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by Rick Pender 04.03.2009
Posted In: Theater at 11:39 AM | Permalink | Comments (0)
 
 
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33rd Humana New Play Festival Shines in Louisville

For its 33rd iteration, the Humana Festival of New American Plays offered as many works that were based on ensemble and imagery as it did traditional dramatic plays. By the luck of the schedule during the weekend I recently attended at Actors Theatre of Louisville (ATL), I saw three works (Wild Blessings, a selection of writings by Kentucky poet Wendell Barry; Ameriville, a piece of performance art by UNIVERSES, a Hip Hope ensemble; and Under Construction, a script by avant-garde writer Charles Mee performed by the equally experimental SITI Company directed by Anne Bogart) that lacked traditional narrative form.

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by Rick Pender 01.20.2013
Posted In: Theater at 09:30 AM | Permalink | Comments (0)
 
 
mormon

Broadway in Cincinnati Announces What's Coming in 2013-2014

Mormons, dancers, dictators, the Grinch and more

Cincinnati will see the regional premiere of The Book of Mormon a year from now. The winner of nine Tony Awards will be the highlight of Broadway in Cincinnati's 2013-2014 season at downtown's Aronoff Center for the Arts. It's set for a three-week run, Jan. 7-26, 2014. A show described as "the funniest musical of all time" that was created by the guys behind the satirical South Park TV series has enough raucous, off-color humor to melt away any winter chill that settles in following the holidays. It's about two naive and optimistic Mormon missionaries who tryto persuade residents of Uganda  to follow their faith — but threatened by a maniacal warlord, the locals are more concerned with war, famine, poverty and AIDS than religion. The satire is laid on thick, and it's the kind of show that's bound to offend some people. Nevertheless, it's been a gigantic Broadway hit since it opened in March 2011; the tour that comes our way began back in August, so Cincinnati is an early stop.

The season will have a number of  familiar titles, including another three-week run for the Broadway hit  Wicked (March 5-23, 2014). The Wizard of Oz musical has been running on Broadway for a decade. There will also be two Andrew Lloyd Webber musicals, a new production of his 1978 musical Evita (Feb. 18-March 2, 2014), based on the show's successful 2012 Broadway revival; as well as another chance to see Lloyd Webber's phenomenal hit, The Phantom of the Opera (April 30-May, 11, 2014).

Proving that old movies never die — they just come back as musicals — two other productions booked for the season are the love story Ghost(Sept. 24-Oct. 6, 2013), based on the 1990 movie with Demi Moore, Patrick Swayze and Whoopi Goldberg; and the romantic dramaFlashdance (Oct. 29-Nov. 10
), based on the 1983 film about a young woman welder who aspires to be a dancer. And if you're yearning for another story you've heard before — with more music than you mightremember — we'll also have a brief run of a holiday show, Dr. Seuss'How the Grinch Stole Christmas! The Musical (try singing that!) surrounding the Thanksgiving holiday (Nov. 27-Dec. 1).

Subscriptions go on sale today (Jan. 20) online, and starting Monday (Jan. 21) you can order at the Aronoff Center Box Office (650 Walnut Street, Downtown Cincinnati), online or by calling 800-294-1817. Subscriptions for six shows range between $179 and $611.  

 
 
by Rick Pender 02.19.2012
Posted In: Theater at 08:09 AM | Permalink | Comments (0)
 
 
blue man group

Broadway Shows In Cincinnati for 2012-2013

Blue Man, War Horse, lotsa musicals

The 2012-2013 season of touring productions presented by Broadway in Cincinnati marks a quarter-century of bringing high-quality shows to the Aronoff Center, which the series has called home since it opened in 1995. The shows that will keep the Walnut Street facility humming – not to mention nearby restaurants – were announced today. They include the funky Blue Man Group making its first appearance in Cincinnati, plus a selection of shows that have been Broadway hits and award winners. Here’s the rundown:

Blue Man Group (Oct. 16-28, 2012) is a wild and crazy theatrical experience, a performance act that has been combining comedy, music and technology for more than 10 years. With no spoken language, the trio of guys with blue plastic skin presents a show that’s big, loud, funny, silly, visually arresting – and not easy to describe. The show won a special citation in the 1991 Obie Awards, and recognition in 1992 from the Lucille Lortel Awards (for excellence in off-Broadway theatre) and from the Village Voice’s Obie Awards.

Jersey Boys (Nov. 28-Dec. 9, 2012), the story of Frankie Valli and the Four Seasons, was a big hit for the series in 2008 when it sold approximately 64,000 tickets during a two-week run. It’s one of the best of the jukebox musicals, and it should be a popular choice again. (Since it’s a repeat Broadway in Cincinnati invites subscribers to choose between this one and Peter Pan to fill out a six-show subscription.)

Memphis (Jan. 22-Feb. 3, 2013) is a fine musical derived from a true story about the challenge race relations in that Tennessee city in the 1960s when a white DJ and a talented black singer find themselves attracted to one another. The show, which won four Tony Awards in 2010, has a rhythm-and-blues score and a lot of great dancing as it tells a powerful story about love, show biz and how the races interacted. One critic called this show “the very essence of what a Broadway musical should be,” and I agree wholeheartedly.

Million Dollar Quartet (Feb. 19-March 3, 2013) was also nominated for the best musical Tony in 2010, losing out to Memphis. It too is based on a real event that happened in Memphis, this one at the studios of Sun Records on Dec. 4, 1956, when four young Rock-and-Roll musicians intersected: Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash. It was the only time they were together in a recording session, and the legendary results are the subject matter of this lively show.

Peter Pan (March 12-17, 2013) brings back one-time Olympic gymnast Cathy Rigby who has made a career of performing in this show. She turns 60 in December, which brings some kindof weird irony to playing the boy who “won’t grow up,” but Rigby’s athletic skills for flying and fighting mean she’s popular with audiences. She performed the role at the Aronoff in 2000 and 2006. This show is the “choose-one” that subscribers get for their sixth choice.

War Horse (March 26-April 7, 2013) won the 2011 Tony Award for best drama. Set in England in 1914, it’s about an adolescent named Albert and his horse Joey, the latter recruited to go with the troops to World War I in France. It’s an epic tale of the powerful connection between Albert and Joey, and it’s told using remarkably realistic “puppets,” a term hardly seems to suit the manner in which life-sized horses are created and become key characters in this production.

Sister Act (April 30-May 12, 2013) is a musical comedy based on the popular Whoopi Goldberg film from 1992 about a woman whose life takes an unexpected turn when she witnesses a crime and is “hidden” at a convent. This show promises a lot of fun, and it’s been running on Broadway for almost a year. However, I’m afraid that it strikes me as all too typical of the tendency to create shows from mildly popular movies. That film was a vehicle for Whoopi, and without her, I suspect the show is a meager reflection.

Prices for six-season ticket packages range from $149 to $543, depending on seat location. Subscriptions go on sale on Monday at the Fifth Third Bank Broadway in Cincinnati box office in the Mercantile Center downtown at 120 East Fourth Street. You can also order subscriptions online at BroadwayinCincinnati.com or by calling 800-294-1816.

 
 
by Rick Pender 05.11.2010
Posted In: Theater, Arts community at 04:29 PM | Permalink | Comments (5)
 
 

Local Theater Awards: How Much Is Enough?

Greater Cincinnati has two awards programs that recognize our excellent theater scene. Perhaps that’s good news, but you might wonder if this kind of competition between competitions is the best way to go.

