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by Rick Pender 09.05.2014
Posted In: Theater at 01:10 PM | Permalink | Comments (0)
 
 
stage door 9-5 - etc hands on a hardbody - dallas padoven as chris alvaro - photo ryan kurtz

Stage Door: 'Tis the Season for Theater

If you'd like to go to the theater every evening for the next four days, there are plenty of options for you to consider as the 2014-2015 season is getting underway on stages all over town. Here are some good choices to consider:

Hands on a Hardbody opened on Wednesday at Ensemble Theatre Cincinnati, and CityBeat reviewer Stacy Sims called it "effervescent" and "offbeat" in her review, giving it a Critic's Pick. I was there, too, and couldn't agree more about the infectious, heartfelt joy coming from the big cast of 15. The show is based on a true story (the subject of a 1997 documentary) about people in a downtrodden Texas town who enter a contest to win a Nissan pickup truck by outlasting others who vow to keep one hand on the vehicle. The cherry-red truck is as much a character as any of the contestants, the physical embodiment of their hopes and dreams — which take the form of songs by Trey Anastasio (of Phish) and Amanda Green. The script by Pulitzer Prize winner Doug Wright treats these diverse, down-on-their-luck folks with dignity, and the performers (who often perform with the truck as their dance partner) bring every one of them to life in vivid ways. This one is a must-see, a great way to kick-off ETC's theater season. Through Sept. 21. Tickets ($28-$44): 513-421-3555

The Great Gatsby kicks off Cincinnati Shakespeare Company's season tonight. You didn't know Shakespeare wrote it? Well, he didn't. This theater company focuses on the Bard, to be sure, but it frequently branches out to present stage versions of other classics, in this case an adaptation of F. Scott Fitzgerald's 1925 classic about a mysterious nouveau-riche millionaire who's obsessed with a one-time debutante. Set in the Jazz Age and inspired by lavish parties the high-flying Fitzgerald attended on the prosperous North Shore of Long Island, Gatsby is a story about the ups and downs of the American Dream. Simon Levy's script is the only one authorized by Fitzgerald's estate, and Cincy Shakes is presenting its regional premiere. (And here's a tip: on opening nights at 6 p.m., the theater offers ticket holders a complimentary catered meal, beer and wine.) Through Oct. 4. Tickets ($22-$36): 513-381-2273

Sherlock Holmes and the Adventure of the Suicide Club opens next Thursday at the Cincinnati Playhouse, but previews begin for the season opener this Saturday (through Wednesday). Tickets for these performances are discounted, and you'll be seeing a show that's pretty much ready to go. Jeffrey Hatcher's script should be lots of fun for fans of the Victorian sleuth. He's taken the character created by Sir Arthur Conan Doyle and dropped him into a tale conceived by another inventive writer, Robert Louis Stevenson, for a mash-up that will keep even Baker Street regulars guessing. Tickets: 513-421-3888

Serials! at Know Theatre, which has presented episodes of six Fringe-like shows at two-week intervals all summer long, culminates on Monday evening at 8 p.m. with finales of each tale. Who will win the ultimate fist fight with the Devil in Flesh Descending? How long can Luke really stay in his bedroom during The Funeral? Will we ever find out what's really happening in Mars vs. The Atom? These questions and more will be answered on Monday. Even if you've missed a few episodes, don't worry: Each 15-minute performance begins with a brief recap of the story so far. Zany and fun for anyone who's enjoyed the annual Cincinnati Fringe Festival. Tickets ($15): 513-300-5669

Finally, a tip for an eye-opening theater experience next weekend: On Sunday, Sept. 14, the Cincinnati area's first-ever South Asian Theater Festival happens in an all-day event at the Anderson Theater (7850 Five Mile Rd.). Five plays are scheduled to be presented, as well as panel discussions, seven hours of programming in all. The day begins at 12:30 p.m. and is set to conclude around 8 p.m. A limited number of tickets remain ($19-$29): SATFCincy.org

 
 
by Rick Pender 08.15.2014
Posted In: Theater at 09:21 AM | Permalink | Comments (0)
 
 
for stage door 8-15 - know theatre presents harry & the thief by sigrid gilmer id left to right sola thompson as vivian - darnell pierre benjamin as knox - photo by deogracias lerma

Stage Door: Busy August

Not too many years ago August was a very quiet month on local stages. No longer. You have plenty of good choices this weekend.

Stacy Sims reviewed Know Theatre's production of Harry & the Thief, which opened last week. She called it "a wonderfully ridiculous, history-twisting, large cast mash-up of a play," and that's just the beginning." Sigrid Gilmer's play is a riot of modern perspectives and Civil War values, a mingling of contemporary attitudes with opinions and behaviors long since set aside — but not so far off that we can't recognize them as prejudice, misogyny and racism. But Gilmer's weaves a lot of humor and satire around Harriet Tubman (a real woman who led many people out of slavery into freedom in the 1850s and 1860s). The play has been staged by guest director Holly Derr to spotlight a zany streak of humor that the playwright has generously salted across her script from start to finish. This feels a lot like a Fringe festival show, and that makes sense, since Know is the annual producer of the Cincy Fringe, and Harry & the Thief kicks off its 2014-2015 season.

As Stacy noted, "this bodes well" for the theater now being managed artistically by Andrew Hungerford. I watched a performance earlier this week with a full house resulting from Know's "Welcome Project," throwing its doors open to anyone who wants to come on several Wednesday evenings (hoping that a few of them will pay something, but requiring nothing more than showing up). I suspect many of those in attendance will be recommending this production to friends. Through Aug. 30. Tickets ($20 most of the time, although you can get rush tickets for remaining seats 10 minutes before curtain time, and free next Wednesday, Aug. 20): 513-300-5669.

Speaking of the Fringe, Know presents occasional encores from past festivals. On Sunday evening at 8 p.m. (one night only) you can catch one of the best acts I've ever enjoyed in the Cincy Fringe: David Gaines returns with 7(x1) Samurai, retelling Kurasawa's classic 1954 film in a one-man show that was a hit of the 2009 festival. It's true to the source about victimized peasants, marauding bandits and samurai warriors, astonishing to watch and one hell of a performance. Tickets ($15): 513-300-5669.

There's another astonishing, virtuoso work of theater onstage, this one south of the Ohio River at Covington's Carnegie Theatre. It's Stephen Sondheim's Sweeney Todd: The Demon Barber of Fleet Street. I plan to see it on Friday evening (it opened last week), but people are already saying that Justin Glaser brings a great voice to the maniacal killer and Helen Raymond-Goers sings the role of the meat-pie-baking Mrs. Lovett with both wit and polish. This is one of the greatest musicals of the late 20th century, and all indicators are that this is a production worth seeing. Through Aug. 23. Tickets ($21-$28): 859-857-1940.

Cincinnati Shakespeare Company will double your choices this weekend. At its Race Street theater you'll find the final performances of The Complete Works of William Shakespeare (Abridged), a comic rendering — or at least passing references to — all 38 of the Bard's plays, his sonnets and some amusingly presented "facts" about his life. It's a romp from start to finish, featuring three of Cincy Shakes' best actors having a hell of a good time onstage, Jeremy Dubin, Justin McCombs and Nicholas Rose. Tickets ($22-$31): 513-381-2273.

If you want something a tad closer to the original, find one of CSC's free touring productions at an area park: Macbeth on Friday night (7 p.m.) at Keehner Park in West Chester and Saturday evening (7 p.m.) at Cottell Park in Mason or A Midsummer Night's Dream on Sunday evening (6 p.m.) at Washington Park. These are somewhat reduced productions (done in two hours) using just six actors: That makes them all the more exciting to watch — and to be dazzled by actors who can convincingly play multiple roles.
 
 
by Rick Pender 08.01.2014
Posted In: Theater at 09:35 AM | Permalink | Comments (0)
 
 
shakes

Stage Door: Free Shakespeare!

The big show this weekend will be Lumenocity in Washington Park. If you were lucky enough to get a ticket, you'll be seeing some great images on Music Hall's facade with accompaniment by the Cincinnati Symphony. If you weren't so lucky, you can still enjoy the show via radio (WGUC), television, big screens (at Fountain Square and Riverbend, for free) or via live streaming at lumenocity2014.com.

If you want to check out a free show at another park, how about free performances of A Midsummer Night's Dream? Cincinnati Shakespeare kicks off its Shakespeare in the Park tour this weekend. They'll be at Seasongood Pavilion at Eden Park on Friday evening, at Harry Whiting Brown Lawn in Glendale on Saturday and the Community Park Pavilion at the Milford Historical Society in Milford on Sunday. Performances generally begin around 7 p.m. Show up earlier to get a good seat and enjoy six of Cincy Shakes actors playing a bunch of characters in a very funny comedy.

On the West Side, it's the final weekend for Footloose The Musical, presented as the 33rd annual summer show by Cincinnati Young People's Theatre at the Covedale Center for the Performing Arts. This is a program that gives teens from across Greater Cincinnati a chance to work onstage and backstage. During the past three decades more than 2,300 kids have participated. The show, based on a popular movie from 1984, is about a teenager and his mother who move from Chicago to a small farming town where dancing is frowned upon by the local preacher. But his rebellious daughter shakes things up and love wins out. It's a fine show for teens. Tickets ($12-$16): 513-241-6550.

