CityBeat Blogs - Arts <![CDATA[Beyond the Books]]>

It was a dim and smallish room I entered for my third library event, and at first I thought I was lost. I was in the main branch of the Public Library of Cincinnati and Hamilton County, and after searching unsuccessfully decided to follow someone, who mercifully led me to the right room. “Headlines and Dead Lines”, the title of the class, promised to teach me about a library database that would research local history, and as the program began, I contentedly settled in for a good history lesson.

The class, taught by Reference Librarian Cindy Hill, mostly focused on Newsdex, a database that holds listings for local Cincinnati history. As I listened, Hill rattled off various fun facts about the system. “It’s the longest-running publicly available database for the Cincinnati area,” she announced proudly. “It’s a really great place to start.” 

According to Hill, Newsdex is often used for genealogies, but also provides information on companies, neighborhoods, historical sites and local events. You can find death notices, obituaries, wedding announcements, murders, addresses, local events and advertisements. The database includes articles from multiple Cincinnati publications, both current and discontinued, like the Cincinnati Post, Times-Star, Gazette, Commercial and the Western Spy. “[Newsdex] has a totally wide-range of newspapers, but it’s not complete,” Hill said. “It’s being updated all the time.”

As I listened to her, I began to see why Hill sounded so excited about the database.  “As far as we know, there’s not another library that’s done this,” she said. “Many of our databases require a library card, but Newsdex is used all over the world…it’s used across this country and beyond.” She added that people from as far away as Japan have requested information from the index, and that local companies and news organizations have also used the site.

Later I talked to Steve Headley, president of the Genealogy and Local History department of the public library, who told me that the database has been around in one form or another for a long time. According to Headley, Cincinnati librarians began to index newspapers into the library’s card catalog in 1927. In 1940 a concentrated effort began to index obituaries, as well as death notices, and in 1990 the system was digitized and named Newsdex. “There is no other real source [like] it, especially for the number of newspapers that it covers,” Headley said.

However, as great as Newsdex is, it doesn’t contain everything. Hill explained one reason is that some people wanted to live private lives, so nothing was printed about them in the paper. “Not everyone can be traced,” she warned. “There were people back then that didn’t want to be out there.” According to Headley, the information might not be indexed yet, since information is added as librarians have time. “The further back you go, the less complete it gets,” he said, “simply because when the librarians were doing the indexing they were using the individual cards, and it was pretty time consuming.”

One thing I appreciated about Newsdex is that it’s easy to use. Instead of having to weed through newspapers pages, Newsdex tells you what paper the article is in, what day it printed and what page it’s on. Then you simply work with the genealogy librarians to get that paper. At the end of the hour, I found myself wishing I had something to research, because I wanted to use my newfound knowledge. Instead of being intimidated by the wealth of information in Newsdex, it amazed me how much local history one city could hold. Cincinnati has so many facts to be discovered, and while I know I could never dig through them all, Headlines and Dead Lines made me want to try.

Did this event sound interesting? Check out similar workshops at the Public Library of Cincinnati and Hamilton County:

Book a Librarian: Get help with job searches, research or resume writing.
Date with an iPad: Learn the tricks to using this Apple device.
Technology Appointment: Schedule a one-on-one workshop to learn basic computer skills.


<![CDATA[Stage Door]]>

Sex is pretty much a constant presence in life as we know it, and it’s often a driving force in plays, taking on many shapes and outcomes. That’s particularly the case with two shows that just opened locally, Laura Eason’s new play, Sex with Strangers, at the Cincinnati Playhouse on its Shelterhouse stage through Oct. 25, and William Mastrisimone’s 1982 script, Extremities, at Cincinnati Landmark Productions’ Incline Theatre, through Oct. 18.

Eason’s script is about two writers who seem as opposite as can be — he’s an arrogant 28-year-old blogger (Nicholas Carrière as the charming and ebullient Ethan) whose writing about sexual conquests has been turned into a best-selling book, while she’s a serious, introspective novelist, 39, (Nancy Lemenager as introverted and self-conscious Olivia) who’s given up because of bad reviews and weak sales of her first book more than a decade earlier. But they end up together in a Michigan B&B due to a snowstorm (and some serious interest on his part in meeting her) and they discover a powerful mutual attraction that’s also driven by aspiration and envy of one another’s careers. Eason writes great contemporary dialogue, and director KJ Sanchez keeps things hurtling along down a road of desire and tentative trust. It seems evident that things could go off the tracks, but when they do there’s some more interesting sparks — and a lot of conversation about the state of writing and literature today. While the show’s title is titillating and they are strangers who steam things up — repeatedly — it’s really the title of his blog, and a past that he might or might not want to move beyond. There’s both humor and real emotion to be appreciated in this finely crafted production. Tickets: 513-421-3888

Mastrisimone’s off-Broadway script from three decades ago (Extremities also became a 1986 movie starring Farrah Fawcett) comes at issues of sex and attraction from a far more serious and brutal angle. It’s a significant a departure for Cincinnati Landmark, best known as a producer of safer, more mainstream fare, musicals and classical comedies. Raul (Will Reed) has been stalking three young women who share a house. He bursts in on Marjorie (Eileen Earnest), who we meet lounging around in a state of undress; he overpowers her, knowing her roommates won’t be back for hours. But she turns the tables on him, and when Terry (Katey Blood) and Patricia (Rachel Mock) return, they find Marjorie menacing and torturing her foul-mouthed attacker, hogtied and imprisoned in a large fireplace. They are shocked by her violent turn, and their perspectives — Terry is shocked and fearful, while Patricia is pragmatic and overly analytical — provide various takes on the situation and its potential resolution. Their four-cornered battle unfolds in harsh, often unhinged arguments about motives, likely outcomes and fears. Some of these feel a tad dated in 2015, but that does not diminish the story’s power. Earnest’s searing performance as Marjorie and Reed’s manipulative portrait of an intelligent, twisted man she insists on calling “The Animal” fuel the pounding pulse of this production of Extremities, staged by Tim Perrino. You’re never sure how the battle will end, and that makes for good theater. Tickets: 513-241-6550

CCM Drama head Richard Hess calls David Edgar’s Pentecost the British equivalent of Tony Kushner’s Angels in America. Both are big-cast plays, stuffed full of language and contending philosophies. The discovery of a 13th-century mural in an Eastern European church threatens to upset the world of art history, but it also lights the match on conflicts that go well beyond — to geopolitics, religion, history and more. It’s a heady script, with 26 roles speaking multiple languages, utterances that audiences have to intuit, just as the characters need to try to grasp one another’s motives. Read more about Pentecost in my recent Curtain Call column. Like most CCM productions, this one (at UC’s Patricia Corbett Theater) has a short weekend run; the final performance is a matinee on Sunday. Pentecost is an important play, an essential experience for serious theatergoers. Tickets: 513-556-4183

