A lot of Stephen Sondheim’s shows are kind of heady, but Into the Woods — a bunch of fairytales put through a blender — is perhaps his most approachable. Given the delightful treatment, overflowing with talent you’ll find in this production at UC’s College-Conservatory of Music, tickets might be in short supply but try — it’s a longer run than usual. Act I is about “happily every after,” while Act II explores what comes next. CCM has a remarkably skilled crop of seniors this year (they’ll be on Broadway before long), and professor and director Aubrey Berg, who heads the program in musical theater, has used them to full advantage in a wildly clever staging. There are many featured performances and songs — the characters include Cinderella and her evil stepsisters, Jack (from the beanstalk story) with a very funny pet cow, a handsome but empty-headed prince, a precocious Little Red Riding Hood and a lascivious Wolf — but this is way more than a tale for kids. In fact, Into the Woods is one of the best theater productions I’ve seen all season. Read my review (a Critic’s Pick), and then go to see it. Tickets: 513-556-4183.
A year ago Cincinnati Shakespeare had a big hit with Jane Austen’s Pride & Prejudice. They’ve done it again with another adaptation, Sense & Sensibility. This time it’s two sisters, one rational and one emotional, wonderfully portrayed by Kelly Mengelkoch (as the reserved, reasonable Elinor) and Sara Clark (as willful, romantic Marianne). They’re surrounded by droll supporting characters — and a story of romance and domestic intrigue. I gave the production a Critic’s Pick. It’s onstage for two more weeks, but many performances have sold out, so don’t dally. Tickets: 513-381-2273.
This is the final weekend for two more excellent productions. Know Theatre’s “comedy of anxiety” by Allison Moore, Collapse, about all kinds of things falling down — a highway bridge, the economy, relationships — winds up on Saturday evening. Andrew Bovell’s Speaking in Tongues, a complicated noir-ish tale of marital deceit and cryptic crime, finishes its run at Cincinnati Playhouse’s Shelterhouse Theater on Sunday. Both earned Critic’s Picks.
In addition to Into the Woods, there are more shows by Sondheim on local stages. You’ll find the touring production of West Side Story at the Aronoff through March 11. It’s a show Sondheim wrote the lyrics for when he was 26 (he’ll soon be 82). Tickets: 800-982-2787. ... This weekend the Cincinnati Playhouse begins previews of Merrily We Roll Along, a Sondheim show from 1981 that was a flop at first, but now is praised as one of his greatest musical accomplishments. Tony Award winner John Doyle is directing; he makes things interesting by having his actors play musical instruments, too. (He did that at the Playhouse in 2007 with Sondheim’s Company, a production that transferred to Broadway.) Merrily opens next Thursday on the Marx Stage, but previews are the most affordable tickets, so think about catching it this weekend. Through March 31. Tickets: 513-421-3888.
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.
Know Theatre of Cincinnati has called Jackson Street in Over-the-Rhine home for several years, but it's been easy to miss them, tucked away behind the Gateway Garage on a short block between Central Parkway and 12th Street. That's being remedied right now with the construction of a marquee that should be highly visible from both north and south of the theater, especially from busy Central Parkway.
Let's give credit where credit is due. The League of Cincinnati Theatres award process moved quickly (if incompletely) on recognizing the Cincinnati Playhouse production of Always … Patsy Cline, which opened just a week ago today. The judging panel singled out costume designer Gordon DeVinney for his work. A panel member commented, “If you look at images of Pasty online, these ‘looks’ are incredibly authentic and evoke her persona in a startling and effective combination of era and personality.” DeVinney is the Playhouse’s costume shop manager; he has designed more than 30 productions for the Playhouse.
I saw Cincinnati Opera's production of Silent Night on Thursday evening. It's the regional premiere of a work that won the 2011 Pulitzer Prize for music, and our local opera is doing a bang-up job of presenting it. And "bang-up" is the operative term: This opera is set during some of the darkest days of World War I, and the opening segment of the production reproduces the violent and deadly combat between troops from England (actually a regiment from Scotland), France and Germany. You're not likely to see a more gripping onstage representation of battle than what's happening at Music Hall. Before Thursday's performance I listened to composer Kevin Puts and librettist Mark Campbell talk about how to "musicalize" such a scene: Their research included studying the opening sequence of the Saving Private Ryan, the graphic, Academy Award-winning film of the D-Day invasion during World War II. It's a powerfully real scene, a perfect opening to the moving tale of soldiers pitted as enemies who found common ground in one another's humanity on Christmas Eve 1914. You can get good seats for the concluding performance on Saturday evening (7:30 p.m.) for $30-$45 by calling the Opera's box office: 513-241-2742.
