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by Rick Pender 03.26.2012
Posted In: Theater at 11:45 AM | Permalink | Comments (0)
 
 
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Cincinnati Playhouse Releases 2012-2013 Schedule

Incoming artistic director chooses new works and shows for the entire family

The Cincinnati Playhouse’s incoming artistic director, Blake Robison, today announced the shows to be produced for the 2012-2013 season. Robison takes over from Ed Stern, who retires on June 30 after 20 years setting the course for the respected regional theater. During Stern’s tenure, the Playhouse has twice won Tony Awards — in 2004 as an outstanding regional theater, and again in 2007 when its production of Stephen Sondheim and George Furth’s Company moved to Broadway and was named the season’s best revival of a musical.

Robison’s new season looks a little different from seasons that Stern has assembled in the past. In particular, he’s included two shows that offer journeys for the entire family — a big swashbuckling adaptation of The Three Musketeers (by Ken Ludwig, who wrote Lend Me a Tenor) to open the season on the Marx stage, and a seafaring expedition, Shipwrecked! An Entertainment – The Amazing Adventures of Louis de Rougemont (by Donald Margulies, whose usual fare is dramas — including Time Stands Still, currently onstage at Ensemble Theatre.

The season's schedule will include two world premieres, Abigail/1702, Roberto Aguirre-Sacasa’s script based on a central character from Arthur Miller’s The Crucible. On the Shelterhouse stage, Robison will offer Deborah Zoe Laufer’s Leveling Up, about four twentysomethings mired in video games who find the real world a lot more complicated. (Laufer’s End Days was presented by Ensemble Theatre a year ago.) We’ll also see Dayton native Daniel Beaty perform his one-man show, Through the Night, in which he plays six African-American men, ranging in age from 10 to 60. The show recently earned positive reviews as well as Drama Desk and Outer Critics Circle award nominations in New York City.

Robison has several selected classic plays for the Marx by two legendary playwrights whose plays, I’m astonished to say, have never been produced at the Playhouse. Next fall will see Neil Simon’s semi-autobiographical script, Brighton Beach Memoirs, set in 1937. Horton Foote’s The Trip to Bountiful (a television script best known for a 1985 movie version starring Geraldine Page), the story of an aging woman determined to return to her childhood home for one last visit, will be staged using African-American actors. Two more classic tales will be produced on the Marx stage: A Christmas Carol returns for its 22nd holiday season, and a new stage version of Double Indemnity, Billy Wilder’s spellbinding noir thriller from 1944.

Rounding out the season will be two Shelterhouse productions. For November and December, Robison has scheduled Hank Williams: Lost Highway, a show about the legendary Country artist created and staged by Randal Myler, who brought Love, Janis to the same space back in 2005. I suspect that Karen Zacarias’s The Book Club Play, a comedy about books and the people who love them, will be popular with audiences. It’s the story of a group that becomes the subject of a documentary with surprising results.

On the brink of his first season, Robison says, “It is an honor and a privilege to take the reins as the Playhouse’s new artistic director. To me, there is so much to celebrate here at the Playhouse — from the tremendous legacy of Ed Stern to the unlimited possibilities before us. What excites me most about joining the Playhouse family is the vibrant role that this theater plays within the region. The doors to the Playhouse are wide open, and we aim to invite as many people as possible inside.”

Here’s the season rundown in chronological order:

  • The Three Musketeers (Marx Theatre, Sept. 1-29, 2012)
  • Through the Night (Shelterhouse Theatre, Sept. 22-Oct. 21, 2012)
  • Brighton Beach Memoirs (Marx Theatre, Oct. 13-Nov. 10, 2012)
  • Hank Williams: Lost Highway (Shelterhouse Theatre, Nov. 3-Dec. 30, 2012)
  • A Christmas Carol (Marx Theatre, Nov. 29-Dec. 30, 2012)
  • Abigail/1702 (Marx Theatre, Jan. 19-Feb. 17, 2013)
  • Leveling Up (Shelterhouse Theatre, Feb. 9-March 10, 2013)
  • The Trip to Bountiful (Marx Theatre, March 9-April 7, 2013)
  • The Book Club Play (Shelterhouse Theatre, March 23-April 28, 2013)
  • Double Indemnity (Marx Theatre, April 20-May 18, 2013)
  • Shipwrecked! An Entertainment – The Amazing Adventures of Louis de Rougemont (as told by Himself) (Shelterhouse Theatre, May 11-June 16, 2013)