One more interesting piece of theater this weekend, inspired by Titus Kaphar’s Vesper Project at the Contemporary Arts Center, a multi-part installation in which paintings are woven into the walls of a 19th-century American house in New England, the home of a mixed-race family. His exhibit there involves a true/false backstory and familiar/unfamiliar environments. The massive exhibit invites conversation, and that’s what writer (and occasional CityBeat contributor) Stacy Sims has created after several discussions with the artist. She invited five local actors to work with her to respond to the piece, and the result, RETRACED: A theatrical conversation with the Vesper Project, will be performed three times this weekend at the CAC on Sixth Street in downtown Cincinnati, at noon and 3 p.m. on Saturday and at 1 p.m. on Sunday. Sims says, “While I have a strong idea of how the actors will move in and out of the space and intersect with each other, each of their individual stories will be deeply informed by their own personal narratives of race, power, privilege and home.” Performances are free with gallery admission.

This weekend is your last chance to see the Cincinnati Playhouse’s beautiful production of The Secret Garden, NKU’s rendition of the comedy Moon Over Buffalo and New Edgecliff Theatre’s well-acted staging of Frankie and Johnnie in the Clair de Lune.

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

<![CDATA[Stage Door]]>

New Edgecliff Theatre’s Frankie and Johnny in the Clair de Lune is under way a week later than initially announced following some issues with its not-quite-ready new home in Northside. So it’s been moved to the Essex Studio (2511 Essex Place, Walnut Hills), in a performance space routinely used by Cincinnati Actors Studio & Academy, a training group for teens. It was bit of hustle and strain to move a half-built set from Northside to Walnut Hills, but it fits nicely into CASA’s black box. Rather than rattling around in a big old church sanctuary (Northside’s work-in-progress Urban Artifact), NET’s staging of Terrence McNally’s 1987 romantic dramedy works beautifully in this more intimate space. But I suspect no matter where it was staged, the two-character show would be well received thanks to actors Sara Mackie and Dylan Shelton, smartly put through their paces by director Jared Doren. As lonely co-workers in a New York greasy spoon diner, they’ve finally connected — at least for a night. They’re both kind of needy although in very different ways. Frankie, a sweet waitress, has been bruised by bad relationships and seems happy with her own insular existence; Johnny, the motor-mouthed short-order cook who can quote Shakespeare, is driven by angst and passion — filled with desperation that he doesn’t have any more chances for romances. This naturally frightens Frankie, and their navigation through this minefield, full of passion and snark, makes audiences laugh and love them both. It’s definitely worth seeing. Because of the move, it’s a short run, just through Oct. 3. Tickets: 888-528-7311

The folks who run Falcon Theater, performing in Newport at the Monmouth Theatre (636 Monmouth St.) have staked a claim on comic musical satires — they’ve produced Debbie Does Dallas: The Musical, Poseidon: The Upside-Down Musical, Evil Dead: The Musical and several more. So they worked really hard to get the rights to Silence: The Musical, based on The Silence of the Lambs, the creepy 1991 movie about “Hannibal the Cannibal” starring Anthony Hopkins as a manipulative serial killer and Jodie Foster as the young FBI cadet who needs him to solve another serial murder. The musical version was a big hit at the 2005 New York International Fringe Festival and over the past decade it's become a cult favorite. It opens tonight and continues on weekends through Oct. 10. Tickets: 513-479-6783

The first production of the season at Northern Kentucky University, Ken Ludwig’s Moon Over Buffalo, is a comedy about a pair of fading actors from the 1950s on tour in Buffalo. Their marriage is coming apart, but a famous movie director is coming to see their matinee and just might cast them in an upcoming feature. But everything goes wrong when they start confusing the two shows they’re performing — Noël Coward’s Private Lives and Edmond Rostand’s Cyrano de Bergerac. Tickets: 859-572-5464

Speaking of Cyrano, there’s a fine production of it (not to be confused with anything else …) at Cincinnati Shakespeare Company, with an excellent performance by company veteran Jeremy Dubin in the title role. It’s onstage through Oct. 3. 513-381-2273. • Also closing on Oct. 3 is the Cincinnati Playhouse in the Park’s beautiful production of The Secret Garden, a musical based on a cherished novel from a century ago. This is one of the Playhouse’s “family-friendly” productions — like A Christmas Carol — suitable for multiple generations. It looks great, and the talent onstage — much of it from Broadway — is top-notch. Tickets: 513-421-3888

If you haven’t seen Rebecca Gilman’s Luna Gale at Ensemble Theatre Cincinnati, you really should try to get there this weekend for one of its final showings. This new play hat will make you uncomfortable because it’s about a tough conflict with no obvious right or wrong — a custody fight over a baby between her irresponsible parents and her religiously conservative grandmother, refereed by an over-burdened social worker. The cast (including three former ETC apprentices who do a great job) is led by Annie Fitzpatrick as the weary social worker. She’s especially good in this role, a woman trying to do the right thing who’s thwarted at every turn. Final performance is 2 p.m. Sunday. Tickets: 513-421-3555

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

<![CDATA[Beyond the Books]]>

Writing can be so frustrating. As I sit here trying to spit out a catchy introduction, I struggle to make sense of anything in my brain, which seems to cause an even greater muddle. Most of the time writing is simple; you put a thought into words on a page. But the more I write the more I realize there’s more to crafting a paragraph than simply ordering the words correctly and sticking a period at the end. To be a good writer you must capture the heart of the message, sending it from inside yourself and into the reader. And if you’re a great writer, you’ll get something back.

On Friday night I was settled in a chair at the Fort Thomas branch of the Campbell County Public Library, waiting for the first author visit of the Signature Series to begin. I watched the crowd of middle-aged women around me fidget impatiently in their seats, waiting for the nationally-acclaimed author, Beverly Lewis, to appear. As I, too, waited, I caught snippets of conversations as ladies swapped stories of reading Lewis’ novels, describing what her writing meant to them. I listened, wondering why Lewis didn’t write about her audience, for their stories seemed as touching as the books they seemed to adore. Perhaps one of the most touching tales came from the row right behind me. Paul and Janet Devotto were telling the woman seated beside them about Janet’s twin sister, Joan Braun, who passed away last October. Joan had a stroke several years ago that left her partially paralyzed. Because she couldn’t move her left arm or left leg, Joan came to live with Paul and Janet, so they could take care of her. “She was the greatest person,” Janet said when I caught up with her later, her voice catching slightly.