If you're willing to make the drive to Dayton, you have the opportunity to check out workshops of new musical theater material at the Human Race Theatre Company. Molly Sweeney is about a young woman whose blindness becomes an obstacle for her new husband to overcome, even though she has a different perspective. (It's happening Friday night at 8 p.m. and Saturday at 2 p.m.) The second work is a songwriter showcase (Saturday at 8 p.m.) by a dozen creators who are working on new shows. It's being hosted by Dayton native Susan Blackwell, creator of the clever [title of show]. Advance tickets ($15): 888-228-3630 – or $20 at the door at the Loft Theatre (126 N. Main St., Dayton).
 
 
by Rick Pender 07.25.2014
Posted In: Theater at 11:07 AM | Permalink | Comments (0)
 
 
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Stage Door: Shakin' It

If you paid attention to the local theater season just concluded, you will recall that Cincinnati Shakespeare Company completed a herculean task: During its 20-year existence, the classic theater has produced all 38 of Shakespeare's plays. This summer three of Cincy Shakes' best actors are repeating the feat — sort of — with a production of The Complete Works of William Shakespeare (Abridged), opening tonight. Jeremy Dubin, Justin McCombs and Nicholas Rose will be careening through the comedies, histories and tragedies digging props, wigs and ridiculous costumes out of a trunk. This is a perfect summer laugh-fest, and it's been a predictable hit in past seasons for Cincy Shakes, so tickets are sure to sell fast. Through Aug. 11. Tickets ($22-$35): 513-381-2273.

Summertime musicals are another great tradition, and Cincinnati Young People's Theatre has been presenting them with big casts of high school students for three decades. In fact, the just-opened production of Footloose at the Covedale Center for the Performing Arts is the 33rd summer show. It's the stage version of the popular 1984 movie musical, and it's a perfect vehicle for youthful energy focused on a group of high school kids — despite a repressive conservative atmosphere, kids in a small farming town just want to dance and have fun. With Tim Perrino at the helm, CYPT has steered more than 2,300 teens through entertaining shows, and this one will be another notch in his director's belt, providing experience for performers and techies alike. Through Aug. 3, you'll be able to come out and "Hear It for the Boy"! Tickets ($12-$16): 513-241-6559.

I wrote a CityBeat column a week ago about John Leo Muething, an ambitious young theater artistic who's staging a couple of shows this summer at the Art Academy's auditorium on Jackson Street in Over-the-Rhine. His second of three shows, repertory theatre, will be produced this weekend (Friday and Saturday at 7:30 p.m.). It's about a timid young playwright who approaches a veteran director about his new play. With Shakespeare's Hamlet echoing throughout, things get wilder and wilder. This show was a hit at the Edinburgh Fringe for two years, and its original production is still touring in England; this is its U.S. premiere. Tickets ($10) at the door.

The Commonwealth Theatre Company's Route 66 winds up its run at Northern Kentucky University this weekend on Sunday. It's the tale of a band headed for the West Coast in the 1960s stopping at juke joints, diners, cheap motels and curio shops along one of America's legendary highways. Wes Carman, Roderick Justice, Dain Alan Paige and Joshua Steele play The Chicago Avenue Band. Dinner and the show ($30): 859-572-5464.

If Monday evening arrives and you're still yearning for something entertaining onstage, you can't go wrong with the next quarterly installment of TrueTheatre. This time around it's trueBLOOD, with the warning that if you cringe easily, this might not be the show for you. Whether it's stories that make your blood run cold — or just run — you can be sure that there will be first-person tales of memorable experiences. Great fun with a lively audience. One night only, Monday evening at 7:30 p.m. at Know Theatre. Tickets ($15, only a few left): 513-300-5669.

 
 
by Rick Pender 07.18.2014
Posted In: Theater at 09:15 AM | Permalink | Comments (0)
 
 
route 66 - commonwealth theatre company - photo tyler gabbard

Stage Door: Kentucky's the Place for Theater this Weekend

The Commonwealth Theatre Company's production of Route 66 continues its dinner-theater run at Northern Kentucky University. It's about a band traveling from Chicago to the West Coast in the 1960s along one of America's most legendary highways. Along the way, they meet a lot of colorful characters and see a lot of America. Wes Carman, Roderick Justice, Dain Alan Paige and Joshua Steele make up "The Chicago Avenue Band," who make stops at juke joints, diners, cheap motels and curio shops in this coming of age story. Through July 27. Dinner and the show ($30): 859-572-5464.

Last Saturday evening I ended up at Highlands High School in Fort Thomas to see teacher Jason Burgess's production of The Addams Family featuring a herd of high school kids from all over Greater Cincinnati and Northern Kentucky. It's a perfect musical for the program Burgess has created (C.A.S.T, the Commonwealth Artists Summer Theatre), bringing together a ton of students who are in love with theater. Surrounding the central characters in The Addams Family, nicely portrayed by Aaron Schilling as Gomez, Lindsey Gwen Franxman as Morticia and Harrison Swayne as Uncle Fester, are 18 ghostly "ancestors." Each one is costumed (designer Laura Martin) from various periods with a clearly evident character; together they sing and dance as a coherent company. (Amy Burgess served as the production's choreographer, and Alex Gartner is the music director — in creepy makeup.) Through Sunday at 2 p.m. General admission ($10) at the door or online via www.showtix4u.com.

Monday evening at 8 p.m. brings the third installment of Serials! at Know Theatre (1120 Jackson St., Over-the-Rhine). It's a wacky summer-long set of a half-dozen episodic plays by local playwrights. So far we have seen meat falling from the sky, an NSA spook monitoring a contentious couple, a kid refusing to go to a funeral, a philosophical fetus, a suicidal pair competing over techniques and more. Each 10-15 minute episode is preceded by a clever recap to catch you up, even if it's your first time there. Rest assured there are cliffhangers — not to mention Know's well-stocked Underground Bar. Admission is $15. Tickets: 513-300-5669.

 
 
by Rick Pender 07.11.2014
Posted In: Theater at 11:22 AM | Permalink | Comments (0)
 
 
todo_onstage_addamsfamily

Stage Door: Opera, Dinner Theater and More

I saw Cincinnati Opera's production of Silent Night on Thursday evening. It's the regional premiere of a work that won the 2011 Pulitzer Prize for music, and our local opera is doing a bang-up job of presenting it. And "bang-up" is the operative term: This opera is set during some of the darkest days of World War I, and the opening segment of the production reproduces the violent and deadly combat between troops from England (actually a regiment from Scotland), France and Germany. You're not likely to see a more gripping onstage representation of battle than what's happening at Music Hall. Before Thursday's performance I listened to composer Kevin Puts and librettist Mark Campbell talk about how to "musicalize" such a scene: Their research included studying the opening sequence of the Saving Private Ryan, the graphic, Academy Award-winning film of the D-Day invasion during World War II. It's a powerfully real scene, a perfect opening to the moving tale of soldiers pitted as enemies who found common ground in one another's humanity on Christmas Eve 1914. You can get good seats for the concluding performance on Saturday evening (7:30 p.m.) for $30-$45 by calling the Opera's box office: 513-241-2742.

Area high school students are the talent in onstage for Commonwealth Artists Summer Theatre (C.A.S.T.) at Highlands High School (2400 Memorial Pkwy., Fort Thomas). Starting tonight is a two-week run (July 11-20) of The Addams Family, a Broadway musical based on cartoonist Charles Addams' bizarre and beloved family of characters. The group is headed up by Fort Thomas theater instructor Jason Burgess, who has assembled theater kids from the Greater Cincinnati and Northern Kentucky who are eager to develop their skills in performance and production. Tickets: $10 (http://www.showtix4u.com) or at the door.

The Tony Award-winning musical next to normal, about a woman with bipolar disorder, gets not one but two productions by Cincinnati-area community theaters: Sunset Players on the West Side and Paradise Players for East Side siders. You can choose between them tonight. The venerable Sunset Players, which presents shows at the Dunham Arts Center (in the Dunham Recreation Complex, 4320 Guerley Rd., Price Hill), has performances through July 26, mostly at 8 p.m. Tickets ($14-$16): 513-588-4988. Meanwhile, Paradise Players, a newish group offering summer productions at McNicholas High School's Jeanne Spurlock Theatre (6536 Beechmont Ave.), is presenting its rendition of the show this weekend only, tonight at 7:30 p.m. and Saturday at 2:30 and 7:30 p.m. Tickets: $15 (http://mcnhs.seatyourself.biz).

Tickets tend to be a bit harder to come by at Northern Kentucky University for a dinner-theater production by Commonwealth Theatre Company of Route 66. It's about a band traveling from Chicago to the West Coast in the 1960s along one of America's most legendary highways. Along the way, they meet a lot of colorful characters and see a lot of America. The production features four solid local performers: Wes Carman, Roderick Justice, Dain Alan Paige and Joshua Steele are likely to make this a very entertaining evening. Through July 27. Dinner and the show ($30): 859-572-5464.

 
 
by Rick Pender 07.07.2014
Posted In: Theater at 08:12 AM | Permalink | Comments (0)
 
 
andrew hungerford

Stage Door: Cincinnati Stages Are Waking up This Week

Cincinnati stages were pretty quiet over the Independence Day weekend, but this week they start waking up and getting ready for more. Tonight at 8 p.m. is the second installment of Serials! at Know Theatre. You can see six fresh, 10-minute episodes of brand-new plays by local playwrights — Trey Tatum, Chris Wesselman, Jon Kovach, Ben Dudley, Michael Hall and the team of Lauren Hynek and Elizabeth Martin — and featuring lots of Cincinnati-area actors. New artistic director Andrew Hungerford calls it a "theater party" offering cold beer, air-conditioning and world-premiere stories in Know's Underground bar (1120 Jackson St., Over-the-Rhine). Even if you missed the "pilots" on June 23, you'll get caught up with a recap before each episode. I had a blast watching these tantalizing tidbits two weeks ago, and I suspect tickets will become harder to get as the summer progresses. (Subsequent performances on July 21, Aug. 11 and 25 and Sept. 8.) Tickets ($15): 513-300-5669.


