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by Rick Pender 04.19.2013
Posted In: Theater at 10:17 AM | Permalink | Comments (0)
 
 
cock photo- deogracias lerma

Stage Door: Bounty of Choices

There's a bounty of theater choices to keep you entertained this weekend, with productions on venues all over town — including on several university campuses. Here are a few you might want to check out.

New Edgecliff Theatre, which has presented shows at the Columbia Performance Center on Cincinnati's East Side for quite a few years, has been itinerant this year while they seek a new home. They're completing their fifteenth season with a production of David Auburn's Proof at the Aronoff Center's Fifth Third Bank Theater, which looks like it's where they'll land for their next season. (I'll be writing more about NET in my next CityBeat "Curtain Call" column on April 24.) I attended the show's opening on Wednesday, and it's a solid production of a very engaging play, the winner of the 2001 Pulitzer Prize. Greg Procaccino, NET's former artistic director, has returned to stage a simple but effective production that features Rebecca Whatley as Catherine, the anxious, self-doubting young woman who has been a caregiver for years for her father, a renowned math professor whose mental instability has been a factor and a threat in his daughter's life. The show has several gripping twists and turns, as well as a satisfying resolution. Through April 27. Tickets: 513-621-2787.

Last week I was at the opening of Cock, a regional premiere and Know Theatre's second production of the season. (CityBeat review here.) It's the story of a man falling out of a gay relationship and into one with a woman; he's torn by indecision and doubt about which way to go. The show is staged (by director Brian Robertson) like a cockfight, with the characters "pecking" at one another emotionally. It's also presented in an unusual setting, bertween two rows of bleachers (like a cockfight arena), so you're close to the action and able to see how others are responding. It's a fight to the finish, and you can never be certain of the outcome. Strong acting and a very contemporary, well-written script by British playwright Mike Bartlett. Through May May 11. Tickets: 513-300-5669.

This is the final weekend at the Carnegie in Covington for the hard-hitting musical Parade by composer and lyricist Jason Robert Brown and playwright Alfred Uhry. (CityBeat review here.) It's based on the true story of Leo Frank, unjustly accused of murdering a young teenaged girl working in the factory he managed in Atlanta in 1913. A Jew from New York, Frank was the target of profound anti-Semitism and never had a realistic chance to defend himself, although his wife tried mightily to expose the prejudice. It's a powerful production, featuring a cast of musical theater talent from UC's College-Conservatory of Music, directed by Dee Anne Bryll and Ed Cohen. The show is not easy to watch, but it's deeply moving. Through Sunday. Tickets: 859-957-1940.

Every two years since 1981, Northern Kentucky University has presented the Year End Series Festival — shortened to the "YES," ten days of presentations of three world premieres. This year's shows are a murder-mystery farce, Heart Attack with a Knife by Oded Gross; David L. Williams Spake, a drama set in Siberia; and a comic fable about fame and friendship, Furbelow by J. Stephen Brantley. YES is a gargantuan undertaking, and it represents how NKU prepares its drama students for careers in the theater. Shows are presented in rotating repertory, so you should check the Web site for specific performance dates. Tickets: 859-572-5464.

At other area universities this weekend: At the Cohen Family Studio Theater at UC's College-Conservatory of Music, you can see a production of Emily Mann's Execution of Justice (UC's College-Conservatory of Music, through Sunday, 513-556-4183), a new docu-drama about the trial of Dan White for the murder of Harvey Milk, San Francisco's first openly gay Supervisor and Mayor George Moscone. It's staged by retiring UC drama professor Michael Burnham. And for musical theater fans, you can see Stephen Sondheim and James Lapine's popular fairytale musical Into the Woods at Miami University (through April 27, 513-529-3200).
 
 
by Rick Pender 04.18.2013
Posted In: Theater at 08:27 AM | Permalink | Comments (0)
 
 
know at night - photo eric vosmeier

Fringe Has Sprung

Tenth annual event begins May 28

Sure signs of springtime in Cincinnati: The Reds are playing (and winning), trees in Over-the-Rhine are covered with white blossoms — and Know Theatre has announced the lineup for the upcoming Cincinnati Fringe Festival. 2013 is a significant year for the Fringe: It's marking the 10th  anniversary of the annual celebration of weird creativity. Last evening a big crowd gathered at Know Theatre's Jackson Street facility to hear what's in store for the May 28-June 8 festival.

Eric Vosmeier, Know's producing artistic director, shared the news that, building on a decade of success, the Fringe received a record number of applicants for 2013, with 70 percent of the applications coming from brand-new producers. That's one of the best parts of the Fringe, the fact that a new jolt of energy arrives annually from performers that haven't been seen locally. Sixty-three percent of the 2013 applications were from out of town, including several from international producers. There will be 35 productions in all, by 17 local groups and 18 from out of town. There will be 19 plays, seven solo shows, two dance pieces, two musicals, and five multimedia/variety pieces.

Vosmeier said that it was no easy task for the Fringe selection committee to assemble this lineup. The group was made up of theater professionals from Greater Cincinnati: Heather Britt, Michael Haney, Dave Levy, Miranda McGee, D. Lynn Meyers and Torie Wiggins. “The quality of applications continues to get stronger and larger each year," he said. "I'm so happy to have these amazing leaders of the local theatre community as a part of our jury, and we're grateful for their time in deciding the 2013 lineup.”

The official CityBeat Fringe Kick-Off Party takes place Tuesday, May 28, at Know Theatre. This year's event will also be a 10th birthday celebration, with many of the festival's founders in attendance. The evening, which kicks off at 6 p.m., will feature Indie rock group Bethesda and food from a half-dozen local eateries. The evening (suggested donation: $5) is an opportunity to meet Fringe artists, staff, volunteers and other audience members.

The full Fringe schedule will be published in CityBeat's May 15 edition, but you can get some information at the refreshed website: www.cincyfringe.com. I'm looking forward to return visits by Wonderheads (from Portland, Ore., who did some amazing work with masks in last year's Grim and Fischer; their new piece is titled LOON), Four Humors Theatre (from Minneapolis, whose always creative troupe will be staging Lolita: A Three Man Show) and Tanya O'Debra (from New York City; whose Radio Star was a much admired work in 2012; this time she's in a two-person piece, Shut UP, Emily Dickinson). Performance Gallery, based here in Cincinnati and a regular annual presence every year is staging Mater Facit, "an absurd look at motherhood, nationalism, war, sex and sacrifice." Tangled Leaves Theatrical Collective, another Cincinnati-based group popular with local audiences, will produce Vortex of the Great Unknown.

Of course, the real fun of Fringe is being surprised by new material and performers, and this year's lineup offers plenty of that: Poe and Mathews: A Misadventure in the Middle of Nowhere (Los Angeles); Questions of the Heart: Gay Mormons and the Search for Identity (Bloomington, Ind.); The Bubble and Other Displays of Moral Turpitude (from Cincinnati-based North American New Opera Workshop); The Elephant in My Closet (New York City); and a production of Cincinnati playwright Catie O'Keefe's The Space Between my Head and my Body (by Shark Eat Muffin Theatre Company). I could go on and on — Know's announcement news release is 20 pages! Based on a decade of Fringing, I like to say that the festival is "theater roulette": You never know what's going to happen when you show up for a performance, and serendipity is the only predictable element. That's what makes it fun. I don't want to wish away springtime, but is it May 28 yet?

