I’m in New York City this week to check out some Broadway shows, so I’m missing the opening night of the Cincinnati Playhouse’s production of Low Down Dirty Blues. It’s the holiday “alternative” to A Christmas Carol, and alternative it is. It’s set in a nameless Blues club on Chicago’s South Side that’s closing for the night. But that’s just when the party heats up as a group of musicians assembles for an after-hours jam session to swap stories and perform favorite tunes, especially numbers from the bawdier side of the Blues, tunes by the likes of Muddy Waters, Howlin’ Wolf, Big Mama Thornton and more. “It is a spicier kind of Blues, specifically one that has two sides to it," says Dan Wheetman, the production’s co-creator and music director. "On one hand, it is a more intimate look, it is a smaller group and a smaller palate… It’s a story about the people, these people in this club and their stories, which includes the music but it is more of a personal talk about what brought them to where they are.” I’m eager to see it. Onstage through Dec. 20. Tickets: 513-421-3555
It’s that time of year when families begin thinking about going to the theater together. Getting an early start are musical productions for the entire family. Once choice is Seussical, based on the works of Dr. Seuss, at Northern Kentucky University. It opened on Thursday and continues through Nov. 22. Tickets: 859-572-5464 … The other is a production of the musical Mary Poppins by Cincinnati Music Theatre at the Aronoff Center’s Jarson-Kaplan Theater. This is perhaps the city’s most ambitious community theater company, typically undertaking big musicals and doing a good job with them. It opens tonight and continues through Nov. 21. Tickets: 513-621-2787 … If you miss the latter, you’ll have a chance to see a different production: The Covedale Center will be presenting it Nov. 27-Dec. 27.
Continuing and finishing: A keep-’em-guessing murder mystery with just two characters, Sleuth, continues its run at the Carnegie through Nov. 22. (Tickets: 859-957-1940)… This is the final weekend for Mad River Rising at the Cincinnati Playhouse (final performance is Saturday; tickets: 513-421-3888); Andy’s House of [BLANK], an original musical at Know Theater (also winding up on Saturday; tickets: 513-300-5669); and an old-fashioned farce, Fox on the Fairway, at the Covedale (Sunday’s matinee is your last chance; tickets: 513-241-6550).
Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
“Florala.” That’s where you are when you head down the ramp to see Know Theatre’s production of Andy’s House of [Blank]. It’s set on the state line between Florida and Alabama, but it’s recreated in two-dimensional cardboard props (telephones and ice cream cones) and decorations (comically taxidermied animals, including the backside of a dog) imaginatively designed and executed by Sarah Beth Hall. The tale is filtered through the often-divergent memories of two guys who were 16 in 1998, holding down their first jobs in roadside oddity shop and museum of “unmailed love letters.” The “guys” are Paul Strickland and Trey Tatum (truly from Florida and Alabama). They serve as the narrators — or perhaps the “recollectors” — of the oddball musical tale of Andy (Christopher Michael Richardson), the proprietor, and Sadie (Erika Kate MacDonald), the girl he had a crush on as a kid. The show was a well-received entry in Know’s “Serials” earlier this year, a story told in five 15-minute episodes. Strickland and Tatum have stitched those pieces together, and director Bridget Leak has given the piece continuity and flow. Their ebullient enthusiasm is obvious from start to finish — Tatum pounds away on an electric keyboard, Strickland (who composed the 20 or so songs) plays guitar and sings almost operatically, and Richardson and MacDonald (both with gorgeous voices) affectingly play two people caught in a looping time warp. In fact, all four characters are living out the theme repeatedly spoken and sung: “Every day is just a variation on a theme.” The music is great, and there are lots of laughs along the way, but the story is a serious, poignant rumination about love, longing and how to move forward by looking back. At two-plus hours (including an intermission) it feels a tad long, but every moment is a treat to watch. Onstage through Nov. 14. Tickets: 513-300-5669
Opening this week: Anthony Schaffer’s Sleuth, a humorous but taut murder mystery is at The Carnegie in Covington. It’s a two-man show about a famous mystery writer who’s out to murder a man having an affair with his wife. There are a lot of twists and turns in this tale, so it’s fun to watch if you pay close attention. Through Nov. 14. Tickets: 859-957-1840 … Playwright Roberto Aguirre-Sacasa fascinated Cincinnati Playhouse audiences back in 2013 with his “sequel” to The Crucible, Abigail/1702. Falcon Theatre is offering two related one-acts by him, The Mystery Plays, inspired by the tradition of medieval theater that dealt with the imponderables of death, the afterlife, religion, faith and forgiveness — but from a thoroughly American perspective. In the first piece, a horror film director survives a train wreck only to be haunted by someone who didn’t make it; in the second, a woman travels to a rural Oregon town to make peace with the man who murdered her parents and her sister: He’s her older brother. Through Nov. 21 at the Monmouth Theatre in Newport. Tickets: 513-479-6783
Continuing: Cincinnati Shakespeare’s excellent production of Arthur Miller’s classic drama Death of a Salesman has its final performance on Saturday evening. It’s worth seeing, but tickets might be scarce. Tickets: 513-381-2273 … Mad River Rising at the Cincinnati Playhouse is a compelling study of place and aging, an old man trying to forestall the sale of his family farm. It continues through Nov. 14. Tickets: 513-421-3888 … Covedale Center’s staging of the comedy Fox on the Fairway, a tribute to cinematic farces from the 1930s and 1940s, is onstage until Nov. 15. Tickets: 513-241-6550
Tune in to WVXU (FM 91.7) on Saturday evening at 8 p.m. to catch LA Theater Works’ production of Matthew Lopez’s The Whipping Man. This show, about a young Jewish Confederate soldier marking Passover 1865 with his family’s newly freed slaves in a crumbling mansion in Richmond, Va., at the end of the Civil War, is a powerful work. Ensemble Theatre Cincinnati staged this show very effectively in 2012.
Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
There are almost too many good shows for you to enjoy this weekend, but depending on what you like, you’ll probably find it somewhere.
Cincy Shakes production of Death of a Salesman doesn’t open until tonight, but all sings point to a strong production, headlined by one of our region’s best actors, Bruce Cromer, as beaten-down Willie Loman, who I interviewed for my CityBeat column this week. He’s matched with another fine local stage performer Annie Fitzpatrick as Willie’s faithful but worried wife; two of the Shakespeare team’s excellent company of actors, Jared Joplin and Justin McCombs, play Willie’s sons who can’t quite bear up to the weight of his expectations. Arthur Miller’s play is one of the greatest, a winner of the Pulitzer Prize and Tony Award. So if it’s serious drama, get tickets for this one, onstage through Nov. 7: 513-381-2273.
Want something more frivolous and entertaining, but still a great performance? Show up at Ensemble Theatre for Buyer and Cellar, a one-man show about a guy pretending to be a shopkeeper in a vast basement treasure trove of acquisitions on Barbra Streisand’s Malibu estate. It’s 90 minutes of non-stop storytelling, rooted in a real place — but with a fantasized chain of events. Actor Nick Cearley is a comic gem, performing in a smartly written script that requires him to conjure up not just Alex, the actor hired to wait on Barbra, “the customer” (one and only), but the singer herself and a handful of others. Great fun to watch. Here’s my review. Through Nov. 1. Tickets: 513-421-3555.
