This is a busy time of year on local stages, and that's especially true at colleges and universities where the academic year is winding down.
At Northern Kentucky University, the 17th biennial Year End Series (Y.E.S.) Festival is underway, presenting three world premiere productions in rotating repertory. It's a Grand Night for Murder opened on Thursday; The Divine Visitor, a Restoration Comedy through a sci-fi filter (figure that one out) starts tonight; and Encore, Encore, about witty and caustic New York writer Dorothy Parker, gets underway on Saturday. There will be multiple performances through April 26. Tickets: 859-572-5464
At Xavier University this weekend you can find a production of the Rock musical Spring Awakening, the winner of eight Tony Awards in 2007. It's about a group of students struggling through adolescence to adulthood — with a lot of rebellion along the way. It's being presented in XU's Gallagher Student Center Theater. Tickets: 513-745-3939
A lot of high school students have been recruited by Cincinnati Shakespeare Company for more than 38 free art events based on the works of Shakespeare. You might recall that CSC "completed the canon" (produced all 38 of Shakespeare's plays) a year ago. The celebrate that accomplishment, the company devised Project 38 to work with numerous area schools. Each one was assigned and worked with some of the company's artists to be inspired in productions, art, writing — whatever moved them. The initiative is culminating in an eight-day festival of free performances and exhibitions in Over-the-Rhine's Washington Park. School performances are all free. Since performances of The Taming of the Shrew are sold out on CSC's mainstage, Project 38 gives you the chance to see Shakespeare you might have missed otherwise. Schedule here.
There's another take on a student coming to terms with the Bard at Dayton's Human Race Theatre Company: Taking Shakespeare is the story of a disillusioned college professor asked to tutor her dean's son through his freshman Shakespeare class. It's got its humorous moments, but the show delivers a serious message about living up to expectations. Playing the student is Cincinnati actor Jon Kovach, who's performed on numerous local stages. Through May 3. Tickets: 937-228-3630
The farcical show by Steve Martin, The Underpants, is evoking laughs at the Otto M. Budig Theatre in the Carnegie in Covington. It's a bit risqué, but the humor is very gentle. Tickets: 859-957-1940 … Not so gentle is the production of Death and the Maiden by Diogenes Theatre Company at the Aronoff Center's Jarson-Kaplan Theatre. This three-character thriller is set in an unnamed Latin American country where a woman gets control of a man she believes once tortured her under a brutal dictatorship. It's a powerful piece, magnificently acted by three top-notch professionals familiar to Cincinnati theatergoers — Annie Fitzpatrick, Michael G. Bath and Giles Davies. Not for the faint-hearted or those who are squeamish about violence, but this is production that deserves to be seen. Through May 2. Tickets: 513-621-2787
One last note, for anyone interested in playing a supernumerary for Cincinnati Opera (that's like being an extra in a movie): Open casting for the upcoming summer season happens on Monday at 6 p.m. at Music Hall. You don't have to be a singer. In fact, no experience is necessary; positions are filled on a voluntary basis. Details here.
There's a ton of theater opening up this weekend, something for just about every taste. But if you're looking for something free, I have a special recommendation: It's 110 in the Shade at UC's College-Conservatory of Music. This is a production in the Cohen Family Studio Theater (an intimate black box venue that seats about 150). The production is in the "Musical Redux" series, bringing back a show that's not often produced. 110 dates back to 1963. It's the story of Lizzie Curry, on her way to being an "old maid," who lives with her dad and her brothers. A charming con man shows up posing as a rainmaker and promises relief to drought-stricken farmers. Is he for real? Lizzie has her doubts, but he works hard to win her over. CCM Studio productions are free, but reservations are required (513-556-4183), and performances are often filled up. This one is likely to be a lot of fun; it's this weekend only, final performance at .
Two shows on local stages are dealing with top-of-mind issues of race and urban living, one at the Cincinnati Playhouse, the other at Ensemble Theatre.
