Know Theatre is finally getting around to its first full-fledged production of the season, Andrew Bovell's award-winning drama, When the Rain Stops Falling. (The playwright's Speaking in Tongues was a much admired production at the Cincinnati Playhouse a year ago.) An intricate fabric of overlapping connections, Bovell's 2010 script moves seamlessly through time and across continents between the years of 1959 and 2039. In a world where the rain rarely stops falling, four generations of a family search for truth and hope to mend broken connections. What they discover is the impossibility of escaping the past. The production should be all the more interesting since it's being directed by Cincinnati Shakespeare Company's Brian Isaac Phillips and features a cast of nine excellent actors, four of whom are CSC regulars. It will be onstage through March 16. Box office: 513-300-5669.
To see another award winner, you need to head up I-75 to Dayton where the Human Race Theatre Company is offering the regional premiere of Eric Simonson's bio-play, Lombardi. Set in 1965, it's a portrait of the legendary coach of the Green Bay Packers through the eyes of a young reporter assigned to follow the sports icon, a man full of passion and drive without equal. The show had a recent run on Broadway, and I expect it will attract an audience not normally drawn to the theater. Through Feb. 24. Box office: 937-228-6830
Falcon Theater, which presents its shows in the tiny Monmouth Theatre in Newport, is staging the Tony Award and Pulitzer Prize-winning play Doubt, a success on Broadway, at the Cincinnati Playhouse, and on movie screens. It's the provocative story of a starchy nun who thinks it's possible that a priest has abused one of her students. Although she's not sure, her accusations have dire ramifications. Through Feb. 23. Box office: 513-479-6783
Finally, a blast from the past at UC's College-Conservatory of Music: William Saroyan's The Time of Your Life. Set in October 1939 in a run-down waterfront dive bar on the docks of San Francisco, the script is full of colorful, eccentric characters and portrays the love and follies of human nature. It's being staged by veteran faculty member Diane Kvapil with a cast of 29. This production has a short run (one weekend, wrapping up with a performance in Patricia Corbett Theatre on Sunday at 2 p.m.) Box office: 513-556-4183
It's taken 17 years for Cincinnati Shakespeare Company to get around to staging King John. With only four more beyond this one to complete the cycle of producing all 37 of Shakespeare's plays, CSC is headed to a position that few theater companies can boast about.
Right now most theaters are readying shows that will be onstage in early September, so there's not a lot to see around town. But if you're looking for some dramatic entertainment on Sunday evening that will keep you outdoors, I suggest you head to the lawn at the Harry Whiting Brown Community Center in Glendale where Cincinnati Shakespeare Company's "Shakespeare in the Park" makes a stop at 7 p.m. –––
They're offering a stripped-down version of the tragic tale of Romeo and Juliet, using just eight actors (which means several performers play more than one role). You'll see some fine acting and a couple of well-staged fights. It might feel like a "back-to-school" special, what with the poetry and all, but even teens should enjoy the action and big emotions. Best of all, it's free (although your donation to the cause will be appreciated.)
Get details on the CSC web site.
Sondheim created the tale of the “Demon Barber of Fleet Street” with the notion that he wanted it to scare people, and it’s done just that for three decades. It’s a great show in the run-up to Halloween — what with Sweeney’s collaboration with Mrs. Lovett to turn his victims into meat pies — and that’s surely what Footlighters, Inc., had in mind when they scheduled it. (It opens tonight and continues through Oct. 24.)
The pickings have been kind of slim at Know Theatre over the past year. The quality has been high (the staging of When the Rain Stops Falling was one of the best shows onstage locally during 2013, and Mike Bartlett’s Cock offered a showcase of strong acting), but the works have felt few and far between. So today’s announcement from Producing Artistic Director Eric Vosmeier of a full schedule that’s already under way and extends beyond the typical end of the 2013-2014 season is welcome news. Here’s what’s in store following Lauren Gunderson’s Macbeth-inspired comedy Toil and Trouble (presently onstage through Aug. 24):
Bull by Mike Bartlett (Nov. 1-30): Yes, it’s another piece by the playwright of Cock, making Know the first U.S. theater to produce both pieces by the British writer. Both use a stripped-down aesthetic — no props and no scenery make for a lot of onstage intensity regarding characters and their relationships. This one is the story of three mid-level executives who compete for two corporate positions. Brian Robertson, who also staged Cock, returns to direct this one, and George Alexander, one of the four actors in the earlier show, will perform in this one, too.
