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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 Maija Zummo 04.15.2014
at 12:29 PM | Permalink | Comments (0)
 
 
wwe_cincinnati_skyline_jdc

Cincinnati Takes Over New York City

Cincy in NYC Week features Queen City art, music and food in the Big Apple

Cincinnati's arts groups and chefs are road tripping it to New York City for a seven-day showcase highlighting the eats, arts and culture of the Queen City for Cincy in NYC.

The showcase, which runs May 6 through May 12, features events and performances from the Cincinnati Ballet, CCM alumni, the May Festival Chorus and the Cincinnati Symphony Orchestra, the Playhouse in the Park, the Cincinnati Art Museum, the Taft Museum of Art, Queen City chefs (Jean-Robert de Cavel, Julie Francis of Nectar, David Cook of Daveed's NEXT, David Falk of Boca, Jose Salazar of Salazar, chocolatier Jean-Philippe Solnom and Stephen Williams of Bouquet) and more.

According to an article in Cincy Magainze, the original idea was that just the Cincinnati Ballet would return to New York City for the first time in 30 years. But it turns out the Cincinnati Symphony Orchestra and the May Festival Chorus were also scheduled to be in NYC, performing around the same time as the ballet's performance week at the Joyce. So, long story short, other Cincinnati-based art groups were recruited to head East and now there's a ton of Cincinnatians trekking to New York to show the city what the Midwest has to offer.

Events kick off on May 6 with a performance from the Cincinnati Ballet at the Joyce and round out with a performance by CCM's quartet-in-residence, the Ariel Quartet, at the 92nd Street Y. 

MAY 6
The Cincinnati Ballet at The Joyce Theater — The ballet celebrates it's 50th anniversary with a week-long tour at the Joyce, where they'll be performing three New York City premieres: Hummingbird in a Box, featuring seven new compositions by Grammy-winner Peter Frampton; Chasing Squirrel, an eccentric work by Trey McIntyre; and Caprice, a new ballet choreographed by Val Caniparoli that features live musicians performing Paganini's Violin Caprices. 7:30 p.m. $19-$49. Joyce Theater, 175 Eighth Avenue at 19th Street, New York, cballet.org/newyorktour.

CCM Jazz Alumni at Jazz at Lincoln Center — Past and present CCM big band alumni perform at Dizzy's Club Coca-Cola. 7:30 and 9:30 p.m. $30-$45. Broadway at 60th Street, New York, jalc.org/dizzys.

MAY 7
Music and Words with Ricky Ian Gordon — The composer will discuss his work with moderator Evans Mirageas, the Harry T. Wilks Artistic Director of the Cincinnati Opera. 7 p.m. Free for members; $20 for non. The National Opera Center, 330 Seventh Ave., New York, operaamerica.org

The Cincinnati Ballet at The Joyce Theater — The ballet celebrates it's 50th anniversary with a week-long tour at the Joyce, where they'll be performing three New York City premieres: Hummingbird in a Box, featuring seven new compositions by Grammy-winner Peter Frampton; Chasing Squirrel, an eccentric work by Trey McIntyre; and Caprice, a new ballet choreographed by Val Caniparoli that features live musicians performing Paganini's Violin Caprices. 7:30 p.m. $19-$49. Joyce Theater, 175 Eighth Avenue at 19th Street, New York, cballet.org/newyorktour.

MAY 8
May Festival/Symphony Party — The May Festival and Cincinnati Symphony Orchestra host a cocktail soiree. 6-8 p.m. $275 (patron); $200 (guest). New York Yacht Club, 37 W. 44th St., New York, cincyinnyc.com.

The Cincinnati Ballet at The Joyce Theater — The ballet celebrates it's 50th anniversary with a week-long tour at the Joyce, where they'll be performing three New York City premieres: Hummingbird in a Box, featuring seven new compositions by Grammy-winner Peter Frampton; Chasing Squirrel, an eccentric work by Trey McIntyre; and Caprice, a new ballet choreographed by Val Caniparoli that features live musicians performing Paganini's Violin Caprices. 8 p.m. $19-$49. Joyce Theater, 175 Eighth Avenue at 19th Street, New York, cballet.org/newyorktour.

MAY 9
Playhouse Staged Reading in Afternoon — Cincinnati Playhouse in the Park presents a reading of Fool, by Cincinnati native Theresa Rebeck, creator of TV's Smash. The reading features an all-star cast of Cincinnati stars. 2 p.m. Free but tickets required. Pearl Studios, 519 Eighth Ave., 12th Floor, Studio D, 513-421-3888.

Cincinnati Night at Carnegie Hall — The May Festival Chorus and the CSO take the Carnegie Hall stage as part of the prestigious Spring for Music Festival with a program including John Adams' iconic "Harmonium" and the New York premiere of R. Nathanial Dett's "The Ordering of Moses." 7:30 p.m. $25. Carnegie Hall, 881 Seventh Ave., New York, mayfestival.com.

