Truth to tell, midnight has already passed and Victorian adventurer Phileas Fogg thinks he's missed the deadline for getting "around the world in 80 days." But his faithful servant Passepartout (played with manic energy by the always amusing Michael G. Bath) saves the day by sorting out travel across time zones. Your deadline has not quite passed, since Ensemble Theatre Cincinnati's inventive staging of a musical version of Jules Verne's classic Around the World in 80 Days continues through a 2 p.m. matinee on Sunday. (CityBeat review here.) If football and cold weather aren't your preferences, maybe you should head to the Over-the-Rhine theater for a final volley of holiday entertainment. Tickets: 513-421-3555.
At the Cincinnati Playhouse in the Park you'll find the traditional Christmas favorite A Christmas Carol as well as The Complete History of Comedy (abridged) onstage through Sunday. It feels a bit odd to be watching Scrooge and the ghosts after Christmas Day, but the Playhouse's rendition is such a lovely show and Bruce Cromer's portrait of the old miser is so entertaining that you'll be charmed, I'm sure. And the Reduced Shakespeare guys doing the "comedy" piece know how to evoke laughter from the making of jokes in ways you haven't imagined. They're the guys who originated this amusing formula with The Complete Works of William Shakespeare (abridged), and they're making it work with this world premiere production. It's a nice bit of entertainment for a weekend between the holidays. Tickets: 513-421-3888.
Holiday themed laughs are being served up at Cincinnati Shakespeare Company through Sunday, too, with their eighth annual presentation of Every Christmas Story Ever Told (and then some). No Shakespeare in evidence (although they're performing on the gussied-up set that was built for the previous production, Twelfth Night) but four of CSC's best comic talents are mashing up every imaginable tale you might think of that has a holiday connection — Charlie Brown, Charles Dickens, Rudolph, the Nutcracker, It's a Wonderful Life and many more. They'll have you laughing from start to finish, especially if you make a stop by the bar in the lobby beforehand. Not for the kids, but a lot of fun for anyone with an adolescent sense of humor. Tickets: 513-381-2273 x 1.
If you want a nice outing for the kids, I recommend Ensemble Theatre Cincinnati's holiday show, Around the World in 80 Days. Jules Verne's adventure classic about a hectic circumnavigation of the globe in 1899 has been musicalized and condensed in a way that children will enjoy it — but there's enough humor and talent onstage to keep adults entertained, too. ETC'S production actually runs through the weekend after New Year's Day, but if the kids are restless and you want to entertain them with live theater, this is a great choice. Tickets: 513-421-3555.
It's the final weekend for most holiday shows, and there are lots of good choices. I'm ranking today's listings according to the laugh-o-meter, starting with the most hilarious:
It's Friday the 13th, but if you're in the mood for holiday shows, this is your lucky weekend. Just about every theater in town has something onstage aimed at getting you into the Christmas spirit, making you laugh, diverting you from the stress of being cheerful or just poking fun at the ways of the world (at least the world of commercialism we see in America today).
Perhaps you've already done your annual brush-up on Dickens' A Christmas Carol
at the Playhouse (another fine production, now in its 23rd season with
Bruce Cromer back as Scrooge and a new interpretation of Bob Cratchit,
featuring the very angular Ryan Wesley Gilreath, who seems to be all
arms and legs and stringy hair — very Dickensian) or the musical version
being presented by Covedale Center. With the story of Scrooge's dark
night of the soul fresh in mind, perhaps you're ready for A Klingon Christmas Carol,
presented by Hugo West Theatricals at the Art Academy of Cincinnati
(1212 Jackson St., Over-the-Rhine). This is a newish theater group that
knows its way around satirical work (their Don't Cross the Streams, a goofy derivative of Ghostbusters,
was a popular piece in the 2012 Fringe festival), they are giving this
unusual piece its local premiere. (It's been staged in Chicago and
Minneapolis.) It's actually a rather faithful retelling of the story
with SQuja' (Donald Volpenheim), a cowardly, money-grubbing member of
Star Trek's warrior race, taking the place of Scrooge.