Area high school students are the talent in onstage for Commonwealth Artists Summer Theatre (C.A.S.T.) at Highlands High School (2400 Memorial Pkwy., Fort Thomas). Starting tonight is a two-week run (July 11-20) of The Addams Family, a Broadway musical based on cartoonist Charles Addams' bizarre and beloved family of characters. The group is headed up by Fort Thomas theater instructor Jason Burgess, who has assembled theater kids from the Greater Cincinnati and Northern Kentucky who are eager to develop their skills in performance and production. Tickets: $10 (http://www.showtix4u.com) or at the door.
Tony Award-winning musical next to normal, about a
woman with bipolar disorder, gets not one but two productions by
Cincinnati-area community theaters: Sunset Players on the West Side and
Paradise Players for East Side siders. You can choose between them tonight. The
venerable Sunset Players, which presents shows at the Dunham Arts Center (in
the Dunham Recreation Complex, 4320 Guerley Rd., Price Hill), has performances
through July 26,
mostly at 8 p.m.
Tickets ($14-$16): 513-588-4988. Meanwhile,
Paradise Players, a newish group offering summer productions at McNicholas High
School's Jeanne Spurlock Theatre (6536 Beechmont Ave.), is presenting its
rendition of the show this weekend only, tonight at 7:30 p.m. and Saturday at
2:30 and 7:30 p.m. Tickets: $15 (http://mcnhs.seatyourself.biz
Last Sunday evening I gave a lecture prior to the Cincinnati Playhouse performance of Stephen Sondheim’s Merrily We Roll Along. I stuck around to see the show again (I attended the opening on March 8 in order to review it for CityBeat). I gave the show a Critic’s Pick, but empty seats on Sunday reminded me that a theater critic’s opinion is not necessarily the only endorsement needed for a show to sell tickets. Although this is a fine production, several reasons come to mind: The show is not well known; if people do know it, they’ve heard it was a flop when it had a brief Broadway run in 1981. John Doyle’s production shows little evidence of the latter and demonstrates amply that there’s much to be appreciated. But there’s not been much buzz around Merrily at the Playhouse, despite the work of Doyle and his excellent cast. The upshot is tickets are still available for most performances, through March 31. Doyle inventively staged Sondheim’s Company in 2006 at the Playhouse, a production that moved to Broadway and earned a Tony Award. This production uses the same approach: actors provide their own musical accompaniment. It’s a showbiz tale about chasing success at the expense of happiness. We start at the demise of a bond between three former friends who wonder what happened to the “good thing going” they once had. We trace back to their earliest, optimistic moments via great music, brilliant design and excellent performances. If you love musicals, you should see Merrily We Roll Along. I’ve talked with several people who have returned the Playhouse production. (Merrily is not likely to transfer to New York as Company did in 2006. The show was presented by Encores! at New York’s City Center in February, so theater critics have not paid attention to the Cincinnati production as they did with Company in 2006, right after Doyle staged Sweeney Todd on Broadway.) Box office: 513-421-3888
You can’t go wrong with Donald Margulies’ very much in-the-moment drama Time Stands Still at Ensemble Theatre of Cincinnati. It’s the story of two journalists who have been addicted to the adrenalin rush of covering wars. He’s now running away and hiding in film reviews (there’s a touch of post-traumatic stress, it seems, because he’s watching classic horror films all the time), and she’s recovering from injuries that resulted from a roadside bomb blast in Iraq. What’s next for them? Well, that’s what the play is about — a return for more or settling for a calmer, safer life, represented by a happy if unlikely couple who visit them, the photographer’s editor and mentor and his naïve young girlfriend. Four intriguing character studies add up to an evening of thoughtful drama. I gave it a Critic’s Pick; here’s a link to my review. Through April 1. Tickets: 513-421-3555
Northern Kentucky University just opened a production of Timberlake Wertenbaker’s Our Country’s Good. It’s about people sent off to a penal colony in Australia in the 1780s. The governor decides to impose order on the criminals by having them put on a play. It’s not an easy undertaking — but it changes the lives of everyone involved. It’s a play about the power of the arts to humanize people and transform them into something new and better. The show’s original Broadway production in 1991 was nominated for six Tony Awards. It’s one of my favorite scripts, a fine choice for NKU’s drama program, where it’s being staged by Daryl Harris. Through April 1. Tickets: 859-572-5464
Finally, if you’d like to instill some interest in the theater in a couple of kids, take them to one of this weekend’s performances of Rapunzel! Rapunzel! A Very Hairy Fairy Tale, presented by The Children’s Theatre of Cincinnati. It’s a world premiere musical created by composer Janet Vogt and writer Mark Friedman, who wrote How I Became a Pirate, a hit from last season. Performances happen at the nicely renovated Taft Theatre on Saturday and Sunday (as well as March 31). Tickets: 513-569-8080, x13.
