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by Rick Pender 04.29.2012
Posted In: Theater at 01:00 AM | Permalink | Comments (0)
 
 
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Ensemble Theatre's 2012-2013 season

Premieres, Ed Stern and Dale Hodges, plus more Wonderettes

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.

 
 
by Rick Pender 06.06.2011
Posted In: Theater at 12:14 PM | Permalink | Comments (0)
 
 
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A Little Acclaim for the Fringe Festival

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.

Read More

 
 
by Rick Pender 10.06.2008
Posted In: Theater at 08:06 AM | Permalink | Comments (0)
 
 
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Wherefore Art Thou, Cincinnati Playhouse?

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

 
 
by Anne Mitchell 04.21.2011
Posted In: Theater at 12:05 PM | Permalink | Comments (0)
 
 
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Cirque du Soleil Mother's Day Promo

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.

 
 
by Rick Pender 09.05.2012
Posted In: Theater at 09:12 AM | Permalink | Comments (0)
 
 
pamela myers

Outstanding Cast Assembled for Oct. 7 Workshop at Carnegie

Star-studded cast to perform darkly comic musical one-night only

There's a new piece of musical theater in the oven, and you'll be able to get a peak and a listen on Sunday, Oct. 7 at 7:30 p.m., when it has a one-night-only public performance at Covington's Carnegie Center. The evening will feature several local theater veterans including two with national reputations, so it's a very promising event. The Sandman is a new musical by Richard Oberacker and his writing partner Robert Taylor. They teamed to create Ace (which premiered at the Cincinnati Playhouse back in 2006), and Oberacker was the creative force behind Don't Make Me Pull This Show Over, a hit at the Cincinnati Fringe in 2008 and returned for a full production at Ensemble Theatre the following season.

The Sandman
is strange and darkly comic musical, drawn from a nightmarish fantasy by E.T.A. Hoffman, the author of the story of The Nutcracker and the personal inspiration for the opera The Tales of Hoffman. Oberacker, whose day job is as a music director with Cirque du Soleil in Las Vegas, will spend a week here to workshop the show about a month from now, and he will play piano for the performance on that Sunday evening.

A star-studded cast has been recruited, topped by Broadway veteran, Tony nominee and nationally respected musical performer
Pamela Myers. She'll play Frau Kaeseschweiss, an unusual nanny recruited to serve as a nanny the children of the Strauss family. Charlie Clark and Sara Mackie (both Cincinnati veteran theater professionals and familiar to ETC and Carnegie theater audiences) will play the parents, with Clark as an ingenious German clockmaker who sets in motion a series of bizarre and unnatural events when he meets the strange Dr. Copelius, played by Bruce Cromer. (Cromer is spending this month at Cincinnati Shakespeare as Atticus Finch in To Kill a Mockingbird). The devilish deal between them to save the Strauss's daughter's life takes a strange and chaotic turn and sinister forces at play are revealed — forces from which only the children may be able to save their parents. Another piece of good news: Busy local director Ed Cohen will be involved in staging the piece, which will utilize a number of projected illustrations to evoke the mood and setting.

Oberacker is excited by the quality of the cast assembled for the performance, especially with Myers' involvement. (Like him, both are Cincinnati natives and grads of UC's College-Conservatory of Music. She was the first musical theater grad in 1969; although he was a musical prodigy, conducting shows for community theaters while still in high school, he excelled in CCM's drama program, graduating in 1993.) In a recent email, he told me that Myers is playing "a titanic role that narrates the whole show" and added that it's "huge to have Pam in a role tailor made for her."


The Carnegie's website has the performance listed but no further information. If you want to be there, I suggest you call the box office and make your interest known: 859-957-1940.
 
 
by Rick Pender 03.25.2012
Posted In: Theater at 08:31 AM | Permalink | Comments (0)
 
 
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Lifting the Curtain (Well, a Corner of It) at the Playhouse

Playhouse will stage world premiere of 'Abigail/1702'

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.

 
 
by Rick Pender 03.20.2010
Posted In: Theater at 11:13 PM | Permalink | Comments (0)
 
 
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Details of Playhouse's 2010-11 Season

Cincinnati Playhouse in the Park’s 2010-11 season has a distinct difference between the plays it will present on its Robert S. Marx main stage and the shows slotted for its smaller Thompson Shelterhouse. With a few significant exceptions, it’s a divide between the 20th and 21st centuries.