Last evening the Playhouse opened its production of Tracey Scott Wilson's Buzzer. Wilson is a playwright who's not afraid to get at prickly issues of contemporary life (read more here), and that's what she does in this piece that could be set in Cincinnati's Over-the-Rhine. (It's actually in New York City, but that doesn't make it less relevant.) Jackson returns to his onetime childhood neighborhood, once neglected and now trendy; he's black, girlfriend Suzy is white, and so is Jackson's troubled friend Don, out of rehab yet again and needing a place to stay. Their triangle is a toxic mix with a troubled past that's exacerbated by life in a neighborhood where black and white relations are strained. The Playhouse is offering talkbacks after each performance to discuss issues raised, and there will be a panel discussion focused on OTR's housing challenges here in Cincinnati on Saturday evening at 6 p.m. My take: This show is more about personal relationships that aren't entirely honest, even though there is constant conversation about "no secrets." The actors in this tense drama are vividly real, unpredictable and vulnerable; you'll feel like they're people you know. (Through April 19.) Tickets: 513-421-3888
The second show that's heating up conversations about race is ETC's staging of Dominic Morisseau's award-winning play, Detroit ’67 (reviewed here). While the story has a historical setting — the story of family aspirations and disappointments unfolds against the backdrop of the Motor City's race riots almost 50 years ago — it almost feels ripped from current news stories about unrest stemming from police brutality in Ferguson, Mo. Five actors portray some colorful and occasionally humorous characters from the era involving the family dynamic between a brother and sister who differ about making ends meet in a challenging environment. Motown tunes from the ’60s are the soundtrack for a story that's often painful but ultimately hopeful. (Through April 5.) Tickets: 513-421-3555
Know Theatre opens Hearts Like Fists tonight at its Jackson Street stage in Over-the-Rhine. Adam Szymkowicz's comic-book-inspired action adventure has some fine local actors as the Crimefighters, female superheroes who are out to stop Dr. X, on a mission to murder happy couples in their sleep using a deadly serum that goes straight to the heart. When the show was staged in New York in 2012, the New York Times called the show's comic hybrid of parody and punches "madcap" and "hysterical." That's what Know will be striving for, through April 25. Tickets: 513-300-5669
If you are interested in seeing actors, singers and dancers who are on their way to professional careers, you might want to catch Senior Showcases from the drama and musical theater programs at UC's College-Conservatory of Music. The drama majors, readying their piece for trips to Los Angeles (for potential TV work) and New York City, will perform today at 2 and 7 p.m. at Patricia Corbett Theatre. (Admission is free.) The triple threats graduating from the musical theater program offer their showcase twice on Saturday at 4 and 8 p.m. as they prepare to shine for Broadway producers and casting agents in New York next week. Admission is free but reservations are required: 513-556-4183.
Planning ahead? The popular touring production of The Lion King returns to Cincinnati where it's been a big hit twice, in 2003 and 2007. The magnificent musical about good overcoming evil and youth finding maturity opens on Tuesday for a four-week run at the Aronoff Center. (Through April 26.) Tickets: 513-621-2787
I took a trip to my senior year in high school when I attended the opening of Detroit '67 by Dominique Morisseau at Ensemble Theatre Cincinnati on Wednesday. It's set in Detroit during that city's 1967 "race riots," but they are the backdrop for a family drama: Sister and brother Chelle and Lank are trying to make ends meet by running an after-hours club in the basement of their family home, now theirs since the death of their parents. Chelle is satisfied with the status quo; Lank dreams of owning his own legit bar. But they'd need to sell the house to make that possible, so they're at an impasse. He's impetuous and makes moves to buy a local joint without her knowledge, only to have the destructive riots threaten his deal. More personal complications make the story interesting, if a bit too pat. Motown tunes — Lank buys an eight-track player to replace his sister's turntable — make this production a walk down memory lane for Baby Boomers. But Detroit '67 will grab everyone because the events of five decades ago are eerily and sadly similar to recent disturbances in Ferguson, Mo., and elsewhere. (Through April 5; tickets: 513-421-3555)
Peter and the Starcatcher at the Cincinnati Playhouse is a playful and over-the-top imagining of the origins of Peter Pan. It's not a very adult cup of tea; it's more a swig of giggle-inducing rum. But if you yearn to head back to childhood for a few hours — playing with words, making fart jokes and having an adventure "against impossible odds" — this production is a joyous must-see. (Through April 4; tickets: 513-421-3888)
The Marvelous Wonderettes was a big hit for Ensemble Theatre a few years back. They staged the original story of girls singing Doo-Wop hits in 1958 and coming together again in 1968 for more old tunes, and did well with several sequels that kept audiences eagerly coming back for more. The show is now being presented at the Covedale Center in West Price Hill, and it has a nostalgic draw for people who grew up with those tunes. But the production's characterizations of Cindy Lou, Betty Jean, Missy and Suzy feel a little shallow, reducing the potential charm of the show. Nevertheless, it's a lot of fun if you love the music of the era and remember your own angst about boyfriends and girlfriends. (Through April 4; tickets: 513-241-6550)
Cincinnati Shakespeare's very pleasant production of an adaptation of Little Women continues through Saturday evening; tickets: 513-381-2273. The musical based on Louisa May Alcott's 1868 novel about the March sisters is onstage through Saturday, too, at Newport's Stained Glass Theatre, produced by Footlighters, Inc., a community theater; tickets: 859-652-3849.
The moving play based on The Diary of Anne Frank is being presented this weekend by the School for Creative and Performing Arts with performances remaining on Friday and Saturday evening at 7 p.m. and Sunday at 2 p.m. It's the powerful story of a Jewish family who went into hiding from the Nazis in Amsterdam during World War II; Anne, the diarist who recorded their tribulations, died at age 15 in a concentration camp. Tickets: here.
I hope my Curtain Call column (found here) in a recent issue moves you to head to UC's College Conservatory of Music for Richard Hess's staging of Wendy Wasserstein's Pulitzer Prize winner, The Heidi Chronicles, onstage through . If you remember the 1970s and ’80s, this production will transport you back in time as you watch young feminist Heidi Holland grow up, grow weary and grow wise. Tickets: 513-556-4183.
