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by Rick Pender 05.04.2015 20 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 23 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 Brian Baker 05.01.2015 23 days ago
Posted In: Music News, Music Commentary, New Releases at 12:40 PM | Permalink | Comments (0)
 
 
heavenadoresyou_elliottsmith3

Musicians Pay Tribute to Influential, Gone-to-Soon Singer/Songwriters

Remembering Elliott Smith and Jason Molina as they get the full-album tribute treatment on a pair of recent releases

Tribute albums are typically divided into three categories. They’re either a) bankable artists covering high profile subjects (or, infrequently, famously known cult figures); b) cool/respected artists covering cool/respected artists; or c) some weird hybrid of the first two. 

Two recently released tributes fall squarely in the second category, with Avett Brothers frontman Seth Avett and rising Americana/Rock vocalist Jessica Lea Mayfield taking a quietly beautiful stroll through a sampling of Elliott Smith's exquisite catalog on Sing Elliott Smith, and Frames frontman and solo artist in his own right Glen Hansard honoring his great hero and friend Jason Molina on It Was Triumph We Once Proposed: Songs of Jason Molina, which was available last month.


There are odd connections between the two projects. In the general point of interest sense, both are posthumous tributes. Smith died in 2003, apparently by his own hand, and Molina succumbed in 2013 after a long battle with alcoholism. And on a more personal level, by the sheerest of coincidences, I've interviewed both of the subjects of these two tributes.


Back in 2000, I spoke with Smith while he was still touring on Figure 8, which had come out earlier that year. And in 2003, I was assigned a feature on Songs: Ohia, fronted and braintrusted by Molina, who had just finished an album he titled The Magnolia Electric Co., which marked the end of Songs: Ohia and the shift to the band named after his new album. Both were fascinating and heartfelt conversations with artists who were amazingly self aware but not at all self absorbed, quietly brilliant songwriters who had an almost pathological need to extract their musical impulses from the dark well of their ultimately troubled souls.


Hansard — who came to prominence as the voice, guitarist and primary songwriter for Irish Rock band The Frames before establishing a side project (Swell Season) and solo career and hitting semi-big with the movie Once and his soundtrack, featuring the Academy Award-winning hit "Falling Slowly" — was so inspired by Molina's deeply emotional and confessional songcraft that the first fan letter he ever sent to a fellow artist was to Molina. Back in 2005, two years after I'd interviewed Molina, I had the rare opportunity to witness the pair's personal and professional bond firsthand.


At my second South by Southwest experience, I followed former The Onion music editor Stephen Thompson to see a Frames appearance at one of Austin's innumerable daytime parties. Stephen was a huge Frames fan and the band knew him well; he had done enough to help expose the band to American audiences that they thanked him in the liner notes to Burn the Maps.


When we arrived at the venue, the band members were wandering through the crowd just prior to their set and Stephen made a beeline for them. He introduced me to The Frames, but there was a dark, diminutive and somewhat familiar presence in the circle who was clearly with the band but not as a member. Glen Hansard spoke up, in his pudding thick Irish brogue, and said, "This is Jason Molina."


I shook his hand and reminded him of our phone conversation and the Rockpile feature two years previous. He greeted me warmly and we talked about what we'd seen at the festival to that point and what we hoped to see going forward. We spent a good 10 minutes in this convivial manner, right up until The Frames took the stage and were announced. After that, his unwavering focus was on the band; he watched and listened as though he was occupying the front pew in church during a sermon he knew for an absolute fact would change his life for the better. He stood in rapt attention, soaking in every word, every note and every nuance and with good reason — The Frames were a mesmerizing live force back then.


At the set's conclusion, Molina immediately swiveled toward me and we exchanged jaw-dropped exclamations of disbelief. Within a few minutes, Hansard made his way to Molina's side and the two began critiquing the performance, Hansard pointing out the flaws and Molina categorically dismissing them. I laughingly thought to myself as I headed to the door and the next party, I'll bet their roles will be diametrically reversed when Magnolia Electric Co., the band that Songs: Ohia had morphed into, plays later this week and Hansard is the fan in the front row. It reminded me of something Molina had said regarding the fact that he was already thinking past the album he had just finished. 


"I can do better," he said without hesitation. "My next one, I'm already sweating it. Since the day I walked out of the studio, I've been working on the next one. I don't feel like this one failed, but I'm still looking for the better one."


I thought about Hansard's face as it must have looked while he watched Molina's appearance in Austin, Texas, a decade ago, and imagined the sadder but equally beatific visage he must have exhibited in the studio as he was translating the five tracks that comprise It Was Triumph We Once Proposed. This brief and beautifully executed EP serves a similar purpose as Hansard's distant but never forgotten fan letter, as he pays loving tribute to his long personal friendship with Molina and to the work that first illuminated his immense talents to the world.


Hansard assembled a group of longtime Songs: Ohia/Magnolia Electric Co. collaborators/friends to record a heartbreaking quintet of Molina compositions, all Songs: Ohia tracks and all lending themselves perfectly to Hansard's passionate and sensitively wrought translation. Molina often worked at the creative intersection of Leonard Cohen and Neil Young, and Hansard taps into that shivery vibe with a true fan's boundless devotion and a true friend's immeasurable grief. On the one-two punch of the powerfully poignant "Being in Love" and the achingly beautiful "Hold On, Magnolia," Hansard illuminates the raw, wrenching wisdom of lines like, ”We are proof that the heart is a risky fuel to burn," and the prescient "You might be holding the last light I see before the dark finally gets ahold of me." And just like Molina's life and amazing musical output, Hansard's It Was Triumph We Once Proposed is both immensely satisfying and far too short.



The other contender for Most Amazing and Deserved Tribute of the Year is Seth Avett and Jessica Lea Mayfield's Sing Elliott Smith, a (relatively) spare and loving bow to one of this generation's most insightful and contemplative songwriters. After his shredding turn with Portland’s Heatmiser, Smith turned down the volume for his home-recorded solo debut, Roman Candle, which was followed by his equally nuanced eponymous sophomore album and then the jewel in his crown, 1998's Either/Or, which director Gus Van Zant cherry-picked for his soundtrack to his masterpiece Good Will Hunting. Smith scored an Academy Award nomination for his song "Miss Misery," and the success of the soundtrack and his almost uncomfortably vulnerable performance at the Oscars vaulted him into a spotlight that he never actively pursued.


By the time of our 2000 interview, Smith had managed to come to uneasy terms with the maelstrom of fame that resulted from Good Will Hunting and Either/Or's tangential success. It had required him to think about his work in pedestrian ways, to explain it in a fashion that would be understandable to people with little understanding.


But through it all, Smith remained true to his own process, trusting that, regardless of outside opinions, expectations or interests, he continued to create the kind of music he wanted to hear in the manner that he wanted to create it. And he knew that, no matter how much anyone involved in his career wanted him to pull Either/Or 2 out of his magician's hat, the only thing that would truly satisfy his artistic nature would be to create what came out of him organically, without being conjured or forced.


"I don't think it was on my mind," Smith said about making the Beatlesque Figure 8 in the wake of major-label debut XO, Either/Or and Good Will Hunting. "I was just making up songs the way I always do. I mean, it was never going to sell millions of copies, so there wasn't that kind of pressure."


That may well be why Sing Elliott Smith is so incredibly successful as a tribute. Smith's songbook is among the most revered in contemporary music and the acclaim that has been lavished on Avett and Mayfield since their debuts is both effusive and deserved. Given all that, there's little risk involved at any level of this project.


The blending of the two principals' voices was the only unknown and that particular question mark is definitely straightened into a boldface exclamation point with Avett and Mayfield's brilliant opening duet on Either/Or's "Between the Bars." Avett's stylistic path from Punk provocateur to rootsy Americana troubadour to genre melding alchemist is a pretty fair match to Smith's own journey, and Mayfield's weary optimism lines up well with Smith's gloomy hopefulness. Together, Avett and Mayfield are the perfect translators for Smith's hushed (and not so hushed) odes to the anguish and bittersweet joy of love and modern life and they coalesce almost effortlessly on brilliant lines like, "Nothing's gonna drag me down/To a death that's not worth cheating." 



It's moments like that one from "Baby Britain" that make Sing Elliott Smith resonate so clearly from start to finish. It's particularly poignant when Mayfield takes the lead on "A Fond Farewell" — from the album Smith was working on at the time of his death, released posthumously as From a Basement on the Hill — and she sings words that seem so startlingly prescient coming so close to Smith's sad end; "A little less than a happy heart/A little less than a suicide/The only thing that you really tried/This is not my life, it's just a fond farewell to a friend/It's not what I'm like, it's just a fond farewell to a friend/Who couldn't get things right."


Avett and Mayfield offer a broad core sample of Smith's amazing catalog (only 1995's self-titled sophomore album isn't represented), and the pair's affinity for and love of their subject's work is evident in every trembling note and emotional lyric. At almost 37 minutes, Sing Elliott Smith is a full album but it feels impossibly short and is over well before the listener is ready for it to be done. If ever there was a release that warranted the often-dreaded subtitle of Volume 2, it would be Sing Elliott Smith.


It seems only proper that the final words in this piece should be reserved for the subjects of these two tributes. First, an interesting comment from Jason Molina about his songwriting process led to a philosophical statement about his musical belief system.


"I almost write the music at the same time I'm trying to think of who could best put this onto tape, and that goes right down to the engineer," he noted. "Maybe it's a cowardly way to work because I don't take all of the burden onto myself, but ego should never be part of the music."


And finally, Elliott Smith addressed the media's tendency to label him as "melancholy," which morphed into an explanation of the simple reality that labels have tried to manipulate and contradict throughout their long and checkered histories.


"As soon as someone calls you a songwriter, you automatically get the melancholy tag," Smith admitted. “Also, 'Why aren't you playing dance music?' and 'Why are your songs so sad?' They're just clichés. If it wasn't those, it would be different ones. You can't always expect people to relate. There are all kinds of people, and some people understand each other and some people don't. NSYNC sells nine million records, so there's nine million people that can relate, and I'm not one of them. So even if you sell millions and millions of albums, there's always going to be somebody who doesn't get it. If you want to be creative and do what you do, it's going to be kind of idiosyncratic."


Long live the idiosyncratic artist, and the memories of those who left us way before their creative dreams were fulfilled.


 
 
by David Watkins 05.01.2015 23 days ago
at 12:31 PM | Permalink | Comments (0)
 
 
urban artifact brewing

Urban Artifact Now Open in Northside

The new brewery focuses on "wild culture" — from fermentation to live music

Northside’s Urban Artifact Brewing opened its doors last week, hoping to push the envelope by displaying a finessed brand and aesthetic by reinvigorating old styles of beer and celebrating local artists of all genres. Residing in a renovated church, the brewery is collaborating with restaurant Meatball Kitchen and has big plans for the future as a destination to hear live music. 


“We love Northside and we love the neighborhood, so that was at the top of our list from the beginning,” says Scott Hand, who opened the brewery with partners Brett Kollmann Baker, Scott Hunter and Dominic Marino. Hand, a DAAP graduate, was working as an architect in Chicago when he and Marino, a musician and artist, began talking about opening a brewery. Knowing the financial restrictions they would face as a new business in the Windy City, the duo relocated to Cincinnati to begin the project. 


Hand was familiar with the process of reconstructing an old space, so when St. Pius X on Blue Rock Street, formerly home to Queen City Cookies’ bakery, became available, the team thought it was the perfect fit for their vision. Originally, Hand and Marino had planned to open Greyscale Cincinnati, a multi-use performing arts facility and craft brewery in the former Jackson Brewery on Mohawk Street in Over-the-Rhine. But plans and funding change, and the Northside church’s sanctuary, gymnasium, next door rectory and other open spaces have now become Urban Artifact, a brewery and event space still focused on blending music (their music label retains the Greyscale Cincinnati name) and unique beer, but with an additional spotlight on good food, design and elevated branding. 


“Because of branding, we made a point to reuse a lot of the church and what was already there,” Hand says. “This is a lot harder than just gutting it and starting from scratch. Most breweries are in warehouses or large rooms; our brand and beers come together for a unique experience.” In the final renovation, the team highlighted the church’s historic features, like its stained glass and old columns. They’ve also kept the radiators and reincorporated the 1940s maple floors they plied up from the gymnasium, now home to brewing equipment and fermenters, as finishes in the main church building’s lower-level taproom.  


Featuring old things while incorporating contemporary necessities was crucial for Urban Artifact. Most of their beer styles, which utilize wild yeast, bacteria and other captured local cultures, are from the Prohibition days — brewers Hunter and Baker both have backgrounds in chemical engineering. Hand’s favorites are the Maize, a Kentucky Common-style beer, and Harrow Gose, a bready beer of German origin. “The Gose is the most enjoyable for me, and it’s a light beer so I can have two or three without feeling bad about it,” he jokes. The brewery will also focus on experimental wild and tart ales, listing the ale’s pH and other information in the taproom to add an educational element to the experience, and will have local Skinny Pig Kombucha on tap as a non-beer fermented alternative.


The brewery also partnered with Meatball Kitchen, leasing part of rectory’s first floor to become the restaurant’s second location. Food runners will unify the two buildings and make Meatball Kitchen available to everyone. (Currently, Meatball Kitchen is set up in a corner of the taproom until the restaurant renovations are complete.) Hand says the partnership was a natural fit due to their similar aesthetics. 


