The Cincinnati Playhouse in the Park has two stages: The Robert S. Marx Theatre is the mainstage with 626 seats; the Thompson Shelterhouse (which is in fact a one-time park shelter) can accommodate an audience of 225. Both have thrust-style stages surrounded by audience seating on three sides, making the action is close and intimate in both theaters.
On the Marx Stage:
· Fly by Trey Ellis and Ricardo Khan (Sept. 7-Oct. 5, 2013). The story of World War II’s Tuskegee Airmen is told using live action, video projections and tap dancing. This new work will be directed by Khan, its co-creator.
· Cabaret by John Kander and Fred Ebb (Oct. 19-Nov. 16, 2013). Set in Berlin in the 1930s, and especially in the decadent Kit Kat Club, it’s a musical love story with lots of choreography. Marcia Milgrom Dodge, a Broadway veteran, will direct.
· A Christmas Carol, adapted by Howard Dallin (Nov. 27-Dec. 29, 2013). Michael Evan Haney will direct the holiday show with a cast of 30 for the 21st time.
· Clybourne Park by Bruce Norris (Jan.18-Feb. 16, 2014). This one won the 2011 Pulitzer Prize and Tony Award for best play. Inspired by Lorraine Hansberry’s classic play, A Raisin in the Sun, the play is explores racial attitudes in a Chicago neighborhood in 1959 and 2009. Artistic Associate Timothy Douglas (who staged the current production of A Trip to Bountiful) is the director.
· Pride and Prejudice, adapted by Joseph Hanreddy and J. R. Sullivan (March 8-April 5, 2014). Robison will direct this lavish, full-scale production of Jane Austen’s classic romance.
· Venus in Fur by David Ives (April 19-May 17, 2014). Maybe you know Ives’ very funny collection of skits, All in the Timing. This is a full-length comedy about a director seeking the right actress who gets more than he bargained for. Artistic Associate KJ Sanchez is staging this one.
On the Shelterhouse Stage:
· Seven Spots on the Sun by Martín Zimmerman (Sept. 28-Oct. 27, 2013). The first of several world premieres for the season, this one is a fable of revenge and redemption set in a Latin American village just after a brutal civil war. Sanchez is directing this one.
· The Complete History of Comedy (Abridged) by the Reduced Shakespeare Company (Nov. 9-Dec. 29, 2013). The same guys who abbreviated Shakespeare, the Bible and American history are at it again, premiering their latest abridgment right here in River City.
· 4000 Miles by Amy Herzog (Feb. 8-March 9, 2014). Robison will stage this tale of a pair of unlikely roommates, a 91-year-old grandmother and her 21-year-old grandson.
· A Delicate Ship by Anna Ziegler (March 22-April 20, 2014). Another world premiere production, this one by an impressive young playwright who offers a humorous and heartbreaking look at love, memory and decisions that change lives. Michael Haney will direct. (Haney, perhaps Cincinnati’s best local director, was the Playhouse’s Associate Artistic Director from 2001 to 2013; starting in the fall, he joins Douglas and Sanchez in a trio of “artistic associates” who each will direct two shows.)
· The North Pool by Rajiv Joseph (May 3-June 1, 2014). Rajiv Joseph’s riveting psychological drama is the story of a transfer student from the Middle East whose life quickly becomes complicated. Douglas is the director.
Cincinnati Playhouse in the Park Producing Artistic Director Ed Stern today announced that he will leave the esteemed regional theater after two more seasons, following the 2011-12 season, his 20th. Ed’s tenure at the Playhouse predates CityBeat’s coming into existence: He began in 1992, two years before CityBeat began publishing. I had the pleasure of writing about the recovery of the theater under Stern for EveryBody’s News and then for CityBeat; the Playhouse was in desperate financial straits when Stern and Executive Director Buzz Ward took over — a $1.25 million accumulated deficit.
Critic's PickAs I ate dinner on Tuesday evening before attending a performance at Dayton’s Victoria Theatre, my server asked, “Did you hear that Green Day is performing next door?” I had to set her straight. “Well, not exactly. Green Day’s music is being performed next door — it’s a Broadway show that uses the tunes from their American Idiot recording.” I caught the opening night of a three-day gig (through Thursday, March 14) by an energetic touring company that’s recreating the Tony Award-nominated American Idiot: The Musical. If you have time to make an hour north on I-75, you won’t be disappointed.