“She loved to read more than anything else,” Paul explained to me. “Reading was a passion for her.” According to the couple, Joan’s favorite author was Beverly Lewis. “Joan loved her,” said Paul. Although Joan was an avid reader, her partial paralysis kept her from holding a book, so Janet and her husband bought Joan a Nook. “We got all her books to read, and we would sit and read until four in the morning,” Janet recalled.

The couple eagerly relayed their story to Lewis as she signed their book, thanking her for the way her novels touch lives. As Paul later told me, “Not many people know they’ve made a difference, but this woman has. Joan needed something and this woman gave it to her.”

The Devottos’ story is one of many Lewis has heard over the years. “I love to meet [my readers] and hear their stories, because they always tell me little tidbits about how the stories touched their hearts in a particular way,” she confided to me. “They say, ‘I know you, Beverly, I’ve read your heart. I’ve read your heart in all the books you’ve written.’ ”

As I talked with Lewis about her audience, it’s evident from the softness of her voice that she has a very personal connection with her fans. “There’s some sort of a bond between me and my readers I think, now, from all the years and all the books, which I think is important,” Lewis said.  “I always call them my reader friends because, for all these many years, it seems like they have been so faithful to continue to show up for my new books, which is awesome.”

Even as a self-proclaimed compulsive writer with more than 80 published works, Lewis has not lost the heart of her message, that very core that has inspired thousands across the globe. As I walked out the door at the end of the night, I realized all these people came because of a story. They each had one story that in turn influenced their life, providing comfort or peace or inspiration. These women came not to hear a story, but to share their stories, sequels that began in the pages of a book. I don’t know about you, but to me, that’s good writing.  

<![CDATA[Stage Door]]>

Actors are a big reason we go to see specific performances, and there are a couple of excellent choices onstage right now as several theaters are kicking off their 2015-2016 seasons. Of particular note is Annie Fitzpatrick, a familiar performer to audiences frequenting productions at Ensemble Theatre. She’s playing Caroline, an over-burdened social worker in Luna Gale. Her character is caught in a custody tug of war involving a baby, the title character. Her immature parents are on one side, caught up in drugs and angry behavior; on the other side is Luna Gale’s well-intentioned grandmother who’s religiously conservative. Fitzpatrick portrays a beleaguered woman trying to do what’s right, but constantly thwarted by the system in which she works. You feel this desperation deep down inside Caroline’s character, in her physical presence, in her exasperated stares and sighs. Fitzpatrick is a marvel to watch. She’s a major factor in my giving this production a Critic’s Pick. (Note for the future: She’ll be onstage next at Cincinnati Shakespeare Company, Oct. 16-Nov. 7, playing Linda Loman in Death of a Salesman.) Luna Gale continues through Sept. 27. Tickets: 512-421-3555

Another veteran actor is shining at Cincinnati Shakespeare this month. Jeremy Dubin, a member of CSC’s acting company for 16 seasons, is playing the swashbuckling poet Cyrano de Bergerac. The show is sometimes called a heroic comedy, and Dubin handles both parts of that phrase with aplomb. He makes Cyrano larger than life in his generosity and faithfulness, but he plays him with the requisite sense of humor — especially in scenes involving Cyrano’s oversized nose, a convincing prosthetic created for Dubin’s performance. He has excelled in roles both comic and serious; Cyrano draws on both. Read more about this play and Cincy Shakes’ production in my recent column. Tickets: 513-621

One more excellent acting performance worth catching: Caitlin Cohn as 10-year-old Mary Lennox in The Secret Garden at the Cincinnati Playhouse. She’s actually a college student (New York University), but the petite actress is wholly convincing as the ornery, bright and eventually loving orphan who finds the warmth of nature and shares it with her grieving uncle. Cohn is doing an audacious job with a challenging role. Tickets: 513-421-3888

If you were planning to see New Edgecliff Theatre’s production of Frankie and Johnny in the Clair de Lune this weekend, you need to put it in neutral. Due to some technical delays with NET’s new home at Urban Artifact (1622 Blue Rock Road, Northside) the company is moving the production to a different venue and delaying performances for a week. It’s not scheduled to be presented at Essex Studios (2511 Essex Place, Walnut Hills) opening Sept. 24 and continuing through Oct. 3. NET is contacting people who already had reservations. If you don’t have tickets yet, call now: 888-421-7311

A few quick notes: Showbiz Players, a dependable community theater company that likes satirical shows, is presenting The Rocky Horror Show at the Carnegie in Covington, through Sept. 26. Tickets: 859-957-1940 … Performance Gallery, an avant-garde troupe of performers that’s been a steady contributor to the Cincinnati Fringe, is reprising its production from the 2015 Fringe, Shirtzencockle, at Know Theatre on Friday and Saturday evenings at 8 p.m. It’s a surreal, magical, ridiculous blind of folk and fairy tales. Tickets: 513-300-5669 … Kate Tombaugh, who studied opera at UC’s CCM (and trained in numerous other places) is presenting her one-woman show, It Just Takes One. It portrays the roller-coaster story of a young woman in her 20s seeking a career in opera while struggling to find a social life. A benefit for the Charitable Care Fund at Children’s Hospital, it’s being presented at St. Thomas Episcopal Church (100 Miami Ave., Terrace Park) on Friday evening at 8 p.m. and in 2 p.m. matinees on Saturday and Sunday.

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

<![CDATA[Beyond the Books]]>

As technology advances, we constantly revisit our old resources to determine their relevance. Perhaps one of the most common debates is if libraries are a thing of the past. Sure, the quiet atmosphere with thousands of books is soothing, but is it really necessary when most, if not all, of its services can be found in a Google search?

I, and many others like me, say yes. To be clear, I’m a young twentysomething who’s as tied to her smartphone as anyone else, but I believe libraries are an essential and irreplaceable community establishment. Books aside, libraries offer so many services that it would take 10 community organizations to equal.

“The library is here for [the community] and literally does a little bit of everything,” says Jill Liebisch, adult/teen services programmer for the Newport branch of the Campbell County Public Library. “We do everything from job fairs to learning how to knit and crochet to the YART [Art Yardsale] to one-on-one computer and technology training.”

To explore just how relevant public libraries really are in this digital age, I’m exploring one service or program each week and evaluating its impact on me as a resident and on the community at large.

My first event was YART: The Art Yardsale, hosted by the Newport library. YART showcased artists from around the Cincinnati community in a creative yard sale, where jewelry makers, sketch artists, painters, photographers, glass blowers, sculptors and scrapbookers sold their goods at affordable prices.

