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 your gears spinning. I gave Speaking in Tongues a Critic’s Pick in this week's "Curtain Call" column. Onstage through March 4. Box office: 513-421-3888.
If you’re a fan of the Cincinnati Fringe, you should check out the Transmigration Festival at CCM on the University of Cincinnati campus. I was there last evening and saw three of the six performances, especially enjoying Booth, an interactive piece by nine actors based on John Wilkes Booth’s final days. I also was entertained by The Eddie Shanahan Show, closely inspired by Dickens’ A Christmas Carol, but with some very modern twists. Attendees choose between six brief productions (30 minutes or less) that are completely created, promoted, enacted and staged by drama students. It’s a February boost of creativity, staged throughout the CCM facility, Friday and Saturday evenings at 7:30, as well as a 2:30 matinee on Saturday. Admission is free, but you need to call the CCM box office to reserve your ticket: 513-556-4183.
Another university option can be found at NKU. It’s Aaron Sorkin’s The Farnsworth Invention, telling the story of Phil Farnsworth who invented television but spent much of his life in legal wrangles with David Sarnoff, RCA executive and the first “media mogul.” Sorkin's credits — from The West Wing to The Social Network — are a guarantee of a heady, exciting tale based on real events. Tickets ($14 is the maximum price): 859-572-5464.
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.
This weekend is your last chance to see the regional premiere of Matthew Lopez’s The Whipping Man at Ensemble Theatre (through Saturday evening). The historical play, set in Richmond, Va., in April 1865, just days after the end of the Civil War, is a gripping drama that’s beautifully staged and convincingly acted. I gave it a Critic’s Pick. The production has been extended a week because of demand for tickets; you won’t be contending with subscribers this weekend, so if you haven’t seen it yet — call for a ticket: 513-421-3555.
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.
I wish I could point you to a good production of a Shakespearean play today, since it's the Bard's 446th birthday. But Cincy Shakes is presenting Oscar Wilde's An Ideal Husband in a delightfully enacted production that ranges from witty humor to heartfelt emotion. It's definitely worth seeing.
Earlier this week, Bicycles: Love Poems by Cincinnati-native and Virginia Tech professor Nikki Giovanni went on sale. The poems in this collection are meant to serve as a companion to her 1997 work, Love Poems. This is her 27th work. In the book, she addresses, among many things, the tragedy at Virginia Tech. Hear an interview with Giovanni and read an excerpt on NPR here.
I spent 12 hours on Thursday absorbing events and
performances of the 2012 World Choir Games. My "day pass" gave me way
too much to write up in detail, but here are some highlights and random
Show Choirs: I spent several morning hours at the Aronoff Center (which was "sold-out" — no empty seats, before 10 a.m.!) watching groups perform in the manner popularized by the TV series Glee. Some followed the familiar model completely — glittering costumes, athletic dance numbers, lots of fist-pumping and high energy. They were fun to watch, but the international filter provided by groups from the Bahamas and Venezuela provided a whole new filter. The 26 members of the Bahama National Youth Choir dispensed with flashy costumes — young men and women wore khaki pants and skirts, topped with navy blue blazers and white shirts. But, boy, could they dance: From "It Don't Mean a Thing if it Ain't Got That Swing" to Michael Jackson's "Beat It." And when they finished (to a standing ovation), the next group, Orfeón Universitario Rafael Montaño from Puerto Ordaz, Venezuela, dazzled us with a salsa-inspired Spanish-language set with costume changes for every number — at one point including a dozen women with palm trees atop their heads! About half the numbers utilized wonderful soloists, mature women with incredible voices backed up by the choir in tributes to pop singers from the world of Hispanic music. The group's performance was a riot of color, dancing and joyous outbursts of energy.
