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by Rick Pender 09.20.2013
Posted In: Theater at 08:54 AM | Permalink | Comments (0)
 
 
todo_onstage_etc_otherdesertcities_ryankurtz

Stage Door: Choices, Choices

Lots of choices to fulfill your appetite for good theater this weekend. Best bet is to catch one of the final performances of Other Desert Cities at Ensemble Theatre (Sunday at 2 p.m. is your last chance), the story of parents and children who just can't get along. (CityBeat review here.) Heavy doses of guilt, sarcasm and politics fuel a lot of family angst, and some unexpected twists and turns keep things interesting as a daughter who's a writer blames her parents for her activist brother's suicide — in a very public way. The show features a solid cast of local favorites. It's definitely worth seeing if you can get a ticket. 513-421-3555.

A wholly different kind of show is Fly at the Cincinnati Playhouse, an imaginative recreation of the lives of four men recruited among hundreds of African Americans during World War II to fulfill piloting roles in bombing missions over Europe. (CityBeat review here.) The Tuskegee Airmen were the leading edge of the Civil Rights movement, men who had to overcome prejudice to prove their worth. The production is made visually and sonically engaging with videos that recreate flight and a soulful tap dancer who brings emotion — joy, sorrow, grief and anger — to various scenes. It's a very imaginative show. Through Oct. 5. Tickets: 513-421-3888.

On Wednesday evening, I caught the opening night of New Edgecliff Theatre's staging of William Inge's 1955 comedy-drama, Bus Stop. It's about a collection of lost souls who end up trapped in a Kansas diner during an overnight snowstorm. They're largely caricatures, but Inge was a master of naturalistic dialogue, and in the hands of some fine local performers directed by Jared Doren the show takes on a pleasant, believable life. Some good things happen, some sad stories are told, and some lessons learned. At the Aronoff Center's Fifth Third Bank Theater, through Sept. 28. Tickets: 513-621-2787.

And for something completely different, you might want to check out a production by community theater group Showbiz Players of Carrie: The Musical, Stephen King’s creepy novel about a bullied adolescent girl who unleashes telekinetic vengeance on her persecutors. The show originated on Broadway in 1988 and was long considered one of the worst ever, but it was reborn in 2012, and became a hit. Decide for yourself by seeing it at the Carnegie in Covington. Through Sept. 29. Tickets: 859-957-1940.
 
 
by Rick Pender 09.13.2013
Posted In: Theater at 09:19 AM | Permalink | Comments (0)
 
 
stage door 9-13 - fly @ playhouse - photo sandy underwood

Stage Door: Back in Business

Ensemble Theatre Cincinnati is typically the first professional theater in town to start the season, and that's the case for 2013 with Other Desert Cities that opened a week ago. You can read my review; I really appreciated the powerhouse cast performing the show. That led me to give Jon Robin Baitz's provocative family drama about strife between generations a "Critic's Pick." (It's onstage through Sept. 22.) A tip option for seats is an added 7 p.m. performance on that final SundayIf you enjoy ETC's productions of fresh new plays, you owe a debt of gratitude to its founding supporters. Longtime friends Ruth Sawyer and Murph Mahler got the ball rolling back in 1987 and faithfully guided the company for two decades, sustaining the company financially, artistically and spiritually. Mahler passed away in 2009 and Sawyer earlier this year, so ETC is commemorating their dedication with a special free event this Sunday evening at 7 p.m. The program will offer songs and stories performed by some of ETC's best artists. Seating is limited, so you need to RSVP: 513-421-3555.

I attended the opening of the Cincinnati Playhouse's 2013-2014 season last evening. Fly is a heart-grabbing piece of history, the story of four Tuskegee Airmen, some of those bold African Americans who overcame prejudice in the 1940s by joining the Army Air Corps and serving America valiantly during World War II. The show is imaginatively presented, using a modern tap dancer to punctuate the storytelling. There's plenty of excitement, conveyed with video and sound — but mostly with some excellent acting. The full-house audience, which included four veterans of the training program, responded warmly. Through Oct. 5. Tickets: 513-421-3888.

Cincinnati Shakespeare's Oliver Twist is a stage adaptation of Charles Dickens' dark 1838 novel about crime and child abuse in Victorian London (CityBeat review here). It's a grim drama, definitely not the chipper rendition you might recall if you've seen the musical Oliver! Cincy Shakes' acting company rises to the task, but I suspect you'll leave the theater glad you weren't a child — or an adult — in that era.  Through Sept. 29. 513-381-2273.