If you love a good Broadway musical, you need to show up at the Aronoff and score a seat for the touring production of Pippin. (CityBeat review here.) It’s a show from 40 years ago (by Stephen Schwartz, the creator of Wicked more recently), but this version of an award-winning Broadway revival from two years ago is full of Cirque du Soleil-styled acrobatics, as well as some great songs and performers. It’s a sort of fairytale embroidered from a real historical character from the 9th century, the son of the monarch who launched the Holy Roman Empire. It’s about the young Pippin’s arduous search for a meaningful life. The “Leading Player,” a kind of emcee/storyteller, is Gabrielle McClinton, who handled the role on Broadway for part of its two-year run there, and Charlemagne, Pippin’s father, is played by veteran actor John Rubinstein — who originated the title role back in 1972. (He’s 68 now, but still an energetic, animated performer.) Tickets: 513-621-2787.
Shows previous opened that are also worth seeing include the very serious drama Extremities at the Incline Theater in E. Price Hill (tickets: 513-241-6550), onstage through Sunday; and Sex with Strangers, a very modern romance about writers who envy one another’s careers and lust after one another’s bodies, has another week and a half at the Cincinnati Playhouse (tickets: 513-421-3888).
Sex is pretty much a constant presence in life as we know
it, and it’s often a driving force in plays, taking on many shapes and
outcomes. That’s particularly the case with two shows that just opened
locally, Laura Eason’s new play, Sex with Strangers, at the Cincinnati Playhouse on its Shelterhouse stage through Oct. 25, and William Mastrisimone’s 1982 script, Extremities, at Cincinnati Landmark Productions’ Incline Theatre, through Oct. 18.
Eason’s script is about two writers who seem as opposite as can be — he’s an arrogant 28-year-old blogger (Nicholas Carrière as the charming and ebullient Ethan) whose writing about sexual conquests has been turned into a best-selling book, while she’s a serious, introspective novelist, 39, (Nancy Lemenager as introverted and self-conscious Olivia) who’s given up because of bad reviews and weak sales of her first book more than a decade earlier. But they end up together in a Michigan B&B due to a snowstorm (and some serious interest on his part in meeting her) and they discover a powerful mutual attraction that’s also driven by aspiration and envy of one another’s careers. Eason writes great contemporary dialogue, and director KJ Sanchez keeps things hurtling along down a road of desire and tentative trust. It seems evident that things could go off the tracks, but when they do there’s some more interesting sparks — and a lot of conversation about the state of writing and literature today. While the show’s title is titillating and they are strangers who steam things up — repeatedly — it’s really the title of his blog, and a past that he might or might not want to move beyond. There’s both humor and real emotion to be appreciated in this finely crafted production. Tickets: 513-421-3888
Mastrisimone’s off-Broadway script from three decades ago (Extremities also became a 1986 movie starring Farrah Fawcett) comes at issues of sex and attraction from a far more serious and brutal angle. It’s a significant a departure for Cincinnati Landmark, best known as a producer of safer, more mainstream fare, musicals and classical comedies. Raul (Will Reed) has been stalking three young women who share a house. He bursts in on Marjorie (Eileen Earnest), who we meet lounging around in a state of undress; he overpowers her, knowing her roommates won’t be back for hours. But she turns the tables on him, and when Terry (Katey Blood) and Patricia (Rachel Mock) return, they find Marjorie menacing and torturing her foul-mouthed attacker, hogtied and imprisoned in a large fireplace. They are shocked by her violent turn, and their perspectives — Terry is shocked and fearful, while Patricia is pragmatic and overly analytical — provide various takes on the situation and its potential resolution. Their four-cornered battle unfolds in harsh, often unhinged arguments about motives, likely outcomes and fears. Some of these feel a tad dated in 2015, but that does not diminish the story’s power. Earnest’s searing performance as Marjorie and Reed’s manipulative portrait of an intelligent, twisted man she insists on calling “The Animal” fuel the pounding pulse of this production of Extremities, staged by Tim Perrino. You’re never sure how the battle will end, and that makes for good theater. Tickets: 513-241-6550
CCM Drama head Richard Hess calls David Edgar’s Pentecost the British equivalent of Tony Kushner’s Angels in America. Both are big-cast plays, stuffed full of language and contending philosophies. The discovery of a 13th-century mural in an Eastern European church threatens to upset the world of art history, but it also lights the match on conflicts that go well beyond — to geopolitics, religion, history and more. It’s a heady script, with 26 roles speaking multiple languages, utterances that audiences have to intuit, just as the characters need to try to grasp one another’s motives. Read more about Pentecost in my recent Curtain Call column. Like most CCM productions, this one (at UC’s Patricia Corbett Theater) has a short weekend run; the final performance is a matinee on Sunday. Pentecost is an important play, an essential experience for serious theatergoers. Tickets: 513-556-4183
One more interesting piece of theater this weekend, inspired by Titus Kaphar’s Vesper Project at the Contemporary Arts Center, a multi-part installation in which paintings are woven into the walls of a 19th-century American house in New England, the home of a mixed-race family. His exhibit there involves a true/false backstory and familiar/unfamiliar environments. The massive exhibit invites conversation, and that’s what writer (and occasional CityBeat contributor) Stacy Sims has created after several discussions with the artist. She invited five local actors to work with her to respond to the piece, and the result, RETRACED: A theatrical conversation with the Vesper Project, will be performed three times this weekend at the CAC on Sixth Street in downtown Cincinnati, at noon and 3 p.m. on Saturday and at 1 p.m. on Sunday. Sims says, “While I have a strong idea of how the actors will move in and out of the space and intersect with each other, each of their individual stories will be deeply informed by their own personal narratives of race, power, privilege and home.” Performances are free with gallery admission.
This weekend is your last chance to see the Cincinnati Playhouse’s beautiful production of The Secret Garden, NKU’s rendition of the comedy Moon Over Buffalo and New Edgecliff Theatre’s well-acted staging of Frankie and Johnnie in the Clair de Lune.
Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
New Edgecliff Theatre’s Frankie and Johnny in the Clair de Lune is under way a week later than initially announced following some issues with its not-quite-ready new home in Northside. So it’s been moved to the Essex Studio (2511 Essex Place, Walnut Hills), in a performance space routinely used by Cincinnati Actors Studio & Academy, a training group for teens. It was bit of hustle and strain to move a half-built set from Northside to Walnut Hills, but it fits nicely into CASA’s black box. Rather than rattling around in a big old church sanctuary (Northside’s work-in-progress Urban Artifact), NET’s staging of Terrence McNally’s 1987 romantic dramedy works beautifully in this more intimate space. But I suspect no matter where it was staged, the two-character show would be well received thanks to actors Sara Mackie and Dylan Shelton, smartly put through their paces by director Jared Doren. As lonely co-workers in a New York greasy spoon diner, they’ve finally connected — at least for a night. They’re both kind of needy although in very different ways. Frankie, a sweet waitress, has been bruised by bad relationships and seems happy with her own insular existence; Johnny, the motor-mouthed short-order cook who can quote Shakespeare, is driven by angst and passion — filled with desperation that he doesn’t have any more chances for romances. This naturally frightens Frankie, and their navigation through this minefield, full of passion and snark, makes audiences laugh and love them both. It’s definitely worth seeing. Because of the move, it’s a short run, just through Oct. 3. Tickets: 888-528-7311
The folks who run Falcon Theater, performing in Newport at the Monmouth Theatre (636 Monmouth St.) have staked a claim on comic musical satires — they’ve produced Debbie Does Dallas: The Musical, Poseidon: The Upside-Down Musical, Evil Dead: The Musical and several more. So they worked really hard to get the rights to Silence: The Musical, based on The Silence of the Lambs, the creepy 1991 movie about “Hannibal the Cannibal” starring Anthony Hopkins as a manipulative serial killer and Jodie Foster as the young FBI cadet who needs him to solve another serial murder. The musical version was a big hit at the 2005 New York International Fringe Festival and over the past decade it's become a cult favorite. It opens tonight and continues on weekends through Oct. 10. Tickets: 513-479-6783
The first production of the season at Northern Kentucky University, Ken Ludwig’s Moon Over Buffalo, is a comedy about a pair of fading actors from the 1950s on tour in Buffalo. Their marriage is coming apart, but a famous movie director is coming to see their matinee and just might cast them in an upcoming feature. But everything goes wrong when they start confusing the two shows they’re performing — Noël Coward’s Private Lives and Edmond Rostand’s Cyrano de Bergerac. Tickets: 859-572-5464
Speaking of Cyrano, there’s a fine production of it (not to be confused with anything else …) at Cincinnati Shakespeare Company, with an excellent performance by company veteran Jeremy Dubin in the title role. It’s onstage through Oct. 3. 513-381-2273. • Also closing on Oct. 3 is the Cincinnati Playhouse in the Park’s beautiful production of The Secret Garden, a musical based on a cherished novel from a century ago. This is one of the Playhouse’s “family-friendly” productions — like A Christmas Carol — suitable for multiple generations. It looks great, and the talent onstage — much of it from Broadway — is top-notch. Tickets: 513-421-3888
If you haven’t seen Rebecca Gilman’s Luna Gale at Ensemble Theatre Cincinnati, you really should try to get there this weekend for one of its final showings. This new play hat will make you uncomfortable because it’s about a tough conflict with no obvious right or wrong — a custody fight over a baby between her irresponsible parents and her religiously conservative grandmother, refereed by an over-burdened social worker. The cast (including three former ETC apprentices who do a great job) is led by Annie Fitzpatrick as the weary social worker. She’s especially good in this role, a woman trying to do the right thing who’s thwarted at every turn. Final performance is 2 p.m. Sunday. Tickets: 513-421-3555
Actors are a big reason we go to see specific performances, and there are a couple of excellent choices onstage right now as several theaters are kicking off their 2015-2016 seasons. Of particular note is Annie Fitzpatrick, a familiar performer to audiences frequenting productions at Ensemble Theatre. She’s playing Caroline, an over-burdened social worker in Luna Gale. Her character is caught in a custody tug of war involving a baby, the title character. Her immature parents are on one side, caught up in drugs and angry behavior; on the other side is Luna Gale’s well-intentioned grandmother who’s religiously conservative. Fitzpatrick portrays a beleaguered woman trying to do what’s right, but constantly thwarted by the system in which she works. You feel this desperation deep down inside Caroline’s character, in her physical presence, in her exasperated stares and sighs. Fitzpatrick is a marvel to watch. She’s a major factor in my giving this production a Critic’s Pick. (Note for the future: She’ll be onstage next at Cincinnati Shakespeare Company, Oct. 16-Nov. 7, playing Linda Loman in Death of a Salesman.) Luna Gale continues through Sept. 27. Tickets: 512-421-3555
Another veteran actor is shining at Cincinnati Shakespeare this month. Jeremy Dubin, a member of CSC’s acting company for 16 seasons, is playing the swashbuckling poet Cyrano de Bergerac. The show is sometimes called a heroic comedy, and Dubin handles both parts of that phrase with aplomb. He makes Cyrano larger than life in his generosity and faithfulness, but he plays him with the requisite sense of humor — especially in scenes involving Cyrano’s oversized nose, a convincing prosthetic created for Dubin’s performance. He has excelled in roles both comic and serious; Cyrano draws on both. Read more about this play and Cincy Shakes’ production in my recent column. Tickets: 513-621
One more excellent acting performance worth catching: Caitlin Cohn as 10-year-old Mary Lennox in The Secret Garden at the Cincinnati Playhouse. She’s actually a college student (New York University), but the petite actress is wholly convincing as the ornery, bright and eventually loving orphan who finds the warmth of nature and shares it with her grieving uncle. Cohn is doing an audacious job with a challenging role. Tickets: 513-421-3888
If you were planning to see New Edgecliff Theatre’s production of Frankie and Johnny in the Clair de Lune this weekend, you need to put it in neutral. Due to some technical delays with NET’s new home at Urban Artifact (1622 Blue Rock Road, Northside) the company is moving the production to a different venue and delaying performances for a week. It’s not scheduled to be presented at Essex Studios (2511 Essex Place, Walnut Hills) opening Sept. 24 and continuing through Oct. 3. NET is contacting people who already had reservations. If you don’t have tickets yet, call now: 888-421-7311
A few quick notes: Showbiz Players, a dependable community theater company that likes satirical shows, is presenting The Rocky Horror Show at the Carnegie in Covington, through Sept. 26. Tickets: 859-957-1940 … Performance Gallery, an avant-garde troupe of performers that’s been a steady contributor to the Cincinnati Fringe, is reprising its production from the 2015 Fringe, Shirtzencockle, at Know Theatre on Friday and Saturday evenings at 8 p.m. It’s a surreal, magical, ridiculous blind of folk and fairy tales. Tickets: 513-300-5669 … Kate Tombaugh, who studied opera at UC’s CCM (and trained in numerous other places) is presenting her one-woman show, It Just Takes One. It portrays the roller-coaster story of a young woman in her 20s seeking a career in opera while struggling to find a social life. A benefit for the Charitable Care Fund at Children’s Hospital, it’s being presented at St. Thomas Episcopal Church (100 Miami Ave., Terrace Park) on Friday evening at 8 p.m. and in 2 p.m. matinees on Saturday and Sunday.
Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
The fall theater season is fully under way. I’ve seen several productions that I can recommend, starting with Ensemble Theatre Cincinnati’s staging of Luna Gale. The story focuses on a weary social worker caught on the horns of a horrible dilemma — a custody battle between teen parents with drug issues and a zealously religious grandmother — with veteran actress Annie Fitzpatrick turning in another outstanding acting performance. The production is also an impressive reminder of the fine work ETC has been doing for 30 years since three actors in Luna Gale were ETC apprentices a year ago. The award-winning Luna Gale is being produced at many theaters across America this season, but I can’t imagine that any of those productions will be better than the one we have right here in Cincinnati. I gave it a Critic’s Pick. Through Sept. 27. Tickets: 513-421-3555
Last night I was at the Playhouse for The Secret Garden opening its 56th season. While this is a story about a 10-year-old girl, it’s quite serious and thoughtful. Orphaned and seemingly headed for unhappiness, she finds redemption in nature and friendship, bringing others along on her path to a better place through abandoned garden that comes back to life. In my review, I suggest that this production might be a bit too complex and impressionistic for kids, but the show is physically beautiful and gorgeous musically. Caitlin Cohn’s performance as Mary Lennox is impressive; she’s a student at New York University, but quite convincing as a young girl. The cast features two CCM musical theater grads, Adam Monley and Carlyn Connolly, and a raft of polished New York veterans. Through Oct. 3. Tickets: 513-241-3888
If you’re a fan of the music of the ’60s and ’70s, you’re likely to love the touring production of Motown: The Musical currently rattling the rafters at the Aronoff Center (through Sept. 20). The hardworking cast does a great job of recreating the sounds of Motown — The Four Tops, The Temptations, Smokey Robinson and the Miracles, Diana Ross and the Supremes, The Jackson Five, Marvin Gaye, and many more. The play in which this is presented, however, is not so stimulating — Motown founder Barry Gordy’s story was written by (you guessed it) Barry Gordy, and it all feels pretty self-serving. But the music is great, and it comes at you hot and heavy — nearly 60 songs, although many are in medleys or shortened versions. Nevertheless, it’s a great reminder of the Pop tunes that kept American singing and dancing several decades ago. Tickets: 513-621-2787
The Covedale Center is offering an ambitious staging of a great musical, A Chorus Line, with some fine dancing in its own right. This is a very moving show about people who put themselves “on the line” to do something they love. It’s still powerful after 40 years, and Cincinnati Landmark Productions has done a fine job with this one. (Through Sept. 27. Tickets: 513-241-6550
There’s a lot of laughter at Know Theatre this weekend where the Cincinnati Improv Festival is underway. I understand that there aren’t many tickets left, but if you’re a fan of this branch of comedy, you should call to see if you can get in. Shows tonight and Saturday. Tickets: 513-300-5669
There’s a lot more coming next week, once we get past Labor Day, but right now there’s just one theater locally with a production onstage. That’s the Covedale Center for the Performing Arts. Artistic Director Tim Perrino has been reminding everyone that just because Cincinnati Landmark Productions has opened the Incline Theatre, don’t think that the Covedale has shut down. In fact, it has an ambitious line-up of shows, and the opening production is already under way, A Chorus Line. I haven’t seen this production of it yet, but I will tell you that it’s a show that really lit my interest in musical theater. It was a Broadway hit back in 1975, and I saw a touring production of it in Cleveland in 1978. I had next to no income at the time — and tickets for subsequent performances were pretty well sold out anyway — but I told several friends that in a perfect world, I would have gone back to see it again. I had to wait a few years for that to happen, but this story of aspiring performers grabs me every time I see it. It’s the story of eager young dancers trying to get into the chorus of an upcoming Broadway production. The group is narrowed to 17, but the ultimate goal is four men and four women. The songs are rooted in each dancer’s personal story: Some are amusing, some are heart wrenching — all are painfully true. At the end, they all coalesce into “One (Singular Sensation),” a stunning finale that has all the individuals we’ve met together, dancing as one. It’s a wonderful metaphor about the passion to perform and to be part of a larger whole. A Chorus Line at the Covedale has performances this weekend and continues through Sept. 27. Tickets: 513-241-6550.
Last evening I drove to Louisville where Actors Theatre is opening its 2015-2016 season with a superb production of August Wilson’s Seven Guitars, one of his “Century Cycle” plays chronicling African-American life in Pittsburgh across the decades of the 20th century. This one, set in the late 1940s, swirls around a promising young Blues singer, Floyd “Schoolboy” Barton, who has been offered a recording contract just after his release from a 90-day stint in jail. The play opens with his funeral then circles back through scenes reminiscing about his life and six vividly different people who were close to him — three women and three men. The cast is powerful, and the minutely detailed setting, a desolate backyard in Pittsburgh’s Hill District (inspired by the art of African-American painter and collagist Romare Bearden) is a sight to behold. Seven Guitars blends humor, lyricism and tragedy. Although several of Wilson’s remarkable plays have been stage in Cincinnati, Seven Guitars — winner of the New York Drama Critics’ Circle award for best play in 1996 and a finalist for the Pulitzer Prize and the Tony Award — has not been produced locally. So you might want to make a run down I-71 to Louisville between now and Sept. 20 to see this. This production is definitely worth the trip. Tickets: 502-584-1205.
Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
Queen City Flash’s performances of The Complete Tom, from Mark Twain’s tales about Tom Sawyer, are both outside-the-box and — literally — outside, popping up in different area parks for each evening their final romp with Tom Sawyers, Detective, is being presented. In this installment (the fourth of four), Tom and Huck Finn set out to clear a friend implicated in a murder. To catch one of these free performances, you need to reserve a ticket at queencityflash.com. At 4 p.m. on the day of the show, you’ll receive an email with details of the “secret” outdoor location. The production, creatively staged by Bridget Leak, features six actors who play multiple roles using puppets and quick costume changes.
Another outdoor adventure is in store for you if you track down a FREE Shakespeare in the Park performance of a modern-dress staging of Romeo and Juliet this weekend. You’ll find one at Seasongood Pavilion in Eden Park on Friday, another at the McDonald Commons Park Shelter in Madeira on Saturday and a third at Keehner Park in West Chester on Sunday; all performances are at 7 p.m. This series is produced by Cincinnati Shakespeare Company, and it will be toured (as will a production of A Midsummer Night’s Dream) to local schools, community centers and other venues through May 2016.
If you prefer to sit in a theater, head to Covington where The Carnegie has a head start on the theater season with its mid-August production: Stephen Sondheim and George Furth’s innovative Company, onstage through Sunday. Even though the show has been around for 45 years, its outside-the-box approach — no beginning-middle-end story, in particular, but rather a central character, Robert, who’s turning 35 but remains disconnected, despite his married friends pushing help toward relationships — seems timely. Although the Carnegie’s actors are a tad young and don’t really feel like the New Yorkers who Furth’s script portrayed, they do a good job with the songs, and Zachary Huffman does a fine job with the central role. Here’s my CityBeat review. It’s onstage through Sunday. Tickets: 859-957-1940
Tom Kitt and Brian Yorkey met with great success when they created next to normal, winning several Tony Awards and the 2010 Pulitzer Prize for drama. They didn’t strike gold with their next show, If/Then, onstage locally for just a week in a touring production — but I found it to be a very satisfying, if complex work. (Read my Curtain Call interview with Kitt and Yorkey here.) Elizabeth is recently divorced and trying to decide what path to take next. She asks herself musically “What If” she takes this path or that — and this show lets us follow her down two divergent threads, one toward a successful professional career as a city planner in New York, the other in a happy marriage with kids that doesn’t quite turn out as she imagined. Her stories are presented in overlapping narratives, since some moments and events are quite close. It requires paying close attention, but it’s definitely worth the effort. It’s made all the easier by a very strong cast — including Jackie Burns in the leading role, Broadway veteran Anthony Rapp as Lucas, one of her close friends (he originated the role on Broadway Lucas and played videographer Mark in the original cast of Rent back in 1996) and Tamyra Gray as Kate, who pushes Elizabeth in a different direction. The show’s inventive staging, using video and fluidly moving set pieces, is also a fine example of contemporary theater design. Definitely worth seeing. Onstage through Sunday.
In BlackTop Sky at Know Theatre, Ida’s view from an asphalt-paved courtyard surrounded by the housing project where she lives isn’t pretty. The 18-year-old yearns to escape, but her avenues are limited. The safe, predictable route is with Wynn, her boyfriend, a hardworking auto mechanic. Then there’s Klass, an all-but-inarticulate homeless man who settle on two park benches. Ida is caught between these two poles. This is a show about lives that are pretty dead-end. Nevertheless, Christina Anderson’s script has its moments, especially with Kimberly Faith Hickman’s purposeful staging of 34 distinct scenes, several of them entirely wordless. Anderson writes with occasional lyricism and feeling, but desperation underlies these sad stories. That being said, the telling holds out a promise of change. That’s an important if not altogether entertaining message. Onstage through Feb. 20.