 
 
by Rick Pender 03.25.2012
Posted In: Theater at 08:31 AM | Permalink | Comments (0)
 
 
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Lifting the Curtain (Well, a Corner of It) at the Playhouse

Playhouse will stage world premiere of 'Abigail/1702'

Around noon on Monday, the Cincinnati Playhouse will announcement its 2012-2013 season, the first mapped out by someone other than Producing Artistic Director Ed Stern in 20 years. Blake Robison takes over for the retiring Stern on July 1, so he’s had the daunting task of following in those big (and very successful) footsteps. Stern liked to present work by up-and-coming playwrights, and Robison has the same inclination, although as someone a generation younger than Stern, he has his own connections and ideas. He’s landed a world premiere by one of the most intriguing young playwrights in the United States, Roberto Aguirre-Sacasa. The show is called Abigail/1702, and we’ll see it early in 2013 (Jan. 19-Feb. 17).

It’s Aguirre-Sacasa’s imaginative exploration of what became of Abigail Williams, the young girl who sets in motion the Salem witch trials portrayed in Arthur Miller’s classic play from 1952, The Crucible. The new work, set a decade after Abigail accused many people of witchcraft, portrays her in her late 20s, struggling to atone for her sins, the ones portrayed in that memorable play — as well as darker ones that live in her heart. As she cares for a young sailor on the brink of death, a stranger from her past finds her and sets her on a quest for redemption.

Robison, who will direct the production, staged another work by Aguirre-Sacasa, his adaptation of Oscar Wilde’s The Picture of Dorian Gray that proved to be a bit hit at the Roundhouse Theatre in Maryland, where Robison served as artistic director. “When I found out that I was coming to the Playhouse, one of the first calls I made was to Roberto because I value his voice as an artist so much. I told him, ‘Send me whatever you’re working on right now.’ He sent me this play and I read it. I texted him and said, ‘You wrote an awesome play! I want to do it.’”

Robison admires the writer’s breadth of work: He’s written for Marvel Comics (Marvel Knights, Spider-Man and The Stand), for television (as a staff writer for HBO’s Big Love and the hit Fox series Glee) as well as nearly a dozen plays. “One of the fun things for me as the incoming artistic director,” Robison told me recently, “is to bring new voices to the community and to introduce some writers who I have a wonderful relationship with who haven’t been seen yet in Cincinnati.”

Robison loves Aguirre-Sacasa’s new script. “He has a gift for dialogue, and a highly visual sense to his writing. This play is quite unlike any of his other plays, quite unlike anything I’ve seen onstage before. To go back into our collective consciousness and pluck this famous figure from the dramatic canon and imagine what her life must be like 10 years down the line is a wonderfully creative act.”

Not to mention a great way for Robison to define his own artistic tastes for Cincinnati audiences. Keep an eye on CityBeat’s Arts Blog tomorrow for more news of the Playhouse’s upcoming season.

 
 
by Rick Pender 03.24.2012
Posted In: Theater at 11:27 AM | Permalink | Comments (2)
 
 
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Stage Door: More Love for 'Merrily'

