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.
A completely different choice is the Afghan Women’s Writing Project at Know Theatre, this weekend only. Playwrights Elizabeth Martin and Lauren Hynek took material written by women in Afghanistan who risk their lives to write their stories and turn them into material for the stage. Several outstanding local actresses — including CEA Hall of Famer Dale Hodges and frequent CEA award winner Annie Fitzpatrick — are among the interpreters. Performances are Friday and Saturday at 8 p.m., Sunday at 3 p.m. If you go on Friday, plan to stick around for a post-show discussion. Tickets ($18): 513-300-5669
If you like heart-warming, schmaltzy tales, you should find your way to Newport’s Monmouth Theatre where Falcon Theatre is presenting Visiting Mr. Green. It’s the story of a young man “sentenced” to regular visits with an elderly gentleman he nearly ran over. Beneath the surface of their disparate worlds they discover some surprising common ground. What makes this rather predictable story come to life is the acting: Joshua Steele and Mike Moskowitz, who happen to be grandfather and grandson, portray their characters with believability. This is the second of two weekends, Saturday at 7:30 p.m., Sunday at 3 p.m. Tickets: 513-479-6783
A year ago Cincinnati Shakespeare had a big hit with Jane Austen’s Pride & Prejudice. They’ve done it again with another adaptation, Sense & Sensibility. This time it’s two sisters, one rational and one emotional, wonderfully portrayed by Kelly Mengelkoch (as the reserved, reasonable Elinor) and Sara Clark (as willful, romantic Marianne). They’re surrounded by droll supporting characters in a story of romance and domestic intrigue. I gave the production a Critic’s Pick. It’s onstage until March 18, but many performances have sold out. Tickets: 513-381-2273
Speaking of Cincinnati Shakespeare, the company recently announced its 2012-2013 season, which will feature some memorable characters — Sherlock Holmes, Atticus Finch (in To Kill a Mockingbird), Romeo & Juliet, Lady Bracknell (in Oscar Wilde’s hilarious The Importance of Being Earnest), Richard II and Nick Bottom (Midsummer Night Dream’s aspiring actor who makes an ass of himself). You can read about the entire season in my blog post from last Sunday.
Each week in Stage Door, Rick Pender theater tips for the weekend, often with a few pieces of theater news.
While it’s not part of the Fringe, Avenue Q, presented by Showbiz Players at Covington’s Carnegie Center, has the same zany vibe. It’s an X-rated musical with puppets that might visually remind you of Sesame Street — until they open their dirty mouths. The show was a surprise Tony Award winner several years back, and it promises lots of laughs for those who go. Through June 10. 859-957-1940.
If you want something more traditional, try Cincinnati Shakespeare Company’s production of The Merchant of Venice, one of Shakespeare’s most difficult plays. It’s officially categorized as a comedy because it has humorous and romantic elements. But the central story about a potentially fatal argument between a moneylender and a businessman is anything but amusing. CSC’s artistic director Brian Isaac Phillips takes on the role of the rapacious moneylender who has faced anti-Semitic discrimination for his entire life. Is Shylock a villain or a victim? Shakespeare gives him aspects of each, and CSC’s production does not tilt in either direction. You get to decide, and it won’t be easy. Box office: 513-381-2273, x1.
Be sure to consider downtown’s newest performance venue, Speakeasy Theatre, storefront space at 815 Race Street. Their inaugural production is Paul Baerman’s The Whistler, set in 1965 in an unnamed Southern city awash in racist attitudes. The Andy Griffith Show is in its fifth season, and the guy who whistles the theme (played here by local professional actor Michael G. Bath) is living off his royalties. But life gets more complicated when he meets an African-American trumpet player (played by Tony Davis) who shares his passion for music. The Whistler will be onstage through June 10. Box office: 513-861-7469
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.
Well, the erratic LCT awards got this one right — even if the announcement arrives almost two weeks after the brief run of Oklahoma! at UC’s College-Conservatory of Music. (Nov. 17-20). Three performers and the show’s director and choreographer have been cited by a judging panel from the League of Cincinnati Theatres. The recreation of Rodgers and Hammerstein’s trend-setting musical from 1943 is certainly one of the best productions I’ve seen all season. It marshaled the forces of 35 and an orchestra of more than 40 musicians. It’s not likely that you’ll see such a production anywhere but at a school like CCM
Professor of Musical Theatre Diana Lala, the show’s director and choreographer, was recognized with an LCT award for the show’s outstanding choreography. LCT panelists praised the quality and quantity of dancing, based on Agnes DeMille’s legendary work for the original 1943 Broadway production, as well as its “flawless” execution.
Three student performers were cited for their contributions to the show. Senior John Riddle from Vermillion, Ohio, was awarded for his performance as a leading actor, playing the cowboy Curly McLain. Senior Julia Johanos from Louisville, Colorado, was similarly recognized as a leading actress in a musical for playing Laurey Williams, the object of Curly’s romantic attention. One LCT judge said the leads “knocked this one out of the park with depth, musical talent and romantic chemistry.” Senior Eric Huffman from Lenexa, Kansas, played cowboy Will Parker, a featured role for which LCT recognized him as a “confident dancer, good singer and truly gifted actor.”
More information about the League can be found at www.leagueofcincytheatres.info.
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.)
As the Contemporary Arts Center (CAC) prepares for next Tuesday's announcement of its 2009-10 season, there is indication it will be bringing the big, nationally reviewed Shepard Fairey: Supply and Demand show here from Boston's Institute of Contemporary Art (ICA). The first museum retrospective for the popular and controversial street artist, Supply and Demand looks at his career up to his creation of the iconic Obama silk-screen posters, depicting the then-presidential candidate, head slightly and nobly uplifted, above the words "Progress" and "Hope."
