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.
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.
Despite the 100-plus heat on Friday evening, on my way to a
World Choir Games concert at Over-the-Rhine's School for Creative and
Performing Arts (SCPA) I took an extra half-hour to wander through the
renovated Washington Park, which officially opened earlier in the day.
What an incredible scene! Hundreds of operagoers were streaming through
the park on their way to see Porgy and Bess at Music Hall, while
kids from the neighborhood — young and old, I must add — were playing in
the people-friendly fountain. Everyone was strolling around admiring
the views and the colorful "OTR Flags," another festive element of the
On from there to SCPA's Corbett Theater for another sold-out "Celebration Concert." This one used the theme "Voices of Gold," because each of the three choirs have won multiple honors in past World Choir Games and other choral competitions. SCPA seemed like the perfect setting, since each group was made up of youthful performers: Zvonky Praha is a school group from a school in Prague in the Czech Republic and some of its singers were obviously elementary school age kids; SKH Lam Woo Memorial Secondary School were high schoolers; and the Mansfield University Concert Choir was a mixed choir of young adults from the university in Pennsylvania. It's fascinating to observe the differing personalities of the choirs, here a product of age but also of directors with very different styles of leading the singing.
Zvonky Praha begain with its 19-member chamber component, separately named "Abbellimento," all high school age girls clad in black pants and shirts, with scarlet sashes, some worn as belts, others as scarves and one as a head band. Their female voices were reedy but strong for their program, virtually all sung in Czech, so I can't tell you much of what the music was about. But I can say it was delivered with passion and clarity, accompanied in most cases by a blonde-haired pianist who played with expressive emotion. Several numbers were enhanced by one of the singers picking up a clarinet and offering soulful punctuation. When the balance of the choir came on to join Abbellimento, the numbers were roughly doubled, but again almost all girls wearing red choir capes. (There were two young boys, but I suspect their voices had not yet changed, and the feminine quality of the singing did not change.) Director Jamila Noveknová kept the ensemble in tight control, but for several final numbers had some soloists step forward, including one of the younger performers with a gorgeous soprano voice. Their final number, a choral replication of bells, was especially memorable.
Lam Woo's director, Siu Mei Lee, is a petite, beautiful woman with shining, black hair. She conducted with the expressive grace of a ballerina, using large gestures and physical movement to inspire her very focused choristers. This was a big group, roughly 80 singers, wearing school uniforms: The boys had white shirts with a school emblem and ties while girls wore knee-length pale blue dresses with white "sailor" collars and white knee socks. This group were serious in their demeanor, totally focused on their animated director. Their wide ranging program encompassed works by Mendelssohn as well as Asian composers; their concluding number, "Zum Gali," was a rhythmic traditional number from Israel that swung between soft and loud passages and up and down energy, but with a beautiful fading elevation of tone as its conclusion. The intense singers maintained their demeanor as the audience gave them a standing ovation, but when a little boy entered from the wings to hand a bouquet to Siu Mei Lee, the entire chorus burst into applause. Their affection for her was evident.
Peggy Dettwiler is clearly a veteran conductor (she teaches the craft to others at Mansfield University) and her work with her more mature singers was the most satisfying component of the evening. A balanced choir of about 60, the men wore traditional tuxedoes and black ties, while the women were attired in floor-length gowns all cut the same way. (The women also wore identical sparkling necklaces and earrings.) According to the introductions made for this group, their repertoire is generally drawn from religious works, but that did not mean it was a lot of the same thing: They offered a beautiful piece with German lyrics and music by Mendelssohn, followed by a solemn, stately song by Stephen Paulus, "The Old Church." Next was a traditional Gospel number, "Hold On!," delivered with relaxed energy. For a traditional Appalachian hymn, "Every Night When the Sun Goes Down," the group formed an unorthodox circle around Dettwiler, who conducted the entire program without music from a small, square platform about six-inches in height. That meant that some had their backs to the audience, but at one key moment, they turned toward us, which elevated not only their volume but the intensity of their heartfelt performance. Their finale, "Pal-so seong," was a humorous number in which various solo singers burst into giggles, hoots and chortles, culminating in gales of laughter — a truly unusual piece. The group's encore, an infectious "Alleluia," had them file up the aisles at Corbett Theater, surrounding the audience with joyous song. It was a perfect conclusion to the varied program.
If you’ve seen The Seagull at Cincinnati Shakespeare Company (and CityBeat theater reviewer Tom McElfresh recommends that you do), then you should plan a return visit for The Nina Variations, playwright Steven Dietz’s delightful take on the final scene of Chekhov’s play. CSC offers another way to see the 1896 classic, via Dietz’s 1996 script, presented by the Bruce E. Coyle Intern Company from Cincinnati Playhouse in the Park.
It is also, like that other Oktoberfest (which actually occurs in September), fun. No, it doesn’t have the World’s Largest Chicken Dance, but it may have come up with something even better in Contained: Gateway Arts Festival, which opened last Saturday and continues with limited hours through Nov. 3.