 
 
by Rick Pender 04.12.2013
Posted In: Theater, Visual Art at 09:26 AM | Permalink | Comments (0)
 
 
legallyblonde2

Stage Door: Controversy, Conversation and Comedy

Tonight (Friday) Know Theatre opens a new production of a work that's bound to launch a lot of conversations. And let's not beat around the bush: The real title of Mike Bartlett's play is Cock (The Cockfight Play is the substitute title for media that are afraid to offend). It's a tense comedy about sexual identity: John takes a break from his longtime boyfriend and unexpectedly falls in love with a woman. The story is about how he's caught in a tug-of-war between these two lovers, and the play's conflict is John's navigation of his sexuality and his selfhood. It's also told without scenery or props, focusing squarely on the relationships. According to Know's Eric Vosmeier, "It's a kind of pansexual love story that's told very simply without all the trappings of a traditional production." Vosmeier describes this production as "one of the first victories of Know's new scheduling model." The rights for Cock just became available; this is only the second American production of the play that premiered at London's Royal Court Theatre in 2009. The show runs through May 11. Box office: 513-300-5669

This weekend is the opener for Covedale Center's production of Legally Blonde, the show that kicked up controversy in a Loveland High School staging last fall that led to the firing of a dedicated director. I still shake my head over what could offend anyone about this PG rated piece of musical theater, but you can check it out and decide for yourself at the Covedale. It's about a young woman who won't take "no" for an answer and becomes her own woman in the process — outshining everyone at Harvard Law School. It's kind of crazy, but a lot of fun. No one will get fired over this one, I suspect. Box office: 513-241-6550

The Otto M. Budig Theatre at the Carnegie in Covington is in the midst of a run of Jason Robert Brown's Parade. My schedule and the theater's haven't matched up yet, but I'm eager to see it — I'm headed there for the Sunday matinee this weekend. Set in the sweltering intolerance of 1913 Atlanta, Parade is the story of Leo Frank, a northerner and Jewish factory manager, wrongfully accused of murdering a 13-year-old girl in his employment. Despite media frenzy and public outrage, his courageous wife struggles in vain to clear his name. The show won 1999 Tony Awards for best book and best score. This is an off-campus production by the musical theater program at UC's College-Conservatory of Music, and it's been given high marks by the judging panel from the League of Cincinnati Theatres: for the ensemble, for musical direction by Steve Goers, for featured actor Noah Ricketts and for lighting design by Alan Hanson and Wes Richter. It's onstage through April 21. Box office: 859-957-1940

Untethered Theater is midway through it's run of Jeff Daniels' Apartment 3A, presented at the Clifton Performance Theatre on Ludlow, a few blocks east of the Esquire. It's about a once idealistic young woman who has been disillusioned in just about every aspect of her life. The show is an exploration of faith and hope in today's world, described as "an uncynical play about cynics in cynical times." Through April 27. Tickets: 513-939-0599


 
 
by Rick Pender 04.05.2013
Posted In: Theater at 08:06 AM | Permalink | Comments (0)
 
 
onstage 4-3 - midsummer @ cincy shakes - maggie lou rader & justin mccomb - photo rich sofranko

Stage Door: Tickets Available for 'War Horse'

I'm off to the Humana Festival of New American Plays at Actors Theatre of Louisville this weekend, where I'll be checking out plays that could well be on their way to theaters across America in future seasons. For those of you staying here in Greater Cincinnati, there's lots of good stuff to get out and see onstage:

War Horse completes its Cincinnati stop on Sunday. I heard a rumor that it's not selling well, which strikes me as mystifying. It's one of the best pieces of theater I've seen on tour in ages. (Review here.) Of course, it's not a musical (which is what people who go to the Broadway Series at the Aronoff have come to expect) and it was made into a moderately successful movie by Steven Spielberg. But the stage production is a miraculous piece of theater artistry, especially the onstage creation of living breathing horses, life-sized puppets that are manipulated (by three performers) that you'll be convinced you're watching the real thing. The silver lining to poor attendance, I suppose, is that tickets are readily available. You should get yours right away for the chance to see this Tony Award-winning production: Final performance is on Sunday. Box office: 800-987-2787

Last evening I made time to see Cincinnati Shakespeare's production of A Midsummer Night's Dream. It's going to be around for several more weeks, and it's definitely an entertaining — and unusual — rendition of the tale of mixed-up lovers. (Review here.) Director Jeremy Dubin has transported it from the mythical Athens that Shakespeare envisioned and landed it in a swampy Southeastern U.S. in the 1940s, complete with a few guys with drawls in uniform and a clown in a loud plaid sports coat. The latter is CSC Nick Rose, and watching him overact as Nick Bottom, the weaver who imagines himself to be a brilliant performer, is hilarious. MND's mix of magic and humor is always fun, even if it doesn't make much sense, especially in this setting.  Box office: 513-381-2273, x1.

Also worth checking out is the Cincinnati Playhouse's entertaining production of The Book Club Play. It's good in the same way as a well-done TV sitcom: Familiar characters pushed to comic extremes, funny situations that you can identify with, story twists that surprise and amuse. (Review here.) Because book clubs are a big deal these days, lots of people are flocking to see this show (it's been extended to May 5), so you should call now to get your tickets. I can assure you that you'll leave the theater with a smile on your face. Box office: 513-421-3888.

Smiles cannot be predicted with the staging of Jason Robert Brown's very serious musical, Parade, at the Carnegie. But a piece of great drama and fine music is certainly in store if you head to Covington for this one, staged by Ed Cohen and Dee Ann Bryll. It's actually a studio production from UC's College-Conservatory of Music, featuring some outstanding talent from one of America's best training programs for Broadway talent. The story of a falsely accused factor manager, railroaded into a murder conviction mainly because of anti-Semitic attitudes, is heart-rending. But it makes for powerful theater. It opens tonight and runs through April 21. Box office: 859-957-1940.
 
 
by Rick Pender 03.27.2013
Posted In: Arts community, Theater at 12:29 PM | Permalink | Comments (0)
 
 
american idiot photo john daughtry

Look for 'American Idiot: The Musical' in Cincinnati Next Year

Aronoff to host Green Day-inspired Punk Rock opera in spring 2014

Two weeks ago I caught a touring performance of American Idiot: The Musical when it made a three-evening stop at Dayton's Victoria Theatre (see review here). The performance of Green Day's album transformed into a musical theater piece was a noisy blast of defiance, full of energy – although a downer of a story about three guys being overwhelmed by everyday life. But that's what you's probably expect of a "Punk Rock Opera." We'll have it for two nights in Cincinnati, Friday, April 11, and Saturday, April 12, 2014 (that's right, a year from now) as part of the Broadway Across America series at the Aronoff (about twice the size of the Victoria). If you're a fan of Green Day, you'll want to see this one. And if you like shows such as next to normal, a recent big hit for Ensemble Theatre, it's worth noting that Green Day's songs were orchestrated for the stage show by Tom Kitt, who composed N2N's story of a bipolar mom struggling to keep her family together.