The Naughty List (Sunday, Monday and Tuesday evenings, Dec. 1-30): OTRImprov, an improvisational comedy troupe that’s part of Know’s Jackson Street Market, will hold forth in the courtyard at Arnold’s Bar & Grill in downtown Cincinnati for the holidays. Combining long- and short-form improv, the performers will offer a very irreverent take on the holidays — with the help of audience suggestions and participation.
Pluto (Jan. 24-Feb. 22, 2014): Know’s former artistic director Jason Bruffy comes back to town to stage a poignant and evocative new script by Steve Yockey. The production is part of a rolling world premiere through the National New Play Network, and it will feature two excellent local professionals, Annie Fitzpatrick and Tori Wiggins. An ordinary day in a suburban home takes a strange turn following a local tragedy, what with all hell breaking loose. Know’s publicity says the show “explores tragedy, loss and the way love can blind us to the truth.”
TBD (April 4-May 10, 2014): Know is holding a slot for a production to be announced later. You can be sure it will be another script with the ink still drying.
Cincinnati Fringe Festival (May 27-June 7, 2014): The 11th annual Fringe will be back with 12 days of theater, music, dance, film, art — and a lot of stuff in between that kind of defies simple description. Applications for performers will be accepted starting Sept. 1, 2013 (through Dec. 6). Info: www.cincyfringe.com.
Moby Dick (Fall 2014): Playwright Julian Rad adapted Herman Melville’s great American novel for an Off-Off-Broadway production in 2003. Michael Burnham, recently retired from a long career as a professor of drama at UC’s College-Conservatory of Music, will co-direct the show with designer Andrew Hungerford. The tale of revenge and obsession with Captain Ahab pursuing the great white whale that maimed him has been stripped to its essence for what promises to be a highly theatrical endeavor that uses sea chanteys and creative staging.
In addition to these full-scale productions, Know has announced several Fringe “encores,” the return of shows that were hits during the festival’s 10th iteration back in June. Jon Kovach will repeat his powerful one-man show based on Ron Jones’ The Wave (Aug. 26-27); comedian/storyteller/singer Kevin Thornton will present Stairway to Kevin (Sept. 6 and 13); and Paul Strickland’s one-man trailer park fairytale comedy, Ain’t True and Uncle False (Oct. 11-12).
Tickets for the full-productions are $15 in advance, and $20 the week of the performance; Fringe “encore” tickets are $12. Know offers sets of six-show flex passes for $90 that do not expire. They can be exchanged for tickets for any of these productions. For more information: 513-300-5669 or www.knowtheatre.com.
If you're waffling between whether to go to the theater or
do something else this weekend, let me help you decide: You should get a
ticket to see When the Rain Stops Falling at Know Theatre. It's running through March 16, but it's going to be an in-demand ticket soon: I gave it a Critic's Pick in CityBeat (review here),
the League of Cincinnati Theatres bestowed eight nominations on it (I
believe that's the most they've given to any production this season),
and everyone I've talked to has been breathless in their praise of the
script, the cast, the design — well, the entire production.
Bovell's play bounces around in time between 1959 and 2039 and between
the histories of four generations of two families. That might sound a
bit complicated or confusing, but it's not: There are parallels and
intersections that slowly make sense, and the play uses language and
imagery to bring the stories together into a coherent narrative by
Two characters are played by two different actresses, representing younger and older incarnations of these unusual women: One is an intellectual in her early years, but becomes emotionally distant due to a personal trauma; the other is a free-spirited young woman whose life turns dramatically and becomes an older woman with fragmented memories and a tenuous grip on the present. The stories are about fathers and sons, parents and children, and how actions by one generation reverberate down the line. Bovell's script reinforces these echoes with lines and artifacts that recur in different contexts. It's a brilliant piece of writing, and director Brian Phillips (he's artistic director at Cincinnati Shakespeare) uses movement and scene intersections to tell the story with nine actors (four from his Cincy Shakes company). The LCT recognition singled out three performers, but I'd suggest that the show is powerful because the entire ensemble is operating in a powerful, parallel manner. You don't want to miss this one. Box office: 513-300-5669
On Thursday evening I attended Leveling Up at the Cincinnati Playhouse, a world premiere by Deborah Zoe Laufer. It's an insightful slice of contemporary life, three
young men and a girlfriend who are obsessed with video gaming, stalled
in their post-college lives. They spend 20 hours a day online, and their
social skills (if they had them previously) have deteriorated amid the
rubble of a basement game room in Las Vegas.