It was produced by the Requiem Project, which is managing and hoping to restore Over-the-Rhine’s Emery Theatre (where there is a Mike Disfarmer photo exhibit that I blogged about last week). Saturday’s opening was hampered by cold weather that kept attendance small on the grounds of Grammer’s in Over-the-Rhine. (Grammer’s is a place that’s probably seen quite a few Oktoberfests in its day.) But the weather didn’t dampen the creative imagination that went into the event.
Using 11 trailer-size steel shipping containers as gallery walls, artists displayed their photography and video-based work, some interactive, as visitors wandered in and out. The standards were quite high and one project — David Rosenthal’s “Everything at Home Depot (Series)’’ — struck me as outstanding.
Installed in vertical pieces on fiberboard along the interior sides of the container, the color heat-transfer prints set out to do what the title suggests. In this environment — with the container’s metal sides, the wood floor and glaring fluorescent lights – the whole project looked just right — a melding of the artistic and the industrial, the soulful and the soulless. If this is part of a larger series (as the title suggests), it deserves to be seen in total. But one hopes future showings will get an environment as cool as this.
In a corner of the grounds, behind one crate and out of direct view, a band played suitably spacey music. After awhile, musicians moved atop a crate to play music with a pronounced electronic component. Meanwhile, video projections were displayed high off the building’s sides — you could see the images when approaching the site and it was really exciting.
The whole festival, itself, worked as an art installation. It will be open again this Friday from 6-10 p.m. (it’s ideal at dark), 2-5 p.m. Saturday and Nov. 3 by appointment at email@example.com. It’s definitely worth a visit, even if not that easy to get to.
Another show you need to see — partly because of its excellence and partly because it’s in a space rarely open to the public — is the Using Photography exhibit at downtown’s Michael Lowe Gallery. He is a private dealer, so it’s a treat to see his elegant, uncluttered two-floor gallery open to the public. Drawing on his own collection, he’s put together a show that works as both top-notch fine-art photography and as a historical exhibition.
In this case, the history that the show addresses is that of the conceptual/performance art world of the 1970s. Pivotal names in international contemporary art’s development are represented here — Marina Abramovic, Vito Acconci, Gerhard Richter, Michael Kelly, Ed Ruscha, Gilbert and George and many more.
With the richness of work represented, and it way it stretches our definition of photography and time-based art, it’s one of FotoFocus’ best shows. To just pick one piece, I was especially moved by Christian Boltanski’s five touched-up photographs comprising 1974’s “Anniversaire,” or “The Birthday.” I am used to the French artist’s solemn, sobering, heart-rending installations that use photography to remember the Holocaust. They are so strong you wonder if they must drain the artist of all joie de vivre. Yet here he is happy in this work, and the meaning of that happiness is revelatory if you know his history. Even if you don’t, it’s a generous and warm piece.
This show originally was going to be open just briefly, but Lowe has agreed to stay open noon-4 p.m. weekdays through the end of the month. His gallery is at 905 Vine St. Plan a downtown lunch trip around it.
Meanwhile, only up through this Thursday is Photogenus at the Reed Gallery inside University of Cincinnati’s College of Design, Art, Architecture & Planning. Put together by Jordan Tate, DAAP photography professor, and gallery director Aaron Cowan, this looks at how today’s international artists use photography in a digital age.
It’s a nice companion to Lowe’s show, as one chronicles breakthroughs from the 1970s (some of which we’re still trying to understand) and one shows how today’s international artists are using photography to make new breakthroughs. Much of it is quite out-there and left me quizzical about individual work’s obscure intent and technique. But some were very striking, like Anthony Lepore’s pairing of a photo (an archival ink print) of a salt field with a piece of carpet of roughly the same color.
I had written earlier about how eager I was to see Nancy Rexroth’s photographs at downtown’s YWCA Women’s Art Gallery as part of FotoFocus. The show consists of previously unprinted images from her influential Iowa project of the early 1970s — she used a toy camera to capture fleeting glimpses of everyday life in rural Ohio.
There was always the chance the black-and-white work had
been left unprinted for a reason all these decades, but I’m happy to report
it’s an excellent, evocative show — underscoring just how strong a body of work
Iowa is. Besides the ghostly “Clara
in the Closet, Carpenter, OH,” previously published in CityBeat, I also loved
“House Vibration, Dayton, OH, 1976,” in which the blurry focus produces an
unsteady image that makes one think an earthquake is occurring. It’s a great
metaphor for the here-today-gone-tomorrow nature of life. This show will be up
through Jan. 10 — Rexroth shares the space with Judi Parks and Jane Alden
OK, so it's Memorial Day weekend, and theater-going might not be what you have in mind. How about this? If you're heading downtown for the feeding frenzy at Taste of Cincinnati (and what true Cincinnatian isn't?), you can take a quick side trip to Jackson Street in Over-the-Rhine to pick up some tickets or a pass for the eighth annual Cincinnati Fringe Festival. It's the perfect time to find your way to Know Theatre (1120 Jackson, right next to the Gateway Garage), which is Fringe headquarters.