Tom Kitt and Brian Yorkey met with great success when they created next to normal, winning several Tony Awards and the 2010 Pulitzer Prize for drama. They didn’t strike gold with their next show, If/Then, onstage locally for just a week in a touring production — but I found it to be a very satisfying, if complex work. (Read my Curtain Call interview with Kitt and Yorkey here.) Elizabeth is recently divorced and trying to decide what path to take next. She asks herself musically “What If” she takes this path or that — and this show lets us follow her down two divergent threads, one toward a successful professional career as a city planner in New York, the other in a happy marriage with kids that doesn’t quite turn out as she imagined. Her stories are presented in overlapping narratives, since some moments and events are quite close. It requires paying close attention, but it’s definitely worth the effort. It’s made all the easier by a very strong cast — including Jackie Burns in the leading role, Broadway veteran Anthony Rapp as Lucas, one of her close friends (he originated the role on Broadway Lucas and played videographer Mark in the original cast of Rent back in 1996) and Tamyra Gray as Kate, who pushes Elizabeth in a different direction. The show’s inventive staging, using video and fluidly moving set pieces, is also a fine example of contemporary theater design. Definitely worth seeing. Onstage through Sunday.
In BlackTop Sky at Know Theatre, Ida’s view from an asphalt-paved courtyard surrounded by the housing project where she lives isn’t pretty. The 18-year-old yearns to escape, but her avenues are limited. The safe, predictable route is with Wynn, her boyfriend, a hardworking auto mechanic. Then there’s Klass, an all-but-inarticulate homeless man who settle on two park benches. Ida is caught between these two poles. This is a show about lives that are pretty dead-end. Nevertheless, Christina Anderson’s script has its moments, especially with Kimberly Faith Hickman’s purposeful staging of 34 distinct scenes, several of them entirely wordless. Anderson writes with occasional lyricism and feeling, but desperation underlies these sad stories. That being said, the telling holds out a promise of change. That’s an important if not altogether entertaining message. Onstage through Feb. 20.
Also at Know, the fourth outing of Serials gets under way on Monday evening at 7:30 p.m. They’ve dubbed this one Thunderdome 2 – Beyond Thunder, meaning that each evening two of the five shows will be voted out by the audience, to be replaced by two new shows at the following session. Serials 4 features some writers and directors who entertained audiences in previous iterations of Serials. But several new talents have entered the fray, and the Know staff tells me, “There are some seriously strong story pitches this round!” They feel that the “gentle competition” of Thunderdome leads to stronger writing and a better audience experience. Writers who take the challenge must leap quickly into their narratives; if they lag behind, they’ll be struck by a thunderclap and end up in the audience at the next round. Subsequent episodes are set for Feb. 22, March 7 and 21 and April 4.
Finally: If you’re tuned in to the Super Bowl on Sunday evening, keep an eye out for a 30-second commercial for Gold Star Chili. It was shot locally, featuring 15 Cincinnati actors at several Gold Star locations. Ensemble Theatre’s Lynn Meyers did the casting for it, so you’ll see some familiar faces often featured on local stages.
There are so many things happening on local stages it’s a bit of a challenge make recommendations. But every one of these productions has some sort of conflict at its heart.
Grounded opened Wednesday night Ensemble
Theatre Cincinnati. George Brant’s a one-woman script is about a
fearless fighter pilot whose career is cut short by an unexpected
pregnancy, marriage and parenthood. Her new job is to fly military
drones from a trailer outside Las Vegas; but she goes home to her family
every night — and before long, she has trouble sorting out the
boundaries between her two worlds. Kathleen Wise makes her ETC debut
with this challenging performance, a woman who knows her way “in the
blue” as a pilot, but must navigate new paths when she’s relegated to
the “chair force,” wandering remotely “in the gray,” targeting
“personality strikes.” Michael Haney is back in town to stage this one,
and he always succeeds with making solo shows a powerful experience. Grounded
is a pressure-filled, cautionary tale, gripping but not easy to watch.
Nevertheless, it’s compelling theater. Through Feb. 14. Tickets:
Karen Zacarías’ Native Gardens, a world premiere, opened at the Cincinnati Playhouse last evening. Her Book Club Play was a Playhouse hit in 2013; this time around the subject is a tad more serious, but it’s handled with deft humor as neighbors battle over styles of gardening — formal vs. natural — and choices driven by cultural differences. New neighbors Pablo and Tania are of Hispanic descent, moving in next door to Frank and Virginia, who are as waspy as can be. You can imagine where that goes: Straight down the road to audience gasps as the couples insult one another when boundaries are crossed. The 80-minute show wraps up neatly — maybe a little too much so. But there’s no denying this is a show that has lots of comic appeal involving circumstances many people will recognize. Through Feb. 21. Tickets: 513-421-3888.
Tonight is the opening for Black Top Sky at Know Theatre. Christina Anderson, a resident playwright with New York City’s New Dramatists, makes her Cincinnati debut with this show about the residents of a housing project. Ida, 18, befriends Klass, an unpredictable young homeless man. Their friendship forces Idea to make a choice: Embrace the struggle for justice or embrace a life with her successful boyfriend. Kimberly Faith Hickman, who staged 2014’s The Twentieth-Century Way for Know, is back from New York to direct. Andrew Hungerford, Know’s artistic director, chose this show because he was “struck by the poetry of the language, the visual poetry of the stage directions and the gut-wrenching timelessness of the story.” He adds, “It flips from humor to heaviness at the speed of light.” Onstage through Feb. 20. Tickets: 513-300-5669.