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by Rick Pender 03.14.2010
Posted In: Theater at 12:09 AM | Permalink | Comments (0)
 
 
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Playhouse to Get 'High' With Kathleen Turner

Cincinnati Playhouse in the Park has been celebrating its year-long 50th season with a remarkable number of premieres. Producing Artistic Director Ed Stern will sustain that commitment to new work with a world premiere to kick off the 2010-11 season in September. High will feature movie and stage actress Kathleen Turner in a drama already designated for a move to Broadway early in 2011.

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by Rick Pender 10.02.2009
Posted In: Theater at 11:38 AM | Permalink | Comments (0)
 
 
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Stage Door: Equus Shines

I'm reviewing another show for next week's issue of CityBeat, but on a few nights ago I saw the final rehearsal of New Edgecliff Theatre's staging of Peter Shaffer's Equus. This is one you'll want to catch, and since this is the opening weekend, now's the time to do so — once this is reviewed by others and the buzz gets going, it will be hard to get tickets for the tiny Columbia Performance Center (3900 Eastern Ave., Columbia-Tusculum).

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by Rick Pender 03.26.2012
Posted In: Theater at 11:45 AM | Permalink | Comments (0)
 
 
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Cincinnati Playhouse Releases 2012-2013 Schedule

Incoming artistic director chooses new works and shows for the entire family

The Cincinnati Playhouse’s incoming artistic director, Blake Robison, today announced the shows to be produced for the 2012-2013 season. Robison takes over from Ed Stern, who retires on June 30 after 20 years setting the course for the respected regional theater. During Stern’s tenure, the Playhouse has twice won Tony Awards — in 2004 as an outstanding regional theater, and again in 2007 when its production of Stephen Sondheim and George Furth’s Company moved to Broadway and was named the season’s best revival of a musical.

Robison’s new season looks a little different from seasons that Stern has assembled in the past. In particular, he’s included two shows that offer journeys for the entire family — a big swashbuckling adaptation of The Three Musketeers (by Ken Ludwig, who wrote Lend Me a Tenor) to open the season on the Marx stage, and a seafaring expedition, Shipwrecked! An Entertainment – The Amazing Adventures of Louis de Rougemont (by Donald Margulies, whose usual fare is dramas — including Time Stands Still, currently onstage at Ensemble Theatre.

The season's schedule will include two world premieres, Abigail/1702, Roberto Aguirre-Sacasa’s script based on a central character from Arthur Miller’s The Crucible. On the Shelterhouse stage, Robison will offer Deborah Zoe Laufer’s Leveling Up, about four twentysomethings mired in video games who find the real world a lot more complicated. (Laufer’s End Days was presented by Ensemble Theatre a year ago.) We’ll also see Dayton native Daniel Beaty perform his one-man show, Through the Night, in which he plays six African-American men, ranging in age from 10 to 60. The show recently earned positive reviews as well as Drama Desk and Outer Critics Circle award nominations in New York City.

Robison has several selected classic plays for the Marx by two legendary playwrights whose plays, I’m astonished to say, have never been produced at the Playhouse. Next fall will see Neil Simon’s semi-autobiographical script, Brighton Beach Memoirs, set in 1937. Horton Foote’s The Trip to Bountiful (a television script best known for a 1985 movie version starring Geraldine Page), the story of an aging woman determined to return to her childhood home for one last visit, will be staged using African-American actors. Two more classic tales will be produced on the Marx stage: A Christmas Carol returns for its 22nd holiday season, and a new stage version of Double Indemnity, Billy Wilder’s spellbinding noir thriller from 1944.

Rounding out the season will be two Shelterhouse productions. For November and December, Robison has scheduled Hank Williams: Lost Highway, a show about the legendary Country artist created and staged by Randal Myler, who brought Love, Janis to the same space back in 2005. I suspect that Karen Zacarias’s The Book Club Play, a comedy about books and the people who love them, will be popular with audiences. It’s the story of a group that becomes the subject of a documentary with surprising results.

On the brink of his first season, Robison says, “It is an honor and a privilege to take the reins as the Playhouse’s new artistic director. To me, there is so much to celebrate here at the Playhouse — from the tremendous legacy of Ed Stern to the unlimited possibilities before us. What excites me most about joining the Playhouse family is the vibrant role that this theater plays within the region. The doors to the Playhouse are wide open, and we aim to invite as many people as possible inside.”

Here’s the season rundown in chronological order:

  • The Three Musketeers (Marx Theatre, Sept. 1-29, 2012)
  • Through the Night (Shelterhouse Theatre, Sept. 22-Oct. 21, 2012)
  • Brighton Beach Memoirs (Marx Theatre, Oct. 13-Nov. 10, 2012)
  • Hank Williams: Lost Highway (Shelterhouse Theatre, Nov. 3-Dec. 30, 2012)
  • A Christmas Carol (Marx Theatre, Nov. 29-Dec. 30, 2012)
  • Abigail/1702 (Marx Theatre, Jan. 19-Feb. 17, 2013)
  • Leveling Up (Shelterhouse Theatre, Feb. 9-March 10, 2013)
  • The Trip to Bountiful (Marx Theatre, March 9-April 7, 2013)
  • The Book Club Play (Shelterhouse Theatre, March 23-April 28, 2013)
  • Double Indemnity (Marx Theatre, April 20-May 18, 2013)
  • Shipwrecked! An Entertainment – The Amazing Adventures of Louis de Rougemont (as told by Himself) (Shelterhouse Theatre, May 11-June 16, 2013)

 
 
by Rick Pender 12.14.2011
Posted In: Arts community, Theater, Classical music at 09:17 AM | Permalink | Comments (0)
 
 
ed stern (jan 2011)

Governor's Awards Recognize Cincinnatians

Playhouse leaders, music philanthropist will be honored in May

Among the eight winners announced for the 2012 Governor’s Awards for the Arts in Ohio are several Cincinnatians. Cincinnati Playhouse in the Park Producing Artistic Director Ed Stern, who retires at the end of the current theater season, and Executive Director Buzz Ward have been named the recipient of the year’s recognition in the field of Arts Administration. Louise D. Nippert will be honored in the category of Arts Patron.

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by Rick Pender 12.14.2011
Posted In: Theater at 09:44 AM | Permalink | Comments (0)
 
 
onstage - fringe wrap-up (mythomaniac) 6-15

Friday is Deadline to Apply for 2012 Cincy Fringe

Be weird! Be entertaining! Be part of the 2012 Fringe!

If you’re thinking of submitting a production for the 2012 Cincy Fringe Festival, now is the time to solidify your thoughts and get your application in to Know Theatre, the Fringe’s organizer. Friday Dec. 16 is the absolutely final day to do so. Follow this link for details, but don’t dally — this is a firm deadline.

The Fringe typically offers about 35 productions during its two-week run, May 30-June 9, 2012, this year. The Fringe is a juried festival that employs a selection committee composed of local artistic directors, actors, writers and producers to select which acts will be included. They study the sample material submitted with applications, then make recommendations based on several key factors: 

  • Will this work be unique to our region?
  • Can the proposed project be produced within the Fringe structure?
  • How does the proposed project fulfill the goal of the Fringe to present diversity, creativity, innovation, inspiration, and passion? 
  • How will a specific production benefit by being included in the Fringe?

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by Rick Pender 10.26.2010
Posted In: Theater at 08:24 AM | Permalink | Comments (0)
 
 

Don't Stop Believin': Rock of Ages Opens Tonight

The Broadway hit Rock of Ages took Arena Rock hits from the late ’80s by groups like Journey, Whitesnake, Styx and Bon Jovi and cobbled them together for an amped-up evening of Rock in the theater, particularly appealing to people who were, um, all about partying back in the day. Now it’s on the road, touring from city to city and inviting folks to relive their ill-spent youth — and have a raucous good time. It’s at the Aronoff Center starting tonight, running through Nov. 7.