A few years back a play was commissioned about Cincinnati as A City of Immigrants. It's a fine piece of theater about the place we call home and how it's rooted in people who came here from elsewhere. It gets presented periodically, including tonight (Friday) at 6 p.m. at the Freedom Center, 30 East Freedom Way on the Banks. (Doors open at 5:30.) There's no charge for admission; it's definitely worth seeing. The event is to mark the kickoff of the local celebration of Hispanic Heritage Month.
 
 
by Rick Pender 09.10.2013
Posted In: Theater at 07:31 AM | Permalink | Comments (0)
 
 
showboat majestic 1

Landmark Productions Won't Return to Showboat Next Year

Theatre company to focus on Covedale Center after 23 years on the river

Abandon ship! Well, that's not exactly true. In fact, Cincinnati Landmark Productions has done a remarkable and loving job of sustaining the ship — in the form of the Showboat Majestic, which it has operated for 23 years in the face of at least 10 floods and countless repairs (including a leaky hull). But with its lease running out later this month, the company has decided not to return for the 2014 season. 

Cincinnati Landmark will focus its endeavors on the Covedale Center for the Performing Arts, the converted West Side movie theater where it will offer a "Summer Classics Season" in a vein similar to mainstream fare of classic comedies and musicals that has long drawn audiences to the Majestic. There have been 170 productions on board since 1991, attracting more than 350,000 patrons to the last floating theater in the United States. Cincinnati Landmark is also embarking on a new voyage with a performing arts center to be built in the Incline District in East Price Hill, a venue anticipated to be up and running as early as 2015.

Tim Perrino, executive artistic director at Cincinnati Landmark, says, "It's time to say goodbye. Our organization enjoyed a prolific chapter in the Majestic's grand history, painstakingly caring for the old boat" — launched in 1923 — "and producing seasons that paid tribute to her heritage." 

Opening this week on Wednesday, Showboat Follies will be Cincinnati Landmark's final production on the Majestic. An annual tradition, it's a compilation of musical showstoppers, comic sketches, audience interaction and a return of the "Queen City Toast," a longtime staple of season-closing shows. "This show has become our love letter to the Majestic," Perrino says, adding that it's "a thank-you to our subscribers, longtime supporters and the many artists who helped make our time on the Showboat so special." Showboat Follies runs through Sept. 29.

During the summer of 2014, Cincinnati Landmark will present four productions at the Covedale: Jerry Herman's Hello, Dolly! (May 22-June 1); Neil Simon's comedy, The Sunshine Boys (June 19-29); Footloose (July 24-Aug. 3), the 2014 Cincinnati Young People's Theater production, a summer favorite using local high school talent; and a spectacular song-and-dance show, The Will Rogers Follies (Aug. 21-31). 

In 1989, the Showboat Majestic was named a National Historic Landmark. No word from the City of Cincinnati, which has owned the Majestic since 1967, as to what might be next. The Majestic was operated with summertime shows by the University of Cincinnati for many years, and it served as a popular venue during several of the Tall Stacks festivals over the years.

 
 
by Rick Pender 09.06.2013
Posted In: Theater at 09:33 AM | Permalink | Comments (0)
 
 
todo_onstage_etc_otherdesertcities_ryankurtz

Stage Door: A Substantial Start to September

The first week of September always brings an avalanche of theater productions, and that's exactly what's available to you this weekend.

I'll start with Ensemble Theatre of Cincinnati's Other Desert Cities, which opened on Wednesday. You can read my review, which gives this excellent production a Critic's Pick. It's a drama about generational family strife coming to a boil on Christmas Eve in 2004 when conservative, politically prominent parents learn that their liberal daughter has written a supposedly tell-all memoir about the suicide of her older brother, an antiwar activist. It's a great vehicle for actors, and ETC has assembled an excellent cast of local and New York professionals, including Amy Warner, Dale Hodges, Sara Mackie, Ryan Wesley Gilreath and Dennis Parlato. The show, a finalist for the 2011 Pulitzer Prize, is full of confrontations and revelations — a juicy night onstage. Through Sept. 22. Tickets ($27-$42): 513-421-3555.


Tonight at Know Theatre is a Fringe "Encore," a performance by actor/musician Kevin Thornton, a popular performer in the annual Fringe Festivals that Know produces. Stairway to Kevin focuses on the fact that he's turning 40 and questioning everything. This is an evening stuffed with new material, both the comedy and the music. Two nights only — Sept. 6 and 13 at 8 p.m. Tickets ($12): 513-300-5669.