 
 
by Rick Pender 03.25.2013
Posted In: Theater at 11:00 AM | Permalink | Comments (0)
 
 
onstage_blake robison - photo sarah bradley

Playhouse Announces 2013-14 Season

Blake Robison to stage "Cabaret," "Pride and Prejudice" among compelling new work

People look to the Cincinnati Playhouse for classic entertainment and the best contemporary theatre,” says Blake Robison, producing artistic director, as he announces his second season, coming in September. For 2013-2014 he’s assembled an array of big titles — including the classic Kander and Ebb musical Cabaret and a stage adaptation of Jane Austen’s Pride and Prejudice — and a collection compelling new work (including two world premieres), mostly on the Shelterhouse Theatre stage.

The Cincinnati Playhouse in the Park has two stages: The Robert S. Marx Theatre is the mainstage with 626 seats; the Thompson Shelterhouse (which is in fact a one-time park shelter) can accommodate an audience of 225. Both have thrust-style stages surrounded by audience seating on three sides, making the action is close and intimate in both theaters.

On the Marx Stage:

·      Fly by Trey Ellis and Ricardo Khan (Sept. 7-Oct. 5, 2013). The story of World War II’s Tuskegee Airmen is told using live action, video projections and tap dancing. This new work will be directed by Khan, its co-creator.

·      Cabaret by John Kander and Fred Ebb (Oct. 19-Nov. 16, 2013). Set in Berlin in the 1930s, and especially in the decadent Kit Kat Club, it’s a musical love story with lots of choreography. Marcia Milgrom Dodge, a Broadway veteran, will direct.

·      A Christmas Carol, adapted by Howard Dallin (Nov. 27-Dec. 29, 2013). Michael Evan Haney will direct the holiday show with a cast of 30 for the 21st time.

·      Clybourne Park by Bruce Norris (Jan.18-Feb. 16, 2014). This one won the 2011 Pulitzer Prize and Tony Award for best play. Inspired by Lorraine Hansberry’s classic play, A Raisin in the Sun, the play is explores racial attitudes in a Chicago neighborhood in 1959 and 2009. Artistic Associate Timothy Douglas (who staged the current production of A Trip to Bountiful) is the director.

·      Pride and Prejudice, adapted by Joseph Hanreddy and J. R. Sullivan (March 8-April 5, 2014). Robison will direct this lavish, full-scale production of Jane Austen’s classic romance.

·      Venus in Fur by David Ives (April 19-May 17, 2014). Maybe you know Ives’ very funny collection of skits, All in the Timing. This is a full-length comedy about a director seeking the right actress who gets more than he bargained for. Artistic Associate KJ Sanchez is staging this one. 

On the Shelterhouse Stage:

·      Seven Spots on the Sun by Martín Zimmerman (Sept. 28-Oct. 27, 2013). The first of several world premieres for the season, this one is a fable of revenge and redemption set in a Latin American village just after a brutal civil war. Sanchez is directing this one.

·      The Complete History of Comedy (Abridged) by the Reduced Shakespeare Company (Nov. 9-Dec. 29, 2013). The same guys who abbreviated Shakespeare, the Bible and American history are at it again, premiering their latest abridgment right here in River City.

·      4000 Miles by Amy Herzog (Feb. 8-March 9, 2014). Robison will stage this tale of a pair of unlikely roommates, a 91-year-old grandmother and her 21-year-old grandson.

·      A Delicate Ship by Anna Ziegler (March 22-April 20, 2014). Another world premiere production, this one by an impressive young playwright who offers a humorous and heartbreaking look at love, memory and decisions that change lives. Michael Haney will direct. (Haney, perhaps Cincinnati’s best local director, was the Playhouse’s Associate Artistic Director from 2001 to 2013; starting in the fall, he joins Douglas and Sanchez in a trio of “artistic associates” who each will direct two shows.)

·      The North Pool by Rajiv Joseph (May 3-June 1, 2014). Rajiv Joseph’s riveting psychological drama is the story of a transfer student from the Middle East whose life quickly becomes complicated. Douglas is the director.

 
 
by Rick Pender 03.22.2013
Posted In: Theater at 07:47 AM | Permalink | Comments (1)
 
 
dont cross the streams

Stage Door: Comedy, Conflict and Classics

My schedule hasn't afforded me the time to see the production of Don't Cross the Streams: The Cease and Desist Musical, a show that began its life in the Cincinnati Fringe Festival back in June. (It also was a festival highlight at the IndyFringe in Indianapolis in August.) But the very tongue-in-cheek piece inspired by the film Ghostbusters (but not allowed to say that) has now been expanded into a full-fledged musical that's onstage at Newport's Monmouth Theatre, presented by Falcon Theatre and Hugo West Theatricals. The League of Cincinnati Theatres has termed the show a "recommended production," so it's evident that their judging panel enjoyed it. One panelist called it "a lively, enthusiastic spoof," and another said that the show is "an evening of theater that doesn't take itself too seriously. The show just had a two-weekend run, so it's final performance is Saturday at 8 p.m. Tickets: 513-479-6783.

Ensemble Theatre's production of Black Pearl Sings! features one of the finest performances by a local actor that I've seen this season. Torie Wiggins plays a woman in the 1930s who translates her memory of songs from her African ancestors into a ticket out of prison and to some notoriety in New York City. Wiggins nuanced performance is complemented by veteran Annie Fitzpatrick as the folk music researcher who sees Pearl as her own ticket to success. Their tentative relationship becomes a delicately balanced friendship, while both explore issues of racism, sexism and getting ahead. Definitely worth seeing. Through March 31. Box office: 513-421-3555. 

Lizan Mitchell is at the other end of the career spectrum from Wiggins, but she too plays Carrie Watts, a sprightly, elderly African-Amerian woman whose powerful sense of home takes her on an impromptu journey back to her roots in A Trip to Bountiful at the Cincinnati Playhouse. It's laced with sadness, since what she remembers no longer exists, but her memories and her joyful take on life make it all worthwhile, not only for her but for others in her life, including her browbeaten son and his selfish wife as well as a sweet young woman who is Carrie's companion on a long bus ride. Through April 7. Box office: 513-421-3888.

This weekend Cincinnati Shakespeare is opening a production of the much-loved Shakespearean romantic comedy, A Midsummer Night's Dream. It's been transported to 1940s America and set in a Jazz-inspired magical forest, with original musica composed by resident sound designer Doug Borntrager; there's also original choreography by Brittany Kugler. The production is staged by Jeremy Dubin, and features veteran actor Nick Rose in the role of Nick Bottom the Weaver, the guy who makes an ass of himself — literally. It's a tangled, funny story that all works out perfectly in the end. A great show to kick off springtime. Through April 21. Box office: 513-381-2273 x1. 

 
 
by Rick Pender 03.15.2013
Posted In: Theater at 08:59 AM | Permalink | Comments (0)
 
 
Photo: Ryan Kurtz

Stage Door: Recognizing African-American Stories

February is Black History Month, a period when the arts traditionally wake up and pay attention to African-American stories and artists. I'm always a bit troubled by this segmenting, so I want to commend both the Cincinnati Playhouse in the Park and Ensemble Theatre Cincinnati for presenting two fine productions of shows featuring African Americans in engaging stories — in the middle of March. They represent two of this weekend's best choices.

