The 2012-2013 season of touring productions presented by Broadway in Cincinnati marks a quarter-century of bringing high-quality shows to the Aronoff Center, which the series has called home since it opened in 1995. The shows that will keep the Walnut Street facility humming – not to mention nearby restaurants – were announced today. They include the funky Blue Man Group making its first appearance in Cincinnati, plus a selection of shows that have been Broadway hits and award winners. Here’s the rundown:
Blue Man Group (Oct. 16-28, 2012) is a wild and crazy theatrical experience, a performance act that has been combining comedy, music and technology for more than 10 years. With no spoken language, the trio of guys with blue plastic skin presents a show that’s big, loud, funny, silly, visually arresting – and not easy to describe. The show won a special citation in the 1991 Obie Awards, and recognition in 1992 from the Lucille Lortel Awards (for excellence in off-Broadway theatre) and from the Village Voice’s Obie Awards.
Jersey Boys (Nov. 28-Dec. 9, 2012), the story of Frankie Valli and the Four Seasons, was a big hit for the series in 2008 when it sold approximately 64,000 tickets during a two-week run. It’s one of the best of the jukebox musicals, and it should be a popular choice again. (Since it’s a repeat Broadway in Cincinnati invites subscribers to choose between this one and Peter Pan to fill out a six-show subscription.)
Memphis (Jan. 22-Feb. 3, 2013) is a fine musical derived from a true story about the challenge race relations in that Tennessee city in the 1960s when a white DJ and a talented black singer find themselves attracted to one another. The show, which won four Tony Awards in 2010, has a rhythm-and-blues score and a lot of great dancing as it tells a powerful story about love, show biz and how the races interacted. One critic called this show “the very essence of what a Broadway musical should be,” and I agree wholeheartedly.
Million Dollar Quartet (Feb. 19-March 3, 2013) was also nominated for the best musical Tony in 2010, losing out to Memphis. It too is based on a real event that happened in Memphis, this one at the studios of Sun Records on Dec. 4, 1956, when four young Rock-and-Roll musicians intersected: Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash. It was the only time they were together in a recording session, and the legendary results are the subject matter of this lively show.
Peter Pan (March 12-17, 2013) brings back one-time Olympic gymnast Cathy Rigby who has made a career of performing in this show. She turns 60 in December, which brings some kindof weird irony to playing the boy who “won’t grow up,” but Rigby’s athletic skills for flying and fighting mean she’s popular with audiences. She performed the role at the Aronoff in 2000 and 2006. This show is the “choose-one” that subscribers get for their sixth choice.
War Horse (March 26-April 7, 2013) won the 2011 Tony Award for best drama. Set in England in 1914, it’s about an adolescent named Albert and his horse Joey, the latter recruited to go with the troops to World War I in France. It’s an epic tale of the powerful connection between Albert and Joey, and it’s told using remarkably realistic “puppets,” a term hardly seems to suit the manner in which life-sized horses are created and become key characters in this production.
Sister Act (April 30-May 12, 2013) is a musical comedy based on the popular Whoopi Goldberg film from 1992 about a woman whose life takes an unexpected turn when she witnesses a crime and is “hidden” at a convent. This show promises a lot of fun, and it’s been running on Broadway for almost a year. However, I’m afraid that it strikes me as all too typical of the tendency to create shows from mildly popular movies. That film was a vehicle for Whoopi, and without her, I suspect the show is a meager reflection.
Prices for six-season ticket packages range from $149 to $543, depending on seat location. Subscriptions go on sale on Monday at the Fifth Third Bank Broadway in Cincinnati box office in the Mercantile Center downtown at 120 East Fourth Street. You can also order subscriptions online at BroadwayinCincinnati.com or by calling 800-294-1816.
Andrew Bovell’s Speaking in Tongues is a complicated noir-ish tale of marital deceit and cryptic crime that unfolds more clearly because of its accomplished four-actor cast, including local professionals Bruce Cromer (who’s played roles as varied as Ebenezer Scrooge for the Playhouse to King Lear for Cincinnati Shakespeare) and Amy Warner (a regular at Ensemble Theatre and Cincinnati Shakespeare). The show is a fascinating piece of theater that takes work to watch, follow and absorb. I suppose that some casual theatergoers will be put off by it, but if you like challenging drama and multi-layered acting, you’ll leave the theater with your gears spinning. I gave Speaking in Tongues a Critic’s Pick in this week's "Curtain Call" column. Onstage through March 4. Box office: 513-421-3888.
If you’re a fan of the Cincinnati Fringe, you should check out the Transmigration Festival at CCM on the University of Cincinnati campus. I was there last evening and saw three of the six performances, especially enjoying Booth, an interactive piece by nine actors based on John Wilkes Booth’s final days. I also was entertained by The Eddie Shanahan Show, closely inspired by Dickens’ A Christmas Carol, but with some very modern twists. Attendees choose between six brief productions (30 minutes or less) that are completely created, promoted, enacted and staged by drama students. It’s a February boost of creativity, staged throughout the CCM facility, Friday and Saturday evenings at 7:30, as well as a 2:30 matinee on Saturday. Admission is free, but you need to call the CCM box office to reserve your ticket: 513-556-4183.
Another university option can be found at NKU. It’s Aaron Sorkin’s The Farnsworth Invention, telling the story of Phil Farnsworth who invented television but spent much of his life in legal wrangles with David Sarnoff, RCA executive and the first “media mogul.” Sorkin's credits — from The West Wing to The Social Network — are a guarantee of a heady, exciting tale based on real events. Tickets ($14 is the maximum price): 859-572-5464.
