So Thanksgiving was early this year, and that means that not only
retailers but all of our local theaters have fired their starting guns
earlier than usual with family-friendly holiday shows. That began with
Ensemble Theatre's opening of Alice in Wonderland on Nov. 28, and
Cinderella at the Covedale, A Christmas Carol at the Playhouse and New Edgecliff's Santaland Diaries (newly paired with The 12 Dates of Christmas) using a new venue, the Aronoff's Fifth Third Bank Theater.
But before you start wearing your Christmas sweaters and holiday socks, I have a few non-seasonal but highly entertaining productions you should consider:
Let's start with Cincinnati Shakespeare's staging of The Importance of Being Earnest. This is a classic comedy from 1895 by Oscar Wilde, but don't think there's anything old and musty about it. The production of this witty, romantic tale of harmless manipulation bubbles with laughter and sprightly performances. I gave it a Critic's Pick here and I suspect it will be another sold-out run for Cincy Shakes, which has assembled a gangbuster season. You should note that it's only onstage through Dec. 16, so if you want to see it, don't wait too long. (As of the 16th it will be supplanted by Every Christmas Story Ever Told (and then some), Cincy Shakes' holiday offering.) Box office: 513-381-2273 x.1.
And if smiles without holiday trimming are something you seek, I highly recommend the touring production of Jersey Boys. This is the true story of Frankie Valli and the Four Seasons, Pop stars from the 1960s, and the show is stuffed full of their memorable, tuneful hits. The four leading actors faithfully recreate the group's close harmonies and Valli's soaring falsetto tenor — he's one of the great Pop vocalists of all time, and Nick Cosgrove nails the role. Although the history of these four singers has its ups and downs, the story is told with a sense of wry humor (and numerous F-bombs) that keeps things light and entertaining. Audiences have been clamoring for Broadway in Cincinnati to bring this show back since it appeared at the Aronoff back in 2008, and tickets are selling fast. Box office: 800-982-2787.
Don't forget Hank Williams: Lost Highway at the Playhouse's Shelterhouse stage. (Review here.) It's another genuine reincarnation of a singer who made an indelible mark on the world of Pop music. Box office: 513-421-3888.
For the holidays, they'll produce The Naughty List, hosted by Ronda Androski and her great staff at Arnold's Bar & Grill downtown and featuring the talent of OTR Improv, one of the groups Know has nurtured with its Jackson Street Market. They'll take holiday memories from those in attendance as they recreate holiday movies and tell you how your life would have been different if you had received that special gift you yearned for. The fun will be happeing in Arnold's courtyard on Sunday, Monday and Tuesday evenings from Dec. 2 to 30. Tickets will be $15 in advance and $18 at the door.
Know will also offer The Apocalypse Show! for two nights on its home stage at 1120 Jackson St.. Since the world is scheduled to come to an end on Dec. 21, 2012 (according to the Mayan calendar), Know will produce a variety show to end all variety shows on Dec. 20 and 21. There will be sketch comedy, predictions, guest appearances, "gratuitous drinking and answers to all of your apocalypse FAQs." Dec. 20 will be a fundraiser (tickets: $50), despite the funny come-on that you should bring all your money, since it will be worth nothing the next day! (If you come to the performance on Dec. 21, you only need to scrape together $15 in advance or $18 at the door.)
Assuming that the world really isn't ending on Dec. 21, Know will co-host its annual New Year's Eve event with CityBeat, the Speakeasy Party from 8 p.m. on Dec. 31 (to 1 a.m.). Know typically attracts 300 well-dressed guests for this event, and everyone has fun with casino games, food, dancing to a DJ and a live band, martinis and a champagne toast at midnight.
After all this fun stuff, Know will get down to some serious theater — presenting Andrew Bovell's "best new play of 2010," When the Rain Stops Falling (Feb. 8-March 16, 2013). It's another partnership, with the production being staged by Brian Isaac Phillips, artistic director at Cincinnati Shakespeare Company. (Bovell's Speaking in Tongues had a great production at the Cincinnati Playhouse last season.) The show uses an intricate fabric of overlapping connections, moving between several generations between 1959 and 2039 and between London and Australia. Acts and sins of the past are connected to three generations that follow.
