I caught the opening night of the Cincinnati Playhouse's production of Clybourne Park
last night. The play won the theater triple crown: Tony for best play
on Broadway, Olivier for best play in London, and the 2011 Pulitzer
Prize for drama. It's being staged by a lot of big theaters this season,
but you need go no farther than Mount Adams to see what all the fuss is
about. And there is a ton of fussing in Bruce Norris's script. He took
his inspiration from the events of Lorraine Hansberry's historic 1959
play A Raisin in the Sun, the story of a black family seeking to improve its lot by buying a home — in a previously all-white neighborhood. Clybourne Park's
first act looks at the same events from the neighborhood's perspective;
Act II jumps ahead 50 years to the same neighborhood, deteriorated but
coming back. Curiously enough — or is it predictably? — many of the
stresses and strains have only moved from one set of people to another.
Norris's clever script subtly presents parallels and contrasts, with
some humor and some pathos, and a sardonic sense that human nature is
what it is. The Playhouse does a great job with a cast that plays
different roles (some slightly connected from past to present) and a
revolving set that recreates the house at 406 Clybourne in Chicago in
1959 and 2009. This production will spur lots of thoughtful and spirited
conversation. Onstage through Feb. 16. Tickets: 513-421-3888.
Pluto at Know Theatre is being staged by former artistic director Jason Bruffy. Steve Yockey's unusual script blurs the line between real life and mythology, as weird events materialize in a suburban kitchen, what with a talking three-headed dog and other unusual phenomena getting in the way of necessary dialogue between a mom and her sullen son. It opens tonight and runs through Feb. 22. Tickets: 513-300-5669.
Last weekend I drove out through Mariemont to the Walton Creek Playhouse where Mariemont Players has assembled a thoroughly enjoyable production of Stephen Sondheim's A Little Night Music, a show once described as "whipped cream with knives." The theater, an old schoolhouse, has an intimate performing space, a perfect setting for this tale of mixed-up couples in early-20th-century Sweden. The show, simply and effectively staged by Skip Fenker, revolves around a free-spirited but aging actress who eventually sings "Send in the Clowns," Sondheim's best-known tune. The Sunday matinee I attended was all but sold out, so you should call in advance for a reservation: 513-684-1236. Onstage through Jan. 26.
If you're looking for some outstanding acting, you should definitely head to Cincinnati Shakespeare and watch Brent Vimtrup play the title role in Hamlet. He plays the role of the indecisive Prince of Denmark, pointed toward vengeance but filled with doubt. Vimtrup uses an expressive physicality and natural insight that makes long-familiar speeches ("To be or not to be," "What a rogue and peasant slave am I" and more) feel fresh and new. He's onstage for most of the three-and-a-half hour production, a highly watchable marathon. Tickets: 513-381-2273 x 1. Through Jan. 26.
Truth to tell, midnight has already passed and Victorian adventurer Phileas Fogg thinks he's missed the deadline for getting "around the world in 80 days." But his faithful servant Passepartout (played with manic energy by the always amusing Michael G. Bath) saves the day by sorting out travel across time zones. Your deadline has not quite passed, since Ensemble Theatre Cincinnati's inventive staging of a musical version of Jules Verne's classic Around the World in 80 Days continues through a 2 p.m. matinee on Sunday. (CityBeat review here.) If football and cold weather aren't your preferences, maybe you should head to the Over-the-Rhine theater for a final volley of holiday entertainment. Tickets: 513-421-3555.
At the Cincinnati Playhouse in the Park you'll find the traditional Christmas favorite A Christmas Carol as well as The Complete History of Comedy (abridged) onstage through Sunday. It feels a bit odd to be watching Scrooge and the ghosts after Christmas Day, but the Playhouse's rendition is such a lovely show and Bruce Cromer's portrait of the old miser is so entertaining that you'll be charmed, I'm sure. And the Reduced Shakespeare guys doing the "comedy" piece know how to evoke laughter from the making of jokes in ways you haven't imagined. They're the guys who originated this amusing formula with The Complete Works of William Shakespeare (abridged), and they're making it work with this world premiere production. It's a nice bit of entertainment for a weekend between the holidays. Tickets: 513-421-3888.
Holiday themed laughs are being served up at Cincinnati Shakespeare Company through Sunday, too, with their eighth annual presentation of Every Christmas Story Ever Told (and then some). No Shakespeare in evidence (although they're performing on the gussied-up set that was built for the previous production, Twelfth Night) but four of CSC's best comic talents are mashing up every imaginable tale you might think of that has a holiday connection — Charlie Brown, Charles Dickens, Rudolph, the Nutcracker, It's a Wonderful Life and many more. They'll have you laughing from start to finish, especially if you make a stop by the bar in the lobby beforehand. Not for the kids, but a lot of fun for anyone with an adolescent sense of humor. Tickets: 513-381-2273 x 1.
