If you care about the issues surrounding his brutal murder in Laramie, Wyo., in 1998, you should make a reservation at Ensemble Theatre of Cincinnati (ETC) for a one-evening of The Laramie Project: Ten Years Later.
The Kaplan New Works Series (Sept. 6-16, Cincinnati Ballet Center): This annual season opener celebrates new ideas and creative movement showcasing the female choreographer and focusing on local artists. This world premiere features dancers Amy Seiwert and Paige Cunningham, two SCPA alum, Director Heather Britt and choreographer Jessica Lang.
Frisch's Presents: The Nutcracker (Dec. 14-23, Aronoff Center): Victoria Morgan re-imagined the classic for 2011's world premiere, The New Nutcracker. This whimsical interpretation returns in 2012, complete with dancing cupcakes, flying bumblebees and a Sugar Plum Parade, where audience members will be invited to walk acrid stage and get a closer peek at the sets, costumes and dancers.
Prodigal Son with Extremely Close (March 22-23, Aronoff Center): Neo-classical choreographer George Balanchine comes to Cincinnati with his rendering of the classic parable about sin, redemption and unconditional love. On the same bill, Extremely Close is Alejandro Cerrudo’s thoughtful contemporary work. The performance opens on a stage of falling feathers, reflecting the delicacy and fluidity of movement, and connected throughout, punctuated by a surprising, thought-provoking ending.
Frampton & CB Come Alive (April 26-27, Aronoff Center): Legendary guitarist Peter Frampton will create a new work specifically for the performance and play live alongside choreography collaboration from Cincinnati Ballet and Exhale Dance Tribe.
New subscriptions and subscription renewals are now available at the Cincinnati Ballet Center (1555 Central Pkwy., Over-the-Rhine) or by calling 513-621-5282. Individual tickets to the following shows will be available July 22 at cballet.org.
You know it’s going to be a good Gala when you get chills down your spine within the first five minutes — the first act, no less. Marshall Davis, Jr.’s “Summertime in Cincinnati” kicked off a stellar show with his knock-em-dead tap dancing to the sounds of Lonia Lyle’s lovely vocals and Christopher Lyle’s electric bass. Gershwin’s “Summertime” has seldom sounded so good.
And the thrills kept coming. Aim cincinnati — aim stands for arts innovation movement, the organization formerly known as ballet tech Cincinnati — presented its 10th annual Gala of International Dance Stars at the Aronoff Center Aug. 13.
The Mormons are coming! The Mormons are coming! No, not the one running for president (although he's showing up pretty often). It's the award-winning irreverent musical The Book of Mormon, which Broadway Across America announced this morning will be part of its 2013-2014 season at the Aronoff Center. The winner of nine Tony Awards (including the best musical of 2011) is a satirical look at two naive and idealistic Mormon missionaries who are sent to a remote Ugandan location where a nasty warlord is oppressing the villagers. Their clueless devotion, good-hearted but misguided — with a lot of very off-color humor — has made The Book of Mormon an unusual hit.It will come as no surprise to CityBeat readers that the guys behind this are Trey Parker and Matt Stone, the creators of animated South Park, another outrageously irreverent look at contemporary life. Also involved was composer Robert Lopez, whose Avenue Q was another Broadway hit, this one featuring Sesame Street-styled puppets in very adult situations.
Broadway Across American announced its Cincinnati presentations of six touring broadway shows for 2009-2010 today.
On Friday evening, I hiked down to U.S. Bank Arena for
the World Choir Games awards ceremony. It was bustling at The Banks,
since the Reds are back in town and playing the Cardinals. It was fun to
see the WCG participants, many dressed in colorful team T-shirts,
mingling with the crowds around Great American Ball Park in their Reds
gear. Lots of folks from other nations had a chance to peer into the
stadium and see American fans revving up.
But there was no lack of revving — or revelry — inside the arena for the program. This was not a musical event, but a ceremony in which choirs in eight categories were recognized for their performances and champions crowned. For 20 minutes before the event began, there was a ton of merriment going on as teams did the "wave" around the arena and cheered whenever their own choir showed up on the big video monitors.