“[Meatball Kitchen’s] Short Vine location has a similar feel — old wood, exposed pipes and things. The menu really identifies with our beers as well,” he says. “I think they are redesigning and making little changes to their menu to make our collaboration more cohesive.”


The brewery’s lower level, which can hold about 200 people, is separated into two parts — the taproom and a listening lounge — in addition to a beer garden outside. Every Wednesday, the listening lounge will feature Cincinnati Jazz institution the Blue Wisp Big Band, which features brewery partner Marino on trombone. The band has been performing every Wednesday night since 1980, but lost their home last year when the Blue Wisp Jazz Club closed. Hand says the “Cincinnati cultural icon” will be at Urban Artifact indefinitely.


In terms of other live music, the brewery scored Soul/R&B/Funk band The Almighty Get Down for their opening night last Friday and World-Fusion band Baoku last Saturday. While powerhouse local bands are flocking to Urban Artifact, they are still looking to book less established, up-and-coming local bands of any genre for other nights. (Hand encourages interested bands to contact Marino at dominic@artifactbeer.com.)


The four partners are working hard to have a successful first week of business, but Hand has big plans for the future. The lower level renovation is complete, but the main floor sanctuary is phase two. As a music enthusiast with an architectural background, Hand’s main passion is acoustics. His goal in the next couple of years is to create a “formal but flexible” space for ticketed events, live theater, receptions and eventually big-ticketed performers in the sanctuary. 


“I do not want it be your typical standing space,” he says. “It will not be the environment where you blast bands to the loudest decibel and come out with your ears ringing.” 


Hand says performers would have the opportunity to record their live shows for personal use or redistribution. He hopes creating the ideal acoustic space will attract larger name performers.


Urban Artifact, whose motto is “Wild culture” for their beers and their brand, focuses on creating a unique product, building promising partnerships and including local artists and culture in their brewery. “We have identified what we’re best at and we do it well, but the best thing is that we come together in the end and figure out how to get things accomplished best as a team,” Hand says. “I think we are pushing the envelope for what a finessed brewing aesthetic is and how that affects the overall experience.” 


Urban Artifact is located at 1660 Blue Rock St., Northside. Hours are 4 p.m.-midnight Monday-Thursday; 4 p.m.-1:30 a.m. Friday; noon-1:30 a.m. Saturday and noon-midnight Sunday. For more information, visit artifactbeer.com.


 
 
by Staff 05.01.2015 23 days ago
at 10:15 AM | Permalink | Comments (0)
 
 
to do_flying pig marathon

Your Weekend To Do List (5/1-5/3)

Derby parties! Marathons! Spring food festivals!

Stuff to do for athletes, aesthetes and people who love celebrating spring produce.


FRIDAY

Party pre-marathon with the FLYING PIG WEEKEND

On your mark, get set and go to the 17th annual Flying Pig Marathon. Come and see thousands of runners and walkers of all skill levels take part in this beloved race (a Boston Marathon qualifier). Stand on the sidelines and cheer or register and take part in a course that travels along the streets of Cincinnati, Covington, Newport, Mariemont, Fairfax and Columbia Township. Along with the marathon, the Flying Pig weekend features a series of events. 

  • Friday: P&G health and fitness expo at the Duke Energy Convention Center
  • Saturday: Toyota 10k downtown; Family Fun Festival at Yeatman's Cove; Tri-State Running Company 5k from GABP; the P&G health and fitness expo; a kids' marathon; IAMS flying fur race for dogs and their people; Flying Pig pasta pig out at Schmidlapp Lawn.
  • Sunday: Moerlein Lager House viewing party and breakfast (starts at 6 a.m.); Flying Pig; some more half marathons; Michelob Ultra victory party at Yeatman's Cove.

See a full list of events and prices online. Marathon starts 6:30 a.m. Sunday; marathon registration is $115. flyingpigmarathon.com.


Cheap AAArt
Photo: Paul Coors

Buy some CHEAP AAART

Local artist and curator Paul Coors (an Art Academy of Cincinnati grad and co-founder of former OTR art space Publico) will exhibit and host a silent auction — with assigned low starting figures and minimum raises — of his own artwork made within the past 10 years on Friday and Saturday at his Brighton loft/exhibition space, The Ice Cream Factory. True to Coors’ legacy of engaging musical acts in his art shows, friends of the artist will DJ over the course of both evenings including Bridget Battle (Tweens), Chris Burgan (Platter Party Records), Jordan Bronk and Sebastian Botzow (the DJ duo behind the monthly Fogger set at Rakes End), Floyd From Ohio Johnson (of Ohio Against the World fame) and Yoni Wolf (WHY?). 5-11 p.m. Friday and Saturday. Free; all ages. The Ice Cream Factory, 2133 Central Ave., Brighton, paulcoors.co.


The Sound of Music
Photo: Covedale Center

Celebrate the 50th anniversary of the SOUND OF MUSIC with a live performance

Rodgers and Hammerstein’s great musical theater collaboration — The Sound of Music — has been in the news recently, celebrating the Academy Award-winning movie’s 50th anniversary. If you’d like to dig further into the past (56 years ago it won five Tony Awards in its Broadway debut), you’ll find it onstage at the Covedale Center. It’s the story of a young woman who fails at becoming a nun. But she loves to sing and that wins over a motherless family and their stern father. It’s been a winner since 1959, and it’s sure to please audiences in this production staged by Ed Cohen and Dee Anne Bryll. Through May 24. $21-$24. Covedale Center for the Performing Arts, 4990 Glenway Ave., Western Hills, 513-241-6550, cincinnatilandmarkproductions.com.



SATURDAY

Derby Day Soiree at Neons
Photo: Wellmann's Brands

Get drunk on mint juleps at Neons' DERBY DAY SOIREE

The Kentucky Derby takes a two-minute race and turns it into a weekend of festivities throughout Louisville — drinking signature cocktails, exclusive parties and many out-of-town celebrity guests in elaborate millinery. But why should Louisvillians have all the fun? Neons is gathering Cincinnatians together to craft derby hats, sip on three different kinds of juleps (in 2015 official Kentucky Derby glasses) and watch the race in their second annual Derby Day Soirée. The event also features live music from the OTR Bluegrass Band featuring members of the Comet Bluegrass All-Stars. 2 p.m. Saturday. Free. Neons, 208 E. 12th St., Over-the-Rhine, neons-unplugged.com.


Wilder
Photo: Wayne Litmer 

Wear a fancy hat to the WILDER EP release party at the Southgate House

Americana/Country group Wilder was formed last year by singer/songwriters Kelly Thomas and Randy Steffen after their previous projects had come to an end (Thomas’ Fabulous Pickups and Steffen’s Sleepin’ Dogs). Building into a full band and establishing a presence on the local club scene, Wilder is now set to release its debut EP with a special show Saturday at Southgate House Revival. Falling on the same day as the Kentucky Derby, the 9 p.m. show will have a derby theme (Wear wild hats! Drink mint juleps!). Arlo McKinley & the Lonesome Sound, Mad Anthony and Danny Mecher and the Home Demos are also on the bill. Admission is $5 (or $7 if you’d like a copy of the EP on CD). 111 E. Sixth St., Newport, Ky., southgatehouse.com.


Savor the Season: Farm to Fork Celebration
Photo: Jamie Stoneham

Celebrate spring at Gorman Heritage Farm with SAVOR THE SEASON

The phrase “farm-to-table” gets a literal translation at Gorman Heritage Farm’s annual Savor the Season celebration Saturday. This epicurean adventure, in partnership with Slow Food Cincinnati, focuses on reveling in spring’s bounty from the 122-acre working farm and farms around the area. Top local chefs — including Jose Salazar of Salazar, Allison Hines of Butcher Betties, Todd Kelly of Orchids, Ryan Santos of Please and more — will be offering tasting samples of dishes that highlight seasonal produce, and chef Julie Francis of Nectar and Lance Bowman of Japp’s will be creating cocktail and food pairings. Don’t miss the “Raid the Garden” competition (CityBeat dining writer Anne Mitchell will be one of the judges), where chefs enter into a Chopped-style food competition. The event also includes food trucks and vendors, music from DJ Mowgli and garden/farm workshops, like composting 101, chickens in your backyard, beekeeping and more. 11:30 a.m.-7 p.m. Saturday. $25-$35; $10 for Raid the Garden only. 10052 Reading Road, Evendale, 513-563-6663, gormanfarm.org.


Cincy-Cinco Fiesta on Fountain Square
Photo: Provided

Party on Fountain Square for the CINCY-CINCO FIESTA ON FOUNTAIN SQUARE

Celebrate Cinco de Mayo with the Fiesta on Fountain Square. This authentic Latino festival is designed to share all aspects of Latin American culture, values and traditions with the Cincinnati community in a fun, family-oriented event. Live entertainment throughout the weekend includes performances from Latin band Tropicoso, Cincinnati Balia Dance Academy, Mariachi Zelaya and more, plus food from the likes of La Mexicana, Cuban Pete and Empanadas Caribe. A special children's area will provide free games, crafts, prizes and other activities. All proceeds benefit Tristate charities in support of the Hispanic population. Noon-11 p.m. Saturday; Noon-7 p.m. Sunday. Free. Fountain Square, Fifth and Vine streets, Downtown, cincicinco.com.


GeoFair

Buy some rocks at the GEOFAIR

The 50th annual GeoFair is Cincinnati’s largest gem, mineral, fossil and jewelry show. This year’s theme is “American Mineral and Fossil Treasures,” with displays containing private, university and museum-quality specimens, along with vendors and wholesalers, a swap area and free fossil, meteorite, mineral and gemstone identification. Demonstrations include gold panning, geode cracking and gemstone polishing. Children younger than 12 will receive free mineral and fossil specimens upon entry. 10 a.m.-6 p.m. Saturday; 11 a.m.-5 p.m. Sunday. $9 adults; $3 kids; free for uniformed scouts. Sharonville Convention Center, 11355 Chester Road, Sharonville, geofair.com.



SUNDAY

Make cooing noises at ZOO BABIES

Celebrate the newest arrivals at the Cincinnati Zoo & Botanical Garden during the entire month of May, where you'll find the cutest baby faces from all over the globe. Follow the six-foot-tall pink and blue stork statues displayed throughout the zoo to lead you to baby African lions, penguin chicks, bonobo monkeys, a whole litter of African painted dogs and more, as their big eyes, miniature sizes and playful personalities melt your heart. Through May. Park admission $18 adults; $12 children and seniors. 3400 Vine St., Avondale, 513-281-4700, cincinnatizoo.org.


Betsy Wolfe in The Music Man
Photo: Murphy Made

Take in a lightly staged matinee of THE MUSIC MAN

As Hugh Jackman declared in his 2009 Oscars performance, “The musical is back!” Musicals and movie-musicals have lodged themselves in the mainstream consciousness though film productions like Les Miserables (in which the aforementioned Jackman starred) and Into The Woods (an Oscar-nominated adaptation of the Sondheim classic) and various frequent Broadway touring productions, like those at the Aronoff Center. Cincinnati Pops Orchestra conductor John Morris Russell is giving us another angle through which to experience a classic musical, resurrected this weekend. The Pops’ semi-staged performance of 1957’s The Music Man features Broadway veterans Will Chase and Betsy Wolfe in leading roles, plus hundreds of local artists from Playhouse in the Park, CCM’s musical theater department, May Festival Chorus and more. 8 p.m. Friday and Saturday; 2 p.m. Sunday. $20-$103. Music Hall, 1241 Elm St., Over-the-Rhine, cincinnatisymphony.org.


Laugh at VANYA AND SONIA AND MASHA AND SPIKE

Vanya, Sonia and Masha are mismatched siblings, named by academic parents who had a yen for community theater. Now late in middle age, Vanya and Sonia continue to live in rural eastern Pennsylvania on the family’s farm with a few cherry trees. (Durang constantly drops reminders of Chekhov, dollops of amusement for anyone who recognizes them.) Their lives have some angst and ennui, but they aren’t doing anything about it. Through May 23. Cincinnati Playhouse in the Park, 962 Mt. Adams Circle, Mount Adams, cincyplay.com.


The Contemporary Arts Center’s new lobby includes a café, Collective CAC, with ample seating.
Photo: Jesse Fox

Grab a coffee at the CAC's new lobby and check out REMEMBER THE FUTURE

Blah concrete no longer dominates the Contemporary Arts Center lobby. A mere decade after its opening, the harsh environment needed a change. “We wanted the lobby to be the movie trailer for what’s upstairs,” says CAC curator Steven Matijcio. Architect Zaha Hadid’s vision of an “urban carpet” that draws visitors from the sidewalk has been realized with a colorful mural blanketing the walls, lights on the concrete pillars and the welcome desk front and center. A neon sign over the entrance reads “Contagious,” reflecting the vibe enjoyed at the café and in conversations on comfortable couches. Even though they resemble thunderclouds, chandeliers by Cincinnati sculptor Matt Kotlarczyk perk up an overcast day. The CAC needed to seize control of space, time and light. 


Upstairs Daniel Arsham’s Remember the Future is anchored by a gray mountain of hundreds upon hundreds of pop culture artifacts cast from volcanic ash, obsidian, quartz and glacial rock. Yet colorful, not-so-distant memories stir as the viewer circles the heap and notices boom boxes, video game controllers, keyboards, cameras, turntables, guitars, film reels and videotapes. 10-4 p.m. $7.50 adults; $5.50 educators/students/seniors. 44 E. Sixth St., Downtown, contemporaryartscenter.org.


