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by Rick Pender 11.21.2014 4 days ago
Posted In: Theater at 09:30 AM | Permalink | Comments (0)
 
 
susan haefner as rosemary clooney at cincinnati playhouse - photo sandy underwood

Stage Door: A Girl Singer and Two Pairs of Twins

Many Cincinnati stages are momentarily paused, readying shows for the holidays. Last night the Cincinnati Playhouse in the Park opened its production of Tenderly: The Rosemary Clooney Musical. Susan Haefner does a remarkable job of channeling the "girl singer" from Maysville, Ky., who grew up in Greater Cincinnati. We learn how she became a star, rose to fame, almost lost it to pills and dissolute behavior, then battled back for a "flip side" to her singing career. All the other characters in her story — male and female, young and old, famous and unknown — are performed by Michael Marotta, who principally plays her counselor but is amusingly convincing as Bing Crosby, Frank Sinatra, Merv Griffin and many more. It's a thoroughly entertaining two hours on the Playhouse's Shelterhouse stage, and it's already appealing to audiences apparently, since the show's run has been extended from Dec. 28 to Jan. 4. Tickets ($30-$85): 513-421-3888

Cincinnati Shakespeare Company kicks off its next production of the 2014-2015 season tonight with The Comedy of Errors. The emphasis in this show, one of Shakespeare's earliest works, is definitely on the comedy, what with two pairs of twins whose adventures are hysterically compounded by mistaken identities when they end up in the same town on the same day. For this staging, it's set in a seaside resort in America of the 1930s in the midst of a classic carnival, adding to the story's hilarity. This one will only be onstage until Dec. 13, so this weekend is the perfect time to catch a performance, before holiday shows take center stage elsewhere. Tickets ($22-$36): 513-381-2273

One last treat I'll mention, which happens to be operatic rather than theatrical: It's Great Scott, a new work that Cincinnati Opera is nurturing in partnership with UC's College-Conservatory of Music. The production's creators have been in town all this week honing this brand new opera, the story of a struggling opera company and the hometown football team. They come into conflict when the team is to play in the Super Bowl on the same day the company has planned to premiere a long lost opera. To heighten the drama, the team's owner is married to the opera company's founder. The composer is Jake Heggie, who wrote the music for Dead Man Walking, a work produced by Cincinnati Opera at Music Hall in 2002, and Great Scott's script is by prize-winning playwright Terrence McNally. The week's work will culminate in a public reading on Tuesday evening. It's free, but you are asked to make a reservation by calling 513-241-2742 to see it at Memorial Hall (1225 Elm Street, next door to Music Hall; it's easy to park your car in the nearby Washington Park Garage).


Rick Pender's STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
 
 
by Maija Zummo 11.20.2014 5 days ago
 
 
lightgeist

Rhinegeist Lights Up Tonight with Projected Video

Lightgeist is a one-night exhibit of light and projected art at the brewery

Another historic Cincinnati building is being artfully illuminated. This year's past LumenoCity light mapping to a live orchestra on Music Hall was more popular than ever, and tonight the NEAR*BY Curatorial Collective is doing something similar at Rhinegeist.

Rhinegeist brewery is housed in the skeleton of an old Moerlein bottling plant. And starting at 7 p.m. Thursday (Nov. 20), 17 artists and collaboratives will be exhibiting projected video, sculptural and environmental installations in/on the structure's architecture. The interdisciplinary works will demonstrate how contemporary artists currently embrace the dematerialization of image and how that manifests in a non-traditional art space. The name Rhinegeist literally translates to "ghost of the Rhine," and according to the curatorial statement, "Though often intangible, light and art can likewise be said to haunt or inhabit space."

Participating artists include Brandon Abel, Jen Berter, Nicki Davis, DAAP Clay & Glazes, headed by Katie Parker and Guy Michael Davis (featuring the work of Olutoba Akomolede, Christine Barron, Amanda Bialk, Michael Broderick, Linnea Campbell, Catherine Gilliam, Theresa Krosse, Sarah Maxwell, Megan Stevens, Christine Uebel, Allison Ventura & Victoria Wykoff), Lizzy Duquette, Sam Ferris-Morris, Mark Governanti, John Hancock, Joe Ianopollo, Maidens of the Cosmic Body Running, Andy Marko, Alice Pixley Young, Play Cincy, Lindsey Sahlin, Caroline Turner, Justin West, C. Jacqueline Wood and Charlie Woodman.

The one-night only exhibit kicks off at 7 p.m. and will go until 10 p.m. It's free and open to the public. Rhinegeist is located at 1910 Elm St., Over-the-Rhine. Get more information about the event or NEAR*BY and their mission to create ephemeral and interdisciplinary exhibits that bypass the art institution here.

 
 
by Rick Pender 11.14.2014 11 days ago
Posted In: Theater at 09:51 AM | Permalink | Comments (0)
 
 
once_photo_joan_marcus

Stage Door: Broadway Here, Broadway There — It's Everywhere

If you're looking for good theater this weekend you have two great choices at downtown Cincinnati's Aronoff Center. It's your pick: Recent Broadway hit Once, in a touring production, or a past award-winner, Young Frankenstein, staged by one of Cincinnati's best community theaters.

The musical Once began life as an Academy Award-winning film in 2007; the song "Falling Slowly" won an Oscar. The film became an off-Broadway production as a musical in 2011 then a Broadway contender in 2012, where it won eight Tony Awards, including best musical. Since 2013 it's been a hit in London (the film is about musicians in Dublin, and the stage adaptation is set in an Irish pub) and on a national tour in the U.S. a year ago that's been much praised. It's that tour presently onstage at the Aronoff Center's big hall. It's a very contemporary love story that succeeds in part because it's unpredictable: Boy Meets Girl (yeah, that's a cliché) but despite their chemistry and potential for romance, it doesn't turn out as you might expect. Along the way, a great cast of actor/musicians play instruments onstage and sing their hearts out as the story unfolds. And it's fun: Arrive early enough and you can queue up to go onstage and order a pint from the bar there and mingle with some of the cast. If there's such a thing as a casual musical for contemporary music lovers, this is it. Through Nov. 23. Tickets ($33-$80): 513-621-2787.