Laufer's script will leave you feeling like you've eavesdropped on real life (in fact, they're already playing when you enter the Shelterhouse Theatre — although the "screen" they watch is the theater's invisible fourth wall: They are staring forward at the central audience section and their attention never wavers, even when they're having distracted conversations about life. The divide between their world and being "IRL" ("in real life" as they shorthand it) increasingly and distressingly — and sometimes comically — blurs. Laufer's metaphor about "leveling up" in games and its parallel to stepping up to levels of maturity gives the show meaning and depth. The young cast are entertaining and convincing. I know this show will appeal to young audiences, but I heard many in the audience after the 90-minute performance who were impressed with the story and what it tells us about society today. It's worth noting that this weekend the Cincinnati Playhouse has two world premieres on its stages, which Abigail/1702 (review here) on its mainstage. Box office: 513-421-3888.
Opening tonight is a production of Dangerous Liaisons at Cincinnati Shakespeare Company. It's Christopher Hampton's stage play that inspired the 1988 film many will recall featuring Glenn Close and John Malkovich as manipulative French nobility who play games with young innocents (including Michelle Pfeiffer). For CSC, the cast includes two popular performers from the past: Giles Davies as the Vicomte de Valmont and Corinne Mohlenhoff as the Marquise de Merteuil, the scheming pair who put devious plots in motion. This promises to be a delicious drama. Box office: 513-381-2273 x1.
If you're looking to get revved up for Halloween, I can think of no better choice than heading to Cincinnati Shakespeare Company this weekend for Giles Davies' first performance of Poe, a compilation of creepy stories from the master of the macabre.
When you see a show like Emma, the Jane Austen musical recently presented at the Cincinnati Playhouse (pictured), do you ever wonder where it came from? If you paid attention to some of the Playhouse’s publicity, you might know it premiered at TheatreWorks in Palo Alto, Calif., where it was a big box-office hit. In fact, the theater’s artistic director Robert Kelley, who staged the original, and several cast members from the original production came together again in Cincinnati for the Playhouse production.
On Thursday evening I was that the Cincinnati Playhouse for the opening of Speaking in Tongues. If you like heady, noir-ish drama with flashes of sardonic humor, this is the show for you. Andrew Bovell’s 1996 script uses four actors to play nine characters whose lives intersect and diverge and reconnect in ways that you have to pay attention to if you want to get the story. This is not a sit-back-and-relax kind of play, but rather one you’ll be trying to follow the narratives, which are neither linear nor chronological. But they are certainly fascinating. The cast includes two of Cincinnati’s best local professional actors, Bruce Cromer and Amy Warner, and two others who have delivered memorable Playhouse performances, R. Ward Duffy and Henny Russell (who happen to be husband and wife). In fact, Warner is married to director Michael Evan Haney, so this show about deceitful relationships and the importance of trust and faith must have made for an intriguing rehearsal process. Be prepared to think hard if you go to see this one on the Shelterhouse stage. 513-421-3888.
Sometimes there are just too many theater events in town to feature every one of them in print. But let me bring to your attention one that's happening for just three days, Oct 23-25.
Showbiz Players, which usually offers larger musical theater productions is undertaking a piece that's more like a musical cabaret, A … My Name Is Alice, a work conceived in 1983 by Joan Micklin Silver and Julianne Boyd. This show combines the talents of numerous composers, lyricists and writers to create a work with 20 songs and sketches performed by five women who represent a broad spectrum of femininity.