At ETC, Black Pearl Sings! features two outstanding local actresses. Annie Fitzpatrick plays Susannah Mullally, a folk music researcher in the 1930s; Torie Wiggins is Alberta "Pearl" Johnson, a prisoner (for a violent but probably justified crime) who has a remarkable recollection of songs she learned as a child from her family. They form an uneasy alliance that turns into a guarded friendship, and Fitzpatrick and Wiggins have a delightful interplay and chemistry. I heard that this might be the 40th production Fitzpatrick has done at ETC; she's a versatile actress, and she convincingly creates the uptight but driven Susannah. Wiggins, who graduated from the drama program at CCM, earns her Equity card on this production: Chronologically, she's probably a tad young for the role, but she so wholly embodies Pearl's feisty character that it makes no difference. Hers is a tour-de-force rendition, musically and theatrically. This one is a definite must-see. Box office: 513-421-3555.

Let's give the Playhouse — and new artistic director Blake Robison — props for finally getting around to staging a show by Horton Foote, who died in 2009 at the age of 92. He was a prolific dramatist and screenwriter (he wrote screenplays for To Kill a Mockingbird and Tender Mercies) for years, and his play A Trip to Bountiful is a lovely, emotional paean to the notion that "there's no place like home." Foote wrote the play about an elderly Texas wido pining to return to her hometown in 1953 (as a play for television, in fact) and it was an award-winning 1985 movie  with a white cast. For the Playhouse, Timothy Douglas has changed up the story by overlaying an African-American filter over the story and casting veteran actress Lizann Mitchell as Carrie Watts. She's a dream of an actress, portraying a tiny Texas cyclone of energy with a wry sense of humor. The story is nothing too innovative — she runs away from a cramped apartment where she lives with her son and his demanding wife to return to her girlhood home, which has all but disappeared — but the truth and dignity of the tale (and Mitchell's performance) make this show worth seeing. Box office: 513-421-3888.

Finally, I need to mention Clifton Players production of A Behanding in Spokane by Irish playwright Martin McDonagh. He's the writer of dark tales like The Beauty Queen of Leenane and The Cripple of Inishmaan, as well as the even darker film In Bruges. Clifton Players perform at Clifton Performance Theatre, a tiny, intimate storefront space on Ludlow Avenue. I've heard lots of positive remarks about this production. Be prepared to be shocked and entertained by the show's comic violence. Tickets: 513-861-7469.

 
 
by Rick Pender 03.13.2013
Posted In: Theater at 08:15 AM | Permalink | Comments (1)
 
 
americani idiot (tour) - alex nee as johnny, trent saunders as st. jimmy - photo victoria theatre association

Review: 'American Idiot: The Musical'

Dayton’s Victoria Theatre presents Tony Award-nominated, Green Day-inspired musical

Critic's Pick

As 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.

 
 
by Rick Pender 03.08.2013
Posted In: Theater at 10:19 AM | Permalink | Comments (0)
 
 
onstage 2-20 - cast of leveling up (playhouse) - photo sandy underwood

Stage Door: Tick Tock...

Can you hear the clock ticking? That's not just because this weekend marks the "spring forward" to Daylight Savings Time early on Sunday. It's also because several theater productions are just about over: If you want to see them, you only have a few days left.

Leveling Up, the Cincinnati Playhouse in the Park's show about video gamers, is as contemporary as can be. One of its characters is recruited by the NSA to fly drones into war zones — activity that totally blurs the boundary between the real world and cyberspace, not to mention the moral boundaries between killing video villains and actual living people. (Review here.) The show is also about taking charge of your life in a world of maturity and responsibility, rather than retreating into simulated space. Deborah Zoe Laufer's script uses four characters, all twentysomethings, who will seem like people you know — their language, their actions, their concerns are the stuff of contemporary life. Box office: 513-421-3888.

If you want something that's quite intentionally removed from everyday life, you need to check out the wry and ironic musical theater piece at UC's College-Conservatory of Music, Bertolt Brecht and Kurt Weill's The Threepenny Opera. (Review here.) It's an allegory and critique of corrupt capitalism, told with dark humor in a production by CCM Opera chair Robin Guarino (who has staged productions at the Metropolitan Opera in New York City). She knows how to present the stark humor and cynical attitudes in Brecht's script, and the talented CCM musical theater performers (accompanied by a small onstage orchestra dominated by woodwinds and brass) provide great renderings of Weill's score. This is a rarely produced work, definitely worth seeing. Box office: 513-556-4183.

Perhaps you prefer your cynicism in an 18th century mode: That's what you'll get with Cincinnati Shakespeare Company's production of Dangerous Liaisons, a story of the idle rich who entertain themselves by seducing and manipulating their naive colleagues — or their innocent offspring. (Review here.) It's not a pretty story, in that the central characters are scheming and out for their own entertainment and pleasure, often for revenge. But if you like nasty behavior, this production has it in spades. Two of CSC's best veterans, Corinne Mohlenhoff and Giles Davies, play the Marquise de Merteuil and the Vicomte de Valmont, a pair of arch schemers who relish making a mess of others' lives. It's not everyone's cup of tea, but it's a literate, cleverly plotted piece of theater. Box office: 513-381-2273 x.1. 

The previous three shows finish their runs this weekend. When the Rain Stops Falling at Know Theatre has one more week (it closes on March 16), but you should order your tickets now: I expect the final performances will be hard to get into on short notice. (Review here.) This is one of the best shows that Know has staged in several seasons, a fine, complex script performed by a talented cast of nine, directed by Cincy Shakes Brian Isaac Phillips. (Four of the cast members are CSC regulars.) They play four generations of two families, strangely and fatefully intertwined. The story weaves back and forth between 1959 and 2039; at first it seems to be disjointed, then things suddenly beging to fall into place. By the time it's over — with several shocking moments along the way — you'll see how it all fits together. If you haven't seen this one yet, this is the ticket you need to get. Box office: 513-300-5669.

 
 

 

 

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by Rick Pender 04.11.2014 4 days ago
Posted In: Theater at 08:17 AM | Permalink | Comments (0)
 
 
stage door

Stage Door: Green Day and More

If you follow music coverage in CityBeat (hey, isn't that really why you pick up the paper?), you're certainly aware of Green Day's 2004 recording American Idiot. But since you're reading my weekend theater previews, you must be interested in other kinds of performance, so here's a tip: For two nights only, Green Day's American Idiot, a stage version of the powerful Punk score, will be onstage at the Aronoff. That's right — Friday and Saturday only, just three performances, much shorter that Broadway in Cincinnati's two-week presentation of touring Broadway musicals. I can vouch for this one, since I saw it a year ago during a similar tour stop in Dayton.

It's 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. The recording was conceived as a "Punk Rock Opera" and turned into a Tony Award-nominated Broadway show in 2010, with a lot of involvement by Green Day's lead singer Billie Joe Armstrong (who actually appeared onstage in New York at various performances; that's not happening here in Cincinnati). There's a day-of-performance lottery for a limited number of $25 tickets; you need to show up two-and-a-half hours before the performance you're hoping to see (8 p.m. Friday, and 5 and 8 p.m. on Saturday) with a valid photo ID. Complete an entry form and wait 30 minutes to find out if you're a winner. If you prefer to just go ahead and buy your seats ($38-$91), you can call the Aronoff box office: 513-621-2787.

