I spent two-and-a-half hours watching the Acclaim Awards last night — 150 minutes with no intermission. Thanks to affable hosts Charlie Clarke and Mark Hardy (the well-dressed “scoundrels” of Dirty Rotten Scoundrels last September at The Carnegie), there was a lot of humor, but I put an emphasis on “a lot” as in “maybe too much.”
As I’ve written previously, the Acclaims offer some solid recognition of many of the things that constitute our local theater scene. But the awards program itself lacks discipline: If this had been a stage production at one of our local theaters, I wouldn't be the only critic saying, “Nice work, but it needs a lot of trimming.” And some thoughtfulness.
Quite a few local theaters are opening new productions this week, but if I were to point you to just one for this weekend, it would be Next Fall, a new play by Geoffrey Nauffts, at Ensemble Theatre.
After a long hot summer (well, it's still feeling like a long hot summer), we have a full array of shows onstage in Cincinnati for you to choose among. I've seen two of them so far: Good People at Ensemble Theatre Cincinnati and The Three Musketeers at the Cincinnati Playhouse in the Park.
ETC's production of Pulitzer Prize winner David Lindsay-Abaire's 2011 piece (this is the regional premiere of Good People, which was nominated for a Tony a year ago) about a woman who falls off the bottom of the employment ladder has enough humor to be entertaining (especially with Annie Fitzpatrick in the central role of Margie and Kate Wilford and Deb Girdler as her gossipy friends and bingo-night comrades) and enough contemporary relevance to be thought-provoking. ETC's D. Lynn Meyers is at her best staging naturalistic shows with social meaning, and that's exactly what this one offers. It has a great cast and flexible, attractive scenic design by the ever-creative Brian c. Mehring. I gave it a Critic's Pick. Through Sept. 23. Review here. Box office: 513-421-3555.
I wanted to love The Three Musketeers at the Playhouse (through Sept. 29), but its balance of humor and heart is out of whack to my tastes. There's lots of adventure, hilarity and laughter — especially some no-holds-barred swordplay — but the show tries to hard to entertain that it misses out on the true emotion that should lie beneath. I suspect many people will love this thrill-a-minute tale of political intrigue and valor, loyalty and royalty in 17th-century France, and perhaps it will evolve to deeper feelings as it runs. I love new Artistic Director Blake Robison's desire to put appealing, family-friendly work onstage, and he's using this production to show what he means. I hope his approach gets a tad more texture and depth as his tenure continues. Review here. Box office: 513-421-3888.
I haven't yet seen To Kill a Mockingbird at Cincinnati Shakespeare Company, and their publicity says it's already sold out its first-two weekends. So you might want to put that one on your calendar for sometime before it wraps up (Sept. 30). In the meantime, you might want to head to Washington Park on Sunday evening at 7 p.m. for a special free presentation of CSC's touring production of The Tempest. It's a perfect piece for outdoor performance, set on an island with a sorcerer and his lovely daughter and some shipwrecked nobles who are responsible for his exile. Audience participation will be a key component of this event, with the audience asked to create large-scale effects by blowing bubbles, making waves with silk and generating sound effects. Sounds like great fun. Music (by The Young Heirlooms) begins at 6 p.m. This is a good one to bring kids to see.
Also off and running this weekend is Cincinnati Landmark's production of Tennessee Williams' Cat on a Hot Tin Roof. It's a classic drama of sexual tension and family strife, a bit heavier fare than is usually found at the Covedale Center. It's a sign of the company's ambition to be a full-fledged theater offering a wide range of material. (Through Sept. 30.) Box office: 513-241-6550.
CityBeat hosted the 14th annual and final Cincinnati Entertainment Awards for Theater Sunday night at Know Theatre in Over-the-Rhine, and as always the local theater community enjoyed the opportunity to catch up after summer breaks and celebrate before the new season gets underway. Awards were handed out in 27 categories, some voted on by the public and some determined by a "critical achievement" panel of local critics. Find a list of all the nominees and winners here.
In case you haven’t been paying attention, the Carnegie Center in Covington has been producing some ambitious theater and following a course that others haven’t tried: It’s called collaboration. Joshua Steele, the managing director of theater for the arts center in a one-time Carnegie Library, has amplified his results by working with other arts institutions in the region — especially, but not limited to, the fine theater programs at area universities. Steele will announce his 2012-2013 this week, and it’s evident that he’s continuing this commendable course working with Dayton’s Human Race Theatre Company for the first time and building on a productive relationship with the Cincinnati Chamber Orchestra. He’s also engaged some top-notch freelance talent to ensure that productions will be memorable.