Green Day’s powerful Punk score — their 2004 album was conceived as a “Punk Rock Opera” — is the perfect soundtrack for 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. Johnny is the central character, a wannabe musician who yearns to make it in the city; he convinces his buddies Will and Tunny to join him in escaping suburbia.
Their paths diverge quickly: Will’s girlfriend is pregnant, so he stays to sort things out; Tunny is quickly disaffected by urban life and captivated by dreams of military success; and Johnny, not quite willing to admit his loneliness, dreams about a girl he sees and gets caught by a drug dealer — who’s probably a figment of his imagination. Things don’t turn out well for any of them, and by show’s end they’re back home, chastened by the experience — Tunny’s leg lost in combat, Johnny’s ego shattered and Will’s relationship in ruins. But they seem to be more accepting of their fates. The curtain call features the entire company playing guitars and performing “Good Riddance (Time of Your Life),” a number that reflects their disillusion, reminiscence and (maybe) forward motion.
The current tour has a young cast (it’s a non-Equity tour) without a ton of experience, but that’s perfect for this show, which demands a stage full of angry energy. They hurtle through the 100-minute performance, diving right into the title tune with thrashing energy demanded by Green Day’s music. (For theater fans, it’s worth noting that Green Day’s music has been orchestrated and arranged by Tom Kitt, composer of the Tony Award-winning next to normal, a show that has a score with similar power.) Steven Hoggett’s pounding choreography captures the physicality of Rock stage performance, rendered rapidly and rhythmically with tons of repetitive angular motion.
Alex Nee, Casey O’Farrell and Thomas Hettrick, as Johnny, Will and Tunny, turn in credible performances of roles that don’t have a lot of depth — and that’s OK. American Idiot is more about emotions than storytelling, and they each capture that: Nee’s hallucinatory attraction to destructive behavior is convincing, O’Farrell’s frustration with being trapped and left behind is believable, and Hettrick’s dreams of heroism and his wake-up call to a damaged life are rendered credibly. Female roles are more stereotyped — two of them don’t even have names: Whatsername and The Extraordinary Girl — but Alyssa DiPalma, Jenna Rubah and Kennedy Caughell (as Heather, the mother of Will’s kid) have fine voices. DiPalma and Rubah have featured choreography (Rubah does an aerial ballet with Hettrick as he recovers in a military hospital) that is effective.
The touring production retains Christine Jones’s scenic design and Kevin Adams’s lighting design, both of which landed 2010 Tony Awards. The set has a floor-to-ceiling rear wall sporting two dozen video screens that support the action — from an opening barrage of mind-numbing, multi-channel news coverage to scene-to-scene punctuation with wry titles. Additionally, the screens are sometimes fed live imagery from an onstage camera, especially when St. Jimmy (Trent Saunders) entices Johnny into the world of addiction, but also during “Favorite Son,” Tunny’s late-night infomercial of military recruitment (performed with muscle-bound humor by Jared Young, backed up by four dancers in sparkling short dresses).
The grunge of American Idiot is made all the more vivid by the green velvet and gilt trim of the Victoria Theatre in downtown Dayton (138 North Main St.). While the nihilistic young men sing, “I don’t care if you don’t care,” I suspect that a lot of people will care about this show, one that reaches out and grabs audiences by the scruff of their necks and never lets up. But bear in mind: Only two more performances — Wednesday and Thursday at 8 p.m. Tickets ($46-$67, half-off student rush, day of show): 937-228-3630 or victoriatheatre.com.
Perhaps you’ve been hearing some conversation about the Cincinnati Playhouse moving downtown, which started late last year. Guess it would no longer be the “Playhouse in the Park,” but there are some grand plans for a new theater facility right in the heart of downtown.
If you’d like to learn more, you might want to stop by the Playhouse’s Marx Theatre tonight for the second of two town hall-style meetings about the future. (The first meeting was on Sept. 22.) Playhouse Board President Jack Rouse and Producing Artistic Director Ed Stern will present the pros and cons of the Mount Adams location and what downtown has to offer; there will be a chance for questions from the audience, too.
Rouse says, “Theater is a collaborative art, and we want to mirror that collaborative process as we analyze the important decisions that we will be making concerning our physical theaters and their location.”
Seating is on a first-come, first-served basis in the Marx Theatre. Doors will open at 6:30 p.m. Parking is free (there are no performances at the Playhouse on Monday evenings). Following the presentation, attendees can stay for further conversation with Playhouse board members and key staff in the Rosenthal Plaza. Hors d’oeuvres will be served, and a cash bar is available.