All of the coming season’s Shelterhouse shows have originated since 2000, four of five in the past three years. On the main stage, the average age of shows is more than 20 years. (It stretches out a lot further if you use the original publication date of Charles Dickens’ A Christmas Carol, dating back to 1843, rather than the 1991 adaptation by Howard Dallin that the Playhouse produces annually.)

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by Rick Pender 07.09.2012
Posted In: World Choir Games at 09:23 AM | Permalink | Comments (0)
 
 
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World Choir Games: Around the World

Eight riveting performances at sold-out Aronoff Center

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.

 
 
by Rick Pender 09.10.2013
Posted In: Theater at 07:31 AM | Permalink | Comments (0)
 
 
showboat majestic 1

Landmark Productions Won't Return to Showboat Next Year

Theatre company to focus on Covedale Center after 23 years on the river

Abandon ship! Well, that's not exactly true. In fact, Cincinnati Landmark Productions has done a remarkable and loving job of sustaining the ship — in the form of the Showboat Majestic, which it has operated for 23 years in the face of at least 10 floods and countless repairs (including a leaky hull). But with its lease running out later this month, the company has decided not to return for the 2014 season. 

Cincinnati Landmark will focus its endeavors on the Covedale Center for the Performing Arts, the converted West Side movie theater where it will offer a "Summer Classics Season" in a vein similar to mainstream fare of classic comedies and musicals that has long drawn audiences to the Majestic. There have been 170 productions on board since 1991, attracting more than 350,000 patrons to the last floating theater in the United States. Cincinnati Landmark is also embarking on a new voyage with a performing arts center to be built in the Incline District in East Price Hill, a venue anticipated to be up and running as early as 2015.

Tim Perrino, executive artistic director at Cincinnati Landmark, says, "It's time to say goodbye. Our organization enjoyed a prolific chapter in the Majestic's grand history, painstakingly caring for the old boat" — launched in 1923 — "and producing seasons that paid tribute to her heritage." 

Opening this week on Wednesday, Showboat Follies will be Cincinnati Landmark's final production on the Majestic. An annual tradition, it's a compilation of musical showstoppers, comic sketches, audience interaction and a return of the "Queen City Toast," a longtime staple of season-closing shows. "This show has become our love letter to the Majestic," Perrino says, adding that it's "a thank-you to our subscribers, longtime supporters and the many artists who helped make our time on the Showboat so special." Showboat Follies runs through Sept. 29.

During the summer of 2014, Cincinnati Landmark will present four productions at the Covedale: Jerry Herman's Hello, Dolly! (May 22-June 1); Neil Simon's comedy, The Sunshine Boys (June 19-29); Footloose (July 24-Aug. 3), the 2014 Cincinnati Young People's Theater production, a summer favorite using local high school talent; and a spectacular song-and-dance show, The Will Rogers Follies (Aug. 21-31). 

In 1989, the Showboat Majestic was named a National Historic Landmark. No word from the City of Cincinnati, which has owned the Majestic since 1967, as to what might be next. The Majestic was operated with summertime shows by the University of Cincinnati for many years, and it served as a popular venue during several of the Tall Stacks festivals over the years.

 
 
by Steven Rosen 04.03.2013
Posted In: Visual Art at 09:39 AM | Permalink | Comments (0)
 
 
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Patti Smith's CAC Show Will Be a Robert Mapplethorpe Tribute

Although the Patti Smith exhibit that will open at downtown’s Contemporary Art Center on May 17 has been announced for some time, the details are only now becoming known. It will be a tribute to her close friend, the late photographer Robert Mapplethorpe.

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.

In a phone call from London where she is studying for a Master’s degree in global art Adjunct Curator Justine Ludwig (the exhibit’s curator) revealed some details of the planned show. It will be called The Coral Sea, after poetry Smith wrote about Mapplethorpe that she later recorded with guitarist Kevin Shields. (She will be performing The Coral Sea on May 18 at Memorial Hall. Go here for ticket information.)

“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.

“It comprises of installations, photography and writing,” she said. “We’ll be showing part of the original manuscript of The Coral Sea that Patti wrote about Robert. We’re going to see a connection between the two artists throughout the exhibition. She has this very beautiful handwriting that is an art form within itself.

“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.”

There are also photographs Smith took of and about Mapplethorpe. “Patti never took photographs of Robert’s face, she took photographs of his hands,” Ludwig said. “We’ll have a few (of those), and then a few photographic works that are more in reference to Robert but not of him.

“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 “Infirmary” portion is an expanded, site-specific adaptation of an exhibit Smith presented at the 2008 Melbourne International Arts Fair. There is also a “Coral Sea Room” in the CAC show that will feature video and music.

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.

 
 

 

 

 
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