photographs that William Messer took of Giverny over a
20-year period — photographs featured in the Over Time exhibit at The Carnegie through Feb. 7 — he would say, “You missed the point!”
In 2008, the University of Cincinnati’s
College-Conservatory of Music and Cincinnati Opera launched Opera
Fusion, an initiative to share resources and nurture emerging talent in
artistic and technical areas.
Tuna, Texas, once a real-live speck of a town, had been written off state maps for decades. That changed in 1981 when Jaston Williams, Joe Sears and Ed Howard penned Greater Tuna, the first of four comedic plays focusing on the quirky, small-town conservatism of Tuna.
When we think about grand historical
myths — things like the American Dream, Manifest Destiny or every war,
for example — it’s important to acknowledge that society buys into these
widespread accepted “truths” because of all the supporting evidence.
In the same sense that it takes a village to raise a child, it appears that it takes a crowd to tell the story of Johnny Cash. At least that’s the case with the Cincinnati Playhouse in the Park’s production of Ring of Fire: The Music of Johnny Cash.