This past Saturday (Aug. 15) marked this year’s one-night-only installment of ballet tech cincinnati’s annual Gala of International Dance Stars at the Aronoff Center.
It was a night of connections. Connections are necessary for any performance worth its salt—both with the audience and amongst the performers. But when it comes to dance, connectivity arguably becomes even more central to success and enjoyment.
Perhaps you’ve been hearing some conversation about the Cincinnati Playhouse moving downtown, which started late last year. Guess it would no longer be the “Playhouse in the Park,” but there are some grand plans for a new theater facility right in the heart of downtown.
If you’d like to learn more, you might want to stop by the Playhouse’s Marx Theatre tonight for the second of two town hall-style meetings about the future. (The first meeting was on Sept. 22.) Playhouse Board President Jack Rouse and Producing Artistic Director Ed Stern will present the pros and cons of the Mount Adams location and what downtown has to offer; there will be a chance for questions from the audience, too.
Rouse says, “Theater is a collaborative art, and we want to mirror that collaborative process as we analyze the important decisions that we will be making concerning our physical theaters and their location.”
Seating is on a first-come, first-served basis in the Marx Theatre. Doors will open at 6:30 p.m. Parking is free (there are no performances at the Playhouse on Monday evenings). Following the presentation, attendees can stay for further conversation with Playhouse board members and key staff in the Rosenthal Plaza. Hors d’oeuvres will be served, and a cash bar is available.
What might become of the Playhouse’s current facility in Eden Park is a big question, as is how a downtown theater complex could be funded. These are important questions for the future of our much-admired regional theater. Sounds like a worthwhile way to spend a few hours on a Monday evening.
– Rick Pender
Ensemble Theatre Cincinnati, sporting a slightly abbreviated name and a half-painted façade, today announced most of its 2012-2013 season. As usual at ETC, it’s a work in progress: That how things are when you’re on the cutting edge of contemporary theater. But Artistic Director D. Lynn Meyers knows how to juggle lots of moving parts, and that includes a nod to another local theater great: She’s engaged Ed Stern, about to retire from his 20-year tenure as artistic director at the Cincinnati Playhouse in the Park, to stage a show that will feature the city’s most respected professional actor, Dale Hodges. Meyers has also designated five shows (the season will have six, one is still to be determined) for her schedule.
Meyers says, “Next season promises to be a selection of smart, contemporary, and compelling theater. The ETC experience is unique and intimate, unlike anything you’ll see anywhere else, along with the excellence you’ve come to expect.” She points out that the season features several strong female voices, too.
In 2007, ETC presented Rabbit Hole by Pulitzer Prize-winner David Lindsay-Abaire. He’ll be back for the theater’s 27th season with a humor-laced drama Good People (Sept. 5-23). The recent script (its Broadway production was a Tony nominee a year ago) explores the struggles, shifting loyalties and unshakeable hopes that come with having next to nothing in America. It focuses on a woman unable to catch a break who flees from urban Boston to the suburbs, where she’s totally out of her element. It’s a look at the haves and the have-nots, the kind of tale that Meyers loves to present to ETC audiences.
Up next will be Ed Stern’s production of Jeffrey Hatcher’s irreverent but poignant comedy Mrs. Mannerly (Oct. 10-28). Dale Hodges will play a demanding etiquette teacher in 1967; she’s bedeviled by a boy trying pulling out all the stops to get a perfect score, an unprecedented feat. The boy’s name Jeffrey Hatcher, so he bears a close resemblance to the playwright. (Amusingly, we are warned that this play about proper behavior contains strong language.)
For the holidays, ETC will reprise one of its family-friendly musicals: Alice in Wonderland (Nov. 28-Dec. 30) by playwright Joseph McDonough and composer-lyricist David Kisor.
Meyers is still angling for the show she’ll present in late January.
It will be followed by the regional premiere of Frank Higgins’ Black Pearl Sings! (March 13-31, 2013). I saw a production of this show in Sarasota in 2008, and I’m convinced it’s the kind of play that ETC audiences warm to, similar to this season’s The Whipping Man. It’s set during the Great Depression focusing on a researcher collecting traditional music for the Library of Congress. She finds Pearl Johnson in a Texas prison, a woman with a head and heart full of spiritual songs and a voice to perform them. Black Pearl Sings! is about being a woman in a man’s world, being black in a white world and fighting for one’s soul in a world where anyone can be a commodity.
ETC’s season will end on a familiar and definitely lighter note with another sequel to the best-selling production from 2009, The Marvelous Wonderettes. This time it’s The Marvelous Wonderettes: Caps and Gowns (May 1-19, 2013). We return to 1958 at Springfield High School for graduation and high hopes including a gymnasium full of pop tunes from the era — “River Deep, Mountain High,” “Dedicated to the One I Love,” “Rockin’ Robin.”
Subscriptions are already on sale ($156-$186); you can purchase a FlexPass ($196), which gives you six flexible tickets to use for any show and in any combination. Single tickets for season go on sale to the general public on August 13, 2012.
