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by Rick Pender 02.25.2011
Posted In: Theater at 10:58 AM | Permalink | Comments (0)
 
 
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Stage Door: Pride and Prejudice

Lynn Meyers spends most of her time staging shows at Ensemble Theatre of Cincinnati, where she’s the producing artistic director. However, she headed a few blocks south from her Over-the-Rhine venue this month to direct Pride and Prejudice for Cincinnati Shakespeare Company at its Race Street venue.

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by Steven Rosen 04.04.2011
Posted In: Visual Art at 02:31 PM | Permalink | Comments (0)
 
 

CAM Announces 4th Floor Award Winner

The Cincinnati Art Museum has announced the winner of its second biennial 4th Floor Award for regional contemporary artists -- Darren Goodman of Waynesville, Ohio. He will receive $1,000 and a solo exhibition in the art museum’s Vance-Waddell Gallery this year from Sept. 17 through Nov. 27th.

According to a museum press release issued today, he earned his BFA from Bowling Green State University and apprenticed under glass master Leon Applebaum in Corning, N.Y.. Godman was commissioned by Ferrari to create trophies for the International Challenge Races (2009. From 2005 to 2007 he taught private classes in glass, and coordinated a glassblowing class for Wyoming High School students. In his work, Goodman explores color in glass and is inspired by natural forms. In his most recent installation, 2010's Tears of Joy, Goodman built on the “mistake” of molten glass falling to the ground. Using the same action, he created massive blue drops that were suspended together inches above the floor. In both his installations and individual pieces, Goodman endeavors to utilize the properties that are found solely in glass.

Three finalists each receive $500 -- Terence Hammonds, Casey Millard and Alice Pixley Young, all of Cincinnati,

 
 
by Rick Pender 07.13.2011
Posted In: Theater at 09:59 AM | Permalink | Comments (0)
 
 

True Theatre Will Be Back at Know

Monday night I attended the fourth of four sold-out evenings of True Theatre, an innovative spoken word program that's been happening at Know Theatre since last October. Organizers Dave Levy and Jeff Groh have found considerable success inviting people (usually five per evening) to speak at these quarter gatherings about some real, personal event — usually on a theme, such as Monday night's "True Independence," inspired by last week's holiday.

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by Steven Rosen 06.30.2009
Posted In: Visual Art at 02:03 PM | Permalink | Comments (0)
 
 

CAC Cancels Fall Show

The Contemporary Arts Center has canceled one of its first shows of the 2009-10 season, Young Country. That group show, in which young artists address issues and symbols of Americana, was scheduled to open Oct. 3 and continue through Jan. 10.

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by Rick Pender 07.15.2013
Posted In: Theater at 08:20 AM | Permalink | Comments (0)
 
 
sound of music

Carnegie to Present 'Sound of Music' with KSO

Production to complete the Carnegie's 2013-2014 theater series lineup

Can't say whether the hills will be alive, but The Carnegie in Covington certainly will be in January when it presents a "lightly staged" production of Rodgers and Hammerstein's The Sound of Music in partnership with the Kentucky Symphony Orchestra. Presented Jan. 17-26, 2014, under the direction of Brian Robertson and KSO conductor J. R. Cassidy, the production continues a popular series that has appealed to audiences at the Carnegie's Otto M. Budig Theatre.

The story of a free-spirited nanny who brings joy and love back to the family of the Von Trapp family will be presented with an emphasis on words and music in this "lightly staged" production. That means a minimum of costumes, scenic design and props. The small orchestra will be onstage, and the performers fully enact scenes and sing the score from memory as they would in a full production.

This production completes the Carnegie's 2013-2014 theater series lineup, taking advantage of the renovated 465-seat Budig Theatre. Single tickets for The Sound of Music are priced at $28 for adults, $19 for students. The full series — which also includes the musical Chicago (Aug. 10-25); the comedy Boeing Boeing (Nov. 8-24), in a collaboration with CCM Drama; and the comedy Harvey (April 11-27, 2014) — can be purchased as a subscription for $63 to $69. For details, call 859-957-1940 or go to thecarnegie.com.
 