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by Rick Pender 07.02.2015 5 days ago
Posted In: Theater at 09:59 AM | Permalink | Comments (0)
 
 
todo_serials-knowtheatre_photoericvosmeier

Stage Door

'Two Guvs' has a few last laughs; next week look for some brand new work

With the Fourth of July falling on a weekend, most theaters will be dark, and all the hubbub around the All-Star Game means that most of them will wait until the dust settles at Great American Ball Park before they crank things up again. But if you’re jonesing for some good summer theater and you haven’t seen Cincinnati Shakespeare’s hilarious One Man, Two Guvnors, it has performances on Friday at 7:30 p.m. and Sunday at 2 p.m. Be forewarned that both are sold out, but if you want to try your luck with the regional premiere of this excellent situation comedy about a hapless guy with two bosses, show up at the theater 719 Race St., Downtown 30 minutes before the performance and ask to join the waiting list. Box Office: 513-381-2273

While you’re waiting for the fireworks on Saturday, you might consider what theater you’ll see over the next week or so. Of particular interest is The 1st Cincinnati One-Minute Play Festival that will be presented at Know Theater at 8 p.m. on July 11 and 2 p.m. and 8 p.m. on July 12. It’s a collaboration between Know and One-Minute Play Festival (aka #1MPF). In nearly 20 cities #1MPF partners with local companies to present brief works by local writers. They are given a prompt that asks them to consider the world around them, their community and all the ways in which they view and engage with the world, and to write and submit moments that could only happen at this time and in this place. It’s a great chance to check out local talent in the form of brand-new one-minute plays by Linnea Bond, John Bromels, Michael Burnham, Nick Carmine, Kevin Crowley, Bekka Eaton, Kate Fine, Brian Griffin, Mike Hall, Becca Howell, Alan Jozwiak, David Loehr, Robert Macke, Erica MacDonald, Joe McDonough, Eric Pfeffinger, Maggie Lou Rader, Alison Rampa, Brant Russell, Paul Shortt, Stacy Sims, Andy Simpson, Nathan Singer, Jim Stark, Paul Strickland, Trey Tatum, Eileen Tull, Chris Wesselman, Torie Wiggins and Alison Vodnoy Wolf. It’s also a showcase for local directors including Michael Burnham, Ed Cohen, Katie Lupica, Regina Pugh, Brant Russell, Carrington Rowe and Torie Wiggins. Tickets ($20): 513-300-5669. Part of the proceeds will benefit new play development at Know Theatre.

In the mood for more locally generated material? Check out the premiere of Is This Really Happening Right Now? – A Series of Vignettes, developed and presented by Good People Theatre on July 9, 10 and 11 at 8 p.m.. They’re performing at Simple Space, located in Over-the-Rhine at 16 E. 13th St., just a block or so north of Know Theatre. Four original pieces by Mollie J. Amburgey and Will Bonfiglio are about friendships and relationships — one takes place on a blind date, one in a coffee shop, one via Tinder and one in a Laundromat. Tickets $20: http://goodpeopletheatre.ticketleap.com/CincyPremiere


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here
 
 
by Rick Pender 06.26.2015 11 days ago
Posted In: Theater at 09:30 AM | Permalink | Comments (0)
 
 
sanger - pamela daly - photo flash productions

Stage Door: Too Many Bosses, One Crusader and a Theater Party

Need a good laugh this weekend? Cincinnati Shakespeare has the show you want to see: One Man Two Guvnors, based on an 18th-century comedy, The Servant of Two Masters. It’s a riot of slapstick, fart jokes, pratfalls, lewd innuendo and more. Francis Henshaw (Matthew Lewis Johnson) is the hapless hero, trapped between jealous bosses and a crew of comic types, each one funnier than the last. The show was an award winner London and on Broadway, where James Corden played the manic guy who can barely keep all the plates spinning. I gave this one a Critic’s Pick. Read my full review here. Tickets: 513-381-2273.

In 1916, Margaret Sanger founded the organization that eventually became Planned Parenthood. She was a fearless protester for women’s rights and an ardent crusader for birth control when it was a hush-hush topic. She was often arrested for speaking frankly about sexuality. Cincinnati native Pamela Daly this weekend is presenting a one-woman show that she personally commissioned; it’s onstage at the Aronoff Center’s Jarson-Kaplan Theater. Sanger uses the militant firebrand’s own words to dig into issues that remain inflammatory today: abortion, birth control, sex education and the plight of women. Performances on Saturday at 7 p.m. and Sunday at 2 p.m. Tickets: 513-621-2787.

Monday evening at 7:30 p.m. is the first installment in the third run of Serials! at Know Theatre. This time the theme is “Roundhouse”: You’ll find the 15-minute episodes of new plays, every two weeks for a total of five evenings. Five playwrights, five stories, five directors, five casts. Each week the playwrights switch, so not even the original writers know where their shows are headed. Here at the titles: Hangin’ with BenFire Down Below#roxybalboaThe Good, The Bad, and the Elderly; and Real Time Strategy. Tickets for this crazy episodic theater party: 513-300-5669  More info here.

Not for this weekend (in fact, this fills in a gap in Ensemble Theatre Cincinnati’s upcoming season next spring, March 22-April 10, 2016), but you might want to know that Sharr White’s Annapurna will be onstage. White wrote The Other Place, a well-received script that ETC presented earlier this year. The award-winning show from 2011 is a simple piece — two people in a room, in fact, a room in a mobile home. It’s about a woman and her husband, a poet, who deserted her. He’s in failing health, living in a low-rent trailer park, and she decides to re-enter his life. More information about ETC’s complete season here.


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here. 

 
 
by Rick Pender 06.19.2015 18 days ago
Posted In: Theater at 09:24 AM | Permalink | Comments (0)
 
 
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Stage Door: A Good Chance for Laughs, and the Opportunity to Dance the Night Away

There’s not too much theater going on as summer moves in with full heat. But there are enough laughs at Cincinnati Shakespeare Company for several shows with the production of the great 2011 British farce, One Man Two Guvnors. It’s based on a play from the 18th century called The Servant of Two Masters, but don’t think that because it’s a classic it will be over your head. This show has slapstick, fart jokes, silly antics, sly innuendo and just about anything else that might induce laughter. Matthew Lewis Johnson is a comedy machine as the irrepressibly hungry (and hopelessly confused) Francis Henshaw, and he’s not the only one. At least a half-dozen of Cincy Shakes regulars dive into the hilarity headfirst. There’s also a great band playing tunes that sound like Pop numbers from the early 1960s; the story had been updated to the British seaside town of Brighton, where scandalous behavior was apparently the norm. Signing on to work for two bosses who have cross-purposes and connections that Francis doesn’t know about, he’s in for a raucous 24 hours as he tries to keep a lot of plates spinning — almost literally. Demand for tickets was strong from the opening last week (this show won awards in London’s West End as well as on Broadway in 2012, where James Corden played the manic Henshaw), so you’ll find two added performances to the announced schedule — this Saturday and next at 2 p.m. Tickets: 513-381-2273.