Ensemble Theatre Cincinnati is assembling a cast for its season opener, Hands on a Hardbody (Sept. 3-21), a recent Tony-nominated musical about 10 people vying to win a truck by outlasting their competitors and keeping their hands touching the vehicle — which will be onstage at the Over-the-Rhine theater (1127 Vine St.). ETC is seeking actors, singers and dancers for the show with an open audition on Wednesday this week (July 9, 5-8 p.m.). All are welcome, but an appointment is required. (Contact bholmes@ensemblecincinnati.com) Ensemble Theatre is an AEA Theatre. Union and non-union actors are encouraged to apply. Rehearsals begin August 11. ETC is seeking a diverse cast, and all ethnicities are encouraged to apply, especially African-American men and Hispanic males and females.

ETC had a big hit on its hands three years ago with the Tony Award-winning musical next to normal about a woman with bipolar disorder. In fact it was such a draw that they revived it in the summer of 2012. Although the Rock musical is a challenging work, this week features not one but two productions by Cincinnati-area community theaters: Sunset Players on the West Side and Paradise Players on the East Side. Both productions open Friday evening. The venerable Sunset Players, which presents shows at the Dunham Arts Center (in the Dunham Recreation Complex, 4320 Guerley Rd., Price Hill), has performances through July 26, mostly at 8 p.m. (July 20 is a 2 p.m. matinee.) Tickets ($14-$16): 513-588-4988. Meanwhile, Paradise Players, a newish group offering summer productions at McNicholas High School's Jeanne Spurlock Theatre (6536 Beechmont Ave.), will offer the show just this week, July 10-11 (7:30 p.m.) and July 12 (2:30 and 7:30 p.m.). Tickets: $15 (http://mcnhs.seatyourself.biz

Area high schoolers now have Commonwealth Artists Summer Theatre (C.A.S.T.) as a summer outlet for theatrical opportunities at Highlands High School (2400 Memorial Pkwy., Fort Thomas). Starting Friday is a two-week run (July 11-20) of The Addams Family, a Broadway musical based on the bizarre and beloved family of characters created by cartoonist Charles Addams. C.A.S.T., headed by Fort Thomas Independent Schools' theater instructor Jason Burgess, enables kids from the Greater Cincinnati and Northern Kentucky to develop their skills in performance and production beyond their school year and beyond their school population. Tickets: $10 (http://www.showtix4u.com) or at the door.
 
 
by Rick Pender 06.27.2014
Posted In: Theater at 04:27 PM | Permalink | Comments (0)
 
 
stage door 6-27 - private lives  @ cincy shakes - photo rich sofranko  copy

Stage Door: Options Abound

There's a great array of theater this weekend, no matter what you like. That's a good thing, because local theater, like baseball, takes a kind of midsummer break (no All-Star Game onstage anywhere, however). So get out and see something this weekend, then enjoy the fireworks and picnics next. Here are some suggestions:

Traditionally entertaining shows can be found at two professional theaters. At Cincinnati Shakespeare Company, it's the closing weekend for Private Lives, a very witty classic comedy about marriage by Nöel Coward. (CityBeat review here.) Two couples are honeymooning in the south of France, in adjacent hotel rooms. Things go awry when one husband and the other wife cross paths by chance. They were once married to one another, and the spark quickly rekindles, despite the fact that they had a very volatile chemistry. It's a great piece for four comic actors, and Cincy Shakes has a great cast to handle it. Staged by Ensemble Theatre's D. Lynn Meyers. Tickets ($22-$31): 513-381-2273.

A different kind of couple is showcased at Covedale Center, where Neil Simon's The Sunshine Boys is in its final weekend. Two guys who were comic partners in the days of vaudeville — and who grew very tired of one another — are brought together for a TV special about the "good old days." They don't much want to do it, but they're coaxed, and the results of their bickering and nastiness makes for a lot of laughter. Tickets ($21-$24): 513-241-6550.

A new theater company, Stone on a Walk, has its inaugural production this weekend, a low-budget performance of Cain by Lord Byron at the Art Academy's lecture hall, a venue familiar to Fringe Festival mavens. Yes, the playwright is that Romantic poet George Gordon you might recall from lit classes. He also wrote plays, and this one from 1821 focuses on Adam and Eve's first son, resentful that his parents' transgressions have forced them out of Eden and made death a real possibility. He spars with Lucifer, still hanging around to make trouble, and is at odds with his pious brother Abel, as well as his wife Adah. Things don't go well, as you might recall — Cain becomes the first murderer. John Leo Muething has put together a three-show season for his new theater venture, Stone on a Walk, with a one-weekend performance of each work (more to follow in July and August). This one features three actresses: Caitlyn Maurmeier is Cain; Hannah Rahe is Adah, Cain's dutiful wife; and Aiden Sims plays Lucifer and Abel. The casting of females in male roles is unusual, and the doubling of Sims as villain and victim might cause a bit of confusion (although she plays Lucifer with sinister hissing vigor, while Abel is the picture of sincerity). The 70-minute performance is done with no stage lighting or scenery; the final section, with actors on the floor, is hard to see unless you're in the front row or two. Cain is a lot of talking, poetry and high emotions, but Maurmeier powerfully renders Cain's despair, and Sims is very watchable as Lucifer. Tickets ($10) at the door; the Art Academy is at 1212 Jackson Street in Over-the-Rhine.

How about a showcase of excerpts from Cincinnati's community theaters? Friday evening and all day Saturday that's what's happening at Parrish Auditorium at Miami University's Hamilton campus (1601 University Blvd., Hamilton). Four 30-minute selections tonight include A Midsummer Night's Dream and Les Misérables, and eight more tomorrow morning and afternoon (GodspellSteel MagnoliasNunsense and Tommy are among them). Each performance will be assessed and a few will be selected for a statewide competition in early September. Cincinnati has a lot of excellent community theater, and this is your opportunity to see some of the best shows that have been offered during the 2013-2014 season. Ticket information: http://bit.ly/1lkw098.

And in the off-week between Cincinnati Opera's opening production of Carmen and the upcoming staging of Silent Night, opera seekers might want to check out two works presented by the North American New Opera Workshop (they shorthand that name as "NANOWorks") at Below Zero's Cabaret Room (1122 Walnut St., Over-the-Rhine). It's the midwest premiere of Marie Incontrera's At the Other Side of the Earth, a riot girl opera followed by Eric Knechtges's Last Call (Friday-Saturday at 8 p.m.,Sunday at 2 p.m.). Incontrera's piece combines classical performance with punk sensibilities; the piece by Knechtges (who is head of the musical composition program at Northern Kentucky University) is loosely based on the Cincinnati gay bar scene and includes at "techno/house aria" and a high-energy drag performance. This is definitely not your grandmother's opera. Tickets: $20 at the door. 
 
 
by Rick Pender 06.20.2014
Posted In: Theater at 10:14 AM | Permalink | Comments (0)
 
 
stage

Stage Door: Keep the Groove Going

Probably the most entertaining thing onstage right now is Private Lives at Cincinnati Shakespeare. It's been selling so well that 2 p.m. matinee performances have been added this Saturday and June 28. (It closes on June 29.) It's the story of honeymoons going bad when a feisty divorced couple decide to reunite rather than stick with their new spouses — when they find themselves coincidentally in adjacent hotel rooms in Southern France. (CityBeat review here.) Cleverly staged by Ensemble Theatre's Lynn Meyers, using four of Cincy Shakes best actors. Of course it's all improbable and overdone, but that's a Noël Coward play for you — witty, silly and lots of fun. Tickets ($22-$31): 513-381-2273.

You'll find laughs elsewhere with the Covedale Center's just-opened production of The Sunshine Boys by Neil Simon, a master of comedy. It's about a pair of vaudeville partners who spent 40 years working together and ended up not speaking. But they're being coaxed to come together to re-stage one of their old routines for a TV special. Rehearsals don't go well and the actual live broadcast spirals down from there. Simon is a master of one-liners, and this show has a million of them. Tickets ($21-$24): 513-241-6550.

If Monday leaves you still looking for something onstage, Know Theatre is ready to open its doors for something entertaining: Serials! All summer long at two-week intervals (starting Monday) there will be 15-minute episodes of plays by local writers. This week you'll get to see pilots of Mars vs. The Atom by Trey Tatum, Flesh Descending by Chris Wesselman, The Funeral by Jon Kovach, The Listener by Mike Hall and Fetus and the God by Ben Dudley. These stories are open-ended and audience response will be a factor in where they go. If some of those names sound familiar, it's because most of them are veterans of the Cincy Fringe. If you had a good time there earlier this month, here's a way to keep your groove going. Tickets ($15): 513-300-5669.
 
 
by Rick Pender 06.06.2014
Posted In: Theater at 09:21 AM | Permalink | Comments (0)
 
 
2014-fringe-festival-image - designed by alex kesman copy

Stage Door: Wrapping up Fringe

Just two more days of the Cincinnati Fringe Festival, so here are a few recommendations for great shows you can still catch. (Look for reviews of these performances on CityBeat's Fringe page here.) Many Fringe performances are sold-out, so check in advance to be sure seats are still available: cincyfringe.com.

I was very impressed by Christine Dye's moving performance in Kevin Crowley's one-woman show, Sarge, about a woman whose husband is accused of child molestation. It's final offering is tonight at 7 p.m. Four Humors' An Unauthorized Autobiography of Benny Hill epitomizes the off-kilter nature of the Fringe, a piece that's funny and poignant. Last chance to see it is Saturday at 8:45 p.m. If you like storytelling, you can catch two of those on Saturday evening: Mike Fotis's Fotis Canyon (7 p.m.) and Paul Strickland's Papa Squat's Store of Sorts (9 p.m.) You might also want to check out the intern showcase at Ensemble Theatre, which just opened on Thursday evening; performances Friday (7:45 p.m.) and Saturday (1 and 7 p.m.). It includes some fine acting in some unusual scripts. True Theatre is offers another Fringe iteration featuring its own brand of revelatory truth-telling, featuring several Fringe artists providing back stories about their careers and experiences. That's at 9 p.m. tonight at Coffee Emporium. 

