If you can't score a ticket at CSC, you might try to get in to see Good People, a new play by Pulitzer Prize winner David Lindsay-Abaire, which concludes its run on Sunday. The tale about an unskilled woman from South Boston seeking work in today's world has the ring of truth and reality to it, and Annie Fitzpatrick's portrait of hard-luck Margie — who thinks of herself as "good people" — is touching and relevant to the world we live in. Tickets are selling at a fast clip for this one, too, so call to find out if seats are available: 513-421-3555.
Want to take some kids to a show they'll enjoy? It's always fun to introduce them to live theater, and there are two great choices currently onstage: The Cincinnati Playhouse production of The Three Musketeers (running through Sept. 29, 513-421-3888) is full of action and adventure, good guys and bad guys. And The Music Man, on the Showboat Majestic (through Sept. 30, 513-241-6550), is a classic musical with a lot of humor — and a winning acting job by charming Owen Gunderman as Winthrop, the kid who overcomes his shyness when he gets a cornet to play in a boys' band.
Want something a tad more adventurous: Check out the Fringe shows that Know Theatre has brought back from last June's festival for several days. It's a sampling of some of the best work that drew big crowds to the Over-the-Rhine neighborhood, including two "Pick of the Fringe" offerings, On Her Pillow and The Screw You Revue, and two solo performers, Tommy Nugent and Kevin Thornton, who always draw a crowd. Probably no problem with ticket availability, but I recommend calling in advance: 513-300-5669.
Does this late September weather make you wish you could turn back the clock? Know Theatre is ready to take you back to June and the 2012 Cincinnati Fringe Festival with a brief reprise of several shows and artists who pleased audiences three months ago. Today through Saturday you can stop by the theater on Jackson Street in Over-the-Rhine for performances by Honour Pillow (her Audience "Pick of the Fringe" show On Her Pillow (review here) will be presented tonight and Friday evening) or Dewey Chaffee and Douglas McGeoch (whose Screw You Revue (review here) was the Producers' Pick of the Fringe in June and will be presented on Friday and Saturday). There will also be performances by two favorite Fringe solo performers on Thursday and Saturday — Kevin Thornton and Tommy Nugent. For the schedule and tickets, click here.
The intense energy between Principal dancers Cervilio Amador and Janessa Touchet is so palpable you can feel it — even when their hands aren’t touching.
Their expressive duet in Heather Britt’s world premier “Opus 5.5” provided an inviting opening to Cincinnati Ballet’s annual Kaplan New Works season opener last Thursday evening.
The production offers a rare chance to see dance up close, as it takes place in the company’s home performance studio at the Cincinnati Ballet Center.
There’s nothing like watching live performance, but there’s something even more exciting and visceral about seeing the dancers glowing and their muscles flexing.
Full of emotion, Britt’s sweeping contemporary new work has the dancers really moving all over: across the stage in sculptural lifts, through the air in expansive leaps and extravagant extensions. But it’s really the rare moments of stillness and quiet that grab you and draw you in closer.
New Works’ stock in trade has always been pushing stylistic boundaries.
But this year is noteworthy for another reason: For the first time, all of the choreographers featured are female.
Dance-wise, the women also stand out in the spotlight this year more than usual. Though, as always, there are plenty of equally fine turns by the men as well.
Paige Cunningham Caldarella’s “Without Consideration,” the program’s most offbeat piece, presents a topsy-turvy look at social media and its pleasures and pitfalls.
Its five short sections comprise a modern dance piece cut with classical ballet. It’s by turns satirical, ominous and oddly compelling.
Clad in a lime green tee-shirt and a short, ruffled floral skirt, Corps de Ballet dancer Courtney Hellebuyck shines in her solo.
She attacks each movement with ferocious intensity. Her dramatic facial expressions and stage presence are spellbinding. She and the other four dancers appear equally comfortable switching between styles — instant, by instant — in this mash-up of ballet and modern. The women even manage to perform modern floor drops in pointe shoes.
A physical wall (think social media) covered in paper provides the backdrop and set piece. The dancers write on it, hurl themselves against it, and press into it. They connect and disconnect, or nearly connect with each other. But at times, they just miss, undulating away from each other. Individual gestures are repeated, such as one’s own hand suddenly turning the head and face away in a slo-mo sideways “slap.” It seems to suggest the struggle to turn one’s attention away from staying online all day.
Amy Seiwert, San Francisco-based Resident Choreographer for Smuin Ballet (where she was also a longtime dancer), has created a thoroughly delightful getaway world in her world premier modern ballet ,“Think of You Often.”