It's presented by a deadpan Vulcan narrator (Lauren Carr) who positions the work as the "original" of the tale. Klingons don't celebrate Christmas, but they are bound by traditions, the greatest of them being the "Feast of the Long Night." The 70-minute piece closely matches with Scrooge's story, but it's all through a Klingon filter — lots of angry outbursts and hearty laughter, grunting, growling, drinking and chest-thumping by characters with wrinkled foreheads, bushy eyebrows and fierce demeanors. Eileen Earnest handles timHom (a Muppet-like equivalent for Tiny Tim), son of Quachit (David Dreith), whose training as a warrior is being neglected because of greedy SQuja'. If you've never yearned for a visit to Qo'noS, the Klingon homeworld, you might find this production a bit impenetrable since it's performed in the guttural Klingon language, but there are projected subtitles that add humor to the action. This won't be a show for everyone, but if you're a Star Trek fan, you'll have a good time. Tickets ($20 at the door or here).
OK, the holidays are officially here. If you have any strength left after shopping last night and all day today, there are numerous theatrical offerings to consider.
The theater season takes a bit of a pause around Thanksgiving, since many companies are readying holiday productions. But there are plenty of choices available this weekend.
I'm not the only one who enjoyed the laugh-fest that is The Complete History of Comedy (abridged) at the Cincinnati Playhouse. I've heard numerous people who saw it say they were recommending it to others. In two hours the Reduced Shakespeare Company puts forth more humor than you can shake a stick at. (But be careful shaking sticks. You might get a pie in the face.) No matter your tastes in comedy — witty, loud or rude and crude — you'll find it in this production. How about Abe Lincoln as a deadpan rapper? This could be a good outing this weekend or a lot of fun for out-of-town guests who descend on you next week. Tickets: 513-421-3888.
Tonight is an opening at Cincinnati Shakespeare Company, the very frothy comedy Twelfth Night. (It's subtitle is "or What You Will," indicating that it's a lot of foolishness, which is an apt description.) In fact, Twelfth Night is a beautiful piece with clever situations, amusing characters, a bit of intrigue and a lot of mistaken identities. And several of the most laughable characters Shakespeare ever created, from the bombastic Malvolio to his persecutor Sir Toby Belch and Sir Andrew Aguecheek, plus the best of all Shakespeare's fools, Feste. It's a safe bet that this is a production that even those who fear Shakespeare will truly enjoy. Tickets: 513-381-2273 x 1.
If you're more into storefront theater, you might check out the current production by Untethered Theater at Clifton Performance Theatre on Ludlow, just east of the business district. It's a tiny space (only 50 seats), but that makes it all the more interesting. The current production is Wendy Macleod's The House of Yes, a very dark comedy about a weirdly dysfunctional family. The story focuses happens while there's a Thanksgiving hurricane outside, so it's timely, too. Performances Friday and Saturday (through Dec. 7). Go here for tickets.
This is the last weekend for Boeing Boeing, a crazy farce about a guy juggling three fiancees who happen to be flight attendants. It's at the Carnegie, featuring performers from the drama program at UC's College-Conservatory of Music. Tickets: 859-957-1940.
There's a fine community theater production of A Chorus Line at the Aronoff Center's Jarson-Kaplan Theater. It's by Cincinnati Music Theatre, and they've recruited a talented cast of dancers, singers and actors to tell the stories of 16 performers competing for roles in the chorus of a Broadway show. There are many fine performances in this show — the characters become known, one by one as they tell their stories, some humorous, some heartbreaking — but the show's greatest emotional wallop comes when they are all in synch, wearing glitter and gold, hats cocked and performing as "One." Final performance is Saturday evening. Tickets: 513-621-2787.
If you're looking for a good musical closer to home, I can certainly recommend the Cincinnati Playhouse production of Cabaret, which gets my Critic's Pick in the current issue (see review here). Director Marcia Milgrom Dodge has taken it back to 1929 with costumes and choreography very true to the period in a seedy, sexy Berlin nightclub. The Playhouse doesn't often do musicals, but this one is done right. Tickets: 513-421-3888
Know Theatre is staging another work by Mike Bartlett. Last spring it was Cock; this time it's Bull (review here). It's a story of two people bullying a third as they compete for jobs. A nasty tale, not for the faint-hearted, but some fine writing and acting. You'll feel ashamed of yourself for enjoying it, I suspect. Tickets: 513-300-5669
A fine production of John Steinbeck's Depression era tale of migrant workers and a guy who just doesn't fit in, Of Mice and Men (review here), finishes its run this weekend at Cincinnati Shakespeare. Jeremy Dubin's performance as cranky George and Jim Hopkins as simpleminded Lenny are examples of the kind of fine acting that's a regular commodity at Cincy Shakes. Tickets: 513-381-2273.