Tonight is the opener for Cincinnati Shakespeare Company's adaptation of Charles Dickens' classic novel, Oliver Twist. If you've enjoyed stage productions of A Christmas Carol, you have a sense of Dickens' flair with colorful characters and dramatic storytelling. That's exactly what this tale of an orphan in 19th-century London has to offer, and CSC's retelling uses music and inventive staging to bring that place and its inhabitants to life. Sure to be popular with family audiences. Through Sept. 29. Tickets ($22-$31): 513-381-2273, x1.


The Cincinnati Playhouse's season doesn't officially open until Sept. 12, but the first production, Fly, a creatively staged piece about the legendary Tuskegee Airmen from World War II, is in previews this weekend, so it's a chance to catch it early. Tune in to Around Cincinnati on WVXU (FM 91.7) on Sunday at 7 p.m. to hear me interview playwright and director Ricardo Khan. Through Oct. 5. Tickets: 513-421-3888.


Finally, you might want to check out the gala celebration by Footlighters this evening (Friday at 7 p.m. at the Syndicate in Newport) when the reliable community theater company marks its 50th season, quite a remarkable accomplishment. Later this month (Sept. 26-Oct. 12), Footlighters will present the jaunty musical Anything Goes at its Stained Glass Theatre; the company is one of the few community groups with its own facility. Tickets ($20): 859-652-3849.

 
 
by Rick Pender 08.30.2013
Posted In: Theater at 08:45 AM | Permalink | Comments (0)
 
 
aclead_kingrecordintegration_stevehalper

Stage Door: The King Is Back

If you're a theater fan looking for something to do this weekend, you've probably realized that the Labor Day holiday is not overflowing with options. In fact, many theater companies are gathering their strength as they prepare for shows that open next week.

But there is one good choice available: a show about the King. No, it's not an Elvis piece. It's about Cincinnati's own King Records, the recording label that made history here in the 1940s and 1950s, launching the careers of many early pop stars, including James Brown. Syd Nathan, a Cincinnati native, launched his independent label in 1943, and for two decades he and his employees did it all in house — recording, mastering, printing, pressing and shipping the music that King produced. (Nathan was inducted into the Rock and Roll Hall of Fame in 1997.)

Documenting this revolutionary enterprise — which employed blacks and whites in one of our city's first integrated businesses — is CINCINNATI KING, a kind of documentary theater piece based on interviews with people who remember the business and the music. KJ Sanchez, one of the Cincinnati Playhouse's artistic associates, has pulled this material together for a 90-minute reading that's offered one time, on Saturday evening at 7:30 p.m. (Read more in Harper Lee's feature story in this week's issue of CityBeat here.)

No charge for admission, but seating is limited in the Playhouse's Shelterhouse Theater, so reservations are required: 513-421-3888. It's sure to be a full house, so call in advance.
 
 
by Rick Pender 08.23.2013
Posted In: Theater at 09:23 AM | Permalink | Comments (0)
 
 
chicago

Stage Door: Pre-Labor Day Offerings

A few good local productions are winding up this weekend. On Labor Day weekend, you won't find much onstage. But you have a couple of decent choices right now to tide you over.

At the top of my list would be Chicago at the Carnegie (CityBeat review here). It's a classic musical by Kander & Ebb, getting an excellent staging — great performances (by some solid professionals with Broadway experience as well as rising talent from universities around the Tristate), great choreography (Bob Fosse's iconic style has been updated in some very imaginative ways) and really hot orchestral accompaniment (the musicians would be worth listening to on their own!) It all adds up to some fabulous razzle-dazzle. Final performance is Sunday at 3 p.m. Tickets ($19-$26): 859-957-1940.

Know Theatre wraps up its run of Lauren Gunderson's very contemporary comedy, Toil and Trouble, which has echoes of Shakespeare's Macbeth from start to finish (CityBeat review here). Inspired by messages from fortune cookies (in place of Macbeth's witches) A couple of slackers and their aggressive sportscaster girlfriend concoct a crazy scheme to grab power and wealth. Of course, it goes wildly wrong, with a lot of laughs along the way. Final performance is Saturday at 8 p.m. Tickets ($20): 513-300-5669

And if you're a Woody Allen fan, you might want to board the Showboat Majestic at the Public Landing for Don't Drink the Water, a play he wrote in 1966 that had a two-year run on Broadway. Set inside an American embassy behind the Iron Curtain, the show features lots of Allen's hallmarks: farcical situations, loopy characters and a high dose of humor. Final performance is Sunday at 2 p.m. Tickets ($19-$20): 513-241-6550

