You might think that Dead City is a play about Cincinnati, especially after our second snowstorm in a week. But it's actually the next production coming to New Stage Collective, one of the "Gems of the Neighborhood," those hardy theaters that are, in fact, bringing new life to Over-the-Rhine, as described in CityBeat's cover story this week.
Dead City was supposed to open on Thursday this week, but with all the bad weather in the past seven days rehearsal time has been held to a minimum. So NSC's Alan Patrick Kenny has decided to push his opening night to Friday.
Marsha Hanna, artistic director of Dayton's Human Race Theatre Company, died on Monday. I was saddened to learn of her passing — especially at age 59 — because she was a passionate advocate for theater, not just in Dayton but throughout the region.
Tune to PBS this evening for A Broadway Celebration: In Performance at the White House (9 p.m. on WCET locally) , featuring some of the biggest stars from the New York stage. Nathan Lane emcees the quickly paced hour, Idina Menzel — recently in Cincinnati with the Pops — sings "Defying Gravity" from Wicked and "What I Did for Love" (with composer Marvin Hamlisch as her accompanist), and veteran Elaine Stritch belts out two numbers from Stephen Sondheim's Follies, "Broadway Baby" and "I'm Still Here" (the latter earns the event's only standing ovation).
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.
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.
The beginning of this week was a slower pace for the World
Choir Games in Cincinnati. At the halfway point, choirs visiting for
the first week departed and new ones arrived, so there was very little
activity on Monday. A festive, rambunctious parade from the Convention
Center to Fountain Square too place 6 p.m. Tuesday, with dozens of
choirs, many in traditional dress from their home countries and others
in matching T-shirts that designated their team, nation and so on. Each
choir was preceded by a WCG volunteer bearing their national flag, and
the crowd — lined up five-to-six people deep along both sides of Fifth
Street — cheered for each choir as strolled by. There were as many
cameras in the parade as well among those watching: Everyone wanted to
capture the fun to share later.
On Wednesday evening at the Aronoff Center, I went to the "Music of the World" Celebration Concert. Since two of the four performing groups were from the U.S., I guess this title referred more to the music than their origins, but each had something to offer. The opening set was by the Collegiate Honor Choir from regional universities near or in Cincinnati: CCM at UC, Xavier, Capital University (Columbus), Wright State (Dayton), Miami and NKU. They sang as a large ensemble at first, conducted by Earl Rivers from CCM (also one of the WCG's artistic directors) and then several groups were broken out for specific numbers, led by their own director. The most interesting number was "The Storm is Passing Over" by the singers from NKU: Amid some angsty singing, several performers spoke out lines of dismay about contemporary life or laughed maniacally. After several minutes of that, once a few singers collapsed from exhaustion, a spiritually inspired passage resolved the piece on an air of hope for the future. This segment also included a brief film tribute to esteemed American composer Morten Lauridsen (the full film is on view at various times at the Downtown Public Library during the WCG) and then a performance of two of his pieces, "Dirait-on" and "Sure on this Shining Morning," with Lauridsen accompanying the singers on the piano.
Up next was the University of Newcastle (Australia) Chamber Choir with 40 singers, male and female. I especially enjoyed their second number, "Birds," based on three traditional Australian Bush songs. It was full of whistles and shrieks, as well as choreographed hand motions that simulated the movements of various kinds of birds. It was an unusually delightful piece. More delight came from the Gema Sangkakala Choir from Manado, Indonesia. Another mixed group of approximately 40, its men were attired in black jackets with symmetrical yellow patterns (eight leaves about the size of a human hand is my best guess since my seat was far back from the stage) and the women wearing beautiful sparkling traditional dresses accented with scarves of primary colors tied around their waists. The group sang four numbers with lots of dance motion; in fact, each number concluded with a held pose — arms upraised, for instance — that became the initial pose of the following song. Their very coherent program was full of humor: One song appeared to be a flirtatious exchange between the men and the women, while another was a tongue-twisting piece full of what were probably nonsense works (my notes say "packa-packa-dum-dee-dum," a phrase and others like it were repeated at high speed). Neither the program, the emcees nor the directors offer any insights about the songs, so audiences are left to figure them out — I wish I'd known more about the substance of this Indonesian group's performance, but it was delightful from start to finish.
The final group was the Indianapolis Children's Choir, about 100 young adolescent girls and boys. They were wonderfully trained, and their program was a perfect selection of material for young performers, not too challenging but very appropriate for youngsters full of energy and expression. "Tell My Ma" (accompanied by an adult playing the spoons!) was a clever song about competition between groups of boys and girls; "Happy Together" (a Pop tune from the 1960s by the Turtles) was a great number for the kids to cut loose with their own swaying body and hand motions, not synchronized but each doing something that expressed their joy at young love. That approach typified this group's performance — carefully chosen numbers that fit the youthful nature of the performers. Everyone left the Aronoff smiling!
I have a "day pass" for Thursday, so I'll be wandering in and out of activities all over downtown. I'll report on that on Friday morning. There's only a few days left — WCG ends on Saturday evening. If you haven't attended anything yet, there's still time.
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.
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.
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.
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.
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 email@example.com with your phone number and times you’re available, or call 513-262-8242.
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.”
Photography, like all art, isn’t meant to stand still. Tuori is at the forefront of finding new ways to show that.
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.