Tickets are even scarcer, apparently for The Producers at Cincinnati Landmark Productions new Incline Theater. That zany musical about trying to make money on a Broadway flop has been a big success, heavily subscribed from start to finish. You might try for the waiting list (513-241-6550), but don’t get your hopes up. Same goes for Commonwealth Theater Company’s production of Neil Simon’s The Sunshine Boys at Northern Kentucky University, (859-572-5464) also in its final weekend. It’s a dinner theater production, and it looks like most of the seats at that table are taken, too.

Since you can’t get into either of those, how about a free interpretation of the movie Footloose on Saturday evening? The dance troupe Pones Inc. and Gorilla Cinema have joined up to present the film in a parking lot in Covington (at West Seventh and Washington streets) starting at 8 p.m. All the inspired dance scenes from the 1984 film about teens in a town where dancing is discouraged will be performed live, and you’re welcome to join in! No charge for admission; snacks and suds available for purchase. Check out the trailer:


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

 
 
by Rick Pender 06.12.2015 25 days ago
Posted In: Theater at 07:33 AM | Permalink | Comments (0)
 
 
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Stage Door: Laughs, a New World and Some Bad Guys

Several productions onstage at the moment have been so successful that tickets are scarce, if available at all: The opening show at Cincinnati Landmark Productions’ Warsaw Federal Incline Theater, The Producers — and in fact, the Inclines three-show summer season — is heavily subscribed, so the chance of finding seats at the last minute is slim. The same goes for the Commonwealth Theatre Company’s dinner-theater production of Neil Simon’s The Sunshine Boys at Northern Kentucky University. So let’s consider some other options.

I suspect your best bet for hilarity this weekend will be Cincinnati Shakespeare Company’s production of One Man, Two Guvnors, which opens tonight. Playwright Richard Bean struck Gold with his adaptation of a 17th-century comedy, The Servant of Two Masters: He shifted it to the 1960s in Brighton, England, and put a fast-talking chap seeking a quick buck and a bite to eat. His greed puts him in a sticky predicament when he ends up working for two rival masters. It’s full of physical humor, improvisation, audience interaction — and a skiffle band with live musicians. The show was a smash hit in London in 2011 (one reviewer called it “the funniest show in the Western World”). When it moved to Broadway in 2012 it was nominated for seven Tony Awards. Need an evening of laughter? This is the show for you. It’s onstage through July 5. Tickets: 513-381-2273

If you want something a tad more serious, you might want to check out The Tramp’s New World, presented by Diogenes Theatre Company at the Aronoff’s Fifth Third Bank Theater. It turns Charlie Chaplin’s “Tramp” character into the sole survivor of an atomic blast. It’s a multidisciplinary piece that uses projections, physical comedy, music and silent-film technique to tell the story of the Little Tramp trying to create a new world from the ruins of the old. The show is performed by its creator, actor Rob Jansen, a Cincinnati native who spent six years in Cincy Shakes’ acting company; he performed with several companies and turned in memorable performances in Know Theatre’s productions of Corpus Christi and Angels in America. The Tramp’s New World had a well-received run in Washington, D.C., at Cultural DC’s Mead Theatre Lab, and it’s onstage here through Saturday evening. Tickets: 513-621-2787 

At Falcon Theater in Newport, you can see Stephen Sondheim’s Assassins, an unusual work imagining interactions between the real historical individuals who succeeded in shooting American presidents. It features fascinating music and a story line about the American Dream and what happens when people see it slipping beyond their grasp. It’s at Newport’s Monmouth Theatre, which Falcon now owns and is renovating. Assassins is onstage through Saturday evening. Tickets: 513-479-6783


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
 
 
by Rick Pender 06.05.2015 32 days ago
Posted In: Theater at 08:26 AM | Permalink | Comments (0)
 
 
moonlight after midnight 2 (photo credit- andrew alexander)

Stage Door: Fringe and a Few Alternatives

Let’s start with the Cincinnati Fringe Festival. There are just two more days of performances, so you need to choose carefully. Based on what I’ve seen personally, I suggest you should seriously consider several shows still in the rotation: Moonlight After Midnight (Friday at 6:30 p.m., Saturday at 8:40 p.m.) is my favorite among this year’s productions, a well-written, well-acted two-hander that’s both romantic and thoughtful. Tales Too Tall for Trailers (Friday at 8:15 p.m.) is an entertaining hour of storytelling by Paul Strickland and Erika Kate MacDonald; Andy’s House of Blank, a script co-authored by Strickland during the winter run of Serials!, will be produced as a full-length show during the fall by Know Theatre. Edgar Allan (Saturday at 7:25 p.m.) is a fascinating piece inspired by Edgar Allan Poe, although it’s not one of his stories. But it’s slightly creepy and features two excellent performers, The Coldharts (aka Katie Hartman and Nick Ryan). For some great laughs, try Dog Show (Saturday at 9:10 p.m.), a fantasy from Animal Engine about what three dogs do when left at home alone. (Turns out it’s a French farce). To see some fine acting, I suggest you see Chemistry, another two-actor production, this one featuring Laurie Benning Roberts and Jay Hobson, recent members of the Cincinnati Playhouse’s acting intern company. She plays a chronic depressive; he portrays a manic and optimistic. They’re attracted, but their joint destiny is complicated and ultimately doomed. This is a serious and moving piece about mental illness. There are lots of other shows to see, and if you’d like to read full reviews of any of them, go to CityBeat’s Fringe review hub here.

If you prefer your theater a tad more mainstream than Fringe fare, you have several options. I particularly recommend Circle Mirror Transformation at the Cincinnati Playhouse in the Park. It’s the final weekend for this show about five people engaged in an acting class in a small-town community center. What they learn is as much about themselves as it is about theater, and it’s sweet, profound and moving. The final performance is Saturday evening on the Shelterhouse stage. It’s the final production of the 2014-2015 season. Tickets: 513-241-3888

There are a couple of musicals you might want to catch, too. Showbiz Players is offering The Addams Family, based on the oddball cartoons of Charles Addams featured in The New Yorker (as well as an iconic TV show from the 1960s). It’s in its final weekend at the Carnegie in Covington. Tickets: 859-957-1940 … Also in Northern Kentucky, you can drop by the Monmouth Theatre in Newport to see Falcon Theater’s staging of Stephen Sondheim’s Assassins, an unusual work about the actual historical individuals who succeeded in shooting a president. It features fascinating music and a story line about the American Dream and what happens when people can’t grab ahold of it. It’s being presented through June 13. Tickets: 513-479-6783 … I’d like to recommend The Producers currently in production at the new Incline Theater in East Price Hill. It’s a delightfully silly show about showbiz. But the folks at Cincinnati Landmark Productions have so successfully marketed this opening production of its summer season that most performances are sold out. However, if you’re persistent, you might get your name on a waiting list by calling the box office: 513-241-6550.


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here. 
 
 
by Rick Pender 05.29.2015 38 days ago
Posted In: Theater at 02:21 PM | Permalink | Comments (0)
 
 
moonlight after midnight 2 photo credit- andrew alexander

Stage Door: Fringing, a Free Performance and More Good Choices

Cincy Fringe is hot and heavy right now. If you’re planning to attend and want to get the scoop on some shows you might enjoy over the weekend, head to the CityBeat's Fringe hub, where reviews are being posted by a team of writers that I’m managing. We go to see the opening performance of each show, write about it overnight and post it the next day. You won’t find more timely coverage anywhere else. There are several “Critic’s Picks” so far including METH: a love story, Moonlight After Midnight and Edgar Allan. With more than 40 productions available over the course of 12 days, there’s lots of choices. About two-thirds are up and running already. What are you waiting for?