The current issue of CityBeat includes previews of the fall arts season. It's online here, including my suggestions about shows from local theaters here.
 
 
by Rick Pender 08.18.2013
Posted In: Theater at 06:00 AM | Permalink | Comments (0)
 
 
ac-cc_knowtheatre-photo-ericvosmeier

A Knowing Season (and More) Is Announced

The pickings have been kind of slim at Know Theatre over the past year. The quality has been high (the staging of When the Rain Stops Falling was one of the best shows onstage locally during 2013, and Mike Bartlett’s Cock offered a showcase of strong acting), but the works have felt few and far between. So today’s announcement from Producing Artistic Director Eric Vosmeier of a full schedule that’s already under way and extends beyond the typical end of the 2013-2014 season is welcome news. Here’s what’s in store following Lauren Gunderson’s Macbeth-inspired comedy Toil and Trouble (presently onstage through Aug. 24):

Bull by Mike Bartlett (Nov. 1-30): Yes, it’s another piece by the playwright of Cock, making Know the first U.S. theater to produce both pieces by the British writer. Both use a stripped-down aesthetic — no props and no scenery make for a lot of onstage intensity regarding characters and their relationships. This one is the story of three mid-level executives who compete for two corporate positions. Brian Robertson, who also staged Cock, returns to direct this one, and George Alexander, one of the four actors in the earlier show, will perform in this one, too.

The Naughty List (Sunday, Monday and Tuesday evenings, Dec. 1-30): OTRImprov, an improvisational comedy troupe that’s part of Know’s Jackson Street Market, will hold forth in the courtyard at Arnold’s Bar & Grill in downtown Cincinnati for the holidays. Combining long- and short-form improv, the performers will offer a very irreverent take on the holidays — with the help of audience suggestions and participation.

Pluto (Jan. 24-Feb. 22, 2014): Know’s former artistic director Jason Bruffy comes back to town to stage a poignant and evocative new script by Steve Yockey. The production is part of a rolling world premiere through the National New Play Network, and it will feature two excellent local professionals, Annie Fitzpatrick and Tori Wiggins. An ordinary day in a suburban home takes a strange turn following a local tragedy, what with all hell breaking loose. Know’s publicity says the show “explores tragedy, loss and the way love can blind us to the truth.”

TBD (April 4-May 10, 2014): Know is holding a slot for a production to be announced later. You can be sure it will be another script with the ink still drying.

Cincinnati Fringe Festival (May 27-June 7, 2014): The 11th annual Fringe will be back with 12 days of theater, music, dance, film, art — and a lot of stuff in between that kind of defies simple description. Applications for performers will be accepted starting Sept. 1, 2013 (through Dec. 6). Info: www.cincyfringe.com.

Moby Dick (Fall 2014): Playwright Julian Rad adapted Herman Melville’s great American novel for an Off-Off-Broadway production in 2003. Michael Burnham, recently retired from a long career as a professor of drama at UC’s College-Conservatory of Music, will co-direct the show with designer Andrew Hungerford. The tale of revenge and obsession with Captain Ahab pursuing the great white whale that maimed him has been stripped to its essence for what promises to be a highly theatrical endeavor that uses sea chanteys and creative staging.

In addition to these full-scale productions, Know has announced several Fringe “encores,” the return of shows that were hits during the festival’s 10th iteration back in June. Jon Kovach will repeat his powerful one-man show based on Ron Jones’ The Wave (Aug. 26-27); comedian/storyteller/singer Kevin Thornton will present Stairway to Kevin (Sept. 6 and 13); and Paul Strickland’s one-man trailer park fairytale comedy, Ain’t True and Uncle False (Oct. 11-12).

Tickets for the full-productions are $15 in advance, and $20 the week of the performance; Fringe “encore” tickets are $12. Know offers sets of six-show flex passes for $90 that do not expire. They can be exchanged for tickets for any of these productions. For more information: 513-300-5669 or www.knowtheatre.com.

 
 
by Rick Pender 08.09.2013
Posted In: Theater at 08:18 AM | Permalink | Comments (0)
 
 
stage door blog - 39 steps @ cincy shakes - nick rose & mranda mcgee - photo rich sofranko

Stage Door: Comedies and Classics

Summer is flying by, or so it seems. This is the final weekend for you to see Cincinnati Shakespeare's production of The 39 Steps (CityBeat review here), a satiric adaptation of Alfred Hitchcock's classic 1935 film of espionage and intrigue. Making it all the more amusing is the fact that the story is performed by four actors, two of whom play most of the citizens of London and beyond, using a lot of quick changes and quick thinking. It's a very entertaining evening of tomfoolery, featuring four of Cincy Shakes' most talented comedic actors. Your last chances to see the show are Friday and Saturday at 7:30 p.m. 513-381-2273.