Barbershop: This is a first-time category for WCG, a popular choir form in North America that's not practiced much elsewhere. But based on the big crowd for the competition at Music Hall, I'd say that singers of the world might be adopting this happy form of choral performance that involves close harmony, typically by groups that are all male or female. I smiled at a group of 32 from Minnesota, the North Star Boys Choir, and enjoyed the "mature" group of women, the Cincinnati Sound Chorus, who clearly enjoyed their set, opening with "As long as I'm singing my song." Three more choruses in colorful costumes — A Cappella Showcase (from Canada), Greater Harrisburg Sweet Adelines Chorus (from Pennsylvania) and Bay Area Showcase Chorus (from California) were all dazzlingly entertaining.
Friendship Concert: Departing from Music Hall late in the afternoon, I encountered a big crowd in Washington Park surrounding the bandstand. Patiently waiting for the moment to begin was a chorus of kids from Goteborg School in South Africa. The surrounding crowd was dotted with other performers, young African-American girls in maroon choir robes and pale girls from Russia in floaty pastel chiffon dresses with flowers in their hair, looking like escapees from a fantasy bridal party. I was tempted to pass by until the South African choir started to sing: They were elementary aged children who sang with lusty enthusiasm, and I couldn't tear myself away from listening to their rhythmic songs and high spirits. The crowd responded accordingly.
After dinner at Bakersfield on Vine Street, I went on to the day's real highlight, the Cultural Showcase at the Aronoff — another completely full house at the P&G Hall starting at 7:30 p.m. The Venezuelans I'd seen earlier in show choir mode were back doing a program of somewhat less flashy folk music numbers. There was still plenty of energy and costumes, as well as more work from the outstanding soloists. The next group was 65 boys from Kearsney College, a high school in Botha's Hill, South Africa. Half their program was sung in blue-and-white choir robes with a brilliant yellow icon of Africa on the front; this was a powerfully emotional set, full of the rhythms and zest that I've come to expect from South African ensembles. The second portion of their program focused on Zulu folklore and one of its heroes, King Shaka. For this portion the boys dressed in black shirts and pants with cardinal red belts and knee-high rubber boots, like those worn by miners. This set of music was non-stop athleticism, dancing, acrobatics and lusty singing. The audience responded warmly to this off-the-hook segment, and conductor Bernard Krüger told the audience that he loves Americans because they really know how to cheer. The final set of performers were from Istanbul, Turkey, the Bogaziçi Jazz Choir. This was a different kind of folk music from a country about which I don't know much, but watching their earnest, sometimes serious sometimes humorous delivery, I feel that I understand their character more fully. They concluded with several songs in English that warmed the audience even more — earning two standing ovations.
My final observation on the evening: It was so satisfying to be in an audience that truly loved what they were witnessing and expressed their joy at the performances with honest reactions. These were some of the most genuine standing ovations I've ever witnessed. I was proud to be in this crowd, and I have to believe that it was a truly memorable experience for the performers.
A final observation: Every choir I've heard from South Africa has deeply moved me. Knowing that nation's history of apartheid and seeing choirs of mixed races reveling in music gave me hope that music can indeed heal the world. That's a great lesson to learn from the World Choir Games.
In the heat of a Carolina summer, I’m pleased to be taking in a bit of this year’s American Dance Festival (ADF) in and around Duke University in steamy Durham, N.C. I’m here with another local dance writer (Kathy Valin) for the Israeli Festival portion of ADF to catch performances from two companies: Emanuel Gat Dance and Cedar Lake Contemporary Ballet. 2009 marks ADF’s 76th season, “Where Ballet and Modern Meet.”
For the ninth time during Ed Stern’s tenure at Cincinnati Playhouse in the Park, a show by Stephen Sondheim will be presented. Stern, the Playhouse’ Producing Artistic Director, has a soft spot for the great American composer and lyricist who turned 80 a year ago. He will bring back Tony Award-winning director John Doyle (pictured) to stage Merrily We Roll Along in a production that uses actors who also provide the musical accompaniment. The show will be presented next year in March.