If your taste is for more traditional — but equally entertaining — theater, head to Cincinnati Shakespeare Company's production of Noël Coward's Private Lives, a witty comedy classic from 1930. A formerly married couple find themselves on honeymoons with new spouses, but in close proximity to one another. Trouble ensues. Four of Cincy Shakes best actors — Kelly Mengelkoch, Jeremy Dubin, Sara Clark and Brent Vimtrup — constitute the cast. It opens tonight and continues through June 29. Tickets ($22-$31): 513-381-2273, x1.

Finally, whether or not you're a fan of garage sales, you might be interested in what's happening on Saturday morning, 8 a.m. to noon, at the Cincinnati Playhouse's Scenery Shop (2827 Gilbert Ave., Walnut Hills, across from Thomson-MacConnell Cadillac): It's the regional theater's annual sale of props, furniture, dresses and more. If you're a regular at the Playhouse, you might recognize items from productions of A Delicate Ship, The Trip to Bountiful, Thunder Knocking on the Door, As You Like It and more. You'll have your choice of lots of miscellaneous items like china and glassware, dining chairs, tables and desks, area rugs, a bathtub and even a "concrete cherub planter." There's also a collection of 20th-century "day dresses," along with some formal gowns and fabric yardage. Prices are cheap; payment must be by cash or check. All items are sold "as is." 
 
 

 

 

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by Rick Pender 05.22.2015 6 days ago
Posted In: Theater at 08:55 AM | Permalink | Comments (0)
 
 
cappies recipients

Stage Door: Theater Critics of the Future?

There’s lots happening on Cincinnati stages this weekend — including excellent productions of Circle Mirror Transformation at the Cincinnati Playhouse and Outside Mullingar at Ensemble Theatre. The Cincinnati Fringe Festival is right around the corner. But I want to use this week’s Stage Door to highlight a glimpse of the future. Tonight the CAPPIE AWARDS will celebrate productions and performers from area high schools with a festive event at the Aronoff Center’s Procter & Gamble Hall.

Among the students being recognized are critics. That’s right: As part of the Cappies, teens from high schools visit other schools to critique performances. I have the privilege of handing out awards to the outstanding team of students from one particular high school. Starting last year, another recognition was added, sponsored by CityBeat, identifying the outstanding single critique written over the course of the year.

I received a half-dozen essays deemed by Cappies organizers to be the best pieces written during the 2014-2015 school year. (I did not know the names of the critics or their high schools when I was picking the winner.) At tonight’s ceremony, I’ll announce one I believe to be the best. You can read all of the reviews I considered in today’s blog, below. In addition to taking home a dandy trophy, the winner is invited to review a FringeNext show, one of three high school productions presented at the Cincy Fringe next week.

I urge you to read what these insightful young people have written about productions at other schools. It’s possible that someday one of these promising writers will be writing about shows and helping theater fans decide what to see onstage in Greater Cincinnati.


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.



West Side Story at Cincinnati Hills Christian Academy

REVIEWED BY COLE HANKINS, Loveland High School

Amidst a fearsome gang war, two lovers are forever torn apart by the pull of a pistol’s trigger. And as a girl mourns her horrible loss, she extends two hands, one to each side. In the left hand, a Jet; in the right, a Shark, two groups sworn enemies, now holding hands united under common loss. It is with this heart-wrenching image of solidarity that Cincinnati Hills Christian Academy’s production of West Side Story leaves its audience, and with this image that its excellence finally hits home.

An American theatrical classic, West Side Story takes place in New York City, where two local teenage gangs — the Caucasian “Jets” and Puerto Rican “Sharks” — are amidst a territorial dispute. Jets leader Riff plans to challenge the Sharks and leader Bernardo to a rumble in order to settle the issue. However, the plot thickens when fellow Jet Tony meets Bernardo’s sister Maria, and the two quickly fall in love. The result is ultimately a situation spun far out of control, a vengeful gunshot separating the lovers forever, and grave consequences to a merciless feud.

Fittingly, CHCA’s production started with a bang in “Prologue,” where the Jets’ and Sharks’ choreographic and combat execution splendidly set the tone for the action to come. The Jets were particularly sharp in songs such as “Jet Song” and the lighthearted character number “Gee, Officer Krupke.” Other show highlights included the upbeat, toe-tapping song “America,” and “Tonight,” where both Jets and Sharks alike came together for a powerful prelude to the action-packed “The Rumble.”

As headliner Tony, actor Will Ellis’s performance was defined by pristine tenor vocals and a captivating vibrato, mastering his character’s higher range. In solo songs like “Maria,” Ellis never shied away from the spotlight, boldly owning critical character moments. Opposite of Ellis, Allie Kuroff’s operatic soprano was equally impressive as the lovely Maria, clearly acting her finest in the show’s riveting finale. Both Ellis and Kuroff played their roles with a unique tenderness, providing an interesting presentation of two classic characters.

Likewise, actress Merrie Drees brought a thrilling flair to the flashy, spunky Anita. Drees’s powerfully sassy vocals proved phenomenal, and her ability to balance great comedic timing in earlier scenes with compelling emotion later on was marvelous, a dynamic lacking in other characters. As the charismatic Riff, Gabe Hoyer also crafted an extraordinary performance. Hoyer featured a mesmerizing gravity to his presence that added an unmistakable charm to Riff, making his Act I death one of the musical’s most tragic moments.

Tasked with a very challenging musical score, the CHCA Orchestra played fabulously. Despite drowning out certain vocalists at times, the pit kept accompaniment clean, crisp, and well polished throughout. Equally crisp and well polished was manager Kaitlyn Nickol’s stage crew, making scene changes promptly and effortlessly and contributing to the show’s timely pacing.

Doing justice to one of the most beloved musicals of all time is undoubtedly a daunting task. Yet as the lights faded on that aforementioned scene of unity, the cast of Cincinnati Hills Christian Academy’s recent production of West Side Story had accomplished exactly this. In a wildly successful effort, these talented performers honored not only the endearing charm of this theatrical legend, but also its strikingly poignant message.

 

A Midsummer Night’s Dream at Larry A. Ryle High School

REVIEWED BY ELEANOR CONNIFF, Highlands High School

Although written nearly 400 years ago, the works of William Shakespeare are still revered today as some of the most influential in all of Western literature. The Bard's plays are usually an essential component of any English course. The classic tales are still performed often by actors and theatre companies alike. It is difficult to imagine something as old as the publication of Shakespeare's First Folio in 1623 continuing to remain relevant and entertaining to audiences. In A Midsummer Night's Dream, performed by Larry A. Ryle High School, students brought life to the timeless classic and gave a performance that stayed true to the tradition of Shakespeare with unique and original twists.

The story of A Midsummer Night's Dream centers around a love triangle, or rather, rectangle, between Hermia and Lysander, two star-crossed lovers; Demetrius, who loves Hermia, although unrequited; and Helena, who loves Demetrius. When Puck, a mischievous fairy from the woods, accidentally casts a spell on the two young men, he reverses their affections, causing both to fall in love with Helena. Chaos ensues as Puck attempts to reverse the mistaken spell and keep peace within both the fairy and the lovers' world.

In Larry A. Ryle's production of this classic story, the students met the challenge of Shakespeare with eagerness and understanding of the style, far beyond the years of most high school students. The production also paired the original Shakespearean text with 1950s style costumes, props, and characters in order to portray a commentary on the time period's stratified nature and to modernize the theme of unrequited love.

Under the pressures of a four-way love triangle, Willow Davis's portrayal of Helena stood out among the leading roles of the show as her characterization and poise set her apart. Helena’s nagging but endearing nature allowed the audience to laugh at her melodramatic soliloquies while also sympathizing with her broken heart. Samuel Greenhill stood out in his portrayal of Demetrius as well, creating a character that was both likable and antagonistic and keeping him true to the attitudes of the time period.

Of course, it is impossible to forget Macy Bates’s performance as the mischievous Puck. The youthful energy that she brought to the role was extremely refreshing and played well into her comedic timing, keeping the audience laughing again and again.

From a technical aspect, the show was extremely fine-tuned. Albert Harris's lighting was absolutely stunning, with a purposeful contrast in the lighting of the fairy world versus that of the real world. This choice, while subtle, was extremely impactful, as the set's minimalist style made the setting of the story extremely ambiguous and versatile, with the shift in lighting as the main indicator of shifting worlds.

Love and mischief are the same now as they were in the 1950s, and the same in the 1950s as they were in Shakespeare's time. Larry A. Ryle High School's production of A Midsummer Night's Dream portrayed these themes in a fresh and unique way, while also paying homage to the tradition of William Shakespeare.

 

Beauty and the Beast at McAuley High School

REVIEWED BY SAMANTHA TIMMERS, Scott High School

It’s not every day you see a humanoid clock charging at foes with a silver fork. Nor is it every day that an audience finds themselves yet again floored by a performance they've seen on the screen a hundred times before. Yet in this heartwarming rendition of Beauty and the Beast, McAuley High School charmed both adult and child once again through their humor and talent.

This stage rendition, written by Alan Menken, Howard Ashman, Tim Rice, and Linda Wolverton, is actually an adaptation of an adaptation. The Oscar-winning movie version with which the world is familiar came out in 1991, the inspiration stemming from the 1756 fairy tale by Jeanne-Marie Leprince de Beaumont. In this third version, a beautiful and bookish Belle becomes the only hope for a long-forgotten castle staff and Prince, who are slowly becoming inanimate objects as a result of a spell caused by the Prince’s vanity. But can Belle learn to love a Beast who can barely learn to love anyone else?

Overall, McAuley created a magnificent performance that was filled with magic and surprises. The cast was bouncing with energy from start to finish, and their vocal quality was solid amongst all actors. The technical crew skillfully created a lively atmosphere that resonated with audience members, phenomenally recreating classic scenes. With glittering costumes and whimsical choreography, Beauty and the Beast did not disappoint.