Speaking of the Fringe, there’s a special event on Sunday evening in Washington Park that’s free and open to the public. It’s a staged concert reading of Cincinnati King, a new work by Playhouse Associate Artist KJ Sanchez. It’s about the history of Cincinnati music, racial equality, music pioneer Syd Nathan and his recording label King Records. The evening starts at 5 p.m. with music and theater activities for kids. At 5:30 the Philip Paul Quartet plays some of King Records’ greatest hits; Paul was a drummer at King Records. The concert reading happens on the stage at the Public Lawn at the north end of the park. All you have to do is show up! More info here.

There are shows elsewhere to be seen, depending on your preferences. Showbiz Players is offering a production of The Addams Family: A New Musical Comedy at The Carnegie in Covington. It opens tonight and continues through June 7. All your favorite characters from the wacky cartoons of Charles Addams (which inspired the cult TV series that ran from 1964 to 1966) are onstage, singing and dancing: Gomez and Morticia, Wednesday and Pugsley, Uncle Fester and Lurch. Tickets: 859-957-1940

If you want something a little more serious, you might check out Falcon Theater’s production of Stephen Sondheim and John Weidman’s Assassins at the Monmouth Theater in Newport. Believe it or not, it features many of the men and women who thought their path to the American dream was to shoot a president. It’s a powerful show about values and motivations, and it features some fascinating melodies by Sondheim, perhaps the greatest musical theater composer of our time. It’s onstage through June 13. Tickets: 513-479-6783

You can still catch Ensemble Theatre’s charming production of Outside Mullingar this weekend (it has to wrap up on Saturday to make way for ETC’s Fringe production, Caryl Churchill’s Love and Information, performed by the theater’s intern company on June 4, 5 and 6). Mullingar features four outstanding actors — Joneal Joplin, Dale Hodges, Brian Isaac Phillips and Jenn Joplin — in a story about spirited Irish parents and children, about love and longing, and about finding a place in the world. Definitely worth seeing. Tickets: 513-421-3555

One other production still running that I recommend you make an effort to see is Circle Mirror Transformation at the Cincinnati Playhouse. It features five excellent actors playing everyday people in an acting class at a community center. Their efforts to find their talent lead to revelations more profound than any of them initially imagine. Great fun and thoughtful at the same time. Tickets: 512-421-3888


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here

 
 
by Rick Pender 05.22.2015 46 days ago
Posted In: Theater at 08:55 AM | Permalink | Comments (0)
 
 
cappies recipients

Stage Door: Theater Critics of the Future?

There’s lots happening on Cincinnati stages this weekend — including excellent productions of Circle Mirror Transformation at the Cincinnati Playhouse and Outside Mullingar at Ensemble Theatre. The Cincinnati Fringe Festival is right around the corner. But I want to use this week’s Stage Door to highlight a glimpse of the future. Tonight the CAPPIE AWARDS will celebrate productions and performers from area high schools with a festive event at the Aronoff Center’s Procter & Gamble Hall.

Among the students being recognized are critics. That’s right: As part of the Cappies, teens from high schools visit other schools to critique performances. I have the privilege of handing out awards to the outstanding team of students from one particular high school. Starting last year, another recognition was added, sponsored by CityBeat, identifying the outstanding single critique written over the course of the year.

I received a half-dozen essays deemed by Cappies organizers to be the best pieces written during the 2014-2015 school year. (I did not know the names of the critics or their high schools when I was picking the winner.) At tonight’s ceremony, I’ll announce one I believe to be the best. You can read all of the reviews I considered in today’s blog, below. In addition to taking home a dandy trophy, the winner is invited to review a FringeNext show, one of three high school productions presented at the Cincy Fringe next week.

I urge you to read what these insightful young people have written about productions at other schools. It’s possible that someday one of these promising writers will be writing about shows and helping theater fans decide what to see onstage in Greater Cincinnati.


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.



West Side Story at Cincinnati Hills Christian Academy

REVIEWED BY COLE HANKINS, Loveland High School

Amidst a fearsome gang war, two lovers are forever torn apart by the pull of a pistol’s trigger. And as a girl mourns her horrible loss, she extends two hands, one to each side. In the left hand, a Jet; in the right, a Shark, two groups sworn enemies, now holding hands united under common loss. It is with this heart-wrenching image of solidarity that Cincinnati Hills Christian Academy’s production of West Side Story leaves its audience, and with this image that its excellence finally hits home.

An American theatrical classic, West Side Story takes place in New York City, where two local teenage gangs — the Caucasian “Jets” and Puerto Rican “Sharks” — are amidst a territorial dispute. Jets leader Riff plans to challenge the Sharks and leader Bernardo to a rumble in order to settle the issue. However, the plot thickens when fellow Jet Tony meets Bernardo’s sister Maria, and the two quickly fall in love. The result is ultimately a situation spun far out of control, a vengeful gunshot separating the lovers forever, and grave consequences to a merciless feud.

Fittingly, CHCA’s production started with a bang in “Prologue,” where the Jets’ and Sharks’ choreographic and combat execution splendidly set the tone for the action to come. The Jets were particularly sharp in songs such as “Jet Song” and the lighthearted character number “Gee, Officer Krupke.” Other show highlights included the upbeat, toe-tapping song “America,” and “Tonight,” where both Jets and Sharks alike came together for a powerful prelude to the action-packed “The Rumble.”

As headliner Tony, actor Will Ellis’s performance was defined by pristine tenor vocals and a captivating vibrato, mastering his character’s higher range. In solo songs like “Maria,” Ellis never shied away from the spotlight, boldly owning critical character moments. Opposite of Ellis, Allie Kuroff’s operatic soprano was equally impressive as the lovely Maria, clearly acting her finest in the show’s riveting finale. Both Ellis and Kuroff played their roles with a unique tenderness, providing an interesting presentation of two classic characters.

Likewise, actress Merrie Drees brought a thrilling flair to the flashy, spunky Anita. Drees’s powerfully sassy vocals proved phenomenal, and her ability to balance great comedic timing in earlier scenes with compelling emotion later on was marvelous, a dynamic lacking in other characters. As the charismatic Riff, Gabe Hoyer also crafted an extraordinary performance. Hoyer featured a mesmerizing gravity to his presence that added an unmistakable charm to Riff, making his Act I death one of the musical’s most tragic moments.

Tasked with a very challenging musical score, the CHCA Orchestra played fabulously. Despite drowning out certain vocalists at times, the pit kept accompaniment clean, crisp, and well polished throughout. Equally crisp and well polished was manager Kaitlyn Nickol’s stage crew, making scene changes promptly and effortlessly and contributing to the show’s timely pacing.

Doing justice to one of the most beloved musicals of all time is undoubtedly a daunting task. Yet as the lights faded on that aforementioned scene of unity, the cast of Cincinnati Hills Christian Academy’s recent production of West Side Story had accomplished exactly this. In a wildly successful effort, these talented performers honored not only the endearing charm of this theatrical legend, but also its strikingly poignant message.

 

A Midsummer Night’s Dream at Larry A. Ryle High School

REVIEWED BY ELEANOR CONNIFF, Highlands High School

Although written nearly 400 years ago, the works of William Shakespeare are still revered today as some of the most influential in all of Western literature. The Bard's plays are usually an essential component of any English course. The classic tales are still performed often by actors and theatre companies alike. It is difficult to imagine something as old as the publication of Shakespeare's First Folio in 1623 continuing to remain relevant and entertaining to audiences. In A Midsummer Night's Dream, performed by Larry A. Ryle High School, students brought life to the timeless classic and gave a performance that stayed true to the tradition of Shakespeare with unique and original twists.