Liebisch has organized the event for the last two years. “We kind of came up with the idea that we wanted it to be students and people who had never had a chance to sell their artwork before,” she says. “We had so many students and first-timers come and display and sell their artwork…they got to make contacts and kind of have a little art show of their own.”

During my time there, YART kept up a steady stream of traffic, despite the constant dark clouds hinting at rain. I joined the handful weaving through the aisles of jewelry, paintings, photography, sketches and paper arts, taking time to chat with the artists.

Nancy Howes told me about her fantasy-inspired jewelry made from copper, poly clay and paper. She’s been making jewelry off and on for the last 20 years and used to have a shop in Bellevue. “I do these craft fairs every once in a while,” she says. “It’s fun to get out and hear the people and visit with them.”

Howes’ son, Chris, sat next to her, behind a table of ceramic faces. A professional sculptor, Howes designs The Grotesquerie, his collection of hand-sculpted faces and figures. “I make grotesques, in the classic sense of caricatures and grotesque faces,” he says, looking over his table of odd expressions.

The wind spread around the constant aroma of his incense burners, shaped like fish and funny gnomes. “They just sort of happened, whatever comes out comes out,” he says, joking about the figures. “It surprises me sometimes.”

After several passes among the tables, I ended up with a personalized picture album, small watercolor painting, a pair of earrings and an assortment of paper tags, not to mention the fun of chatting with local creatives. Melissa Huber, who sold me the earrings, remarked on how useful she’s found the public library. Huber said she and her mother attend the Friday night movies, and Huber herself has learned to knit and intends to learn fly fishing, all through their local branch.

After a few hours at the YART sale, I walked away with great gifts for family at prices a broke twentysomething can afford. It was probably one of the most satisfying shopping trips I’ve ever made, and I can’t think of a better way to invest in a community.

<![CDATA[Stage Door]]>

The fall theater season is fully under way. I’ve seen several productions that I can recommend, starting with Ensemble Theatre Cincinnati’s staging of Luna Gale. The story focuses on a weary social worker caught on the horns of a horrible dilemma — a custody battle between teen parents with drug issues and a zealously religious grandmother — with veteran actress Annie Fitzpatrick turning in another outstanding acting performance. The production is also an impressive reminder of the fine work ETC has been doing for 30 years since three actors in Luna Gale were ETC apprentices a year ago. The award-winning Luna Gale is being produced at many theaters across America this season, but I can’t imagine that any of those productions will be better than the one we have right here in Cincinnati. I gave it a Critic’s Pick. Through Sept. 27. Tickets: 513-421-3555

Last night I was at the Playhouse for The Secret Garden opening its 56th season. While this is a story about a 10-year-old girl, it’s quite serious and thoughtful. Orphaned and seemingly headed for unhappiness, she finds redemption in nature and friendship, bringing others along on her path to a better place through abandoned garden that comes back to life. In my review, I suggest that this production might be a bit too complex and impressionistic for kids, but the show is physically beautiful and gorgeous musically. Caitlin Cohn’s performance as Mary Lennox is impressive; she’s a student at New York University, but quite convincing as a young girl. The cast features two CCM musical theater grads, Adam Monley and Carlyn Connolly, and a raft of polished New York veterans. Through Oct. 3. Tickets: 513-241-3888

If you’re a fan of the music of the ’60s and ’70s, you’re likely to love the touring production of Motown: The Musical currently rattling the rafters at the Aronoff Center (through Sept. 20). The hardworking cast does a great job of recreating the sounds of Motown — The Four Tops, The Temptations, Smokey Robinson and the Miracles, Diana Ross and the Supremes, The Jackson Five, Marvin Gaye, and many more. The play in which this is presented, however, is not so stimulating — Motown founder Barry Gordy’s story was written by (you guessed it) Barry Gordy, and it all feels pretty self-serving. But the music is great, and it comes at you hot and heavy — nearly 60 songs, although many are in medleys or shortened versions. Nevertheless, it’s a great reminder of the Pop tunes that kept American singing and dancing several decades ago. Tickets: 513-621-2787

The Covedale Center is offering an ambitious staging of a great musical, A Chorus Line, with some fine dancing in its own right. This is a very moving show about people who put themselves “on the line” to do something they love. It’s still powerful after 40 years, and Cincinnati Landmark Productions has done a fine job with this one. (Through Sept. 27. Tickets: 513-241-6550

There’s a lot of laughter at Know Theatre this weekend where the Cincinnati Improv Festival is underway. I understand that there aren’t many tickets left, but if you’re a fan of this branch of comedy, you should call to see if you can get in. Shows tonight and Saturday. Tickets: 513-300-5669

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

<![CDATA[Stage Door]]>

There’s a lot more coming next week, once we get past Labor Day, but right now there’s just one theater locally with a production onstage. That’s the Covedale Center for the Performing Arts. Artistic Director Tim Perrino has been reminding everyone that just because Cincinnati Landmark Productions has opened the Incline Theatre, don’t think that the Covedale has shut down. In fact, it has an ambitious line-up of shows, and the opening production is already under way, A Chorus Line. I haven’t seen this production of it yet, but I will tell you that it’s a show that really lit my interest in musical theater. It was a Broadway hit back in 1975, and I saw a touring production of it in Cleveland in 1978. I had next to no income at the time — and tickets for subsequent performances were pretty well sold out anyway — but I told several friends that in a perfect world, I would have gone back to see it again. I had to wait a few years for that to happen, but this story of aspiring performers grabs me every time I see it. It’s the story of eager young dancers trying to get into the chorus of an upcoming Broadway production. The group is narrowed to 17, but the ultimate goal is four men and four women. The songs are rooted in each dancer’s personal story: Some are amusing, some are heart wrenching — all are painfully true. At the end, they all coalesce into “One (Singular Sensation),” a stunning finale that has all the individuals we’ve met together, dancing as one. It’s a wonderful metaphor about the passion to perform and to be part of a larger whole. A Chorus Line at the Covedale has performances this weekend and continues through Sept. 27. Tickets: 513-241-6550.

