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by Rick Pender 04.23.2012
Posted In: Theater at 07:59 AM | Permalink | Comments (0)
 
 
pamela kay day and darin art starred in the 2007 production of parade:photo dean rettig

Carnegie Plays Well with Others

Joshua Steele will produce four collaborative shows in Covington next season

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, aeby@thecarnegie.com)


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.

 
 
by Rick Pender 03.04.2009
Posted In: Theater at 11:08 AM | Permalink | Comments (0)
 
 

More Than Kid Stuff

Presuming that reports about Disney's High School Musical wouldn't interest CityBeat's readers, I've not previously written about that popular phenomenon, driven by repeated airing on the Disney Channel. And I'm still not certain that it's of that much interest to anyone who regularly reads this blog.

But I went to see High School Musical 2 on Feb. 28, presented by the Children's Theatre of Cincinnati (CTC) at the Taft Theatre. I imagined a show that would appeal to kids, and my expectations were reinforced by the hordes of moms and dads escorting little ones into the Taft. But what I saw onstage surprised me.

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by 08.31.2010
Posted In: Theater at 09:45 AM | Permalink | Comments (1)
 
 
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Theater Community Parties at CEAs

CityBeat hosted the 14th annual and final Cincinnati Entertainment Awards for Theater Sunday night at Know Theatre in Over-the-Rhine, and as always the local theater community enjoyed the opportunity to catch up after summer breaks and celebrate before the new season gets underway. Awards were handed out in 27 categories, some voted on by the public and some determined by a "critical achievement" panel of local critics. Find a list of all the nominees and winners here.

In case you missed the event (or were there and "forget" exactly what happened), we've published a photo gallery here and a multimedia piece with interviews here.

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by Rick Pender 01.28.2011
Posted In: Theater at 01:15 PM | Permalink | Comments (0)
 
 
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Stage Door: Falling for Next Fall

Quite a few local theaters are opening new productions this week, but if I were to point you to just one for this weekend, it would be Next Fall, a new play by Geoffrey Nauffts, at Ensemble Theatre.

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by Rick Pender 07.13.2012
Posted In: World Choir Games at 11:42 AM | Permalink | Comments (1)
 
 
world-choir-games

World Choir Games: Packed 12 Hours on Thursday

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 observations.

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.

 
 
by Rick Pender 07.07.2012
Posted In: World Choir Games at 12:19 PM | Permalink | Comments (0)
 
 
world-choir-games

World Choir Games: 'Voices of Gold'

Hot night at the School for Creative and Performing Arts

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 park's opening.

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.

 
 
by mbreen 01.31.2009
Posted In: Comedy at 12:14 AM | Permalink | Comments (10)
 
 

Letterman Makes Amends With Bill Hicks

Jan Leno bores me, I dig Jimmy Kimmel and I think Conan is the king of late night (even before he takes over Leno's show in the very near future). David Letterman is the Jack Benny and Johnny Carson of our times, all rolled into one.

Last night, Letterman showed his class, his legendary status and his sense of history by having Bill Hicks' mother on and then playing the legendary Hicks' appearance he originally censored some 16 years ago. Hicks had a career-making appearance on Letterman's show, and it was "banned," as Letterman said last night, by himself. Hicks, disappointed by what had happened, died soon after the show's non-airing.

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by Steven Rosen 07.20.2015
at 07:00 AM | Permalink | Comments (0)
 
 
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DEVO's Mark Mothersbaugh to Perform at Cincinnati Concert (Update)

Roughly one month in advance of the Contemporary Arts Center opening Myopia, its highly anticipated retrospective of Mark Mothersbaugh’s artwork, he will come to Woodward Theater for a special concert.

The Aug. 28 performance will be what the CAC is calling a “three-headed evening.” It will start with a small orchestral group playing DEVO covers and Wes Anderson scores — Mothersbaugh co-founded the ground-breaking New Wave/Post-punk band and then moved into film-score composition, working often with Anderson. He also has long been active as a visual artist, having studied art at Kent State University.

Next, there will be a short “onstage dialogue” with Mothersbaugh. Then he will conduct an ensemble in “Music for Six Sided Keyboard.” He did a similar performance in Denver in connection to Myopia’s opening there.

Tickets will be $60 seated and $30 standing, and more information should be available next week on the Contemporary Art Center’s website, www.contemportaryartcenter.org. Myopia opens at the CAC on Sept. 25 and runs through Jan. 9. The exhibit is curated by Adam Lerner of Denver’s Museum of Contemporary Art.