Ensemble Theatre, NKU and Children's Theater also have quality offerings

Last Sunday evening I gave a lecture prior to the Cincinnati Playhouse performance of Stephen Sondheim’s Merrily We Roll Along. I stuck around to see the show again (I attended the opening on March 8 in order to review it for CityBeat). I gave the show a Critic’s Pick, but empty seats on Sunday reminded me that a theater critic’s opinion is not necessarily the only endorsement needed for a show to sell tickets. Although this is a fine production, several reasons come to mind: The show is not well known; if people do know it, they’ve heard it was a flop when it had a brief Broadway run in 1981. John Doyle’s production shows little evidence of the latter and demonstrates amply that there’s much to be appreciated. But there’s not been much buzz around Merrily at the Playhouse, despite the work of Doyle and his excellent cast. The upshot is tickets are still available for most performances, through March 31. Doyle inventively staged Sondheim’s Company in 2006 at the Playhouse, a production that moved to Broadway and earned a Tony Award. This production uses the same approach: actors provide their own musical accompaniment. It’s a showbiz tale about chasing success at the expense of happiness. We start at the demise of a bond between three former friends who wonder what happened to the “good thing going” they once had. We trace back to their earliest, optimistic moments via great music, brilliant design and excellent performances. If you love musicals, you should see Merrily We Roll Along. I’ve talked with several people who have returned the Playhouse production. (Merrily is not likely to transfer to New York as Company did in 2006. The show was presented by Encores! at New York’s City Center in February, so theater critics have not paid attention to the Cincinnati production as they did with Company in 2006, right after Doyle staged Sweeney Todd on Broadway.) Box office: 513-421-3888

You can’t go wrong with Donald Margulies’ very much in-the-moment drama Time Stands Still at Ensemble Theatre of Cincinnati. It’s the story of two journalists who have been addicted to the adrenalin rush of covering wars. He’s now running away and hiding in film reviews (there’s a touch of post-traumatic stress, it seems, because he’s watching classic horror films all the time), and she’s recovering from injuries that resulted from a roadside bomb blast in Iraq. What’s next for them? Well, that’s what the play is about — a return for more or settling for a calmer, safer life, represented by a happy if unlikely couple who visit them, the photographer’s editor and mentor and his naïve young girlfriend. Four intriguing character studies add up to an evening of thoughtful drama. I gave it a Critic’s Pick; here’s a link to my review. Through April 1. Tickets: 513-421-3555

Northern Kentucky University just opened a production of Timberlake Wertenbaker’s Our Country’s Good. It’s about people sent off to a penal colony in Australia in the 1780s. The governor decides to impose order on the criminals by having them put on a play. It’s not an easy undertaking — but it changes the lives of everyone involved. It’s a play about the power of the arts to humanize people and transform them into something new and better. The show’s original Broadway production in 1991 was nominated for six Tony Awards. It’s one of my favorite scripts, a fine choice for NKU’s drama program, where it’s being staged by Daryl Harris. Through April 1. Tickets: 859-572-5464

Finally, if you’d like to instill some interest in the theater in a couple of kids, take them to one of this weekend’s performances of Rapunzel! Rapunzel! A Very Hairy Fairy Tale, presented by The Children’s Theatre of Cincinnati. It’s a world premiere musical created by composer Janet Vogt and writer Mark Friedman, who wrote How I Became a Pirate, a hit from last season. Performances happen at the nicely renovated Taft Theatre on Saturday and Sunday (as well as March 31). Tickets: 513-569-8080, x13.

Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.


 
 
by Jac Kern 03.21.2012
Posted In: Arts community, Visual Art at 11:32 AM | Permalink | Comments (1)
 
 
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Shepard Fairey Returns to Cincinnati

Famous street artist makes a one-night stop at CAC March 29

Street artist Shepard Fairey, whose murals from his 2010 visit can still be found plastered on walls across the city, will return to Cincinnati and the Contemporary Arts Center for one night only, March 29.

Fairey's return is made possible by ArtsWave, the local organization that works with entities in all facets of the arts community to foster a creative environment in Cincinnati. ArtsWave has awarded Fairey with the 80-year-old Rosa F. and Samuel B. Sachs Fund Prize, created to celebrate outstanding achievements in the arts.

In a press release, ArtsWave President and CEO Mary McCullough-Hudson said, "The committee members felt strongly that Fairey's exhibition and public murals increased the vibrancy of our city and engaged citizens in a dynamic conversation about art and society."

While he won't be covertly pasting images around town this time, Fairey has been invited to return to DJ at the CAC and mingle with fans at 8 p.m. that Friday. Limited edition prints by Fairey will be raffled off at this members-only event. That's right – the party will not be open to the public, so it's a pretty good excuse to buy a CAC membership. Go here to renew or register (student memberships are only $25).

His exhibition Supply and Demand opened at the CAC in February 2010, offering a mix of screen prints, illustrations and mixed media works throughout the space. Being a street artist, a public art supplement was to be expected. Those concerned about graffiti in the city were soon stunned to see beautiful posters glued to previously naked walls.

