Brian Harmon, an artist and educator from Taylor Mill, Ky., delights eyes with his photographic and installation artwork. Harmon uses his artwork as a means to communicate themes such as memory, memory loss and archiving. He took time out of his schedule to speak with ArtSeen about his artwork and his artistic methods.
I'm not the only one reporting on the advent of — and consternation surrounding — the phenomenon of tweeting (that is, sending 140-character e-messages) during performing arts events including theater. A CityBeat reader said "Amen and amen" to my Dec. 28 Curtain Call column in which I expressed concern that this would both distract other theatergoers and diminish the experience for anyone who's dividing their attention between action onstage and sending messages via his or her smart phone.
Here's another report, this one from today's issue of The Boston Globe. This feature suggests that some theaters might select a few "tweeters" with some theatrical knowledge to send messages during a show. That's an interesting wrinkle, creating 21st-century critics on a narrow scale.
I'd be grateful to hear more opinions on this topic.
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.
This is the final weekend for performances by New Edgeclif Theatre of an unusual double-bill. Part one is a delightful one-man performance by local actor Joshua Steele of David Sedaris's The Santaland Diaries, an account of working as a Christmas elf — named "Crumpet" — at Macy's in New York City. Steele was great in this a year ago, and he's even better this time around.
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:
Among the eight winners announced for the 2012 Governor’s Awards for the Arts in Ohio are several Cincinnatians. Cincinnati Playhouse in the Park Producing Artistic Director Ed Stern, who retires at the end of the current theater season, and Executive Director Buzz Ward have been named the recipient of the year’s recognition in the field of Arts Administration. Louise D. Nippert will be honored in the category of Arts Patron.
I’ve extolled the virtues of White Christmas at the Covedale Center in my CityBeat review, but I’m not the only one who feels that way. The judging panel from the League of Cincinnati Theatres (LCT) has chimed in with an award for Dan Doerger, playing the role of Phil Davis, originated in the 1954 film by Danny Kaye. I would have also recognized Rick Kramer, playing Doerger’s song-and-dance partner, Bob Wallace (played by Bing Crosby in the movie). The LCT panelists cited the “marvelous chemistry” between the two of them. Doerger, who dances as well as he sings and acts, was seen recently in Covedale productions of Singin’ in the Rain and Annie Get Your Gun. White Christmas continues through Dec. 23.
Let's give credit where credit is due. The League of Cincinnati Theatres award process moved quickly (if incompletely) on recognizing the Cincinnati Playhouse production of Always … Patsy Cline, which opened just a week ago today. The judging panel singled out costume designer Gordon DeVinney for his work. A panel member commented, “If you look at images of Pasty online, these ‘looks’ are incredibly authentic and evoke her persona in a startling and effective combination of era and personality.” DeVinney is the Playhouse’s costume shop manager; he has designed more than 30 productions for the Playhouse.