Danielle Mouch was extraordinary in her performance as Belle. Her vocal quality was pristine and clear, effortlessly reaching every note as well as maintaining her character’s spunky yet thoughtful personality. Gregory Miller, a well-established actor in Cincinnati high school theater, outdid expectations in his performance as the Beast. Though he might have had hair and tusks masking his face, his powerful yet perfectly controlled voice said more than facial expressions ever could.

Audience favorites included the actors playing Lumière and Cogsworth. AJ Keith’s (Cogsworth) dry humor was expertly delivered and well received, his deadpans flawless and his mannerisms appropriate for the endearing yet bossy character. Benjamin Burton seemed to be made for the role of Lumière: his French accent was spot-on (and maintained throughout the length of the show), and his eye for comedy was terrific—all it took was a few suggestive hip movements to send the audience into uncontrollable laughter.

The crew provided dazzling effects for the show. The lighting was of almost professional quality, with a highlight being the mystical, Northern Lights-sequel brilliance that occurred during the Beast’s transformation. While the costumes seemed to closely follow the movie adaptation, they were of high quality and were well constructed and designed. The choreography flowed seamlessly, from the Mob’s parade around the auditorium to the Wolves’ deathly yet entrancing dance. Overall, McAuley’s crew was a force to be reckoned with, achieving seemingly magical transitions and mirages.

In this tale as old as time, McAuley High School enchanted youth and elderly alike with its whimsy personality and spellbinding characters, reminding everyone not to be deceived by appearances; there “may be something there that wasn't there before.”


The Mourner’s Bench at the School for Creative and Performing Arts

REVIEWED BY SARAH MORGAN, Mariemont High School

A single gunshot can end a life, create irreversible emotional damage, and shatter even the closest of relationships in an instant. The School for Creative and Performing Arts’ dark, poignant, and haunting performance of The Mourners’ Bench explored the crippling emotional aftermath of a deplorable tragedy.

The first act opened up to an intense argument between siblings Bobby (Bradley Mingo) and Melissa (Nina Walker). Twenty years after they witnessed their father shoot their mother, Evelyn, in a murder-suicide, Bobby and Melissa have still not healed. While Melissa has attempted to move on with her life, marrying a nice man and bearing two children, Bobby is trapped in a state of perpetual dependency, turning to alcohol and eventually buying the childhood house in which the tragedy occurred. Mingo and Walker perfectly captured the essence of a tumultuous sibling relationship, from emotionally depleting shouting matches to interrupting one another mid-sentence. The two were able to adroitly deal with dark themes, including murder, rape, and suicide, by presenting an air of deep gravity and maturity to their lines.

Act Two, set immediately after Evelyn’s funeral, featured her sisters Caroline (Mallory Kraus) and Wilma (Danielle Brockmann) bickering about the future of their niece and nephew. Kraus and Brockmann both give performances rife with emotion, utilizing familiar body language to heighten the intimacy of their conversation. The timing of their dialogue was natural and seemed completely organic, inviting the viewer into their quarrel. Brockmann approached her role as Wilma with a gentle softness, providing a foil for Kraus’s seemingly callous, unemotional Caroline. The scene ended touchingly, with Kraus playing the piano while Brockmann watched, a testament to the boundless power of redemption.

Act Three centered around elderly, married couple Joe (Cameron Baker) and Sarah (Maggie Hoffecker). They moved into Bobby and Melissa’s childhood home immediately after the tragedy and become inextricably tangled in the history of the house they have purchased. The tenderness between Hoffecker and Baker truly reflected that of a couple on the brink of death; while just sitting next to each other on a couch, they seem comfortable and at ease, with no trace of awkwardness. By the end of the scene, sniffling could be heard throughout the theater as the pair gazed out of a window, contemplating life’s transience.

SCPA’s theater was a room with seating on all four sides, providing an intimate view of the stage and connecting the audience to the characters. The set was sparse: a living room furnished with an unadorned couch and a dilapidated piano. The simpleness of the set allowed the raw emotion of the actors to shine through, creating a memorable performance.

All in all, SCPA’s production of The Mourners’ Bench was an evocative and haunting testament to the power of loss, recovery, and redemption.

 

Sweeney Todd at Taylor High School

REVIEWED BY MADISON LUKEN, St. Ursula Academy 

A trip to the barber never seemed so dangerous than in Taylor High School’s production of Sweeney Todd, where deceit leads to a menagerie of questionable pies, ineffective Italian barbers and a tempest of revenge, violence and tragedy.

An ordinary barber, husband and young father, Benjamin Barker has his world turned upside down when he is thrown in jail on a trumped-up charge that costs him his wife and daughter. Escaping prison, Barker renames himself Sweeney Todd and moves back into his shop on Fleet Street when he discovers the suicide of his wife Lucy. Out for blood, he teams up with the pie baker below his flat, Mrs. Lovett, to take revenge on the ones responsible — Judge Turpin and Beadle Bamford. Leaving a trail of deception, misery and gore in his wake, Sweeney Todd becomes the demon barber of Fleet Street in this haunting musical thriller.

From the smoke that billowed from Mrs. Lovett’s pie shop to the synchronization of the company in “Pirelli’s Miracle Elixir,” the unwavering commitment of both the cast and crew of this show did not go unnoticed in both details and central events. Every aspect of the show came together to create a product of suspense, drama, and overall beauty as an elaborate set, apt lighting and emotional vocals blended with the energy of everyone on and off stage.

Despite the incredible amount of music and its difficulty, the leads of the show, Sweeney Todd and Mrs. Lovett, performed by Antonio Ortiz and Annie Gerth respectively, conquered the tumultuous trials of Steven Sondheim almost flawlessly. In addition to this vocal aptitude, Gerth was able to portray the comedic elements of Lovett through her accent and equally strong acting propensity. Reciprocated by Ortiz, the two radiated a brilliant, psychotic chemistry that was always present, especially in songs such as “A Little Priest.”

A buttress to the leading couple, the ensemble floated eerily onto the stage relentlessly, booming out “The Ballad of Sweeney Todd” and “City on Fire” without wavering. Additionally appearing repeatedly, the Beggar Woman, played by Eliana Batsakis, brought further skill to light both vocally and in her physical acting as she drifted across the stage, crawling in the shadows of London, cackling manically and uttering desperate warnings until she met her demise.

Behind the scenes, this show demanded both sets and costumes reflective of the dark, dirty setting of 19th-century London. In both areas, demands were met, as buildings faded into darkness under a smoky pall and windows appeared cracked in places like Fogg’s Asylum while their inhabitants skulked about in ripped clothes with faces scorched with the grime of the streets. The crew was also able to create credible deaths with their use of stage blood.

Altogether, Taylor’s production was consistent and energetic in every scene of the show, creating a thrilling and gripping story through its performers and behind-the-scenes crew. It was ultimately well deserving of the standing ovation it received.


Once Upon a Mattress at Ursuline Academy

REVIEWED BY CARISSA SAFFIRO, Cincinnati Christian Schools

From childhood one is taught that princesses are the immaculately beautiful creatures that epitomize all that is grace and beauty. Who could imagine that the next princess of a medieval land would be an uncouth and unruly woman from the swamps? Ursuline Academy’s recent production of Once Upon a Mattress explores what happens when an ill-mannered yet charming woman steps — or rather swims — into court looking for a prince.

Written in the 1950s, Once Upon a Mattress is a musical comedy adapted from Hans Christian Anderson’s fairy tale “The Princess and the Pea.” The musical was written by Jay Thompson, Marshall Barer, and Dean Fuller with lyrics and music by Marshall Barer and Mary Rodgers, respectively. The show features Princess Winnifred of the swamplands who comes to marry Dauntless the Drab, despite all the women before her who have been turned down by his tyrannical mother. Following the classic tale, the queen puts a pea under twenty mattresses to determine whether Winnifred is a true princess.

With intricate music and challenging characters, the leads of Once Upon a Mattress certainly had their work cut out for them. The ludicrously uncouth yet lovable Princess Winnifred was played by Kennedy Carstens. From the moment she stepped on the stage the audience was in the palm of her hand and her vocal performance was unequalled by any cast member in the show. CJ Allen had the challenge of playing the role of Dauntless the Drab and chose to play this arguably flat character with a charming and comedic twist. The audience’s narrator and another lead actor in the show was the Minstrel, played by Arjun Sheth. Sheth not only brought the audience through the show with a confidence and charisma, but also had the vocal range required for the role.

King Sextimus the Silent, played by Michael Viox, was another leading force in the show, although because of an old curse he was unable to speak for most of the musical. However, his inability to communicate with words in no way inhibited his connection with the audience or his stage presence. His counterpart and friend, the Jester, played by Claire Westover, played alongside Viox with excellent chemistry but also showed a deeper side of her character as well as impressive tapping ability in her song “Very Soft Shoes.” Carmen Carigan must also be commended for her performance as the Wizard. Although in a smaller part, Carigan has the ability to leave the audience clapping and laughing hysterically every time she stepped off stage.

The most unique thing about Ursuline, however, is the wealth of talent in their dancers. The dancing chorus was always together whether they were doing ballet or tap. With dancers such as Keely Wissel on point and other incredible soloists such as Caroline Nymberg, the dancers stood out as one of the highlights of the show.

The technical aspects of the show seemed to move effortlessly. There were few to no microphone errors, although the cast was working with fifteen wireless mikes, and the lighting was flawless. Arguably the most unique and ingenious part of the show was the costuming. Almost completely student-made, the costumes were imaginative and well put together. In the chorus, each lady’s costume had a corresponding knight’s costume, just one example of the color and brightness of the show.

The costumes, actors, and dancers certainly mirrored the fun, bright, and slightly unconventional style of this production and brought the audience for an enjoyable ride.