Fairey gained notoriety for his Andre the Gaint/OBEY stickers, which really drew attention to the idea of street art. After creating the iconic HOPE poster in support of Barack Obama's 2008 presidential campaign, Fairey became a household name. While not officially endorsed by the president, the image has become nationally recognizable. Most recently, he appeared on the March 4 episode of The Simpsons.

 
 
by Rick Pender 03.16.2012
Posted In: Theater at 10:19 AM | Permalink | Comments (0)
 
 
onstage 3-21 - time stands still - jen johansen as sarah goodwin - photo ryan kurtz.widea

Stage Door: ETC, Playhouse, Mariemont Players

Fewer productions onstage this week, but still some great choices. On Wednesday evening I attended the premiere of Donald Margulies’ very much in-the-moment drama Time Stands Still at Ensemble Theater. It’s the story of two journalists who have been addicted to the adrenalin rush of covering wars. He’s now running away and hiding in film reviews (there’s a touch of post-traumatic stress, it seems, because he’s watching classic horror films all the time), and she’s recovering from injuries that resulted from a roadside bomb blast in Iraq. What’s next for them? Well, that’s what the play is about — a return for more or settling for a calmer, safer life, represented by a happy if unlikely couple who visit them, the photographer’s editor and mentor and his naïve young girlfriend. Four intriguing character studies add up to an evening of thoughtful drama. I gave it a Critic’s Pick; here’s a link to my review. Through April 1. Tickets: 513-421-3555

I’ve been talking with lots of people about the Cincinnati Playhouse production of Stephen Sondheim’s Merrily We Roll Along. It’s been directed by John Doyle, who inventively staged Sondheim’s Company in 2006, a production that moved to Broadway and earned a Tony Award. He uses the same approach this time: actors who provide their own musical accompaniment. I liked the results he got from his strong, talented cast. But I will say that this production evokes strong reactions: Some people love it, some are mystified and some hate the nontraditional approach. No one has said it’s not skillfully done, so I can safely tell you that you ought to go and see for yourself. Merrily has long been viewed as one of Sondheim’s few failures (its original run in 1981 lasted for only 16 performances on Broadway), but you wouldn’t know that from this staging: It’s a showbiz tale of chasing success that has not resulted in happiness. We start at the end of a friendship, with three people at one another’s throats, and then trace back to their earliest, optimistic moments together. With great music, a stylized set piled with pages of music (the central character is a Broadway composer) and some intriguing decisions by Doyle about elevating a realistic tale to something more deeply emotional, this version of Merrily is a fascinating production that musical theater lovers ought to see. In addition to my Critic’s Pick, this production has garnered five awards from the League of Cincinnati Theatres for Outstanding Ensemble, for performer Becky Ann Baker, for Scott Pask’s imaginative scenic design, Matt Castle’s music direction and Mary-Mitchell Campbell’s orchestrations. Can’t quite figure why director John Doyle wasn’t cited, since he’s the mastermind behind all this, but you can judge that one for yourself. Through March 31. Box office: 513-421-3888.

I don’t get to see too much community theater, but there are several companies that consistently present work worth watching: Mariemont Players is one of them. Through March 25 the company is presenting Cole, a musical tribute to the life of songwriter Cole Porter, from his days as a student at Yale, life in Paris then Manhattan then Hollywood. I haven’t seen it, but I suspect that it will be entertaining. At the Walton Creek Theater (4101 Walton Creek Road, just east of Mariemont). Tickets: 513-684-1236.

Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.

 
 
by Jac Kern 03.12.2012
Posted In: Dance, Arts community, Classical music at 11:56 AM | Permalink | Comments (1)
 
 
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Cincinnati Ballet Announces 2012-2013 Season

Cincinnati Ballet today announced its 49th season schedule. Dance fans can expect an array of popular classics and exciting premieres for 2012-2013. The season kicks off Sept. 6 and runs through April 27, 2013.

The Kaplan New Works Series (Sept. 6-16, Cincinnati Ballet Center): This annual season opener celebrates new ideas and creative movement showcasing the female choreographer and focusing on local artists. This world premiere features dancers Amy Seiwert and Paige Cunningham, two SCPA alum, Director Heather Britt and choreographer Jessica Lang.