Also at Know, the fourth outing of Serials gets under way on Monday evening at 7:30 p.m. They’ve dubbed this one Thunderdome 2 – Beyond Thunder, meaning that each evening two of the five shows will be voted out by the audience, to be replaced by two new shows at the following session. Serials 4 features some writers and directors who entertained audiences in previous iterations of Serials. But several new talents have entered the fray, and the Know staff tells me, “There are some seriously strong story pitches this round!” They feel that the “gentle competition” of Thunderdome leads to stronger writing and a better audience experience. Writers who take the challenge must leap quickly into their narratives; if they lag behind, they’ll be struck by a thunderclap and end up in the audience at the next round. Subsequent episodes are set for Feb. 22, March 7 and 21 and April 4.
Finally: If you’re tuned in to the Super Bowl on Sunday evening, keep an eye out for a 30-second commercial for Gold Star Chili. It was shot locally, featuring 15 Cincinnati actors at several Gold Star locations. Ensemble Theatre’s Lynn Meyers did the casting for it, so you’ll see some familiar faces often featured on local stages.
There are so many things happening on local stages it’s a bit of a challenge make recommendations. But every one of these productions has some sort of conflict at its heart.
Grounded opened Wednesday night Ensemble
Theatre Cincinnati. George Brant’s a one-woman script is about a
fearless fighter pilot whose career is cut short by an unexpected
pregnancy, marriage and parenthood. Her new job is to fly military
drones from a trailer outside Las Vegas; but she goes home to her family
every night — and before long, she has trouble sorting out the
boundaries between her two worlds. Kathleen Wise makes her ETC debut
with this challenging performance, a woman who knows her way “in the
blue” as a pilot, but must navigate new paths when she’s relegated to
the “chair force,” wandering remotely “in the gray,” targeting
“personality strikes.” Michael Haney is back in town to stage this one,
and he always succeeds with making solo shows a powerful experience. Grounded
is a pressure-filled, cautionary tale, gripping but not easy to watch.
Nevertheless, it’s compelling theater. Through Feb. 14. Tickets:
Karen Zacarías’ Native Gardens, a world premiere, opened at the Cincinnati Playhouse last evening. Her Book Club Play was a Playhouse hit in 2013; this time around the subject is a tad more serious, but it’s handled with deft humor as neighbors battle over styles of gardening — formal vs. natural — and choices driven by cultural differences. New neighbors Pablo and Tania are of Hispanic descent, moving in next door to Frank and Virginia, who are as waspy as can be. You can imagine where that goes: Straight down the road to audience gasps as the couples insult one another when boundaries are crossed. The 80-minute show wraps up neatly — maybe a little too much so. But there’s no denying this is a show that has lots of comic appeal involving circumstances many people will recognize. Through Feb. 21. Tickets: 513-421-3888.
Tonight is the opening for Black Top Sky at Know Theatre. Christina Anderson, a resident playwright with New York City’s New Dramatists, makes her Cincinnati debut with this show about the residents of a housing project. Ida, 18, befriends Klass, an unpredictable young homeless man. Their friendship forces Idea to make a choice: Embrace the struggle for justice or embrace a life with her successful boyfriend. Kimberly Faith Hickman, who staged 2014’s The Twentieth-Century Way for Know, is back from New York to direct. Andrew Hungerford, Know’s artistic director, chose this show because he was “struck by the poetry of the language, the visual poetry of the stage directions and the gut-wrenching timelessness of the story.” He adds, “It flips from humor to heaviness at the speed of light.” Onstage through Feb. 20. Tickets: 513-300-5669.
Shakespeare’s chronicling of King Henry VI took three plays back in the 16th-century; Cincinnati Shakespeare Company has rearranged them into two productions, one onstage now and another coming next season. This portion details the roots of the War of the Roses, with relatives vying for power — it’s truly a historic “game of thrones.” It’s also is a predecessor of today’s action movies, with lots of combat — and the fiery presence of Joan of Arc (played with zest by Caitlin McWethy), as England’s zeal for dominance in France runs a parallel track to the jockeying for position among royal relatives back home. Through Feb. 13. Tickets: 513-381-2273.
Cincinnati Shakespeare Company is staging the original “game of thrones” — England’s Hundred Years’ War (1337-1453) as retold by the Bard’s history plays — eight shows being presented in chronological order across five theater seasons. (Cincy Shakes is only the second theater company in the U.S. to present the history cycle in Chronological order.) We’ve already seen Richard II, Henry IV: Part 1 and 2 and Henry V. Now it’s time for the reign of Henry VI, which Shakespeare covered with three plays. This week starts the production of Henry VI, Part I, the story of Henry V’s only son who, in 1421, inherited the throne before his first birthday, after his father’s untimely death. A child on the throne opened the door to the dynastic struggles of the War of the Roses. (The cycle concludes next season with the bloody tragedy of Richard III.) Darnell Pierre Benjamin plays Henry, an unusual choice. Here’s what he says about taking on this role: “I’m a black male from St. Martinville, Louisiana. Despite how much I’ve always fixated my interests on the classics, I never thought that I’d have the honor of representing one of Shakespeare’s history kings.” He says he hopes “to open people’s minds and hearts to seeing the core of this story — a young man coming into his own as he learns that there are forces, both good and bad, that can alter his perception of himself.” Through Feb. 13. Tickets: 513-381-2273.
The Covedale Center just opened Neil Simon’s Chapter Two, a play about a widowed writer trying to start over while still grieving for his late wife. The story is rooted in Simon’s own experience, and the playwright’s famous one-liners are still there, but woven into the show’s humor is a story about coming to terms with death and moving on. Through Feb. 14. Tickets: 513-241-6550.
In Covington, The Carnegie is offering what sounds like an interesting production of The Wizard of Oz that opened last night. With musical accompaniment by the Kentucky Symphony Orchestra, it’s a “lightly-staged” rendition with Harold Arlen’s famous score from the 1939 movie. Of particular interest is the scenic design by local artist Pam Kravetz, a unique take on the iconic landscapes of Oz, including Munchkin Land and the Emerald City. Just to remind folks passing by on Scott Avenue, you’ll see a giant pair of legs with striped stockings and ruby slippers to remind you that one wicked witch is dead. Through Jan. 31. Tickets: 859-957-1940.
For something completely different, consider The Realistic Joneses by Clifton Players, at Clifton Performance Theater on Ludlow Avenue. It’s about two couples named Jones, next-door neighbors who get to know one another despite fear and loneliness. Will Eno’s unusual play — part comedy, part drama — digs into secrets that aren’t often spoken aloud. It’s being staged by local theater veteran Dale Hodges with a cast that includes Carter Bratton, Mindy Siebert, Miranda McGee and Phil Fiorini. It’s onstage through Feb. 7. Tickets: 513-861-7469.
Next week there will be even more theater on local stages: Grounded, a one-woman show about a fighter pilot assigned to making drone strikes (Ensemble Theatre, Jan. 27-Feb. 14, 513-421-3555), BlackTop Sky, a tale of homelessness and friendship (Know Theatre, Jan. 29-Feb. 20, 513-300-5669) and Prelude to a Kiss, a sweet love story about changing places and understanding different perspectives (Falcon Theater in Newport, Jan. 29-Feb. 13, 513-479-6783).