Finally, if you're in the mood for a hilarious farce, your destination should be the Carnegie in Covington. CCM Drama has transported some of its actors from the UC Campus to Covington, Ky., for a production of a deliriously funny tale of one man in Paris juggling three fiancees, Boeing Boeing. They're all flight attendants, but advances in aviation screw up his neat schedule to keep them discreet from one another. Comedy ensues. Tickets: 859-957-1940
If you love musicals, you should run, don’t walk to the University of Cincinnati’s College-Conservatory of Music this weekend for the short run of Singin’ in the Rain. It's a fabulous recreation of the iconic 1952 movie that featured Gene Kelly. It's about the transition from silent to talking pictures in the late 1920s. Even if you’ve never seen the film, I’m bet you know Kelly’s iconic splash down a movie-set street, joyously stomping in puddles and swinging from a lamppost. That's what's onstage at Corbett Auditorium — a whole stage full of tap dancers and a torrential rainfall! But it's only there through Sunday afternoon; shows at CCM seldom run more than one weekend. So if you want to see this one, call for tickets right away: 513-556-4183.
There's water falling on another stage right now: The touring production of Flashdance: The Musical is at the Aronoff through Nov. 10, and its star, Jenny Mueller as the free-spirited welder who aspires to be a dancer concludes the first act with a memorable sequence where she performs at a club, culminating in a backlit shower. Mueller is a fine dancer and onstage from start to finish, but the show is full of shallow characters and too many subplots that make for slow going. Tickets: 800-982-2787.
One more musical item: I gave the Cincinnati Playhouse in the Park's production of Cabaret a Critic's Pick, and it's definitely worth seeing. Despite the fact that it first appeared on Broadway 50 years ago, it's still a powerful piece of theater — about intolerance and willful ignorance. But it's framed in a great story with a memorable score by John Kander and Fred Ebb (who also created Chicago, Kiss of the Spider Woman and more) with a new production by Broadway veteran Marcia Milgrom Dodge. Tickets: 513-421-3888.
If you're in the mood for something more serious, there are plenty of choices that have received good reviews: Check out Cincinnati Shakespeare's staging of Of Mice and Men or their joint project with Xavier University of The Crucible. Tickets: 513- 381-2273, x1. And I hope you have on your radar Know Theatre's staging of Bull (which runs throughout November) by Mike Bartlett, the same playwright who wrote Cock, presented last spring. It opens tonight. Tickets: 513-300-5669.
Find reviews of Flashdance, Cabaret, Of Mice and Men and The Crucible at citybeat.com.
The Cincinnati Playhouse's production of Cabaret is a must-see for anyone who is a fan of musicals. (CityBeat review here.) Kander and Ebb's Tony Award winner from the late '60s has been brought to the main stage with inventive verve by veteran Broadway choreographer and director Marsha Milgrom Dodge. Sure, it's set in 1929 Berlin, populated by amoral entertainers and Nazis rising to power. But its scrutiny of prejudice and bigotry in the context of jaunty, thoughtless entertainment is a fascinating way to bring attention to topics that are timeless. Dodge has assembled a cast of triple-threats (who can sing, act and dance), given them choreography rooted in the 1920s, costumed them in period clothing (and some clever get-ups for the cabaret routines) and set them spinning on a stage arrayed with Expressionist imagery. It's a winning combination. Cabaret just opened on Thursday evening; you have until Nov. 16 to catch it, but it's likely to be a hot ticket, so this is a good weekend to head to Mount Adams. The other choice at the Playhouse, Seven Spots on the Sun, is in its final weekend on the Shelterhouse stage. It's a powerful drama set in a Latin American nation, torn asunder by civil war. Serious theatergoers have been giving this one a thumbs-up. Tickets: 513-421-3888.
There are several good theater choices south of the Ohio River this weekend.