Don't think that you'll see something less than professional if you choose to head to the Aronoff's Jarson-Kaplan Theater to see Young Frankenstein, presented by Cincinnati Music Theatre through Sunday. This company of local theater junkies knows how to make big musicals work, and this jokey show by Mel Brooks (based on his equally jokey classic comedy from 1974) is a great vehicle for a talented cast and crew. There are great sets (designed by Rick Kramer) and visual effects (by Jeff Surber), and the talented performers milk every laugh line to the nth degree. Charlie Harper is lots of fun as the latter-day scientist Frankenstein, Alison Evans is his fetching lab assistant Inga and Kate Mock Elliott has great moments as his twitchy fiancee Elizabeth. Chuck Ingram's portrait of the Monster is spot on, and his delivery of the show's big number, "Puttin' on the Ritz," will stick that tune in your head for days in ways that Irving Berlin never imagined. Tickets ($20-$24): 513-621-2787.

Broadway star Faith Prince is making a local appearance at Memorial Hall for an 8 p.m. concert tonight. It's part of a series of "Libations & Lite Bites," this one titled "Broadway & Bordeaux." The evening begins at 6:30 with hors d'oeuvres from local restaurants, wine and cocktails and concludes with dessert and more. Tickets ($47-$57): cincinnatimemorialhall.com.

If you've got Broadway on the brain and you're on Cincinnati's West Side, you should definitely check out the Covedale Center's production of Stephen Sondheim's fairytale musical Into the Woods, finishing up its run on Sunday. It's an entertaining classic (in December it will be on movie screens everywhere in a new film version featuring Meryl Streep and Johnny Depp), and the Covedale has a great cast to put it across. Tickets ($21-$24): 513-241-6550.

You still have a chance to catch one of our great local actresses, Dale Hodges, in Driving Miss Daisy at Covington's Carnegie through Sunday. She's playing haughty, elderly Daisy Wertham, unwillingly partnered with Hoke, an African-American chauffeur (Reggie Williams) hired by her solicitous son Boolie (Randy Lee Bailey). It's a solid ensemble and a very entertaining production. Tickets ($18-$25): 859-957-1940.

And if you're looking for something that's brand new and edgy, check out All New People by contemporary writer Zach Braff. It's onstage at Clifton Performance Theatre, staged by Untethered Theatre through Nov. 30. It starts with a suicide attempt on Charlie's birthday and spirals from there. I'm going to see it this weekend. Maybe I'll see you there. Tickets ($20): 513-939-0599.

Rick Pender's STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here
 
 
by Steven Rosen 11.12.2014 13 days ago
Posted In: Visual Art at 10:56 AM | Permalink | Comments (0)
 
 
cd 39 b copy

At FotoFocus Show, Michael Keating Remembers His Elderly Neighbor

I wish the “sunroom installation” that is part of Michael Keating’s current Shadow & Light exhibition at Kennedy Heights Arts Center (through Saturday) could move straight into a museum afterward.

It could serve to anchor a fuller, larger look at the noble project this veteran Cincinnati photojournalist (formerly with Cincinnati Enquirer) undertook to chronicle the final year in the life of an elderly neighbor, Clyde N. Day. Day, of Lakeside Park, Ky., died in 2011 at age 104. It deserves the widest possible audience.

Keating had long known Day, and the project was both a way to honor Day’s life and also show just how difficult life can be for the elderly. After Day’s first wife died, he remarried. His second wife preceded him in death by several months. 

In the installation, which is in the former sunroom of the building at 6546 Montgomery Road that houses the arts center, Keating has placed Day’s dresser with memorabilia from his long life. And on the walls are photographs from the project.

Two black-and-white images really capture Day’s final months, in their quiet way. One, reproduced as a wall-sized, mural-like adhesive print (in two sections), shows Day painstakingly making his bed. Light seeps through the windows’ curtains, spotlighting the stand-up crutch he has left in the room to have hands free for this task.

It’s a mundane task, but the photograph conveys the sense of heroism, a sense of determination, with which he does it. And our perspective — we seem to be in the distance, looking slightly downward — makes us feel we’re watching something profound.

Other, smaller photographs are on another wall, ink-jet prints mounted on thick gator board. In one, a companion to the mural, we see Day in this same bedroom, sleeping on a small hospital bed with railings. The headboard of his other bed is propped against a wall — the mattress gone.

It’s a melancholy image when compared with the other, since you can see how one’s choices shrink as old age moves to its inevitable conclusion. Still, the room itself is comforting with its floral-print wallpaper. It’s a touch of the familiar and the secure.

Since Day’s death, Keating has helped start the Clyde N. Day Foundation to contribute to causes related to child safety, education and the arts. You can learn more about it, and also find more of his photos, at clydendayfoundation.org. This work is important.

 

 
 
by Samantha Gellin 11.07.2014 18 days ago
Posted In: Theater at 09:35 AM | Permalink | Comments (0)
 
 
driving miss daisy_ the carnegie_photo matt steffen

Stage Door: What You Can Learn at the Theater

Most of us go to the theater to be entertained. But we are often subtly educated and sometimes changed by the stories we witness. Take Driving Miss Daisy, for instance, Alfred Uhry's Pulitzer Prize-winning play from 1987, currently onstage at the Carnegie in Covington. It has just three characters, all from different points on the personality compass. There's the feisty Daisy Werthan, an elderly, wealthy Jewish woman in Atlanta, fiercely independent but actually in need of assistance for daily life; her rather patronizing son, Boolie, a businessman trying to ensure her safety; and Hoke Coburn, the African-American chauffeur who Boolie hires to keep his mother from risking life and limb by driving herself. Things don't go well initially, but over the course of a quarter-century Miss Daisy and Hoke become best friends, and we learn how people can connect across vast divides. Featuring three very capable local stage veterans — the brilliant Dale Hodges as Daisy, Reggie Willis as Hoke and Randy Lee Baily as Boolie — this swift play (about 90 minutes) is a story about understanding and caring for someone whose life experience is vastly different. It's done with a lot of gentle humor and insightful moments. Staged by Mark Lutwak, whose day job is at the Cincinnati Playhouse, this very satisfying production is a great choice for theater this weekend. Through Nov. 16. Tickets ($18-$25): 859-957-1940

At the Cincinnati Playhouse, the world premiere of Safe House (CityBeat review here) connects because it's a story about family dynamics that aren't all that unusual — a pair of brothers with opposing perspectives who are on a collision course — but it's made interesting because it's set in Northern Kentucky in 1843, and the characters are "free people of color" — not slaves but not exactly free. Addison is a hardworking, itinerant cobbler, dreaming of opening his own shop, while his younger brother Frank is impetuous and chafing at restrictions imposed on them despite their freedom. They're caught up in the chaos of helping others escape bondage via the Underground Railroad. Playwright Keith Josef Adkins based his new play on his own family's history, and this meticulously crafted production will keep you guessing about the outcome and leave you with a sense of how some things evolve and some never change. Through Nov. 15. Tickets ($30-$75): 513-421-3888.