Even though we’ve just passed the halfway point of the 2015-2016 theater season, the over-achievers at Cincinnati Landmark Productions just announced plans for future productions at the Covedale Center for the Performing Arts and the Warsaw Federal Incline Theater for 2016-2017.
Tim Perrino, CLP’s executive artistic director, says, “With our two venues, Cincinnati Landmark Productions has two great platforms to create exciting theater and palpable neighborhood vitality. We set a course for success with a summer of sellouts at the Incline in 2015, and we’re chomping at the bit to bring these just-announced shows to life in 2016 and 2017.”
The Covedale’s offerings are designed for mainstream audiences, while the Incline offers two distinct seasons — “Summer Classics” presents shows with broad appeal; the “District Series” produces more adult fare, both musicals and dramas.
The Covedale Center’s “Marquee Series” for 2016-2017 will offer:
The Incline’s “District Series” plans to produce starting next fall:
Still in the pipeline for the Covedale’s current season are productions of Neil Simon’s warm-hearted comedy Chapter Two (Jan. 21-Feb. 14) and two classic musicals, She Loves Me (March 1-April 3) and Brigadoon (April 28-May 22).
Queued up at the Incline for the balance of this season are the satiric musical Avenue Q (Feb. 18-March 6) and David Mamet’s hard-as-nails real-estate drama Glengarry Glen Ross (April 6-24). Those will be followed by the previously announced “Summer Classics” season for 2016, featuring three likeable musicals Anything Goes (June 1-26), Baby (July 6-31) and Chicago (Aug. 10-Sept. 4). The Incline’s summer season in 2015 completely sold out three productions — The Producers, 1776 and 9 to 5.
Right now we’re about equidistant from the 2015 and the
2016 Fringe festivals. So let’s thanks the folks at Know Theatre, who are
presenting a double-bill of “Fringe Encores” to keep us stoked. This
weekend actually offers one encore plus a graduate from Know’s Serials! series. Occupational Hazards
is about an office fling that becomes the subject of fan-fiction with
wildly divergent storylines.
The piece by Ben Dudley was a 2015 Fringe
show. He’s also the writer of Cinderblock, about a guy
(played by Dudley) whose windshield is smashed by a cult member. This
mystery passes through an office party.
The shows are being performed this weekend at Clifton Performance Theatre (404 Ludlow Ave., Gaslight Clifton): performances of Occupational Hazards are Friday at 8:45 p.m. and Saturday at 7:30 p.m.; Cinderblock, which, originally presented in five 15-minute episodes, has been pieced into a full-length version that will be presented on Friday evening at 7:30 and Saturday at 8:45. You can sit in on one piece for $15 or pay $25 for the pair either evening. Tickets: knowtheatre.com
Mariemont Players, one of Cincinnati’s fine community theater groups, is presenting D. W. Gregory’s Radium Girls through Jan. 24. It’s inspired by a true story about women who painted radium numerals on glow-in-the-dark watches, unaware of the dangers of radioactivity. The play, described as being “written with warmth and humor,” is being presented at the Walton Creek Theater (4101 Walton Creek Rd., just east of Mariemont). Tickets ($20): 513-684-1236 or mariemontplayers.com
One more weekend at the Aronoff Center for the highly entertaining touring production of Kinky Boots (through Sunday). A struggling shoe factory in Northampton, England, retools to avoid bankruptcy and unemployment. Rather than continuing to manufacture stodgy men’s shoes, they turn to high-fashion footwear for drag queens, promoted as “kinky boots.” It’s an unlikely tale that happens to be true, and it’s the vehicle for some outrageous humor, especially from Lola, an extrovert of a diva and her spectacularly clad and built “Angels,” a half-dozen drag queens who back up her act. Kinky Boots offers a meaningful message about tolerance and finding your own path, fleshed out with some entertaining dancing and fine singing. Tickets: 513-621-2787
The local theater scene picks up momentum next week when three shows open on Thursday and another on Friday. That evening the Covedale Center opens Neil Simon’s Chapter Two (through Feb. 14), a warm-hearted comedy about getting back into the dating game; Covington’s Carnegie offers a “lightly-staged” concert adaptation of The Wizard of Oz (through Jan. 31) with accompaniment by the Kentucky Symphony Orchestra; and Clifton Players stages The Realistic Joneses (through Feb. 7 at Clifton Performance Theatre), a comedy-drama about the secrets of next-door neighbors directed by local stage veteran Dale Hodges. On Friday evening, Cincinnati Shakespeare continues its five-year, chronological presentation of Shakespeare’s eight-play history cycle with Henry VI, Part I (through Feb. 13), the story of a young king who must rule after his father’s untimely death; Joan of Arc is a key character in this tale.
Life in the big city: Lots of choices.
If you turn up at the Aronoff Center for the touring production of Kinky Boots (it’s onstage through Jan. 17), you might think you’ve landed in Over-the-Rhine. That’s how much the show’s opening vista of a factory in Northampton, England, resembles our own historic neighborhood. It’s the Victorian brick façade of a shoe factory that’s struggling in the 21st century because it’s still manufacturing old-fashioned men’s shoes. Even if they’re “the most beautiful thing in the world” (the theme of the show’s opening song), not so many people want to buy them today. As a last-ditch effort to keep the company from closing, the fourth-generation heir to the business, Charlie Price, decides to make “kinky boots,” high-fashion footwear for drag queens whose male frames are too much for standard female shoe heels. His customer No. 1 is Lola, an extrovert of a diva who — not unlike Charlie — has struggled with living up to his dad’s expectations. There’s a lot of fun and frippery along the way: Lola has a half-dozen “Angels” — drag queens who back up her act — and they’re spectacularly clad and built. A perky factory worker, Lauren, keeps giving Charlie advice (while falling for him despite his imminent fiancée in London). Another employee, Don, a hardcore male chauvinist, wants nothing to do with Lola. Watching events unfold is the fun of this show, even if you know where it’s all headed. Kinky Boots offers a meaningful message about tolerance and finding your own path, and there’s a lot of fancy dancing and fine singing along the way. Tickets: 513-621-2787
Whether or not your New Year’s resolution had to do with losing weight, you still have to eat. So the topic this quarter’s True Theatre, True Food, should be of interest. These are true personal narratives, sometimes confessional, often humorous, told by everyday people. Monday night’s stories are about what a homeless woman did when she had access to a kitchen, a man who ate the wrong thing at the wrong time, another man reconsidering his family’s “roots” and two guys who eat like there’s no tomorrow, day in and day out. What happens when a foodie and a picky eater cross paths? You can find out on Monday when folks crowd into Know Theatre’s Underground Bar (1120 Jackson St., Over-the-Rhine) to get the dish on these stories. Call for tickets ($18); these events are often sold out.
This weekend is your final chance to see several December productions, including Low Down Dirty Blues (Cincinnati Playhouse), All Childish Things (Know Theatre) and Rent (Incline Theater). A few shows stick around after Dec. 25 — A Christmas Carol (Playhouse) continues through Dec. 30 and Ensemble Theatre’s staging of its jaunty rendition of Cinderella remains onstage until Jan. 3. I would find it odd to watch Ebenezer Scrooge getting scared into a “Merry Christmas” a few days after the holiday, but ETC’s contemporary rendition of a beloved fairytale might be just the thing to entertain bored kids after they’ve tried out all the new toys. Tickets for the latter: 513-421-3555.