Steele, who previously co-founded the meteoric New Stage Collective with his friend Alan Patrick Kenny, is bringing the remarkable director back to town for his first return since NSC closed in April 2010. Kenny, who has been earning an M.F.A. in California and staging theater on the West Coast, will direct the regional premiere of the musical Xanadu (Aug. 11-26, 2012). This campy, tongue-in-cheek show, based on the 1980 move that featured Olivia Newton-John, is right up Kenny’s inventive alley, and should be a refreshing dash of onstage energy at summer’s end. (Auditions for this show will take place on May 22, 7-10 p.m. at the Carnegie. Actors interested in auditioning should contact Adrianne Eby, firstname.lastname@example.org)
The Human Race collaboration will be next. The Dayton
company, which performs regularly at the Loft Theater in that city’s downtown,
is premiering a new play by Michael Slade, Under a Red Moon, in late October.
The production will then move to the Carnegie for a three-weekend run (Nov.
2-18, 2012). Set in 1949, it’s a taut psychological thriller telling the story
of John George Haigh, Britain’s infamous “Acid Bath Killer.”
For the third consecutive year, Steele has lined up a joint, in-concert presentation of a well known musical with the Cincinnati Chamber Orchestra. After successful outings with the CCO for Carousel and The King and I, the late January 2013 production will be Camelot, the story of chivalry and the love triangle of King Arthur, Queen Guenevere and the knight Sir Lancelot. The lush Lerner and Loewe score will be conducted by the CCO’s music director Mischa Santora onstage with musicians from the orchestra.
Steele wraps up his four-production season with Jason Robert
Brown’s powerful musical Parade (April 5-21, 2013), staged by
local director-choreographer team Ed Cohen and Dee Anne Bryll, who will be
joined by music director Steve Goers (currently appearing in the Carnegie’s
production of Pump Boys & Dinettes).
Set in Atlanta in 1913, it’s about the intolerance and misunderstanding
swirling around the trial of a Jewish factory manager accused of murdering a
young girl in his employ. Cohen and Bryll staged an excellent community theater
production of the show with Footlighters Inc. in 2007, winning that season’s
outstanding community theater award. They also staged the Huck Finn musical Big River for the Carnegie with great
results in 2010.
It’s a great line-up, and I suspect audiences will be lining up in Covington for these productions.
Jason Bruffy will leave his position as artistic director of Know Theatre of Cincinnati on Sept. 4 to lead the Salt Lake Acting Company (SLAC) in Utah.
He became Know's artistic leader in 2004 and oversaw the company's 2006 move from a church basement in Over-the-Rhine to a remodeled, two-story building on Jackson Street in another part of the neighborhood that has become a focal point for Cincinnati's performing arts scene. His departure coincides with that of Know founder, Jay Kalagayan, who announced earlier in the summer his intention to relinquish his responsibilities as the 11-year-old company's development director. Managing Director Eric Vosmeier will be Know's interim leader while a search is conducted for Know's next artistic director.
It's easy to spend time writing about exciting new developments in our local theater scene. But who got things started?
It could be argued that F. Paul Rutledge was the guy who laid the foundation. He passed away a week ago at the age of 91. Rutledge was a theater pioneer in Cincinnati, and many people who shaped what we have today were inspired by him.
For the ninth time during Ed Stern’s tenure at Cincinnati Playhouse in the Park, a show by Stephen Sondheim will be presented. Stern, the Playhouse’ Producing Artistic Director, has a soft spot for the great American composer and lyricist who turned 80 a year ago. He will bring back Tony Award-winning director John Doyle (pictured) to stage Merrily We Roll Along in a production that uses actors who also provide the musical accompaniment. The show will be presented next year in March.
The Audience Pick, voted by theatergoers, went to Gravesongs (pictured), Ensemble Theatre of Cincinnati’s intern showcase, a piece by local playwright Sarah Underwood written for the five actresses who spent this season at ETC (Rachel Christianson, Emily Eaton, Lauren Shiveley, Rebecca Whatley and Elizabeth L. Worley). It was directed by another ETC intern, Elizabeth Maxwell. The script is about death from the perspective of women in their early twenties.