Cincinnati’s newly established Art
Fellowships program will accept applications through Aug. 31 for $50,000
in funding for individual artist grants. According to City Councilwoman
Laure Quinlivan, who helped secure support for the funding, the effort
indicates that Cincinnati is “an art-friendly city and encourages
artists to live here.”
In a space dedicated to interiors, the
expansive second floor of Bromwell’s downtown, Celene Hawkins brings
together several of the city’s most accomplished artists with works “in
which nature is found, observed and re-made in elegant and subtle ways,” for Flora and Fauna.
So, the outside comes into these high-ceilinged, fireplace-studded
display rooms to mutual benefit.
When the Cincinnati History Museum delves
into its attic, or “storage,” as museums are more likely to call their
collection of out-of-sight possessions, it has at hand treasures from
some of the best attics in the city, among other sources.
most engaging of the three dances presented by The Space/Movement
Project in Kiss Kiss Missiles: A Retrospectacle is the
first, with all five of the company’s dancers barefoot and wearing
costumes that could almost have come out of their everyday closets
with a sash or a ribbon added for the stage. A dancer wearing a
flaring red skirt and dark top appears in movement as slim and supple
as pulled taffy.
you’ve had it up to here with Love Thy Neighbor, this is the show
for you. A Hands On Guide to the Apocalypse arrives just in
time, since 2012 — as we’re being frequently reminded — is the
year the Mayans tagged for the end of the world.
mistakes Madeline made, which give title to this 75-minute excursion
into wanton lack of bathing and job despair, are exactly those our
heroine Edna adopts as her personal route to coming of age and
meeting life on its own terms.
how-do-we-get-grown-up story seems appropriate for the annual intern
project at Ensemble Theatre Cincinnati (ETC), this year the work of
five actors, directed by fellow intern Jenny Estill.
box Audrey is trapped in is a theater box office, and she is the
voice on the phone. Audrey’s calling is indeed the theater, but her
goal is the stage itself, not selling tickets to the audience. This
funny exercise in frustration was written by Casey Pilkenton, who
also plays Audrey and recorded all the various voices of those who