I checked out opening night of the tenth anniversary presentation of Every Christmas Story Ever Told (and then some) at Cincinnati Shakespeare Company, and it’s as silly and funny as ever — especially with some clever pokes at people and events from 2015. The annual gags about fruitcakes take on a whole new dimension this time around by having some fun with Rowan County Clerk Kim Davis and her intransigence about issuing marriage licenses to gay couples. Every Christmas Story trots out just about every “BHC” (Beloved Holiday Classic) you might recall and puts it through a humorous filter. It’s fun from start to finish, but there is a moment — after recreating A Charlie Brown Christmas, complete with a woebegone tree — when Justin McCombs steps into a pool of light as Linus with his security blanket and recites the New Testament passage from the Gospel of Luke about an angel speaking to the shepherds. It’s a somber and wholly lovely scene, so far removed from very tongue-in-cheek, sometimes off-color humor typical of the show that it sticks with audience members. The antic McCombs also plays a true believer who refuses to be be convinced that Santa’s existence is impossible: His enthusiasm for all the miraculous things the Jolly Old Elf can accomplish is so childlike that you’ll wish you could return to that innocent age yourself. Even if you’ve seen Every Christmas Story before, it’s a blast to go back. In fact, I’d say it’s become a BHC in its own right. Onstage through Dec. 27. Tickets (if they’re still available): 513-381-2273.
There’s also some great holiday laughs to be had compliments of OTRImprov, presenting its annual show The Naughty List in the Courtyard at Arnold’s Bar & Grill in Downtown Cincinnati. The 90-minute show — unscripted and building off suggestions from the audience — happens Sunday-Tuesday, Dec. 20-22 and Dec. 27-29. It’s a laugh-a-minute way to have fun right before or after Christmas. To make an evening of it, show up at Arnolds (201 East 8th St.) between 6 and 6:30 p.m., get seated and place your dinner order. The performance will begin at 7:30 p.m. The rotating cast includes OTRImprov’s quick-witted regulars Mike Hall, Kirk Keevert, Sean Mette, Dave Powell, Charlie Roetting, Dylan Shelton and Kat Smith. Tickets (order before 4:30 on the day of the show): 513-300-5669.
Most of the theater onstage right now is holiday-themed — or at least family-friendly. If you want to take kids to see something, your best bet is Cinderella at Ensemble Theatre Cincinnati, a contemporary take on the familiar fairytale — the heroine is a bookworm who prefers to sneakers to glass slippers. There’s lots of humor, especially from the loudmouthed and crass stepsisters in this telling, plus some fine musical moments. This show will be around until Jan. 3. Tickets: 513-421-3555 … Another good choice for kids is A Charlie Brown Christmas, presented at the Taft Theatre by Children’s Theatre of Cincinnati. You know the story, I’m sure (this year is the 50th anniversary of the TV special) but it’s a good bet that Children’s Theatre of Cincinnati is putting a version onstage that will let kids have a good time. Performances are at 2 and 5 p.m. on Saturday and 2 p.m. on Sunday. Tickets: 800-745-3000 … Want to start a family tradition? There’s no better choice than Cincinnati Playhouse’s glittering, well-acted production of A Christmas Carol. It’s fast-moving and often funny (Bruce Cromer gives Ebenezer the full range of emotion, from crabby “Bah, humbug” to a joyous “Merry Christmas.”) It’s onstage through Dec. 30. Tickets: 513-421-3888 … The Covedale Center’s production of Mary Poppins isn’t their best work (it feels a tad long for youngsters), but it has great tunes and some memorable special effects — Mary flies and Bert walks up and down the sides of the proscenium — that audiences will enjoy. Through Dec. 27. Tickets: 513-241-6550
The Rock musical Rent, onstage at the Incline Theatre in Price Hill doesn’t exactly qualify as holiday or family entertainment, although its story does start and finish at Christmas (with “525,600 Minutes” in between). But this is an energetically acted and sung production for mature audiences. Through Dec. 20. Tickets: 513-241-6550 … If you can’t quite wait for The Force Awakens to open, you can get a small dose of Star Wars energy from All Childish Things at Know Theatre. It’s a comedy about some slackers trying to steal collectibles from a warehouse — they don’t succeed, but they learn a lesson about heroism that’s akin to the movie. Through Dec. 19. Tickets: 513-300-5669 … This weekend is your final opportunity to see As You Like It at Cincinnati Shakespeare Company. It’s a delightful production of one of Shakespeare’s best comedies, but it’s wrapping up on Saturday. (Next week CSC opens Every Christmas Story Ever Told (and then some) on Wednesday.) Tickets: 513-381-2273 …The most entertaining non-holiday show this season has to be Low Down Dirty Blues on the Playhouse’s Shelterhouse stage. It’s pretty much what the title says: Three singers getting a little raunchy and having a lot of fun with some tunes about being up and down. Great performances and a really good time for grown-ups. Through Dec. 20. Tickets: 513-421-3888
Finally, if you a performance that’s simply feel-good, I heartily recommend going to Ensemble Theatre on Monday evening at 7 p.m. for their one-night-only annual presentation of Expectations of Christmas. It’s a round-up of holiday traditions, origins, music, facts and back-stories — presented by performers who frequent ETC’s stage. Admission is just $10 and all the proceeds go to Tender Mercies (an Over-the-Rhine agency right around the corner from ETC that provides permanent and transitional housing for the homeless with histories of chronic mental illness). Tickets: 513-421-3555 … or walk in on Monday and you’ll likely get in.
