CityBeat - Curtain Call http://www.citybeat.com/cincinnati/articles.sec-20-1-curtain_call.html <![CDATA[Politics and Theater - ]]> when I clicked on a Jimmy Kimmel Live! video a few months back and saw Matthew Broderick as Leo Bloom and Nathan Lane as Max Bialystock, I thought it was a scene from that Tony Award winner. They were hatching a scheme to make money — but this time not with a stinker of a Broadway show. Instead, they needed a stinker of a politician.]]> <![CDATA[The Perils of New Edgecliff Theatre - ]]> Once upon a time, popular theater was the realm of melodramas with dastardly villains, heroic champions and damsels in distress. New Edgecliff Theatre has experienced its own run of “perils” that seem to be the modern-day equivalent of the challenges faced in those long-ago productions.]]> <![CDATA[Cincy Shakes Plays its Part in Promoting the Bard - ]]> William Shakespeare died four centuries ago in 1616, but his impact on the world of theater seems stronger than ever today. ]]> <![CDATA[Lisa Howard Began Her Broadway Career at CCM - ]]> A native of Akron, Ohio, Howard came to CCM in 1993. Her family supported her aspirations; only one high school teacher questioned her career plans. She’s proved that chemistry teacher wrong.]]> <![CDATA[New Plays in Louisville - ]]> The 40th-annual Humana Festival of New American Plays commences this week, presenting six shows in rotating repertory on the theater’s three stages through April 10. ]]> <![CDATA[Their Education Is Entertainment for the Rest of Us - ]]> Don’t lose track of theater on university campuses, because there’s a lot of it. It’s a chance to see works that are less likely to be produced by theaters where selling lots of tickets is a necessity.]]> <![CDATA[Girl Power at the Playhouse - ]]>

Nearly 30 percent of Playhouse premieres were written or co-created by women, significantly more than the 22-percent figure researched by the Lilly Awards and the Dramatists Guild for shows by women produced by American theaters during seasons between 2011 and 2014.


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<![CDATA[Writing About Theater - ]]> Last month I had an opportunity to attend an evening get-together with a group of volunteers with the League of Cincinnati Theatres who are writing regularly about local productions, providing previews of shows as well as critiques.]]> <![CDATA[Theater in New York City - ]]> In November I was in New York City for a gathering of the American Theatre Critics Association. I saw five Broadway shows, listened to some informative panel discussions and attended a luncheon at Sardi’s with an array of Broadway performers.]]> <![CDATA[Ed Stern’s ‘Youth’ - ]]>

Ed Stern “retired” three years ago after two decades of artistic leadership at the Cincinnati Playhouse in the Park. I put quotation marks around that word because he’s still busy as can be, much to the surprise of everyone — himself included.

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<![CDATA[Who’s on First? - ]]>

I frequently extol the virtues of Cincinnati’s theaters. They are a subset, of course, of a vibrant arts scene — one that a friend of mine often says “fights above its weight class.”

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<![CDATA[Common Ground: Creative and Weird - ]]>

Trey Tatum and Paul Strickland grew up just 45 miles apart — Tatum in southern Alabama and Strickland in Florida’s Panhandle. But they didn’t meet until their paths crossed in Cincinnati during the Fringe Festival in June 2014.

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<![CDATA[Fathers, Sons and Theatrical Honesty - ]]>

Some plays become classics because they last across time — Shakespeare’s plays are still produced after 400 years. That’s what’s usually onstage at the Cincinnati Shakespeare Company, but they also dig into more recent “classics,” qualified by elemental stories that burn fiercely.

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<![CDATA[Struggling with Understanding: CCM’s ‘Pentecost’ - ]]>

Theater programs at our universities in Greater Cincinnati often produce shows that not only offer educational opportunities for students, but also expose us to works we have lost track of or missed. David Edgar’s Pentecost is such a work, and it accomplishes what Richard Hess likes to do — challenge audiences.

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<![CDATA[‘Cyrano’ Fell From the Moon - ]]>

Edmond Rostand’s play, like its hero, seems to have fallen unexpectedly from the moon. Cyrano de Bergerac was a surprising instant hit in Paris late in 1897. Its premiere received an hour-long standing ovation, and it was subsequently performed for 200 consecutive nights.

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<![CDATA[Power Down — and Prepare for Bliss - ]]>

For the past two Septembers I’ve written columns about theater etiquette. In 2013, my headline was “Behave Yourself,” and last year I updated it to “Behave Yourself 2.0.” Please don’t think me old-fashioned, but it’s time for another reminder — I’m not the only one concerned about this.

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<![CDATA[Counting on Women Playwrights - ]]>

“The Count,” a recent study of hundreds of theater productions nationwide between 2012 and 2015 at nonprofit theaters such as the Playhouse in the Park and others in Cincinnati, revealed that roughly one-fifth were written by women. That’s an improvement over a decade ago, but it’s a long way from parity.

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<![CDATA[Lessons Learned: Theater Educator Dee Anne Bryll - ]]>

If you read playbills carefully, you’ve probably seen Dee Anne Bryll’s name. She’s worked at most every theater in town — from the Playhouse to the Covedale Center, from Northern Kentucky University to University of Cincinnati’s College-Conservatory of Music, plus countless engagements with local schools.

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<![CDATA[Know Is Ready to Rock with ‘Hundred Days’ - ]]>

Fasten your seat belt — here comes the 2015-2016 theater season. Know Theatre gets bragging rights for being first out of the local theater gate with Hundred Days, a Rock & Roll show it played a significant part in developing.

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<![CDATA[Theater League Gets Its Act Together - ]]>

The League of Cincinnati Theatres was established in 1999 to strengthen, nurture and promote local theater companies. 

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