The Cincinnati Ballet at The Joyce Theater — The ballet celebrates it's 50th anniversary with a week-long tour at the Joyce, where they'll be performing three New York City premieres: Hummingbird in a Box, featuring seven new compositions by Grammy-winner Peter Frampton; Chasing Squirrel, an eccentric work by Trey McIntyre; and Caprice, a new ballet choreographed by Val Caniparoli that features live musicians performing Paganini's Violin Caprices. 8 p.m. $19-$49. Joyce Theater, 175 Eighth Avenue at 19th Street, New York, cballet.org/newyorktour.

Cincinnati Party for Young Professionals — Cincinnati-native YPs are invited to an evening of live music, mingling and an open bar. Dhani Jones will MC. 9-11 p.m. Free. Arlene's Grocery, 95 Stanton St., New York, cincyinnyc.com.

MAY 10
Queen City Chefs Take a Bite Out of the Big Apple — Jean-Robert de Cavel, Julie Francis of Nectar, David Cook of Daveed's NEXT, David Falk of Boca, Jose Salazar of Salazar, chocolatier Jean-Philippe Solnom and Stephen Williams of Bouquet head to the James Beard House in NYC to cook a seven-course dinner. While they planned the menu together, they're each responsible for a different course. 7 p.m. $170; $130 for James Beard members. James Beard House, 167 W. 12th St., New York, jamesbeard.org.

Cincinnati Art Museum's Eyes on the Street Panel — A panel discussion of street photography in the 21st century. 11 a.m.-1 p.m. $5. Aperture Gallery, 547 W. 27th St., Fourth Floor, New York, cincyinnyc.com.

The Cincinnati Ballet at The Joyce Theater — The ballet celebrates it's 50th anniversary with a week-long tour at the Joyce, where they'll be performing three New York City premieres: Hummingbird in a Box, featuring seven new compositions by Grammy-winner Peter Frampton; Chasing Squirrel, an eccentric work by Trey McIntyre; and Caprice, a new ballet choreographed by Val Caniparoli that features live musicians performing Paganini's Violin Caprices. 2 p.m. $19-$49. Joyce Theater, 175 Eighth Avenue at 19th Street, New York, cballet.org/newyorktour.

Metropolitan Museum of Art Tour — Enjoy a special docent-led tour of the Met's Rembrandt galleries, including Portrait of a Man Rising from His Chair, on loan from the Taft Museum of Art. 2 p.m. $29. The Met, 1000 Fifht Ave., New York, taftmuseum.cincyregister.com/rembrandtatmet.

MAY 11
World Piano Competition Gold Medalists at the Carnegie — Performance by gold medalist Alexander Yakovlev, 2012 World Piano Competition winner. 2 p.m. $15. The Carnegie, 881 Seventh Avenue and 57th Street, New York,  carnegiehall.org/events.

The Cincinnati Ballet at The Joyce Theater — The ballet celebrates it's 50th anniversary with a week-long tour at the Joyce, where they'll be performing three New York City premieres: Hummingbird in a Box, featuring seven new compositions by Grammy-winner Peter Frampton; Chasing Squirrel, an eccentric work by Trey McIntyre; and Caprice, a new ballet choreographed by Val Caniparoli that features live musicians performing Paganini's Violin Caprices. 2 p.m. $19-$49. Joyce Theater, 175 Eighth Avenue at 19th Street, New York, cballet.org/newyorktour.

MAY 12
CCM's Ariel Quartet — The internationally acclaimed Ariel Quartet and CCM's quartet-in-residence perform Haydn's String Quartet in G Major, Op. 76, No. 1; Beethoven's String Quartet in B-flat Major, Op. 130 and more. 7:30 p.m. $30. 92nd Street Y, SubCulture, 45 Bleecker St., New York, 92y.org.

For more information on all the events and Cincy in NYC in general, head to cincyinnyc.com.
 
 
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 10.16.2012
Posted In: Visual Art, COMMUNITY at 09:02 AM | Permalink | Comments (1)
 
 
disfarmer

Finding the FotoFocus Art that Transcends Categories

After the second full week of FotoFocus, I’ve begun to realize that there are way more shows and events out there than one person can get to. (Or, if you do get to them all, to remember what you’ve seen.) It’s also clear that you can begin to roughly pair into categories the kinds of shows that are out there — art photography and photojournalism, still photography and video, portraiture and everything else, contemporary work and vintage (or historic).

And then there are those that touch numerous bases — either because that’s what the artists intended or because time has changed the meaning or our appreciation of the work. In the former category, and so far the work that towers over everything else I’ve seen, is Doug and Mike Starn’s Gravity of Light in the decommissioned Holy Cross Church at Mount Adams Monastery. This installation prominently uses photographs without letting them define what its purpose or meaning is about. I’ve written about it previously and may do so again, so powerful is it. It’s up through year’s end, and I hope everyone realizes how important an artwork it is and goes to see it. Go here for details.

But two other very different exhibits deserve mention in this regard, too. On the second floor of the Emery Theatre, through the end of the month, is an exhibit of estate-authorized prints — from the original glass-plate negatives — of the mysterious Mike Disfarmer’s Depression-era portraits of residents of the small Arkansas town of Heber Springs. Here is work that, whatever its original intention, contemporary thought has turned into art photography.