 
 
by Rick Pender 05.15.2015 13 days ago
Posted In: Theater at 08:17 AM | Permalink | Comments (0)
 
 
tage

Stage Door: Take a Trip to Ireland?

If you debating which show you might go see this weekend, my strong recommendation is Ensemble Theatre's Outside Mullingar (ETC, 5/6-24). It's a great script by John Patrick Shanley (who wrote the award-winning play Doubt and the award-winning screenplay Moonstruck). It's set in Ireland, so the characters are overflowing with dry wit. And the actors playing them are a quartet of the performers who Cincinnati audiences love: Joneal Joplin (Scrooge for many years at the Playhouse) is a crusty old man who might not pass the family farm on to his more sensitive son, played by Cincinnati Shakespeare's artistic director Brian Phillips. Dale Hodges, a respected local stage veteran, plays Aiofe, the owner of an adjacent farm; Jenn Joplin (Joneal's daughter) is Aoife's grumpy, opinionated daughter. This is a tale of parents and children, but there's a lovely, stumbling love story at the heart of the play, and it's that's emotionally satisfying. The production was staged by Ed Stern, now retired as the Cincinnati Playhouse's artistic director. It's onstage through May 24. Tickets: 513-421-3555.


Brian Phillips did double-duty recently rehearsing to perform inOutside Mullingar while staging  Henry V at Cincy Shakes. As the title suggests, this is one of the Bard's history plays, and it's a chest-thumping one about warfare and England's claim to power. The company is midway through a multi-year project to stage all of Shakespeare's tales of the kings of England in chronological order. That might sound a tad stodgy, but this one is full of fighting and bluster, and there's a thread of comic relief, too. Let's call it the Shakespearean equivalent of an action movie. It's onstage throughMay 30. Tickets: 513-381-2273.


You'll find two plays worth seeing at the Cincinnati Playhouse this weekend. One just opened last night (I haven't seen it yet): It's Annie Baker's award-winner, Circle Mirror Transformation, about some folks taking an acting class at a community center. Their lessons about performing expand to be come life lessons. It's a warm, thoughtful play in the Shelterhouse. On the Marx mainstage, you'll find the very funny Vanya and Sonia and Masha and Spike, inspired by Chekhov but from the zany perspective of Christopher Durang, you don't need any theater history to be laughing out loud as three adult siblings from a dysfunctional family try to keep their balance. Tickets: 513-421-3888.


If you're eagerly awaiting the start of the Cincinnati Fringe (it kicks off on May 26), you should stop by Know Theatre for the American premiere of the Bane Trilogy with performances this weekend and next. It's three monologues about a guy who shoots first and doesn't ask questions in a one-musician film noir comic trilogy. You can experience them sequentially or out of order. Performer Joe Bone is the Guinness world record holder for the most characters portrayed by one actor in a performance; he's accompanied musically by Ben Roe. This show has a heavy-duty buzz: People were telling me about it weeks ago, so I'm sharing the news with you — although I haven't fit it into my schedule yet. It's running for two more weeks. Tickets: 513-300-5669.


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.



 
 
by Rick Pender 05.07.2015 21 days ago
Posted In: Theater at 02:25 PM | Permalink | Comments (0)
 
 
sonia and masha mourning their lives - vanya & sonia & masha & spike - cincinnati playhouse - photo sandy unerwoodjpg

Stage Door: Trips Down Memory Lane

If you're feeling nostalgic, Cincinnati stages have several offerings for you to enjoy. Let's start with Vanya and Sonia and Masha and Spike at the Cincinnati Playhouse. It's set in the present, but Vanya, one of three angsty siblings, thinks that contemporary life is missing the point, and he yearns for things he loved during his childhood in the 1950s. He love them to the point that he's spurred to a 10-minute rant (by a feckless actor who pays more attention to texting than the people in the room with him) about all that life is lacking today. It's a very funny moment in Christopher Durang's award winning play. I gave it a Critic's Pick in my CityBeat review. Tickets: 513-421-3888

The production of Vanya and Sonya and Masha and Spike wraps up with the Beatles' "Here Comes the Sun." If you'd like a whole evening of Beatles tunes, you need to be at the Aronoff Center in Downtown Cincinnati on Monday evening for RAIN: A Tribute to the Beatles. It's more than two hours of music, covering the progression from "I Want to Hold Your Hand" to "I Am the Walrus," with more than 30 numbers being authentically performed. The live, multi-media spectacle covers the entire career of the band and its four famous musicians. These guys pay attention to details in recreating the music and the mood. Tickets: 513-621-2787

Ensemble Theatre Cincinnati just opened a production of John Patrick Shanley's Outside Mullingar that will make anyone who's Irish long to head to the Emerald Isle. It's about generational differences and the possibility of love between two unlikely souls. What will make this one good is the cast: Joneal Joplin (Scrooge for many years at the Playhouse) plays a crusty old man, and Dale Hodges, one of Cincinnati's best professional actresses, is his outspoken neighbor. Jen Joplin (Joneal's daughter in real life) plays Hodges' daughter in the show; and the old man's son is brought to life by Brian Isaac Phillips from Cincinnati Shakespeare. It's being staged by Ed Stern, former artistic director at the Cincinnati Playhouse. With that many theater veterans working on it, the show is sure to be worth watching. Lots of people must think so, since ETC has already announced an extension of the show to May 30. Tickets: 513-421-3555

Cincinnati Music Theater can always be depended on to do a good job with a big musical. Our city's most ambitious community theater takes on the lighthearted Gershwin tuner, Crazy for You, which will be staged at the Aronoff's Jarson-Kaplan Theater. It's onstage for two weekends, through May 16.

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

 
 
by Rick Pender 05.04.2015 24 days ago
Posted In: Theater at 08:19 AM | Permalink | Comments (0)
 
 
buyer

Call Board: Theater News

Ensemble Theatre Cincinnati's 30th season will present three world premieres, the revival of a great musical and Cinderella

While other Cincinnati theaters hustle to get their seasons announced in order to ramp up subscription sales, Ensemble Theatre Cincinnati has built enough faith with its audiences that they'll start signing up sight unseen. Artistic Director Lynn Meyers tells regulars that they'll be pleased, and they take her at her word; she adds that if they aren't happy with the shows she picks, they can have their money back. No one asks for it.

Of course, ETC presents shows that haven't appeared elsewhere in our region yet, typically premieres that have only recently been onstage in New York City. And they're given productions with great acting and beautiful design so well assembled that many shows have extended runs. (That's happening with the show concluding the current season, John Patrick Shanley's Outside Mullingar, which opens on Wednesday with a stellar cast that includes local stage veteran Dale Hodges and Cincy Shakes Artistic Director Brian Phillips. ETC has announced it will run a week longer than initially indicated, now closing on May 30.)

For its 30th season, ETC has assembled three regional premieres and a revival of a musical it staged to great acclaim in 1999, with a TBA slot (March 22-April 10, 2016) that's likely to bring another show that's been a recent Broadway or off-Broadway hit. Here's the lineup announced over the weekend:

Luna Gale (Sept. 8-27, 2015) by Rebecca Gilman: The show recently received the Harold and Mimi Steinberg/American Theatre Critics Association New Play Award, and it was considered by many to be a strong contender for the Pulitzer Prize in drama. It portrays the moral dilemma facing a social worker with a crushing caseload and personal baggage. She must decide whether to leave a child with neglectful drug addict parents or place her with a grandmother who is a religious zealot. It's a complex and disturbing work about faith and forgiveness that doesn't offer easy answers for the lifelong after-effects of abuse. Its first production was in January 2014 at the Chicago's Goodman Theatre. It's slated for productions at Cleveland Playhouse and Actors Theatre of Louisville in the coming season, but ETC's happens first.

Buyer and Cellar (Oct. 13-Nov. 1, 2015) by Jonathan Tollins: The one-many comedy was a big New York hit in 2013, telling the story of an out-of-work actor who takes on the odd job of playing shopkeeper for Barbra Streisand in the basement of her lavish Malibu estate. It's a fanciful imagining of what one does with decades of memories and acres of memorabilia. Performing the piece will be Nick Cearley, a Cincinnati native who has appeared at ETC in next to normal and The Great American Trailer Park Musical.

Cinderella (Dec. 2-Jan. 3, 2016) by Joe McDonough, David Kisor and Fitz Patton: ETC's holiday show is a remount of its contemporary take on the classic fairy tale that demonstrates that being smart can be truly beautiful.

Grounded (Jan. 26-Feb. 14, 2016) by George Brant: It's another solo show, described by one critic as "ardently humane," about a woman who's an ace pilot reassigned to operate a remote-controlled drone from a windowless trailer near Las Vegas. It's a hit at New York City's Public Theater right now featuring Anne Hathaway in a production directed by Julie Taymor. Hunting terrorists by day and returning to her family at night, the boundaries begin to blur between the desert where she lives and the one she patrols half a world away in Iraq.

Violet (May 3-22, 2016). Jeanine Tesori's musical won the Drama Critics Circle Award and the Lucille Award for best musical when it premiered off-Broadway in 1997. It was a local award winner, too, but not seen by many who have come to love ETC's offerings. The score features American Roots tunes as well as Folk and Gospel styles. Violet's story is set in the 1960s; she is a young woman disfigured in a childhood accident who dreams of a miraculous transformation through the power of faith provided by a televangelist. It was one of ETC's best early productions, and it's a great choice to cap off a celebration of three decades of fine theater.

Subscriptions are currently available. Call 513-421-3555 for information.