Musicals are often at the far end of the lightweight entertainment spectrum, but if composer and lyricist Stephen Sondheim's name is attached, you can be sure there will be twists on stories and music that goes well beyond toe-tapping numbers. That's certainly the case with Into the Woods (CityBeat review here), currently onstage at the Covedale through Nov. 16. It's a mash-up of familiar fairy tales — Jack and the Beanstalk, Little Red Riding Hood, Cinderella, Rapunzel and more — that get entangled but seem to wrap up with happy endings by intermission. Then Act II comes along, and reality sets in. It's a show that's ultimately about understanding, caring and building community. Tickets ($21-$24): 513-241-6550.

Other productions worth checking out this weekend include Conor McPherson's adaptation of the psychological thriller The Birds (CityBeat review here) at Cincinnati Shakespeare (through Saturday; tickets, $22-$36: 513-381-2273); a creative stage adaptation of Herman Melville's Moby Dick (CityBeat review here) at Know Theatre (through Saturday; tickets: $20, 513-300-5669); Stephen Karam's comedy Speech and Debate about a trio of misfit teens (CCM Drama on the UC campus, through Saturday; free, but reservations required: 513-556-4183); and Zach Braff's All New People about a disrupted suicide (Untethered Theater at Clifton Performance Theatre through Nov. 30; $25: 513-939-0599). And Cincinnati Music Theatre, a community group that is both ambitioius and successful with musicals, takes on the silly but entertaining Young Frankenstein at the Aronoff Center's Jarson-Kaplan Theatre (through Nov. 15; tickets, $20-$24; 513-621-2787).

Rick Pender's STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
 
 
by Anne Arenstein 11.06.2014 19 days ago
Posted In: Opera at 02:07 PM | Permalink | Comments (0)
 
 
corbetts

Corbett Foundation's Final Gift Goes to CCM's Opera Department

In August, the Corbett Foundation announced it was closing shop, ending one of the city's most generous streams of philanthropy. It turns out that there was still one more gift in the hopper.

On Tuesday, The University of Cincinnati's College-Conservatory of Music's J. Ralph Corbett Distinguished Chair of Opera received the final award of $1 million, a gift that will provide additional support for scholarships, touring productions, an archive and partial support of the named professorship currently held by Robin Guarino.

CCM's Opera Department is one of the nation's finest. Two of its recent graduates were winners in the Metropolitan Opera's national auditions, and its alumni perform in theaters all over the world.

Robin Guarino is one of the most sought-after directors and has staged productions at the Metropolitan Opera, Indiana University, Opera Theatre of St. Louis, San Francisco Opera and Brooklyn Academy of Music. 

 
 
by Steven Rosen 11.05.2014 20 days ago
Posted In: Visual Art at 03:07 PM | Permalink | Comments (0)
 
 
houng standard double feet

Manifest Gallery's FotoFocus Shows Were Powerful

So many FotoFocus-related shows overlap and then close in October that it’s hard to get to them all or even write about in a timely fashion those that I do get to see. But I didn’t want to let Manifest Gallery’s Neither Here Nor There juried group show of photography and video work and its separate but related Leigh Merrill video installation, both of which closed Oct. 24, to go unrecognized. For Neither Here Nor There, the quality was overall quite high and some of the work has stayed with me now for several weeks long after I’ve forgotten other shows.

New York-based artist Gloria Houng won the $1,000 Best of Show prize for her “Standard Double (Feet),” one of a series of eerie shots made in a bedroom that in some way incorporate images of an apparently absent person’s presence into the scene. The results cause a double-take among viewers, but the work is too elegant to be jokey or gimmicky. She infuses the commonplace with mystery.

The London-based Emma Charles, whose short films explore “the dialogue between time and the city,” contributed the mesmerizing, 17-minute Fragments on Machines. Short sequences, some with poetic narration, take us out on the streets and sidewalks of the city and up close to the exteriors and (most ominously) interior infrastructure of buildings. There is beauty and alienation, especially as we look closely at the rows of servers that power modern office buildings. You can watch it here.

And Leigh Merrill’s video installation Drive Thru is a deadpan looping look at the flat barren architecture of suburban sprawl, except the places were created by her digitally assembly of parts from individual photographs and images. The result highlights the strangeness — and questions what draws us as people to seek or support such development in the first place.

 
 
by Maria Seda-Reeder 11.03.2014 22 days ago
Posted In: Visual Art, Street Art at 11:26 AM | Permalink | Comments (0)
 
 
faile mural in progress

BLDG Adds to Covington's Murals with Art Collective FAILE

Adding to the ever-growing number of public art murals in Covington, Ky., BLDG welcomed the Brooklyn-based street art collective, FAILE in October to complete a massive painted Pop art installation in their torn collage style that spans three walls and either side of Sixth Street.

BLDG, the locally grown art gallery/branding firm, is responsible for numerous murals around Covington including (but not limited to) 10 recognizable black and white characters done by The London Police on notable Covington landmarks and businesses, as well as the current COV200 mural project for the city’s bicentennial celebration, which will involve more than 20 murals by the time it’s completed. 

FAILE artists Patrick McNeil and Patrick Miller sent a crew of two studio assistants to begin the initial layout for the piece, which involved pouncing an outline of the design onto walls with cheesecloth bags filled with powdered pigment. Unfortunately for their studio assistants who had come to do the initial legwork, whenever it would rain (and before they could trace a more permanent outline with Sharpie), a storm shower would come and wash it all away. 

Despite some less than ideal weather conditions during the two-week installation process, the artists themselves came into town the final two days of painting and were able to finish the grand installation by Oct. 23, when I met up with them at Arnold’s amidst a full table of BLDG employees, headed by Lesley Amann. 