 
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 10.26.2012
Posted In: Theater at 09:35 AM | Permalink | Comments (0)
 
 
onstage 10-31 - brighton beach memoirs (cincinnati playhouse) - eugene (ryan deluca) observes his family - photo sandy underwood

Stage Door: Options Abound

You'll have to pick and choose this weekend because there's so much theater onstage. In addition to our professional theaters, it's worth checking out production at universities: Tonight through Sunday, CCM's esteemed musical theater program is offering the cult favorite Chess, with music by ABBA's Björn Ulvaeus and Benny Andersson. The story is set in Bangkok and Budapest during a mid-1970s world chess championship — and it's driven by gamesmanship between nations, between lovers and, of course, between chess players. I saw the opening on Thursday, and it's a BIG show with a gigantic cast. Several leading roles are double cast (with more juniors than seniors, in fact, which bodes well for CCM productions for this season and next). In particular, Matthew Paul Hill, playing the Russian grand master Anatoly, lifted the roof of Corbett Auditorium with his powerful baritone voice singing the stirring "Anthem," the Act 1 finale. Tickets ($30) Box office: 513-556-4183. At Northern Kentucky University you'll a production of Royal Gambit by German playwright Hermann Gressieker (translated into English in the late 1950s). The subject is King Henry VIII and his six wives, and this looks to be a beautifully costumed show, featuring senior Seth Wallen in the leading role. Tickets ($14). Box office: 859-572-5464.

Neil Simon's funny and endearing Brighton Beach Memoirs is onstage at the Cincinnati Playhouse. I gave it a Critic's Pick (review here), and I'm sure audiences will love this sweet portrait of growing up in Brooklyn in the 1930s, where a loving but fractious family copes with hard times. It's told from the perspective of  Eugene, a precocious adolescent (he's really Simon as a 15-year-old), who takes notes on his family's behavior. Well acted and beautifully staged. Box office: 513-421-3888l.

My schedule hasn't permitted me to see several shows that are getting good notices, including recognition from the folks evaluating productions for the League of Cincinnati Theatres. I'm catching up this evening with Cincinnati Shakespeare Company, which is offering two shows this month.
Romeo & Juliet is its mainstage show, and Sara Clark is getting high marks for her portrait of romantic but tragic young love. Brian Phillips' staging picked up an LCT nod, and the show received an overall recommendation from LCT. On the evenings when R&J is not onstage, there's another Shakespeare work for thrill seekers, specially selected and staged for the Halloween season: the bloody, gory tale of revenge, Titus Andronicus. Veteran actor Nick Rose plays a crazed Roman general, and just about everyone I've heard from says his performance is memorable. (It earned him an LCT nomination, too.) Box office: 513-381-2273.

This weekend is the final one for
Mrs. Mannerly at Ensemble Theatre. When Harper Lee reviewed this one for CityBeat (review here), she gave it a Critic's Pick, and I agree wholeheartedly. (LCT named it a recommended production, too.) CEA Hall of Fame actress Dale Hodges is great fun to watch as a strict etiquette teacher in 1967, and Raymond McAnally plays all the other characters — a bunch of kids who are learning how to behave in a "mannerly" way. It's funny from start to finish, but there's a heart-warming message within the story. Definitely worth seeing. Box office: 513-421-3555.

At Clifton Performance Theatre, Clifton Players are staging
A Bright New Boise, which also picked up an LCT recommendation. I haven't seen it, but the show won an Obie Award (that's for outstanding off-Broadway plays) in 2011, and it has a strong cast. This is a newish venue that's specializing in "storefront theater." Should be worth supporting. Tickets ($20): 513-861-7469. 

 
 
by Rick Pender 10.29.2012
Posted In: Theater at 09:18 AM | Permalink | Comments (0)
 
 
rj production 2_ sara clark and ian bond as juliet and rome_ photo rich sofranko

Stage Door: Some Bloody Good Theater at Cincy Shakes

My schedule prevented me from making it to Cincinnati Shakespeare Company’s opening of Romeo & Juliet back on Oct. 11, and I hadn’t caught up yet with CSC’s annual Halloween-season tarting up of a Shakespearean tragedy to be offered within the run of the mainstage show. This year it’s the rarely produced revenge piece, Titus Andronicus, presented on Tuesday and Wednesday evenings as well as Saturday matinees through Nov. 11, the same day that Romeo & Juliet wraps up. Neither production could be termed “traditional,” although they are sharing the same set, designed by Andrew Hungerford, and both shows are effectively lit by Gregory Bredestege.