Alice in Wonderland (Oct. 26-28, Music Hall): After its world premiere with Washington Ballet, Cincinnati will be the first to jump down the rabbit hole with Alice & Co. Cincinnati Symphony Orchestra will perform Matthew Pierce's original score. Choreographer Septime Webre (Cincinnati Ballet's Peter Pan) and costume designer Liz Vandal (Cirque du Soliel) will create a wild world for Alice to romp through that will ignite the senses of audiences.

Frisch's Presents: The Nutcracker (Dec. 14-23, Aronoff Center): Victoria Morgan re-imagined the classic for 2011's world premiere, The New Nutcracker. This whimsical interpretation returns in 2012, complete with dancing cupcakes, flying bumblebees and a Sugar Plum Parade, where audience members will be invited to walk acrid stage and get a closer peek at the sets, costumes and dancers.

Romeo & Juliet (Feb. 14-16, Aronoff Center): Just in time for Valentine's Day, Shakespeare's romantic tragedy comes to life in a new way. Victoria Morgan blends classical dance with contemporary movement to capture audiences' favorite moments.

Prodigal Son with Extremely Close (March 22-23, Aronoff Center): Neo-classical choreographer George Balanchine comes to Cincinnati with his rendering of the classic parable about sin, redemption and unconditional love. On the same bill, Extremely Close is Alejandro Cerrudo’s thoughtful contemporary work. The performance opens on a stage of falling feathers, reflecting the delicacy and fluidity of movement, and connected throughout, punctuated by a surprising, thought-provoking ending.

Ballet Toybox (March 24, Aronoff Center): Designed to introduce children and families to the joy of dance, this performance delivers a mix of classic and modern favorites. Clocking in at less than 60 minutes, this "mini-performance" is an easy and affordable way to enjoy the ballet with the whole family.

Frampton & CB Come Alive (April 26-27, Aronoff Center): Legendary guitarist Peter Frampton will create a new work specifically for the performance and play live alongside choreography collaboration from Cincinnati Ballet and Exhale Dance Tribe.

New subscriptions and subscription renewals are now available at the Cincinnati Ballet Center (1555 Central Pkwy., Over-the-Rhine) or by calling 513-621-5282. Individual tickets to the following shows will be available July 22 at cballet.org.

 
 
by Rick Pender 03.09.2012
Posted In: Theater at 11:16 AM | Permalink | Comments (0)
 
 
onstage 3-9 - merrily we roll along - cast at cincinnti playhouse - photo sandy underwood

Stage Door: Sondheim, Afghan Women's Writing and More

Last night I attended the opening of the Cincinnati Playhouse production of Stephen Sondheim’s Merrily We Roll Along. It’s been directed by John Doyle, who inventively staged Sondheim’s Company in 2006, a production that moved to Broadway and earned a Tony Award. He uses the same approach this time — actors who provide their own musical accompaniment — and the results are top-notch because he’s assembled a strong, talented cast. This show has long been viewed as one of Sondheim’s few failures, but you wouldn’t know that from this staging: It’s a showbiz tale of success that has not led to happiness. We start at the end, with three former friends at one another’s throats, and then trace back to their earliest moments together. With great music, a stylized set piled with pages of music (the central character is a composer) and some intriguing decisions by Doyle about elevating a realistic tale to something more deeply emotional, this version of Merrily is a great choice for anyone who loves musicals. Through March 31. Box office: 513-421-3888

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.

 
 
by Rick Pender 03.04.2012
Posted In: Theater at 08:10 AM | Permalink | Comments (0)
 
 
Cincy Shakes

Familiar Faces and Fantastic Tales at Cincy Shakes

A bunch of classic characters will be showing up at Cincinnati Shakespeare Company to entertain us for the 2012-2013 theater season, announced today: Sherlock Holmes and Dr. Watson; Atticus Finch; Romeo and Juliet; Lady Bracknell; Nick Bottom and Puck. Oh, and a few kings and generals — Richard II and the bloody Titus Andronicus — plus a hearty dose of laughs with reprises of Every Christmas Story Ever Told (And Then Some!) and The Complete Works of William Shakespeare (Abridged). Here’s the rundown:

