The Covedale Center has been a busy place, but the converted 1940s movie house had minimal backstage space — until now. After several years of tight quarters, no running water or bathrooms, the facility has been renovated and expanded: There is now a rehearsal studio, a green room, two dressing rooms, shop space and two handicapped-accessible bathrooms. This evening marks the grand opening of the addition with a reception for VIPs and local media.
Cincinnati finally got its first "pop-up shop," a holiday effort by local merchants to band together to take over unused retail space in Over-the-Rhine for a short period and then vacate when done. See photos from its opening weekend here.
'Tis also the season for pop-up theater, smaller productions that are squeezed in between performances of mainstage shows. One opens tonight at Know Theatre of Cincinnati.
A year ago Cincinnati Shakespeare had a big hit with a stage adaptation of Jane Austen’s Pride & Prejudice. Looks like they’ve done it again with another adaptation of the 19th-century novelists Sense & Sensibility. This time it’s the sisters Dashwood, one rational and one emotional. The roles are wonderfully played by Kelly Mengelkoch (as the reserved, reasonable Elinor) and Sara Clark (as the willful and romantic Marianne), and they’re surrounded by delightfully drawn supporting characters — and a story of romance and domestic intrigue. I gave the production a Critic’s Pick. I’m told that several performances are already sold out (it’s onstage through March 18), so if you hope to see this one, you should line your tickets up right away. Tickets: 513-381-2273.
In case you wanted a short course in shows by Sondheim, the next few weeks is your big opportunity. In addition to Into the Woods at CCM, you can catch the touring production of West Side Story at the Aronoff (it opens a two-week run on Tuesday), a show that Sondheim wrote the lyrics for when he was 26 (he’s about to turn 82). And a week from now, the Cincinnati Playhouse will start previews of Merrily We Roll Along, a show from 1981 that was a flop at first, but now is praised as one of his greatest musical accomplishments. It’s about the joys and frustrations of success from the perspective of people involved in creating musical theater. It will be on the Marx Stage through March 31.
Andrew Bovell’s Speaking in Tongues is a complicated noir-ish tale of marital deceit and cryptic crime that unfolds more clearly because of its accomplished four-actor cast, including local professionals Bruce Cromer (who’s played roles as varied as Ebenezer Scrooge for the Playhouse to King Lear for Cincinnati Shakespeare) and Amy Warner (a regular at Ensemble Theatre and Cincinnati Shakespeare). The show is a fascinating piece of theater that takes work to watch, follow and absorb. I suppose that some casual theatergoers will be put off by it, but if you like challenging drama and multi-layered acting, you’ll leave the theater with their gears spinning. I gave Speaking in Tongues a Critic’s Pick. Through March 4. Box office: 513-421-3888.
Know Theater’s “comedy of anxiety” by Allison Moore, Collapse, opens with the collapse of a highway bridge over the Mississippi River in Minneapolis. But it’s about all kinds of things falling down — the economy, relationships. This is the kind of edgy script Know Theatre is known for, funny but meaningful. I gave the production a Critic’s Pick because it combines heart and humor. Collapse is presented with comic finesse and fine acting, especially by local professional actress Annie Fitzpatrick. Know’s best work of the season. Through March 3. Tickets: 513-300-5669.
Planning for next season? Check out my blog from last Sunday about what Broadway in Cincinnati will be presenting, including the zany Blue Man Group.
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.
On Thursday evening I slogged through the humid, 100 degree soup
of downtown Cincinnati to hear a World Choir Games concert at the
Masonic Center on Fourth Street (next door to the Taft Theatre). I've
lived in Cincinnati for 32 years and covered lots of arts events, but
I've never set foot inside this honeycomb of stages, halls and meeting
rooms. The sold-out event I attended, "Global Harmony," was in a steeply
sloped, floridly decorated auditorium that seats approximately 1,000
people. A four-step set of risers was set up in front of a proscenium
with a curtain; the scenery was provided by three choirs, two
international groups — the Diocesan Schools Choral Society from Hong
Kong and the Stellenbosch University Choir from South Africa — both
highly recognized ensembles at the 2010 World Choir Games in Shaoxing,
China. The third choir had a shorter trek to Cincinnati; the Capital
University Chapel Choir, about 80 singers strong, came from Columbus and
held its own with the two groups from other continents.
The Hong Kong group, roughly 120 high school boys and girls, offered a beautiful, restrained program of earnestly conceived works performed with polish, some religious and some literary (the latter included a piece based on Robert Burns' poem, "My Love is Like a Red, Red Rose"). The singers from Capital University had the men attired in black suits, shirts and ties, the women in long dresses with identical bias-cut necklines but in varying colors, bright blue, maroon and navy. Their program was an interesting mixture of pieces, with several uptempo numbers — a lovely song by Dolly Parton, "Light of a Clear Blue Morning," that featured a crystalline solo by Annie Huckaba, and several rhythmic works, "Hehehlooyuh" and "Tshotsholoza," both of which evoked strong responses from the audience. The latter, a South African number, featured two forceful soloists, Chris Bozeka and Nicholas Klein, as well as percussive accompaniment on African drums by Emily Riggin and another chorus member (not named in the program).
The Stellenbosch choir, constituted of approximately 120 white and black college students and which earned three gold medals in the 2010 World Choir Games in China, presented a half-dozen songs plus an encore. "Kiasa-isa Niyan," described by conductor André van der Merwe as a counting song from the Philippines, used catchy choreography and motion, including chest thumping, vocal clicking, head snapping and a sharply executed bow at the end. The most moving number of the program, a traditional Zulu song, "African Prayer." It pulled six strong-voiced soloists (again, not named in the program) to the front of the stage and placed two more among the audience for an emotional call-and-response counterpoint that evoked a standing ovation.
In fact, each group was greeted with sustained applause as its singers filed on stage and cheered with a standing ovation after their performance. The audience was appreciative and wildly enthusiastic; some were parents of the Capital University performers, but many others were clearly people who simply love choral performances that are delivered with finesse, creativity and enthusiasm. Fifth Street was choked with buses bringing people from various hotels beyond downtown, here as tourists to listen to these performances.
Oh, yes: The auditorium was comfortably air-conditioned, a fact appreciated by those in attendance as well as the singers. It was a fine way to be introduced to the possibilities of the World Choir Games, here in the United States — not to mention in Cincinnati — for the first time ever. I was proud to be in attendance.
There's nothing unlucky about Friday the 13th in the theater world. (Theater folks have enough other superstitions anyway.) So you have lots of excellent choices this weekend, from the very funny The Foreigner at the Playhouse (just opened) to the satiric Timon of Athens at Cincinnati Shakespeare (see review here).
If you want a heavy-duty drama, try Bent at New Stage Collective (it's about the mistreatment of gays in Nazi concentration camps; see my review here). And if you want to see some of the talent that keeps spilling out of UC's College-Conservatory of Music, I recommend that you stop by the Over-the-Rhine nightclub Below Zero tonight after 10 p.m.
Today, the Enquirer posted a story about the Cincinnati Museum Center considering the addition of a 11,200-square-foot green roof system, which is an awesome prospect. The roof would be covered with plants, could last longer than a normal roof, and would better deal with storm run-off. Not only that, but it would double the amount of green roof space in the city.
But buried at the bottom of this article is mention of another part of the issue. "The other components of the center's project - funded by a $2.4 million local tax levy, the city of Cincinnati, the state and a National Parks Service program called Save America's Treasures - include restoring long-unused dining rooms and exterior repairs," the article states.
It's the National Parks Service program that I think deserves a little more attention. Frankly, it seems amazing, not only for what it has done for the country, but for what it has done for Cincinnati.
Save America's Treasures (SAT) was started in 1998 and has the directive of "protected America's threatened cultural treasures," like a governmental, art-saving Boondock Saint. Actually a daughter organization of both the National Parks Service and the National Trust for Historic Preservation, it has completed more than 850 projects since its creation with what seems like a focus on architecture.
In Cincinnati alone, the SAT in 2003 granted $199,000 in 2003 to the Majestic Theater, $250,000 to the Cincinnati Union Terminal, $150,000 to The Showboat Majestic. And in 2005, they granted $135,250 to restore Joan Miro and Saul Steinberg Murals from Terrace Plaza Hotel and get them on display at the Cincinnati Art Museum.
This 11 x 75 ft mural by New Yorker artist Saul Steinberg is one of the only murals he made.
What other badass art has the SAT helped saved, you might ask. Well, how about the Palace Theatre in Columbus. Not a theater buff, what about the The New York Philharmonic Leonard Bernstein Collection. Still not impressed, what about the Moundville Archaeological Park in Tuscaloosa, Alabama. Oh, you're more into recent history, they gave$295,586 to the USS Joseph P. Kennedy in Massachusetts. Maybe you just like to party, in 2006 Gadsby's Tavern in Alexandria, Virginia got about $50,000 . And my personal favorite, in 1999 they granted $331,000 to save the Anti-Slavery Pamphlet Collection in Ithaca, New York.
The collections of dances, photographs and other documents that have been touched by Saving America's Treasures is astounding, not to mention the dozen of courthouse they've helped to restore across the country.
Just check them out. Our government isn't complete screwed up all the time.
Cincinnati Art Museum has just released attendance figures for the recently closed Wedded Perfection: Two Centuries of the Wedding Gown, and it was a blockbuster. The exhibit, which ran Oct. 9-Jan. 30, drew 63,176 visitors, making it the biggest CAM exhibit since Petra: The Lost City of Stone drew 62,203 people in the 2004-2005 season.
We are building an art production studio. No big deal you say? Well what if I told you it was compiled from two groups of teenagers, still nothing special? Okay, they are young people who are incarcerated and those recently released from incarceration. Yes, in jail and on parole. Now what do you say? That’s what I thought.
I am an artist who is part of a team spearheading a new project - Inside Out Studios – a pilot program conceived by Stephen Canneto and Eliah Thomas of ArtSafe in Columbus, Ohio. We have embarked on a 17-week journey to guide youth - to develop skills both artistic and business, to improve focus and self-worth, to increase self-discovery and community while designing and creating art that will earn income for them.
Through it all I am learning. Learning about choices, incarceration, what makes us unique and similar, how the same circumstances can put each of us on different paths, how getting caught can be a good thing. I am reminded with every coming together that these young people, not unlike us, are smart and creative and loving and curious and passionate and opinionated and original. Check back over the next several weeks for updates and revelations and get to know them as I do. It is challenging and joyful and full of the wonderful stuff of life.
For more information about ArtSafe and its programs visit Artsafe.org
ArtSafe - Art for a Child's Safe America Foundation (ArtSafe) is a not-for-profit organization established to provide opportunities for communities to use the arts to create safe, nurturing environments for children, youth and adults. ArtSafe creates, develops, and implements programs that promote productivity, positive outlook, and a sense of community through encouraging participants to discover, value, and use their innate talents and individual interests. Creating programs and products that provide meaningful alternatives to violence is ArtSafe's highest priority.
Remember: The One Who Says It Can’t Be Done Should Not Interrupt The One Doing It
In the Association of Art Museum Curators' recent Annual Awards for Excellence (for the calendar year 2010), Benedict Leca — curator of European Painting and Sculpture at Cincinnati Art Museum — won first place in the Outstanding Article, Essay or Extended Catalogue Entry category for his "A Favorite Among the Demireps" article for the museum's Thomas Gainsborough and the Modern Woman exhibition. He also organized the show.
If you're looking for an unusual but gripping theatrical production this weekend, you should head straight to UC's College-Conservatory of Music for The Threepenny Opera. Don't think that this is some stuffy old piece from 1928, although that's when the
show with a script by Bertoldt Brecht and music by Kurt Weill was first
performed. It was radical and challenging, mocking the establishment
and paying no heed to social structures. This musical theater production, staged by CCM Opera Chair Robin Guarino, feels lethal and threatening. You'll recognize a tune or two ("Mack the Knife" is the show's familiar tune), and if you've seen Cabaret or Urinetown, you'll recognize how this piece influenced those works. Guarino's production, with a big cast and an
imaginative set (designed by Tony Award winner John Arnone), captures
the vitality and spirit of the original work. I doubt we'll see another
production of this one very soon, so here's your chance to catch a bit
of theater history — and be both entertained and provoked. Definitely worth seeing. Through March 10. Box office: 513-556-4183.
If you haven't yet seen Know Theatre's production of When the Rain Stops Falling, that's another one you should have in your sights. Andrew Bovell's dense, imaginative script is a compelling story of multiple, intersecting generations of two families. (Review here.) The taut, engaging 100-minute production, staged by Cincinnati Shakespeare's Brian Phillips, features several of that company's best actors, as well as several other local standouts. One of the best productions from Know Theatre in several seasons. It's onstage through March 16. Tickets: 513-300-5669.
I haven't seen it (alas, my schedule just doesn't have room for everything), but Legally Blonde: The Musical at NKU has received props from the League of Cincinnati Theatres as an entertaining production. It's the story of Elle Woods, spurned by her fiancé, off to Harvard Law School in pursuit of him, only to discover that she's got the smarts to be more than just a girlfriend. Not profound, but surefire entertainment. Through Sunday. Tickets: 859-572-5464