I haven’t seen the Showboat Majestic’s opening production of its 90th season (that’s right, the boat has been entertaining audiences for nine decades!), but Babes in Hollywood is another show that’s light and entertaining. It’s a revue of tunes made famous by Judy Garland and Mickey Rooney back in the 1930s and ’40s when they were happy-go-lucky adolescent stars. I did see the four-member cast do a number at last Monday’s LCT Awards event, and they have fine voices and a sense of style. I suspect this show will be popular with the grey-haired audience that frequents the Showboat, but I bet people of any age will have a good time watching. Box office: 513-241-6550.
If you want something a tad more profound, try Cincinnati Shakespeare Company’s production of The Merchant of Venice, one of Shakespeare’s most difficult plays. It’s officially categorized as a comedy because it has humorous and romantic elements. But the central story about a potentially fatal argument between a moneylender and a businessman is anything but amusing. CSC’s artistic director Brian Isaac Phillips takes on the role of the rapacious moneylender who has faced anti-Semitic discrimination for his entire life. Is Shylock a villain or a victim? Shakespeare gives him aspects of each, and CSC’s production does not tilt in either direction. You get to decide, and it won’t be easy. Review here. Box office: 513-381-2273, x1.
There’s a new theater downtown, just a few doors north of Cincinnati Shakespeare’s venue. They’re calling themselves Speakeasy Theatre, and they’re performing in a storefront space at 815 Race Street. Their inaugural production is Paul Baerman’s The Whistler. The show, directed by Tim Waldrip, is set in 1965 in an unnamed Southern city where a lot a racist attitudes are out in the open. The Andy Griffith Show is in its fifth season, and the guy who whistles that show’s theme (played here by local professional actor Michael G. Bath) is living off the royalties of his work. But life gets more complicated when he meets an African-American trumpet player (Tony Davis is taking on the role) who shares his passion for music. The show just opened on Thursday and I haven’t seen it, but it’s always good to give a new theater a try. The Whistler will be onstage through June 10. Box office: 513-861-7469.
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.
Tracy Letts' plays haven't quite caught on in Cincinnati. We're yet to see a production locally of August: Osage County, his 2008 Pulitzer Prize winner. Neither the Cincinnati Playhouse nor Ensemble Theatre of Cincinnati� have picked up Superior Donuts, his 2011 Tony-nominated script that will be staged by at least eight major regional theaters across the United States during the coming season. However, a local pick-up company will present Letts' latest script at the Clifton Performance Theatre (404 Ludlow Ave.) in a brief run (Sept. 9-18).
It was quite the spectacle and in a good way. As I, along with other members of MUSE, approached Great American Ballpark around 4 p.m., there were already hundreds of World Choir Games participants thronging the entrance, and despite the stifling temperature, the excitement was palpable. All the hype about this being an international event was no hype at all. For the first time I can remember, Cincinnati looked like an international city.
Choirs from West Chester, Loveland and Pleasant Ridge chatted with groups from Japan, Colombia, Canada and Australia. Cheers erupted from all parts of the plaza, spontaneous singing and dancing were everywhere. The plaza was a riot of color: the Colombians in vivid red, orange, and yellow; Japanese women in blue and pink kimonos; the Nigerian choir in bright green dashikis and caps; and the Costa Rican women's choir in flowing white dresses embroidered in bright red.
With no signage but a multitude of helpful volunteers, 5,000 of us were mustered into holding areas before marching over to U.S. Bank Arena. Bottled water and mist sprayers relieved the heat, and when the water ran out, there plenty of ice cubes — putting them down my back never felt better.
We found ourselves in a shaded area along with a youth choir from Erie, Pa. Suddenly they started chanting, "Sing! Sing! Sing!" As we launched in the South African Xhosa song "Bambelela," their eyes lit up in recognition and suddenly we were one big chorus. They answered us with "The Storm is Passing Over," and this time, our eyes lit up. Same arrangement we do. They sang a beautiful arrangement of "As I Went Down to the River to Pray." When we sang Bernice Johnson Reagon's "I'm Gon' Stand," with Lois Shegog belting out the solo, they were riveted.
Once inside the arena, more cheering as groups saw themselves on the JumboTrons. The soundtrack took in The Temptations, The Jackson 5, Gloria Estafan, The Monkees, and I think Neil Diamond was in there somewhere. The Aussies sitting below us started a beach ball toss that would have gone on longer if an arena-wide wave hadn't taken over. I didn't see many empty seats.
WCPO's Clyde Gray and Carol Williams were affable emcees and the opening remarks by Mayor Mallory and Interkultur head Gunther Titsch were mercifully brief (Titsch spoke in heavily accented English and then reverted to his native German. That was fine — I'd rather look at his translator any day. Williams read greetings from President Obama — the letter was projected on the video screens to the accompaniment of hundreds of camera flashes. Rob Portman didn't applaud. But he recovered to declare the games open.
Cincinnati Pops conductor John Morris Russell paid tribute to the late Erich Kunzel, who was the driving force behind bringing the WCG to Cincinnati. And it was his vision to include the traditional July 4th concert as part of the opening ceremony. I think he would have been delighted and not at all surprised at the power of singing to bring people together. Choruses rose with pride as their nation's flag was announced, but they also cheered on their peers. I'll never forget the group from Namibia turning to cheer South Africa.
As we left, I couldn't help singing India Arie's "There's Hope." MUSE sang that, too.