Amann recently stepped in as partner at BLDG after the founder — her husband, and the driving force behind BLDG’s commitment to public art — passed away a year ago this month. Lesley said that the FAILE mural was one of the last projects Mike began before he got sick and when I asked Miller and McNeil, “Why Covington?” McNeil echoed that sentiment. 

According to the artist, a large factor in FAILE’s involvement was due to, “getting to know these guys and wanting to pull through for them and represent.”

Project leaders unveiled the new three-wall piece to the public on Oct. 23 and the mural included such iconography as the FAILE dog and a cat burglar on the opposing wall, as well as a visual reference to some of the collaborative’s newer works, which depict classic American muscle cars.

Patrick Miller puts their artistic approach in simple terms.

“Our work has always been about making images that people can find their own narrative in and relate to in their own way. It’s always more fun for us to see the way people react to the work — the kind of stories they make up about it. Whenever you’re doing public work, that’s the beauty of it: It’s meant for anyone to come see.”

 
 
by Steven Rosen 10.31.2014 25 days ago
Posted In: Visual Art at 02:29 PM | Permalink | Comments (0)
 
 
photo courtesy of aaron conway photography

Claire Wesselmann Discusses Husband Tom's Art

Beyond Pop: A Tom Wesselmann Retrospective opens to the general public today at Cincinnati Art Museum, with an Art After Dark Halloween costume party from 5-9 p.m. part of the celebrations for the late native-Cincinnatian, New York-based Pop artist.

But last night, members of the museum’s Founders Society level ($1,500-$50,000) got a special opening that included Wesselmann’s widow (and frequent model) Claire discussing her husband’s work with Jeffrey Sturges, studio manager for the Tom Wesselmann Estate.

The presentation started with Matt Distel, the museum’s adjunct curator for Contemporary art, praising the exhibit’s installation — especially the work of chief perparator Kim Flora. “You would hardly know how difficult and heavy those pieces are — they look like they float off the wall,” he said.

I would agree — some of Wesselmann’s complex pieces as gigantic canvases, some are shaped canvases with three-dimensional elements, some are assemblages with sculptural elements, and he did a series of “metal paintings” (oil or enamel on cut-out aluminum) that had to be difficult to handle and mount. None looks graceless or awkward in the gallery spaces.

Next, Claire presented the museum with a gift — one of Wesselmann’s metal paintings, “Barn Near Hilltop Airport.” And she explained how much her husband wanted a U.S. museum retrospective while he was alive, revealing that he saved important works for such an occasion and even prepared a speech in his diary.

She read an excerpt: “I loved being alive even though I buried myself alive in my work.”

(He died in 2004 at age 73. While he had European retrospectives, this is the first in the U.S./Canada. It has already been in Montreal, Richmond, Va., and Denver — this is the last stop. Montreal’s Museum of Fine Arts with the Estate’s assistance organized the first two stops; Cincinnati the last two.)

During her conversation with Sturges, Claire offered some insights into her husband’s work. One of his great early Pop innovations, the use of cutout images from billboard advertising posters as collage elements in his paintings, came about for practical reasons.

As a poor artist, he could get those for the asking — he wrote to companies to send them. And he knew how to get them free, too. “At that time, they took down subway posters and threw them in the can,” she said. “So then Tom came along and took them.”

She also revealed that Tom loved the Abstract Expressionist art in vogue in the mid- to-late 1950s, when they were attending New York’s Cooper Union college together. But he knew he needed to do something new. “Abstraction was the thing he really wanted to do, but he took another path,” she said. “But he came back to it.”

As Tom moved through different themes in his work, in the 1990s he started turning to abstraction in his metal paintings. A picture of one, 1993’s “Claire’s Thigh,” was shown at the presentation. “I like this very much, minus the title,” Claire said.

During the question-and-answer period, there was also discussion of Tom’s infatuation with Country and Western music. He wrote more than 400 songs and some were recorded. One, “I Love Doing Texas With You,” was played softly in the film Brokeback Mountain. The retrospective has a small display devoted to his music, although no way to hear any of it.

Claire said when she and Tom would visit his parents in Cincinnati from New York he’d listen to country music on the radio. “He’d take the car and we’d go driving and he’d flip on the country stations,” she said. He’d say, ‘I like the stories.’”

Visit www.cincinnatiartmuseum.org for exhibit details.
 
 
by Charlie Harmon 10.31.2014 25 days ago
Posted In: Dance at 10:35 AM | Permalink | Comments (0)
 
 
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Cincinnati Ballet to Bring 'Peter Pan' to Children's Hospital

Ballet continues partnership with The Cure Starts Now

Cincinnati Ballet will be spreading their wish to inspire hope and enchantment in the community by broadcasting the 2 p.m. performance of Peter Pan on Nov. 8 to Cincinnati Children’s Hospital live from the Aronoff Center. Patients and their families who might otherwise miss the magic will now be able to experience the spectacular tale of the flying boy who never grows up — straight from their hospital room.

The Ballet recently came together again with The Cure Starts Now, a cancer research and awareness foundation they’ve been working with since 2009, to bring oncology patients at Children’s the third year of “Ballerina for a Day.” In this behind-the-scenes event, children and their families were offered a chance to see the background of the ballet world with makeovers, crafts, dancing and costumes. With the show streaming right to the comfort and safety of their rooms, they can now complete the full circle of the ballet experience by enjoying a live show.

Cincinnati Ballet has also invited Leah Still — the dance-loving daughter of Devon Still battling stage 4 neuroblastoma and who has brought a plethora of attention to organizations like The Cure Starts Now — to perform in the show with a walk-on role. If her parents and doctor give the go ahead, this would mark 4-year-old Leah’s debut in a professional stage performance.

This wondrous benefit for dozens of children marks an incredible collaboration by various members of the regional community. Unions have waived fees, Children’s has cooperated in arranging the broadcast and camera operators have donated the use of their time, talent and gear in order for this to be possible, according to Victoria Morgan, artistic director and CEO of Cincinnati Ballet.

Peter Pan hits the stage Nov. 7-9, with performances 8 p.m. Friday, 2 and 8 p.m. Saturday and 2 p.m. Sunday. Look out for an interview with composer and music director Carmon DeLeone in next week’s issue.