Last evening I drove to Louisville where Actors Theatre is opening its 2015-2016 season with a superb production of August Wilson’s Seven Guitars, one of his “Century Cycle” plays chronicling African-American life in Pittsburgh across the decades of the 20th century. This one, set in the late 1940s, swirls around a promising young Blues singer, Floyd “Schoolboy” Barton, who has been offered a recording contract just after his release from a 90-day stint in jail. The play opens with his funeral then circles back through scenes reminiscing about his life and six vividly different people who were close to him — three women and three men. The cast is powerful, and the minutely detailed setting, a desolate backyard in Pittsburgh’s Hill District (inspired by the art of African-American painter and collagist Romare Bearden) is a sight to behold. Seven Guitars blends humor, lyricism and tragedy. Although several of Wilson’s remarkable plays have been stage in Cincinnati, Seven Guitars — winner of the New York Drama Critics’ Circle award for best play in 1996 and a finalist for the Pulitzer Prize and the Tony Award — has not been produced locally. So you might want to make a run down I-71 to Louisville between now and Sept. 20 to see this. This production is definitely worth the trip. Tickets: 502-584-1205.

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

<![CDATA[Stage Door]]>

At this point in the summer you have to look a little harder for theater productions. Most of our local companies are rehearsing for shows to open their 2015-2016 seasons. But that doesn’t mean there’s nothing to see, especially if you’d like to enjoy theater in the great outdoors.

Queen City Flash’s performances of The Complete Tom, from Mark Twain’s tales about Tom Sawyer, are both outside-the-box and — literally — outside, popping up in different area parks for each evening their final romp with Tom Sawyers, Detective, is being presented. In this installment (the fourth of four), Tom and Huck Finn set out to clear a friend implicated in a murder. To catch one of these free performances, you need to reserve a ticket at At 4 p.m. on the day of the show, you’ll receive an email with details of the “secret” outdoor location. The production, creatively staged by Bridget Leak, features six actors who play multiple roles using puppets and quick costume changes.

Another outdoor adventure is in store for you if you track down a FREE Shakespeare in the Park performance of a modern-dress staging of Romeo and Juliet this weekend. You’ll find one at Seasongood Pavilion in Eden Park on Friday, another at the McDonald Commons Park Shelter in Madeira on Saturday and a third at Keehner Park in West Chester on Sunday; all performances are at 7 p.m. This series is produced by Cincinnati Shakespeare Company, and it will be toured (as will a production of A Midsummer Night’s Dream) to local schools, community centers and other venues through May 2016.

If you prefer to sit in a theater, head to Covington where The Carnegie has a head start on the theater season with its mid-August production: Stephen Sondheim and George Furth’s innovative Company, onstage through Sunday. Even though the show has been around for 45 years, its outside-the-box approach — no beginning-middle-end story, in particular, but rather a central character, Robert, who’s turning 35 but remains disconnected, despite his married friends pushing help toward relationships — seems timely. Although the Carnegie’s actors are a tad young and don’t really feel like the New Yorkers who Furth’s script portrayed, they do a good job with the songs, and Zachary Huffman does a fine job with the central role. Here’s my CityBeat review. It’s onstage through Sunday. Tickets: 859-957-1940

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

<![CDATA[Third Cincinnati-Related Film to Screen at New York Film Festival]]>

The Greater Cincinnati & Northern Kentucky Film Commission — or an enterprising arts-tourism travel agent — might want to look at organizing a charter from here to attend the New York Film Festival from Sept. 25 to Oct. 11.

Previously announced at the fest were two dramatic films shot in Cincinnati — Todd Haynes’ Carol with Cate Blanchett and Rooney Mara, and the closing-night world premiere of Don Cheadle’s Miles Ahead, a biopic about Miles Davis.

But another film with strong Cincinnati connections — Troublemakers: The Story of Land Art — has been named one of 12 documentaries to be showcased at the festival. Its screening dates are Oct. 1 and 4.

Its director, James Crump, was photography curator and chief curator at Cincinnati Art Museum from 2008 until resigning in 2013. And its executive producer is Ronnie Sassoon, the Cincinnati-born widow of hairstylist Vidal Sassoon. Crump in 2007 had directed Black, White + Gray, a documentary about the relationships between Robert Mapplethorpe, Sam Wagstaff and Patti Smith.

Among the 11 other documentaries in the fest are Field of Vision: New Episodic Nonfiction by Laura Poitras, whose Citzenfour won an Academy Award this year, and In Jackson Heights, the latest from Frederick Wiseman.

Who knows? There might be others with strong local connections, too.

Here are the Film Festival’s program notes for Troublemakers.

“The titular troublemakers are the New York–based Land (aka Earth) artists of the 1960s and 70s, who walked away from the reproducible and the commodifiable, migrated to the American Southwest, worked with earth and light and seemingly limitless space, and rethought the question of scale and the relationships between artist, landscape, and viewer. Director James Crump (Black White + Gray) has meticulously constructed Troublemakers from interviews (with Germano Celant, Virginia Dwan, and others), photos and footage of Walter De Maria, Michael Heizer, Robert Smithson, Nancy Holt, and Charles Ross at work on their astonishing creations: Heizer’s Double Negative, a 1,500-feet long “line” cut between two canyons on Mormon Mesa in Nevada; Holt’s concrete Sun Tunnels, through each of which the sun appears differently according to the season; De Maria’s The Lightning Field in New Mexico; and Smithson’s Spiral Jetty, built on the Great Salt Lake in Utah. A beautiful tribute to a great moment in art.”

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Theater slows down this time of year as most local companies are readying to launch their 2015-2016 seasons in September. You’ll find two newish productions on local stages — Company at The Carnegie in Covington and 9 to 5 at the Incline in East Price Hill. Stephen Sondheim’s Company is a solid production with a nice turn by Zachary Huffman in the central role of Robert. There are lots of well-performed tunes by a young cast and some able musicians. Here’s my review. I’m not so enthusiastic about the third show of the Incline’s inaugural season: 9 to 5 is a weak offering after the successes of The Producers and 1776. That’s largely due to a script that’s pretty stale and silly, as I mentioned in my review. It’s based on a 1980 movie about a chauvinistic boss and three women who give him his comeuppance. Dolly Parton played a feisty secretary in the movie and had a hit with its title song. When the movie became a 2009 stage musical, she wrote the songs. They don’t add much. Cincinnati Landmark must have pulled out all the stops for the first two shows this summer; this one looks like they cut some corners. These two productions continue through Aug. 30.