It can be discussed and debated whether Disfarmer, who died in 1959) was engaged in what he thought was a commercial venture or whether he was after something else… his own quest for an artful statement. But the work today is important as something other than straight photo-documentation, though it is that. The photographs are haunting missives from the place Greil Marcus called “the old, weird America” — a spiritual zone, a cosmic baptismal font, from where much of our contemporary culture can trace its origins.

Disfarmer was born Mike Meyers, but seems to have chosen “disfarmer” as a statement that he didn’t want to fit into the agricultural lifestyle of his hometown. He taught himself photography and built a studio, first on his mother’s back porch and then in the heart of town. According to the Disfarmer website, he obsessed over getting the right light — one wonders what his subjects, for whom time was money, thought as the minutes ticked on.

But they came, sometimes dressed in their best and sometimes dressed in the best they had. What resulted — and we are fortunate his work has been preserved, which itself was a struggle — is a different take on Depression Era poverty than the federal Farm Security Administration photos. Taken by outsiders, those placed — with warmth and humanity — their subjects in their surrounding hardscrabble environment. They have a sociological dimension.

But these remove their subjects from their environment and seem psychological. In a photograph like “First Born,” you have to wonder if Disfarmer ever told his subjects to say “cheese.” The young father, dressed up nicely and wearing a hat, has a proud but slightly furtive gaze that renders his emotions somewhat inscrutable. He sits, holding a child whose face is almost pouting and whose staring eyes are disturbing. The two look apprehensive, either about the photograph or about what life has in store for them. If Disfarmer was after that effect, maybe he was some kind of prophet.

By the way, I’m not sure how many people know this exhibit is here. FotoFocus literature didn’t list it as an ongoing show, but rather a part of a one-day event – last week’s Emery concert by guitarist Bill Frisell/858 Quartet of his composition Musical Portraits from Heber Springs. But the Emery is keeping it up through the month. To see it, e-mail info@emerytheatre.com with your phone number and times you’re available, or call 513-262-8242.

Another show that crosses boundaries in interesting ways is Santeri Tuori’s The Forest project at University of Cincinnati’s Phillip M. Meyers Jr. Memorial Gallery (for hours, go here). Tuori is from Finland — a welcome international addition to FotoFocus — and this show was curated by Judith Turner-Yamamoto, a FotoFocus staffer, with assistance from the Finnish consulate.

The artist spent five years observing — in film and still photographs — the effect of light, seasonal change and weather on a remote, pristine, Finnish island. In “Forest (Tree and Pond),” his work is condensed via editing into a relatively tight time span and projected onto a gray-painted section of a gallery wall. While it looks like we are a watching a specific spot on the island change over the seasons, I’m told it’s a composite. (I find that remarkable.) Tuori has created this slightly wavering mirage of an image to show how art can turn what we think of as mundane into something momentous. He has photographed elusive “change.”

I appreciate the thoughtfulness and hard work of this effort — which is accompanied by a soundscape by Mikko Hynninen — but did find the slight blurriness of the piece distracting. I preferred the three smaller-scale pieces in the gallery’s other room. Here, video images of trees are projected onto, and over, black-and-white photographs of similar trees, providing a three-dimensional effect — a ghostly sense of movement. That happens even though, unlike “Tree and Pond,” these works are not out to simulate an evolving time span.

Photography, like all art, isn’t meant to stand still. Tuori is at the forefront of finding new ways to show that.


Watch for Contributing Visual Art Editor Steven Rosen’s FotoFocus blog postings all month. Contact him at srosen@citybeat.com.

 
 
by Steven Rosen 03.24.2011
Posted In: Funding, Visual Art, Theater, Classical music, Dance at 12:58 PM | Permalink | Comments (0)
 
 
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ArtsWave Samplers Draw Strong Crowds

ArtsWave has put out a very positive press release about the attendance for its first three Sampler Weekends, as well as information for the next three — including one this Saturday.

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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 10.29.2012
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 11.13.2011
Posted In: Theater at 02:52 PM | Permalink | Comments (0)
 
 
humana 36 poster

Actors Theatre Is Ready for Humana Festival No. 36

Here comes the big annual dose of new American plays

The 36th annual Humana Festival of New American Plays at Actors Theatre of Louisville is set for Feb. 26 through April 1, 2012. The theater today announced the line-up of full-length works. (A bill of three ten-minute plays will be announced at a later date.) Here’s what’s in store for the festival that the theater world looks to every year for the hottest new plays and playwrights. (Maple and Vine by Jordan Harrison from the 2011 festival is getting rave reviews at Chicago’s Next Theatre Company and is about to open at Playwrights Horizons in New York City.)

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by Rick Pender 06.18.2011
at 05:28 PM | Permalink | Comments (0)
 
 

More Musicals, Dramas at the Carnegie and CCM

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).

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by Rick Pender 01.21.2009
Posted In: Theater at 12:46 PM | Permalink | Comments (0)
 
 

Chekhov, Revisited

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.

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