Although the two plays are located at the opposite poles of familiarity in the canon of Shakespeare — R&J has a plot that everyone knows, while Titus is almost never staged — they have some elements in common. Both tales are driven by thoughtless acts that fuel an unquenchable desire for revenge. The young lovers’ meet their ends in a tragedy of miscommunication and bad timing; the fictional Roman general, Titus, and those around him find themselves caught up in a horrifying series of events brought on by greed for power and a desire for one-upmanship.

In fact, both plays are the product of a young Shakespeare, not yet 30 years old. They were probably first performed just a year or so apart: Titus was his first tragedy, initially presented in January 1594; R&J made its debut sometime in 1595. Titus is a revenge tragedy, wildly popular plays that were all the rage in the early 1590s. (CSC’s director for Titus, Jeremy Dubin, aptly calls it “a snuff film in blank verse.”). R&J is a paean to impetuous adolescent love, and until things start to go wrong it’s as much a sweet comedy as it is a story barreling toward a tragic ending. The humor in Titus is dark and twisted; that in R&J intensifies the tragedy. In both cases, we see the work of a writer who knew how to manipulate the emotions of his audience.

Romeo & Juliet. Staged by Brian Isaac Phillips, CSC’s artistic director, this production has been modernized. The inhabitants of “fair Verona” wear contemporary clothes, and their entertainment and behavior has a 21st-century overlay. But rather than trying to twist it too far out of its original context in a Renaissance town in Italy, I’d say this feels more like an alternate reality. Billy Chace plays the brash Mercutio, Romeo’s kinsman, as a madcap clubber, always ready for a good time with his cronies Benvolio (Jessie Wray Goodman) and Balthasar (Maggie Lou Rader). The masked ball at the Capulets’ estate where Romeo (Ian Bond) first spies Juliet (Sara Clark) begins with delicate chamber music but quickly devolves to thumping club tunes.

But this filter does not diminish the nature of the central characters. Both Bond and Clark play their roles like the hormonal teens they are meant to be. Juliet is not quite 14, and Romeo is perhaps 16. When we first meet him, he is pining for Rosaline, a love we never meet — we only hear Romeo’s idealized whining that she’s spurned him. He wants to be in love, and she’s his most likely prospect. He quickly transfers his affections to the sweetly innocent Juliet, and the petite Clark gives her the kind of breathless silliness that is endearing if not enduring. Neither of the lovers is meant to experience love in any profound way: They are swept up in the passion of youth — they go from meeting to marriage in a blur of four or five scenes.

Bond’s Romeo spends a lot of time agonizing over his frustrations, and he doesn’t seem to mature much, despite the seriousness of the situation. Clark’s Juliet has more opportunity to show growth and personal recognition at the conundrum life has presented her. Her loving but thoughtless nurse (Sherman Fracher), her domineering, unthinking father (Jim Hopkins) and her vain, superficial mother (Jennifer Joplin) make matters worse by forcing her toward an arranged marriage. The well-intentioned Friar Lawrence (Jeff Groh, more like a hippie raising strange herbs than a devout priest) aids the young lovers, but like the nurse, exacerbates a tough situation with his meddling. Clark is stunningly honest in her role, and the heat between her and Bond is palpable, if uncomplicated — as it should be for a couple of teenagers in heat.

The production as a lot of stage combat, and seeing it two weeks into its run let me see how capable Cincy Shakes can be. I had heard things were a little rough on the opening weekend, but there was no evidence of that at the performance I saw, which was thoroughly enjoyed by the full house.

Titus Andronicus. This show requires a lot of hand-to-hand combat and considerably more blood than Romeo & Juliet. It was all done with ghastly if over-the-top realism. The plot is both simple and ridiculous by contemporary standards: Titus (Nick Rose) is a successful general who turns down the chance to become emperor. Things go bad for him and his family when his prisoner Tamora, Queen of the Goths (Miranda McGee in a showy, sexy role), gets hitched to the emperor Saturninus (played as a foppish, preening fool by Justin McComb). She wreaks some vengeance on Titus’s offspring, masterminded by her scheming lover Aaron (Darnell Benjamin) who steers her fawning, selfish sons Chiron (Travis Emery) and Demetrius (Zach Schute) to some vile acts. After gruesome violence on Titus’s daughter Lavinia (Maggie Lou Rader), a grief-crazed Titus figures out some even more grotesque ways to fight back.