I admit that I occasionally watch the popular TV series Glee with some mixed feelings: The musical theater side of me loves it, the serious theater nut thinks it's too shallow for words. But the world seems more in the former camp than the latter, and that's led to a new social phenomena — "Glee Parties," which are popping up around the country, including one right here in Cincinnati.
Cincinnati Shakespeare Company continues its summer tradition of Shakespeare in the Park as the free series returns for the seventh year this August. Romeo and Juliet and A Midsummer Night’s Dream will be showcased in parks around the Greater Cincinnati area and Northern Kentucky Aug. 3-30.
CSC Ensemble Member Nicholas Rose is directing the classic lovers tale, Romeo and Juliet. While the fantastic story of betrayal and magic in A Midsummer Night’s Dream is being directed by CSC Education Associate Miranda McGee. Six actors from the CSC Resident Ensemble will be acting in these performances. After the free park tour, they will continue to tour community centers, schools, venues and other performance centers into May of 2014.
Cincinnati Shakespeare Company is continuing its partnership with Cincinnati Parks and Recreation, offering free shows at Seasongood Pavilion in Eden Park, Burnet Woods, Mt. Echo Park and the new Smale Riverfront Park. Washington Park will see the group on their tour, alongside parks in Madeira, Colerain and Monroe in Ohio, and Burlington, Edgewood and Maysville in Kentucky. The acting troupe will have two performances at the Vinoklet Winery as well. Certain park locations will be accepting canned food and non-perishable items — CSC has a partnership with the Freestore Foodbank.
If a free, al fresco viewing of Shakespeare’s best sounds fun, then make sure to get to each performance early to ensure good seating. All shows are general admission with first-come, first-serve seating. For more information go to cincyshakes.com.
For show times and locations, refer to the list below:
Saturday, Aug. 3, Romeo and Juliet at 7 p.m. in Boone Woods Park, Burlington
Wednesday, Aug. 7, Romeo and Juliet at 7 p.m. in Eden Park – Seasongood Pavilion, Mount Adams
Thursday, Aug. 8 Romeo and Juliet at 7 p.m. in Burnet Woods, Clifton
Friday, Aug. 9 Romeo and Juliet at 7 p.m. in the Monroe Community Park, Monroe, Ohio
Saturday, Aug. 10 A Midsummer Night’s Dream at 6:30 p.m. in the Harry Whiting Brown Lawn, Glendale
Sunday, Aug. 11 Romeo and Juliet at 7 p.m. in the McDonald Commons Park, Madeira
Wednesday, Aug. 14 A Midsummer Night’s Dream at 7 p.m. in Browning Shelter, Maysville, Ky.
Thursday, Aug. 15 A Midsummer Night’s Dream at 7 p.m. in Mt. Echo Park, Price Hill
Friday, Aug. 16 A Midsummer Night’s Dream at 7 p.m. at the Vinoklet Winery, Colerain
Saturday, Aug. 17 A Midsummer Night’s Dream at 7 p.m. at the Miami Whitewater Forest – Harbor Point, Harrison
Sunday, Aug. 18 A Midsummer Night’s Dream at 7 p.m. in Washington Park, Over-the-Rhine
Wednesday, Aug. 21 A Midsummer Night’s Dream at 7 p.m. in Burnet Woods, Clifton
Thursday, Aug. 22 A Midsummer Night’s Dream at 7 p.m. in Colerain Park
Friday, Aug. 23 Romeo and Juliet at 7 p.m. at the Vinoklet Winery, Colerain
Saturday, Aug. 24 A Midsummer Night’s Dream in Keehner Park, West Chester
Sunday, Aug. 25 Romeo and Juliet at 6 p.m. in Presidents Park, Edgewood, Ky.
