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by Rick Pender 04.11.2014
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
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
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
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
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
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
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
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
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
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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by Rick Pender 05.22.2015 4 days ago
Posted In: Theater at 08:55 AM | Permalink | Comments (0)
 
 
cappies recipients

Stage Door: Theater Critics of the Future?

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

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

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

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


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



West Side Story at Cincinnati Hills Christian Academy

REVIEWED BY COLE HANKINS, Loveland High School

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

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

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

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

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

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

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

 

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

REVIEWED BY ELEANOR CONNIFF, Highlands High School

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

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

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

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

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

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

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

 

Beauty and the Beast at McAuley High School

REVIEWED BY SAMANTHA TIMMERS, Scott High School

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

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

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

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

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

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

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


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

REVIEWED BY SARAH MORGAN, Mariemont High School

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

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

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

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

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

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

 

Sweeney Todd at Taylor High School

REVIEWED BY MADISON LUKEN, St. Ursula Academy 

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

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

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

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

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

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

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


Once Upon a Mattress at Ursuline Academy

REVIEWED BY CARISSA SAFFIRO, Cincinnati Christian Schools

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

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

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

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

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

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

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

 
 
by Rick Pender 05.15.2015 11 days ago
Posted In: Theater at 08:17 AM | Permalink | Comments (0)
 
 
tage

Stage Door: Take a Trip to Ireland?

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


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


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


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


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



 
 
by Rick Pender 05.07.2015 18 days ago
Posted In: Theater at 02:25 PM | Permalink | Comments (0)
 
 
sonia and masha mourning their lives - vanya & sonia & masha & spike - cincinnati playhouse - photo sandy unerwoodjpg

Stage Door: Trips Down Memory Lane

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

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

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

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

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

 
 
by Rick Pender 05.04.2015 22 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 24 days ago
Posted In: Theater at 01:01 PM | Permalink | Comments (0)
 
 
vanya and sonia and masha and spike - cincinnati playhouse - john feltch, elizabeth hess and suzanne grodner - photo sandy underwood

Stage Door: Durang and One Dang Funny Dysfunctional Family

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

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

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


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

 
 
by Rick Pender 04.26.2015 29 days ago
Posted In: Theater at 11:48 AM | Permalink | Comments (0)
 
 
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Call Board: Coming Attractions for Cincinnati Theatergoers

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

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

Know Theatre of Cincinnati

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

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

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

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

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

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

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

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

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

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

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

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

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

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

New Edgecliff Theatre

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

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

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

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

The Carnegie

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

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

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

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

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

Commonwealth Dinner Theater

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

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

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

Xavier University

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

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

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

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

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

Actors Theatre of Louisville

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

 
 
by Rick Pender 04.24.2015 32 days ago
Posted In: Theater at 08:49 AM | Permalink | Comments (0)
 
 
stage

Stage Door: Searing Drama and Silly Comedy

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

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

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

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

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

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

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.
 
 
by Rick Pender 04.17.2015 38 days ago
Posted In: Theater at 11:57 AM | Permalink | Comments (0)
 
 
yes festival  nku - grand night for murder - robert macke as ginger baer - photo mikki schaffner

Stage Door: The Kids Are All Right

This is a busy time of year on local stages, and that's especially true at colleges and universities where the academic year is winding down.

At Northern Kentucky University, the 17th biennial Year End Series (Y.E.S.) Festival is underway, presenting three world premiere productions in rotating repertory. It's a Grand Night for Murder opened on Thursday; The Divine Visitor, a Restoration Comedy through a sci-fi filter (figure that one out) starts tonight; and Encore, Encore, about witty and caustic New York writer Dorothy Parker, gets underway on Saturday. There will be multiple performances through April 26. Tickets: 859-572-5464

At Xavier University this weekend you can find a production of the Rock musical Spring Awakening, the winner of eight Tony Awards in 2007. It's about a group of students struggling through adolescence to adulthood — with a lot of rebellion along the way. It's being presented in XU's Gallagher Student Center Theater. Tickets: 513-745-3939

A lot of high school students have been recruited by Cincinnati Shakespeare Company for more than 38 free art events based on the works of Shakespeare. You might recall that CSC "completed the canon" (produced all 38 of Shakespeare's plays) a year ago. The celebrate that accomplishment, the company devised Project 38 to work with numerous area schools. Each one was assigned and worked with some of the company's artists to be inspired in productions, art, writing — whatever moved them. The initiative is culminating in an eight-day festival of free performances and exhibitions in Over-the-Rhine's Washington Park. School performances are all free. Since performances of The Taming of the Shrew are sold out on CSC's mainstage, Project 38 gives you the chance to see Shakespeare you might have missed otherwise. Schedule here.