Another entertaining production is Lauren Gunderson's very new play, Toil and Trouble (CityBeat review here), at Know Theatre. It's a comedy about contemporary slackers trying to make a quick buck that's got a very Shakespearean ring to it — Macbeth, to be precise. The humor presses a bit too hard at moments, but if you go to have a good time, you'll definitely find one. Instead of warriors and kings vying for the throne, this one focuses on 30-year-olds trying to strike it rich without working too hard — but the echoes of the Elizabethan tragedy can't be missed. There's a steady stream of sports talk, too, making comparisons between baseball and life. It's a strange brew, but plenty of laughs. Through Aug. 24. Tickets: 513-300-5669.

Musicals are always popular, but for some reason they seem especially attractive fare in the summer months. So we can say thanks to the Carnegie in Covington for serving up a tasty one, Kander and Ebb's Chicago, an all-time Broadway favorite. This production — the sexy, salacious tale of murderous women in Chicago in the 1920s — features choreography by Broadway veteran and Cincinnati native David Baum in his local professional debut. Word has it that he's put together some of the most inventive choreography seen on local stages in a long time. The production opens on Saturday evening (7:30 p.m.) and repeats on Sunday (3 p.m.). It continues for two more weekends, through Aug. 25. 859-957-1940.

Also onstage this weekend (and running through Aug. 25) is Woody Allen's hit Broadway comedy, Don't Drink the Water. Amusingly, it's on board the Showboat Majestic (where you definitely don't want to drink the water) — but it's a humorous tale of tourists caught in an American embassy behind the Iron Curtain. Lightweight entertainment, but a lot of fun. 513-241-6550.
 
 
by Rick Pender 08.02.2013
Posted In: Theater at 08:10 AM | Permalink | Comments (0)
 
 
charlie cromer and maggie lou rader - photo jeanna vellacincy shakes - romeo & juliet (shakespeare in the park tour) -

Stage Door: Double Dose from CSC

Cincinnati Shakespeare Company is offering a double dose of entertainment this weekend. First and foremost is The 39 Steps at CSC's mainstage (CityBeat review here). If that title sounds familiar, it's because it was a classic espionage novel a century ago, made into a classic film by Alfred Hitchcock 80 years ago, now turned into a very funny riff on its predecessors as a play using only four actors to fill all the roles. CSC has ramped up the humor by using four of its best comedic actors — Nick Rose, Miranda McGee, Justin McComb and Billy Chace — who play the principals, plus much of the population of London, especially McComb and Chace who will make you dizzy as they shift from one part to another, sometimes within seconds. It's actually a faithful retelling of the story, but it's amped up to a high level of hilarity by the onstage shenanigans. It adds up to great summertime humor. It's being performed through Aug. 11. Tickets: 513-381-2273, x1.

One show isn't enough for CSC: This weekend they also launch their annual free Shakespeare in the Park tour with a performance of Romeo & Juliet at Boone Woods Park in Burlington at 7 p.m. on Saturday. (If you live north of the river, you'll get your chance next Wednesday evening at Eden Park's Seasongood Pavilion or at Burnet Woods in Clifton on Thursday.) As noted, these are free presentations, presented in classic Elizabethan style and use six actors from the company's resident ensemble. These are the same productions that CSC tours to schools and community centers, so they're great for the entire family. A week from now they'll start performing A Midsummer Night's Dream at some locations. For a full schedule, go here.

Shakespeare is behind the story of Toil and Trouble, the current offering at Know Theatre. It's a new play (this is just the second time its been produced; its world premiere was in California last fall) that offers a contemporary riff on Macbeth (CityBeat review here). Instead of kings and warriors, however, its characters are a pair of thirtysomething slackers and Beth, a wildly ambitious sportscaster who has more testosterone than either of the guys. There's a lot of wacky moments in this play, replaces Macbeth's witches with fortune cookies and the kingdom of Scotland with an almost unpopulated island off the coast of Chile. You can pick up on the laughs through Aug. 24. Tickets: 513-300-5669.