The story of A Midsummer Night's Dream centers around a love triangle, or rather, rectangle, between Hermia and Lysander, two star-crossed lovers; Demetrius, who loves Hermia, although unrequited; and Helena, who loves Demetrius. When Puck, a mischievous fairy from the woods, accidentally casts a spell on the two young men, he reverses their affections, causing both to fall in love with Helena. Chaos ensues as Puck attempts to reverse the mistaken spell and keep peace within both the fairy and the lovers' world.

In Larry A. Ryle's production of this classic story, the students met the challenge of Shakespeare with eagerness and understanding of the style, far beyond the years of most high school students. The production also paired the original Shakespearean text with 1950s style costumes, props, and characters in order to portray a commentary on the time period's stratified nature and to modernize the theme of unrequited love.

Under the pressures of a four-way love triangle, Willow Davis's portrayal of Helena stood out among the leading roles of the show as her characterization and poise set her apart. Helena’s nagging but endearing nature allowed the audience to laugh at her melodramatic soliloquies while also sympathizing with her broken heart. Samuel Greenhill stood out in his portrayal of Demetrius as well, creating a character that was both likable and antagonistic and keeping him true to the attitudes of the time period.

Of course, it is impossible to forget Macy Bates’s performance as the mischievous Puck. The youthful energy that she brought to the role was extremely refreshing and played well into her comedic timing, keeping the audience laughing again and again.

From a technical aspect, the show was extremely fine-tuned. Albert Harris's lighting was absolutely stunning, with a purposeful contrast in the lighting of the fairy world versus that of the real world. This choice, while subtle, was extremely impactful, as the set's minimalist style made the setting of the story extremely ambiguous and versatile, with the shift in lighting as the main indicator of shifting worlds.

Love and mischief are the same now as they were in the 1950s, and the same in the 1950s as they were in Shakespeare's time. Larry A. Ryle High School's production of A Midsummer Night's Dream portrayed these themes in a fresh and unique way, while also paying homage to the tradition of William Shakespeare.

 

Beauty and the Beast at McAuley High School

REVIEWED BY SAMANTHA TIMMERS, Scott High School

It’s not every day you see a humanoid clock charging at foes with a silver fork. Nor is it every day that an audience finds themselves yet again floored by a performance they've seen on the screen a hundred times before. Yet in this heartwarming rendition of Beauty and the Beast, McAuley High School charmed both adult and child once again through their humor and talent.

This stage rendition, written by Alan Menken, Howard Ashman, Tim Rice, and Linda Wolverton, is actually an adaptation of an adaptation. The Oscar-winning movie version with which the world is familiar came out in 1991, the inspiration stemming from the 1756 fairy tale by Jeanne-Marie Leprince de Beaumont. In this third version, a beautiful and bookish Belle becomes the only hope for a long-forgotten castle staff and Prince, who are slowly becoming inanimate objects as a result of a spell caused by the Prince’s vanity. But can Belle learn to love a Beast who can barely learn to love anyone else?

Overall, McAuley created a magnificent performance that was filled with magic and surprises. The cast was bouncing with energy from start to finish, and their vocal quality was solid amongst all actors. The technical crew skillfully created a lively atmosphere that resonated with audience members, phenomenally recreating classic scenes. With glittering costumes and whimsical choreography, Beauty and the Beast did not disappoint.

Danielle Mouch was extraordinary in her performance as Belle. Her vocal quality was pristine and clear, effortlessly reaching every note as well as maintaining her character’s spunky yet thoughtful personality. Gregory Miller, a well-established actor in Cincinnati high school theater, outdid expectations in his performance as the Beast. Though he might have had hair and tusks masking his face, his powerful yet perfectly controlled voice said more than facial expressions ever could.

Audience favorites included the actors playing Lumière and Cogsworth. AJ Keith’s (Cogsworth) dry humor was expertly delivered and well received, his deadpans flawless and his mannerisms appropriate for the endearing yet bossy character. Benjamin Burton seemed to be made for the role of Lumière: his French accent was spot-on (and maintained throughout the length of the show), and his eye for comedy was terrific—all it took was a few suggestive hip movements to send the audience into uncontrollable laughter.

The crew provided dazzling effects for the show. The lighting was of almost professional quality, with a highlight being the mystical, Northern Lights-sequel brilliance that occurred during the Beast’s transformation. While the costumes seemed to closely follow the movie adaptation, they were of high quality and were well constructed and designed. The choreography flowed seamlessly, from the Mob’s parade around the auditorium to the Wolves’ deathly yet entrancing dance. Overall, McAuley’s crew was a force to be reckoned with, achieving seemingly magical transitions and mirages.

In this tale as old as time, McAuley High School enchanted youth and elderly alike with its whimsy personality and spellbinding characters, reminding everyone not to be deceived by appearances; there “may be something there that wasn't there before.”


The Mourner’s Bench at the School for Creative and Performing Arts

REVIEWED BY SARAH MORGAN, Mariemont High School

A single gunshot can end a life, create irreversible emotional damage, and shatter even the closest of relationships in an instant. The School for Creative and Performing Arts’ dark, poignant, and haunting performance of The Mourners’ Bench explored the crippling emotional aftermath of a deplorable tragedy.

The first act opened up to an intense argument between siblings Bobby (Bradley Mingo) and Melissa (Nina Walker). Twenty years after they witnessed their father shoot their mother, Evelyn, in a murder-suicide, Bobby and Melissa have still not healed. While Melissa has attempted to move on with her life, marrying a nice man and bearing two children, Bobby is trapped in a state of perpetual dependency, turning to alcohol and eventually buying the childhood house in which the tragedy occurred. Mingo and Walker perfectly captured the essence of a tumultuous sibling relationship, from emotionally depleting shouting matches to interrupting one another mid-sentence. The two were able to adroitly deal with dark themes, including murder, rape, and suicide, by presenting an air of deep gravity and maturity to their lines.

Act Two, set immediately after Evelyn’s funeral, featured her sisters Caroline (Mallory Kraus) and Wilma (Danielle Brockmann) bickering about the future of their niece and nephew. Kraus and Brockmann both give performances rife with emotion, utilizing familiar body language to heighten the intimacy of their conversation. The timing of their dialogue was natural and seemed completely organic, inviting the viewer into their quarrel. Brockmann approached her role as Wilma with a gentle softness, providing a foil for Kraus’s seemingly callous, unemotional Caroline. The scene ended touchingly, with Kraus playing the piano while Brockmann watched, a testament to the boundless power of redemption.

Act Three centered around elderly, married couple Joe (Cameron Baker) and Sarah (Maggie Hoffecker). They moved into Bobby and Melissa’s childhood home immediately after the tragedy and become inextricably tangled in the history of the house they have purchased. The tenderness between Hoffecker and Baker truly reflected that of a couple on the brink of death; while just sitting next to each other on a couch, they seem comfortable and at ease, with no trace of awkwardness. By the end of the scene, sniffling could be heard throughout the theater as the pair gazed out of a window, contemplating life’s transience.

SCPA’s theater was a room with seating on all four sides, providing an intimate view of the stage and connecting the audience to the characters. The set was sparse: a living room furnished with an unadorned couch and a dilapidated piano. The simpleness of the set allowed the raw emotion of the actors to shine through, creating a memorable performance.

All in all, SCPA’s production of The Mourners’ Bench was an evocative and haunting testament to the power of loss, recovery, and redemption.