In the classic musical Gypsy, Rose has very concrete ideas regarding how to turn her daughters into stars (long before Green Day was punking out, to be sure): Back in the 1920s and ’30s she pushed her kids onto vaudeville stages whether they liked it or not. Things never went quite as she imagined, which was really a desire for her own fame and stardom. It's one of the great musicals, and the role of Rose has been compared to King Lear. That might be a bit of a stretch, but she's a tragic character who's fascinating to watch. There's a ton of great music, composed by Jule Styne with lyrics by a very young Stephen Sondheim and lots of humor along the way, especially the hilarious number by three strippers, "You Gotta Get a Gimmick." Cincinnati Landmark opened its production Thursday night, and it will be onstage at the Covedale Center for the Performing Arts through May 4. Tickets ($21-$24): 513-241-6550.

Mary Chase's comedy Harvey won the 1945 Pulitzer Prize and had a four-year Broadway run (1,800 performances). The story of Elwood P. Dowd and his invisible friend, a 6-foot tall rabbit named Harvey, is perhaps best known for the 1950 movie featuring Jimmy Stewart in an Oscar-nominated performance. That's all well and good, but it's a show that audiences love to see live and in-person, and you can do just that at Covington's Carnegie for the next three weekends (tonight through April 27). It's directed by Buz Davis, who produced shows at the Carnegie when it was a dilapidated wreck back in the ’80s and ’90s. Now he's returning to stage Harvey in the beautifully renovated Otto M. Budig Theatre.
(Tickets ($17-$24): 859-957-1940.) Davis has assembled a strong cast for this family-friendly comedy, you can catch a few of them in this charming promotional video:



Still onstage are several recommended productions: The Mountaintop at Ensemble Theatre (final extended performance is Saturday evening; 513-421-3555); A Delicate Ship at the Cincinnati Playhouse (through April 20; 513-421-3888; CityBeat review here); and The Twentieth-Century Way at Know Theatre (through May 3; CityBeat review here.) And if Monday comes and you want still more: Check out True Theatre's next installment — True Dating (7:30 p.m. at Know Theatre). This round of monologues of real experiences will feature stories of dating that led to true love, and some that went off the tracks along the way. Tickets ($15): 513-300-5669.
 
 
by Rick Pender 04.08.2014 7 days ago
Posted In: Theater at 03:18 PM | Permalink | Comments (0)
 
 
stage door image for 10-4 - seven spots on the sun - cincy playhouse - photo sandy underwood

Playhouse World Premiere 'Seven Spots on the Sun' Earns National Recognition

Actors Theatre’s Humana Festival is indeed a launching pad for exciting new works. That makes its final weekend the perfect moment for the American Theatre Critics Association to recognize a set of outstanding plays produced at regional theaters during 2013. None of the 2013 Humana Festival shows was nominated, but one of the three works to win a significant cash prize ($7,500) was Martín Zimmerman’s Seven Spots on the Sun, given its world premiere at the Cincinnati Playhouse in the Park last fall. The play blends magical realism and political issues in an affecting tale examining if forgiveness is truly possible. Set in a Central American nation ravaged by civil war, lust, plague and a consuming need for vengeance, it’s about a widowed doctor in a small village and a newly-married soldier charged with subduing dissent. Their journeys towards redemption converge in some painful ways.

The top prize ($25,000) went to Lauren Gunderson for her play I and You, about a cranky high school student who needs a liver transplant. A smart, athletic classmate recruits her to help him finish a school project focused on Whitman’s Leaves of Grass. As their unlikely relationship evolves, they explore the meaning of life and death without a shred of condescension or pretentiousness. I and You was staged last October at Marin Theatre Company in California, where Jasson Minadakis, who founded Cincinnati Shakespeare Company, is now artistic director and nurtured the development of Gunderson’s script. Her play Toil & Trouble was presented locally last summer by Know Theatre.

 
 
by Rick Pender 03.21.2014 25 days ago
Posted In: Theater at 08:17 AM | Permalink | Comments (0)
 
 

Stage Door: Excellent Options

The three-week run of the tour of Wicked wraps up this Sunday at the Aronoff Center. It's a faithful reproduction of the Broadway hit, with performers who can give you the experience of seeing the original, a kind of prequel to The Wizard of Oz. (Tickets, $38-$188: 513-621-2787, but each performance has a pre-show lottery; if your name is pulled, you can buy a ticket for $25). If you've already seen this one, I suggest you check out one of the great new productions on local stages.

Ensemble Theatre Cincinnati has offered another powerhouse season this year, but I'll venture to say that The Mountaintop is aptly named: It's at the peak. It's an imagined story about Rev. Martin Luther King Jr. on the night before he was assassinated. I'll venture to say that you've never seen him in quite this altogether human light, as portrayed — dare I say wholly embodied — by Gavin Lawrence. And then he's visited by Camae, a sassy maid who evolves into something so much more as he contemplates the meaning of his life. The always watchable Torie Wiggins takes on this role, and it might be one of her best performances yet at ETC. The Mountaintop won London's Olivier Award for Best New Play in 2011, and in my opinion, it's one of the best productions we'll see here in Cincinnati this theater season. Through April 6. (Tickets, $25-$43: 513-421-3555).

I caught up with the Cincinnati Playhouse's production of Pride and Prejudice at the Playhouse earlier this week. (It opened a week ago, but I was out of town.) It's a faithful rendition of Jane Austen's beloved novel, gorgeously staged and costumed. It has a big cast, so all the characters, quirky and memorable, are present and accounted for — a few actors need to play more than one role. If you're an Austen fan, I suspect you'll like this one; if not, you might find it kind of uneven, since some characters come across as cartoons (especially Elizabeth Bennet's meddlesome, garrulous mother and the arrogant Lady Catherine de Bourgh) while others are more naturalistic. Kate Cook's Lizzie has all the right notes (she ought to, as she's played the role several times elsewhere) and Loren Dunn's Mr. Darcy, while a bit slow out of the gate, eventually captures the character's aloof charm. Director Blake Robison has done a good job with an interesting adaptation that has scenes that flow swiftly one into the next, sometimes with overlapping elements that recall past moments. Through April 5. (Tickets, $30-$80: 513-421-3888).

Back in the early 1980s, the musical A … My Name is Alice had a long run at New York City's The Village Gate. Northern Kentucky University is producing its version of this collection of songs focused on the paradoxes women face — beauty, strength and heart. The show, created by an array of comedians, lyricists and composers, has 20 songs. It's being staged by Corrie Daniely, the newest faculty member in NKU's theater and dance department. Through April 30. (Tickets, $8-$14: 859-572-5464).