This is all spelled out in the script and played out on CSC’s stage with a lot of gore and stage blood — decapitated heads and severed hands — for instance, and extended to the brink of insanity lengths in the second half with Titus’s missing left hand replaced by a metal forearm that accommodates various implements from a fork to a corkscrew to a set of mechanical knife blades (like the electric knife I use to carve the Thanksgiving turkey). You can be assured these are used for violent purposes, and Nick Rose, a CSC veteran (in fact, one of its founders), revels in Titus’s madness — with some manic behavior, including bemoaning the “murder” of a fly in a blackly humorous moment. Rose is having a ball with this juicy role.

Director Jeremy Dubin has provided a different sort of filter for this interpretation of Titus Andronicus, that of the sci-fi genre of “Steampunk,” which presumes that the Victorian ingenuity of Jules Verne and H. G. Wells in the 19th century extended its steam-driven, mechanical technology prevailed in the 20th and 21st centuries. Accordingly, costumes are a curious, colorful mishmash of Victorian styles — cutaway coats, vests, goggles, belts and bustiers — and six video monitors around the theater display show cards offering the gist of scenes with quaint, tongue-in-cheek summaries. Each act began with n actor attaching a hand crank to a gear at stage right to wind up the mechanism of the show. Similarly, when certain offstage action needed to be represented, a servant bearing a kind of magic lantern projector came on to reveal a scene, which the audience saw on the monitors. (The device was clever; I wish it had been more fully and frequently integrated into the action.)

Titus Andronicus is not a great play, but Cincy Shakes — and especially actors Nick Rose, Miranda McGee, Darnell Benjamin and Maggie Lou Rader — make this production great fun to watch, providing you’re not too squeamish. It is, after all, a bloody mess, intentionally so and perfect for the thrill-seekers of late October.

 
 
by Rick Pender 08.26.2011
Posted In: Theater at 11:29 AM | Permalink | Comments (0)
 
 
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Stage Door: Swing on Sunday at Know

The Manhattan Dolls will make a one-night tour stop at Know Theatre on Sunday evening at 7:30, performing their Swing-style revue of tunes from the 1930s and 1940s, "Sentimental Journey," in the Over-the-Rhine theatre’s Underground cabaret space. The trio of singers from New York City travel the world performing for military events, air shows, award ceremonies, parades, Jazz clubs and concert series.

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by Steven Rosen 10.24.2012
Posted In: Visual Art at 02:44 PM | Permalink | Comments (0)
 
 
cam

Cincinnati Art Museum's Rifle Firing Set for Monday

The firing of a high-powered rifle inside the Cincinnati Art Museum, sending a bullet past masterpieces through the first-floor Schmidlapp Gallery and into a block of bronze in the middle of the Great Hall, will occur on Monday, museum officials said.

Todd Pavlisko, the New York-based, locally born artist who proposed the project, will be at the museum Friday for final planning and discussions. (CityBeat will interview him for a story in next week’s Big Picture column.)

The museum has refused to allow press — or the public — to witness the actual event, for security concerns, according to Director Aaron Betsky. It also won’t say what time it will occur. The male sharpshooter who will fire the high-powered rifle from a mounted stand also doesn’t want to be identified. The museum normally is closed to the public on Monday.

A spokeswoman said the museum will be on “lockdown” for the event. Those who will attend the actual shooting include the artist and the sharpshooter, Betsky and Chief Curator James Crump and several others. A Cincinnati police officer also will be present, a requirement of the City Council ordinance permitting the event. 

According to an earlier press release, which did not set a specific date for the actual rifle shot, Pavlisko’s project is an outgrowth of his work with photography and video. This will reference the work of Harold Edgerton, whose photographs capturing bullets passing through fruit and droplets of milk have become masterpieces for making visible that which the naked eye could not see. Pavlisko’s idea is to contrast the flight of the bullet with the timeless nature of the masterpieces on display in the Schmidlapp Gallery. (The bullet will be 12 feet from any actual artwork.)

High-speed cameras and video equipment will document the shot, and the resultant work will be on display May 25-Sept. 22 in a show called Crown. So, too, will the 36-inch cast brass cube, or what remains of it, as the bullet strikes it.

 
 

 

 

 
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