If you want a nice outing for the kids, I recommend Ensemble Theatre Cincinnati's holiday show, Around the World in 80 Days. Jules Verne's adventure classic about a hectic circumnavigation of the globe in 1899 has been musicalized and condensed in a way that children will enjoy it — but there's enough humor and talent onstage to keep adults entertained, too. ETC'S production actually runs through the weekend after New Year's Day, but if the kids are restless and you want to entertain them with live theater, this is a great choice. Tickets: 513-421-3555.
It's the final weekend for most holiday shows, and there are lots of good choices. I'm ranking today's listings according to the laugh-o-meter, starting with the most hilarious:
It's Friday the 13th, but if you're in the mood for holiday shows, this is your lucky weekend. Just about every theater in town has something onstage aimed at getting you into the Christmas spirit, making you laugh, diverting you from the stress of being cheerful or just poking fun at the ways of the world (at least the world of commercialism we see in America today).
Perhaps you've already done your annual brush-up on Dickens' A Christmas Carol
at the Playhouse (another fine production, now in its 23rd season with
Bruce Cromer back as Scrooge and a new interpretation of Bob Cratchit,
featuring the very angular Ryan Wesley Gilreath, who seems to be all
arms and legs and stringy hair — very Dickensian) or the musical version
being presented by Covedale Center. With the story of Scrooge's dark
night of the soul fresh in mind, perhaps you're ready for A Klingon Christmas Carol,
presented by Hugo West Theatricals at the Art Academy of Cincinnati
(1212 Jackson St., Over-the-Rhine). This is a newish theater group that
knows its way around satirical work (their Don't Cross the Streams, a goofy derivative of Ghostbusters,
was a popular piece in the 2012 Fringe festival), they are giving this
unusual piece its local premiere. (It's been staged in Chicago and
Minneapolis.) It's actually a rather faithful retelling of the story
with SQuja' (Donald Volpenheim), a cowardly, money-grubbing member of
Star Trek's warrior race, taking the place of Scrooge.
It's presented by a deadpan Vulcan narrator (Lauren Carr) who positions the work as the "original" of the tale. Klingons don't celebrate Christmas, but they are bound by traditions, the greatest of them being the "Feast of the Long Night." The 70-minute piece closely matches with Scrooge's story, but it's all through a Klingon filter — lots of angry outbursts and hearty laughter, grunting, growling, drinking and chest-thumping by characters with wrinkled foreheads, bushy eyebrows and fierce demeanors. Eileen Earnest handles timHom (a Muppet-like equivalent for Tiny Tim), son of Quachit (David Dreith), whose training as a warrior is being neglected because of greedy SQuja'. If you've never yearned for a visit to Qo'noS, the Klingon homeworld, you might find this production a bit impenetrable since it's performed in the guttural Klingon language, but there are projected subtitles that add humor to the action. This won't be a show for everyone, but if you're a Star Trek fan, you'll have a good time. Tickets ($20 at the door or here).
OK, the holidays are officially here. If you have any strength left after shopping last night and all day today, there are numerous theatrical offerings to consider.
The theater season takes a bit of a pause around Thanksgiving, since many companies are readying holiday productions. But there are plenty of choices available this weekend.
I'm not the only one who enjoyed the laugh-fest that is The Complete History of Comedy (abridged) at the Cincinnati Playhouse. I've heard numerous people who saw it say they were recommending it to others. In two hours the Reduced Shakespeare Company puts forth more humor than you can shake a stick at. (But be careful shaking sticks. You might get a pie in the face.) No matter your tastes in comedy — witty, loud or rude and crude — you'll find it in this production. How about Abe Lincoln as a deadpan rapper? This could be a good outing this weekend or a lot of fun for out-of-town guests who descend on you next week. Tickets: 513-421-3888.
Tonight is an opening at Cincinnati Shakespeare Company, the very frothy comedy Twelfth Night. (It's subtitle is "or What You Will," indicating that it's a lot of foolishness, which is an apt description.) In fact, Twelfth Night is a beautiful piece with clever situations, amusing characters, a bit of intrigue and a lot of mistaken identities. And several of the most laughable characters Shakespeare ever created, from the bombastic Malvolio to his persecutor Sir Toby Belch and Sir Andrew Aguecheek, plus the best of all Shakespeare's fools, Feste. It's a safe bet that this is a production that even those who fear Shakespeare will truly enjoy. Tickets: 513-381-2273 x 1.
If you're more into storefront theater, you might check out the current production by Untethered Theater at Clifton Performance Theatre on Ludlow, just east of the business district. It's a tiny space (only 50 seats), but that makes it all the more interesting. The current production is Wendy Macleod's The House of Yes, a very dark comedy about a weirdly dysfunctional family. The story focuses happens while there's a Thanksgiving hurricane outside, so it's timely, too. Performances Friday and Saturday (through Dec. 7). Go here for tickets.
This is the last weekend for Boeing Boeing, a crazy farce about a guy juggling three fiancees who happen to be flight attendants. It's at the Carnegie, featuring performers from the drama program at UC's College-Conservatory of Music. Tickets: 859-957-1940.