Since the 2011 Cincinnati Fringe Festival kicked off on June 1, a panel of three dedicated theater experts have been evaluating performances for recognition through the Acclaim Awards. These awards are in the process of being renamed, but for the sake of clarity and brevity, I’m going to call them by their soon-to-be-former name. The panelists are veterans of the Acclaims; neither Jackie Demaline of The Cincinnati Enquirer nor I are members of the panel or involved in this process.
If circuses haven't been the same for you since realizing that animals don't actually like trainers who crack the whip, go to Cirque du Soleil. CityBeat staffers were among the folks who attended last night's sneak preview of their new show, OVO, at Coney Island. It was amazing: technically impeccable, delightfully entertaining and 100 percent cruelty free!
OVO runs through May 15, and there's a Mother's Day
discount promotion going on now. Click here for details.
Around noon on Monday, the Cincinnati Playhouse will announcement its 2012-2013 season, the first mapped out by someone other than Producing Artistic Director Ed Stern in 20 years. Blake Robison takes over for the retiring Stern on July 1, so he’s had the daunting task of following in those big (and very successful) footsteps. Stern liked to present work by up-and-coming playwrights, and Robison has the same inclination, although as someone a generation younger than Stern, he has his own connections and ideas. He’s landed a world premiere by one of the most intriguing young playwrights in the United States, Roberto Aguirre-Sacasa. The show is called Abigail/1702, and we’ll see it early in 2013 (Jan. 19-Feb. 17).
It’s Aguirre-Sacasa’s imaginative exploration of what became of Abigail Williams, the young girl who sets in motion the Salem witch trials portrayed in Arthur Miller’s classic play from 1952, The Crucible. The new work, set a decade after Abigail accused many people of witchcraft, portrays her in her late 20s, struggling to atone for her sins, the ones portrayed in that memorable play — as well as darker ones that live in her heart. As she cares for a young sailor on the brink of death, a stranger from her past finds her and sets her on a quest for redemption.
Robison, who will direct the production, staged another work by Aguirre-Sacasa, his adaptation of Oscar Wilde’s The Picture of Dorian Gray that proved to be a bit hit at the Roundhouse Theatre in Maryland, where Robison served as artistic director. “When I found out that I was coming to the Playhouse, one of the first calls I made was to Roberto because I value his voice as an artist so much. I told him, ‘Send me whatever you’re working on right now.’ He sent me this play and I read it. I texted him and said, ‘You wrote an awesome play! I want to do it.’”
Robison admires the writer’s breadth of work: He’s written for Marvel Comics (Marvel Knights, Spider-Man and The Stand), for television (as a staff writer for HBO’s Big Love and the hit Fox series Glee) as well as nearly a dozen plays. “One of the fun things for me as the incoming artistic director,” Robison told me recently, “is to bring new voices to the community and to introduce some writers who I have a wonderful relationship with who haven’t been seen yet in Cincinnati.”
Robison loves Aguirre-Sacasa’s new script. “He has a gift for dialogue, and a highly visual sense to his writing. This play is quite unlike any of his other plays, quite unlike anything I’ve seen onstage before. To go back into our collective consciousness and pluck this famous figure from the dramatic canon and imagine what her life must be like 10 years down the line is a wonderfully creative act.”
Not to mention a great way for Robison to define his own artistic tastes for Cincinnati audiences. Keep an eye on CityBeat’s Arts Blog tomorrow for more news of the Playhouse’s upcoming season.
Listen up, fans of crafty, post-modern fiction: Local author/professor/all-around good guy Michael Griffith christens his freshly minted new book, Trophy, 7 p.m. tonight at Joseph-Beth Booksellers.
He is a subject whose resonance is great for both Smith — whose 2010 National Book Award-winning memoir, Just Kids, recounted their friendship as young people in New York’s art world and is being made into a film — and the CAC, which famously faced (and beat) obscenity charges in 1990 for showing the Mapplethorpe retrospective The Perfect Moment.
“It’s very much a rumination on the life and death of Robert Mapplethorpe,” Ludwig said of the exhibit. “So there are a lot of objects in the exhibition that very much relate to his life. We’ve received things like Robert’s slippers that have his initials on them, and photographs of Robert from throughout his life. So it really focuses on the relationship between these two artists.
“There are medals, necklaces that Robert wore,” Ludwig continued. “There is an inkwell. There are small elements that will be presented in cases in the exhibition. It’s presented very much like an art installation. They’re not necessarily presented as historical objects but as elements that are part of Patti’s life.”
“And we have an installation within the show called ‘Infirmary,’ which is all steel beds that are references to the beds Robert spent the end of his life in and that many people who died from AIDS passed away in. They are actual steel beds acquired by her.” (Mapplethorpe died from AIDS in 1989.)
The show will have several photographs by Mapplethorpe with text by Smith – of the sea, a boat and a sculpture. (None was in The Perfect Moment.) “They’re very beautiful,” Ludwig said.