More will be following, including an unnamed production running from April 5 to May 12. Sometime in late April (date TBA), just in advance of the tenth annual Cincinnati Fringe Festival (May 28-June 8, 2013), Know will host the 2013 United States Association of Fringe Festivals Conference. "We're honored to have been selected to host this year's conference," says Know's Producing Artistic Director Eric Vosmeier. "It's an amazing opportunity to work on ideas and issues at the core of all Fringe Festivals. Every time I have been to a conference, the Cincinnati Fringe is better for it. We can't wait to show off our city to festival producers from all over the United States."
One more note: Know is selling its version of a subscription, Flex Passes. But these have evolved: You can purchase six flex passes for $90. Valid for most Know productions, they do not expire. (If a show ticket has a higher price than the pass, you can use your pass and just pay the difference.) Know's website will designate: "Flex passes are valid for this event." When you run out of tickets (and you surely will), you simply need to buy another pass.
Know's Fringe Festival has promoted itself with the slogan "Weird, like us." And they're living up to that mantra in a way that should appeal to its supporters and more.
If you can tear yourself way from TV ads for the
presidential election this weekend, you'll find plenty of good theater
to distract you, starting with a production at Covington's Carnegie
Center opening Friday night. It's Under a Red Moon, a
world premiere co-production with Dayton’s Human Race Theatre Company.
Michael Slade's taut psychological thriller just spent nearly a month
onstage at the Loft Theatre in Dayton, so it's already a seasoned
production. A dramatized psychological interview in the same vein as Silence of the Lambs,
it’s based on the chilling true story of England’s notorious “Acid Bath
Murderer” from a half-century ago. The play features Broadway actors
Bradford Cover as the criminal and Dee Pelletier as the psychologist
trying to get inside his head. Box office: 859-957-1940.
A different set of thrills are available from Cincinnati Shakespeare Company, which is staging Shakespeare's bloody revenge tragedy, Titus Andronicus. This show requires a lot of hand-to-hand combat, blood and gore — presented by CSC with ghastly zeal. Just as creepy tales like Nightmare on Elm Street and Halloween have chilled film audiences in recent years, this kind of play was all the rage in the early 1590s. (CSC director Jeremy Dubin calls it “a snuff film in blank verse.”) It's especially fun to watch veteran Nick Rose as a Roman general who gets into a grotesque battle of wills with the amoral Queen of the Goths, played by Miranda McGee. The awful things they they do to one another's families make for some delicious, hair-raising storytelling. Also onstage at Cincy Shakes is Romeo & Juliet, with the central characters played as hormonal, irrational teens. Sara Clark is especially good as Juliet. Both productions tell their tale through more contemporary visual filters — R&J's characters wear contemporary clothing and are surrounded with music of the here and now, while Titus gets a "Steampunk" treatment that presumes that the Victorian ingenuity of Jules Verne and H. G. Wells extended its steam-driven, mechanical technology to the present. Both approaches give new vitality to the shows. (Review here.) Box office: 513-381-2273.
Also worth seeing is a funny, touching tale of growing up in Depression-era Brooklyn, Neil Simon's Brighton Beach Memoirs at the Cincinnati Playhouse (513-381-3888)). (Review here.) It's the first time that the Playhouse has staged a work by Simon, one of America's most prolific playwrights of the 20th century. Box office: 513-421-3888
You'll have to pick and choose this weekend because
there's so much theater onstage. In addition to our professional
theaters, it's worth checking out production at universities: Tonight
through Sunday, CCM's esteemed musical theater program is offering the
cult favorite Chess, with music by ABBA's Björn Ulvaeus
and Benny Andersson. The story is set in Bangkok and Budapest during a
mid-1970s world chess championship — and it's driven by gamesmanship
between nations, between lovers and, of course, between chess players. I
saw the opening on Thursday, and it's a BIG show with a gigantic cast.