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.
Last evening I went to see Mary Zimmerman's Metamorphoses
at UC's College-Conservatory of Music. You can read more about
playwright Zimmerman in my column in this week's issue here, and you'll
probably figure out that this is one of my favorite scripts. CCM's drama
program has created a shimmering, playful production that's getting a
brief run (final performance is a 2 p.m. matinee Sunday) at Patricia Corbett Theatre.
Guest director D. Lynn Meyers
took a break from Ensemble Theatre Cincinnati to travel up the hill and
stage this one on the UC campus, and her cast of 18 student performers
wholly embraced this unusual show — which requires a pool of water as
its central design feature. (Water plays a significant and meaningful
role in the retelling of a set of classical myths shaped and recorded by
Ovid two millennia ago.) But Dana Hall's scenic design doesn't stop
with water; it's elemental, with immense hanging slabs of stone that
resonate with the decorative concrete slabs in PCT. Wes Richter's
lighting — it really does shimmer — enhances the stories of characters
changed by circumstances, good intentions and bad decisions, and Kevin
Semancik's sound design brings vivid punctuation to many stories,
including a destructive storm at sea.
Speaking of sound, cellist Jacob Yates, a senior at CCM, composed moody accompaniment that distills the moving emotional essence of each scene; he performs live from stage left as the tales unfold. Amanda Kai Newman's costume designs complete the visual power of the show, whether they are fluttering around the edge of the pool or from a high balcony upstage from which the gods watch and control the mortals — and even when they are sopping wet from action in the variable-depth pool. Much of the action is beautifully choreographed and delivered with confident physicality. All in all, CCM's Metamorphoses is a total theatrical package that's definitely worth seeing. Tickets are likely available if you call quickly: 513-556-4183..
My schedule hasn't afforded me the time to see the production of Don't Cross the Streams: The Cease and Desist Musical, a show that began its life in the Cincinnati Fringe Festival back in June. (It also was a festival highlight at the IndyFringe in Indianapolis in August.) But the very tongue-in-cheek piece inspired by the film Ghostbusters (but not allowed to say that) has now been expanded into a full-fledged
musical that's onstage at Newport's Monmouth Theatre, presented by
Falcon Theatre and Hugo West Theatricals. The League of Cincinnati
Theatres has termed the show a "recommended production," so it's evident
that their judging panel enjoyed it. One panelist called
it "a lively, enthusiastic spoof," and another said that the show is
"an evening of theater that doesn't take itself too seriously. The show just had a two-weekend run, so it's final performance is Saturday at 8 p.m. Tickets: 513-479-6783.
Ensemble Theatre's production of Black Pearl Sings! features one of the finest performances by a local actor that I've seen this season. Torie Wiggins plays a woman in the 1930s who translates her memory of songs from her African ancestors into a ticket out of prison and to some notoriety in New York City. Wiggins nuanced performance is complemented by veteran Annie Fitzpatrick as the folk music researcher who sees Pearl as her own ticket to success. Their tentative relationship becomes a delicately balanced friendship, while both explore issues of racism, sexism and getting ahead. Definitely worth seeing. Through March 31. Box office: 513-421-3555.
Lizan Mitchell is at the other end of the career spectrum from Wiggins, but she too plays Carrie Watts, a sprightly, elderly African-Amerian woman whose powerful sense of home takes her on an impromptu journey back to her roots in A Trip to Bountiful at the Cincinnati Playhouse.
It's laced with sadness, since what she remembers no longer exists, but
her memories and her joyful take on life make it all worthwhile, not
only for her but for others in her life, including her browbeaten son and his selfish wife as well as a sweet young woman who is Carrie's companion on a long bus ride. Through April 7. Box office: 513-421-3888.
This weekend Cincinnati Shakespeare is opening a production of the much-loved Shakespearean romantic comedy, A Midsummer Night's Dream. It's been transported to 1940s America and set in a Jazz-inspired magical forest, with original musica composed by resident sound designer Doug Borntrager; there's also original choreography by Brittany Kugler. The production is staged by Jeremy Dubin, and features veteran actor Nick Rose in the role of Nick Bottom the Weaver, the guy who makes an ass of himself — literally. It's a tangled, funny story that all works out perfectly in the end. A great show to kick off springtime. Through April 21. Box office: 513-381-2273 x1.
