I've been seeing theatrical productions aboard the Showboat Majestic for at least 25 years. Like the Ohio River adjacent to the "Boat" at the Public Landing, they're up and down, sometimes beautiful and sometimes a bit stinky. But I can offer you an unqualified recommendation for the current production, The Musical of Musicals: The Musical. The title itself is entertaining, but the material is even better — and then there's the cast that's been assembled. This is, in fact, a show that anyone who loves musicals needs to see. It's probably the best production I've seen on the Showboat ever. It's being performed through July 26.
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.
I recently spent three days in Louisville at the 34th annual Humana Festival of New American Plays. Actors Theatre of Louisville annually assembles a lineup of productions that offers a fascinating cross-section of contemporary American theater.
I found this year’s array to be an especially pleasing collection of works: It included two excellent comedies, a thoughtful drama, two experimental performance pieces from creative ensembles and an inventive piece to showcase interns (and a Louisville hotel/museum showplace). A bill of 10-minute plays was clever and creative, and only a musical play was a disappointment.
Fairey's return is made possible by ArtsWave, the local organization that works with entities in all facets of the arts community to foster a creative environment in Cincinnati. ArtsWave has awarded Fairey with the 80-year-old Rosa F. and Samuel B. Sachs Fund Prize, created to celebrate outstanding achievements in the arts.
In a press release, ArtsWave President and CEO Mary McCullough-Hudson said, "The committee members felt strongly that Fairey's exhibition and public murals increased the vibrancy of our city and engaged citizens in a dynamic conversation about art and society."
While he won't be covertly pasting images around town this time, Fairey has been invited to return to DJ at the CAC and mingle with fans at 8 p.m. that Friday. Limited edition prints by Fairey will be raffled off at this members-only event. That's right – the party will not be open to the public, so it's a pretty good excuse to buy a CAC membership. Go here to renew or register (student memberships are only $25).His exhibition Supply and Demand opened at the CAC in February 2010, offering a mix of screen prints, illustrations and mixed media works throughout the space. Being a street artist, a public art supplement was to be expected. Those concerned about graffiti in the city were soon stunned to see beautiful posters glued to previously naked walls.
Fairey gained notoriety for his Andre the Gaint/OBEY stickers, which really drew attention to the idea of street art. After creating the iconic HOPE poster in support of Barack Obama's 2008 presidential campaign, Fairey became a household name. While not officially endorsed by the president, the image has become nationally recognizable. Most recently, he appeared on the March 4 episode of The Simpsons.
If you've been hearing rumors that Scott Boberg, the current Curator of Education at the Contemporary Arts Center, is leaving, then you've been hearing right.
Want to get a big dose of new theater? You’ll want to spend some time in Louisville next March and April, when Actors Theatre of Louisville presents its 33rd consecutive Humana Festival of New American Plays. Productions begin on March 1, 2009, and continue through April 11. The 2009 festival will present six full-length plays, a comic anthology showcasing the Actors Theatre Acting Apprentice Company and three 10-minute plays.
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.
Broadway Across American announced its Cincinnati presentations of six touring broadway shows for 2009-2010 today.
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.
Critic's PickAs I ate dinner on Tuesday evening before attending a performance at Dayton’s Victoria Theatre, my server asked, “Did you hear that Green Day is performing next door?” I had to set her straight. “Well, not exactly. Green Day’s music is being performed next door — it’s a Broadway show that uses the tunes from their American Idiot recording.” I caught the opening night of a three-day gig (through Thursday, March 14) by an energetic touring company that’s recreating the Tony Award-nominated American Idiot: The Musical. If you have time to make an hour north on I-75, you won’t be disappointed.
Green Day’s powerful Punk score — their 2004 album was conceived as a “Punk Rock Opera” — is the perfect soundtrack for the story of three disaffected guys who take different downward spirals when confronted with the numbing boredom of everyday life, “alien nation,” as they sing in the opening number. Johnny is the central character, a wannabe musician who yearns to make it in the city; he convinces his buddies Will and Tunny to join him in escaping suburbia.
Their paths diverge quickly: Will’s girlfriend is pregnant, so he stays to sort things out; Tunny is quickly disaffected by urban life and captivated by dreams of military success; and Johnny, not quite willing to admit his loneliness, dreams about a girl he sees and gets caught by a drug dealer — who’s probably a figment of his imagination. Things don’t turn out well for any of them, and by show’s end they’re back home, chastened by the experience — Tunny’s leg lost in combat, Johnny’s ego shattered and Will’s relationship in ruins. But they seem to be more accepting of their fates. The curtain call features the entire company playing guitars and performing “Good Riddance (Time of Your Life),” a number that reflects their disillusion, reminiscence and (maybe) forward motion.
The current tour has a young cast (it’s a non-Equity tour) without a ton of experience, but that’s perfect for this show, which demands a stage full of angry energy. They hurtle through the 100-minute performance, diving right into the title tune with thrashing energy demanded by Green Day’s music. (For theater fans, it’s worth noting that Green Day’s music has been orchestrated and arranged by Tom Kitt, composer of the Tony Award-winning next to normal, a show that has a score with similar power.) Steven Hoggett’s pounding choreography captures the physicality of Rock stage performance, rendered rapidly and rhythmically with tons of repetitive angular motion.
Alex Nee, Casey O’Farrell and Thomas Hettrick, as Johnny, Will and Tunny, turn in credible performances of roles that don’t have a lot of depth — and that’s OK. American Idiot is more about emotions than storytelling, and they each capture that: Nee’s hallucinatory attraction to destructive behavior is convincing, O’Farrell’s frustration with being trapped and left behind is believable, and Hettrick’s dreams of heroism and his wake-up call to a damaged life are rendered credibly. Female roles are more stereotyped — two of them don’t even have names: Whatsername and The Extraordinary Girl — but Alyssa DiPalma, Jenna Rubah and Kennedy Caughell (as Heather, the mother of Will’s kid) have fine voices. DiPalma and Rubah have featured choreography (Rubah does an aerial ballet with Hettrick as he recovers in a military hospital) that is effective.
The touring production retains Christine Jones’s scenic design and Kevin Adams’s lighting design, both of which landed 2010 Tony Awards. The set has a floor-to-ceiling rear wall sporting two dozen video screens that support the action — from an opening barrage of mind-numbing, multi-channel news coverage to scene-to-scene punctuation with wry titles. Additionally, the screens are sometimes fed live imagery from an onstage camera, especially when St. Jimmy (Trent Saunders) entices Johnny into the world of addiction, but also during “Favorite Son,” Tunny’s late-night infomercial of military recruitment (performed with muscle-bound humor by Jared Young, backed up by four dancers in sparkling short dresses).
The grunge of American Idiot is made all the more vivid by the green velvet and gilt trim of the Victoria Theatre in downtown Dayton (138 North Main St.). While the nihilistic young men sing, “I don’t care if you don’t care,” I suspect that a lot of people will care about this show, one that reaches out and grabs audiences by the scruff of their necks and never lets up. But bear in mind: Only two more performances — Wednesday and Thursday at 8 p.m. Tickets ($46-$67, half-off student rush, day of show): 937-228-3630 or victoriatheatre.com.