Cincinnati Shakespeare Company Artistic Director Brian Isaac Phillips, says, "Secrets can be good and bad." But there's one less secret today, now that he's announced the company's 17th season, eight productions, kicking off in July.
If you're looking for a ride in the time machine this weekend, I recommend that you try to score a ticket for How to Succeed in Business Without Really Trying at the University of Cincinnati's College-Conservatory of Music (CCM). The 1962 Tony Award and Pulitzer Prize winner satirizes the corporate world of the early 1960s, and there are some echoes that sound pretty funny 56 years later.
Cincinnati's visual arts community is rallying around the seriously ill artist Brian Joiner to raise money for his medical expenses. This Friday from 5-10 p.m., a retrospective of his work — everything from note cards to a 30-foot work, featuring subjects like running women, a school of fish and his portraits, florals and landscapes — will be on display at the studio of Mary Barr Rhodes
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
I don’t pay much attention to Groundhog Day for signs of spring, and Reds Opening Day is way too late to celebrate the promise of warmer weather. My key indicator for when spring is just around the corner is when Cincinnati-area theaters start announcing their upcoming seasons. (In fact, Cincinnati Landmark Productions was the first out of the gate a few weeks back; more about that in a moment.) But this evening’s big news is rundown of shows to be presented on the Cincinnati Playhouse in the Park’s two stages, the Robert S. Marx Theater and the Shelterhouse.
As Blake Robison enters his fourth season as the Playhouse’s artistic director, he says he does not approach a season in a thematic way. “Our priorities continue to be new works, culturally diverse works and family-friendly works.” He’s include several of each in the Playhouse’s 2015-2016 season, the Tony Award-winning regional theater’s 56th.
In particular, Robison has slated two world-premiere comedies, Native Gardens, a hilarious tale of clashing neighbors by Karen Zacarías, whose Book Club Play was a big hit for the Mount Adams theater two seasons ago, and The Revolutionists, an irreverent, girl-powered fantasia set during the French Revolution and written by one of America’s best emerging playwrights, Lauren Gunderson. (Know Theatre staged Toil and Trouble in 2013, and her 2014 script I and You won the American Theatre Critics Association’s 2014 Steinberg Prize.) In fact, girl-power has clearly arrived at the Playhouse: Half of the season’s productions are works by women.
In the family-friendly category, Robison has selected two shows based on classic novels: the musical version of Frances Hodgson Burnett’s The Secret Garden and a stage adaptation of Harper Lee’s To Kill a Mockingbird, the 1960 Pulitzer Prize winning novel that’s been much in the news recently with the announcement that a prior version of the story will be published later this year. The creators of the memorable show Fly — about the legendary Tuskegee Airmen — will return with Satchel Paige and the Kansas City Swing, their new Jazz-infused drama focused on African-American sports legend. Robison will also stage a captivating drama, Mad River Rising, set on an Ohio farm at the time of the horrendous floods of 1936.
Here’s a chronological rundown of what’s in store, with dates a few more details.
THE SECRET GARDEN, with book and lyrics by Marsha Norman and music by Lucy Simon. The show features Norman’s Tony Award-winning script, adapted from Frances Hodgson Burnett’s classic novel. It’s the story of Mary Lennox, orphaned at age 10, and sent from India to live with her aloof uncle in his foreboding English manor. There she discovers the locked-away secrets of an abandoned garden. It’s going to be staged by Marcia Millgrom Dodge, a Tony Award winner who staged Cabaret for the Playhouse in 2013. Robison says that this is the kind of musically complex show that is “what the Playhouse does.” Sept. 5-Oct. 3, 2015 on the Robert S. Marx Mainstage.
SEX WITH STRANGERS by Laura Eason. Playwright Eason has been one of the writers behind Netflix’s engaging series, House of Cards, staring Kevin Spacey. Robison tells me he’s wanted to stage this provocative, sexy and funny show since its 2011 debut at Chicago’s Steppenwolf Theatre because of its “intergenerational appeal,” but he had to wait until it had its Broadway debut last year. Associate Artist KJ Sanchez will stage this show that explores what happens when private lives become public domain as a famous blogger finds himself snowbound with a talented but unknown novelist. They’re attracted to each other, but envious, too. Sept. 26-Oct. 25, 2015 in the Thompson Shelterhouse.
MAD RIVER RISING by Dana Yeaton. The playwright is an acquaintance of Robison’s, and this 1998 work debuted in Vermont when Robison worked at a theater there. An 85-year-old man escapes from a nursing home and hides out in his family’s barn. As a boy, he saw his family’s home wash away and now “progress” is threatening to destroy the farm again. The story slips back and forth between past and present, and the production, which Robison will stage features music by a singer/songwriter also from Vermont. Robison calls the drama “poetic, poignant and utterly captivating.” Oct. 17-Nov. 14, 2015 on the Robert S. Marx Mainstage.
LOW DOWN DIRTY BLUES by Randal Myler and Dan Wheetman. For the holiday season on the Thompson Shelterhouse stage, the Playhouse will present a revue with musicians gathered for an after-hours jam session where they swap stories and play nearly two dozen tunes they love by Muddy Waters, Ma Rainey, Sophie Tucker, Howlin’ Wolf, Pearl Bailey and more. Myler was the creative force behind the Playhouse’s popular production of Love, Janis (about Janis Joplin) in 2005 as well as Hank Williams: Lost Highway in 2012, and he’ll be in town to stage this one, too. Nov. 7-Dec. 20, 2015.
For the 25th consecutive season, the Playhouse will present A CHRISTMAS CAROL Nov. 25-Dec. 30, 2015 on the Robert S. Marx Mainstage. I’ve seen it for most all of those years, and I never grow tired of Howard Dallin’s excellent adaptation. It uses 29 actors, many of them local professionals, and features veteran Bruce Cromer as the miserly Scrooge (it’s his 11th year in the role). Michael Evan Haney, who has staged the production every year since 1992 will return, too. The show, by the way is not part of any subscription package, but subscribers are eligible for discounts and early buying opportunities.
NATIVE GARDENS by Karen Zacarías. 2016 kicks off with a world premiere by the playwright whose Book Club Play charmed Playhouse audiences in 2013. Her new script is about how friendly neighbors become feuding enemies when their gardens and fences don’t quite align. One couple is Hispanic while the other is Anglo, and their disagreements escalate into an all-out war of taste, class, privilege and entitlement with hilarious results. Robison will stage this one, as he did her previous Playhouse show. Jan. 23-Feb. 21, 2016 on the Roberts S. Marx Mainstage.
THE REVOLUTIONISTS by Lauren Gunderson. As noted, Gunderson is a rising star in the theater world — and Robison has scheduled her new script to overlap for a few weeks with Zacarías’s show, resulting in simultaneous world premieres by women playwrights. In Gunderson’s new script, at the height of the French Revolution, four historic characters — playwright Olympe De Gouges, assassin Charlotte Corday, activist Angelle Ogé and former queen Marie Antoinette — conspire to escape the extremist forces swirling around them. Eleanor Holdridge from Catholic University in Washington, D.C., who has been working closely with Gunderson to develop the script, will stage this fantasy about how we change the world. Feb. 6-March 6, 2016, in the Thompson Shelterhouse.
TO KILL A MOCKINGBIRD by Harper Lee (adapted by Christopher Sergel). Set in Depression-era Alabama, it’s about precocious tomboy Scout and her brother Jem during a life-changing summer when their father, Atticus, a small-town lawyer, defends a black man accused of a crime he didn’t commit. The Playhouse was one of the first theaters to stage Sergel’s adaptation in 1993; it’s a slightly different version (with more roles and a different narrator) than the one, also by Sergel, presented by Cincinnati Shakespeare Company in 2012. The Playhouse’s newest artistic associate, Eric Ting, is slated to direct this one. March 5-April 3, 2016, on the Robert S. Marx Mainstage.
MOTHERS AND SONS by Terrence McNally. Another artistic associate, Timothy Douglas, will stage this show, which was a 2014 Tony nominee the year’s best play on Broadway. McNally, who has written more than 30 plays and musicals (including the Tony Award-winning Love! Valour! Compassion!) has created a drama about change, reconciliation and what it means to be a family. A gay couple have a happy life with their 6-year-old child until the mother of a former lover makes a surprise visit to their Manhattan home, two decades years after her son’s untimely death. No play by McNally has been presented at the Playhouse since 1990, so this exploration of the complexities of life that gay men face is a welcome addition to the Playhouse’s repertoire. March 19-April 17, 2016, in the Thompson Shelterhouse.
SATCHEL PAIGE AND THE KANSAS CITY SWING by Trey Ellis and Ricardo Khan. This new play focuses on the 1947 Negro Leagues when pitcher Satchel Paige was the king of baseball, despite his advancing age. But Jackie Robinson’s meteoric rise to fame overshadowed Paige who found himself hemmed in by many barriers. Ellis and Khan’s story of the Tuskegee Airmen, Fly!, used a tap dancer as part of the storytelling, and this one will use a Jazz musician who interacts with the characters in a similar vein. April 23-May 21, 2016, on the Robert S. Marx Mainstage.
BAD DATES by Theresa Rebeck. In 2005 and 2006 this play by Cincinnati born-and-bred playwright Rebeck was a big hit locally and nationally; the comedy was, in fact, one of the most produced plays in America for two years. A middle-aged woman and single mom who manages a restaurant and loves shoes, decides to start dating again. She talks and we listen while she gets ready for one dreadful date after another. Then a turn of events makes life all the more interesting. Originally presented on the Marx stage, this revival will happen in the Thompson Shelterhouse; Michael Haney, who staged it a decade ago, will return to make Cincinnatians laugh again. April 30-June 12, 2016.
For subscription information: 513-421-3888 or http://www.cincyplay.com.
Cincinnati Landmark Productions has a lot to offer, too
Cincinnati Landmark Productions is growing, complementing its productions at the Covedale Center for the Performing Arts with a new venue, the Warsaw Federal Incline Theater. A month or so ago artistic director Tim Perrino laid out more than a dozen productions that will be happening during 2015-2016.
“We’ve created distinct seasons of exciting show titles that our audiences will absolutely love,” he said at the time. “The Covedale season will represent the legacy of our company, while the Incline will be an expansion of our programming. Together, they deepen the impact of Cincinnati Landmark Productions in the communities we call home.” Audiences have flocked to the Covedale (4990 Glenway Avenue) in recent years, leading to an expansion of runs from three to four weeks as annual attendance grew from less than 14,000 in 2003 to more than 37,000 in 2014. Perrino hopes for similar success at the Incline Theater (801 Matson Place, East Price Hill).
This summer the Incline will offer three “summer classics” — somewhat in the vein of shows that Cincinnati Landmark once presented on the Showboat Majestic. They are Mel Brooks’ hilarious showbiz spoof, The Producers (June 3-21); 1776 (July 8-26), the story of America’s patriotic heritage by Sherman Edwards and Peter Stone; and Dolly Parton’s 9 to 5 (August 12-30), the story of women in an office who take administration into their own hands.
The Covedale will offer a “Marquee Series,” a half-dozen productions between September and May. On the schedule are classically entertaining musicals and comedies — A Chorus Line (Sept. 3-27), the story of a dance audition process for a Broadway show; Fox on the Fairway, a comedy by Ken Ludwig (author of Lend Me a Tenor); Mary Poppins (Nov. 27-Dec. 20), a perfect storybook musical for the holidays; Neil Simon’s Chapter Two (Jan. 21-Feb. 14, 2016), a laugh-infused tale about getting back into the dating game; She Loves Me (March 10-April 3, 2016), from the creators of Fiddler on the Roof, a Tony Award Winner from 1964 about two shop clerks who don’t see eye to eye but unwittingly become romantic pen pals; and Brigadoon (April 28-May 22, 2016) by Lerner and Loewe (the guys who created My Fair Lady), the story of a town in Scotland that that vanishes only to reappear once every 100 years.
While those shows are happening on Glenway Avenue, the energetic folks at Cincinnati Landmark have mapped out a more mature set of shows for the Incline Theater, starting with William Mastrisimone’s Extremities (Sept. 30-Oct. 18), about a woman who turns the tables on a would-be rapist with complicated results. Subsequent productions will be Jonathan Larson’s groundbreaking, Tony Award-winning musical Rent (Dec. 2-20) about impoverished artists trying to survive in New York City; Avenue Q (Feb. 17-March 6, 2016), the hilarious musical featuring puppets that’s about a neighborhood quite a few blocks from Sesame Street — it deals with adult issues, but it’s funny and heartwarming; and another searing drama, David Mamet’s Glengarry Glen Ross (April 6-24, 2016), about the lives of four desperate real estate agents in Chicago who are willing to do anything to win.
Seasons like these are big undertakings for this ambitious theatrical organization. With a new 220-seat Incline adding to the 385-seat Covedale, we can expect a lot of Cincinnatians will be heading west for these enhanced theater choices.
For subscription information: 513-241-6550 or http://cincinnatilandmarkproductions.com.
It was reported today that the Ohio Arts Council will be facing a budget reduction of 47 percent, one the largest percentage cuts in the new state budget.
From the OAC web site:
As the state’s budget heads to Governor Strickland’s desk for his signature, Ohio Arts Council staff is diligently working with final budget numbers to calculate fiscal year 2010 grant awards. Because the state arts budget was not finalized until July 10, 2009, grant award announcements will not be available until around July 24.
At the June OAC Board meeting, the Board voted to provisionally approve all grants for one year, instead of two years for some programs, until a special emergency session of the Board can be held in August to determine the best course of action for agency programs and operations.
The final version of the FY2010/2011 budget ($13,188,578 for the biennium) will reduce OAC grants by 38 percent from the final FY2009 budget and 47 percent from the original FY2008/2009 appropriation ($24.9 million). This will have a significant impact on FY2010/2011 grant amounts, although actual percentage reductions will vary by program. Some programs will be put on hiatus. This drastically reduced budget severely limits the ability of the OAC to provide financial assistance to artists, arts organizations, schools and other entities engaged in cultural programming throughout the state.
"Ohio’s cultural sector is critically important to the economic recovery of our state. The OAC will continue to do its best to help support the arts and cultural organizations that are reeling from the effects of the economic downturn,” said OAC Executive Director Julie Henahan. “Even at this dramatically reduced level, OAC funding will help maintain jobs, support education programs and drive tourism in Ohio.”
Headquartered in Columbus, the OAC was founded in 1965 to "foster and encourage the development of the arts and assist the preservation of Ohio's cultural heritage."
For fiscal year 2009, the OAC granted $1,498,651 to Cincinnati-based artists and organizations.
Most of the large arts organizations in Cincinnati received some funding from the OAC for 2009, including Cincinnati Ballet, the Cincinnati Arts Association, Children's Theater of Cincinnati, Contemporary Arts Center, Urban Appalachian Council, Cincinnati Shakespeare Company, Kennedy Heights Arts Center, Media Bridges, Madcap Productions, Know Theatre of Cincinnati, Women Writing For (a) Change, Taft Museum, Cincinnati Boychoir and many more.
A total of 65 grants were awarded in Cincinnati for 2009. The five largest grants were:
Cincinnati Symphony Orchestra: $404,986
Playhouse in the Park: $144,817
Cincinnati Museum Association: $167,512
Cincinnati Opera: $100,142
Cincinnati Ballet: $91,966
To see all the grants awarded in Cincinnati, click here.
To learn more about the Ohio Arts Council, visit www.oac.state.oh.us.
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.
Over the weekend, Ensemble Theatre of Cincinnati announced its 2009-10 season, and it’s full of works you’ve never heard of but will be glad that D. Lynn Meyers has picked. ETC generally offers premieres of works that have been presented elsewhere, but not locally, and she’s kicking off the season with a powerful piece, Moisés Kaufman’s 33 Variations (Sept. 2-20).
Under the old system, grants of $3,000-$5,000 were awarded to local artists. Now, the Cincinnati Arts Ambassador Fellowship Committee will provide more impactful grants of $6,000 to seven different artists.
The process kicked off at the beginning of the year when artists were invited to submit a letter and resume to City Councilwoman Laure Quinlivan before Jan. 15. The invitation was open to artists of all different disciplines but they had to be residents of Cincinnati throughout the program (July 1, 2012-May 31, 2013).
After more than 100 applications applied, twelve finalists were announced on Tuesday.
“We were blown away at the number of applications,” Todd Wurzbacher, Chair of the Cincinnati Arts Allocation Committee, said in a press release. He presented the list of finalists in Quinlivan’s Strategic Growth Committee today.
The twelve finalists are Jesse Mooney-Bullock, Tatiana Berman, Pam Kravetz, Karen Heyl, Melissa Godoy, Guy Michael Davis, Tonya Matthews, Terri Kern, Casey Riordan Millard, Brad Austin Smith, Rondle West and Nathaniel Chaitkin.
The finalists will be interviewed by the Cincinnati Arts Allocation Committee members, who will then choose the final seven artists to receive awards. The final awards will be given to seven artists on Tuesday, Oct. 16 at 11:30 a.m. on the steps of City Hall.
“I’m excited we have visual artists, musicians, dancers, filmmakers, and even a puppeteer in our finalists,” Quinlivan said in a press release. Quinlivan got council support to create the CAAF program. “More than 125 Cincinnati artists applied for the newly created Arts Ambassador Fellowship, proof that Cincinnati is a strong arts city,” she said.
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.