  • The Hound of the Baskervilles (July 20-Aug. 12, 2012). A regional premiere of a three-actor adaptation by Steve Canny of this memorable Sherlock Holmes mystery.
  • To Kill a Mockingbird (Sept. 7-30, 2012). A reminder that all classics need not be British. One of our region’s best professionals, Bruce Cromer, will play Atticus Finch in this adaptation of Harper Lee’s 1960 novel about prejudice, violence and hypocrisy in 1932 Alabama.
  • Romeo & Juliet (Oct. 12-Nov. 11, 2012). You probably know the details of Shakespeare’s romantic tragedy of star-crossed lovers. The cast features Sara Clark, Billy Chace, Annie Fitzpatrick and Sherman Fracher.
  • Titus Andronicus (Oct. 20-Nov. 11, 2012). Cincy Shakes enjoys providing a bloodbath every year for Halloween, and Shakespeare’s play about a tyrannical Roman military leader is the perfect vehicle — revenge, murder, betrayal and gruesome murders.
  • The Importance of Being Earnest (Nov. 23-Dec. 16, 2012). The smile-inducing production for the holidays will be Oscar Wilde’s delirious 1895 comedy of manners and intentionally mistaken identities, with Jim Hopkins in the cross-dressed role of the imperious grand-dame, Lady Bracknell.
  • Every Christmas Story Ever Told (And Then Some!) (Dec. 16-30, 2012). An added holiday treat from Cincy Shakes — for the grown-ups — back for its seventh season.
  • Richard II (Jan. 11-Feb. 3, 2013). As the company marches toward the completion of Shakespeare’s canon in 2014, this one notches the final history play in the repertoire.
  • Les Liaisons Dangereuses (Dangerous Liaisons) (Feb. 15-March 10, 2013). This 1985 play (and a 1988 Oscar-nominated movie) was adapted by Christopher Hampton from a 1782 novel about French courtiers who used sex as a weapon to manipulate and degrade. It’s a cynical, dark comedy, directed by Drew Fracher and starring Giles Davies, Sherman Fracher and Corinne Mohlenhoff.
  • A Midsummer Night’s Dream (March 22-April 21, 2013). Shakespeare’s most popular comedy — four young lovers lost in a magical forest and a troupe of amateur actors rehearsing a silly play. Nick Rose plays Bottom the Weaver, he of the donkey’s head.
  • Measure for Measure (May 3-26, 2013). Shakespeare’s play about the virtuous Isabella, played by Kelly Mengelkoch, one of Cincy Shakes’ best actresses, who must contend with hypocritical, religious double standards. 
  • Complete Works of William Shakespeare (Abridged) (June 7-30, 2013). A final bit of summer fun.
That’s a very ambitious 11 productions in 12 months. Three shows (Titus Andronicus, Every Christmas Story and Complete Works) are outside the subscription series, but available at a discount to subscribers. Adult subscriptions (eight tickets which can be used in any combination) are $195; seniors ($165) and students ($130) are also available. A special bargain is a “preview” subscription ($105), offering admission to performances on the day or two before a show opens. Info: www.cincyshakes.com or 513-381-2273, x1.
 
 
by Rick Pender 03.02.2012
Posted In: Theater at 11:34 AM | Permalink | Comments (0)
 
 
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Stage Door: CCM Talent and Sondheim

A lot of Stephen Sondheim’s shows are kind of heady, but Into the Woods — a bunch of fairytales put through a blender — is perhaps his most approachable. Given the delightful treatment, overflowing with talent you’ll find in this production at UC’s College-Conservatory of Music, tickets might be in short supply but try — it’s a longer run than usual. Act I is about “happily every after,” while Act II explores what comes next. CCM has a remarkably skilled crop of seniors this year (they’ll be on Broadway before long), and professor and director Aubrey Berg, who heads the program in musical theater, has used them to full advantage in a wildly clever staging. There are many featured performances and songs — the characters include Cinderella and her evil stepsisters, Jack (from the beanstalk story) with a very funny pet cow, a handsome but empty-headed prince, a precocious Little Red Riding Hood and a lascivious Wolf — but this is way more than a tale for kids. In fact, Into the Woods is one of the best theater productions I’ve seen all season. Read my review (a Critic’s Pick), and then go to see it. Tickets: 513-556-4183.