Several leading roles are double cast (with more juniors than seniors,
in fact, which bodes well for CCM productions for this season and next).
In particular, Matthew Paul Hill, playing the Russian grand master
Anatoly, lifted the roof of Corbett Auditorium with his powerful
baritone voice singing the stirring "Anthem," the Act 1 finale. Tickets
($30) Box office: 513-556-4183. At Northern Kentucky University you'll a production of Royal Gambit
by German playwright Hermann Gressieker (translated into English in the
late 1950s). The subject is King Henry VIII and his six wives, and this
looks to be a beautifully costumed show, featuring senior Seth Wallen
in the leading role. Tickets ($14). Box office: 859-572-5464.
Neil Simon's funny and endearing Brighton Beach Memoirs is onstage at the Cincinnati Playhouse. I gave it a Critic's Pick (review here), and I'm sure audiences will love this sweet portrait of growing up in Brooklyn in the 1930s, where a loving but fractious family copes with hard times. It's told from the perspective of Eugene, a precocious adolescent (he's really Simon as a 15-year-old), who takes notes on his family's behavior. Well acted and beautifully staged. Box office: 513-421-3888l.
My schedule hasn't permitted me to see several shows that are getting good notices, including recognition from the folks evaluating productions for the League of Cincinnati Theatres. I'm catching up this evening with Cincinnati Shakespeare Company, which is offering two shows this month. Romeo & Juliet is its mainstage show, and Sara Clark is getting high marks for her portrait of romantic but tragic young love. Brian Phillips' staging picked up an LCT nod, and the show received an overall recommendation from LCT. On the evenings when R&J is not onstage, there's another Shakespeare work for thrill seekers, specially selected and staged for the Halloween season: the bloody, gory tale of revenge, Titus Andronicus. Veteran actor Nick Rose plays a crazed Roman general, and just about everyone I've heard from says his performance is memorable. (It earned him an LCT nomination, too.) Box office: 513-381-2273.
This weekend is the final one for Mrs. Mannerly at Ensemble Theatre. When Harper Lee reviewed this one for CityBeat (review here), she gave it a Critic's Pick, and I agree wholeheartedly. (LCT named it a recommended production, too.) CEA Hall of Fame actress Dale Hodges is great fun to watch as a strict etiquette teacher in 1967, and Raymond McAnally plays all the other characters — a bunch of kids who are learning how to behave in a "mannerly" way. It's funny from start to finish, but there's a heart-warming message within the story. Definitely worth seeing. Box office: 513-421-3555.
At Clifton Performance Theatre, Clifton Players are staging A Bright New Boise, which also picked up an LCT recommendation. I haven't seen it, but the show won an Obie Award (that's for outstanding off-Broadway plays) in 2011, and it has a strong cast. This is a newish venue that's specializing in "storefront theater." Should be worth supporting. Tickets ($20): 513-861-7469.
My first and foremost recommendation for the weekend is Blue Man Group.
(Review here.) It's a performance experience unlike much of anything else you've
probably ever experienced in a theater — raucous music, zany humor,
eye-popping technology and infectiously fun engagement with the
audience. Amazingly, it's done without spoken words — the guys mime
(well, kind of, it's actually more like they're mute in the style of
Harpo Marx, with a lot of staring and double-takes), although they're
backed up by awesome video that does offer some instruction (and laughs)
for the literate. As I've said before, it's hard to describe but easy
to enjoy. This is Blue Man Group's first time in Cincinnati, presented
by Broadway Across America; the Aronoff Center might never be the same.
(Through Oct. 28) Box office: 800-982-2787.