Shakespeare’s chronicling of King Henry VI took three plays back in the 16th-century; Cincinnati Shakespeare Company has rearranged them into two productions, one onstage now and another coming next season. This portion details the roots of the War of the Roses, with relatives vying for power — it’s truly a historic “game of thrones.” It’s also is a predecessor of today’s action movies, with lots of combat — and the fiery presence of Joan of Arc (played with zest by Caitlin McWethy), as England’s zeal for dominance in France runs a parallel track to the jockeying for position among royal relatives back home. Through Feb. 13. Tickets: 513-381-2273.
Cincinnati Shakespeare Company is staging the original “game of thrones” — England’s Hundred Years’ War (1337-1453) as retold by the Bard’s history plays — eight shows being presented in chronological order across five theater seasons. (Cincy Shakes is only the second theater company in the U.S. to present the history cycle in Chronological order.) We’ve already seen Richard II, Henry IV: Part 1 and 2 and Henry V. Now it’s time for the reign of Henry VI, which Shakespeare covered with three plays. This week starts the production of Henry VI, Part I, the story of Henry V’s only son who, in 1421, inherited the throne before his first birthday, after his father’s untimely death. A child on the throne opened the door to the dynastic struggles of the War of the Roses. (The cycle concludes next season with the bloody tragedy of Richard III.) Darnell Pierre Benjamin plays Henry, an unusual choice. Here’s what he says about taking on this role: “I’m a black male from St. Martinville, Louisiana. Despite how much I’ve always fixated my interests on the classics, I never thought that I’d have the honor of representing one of Shakespeare’s history kings.” He says he hopes “to open people’s minds and hearts to seeing the core of this story — a young man coming into his own as he learns that there are forces, both good and bad, that can alter his perception of himself.” Through Feb. 13. Tickets: 513-381-2273.
The Covedale Center just opened Neil Simon’s Chapter Two, a play about a widowed writer trying to start over while still grieving for his late wife. The story is rooted in Simon’s own experience, and the playwright’s famous one-liners are still there, but woven into the show’s humor is a story about coming to terms with death and moving on. Through Feb. 14. Tickets: 513-241-6550.
In Covington, The Carnegie is offering what sounds like an interesting production of The Wizard of Oz that opened last night. With musical accompaniment by the Kentucky Symphony Orchestra, it’s a “lightly-staged” rendition with Harold Arlen’s famous score from the 1939 movie. Of particular interest is the scenic design by local artist Pam Kravetz, a unique take on the iconic landscapes of Oz, including Munchkin Land and the Emerald City. Just to remind folks passing by on Scott Avenue, you’ll see a giant pair of legs with striped stockings and ruby slippers to remind you that one wicked witch is dead. Through Jan. 31. Tickets: 859-957-1940.
For something completely different, consider The Realistic Joneses by Clifton Players, at Clifton Performance Theater on Ludlow Avenue. It’s about two couples named Jones, next-door neighbors who get to know one another despite fear and loneliness. Will Eno’s unusual play — part comedy, part drama — digs into secrets that aren’t often spoken aloud. It’s being staged by local theater veteran Dale Hodges with a cast that includes Carter Bratton, Mindy Siebert, Miranda McGee and Phil Fiorini. It’s onstage through Feb. 7. Tickets: 513-861-7469.
Next week there will be even more theater on local stages: Grounded, a one-woman show about a fighter pilot assigned to making drone strikes (Ensemble Theatre, Jan. 27-Feb. 14, 513-421-3555), BlackTop Sky, a tale of homelessness and friendship (Know Theatre, Jan. 29-Feb. 20, 513-300-5669) and Prelude to a Kiss, a sweet love story about changing places and understanding different perspectives (Falcon Theater in Newport, Jan. 29-Feb. 13, 513-479-6783).
Even though we’ve just passed the halfway point of the 2015-2016 theater season, the over-achievers at Cincinnati Landmark Productions just announced plans for future productions at the Covedale Center for the Performing Arts and the Warsaw Federal Incline Theater for 2016-2017.
Tim Perrino, CLP’s executive artistic director, says, “With our two venues, Cincinnati Landmark Productions has two great platforms to create exciting theater and palpable neighborhood vitality. We set a course for success with a summer of sellouts at the Incline in 2015, and we’re chomping at the bit to bring these just-announced shows to life in 2016 and 2017.”
The Covedale’s offerings are designed for mainstream audiences, while the Incline offers two distinct seasons — “Summer Classics” presents shows with broad appeal; the “District Series” produces more adult fare, both musicals and dramas.
The Covedale Center’s “Marquee Series” for 2016-2017 will offer:
The Incline’s “District Series” plans to produce starting next fall:
Still in the pipeline for the Covedale’s current season are productions of Neil Simon’s warm-hearted comedy Chapter Two (Jan. 21-Feb. 14) and two classic musicals, She Loves Me (March 1-April 3) and Brigadoon (April 28-May 22).
Queued up at the Incline for the balance of this season are the satiric musical Avenue Q (Feb. 18-March 6) and David Mamet’s hard-as-nails real-estate drama Glengarry Glen Ross (April 6-24). Those will be followed by the previously announced “Summer Classics” season for 2016, featuring three likeable musicals Anything Goes (June 1-26), Baby (July 6-31) and Chicago (Aug. 10-Sept. 4). The Incline’s summer season in 2015 completely sold out three productions — The Producers, 1776 and 9 to 5.