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 — and a story of romance and domestic intrigue. I gave the production a Critic’s Pick. It’s onstage for two more weeks, but many performances have sold out, so don’t dally. Tickets: 513-381-2273.

This is the final weekend for two more excellent productions. Know Theatre’s “comedy of anxiety” by Allison Moore, Collapse, about all kinds of things falling down — a highway bridge, the economy, relationships — winds up on Saturday evening. Andrew Bovell’s Speaking in Tongues, a complicated noir-ish tale of marital deceit and cryptic crime, finishes its run at Cincinnati Playhouse’s Shelterhouse Theater on Sunday. Both earned Critic’s Picks.

In addition to Into the Woods, there are more shows by Sondheim on local stages. You’ll find the touring production of West Side Story at the Aronoff through March 11. It’s a show Sondheim wrote the lyrics for when he was 26 (he’ll soon be 82). Tickets: 800-982-2787. ... This weekend the Cincinnati Playhouse begins previews of Merrily We Roll Along, a Sondheim show from 1981 that was a flop at first, but now is praised as one of his greatest musical accomplishments. Tony Award winner John Doyle is directing; he makes things interesting by having his actors play musical instruments, too. (He did that at the Playhouse in 2007 with Sondheim’s Company, a production that transferred to Broadway.) Merrily opens next Thursday on the Marx Stage, but previews are the most affordable tickets, so think about catching it this weekend. Through March 31. Tickets: 513-421-3888.

Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.

 
 
by Rick Pender 02.24.2012
Posted In: Theater at 11:23 AM | Permalink | Comments (0)
 
 
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Stage Door: Sondheim at CCM; Broadway 2012-13

A lot of Stephen Sondheim’s shows are kind of heady, but Into the Woods — an intersection of a bunch of fairytale characters — is perhaps the most approachable and especially when it’s given the kind of colorful, overflowing with talent treatment that you’ll find for the next two weekends at UC’s College-Conservatory of Music (that’s longer than usual, but tickets will still be in short supply, I suspect). Act I is about “happily every after,” while Act II explores what comes next. Twenty years ago, when an endowed chair in musical theater (the first in the nation) was established at CCM, professor and director Aubrey Berg staged the show; to honor the gift of Patricia Corbett, he’s mounting a new production at the theater named in her honor. I thought last fall’s Oklahoma at CCM was a wonderful production, but this one, which I saw open on Thursday evening, is even better, with an incredible array of talent and wildly inventive staging. Tickets: 513-556-4183.

A year ago Cincinnati Shakespeare had a big hit with a stage adaptation of Jane Austen’s Pride & Prejudice. Looks like they’ve done it again with another adaptation of the 19th-century novelists Sense & Sensibility. This time it’s the sisters Dashwood, one rational and one emotional. The roles are wonderfully played by Kelly Mengelkoch (as the reserved, reasonable Elinor) and Sara Clark (as the willful and romantic Marianne), and they’re surrounded by delightfully drawn supporting characters — and a story of romance and domestic intrigue. I gave the production a Critic’s Pick. I’m told that several performances are already sold out (it’s onstage through March 18), so if you hope to see this one, you should line your tickets up right away. Tickets: 513-381-2273.

In case you wanted a short course in shows by Sondheim, the next few weeks is your big opportunity. In addition to Into the Woods at CCM, you can catch the touring production of West Side Story at the Aronoff (it opens a two-week run on Tuesday), a show that Sondheim wrote the lyrics for when he was 26 (he’s about to turn 82). And a week from now, the Cincinnati Playhouse will start previews of Merrily We Roll Along, a show from 1981 that was a flop at first, but now is praised as one of his greatest musical accomplishments. It’s about the joys and frustrations of success from the perspective of people involved in creating musical theater. It will be on the Marx Stage through March 31.

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 their gears spinning. I gave Speaking in Tongues a Critic’s Pick. Through March 4. Box office: 513-421-3888.

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.

Planning for next season? Check out my blog from last Sunday about what Broadway in Cincinnati will be presenting, including the zany Blue Man Group.

Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.

 
 

 

 

 
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