At the Covedale Center for the Performing Arts, the annual production by Cincinnati Young People's Theatre is Grease, a tried-and-true musical about kids in the ’50s at Rydell High. Sixty years haven't dimmed the musicality of the show, and the youthful performers will bring this one to life if you're in the mood for a classic. It wraps up with a matinee on Sunday. Tickets: 513-241-6550.

While the Cincinnati Symphony's LumenoCity isn't exactly theater, the performances in Washington Park on Saturday and Sunday evening — with a dazzling light show on the facade of Music Hall — will definitely be theatrical. It's the debut for Louis Langree as the CSO's new music director, and the program will feature performers from Cincinnati Ballet and Cincinnati Opera. But the big deal is the colorful illumination that will let you see historic Music Hall in a light you've never imagined. It's free, starting at 8:30 p.m. both nights; big crowds are expected, so come early. Don't you wish the streetcar were already here so you could ride it to Over-the-Rhine?

 
 
by Rick Pender 07.26.2013
Posted In: Theater at 10:19 AM | Permalink | Comments (0)
 
 
nick rose in the 39 steps at cincy shakes (for stage door 7-26) - photo rich sofranko

Stage Door: Curtain Goes Up

Finally, a weekend with some theater choices for your entertainment, even though the weather is beautiful enough to keep us outdoors. But you want to see a curtain go up somewhere, right?

You'll have fun for sure if you go to see The 39 Steps at Cincinnati Shakespeare Company. If that title sounds vaguely familiar, it's because Alfred Hitchcock made a classic film that's at the root of this very amusing piece of theater. Four actors play all the roles of what was a taut tale of murder and espionage. The story's still there, but the telling of it makes it a new experience. It's a chance to see four of CSC's best comic actors at work, too. Through Aug. 11. Tickets: 513-381-2273.

Speaking of vaguely familiar, this weekend is your first chance to check out a virtually brand-new show at Know Theatre, Toil and Trouble. It's a contemporary take on Shakespeare's Macbeth, but the characters are two slackers and an over-the-top ambitious girlfriend. It opens tonight (running through Aug. 24); so I haven't seen it yet, but I've read the script, and this one shows promise. It's only had one production,it's world premiere at Impact Theatre in Berkeley, Calif., last November.

If you prefer something definitely familiar, head to the Covedale for the 32nd annual summer musical by Cincinnati Young People's Theatre, which opens tonight. It's Grease, a show about rowdy teens in the 1950s. I suspect that local teens from all over Cincinnati will have a blast with this one. It has a short run, just through Aug. 4. Tickets: 513-241-6550.

One last suggestion: The Showboat Majestic is presenting Big River, a musical based on Mark Twain's Huckleberry Finn. Since it's about the adventures of Huck and Jim, a runaway slave, escaping on the mighty Mississippi (a river that wouldn't be much without the contributions of the Ohio), the 'boat seems like the perfect setting. Tunes by Pop composer Roger Miller make for a rollicking evening of music. It's one of my favorite shows; I've never been disappointed by a production of it. It wraps up this weekend on Sunday. Tickets: 513-241-6550.
 
 

 

 

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by Rick Pender 07.24.2015 5 days ago
Posted In: Theater at 09:40 AM | Permalink | Comments (0)
 
 
100

Stage Door

Hundred Days? Several hundred years? Theater has a lot to offer this weekend

Did you attend the Cincy Fringe back in 2011? If so, maybe you saw Abigail and Shaun Bengson perform a musical work in progress then called “Songs from the Proof.” They came back in 2012 to present a one-night concert of some of the songs. The work evolved into a show called Hundred Days, which had a staging in San Francisco in early 2014. It’s continued to evolve — and its next incarnation will be onstage at Know Theatre for the next month, opening on Friday and running through Aug. 22. It’s about a young couple who fall in love, only to have their time together cut short by a fatal illness. They decide to live the 100 days they have left as though it were 60 years they had hoped for. Lots of music and creativity have gone into this one, and it promises to be a powerful performance with some great tunes. (Read more in my Curtain Call column in this week’s edition of CityBeat.) Tickets: $25 in advance; rush tickets at the door ($10, if available). Free performances on Wednesdays, but reservations required: 513-300-5669.