Right now we’re about equidistant from the 2015 and the
2016 Fringe festivals. So let’s thanks the folks at Know Theatre, who are
presenting a double-bill of “Fringe Encores” to keep us stoked. This
weekend actually offers one encore plus a graduate from Know’s Serials! series. Occupational Hazards
is about an office fling that becomes the subject of fan-fiction with
wildly divergent storylines.
The piece by Ben Dudley was a 2015 Fringe
show. He’s also the writer of Cinderblock, about a guy
(played by Dudley) whose windshield is smashed by a cult member. This
mystery passes through an office party.
The shows are being performed this weekend at Clifton Performance Theatre (404 Ludlow Ave., Gaslight Clifton): performances of Occupational Hazards are Friday at 8:45 p.m. and Saturday at 7:30 p.m.; Cinderblock, which, originally presented in five 15-minute episodes, has been pieced into a full-length version that will be presented on Friday evening at 7:30 and Saturday at 8:45. You can sit in on one piece for $15 or pay $25 for the pair either evening. Tickets: knowtheatre.com
Mariemont Players, one of Cincinnati’s fine community theater groups, is presenting D. W. Gregory’s Radium Girls through Jan. 24. It’s inspired by a true story about women who painted radium numerals on glow-in-the-dark watches, unaware of the dangers of radioactivity. The play, described as being “written with warmth and humor,” is being presented at the Walton Creek Theater (4101 Walton Creek Rd., just east of Mariemont). Tickets ($20): 513-684-1236 or mariemontplayers.com
One more weekend at the Aronoff Center for the highly entertaining touring production of Kinky Boots (through Sunday). A struggling shoe factory in Northampton, England, retools to avoid bankruptcy and unemployment. Rather than continuing to manufacture stodgy men’s shoes, they turn to high-fashion footwear for drag queens, promoted as “kinky boots.” It’s an unlikely tale that happens to be true, and it’s the vehicle for some outrageous humor, especially from Lola, an extrovert of a diva and her spectacularly clad and built “Angels,” a half-dozen drag queens who back up her act. Kinky Boots offers a meaningful message about tolerance and finding your own path, fleshed out with some entertaining dancing and fine singing. Tickets: 513-621-2787
The local theater scene picks up momentum next week when three shows open on Thursday and another on Friday. That evening the Covedale Center opens Neil Simon’s Chapter Two (through Feb. 14), a warm-hearted comedy about getting back into the dating game; Covington’s Carnegie offers a “lightly-staged” concert adaptation of The Wizard of Oz (through Jan. 31) with accompaniment by the Kentucky Symphony Orchestra; and Clifton Players stages The Realistic Joneses (through Feb. 7 at Clifton Performance Theatre), a comedy-drama about the secrets of next-door neighbors directed by local stage veteran Dale Hodges. On Friday evening, Cincinnati Shakespeare continues its five-year, chronological presentation of Shakespeare’s eight-play history cycle with Henry VI, Part I (through Feb. 13), the story of a young king who must rule after his father’s untimely death; Joan of Arc is a key character in this tale.
Life in the big city: Lots of choices.
If you turn up at the Aronoff Center for the touring production of Kinky Boots (it’s onstage through Jan. 17), you might think you’ve landed in Over-the-Rhine. That’s how much the show’s opening vista of a factory in Northampton, England, resembles our own historic neighborhood. It’s the Victorian brick façade of a shoe factory that’s struggling in the 21st century because it’s still manufacturing old-fashioned men’s shoes. Even if they’re “the most beautiful thing in the world” (the theme of the show’s opening song), not so many people want to buy them today. As a last-ditch effort to keep the company from closing, the fourth-generation heir to the business, Charlie Price, decides to make “kinky boots,” high-fashion footwear for drag queens whose male frames are too much for standard female shoe heels. His customer No. 1 is Lola, an extrovert of a diva who — not unlike Charlie — has struggled with living up to his dad’s expectations. There’s a lot of fun and frippery along the way: Lola has a half-dozen “Angels” — drag queens who back up her act — and they’re spectacularly clad and built. A perky factory worker, Lauren, keeps giving Charlie advice (while falling for him despite his imminent fiancée in London). Another employee, Don, a hardcore male chauvinist, wants nothing to do with Lola. Watching events unfold is the fun of this show, even if you know where it’s all headed. Kinky Boots offers a meaningful message about tolerance and finding your own path, and there’s a lot of fancy dancing and fine singing along the way. Tickets: 513-621-2787
Whether or not your New Year’s resolution had to do with losing weight, you still have to eat. So the topic this quarter’s True Theatre, True Food, should be of interest. These are true personal narratives, sometimes confessional, often humorous, told by everyday people. Monday night’s stories are about what a homeless woman did when she had access to a kitchen, a man who ate the wrong thing at the wrong time, another man reconsidering his family’s “roots” and two guys who eat like there’s no tomorrow, day in and day out. What happens when a foodie and a picky eater cross paths? You can find out on Monday when folks crowd into Know Theatre’s Underground Bar (1120 Jackson St., Over-the-Rhine) to get the dish on these stories. Call for tickets ($18); these events are often sold out.
Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
This weekend is your final chance to see several December productions, including Low Down Dirty Blues (Cincinnati Playhouse), All Childish Things (Know Theatre) and Rent (Incline Theater). A few shows stick around after Dec. 25 — A Christmas Carol (Playhouse) continues through Dec. 30 and Ensemble Theatre’s staging of its jaunty rendition of Cinderella remains onstage until Jan. 3. I would find it odd to watch Ebenezer Scrooge getting scared into a “Merry Christmas” a few days after the holiday, but ETC’s contemporary rendition of a beloved fairytale might be just the thing to entertain bored kids after they’ve tried out all the new toys. Tickets for the latter: 513-421-3555.
I checked out opening night of the tenth anniversary presentation of Every Christmas Story Ever Told (and then some) at Cincinnati Shakespeare Company, and it’s as silly and funny as ever — especially with some clever pokes at people and events from 2015. The annual gags about fruitcakes take on a whole new dimension this time around by having some fun with Rowan County Clerk Kim Davis and her intransigence about issuing marriage licenses to gay couples. Every Christmas Story trots out just about every “BHC” (Beloved Holiday Classic) you might recall and puts it through a humorous filter. It’s fun from start to finish, but there is a moment — after recreating A Charlie Brown Christmas, complete with a woebegone tree — when Justin McCombs steps into a pool of light as Linus with his security blanket and recites the New Testament passage from the Gospel of Luke about an angel speaking to the shepherds. It’s a somber and wholly lovely scene, so far removed from very tongue-in-cheek, sometimes off-color humor typical of the show that it sticks with audience members. The antic McCombs also plays a true believer who refuses to be be convinced that Santa’s existence is impossible: His enthusiasm for all the miraculous things the Jolly Old Elf can accomplish is so childlike that you’ll wish you could return to that innocent age yourself. Even if you’ve seen Every Christmas Story before, it’s a blast to go back. In fact, I’d say it’s become a BHC in its own right. Onstage through Dec. 27. Tickets (if they’re still available): 513-381-2273.
There’s also some great holiday laughs to be had compliments of OTRImprov, presenting its annual show The Naughty List in the Courtyard at Arnold’s Bar & Grill in Downtown Cincinnati. The 90-minute show — unscripted and building off suggestions from the audience — happens Sunday-Tuesday, Dec. 20-22 and Dec. 27-29. It’s a laugh-a-minute way to have fun right before or after Christmas. To make an evening of it, show up at Arnolds (201 East 8th St.) between 6 and 6:30 p.m., get seated and place your dinner order. The performance will begin at 7:30 p.m. The rotating cast includes OTRImprov’s quick-witted regulars Mike Hall, Kirk Keevert, Sean Mette, Dave Powell, Charlie Roetting, Dylan Shelton and Kat Smith. Tickets (order before 4:30 on the day of the show): 513-300-5669.
Most of the theater onstage right now is holiday-themed — or at least family-friendly. If you want to take kids to see something, your best bet is Cinderella at Ensemble Theatre Cincinnati, a contemporary take on the familiar fairytale — the heroine is a bookworm who prefers to sneakers to glass slippers. There’s lots of humor, especially from the loudmouthed and crass stepsisters in this telling, plus some fine musical moments. This show will be around until Jan. 3. Tickets: 513-421-3555 … Another good choice for kids is A Charlie Brown Christmas, presented at the Taft Theatre by Children’s Theatre of Cincinnati. You know the story, I’m sure (this year is the 50th anniversary of the TV special) but it’s a good bet that Children’s Theatre of Cincinnati is putting a version onstage that will let kids have a good time. Performances are at 2 and 5 p.m. on Saturday and 2 p.m. on Sunday. Tickets: 800-745-3000 … Want to start a family tradition? There’s no better choice than Cincinnati Playhouse’s glittering, well-acted production of A Christmas Carol. It’s fast-moving and often funny (Bruce Cromer gives Ebenezer the full range of emotion, from crabby “Bah, humbug” to a joyous “Merry Christmas.”) It’s onstage through Dec. 30. Tickets: 513-421-3888 … The Covedale Center’s production of Mary Poppins isn’t their best work (it feels a tad long for youngsters), but it has great tunes and some memorable special effects — Mary flies and Bert walks up and down the sides of the proscenium — that audiences will enjoy. Through Dec. 27. Tickets: 513-241-6550
The Rock musical Rent, onstage at the Incline Theatre in Price Hill doesn’t exactly qualify as holiday or family entertainment, although its story does start and finish at Christmas (with “525,600 Minutes” in between). But this is an energetically acted and sung production for mature audiences. Through Dec. 20. Tickets: 513-241-6550 … If you can’t quite wait for The Force Awakens to open, you can get a small dose of Star Wars energy from All Childish Things at Know Theatre. It’s a comedy about some slackers trying to steal collectibles from a warehouse — they don’t succeed, but they learn a lesson about heroism that’s akin to the movie. Through Dec. 19. Tickets: 513-300-5669 … This weekend is your final opportunity to see As You Like It at Cincinnati Shakespeare Company. It’s a delightful production of one of Shakespeare’s best comedies, but it’s wrapping up on Saturday. (Next week CSC opens Every Christmas Story Ever Told (and then some) on Wednesday.) Tickets: 513-381-2273 …The most entertaining non-holiday show this season has to be Low Down Dirty Blues on the Playhouse’s Shelterhouse stage. It’s pretty much what the title says: Three singers getting a little raunchy and having a lot of fun with some tunes about being up and down. Great performances and a really good time for grown-ups. Through Dec. 20. Tickets: 513-421-3888
Finally, if you a performance that’s simply feel-good, I heartily recommend going to Ensemble Theatre on Monday evening at 7 p.m. for their one-night-only annual presentation of Expectations of Christmas. It’s a round-up of holiday traditions, origins, music, facts and back-stories — presented by performers who frequent ETC’s stage. Admission is just $10 and all the proceeds go to Tender Mercies (an Over-the-Rhine agency right around the corner from ETC that provides permanent and transitional housing for the homeless with histories of chronic mental illness). Tickets: 513-421-3555 … or walk in on Monday and you’ll likely get in.
Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
December is full of shows for your holiday viewing pleasure:
Every five years or so, Ensemble Theatre rolls out a new production of its holiday rendition of Cinderella. This one just opened on Wednesday, and while it’s the same material that was presented in 2005 and 2010, it’s been freshened with a new set and colorful costumes — and especially a vibrant cast with great voices for the tunes with lyrics by David Kisor and melodies by Fitz Patton. Brooke Steele is picture-perfect as the golly-gee title character who prefers reading to going to a ball. But Kate Wilford as “Gwendolyn the Well Wisher” (“I give good advice and then wish you well,” she tells everyone with a sweep of her hand to musical accompaniment) encourages her to go so she can meet Prince Frederick (Warren Bryson), who happens to be another bookworm. They’re a lovely couple who overcome the modest barriers thrown their way (she loses a pink sneaker that helps him locate her later), but the show’s real energy comes from Sara Mackie and Torie Wiggins as Cinderella’s crass stepsisters. They’re loudmouthed losers, spewing malapropisms and ridiculous self-aggrandizement (Wiggins’ Clarissa bellows competitively, “My patheticism outshines all others”) — constantly mugging and fawning and arguing. Deb G. Girdler as their manipulative mother Brunhilda is also great fun to watch as she tries to control events to her own advantage. As is always the case with ETC’s holiday musicals with scripts by local playwright Joe McDonough, there’s a timely moral: “The essence of true beauty lies … beyond what’s seen by normal eyes.” Oh, Cinderella and Frederick wear glasses — but they see love pretty clearly. Through Jan. 3. Tickets: 513-421-3555
I’ve been attending A Christmas Carol at the Cincinnati Playhouse for 25 years, as long as they have produced it. The script — Howard Dallin excellent adaptation of Dickens’ classic story — is top-notch and doesn’t need to be tinkered, but with actors coming and going, it’s always fun to see how things shake out from one year to the next. Greg Procaccino is the only actor to be in the show every year, playing Marley’s regretful ghost and slimy junk buyer Old Joe; the always-watchable Bruce Cromer holds the longevity record playing Scrooge (11 years, after 8 as Bob Cratchit). Kathleen Wise brings a light, bemused touch to Christmas Past in her first year; returning performers include Ryan Gilreath as nervous, angular Cratchit and Kelly Mengelkoch as the patient, loving Mrs. Cratchit, as well as Douglas Rees as the ebullient Fezziwig and Annie Fitzpatrick as his playful wife. There’s a new Tiny Tim for 2015, Henry Charles Weghorst, the tiniest ever, I believe (he needs two pillows to sit at the dining table), and truly adorable. This Playhouse production continues to be a joy to watch, a glorious, glittering set and costumes that deliver you to the mid-19th century. Pay attention to the David Smith’s sound design and recorded music, which set the emotional tone for virtually every scene. A Christmas Carol is a welcome Cincinnati holiday tradition. Through Dec. 30. Tickets 513-421-3888
Cincinnati Landmark Productions is offering shows at both of its venues this month; neither is holiday per se, although the musical Rent (at the Warsaw Federal Incline Theatre in Price Hill through Dec. 20) begins and ends with Christmas, celebrating a year of the “seasons of love” experienced by a clutch of impoverished young artists in New York’s East Village. This is a high-quality production, a great choice for fans of contemporary Rock music. Rent is almost 20 years old, but it has stood the test of time, especially as performed by the Incline’s committed, diverse cast of excellent, energetic singers. Tyler Kuhlman as the depressed guitarist Roger has the looks and the vocal chops for the role, and Lisa Glover is a fine match as Mimi, the sexy club dancer and drug addict who makes a lot of bad choices. Kelcey Steele provides the necessary connective tissue as videographer Mark, and RJ Caldwell ably portrays Tom Collins, an anarchist professor and street activist with AIDS. But the production’s most memorable performances come from Aiden Sims as Maureen, the brassy performance artist, and especially charismatic Christopher Carter as the transgender drag queen Angel: His high-flying rendition of “Today 4 U” is a show-stopper. The ensemble shines when presenting of Rent’s iconic numbers, particularly “La Vie Bohème and “Seasons of Love.” This production is a bold choice for the new venue, seeking audiences in search of more ambitious, adult fare — there were empty seats on opening night. Rent offers strong evidence that the Incline is up to the challenge. I give this one a Critic’s Pick. … I was part of a very full house for Mary Poppins last Sunday (at the Covedale Center for the Performing Arts, also finished on Dec. 20); this production is clearly intended as holiday fare for families. I wish it were a bit more joyous. Mary (Alyssa Hostetler, who’s a fine singer) is a rather starchy character who’s not very loveable. The uptight Banks family she convinces to reconnect and have fun has an initially irritable dad (Dave Wilson, another excellent voice) and a mom who’s a budding feminist (Sarah Viola, who sings very well, too) — these aren’t characters that children can instantly love. Even the two Banks kids (Lili Shires and Peter Godsey, who work hard at being coy) are kind of obnoxious. The production felt long, with numerous labored scene changes. On the other hand, the audience had a great time — the songs (familiar from the 1964 movie) are beloved, and everyone seems to know them. That’s fun. Tickets: 513-241-6550