 
 
by Nick Swartsell 05.01.2015 23 days ago
Posted In: News at 10:12 AM | Permalink | Comments (0)
 
 
bullhorn

Morning News and Stuff

Freddie Gray death ruled homicide; Ohio state officials' $9 million planes have wine bottle chillers; Larry Flynt makes his presidential endorsement

Good morning y’all. Like yesterday, I’m once again groggy this morning, but for different reasons that have everything to do with the news. So let’s talk about that.

Last night a group of about 300 gathered outside the Hamilton County Courthouse to protest inequities in the nation’s justice system and to express solidarity with Baltimore, where civil unrest has broken out after the April 18 death of 25-year-old Freddie Gray. Gray died from injuries he sustained while in police custody. The rally and subsequent march through downtown and Over-the-Rhine, which drew more than 100, were peaceful and lasted about four hours. No one was arrested, though there were a few tense moments as protesters tried to enter a highway on-ramp and the Horseshoe Casino. Cincinnati Police Chief Jeffery Blackwell was present at the protest last night, and this morning appeared on CNN touting the city’s protest response protocols, which have been adopted by the U.S. Justice Department as an example of how police should respond to such rallies.

Update: Gray's death has been ruled a homicide and the six Baltimore police officers involved will be charged. Officer Caesar Goodson, the van driver, will be charged with second-degree murder, Baltimore State Attorney Marylin Mosby announced today. Other officers involved in Gray's arrest will face lesser charges.

“I heard your call for 'No justice, no peace,' ” Mosby said at a news conference. “Your peace is severely needed as I work to deliver justice for this young man.”

• Drug overdose deaths in Ohio have hit record numbers, according to a report released yesterday by the Ohio Department of Health. In 2013, 2,210 people died of overdoses in the state, a 10 percent increase in a year. It’s especially grim here in the Greater Cincinnati area: About 440, or 20 percent, of those deaths happened in Southwestern Ohio’s Hamilton, Butler, Clermont and Warren Counties. Here in Hamilton County, deaths have increased 30 percent since last year, according to the report. More than 40 percent of those deaths statewide were caused by heroin overdoses, by far the biggest single cause of drug overdoses in the state. Heroin overdose deaths have spike sharply in the last four years, overtaking cocaine overdoses in 2012 as the leading cause of overdose death.

• Yesterday I told you about how the Cincinnati Enquirer swapped out a headline on a news article about a murder in OTR while taking criticism for its handling of that story. Several high-profile Cincinnatians have since called out the Enquirer for coverage they call sensationalist. You can read more about that, and CityBeat editor Danny Cross’ analysis, here.

• We all have needs. I maybe need to get around to buying a car eventually. Cincinnati needs better public transit. Ohio Gov. John Kasich and other top officials need $9.6 million worth of small aircraft to hop around the state in. The state has purchased two Beechcraft airplanes for officials to use on state business. State officials say the planes are needed replacements for older aircraft with rising maintenance costs. One of the shiny new planes holds nine passengers, the other six, and in case you’re wondering, yes, they do have all the necessary modern avionics equipment on board, including an entertainment center and the oh-so-vital wine bottle chillers because god knows you can’t drink room-temperature white wine while you’re floating somewhere above Youngstown on official state business.

• Speaking of Kasich, his profile is rising as he continues to kinda sorta run for president. I read this pretty long Atlantic article about him yesterday. The piece literally calls him a jerk and make him sound a little like he has attention deficit disorder. But the in-depth Atlantic piece also talks about his strengths, including his energy and his sometimes-gruff but sometimes-endearing plainspoken ways. Some other magazines and national publications have taken a closer look at Kasich over the past week or so, including conservative mag the National Review, which thinks his bid is a no-go. I’d tell you more about their article, but talking about the National Review makes my soul hurt so let’s just stop there, shall we?

• Speaking of the 2016 presidential race, Cincinnati’s uh, favorite (?) son Larry Flynt has endorsed Hillary Clinton for president. Good thing for Clinton? Bad thing for Clinton? Unclear. Flynt says he’s mostly behind Clinton because she has the best chance of winning and she’ll be able to appoint two or three Supreme Court justices, bringing the nation’s highest court under a decidedly liberal sway. Flynt was an ardent supporter of Clinton’s husband, former president Bill Clinton. He doesn’t have any illusions that Hillary is about to take him on the campaign trail with her, though.

“I’m sure that Hillary doesn’t necessarily approve of everything I do,” he told Bloomberg Politics.

 
 
by Nick Swartsell 04.30.2015 24 days ago
Posted In: News at 09:45 PM | Permalink | Comments (0)
 
 
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Rally in Solidarity with Baltimore Draws Hundreds

Activists gathered peacefully to protest racial inequities in justice system

More than 300 gathered outside the Hamilton County Courthouse today to protest racial disparities in the justice system and express solidarity with Baltimore. More than a week of unrest has gripped that city after 25-year-old Freddie Gray died in police custody there April 18. Gray sustained severe spinal injuries while riding in a police van, slipped into a coma and died from his injuries.

The Cincinnati rally was the latest of several that have taken place downtown in the last year after the  shooting death of unarmed teen Mike Brown by white officer Darren Wilson brought national attention to the issue of racially-charged police-involved deaths. 

After the rally, a crowd of more than 100 marched down Central Parkway, through Over-the-Rhine, and to the Cincinnati Police Department District 1 headquarters on Ezzard Charles Drive.  From there, a smaller group of about 40 took a zig-zagging route past City Hall and Fountain Square. That group had a couple tense standoffs with police at the eastern end of Fifth Street near a highway onramp and in front of the Horseshoe Casino. All told, the protest lasted about four hours, winding down about 10 pm.

The protests were peaceful and did not result in any arrests, police said, though one protester was briefly detained on Vine Street and issued a citation for jaywalking. 

Nick Swartsell
Nick Swartsell

Police speak to activists on Vine Street at an April 30 rally protesting inequities in the justice system
Nick Swartsell
Nick Swartsell
Nick Swartsell

Activist group Black Lives Matter Cincinnati organized the rally. Among attendees were long-time activist Iris Roley, who was a key participant in forging Cincinnati’s collaborative agreement which arose from civil unrest here14 years ago. That unrest was sparked by the 2001 shooting death of unarmed black man Timothy Thomas, the 16th person of color shot by Cincinnati Police over the course of a few years. Also in attendance were State Senator Cecil Thomas, police officer and Over-the-Rhine transit activist Derek Bauman, Cincinnati Police Chief Jeffery Blackwell and others active in the community.

Black Lives Matter Cincinnati activist Rashida Manuel speaks to the crowd at an April 30 rally
Nick Swartsell

Many attendees said they were concerned about wider disparities in the justice system beyond police actions.

“They are stealing our people off the streets. 2 million black people are in prison and no one is talking about it,” said rally attendee Alexander Shelton. Shelton, and many others, decried socioeconomic conditions that have led to higher rates of arrest, incarceration and wrongful conviction for people of color, including lack of educational and employment opportunities, the isolation of black urban neighborhoods and the stereotyping of black males as dangerous "thugs."

Shelton also called for an awareness of other struggles, including those in the LGBT and workers' rights communities. Several who took the bullhorn in front of the courthouse echoed that sentiment.

Many also came simply to honor the lives of people of color.

“We’re to remember,” said co-organizer Rashida Manuel. “We’re here to remember Freddie Gray. We’re here to remember Maya Hall, the black trans woman who was killed in Baltimore last month. We’re here to remember Mike Brown, we’re here to remember John Crawford, and so many others I can’t possibly name. We’re here to remember Timothy Thomas. We’re here because we’re tired.”

John Crawford III was shot two days before Brown in Beavercreek. His father, John Crawford Jr., attended the rally and spoke briefly to the crowd.
Nick Swartsell

This post has been corrected from an earlier version that misstated Freddie Gray's age.
 
 
by Steven Rosen 04.30.2015 24 days ago
Posted In: Movies at 02:10 PM | Permalink | Comments (0)
 
 
sony pictures classics

'The Salt of the Earth' Held Over at Mariemont Theatre

Documentaries about photographers have the difficulty of making still photographs hold our interest in a medium that is about — obviously — moving pictures. The contemplation and meditation that successful still photographs elicit tend to get lost when your eyes and brain are trying to keep up with something traveling at 35 frames per second. It's like trying to admire an elegant home from a speeding train.

A recent (and very good) film about a photographer, Finding Vivian Maier, solved that problem by turning the story of why she was so overlooked in her lifetime into a mystery.

The current film The Salt of the Earth, about the questing, humanistic Brazilian-born photographer Sebastiao Salgado and directed by Wim Wenders with Salgado's son, Juliano, may be the best documentary about a photographer ever.

Salgado deserves it, too — his years-long, book-length projects chronicling the hardships humans endure in their search for work (Workers) and safety from war and famine (Migrations), as well as his elegiac images of the earth itself (Genesis), mark him as one of history's most important photographers. And he's still active at age 71.

Mariemont Theatre has just announced the film will be held over for a second week, starting tomorrow (Friday).

The Salt of the Earth accomplishes its profundity by beautifully melding the best traits of film — tracking shots, close-ups, essayist commentary and interviews presented as monologues, color cinematography, music — with deep feeling for the subject and his work. Wenders presents Salgado's monumental black-and-white photographs superbly. He slowly shifts between them and his own filmmaking. It deserved the recent Academy Award nomination it received.

Wenders is the German director of some classic narrative films (Wings of Desire, Paris, Texas) who, with his documentaries Pina and Buena Vista Social Club, showed he could find inventive and life-affirming ways to depict on film the work of other artists he respects.

Wenders in The Salt of the Earth can be solemn when it's called for — Salgado's work at times makes you wonder if the human race is doomed to cruelty to hardship. But it's also optimistic, as when chronicling how Salgado has restored to health his parched, dying family farm in Brazil.

We're fortunate that the Mariemont has elected to hold this film for a second week. I saw it last Monday and the crowd was small, so many of its intended audience might not yet be aware of it. It really deserves to be seen on a big screen. and it's rewarding for all those who take film and photography seriously.

 
 
by Danny Cross 04.30.2015 24 days ago
Posted In: Media at 12:18 PM | Permalink | Comments (0)
 
 
enquirer

The Enquirer's OTR Shooting Coverage Was a Huge Mess

A few years ago, a friend and I were walking down the street in Over-the-Rhine from Neons to somewhere north on Main Street — maybe MOTR, maybe our friend’s place at 13th and Clay, might have been heading back to a car. I’m not really sure — it’s been three or four years now since people started coming back to the (mostly nighttime) amenities in the neighborhood. 

Just before we turned the corner from 12th onto Main, gunshots popped off behind us. We turned around and saw some dude running south on Sycamore. We bolted onto Main and jumped into a storefront doorway until things calmed down, called the police and then continued on our way. I followed up and found out that the man we saw running away neither died nor killed anyone.

It was a scene that has grown less common in recent years in the area, as the push of development has moved much of the drug dealing and related violence outward into other neighborhoods. In January WCPO reported that violent crime in OTR was down 74 percent since 2004, in part due to development and evolving policing tactics.

Such facts didn't deter The Enquirer from freaking the hell out yesterday when one of its reporters witnessed a shooting in front of a bunch of popular OTR restaurants. Reporter Emilie Eaton was on the same block when 30-year-old Gregory Douglas was shot around 9 a.m. near Vine and Mercer streets, fled a short distance then collapsed and died. Police today issued a warrant for the arrest of Darnell Higgins for the murder.

It's been a sad day for a lot of people: families and friends of the deceased and the accused; those who witnessed such violence up close.

It’s also a sad day to consider the state of local media, considering the response we've seen so far to The Enquirer's collection of coverage. It started with the reporter's first-person account of witnessing the shooting. Then came a news story questioning the neighborhood's safety, for some reason quoting the Hamilton County Republican chairman and a lone neighborhood resident saying he didn't feel safe these days. Soon afterward, a more formed version of the story was updated online — this time the headline tried to cleverly play on the word "dead" (“Gunfire in OTR brings morning to a dead stop”). The headline was later changed, “After fatal shooting, no easy answer in OTR," though the insensitive quip lives on in the story's URL.

The Enquirer’s decision to frame Douglas’ death as a question of whether or not OTR is safe for those of us unaccustomed to witnessing violence is generating the type of online debate (/clicks) the "newsroom of the future" was meant to induce. It has also been heavily criticized.

Here’s former Cincinnati mayor Charlie Luken on Facebook:

Here’s Derek Bauman, an OTR and mass transit advocate/suburban police officer, who wondered on Twitter why the first source in an early version of the “Is OTR safe yet” story quoted the county GOP chair before anyone else. Alex Triantafilou’s take? “There is more work to be done to make our city as safe as the suburbs."

Eaton's first-person story was published just hours after the shooting occurred. "A stray bullet could have easily missed the victim and hit me," she wrote. "The gunman could have come around the corner for me. I'm lucky to be writing this story right now."

The story elicited strong response from readers, but perhaps not the kind the Enquirer was picturing. About 20 wrote comments questioning the appropriateness of the piece, many along the lines of this:

As writers molded dispatches from the scene into The Enquirer’s larger collection of reporting on the incident, debate continued on social media. Enquirer writer John Faherty took to the comment section of Eaton's article to defend her.