 
 
by Rick Pender 05.01.2015 27 days ago
Posted In: Theater at 01:01 PM | Permalink | Comments (0)
 
 
vanya and sonia and masha and spike - cincinnati playhouse - john feltch, elizabeth hess and suzanne grodner - photo sandy underwood

Stage Door: Durang and One Dang Funny Dysfunctional Family

Christopher Durang's witty comedy Vanya and Sonya and Masha and Spike opened last night at the Cincinnati Playhouse. If that title makes you think of Russian playwright Anton Chekhov, well, that's part of the playwright's comic plan. But his script reassembles some of those wry comic elements with a few modern twists. The three characters with Chekhovian names are siblings with wildly divergent perspectives; "Spike" stirs things up by being more physical than intellectual. You don't have to know any theater history to have a good time with this play, especially when Vanya launches into a 10-minute rant about what's wrong with the modern world — referencing everything from postage stamps and technology to global warming and a lot of TV from the 1950s. It's hilarious. This show is being staged at theaters all over America this season. For more about Durang, read my Curtain Call column. Through May 23. Tickets: 513-421-3888

The Covedale Center has carved our a meaningful niche in the local theater scene with staging Golden Age musicals, and they're opening one of the best this weekend, Rodgers and Hammerstein's The Sound of Music. It was the final show by the pair who created Oklahoma, South Pacific, Carousel and The King and I. Thanks to the movie featuring Julie Andrews, I don't really have to tell you what it's about. But I should mention that the stage version has a bit more of a socio-political edge to it: Two of my favorite numbers (that didn't make it into the film) are "No Way to Stop It" and "How Can Love Survive?" — pay attention to them for some sassy songwriting. The show is onstage at the West Side theater through May 24; tickets: 513-241-6550

Several worthwhile productions are finishing their runs this weekend with Sunday performances. That includes the searing psychological and political drama Death and the Maiden by Diogenes Theatre Company, featuring Annie Fitzpatrick, Michael G. Bath and Giles Davies at the Aronoff's Jarson-Kaplan Theater. Tickets: 513-621-2787 … Cincinnati Shakespeare is winding up its staging of the great comedy of love and combat, The Taming of the Shrew. (Read my review here). Tickets: 513-381-2273 … And if you've ever struggled to connect with a play by the Bard, you might enjoy John Murrell's Taking Shakespeare at Dayton's Human Race Theater Company. The latter is about a disillusioned college professor asked to tutor her dean's son through a freshman class in Shakespeare. The subject is Othello, and their wrangling helps them learn more about one another. It's some fine acting, with Jon Kovach, seen frequently on Cincinnati stages, as the opinionated but drifting young man. Tickets: 937-228-3630


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

 
 
by Rick Pender 04.26.2015 32 days ago
Posted In: Theater at 11:48 AM | Permalink | Comments (0)
 
 
untitled

Call Board: Coming Attractions for Cincinnati Theatergoers

Know Theatre, New Edgecliff, Carnegie, Commonwealth, Xavier announce new seasons

Get your calendars read for another avalanche of shows from local theaters. Know Theatre just announced its 2015-2016 season, and several others have done the same recently, so you’ll find everything rounded up in this “Call Board” blog for CityBeat theater fans. Nearly two dozen full-scale shows and a handful of other events are headed your way.

Know Theatre of Cincinnati

Andrew Hungerford, Know Theatre’s artistic director, has pointed out that the coming season is the company’s 18th, and that at years of age, “We’re ready to do everything that entails: step into a wider world, fall in love, confront loss, get a crazy summer job, have a history lesson, party with some college kids, give up our childhood toys, obsess over Star Wars again, rail against poverty and injustice, engage in civic discourse, major in the sciences and then, maybe, take a trip to the beach.” Know is planning a lot of shows including works that are entertaining and socially conscious and that offer lots of opportunities for local artists.

“As we near the 10th anniversary of moving into our home at 1120 Jackson St., I think we’re getting ever closer to the vision that Know Theatre’s leadership has always had for this space,” says Producing Artistic Andrew Hungerford. “From our mainstage to Serials to Fringe, there is so much happening on our stages. It really is a theatrical playground here. And seeing the Underground filled with an audience eager to be a part of the next crazy thing we make reminds me exactly why I took this job.” Hungerford is completing his first season of artistic leadership. Here’s what’s in store for his second:

Serials 3: Roundhouse (Late June) will be another stab at short-form theater. This time out there will be five playwrights involved in creating five episodic plays. Each week they’ll trade who’s writing which story.

One-Minute Play Festival (July 10-12, 2015) This event will invite writers to consider the world around them, their cities and communities and the ways they view the world, then write topical moments that say something about what’s happening here and now. The results, probably 70 to 90 of them, will be put together into three evenings of performance.

Hundred Days (July 24-Aug. 22, 2015). This is a show conceived by the Bengsons, a singer-musician couple who have been Cincinnati Fringe festival favorites, and they workshopped it here in 2011. It’s about a couple whose time together is cut short by a fatal illness. They decide to live the 100 days left as if it were the 60 years they had hoped for.

The Hunchback of Seville by Charise Castro Smith (Oct. 9-24, 2015) with CCM drama students, will be staged by CCM drama faculty member Brant Russell. Set in 1504 in Spain, it’s an irreverent comedy that turns historical atrocities on their heads.

Andy’s House of [blank] by Paul Strickland and Trey Tatum (Oct. 30-Nov. 14, 2015). This will be a fully staged version of the show that was presented in 15-minute increments across the five evenings of Serials 2: Thunderdome. (It’s the only show that made it through five weeks.) It’s a small-town, mystery-spot, time travel musical about an unusual man who runs a store that’s an every changing emporium of oddities. Strickland and Tatum are Fringe Festival veterans.

All Childish Things by Joseph Zettelmaier (Nov. 20-Dec. 19, 2015) is about three guys who still have Star Wars on the brain, despite being 30 years old. It’s set in Norwood, and the fact that Kenner, designer of Star Wars toys was headquartered in Cincinnati, is important to this story. This production happens right around the time that Star Wars: Episode VII – The Force Awakens will be in movie theaters. The playwright has been recognized several times by the American Theatre Critics Association, including this play in 2006.

The Naughty List by OTR Improv at Arnold’s Bar & Grill (December 2015) picks up on the Star Wars theme, too. This holiday iteration is subtitled, “The Jolly Awakens.”

Serials 4! (January 2016). Another round of episodic storytelling.

BlackTop Sky by Christina Anderson (Jan. 29-Feb. 20, 2016) is a story about love, violence, community, mental illness and the line between poverty and true homelessness. Kimberly Faith Hickman, the New York City-based director who staged Know’s thought-provoking production of The Twentieth-Century Way in April 2014, will stage it.

Beertown by dog & pony DC (March 2-19, 2016) is another crossover by a Fringe Festival act: dog & Pony performed A Killing Game here in 2013. For this show, they’ll present alternative tales about our town’s history and we get to choose which version we like — a mash-up of choose your own adventure and maybe a murder mystery dinner party. Every performance begins with a dessert potluck; audiences are encouraged to bring a dessert to share.

Silent Sky by Lauren Gunderson (April 15-May 14, 2016), one of America’s hottest young playwrights. Know presented her Macbeth-themed script, Toil and Trouble back in 2014, and the Cincinnati Playhouse is giving her new play The Revolutionists its world premiere in February 2016. Silent Sky is the true story of 19th-century astronomer Henrietta Leavitt and a group of revolutionary women who found a way to measure the universe.

The thirteenth annual Cincinnati Fringe Festival happens in late May and early June 2016. Followed by one more (June 24-July 16, 2016) show that’s still TBA (June 24-July 16), but Hungerford hints that it could be by Steve Yockey, whose surreal Pluto was staged by Know early in 2014.

New Edgecliff Theatre

New Edgecliff Theatre has announced three shows for its 2015-2016 season, planned for a new Northside venue at St. Patrick’s Church. “These are plays that challenge the way the characters view their lives and the circumstances they find themselves in,” says Producing Artistic Director Jim Stump. “They are stories of how much can change when you change how you look at things.”

Frankie and Johnny in the Clare de Lune by Terrence McNally (Sept. 17-Oct. 3, 2015). Jared Doren staged an excellent production of William Inge’s Bus Stop for NET in 2013, and he’ll be back to put together this show about a pair of lonely, middle-aged people whose first date ends with their tumbling into bed. Things head in different directions from there. This show, which debuted in 1987, had a sterling production at the Cincinnati Playhouse back in 1989; the Playhouse presents a new play by McNally, Mothers and Sons, in the spring of 2016.

The Santaland Diaries (Dec. 3-19, 2015) is a reprise of David Sedaris’s very funny monologue about working as an elf in Macy’s Santaland in New York City. This holiday staple has been missing from local stages for two seasons; it will be fun to see it again.

The Shape of Things by Neil LaBute (April 14-30, 2016). Former NET artistic director Elizabeth Harris will direct LaBute’s 2001 play about a man who thinks a woman is romantically interested in him when she’s actually using him as the subject of her MFA thesis project.

The Carnegie

Under the management of new artistic director Maggie Perrino, Covington’s Carnegie will present four productions of well-known theater titles in the Otto M. Budig Theater.

Company by Stephen Sondheim and George Furth (Aug. 15-30, 2015) is about a single man and his married friends. The show, which won a dozen Tony Awards in 1971, has some of Sondheim’s greatest musical numbers, including “The Ladies Who Lunch,” “Getting Married Today” and “Being Alive.”

Sleuth by Anthony Shaffer (Nov. 7-22, 2015) is about playing games, but in this tale, the games are deadly serious. Veteran director Greg Procaccino will stage this famous Tony Award winner, a whodunit that will keep audiences guessing from start to finish.

The Wizard of Oz by L. Frank Baum, music and lyrics by Harold Arlen and E. Y. Harburg (Jan. 21-31, 2016) will be the Carnegie’s “lightly staged” musical for the coming season — a production that puts music and storytelling over physical staging. The production will feature the Kentucky Symphony Orchestra, led by J. R. Cassidy, performing all the tunes from the classic 1939 movie.