 

Sweeney Todd at Taylor High School

REVIEWED BY MADISON LUKEN, St. Ursula Academy 

A trip to the barber never seemed so dangerous than in Taylor High School’s production of Sweeney Todd, where deceit leads to a menagerie of questionable pies, ineffective Italian barbers and a tempest of revenge, violence and tragedy.

An ordinary barber, husband and young father, Benjamin Barker has his world turned upside down when he is thrown in jail on a trumped-up charge that costs him his wife and daughter. Escaping prison, Barker renames himself Sweeney Todd and moves back into his shop on Fleet Street when he discovers the suicide of his wife Lucy. Out for blood, he teams up with the pie baker below his flat, Mrs. Lovett, to take revenge on the ones responsible — Judge Turpin and Beadle Bamford. Leaving a trail of deception, misery and gore in his wake, Sweeney Todd becomes the demon barber of Fleet Street in this haunting musical thriller.

From the smoke that billowed from Mrs. Lovett’s pie shop to the synchronization of the company in “Pirelli’s Miracle Elixir,” the unwavering commitment of both the cast and crew of this show did not go unnoticed in both details and central events. Every aspect of the show came together to create a product of suspense, drama, and overall beauty as an elaborate set, apt lighting and emotional vocals blended with the energy of everyone on and off stage.

Despite the incredible amount of music and its difficulty, the leads of the show, Sweeney Todd and Mrs. Lovett, performed by Antonio Ortiz and Annie Gerth respectively, conquered the tumultuous trials of Steven Sondheim almost flawlessly. In addition to this vocal aptitude, Gerth was able to portray the comedic elements of Lovett through her accent and equally strong acting propensity. Reciprocated by Ortiz, the two radiated a brilliant, psychotic chemistry that was always present, especially in songs such as “A Little Priest.”

A buttress to the leading couple, the ensemble floated eerily onto the stage relentlessly, booming out “The Ballad of Sweeney Todd” and “City on Fire” without wavering. Additionally appearing repeatedly, the Beggar Woman, played by Eliana Batsakis, brought further skill to light both vocally and in her physical acting as she drifted across the stage, crawling in the shadows of London, cackling manically and uttering desperate warnings until she met her demise.

Behind the scenes, this show demanded both sets and costumes reflective of the dark, dirty setting of 19th-century London. In both areas, demands were met, as buildings faded into darkness under a smoky pall and windows appeared cracked in places like Fogg’s Asylum while their inhabitants skulked about in ripped clothes with faces scorched with the grime of the streets. The crew was also able to create credible deaths with their use of stage blood.

Altogether, Taylor’s production was consistent and energetic in every scene of the show, creating a thrilling and gripping story through its performers and behind-the-scenes crew. It was ultimately well deserving of the standing ovation it received.


Once Upon a Mattress at Ursuline Academy

REVIEWED BY CARISSA SAFFIRO, Cincinnati Christian Schools

From childhood one is taught that princesses are the immaculately beautiful creatures that epitomize all that is grace and beauty. Who could imagine that the next princess of a medieval land would be an uncouth and unruly woman from the swamps? Ursuline Academy’s recent production of Once Upon a Mattress explores what happens when an ill-mannered yet charming woman steps — or rather swims — into court looking for a prince.

Written in the 1950s, Once Upon a Mattress is a musical comedy adapted from Hans Christian Anderson’s fairy tale “The Princess and the Pea.” The musical was written by Jay Thompson, Marshall Barer, and Dean Fuller with lyrics and music by Marshall Barer and Mary Rodgers, respectively. The show features Princess Winnifred of the swamplands who comes to marry Dauntless the Drab, despite all the women before her who have been turned down by his tyrannical mother. Following the classic tale, the queen puts a pea under twenty mattresses to determine whether Winnifred is a true princess.

With intricate music and challenging characters, the leads of Once Upon a Mattress certainly had their work cut out for them. The ludicrously uncouth yet lovable Princess Winnifred was played by Kennedy Carstens. From the moment she stepped on the stage the audience was in the palm of her hand and her vocal performance was unequalled by any cast member in the show. CJ Allen had the challenge of playing the role of Dauntless the Drab and chose to play this arguably flat character with a charming and comedic twist. The audience’s narrator and another lead actor in the show was the Minstrel, played by Arjun Sheth. Sheth not only brought the audience through the show with a confidence and charisma, but also had the vocal range required for the role.

King Sextimus the Silent, played by Michael Viox, was another leading force in the show, although because of an old curse he was unable to speak for most of the musical. However, his inability to communicate with words in no way inhibited his connection with the audience or his stage presence. His counterpart and friend, the Jester, played by Claire Westover, played alongside Viox with excellent chemistry but also showed a deeper side of her character as well as impressive tapping ability in her song “Very Soft Shoes.” Carmen Carigan must also be commended for her performance as the Wizard. Although in a smaller part, Carigan has the ability to leave the audience clapping and laughing hysterically every time she stepped off stage.

The most unique thing about Ursuline, however, is the wealth of talent in their dancers. The dancing chorus was always together whether they were doing ballet or tap. With dancers such as Keely Wissel on point and other incredible soloists such as Caroline Nymberg, the dancers stood out as one of the highlights of the show.

The technical aspects of the show seemed to move effortlessly. There were few to no microphone errors, although the cast was working with fifteen wireless mikes, and the lighting was flawless. Arguably the most unique and ingenious part of the show was the costuming. Almost completely student-made, the costumes were imaginative and well put together. In the chorus, each lady’s costume had a corresponding knight’s costume, just one example of the color and brightness of the show.

The costumes, actors, and dancers certainly mirrored the fun, bright, and slightly unconventional style of this production and brought the audience for an enjoyable ride.

 
 
by Rick Pender 05.15.2015 53 days ago
Posted In: Theater at 08:17 AM | Permalink | Comments (0)
 
 
tage

Stage Door: Take a Trip to Ireland?

If you debating which show you might go see this weekend, my strong recommendation is Ensemble Theatre's Outside Mullingar (ETC, 5/6-24). It's a great script by John Patrick Shanley (who wrote the award-winning play Doubt and the award-winning screenplay Moonstruck). It's set in Ireland, so the characters are overflowing with dry wit. And the actors playing them are a quartet of the performers who Cincinnati audiences love: Joneal Joplin (Scrooge for many years at the Playhouse) is a crusty old man who might not pass the family farm on to his more sensitive son, played by Cincinnati Shakespeare's artistic director Brian Phillips. Dale Hodges, a respected local stage veteran, plays Aiofe, the owner of an adjacent farm; Jenn Joplin (Joneal's daughter) is Aoife's grumpy, opinionated daughter. This is a tale of parents and children, but there's a lovely, stumbling love story at the heart of the play, and it's that's emotionally satisfying. The production was staged by Ed Stern, now retired as the Cincinnati Playhouse's artistic director. It's onstage through May 24. Tickets: 513-421-3555.


Brian Phillips did double-duty recently rehearsing to perform inOutside Mullingar while staging  Henry V at Cincy Shakes. As the title suggests, this is one of the Bard's history plays, and it's a chest-thumping one about warfare and England's claim to power. The company is midway through a multi-year project to stage all of Shakespeare's tales of the kings of England in chronological order. That might sound a tad stodgy, but this one is full of fighting and bluster, and there's a thread of comic relief, too. Let's call it the Shakespearean equivalent of an action movie. It's onstage throughMay 30. Tickets: 513-381-2273.