December is full of shows for your holiday viewing pleasure:
Every five years or so, Ensemble Theatre rolls out a new production of its holiday rendition of Cinderella. This one just opened on Wednesday, and while it’s the same material that was presented in 2005 and 2010, it’s been freshened with a new set and colorful costumes — and especially a vibrant cast with great voices for the tunes with lyrics by David Kisor and melodies by Fitz Patton. Brooke Steele is picture-perfect as the golly-gee title character who prefers reading to going to a ball. But Kate Wilford as “Gwendolyn the Well Wisher” (“I give good advice and then wish you well,” she tells everyone with a sweep of her hand to musical accompaniment) encourages her to go so she can meet Prince Frederick (Warren Bryson), who happens to be another bookworm. They’re a lovely couple who overcome the modest barriers thrown their way (she loses a pink sneaker that helps him locate her later), but the show’s real energy comes from Sara Mackie and Torie Wiggins as Cinderella’s crass stepsisters. They’re loudmouthed losers, spewing malapropisms and ridiculous self-aggrandizement (Wiggins’ Clarissa bellows competitively, “My patheticism outshines all others”) — constantly mugging and fawning and arguing. Deb G. Girdler as their manipulative mother Brunhilda is also great fun to watch as she tries to control events to her own advantage. As is always the case with ETC’s holiday musicals with scripts by local playwright Joe McDonough, there’s a timely moral: “The essence of true beauty lies … beyond what’s seen by normal eyes.” Oh, Cinderella and Frederick wear glasses — but they see love pretty clearly. Through Jan. 3. Tickets: 513-421-3555
I’ve been attending A Christmas Carol at the Cincinnati Playhouse for 25 years, as long as they have produced it. The script — Howard Dallin excellent adaptation of Dickens’ classic story — is top-notch and doesn’t need to be tinkered, but with actors coming and going, it’s always fun to see how things shake out from one year to the next. Greg Procaccino is the only actor to be in the show every year, playing Marley’s regretful ghost and slimy junk buyer Old Joe; the always-watchable Bruce Cromer holds the longevity record playing Scrooge (11 years, after 8 as Bob Cratchit). Kathleen Wise brings a light, bemused touch to Christmas Past in her first year; returning performers include Ryan Gilreath as nervous, angular Cratchit and Kelly Mengelkoch as the patient, loving Mrs. Cratchit, as well as Douglas Rees as the ebullient Fezziwig and Annie Fitzpatrick as his playful wife. There’s a new Tiny Tim for 2015, Henry Charles Weghorst, the tiniest ever, I believe (he needs two pillows to sit at the dining table), and truly adorable. This Playhouse production continues to be a joy to watch, a glorious, glittering set and costumes that deliver you to the mid-19th century. Pay attention to the David Smith’s sound design and recorded music, which set the emotional tone for virtually every scene. A Christmas Carol is a welcome Cincinnati holiday tradition. Through Dec. 30. Tickets 513-421-3888
Cincinnati Landmark Productions is offering shows at both of its venues this month; neither is holiday per se, although the musical Rent (at the Warsaw Federal Incline Theatre in Price Hill through Dec. 20) begins and ends with Christmas, celebrating a year of the “seasons of love” experienced by a clutch of impoverished young artists in New York’s East Village. This is a high-quality production, a great choice for fans of contemporary Rock music. Rent is almost 20 years old, but it has stood the test of time, especially as performed by the Incline’s committed, diverse cast of excellent, energetic singers. Tyler Kuhlman as the depressed guitarist Roger has the looks and the vocal chops for the role, and Lisa Glover is a fine match as Mimi, the sexy club dancer and drug addict who makes a lot of bad choices. Kelcey Steele provides the necessary connective tissue as videographer Mark, and RJ Caldwell ably portrays Tom Collins, an anarchist professor and street activist with AIDS. But the production’s most memorable performances come from Aiden Sims as Maureen, the brassy performance artist, and especially charismatic Christopher Carter as the transgender drag queen Angel: His high-flying rendition of “Today 4 U” is a show-stopper. The ensemble shines when presenting of Rent’s iconic numbers, particularly “La Vie Bohème and “Seasons of Love.” This production is a bold choice for the new venue, seeking audiences in search of more ambitious, adult fare — there were empty seats on opening night. Rent offers strong evidence that the Incline is up to the challenge. I give this one a Critic’s Pick. … I was part of a very full house for Mary Poppins last Sunday (at the Covedale Center for the Performing Arts, also finished on Dec. 20); this production is clearly intended as holiday fare for families. I wish it were a bit more joyous. Mary (Alyssa Hostetler, who’s a fine singer) is a rather starchy character who’s not very loveable. The uptight Banks family she convinces to reconnect and have fun has an initially irritable dad (Dave Wilson, another excellent voice) and a mom who’s a budding feminist (Sarah Viola, who sings very well, too) — these aren’t characters that children can instantly love. Even the two Banks kids (Lili Shires and Peter Godsey, who work hard at being coy) are kind of obnoxious. The production felt long, with numerous labored scene changes. On the other hand, the audience had a great time — the songs (familiar from the 1964 movie) are beloved, and everyone seems to know them. That’s fun. Tickets: 513-241-6550
The touring production of Irving Berlin’s White Christmas wraps up its engagement on Sunday. It’s a fine cast of singers and dancers, a production full of familiar tunes that’s worth seeing if you have the scratch for seats at the Aronoff Center. Tickets: 513-621-2787
If you prefer something not holiday-oriented, Xavier University’s theater program is staging Kenneth Lonergan’s This Is Our Youth. It’s a three-character play from the 1990s (set in the early 1980s) about young people struggling with the transition to adulthood. Guest director Ed Stern, the Playhouse’s retired artistic director, told me it was a great opportunity to work with actors who are exactly the right age to play these roles. Read more from Stern in my recent Curtain Call column. Performances are this weekend only, including a Sunday matinee. Xavier Box Office: 513-745-3939
Several of our local theaters produce shows this time of year that are a kind of antidote to the usual fare of A Christmas Carol and other happy, merry tales. Three get under way this weekend:
I went to a rockin’ party earlier this week, and you can, too — if you turn up for the Cincinnati Playhouse’s production of Low Down Dirty Blues, through Dec. 20. That’s right, a whole month of good times and sad in the intimate Shelterhouse Theater, doubling as Big Mama’s after-hours Blues bar. Every year around this time the Playhouse puts on a show as an alternate holiday choice to A Christmas Carol (which gets underway next week). This year it’s a warm-hearted good time featuring three excellent singers and a couple of very accomplished Jazz musicians (especially local Jazz pianist Steve Schmidt) performing off-color tunes, full of double-entendres and scandalous joking. The first half of the two-hour performance is mostly about lusty interaction via tunes like “Rough and Ready Man,” “I Got My Mojo Workin’ ” and “You Bring Out the Boogie in Me.” After intermission the party continues briefly (including some cute audience interaction to the tune of “I’m Not That Kind of Girl” — but then the tone darkens with passionate songs of grief (“Death Letter”), mourning (“Good Morning Heartache”) and then hope (“Change is ’Gonna Come”). Felicia P. Fields, a Broadway veteran who played a major role in the original staging of The Color Purple, anchors (and I use that word quite literally) the banter and the singing, but she is ably matched by Caron “Sugaray” Rayford, a massive force of energy, perspiration and rhythm. Chic Street Man sings and plays several guitars (especially a steel number with a gorgeous ring), and his sly, sinuous presence is a perfect complement to Fields’ and Rayford’s more ebullient performances. Don’t go if you’re offended by sexual innuendo, but if you’re looking for a “low down dirty” time, call now for a ticket: 513-421-3888
One of Shakespeare’s most beloved comedies, As You Like It, is the first step of holiday happiness at Cincinnati Shakespeare Company. The story of tomfoolery and romance in the Forest of Arden kicks off tonight; it’s around until Dec. 12, when it’s followed by the tenth annual staging of Every Christmas Story Ever Told (and then some). In case you missed it, Cincy Shakes announced this week that by mid-2017 it moves to its own spectacular new space in Washington Park, the Otto M. Budig Theatre, with nearly 100 more seats than its Race Street facility. (Read my story in this week's issue for more.) Until then, you need to line up for tickets, since many of the company’s performances sell out quickly. Tickets: 513-381-2273
Another “kind of” holiday show getting started is Know Theatre’s production of All Childish Things, opening tonight and onstage through Dec. 19. In a story set right here in Cincinnati (Norwood, in fact), it’s 2006 and two guys are still yearning for the galactic adventures promised by Star Wars when they were kids. One guy lives in his mom’s basement; the other has a girlfriend who could care less about The Force. They think their big break might be residing in a warehouse full of collectible Star Wars memorabilia. Zany shows rooted in childhood have become a holiday staple at Know Theatre, and this is right up that weird, happy alley. Tickets: 513-300-5669
And if you’re really longing to get the holidays under way, you have the perfect opportunity with a tour stop by a production of White Christmas at the Aronoff (next Tuesday through Dec. 6). It’s a stage version of the popular film; the tour features stage Cincinnati and Broadway veteran Pamela Myers in a cute, outspoken role. She performs a number titled “Let Me Sing and I’m Happy,” a perfect summary of her illustrious career. Tickets: 513-621-2787