I’m not a big fan of playwright Neil LaBute, whose characters tend to be misogynistic, shallow and selfish. That’s the case with reasons to be pretty at New Edgecliff Theatre, which I saw last night. It’s in the same vein as other LaBute scripts, with a semi-sensitive guy who gets lost in being a man, pulls back slightly, but pays the price for his own thoughtless behavior and his collaboration with a caricatured, boorish friend. NET’s production benefits from some decent acting, and on opening night the audience was caught up in watching guys say nasty things and women act out and suffer. This show (full of coarse language and reprehensible behavior) appeals to the worst in human nature. The modest effort to pull it out at the end wasn’t enough for me. Box office: 888-588-0137.
Know Theatre’s production of the recent off-Broadway and Broadway Rock musical hit, Bloody Bloody Andrew Jackson is a youthful mix of political commentary, driving Rock performances, history, humor and sober observations on the will of the people — just what we’ve come expect from Know Theatre. Not many musicals begin with the cast flipping the bird at the audience, but then not many musicals are like this one, spinning a tale of America’s seventh president to in-your-face Indie Rock tunes. (The “orchestra” for the production is the local band The Dukes Are Dead.) Kellen York, playing the title role is note even a remotely good singer, but he looks and acts the part, strutting around the stage as an “agent of change.” He’s surrounded by a cast of strong musical theater performers, and their work plus a sassy political satire makes this show a Critic’s Pick.
Shatner’s World: We Just Live In It is a one-man tour by the actor who’s played an iconic starship captain on Star Trek and a sleazy attorney on television on Boston Legal. He’s been a character from start to finish, and this act has earned positive reviews in New York City and in cities where he’s making stops. He’s at the Aronoff on Friday night (one night only). Beam me up. Tickets: 513-621-2787.
Pump Boys & Dinettes at the Covington’s Carnegie Center is something like an off-Broadway classic (it had a brief Broadway run) from the early 1980s. Set in a filling station that’s also a diner, it’s a framework for downhome Country tunes and cornpone humor. It opens a three-weekend run on April 13; I haven’t seen it yet, but the cast and an online video tell me it will be a lot of fun. Box office: 859-957-1940.
Cincinnati Shakespeare Company’s production of The Grapes of Wrath (running through April 29) is a powerful theatrical interpretation of John Steinbeck’s grim tale about a Depression-era family of Oklahoma sharecroppers driven to homelessness by ecological and economic disasters. It’s a portrait of the desperate life wrought by the Depression in the 1930s and a powerful reminder that life hasn’t improved for many Americans 80 years later. CSC’s production is made all the more relevant by folksy musical interludes performed live by some of the actors. A downer of a story, but definitely worth seeing. Box office: 513-381-2273, x1.
It’s the final weekend for Kim Rosenstock’s new play Tigers Be Still at the Cincinnati Playhouse, a show about people dealing with depression in a way that’s charming, funny, optimistic and even heart-warming. It’s about a young woman with a recently earned degree in art therapy; she’s been down in the dumps about finding work, but not as much as her mom who’s gained weight and her sister who’s been dumped by her fiancé. There’s lots more to keep you laughing and paying attention. Through Sunday. Box office: 513-421-3888.
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.