— and napkin folding and thank-you-card writing — are
major topics of conversations in Jeffrey Hatcher’s semi-autobiographical
Mrs. Mannerly, but the play is
never dull or dry. Who knew place
settings could be so entertaining?
Nic Balthazar’s piece about bullying, makes it U.S. premiere as
Unity Productions’ Fringe production, presented at Know Theatre. A
one-man show, the multimedia play uses video and music to move the
story forward. Nothing
mixes forms and does it well: one part engrossing stage drama and one
Knots, this year’s
Fringe submission from Cincinnati’s Essex Theatre Arts Studio, has
good, even sweet, intentions: five 10-minute plays by Phil Paradis,
each trying to untangle love. The production’s weak writing and
flat, uninspired staging sours the experience of a piece that should
have been frothy, warm, and kind of tingly — day-old coffee when
you wanted a latte. But an obviously talented cast brings to life a
few tender and endearing moments.
There’s a rift between Joe and Hannah, the couple at the epicenter of New Edgecliff Theatre’s Fringe piece, Quake: A Closet Love Story, by Tyler Olson. Once upon a time, the two were married and in love. But recently, they’ve split.
Sarah Ruhl’s In the Next Room,or the vibrator play,
now at Covington’s Carnegie Center in a production by the drama program
at UC’s College-Conservatory of Music, has a current running through
it. The production is warm, bright and slightly shocking.
Cincinnati Shakespeare Company’s
production of Shakespeare’s tragedy has bursts of chemistry and feeling
mingled with drowsy places where the language washes over your brain,
and the staging feels perfunctory. Macbeth has been given a
contemporary setting, but it’s hard to see what the update adds to the