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.
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.
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.
Know Theatre has announced the 2012 Cincinnati Fringe Festival, kicking off May 29 and continuing through June 9. Festivities begin with the official CityBeat Fringe Kick-Off Party on May 29 at 6 p.m. (A suggested donation of $5 gets you in.) During the Festivals’ two-week run, 29 productions will receive multiple performances. Some shows are locally originated (14) and others are by touring artists (15) who travel to festivals around the United States. If everything selected actually happens (that’s seldom the case), there will be 10 plays, nine solo shows, four dance works and six multimedia/variety pieces.
Several award-winning groups popular with past Fringe audiences are set to return. One of the most popular performers from 2011, Kevin J. Thornton — his I Love You (We’re Fucked) had a sold-out run and returned for another stint last October — is back with Strange Dreamz. Thornton has appeared in the Capital Fringe, Indy Fringe, NYC Frigid Festival, Tucson Fringe Festival, Phoenix Fringe Festival, Orlando Fringe Festival, Kansas City Fringe Festival, and the Minnesota Fringe Festival.
Four Humors Theater from the Twin Cities is back for the fifth consecutive year, this time presenting Bombus and Berrylinne, or the Bumblebee and the Hummingbird. The group has previously produced Mortem Capiendum (Producer’s Pick of the Fringe, 2008), April Fools (2009), and Harold (Critic’s Pick of the Fringe, 2010) and the hilarious James Bond-inspired puppet show You Only Live Forever Once (2011).
The longevity honors will continue to be held by Cincinnati Fringe veteran group Performance Gallery, returning for their ninth year with Rodney Rumple's Random Reality. Past Cincinnati Fringe appearances include Images of a Beating Heart (2004), The Killer Whispers and Prays (2005), Godsplay (2006), Girlfight (2007), Fricative (2008), KAZ/m (2009), The Council (2010) and The Body Speaks (2011). Brad Cupples, the playwright for Performance Gallery’s 2010 entry, returns with Third Quarter Moon: A Complex Derivative Love Story.
We’ll see shows from established local companies, including Quake: A Love Story from New Edgecliff Theatre (they presented Darker in 2011) and Don't Cross The Streams: The Cease and Desist Musical, a stage musical from Covington’s Carnegie Visual & Performing Arts Center.
Two new local companies will present for the first time. Homegrown Theatre, led by local actress Leah Strasser will present an absurdist piece, The Doppelganger Cometh and Overtaketh, while Essex Theatre Arts Studio, founded by actors Bob Allen and Elizabeth Harris, will stage Love Knots, a series of shorts plays about love and romance by local playwright Phil Paradis.
There will be plenty of new acts, including Grim & Fisher (the award-winning A deathly comedy in full-face mask) from Portland, Ore., and Rebecca King (Storms Beneath Her Skin), a transgender artist from Chicago. New York artist Tanya O’Debra’s Radio Star has won awards in San Francisco, Montreal and New York City.
There will be dance performances by Houston-based dance company Psophonia (Delicious) and two local groups, MamLuft&Co.’s (Latitude) and Pones, Inc. (Project Activate). The latter is a collaborative and participatory performance that asks “How do you activate Cincinnati?” It’s the product of five local service organizations with 12 professional artists from a variety of disciplines.
Each evening after performances, artists, audience members, staff, and volunteers gather at Know Theatre’s Underground bar for the Fringe Bar Series featuring the “Channel Fringe Hard Hitting Action News Update.” Events there include Fringe previews, Fringe Olympics, Fringe-e-Oke, Fringe Prom, and the 22.5 hour play project.
This year marks the second year of FringeNext, offering three shows created and performed by high school students. Two are originating from the School for Creative and Performing Arts; the third is from Lakota West High School.
Individual tickets to shows are still $12. “Full Frontal” passes are $200, providing access to every event in the festival. “Flexible Voyeur” six-show passes are on sale for $60, the price equivalent of five tickets. “One Night Stand” passes are $35; that’s good for one weeknight (as many as three shows) and a drink at Know Theatre's Bar. Pre-sale single tickets will go on sale mid-May.
For more information about the performances or to purchase passes, check out www.cincyfringe.com or call (513) 300-KNOW (5669).
For several years Joshua Jeremian seemed to be onstage everywhere in Cincinnati. He was a regular in opera productions at UC’s College-Conservatory of Music, where he was pursuing a master’s degree and then an artist’s diploma (additional graduate-level training) as an opera singer. But he was glad to find performing opportunities with many Cincinnati perfroming arts institutions. In 2005 he played a pair of princes in Ensemble Theatre of Cincinnati’s holiday musical, Sleeping Beauty. (In fact, the big-voiced baritone was nominated for a 2006 Cincinnati Entertainment Award for his performance at ETC.)
The Manhattan Dolls will make a one-night tour stop at Know Theatre on Sunday evening at 7:30, performing their Swing-style revue of tunes from the 1930s and 1940s, "Sentimental Journey," in the Over-the-Rhine theatre’s Underground cabaret space. The trio of singers from New York City travel the world performing for military events, air shows, award ceremonies, parades, Jazz clubs and concert series.
A bunch of classic characters will be showing up at Cincinnati Shakespeare Company to entertain us for the 2012-2013 theater season, announced today: Sherlock Holmes and Dr. Watson; Atticus Finch; Romeo and Juliet; Lady Bracknell; Nick Bottom and Puck. Oh, and a few kings and generals — Richard II and the bloody Titus Andronicus — plus a hearty dose of laughs with reprises of Every Christmas Story Ever Told (And Then Some!) and The Complete Works of William Shakespeare (Abridged). Here’s the rundown:
If you’ve seen The Seagull at Cincinnati Shakespeare Company (and CityBeat theater reviewer Tom McElfresh recommends that you do), then you should plan a return visit for The Nina Variations, playwright Steven Dietz’s delightful take on the final scene of Chekhov’s play. CSC offers another way to see the 1896 classic, via Dietz’s 1996 script, presented by the Bruce E. Coyle Intern Company from Cincinnati Playhouse in the Park.
ArtsWave has put out a very positive press release about the attendance for its first three Sampler Weekends, as well as information for the next three — including one this Saturday.