Cincinnati Shakespeare Company’s 2015-2016 season is beginning as it has for several years with a light-hearted abridgement — but this time it’s The Complete History of America (abridged), opening Friday night and continuing through Aug. 15. The show is the creation of the same nuts responsible for the hilarious Complete Works of William Shakespeare (abridged). It’s the same format: Veteran comic actors Miranda McGee and Justin McCombs, along with newcomer Geoffrey Barnes, will take audiences on a whirlwind tour that sends up America’s greatest hits … and misses. It’s the kind of delirious summer entertainment we’ve come to expect the from our often-more-serious classical theater folks. Tickets ($22-$35): 513-381-2273

Last weekend I went to Stanberry Park in Mt. Washington to see The Complete Tom: 3. Abroad, presented by Queen City Flash, Cincinnati’s flash-mob theater company. It’s the third installment of its four-part play cycle of Mark Twain’s tales of Tom Sawyer, Huck Finn and Jim, the runaway slave. It was charmingly performed by Dave Powell, Rico Reid and Trey Tatum — plus some amusing puppets (aka wooden spoons) and a few sheets for ghost stories. This charming episode features the threesome on a trans-Atlantic voyage in a Jules Verne-like airship, meeting a number of interesting characters along the way — played in quick-change manner by the three actors. Free performances begin at 8 p.m. but don’t go to Stanberry Park — they’ll be elsewhere this weekend. In fact, the outdoor locations remain secret until 4 p.m. the day of performance when an email is sent to ticket holders with a map and parking instructions. The show is a lot of fun and great entertainment for kids, and part of the adventure is figuring out where you’re headed. Take a chance! Tickets — no charge — can be reserved at QueenCityFlash.com

This weekend offers the final performances of 1776 at the Incline Theater (513-241-6550) and The 25th Annual Putnam County Spelling Bee (859-572-5464). Both are worth seeing.

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

 
 
by Rick Pender 07.17.2015 12 days ago
Posted In: Theater at 08:25 AM | Permalink | Comments (0)
 
 
complete tom - queen city flash - photo provided

Stage Door

A weekend for summer theater, indoors and outside

Every year, Ensemble Theatre Cincinnati brings together a group of young professionals who spend a season at the Over-the-Rhine theater understudying roles, working backstage, helping build sets and run lights and sound — learning the ins and outs of professional theater. Many of them stick around town continuing their lives in the theater. Several of them will come together at Washington Park on Sunday evening at 6 p.m. for a free performance of Still Life with Iris, a play by Steven Dietz. The 1996 script is an adventure about a little girl’s search for the simplest of things: home. She lives with her mom on a magical island where by night workers make things seen in the world by day. The rulers are determined to have the best of everything on their island, so they kidnap Iris and bring her to be their daughter, leaving her with no memory of her home or family. She joins with friends she meets on her journey as she embarks on a quest to return home. The family-friendly play, written in 1998, was the first to receive the Kennedy Center’s Fund for New American Plays Award. The cast is comprised entirely of former ETC interns, including: Jared D. Doren (1996), Sara Mackie and Burgess Byrd (2000), Daniel Winters (2005), Lisa DeRoberts (2011), Ben Raanan and Jared Earland (2014), and Molly Israel and Patrick Phillips (2015).

The summer theater company, Stone on a Rock, is back for the second production of its second season with a new version of Aristophanes’ ancient comedy Lysistrata. The company focuses on productions that are “short, sweet and cheap.” This one is a time-tested farce about the women of Greece giving their husbands an ultimatum: Stop waging war or no more sex. Maybe they can next bring their strategy to bear on Greece’s current financial crisis? Performances are at Simple Space, 16 E. 13th St., Over-the-Rhine. Tickets ($10) can be purchased at the door.

Another summer company is presenting the 1998 Tony Award-winning musical Ragtime at Highlands High School’s Performing Arts Center (2400 Memorial Parkway in Ft. Thomas). The Commonwealth Artists Summer Theatre (C.A.S.T.) is led by theatre instructor Jason Burgess; his cast includes students from Anderson, Walnut Hills, Newport Central Catholic, Cincinnati Country Day, Seven Hills, Highlands, Scott High Schools and more. Ragtime is a remarkable show with great music (composed by Stephen Flaherty, a graduate of the University of Cincinnati’s College-Conservatory of Music). Set at the dawn of the 20th century, it’s a time of change and possibility in the volatile melting pot New York City. The show tells three interwoven stories — a stifled upper-class wife, a determined Jewish immigrant and a daring young Harlem musician — united by courage, compassion and belief in the promise of the future. It’s being presented for two weekends, opening tonight and continuing through a matinee on July 26. Tickets ($10) can be reserved at http://www.showtix4u.com. (Remaining unreserved seats may be purchased at the door one hour prior to each performance.)