The theater (and dance) program at Northern Kentucky University presents a truly varied array of programming — this season has included a play by Orson Welles, the legendary musical South Pacific, Shakespeare's As You Like It and more. The academic year's final production Monty Python's Spamalot, opened last evening, and it seems to be a perfect vehicle for a lot of onstage clowning. (In case you haven't been tuned in, the show is subtitled "A musical lovingly ripped off from the motion picture Monty Python and the Holy Grail," and many of the show's most hilarious moments are reproduced wholesale onstage.) But clowning can be serious work, and if you catch NKU's production, pay attention to the choreography (the work of NKU grad Roderick Justice) which is complex, amusing and very well executed by the cast of 25. Director Ken Jones keeps things moving; the actors get into the tomfoolery from start to finish, especially Kat Moser as the diva who's the Lady of the Lake and Bradley Goren as long-suffering Patsy (he's the one who clicks the coconut shells to simulate King Arthur riding on horseback, among other amusing moments). The show is a fine entertainment, if you're a fan of the low but articulate humor of the Python troupe. Through April 27. Tickets ($8-$14): 859-572-5464.
Comedy of an entirely different sort is available at another Kentucky venue, the Carnegie in Covington, where Mary Chase's 1945 Pulitzer Prize winner Harvey is available through April 27. This is a piece of gentle humor from the past, about a slightly off-kilter guy who sees a six-foot-plus rabbit — he calls it a "pooka" — named Harvey, much to the dismay of several family members who are embarrassed by his behavior. Their efforts to get him committed to a local asylum go awry to much merriment and a message about being, well, gentle and sweet. This is good, old-fashioned fun. Tickets: 859-957-1940.
If you prefer a well-written contemporary drama, this weekend is your last chance to see A Delicate Ship at the Cincinnati Playhouse. Anna Ziegler's new show (this is its world premiere) is a memory play that explores an unexpected chain of events triggered by a love triangle. It's beautifully staged by Michael Evan Haney with a cast of three actors who are just right for each of their roles. I gave this one a Critic's Pick when it opened; it's as good as anything I saw recently at the much-respected Humana Festival of New American Plays at Actors Theatre of Louisville. Tickets ($30-$80): 513-421-3888.
This evening at its Jackson Street headquarters in Over-the-Rhine, Know Theatre of Cincinnati revealed the lineup for the 11th annual Cincinnati Fringe Festival to a crowd of nearly 100 enthusiastic supporters and performers. The two-week festival begins Tuesday, May 27, with the CityBeat Fringe Kick-Off Party; it winds up 12 days later on Saturday, June 7, having presented 32 productions — 17 plays, two musicals, seven solo performers, and six dance presentations. In addition, there will be four FringeNext productions (selected from 11 applicants — a record number), featuring original material produced and performed by local students from the School for Creative and Performing Arts, Newport Central Catholic High School, St. Xavier High School and Highlands High School.
Performance Gallery is kind of the alpha and omega of the Cincinnati Fringe: They’ve been in all 11 festivals, including the 2008 hit show fricative. Producer Eric Vosmeier calls them the inspiration for much of what the Fringe is about: They were doing “fringe-like” work before the festival began, and they’ve returned annually with work that pushes the envelope. This time they’ll offer Heist, about three crooks of questionable ability. Vosmeier also cited Pones Inc., the dance-based company that returns for the seventh time with Traffick, a piece of audience engagement that explores issues of human trafficking. Vosmeier says, “This is the kind of work the Fringe was built to exhibit.”
“We had a great mix of new producers and returning favorites in the applicant pool,” Vosmeier says. “The word continues to spread about our Cincinnati Fringe Festival, which has a national reputation for being the most artist-friendly festival. We’ve worked very hard on this over the years, and I believe that we’ve created something special for our artists and for our region.”
The Cincinnati Fringe differs from festivals elsewhere in that productions are screened and handpicked by a committee of local theater artists. Drawing from a large pool of applicants, comparable to last year’s record-breaking number, this yielded a balanced mix of local vs. out-of-town producers: 15 from Greater Cincinnati and 18 from beyond. The latter number includes three international shows, the most ever for the festival: Around Dark Matter, a Holocaust memory piece by Mica Dvir, is from Tel Aviv, Israel; A Brief History of Beer by Wish Experience from London, a company that has performed at festivals from Edinburgh to Adelaide; and Prefer Not to Say, an interactive piece by blueDragonfly Productions, another U.K. group, the presenter of And All the Rest is Junk Mail a year ago.
For Wednesday evening’s announcement event, members of the Fringe staff mentioned the shows they were most looking forward to. They named:
· An Unauthorized Autobiography of Benny Hill by Four Humors Theater (Minneapolis), the creative minds behind such past Festival favorites as Lolita: A Three Man Show, Bombus and Berylline and Harold. This will be their sixth consecutive Cincinnati Fringe appearance.
· Blogging Behind Bars by Unity Productions, creators of two past Fringe hits, The Wave and Nothing. This time it’s a true story about a young, nonviolent criminal who wrote a blog while incarcerated in a maximum-security prison.
· Papa Squat’s Store of Sorts by solo artist Paul Strickland from Indianapolis, whose Ain’t True and Uncle False was a “Pick of the Fringe” last year. His new show is a music-filled memorial for a guy who “once filled the emptiness in Big-Fib Cul-de-sac with his insightful songs.”
· Something Something New Vagina by Rebecca Kling, a transgender artist and educator from Chicago with a follow-up show to her 2012 production, Beneath Her Skin.
· The Ultimate Stimulus by Felipe Ossa, a Brooklyn-based playwright and a new artist to the Cincy Fringe, is presented in the form of a TED Talk that argues for concubinage as a way to address the problem of income inequality.
The festival is also a chance for Cincinnati’s local theater companies to show off. Clifton Performance Theatre will present Sarge, a piece by Kevin Crowley about the wife of discredited Penn State assistant football coach Jerry Sandusky. Untethered Theatre has prepared Where Edward Went, a new play by Ben Dudley and Adam Sievering about a screenwriter’s effort to make a documentary about Edward, the late fiancé of Elyse, a painter. They don’t quite agree about the portrait. New Edgecliff Theatre will offer TRAGEDY: a tragedy, described as “one of the funniest apocalypses of our time.” And Ensemble Theatre Cincinnati’s intern company always offers a fine showcase of young talent. This year it’s two one-act plays: Sheila Callaghan’s Crumble (Lay Me Down, Justin Timberlake) and Itamar Moses’s Authorial Intent.
In addition to the productions offered nightly, artists, audience members, staff and volunteers flock nightly at Know Theatre’s Underground and headquarters for the Fringe Bar Series, with a reasonably priced bar, some free food inside and offerings for purchase from food wagons on Jackson Street. Each evening after the Channel Fringe Hard Hitting Action News Update, everyone has a chance to be a performer with activities such as the Fringe Olympics, Fringe-A-Oke, Fringe Prom, Segway Night and the Night Without Technology. This year the Bar Series night adds Fringetoberfest, an evening of German-inspired food and brews from local craft beer creators.
Vosmeier expects the festival to attract more than 8,000 visitors this year. If you’re someone who tries to see as much as possible, your best bet is a “Full Frontal” Fringe pass ($200) providing access to every event in the festival. Know also offers “Voyeur” passes ($60) good for six shows of your choice. If you can only make it once, a “One Night Stand” pass ($25) is available — admission to any two performances in an evening plus one drink at Know’s Underground bar. Single tickets to Fringe shows continue to be priced at $12; they’ll go on sale in mid-May.
There will be lots more — and the lineup can change. Hey, it’s the Fringe, so be ready for anything. You’ll find details on all these shows and more at cincyfringe.com.
“We had a great mix of new producers and returning favorites in the applicant pool,” says Producing Artistic Director Eric Vosmeier. “The word continues to spread about our Cincinnati Fringe Festival, which has a national reputation for being the most artist-friendly festival. We’ve worked very hard on this over the years, and I believe that we’ve created something special for our artists and for our region.”
The pool of applicants, comparable to last year’s record-breaking number, has yielded a mix of local vs. out-of-town producers: 15 from Greater Cincinnati, including the return of Performance Gallery for the 11th consecutive year (it’s the only group that’s been in every Fringe) with a new piece, Heist, about three crooks of questionable ability. There will be 18 productions from beyond Cincinnati, including three international shows.
Vosmeier expects the festival to attract more than 8,000 visitors for 2014. If you’re one of those people who tries to see as much as possible, your best bet is a “Full Frontal” Fringe pass ($200) that gives you access to every event in the festival. Know also offers “Voyeur” passes ($60) good for six shows of your choice. If you can be there for one evening, a “One Night Stand” pass ($25) is available, offering access to any two performances in an evening and one drink at Know Theatre’s Underground bar. Individual tickets to Fringe Festival shows continue to be priced at $12; they’ll go on sale in mid-May.