 
 

 

 

by Rick Pender 11.21.2014 4 days ago
Posted In: Theater at 09:30 AM | Permalink | Comments (0)
 
 
susan haefner as rosemary clooney at cincinnati playhouse - photo sandy underwood

Stage Door: A Girl Singer and Two Pairs of Twins

Many Cincinnati stages are momentarily paused, readying shows for the holidays. Last night the Cincinnati Playhouse in the Park opened its production of Tenderly: The Rosemary Clooney Musical. Susan Haefner does a remarkable job of channeling the "girl singer" from Maysville, Ky., who grew up in Greater Cincinnati. We learn how she became a star, rose to fame, almost lost it to pills and dissolute behavior, then battled back for a "flip side" to her singing career. All the other characters in her story — male and female, young and old, famous and unknown — are performed by Michael Marotta, who principally plays her counselor but is amusingly convincing as Bing Crosby, Frank Sinatra, Merv Griffin and many more. It's a thoroughly entertaining two hours on the Playhouse's Shelterhouse stage, and it's already appealing to audiences apparently, since the show's run has been extended from Dec. 28 to Jan. 4. Tickets ($30-$85): 513-421-3888

Cincinnati Shakespeare Company kicks off its next production of the 2014-2015 season tonight with The Comedy of Errors. The emphasis in this show, one of Shakespeare's earliest works, is definitely on the comedy, what with two pairs of twins whose adventures are hysterically compounded by mistaken identities when they end up in the same town on the same day. For this staging, it's set in a seaside resort in America of the 1930s in the midst of a classic carnival, adding to the story's hilarity. This one will only be onstage until Dec. 13, so this weekend is the perfect time to catch a performance, before holiday shows take center stage elsewhere. Tickets ($22-$36): 513-381-2273

One last treat I'll mention, which happens to be operatic rather than theatrical: It's Great Scott, a new work that Cincinnati Opera is nurturing in partnership with UC's College-Conservatory of Music. The production's creators have been in town all this week honing this brand new opera, the story of a struggling opera company and the hometown football team. They come into conflict when the team is to play in the Super Bowl on the same day the company has planned to premiere a long lost opera. To heighten the drama, the team's owner is married to the opera company's founder. The composer is Jake Heggie, who wrote the music for Dead Man Walking, a work produced by Cincinnati Opera at Music Hall in 2002, and Great Scott's script is by prize-winning playwright Terrence McNally. The week's work will culminate in a public reading on Tuesday evening. It's free, but you are asked to make a reservation by calling 513-241-2742 to see it at Memorial Hall (1225 Elm Street, next door to Music Hall; it's easy to park your car in the nearby Washington Park Garage).


Rick Pender's STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
 
 
by Maija Zummo 11.20.2014 5 days ago
 
 
lightgeist

Rhinegeist Lights Up Tonight with Projected Video

Lightgeist is a one-night exhibit of light and projected art at the brewery

Another historic Cincinnati building is being artfully illuminated. This year's past LumenoCity light mapping to a live orchestra on Music Hall was more popular than ever, and tonight the NEAR*BY Curatorial Collective is doing something similar at Rhinegeist.

Rhinegeist brewery is housed in the skeleton of an old Moerlein bottling plant. And starting at 7 p.m. Thursday (Nov. 20), 17 artists and collaboratives will be exhibiting projected video, sculptural and environmental installations in/on the structure's architecture. The interdisciplinary works will demonstrate how contemporary artists currently embrace the dematerialization of image and how that manifests in a non-traditional art space. The name Rhinegeist literally translates to "ghost of the Rhine," and according to the curatorial statement, "Though often intangible, light and art can likewise be said to haunt or inhabit space."

Participating artists include Brandon Abel, Jen Berter, Nicki Davis, DAAP Clay & Glazes, headed by Katie Parker and Guy Michael Davis (featuring the work of Olutoba Akomolede, Christine Barron, Amanda Bialk, Michael Broderick, Linnea Campbell, Catherine Gilliam, Theresa Krosse, Sarah Maxwell, Megan Stevens, Christine Uebel, Allison Ventura & Victoria Wykoff), Lizzy Duquette, Sam Ferris-Morris, Mark Governanti, John Hancock, Joe Ianopollo, Maidens of the Cosmic Body Running, Andy Marko, Alice Pixley Young, Play Cincy, Lindsey Sahlin, Caroline Turner, Justin West, C. Jacqueline Wood and Charlie Woodman.

The one-night only exhibit kicks off at 7 p.m. and will go until 10 p.m. It's free and open to the public. Rhinegeist is located at 1910 Elm St., Over-the-Rhine. Get more information about the event or NEAR*BY and their mission to create ephemeral and interdisciplinary exhibits that bypass the art institution here.

 
 
by Rick Pender 11.14.2014 11 days ago
Posted In: Theater at 09:51 AM | Permalink | Comments (0)
 
 
once_photo_joan_marcus

Stage Door: Broadway Here, Broadway There — It's Everywhere

If you're looking for good theater this weekend you have two great choices at downtown Cincinnati's Aronoff Center. It's your pick: Recent Broadway hit Once, in a touring production, or a past award-winner, Young Frankenstein, staged by one of Cincinnati's best community theaters.

The musical Once began life as an Academy Award-winning film in 2007; the song "Falling Slowly" won an Oscar. The film became an off-Broadway production as a musical in 2011 then a Broadway contender in 2012, where it won eight Tony Awards, including best musical. Since 2013 it's been a hit in London (the film is about musicians in Dublin, and the stage adaptation is set in an Irish pub) and on a national tour in the U.S. a year ago that's been much praised. It's that tour presently onstage at the Aronoff Center's big hall. It's a very contemporary love story that succeeds in part because it's unpredictable: Boy Meets Girl (yeah, that's a cliché) but despite their chemistry and potential for romance, it doesn't turn out as you might expect. Along the way, a great cast of actor/musicians play instruments onstage and sing their hearts out as the story unfolds. And it's fun: Arrive early enough and you can queue up to go onstage and order a pint from the bar there and mingle with some of the cast. If there's such a thing as a casual musical for contemporary music lovers, this is it. Through Nov. 23. Tickets ($33-$80): 513-621-2787.