This is the final weekend for Hundred Days at Know Theatre. This Rock opera has been an unqualified hit for the 18-year-old Over-the-Rhine venue. I gave it a Critic’s Pick and I’ve talked with several friends who have gone back to see it a second time. Abigail and Shaun Bengson sing their way through a tragic love affair — a marriage cut short by a terminal disease — that ends up feeling pretty joyous since they choose to celebrate their “100 days” as if it was the 60-year marriage they had hoped for. Great concept, great execution. Get a ticket if you can: 513-300-5669

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

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Know Theatre’s Hundred Days is not running for 100 days. In fact, it has only seven more performances, so I urge you to get your tickets now if you haven’t seen it yet. (I say this in part because I’ve now heard from three acquaintances that they liked the show so much they’ve purchased tickets to go back to watch a devoted couple deal with a marriage that’s foreshortened by illness. So I’m sure some performances are getting very full.) David Lyman gave it a good review in the Enquirer, and I attached a Critic’s Pick to my CityBeat commentary, so we agree — and I suspect you might, too. Abigail and Shawn Bengson, the performers and creators of Hundred Days, are full of energy and passion, and their backup musicians are infected with the same spirit. Next Wednesday (July 19) is a free admission performance, which is likely to be very full. Tickets ($25 in advance): 513-300-5669

This is the final weekend for Cincinnati Shakespeare Company’s very funny show, The Complete History of America (Abridged), featuring three very funny performers — Amanda McGee, Justin McCombs and Geoffrey Barnes. I don’t think you’ll leave the theater knowing more about American history, but you’ll understand our willingness to poke fun at ourselves and others. It has some moments that fall flat, but that’s to be expected in two hours of non-stop efforts at hilarity. When they hit it, the show is a laugh-out-loud riot. Final performance is Sunday at 2 p.m. Tickets: 513-381-2273

Cincy Shakes’ FREE Shakespeare in the Park continues this weekend with performances of A Midsummer Night’s Dream at the Dunham Arts Center in West Price Hill (this one is actually an indoor performance) on Saturday at 2 p.m. and at Covington’s Linden Grove Cemetery on Sunday at 7 p.m. (Not that you want or need to drive to Portsmouth, Ohio, to see a performance, but the troupe is there tonight — showing just how far they’re willing to go to advance the cause of Shakespeare.)

I wish I could tell you that 9 to 5, the third musical in the inaugural season at the Warsaw Federal Incline Theater, is as entertaining or well done as its predecessors, The Producers and 1776. But it isn’t. Nevertheless, based on the strength of the season so far and the novelty of going to a brand-new theater most of the tickets for this lightweight musical have already been snatched up. It’s based on a movie from the 1980s that featured Dolly Parton, Jane Fonda and Lily Tomlin. Parton’s countrified tunes, written for the musical not the movie (which did feature her hit song of the same title), are mildly entertaining, but the story is full of clichéd stereotypes about “working girls” who struggle to work with a chauvinistic boss. The real Parton makes a video appearance, but it’s not quite enough. Through Aug. 30. Tickets: 513-241-6550

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

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Hundred Days, a Folk Rock Opera onstage at Know Theatre, continues to be the go-to show of the summer. The story of a marriage that gets short-circuited by a fatal illness turns into a joyous 75-minute concert music written and performed by the dynamic duo of Abigail and Shaun Bengson, with five musicians and singers behind them. Rather than wallow in grief about having only 100 days, they celebrate their love by condensing what they imagine 60 years of life might have held. It’s a lovely story, told in an imaginative, contemporary way. Read my CityBeat review, which gave it a “Critic’s Pick.” Tickets: 513-300-5669

Cincinnati Shakespeare has three excellent comic actors onstage at the moment who know how to wring every possible laugh out of a satiric script. Geoffrey Barnes, Justin McCombs and Amanda McGee are performing The Complete History of America (Abridged), another script by the zany trio who wrote The Complete Works of William Shakespeare (Abridged). I think this one tries a little too hard to be hilarious, so a few moments feel kind of lame, but these three players manage to pick things up, make a little fun of themselves and move right on with more gags, jokes, pratfalls, spit takes and costume changes. It’s an evening of hilarity. Here’s my CityBeat review. Through Aug. 15. Tickets: 513-381-2273

Cincy Shakes’ FREE Shakespeare in the Park tour continues this weekend with a 7 p.m. performances of Romeo and Juliet at Cottell Park in Deerfield (Friday) and the Community Park Pavilion in Milford (Sunday) as well as A Midsummer Night’s Dream — at the Community Pavilion in Glenwood Gardens, a Hamilton County Park. 

Finally, if you’re willing to drive to Dayton for the Human Race Theatre Company’s first-ever Festival of New Works. The weekend offers a collection of readings of five scripts — three plays and two musicals — by local, national and international writers. The lineup includes full readings of Have You Ever Played, Dayton?, a play by Robb Willoughby, and Mann … and Wife, a musical by Douglas J. Cohen and Dan Elish based on the latter’s novel Nine Wives. There will also be three 30-minute “snapshot” readings: Karen Righter’s play, The Day After Epiphany; Central Park Tango, a musical by Nicky Phillips and Robert Gontier; and Scott Stoney’s adaptation of Some Self-Evident Truths, a play based on the journals of Lucille Wheat and Lois Davies. Open talkbacks with the creative teams follow the readings. The “snapshots” (Saturday at 8 p.m.) are presented and ticketed as a group. Readings will be held in the 60-seat Caryl D. Philips Creativity Center of The Human Race and The 212-seat Loft Theatre in downtown Dayton. Info: 937-228-3630 or

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

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On Wednesday evening I took a bunch of kids (four elementary-school-age nieces and a nephew in town for a visit) to see a bunch of kids (high schoolers, average age 16) in Hairspray, this summers’ Cincinnati Young People’s Theatre production at the Covedale Center. The verdict: “We loved it.” One of them said, “They did more singing than talking.” (A good thing, in her opinion.) And one even got the message of black and white teens breaking color barriers and just being teens. So the story from 1962 still makes some sense. The CYPT performers come from 33 schools across Greater Cincinnati. It’s a big undertaking to get that so many performers (I counted 70 in the program) working together, plus several more backstage. Tim Perrino has been doing this for 34 years, so he knows how to get the best out of teen performers, and there are some standouts in this cast — especially Julie Deye and Gabe Schenker as the ebullient but fair-minded plus-sized teen and her lumpy mom. The kids are all right! Performances continue through Sunday at 7:30 p.m. Tickets: 513-241-6550

The most dazzling show onstage right now is Hundred Days, a Folk Rock Opera, at Know Theatre. It’s 75 minutes of great music written and performed by the dynamic duo of Abigail and Shaun Bengson, backed by five talented musicians and singers. But it’s also a fine piece of theater — a love affair cut short by a fatal illness that’s met head-on with clarity and joy to celebrate what might have been 60 wonderful years in just “100 days.” Great concept, great execution. I gave it a Critic’s Pick in my CityBeat review.