Those of us in the media don’t enjoy criticizing each others' work, and we realize most people in the industry are dedicated and passionate. We respect colleagues at other media companies, especially when their dedication to the craft is evident.

Eaton clearly had a shitty morning. Her decision to immediately get back to doing her job is admirable.

Unfortunately, the collection of work to which she contributed was misguided, made worse by the classlessness with which Enquirer editors showed along the way. Publishing right-wing digs at inner-city neighborhoods has been a longstanding tradition at The Enquirer. Using a play on the word "dead" in a news story about a murder is the type of move that would get a college newspaper in trouble. It shouldn't be OK at any self-respecting daily. 

There's no way to tell which “content coach” might have shaped yesterday’s coverage. Any number of web editors could have written such an offensive headline — the newsroom of the future isn't set up to catch these things. Newsroom morale has been known to be low at Gannett papers across the country, and many of us actually feel bad for the many talented people struggling to produce quality work under such restrictive guidelines. 

Ultimately, reporting that might have culminated in an articulation of how opposite worlds intertwine in front of our eyes every day instead became a question of whether it's smart to eat and shop near poor people.

Later versions of the story noted that the lunch rush on Vine Street continued as usual just hours later, suggesting that maybe the question of whether or not Vine Street is safe had already been answered. 

"I'm not worried about it," said Mike Georgitan, a general manager at Pontiac BBQ on Vine Street. "It might affect lunch today – maybe," he shrugged. "But then it will pick back up."
A person is dead, and the cycle of poverty, crime, drugs and violence that gripped Over-the-Rhine long before a Japanese gastropub opened at 15th and Vine is still occurring all over this city. The Enquirer would be wise to demonstrate an understanding of these forces rather than following the path of least resistance to Internet debate.

It would be a lot more compelling than a description of how witnessing violence makes a typical white person feel.
 
 
by Jac Kern 04.30.2015 24 days ago
Posted In: TV/Celebrity, Humor, Movies at 11:51 AM | Permalink | Comments (0)
 
 
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I Just Can't Get Enough

Jac's roundup of pop culture news and Internet findings

James Franco is coming to Cincinnati two shoot not one but two films this May. The actor/filmmaker, who will always be Daniel Desario to me, will be working on two movies simultaneously: Goat, a frat hazing film based on the memoir King Kelly by Brad Land, and The Long Home, about bootlegger Dallas Harden, adapted from William Gay’s novel of the same name. Franco is on to produce Goat, which stars Nick Jonas and Ben Schnetzer; he’ll produce and direct The Long Home. The latter film’s cast has not been announced yet, but a recent Facebook post by Franco mentioned the movie along with Josh Hutcherson (The Hunger Games series, Union, Ky., native), Timothy Hutton (a bunch of TV dramas I've never seen + Ordinary People), Keegan Allen (not to be confused with Andrew Keegan), Ashley Green (all the Twilights), Tim Blake Nelson (O Brother, Where Art Thou?), Jim Parrack (True Blood) and Scott Haze (lots o' Franco flicks). Let’s ponder while looking at a topless Franco:

In a Salon article about HBO's Silicon Valley that called out the show’s “woman problem,” the writer mistakenly reported that Silicon’s Kumail Nanjiani is the same person as Big Bang Theory’s Kunal Nayyar. OOF.

Look at this: Women Having A Terrible Time At Parties In Western Art History

The Full House sequel show you’ve been wishing for is finally coming, and the cherry on top of this nostalgic cake has to be the fact that Kimmy Gibbler will return! Fuller House is set to premiere on Netflix sometime next year and will focus on D.J. (Candace Cameron-Bure), Stephanie (Jodie Sweetin) and Kimmy (Andrea Barber). Adult D.J. is a vet, she has two boys and is pregnant with another, and the show picks up with her being recently widowed (R.I.P. Steve?!). Aspiring musician Stephanie moves in along with single mom Kimmy and her teenage daughter. It sounds like a pretty fucked up plot until you realize it is exactly the same as the original, but with ladies. Remake ALL THE THINGS with ALL THE LADIES!

John Stamos is producing and will pop in from time to time as Uncle Jesse, but the rest of the original cast is still up in the air. This could be a big pile of awful, but one thing gives me hope: Stephanie is still pursuing her entertaining dreams!

A masked hero in the UK is going around spray painting penises around potholes to try to get them filled faster. Best part: they’re going by the name Wanksy.

Inside Amy Schumer’s third season just started, and already there have been some epic musical moments. She pays tribute to the It Girl of body parts, the butt — watch out, eyebrows are comin’ for that title — in “Milk Milk Lemonade” and gives One Direction a realistic makeover with “Girl, You Don’t Need Makeup.” 

David Ayer revealed Jared Leto’s Joker look for the upcoming Suicide Squad movie. Let the mockery begin!

Cecily Strong hosted “nerd prom,” which is the White House Correspondents’ Dinner and not Comic-Con. See the SNL star’s full speech here

Obama addressed the crowd beforehand and, thankfully, Luther the anger translator was on hand.

Apparently any time more than two stars of a past TV show/movie are in the same room, that constitutes a reunion. So I guess there was a Lizzie McGuire “reunion” with Hilary Duff, Lalaine (Miranda) and Jake Thomas (Lizzie’s little brother whose name I can’t remember and won’t look up). Considering Gordo, Lenny and animated Lizzie weren’t there, this is truly a weak reunion. Sorry. Read more in this TIME article (seriously).

If you need a massive dose of Beyoncé in a short amount of time:


New movie trailers: Adam Scott and Taylor Schilling accidentally go to a strange sex party in The Overnight; Tyson Beckford’s answer to Magic Mike, Chocolate City (dear god).

 
 

 

 

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by Zack Hatfield 05.22.2015 63 hours ago
Posted In: Film at 11:15 AM | Permalink | Comments (0)
 
 
the joke

Foreign Film Friday: The Joke (1969)

This weekly series discusses the cultural and artistic implications of a selected foreign film.

A couple of weeks ago, I noticed a new Milan Kundera short story in The New Yorker. One of my favorite authors, I was intrigued to learn Kundera was releasing his tenth novel — the first in 15 years — later this year (in English; it was previously released in French). Though I enjoy reading Kundera’s work, the Czech author is known for taking umbrage at his books’ English translations. I began to wonder how he felt about his novels that have been translated onscreen, to film. 

Some quick Googling revealed he had served as either screenwriter or consultant on the only adaptations of his works, 1988's Unbearable Lightness of Being and 1969's The Joke, films that bookend the communist regime in the Czech Republic. Disappointed with Unbearable Lightness of Being, an American film starring Daniel Day-Lewis, I turned to The Joke. A film by auteur Jaromil Jireš at the crest of the Czech New Wave movement, its political tides swept the country during the end of the Prague Spring, a brief elision in the Soviet regime where democracy seemed attainable for a fleeting moment. 

I wasn’t disappointed. Not surprisingly, The Joke is inherently political, but its lofty themes of freedom thinly veil a more nuanced, personal narrative of intimacy and revenge. Told in effective jumps from the past and present, the film follows Ludvík, a man who sends a sarcastic jest in the mail to his romantic interest, Markéta, mocking Trotsky. The letter is read by his university comrades in the Party and they sentence him to six years in prison and the army, where he becomes the butt of his own joke. 

Jump to the present: Ludvík attempts to get revenge by seducing Helena, the wife of one of his betrayers from the Party years ago. The film unsnarls with an arid humor as Ludvík’s pessimistic outlook is upended by revelatory moments, often soundtracked by the film’s traditional music. The polyphonic chapters of Kundera’s novel are traded here for colliding tonalities between now and then, as the helixing of the visual tenses instill a sense of upheaval, of never truly being able to escape the past.

Cinematographer Jan Curík frames the imagery with a monochrome staccato to complement the frenetic visual grammar, and Jireš intercuts archival footage with the action to suggest the reality of the atmosphere. Voiceovers are capitalized on frequently, and add a dimension of helplessness that was shown in the book through multiple points of view. As Ludvík narrates his fruitless schemes, there’s a false sense of omniscience, even though it becomes clear that he has no control over his destiny. Jirês captures Kundera’s inimitable brand of existential romance, and Josef Somr plays the protagonist with an understated brilliance and ennui. Trying to convince Helena of his love, the godless Ludvík tells her, “It’s as strong as fate.” 

Kundera has suggested in interviews that all of his novels could have been titled The Joke or Unbearable Lightness of Being, and I found that true in this case, even though there is a clear heaviness to the causes and effects, in and outside the screen. Jireš was exiled after the movie was banned, and was pressured to erase The Joke from his filmography, a film whose weightlessnesses arrive in the form of old Folk songs, a practice that allows the characters to never forget their heritage. Cinema was Jireš’s way to remember, and his second film survives, thankfully, for us. 

It was alleged, in 2009, that Kundera was an informant for the Chezch secret police as a student, and turned over a Western spy who served 14 years after almost facing a death sentence. Whether or not this is true, it intensifies the texture of sin and ambiguity within the film, which Kundera co-wrote. Maybe it was a type of catharsis, a way to cope with his guilt. Or maybe it is the film’s final joke, leaving no one to have the last laugh. 


THE JOKE is currently screening on hulu plus as part of their Criterion Collection. hulu.com.

 
 
by Steven Rosen 05.22.2015 64 hours ago
Posted In: Visual Art at 09:48 AM | Permalink | Comments (0)
 
 
peggy crawford candid with raphaela-2

CAC Announces the Death of Founding Member Peggy Crawford

The Contemporary Art Center today announced that founding member Peggy Crawford died on April 18 in Santa Fe, N.M., where she had been living. She was one of three women who founded the CAC's precursor, the Modern Art Society, in 1939. She was able to come to the CAC last September to celebrate its 75th anniversary — an exhibition of her photography was part of the observance.

Here are excerpts from the CAC press release:

Contemporary Arts Center Director Raphaela Platow fondly recalled the impact that Peggy Crawford made on so many: "Mrs. Crawford’s life is an inspiration to me. As a young woman she was one of the three women founders of the Contemporary Arts Center (called Modern Art Society at the time), an institution she initiated, against all odds, in a moment in time when the Great Depression was still shaking the world and the second World War was about to erupt. It is so easy not to do something, to shy away from a great idea because of the many obstacles and hurdles in the way, a lack of resources, or fear of failure. But Peggy Crawford and her two companion co-founders created the Modern Art Society in 1939 because their lives urged them to do it. Mrs. Crawford applied the same passion, tenacity, and energy to her different life pursuits and I feel lucky that I had the opportunity to meet her and to spend time in her presence."

Born in 1917, Peggy Frank graduated from Smith College. In 1939, along with Betty Rauh and Rita Rentschler, she founded the Modern Art Society in Cincinnati, Ohio, which would become the Contemporary Arts Center.

The three founders had little  or no formal museum experience. For a year, their "office" consisted of a portable typewriter set up in a living room. At the start, the society had staunch backers and hard workers, but they had very little money and had only a borrowed gallery space in the basement of the Cincinnati Art Museum.

During the first year, the founders raised $5,000 to produce six exhibitions, each with a catalogue. Their first exhibition, Modern Paintings from Cincinnati (Nov.-Dec. 1939) showed their early commitment to showcasing up-and-coming local artists. 

The fledgling Modern Art Society mounted new and often controversial exhibitions, published catalogues, encouraged local artists and helped promote contemporary art collections and education. Between 1940 and 1951, the Modern Art Society exhibited such artists as Pablo Picasso (1940), George Grosz, Paul Klee and Alexander Calder (1942), Fernand Leger (1944), Rufino Tamayo (1947), Jean Arp (1949) and other new artists in abstraction, Surrealism, modern architecture and contemporary design. One of the highlights of this time was the Cincinnati showing of Picasso’s "Guernica" in 1940 because it represented the first and only time the important work was shown in the Midwest.

Peggy Frank married Ralston Crawford, a painter and photographer, who preceded her in death.

She is survived by two sons, Neelon (Susan Hill), and John, along with a stepson, Robert (Eldrid Crawford).

A memorial service was held at Kingston Retirement Center in Santa Fe, New Mexico. April 30, 2015.

 
 
by Staff 05.22.2015 65 hours ago
Posted In: Drinking, Events, Fun, Comedy, Culture, Concerts, Holidays, Life, Movies, Music at 09:24 AM | Permalink | Comments (0)
 
 
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Your Weekend To Do List (5/22-5/25)

Taste of Cincinnati. The May Festival. Memorial Day Weekend.

The big party this weekend is Taste of Cincinnati, but there are plenty of other options if you don't want to spend your entire weekend gorging. Check out the May Festival, Memorial Day Weekend at Spring Grove cemetery, plenty of live music, live theater and more.

FRIDAY
Celebrate the power of the voice with THE MAY FESTIVAL
The May Festival, one of the oldest and most prestigious choral festivals in the Western Hemisphere, kicks off its 2015 showcase at Music Hall with Haydn’s “The Creation” on Friday and works by Handel and Vaughn Williams on Saturday. A special May Festival Youth Chorus/May Festival Chorus performance takes place Sunday at Covington, Ky.’s Cathedral Basilica of the Assumption. Renowned guest vocalists will be joining each performance, with pre-concert festivities before Music Hall performances, including al fresco food trucks, lobby recitals, drink specials and more. The May Festival continues through May 30. $12-$125; subscriptions available. More details at mayfestival.com.