Don't think that you'll see something less than professional if you choose to head to the Aronoff's Jarson-Kaplan Theater to see Young Frankenstein, presented by Cincinnati Music Theatre through Sunday. This company of local theater junkies knows how to make big musicals work, and this jokey show by Mel Brooks (based on his equally jokey classic comedy from 1974) is a great vehicle for a talented cast and crew. There are great sets (designed by Rick Kramer) and visual effects (by Jeff Surber), and the talented performers milk every laugh line to the nth degree. Charlie Harper is lots of fun as the latter-day scientist Frankenstein, Alison Evans is his fetching lab assistant Inga and Kate Mock Elliott has great moments as his twitchy fiancee Elizabeth. Chuck Ingram's portrait of the Monster is spot on, and his delivery of the show's big number, "Puttin' on the Ritz," will stick that tune in your head for days in ways that Irving Berlin never imagined. Tickets ($20-$24): 513-621-2787.

Broadway star Faith Prince is making a local appearance at Memorial Hall for an 8 p.m. concert tonight. It's part of a series of "Libations & Lite Bites," this one titled "Broadway & Bordeaux." The evening begins at 6:30 with hors d'oeuvres from local restaurants, wine and cocktails and concludes with dessert and more. Tickets ($47-$57): cincinnatimemorialhall.com.

If you've got Broadway on the brain and you're on Cincinnati's West Side, you should definitely check out the Covedale Center's production of Stephen Sondheim's fairytale musical Into the Woods, finishing up its run on Sunday. It's an entertaining classic (in December it will be on movie screens everywhere in a new film version featuring Meryl Streep and Johnny Depp), and the Covedale has a great cast to put it across. Tickets ($21-$24): 513-241-6550.

You still have a chance to catch one of our great local actresses, Dale Hodges, in Driving Miss Daisy at Covington's Carnegie through Sunday. She's playing haughty, elderly Daisy Wertham, unwillingly partnered with Hoke, an African-American chauffeur (Reggie Williams) hired by her solicitous son Boolie (Randy Lee Bailey). It's a solid ensemble and a very entertaining production. Tickets ($18-$25): 859-957-1940.

And if you're looking for something that's brand new and edgy, check out All New People by contemporary writer Zach Braff. It's onstage at Clifton Performance Theatre, staged by Untethered Theatre through Nov. 30. It starts with a suicide attempt on Charlie's birthday and spirals from there. I'm going to see it this weekend. Maybe I'll see you there. Tickets ($20): 513-939-0599.

Rick Pender's STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here
 
 
by Steven Rosen 11.12.2014 13 days ago
Posted In: Visual Art at 10:56 AM | Permalink | Comments (0)
 
 
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At FotoFocus Show, Michael Keating Remembers His Elderly Neighbor

I wish the “sunroom installation” that is part of Michael Keating’s current Shadow & Light exhibition at Kennedy Heights Arts Center (through Saturday) could move straight into a museum afterward.

It could serve to anchor a fuller, larger look at the noble project this veteran Cincinnati photojournalist (formerly with Cincinnati Enquirer) undertook to chronicle the final year in the life of an elderly neighbor, Clyde N. Day. Day, of Lakeside Park, Ky., died in 2011 at age 104. It deserves the widest possible audience.

Keating had long known Day, and the project was both a way to honor Day’s life and also show just how difficult life can be for the elderly. After Day’s first wife died, he remarried. His second wife preceded him in death by several months. 

In the installation, which is in the former sunroom of the building at 6546 Montgomery Road that houses the arts center, Keating has placed Day’s dresser with memorabilia from his long life. And on the walls are photographs from the project.

Two black-and-white images really capture Day’s final months, in their quiet way. One, reproduced as a wall-sized, mural-like adhesive print (in two sections), shows Day painstakingly making his bed. Light seeps through the windows’ curtains, spotlighting the stand-up crutch he has left in the room to have hands free for this task.

It’s a mundane task, but the photograph conveys the sense of heroism, a sense of determination, with which he does it. And our perspective — we seem to be in the distance, looking slightly downward — makes us feel we’re watching something profound.

Other, smaller photographs are on another wall, ink-jet prints mounted on thick gator board. In one, a companion to the mural, we see Day in this same bedroom, sleeping on a small hospital bed with railings. The headboard of his other bed is propped against a wall — the mattress gone.

It’s a melancholy image when compared with the other, since you can see how one’s choices shrink as old age moves to its inevitable conclusion. Still, the room itself is comforting with its floral-print wallpaper. It’s a touch of the familiar and the secure.

Since Day’s death, Keating has helped start the Clyde N. Day Foundation to contribute to causes related to child safety, education and the arts. You can learn more about it, and also find more of his photos, at clydendayfoundation.org. This work is important.

 

 
 
by Samantha Gellin 11.07.2014 18 days ago
Posted In: Theater at 09:35 AM | Permalink | Comments (0)
 
 
driving miss daisy_ the carnegie_photo matt steffen

Stage Door: What You Can Learn at the Theater

Most of us go to the theater to be entertained. But we are often subtly educated and sometimes changed by the stories we witness. Take Driving Miss Daisy, for instance, Alfred Uhry's Pulitzer Prize-winning play from 1987, currently onstage at the Carnegie in Covington. It has just three characters, all from different points on the personality compass. There's the feisty Daisy Werthan, an elderly, wealthy Jewish woman in Atlanta, fiercely independent but actually in need of assistance for daily life; her rather patronizing son, Boolie, a businessman trying to ensure her safety; and Hoke Coburn, the African-American chauffeur who Boolie hires to keep his mother from risking life and limb by driving herself. Things don't go well initially, but over the course of a quarter-century Miss Daisy and Hoke become best friends, and we learn how people can connect across vast divides. Featuring three very capable local stage veterans — the brilliant Dale Hodges as Daisy, Reggie Willis as Hoke and Randy Lee Baily as Boolie — this swift play (about 90 minutes) is a story about understanding and caring for someone whose life experience is vastly different. It's done with a lot of gentle humor and insightful moments. Staged by Mark Lutwak, whose day job is at the Cincinnati Playhouse, this very satisfying production is a great choice for theater this weekend. Through Nov. 16. Tickets ($18-$25): 859-957-1940

At the Cincinnati Playhouse, the world premiere of Safe House (CityBeat review here) connects because it's a story about family dynamics that aren't all that unusual — a pair of brothers with opposing perspectives who are on a collision course — but it's made interesting because it's set in Northern Kentucky in 1843, and the characters are "free people of color" — not slaves but not exactly free. Addison is a hardworking, itinerant cobbler, dreaming of opening his own shop, while his younger brother Frank is impetuous and chafing at restrictions imposed on them despite their freedom. They're caught up in the chaos of helping others escape bondage via the Underground Railroad. Playwright Keith Josef Adkins based his new play on his own family's history, and this meticulously crafted production will keep you guessing about the outcome and leave you with a sense of how some things evolve and some never change. Through Nov. 15. Tickets ($30-$75): 513-421-3888.