There's another take on a student coming to terms with the Bard at Dayton's Human Race Theatre Company: Taking Shakespeare is the story of a disillusioned college professor asked to tutor her dean's son through his freshman Shakespeare class. It's got its humorous moments, but the show delivers a serious message about living up to expectations. Playing the student is Cincinnati actor Jon Kovach, who's performed on numerous local stages. Through May 3. Tickets: 937-228-3630

The farcical show by Steve Martin, The Underpants, is evoking laughs at the Otto M. Budig Theatre in the Carnegie in Covington. It's a bit risqué, but the humor is very gentle. Tickets: 859-957-1940 … Not so gentle is the production of Death and the Maiden by Diogenes Theatre Company at the Aronoff Center's Jarson-Kaplan Theatre. This three-character thriller is set in an unnamed Latin American country where a woman gets control of a man she believes once tortured her under a brutal dictatorship. It's a powerful piece, magnificently acted by three top-notch professionals familiar to Cincinnati theatergoers — Annie Fitzpatrick, Michael G. Bath and Giles Davies. Not for the faint-hearted or those who are squeamish about violence, but this is production that deserves to be seen. Through May 2. Tickets: 513-621-2787

One last note, for anyone interested in playing a supernumerary for Cincinnati Opera (that's like being an extra in a movie): Open casting for the upcoming summer season happens on Monday at 6 p.m. at Music Hall. You don't have to be a singer. In fact, no experience is necessary; positions are filled on a voluntary basis. Details here.


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

 
 
by Rick Pender 04.10.2015 46 days ago
Posted In: Theater at 08:10 AM | Permalink | Comments (0)
 
 
stage door 4-10 - 110 in the shade @ ccm - (l-r) ben biggers, john battagliese & brianna barnes - photo adam zeek copy

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

There's a ton of theater opening up this weekend, something for just about every taste. But if you're looking for something free, I have a special recommendation: It's 110 in the Shade at UC's College-Conservatory of Music. This is a production in the Cohen Family Studio Theater (an intimate black box venue that seats about 150). The production is in the "Musical Redux" series, bringing back a show that's not often produced. 110 dates back to 1963. It's the story of Lizzie Curry, on her way to being an "old maid," who lives with her dad and her brothers. A charming con man shows up posing as a rainmaker and promises relief to drought-stricken farmers. Is he for real? Lizzie has her doubts, but he works hard to win her over. CCM Studio productions are free, but reservations are required (513-556-4183), and performances are often filled up. This one is likely to be a lot of fun; it's this weekend only, final performance at 8 p.m. Saturday.

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

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

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

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

Something for everyone, as they say!

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

 
 
by Rick Pender 03.27.2015 60 days ago
Posted In: Theater at 08:22 AM | Permalink | Comments (0)
 
 
buzzer

Stage Door: Race and Urban Living on Local Stages

Two shows on local stages are dealing with top-of-mind issues of race and urban living, one at the Cincinnati Playhouse, the other at Ensemble Theatre.

Last evening the Playhouse opened its production of Tracey Scott Wilson's Buzzer. Wilson is a playwright who's not afraid to get at prickly issues of contemporary life (read more here), and that's what she does in this piece that could be set in Cincinnati's Over-the-Rhine. (It's actually in New York City, but that doesn't make it less relevant.) Jackson returns to his onetime childhood neighborhood, once neglected and now trendy; he's black, girlfriend Suzy is white, and so is Jackson's troubled friend Don, out of rehab yet again and needing a place to stay. Their triangle is a toxic mix with a troubled past that's exacerbated by life in a neighborhood where black and white relations are strained. The Playhouse is offering talkbacks after each performance to discuss issues raised, and there will be a panel discussion focused on OTR's housing challenges here in Cincinnati on Saturday evening at 6 p.m. My take: This show is more about personal relationships that aren't entirely honest, even though there is constant conversation about "no secrets." The actors in this tense drama are vividly real, unpredictable and vulnerable; you'll feel like they're people you know. (Through April 19.) Tickets: 513-421-3888

The second show that's heating up conversations about race is ETC's staging of Dominic Morisseau's award-winning play, Detroit ’67 (reviewed here). While the story has a historical setting — the story of family aspirations and disappointments unfolds against the backdrop of the Motor City's race riots almost 50 years ago — it almost feels ripped from current news stories about unrest stemming from police brutality in Ferguson, Mo. Five actors portray some colorful and occasionally humorous characters from the era involving the family dynamic between a brother and sister who differ about making ends meet in a challenging environment. Motown tunes from the ’60s are the soundtrack for a story that's often painful but ultimately hopeful. (Through April 5.) Tickets: 513-421-3555

Know Theatre opens Hearts Like Fists tonight at its Jackson Street stage in Over-the-Rhine. Adam Szymkowicz's comic-book-inspired action adventure has some fine local actors as the Crimefighters, female superheroes who are out to stop Dr. X, on a mission to murder happy couples in their sleep using a deadly serum that goes straight to the heart. When the show was staged in New York in 2012, the New York Times called the show's comic hybrid of parody and punches "madcap" and "hysterical." That's what Know will be striving for, through April 25. Tickets: 513-300-5669

If you are interested in seeing actors, singers and dancers who are on their way to professional careers, you might want to catch Senior Showcases from the drama and musical theater programs at UC's College-Conservatory of Music. The drama majors, readying their piece for trips to Los Angeles (for potential TV work) and New York City, will perform today at 2 and 7 p.m. at Patricia Corbett Theatre. (Admission is free.) The triple threats graduating from the musical theater program offer their showcase twice on Saturday at 4 and 8 p.m. as they prepare to shine for Broadway producers and casting agents in New York next week. Admission is free but reservations are required: 513-556-4183.  

Planning ahead? The popular touring production of The Lion King returns to Cincinnati where it's been a big hit twice, in 2003 and 2007. The magnificent musical about good overcoming evil and youth finding maturity opens on Tuesday for a four-week run at the Aronoff Center. (Through April 26.) Tickets: 513-621-2787


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

 
 
 
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