The Cincinnati Arts Association (CAA) manages the Aronoff Center — that means they run our downtown performing arts center on Walnut Street, but it also means they work to fill the facility with occasional performances to supplement the big shows brought to town by Broadway Across America.
The first of those opens tonight, when CAA presents Late Nite Catechism for a two-week run (Oct. 7-19) at the Jarson-Kaplan Theater. This funny one-woman show about a nun preparing adults for the rigors of the Roman Catholic Church has a built-in local appeal, what with the large number of local residents who went to parochial schools where various teachings and behaviors were drilled into them.
When this played in Cincinnati several years ago for a one-week run, people flocked to see it — laughing from start to finish as audience members were chastised, scolded and gently (or firmly) reminded of tenets of belief and proper behavior. There’s lots of audience participation (including rewards in the form of glow-in-the-dark rosaries and other nifty prizes like trading cards depicting various saints); every performance takes on a life of its own because actress Kimberly Richards as “Sister” plays off those present and responds to moments in the theater that are seldom predictable. Get tickets and more info here.
CAA recently announced an extensive lineup of other performances in the next two weeks:
1. Christian musicians Michael W. Smith and Steven Curtis Chapman will offer a one-night program on Oct. 10 in the Procter & Gamble Hall.
2. NBC’s Last Comic Standing Live Tour will provide some laughs from the comedians you saw recently on TV on Oct. 16 in the Procter & Gamble Hall.
More good things are also booked for 2009:
• Lily Tomlin will offer a program of her classic routines on Feb. 6, 2009.
• Neil Berg’s 100 Years of Broadway will offer music from a century of Broadway shows, and is likely to include some musical theater performers with Cincinnati connections. This one is planned for Feb. 20, 2009.
• DrumLine Live! happens on March 16, 2009, featuring thunderous entertainment from the African-American marching band tradition.
• The Afro-Cuban All Stars will show up on March 22, 2009. You might know some of these performers from the wonderful film The Buena Vista Social Club.
• Actor Hal Holbrook has been playing 19th-century American writer Mark Twain for more than 50 years. He’ll bring his act to the Aronoff on May 14, 2009. Holbrook has more than 16 hours of material he’s developed, and he tailors each performance to the moment, often offering comment on current events drawn from Twain’s observations. He’s a treasure of the American theater.
For more information about CAA’s offerings: www.cincinnatiarts.org
— Rick Pender
Eric Vosmeier says he’s stoked by a show he’s just added to Know Theatre’s production schedule for the summer. He’s set to direct a modern take on Shakespeare’s Macbeth called Toil and Trouble. Lauren Gunderson’s play had its world premiere at Impact Theatre in Berkeley, Calif., last November; Know is giving the show its second production, opening July 26 and running through August 24.
Landing it, Vosmeier says, is “another victory for our new schedule model by securing the rights for the first production of this show following its world premiere. We’ve been looking for a strong comedy for quite some time, and I think this fits the bill perfectly. This contemporary retelling of Macbeth is spot on, but with enough twists and turns to keep the audience guessing. It’s going to be a lot of fun.”
Toil and Trouble is the story of two ambitious guys and a badass lady who decide to fight the recession with dictatorial dreams. Instead of going to grad school like everyone else they know, Adam, Matt and Beth are Bay Area thirtysomethings with too much education and not enough employment. They’re overqualified to work at Borders, and Adam is brimming with ideas — but most of them involve robots.
Thanks to three fortune cookies with some creepy fortunes (remember, Toil and Trouble this is based on Macbeth, which commences with three witches predicting Macbeth’s rise to power), the trio settles for taking over a small island nation off the coast of Chile. The show throws baseball, investors, Wikipedia, hypothetical sex and real violence into one bubbling cauldron. The overlay of Macbeth brings hipster malaise and ridiculous modernity into the mix, demonstrating that hubris, greed, power and passion never go out of style.
Vosmeier has cast Breona Conrad as Beth, Joshua Murphy as Matt and Chris Wesselman as Adam. Conrad and Murphy have been touring for several seasons in Know’s production of the Fringe hit Calculus: The Musical. Vosmeier says, “I’m thrilled to have one more chance to work with Josh and Breona before they leave Cincinnati.”
You can purchase tickets in advance for $15; they’ll be $20 the week of performance, beginning Mondays at noon. (Your best deal is to purchase one of Know’s flex-passes, six tickets for $90. You can use some for Toil and Trouble, and save the rest for future shows.) Info: 513-300-5669.