Mamma Mia!
Photo: Universal Pictures
Bring a blanket for MOVIES IN THE VINEYARD
You can pop corks or corn at Vinoklet Winery’s vineyard, which is hosting three outdoor movie nights this summer. On Friday, get your Streep on when they show Mamma Mia! on the silver screen amid the sprawling acres of the award-winning vineyard. And hey, if ABBA isn’t your thing, you can catch later flicks in June and July with Under the Tuscan Sun and Phantom of the Opera, respectively. Bring a blanket or a lawn chair, but no outside coolers, drinks or food; picnic snacks, beer and wine will be for sale. 7 p.m. Friday; film starts at dusk. Free. 11069 Colerain Ave., Colerain, vinokletwines.com.

The Cavalcaders
Photo: Pat Conley
Erin go Bragh with the ACTING IRISH INTERNATIONAL THEATRE FESTIVAL
Irish theater is top of mind locally, what with the warm-hearted Outside Mullingar continuing at Ensemble Theatre and this week an international festival of Irish acting. Catch daily performances of full-length Irish plays produced by companies from the U.S., Canada and Ireland — including our own Irish American Theater Company of Cincinnati, which is hosting the 22nd annual festival at its 200-seat theater. George Heslin, founder and artistic director of New York City’s Origin Theatre Company, critiques each day’s production and presents awards for directing, acting and production during a brunch on Sunday morning at downtown’s Millennium Hotel. Through May 23. $17-$22. Irish Heritage Center of Greater Cincinnati, 3905 Eastern Ave., East End, 513-533-0100, irishcenterofcincinnati.com.

Circle Mirror Transformation
Photo: Sandy Underwood
Learn and laugh with CIRCLE MIRROR TRANSFORMATION 
Annie Baker’s Circle Mirror Transformation is a deceptively simple play — on the surface, it’s a comedy about five people enrolled in a community center class about learning how to act. They work their way through six weeks of exercises intended to reduce their inhibitions and open them to being more expressive and comfortable onstage. None seem bound for onstage careers, although one says she’s worked as an actress and another, a high school student, aspires to be one. But they do learn a lot — about themselves and each other. In fact, they learn how to act on the broader stage of life in this award-winning play that’s closing the Cincinnati Playhouse in the Park’s current season. Circle Mirror Transformation, presented by the Cincinnati Playhouse in the Park, is onstage through June 7. cincyplay.com

Steve Katz
Rock with Blood, Sweat & Tears' STEVE KATZ at the Southgate House Revival
According to Publishers Weekly, Steve Katz’s new memoir Blood, Sweat, and My Rock ’n’ Roll Years: Is Steve Katz a Rock Star? has maybe the most spectacular revelation yet of any Rock memoir. Katz was a guitarist with two successful Rock bands in the 1960s, The Blues Project and Blood, Sweat & Tears, and he went on in the 1970s to produce Lou Reed’s classic live album, Rock n Roll Animal. Katz says one of the stereo feeds of the audience track for Reed’s Animal concert at New York’s Academy of Music was lost, so there was only mono sound. That wouldn’t work, so the engineer went through his archives and found an audience track from a concert by the ultra-square John Denver. (Both were RCA recording artists at the time.) Steve Katz plays Newport's Southgate House Revival on Friday. Tickets/more info here.

SATURDAY
Taste of Cincinnati
Photo: Provided
Gorge yourself at TASTE OF CINCINNATI
It’s no secret the food scene in the Queen City rivals that of major U.S. metropolises — a few OpenTable award winners, some James Beard Award semifinalists and even a AAA Five-Diamond restaurant call Cincinnati home. And from Saturday to Monday, your favorite Cincy foodstuffs will be in one location at the Taste of Cincinnati, the nation’s longest running culinary arts fest in the heart of downtown. Want to chase LaRosa’s with a donut grilled cheese from Tom+Chee? And then follow that up with a Thai basil/lime ice pop from streetpops? At Taste, you can, and you should. This year there will even be a Food Truck Alley on North Broadway off of Sixth. I recommend fasting until then. 11 a.m.-midnight Saturday and Sunday; 11 a.m.-9 p.m. Monday. Free. Fifth Street, between Vine and Sentinel streets, Downtown, tasteofcincinnati.com.

Outside Mullingar at Playhouse in the Park
Photo: Mikki Schaffner
Catch the extended OUTSIDE MULLINGAR at the Ensemble Theatre 
Count on John Patrick Shanley for compelling storytelling: His Pulitzer Prize-winning drama Doubt explored the power of innuendo; his Academy Award-winning movie Moonstruck was a romantic comedy. His play Outside Mullingar lands squarely between those extremes, connecting with his family’s roots in rural Ireland for a tale of identity, heritage and love. It’s sure to be a winning production with a cast featuring Dale Hodges, Joneal and Jen Joplin (yes, they’re father and daughter) and Brian Isaac Phillips, directed by former Playhouse artistic director Ed Stern. This show is likely to be a hot ticket: It’s already been extended by a week. Through May 30. $40-$44 adult; $25 student; $18 senior/children. Ensemble Theatre Cincinnati, 1127 Vine St., Over-the-Rhine, 513-421-3555, ensemblecincinnati.org.

Ian Bagg
Photo: Provided
Laugh with IAN BAGG
Ian Bagg had dreams of playing pro hockey, but switched to comedy because he grew tired of getting knocked around the ice by players he describes as decidedly more talented than him. Fortunately, he had a knack for humor. “It’s so much fun being on a [hockey] team and hanging out,” he says. “I think that’s where I got my comedy chops: chirping at everyone from the bench and in the locker room and having a great time.” Fellow hockey fan Dave Coulier told CityBeat a very similar story a few months back. Oddly, Bagg and Coulier have never met. “You’d think if there’s anyone I would know, it’s a guy that does comedy and plays hockey,” he says. Thursday-Sunday. $10-$20. Funny Bone on the Levee, Newport, Ky., funnyboneonthelevee.com.

The Cincinnati Boxing Story
Watch the premiere THE CINCINNATI BOXING STORY
The world premiere of The Cincinnati Boxing Story screens at Taft Information Technology High School on Ezzard Charles Drive in the West End on Saturday. Mark Sweeney’s film explores how Cincinnati is a boxing town that has long produced great fighters — most notably Ezzard Charles himself — and examines our boxing history with past and present champions and their supporters. 6 p.m. Saturday. $15. 420 Ezzard Charles Drive, West End, facebook.com/sweeneynowvideo.

Celebrate art all day with the ART SPACE IS YOUR SPACE artist in residence at Wave Pool gallery
Wave Pool gallery’s first artist in residence, Georgia-based artist and filmmaker Erin Colleen Johnson, organized several events Saturday that seek to investigate the intersection of race, class, migration, agriculture and environmental justice, all through the lens of soil. A groundbreaking ceremony for Camp Washington’s Urban Farm (3220 Colerain Ave.) involves setting personal intentions with a ceremonial shovel. Later at the gallery, David Singleton, executive director of the Ohio Justice and Policy Center, will talk about his work to eliminate racism within the criminal justice system, and Johnson herself will give a live performative video lecture called Providence Canyon. Groundbreaking 11 a.m.; Gallery events start at 6 p.m. Saturday. Free. 2940 Colerain Ave., Camp Washington, wavepoolgallery.org.

SUNDAY
Unlocking the Gates of Auschwitz 70 Years Later
Photo: CHHE Collection
Remember history with UNLOCKING THE GATES OF AUSCHWITZ
The Freedom Center’s current Unlocking the Gates of Auschwitz 70 Years Later exhibit weaves together rare artifacts, photographs and the personal stories of Holocaust survivors Werner Coppel and Bella Ouziel to explore their journey and how life and the power of the human spirit continued in the face of the horrors of Auschwitz. Also on view are artifacts on loan from the United States Holocaust Memorial Museum, Hebrew Union College and more. A closing reception May 27 features a conversation with Coppel and Ouziel, as well as special recognition of area liberators and veterans to commemorate the end of World War II. Through May 27. $14 adults; $12 seniors; $10 children. The National Underground Railroad Freedom Center, 50 E. Freedom Way, The Banks, Downtown, freedomcenter.org.

Ohhh and ahhh over ZOO BABIES
Celebrate the newest arrivals at the Cincinnati Zoo & Botanical Garden during the entire month of May, where you'll find the cutest baby faces from all over the globe. Follow the six-foot-tall pink and blue stork statues displayed throughout the zoo to lead you to baby African lions, penguin chicks, bonobo monkeys, a whole litter of African painted dogs and more, as their big eyes, miniature sizes and playful personalities melt your heart. Through May. Park admission $18 adults; $12 children and seniors. 3400 Vine St., Avondale, 513-281-4700, cincinnatizoo.org.

MONDAY
Memorial Day Weekend at Spring Grove
Photo: Provided
Celebrate MEMORIAL DAY AT SPRING GROVE
Between kicking off Memorial Day weekend with the Ohio Military band performing in the Rose Garden Gazebo, a veterans tribute and a historical Patriots and Pioneers walking tour of the cemetery, Spring Grove has the entire weekend jam-packed with activities. On Monday, the Sons of Union Veterans of the Civil War and the 6th Ohio Volunteer Infantry will perform an 1860s Grand Army of the Republic ritual and shower flower petals on the graves of union soldiers interred in Spring Grove, followed by a living history presentation by President Abraham Lincoln (or a man dressed like him) and a Civil War walking tour. Thursday-Monday. Free. 4521 Spring Grove Ave., Spring Grove Village, 513-681-7526, springgrove.org.

Over the Rhine
Photo: Provided
Raise a barn with OVER THE RHINE
Barns and farms have played an important role in the history of Over the Rhine, married couple Linford Detweiler and Karin Bergquist’s internationally acclaimed, 25-year-old Cincinnati band. The couple met in a restored barn while in college in Canton, Ohio. For the past decade, the twosome has lived in and worked out of a brick farmhouse in Highland County on land they’ve dubbed “Nowhere Farm.” And now Detweiler and Bergquist are restoring a 140-year-old barn in Clinton County (in the village of Martinsville) and transforming it into a performing arts center with a recording studio called Nowhere Else.  As with Over the Rhine’s past two albums, Detweiler and Bergquist are turning to their loyal fanbase to help fund the new facility. The band is offering a variety of perks for donations. Among the perks (starting at the $100 level) are tickets to special preview concerts at Nowhere Else this weekend (the couple is hoping to have the facility fully ready to open by early October). The full six-piece band is performing special “Barn Raising Concerts” on Saturday (which is sold out), Sunday (7 p.m.) and Monday (3 p.m.). Over the Rhine will be debuting new songs at the concerts, which will be filmed and recorded for a forthcoming live album and DVD project. The release can be pre-ordered as part of the fundraising campaign. Visit at overtherhine.com/barnraising for full details.

Veterans and military get in free at BUTTERFLIES OF THE PHILIPPINES
As Cincinnati welcomes spring, the Krohn Conservatory welcomes the colorful and exotic butterflies of the Philippines. For 12 weeks, Krohn will transform into a majestic tribute to the Southeast Asian island country, capturing its stunning natural beauty and Filipino culture. The showroom will be a tropical paradise of free-flying butterflies soaring among waterfalls and bold volcanic murals. A rainforest under glass, the conservatory will be filled with more than 3,500 beautiful plant species, such as ornate orchids, brilliant bromeliads, delicate anthuriums and dramatic dracaenas, providing a backdrop close to home for the native butterflies to flutter. Free for active military and veterans on Memorial Day. Through June 21. $7 adult; $4 children; free ages 4 and younger. 1501 Eden Park Drive, Mount Adams, cincinnatiparks.com.



 
 
by Rick Pender 05.22.2015 65 hours 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 Josh Elstro 05.21.2015 3 days ago
Posted In: Live Music, Festivals at 10:20 AM | Permalink | Comments (0)
 
 
shakyknees

Shaky Knees Festival: No Puns Necessary

Despite some limitations, Atlanta's Shaky Knees offered an enjoyable music fest experience

I'm swirling a 24 oz. PBR tall-boy around 2 a.m. at a bar fashioned from an old church in a neighborhood I can't quite figure out. Is it up-and-coming like our own Over-the-Rhine? Or are we "on the wrong side of the tracks"? I don't really care at this point. I've already gotten drunk once today and spent 12 hours in the burning southern sun. I just want a bed.

There are 20-somethings in rompers, board shorts and woven sandals hunting for a festival after-party lined up around the block waiting for over an hour to sit on picnic benches and drink crummy beers together at a 300% markup over buying them at a gas station. We are only inside because someone among some newly found friends has sweet-talked the back door guy. Point is, I'm bored and ready for bed. I engage a fellow Cincinnatian at this bar after awkwardly sitting in silence for the past 30 minutes. Someone points to an open garage door leading to an abandoned courtyard where a bonfire is burning and shadowy figures have been shuffling in and out of all night. Oh man … I've been to these parties back home. They often end in way more cocaine than I'm comfortable being around or racially tense fights. But it’s the path I have to take to find out where I can sleep, so I throw my hood up to go as unnoticed as possible and dive in.

"If you high as fuck and you having a good time say yeah!"


"YEAH!!"


"If you drunk as fuck and you having a good time say yeah!”

"YEAH!!"