I had a trip around the world on Sunday afternoon, thanks
to the World Choir Games. It includes stops in South Africa, the
Netherlands, Venezuela, Switzerland, and the Chinese cities of
Guangdong, Shanghai, Hong Kong and Hangzhou. The program, playing to a
completely sold-out house at the Aronoff Center's Procter & Gamble
Hall, was a chance for eight choirs, each champions in one or more
categories, to briefly showcase a few selections. Singer, performer and
Cincinnati native Drew Lachey hosted the afternoon program.
In order, we were treated to performances by the Shanghai Conservatory of Music Girls Choir (Female Choirs champion); the Diocesan Boys' School Choir from Hong Kong (Young Male Chorus champion); Männerstimmen Basel from Switzerland (Male Choirs Champion); the "8 Seconds" Mixed Chorus fa Hangzhou Normal University (Mixed Youth Choir champion); the Children's Choir of the Orchestra of Laraand Camerata Singonica Larense from Venezuela (Folklore champion); Guangdong Experimental Middle School (Youth Choir of Equal Voices champion); Stellenbosch University Choir from South Africa (a double champion for Musica Sacra and Mixed Chorus); and Dekoor Close Harmony from the Netherlands (another double champion, for Popular Choral Music and Jazz).
That's too many to offer song-by-song details from the two hour program, but I want to share some memorable highlights. Perhaps most powerful was the "African Prayer," sung by the Stellenbsoch choir, following a remark from the group;s director about how much they appreciated Cincinnati's hospitality. I head this group sing the same number on Thursday evening's celebration concert, and it was equally powerful — driven by full-voiced female singing, rhythmic clapping and building enthusiasm. What's more, the director sat down and let the choir proceed under its own steam. Demonstrating their varied repertoire, the same group also did a quirky rendition of Queen's "Seaside Rendezvous," playing kazoos for part of the number.
The Chinese choruses showed tremendous discipline, carefully following their directors and, especially in the case of the group from Shanghai, creating a pure, crystalline sound that was virtually one voice. Each of those choirs were also stylishly dressed in matching costumes. (I found myself wondering how transportation was handled for these choirs, not just for the singers but for their gowns and other attire. No one seemed to have left anything behind!)
The group from Basel looked more like a scruffy Euro band, about 30 men, some with beards, others with wooly heads of hair. Many of them wore knee-length pants and suspenders. But their singing was strong and well-rehearsed. The Venezuelans were in costumes that had a Latin flair, especially the women in white, knee-length dresses with traditional, multicolored ruffles on their hems and necklines. This latter group had a fine sense of humor, especially for its tongue-twisting final number that involved singing faster and faster, then concluding in a sort of faux collapse of exhaustion.
Most unlike other choirs I've heard, Dekoor from the Netherlands, which sang in colloquial American English offered three numbers from the Pop repertoire. The group of 30, evenly divided between men and women, opened with "We Are Young," a song about friendship, youth and trust — all qualities represented by their stances and interactions (a repeated lyric: "We are young/So let's the set the world on fire/We can burn brighter/Than the sun"). They moved next to James Taylor's paean to frustration, "Damn This Traffic Jam," and as an encore rendered a funky version of George Michael's "Freedom." Quite a switch from beautifully executed but not so stirring sacred numbers.
For my second concert of the day, I was back at the Aronoff for the Energy of Youth" Celebration Concert featuring three groups. The frist was local, the Cincinnati Children's Choir, mostly junior high and high school youths. They were augmented for the second half of their program with a specially formed "Cincinnati Public Schools Honor Choir," a pair of singers selected from each of the CPS elementary schools. They concluded with two numbers commissioned for the event and conducted by composer Rollo Dillworth; the finale, "Ain't Gonna Let Nobody Turn Me Around," had a clapping rhythm that engaged the entire audience. What this group lacked in polish (they had only three rehearsals) they more than made up for in enthusiasm.
The next group was the Farnham Youth Choir from Great Britain. Forty singers, mostly girls (there were three boys with voices not yet changed) offered a varied set that combined some sacred numbers with some folk-inspired pieces (The Piper o'Dundee" and ""Iona Boat Song"). Most interesting was a number titled "Aglepta," that began with a single member reciting this text: "To leave a enemy without an answer, say this words to him: Aglaria Pidhol garia Ananus Qepta" and blow in his direction; then he will not know which way he is headed and cannot answer you." What followed was a strange collection of sighs, whistles, squeals, shrieks, clapping and other odd noises, an odd showcase of discipline that was a long way from the more traditional numbers. It was a bit fearful, and completely captivating.
The program concluded with a set by the Guangdong Experimental Middle School Choir that was as much choreography and tradition as it was a choral performance. Native costumes, a Mongolia throat singer, drums, bells, wild dancing — this performance made me think about how little we know about other parts of the world ... and how much an event like the World Choir Games opens us to learning about other cultures.
Quite a day.