of comedy falls under great scrutiny and derision, often unnecessarily
so. Impressions, props, magic, duos — anything slightly out of the
ordinary seems to open itself up to criticism...Fortunately, the Sklar Brothers have
avoided such slings and arrows by developing a truly organic stand-up
A crowd of female playwrights came
together in New York City in 2008 to express their concern that works by
women were not getting produced by that city’s theaters. More than 150
playwrights attended the gathering, resulting in standing-room-only at
Kathy Wade, the founder and CEO of
Cincinnati-based arts education organization Learning Though Art, is a
well-versed, albeit quiet, conversationalist when it comes to her
brainchild, which will put up its second Crown Jewels of Jazz Festival
Woodburn Avenue and East McMillan Street
were closed to car traffic for a mile stretch as they played host to
Cincy Summer Streets last month. The next installment of the street
festival arrives in Northside on Sunday.
I go with my gut,” says Sara Vance Waddell
about her philosophical approach to collecting art. And it is clear that
trusting her instinct has done her well as the marketing and
advertising CEO/president of her own media business.
Harry & The Thief by Sigrid
Gilmer is a wonderfully ridiculous, history-twisting, large cast mash-up
of a play about Harriet Tubman (Harry), slavery and time travel. It is
also the first play in Know Theatre’s 17th season, with Andrew
Hungerford now at the artistic helm. This bodes well.
Todd Slaughter doesn’t make the driving
force behind his artistic endeavors especially easy to understand. And,
actually, since he talks in pieces — individual art pieces — it can be
rather difficult to perceive unless one is being both extremely
observant and relatively obscure (also: intelligent).
“It’s going well,” says comedian Jackie
Kashian of her career. “Everyone seems to be pointed in a Jackie Kashian
direction, which I am pleased about.” Earlier this year, the Milwaukee native released a DVD and CD titled This Will Make an Excellent Horcrux, to rave reviews.
It was 35 years ago when I first heard
about a new Broadway musical, the story of a Victorian serial murderer whose
victims were ground up for meat pies. My first reaction to Sweeney Todd: The Demon Barber of Fleet Street was disbelief.
The narrowing eyes glance sideways across the room and seem to ask, “What are you
looking at?” At the same time, they draw you into the small Sinton
Gallery at the Taft Museum of Art. Inside, other young black males meet
your gaze from every direction.
The strange ways we remember Elvis Presley are best
summed up by the lyrics of the late Warren Zevon’s “Jesus Mentioned,” in
which he imagines traveling to Memphis to see the dead King: “He went
walking on the water … with his pills.”
Sixty years ago visionary producer Joseph Papp dreamed up
the idea of Shakespeare in the Park. It’s become an institution in
Central Park in New York City and, since 1954, dozens of other locales
have repeated the concept across the United States and beyond.