Know Theater’s “comedy of anxiety” by Allison Moore, Collapse, opens with the collapse of a highway bridge over the Mississippi River in Minneapolis. But it’s about all kinds of things falling down — the economy, relationships. This is the kind of edgy script Know Theatre is known for, funny but meaningful. I gave the production a Critic’s Pick because it combines heart and humor. Collapse is presented with comic finesse and fine acting, especially by local professional actress Annie Fitzpatrick. Know’s best work of the season. Through March 3. Tickets: 513-300-5669.
This weekend is your last chance to see the regional premiere of Matthew Lopez’s The Whipping Man at Ensemble Theatre (through Saturday evening). The historical play, set in Richmond, Va., in April 1865, just days after the end of the Civil War, is a gripping drama that’s beautifully staged and convincingly acted. I gave it a Critic’s Pick. The production has been extended a week because of demand for tickets; you won’t be contending with subscribers this weekend, so if you haven’t seen it yet — call for a ticket: 513-421-3555.
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.
Think Cincinnati Fringe Festival goes to college. This weekend, drama students from University of Cincinnati's College Conservatory of Music will strut their stuff as they create and execute every aspect of producing a play.
The fourth annual Transmigration festival will feature five 30 minute works covering a spectrum of thought-provoking, creative topics. One, Booth, retells the tale of the Lincoln assassination; another, forget me not, tells the story of a 20-year-old woman with struggling to reconcile adulthood with her lust for imagination. Watch America melt down in Y2012K, see a modern take on Dickens' A Christmas Carol in The Eddie Shanahan Show or see a mystery unfold in Knock Knock, a Clue-like mystery demonstrating that every story holds two sides. It's your choice; see one, see four.
Attending the fest is not only a way to support your local arts scene — watch the creativity and talent unfold of some of Cincinnati's brightest young thespians.
The performances are free, but reservations are required. Call the CCM Box Office at 513-557-4183. Performances will be scattered throughout the Corbett Center for Performing Arts. Click here for more information about Transmigration.
On Thursday evening I was that the Cincinnati Playhouse for the opening of Speaking in Tongues. If you like heady, noir-ish drama with flashes of sardonic humor, this is the show for you. Andrew Bovell’s 1996 script uses four actors to play nine characters whose lives intersect and diverge and reconnect in ways that you have to pay attention to if you want to get the story. This is not a sit-back-and-relax kind of play, but rather one you’ll be trying to follow the narratives, which are neither linear nor chronological. But they are certainly fascinating. The cast includes two of Cincinnati’s best local professional actors, Bruce Cromer and Amy Warner, and two others who have delivered memorable Playhouse performances, R. Ward Duffy and Henny Russell (who happen to be husband and wife). In fact, Warner is married to director Michael Evan Haney, so this show about deceitful relationships and the importance of trust and faith must have made for an intriguing rehearsal process. Be prepared to think hard if you go to see this one on the Shelterhouse stage. 513-421-3888.
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.
The Whipping Man is drawing big audiences for Ensemble Theatre of Cincinnati. In fact, they’ve added several performances extending the closing date from Feb. 12 to Feb. 18. It’s the story of Simon, a dedicated former slave who remains in a ruined mansion in 1865 Richmond in the days just after the Civil War. Caleb, the wounded son of his former master, stumbles in (desperately needing some horrendous surgery) and then does John, another former slave, a young man raised side by side with Caleb. The slave-owning family was Jewish, and it’s almost time for Passover, which they must celebrate with limited means. It’s a powerful show about freedom and responsibility with a plot that will keep you guessing. As I noted recently in this week's Curtain Call column, director D. Lynn Meyers gets the most from her cast, especially Ken Early as Simon. This one is a must-see. Box office: 513-421-3555
Each week in Stage Door I offer theater tips for the weekend, sometimes with a few pieces of theater news.
The Whipping Man opened on Wednesday at Ensemble Theatre of Cincinnati. The show made a big splash at Manhattan Theatre Club in New York last spring with Andre Braugher in the central role of Simon, a dedicated former slave who remains in a ruined mansion in 1865 Richmond in the days just after the Civil War. Caleb, the wounded son of his former master stumbles in (desperately needing some horrendous surgery) and then John, another former slave, a young man raised side by side with Caleb. The slave-owning family was Jewish, and it’s almost time for Passover, which they decide to celebrate. It’s a powerful show about freedom and responsibility with some jaw-dropping plot twists. Director D. Lynn Meyers gets the most from her cast. This one is a must-see. Onstage through Feb. 12.
Cincinnati Shakespeare Company announced today (Merry Christmas!) that it will add a performance to its season with the regional premiere of Vern Thiessen’s Shakespeare’s Will. Veteran Cincinnati actress and CSC Ensemble member Sherman Fracher will take on 10 performances of the one-woman show, Jan. 21-Feb. 5, 2012. (The production will run concurrently with Henry VIII: All is True.) CSC’s producing artistic director, Brian Isaac Phillips, is staging the piece.
If you’re thinking of submitting a production for the 2012 Cincy Fringe Festival, now is the time to solidify your thoughts and get your application in to Know Theatre, the Fringe’s organizer. Friday Dec. 16 is the absolutely final day to do so. Follow this link for details, but don’t dally — this is a firm deadline.
The Fringe typically offers about 35 productions during its two-week run, May 30-June 9, 2012, this year. The Fringe is a juried festival that employs a selection committee composed of local artistic directors, actors, writers and producers to select which acts will be included. They study the sample material submitted with applications, then make recommendations based on several key factors: