This weekend is the opener for Covedale Center's production of Legally Blonde, the show that kicked up controversy in a Loveland High School staging last fall that led to the firing of a dedicated director. I still shake my head over what could offend anyone about this PG rated piece of musical theater, but you can check it out and decide for yourself at the Covedale. It's about a young woman who won't take "no" for an answer and becomes her own woman in the process — outshining everyone at Harvard Law School. It's kind of crazy, but a lot of fun. No one will get fired over this one, I suspect. Box office: 513-241-6550
The Otto M. Budig Theatre at the Carnegie in Covington is in the midst of a run of Jason Robert Brown's Parade. My schedule and the theater's haven't matched up yet, but I'm eager to see it — I'm headed there for the Sunday matinee this weekend. Set in the sweltering intolerance of 1913 Atlanta, Parade is the story of Leo Frank, a northerner and Jewish factory manager, wrongfully accused of murdering a 13-year-old girl in his employment. Despite media frenzy and public outrage, his courageous wife struggles in vain to clear his name. The show won 1999 Tony Awards for best book and best score. This is an off-campus production by the musical theater program at UC's College-Conservatory of Music, and it's been given high marks by the judging panel from the League of Cincinnati Theatres: for the ensemble, for musical direction by Steve Goers, for featured actor Noah Ricketts and for lighting design by Alan Hanson and Wes Richter. It's onstage through April 21. Box office: 859-957-1940
Untethered Theater is midway through it's run of Jeff Daniels' Apartment 3A, presented at the Clifton Performance Theatre on Ludlow, a few blocks east of the Esquire. It's about a once idealistic young woman who has been disillusioned in just about every aspect of her life. The show is an exploration of faith and hope in today's world, described as "an uncynical play about cynics in cynical times." Through April 27. Tickets: 513-939-0599
He is a subject whose resonance is great for both Smith — whose 2010 National Book Award-winning memoir, Just Kids, recounted their friendship as young people in New York’s art world and is being made into a film — and the CAC, which famously faced (and beat) obscenity charges in 1990 for showing the Mapplethorpe retrospective The Perfect Moment.
“It’s very much a rumination on the life and death of Robert Mapplethorpe,” Ludwig said of the exhibit. “So there are a lot of objects in the exhibition that very much relate to his life. We’ve received things like Robert’s slippers that have his initials on them, and photographs of Robert from throughout his life. So it really focuses on the relationship between these two artists.
“There are medals, necklaces that Robert wore,” Ludwig continued. “There is an inkwell. There are small elements that will be presented in cases in the exhibition. It’s presented very much like an art installation. They’re not necessarily presented as historical objects but as elements that are part of Patti’s life.”
“And we have an installation within the show called ‘Infirmary,’ which is all steel beds that are references to the beds Robert spent the end of his life in and that many people who died from AIDS passed away in. They are actual steel beds acquired by her.” (Mapplethorpe died from AIDS in 1989.)
The show will have several photographs by Mapplethorpe with text by Smith – of the sea, a boat and a sculpture. (None was in The Perfect Moment.) “They’re very beautiful,” Ludwig said.
In this week's Big Picture column, there is an item that Matt Distel — long active on the local contemporary art scene and current executive director of Northside's Visionaries + Voices center for artists with disabilities — had been named adjunct curator of contemporary art at Cincinnati Art Museum. Today comes the announcement he will leave V+V to be exhibitions director at The Carnegie in Covington, effective in June. He replaces Bill Seitz, who announced his retirement last month. His adjunct position at the art museum will continue.
“Matt is the perfect person to build upon the successes we’ve had in the galleries and we are honored to have him join our team,” said Katie Brass, Carnegie executive director, in a press release. “His personality, his connection to local artists, and background all make him the ideal candidate to run the Carnegie Galleries and to grow programming.”
In that same release, Distel said, “To be part of the legacy the Carnegie has for supporting local and regional artists, it’s very exciting. The Carnegie is one of the premier arts organizations in the region and Bill [Seitz] has established a great framework for me to continue to build an exhibition program that plays a compelling role in the arts community.”
The Playhouse will open the season in September with Trey Ellis and Ricardo Khan's Fly, the powerful story of World War II's famed Tuskegee Airmen. The production, staged by Khan, combines live action and video projections with a tap dancer who offers insights into the hopes, fears, angers and triumphs faced by the airmen as they fight two wars — one in Europe and another back home against a rising tide of racism. Following Fly (which will run Sept. 12-Oct. 5), the Playhouse will present Kander & Ebb's classic musical Cabaret (Oct. 24-Nov. 16), a show with iconic choreography and unforgettable songs. It's set in pre-World War II Berlin, where a rising storm of Nazism swirls outside the decadent Kit Kat Club. This one will be staged by Broadway director and choreographer Marcia Milgrom Dodge, nominated for a Tony and Drama Desk awards in 2010 for her much-praised revival of Ragtime.
Robison says, "Fly is a truly unique play that brings the important and inspirational story of the Tuskegee Airmen alive for adults and young people alike. Cabaret marks the return of the big Broadway musical to the Marx stage. I've always loved Kander and Ebb for their ability to explore characters and stories in depth while entertaining the heck out of you."
On Monday, Cincinnati Art Museum announced the resignation of James Crump, its chief curator and photography curator. He arrived at the museum in 2008. A press release said he would "pursue independent projects." The press release also included high praise for Crump from Aaron Betsky, museum director:
"We are so grateful for the great work James has done here in Cincinnati. His exhibitions and acquisitions have made us a center for photography, and we look forward to building on his extraordinary achievements."
One of those achievements, the exhibition James Welling: Monograph, just opened Feb. 2. Crump was also a leader in the organization of last year's multi-venue FotoFocus photography festival, and Cincinnati Art Museum sponsored two of its biggest shows — Herb Ritts: L.A. Style and Doug and Mike Starn's Gravity of Light.
The museum said an interim chief curator will be named soon.
Recently, the Italian art-book publisher Damiani launched a new line of Damiani / Crump books. It begins in March with Empire Falling, photographer Elena Dorfman's study of Midwest rock quarries.
Know Theatre is finally getting around to its first full-fledged production of the season, Andrew Bovell's award-winning drama, When the Rain Stops Falling. (The playwright's Speaking in Tongues was a much admired production at the Cincinnati Playhouse a year ago.) An intricate fabric of overlapping connections, Bovell's 2010 script moves seamlessly through time and across continents between the years of 1959 and 2039. In a world where the rain rarely stops falling, four generations of a family search for truth and hope to mend broken connections. What they discover is the impossibility of escaping the past. The production should be all the more interesting since it's being directed by Cincinnati Shakespeare Company's Brian Isaac Phillips and features a cast of nine excellent actors, four of whom are CSC regulars. It will be onstage through March 16. Box office: 513-300-5669.
To see another award winner, you need to head up I-75 to Dayton where the Human Race Theatre Company is offering the regional premiere of Eric Simonson's bio-play, Lombardi. Set in 1965, it's a portrait of the legendary coach of the Green Bay Packers through the eyes of a young reporter assigned to follow the sports icon, a man full of passion and drive without equal. The show had a recent run on Broadway, and I expect it will attract an audience not normally drawn to the theater. Through Feb. 24. Box office: 937-228-6830
Falcon Theater, which presents its shows in the tiny Monmouth Theatre in Newport, is staging the Tony Award and Pulitzer Prize-winning play Doubt, a success on Broadway, at the Cincinnati Playhouse, and on movie screens. It's the provocative story of a starchy nun who thinks it's possible that a priest has abused one of her students. Although she's not sure, her accusations have dire ramifications. Through Feb. 23. Box office: 513-479-6783
Finally, a blast from the past at UC's College-Conservatory of Music: William Saroyan's The Time of Your Life. Set in October 1939 in a run-down waterfront dive bar on the docks of San Francisco, the script is full of colorful, eccentric characters and portrays the love and follies of human nature. It's being staged by veteran faculty member Diane Kvapil with a cast of 29. This production has a short run (one weekend, wrapping up with a performance in Patricia Corbett Theatre on Sunday at 2 p.m.) Box office: 513-556-4183
By the way, there's apparently such anticipation for Freud's Last Session, which features local actor Bruce Cromer, that tickets are selling out for some performances. As a result, even before the show opens on Jan. 23, ETC has extended the show's run by a week, to Feb. 16. Box office: 513-421-3555
If you haven't yet caught Cincinnati Shakespeare Company's staging of Richard II, you really should make a point of doing so. In my review, I pointed to Brent Vimtrup's multi-faceted performance. I'll add here that there are strong supporting performances from Jim Hopkins, Nick Rose and Giles Davies (this longtime CSC favorite is back in town for a few productions). This show isn't often produced (it's the first time for Cincy Shakes in its 19-year history), but this staging will make you wonder why. It's bursting with poetry, and there's lots to look at with beautiful 14th-century-styled costumes. An Acclaim Awards panel cited Vimtrup's performance as well as Andrew Hungerford's lighting design; I gave the production a Critic's Pick. Need any more encouragement? Tickets: 513-381-2273, x1
Elsewhere, you'll find a production of Adam Rapp's Red Light Winter by Untethered Theater at Clifton Performance Theatre. This is a chilly drama about a weird love triangle. It's a great piece for three young actors. Look for a review in the next issue of CityBeat. (Tickets: 513-939-0599) If you want something a little lighter, consider Moonlight and Magnolias at Mariemont Players, a very dependable community theater on Cincinnati's east side. The show is an amusing reconstruction of the behind-the-scenes shenanigans involved in writing the script for Gone with the Wind. It's told with a lot of slapstick that will have audiences laughing out loud. (513-684-1236)
All rooms were jam-packed with people in imaginative costumes, and in the ballroom the DAAP Girls (outfitted for the night as the DAAP Witches) belted out a funky, soulful, garage-rock version of “Ghostbusters” far better than the cutesy original.
Best of all, for those who remember coughing and hacking their way through the old Southgate House, the place was non-smoking for this event and had signs up everywhere to enforce that. If it can keep up the pleasant smoke-free environment, Thompson House might just become the nightclub that counts in Greater Cincinnati. Still not sure if that will make me turn out for the upcoming Dying Fetus/Malignancy concert, but the place is definitely back on my radar.
Carnevil’s turnout also proved that FotoFocus, as an event, was on people’s radar. There had been some questioning of that earlier in the week, after moderate turnouts for two appearances by nationally significant photographers at Cincinnati Art Museum’s Fath Auditorium.
Laurel Nakadate gave the prestigious FotoFocus Lecture there on Oct. 24, presenting a slide show of the past 12 years of her sometimes-eyebrow-raising performative-video and still-photography work.
For one project, she wandered around truck stops and invited truckers to dance with her in their cabs. In another, she traveled across Canada by train and threw her underwear out the window each day, photographing the colorful results. (As far as I know, she did not get arrested for littering.) Someone asked about the inherent danger in some of her early work, which involved putting herself in erotic situations with strange men. “I look back at my early work and fear for my life,” she said. “But I’m really glad I made that work.”
Incidentally, one of her more recent projects — for which
she showed slides — was to photograph herself crying everyday for one year. The
“one year” motif seems to be such a strong one that some curator somewhere
should devote a show to its variations. There’s plenty of material right here.
At Michael Lowe’s Downtown gallery, site of the “Using Photography” FotoFocus
exhibit featuring work by 1970s-era (and beyond) Conceptual Artists, there is
an example of On Kawara’s “I Got Up” series. For 11 years (1968-1979), he sent
friend picture postcards stamped with the time that he arose each day.
And when Todd Pavlisko was in town last week to plan for his “Docent” rifle-firing project that occurred Monday at Cincinnati Art Museum, he said that one piece in his resultant museum show next year will be displaying all the loose change he’s collected in a year. (He will gold-plate the coinage.)
At the other appearance of a photographer at CAM last week, Chief Curator James Crump discussed the future of photography books with Minnesota photographer/publisher Alec Soth and Darius Himes, a gallerist whose Radius Books publishes unusual photography creations.
Some in the audience wished the event would have featured much more of Soth and his fascinating photojournalistic work. He did discuss a current project, in which he and Brad Zellar are photographing election-eve everyday life in Michigan for his LBM Dispatch, which tries to quickly publish and distribute photo essays. (The work will then be displayed at Detroit’s Cranbrook Institute.)
But Himes did express admiration for the strangest Conceptualist book project I’ve heard of in a long time. That would be photographer Mishka Henner’s printed-on-demand Astronomical, twelve 506-page volumes representing, in total, a scale model of the solar system from the sun to Pluto. Many of the pages are blank, representing the great distances between planets in space. Himes did not say if you must order the whole set or just your favorite volume, but you can find out more at here.
I was able to spend some time last week with Barry Andersen, photography professor emeritus at Northern Kentucky University who has been a strong, forceful advocate for the importance of this form as both an artistic medium and a critical societal observer. His own show, the now-concluded Sky, Earth and Sea at Notre Dame Academy in Park Hills, served as a satisfying retrospective of thirty years of his work. Especially lovely were his gorgeous aerial-shot” Cloudscapes,” vivid inkjet prints from negative scans.
And as a curator, he put together a superb, sadly also now-concluded, show at NKU called Reporting Back, which surveyed the work of 14 documentary photographers whose thematic interests covered the globe. Each one’s work was presented as a series of photographs, a thematically related suite, to remind us of the journalistic impact of the photo essay. Ashley Gilbertson’s quietly moving “Bedrooms of the Fallen” visited the bedrooms of soldiers slain in Iraq and Afghanistan. Their solemnity was balanced by Jim Dow’s colorful portraits of idiosyncratically appealing, retro-Americana buildings. You can learn more about the show — and be introduced to some fine photographers — here.
FotoFocus has the potential to shine a lens on fine Cincinnati photographers of the past whose reputations could use a revival. One of the best shows to achieve that goal this year was Cincinnati Museum Center’s Photographic Legacy of Paul Briol: 1909-1955, which closes Thursday. Briol’s black-and-white images of the rhythms and architecture of Cincinnati life have a dreamy beauty, partly because he was not adverse to stripping in more dramatic skies and otherwise heightening an image’s dramatic effect.
The populism and humanism in his work are evident — Lewis Hine perhaps was an inspiration. An elderly African-American couple sits while the woman peels a potato; children in what seems to be an aged urban schoolroom pose with their stuffed animals. Those, along with images of the skyline, a roller coaster, Fountain Square, the riverfront, Rabbit Hash, Ky.’s general store, give life to that era’s Cincinnati.
Actually, the photo of his that moved me the most was in a different show, the concluded Images of the Great Depression: A Documentary Portrait of Ohio. It was by far the best thing in that exhibit. His contribution, an extraordinarily composed photo from 1935 called “Waiting for Work,” shows the looming shadows of men against a room’s wall. A sign reads, “Dirty Men Will Not Be Sent Out.” Briol may have arranged this image rather than just observed and captured it, but no matter. It magnificently speaks to the despair and denigration that the Depression brought.
One hopes 2014’s FotoFocus will find room to spotlight a few other Cincinnati photographers of the past who could use rediscovery — perhaps Nelson Ronsheim or George Rosenthal. Or, if you have ideas, send them along to me at firstname.lastname@example.org. In the Nov. 14 Big Picture column in CityBeat, I’ll address some suggestions for how we can keep the momentum going now that the interest level for photography has been raised.
The firing of a high-powered rifle inside the Cincinnati Art Museum, sending a bullet past masterpieces through the first-floor Schmidlapp Gallery and into a block of bronze in the middle of the Great Hall, will occur on Monday, museum officials said.
Todd Pavlisko, the New York-based, locally born artist who proposed the project, will be at the museum Friday for final planning and discussions. (CityBeat will interview him for a story in next week’s Big Picture column.)
The museum has refused to allow press — or the public — to witness the actual event, for security concerns, according to Director Aaron Betsky. It also won’t say what time it will occur. The male sharpshooter who will fire the high-powered rifle from a mounted stand also doesn’t want to be identified. The museum normally is closed to the public on Monday.
A spokeswoman said the museum will be on “lockdown” for the event. Those who will attend the actual shooting include the artist and the sharpshooter, Betsky and Chief Curator James Crump and several others. A Cincinnati police officer also will be present, a requirement of the City Council ordinance permitting the event.
According to an earlier press release, which did not set a specific date for the actual rifle shot, Pavlisko’s project is an outgrowth of his work with photography and video. This will reference the work of Harold Edgerton, whose photographs capturing bullets passing through fruit and droplets of milk have become masterpieces for making visible that which the naked eye could not see. Pavlisko’s idea is to contrast the flight of the bullet with the timeless nature of the masterpieces on display in the Schmidlapp Gallery. (The bullet will be 12 feet from any actual artwork.)
High-speed cameras and video equipment will document the shot, and the resultant work will be on display May 25-Sept. 22 in a show called Crown. So, too, will the 36-inch cast brass cube, or what remains of it, as the bullet strikes it.