The touring production of Irving Berlin’s White Christmas wraps up its engagement on Sunday. It’s a fine cast of singers and dancers, a production full of familiar tunes that’s worth seeing if you have the scratch for seats at the Aronoff Center. Tickets: 513-621-2787
If you prefer something not holiday-oriented, Xavier University’s theater program is staging Kenneth Lonergan’s This Is Our Youth. It’s a three-character play from the 1990s (set in the early 1980s) about young people struggling with the transition to adulthood. Guest director Ed Stern, the Playhouse’s retired artistic director, told me it was a great opportunity to work with actors who are exactly the right age to play these roles. Read more from Stern in my recent Curtain Call column. Performances are this weekend only, including a Sunday matinee. Xavier Box Office: 513-745-3939
Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
Several of our local theaters produce shows this time of year that are a kind of antidote to the usual fare of A Christmas Carol and other happy, merry tales. Three get under way this weekend:
I went to a rockin’ party earlier this week, and you can, too — if you turn up for the Cincinnati Playhouse’s production of Low Down Dirty Blues, through Dec. 20. That’s right, a whole month of good times and sad in the intimate Shelterhouse Theater, doubling as Big Mama’s after-hours Blues bar. Every year around this time the Playhouse puts on a show as an alternate holiday choice to A Christmas Carol (which gets underway next week). This year it’s a warm-hearted good time featuring three excellent singers and a couple of very accomplished Jazz musicians (especially local Jazz pianist Steve Schmidt) performing off-color tunes, full of double-entendres and scandalous joking. The first half of the two-hour performance is mostly about lusty interaction via tunes like “Rough and Ready Man,” “I Got My Mojo Workin’ ” and “You Bring Out the Boogie in Me.” After intermission the party continues briefly (including some cute audience interaction to the tune of “I’m Not That Kind of Girl” — but then the tone darkens with passionate songs of grief (“Death Letter”), mourning (“Good Morning Heartache”) and then hope (“Change is ’Gonna Come”). Felicia P. Fields, a Broadway veteran who played a major role in the original staging of The Color Purple, anchors (and I use that word quite literally) the banter and the singing, but she is ably matched by Caron “Sugaray” Rayford, a massive force of energy, perspiration and rhythm. Chic Street Man sings and plays several guitars (especially a steel number with a gorgeous ring), and his sly, sinuous presence is a perfect complement to Fields’ and Rayford’s more ebullient performances. Don’t go if you’re offended by sexual innuendo, but if you’re looking for a “low down dirty” time, call now for a ticket: 513-421-3888
One of Shakespeare’s most beloved comedies, As You Like It, is the first step of holiday happiness at Cincinnati Shakespeare Company. The story of tomfoolery and romance in the Forest of Arden kicks off tonight; it’s around until Dec. 12, when it’s followed by the tenth annual staging of Every Christmas Story Ever Told (and then some). In case you missed it, Cincy Shakes announced this week that by mid-2017 it moves to its own spectacular new space in Washington Park, the Otto M. Budig Theatre, with nearly 100 more seats than its Race Street facility. (Read my story in this week's issue for more.) Until then, you need to line up for tickets, since many of the company’s performances sell out quickly. Tickets: 513-381-2273
Another “kind of” holiday show getting started is Know Theatre’s production of All Childish Things, opening tonight and onstage through Dec. 19. In a story set right here in Cincinnati (Norwood, in fact), it’s 2006 and two guys are still yearning for the galactic adventures promised by Star Wars when they were kids. One guy lives in his mom’s basement; the other has a girlfriend who could care less about The Force. They think their big break might be residing in a warehouse full of collectible Star Wars memorabilia. Zany shows rooted in childhood have become a holiday staple at Know Theatre, and this is right up that weird, happy alley. Tickets: 513-300-5669
And if you’re really longing to get the holidays under way, you have the perfect opportunity with a tour stop by a production of White Christmas at the Aronoff (next Tuesday through Dec. 6). It’s a stage version of the popular film; the tour features stage Cincinnati and Broadway veteran Pamela Myers in a cute, outspoken role. She performs a number titled “Let Me Sing and I’m Happy,” a perfect summary of her illustrious career. Tickets: 513-621-2787