Last night I enjoyed opening night for the thoroughly authentic and charming production of Neil Simon's Brighton Beach Memoirs at the Cincinnati Playhouse in the Park. It's the story of a Jewish family in Brooklyn in the 1930s, but thanks to Simon's witty, heartfelt recollections of his own youth, it has a feeling of universality. The narrator is Eugene Morris Jerome (who's a stand-in for Simon himself), and actor Ryan DeLuca conveys the joys and pangs of adolescence and puberty with feeling and hilarity. He frequently addresses the audience about his interactions with his grouchy parents and his woebegon aunt, his worldly brother, his pampered cousins — he's documenting them for something he'll write when he's older, a novel or perhaps a play! And that play is the one onstage at the Playhouse, the first Neil Simon script ever presented there in more than 50 seasons. (Through Nov. 10.) Box office: 513-421-3888.
Continuing productions of the comedy Mrs. Mannerly at Ensemble Theatre Cincinnati (513-421-3555) and Shakespeare's romantic tragedy Romeo & Juliet at Cincinnati Shakespeare Company (513-381-2273, x1) have been positively reviewed and appreciated by audiences. This weekend also marks the opening of Cincy Shakes' staging of Shakespeare's bloody history of the Roman emperor Titus Andronicus, staged with tongue in cheek (and in a pie) for the Halloween season. It happens on the nights when the R&J cast takes a breather.
You might also consider two special events: New Edgecliff Theatre's annual one-night fundraiser, Sweet Suspense Theatre, a presentation in the style of a radio play, happens on Saturday evening. This year the production, a new adaptation of Oscar Wilde's story of The Canterville Ghost, is being presented at the Cincinnati Art Museum — and includes an extended intermission with lots of goodies from local bakeries and restaurants. (Tickets: 888-588-0177). You might also want to check in with the Playhouse about ticket availability for Post Secret on Monday evening; the one-night presentation of a piece based on an anonymous "true confessions" website is rumored to be sold out, but there might be a waiting list if you call the box office. (513-421-3888)
You have no excuse for complaining that there's not enough
theater in the days ahead. In fact, you'll have a hard time fitting it
Ensemble Theatre Cincinnati's regional premiere of Mrs. Mannerly opened a few days ago: It's a comedy about growing up in small-town Ohio under the watchful (perhaps oppressive) eye of a strict etiquette teacher. Jeffrey Hatcher's play (largely based on his own experience in 1967) features one of Cincinnati's best actresses, Dale Hodges, in the title role. And the production has been staged by Ed Stern, recently retired after 20 years as producing artistic director at the Cincinnati Playhouse. Box Office: 513-421-3555.
Cincinnati Shakespeare is producing Shakespeare's romantic tragedy Romeo & Juliet, featuring a pair of actors — Sara Clark and Ian Bond — who had great chemistry in recent productions of Pride & Prejudice and Sense & Sensibility. They will bring new life a familiar work, I'm sure. The production opens Friday; bear in mind that Cincy Shakes has been selling out its productions this season, so catching this one before it catches on with the larger audience might be a good idea. Box Office: 513-381-2273 x1.
For entertainment of an entirely different stripe, I suggest you check out The Beggar's Carnivale on Friday and Saturday evenings (9 p.m.) at Know Theatre. This variety show has been described as "Cirque du Soleil on a whiskey bender." It includes elements of traiditonal circus arts, gypsy folk and Rock & Roll. You'll witness a fast-paced spectacle with several acts linked by interludes in the style of silent film. There's live music, too, by their house band The Royal We and the Carnivale's personal DJ. Sounds like an evening of unusual entertainment. Box Office: 513-300-5669.
For the stay-at-homes, you might sample Lost in Yonkers on WVXU's broadcast of L.A. Theatre Works, Saturday evening at 8 p.m. on FM 91.7. This great nostalgic play by Neil Simon is part of an autobiographical trilogy; the Cincinnati Playhouse is producing Brighton Beach Memoirs, another from this set, a few weeks from now. On Sunday evening at 8 p.m. WVXU will air The Moth, a collection of monologues by everyday people, sharing anecdotes of things that actually happened to them. It's the inspiration for our local company True Theatre, which opens its third season on Monday evening (7:30 p.m.) with trueLearning at Know Theatre.