UPDATE: A pricing change has been added.

 
 
by Steven Rosen 08.30.2010
Posted In: Visual Art at 09:41 AM | Permalink | Comments (0)
 
 

Dennis Harrington Honored

Sunday afternoon, some 100 people (perhaps many more — it was really crowded!) gathered at the downtown studio of artist Tom Bacher for a surprise party celebrating Dennis Harrington's 30-plus years of work in Cincinnati's visual arts community. Harrington currently is director of the non-profit Weston Art Gallery in the Aronoff Center for the Arts. He was hired there in 1995, when it was new, by Sally LoveLarkin and became director upon her retirement in 1998.

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by Rick Pender 03.04.2012
Posted In: Theater at 08:10 AM | Permalink | Comments (0)
 
 
Cincy Shakes

Familiar Faces and Fantastic Tales at Cincy Shakes

A bunch of classic characters will be showing up at Cincinnati Shakespeare Company to entertain us for the 2012-2013 theater season, announced today: Sherlock Holmes and Dr. Watson; Atticus Finch; Romeo and Juliet; Lady Bracknell; Nick Bottom and Puck. Oh, and a few kings and generals — Richard II and the bloody Titus Andronicus — plus a hearty dose of laughs with reprises of Every Christmas Story Ever Told (And Then Some!) and The Complete Works of William Shakespeare (Abridged). Here’s the rundown:

  • The Hound of the Baskervilles (July 20-Aug. 12, 2012). A regional premiere of a three-actor adaptation by Steve Canny of this memorable Sherlock Holmes mystery.
  • To Kill a Mockingbird (Sept. 7-30, 2012). A reminder that all classics need not be British. One of our region’s best professionals, Bruce Cromer, will play Atticus Finch in this adaptation of Harper Lee’s 1960 novel about prejudice, violence and hypocrisy in 1932 Alabama.
  • Romeo & Juliet (Oct. 12-Nov. 11, 2012). You probably know the details of Shakespeare’s romantic tragedy of star-crossed lovers. The cast features Sara Clark, Billy Chace, Annie Fitzpatrick and Sherman Fracher.
  • Titus Andronicus (Oct. 20-Nov. 11, 2012). Cincy Shakes enjoys providing a bloodbath every year for Halloween, and Shakespeare’s play about a tyrannical Roman military leader is the perfect vehicle — revenge, murder, betrayal and gruesome murders.
  • The Importance of Being Earnest (Nov. 23-Dec. 16, 2012). The smile-inducing production for the holidays will be Oscar Wilde’s delirious 1895 comedy of manners and intentionally mistaken identities, with Jim Hopkins in the cross-dressed role of the imperious grand-dame, Lady Bracknell.
  • Every Christmas Story Ever Told (And Then Some!) (Dec. 16-30, 2012). An added holiday treat from Cincy Shakes — for the grown-ups — back for its seventh season.
  • Richard II (Jan. 11-Feb. 3, 2013). As the company marches toward the completion of Shakespeare’s canon in 2014, this one notches the final history play in the repertoire.
  • Les Liaisons Dangereuses (Dangerous Liaisons) (Feb. 15-March 10, 2013). This 1985 play (and a 1988 Oscar-nominated movie) was adapted by Christopher Hampton from a 1782 novel about French courtiers who used sex as a weapon to manipulate and degrade. It’s a cynical, dark comedy, directed by Drew Fracher and starring Giles Davies, Sherman Fracher and Corinne Mohlenhoff.
  • A Midsummer Night’s Dream (March 22-April 21, 2013). Shakespeare’s most popular comedy — four young lovers lost in a magical forest and a troupe of amateur actors rehearsing a silly play. Nick Rose plays Bottom the Weaver, he of the donkey’s head.
  • Measure for Measure (May 3-26, 2013). Shakespeare’s play about the virtuous Isabella, played by Kelly Mengelkoch, one of Cincy Shakes’ best actresses, who must contend with hypocritical, religious double standards. 
  • Complete Works of William Shakespeare (Abridged) (June 7-30, 2013). A final bit of summer fun.
That’s a very ambitious 11 productions in 12 months. Three shows (Titus Andronicus, Every Christmas Story and Complete Works) are outside the subscription series, but available at a discount to subscribers. Adult subscriptions (eight tickets which can be used in any combination) are $195; seniors ($165) and students ($130) are also available. A special bargain is a “preview” subscription ($105), offering admission to performances on the day or two before a show opens. Info: www.cincyshakes.com or 513-381-2273, x1.
 
 

 

 

 
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