The Last Five Years by Jason Robert Brown (April 9-24, 2016) is an excellent contemporary musical (from 2001) about Jamie and Cathy, a young couple going through a divorce. His story and hers travel in opposite directions through time. Brown is one of the best of Broadway’s next generation of composers.

Commonwealth Dinner Theater

This company offers professional productions with dinner at Northern Kentucky University during the summer months. Productions are often sold out, so be sure to call early to reserve tickets (859-572-5464). This summer’s shows have characters from opposite ends of the age spectrum.

The Sunshine Boys (June 3-21, 2015) is Neil Simon’s 1971 comedy about two aging vaudevillian comics who have grown to hate each other after 40 years of working together. They’re reuniting for a special about the history of comedy, but keeping them on the same page is no easy task.

The 25th Annual Putnam County Spelling Bee by William Finn and Rachel Sheinkin (July 8-26, 2015) is about a contest featuring six quirky adolescents, overseen by three oddball adults. Its 2005 Broadway production was a surprise winner of several Tony Awards. Brush up on your spelling and you could be one of several audience members invited onstage to test your skills against the “kids.”

Xavier University

In its second year as a degree program, Xavier University Theatre is undertaking an ambitious season that features two Broadway musicals, a world premiere and a contemporary drama, staged by former Cincinnati Playhouse artistic director Ed Stern.

The undergraduate actors at Xavier will give Cincinnati audiences a second chance to see The 25th Annual Putnam County Spelling Bee (Oct. 22-24, 2015).

Stern will direct Kenney Lonergan’s This Is Our Youth (Dec. 3-6, 2015), the story of three wayward young people navigating New York in 1982 as they try to thread their way into adulthood.

In an especially challenging endeavor, the theatre program will present three plays in repertory during a two-week stretch (Feb. 17-28, 2016): Miss Julie by August Strindberg will be staged by veteran actress Torie Wiggins; Betrayal by Harold Pinter will be staged by another stage veteran, Bruce Cromer; and a new play by student playwright Tatum Hunter, Eve, will be staged by Bridget Leak.

Jonathan Larson’s rock musical Rent (April 21-24, 2016) will round out the season. It’s another Tony Award winner — and it landed a Pulitzer Prize, not often bestowed on a musical. Set in New York’s East Village, it follows a story about bohemian artists struggling to get by, inspired by Puccini’s opera, La Bohème

Actors Theatre of Louisville

In 2016 the Humana Festival of New American Plays marks its 40th anniversary at Actors Theatre of Louisville. The theater has commissioned Sarah Ruhl, one of America’s most respected current playwrights, to create a new work, Peter Pan on her 70th Birthday, for the occasion. The play, a moving look at growing up and growing old within a family, will be presented from March 10 to April 10, 2016. Ruhl’s works have been offered by many of Cincinnati’s theatres — The Clean House by the Cincinnati Playhouse, Eurydice by Know Theatre, Dead Man’s Cell Phone by Ensemble Theatre and In the Next Room (or The Vibrator Play) by CCM Drama at the Carnegie in Covington.

 
 
by Rick Pender 04.24.2015 34 days ago
Posted In: Theater at 08:49 AM | Permalink | Comments (0)
 
 
stage

Stage Door: Searing Drama and Silly Comedy

A group you might not have heard of, Diogenes Theatre Company, is establishing a solid reputation with its recent production of Twilight: Los Angeles 1992 and its current staging of Ariel Dorfman's Death and the Maiden, featuring three professional actors you will know if you're a regular Cincinnati theatergoer. It's an award-winning moral thriller that explores the aftermath of violence and the uncertainties of truth and justice. Set in a Latin American country, perhaps Chile, it's about a woman who was once the prisoner of a cruel dictatorship. Years later, a man visits her home who she's convinced was her torturer. She turns the table on him. Annie Fitzpatrick is the woman; Giles Davies is the man she believes to be her captor; Michael G. Bath plays her government official husband who is caught in the middle. Diogenes has strong ties with Cincinnati Shakespeare Company, and the connections are evident. This production is staged by Lindsay Augusta Mercer, CSC's resident assistant director, and Brian Phillips, CSC's producing artistic director, is an artistic consultant. This taut drama, presented at the Aronoff's Jarson-Kaplan Theater, is definitely worth seeing. Tickets: 513-621-2787.

If you're into works that are hot off the press, you have this weekend to still catch productions at Northern Kentucky University's Y.E.S. Festival, onstage through Sunday. The best of them is Colin Speers Crowley's Encore, Encore, making its final performances on Saturday at 8 p.m. It's about the caustic drama critic Dorothy Parker and her sad, failed marriage; well-written and sparklingly performed by a student cast, directed by Ed Cohen. Read my review here. Tickets: 859-572-5464.

Another student production is onstage at UC's Cohen Family Studio Theater at CCM: You're Welcome (a cycle of bad plays).  It's a set of five small plays — intentionally silly and misshapen, with directors and stage managers wandering on and off and cutting things short or addressing malfunctions — that's as silly as it is amusing. In a bit more than an hour it covers love, death, desire, tragedy, comedy, drunk driving, sexiness, beauty, loss and the battle between good an evil. There's also a fog machine that works (occasionally) and a T-shirt cannon. Give yourself into the madness and you'll have fun; don't look for a lot of close meaning. But the student actors are great fun to watch, especially Bartley Booz's start-and-stop curtain speech at the beginning, which gives away (intentionally) most of what's to follow. Friday at 8 p.m., Saturday at 2 and 8 p.m. Admission is free, but reservations are required: 513-556-4183.

If you're an adventurer who likes unusual performance experiences, you should look into getting a ticket from the Contemporary Arts Center for the bus to Batavia tonight or Saturday evening. That's where you'll take a walk in the woods to see a piece of performance art imported from Norway: Ingrid Fiksdal's Night Tripper. No spoken words, but intriguing and mystical dance and music elements, combined with the natural environment. It sounds fascinating; read more about it here. Tickets via the CAC's website.

Queen City Flash, the flash-mob styled theater company that took off last fall is back with The Complete Tom: 2. Huckleberry, based on Mark Twain's stories about Tom Sawyer and Huckleberry Finn, adapted by Trey Tatum. It gets underway on Monday and continues through May 9. Here's the catch: free tickets are reserved at QueenCityFlash.com for the date and time of your choice; at 4 p.m. on the day of the show, you'll receive an email with a map and parking instructions to a secret outdoor location. Unusual, but intriguing.

Two productions are wrapping up this weekend: The very funny farce by Steve Martin, The Underpants, at The Carnegie in Covington [read my review here] and David Mamet's very taut drama Race, presented by New Edgecliff Theatre at the Hoffner Lodge on Hamilton Avenue in Northside.

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
 
 
by Rick Pender 04.17.2015 41 days ago
Posted In: Theater at 11:57 AM | Permalink | Comments (0)
 
 
yes festival  nku - grand night for murder - robert macke as ginger baer - photo mikki schaffner

Stage Door: The Kids Are All Right

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.


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

 
 
by Rick Pender 04.10.2015 48 days ago
Posted In: Theater at 08:10 AM | Permalink | Comments (0)
 
 
stage door 4-10 - 110 in the shade @ ccm - (l-r) ben biggers, john battagliese & brianna barnes - photo adam zeek copy

Stage Door: The Heat Is on at CCM ... And All Over Town

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 8 p.m. Saturday.

I gave Cincinnati Shakespeare's The Taming of the Shrew a Critic's Pick in my CityBeat review here. It's lusty and lewd, and the battle of the sexes has never been fought in a more entertaining way. Two of the company's veteran actors, Nick Rose and Kelly Mengelkoch, play Petruchio and Katherine, and they mix it up with with and humor. Definitely an entertaining evening. Tickets: 513-381-2273.

A week ago I had a chance to see one of the Cincinnati Playhouse's current touring productions (this one is aimed at kids in grades K-3), Bird Brain. It's funny fable that teaches a lesson that strange behavior isn't always foolish. More info here. This weekend it will be presented at Springfield Townships Grove Banquet Hall (Friday at 7 p.m.), The Drama Workshop at Glenmore Playhouse in Cheviot (Saturday at 2 p.m.), the Blue Ash Recreation Center (Saturday at 7 p.m.) and The Lebanon Theatre Company (Sunday at 1 and 3 p.m.). Admission is usually free (or very inexpensive). Grab a kid and go.

Other productions opening this weekend: Steve Martin's very funny farce,The Underpants, kicks off a three weekend run at the Carnegie in Covington. New Edgecliff Theatre, still not in its new permanent home in Northside, is staging David Mamet's piercing drama, Race, at the Hoffner Lodge (4120 Hamilton Ave., Northside). At Falcon Theatre (636 Monmouth St., Newport) you can catch the first weekend of The Cover of Life, a drama about three young women married to brothers from the same small town who have gone off to fight in World War II. Meanwhile, in Bellevue, Ky., at St. John United Church of Christ, you can see a production of Joanna Murray-Smith's Honour by WIT-Women in Theatre. The story of three women propelled to ask the question "What is love?" when they've been struggling with tough relationships, is onstage for two weekends. Children's Theatre kicks off two weekends of public performances of Disney's Aladdin JR. at the Taft Theatre. It's a stage version of the popular animated musical feature; the production includes jugglers, acrobats and stilt walkers. And Lion King continues its month-long run at the Aronoff. (CityBeat review here.)

Don't forget that Monday evening at 7:30 p.m. is another quarterly offering from the True Theatre guys at Know Theatre. The theme this time is "true beauty," with real monologues by people who talk about things they've really experienced.

Something for everyone, as they say!

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here

 
 
by Rick Pender 03.27.2015 62 days ago
Posted In: Theater at 08:22 AM | Permalink | Comments (0)
 
 
buzzer

Stage Door: Race and Urban Living on Local Stages

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


Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

 
 
 
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