A track starts playing a familiar synth line. Everyone in the rundown rock yard throws their hands up in unison and screams, "I DONT FUCK WIT' YOU!!" Big Sean's breakup anthem blares over the PA. Yes! I'm so down with this. The fact that I'm in dirty soccer shorts and an Against Me! hoodie doesn't matter. The fact that I'm not from here doesn't matter. My age doesn't matter. My race doesn't matter. We all dance and sing along together until the cops show up. Forget the kids waiting in line to drink bad beer on park benches hoping to get laid; this is the most live party I've been to in a long while and nothing like it has ever happened back home.

But this isn't home, it's Atlanta. And it's the best part of Shaky Knees festival. I had headed to the unofficial
capital of the South two days
earlier with wildly different expectations. I was nervous, expecting an endlessly
expansive metropolis like
Chicago or New York where you
could get lost for days just
searching for a legal parking spot
and shouldn’t expect to find a place to rest your head for less than $100 per night.

Instead I was greeted by a uniquely diverse, affordable and welcoming city that didn’t feel much more overbearing than Nashville or our own city. A welcoming attitude of southern charm and hospitality was the cherry on top of every restaurant and bar we’d visit.

Before I go on I feel it should be pointed out that while fully qualified to review a music festival, I fall into a not so primary target demo for festival promoters. Yes I’m white and middle class, but, more importantly, I’m 29. Not young enough to save up my graduation money and go on a road trip with my gal pals for the “party of the summer.” Not late enough in my 30s, with kids of my own old enough to either stay home alone or come with as I check out whatever ’80s Alt band has dusted themselves off to play in the twilight hours of each day in the name of collecting a paycheck. Most of my demographic is too busy being spit up on at all hours of the night by their newborns to afford spending three days drinking in the sun and being blasted by unhealthy decibel levels. But, alas, here I am.

That all being said, my only real complaint with Shaky Knees was its lack of diversity. It is in the Hip Hop capital of the south (several jokes were made asking locals if Outkast are the “presidents of Atlanta”), but it failed to feature a single Hip Hop or R&B act. There was a small representation of Delta music with Preservation Hall Jazz Band and Trombone Shorty dotting the schedule early Sunday afternoon (which I unfortunately missed as my attendance was unplanned and last minute, so I had to spend Sunday driving home for work). Every band I saw was just white guys with guitars. Not that there’s anything wrong with some of that, but I didn’t see a single other act that had more than one token female or person of color (the exception being Tennis, which had one extra woman on keys tucked in the back of the stage).

Atlanta’s location provides for an amazing opportunity to unite a wide array of music lovers from all over the country. I met travelers from places as far as New York, Miami, Fla., and Nashville, Tenn. It has a stronger African-American middle class than most of the Midwest, as I experienced amongst its nightlife and food scene, and yet the culture of the festival was still focused primarily on a white, suburban, Indie Rock or Folk crowd, which is a shame. Some minor lineup tweaks could make all the difference for an otherwise amazing festival.

Enough of that. We’re here to talk about performances, so let’s party …

DAY 1
Jukebox the Ghost While assessing the lay of the land we settled into our first full set with the Piano Rock trio. My friend, who knows my taste well enough to know I’d instantly
want to judge
them, insisted I
give it a chance. It took a minute,
but with interlude
banter like, "This
is a party song
about breaking
up," or "This is the
dumbest song
ever written,"
these guys are
just having too
much fun to not
want to join in. I
mean, come on
— they closed with
a cover of
Queen’s "Don’t Stop Me Now" (yeah, they really had the balls to do that!) knowing full well their younger fan base would be totally lost and they didn’t give a single fuck. Kudos guys. You will do just fine in this world so long as your hairlines stay in tact.

Tennis I was merely nodding appreciatively through most of their set. Then lead singer Alaina Moore, whose neckline plunged all the way to the top of her high-waisted jeans with nothing but some hard working gravity protecting her from indecent exposure charges, introduced the song “Marathon.” One of the band’s older songs, it’s a solid straight up Doo Wop tune. (Now we’re talkin’!) I was pulled in for just a moment. But then all I could do is re-Imagine them as the opening band in the dance in Back to the Future with this same look and style. Marty never even gets the chance to rip through “Johnny B Goode.” The scene would already be too wild for Hill Valley circa 1955 to handle. There are riots in the streets! Marty disappears from the family photo and his existence fades into obscurity. Fin.

Wavves “Finally ‘the youths’ are partying!” I spent a good chunk of this set under the bright sun on searing black top thinking, “There’s gonna be some seriously dehydrated kids in sweaty ironic tees later.” Wavves’ first record was the only thing that swayed me to let my guard down and learn to accept the lo-fi revolution. Plus, “King of the Beach” is a total jam. But something just isn’t right about the energy of this young crowd. It’s like the Warped Tour of my youth for a new generation that doesn't have a George Bush to rally against and vent their angst toward. There’s a wave of aggressive indulgence in the pile of sweaty bodies that’s directed at nothing in particular and I’m too old or out of touch to understand it. Mostly I was thinking Hedonismbot from Futurama would fit right in crowd surfing over this pit. “Oh my!” Wavves new song was on point, though, perhaps suggesting a move away from the low-fi fuzz that covered up the simplicity of their previous work to something a little more richly melodic.

Manchester Orchestra I had to give this band a chance as my roommate texted me from back home insisting I check it out. I trust her. So I go. And, yeah, it’s heavy and I like that, but I’m not sure I get it yet. There are these glimmers of sing-along anthem glory, but in my 30-45 minute blind taste test of them I didn’t get enough of that flavor to crave seconds. Maybe some more research before they visit us for Bunbury next month will bring me around.

The Mountain Goats “AND HARD TIMES ARE WHEN A MAN HAS WORKED AT A JOB 30 YEARS AND THEY KICK HIM IN THE BUTT AND SAY: HEY, A COMPUTER HAS TOOK YOUR PLACE, DADDY. THAT’S HARD TIMES!” This is part of the epic, booming three-minute intro that sets the stage for The Mountain Goats’ show, a voiceover shouting a challenge to the Macho Man Randy Savage daring him to a fight in the ring across an empty stage. It gets you properly amped for what’s to follow. You can feel John Darnielle and his gang carry that energy right onto the stage with them as it ends and the crowd erupts. Don’t make the mistake of lumping these guys in with the dusters “just out for a paycheck” I mentioned earlier based on their age. You will rarely see someone look so happy to sing songs he wrote 20 years ago with as much conviction as Darnielle. His stage presence oozes “I’m a professional, but I’m having a blast!” And the crowd responds, “Alright John. Then I am too!” That presence is so strong he still wins over crowds with brand new songs despite already having a discography over 15 full-lengths deep. What's that streaming down my face as they close out with “No Children,” the hauntingly triumphant ode to the end of the ugliest relationship you’ve ever heard? It’s … it’s just a really heavy bead of sweat! It's hot out here damn it! Leave me alone!

Mastodon At this point in the day I just can’t take standing up anymore. Another minor issue with Shaky Knees overall was the food options. The ratio of local food trucks to festivalgoers yielded unbearably long lines for anyone hoping to catch some of the later acts of the day. Beer however was in ample supply, so I grabbed one to sip on while catching the most Metal moment of the weekend from a hill a hundred or so yards out from the main stage. Metalheads I trust recommend Mastodon and, yeah, they were fine with me too. Only problem is they fell just short of what I’m looking
for in their songwriting, a craft often overlooked
by Metal bands in my opinion. And so I spent
most of their set wishing I was watching Ghost
instead and checking my phone for any news of
their next release. We should expect that in
August.

Pixies Kim Deal purists be damned. Her current replacement did just fine and sounded spot-on like the records to me. While expecting those aging rockers coming out to collect a paycheck I’ve been talking about, there was still a dash of magic left. Or maybe it’s just that little flutter I get when a song starts up that I’ve been listening to for 15 or so years, like “Here Comes Your Man,” with no expectation of ever hearing live because, to be honest, it was a little loose at times. Okay. Really loose. Like, Frank Black stopped in the middle of a song and said, “That was my fault. I went to the chorus too soon,” and went on to the next one loose. Makes you feel a little bummed for folks who shelled out full price for a pass just because they’re so stoked to see their favorite band. So yeah, maybe my nostalgia high is wearing off now that I’m reflecting back and realizing Kim’s replacement was honestly the most engaging part of the set.

The Strokes Lead singer Julian Casablancas isn’t exactly the king of charisma. Hell, he’s not even the dunce in the corner of Charisma 101, which makes it really hard to accept this band as a headliner. His attempts at on-stage banter made for some of the most uncomfortable moments of the weekend. Tie that in with his cracking voice straining to push out the words “How long must I wait” before it just gave out during the first song of their encore, “Vision of Division.” Their set became downright unbearable at times. Unfortunately, on top of this, “Reptilia” is the only song I really care for and they opened with it. So I was over it quick. The crowd didn’t seem to care though. They all still went nuts when the song that sounds exactly like “Last Night” but isn’t it came on halfway through their set.

And so, in my constant battle of jaded cynicism vs. the fact that I do genuinely love live music, I’d say day one ended in a draw. On to round two!

Day 2
Kevin Devine We raced back to the festival grounds to catch this set, but I wasn’t quite awake enough yet and needed to finish my coconut water to get things going. But Kevin didn’t care. His high energy set was better than anticipated and got me back in the game. He’s got the Indie/Emo “slow burn, build and release” pattern down and I’m totally ready to go up and down for the ride. Definitely keep an ear out for him.

Mariachi El Bronx Exactly what it sounds like. It’s Los Angeles hardcore band The Bronx … playing mariachi. I honestly resisted them for years as my friends raved and I assumed it was just another silly novelty crossover band. But they’re such great players that they managed to transcend the novelty and throw one hell of a party. Unfortunately, The Bronx gang seemed to draw the short end of the stick for the entire festival as this set was early on the main stage where the bass in the mix was for a much larger headlining crowd and it ruined the whole balance of the band. I had to leave halfway through as my body couldn’t handle the blasting waves of low end. But their bass player sure sounded great!

Speedy Ortiz “I think Squidbillies is here right?” lead singer Sadie Dupuis says between songs with minimal irony or facetiousness in her voice. And it’s this feeling of off beat intimacy the band tries to interject into the mid-afternoon, sun-drenched crowd that draws me in. It helps me understand why others are drawn to them, while my aging ears struggle to get hip to it. Dupuis voice and melodies, along with everyone else’s performances, are great, their style of off-the-beaten-path harmonic and chord structure however have never really set in for me. It kind of killed off my mariachi buzz and I stepped out halfway through to plan the rest of my day in some shade.

Viet Cong I went into this thinking the tough as nails name meant I was about to see a bratty and loud Punk band, which I was kind of stoked about. But the droning bass and synth is all good too! Makes me want to get in the world’s angriest space shuttle and fly to the moon. As they droned the last two chords of their final song back and forth for nearly three minutes I found myself wanting to shout, “Just take off damn it!” These guys would be equally good for when you're drunk alone at 4 a.m. again and your Joy Division records are just too far out of reach, plus you need a little extra edge to encourage you to break a few things!

Metz If you wish The Hives were still a hard touring band, these guys will get you half way there. Plus they’re a lil’ heavier to boot. That being said, the riffs could be a little catchier for my taste, but they still deliver enough to keep me hanging on and start snooping around for their records next time I’m out. Plus, you’ve got to love a band that you know is making somebody in Canada say, "You know that quiet guy in accounting? Yeah he TOTALLY shreds on the weekends!" Probably also worth mentioning here that these guys will be tearing up the Woodward Theater with Viet Cong on July 21st and it’s definitely going to be worth being there.

FIDLAR Plain and simple: This is why I love Punk. Just look at the dumb, unbridled joy on the faces of this sea of kids bouncing up and down in unison. There’s a certain “it” factor that the best live acts have regardless of technical difficulty or skill required to accurately perform their songs which I’ve never been able to put my finger. (FIDLAR said it best during their own set: “That’s right guys, all you need is three chords!”) This band definitely has it. The fact that I’m getting too old and responsible to honestly relate to their lyrics doesn’t matter. I think cocaine is childish and immature and I think drinking cheap beer is a waste of calories … but goddamn. I just can’t help but scream along in unison with these kids and share their same dumb, shit-eating grin. They are rescheduling their recently cancelled show at Thompson House. Keep an eye out for the new date and be prepared to lose your goddamn mind.

The Bronx And this is why I love hardcore! This is one of the tightest performances I saw up to this point despite unfortunately having the smallest crowd. No frills, just solid playing and tight execution. I had tried getting into them on record a few years back and something didn't click. Now it does. Time to go back and start working on picking up some change on the dance floor again.

Neutral Milk Hotel Yep. There's still too much ex-girlfriend attachment to this band for me to really enjoy it. Plus, they played at the time of day where no matter how close you want to get, you bottleneck at a point in the crowd that’s too far away to really feel a part of the set. “Maybe I should see if the Bronx is still playing? Why did I leave!? If one more person near me gushes over how cool using a saw as instrument is heads might roll …” Also the flock of blond college-age girls flocking out of the crowd after “In the Aeroplane Over the Sea” was played early in the set was amazing. Am I being too cynical? Whatever. Jeff Mangum’s voice is still on point after all these years. Still worth it.

Wilco At this point that bottleneck was just too far away to really get into what was happening on stage, which bummed me out because I had to miss Wilco’s show in Cincy a few days earlier. The drunk people next to me were almost as loud as the reverberations distantly ringing on the stage. But hey — they’re still cranking out the hits and they're still Wilco, so you gotta love it. But I was a little too buzzed and nervous about not getting a good spot and running into this same situation for the Avetts, so I dipped out a little early.