Musicals are often at the far end of the lightweight entertainment spectrum, but if composer and lyricist Stephen Sondheim's name is attached, you can be sure there will be twists on stories and music that goes well beyond toe-tapping numbers. That's certainly the case with Into the Woods (CityBeat review here), currently onstage at the Covedale through Nov. 16. It's a mash-up of familiar fairy tales — Jack and the Beanstalk, Little Red Riding Hood, Cinderella, Rapunzel and more — that get entangled but seem to wrap up with happy endings by intermission. Then Act II comes along, and reality sets in. It's a show that's ultimately about understanding, caring and building community. Tickets ($21-$24): 513-241-6550.

Other productions worth checking out this weekend include Conor McPherson's adaptation of the psychological thriller The Birds (CityBeat review here) at Cincinnati Shakespeare (through Saturday; tickets, $22-$36: 513-381-2273); a creative stage adaptation of Herman Melville's Moby Dick (CityBeat review here) at Know Theatre (through Saturday; tickets: $20, 513-300-5669); Stephen Karam's comedy Speech and Debate about a trio of misfit teens (CCM Drama on the UC campus, through Saturday; free, but reservations required: 513-556-4183); and Zach Braff's All New People about a disrupted suicide (Untethered Theater at Clifton Performance Theatre through Nov. 30; $25: 513-939-0599). And Cincinnati Music Theatre, a community group that is both ambitioius and successful with musicals, takes on the silly but entertaining Young Frankenstein at the Aronoff Center's Jarson-Kaplan Theatre (through Nov. 15; tickets, $20-$24; 513-621-2787).

Rick Pender's STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
 
 
by Anne Arenstein 11.06.2014 19 days ago
Posted In: Opera at 02:07 PM | Permalink | Comments (0)
 
 
corbetts

Corbett Foundation's Final Gift Goes to CCM's Opera Department

In August, the Corbett Foundation announced it was closing shop, ending one of the city's most generous streams of philanthropy. It turns out that there was still one more gift in the hopper.

On Tuesday, The University of Cincinnati's College-Conservatory of Music's J. Ralph Corbett Distinguished Chair of Opera received the final award of $1 million, a gift that will provide additional support for scholarships, touring productions, an archive and partial support of the named professorship currently held by Robin Guarino.

CCM's Opera Department is one of the nation's finest. Two of its recent graduates were winners in the Metropolitan Opera's national auditions, and its alumni perform in theaters all over the world.

Robin Guarino is one of the most sought-after directors and has staged productions at the Metropolitan Opera, Indiana University, Opera Theatre of St. Louis, San Francisco Opera and Brooklyn Academy of Music. 

 
 
by Steven Rosen 11.05.2014 20 days ago
Posted In: Visual Art at 03:07 PM | Permalink | Comments (0)
 
 
houng standard double feet

Manifest Gallery's FotoFocus Shows Were Powerful

So many FotoFocus-related shows overlap and then close in October that it’s hard to get to them all or even write about in a timely fashion those that I do get to see. But I didn’t want to let Manifest Gallery’s Neither Here Nor There juried group show of photography and video work and its separate but related Leigh Merrill video installation, both of which closed Oct. 24, to go unrecognized. For Neither Here Nor There, the quality was overall quite high and some of the work has stayed with me now for several weeks long after I’ve forgotten other shows.

New York-based artist Gloria Houng won the $1,000 Best of Show prize for her “Standard Double (Feet),” one of a series of eerie shots made in a bedroom that in some way incorporate images of an apparently absent person’s presence into the scene. The results cause a double-take among viewers, but the work is too elegant to be jokey or gimmicky. She infuses the commonplace with mystery.

The London-based Emma Charles, whose short films explore “the dialogue between time and the city,” contributed the mesmerizing, 17-minute Fragments on Machines. Short sequences, some with poetic narration, take us out on the streets and sidewalks of the city and up close to the exteriors and (most ominously) interior infrastructure of buildings. There is beauty and alienation, especially as we look closely at the rows of servers that power modern office buildings. You can watch it here.

And Leigh Merrill’s video installation Drive Thru is a deadpan looping look at the flat barren architecture of suburban sprawl, except the places were created by her digitally assembly of parts from individual photographs and images. The result highlights the strangeness — and questions what draws us as people to seek or support such development in the first place.

 
 
by Maria Seda-Reeder 11.03.2014 22 days ago
Posted In: Visual Art, Street Art at 11:26 AM | Permalink | Comments (0)
 
 
faile mural in progress

BLDG Adds to Covington's Murals with Art Collective FAILE

Adding to the ever-growing number of public art murals in Covington, Ky., BLDG welcomed the Brooklyn-based street art collective, FAILE in October to complete a massive painted Pop art installation in their torn collage style that spans three walls and either side of Sixth Street.

BLDG, the locally grown art gallery/branding firm, is responsible for numerous murals around Covington including (but not limited to) 10 recognizable black and white characters done by The London Police on notable Covington landmarks and businesses, as well as the current COV200 mural project for the city’s bicentennial celebration, which will involve more than 20 murals by the time it’s completed. 

FAILE artists Patrick McNeil and Patrick Miller sent a crew of two studio assistants to begin the initial layout for the piece, which involved pouncing an outline of the design onto walls with cheesecloth bags filled with powdered pigment. Unfortunately for their studio assistants who had come to do the initial legwork, whenever it would rain (and before they could trace a more permanent outline with Sharpie), a storm shower would come and wash it all away. 

Despite some less than ideal weather conditions during the two-week installation process, the artists themselves came into town the final two days of painting and were able to finish the grand installation by Oct. 23, when I met up with them at Arnold’s amidst a full table of BLDG employees, headed by Lesley Amann. 

