Lynn Meyers spends most of her time staging shows at Ensemble Theatre of Cincinnati, where she’s the producing artistic director. However, she headed a few blocks south from her Over-the-Rhine venue this month to direct Pride and Prejudice for Cincinnati Shakespeare Company at its Race Street venue.
say whether the hills will be alive, but The Carnegie in Covington
certainly will be in January when it presents a "lightly staged"
production of Rodgers and Hammerstein's The Sound of Music in partnership with the Kentucky Symphony Orchestra. Presented Jan. 17-26, 2014,
under the direction of Brian Robertson and KSO conductor J. R. Cassidy,
the production continues a popular series that has appealed to
audiences at the Carnegie's Otto M. Budig Theatre.
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)
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.
Thanks to spot-on casting of the four actors who bring Kim Rosenstock’s new play Tigers Be Still to life at the Cincinnati Playhouse, the show about people dealing with depression is charming, funny, optimistic and even heart-warming. It’s about a young woman with a recently earned degree in art therapy; she’s been down in the dumps about finding work, but not as much as her mom who’s gained weight and her sister who’s been dumped by her fiancé. She’s starting a new job thanks to her mom’s long-ago boyfriend, now a middle school principal. He has issues of his own — from a slacker son to anxiety about a tiger that’s escaped from the local zoo. Sound zany? Well, it is — as well as entertaining. The League of Cincinnati Theatres singled out this production’s sound design by Vincent Olivieri for an award. One panelist wrote, “On a very small stage, scenes took place in a school gym, drugstore, office, closet, outdoors and in the living spaces of two houses. Except for the main set, capturing the essence of these scenes was limited to a couple of props and pieces of furniture — and the sound!” Through April 15. Box office: 513-421-3888.
There’s a final performance on Saturday afternoon of Rapunzel! Rapunzel! A Very Hairy Fairy Tale, presented by The Children’s Theatre of Cincinnati. The world premiere musical by composer Janet Vogt and writer Mark Friedman has received an award from the league of Cincinnati Theatres for its scenic design by David Centers. Tickets: 513-569-8080, x13. His design for the show was described by LCT judges as “simple and very well executed in a style that was great for the play.” In addition to the show’s signature tower, the set also boasts a forest that “wasn’t too dank, dark and dismal, but instead had personality.” (Centers, a veteran local designer and a graduate of the School for Creative and Performing Arts, received an LCT Award in the same category earlier this year for his work Disney’s My Son Pinocchio Jr.) Tickets: 513-569-8080, x13.
On Wednesday I attended the Cirque du Soleil production of Dralion at the Bank of Kentucky Arena, adjacent to Northern Kentucky University. It’s another extravaganza of strength and showmanship, athleticism and artistry. This struck me as a somewhat more compact show than I’ve seen in the past: The talent is just as great, but the concept — connections between East and West — is pretty vaporous. But there are three wonderful clowns, and several of the performances do things that make you say, “How can a human body do that?” Balancing on one hand, flying through the air on a hoop, skipping rope in a human pyramid — it’s amazing stuff. It’s being presented through Sunday: Lots of available seats on opening night, so I’m guessing you can still find tickets for all performances. Through Sunday. Tickets: 800-745-3000
Two excellent productions wrap up this weekend. The Cincinnati Playhouse’s unique staging of Stephen Sondheim and George Furth’s musical Merrily We Roll Along, which uses actors who also play musical instruments has its final performances on Saturday. I gave the production a Critic's Pick; Merrily is only infrequently staged, so this is a chance not to be missed. Box office: 513-421-3888. Ensemble Theatre concludes the run of Time Stands Still, a fine drama with a great ensemble cast directed by Michael Evan Haney. Final performance is on Sunday. This tale of burned-out journalists and last gasps at relationships by Donald Margulies, a Pulitzer Prize-winning dramatist, also earned a Critic's Pick. Box office: 513-421-3555.
Know Theatre’s production of the recent off-Broadway and Broadway Rock musical hit, Bloody Bloody Andrew Jackson, opens on Saturday. (It’s onstage through May 12.) Word has it that tickets are already selling fast. Box office: 513-300-5669. This weekend is also the opening for Cincinnati Shakespeare’s production of The Grapes of Wrath, which runs through April 29. Box office: 513-381-2273, x1.
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.
Ensemble Theatre Cincinnati today announced four of its six shows for the 2013-2014 season, which opens on Sept. 4. Producing Artistic Director D. Lynn Meyers says, "We are planning a truly original, fresh and exhilarating season of dynamic regional premieres, and I am absolutely thrilled to showcase some of the hottest titles and newest voices this coming year."
I’ve been talking with lots of people about the Cincinnati Playhouse production of Stephen Sondheim’s Merrily We Roll Along. It’s been directed by John Doyle, who inventively staged Sondheim’s Company in 2006, a production that moved to Broadway and earned a Tony Award. He uses the same approach this time: actors who provide their own musical accompaniment. I liked the results he got from his strong, talented cast. But I will say that this production evokes strong reactions: Some people love it, some are mystified and some hate the nontraditional approach. No one has said it’s not skillfully done, so I can safely tell you that you ought to go and see for yourself. Merrily has long been viewed as one of Sondheim’s few failures (its original run in 1981 lasted for only 16 performances on Broadway), but you wouldn’t know that from this staging: It’s a showbiz tale of chasing success that has not resulted in happiness. We start at the end of a friendship, with three people at one another’s throats, and then trace back to their earliest, optimistic moments together. With great music, a stylized set piled with pages of music (the central character is a Broadway composer) and some intriguing decisions by Doyle about elevating a realistic tale to something more deeply emotional, this version of Merrily is a fascinating production that musical theater lovers ought to see. In addition to my Critic’s Pick, this production has garnered five awards from the League of Cincinnati Theatres for Outstanding Ensemble, for performer Becky Ann Baker, for Scott Pask’s imaginative scenic design, Matt Castle’s music direction and Mary-Mitchell Campbell’s orchestrations. Can’t quite figure why director John Doyle wasn’t cited, since he’s the mastermind behind all this, but you can judge that one for yourself. Through March 31. Box office: 513-421-3888.
I don’t get to see too much community theater, but there are several companies that consistently present work worth watching: Mariemont Players is one of them. Through March 25 the company is presenting Cole, a musical tribute to the life of songwriter Cole Porter, from his days as a student at Yale, life in Paris then Manhattan then Hollywood. I haven’t seen it, but I suspect that it will be entertaining. At the Walton Creek Theater (4101 Walton Creek Road, just east of Mariemont). Tickets: 513-684-1236.
Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.
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.
The 36th annual Humana Festival of New American Plays at Actors Theatre of Louisville is set for Feb. 26 through April 1, 2012. The theater today announced the line-up of full-length works. (A bill of three ten-minute plays will be announced at a later date.) Here’s what’s in store for the festival that the theater world looks to every year for the hottest new plays and playwrights. (Maple and Vine by Jordan Harrison from the 2011 festival is getting rave reviews at Chicago’s Next Theatre Company and is about to open at Playwrights Horizons in New York City.)