The Avett Brothers “Effortless.” People challenge me all the time to explain why I believe these guys are objectively one of the best live musical acts in music right now and this is the only word I can ever seem to muster. The level of focus, mastery and attention to
detail that goes into the
performance this crew puts on
night after night should be
obvious to anyone who’s so
much as taken a single guitar or
voice lesson. The love, passion, joy, and energy they
infuse into every song, whether
it’s a sing-along anthem like
“Kick Drum Heart” or a soft
ballad like “The Ballad of Love
and Hate,” makes the whole act
seem more effortless every time
I see them. Whether it’s Seth’s
improvisational riffing on their
already perfect vocal lines or
Scott’s conviction and sincerity
when telling the crowd he needs their help singing along with something, I truly believe they would win over any true music fan who is willing to let go and be taken by the power of one of their sets. No other band refracts as much love for what they’re doing on stage back to an audience quite like the Avetts. Their headlining set at Bunbury will be their first performance in Cincinnati since 2008. Do not miss it.

Whoa. What a ride. The fact that I’m having trouble wrapping this up despite the fact that I missed a whole day of the festival is a testament to just how much Shaky Knees has to offer music lovers. I’m having trouble keeping the two-day experience I had from unraveling into a full novella and am now forcing myself to shut up. Despite its limitations, there is still enough diversity to keep most fans of semi-independent Rock or Alternative on their toes. (No. It was not hard to resist a “shaky knees” pun here.) But when you attend next year, don’t let your time adjusting to the southern sun tap all of your energy for experiencing the city’s culture and nightlife. As much as I love Cincinnati, I think we have much to learn from this gem down South and I look forward to returning soon.

— Josh Elstro

 
 
by Danny Cross 05.20.2015 4 days ago
at 09:46 AM | Permalink | Comments (0)
 
 
loretta_lynch2

Morning News & Stuff

U.S. AG visits Cincy, city budget still light on human services funding, Reds stadium probably won't catch fire again

U.S. Attorney General Loretta Lynch visited Cincinnati yesterday on a tour of cities implementing innovative police practices. During a roundtable event at the National Underground Railroad Freedom Center, Lynch said Cincinnati’s approach is a model for other cities to follow.

Via The Enquirer:

"This is a place that has been through difficult times," Lynch said, referring to the city's riots 14 years ago, which led to a lawsuit and accusations of racial profiling by police. "Cincinnati exemplifies the fact that a city is a living thing — and it is comprised of all residents of a community."

 Cincinnati has long underfunded human services, at least according to its own goal of using 1.5 percent of the city budget for things like programs to end homelessness, provide job training and offer support for victims of crime. It doesn’t look like the city will get back to that rate any time soon, and City Councilman Chris Seelbach yesterday questioned why City Manager Harry Black’s budget doesn’t include $3 million council unanimously agreed in November to use to reduce homelessness and help boost gainful employment.

Here’s some context via the Business Courier:

It has been longstanding city council practice to direct the city manager what to put in the budget by a motion backed by a majority of council members, so Black's statement appears to permanently alter a standing way of doing business at City Hall. It also increases the tension between Black, Cranley and City Council, particularly majority Democrats, over their governing relationship.

With funding allocated for a mayoral priority but not one supported by all council members, Seelbach said it raised concerns over Black’s independence and whether he reports to Cranley or Cranley and all nine council members.

“It strikes me as very strange,” Seelbach said. “It seems like a symptom of that.”

“So noted,” Black said. 

 City pools are set to open this week, but six out of the city’s 25 might not open on time because they’re facing a shortage of 65 lifeguards. The Enquirer today noted why the pools are important to low-income children, many of whom receive free lunch and take advantage of having something to do other than the bad stuff kids get into when they’re bored (my words). 

 Social justice activists planned to call on Major League Baseball this morning to speak out on racial injustice, specifically police brutality and what the group calls “blatant disrespect of African Americans in Ohio’s justice system.” The press conference scheduled for 11 a.m. today will include Bishop Bobby Hilton of Word of Deliverance, Pastor Damon Lynch III of New Prospect Baptist Church, Pastor Chris Beard of Peoples Church and Rev. Alan Dicken of Carthage Christian Church.

 WCPO Digital’s series on marijuana continued today looks at what Ohio can expect business-wise if and when the state legalizes pot. WCPO sent two reporters who probably can’t pass a drug test anymore to Colorado to report on the industry and a family who moved there from the Cincinnati area so their daughter who suffers from seizures would have access to medical marijuana.

 The Reds say the stadium smoke stack that caught on fire last weekend will be fully operable by the time the team returns from its current road trip. Firefighters climbed two ladders to put out the fire in one of the “PNC Power Stacks” during a game against the San Francisco Giants last weekend. A few sections of fans were evacuated but the game was never delayed. The Reds got whooped all weekend so the fire was actually a pleasant distraction and ended up on Sportscenter and stuff.

 Apparently there are lines out the door at a new chicken finger restaurant in West Chester called Raising Cane’s and its owners are going to open more stores, potentially one downtown.

 The Federal Trade Commission filed a lawsuit yesterday against a collection of cancer charities it says misused millions of dollars in donations. Sounds like someone’s going to be in serious trouble for it. Worth a read from the Los Angeles Times to hear about the various members of the James Reynolds Sr. allegedly involved.  

In reality, officials say, millions of dollars raised by four “sham charities” lined the pockets of the groups’ founders and their family members, paying for cars, luxury cruises, and all-expense paid trips to Disney World for charity board members.

The 148-page fraud lawsuit accuses the charities of ripping off donors nationwide to the tune of $187 million from 2008 to 2012 in a scheme one federal official called “egregious” and “appalling.”

 Twenty-one-thousand gallons of oil is now sitting in the ocean instead of being burned into the air by automobiles. The U.S. Coast Guard says it has formed a four-mile slick along the central California coastline.  

 In good California news, Los Angeles City Council approved raising the city’s minimum wage to a nation-high $15 an hour by 2020.

 Documents recovered during the raid that killed Osama bin Laden? Sure.

 Five global banks to pay $5 billion fine and plead guilty to criminal charges after an investigation into whether traders at the banks “colluded to move foreign currency rates in directions to benefit their own positions.” OK.

 Scientists say a snake ancestor had little toes even though it slithered.

 
 
by Staff 05.18.2015 6 days ago
Posted In: Leftovers, Cocktails, Brunch, Beer, local restaurant at 12:11 PM | Permalink | Comments (0)
 
 
bistro grace ceviche

Leftovers: What We Ate This Weekend

ReUse-apalooza! Brunch at The Palace. Waffles with gelato. Cheese coneys by a flaming smokestack at GABP.

Each week CityBeat staffers, dining writers and the occasional intern tell you what they ate this weekend. We're not always proud — or trendy — but we definitely spend at least some money on food. 

Ilene Ross: Friday night’s ReUse-apalooza! at Building Value in Northside gave me the opportunity to do one of my favorite things for dinner: graze. Northside’s proliferation of tasty restaurants is the perfect place for progressive noshing, and an event like this is the perfect way to sample most of them in a compact setting. Some of my favorites were the ceviche from Bistro Grace, the chiles rellenos from Django Western Taco, the kale and white bean dip from Park + Vine and pierogies from Babushka Pierogies (neither from Northside, but I’m not that picky), and then dessert goodies from Happy Chicks Bakery and Grateful Grahams.

Colleen McCroskey: You either wholeheartedly agree with me or think I’m insane, but I am 110 percent convinced that cheese coneys from Great American Ball Park taste LIGHT YEARS better than coneys from a regular Skyline, so I treated myself to two of them this past Friday night when we played (read: lost to) the Giants. The cheese is lighter and fluffier and the flavors of the chili seem more complex and nuanced somehow. I washed down all that deliciousness with a vodka-spiked slushie. I also happened to be sitting right next to the smoke stack that caught fire so the black billowing smoke added some nice ambience to my own personal coney-fest.

Jesse Fox: I've been on a mission to eat better and minimize my portion size the past couple weeks, but this weekend I took a break from that. This started on Saturday when I went out with my friend Erica to use up a gift card I had from Moerlein Lager House. Knowing that we had a whopping $50 of free money we decided to go wild (for two broke girls) and order a couple margaritas, an appetizer (calamari) and an entree that was more than $7. Erica went with the herb-crusted salmon and I chose their crispy balsamic tofu. After that we went up to Clifton where my band was having a house-show and finished the night out with some Bud Light Razberitas and a few PBRs.  

Katie Holocher: I, no joke, literally ate Dewey's all weekend. A calzone Friday night, those leftovers on Saturday and then another pie on Sunday. Same order every time — banana peppers and pepperoni (or BPPep as we call it in our house), with extra sides of their ranch. Furthermore, I had a delicious lemon cake, that was as equally adorably decorated, at a baby shower, made by a local gal named Sara Kenny. She calls herself the Baking Actor but I was talking to my friend who knows her and it sounds like she's getting more away from the acting side so that she can get more into the baking side. 

Sarah Urmston: This past Saturday, OTR was buzzing with action — a 5k, the City Flea, store grand openings and more; every restaurant seemed to be flooded to their very brim. I gratefully remembered The Taste of Belgium (one of my favorite breakfast places in Cincinnati) had another location off of Short Vine, not too far from the one in OTR. Our scheduled 2-hour wait turned into no wait at all as my buddies and I gathered around a high-top for some their famous waffles. Switching it up from the usual chicken and waffles I get, I ordered the Waffogato: a Belgian waffle topped with vanilla bean gelato alongside a shot of rich espresso to dip, pour or do with whatever your heart desires. It was the perfect blend of cold and hot together, with a sweet-meets-bitter taste. It was the best way to wake up and begin a Saturday.  

Casey Arnold: My boyfriend Brian and I were traveling around the suburbs checking out yard sales on Saturday when we both were hit with some painful hunger. We remembered that there was a Mexican restaurant pretty close to where we were in Maderia called Chuy's. Neither of us had ever been there or heard of it. It seemed a little gimmicky at first: hubcaps hanging from the ceiling, T-shirts for sale and general flair on the walls. When the fresh salsa came (where was our red slime?) we were pleasantly surprised. I had the bean and cheese burrito with creamy jalapeno sauce. It was delicious, but we both swore that the sauce was just ranch dressing. Brian had the stacked enchiladas which were blue corn tortillas sandwiching shredded chicken. Everything was fresh, different and so much better than an average Mexican restaurant. I posted about it on my Facebook and my Austin, Texas-transplant friends started commenting about how surprised they were that the chain made it all the way up to Cincinnati and raving about their favorite dishes. I realize I've been spending too much time downtown. 

Garin Pirnia: On Sunday, my friend and I brunched at The Palace restaurant inside The Cincinnatian Hotel. In March, they introduced Saturday and Sunday brunch (11 a.m.-2 p.m.). The restaurant wasn’t crowded or loud, so you could actually carry on a conversation. Besides their brunch menu, you can also order off their breakfast and lunch menus, so there were a lot of options such as challah bread pudding, and chicken and cornbread waffles. I had their eggs Benedict (arugula, grilled tomato, poached egg on English muffin, avocado mousse, hollandaise sauce). The eggs were a little overcooked but otherwise were good. My friend ordered the steak and eggs flatbread, which came with coffee-cured bacon. We also indulged in home fries, which were the right amount of crispy and pillow-y. The best part of their brunch menu is the inventive collection of bloody marys: a spicy lobster and shrimp gazpacho bloody that came with fresh-shaved horseradish mixed in, and chunks of lobster and shrimp on a skewer. I mean, lobster in a bloody! They also offer a Southwestern bloody (avocado, cumin, cilantro), and a Korean (kimchee, soy, ginger). You can order the bloodys singularly ($8-$11) or by the pitcher, but we refrained from doing that (maybe next time). They also make blueberry mimosas and housemade strawberry sodas. If you like a fancy (and boozy) brunch with affordable prices and food served atop white table cloths, then you need to go.
 
 
by Steven Rosen 05.18.2015 6 days ago
Posted In: Film at 09:34 AM | Permalink | Comments (0)
 
 
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Cincinnati-Filmed 'Carol' Receives Outstanding Reviews

Considered an Oscar contender, film is in competition at Cannes

The Cincinnati-filmed Carol premiered over the weekend at the Cannes Film Festival and received sterling, outstanding reviews that called it an instant Oscar contender and the most important high-profile gay drama to come out of American cinema since 2005's Brokeback Mountain. The film is in competition at Cannes.

Based on Patricia Highsmith's 1952 novel The Price of Salt and directed by Todd Haynes (Far From Heaven, I'm Not There), it features Cate Blanchett as an socialite who falls in love with a younger department-store clerk (Rooney Mara) in Manhattan. The film was shot here last year, using sites in Over-the-Rhine, Cheviot and other locales as stand-ins for a New York of old.


At Variety, the most important publication chronicling the entertainment business, critic Justin Chang said the film "should have little trouble translating critical plaudits, especially for Cate Blanchett's incandescent lead performance, into significant year-end attention.​" Variety also revealed that the distributor, Weinstein Co., has set a Dec. 18 release date for Carol, a prime opening weekend for any film with Academy Award intentions.

Here is a link to the full Variety review.

Meanwhile, at indieWire — the most influential website for the independent-film industry (Carol was produced independent of the big Hollywood studios), Eric Kohn also gave a strong rave to the film.


"Carol funnels (themes) into a nuanced tale of mutual attraction that reflects a filmmaker and cast operating at the height of their powers, rendering complex circumstances in strikingly personal terms," he said.


Besides Haynes, the only other U.S. director with a new film in competition at Cannes is Gus Van Sant, whose The Sea of Trees stars Matthew McConaughey and Ken Watanabe as two men who meet in Japan's "Suicide Forest."​ Its premiere was no so well-received — it was booed by the audience.
 
 
by Staff 05.15.2015 9 days ago
Posted In: Drinking, Fun, Concerts, Culture, Arts, Music, Movies, Life, Performances at 10:55 AM | Permalink | Comments (0)
 
 
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Your Weekend To Do List (5/15-5/17)

Maifest, an Italian festival, The Breakfast Club turns 30, Carol Ann's Carousel opens, The City Flea and more

Lots of things to do this weekend, from festivals and craft beer drinking to arts and film screenings. Plus, The City Flea, Carol Ann's Carousel and new OTR shop Idlewild open.

FRIDAY
Head to Bogart's for INTERPOL
Interpol’s 2002 debut Turn on the Bright Lights seemed to arrive out of nowhere, a visceral, uncommonly mature effort that channeled not only a host of Post Punk staples but also a distinct post-9/11 desolation. It was, in fact, the product of the band’s founder, guitarist and driving force Daniel Kessler’s long-simmering vision, one he formed through years of writing and playing live around New York City with frontman Paul Banks, bassist Carlos Dengler and drummer Sam Fogarino, who was the last (essential ingredient) to join the band in 2000. Thirteen years after that stirring debut, Interpol is still kicking — minus Dengler, who left after recording the band’s self-titled fourth album in 2010; Banks now serves as the group’s bassist — and still delivering its melancholic, angular brand of Indie Rock. Interpol performs at Bogart's Friday. Tickets/more info here

Maifest
Photo: Matthew Andrews Photography
Get your drink on at MAIFEST in MainStrasse
Based on the German tradition of welcoming the first spring wines, the 36th annual Maifest fills six city blocks of historic MainStrasse with food, beer and wine, and works by more than 75 artisans and craftsmen. There will also be entertainment by top local bands — 500 Miles to Memphis, Young Heirlooms, Ricky Nye and more — in the craft beer garden, with a special Kinderplatz area with rides for children and a Braxton Brewery light display at the Clock Tower Friday and Saturday night. Don’t miss the popular street chalk-drawing contest Saturday. 5-11:30 p.m. Friday; Noon-11:30 p.m. Saturday; Noon-9 p.m. Sunday. Free. MainStrasse, Sixth Street, Covington, Ky., mainstrasse.org.

The Breakfast Club
Photo: Universal Pictures
Break out the acid wash and pleated pants for a screening of THE BREAKFAST CLUB
Revisit your favorite brain, athlete, basket case, princess and criminal Friday when The Breakfast Club’s Brat Pack returns to the silver screen at the Esquire Theatre in honor of its 30th birthday. John Hughes’ high school bildungsroman might not be completely timeless, but it’s the movie’s cliché moments that make it so enduring. Forgo popcorn for Pixy Stix and don’t forget to bring your acid wash jeans and “Members Only” jackets — prizes will be given for the best ’80s costume. 10:30 p.m. Friday. $9.75. Esquire Theatre, 320 Ludlow Ave., Clifton, esquiretheatre.com.

CincItalia Festival
Binge on lasagna in a mini piazza the CINCITALIA FESTIVAL
The CincItalia festival celebrates all things Italy. You’ll find main dishes with lots of authentic Italian flavor like stromboli, lasagna, grilled spiedini and more, complete with a wide selection of wine and beer and cooking demonstrations. Visit the ladies of La Societa Fuscaldese Femminile to try their famous cannoli or enjoy lively music and a glass of vino in the mini piazza, with fountain and Tivoli lights. 6 p.m.-midnight Friday; 3 p.m.-midnight Saturday; 1-9 p.m. Sunday. Free. Harvest Home Park Fairgrounds, 3961 North Bend Road, Cheviot, cincitalia.org.

MadTree Brewing Company
Photo: Jillian Tellep
Have some beer on a paint palette at ARTS & CRAFTS
Organized by a handful of sophomore graphic design students at the University of Cincinnati’s DAAP (and with sponsorship from Modern Makers, a multidisciplinary arts collaborative), Arts & Crafts involves the consumption of local craft beer and the exhibition of up-and-coming artists — with accompanying food trucks and live music. With the expressed intent of supporting local breweries and artists in an effort to nurture the arts in the Clifton community, organizers enlisted UC students to participate as well as breweries MadTree, Rhinegeist and more. 7-9 p.m. Friday. Free. Niehoff Urban Studio, 2728 Vine St., Corryville, artsandcrafts.beer.

Put in your pin curls for CINCY SWING FEST
Put in your pin curls and break out the saddle shoes for the second annual Cincy Swing Fest. Can’t Lindy Hop? No problem. Cincy LX/Swingallery will be on hand to provide complementary dance instruction to live music from Swing Band The Makeshifts. Classic cocktails available, plus pin-up makeovers from Retrocentric. 6-10 p.m. Friday. Free. Fountain Square, Fifth and Vine streets, Downtown, myfountainsquare.com.

SATURDAY
Run the OTR 5K and then head to THE CITY FLEA for an after party
The ninth annual OTR 5k run/walk kicks off summer in the city a little early. The race begins and ends in Washington Park, with a course that takes you through historic Over-the-Rhine. Dogs and strollers welcome. Register online or in person. 10 a.m.; afterparty celebration until 4 p.m. Saturday. $30. Washington Park, 1230 Elm St., Over-the-Rhine, otrchamber.com

Curated monthly urban flea market The City Flea launches a new season Saturday at Washington Park. Keep your dollars local and support small business by shopping from hundreds of area vendors, selling everything from handmade goods and vintage finds to artisan eats and organic beauty products. Food trucks flank the park and drinks will be available from the concession stand. This month’s flea is also home to the OTR 5k afterparty. 10 a.m.-4 p.m. Saturday. Free. 1230 Elm St., Over-the-Rhine, thecityflea.com.

Ride for free at the CAROL ANN CAROUSEL opening celebration
The public is invited to a ribbon-cutting ceremony for Carol Ann's Carousel at Smale Park on the Riverfront. Following the ceremony, the carousel will open with free rides from 1-7 p.m. Tickets will be handed out on a first come, first serve basis. Other festivities include face painters, jugglers, magicians, food carts, music and more. Ride one of 44 adorable characters — horses, frogs, elephants and more. $2 a ride after Saturday. 11 a.m. Free. North of Mehring Way at the Pichler Fountains, Downtown, cincinnatiparks.com.

Pixies
Photo: Jay Blakesberg
PIXIES play the Horseshoe Casino
History will always chiefly remember Kurt Cobain as a creator of music, not a consumer. But the Nirvana leader was also an avid advocate for his favorite groups and most cherished influences. In the posthumously released Journals, he documented his 50 favorite records. Most telling of all was his inclusion of Pixies’ Surfer Rosa in spot No. 2. That’s significant because Nirvana’s biggest hit owes a great debt to the group. Since reuniting in 2004 to tour and occasionally record (last year’s Indie Cindy was Pixies’ first album since 1991’s Trompe le Monde), the band has evolved into more of an elder statesman outfit (minus original bassist/singer Kim Deal, replaced on the group’s current tour by Paz Lenchantin, who’s worked with acts like A Perfect Circle and Zwan), showing only rare glimpses of the brilliant provocateurs of their youth. But it’s not as if the band has much more to prove; its unimpeachable impact was cemented long ago. Pixies play The Shoe at Horseshoe Casino Saturday. Tickets/more info here.

Dress as a stormtrooper at the LIBRARY COMIC CON
Move over, San Diego. The Public Library of Cincinnati and Hamilton County’s third annual Comic Con proves you can immerse yourself in countless comic book universes locally. The five-hour festival has expanded to offer a host of events, including trivia, guest panels from local cartoonists, drawing contests and a superhero training camp for kids. Have a Wonder Woman ensemble, an Iron Man outfit or suit of armor for which you haven’t yet found a socially acceptable occasion? All ages can dress up as their favorite characters to win prizes. Noon-5 p.m. Saturday. Free. Main Library, 800 Vine St., Downtown, cincinnatilibrary.org/news/2015/comiccon.

Shop at IDLEWILD, Article's new women's boutique in OTR
Over-the-Rhine men's shop Article's sister store, Idlewild, opens Saturday. Brands sold at the store include Imogene and Willie, a Nashville, Tenn.-based denim company, and Free People. The shop will also feature garments from New York designers Steven Alan and Emerson Fry, as well as accessories from a pair of Portland, Ore.-based designers Another Feather and Mazama. 11 a.m. Free. 1232 Vine St., Over-the-Rhine, facebook.com/articlemenswear.

Three Days of Rain
Photo: Untethered Theater Company
Get immersed in THREE DAYS OF RAIN at the Clifton Performance Theatre
Richard Greenberg’s Three Days of Rain is a mystery that unfolds in reverse. In Act I it’s 1995 as three adult children of two iconic New York City architects ponder the current state of their lives and what motivated their parents three decades earlier. Their conclusions, based on memory and a recently found laconic journal, make sense, but when Act II pushes back to 1960, almost everything they have hypothesized proves to be wrong. As is often the case, life was much more complicated. Continues through May 23. $25. Clifton Performance Theatre, 404 Ludlow Ave., Clifton, cliftonperformancetheatre.com.

Waite’s painting “Old School Boys Pool” is based on a swimming pool at the old School for Creative and Performing Arts. 
Check out paintings of abandoned sites in THE CINCINNATI SERIES
In his The Cincinnati Series of 29 paintings depicting depopulated city sites, Peter Waite — a Connecticut-based artist — neither celebrates nor dismisses what he sees. Rather, he just tells it like it is. His artwork is at Carl Solway Gallery in the West End through Aug. 1. If he finds something architecturally interesting to him that is also conventionally beautiful, like the suspension bridge or Union Terminal or downtown’s Isaac M. Wise Temple, he acknowledges and presents it. But if it’s something that interests him because it’s abandoned and decrepit, or it no longer serves its original use, he presents that, too. The Cincinnati Series continues at Carl Solway Gallery through Aug. 1. More info: solwaygallery.com.

SUNDAY
Price Hill Thrill
Photo: Steven Rosen
Tour the arts in Price Hill with PRICE HILL THRILL
Sunday there will be a tour of art studios and galleries in Price Hill, sponsored by the Weston Gallery. The event begins and ends at the Dunham Arts Center in the Dunham Recreation Complex and includes food, drink and entertainment by Comet Bluegrass All-Stars at a 5-7 p.m. closing reception. 2-7 p.m. Sunday. $35. 1945 Dunham Way, West Price Hill, westonartgallery.com.

Tommy Davidson
Photo: Provided
Laugh at SHAQ'S ALL STAR COMEDY JAM
Shaquille O’Neal’s All Star Comedy Jam is coming to town — get excited. Now lower the bar two notches because Shaq will not actually be there. … But raise the bar up again because comedian and actor DeRay Davis is hosting and he was on an episode of Empire. Other featured comedians include Tommy Davidson (pictured), Tony Roberts, Michael Blackson and Red Grant. Research some of their stuff on YouTube and check out the gig. The comedy franchise has featured some of the top urban comedians in the country and has been televised annually since 2009. 7:30 p.m. Sunday. $45.25-$92.25. Aronoff Center, 650 Walnut St., Downtown, cincinnatiarts.org.

Henry V
Photo: J. Sheldon Photo
Catch a matinee of a different Game of Thrones with HENRY V at Cincy Shakes
If you’re a fan of Game of Thrones, you might want to tune in to Cincinnati Shakespeare Company, which is working its way through the real thing presenting Shakespeare’s eight history plays in chronological order over the span of five years. Up next is Henry V, in which the profligate Prince Hal has succeeded his bellicose father and sobered up to the bad state of affairs in England. He rallies the troops and his loyal partisans by declaring war on France. Against great resistance, using powerful speeches he pulls the kingdom together. Justin McCombs continues in this fascinating role. Through May 30. $14-$36. 719 Race St., Downtown, 513-381-2273, cincyshakes.com.

Quiet Company
Photo: Leah Muse
Austin, Texas' QUIET COMPANY play the Southgate House
With an instantly, insistently catchy Indie Pop/Rock sound that has drawn comparisons to the likes of Weezer and Death Cab for Cutie, Austin, Texas’ Quiet Company has seen its national profile rise considerably with the release of each new album, including this year’s excellent Transgressor. The group (which features former Cincinnatian and CityBeat employee Matt Parmenter on bass) is already a dominant force in its hometown scene. In its nearly decade-long history, Quiet Company has scored 12 Austin Music Awards, including Best Rock Band at the 2015 ceremony. But the acclaim isn’t limited to Austin — Time, Paste, The New York Times and numerous other national outlets have heaped praise on Quiet Company, and the group’s fanbase continues to grow thanks to regular touring and an explosive live show. 8 p.m. Sunday. $10; $12 day of. Southgate House Revival, 111 E. Sixth St., Newport, Ky., southgatehouse.com.


 
 
by Rick Pender 05.15.2015 9 days ago
Posted In: Theater at 08:17 AM | Permalink | Comments (0)
 
 
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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.



 
 
 
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