Lots of awards are handed out at WCG, some simply for participating. Choirs can choose to compete in an open category, in which they are evaluated but not competing for medals (although they are ranked and can receive gold, silver or brionze "diplomas") or in the head-to-head competitions. By scoring within certain point ranges, singing groups are awarded bronze, silver or gold medals. The ultimate designation, "Champion," is bestowed on the choir that scores the highest point total among the gold medalists in each category. Other medalists send forward their director and one singer to receive the medal and a certificate. When the champions are named, the entire choir races jubilantly to the stage, hugging, screaming and celebrating. Once assembled there and the medal bestowed, the choir's national flag is raised and its national anthem sung, often with tear-streamed faces on the video screens.
Champions were named eight categories. Three were from the United States, including in two largely American categories included in the games for the first time, Barbershop and Show Choirs. Gospel was also broken out from Music of Religions. The most wildly celebrated champion was surely the Choraliers, from Fairfield, Ohio, just north of Cincinnati, which was named the champion Show Choir (amid choirs from other nations and several from universities). Also from Ohio, the Jeremy Winston Choir from Wilberforce University was named the champion Gospel group. The other American champion was a barbershop chorus from Pennsylvania, the Greater Harrisburg Chapter of Sweet Adelines.
The remaining five champions were: Female Chamber Choir: Latvian Voices from Riga, Latvia (where the 2014 World Choir Games will be held); Male Chamber Choir: Newman Sound (Canada); Music of Religions: Stellenberg Girls Choir (South Africa); and Young Children's Choir's: Wenzhou Children Art School Boys Choir (China). The latter category's winners of gold medals were all youth choirs from China, where it's clear such ensembles are prized and emphasized.
More champions are being announced on Saturday morning, and a selection of champions will perform in a concert at Music Hall on Saturday afternoon at 2 p.m. That concert, as well as the Closing Ceremony at U.S. Bank Arena on Saturday at 7 p.m., are both sold out.
I’ve often written in CityBeat about the Humana Festival of New American Plays that happens annually at Actors Theatre of Louisville. I look forward to this annual collection of new works, regarded by many as the premier opportunity in the to see fully staged works by contemporary playwrights. (This year is the Humana Festival’s 33rd iteration, and it opens March 1.)
But Actors Theatre isn't the only place for new work in the United States. I recently spent time at the Colorado New Play Summit, presented in its fourth year by the Denver Center Theatre Company (DCTC), which takes a different approach.
Knockemstiffwas rightly praised by everyone from The New York Times to Chuck Palahniuk (“more engaging than any new fiction in years”) to literary savant Michael Silverblatt, whose incisive KCRW radio show Bookwormfeatured an interview with the author.
Ed Stern, Cincinnati Playhouse in the Park’s producing artistic director, today announced the shows that will make up his 20th and final season for the city’s Tony Award-winning regional theater. It consists of several shows that have proven track records with audiences as well as a smattering of new works. The season is precisely the kind of mix that audiences have come to expect from Stern during his two decades at the Playhouse — that is, unpredictable selections with enough of the tried-and-true and the wait-til-you-see-this-one that will keep everyone eager to see what’s next.
The term "contemporary art" is supposed to have a specific — if changing — meaning. Originally, I first heard of it as a term for defining the seriously ambitious and new art of the post-World War II era, thus differentiating itself from the modern-art era, with its various movements, that preceded it in the earlier part of the 20th century. And by "new," one meant new in ideas, in material, in aesthetics and subject matter (or lack of). Some 60 years on, contemporary art increasingly means art of more recent times, or of artists alive today, or even art of the 21st century. That's legitimate change — evolution. But meanwhile, like such words as "loft" and "jazz," the term also has been co-opted as a cool-word marketing tool. Too often, people call any recent art "contemporary," as if it refers to the date a piece was created rather than the inspiration behind it.
To try to make sense of this, and to give those interested in art the tools to understand that contemporary art is more than just a commercial catchphrase, the Art Academy of Cincinnati has organized an ongoing series, "Making Sense of Contemporary Art," that is free and open to the public. This Sunday (Nov. 23) at 2 p.m., Matt Morris (an art critic for CityBeat) and Jean Feinberg (a critic and former curator) will be discussing the subject at the Academy, 1212 Jackson St. in Over-the-Rhine. Each will speak for roughly a half hour, with room for Q&A and then a reception.