While many of Cincinnati’s theaters have announced their 2011-2012 seasons, a few more are putting the finishing touches on what they’ll stage for the coming year. Today I can share with you exciting news from The Carnegie Visual and Performing Arts Center as well as an always popular series at UC’s College-Conservatory of Music (CCM).
The Cincinnati Art Museum's 2009-2010 season will include several photography shows, all in 2010: Starburst: Color Photography in America 1970-1980 (Feb. 13-May 9); local photographer Thomas Schiff's Las Vegas 360 (April 3-July 18): and Walker Evans: Decade by Decade (June 12-Sept. 5).
Under the old system, grants of $3,000-$5,000 were awarded to local artists. Now, the Cincinnati Arts Ambassador Fellowship Committee will provide more impactful grants of $6,000 to seven different artists.
The process kicked off at the beginning of the year when artists were invited to submit a letter and resume to City Councilwoman Laure Quinlivan before Jan. 15. The invitation was open to artists of all different disciplines but they had to be residents of Cincinnati throughout the program (July 1, 2012-May 31, 2013).
After more than 100 applications applied, twelve finalists were announced on Tuesday.
“We were blown away at the number of applications,” Todd Wurzbacher, Chair of the Cincinnati Arts Allocation Committee, said in a press release. He presented the list of finalists in Quinlivan’s Strategic Growth Committee today.
The twelve finalists are Jesse Mooney-Bullock, Tatiana Berman, Pam Kravetz, Karen Heyl, Melissa Godoy, Guy Michael Davis, Tonya Matthews, Terri Kern, Casey Riordan Millard, Brad Austin Smith, Rondle West and Nathaniel Chaitkin.
The finalists will be interviewed by the Cincinnati Arts Allocation Committee members, who will then choose the final seven artists to receive awards. The final awards will be given to seven artists on Tuesday, Oct. 16 at 11:30 a.m. on the steps of City Hall.
“I’m excited we have visual artists, musicians, dancers, filmmakers, and even a puppeteer in our finalists,” Quinlivan said in a press release. Quinlivan got council support to create the CAAF program. “More than 125 Cincinnati artists applied for the newly created Arts Ambassador Fellowship, proof that Cincinnati is a strong arts city,” she said.
In case you haven’t been paying attention, the Carnegie Center in Covington has been producing some ambitious theater and following a course that others haven’t tried: It’s called collaboration. Joshua Steele, the managing director of theater for the arts center in a one-time Carnegie Library, has amplified his results by working with other arts institutions in the region — especially, but not limited to, the fine theater programs at area universities. Steele will announce his 2012-2013 this week, and it’s evident that he’s continuing this commendable course working with Dayton’s Human Race Theatre Company for the first time and building on a productive relationship with the Cincinnati Chamber Orchestra. He’s also engaged some top-notch freelance talent to ensure that productions will be memorable.
Steele, who previously co-founded the meteoric New Stage Collective with his friend Alan Patrick Kenny, is bringing the remarkable director back to town for his first return since NSC closed in April 2010. Kenny, who has been earning an M.F.A. in California and staging theater on the West Coast, will direct the regional premiere of the musical Xanadu (Aug. 11-26, 2012). This campy, tongue-in-cheek show, based on the 1980 move that featured Olivia Newton-John, is right up Kenny’s inventive alley, and should be a refreshing dash of onstage energy at summer’s end. (Auditions for this show will take place on May 22, 7-10 p.m. at the Carnegie. Actors interested in auditioning should contact Adrianne Eby, firstname.lastname@example.org)
The Human Race collaboration will be next. The Dayton
company, which performs regularly at the Loft Theater in that city’s downtown,
is premiering a new play by Michael Slade, Under a Red Moon, in late October.
The production will then move to the Carnegie for a three-weekend run (Nov.
2-18, 2012). Set in 1949, it’s a taut psychological thriller telling the story
of John George Haigh, Britain’s infamous “Acid Bath Killer.”
For the third consecutive year, Steele has lined up a joint, in-concert presentation of a well known musical with the Cincinnati Chamber Orchestra. After successful outings with the CCO for Carousel and The King and I, the late January 2013 production will be Camelot, the story of chivalry and the love triangle of King Arthur, Queen Guenevere and the knight Sir Lancelot. The lush Lerner and Loewe score will be conducted by the CCO’s music director Mischa Santora onstage with musicians from the orchestra.
Steele wraps up his four-production season with Jason Robert
Brown’s powerful musical Parade (April 5-21, 2013), staged by
local director-choreographer team Ed Cohen and Dee Anne Bryll, who will be
joined by music director Steve Goers (currently appearing in the Carnegie’s
production of Pump Boys & Dinettes).
Set in Atlanta in 1913, it’s about the intolerance and misunderstanding
swirling around the trial of a Jewish factory manager accused of murdering a
young girl in his employ. Cohen and Bryll staged an excellent community theater
production of the show with Footlighters Inc. in 2007, winning that season’s
outstanding community theater award. They also staged the Huck Finn musical Big River for the Carnegie with great
results in 2010.
It’s a great line-up, and I suspect audiences will be lining up in Covington for these productions.