What might become of the Playhouse’s current facility in Eden Park is a big question, as is how a downtown theater complex could be funded. These are important questions for the future of our much-admired regional theater. Sounds like a worthwhile way to spend a few hours on a Monday evening.
– Rick Pender
Since the 2011 Cincinnati Fringe Festival kicked off on June 1, a panel of three dedicated theater experts have been evaluating performances for recognition through the Acclaim Awards. These awards are in the process of being renamed, but for the sake of clarity and brevity, I’m going to call them by their soon-to-be-former name. The panelists are veterans of the Acclaims; neither Jackie Demaline of The Cincinnati Enquirer nor I are members of the panel or involved in this process.
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.
Cincinnati Playhouse in the Park’s 2010-11 season has a distinct difference between the plays it will present on its Robert S. Marx main stage and the shows slotted for its smaller Thompson Shelterhouse. With a few significant exceptions, it’s a divide between the 20th and 21st centuries.
All of the coming season’s Shelterhouse shows have originated since 2000, four of five in the past three years. On the main stage, the average age of shows is more than 20 years. (It stretches out a lot further if you use the original publication date of Charles Dickens’ A Christmas Carol, dating back to 1843, rather than the 1991 adaptation by Howard Dallin that the Playhouse produces annually.)
Abandon ship! Well, that's not exactly true. In fact, Cincinnati Landmark Productions has done a remarkable and loving job of sustaining the ship — in the form of the Showboat Majestic, which it has operated for 23 years in the face of at least 10 floods and countless repairs (including a leaky hull). But with its lease running out later this month, the company has decided not to return for the 2014 season.
Cincinnati Landmark will focus its endeavors on the Covedale Center for the Performing Arts, the converted West Side movie theater where it will offer a "Summer Classics Season" in a vein similar to mainstream fare of classic comedies and musicals that has long drawn audiences to the Majestic. There have been 170 productions on board since 1991, attracting more than 350,000 patrons to the last floating theater in the United States. Cincinnati Landmark is also embarking on a new voyage with a performing arts center to be built in the Incline District in East Price Hill, a venue anticipated to be up and running as early as 2015.
Tim Perrino, executive artistic director at Cincinnati Landmark, says, "It's time to say goodbye. Our organization enjoyed a prolific chapter in the Majestic's grand history, painstakingly caring for the old boat" — launched in 1923 — "and producing seasons that paid tribute to her heritage."
Opening this week on Wednesday, Showboat Follies will be Cincinnati Landmark's final production on the Majestic. An annual tradition, it's a compilation of musical showstoppers, comic sketches, audience interaction and a return of the "Queen City Toast," a longtime staple of season-closing shows. "This show has become our love letter to the Majestic," Perrino says, adding that it's "a thank-you to our subscribers, longtime supporters and the many artists who helped make our time on the Showboat so special." Showboat Follies runs through Sept. 29.
During the summer of 2014, Cincinnati Landmark will present four productions at the Covedale: Jerry Herman's Hello, Dolly! (May 22-June 1); Neil Simon's comedy, The Sunshine Boys (June 19-29); Footloose (July 24-Aug. 3), the 2014 Cincinnati Young People's Theater production, a summer favorite using local high school talent; and a spectacular song-and-dance show, The Will Rogers Follies (Aug. 21-31).
In 1989, the Showboat Majestic was named a National Historic Landmark. No word from the City of Cincinnati, which has owned the Majestic since 1967, as to what might be next. The Majestic was operated with summertime shows by the University of Cincinnati for many years, and it served as a popular venue during several of the Tall Stacks festivals over the years.
If circuses haven't been the same for you since realizing that animals don't actually like trainers who crack the whip, go to Cirque du Soleil. CityBeat staffers were among the folks who attended last night's sneak preview of their new show, OVO, at Coney Island. It was amazing: technically impeccable, delightfully entertaining and 100 percent cruelty free!
OVO runs through May 15, and there's a Mother's Day
discount promotion going on now. Click here for details.
The Covedale Center has been a busy place, but the converted 1940s movie house had minimal backstage space — until now. After several years of tight quarters, no running water or bathrooms, the facility has been renovated and expanded: There is now a rehearsal studio, a green room, two dressing rooms, shop space and two handicapped-accessible bathrooms. This evening marks the grand opening of the addition with a reception for VIPs and local media.