You'll find two plays worth seeing at the Cincinnati Playhouse this weekend. One just opened last night (I haven't seen it yet): It's Annie Baker's award-winner, Circle Mirror Transformation, about some folks taking an acting class at a community center. Their lessons about performing expand to be come life lessons. It's a warm, thoughtful play in the Shelterhouse. On the Marx mainstage, you'll find the very funny Vanya and Sonia and Masha and Spike, inspired by Chekhov but from the zany perspective of Christopher Durang, you don't need any theater history to be laughing out loud as three adult siblings from a dysfunctional family try to keep their balance. Tickets: 513-421-3888.


If you're eagerly awaiting the start of the Cincinnati Fringe (it kicks off on May 26), you should stop by Know Theatre for the American premiere of the Bane Trilogy with performances this weekend and next. It's three monologues about a guy who shoots first and doesn't ask questions in a one-musician film noir comic trilogy. You can experience them sequentially or out of order. Performer Joe Bone is the Guinness world record holder for the most characters portrayed by one actor in a performance; he's accompanied musically by Ben Roe. This show has a heavy-duty buzz: People were telling me about it weeks ago, so I'm sharing the news with you — although I haven't fit it into my schedule yet. It's running for two more weeks. Tickets: 513-300-5669.


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.



 
 
by Rick Pender 05.07.2015 60 days ago
Posted In: Theater at 02:25 PM | Permalink | Comments (0)
 
 
sonia and masha mourning their lives - vanya & sonia & masha & spike - cincinnati playhouse - photo sandy unerwoodjpg

Stage Door: Trips Down Memory Lane

If you're feeling nostalgic, Cincinnati stages have several offerings for you to enjoy. Let's start with Vanya and Sonia and Masha and Spike at the Cincinnati Playhouse. It's set in the present, but Vanya, one of three angsty siblings, thinks that contemporary life is missing the point, and he yearns for things he loved during his childhood in the 1950s. He love them to the point that he's spurred to a 10-minute rant (by a feckless actor who pays more attention to texting than the people in the room with him) about all that life is lacking today. It's a very funny moment in Christopher Durang's award winning play. I gave it a Critic's Pick in my CityBeat review. Tickets: 513-421-3888

The production of Vanya and Sonya and Masha and Spike wraps up with the Beatles' "Here Comes the Sun." If you'd like a whole evening of Beatles tunes, you need to be at the Aronoff Center in Downtown Cincinnati on Monday evening for RAIN: A Tribute to the Beatles. It's more than two hours of music, covering the progression from "I Want to Hold Your Hand" to "I Am the Walrus," with more than 30 numbers being authentically performed. The live, multi-media spectacle covers the entire career of the band and its four famous musicians. These guys pay attention to details in recreating the music and the mood. Tickets: 513-621-2787

Ensemble Theatre Cincinnati just opened a production of John Patrick Shanley's Outside Mullingar that will make anyone who's Irish long to head to the Emerald Isle. It's about generational differences and the possibility of love between two unlikely souls. What will make this one good is the cast: Joneal Joplin (Scrooge for many years at the Playhouse) plays a crusty old man, and Dale Hodges, one of Cincinnati's best professional actresses, is his outspoken neighbor. Jen Joplin (Joneal's daughter in real life) plays Hodges' daughter in the show; and the old man's son is brought to life by Brian Isaac Phillips from Cincinnati Shakespeare. It's being staged by Ed Stern, former artistic director at the Cincinnati Playhouse. With that many theater veterans working on it, the show is sure to be worth watching. Lots of people must think so, since ETC has already announced an extension of the show to May 30. Tickets: 513-421-3555

Cincinnati Music Theater can always be depended on to do a good job with a big musical. Our city's most ambitious community theater takes on the lighthearted Gershwin tuner, Crazy for You, which will be staged at the Aronoff's Jarson-Kaplan Theater. It's onstage for two weekends, through May 16.

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

 
 
by Rick Pender 05.04.2015 64 days ago
Posted In: Theater at 08:19 AM | Permalink | Comments (0)
 
 
buyer

Call Board: Theater News

Ensemble Theatre Cincinnati's 30th season will present three world premieres, the revival of a great musical and Cinderella

While other Cincinnati theaters hustle to get their seasons announced in order to ramp up subscription sales, Ensemble Theatre Cincinnati has built enough faith with its audiences that they'll start signing up sight unseen. Artistic Director Lynn Meyers tells regulars that they'll be pleased, and they take her at her word; she adds that if they aren't happy with the shows she picks, they can have their money back. No one asks for it.

Of course, ETC presents shows that haven't appeared elsewhere in our region yet, typically premieres that have only recently been onstage in New York City. And they're given productions with great acting and beautiful design so well assembled that many shows have extended runs. (That's happening with the show concluding the current season, John Patrick Shanley's Outside Mullingar, which opens on Wednesday with a stellar cast that includes local stage veteran Dale Hodges and Cincy Shakes Artistic Director Brian Phillips. ETC has announced it will run a week longer than initially indicated, now closing on May 30.)

For its 30th season, ETC has assembled three regional premieres and a revival of a musical it staged to great acclaim in 1999, with a TBA slot (March 22-April 10, 2016) that's likely to bring another show that's been a recent Broadway or off-Broadway hit. Here's the lineup announced over the weekend:

Luna Gale (Sept. 8-27, 2015) by Rebecca Gilman: The show recently received the Harold and Mimi Steinberg/American Theatre Critics Association New Play Award, and it was considered by many to be a strong contender for the Pulitzer Prize in drama. It portrays the moral dilemma facing a social worker with a crushing caseload and personal baggage. She must decide whether to leave a child with neglectful drug addict parents or place her with a grandmother who is a religious zealot. It's a complex and disturbing work about faith and forgiveness that doesn't offer easy answers for the lifelong after-effects of abuse. Its first production was in January 2014 at the Chicago's Goodman Theatre. It's slated for productions at Cleveland Playhouse and Actors Theatre of Louisville in the coming season, but ETC's happens first.

Buyer and Cellar (Oct. 13-Nov. 1, 2015) by Jonathan Tollins: The one-many comedy was a big New York hit in 2013, telling the story of an out-of-work actor who takes on the odd job of playing shopkeeper for Barbra Streisand in the basement of her lavish Malibu estate. It's a fanciful imagining of what one does with decades of memories and acres of memorabilia. Performing the piece will be Nick Cearley, a Cincinnati native who has appeared at ETC in next to normal and The Great American Trailer Park Musical.

Cinderella (Dec. 2-Jan. 3, 2016) by Joe McDonough, David Kisor and Fitz Patton: ETC's holiday show is a remount of its contemporary take on the classic fairy tale that demonstrates that being smart can be truly beautiful.

Grounded (Jan. 26-Feb. 14, 2016) by George Brant: It's another solo show, described by one critic as "ardently humane," about a woman who's an ace pilot reassigned to operate a remote-controlled drone from a windowless trailer near Las Vegas. It's a hit at New York City's Public Theater right now featuring Anne Hathaway in a production directed by Julie Taymor. Hunting terrorists by day and returning to her family at night, the boundaries begin to blur between the desert where she lives and the one she patrols half a world away in Iraq.

Violet (May 3-22, 2016). Jeanine Tesori's musical won the Drama Critics Circle Award and the Lucille Award for best musical when it premiered off-Broadway in 1997. It was a local award winner, too, but not seen by many who have come to love ETC's offerings. The score features American Roots tunes as well as Folk and Gospel styles. Violet's story is set in the 1960s; she is a young woman disfigured in a childhood accident who dreams of a miraculous transformation through the power of faith provided by a televangelist. It was one of ETC's best early productions, and it's a great choice to cap off a celebration of three decades of fine theater.

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