The weather is balmy. The light-colored clothing, designed by the Cincinnati Ballet Wardrobe Department, is carefree and casual. The women collectively become an ocean tide, even in their pointe shoes. Its feel-good soundtrack, music by the Swedish group Koop, delivers effusive swing and a touch of Latin flair.
Principal dancer Sarah Hairston warmly embraces her role, full of flirtation and feline sassiness. First two, then four men lift and sway her — and no doubt cater to her every need.
But don’t let the piece’s escapist playfulness belie its underlying choreographic sophistication. The partnering throughout is highly complex, original, and technically demanding.
In a most striking duet, Zach Grubbs and Jacqueline Damico make the most intricate sequences look as easy and natural as an ocean breeze.
Jessica Lang’s contemporary neoclassical work “La Belle Danse” (2007) presents a slightly quirky court dance of sorts. Set to a score of the likes of Handel and Mozart, it’s the sole work here that the Ballet has presented previously, in 2009.
It’s the most classical piece on the program — relatively speaking — yet unexpectedly it marks the only one where the women wear soft shoes.
Displaying a very different, more sacred type of passion in this role’s solo, Hairston demonstrates her versatility as dancer, and a performer.
The large cast brims over with expressive dancing, filled with plenty of leaps, turns, waltzing… and conducting gestures.
Amador and Touchet rapid-fire their way through pirouettes and petit allegro galore. Although their style here sharply contrasts their opening duet, this superb pairing brings this production — one of the best New Works in recent years — full circle.
After a long hot summer (well, it's still feeling like a long hot summer), we have a full array of shows onstage in Cincinnati for you to choose among. I've seen two of them so far: Good People at Ensemble Theatre Cincinnati and The Three Musketeers at the Cincinnati Playhouse in the Park.
ETC's production of Pulitzer Prize winner David Lindsay-Abaire's 2011 piece (this is the regional premiere of Good People, which was nominated for a Tony a year ago) about a woman who falls off the bottom of the employment ladder has enough humor to be entertaining (especially with Annie Fitzpatrick in the central role of Margie and Kate Wilford and Deb Girdler as her gossipy friends and bingo-night comrades) and enough contemporary relevance to be thought-provoking. ETC's D. Lynn Meyers is at her best staging naturalistic shows with social meaning, and that's exactly what this one offers. It has a great cast and flexible, attractive scenic design by the ever-creative Brian c. Mehring. I gave it a Critic's Pick. Through Sept. 23. Review here. Box office: 513-421-3555.
I wanted to love The Three Musketeers at the Playhouse (through Sept. 29), but its balance of humor and heart is out of whack to my tastes. There's lots of adventure, hilarity and laughter — especially some no-holds-barred swordplay — but the show tries to hard to entertain that it misses out on the true emotion that should lie beneath. I suspect many people will love this thrill-a-minute tale of political intrigue and valor, loyalty and royalty in 17th-century France, and perhaps it will evolve to deeper feelings as it runs. I love new Artistic Director Blake Robison's desire to put appealing, family-friendly work onstage, and he's using this production to show what he means. I hope his approach gets a tad more texture and depth as his tenure continues. Review here. Box office: 513-421-3888.
I haven't yet seen To Kill a Mockingbird at Cincinnati Shakespeare Company, and their publicity says it's already sold out its first-two weekends. So you might want to put that one on your calendar for sometime before it wraps up (Sept. 30). In the meantime, you might want to head to Washington Park on Sunday evening at 7 p.m. for a special free presentation of CSC's touring production of The Tempest. It's a perfect piece for outdoor performance, set on an island with a sorcerer and his lovely daughter and some shipwrecked nobles who are responsible for his exile. Audience participation will be a key component of this event, with the audience asked to create large-scale effects by blowing bubbles, making waves with silk and generating sound effects. Sounds like great fun. Music (by The Young Heirlooms) begins at 6 p.m. This is a good one to bring kids to see.
Also off and running this weekend is Cincinnati Landmark's production of Tennessee Williams' Cat on a Hot Tin Roof. It's a classic drama of sexual tension and family strife, a bit heavier fare than is usually found at the Covedale Center. It's a sign of the company's ambition to be a full-fledged theater offering a wide range of material. (Through Sept. 30.) Box office: 513-241-6550.
OK, it's the last day of August and the last true weekend
of summer. That typically means there's almost no theater, since most of
the stages in town are readying their season openers. But you do have a
At the Clifton Performance Theatre you can see the last few performances of Nothing, a production brought back from this year's Cincinnati Fringe Festival. It's a one-man show about bullying and autism, told with lots of illustrative video. It was a popular item during the Fringe in June, so it's certainly worth checking out. Tickets: 513-861-7469.