Finally, to keep you occupied next week, CCM Drama is offering a week of free, unticketed readings of gay-themed plays. On Monday it's Larry Kramer's The Normal Heart (1985); Tuesday and Wednesday offer Tony Kushner's 1993 award-winning Angels in America, Part 1: Millennium Approaches and Part 2: Perestroika. Thursday evening it's Stephen Karam's Sons of the Prophet (2011). All readings are at 7 p.m. in the Corbett Center's Room 4755 at the University of Cincinnati. On Friday evening, Dr. Richard Coons will moderate a conversation about "Storytellers, History Makers and Revolutionaries: The LGBT Story." A clinical psychologist, Coons is a CCM Drama grad; in 1998 and 1999 he played the central role of Prior Walter in CCM's local premiere of Kushner's Angels in America. (Also free, this event will be in Patricia Corbett Theatre on the UC campus.)
Your best bet for theater this weekend, based on several
enthusiastic recommendations, seems to be Daniel Beaty's one-man
performance at the Cincinnati Playhouse in Through the Night. Harper Lee gave it a Critic's Pick in her CityBeat
review this week, and the League of Cincinnati Theatres panel described
Beaty as a "brilliant showman and interpreter” whose “beautifully and
powerfully acted” performance “weaved in, out and through real people —
multifaceted people.” The show was praised as “moving and full of hope —
an evening of pure joy, celebration and a mournful reminder as well.” Through the Night
“shatters the stereotypes of the ‘African American’ plight and shows
beautifully that these predicaments and life choices are ‘human’ ones." I
caught a performance this week and found Beaty's ability to shift from
character to character quite astonishing — he plays six men and boys, as
well as numerous other figures in their lives, each well defined and
believable. It's a tour de force performance in the Shelterhouse,
presented simply with some projected images and nothing more, not even
costume changes. Box office: 513-421-3888.
College theater has good choices for you at both UC's College-Conservatory of Music and Northern Kentucky University. Each is presenting a classic, although from very different eras. NKU continues its run of You Can't Take It With You (through Sunday), a classic comedy by George S. Kaufman and Moss Hart that won a Pulitzer Prize back in 1937. It's about a wacky family that marches to the beat of several different drummers and how their "normal" daughter and her boyfriend (the product of truly straitlaced parents) try to figure out how to make a relationship work in the midst of a lot of craziness. At CCM there's another form of craziness in Michael Burnham's staging of Shakespeare's A Midsummer Night's Dream, a tale of mistaken lovers and magical transformations. In both cases, there's a happy ending and most of the right people end up with suitable partners. Both shows are sure to offer offer a lot of laughs, as well as plenty of opportunities for young actors to take on entertaining roles. Either show should make for a fun outing that doesn't require much serious thought. CCM Box Office: 513-556-4183; NKU Box Office: 859-572-5464.
Finally, on Sunday night at 7:30 p.m. you have a very
special opportunity to see a brand-new musical as a work-in-progress at
the Carnegie Center in Covington. It's a one-night-only presentation of The Sandman, a creepy musical created by Cincinnati native and Cirque du Soleil
maestro Richard Oberacker and his creative partner Robert Taylor. Using
a wildly imaginative story by E.T.A. Hoffmann (the guy who wrote the
wildly imaginative story of battling mice and toys coming to life that
became The Nutcracker), Oberacker and Taylor have crafted a show
that's getting a workshop locally with some serious star power. Narrated
by Van Ackerman (who turned in a great performance as the Man in the
Chair in CMT's recent production of The Drowsy Chaperone), the
performance will feature Tony nominee (and early CCM grad) Pamela Myers,
always watchable Bruce Cromer (fresh off his powerful turn as Atticus
Finch in To Kill a Mockingbird at Cincy Shakes), Charlie Clark
and Sara Mackie. While it's a "reading," it will have sound effects and
some slide projections to set the eerie scene. You can call 859-957-1940 for tickets, or order them online at www.thecarnegie.com. General admission is $25 (theater professionals and students can get in for $15). Sounds like a don't miss event.