There's a fine community theater production of A Chorus Line at the Aronoff Center's Jarson-Kaplan Theater. It's by Cincinnati Music Theatre, and they've recruited a talented cast of dancers, singers and actors to tell the stories of 16 performers competing for roles in the chorus of a Broadway show. There are many fine performances in this show — the characters become known, one by one as they tell their stories, some humorous, some heartbreaking — but the show's greatest emotional wallop comes when they are all in synch, wearing glitter and gold, hats cocked and performing as "One." Final performance is Saturday evening. Tickets: 513-621-2787.
If you're looking for a good musical closer to home, I can certainly recommend the Cincinnati Playhouse production of Cabaret, which gets my Critic's Pick in the current issue (see review here). Director Marcia Milgrom Dodge has taken it back to 1929 with costumes and choreography very true to the period in a seedy, sexy Berlin nightclub. The Playhouse doesn't often do musicals, but this one is done right. Tickets: 513-421-3888
Know Theatre is staging another work by Mike Bartlett. Last spring it was Cock; this time it's Bull (review here). It's a story of two people bullying a third as they compete for jobs. A nasty tale, not for the faint-hearted, but some fine writing and acting. You'll feel ashamed of yourself for enjoying it, I suspect. Tickets: 513-300-5669
A fine production of John Steinbeck's Depression era tale of migrant workers and a guy who just doesn't fit in, Of Mice and Men (review here), finishes its run this weekend at Cincinnati Shakespeare. Jeremy Dubin's performance as cranky George and Jim Hopkins as simpleminded Lenny are examples of the kind of fine acting that's a regular commodity at Cincy Shakes. Tickets: 513-381-2273.
Finally, if you're in the mood for a hilarious farce, your destination should be the Carnegie in Covington. CCM Drama has transported some of its actors from the UC Campus to Covington, Ky., for a production of a deliriously funny tale of one man in Paris juggling three fiancees, Boeing Boeing. They're all flight attendants, but advances in aviation screw up his neat schedule to keep them discreet from one another. Comedy ensues. Tickets: 859-957-1940
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.
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.”
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.
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.
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 .
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
I took a trip to my senior year in high school when I attended the opening of Detroit '67 by Dominique Morisseau at Ensemble Theatre Cincinnati on Wednesday. It's set in Detroit during that city's 1967 "race riots," but they are the backdrop for a family drama: Sister and brother Chelle and Lank are trying to make ends meet by running an after-hours club in the basement of their family home, now theirs since the death of their parents. Chelle is satisfied with the status quo; Lank dreams of owning his own legit bar. But they'd need to sell the house to make that possible, so they're at an impasse. He's impetuous and makes moves to buy a local joint without her knowledge, only to have the destructive riots threaten his deal. More personal complications make the story interesting, if a bit too pat. Motown tunes — Lank buys an eight-track player to replace his sister's turntable — make this production a walk down memory lane for Baby Boomers. But Detroit '67 will grab everyone because the events of five decades ago are eerily and sadly similar to recent disturbances in Ferguson, Mo., and elsewhere. (Through April 5; tickets: 513-421-3555)
Peter and the Starcatcher at the Cincinnati Playhouse is a playful and over-the-top imagining of the origins of Peter Pan. It's not a very adult cup of tea; it's more a swig of giggle-inducing rum. But if you yearn to head back to childhood for a few hours — playing with words, making fart jokes and having an adventure "against impossible odds" — this production is a joyous must-see. (Through April 4; tickets: 513-421-3888)
The Marvelous Wonderettes was a big hit for Ensemble Theatre a few years back. They staged the original story of girls singing Doo-Wop hits in 1958 and coming together again in 1968 for more old tunes, and did well with several sequels that kept audiences eagerly coming back for more. The show is now being presented at the Covedale Center in West Price Hill, and it has a nostalgic draw for people who grew up with those tunes. But the production's characterizations of Cindy Lou, Betty Jean, Missy and Suzy feel a little shallow, reducing the potential charm of the show. Nevertheless, it's a lot of fun if you love the music of the era and remember your own angst about boyfriends and girlfriends. (Through April 4; tickets: 513-241-6550)
Cincinnati Shakespeare's very pleasant production of an adaptation of Little Women continues through Saturday evening; tickets: 513-381-2273. The musical based on Louisa May Alcott's 1868 novel about the March sisters is onstage through Saturday, too, at Newport's Stained Glass Theatre, produced by Footlighters, Inc., a community theater; tickets: 859-652-3849.
The moving play based on The Diary of Anne Frank is being presented this weekend by the School for Creative and Performing Arts with performances remaining on Friday and Saturday evening at 7 p.m. and Sunday at 2 p.m. It's the powerful story of a Jewish family who went into hiding from the Nazis in Amsterdam during World War II; Anne, the diarist who recorded their tribulations, died at age 15 in a concentration camp. Tickets: here.