 
 
by Rick Pender 03.14.2014 32 days ago
Posted In: Theater at 08:25 AM | Permalink | Comments (0)
 
 
ccm musical theater seniors 2014 - photo mark lyons

Stage Door: Broadway's Future

I had a glimpse of Broadway's future last night on campus at UC. I attended Not Yet Famous, the 22nd edition of CCM's musical theater showcase, featuring the about-to-graduate senior class. The 19 vibrant performers presented a 45-minute program that they'll take to New York City on April 7 to present to casting agents, producers and others. It's how they begin to land contracts and establish relationships that will give them solid professional careers. With accompanist Julie Spangler at the piano, the singers worked as a large ensemble and smaller sets, but each one had multiple chances to show off her or his strengths as a singer, dancer and actor — they're all trained to be "triple threats" with a polished arsenal of vocal and movement skills. They were warmly received by the Friends of CCM, the support group that helps keep various programs at the conservatory going; the evening was a benefit. You have a chance to see the showcase for free if you act quickly: There will be performances on Saturday at 5 and 8 p.m. at Patricia Corbett Theater. No charge, but you need to call CCM's box office to reserve a seat (limit of two per order). I suspect tickets will be snapped up, so call right away: 513-556-4183.

Wicked is in the midst of its three-week run at the Aronoff Center. This is one of the most popular Broadway shows of the 21st century (it's been running for a decade, as well as spawning productions around the world plus two national tours, one of which is in our midst). It's here through April 23, but tickets are expensive (cheap seats are $38 and anything else is more), so you might want to try your chances in the daily lottery for a $25 orchestra seats. Grab your valid ID and show up in person 2.5 hours before the curtain time to enter; if your name is chosen, you can purchase one or two tickets. Of course, if you're flush you can guarantee seats by buying what you need at 513-621-2787.

The Playhouse just opened Pride and Prejudice, a theatrical adaptation of Jane Austen's most popular 200-year-old novel. I won't see it until next week (busy schedule), but if you're a fan — and it seems that everyone loves her novels of manners and romance — you probably need to line up to see this one. Director Blake Robison calls his production "epic," adding, "The story is a satire of the marriage market and an exploration of true love. What could be more fun than that?" It's onstage through April 5. Tickets: 513-421-3888.

What with St. Patrick’s Day coming on Monday, this might be the perfect weekend to see Clifton Players’ production of The Irish Curse (at Clifton Performance Theatre, 404 Ludlow Ave.). Lots of folks have told me they enjoyed this tale about a group of Irish-American men who meet weekly in a self-help group in a Catholic church basement to discuss a sad “shortcoming” — let’s call it “small equipment,” a curse they believe has ruined their lives. It gets its final performance on Sunday, right before you line up for your first green beer. Tickets: 513-861-7469.

 
 
by Rick Pender 03.07.2014 39 days ago
Posted In: Theater at 09:24 AM | Permalink | Comments (0)
 
 
les miserables @ ccm - the thenardiers (emily schexnadre and matthew paul hill) whoop it up at their inn - photo mark lyons

Stage Door: Options for All Ages

Can you imagine Les Misérables without a turntable or the immense barricades lumbering down from the wings? Aubrey Berg, head of the University of Cincinnati's College-Conservatory of Music’s renowned musical theater program, has dramatically re-imagined the legendary show for a run at UC, using a largely bare stage backed by a wall of ladders, staircases, shelves and recessed ledges. Berg's simplified physical production earned my Critic's Pick with its sharper focus on characters, action and music. Les Mis has a remarkable cast of 40 or so with soaring vocal talent for solo numbers and breathtaking choral power when they combine forces in iconic numbers such as “Do You Hear the People Sing?” and “One Day More.” It's a spectacular production, onstage through Sunday. Tickets: 513-556-4183.

Wicked just opened a three-week run at the Aronoff (it's the third time the show has been here, and it's set box office records every time). Tickets can be expensive (the cheap seats start at $38 and go up quickly from there), so keep in mind there's lottery for a limited number of $25 orchestra seats for each performance. You need to show up in person 2.5 hours before the curtain time (with a valid photo ID) to submit your name; if it's pulled you can purchase one or two tickets. It's worth a shot. Otherwise, you can purchase tickets by calling 513-621-2787.

If you're a Tony Bennett fan, you might consider heading to the West Side for I Left My Heart at the Covedale Center, a salute to the legendary crooner. You'll get to hear 40 standards that he's known for — "Because of You," "I Wanna Be Around," "The Good Life" and, of course, "I Left My Heart in San Francisco." Tom Highley, Deondra Kamau Means and Brian Wylie will be singing, with Mark Magistrelli at the piano. Through March 23. Tickets: 513-241-6550.

Here's an item worth considering for Monday evening: The Educational Theatre Association, a national organization for high school kids involved in theater, is headquartered here in Cincinnati. (They're the folks behind the National Thespian Society.) They're partnering with the School for Creative and Performing Arts on Monday at 7 p.m. for Making Magic, Defying Gravity. Presented at SCPA's Corbett Theatre (108 Central Parkway in Over-the-Rhine), the evening offers a program of music and conversation featuring members of the touring cast of Wicked (as noted above) and performances by high school students from the area. You'll hear from Jason Daunter, Wicked's production stage manager, and Matt Conover, VP with Walt Disney Parks and Resorts. They'll talk about how their high school dreams led to careers in the theater. Tickets are $10 in advance; 15 at the door (going on sale at 5:45 p.m.). Proceeds from this event will benefit the Friends of SCPA Scholarship Fund and the Educational Theatre Association's Scholarship Fund, both of which will help develop talent for the future of the theater.

 
 
by Rick Pender 03.03.2014 43 days ago
Posted In: Theater at 07:00 PM | Permalink | Comments (0)
 
 
onstage_blake robison - photo sarah bradley

Playhouse in the Park Announces 2014-15 Season

Season ahead includes homegrown works, award-winning shows and a couple of musicals

The Cincinnati Playhouse announced its 2014-15 season on Monday. 

I’m especially looking forward to Peter and the Starcatcher, Vanya and Sonia and Masha and Spike and Circle Mirror Transformation, as well as the premiere production, Safe House

Here’s what’s coming our way, in chronological order:
  • Jeffrey Hatcher’s new whodunit featuring the world’s favorite detective, Sherlock Holmes and the Adventure of the Suicide Club. (Marx Theatre, Sept. 6-Oct. 4, 2014)
  • I Loved, I Lost, I Made Spaghetti, adapted from foodie Giulia Melucci’s hilarious memoir. (Shelterhouse Theatre, Sept. 27-Oct. 26, 2014)
  • A world premiere by up-and-coming playwright and Cincinnati native Keith Josef Adkins, Safe House, inspired by his Kentucky ancestors. (Marx Theatre, Oct. 18-Nov. 15, 2014)
  • Tenderly: The Rosemary Clooney Musical, which traces America’s favorite girl singer from her Cincinnati childhood and Hollywood stardom to triumphant comeback. It’s by the local team of composer Janet Yates Vogt and writer Mark Friedman. (Shelterhouse Theatre, Nov. 15-Dec. 28)
  • The season also includes Charles Dickens’ A Christmas Carol, back for its 24th year. (Marx Theatre, Nov. 26-Dec. 28, 2014)
  • A new version of the recent Broadway show, Ring of Fire: The Music of Johnny Cash, directed by and featuring the star of the Broadway production, Jason Edwards. (Marx Theatre, Jan. 17-Feb. 15, 2015)
  • The second U.S. production of an offbeat love story, Chapatti, a tasty new comedy of misadventures involving love and pets. (Shelterhouse Theatre, Feb. 7-March 8, 2015)
  • Peter and the Starcatcher, the magical, family-friendly Peter Pan prequel that hooked five Tony Awards. (Marx Theatre, March 7-April 4, 2015)
  • A compelling, darkly funny new play by Tracey Scott Wilson, Buzzer, getting its world premiere at Chicago’s Goodman Theatre this month. (Shelterhouse Theatre, March 21-April 19, 2015)
  • The 2013 Tony Award-winning best play, Christopher Durang’s hit comedy Vanya and Sonia and Masha and Spike, full of echoes of Anton Chekhov. (Marx Theatre, April 25-May 23, 2015)
  • The comic off-Broadway hit Circle Mirror Transformation, winner of the 2009 Obie Award for best new American play. (Shelterhouse Theatre, May 9-June 7, 2015)

In a recent conversation, Artistic Director Blake Robison described his program priorities and told me the Playhouse takes them seriously. “Variety is one of our hallmarks. We’re always going to make sure there are new works and culturally diverse works and that there are family-friendly or multigenerational things. We will find ways to continue to support and entertain the traditional audience while reaching out in various directions to new audiences. It’s our responsibility to bring the best theatrical material both old and new to our community.” 