Tuesday, Aug. 27 A Midsummer Night’s Dream at 7 p.m. in Uptown Park, Oxford
Wednesday, Aug. 28 A Midsummer Night’s Dream at 7 p.m. at the Clifton Cultural Arts Center Lawn
Thursday, Aug. 29 A Midsummer Night’s Dream at 7 p.m. at the Smale Riverfront Park, Downtown
Friday, Aug. 30 A Midsummer Night’s Dream at 7 p.m. at the Eden Park – Seasongood Pavilion, Mount Adams
Jason Bruffy will leave his position as artistic director of Know Theatre of Cincinnati on Sept. 4 to lead the Salt Lake Acting Company (SLAC) in Utah.
He became Know's artistic leader in 2004 and oversaw the company's 2006 move from a church basement in Over-the-Rhine to a remodeled, two-story building on Jackson Street in another part of the neighborhood that has become a focal point for Cincinnati's performing arts scene. His departure coincides with that of Know founder, Jay Kalagayan, who announced earlier in the summer his intention to relinquish his responsibilities as the 11-year-old company's development director. Managing Director Eric Vosmeier will be Know's interim leader while a search is conducted for Know's next artistic director.
The best choice, for my money, is Keith Glover’s Thunder Knocking on the Door at the Cincinnati Playhouse in the Park, a revival of sorts from 1999 — but thoroughly and creatively reimagined for the final mainstage production of Ed Stern’s final season leading the Tony Award-winning theater. It’s a musical about the Blues and it features an emotional Blues score, mostly by Keb’ Mo’, to tell the story of the power of love and music — and blues guitar players. It’s presented with panache, including technology and design that are all about 2012. Through May 20. Box office: 513-421-3888.
If you loved the Doo-Wop silliness of The Marvelous Wonderettes, a hit from 2010 at Ensemble Theatre Cincinnati, then you’re likely to have a good time at Life Could Be A Dream, Roger Bean’s sequel to the story of some bubbly girls who bond around teen hits from the ’50s and ’60s. This time is boys, and that’s most of the difference. As in the two Wonderette shows, Dream is shot through with adolescent angst, in this case around a local radio station contest that could “make them famous.” It’s an excuse for more than two dozen tunes from the same era that are shaped to the story. So it’s a familiar formula, but ETC has a talented cast who make it a lot of fun. (Through May 20.) Box office: 513-421-3555.
Another show that totally mastered the art of wedging familiar tunes into an implausible story is Mamma Mia, and you can catch a touring production of that one at the Aronoff Center through Sunday. The cast of this tour has a lot of youthful energy and several mature characters who have fun reminiscing about their disco days. Box office: 800-982-2787.
Bloody Bloody Andrew Jackson will have its final performance on May 12. If you haven’t yet seen this youthful mix of political commentary, driving Rock, history, humor and sober observations about the will of the people, you’d better go this weekend. (The longer you wait the less likely you are to get a ticket — the final weekend is selling fast.) Not many musicals begin with the cast flipping the bird at the audience, but then not many musicals are like this one, spinning a tale of America’s seventh president to in-your-face Indie Rock tunes. This is Bloody Bloody’s first professional regional production. I gave it a Critic’s Pick. Box office: 513-300-5669.
You have plenty of time to see The Second City 2: Less Pride – More Pork, since the Cincinnati Playhouse plans to keep it on the Shelterhouse Stage until July 1 (at least), but I predict you’ll enjoy it whenever you go. It’s a notch up from the first iteration of the show that set box-office records for the Mount Adams theater a year-and-a-half ago. Lots of hilarious fun-poking at … us. And the clever cast uniquely tailors every performance to the audience that shows up. Box office: 513-421-3888.
Know Theatre’s production of the recent off-Broadway and Broadway Rock musical hit, I was thoroughly entertained by Joseph and the Amazing Technicolor Dreamcoat last week at the Covedale. It has a cast of strong singers who do a fine job with the amusing score, stuffed with musical parodies — Calypso, Blues, County, Bubblegum Pop and more — and they’re having an infectious good time. Keep an eye out for the Pharaoh; he’s really the King! Through May 13. Box office: 513-241-6550.
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.