Queen City Flash, Cincinnati’s flash-mob theater company, is up to the third installment of its four-part play cycle of Mark Twain’s tales of Tom Sawyer. This part, The Complete Tom: 3. Abroad, is performed by three actors and an array of puppets. For this episode, the characters of Tom, Huck Finn and Jim the runaway slave are on a trans-Atlantic voyage in a Jules Verne-like airship. Free performances begin at 8 p.m. but the outdoor locations remain secret until 4 p.m. when an email is sent to ticket holders with a map and parking instructions. (The fourth installment is set to happen in August.) Tickets — no charge — can be reserved at http://www.QueenCityFlash.com

You can stay at home on Saturday evening, if you prefer, and enjoy a radio theater production of Edmond Rostand’s Cyrano de Bergerac by LA Theatre Works, broadcast on WVXU-FM 91.7 at 8 p.m. The story of the brash 17th-century soldier-poet with an oversized nose is also a tale of love and longing. The audio production features Hamish Linklater, Jason Ritter, Devon Sovari and Gregory Itzin. This is your chance to get prepared for Cincinnati Shakespeare Company’s season opening production (Sept. 11-Oct. 13).

Continuing productions of 1776 at the Incline Theater (513-241-6550) and The 25th Annual Putnam County Spelling Bee (859-572-5464) are both worth seeing.


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


 
 
by Rick Pender 07.10.2015 19 days ago
Posted In: Theater at 11:38 AM | Permalink | Comments (0)
 
 
jefferson, franklin & adams - 1776 @ the incline - photo mikki schaffner

Stage Door

History, Spelling and One-Minute Plays

Of course, everyone is focused on baseball this weekend, leading up to Tuesday’s All-Star Game right in our own backyard — and that’s great for Cincinnati. But if you’re looking for theatrical entertainment, it’s here, too. 

I had a chance to see the musical 1776 at Cincinnati Landmark’s new Warsaw Federal Incline Theater on Wednesday. It’s just the second show to be staged there, but it’s a fine one from just about every angle. The 1969 show — as much a play about American history as a musical (it has a stretch of 30 minutes in which no music happens) — is seldom produced in part because it requires nearly two-dozen strong singing male actors. This production found them, and they do a fine job: Especially noteworthy is Rodger Pille as the feisty John Adams, as well as his colleagues Ben Franklin (played by Bob Brunner )and Thomas Jefferson (taken on by Matt Krieg). But numerous others have their “historical” moments, as do Allison Muennich as Adams’ understanding wife Abigail and Lindsey Franxman as Jefferson’s lovely wife Martha. The show is both entertaining and inspiring, even if it takes a lot of liberties with real events. It won the 1969 Tony Award for best musical, and it’s a delight to see. It’s onstage at the Incline through July 26. Tickets: 513-241-6550

After 10 years, the musical about adolescents vying for honors in the 25th Annual Putnam County Spelling Bee has become pretty familiar. But it’s still a lot of fun to watch, and I suspect anyone who goes to the Commonwealth Theatre Company’s dinner theater production on campus at Northern Kentucky University will be having a good time — maybe even becoming a volunteer speller to join the contest. For 8 p.m. shows in the Stauss Theatre, there’s dinner at 6:30 p.m. in the Corbett Lobby. Through July 26. Tickets: 859-572-5464

If you want something a little more off the beaten path, you’ll find it at Know Theatre on Saturday and Sunday when the One-Minute Play Festival has three performances. Part community-convening, part social action and part play festival, the program investigates who we are and how we relate to our community through a series of 60 moments of storytelling by local writers and actors. If you’ve enjoyed the annual Fringe Festival, you should show up for this one. Tickets: 513-300-5669.

In a similar vein — and just a block away from Know Theatre’s Over-the-Rhine location — you’ll find a show by the GoodPeople Theatre Company, Is This Really Happening Right Now? It’s some vignettes by two local writers exploring friendships and relationships — on a blind date, in a coffee shop, in a Laundromat and over Tinder. Tickets ($15) at the door at Simple Space (16 E. 13th St., Over-the-Rhine).

And if you still need more, remember that Monday will be the second round of Serials! at Know Theatre, with five plays started by local writers pick up for another 15-minute episode, but now penned by a different playwright. This time around the theme is “Round House,” and it’s sure to generate some zany stuff. 


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
 
 
by Rick Pender 07.02.2015 27 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 33 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 40 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 47 days ago
Posted In: Theater at 07:33 AM | Permalink | Comments (0)
 
 
csc

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 54 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 60 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 68 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.

 
 
 
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