I’d say Robison’s third season sticks to his priorities.

 
 
by Rick Pender 02.28.2014 46 days ago
Posted In: Theater at 08:32 AM | Permalink | Comments (0)
 
 
stage door for 2-28 - lesmiz @ ccm - blaine alden krauss as valjean & kimber sprawl as fantine - photo mark lyons

Stage Door: Hapless Heroes at Cincy Shakes

There's a magnificent production of the legendary musical Les Misérables at the University of Cincinnati's College-Conservatory of Music. I attended the opening performance at Patricia Corbett on Thursday evening, and a show that I've seen umpteen times has been given new life with fresh direction, impassioned staging and innovative design — even if you've seen the legendary original with its turntable and massive barricades, you'll find CCM's rendition, directed by Aubrey Berg, an eye-opener. It's simpler and more dramatic (that's quite a claim for a show designed to pluck your heart-strings), and it's especially noteworthy for the leads' strong vocal performances — Jean Valjean and Inspector Javert are double-cast, a demonstration of the depth of talent in this nationally renowned program — as well as each and every every performer in an ensemble of more than 40.

The 16-musician orchestra, conducted energetically by Steve Goers, sounds larger whole lot more, since several players handle three to five instruments. Berg's staging gives the show a clarity and power that makes it feel fresh and new. It has vivid feature characters and storytelling with momentum and emotional impact. This one is a must-see, so it's great that the production runs longer than many at CCM, where it's usually one-weekend and done: There are nine more performances through Sunday, March 9, which means that more tickets ($31-$35; $18-$24 for students) are available. Nonetheless, they'll be snatched up quickly, so you should call right away to get yours. 513-556-4183.

I saw Cincinnati Shakespeare's Rosencrantz and Guildenstern Are Dead a week ago, and gave it a Critic's Pick in my CityBeat review here. It's a one-off from Hamlet, which Cincy Shakes just staged, using the same cast — but Tom Stoppard's 1966 script puts two throwaway characters in the limelight. Just like the Prince of Denmark, his college chums are perplexed and bedeviled by questions of existence and the meaning of life. They're caught in the swirl of the court — the characters of Hamlet dart in and out around them and add to their confusion — which adds to their confusion about their own roles, the expectations they need to fulfill and their ultimate fate. Billy Chace and Justin McCombs have a firm grasp on their hapless characters: Their sure-handed comic portraits of loquacious Guildenstern and bewildered Rosencrantz might remind you of the movie comedy team of Laurel and Hardy. This classic modern work of absurdity drawn from perhaps the greatest Elizabethan tragedy makes for a fine evening for lovers of great drama. Tickets ($22-$31): 513-381-2273, x1

Andrew Lloyd Webber’s classic musical Evita is at the Aronoff Center through Sunday. It looks great with some epic scenery and excellent choreography. Josh Young as Che is charismatic and strong-voiced in his role as the show’s commentator. But Caroline Bowman’s Eva Perón is shrill, and Sean MacLaughlin's Juan Perón lacks the sinister gravitas that the role requires. So there's not nearly enough of the complex passion and manipulation that bonded them as a political machine. The tale of the ambitious woman who rose to the highest levels of power in Argentina then crashed and burned at age 32 is a memorable modern tragedy, and Andrew Lloyd Webber’s rock-opera tunes by will stick in your head. Tickets: 513-621-2787.

 
 
by Rick Pender 02.26.2014 48 days ago
Posted In: Theater at 06:00 PM | Permalink | Comments (0)
 
 
godard

Cincinnati Shakespeare Company Announces 2014-15 Season

Cincy Shakes to offer Gatsby, Birds, Godot and the Bard; NKU has hit musicals and more

Cincinnati Shakespeare Company today announced its 21st season, commencing in July. The company is committed to staging works by Shakespeare, of course, but its goal is broader: It also presents definitive works of drama and literary classics adapted for the stage. As far as the Bard's work, the 2014-2015 season will include a holiday staging of the silly but hilarious The Comedy of Errors. Also on tap is the powerful history play, Henry V, another step in the company's epic five-year, eight-play history cycle that began with Richard II and continues during the current season with the upcoming Henry IV. Additionally, there will be a production in April 2015 of the comic battle of the sexes, The Taming of the Shrew, a popular work that Cincy Shakes staged during its first season in 1994 (as well as in 1999, 2003 and 2009). 

Aside from Shakespeare's works, the coming season will offer stage versions of two beloved American classics: a new adaptation of F. Scott Fitzgerald’s Jazz Age classic The Great Gatsby and the regional premiere of Louisa May Alcott’s Little Women. Daphne du Maurier's thriller, The Birds (familiar to many as a 1963 film by Alfred Hitchcock) will show up in a 2009 adaptation by Irish playwright Conor McPherson (known for numerous works staged locally, including St. Nicholas, The Weir, Port Authority, Shining City and The Seafarer). Next January will bring forth Samuel Beckett’s profound comedy, Waiting for Godot featuring veteran actors Joneal Joplin and Bruce Cromer, and the season concludes in June 2015 with the Cincinnati debut of the Tony-award winning, West-End smash hit comedy, Richard Bean's One Man, Two Guvnors, a 2011 play based on Carlo Goldoni's 1743 comic masterpiece, The Servant of Two Masters.

Tickets for the 2014-2015 season went on sale earlier this month, resulting in a record-breaking first day of sales on Feb. 3. Single tickets are now on sale. For more information, go to cincyshakes.com or call the box office at 513-381-2273, x1.

On Wednesday the department of theater and dance at Northern Kentucky University also announced its productions for the 2014-2015 academic year, a mix of classics and contemporary works. The year kicks off in late September with the ancient Greek tragedy The Bacchae by Euripedes. The fall semester also includes the hit 2003 Tony Award-winning musical Hairspray in October-November and, in November-December, Philip Dawkins' Failure: A Love Story, the magical story of three sisters in 1928 Chicago who live and die in a rickety home by the Chicago River. In February, launching the spring semester, NKU will stage the epic musical Les Misérables, the popular masterpiece that affirms the human desire to achieve redemption. The academic year's theater productions will conclude with the 17th Biennial Year End Series Festival of New Plays. During April, the "YES" festival, as it's shorthanded, will present three world-premiere plays which have not yet been selected. Info: theatre.nku.edu or 859-572-5464.