Look for more information at CityBeat.com after the 7 p.m. announcement tonight. More info: cincyfringe.com.
If you follow music coverage in CityBeat (hey, isn't that really why you pick up the paper?), you're certainly aware of Green Day's 2004 recording American Idiot.
But since you're reading my weekend theater previews, you must be
interested in other kinds of performance, so here's a tip: For two nights
only, Green Day's American Idiot, a stage version of the powerful Punk score, will be onstage at the Aronoff. That's right — Friday and Saturday
only, just three performances, much shorter that Broadway in
Cincinnati's two-week presentation of touring Broadway musicals. I can
vouch for this one, since I saw it a year ago during a similar tour stop
It's the story of three disaffected guys who take different downward spirals when confronted with the numbing boredom of everyday life — "alien nation" — as they sing in the opening number. The recording was conceived as a "Punk Rock Opera" and turned into a Tony Award-nominated Broadway show in 2010, with a lot of involvement by Green Day's lead singer Billie Joe Armstrong (who actually appeared onstage in New York at various performances; that's not happening here in Cincinnati). There's a day-of-performance lottery for a limited number of $25 tickets; you need to show up two-and-a-half hours before the performance you're hoping to see (8 p.m. Friday, and 5 and 8 p.m. on Saturday) with a valid photo ID. Complete an entry form and wait 30 minutes to find out if you're a winner. If you prefer to just go ahead and buy your seats ($38-$91), you can call the Aronoff box office: 513-621-2787.
Actors Theatre’s Humana Festival is indeed a launching pad for exciting new works. That makes its final weekend the perfect moment for the American Theatre Critics Association to recognize a set of outstanding plays produced at regional theaters during 2013. None of the 2013 Humana Festival shows was nominated, but one of the three works to win a significant cash prize ($7,500) was Martín Zimmerman’s Seven Spots on the Sun, given its world premiere at the Cincinnati Playhouse in the Park last fall. The play blends magical realism and political issues in an affecting tale examining if forgiveness is truly possible. Set in a Central American nation ravaged by civil war, lust, plague and a consuming need for vengeance, it’s about a widowed doctor in a small village and a newly-married soldier charged with subduing dissent. Their journeys towards redemption converge in some painful ways.
The top prize ($25,000) went to Lauren Gunderson for her play I and You, about a cranky high school student who needs a liver transplant. A smart, athletic classmate recruits her to help him finish a school project focused on Whitman’s Leaves of Grass. As their unlikely relationship evolves, they explore the meaning of life and death without a shred of condescension or pretentiousness. I and You was staged last October at Marin Theatre Company in California, where Jasson Minadakis, who founded Cincinnati Shakespeare Company, is now artistic director and nurtured the development of Gunderson’s script. Her play Toil & Trouble was presented locally last summer by Know Theatre.
The three-week run of the tour of Wicked wraps up this Sunday at the Aronoff Center. It's a faithful reproduction of the Broadway hit, with performers who can give you the experience of seeing the original, a kind of prequel to The Wizard of Oz. (Tickets, $38-$188: 513-621-2787, but each performance has a pre-show lottery; if your name is pulled, you can buy a ticket for $25). If you've already seen this one, I suggest you check out one of the great new productions on local stages.
Ensemble Theatre Cincinnati has offered another powerhouse season this year, but I'll venture to say that The Mountaintop is aptly named: It's at the peak. It's an imagined story about Rev. Martin Luther King Jr. on the night before he was assassinated. I'll venture to say that you've never seen him in quite this altogether human light, as portrayed — dare I say wholly embodied — by Gavin Lawrence. And then he's visited by Camae, a sassy maid who evolves into something so much more as he contemplates the meaning of his life. The always watchable Torie Wiggins takes on this role, and it might be one of her best performances yet at ETC. The Mountaintop won London's Olivier Award for Best New Play in 2011, and in my opinion, it's one of the best productions we'll see here in Cincinnati this theater season. Through April 6. (Tickets, $25-$43: 513-421-3555).
I caught up with the Cincinnati Playhouse's production of Pride and Prejudice at the Playhouse earlier this week. (It opened a week ago, but I was out of town.) It's a faithful rendition of Jane Austen's beloved novel, gorgeously staged and costumed. It has a big cast, so all the characters, quirky and memorable, are present and accounted for — a few actors need to play more than one role. If you're an Austen fan, I suspect you'll like this one; if not, you might find it kind of uneven, since some characters come across as cartoons (especially Elizabeth Bennet's meddlesome, garrulous mother and the arrogant Lady Catherine de Bourgh) while others are more naturalistic. Kate Cook's Lizzie has all the right notes (she ought to, as she's played the role several times elsewhere) and Loren Dunn's Mr. Darcy, while a bit slow out of the gate, eventually captures the character's aloof charm. Director Blake Robison has done a good job with an interesting adaptation that has scenes that flow swiftly one into the next, sometimes with overlapping elements that recall past moments. Through April 5. (Tickets, $30-$80: 513-421-3888).
Back in the early 1980s, the musical A … My Name is Alice had a long run at New York City's The Village Gate. Northern Kentucky University is producing its version of this collection of songs focused on the paradoxes women face — beauty, strength and heart. The show, created by an array of comedians, lyricists and composers, has 20 songs. It's being staged by Corrie Daniely, the newest faculty member in NKU's theater and dance department. Through April 30. (Tickets, $8-$14: 859-572-5464).
I had a glimpse of Broadway's future last night on campus at UC. I attended Not Yet Famous, the 22nd edition of CCM's musical theater showcase, featuring the about-to-graduate senior class. The 19 vibrant performers presented a 45-minute program that they'll take to New York City on April 7 to present to casting agents, producers and others. It's how they begin to land contracts and establish relationships that will give them solid professional careers. With accompanist Julie Spangler at the piano, the singers worked as a large ensemble and smaller sets, but each one had multiple chances to show off her or his strengths as a singer, dancer and actor — they're all trained to be "triple threats" with a polished arsenal of vocal and movement skills. They were warmly received by the Friends of CCM, the support group that helps keep various programs at the conservatory going; the evening was a benefit. You have a chance to see the showcase for free if you act quickly: There will be performances on Saturday at 5 and 8 p.m. at Patricia Corbett Theater. No charge, but you need to call CCM's box office to reserve a seat (limit of two per order). I suspect tickets will be snapped up, so call right away: 513-556-4183.
Wicked is in the midst of its three-week run at the Aronoff Center. This is one of the most popular Broadway shows of the 21st century (it's been running for a decade, as well as spawning productions around the world plus two national tours, one of which is in our midst). It's here through April 23, but tickets are expensive (cheap seats are $38 and anything else is more), so you might want to try your chances in the daily lottery for a $25 orchestra seats. Grab your valid ID and show up in person 2.5 hours before the curtain time to enter; if your name is chosen, you can purchase one or two tickets. Of course, if you're flush you can guarantee seats by buying what you need at 513-621-2787.
The Playhouse just opened Pride and Prejudice, a theatrical adaptation of Jane Austen's most popular 200-year-old novel. I won't see it until next week (busy schedule), but if you're a fan — and it seems that everyone loves her novels of manners and romance — you probably need to line up to see this one. Director Blake Robison calls his production "epic," adding, "The story is a satire of the marriage market and an exploration of true love. What could be more fun than that?" It's onstage through April 5. Tickets: 513-421-3888.
What with St. Patrick’s Day coming on Monday, this might be the perfect weekend to see Clifton Players’ production of The Irish Curse (at Clifton Performance Theatre, 404 Ludlow Ave.). Lots of folks have told me they enjoyed this tale about a group of Irish-American men who meet weekly in a self-help group in a Catholic church basement to discuss a sad “shortcoming” — let’s call it “small equipment,” a curse they believe has ruined their lives. It gets its final performance on Sunday, right before you line up for your first green beer. Tickets: 513-861-7469.
Can you imagine Les Misérables without a turntable or the immense barricades lumbering down from the wings? Aubrey Berg, head of the University of Cincinnati's College-Conservatory of Music’s renowned musical theater program, has dramatically re-imagined the legendary show for a run at UC, using a largely bare stage backed by a wall of ladders, staircases, shelves and recessed ledges. Berg's simplified physical production earned my Critic's Pick with its sharper focus on characters, action and music. Les Mis has a remarkable cast of 40 or so with soaring vocal talent for solo numbers and breathtaking choral power when they combine forces in iconic numbers such as “Do You Hear the People Sing?” and “One Day More.” It's a spectacular production, onstage through Sunday. Tickets: 513-556-4183.