Another Fringe-like option this weekend is a mash-up of OTR Improv and True Theatre, happening at Know Theater, which is kind of like the crazy uncle of these two groups that make the Over-the-Rhine venue their home. On Saturday evening at 8 p.m., they'll present another installment of The Chronicle, a long-form improvisation based on the real-life stories of special guests. Dave Levy and Jeff Groh, the guys who make True Theatre go, are the starting point for the evening's fun and games. They'll tell stories, and then the improv folks will turn them into something more. You can get tickets (for $5) at the door — located at 1127 Jackson Street in OTR.
The Cincinnati Playhouse in the Park opens its new season (with a new artistic director) next Thursday with The Three Musketeers. But here's a tip: You can see previews starting Saturday, and tickets are more affordable than during the actual run of the show. You might know the story of D'Artagnan and his three swashbuckling buddies, Athos, Porthos and Aramis — but I bet you've never seen such a rollicking, have-a-great-time production as this one. I just finished reading the very conversational and funny script, and I suspect that audiences will love this show, especially if it's pulled off with visual panache. It's our first chance to see a work directed by Blake Robison, the new guy in charge. He says this is the kind of work he wants to bring to the stage regularly. Be among the first to see what he's up to. Box office: 513-421-3555.
Other theaters opening shows next week include Ensemble Theatre Cincinnati on Wednesday (Good People is about unemployed folks dealing with the "new normal") and Cincinnati Shakespeare Company starts its production of To Kill a Mockingbird on Friday. Both productions have fine casts: Annie Fitzpatrick is playing the hard-pressed central character in Good People; Bruce Cromer is the virtuous attorney Atticus Finch in Mockingbird. Both are among our most watchable actors.
My Curtain Call column in CityBeat this week offers more about these shows and others that are opening this month.
Artistic Director Jim Stump tells me that they've been notifying the
actors and designers who had been recruited for a staging of Eric
Talk Radio that the production, scheduled to open on
Sept. 27, is not going to happen. He wrote to me in an email, "This is
due to a number of factors, not the least of which was the suddenness of
our losing the Columbia with little warning. This meant we spent a
significant portion of the time we would normally dedicate to the first
production to the search for a new venue. In the end, we didn't feel we
could present a production of the quality our audiences would expect."
NET is still seeking a permanent solution to its venue needs, but Stump says the company will present The Santaland Diaries and The 12 Dates of Christmas at the Aronoff's Fifth Third Bank Theater in December.
Most of the theaters in town are gathering their strength
for the fall season, so there's not much to recommend this weekend —
unless you haven't made it to the Carnegie in Covington yet to see the
delightfully silly production of Xanadu. (Review here.) The recipe for
this delicious concoction is a really lame movie from 1980, some clever
new writing by playwright Douglas Carter Bean, really inventive
direction by Alan Patrick Kenny (the guy who staged Jerry Springer: The Musical
a few summers back) and a cast who can sing (Pop tunes from the ’80s),
dance (to a disco beat, no less), act (like Greek muses, well, kind of)
and do it all on roller skates! This weekend is your final chance to see
After Xanadu closes on Sunday, our local theaters will pretty much be dark for a week or so. Then right after Labor Day, you'll have tons of choices. Look for my Curtain Call column in the upcoming issue of CityBeat for a glimpse of what's in store for September.
If it weren't for the Carnegie's production of Xanadu,
there wouldn't much to point you for theater choices in mid-August. I'm
happy to report that the judges from the League of Cincinnati Theatres
and I are in agreement that
this frothy piece of roller-disco and Greek mythology is a great piece
of silly entertainment. (Review here.) It's great to see the work of Alan Patrick Kenny
onstage again in Cincinnati. I should mention that this show
constituted his master's thesis for his graduate degree from U.C.L.A.,
and his advisors came to town to pass judgment on it. They apparently
gave him a passing grade, completing his academic efforts and
green-lighting him for his new job teaching musical theater at the
University of Wisconsin at Stevens Point. I hope it's not too long
before he gets another gig locally, but in the meantime, I bet the folks
in central Wisconsin will be highly entertained. If you want to catch
Xanadu, you should call for tickets now, since the positive buzz means
that tickets will be getting snapped up between now and the final
performance on Aug. 26. Box office: 859-957-1940.
One other show that some of you might find entertaining is Rounding Third, on board the Showboat Majestic. It's about two wildly different guys coaching a Little League team — one is a win-at-all-costs kind of guy, the other is a geek who just wants the kids to have fun. You can imagine the fireworks. The LCT judging panel recommended it, and I can say that it's got two solid actors performing it. I thought the script was a tad predictable, but it's got some good laughs, and if you love baseball (or if you played Knothole ball here in Cincinnati) you'll find a lot to identify with. Box office: 513-241-6550.