 
 
by Rick Pender 02.21.2014 53 days ago
Posted In: Theater at 08:46 AM | Permalink | Comments (0)
 
 
stage door 2-21 - cynthea mercado as scheherazade in arabian nights @ nku - photo provided by northern kentucky university14an press photo 3 copy

Stage Door: Options Abound

I’m not making up a story when I suggest you could be charmed by Mary Zimmerman’s Arabian Nights at Northern Kentucky University. After all, her play is about telling tales: Scheherazade, the latest bride of a cruel king who has a history of marrying and executing his wives, survives by stringing him along with stories she promises to finish the next night — for a “Thousand and One Nights.” (Read my profile of Mary Zimmerman here.) She plies him with tales of Sinbad and Ali Baba. Audiences at NKU will likely be strung along, too. Senior Cynthea Mercado plays Scheherazade, whose life, she says, “is threatened with the reality of her situation, and yet she is still able to enjoy her own tales and sometimes get lost in them.” No need to get lost. Find your way to Highland Heights and NKU’s Corbett Theatre for this production, through March 2. Tickets: 859-572-5464.

If a classic musical is to your taste, you might try Andrew Lloyd Webber’s epic musical Evita, in a touring production at the Aronoff Center through March 2. I caught a performance last evening, and it looks great — some epic scenery and excellent choreography. Josh Young as Che is charismatic and strong-voiced in his role as the show’s commentator. Unfortunately, Caroline Bowman’s Eva Perón gets too shrill way too fast and becomes a grasping harpy before there’s a chance to be won over by her Machiavellian charms. As Juan Peron, Sean MacLaughlin looks young and slimy, without the sinister gravitas that the historical figure possessed. That doesn’t leave much opportunity to convey the complex chemistry — passion and manipulation — that bonded them as a political machine. But the tale of the ambitious young woman who rose to the highest levels of power in Argentina then crashed and burned is a memorable modern tragedy, and the show’s rock-opera tunes by Andrew Lloyd Webber will stick in your head. Tickets: 513-621-ARTS.

Cincinnati Shakespeare is keeping the cast of its recent production of Shakespeare’s Hamlet intact with its current production of Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. This time around, it’s the story of Hamlet’s college buddies Rosencrantz and Guildenstern, who move from Shakespeare’s sidelines to Stoppard’s center stage. In this classic 1967 script, the pawns become the central characters, while Prince Hamlet, Queen Gertrude, King Claudius, Ophelia and others wander by. The classic tragedy is turned on its head, and it becomes an existential tragedy for two guys who everyone has a hard time telling apart. Through March 9. Tickets: 513-381-2273.

The Cincinnati Playhouse in the Park’s production of Amy Herzog’s Pulitzer Prize finalist script, 4000 Miles, is onstage at the Shelterhouse Theatre. It’s about a 91-year-old grandmother and her 21-year-old grandson bridging a giant generation gap and finding that they actually have a lot in common. Through March 9. Tickets: 513-421-3888. 

It’s the final weekend for several shows that have been pleasing audiences. Nina Raine’s Tribes at Ensemble Theatre Cincinnati was originally scheduled to close last Sunday, but to meet ticket demand for the show about coping with deafness — and contentious families — ETC added performances through Saturday. (CityBeat review here.) Tickets: 513-421-3555. … A block away at Know Theatre, the off-kilter script by Steve Yockey, Pluto, winds up on Saturday, too. It’s about dealing with tragedy and grief, told in an inventive, sometimes even humorous, manner. Two of Cincinnati’s finest actors — Annie Fitzpatrick and Tori Wiggins — are in this one, making it very watchable. (CityBeat review here.) Tickets: 513-300-5669 … For the younger set, this weekend offers the final public performance, Saturday at 2 p.m., of Children’s Theatre’s Pinkalicious at the Taft. It’s the story of a girl who can’s stop eating pink cupcakes. Tickets: 800-745-3000.

And here’s a tip for Monday evening: Dayton native Daniel Beaty, who pleased a lot of Playhouse patrons last season with his tour-de-force one-man show, Through the Night, will be in town for a one-night performance to promote his new book, Transforming Pain to Power. His performance (6:30 p.m. in the Marx Theatre) and the book signing afterward in the Rosenthal Plaza) are free, but you need to make a reservation with the Playhouse box office: 513-421-3888.

 
 
by Rick Pender 02.14.2014 60 days ago
Posted In: Theater at 10:10 AM | Permalink | Comments (0)
 
 
curtain call - 4000 miles @ playhouse - photo sandy underwood

Stage Door: Valentine's Weekend

Last night I caught the opening of 4000 Miles at the Cincinnati Playhouse. What with today being Valentine's Day, this tale of a feisty grandmother and her hippie grandson — separated by a 70-year gap in age — might not seem like a very typical love story. But it's about understanding and finding common ground, and what else is that but true love? Actor Robbie Tann plays 21-year-old Leo and Rosemary Prinz is Vera, his 91-year-old grandmother. You'd think that seven decades might be an uncrossable chasm, but each is a lonely soul — she as the result of old age, he by virtue of the tragic accidental death of his best friend — and they find consolation and support from one another as the become better acquainted. Both actors are delightful in their roles, he kind of spacey but caring, she feisty and loving. If you're looking for a good date night for Valentine's weekend, you should give Amy Herzog's play a chance. It happens to be a very credible script, by the way, having been a finalist for the 2013 Pulitzer Prize. Through March 9. Tickets: 513-421-3888.

Tonight is the opening for Cincinnati Shakespeare's Rosencrantz and Guildenstern Are Dead, Tom Stoppard's now-classic through-the-looking-glass take on Hamlet. Since Cincy Shakes just finished a production of the latter, it's the same cast, but with the royals in the background and two lowly minor characters moved to center stage. Their plight? They don't quite understand the intrigues swirling around them, and they wonder about the meaning of their own existence. There's a lot of dark humor, and actors Billy Chace and Justin McComb are just the guys to carry it off. Through: March 9. Tickets: 513-381-2273.

If it's darkness you crave, you might also consider Pluto at Know Theatre. No, it's not about the Disney dog, but rather about unexpected changes in life — like the demotion of the solar system's one-time farthest planet into something less — as well as the Roman god of the underworld. How does all that fit together in a modest contemporary kitchen? Steve Yockey's play is an absurdist study in contemporary angst, an instant of tragedy dissected and set in amber. It's not easy to watch (there's some extreme gun violence), but the show's strong cast, especially Annie Fitzpatrick and Tori Wiggins plus NKU student actor Wesley Carman, make it extremely watchable. You just have one more week to catch this one. Tickets: 513-300-5669.

If you thought you'd missed out on Tribes at Ensemble Theatre Cincinnati, you actually have a grace period, since the show about deafness and family strife has been extended to Feb. 22. It was originally set to close on Feb. 16; the additional dates should make it possible for anyone who's interested to get tickets. Watching the fine acting performances of guest actor Dale Dymkoski as a young man who has been isolated by deafness and Cincy Shakes regular Kelly Mengelkoch as a young woman, adept with sign language, who is losing her hearing, will make you glad you made the effort to see this one. Tickets: 513-421-3555
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