Wicked just opened a three-week run at the Aronoff (it's the third time the show has been here, and it's set box office records every time). Tickets can be expensive (the cheap seats start at $38 and go up quickly from there), so keep in mind there's lottery for a limited number of $25 orchestra seats for each performance. You need to show up in person 2.5 hours before the curtain time (with a valid photo ID) to submit your name; if it's pulled you can purchase one or two tickets. It's worth a shot. Otherwise, you can purchase tickets by calling 513-621-2787.
If you're a Tony Bennett fan, you might consider heading to the West Side for I Left My Heart at the Covedale Center, a salute to the legendary crooner. You'll get to hear 40 standards that he's known for — "Because of You," "I Wanna Be Around," "The Good Life" and, of course, "I Left My Heart in San Francisco." Tom Highley, Deondra Kamau Means and Brian Wylie will be singing, with Mark Magistrelli at the piano. Through March 23. Tickets: 513-241-6550.
Here's an item worth considering for Monday evening: The Educational Theatre Association, a national organization for high school kids involved in theater, is headquartered here in Cincinnati. (They're the folks behind the National Thespian Society.) They're partnering with the School for Creative and Performing Arts on Monday at 7 p.m. for Making Magic, Defying Gravity. Presented at SCPA's Corbett Theatre (108 Central Parkway in Over-the-Rhine), the evening offers a program of music and conversation featuring members of the touring cast of Wicked (as noted above) and performances by high school students from the area. You'll hear from Jason Daunter, Wicked's production stage manager, and Matt Conover, VP with Walt Disney Parks and Resorts. They'll talk about how their high school dreams led to careers in the theater. Tickets are $10 in advance; 15 at the door (going on sale at 5:45 p.m.). Proceeds from this event will benefit the Friends of SCPA Scholarship Fund and the Educational Theatre Association's Scholarship Fund, both of which will help develop talent for the future of the theater.
In a recent conversation, Artistic Director Blake Robison described his program priorities and told me the Playhouse takes them seriously. “Variety is one of our hallmarks. We’re always going to make sure there are new works and culturally diverse works and that there are family-friendly or multigenerational things. We will find ways to continue to support and entertain the traditional audience while reaching out in various directions to new audiences. It’s our responsibility to bring the best theatrical material both old and new to our community.”
I’d say Robison’s third season sticks to his priorities.
There's a magnificent production of the legendary musical Les Misérables at the University of Cincinnati's College-Conservatory of Music. I attended the opening performance at Patricia Corbett on Thursday
evening, and a show that I've seen umpteen times has been given new
life with fresh direction, impassioned staging and innovative design —
even if you've seen the legendary original with its turntable and
massive barricades, you'll find CCM's rendition, directed by Aubrey
Berg, an eye-opener. It's simpler and more dramatic (that's quite a
claim for a show designed to pluck your heart-strings), and it's
especially noteworthy for the leads' strong vocal performances — Jean
Valjean and Inspector Javert are double-cast, a demonstration of the
depth of talent in this nationally renowned program — as well as each
and every every performer in an ensemble of more than 40.
The 16-musician orchestra, conducted energetically by Steve Goers, sounds larger whole lot more, since several players handle three to five instruments. Berg's staging gives the show a clarity and power that makes it feel fresh and new. It has vivid feature characters and storytelling with momentum and emotional impact. This one is a must-see, so it's great that the production runs longer than many at CCM, where it's usually one-weekend and done: There are nine more performances through Sunday, March 9, which means that more tickets ($31-$35; $18-$24 for students) are available. Nonetheless, they'll be snatched up quickly, so you should call right away to get yours. 513-556-4183.
Andrew Lloyd Webber’s classic musical Evita is at the Aronoff Center through Sunday. It looks great with some epic scenery and excellent choreography. Josh Young as Che is charismatic and strong-voiced in his role as the show’s commentator. But Caroline Bowman’s Eva Perón is shrill, and Sean MacLaughlin's Juan Perón lacks the sinister gravitas that the role requires. So there's not nearly enough of the complex passion and manipulation that bonded them as a political machine. The tale of the ambitious woman who rose to the highest levels of power in Argentina then crashed and burned at age 32 is a memorable modern tragedy, and Andrew Lloyd Webber’s rock-opera tunes by will stick in your head. Tickets: 513-621-2787.