Amann recently stepped in as partner at BLDG after the founder — her husband, and the driving force behind BLDG’s commitment to public art — passed away a year ago this month. Lesley said that the FAILE mural was one of the last projects Mike began before he got sick and when I asked Miller and McNeil, “Why Covington?” McNeil echoed that sentiment. 

According to the artist, a large factor in FAILE’s involvement was due to, “getting to know these guys and wanting to pull through for them and represent.”

Project leaders unveiled the new three-wall piece to the public on Oct. 23 and the mural included such iconography as the FAILE dog and a cat burglar on the opposing wall, as well as a visual reference to some of the collaborative’s newer works, which depict classic American muscle cars.

Patrick Miller puts their artistic approach in simple terms.

“Our work has always been about making images that people can find their own narrative in and relate to in their own way. It’s always more fun for us to see the way people react to the work — the kind of stories they make up about it. Whenever you’re doing public work, that’s the beauty of it: It’s meant for anyone to come see.”

 
 
by Steven Rosen 10.31.2014 25 days ago
Posted In: Visual Art at 02:29 PM | Permalink | Comments (0)
 
 
photo courtesy of aaron conway photography

Claire Wesselmann Discusses Husband Tom's Art

Beyond Pop: A Tom Wesselmann Retrospective opens to the general public today at Cincinnati Art Museum, with an Art After Dark Halloween costume party from 5-9 p.m. part of the celebrations for the late native-Cincinnatian, New York-based Pop artist.

But last night, members of the museum’s Founders Society level ($1,500-$50,000) got a special opening that included Wesselmann’s widow (and frequent model) Claire discussing her husband’s work with Jeffrey Sturges, studio manager for the Tom Wesselmann Estate.

The presentation started with Matt Distel, the museum’s adjunct curator for Contemporary art, praising the exhibit’s installation — especially the work of chief perparator Kim Flora. “You would hardly know how difficult and heavy those pieces are — they look like they float off the wall,” he said.

I would agree — some of Wesselmann’s complex pieces as gigantic canvases, some are shaped canvases with three-dimensional elements, some are assemblages with sculptural elements, and he did a series of “metal paintings” (oil or enamel on cut-out aluminum) that had to be difficult to handle and mount. None looks graceless or awkward in the gallery spaces.

Next, Claire presented the museum with a gift — one of Wesselmann’s metal paintings, “Barn Near Hilltop Airport.” And she explained how much her husband wanted a U.S. museum retrospective while he was alive, revealing that he saved important works for such an occasion and even prepared a speech in his diary.

She read an excerpt: “I loved being alive even though I buried myself alive in my work.”

(He died in 2004 at age 73. While he had European retrospectives, this is the first in the U.S./Canada. It has already been in Montreal, Richmond, Va., and Denver — this is the last stop. Montreal’s Museum of Fine Arts with the Estate’s assistance organized the first two stops; Cincinnati the last two.)

During her conversation with Sturges, Claire offered some insights into her husband’s work. One of his great early Pop innovations, the use of cutout images from billboard advertising posters as collage elements in his paintings, came about for practical reasons.

As a poor artist, he could get those for the asking — he wrote to companies to send them. And he knew how to get them free, too. “At that time, they took down subway posters and threw them in the can,” she said. “So then Tom came along and took them.”

She also revealed that Tom loved the Abstract Expressionist art in vogue in the mid- to-late 1950s, when they were attending New York’s Cooper Union college together. But he knew he needed to do something new. “Abstraction was the thing he really wanted to do, but he took another path,” she said. “But he came back to it.”

As Tom moved through different themes in his work, in the 1990s he started turning to abstraction in his metal paintings. A picture of one, 1993’s “Claire’s Thigh,” was shown at the presentation. “I like this very much, minus the title,” Claire said.

During the question-and-answer period, there was also discussion of Tom’s infatuation with Country and Western music. He wrote more than 400 songs and some were recorded. One, “I Love Doing Texas With You,” was played softly in the film Brokeback Mountain. The retrospective has a small display devoted to his music, although no way to hear any of it.

Claire said when she and Tom would visit his parents in Cincinnati from New York he’d listen to country music on the radio. “He’d take the car and we’d go driving and he’d flip on the country stations,” she said. He’d say, ‘I like the stories.’”

Visit www.cincinnatiartmuseum.org for exhibit details.
 
 
by Charlie Harmon 10.31.2014 25 days ago
Posted In: Dance at 10:35 AM | Permalink | Comments (0)
 
 
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Cincinnati Ballet to Bring 'Peter Pan' to Children's Hospital

Ballet continues partnership with The Cure Starts Now

Cincinnati Ballet will be spreading their wish to inspire hope and enchantment in the community by broadcasting the 2 p.m. performance of Peter Pan on Nov. 8 to Cincinnati Children’s Hospital live from the Aronoff Center. Patients and their families who might otherwise miss the magic will now be able to experience the spectacular tale of the flying boy who never grows up — straight from their hospital room.

The Ballet recently came together again with The Cure Starts Now, a cancer research and awareness foundation they’ve been working with since 2009, to bring oncology patients at Children’s the third year of “Ballerina for a Day.” In this behind-the-scenes event, children and their families were offered a chance to see the background of the ballet world with makeovers, crafts, dancing and costumes. With the show streaming right to the comfort and safety of their rooms, they can now complete the full circle of the ballet experience by enjoying a live show.

Cincinnati Ballet has also invited Leah Still — the dance-loving daughter of Devon Still battling stage 4 neuroblastoma and who has brought a plethora of attention to organizations like The Cure Starts Now — to perform in the show with a walk-on role. If her parents and doctor give the go ahead, this would mark 4-year-old Leah’s debut in a professional stage performance.

This wondrous benefit for dozens of children marks an incredible collaboration by various members of the regional community. Unions have waived fees, Children’s has cooperated in arranging the broadcast and camera operators have donated the use of their time, talent and gear in order for this to be possible, according to Victoria Morgan, artistic director and CEO of Cincinnati Ballet.

Peter Pan hits the stage Nov. 7-9, with performances 8 p.m. Friday, 2 and 8 p.m. Saturday and 2 p.m. Sunday. Look out for an interview with composer and music director Carmon DeLeone in next week’s issue.

 
 
 
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