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.
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.
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.
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.
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.
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.
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.
Know Theatre formally introduced its incoming artistic director, Andrew Hungerford, before a full house on Wednesday evening. He might not approach the boundless energy of his predecessor Eric Vosmeier (more on his half-dozen years at the helm here), but Hungerford has a kind of boyish enthusiasm for the job he's taking on that feels fresh and infectious. The crowd of supporters seemed enthusiastic about his engagement and were especially pleased as he filled in details about coming productions for the months ahead in 2014.
Last evening I went to see Mary Zimmerman's Metamorphoses
at UC's College-Conservatory of Music. You can read more about
playwright Zimmerman in my column in this week's issue here, and you'll
probably figure out that this is one of my favorite scripts. CCM's drama
program has created a shimmering, playful production that's getting a
brief run (final performance is a 2 p.m. matinee Sunday) at Patricia Corbett Theatre.
Guest director D. Lynn Meyers
took a break from Ensemble Theatre Cincinnati to travel up the hill and
stage this one on the UC campus, and her cast of 18 student performers
wholly embraced this unusual show — which requires a pool of water as
its central design feature. (Water plays a significant and meaningful
role in the retelling of a set of classical myths shaped and recorded by
Ovid two millennia ago.) But Dana Hall's scenic design doesn't stop
with water; it's elemental, with immense hanging slabs of stone that
resonate with the decorative concrete slabs in PCT. Wes Richter's
lighting — it really does shimmer — enhances the stories of characters
changed by circumstances, good intentions and bad decisions, and Kevin
Semancik's sound design brings vivid punctuation to many stories,
including a destructive storm at sea.
Speaking of sound, cellist Jacob Yates, a senior at CCM, composed moody accompaniment that distills the moving emotional essence of each scene; he performs live from stage left as the tales unfold. Amanda Kai Newman's costume designs complete the visual power of the show, whether they are fluttering around the edge of the pool or from a high balcony upstage from which the gods watch and control the mortals — and even when they are sopping wet from action in the variable-depth pool. Much of the action is beautifully choreographed and delivered with confident physicality. All in all, CCM's Metamorphoses is a total theatrical package that's definitely worth seeing. Tickets are likely available if you call quickly: 513-556-4183..
Rounding out the season are several shows with roots in pop culture. The season opens with Dirty Dancing, a musical based on the 1987 movie about a summer vacation in the Catskills that turns into a steamy romance with a lot of choreography. For the holidays, we get another short run aimed at families: Elf: The Musical about an human orphan who ends up as one of Santa’s elves, but never quite fits in. It’s based on the 2003 film that starred Will Farrell. (Broadway in Cincinnati had good luck last Thanksgiving with a short run of How the Grinch Stole Christmas, and this is surely aimed at the same audience.)
Also likely to capture an audience in search of for laughs is the season’s concluding production, I Love Lucy: Live On Stage, bringing to life recreations of one of TV’s greatest sitcoms with actors portraying Lucy and Ricky Ricardo and Ethel and Fred Mertz. Set in 1952, it lets audiences pretend they’re attending the filming of a pair of classic episodes on an L.A. soundstage. It’s not a musical, but it has lots of tuneful interludes by Ricky’s orchestra at the Tropicana Nightclub, plus ’50s style singing commercials.
Season subscriptions go on sale today: 800-294-1816 or BroadwayinCincinnati.com
Dirty Dancing (Sept. 23-Oct. 5, 2014)
Once (Nov. 11-23, 2014)
Elf: The Musical (Dec. 2-7, 2014)
Cinderella (Jan. 6-18, 2015)
Anything Goes (Feb. 17-22, 2015)
The Lion King (March 31-April 26, 2015)
I Love Lucy (June 2-14, 2015.
Lots of plays not previously seen in Cincinnati are good theater choices this weekend: