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My Fair Lady (Review)

Showboat Majestic features an illuminating Eliza

0 Comments · Friday, September 18, 2009
Showboat Majestic closes out the 2009 summer season with the evergreen, ever-lilting, ever-intelligent Alan Lerner-Frederick Loewe 1956 musical 'My Fair Lady,' under Tim Perrino's direction. Much of this show is brightly energetic and cleverly staged, though occasionally ragged in execution on the postage stamp stage. All 18 cast members give the piece their Showboat best.  

The Lion in Winter (Review)

Manic production mars Cincy Shakespeare's season opening production

0 Comments · Monday, September 14, 2009
Imagine the result if Noel Coward had written 'King Lear.' Imagine the savagery that families reserve for their most bitter internecine battles but verbalized in the lilting, wit-lit language of drawing-room comedy. That's the effect of 'The Lion in Winter,' which is opening Season 16 at Cincinnati Shakespeare Company with seven most familiar and ordinarily persuasive performers directed by artistic guru Brian Isaac Phillips.   

Sleuth (Review)

Playhouse opens 50th season with thriller full of surprises and intricate trickery

0 Comments · Friday, September 11, 2009
With a zippy production of Anthony Shaffer's 1970 thriller 'Sleuth,' Cincinnati Playhouse in the Park has launched a year-long 50th anniversary celebration. Almost 40 years after its 1,200-performance Broadway run, 'Sleuth' survives and thrives under Michael Evan Haney's crafty direction — surprises and intricate trickery intact. Further, while keeping the thrills chilling, Haney instilled some nicely leavening humor.  

Ainadamar (Review)

Cincinnati Opera offers a brief, brilliant departure from opera tradition

3 Comments · Friday, July 10, 2009
Critic's Pick Although it’s only 80 minutes long, Ainadamar is as well supplied with out-sized characters, monumental events and tragic consequences as any Verdi opera. The leading charac  

Review: The Secrets Project

0 Comments · Saturday, June 6, 2009
This 55-minute, group-created "show" is all very earnest. It's intense and painfully angst-driven. But it's pop-psych drivel that Dr. Phil would be ashamed to spout.  

The Secret Garden (Review)

The Carnegie's new show looks good, but the sound needs work

2 Comments · Wednesday, June 3, 2009
At The Carnegie, director Greg Procaccino, producer Joshua Steele and music director Alan Patrick Kenny have devised a 'Secret Garden' that's good looking and difficult listening. Leading performances are fetching, especially Ty Yadzinski as a dour, bedeviled widower and Charity Farrell as the cheeky then cheerful orphan who discovers the locked garden and transforms it into a colorful, healing retreat.  

Review: 7 (x1) Samurai

0 Comments · Sunday, May 31, 2009
Go prepared to laugh with little letup. A single actor/athlete uses well-honed skills to both re-tell and lampoon Akira Kurosawa’s 1954 film, 'The Seven Samurai,' in which good prevails over evil but at great cost to both losers and winners.  

Review: Cemetery Golf

0 Comments · Friday, May 29, 2009
All you worshipers in the temple of the theater, shout "Hallelujah!" After engagements in New York and Chicago, storyteller-actor-writer Jim Loucks is lighting up one corner of the Fringe Festival with his solo show, 'Cemetery Golf': 75 minutes of fresh, amusing, often moving recollections of a North Georgia childhood.  

Review: Brother Bailey's Pageant of Moral Superiority and Creation Science Island Jamboree

0 Comments · Friday, May 29, 2009
In a pre-Fringe interview writer-producer-director Brad Cupples said his show "embraces blasphemy" and lambastes creationism (aka "intelligent design") as non-science and "an abomination to common sense." Well, that might have been his intent, but intentions aren't performance — in the theater or anywhere else, but especially not in the theater.  

Review: Free at Last and Confused in the Land of Good & Evil

4 Comments · Thursday, May 28, 2009
At 100 minutes, 'Free at Last/Land of Confusion/The Good, The Bad and The Evil: Angels vs. Demons' is at least 60 repetitive, mind-numbing, ear-assaulting minutes too long. It seeks to weld dance, poetry, music, sound and images together into salient social commentary.