You’ll get a lot of laughs out of Cincinnati Shakespeare’s performance of The Complete History of America (Abridged), largely thanks to the comic talents of actors Justin McCombs, Miranda McGee and Geoffrey Barnes. Even if the script  — by the comic trio who originated The Complete Works of William Shakespeare (Abridged) — strains a little too hard to be hilarious, playing fast and loose with America’s past, these three know how to turn every scene into a good laugh. Things occasionally fall flat and a few elements are borderline tasteless, but before you know it they’re off and running again with another gag, joke, pratfall, misunderstanding or just tossing a bucket of water. All in good fun; it’s not very profound nor is it intended to be. Here’s my CityBeat review. Through Aug. 15. Tickets: 513-381-2273

If you like your Shakespeare a bit more traditional — but perhaps just a little funny — some of Cincy Shakes' troupe begins their FREE Shakespeare in the Park tour this weekend. Throughout August they’ll be offering performances in parks across Greater Cincinnati and beyond using a handful of young actors handling multiple roles in two-hour reductions of plays by Shakespeare. This weekend you have three chances to see A Midsummer Night’s Dream — at Eden Park’s Seasongood Pavilion on Friday at 7 p.m., at the Harry Whiting Brown Lawn in Glendale on Saturday at 7 p.m. and in Washington Park on Sunday at 6 p.m.

If you haven’t tuned in yet for the third iteration of Serials! at Know Theatre, you might want to show up on Monday evening at 7:30 p.m. Each of five plays will have the third of five 15-minute installments; the trick this time out is that the playwrights trade places with each biweekly event, so stories definitely veer off in unexpected and unplanned directions. Don’t worry about catching up — there’s a quick preview as each piece starts. But even more, these are just zany stories, made all the zanier by the format. You’ll have fun watching even if you can’t quite figure out what’s going on. Tickets: 513-300-5669

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.

<![CDATA[<i>Carol</i> Release Date Moves Up]]> Indiewire is reporting today that the Weinstein Company, distributor of Todd Haynes’ Cincinnati-shot drama Carol, will move up its theatrical release date to Nov. 20 from the originally planned Dec. 18. It will start out in limited release and then go wider.

That means the company believes the adult-oriented film, starring Cate Blanchett and Rooney Mara, not only will be an Oscar contender but will also be a holiday-season hit along the lines of another film it distributed this way in 2014, The Imitation Game.

Indiewire reports Carol will face the youth-oriented The Hunger Games: Mockingjay – Part 2 on its limited-release opening weekend, “but should benefit from an earlier start than was originally planned.”

<![CDATA[Review: Cincinnati Opera's <i>Turandot</i>]]>

Cincinnati Opera winds up its 95th season in truly grand operatic fashion with an opulent production of Puccini’s Turandot. The singing is (mostly) sublime, the spectacle is lavish and all the production elements are executed with stylish precision.

The opera is a fantasy based on a play by the Venetian Carlo Gozzi. Turandot is a Chinese princess bent on revenge for the rape and murder of an ancient ancestor. If a prospective suitor fails to answer three riddles, off with his head. That doesn’t discourage Prince Calaf, who manages to solve the riddles and melt the ice princess’s reserve. Oh yes indeed, this is a fairy tale.

It’s also Puccini’s grandest opera with fabulous music incorporating romance, drama and Chinese folk melodies. The score was unfinished when Puccini died in 1924; composer Franco Alfano composed the final section using Puccini’s sketches. Despite Calaf’s signature aria “Nessun Dorma,” the best music belongs to the chorus and the two female leads.

Biggest ups to the chorus. They sing with power, precision and a remarkable dynamic control thanks to Chorusmaster Henri Venanzi, who celebrates his 41st year with the CO. Unlike most other operas that feature one big choral number and that’s it, Turandot’s chorus is onstage for almost the entire piece.

Marcy Stonikas is a formidable Turandot, physically and vocally. Her voice has the cold, steely edge for an ice princess but there’s a hint of warmth that fully emerged in the final scene to convey a sense of humanity. “In questa reggia” is Turandot’s big aria and Stonikas did not disappoint. Hers is one of the most exciting voices I’ve heard in a long time and I hope she’ll be back.

The role of the slave Liu usually steals the shows and this was no exception. French soprano Norah Amsellem sings with haunting delicacy and tremendous power. It’s a performance to savor, and she garnered the evening’s loudest ovations. And her limping on the stage was no act — she injured an ankle earlier in the week and was using a brace.

Frank Porretta’s Calaf was barely audible in the first act. He may have been having vocal problems because he powered up in the second act, but “Nessun Dorma” was under pitch and lagged behind the orchestra. Let’s hope he recovers for the remaining performances.

As the court officials Ping, Pang and Pong, Jonathan Beyer, Julius Ahn and Joseph Hu were genuinely responsive Puccini’s score, offering characters ironically comic and human as they sing of returning home. They also executed a vaudeville soft shoe routine with panache.

Bass Andrea Mastroni made an impressive debut as Calaf’s father, Timur. Tenor Chris Merritt sang the Emperor Altoum with poignant beauty.

Under the baton of Ramón Tebar, the Cincinnati Symphony Orchestra gave a stunning performance of this magnificent score. There are so many gorgeous subtleties, from the loudest of gongs to shimmering woodwinds and strings, and they were heard to wonderful effect.

Red is the operative color for André Barbe’s sets and costumes, with black and white running close seconds. A huge red lacquer arch is the main set piece, punctuated by huge white heads on pikes, reminders of the executed princes. The chorus, mandarins and dancers are swathed in black and red. Ping, Pang and Pong sport sky-blue robes, and Turandot and Emperor Altoum are garbed in white. It’s opulent but never excessive.

Most impressive are Renaud Doucet’s staging and choreography. The huge cast of choristers, supernumeraries and dancers move with confidence and precision. Fortunately for us all, the leads are equally graceful and they respond to each other with more than outstretched arms. Doucet creates stage pictures that, for all their scope, never lose focus on the performers. The dancers are a special pleasure. Their costumes with multiple flags projecting from the back don’t make for easy movement, but they make it look effortless.

Go see it. And go hear it. There aren’t many opportunities to see spectacle like this, unless it’s Andrew Lloyd Webber, who mined Puccini’s melodies for inspiration. Puccini did it way better.

TURANDOT continues Wednesday and Friday. More info here.

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Did you attend the Cincy Fringe back in 2011? If so, maybe you saw Abigail and Shaun Bengson perform a musical work in progress then called “Songs from the Proof.” They came back in 2012 to present a one-night concert of some of the songs. The work evolved into a show called Hundred Days, which had a staging in San Francisco in early 2014. It’s continued to evolve — and its next incarnation will be onstage at Know Theatre for the next month, opening on Friday and running through Aug. 22. It’s about a young couple who fall in love, only to have their time together cut short by a fatal illness. They decide to live the 100 days they have left as though it were 60 years they had hoped for. Lots of music and creativity have gone into this one, and it promises to be a powerful performance with some great tunes. (Read more in my Curtain Call column in this week’s edition of CityBeat.) Tickets: $25 in advance; rush tickets at the door ($10, if available). Free performances on Wednesdays, but reservations required: 513-300-5669.

Cincinnati Shakespeare Company’s 2015-2016 season is beginning as it has for several years with a light-hearted abridgement — but this time it’s The Complete History of America (abridged), opening Friday night and continuing through Aug. 15. The show is the creation of the same nuts responsible for the hilarious Complete Works of William Shakespeare (abridged). It’s the same format: Veteran comic actors Miranda McGee and Justin McCombs, along with newcomer Geoffrey Barnes, will take audiences on a whirlwind tour that sends up America’s greatest hits … and misses. It’s the kind of delirious summer entertainment we’ve come to expect the from our often-more-serious classical theater folks. Tickets ($22-$35): 513-381-2273

Last weekend I went to Stanberry Park in Mt. Washington to see The Complete Tom: 3. Abroad, presented by Queen City Flash, Cincinnati’s flash-mob theater company. It’s the third installment of its four-part play cycle of Mark Twain’s tales of Tom Sawyer, Huck Finn and Jim, the runaway slave. It was charmingly performed by Dave Powell, Rico Reid and Trey Tatum — plus some amusing puppets (aka wooden spoons) and a few sheets for ghost stories. This charming episode features the threesome on a trans-Atlantic voyage in a Jules Verne-like airship, meeting a number of interesting characters along the way — played in quick-change manner by the three actors. Free performances begin at 8 p.m. but don’t go to Stanberry Park — they’ll be elsewhere this weekend. In fact, the outdoor locations remain secret until 4 p.m. the day of performance when an email is sent to ticket holders with a map and parking instructions. The show is a lot of fun and great entertainment for kids, and part of the adventure is figuring out where you’re headed. Take a chance! Tickets — no charge — can be reserved at

This weekend offers the final performances of 1776 at the Incline Theater (513-241-6550) and The 25th Annual Putnam County Spelling Bee (859-572-5464). Both are worth seeing.

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here. 

<![CDATA[Cincinnati-Filmed ‘Miles Ahead’ to Premiere at New York Film Festival]]>

It continues to be a good year for movies shot in Cincinnati. First, Todd Haynes’ Carol premiered in competition at the Cannes Film Festival and was so well-received that its distributor, Weinstein Company, has scheduled a December release to showcase it for Oscar consideration.

Today, Indiewire is reporting that Miles Ahead, the Don Cheadle-directed movie about Jazz musician Miles Davis’ troubled final years, will be the Oct. 11 closing-night showcase for the prestigious 53rd New York Film Festival. The fest is presented by The Film Society of Lincoln Center. Cheadle also plays Davis in the film, shot in Cincinnati last year.

The Indiewire story, written by David Canfield, reports that “NYFF Director and Selection Committee Chair Kent Jones said, ‘I admire Don's film because of all the intelligent decisions he's made about how to deal with Miles, but I was moved — deeply moved — by Miles Ahead for other reasons. Don knows, as an actor, a writer, a director, and a lover of Miles' music, that intelligent decisions and well-planned strategies only get you so far, that finally it's your own commitment and attention to every moment and every detail that brings a movie to life.’”

In the story, Cheadle is quoted as adding, "I am happy that the selection committee saw fit to invite us to the dance. It's very gratifying that all the hard work that went into the making of this film, from every person on the team, has brought us here. Miles' music is all-encompassing, forward-leaning, and expansive. He changed the game time after time, and New York is really where it all took off for him.”

<![CDATA[DEVO's Mark Mothersbaugh to Perform at Cincinnati Concert (Update)]]>

Roughly one month in advance of the Contemporary Arts Center opening Myopia, its highly anticipated retrospective of Mark Mothersbaugh’s artwork, he will come to Woodward Theater for a special concert.

The Aug. 28 performance will be what the CAC is calling a “three-headed evening.” It will start with a small orchestral group playing DEVO covers and Wes Anderson scores — Mothersbaugh co-founded the ground-breaking New Wave/Post-punk band and then moved into film-score composition, working often with Anderson. He also has long been active as a visual artist, having studied art at Kent State University.

Next, there will be a short “onstage dialogue” with Mothersbaugh. Then he will conduct an ensemble in “Music for Six Sided Keyboard.” He did a similar performance in Denver in connection to Myopia’s opening there.

Tickets will be $60 seated and $30 standing, and more information should be available next week on the Contemporary Art Center’s website, Myopia opens at the CAC on Sept. 25 and runs through Jan. 9. The exhibit is curated by Adam Lerner of Denver’s Museum of Contemporary Art.

UPDATE: A pricing change has been added.

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Every year, Ensemble Theatre Cincinnati brings together a group of young professionals who spend a season at the Over-the-Rhine theater understudying roles, working backstage, helping build sets and run lights and sound — learning the ins and outs of professional theater. Many of them stick around town continuing their lives in the theater. Several of them will come together at Washington Park on Sunday evening at 6 p.m. for a free performance of Still Life with Iris, a play by Steven Dietz. The 1996 script is an adventure about a little girl’s search for the simplest of things: home. She lives with her mom on a magical island where by night workers make things seen in the world by day. The rulers are determined to have the best of everything on their island, so they kidnap Iris and bring her to be their daughter, leaving her with no memory of her home or family. She joins with friends she meets on her journey as she embarks on a quest to return home. The family-friendly play, written in 1998, was the first to receive the Kennedy Center’s Fund for New American Plays Award. The cast is comprised entirely of former ETC interns, including: Jared D. Doren (1996), Sara Mackie and Burgess Byrd (2000), Daniel Winters (2005), Lisa DeRoberts (2011), Ben Raanan and Jared Earland (2014), and Molly Israel and Patrick Phillips (2015).

The summer theater company, Stone on a Rock, is back for the second production of its second season with a new version of Aristophanes’ ancient comedy Lysistrata. The company focuses on productions that are “short, sweet and cheap.” This one is a time-tested farce about the women of Greece giving their husbands an ultimatum: Stop waging war or no more sex. Maybe they can next bring their strategy to bear on Greece’s current financial crisis? Performances are at Simple Space, 16 E. 13th St., Over-the-Rhine. Tickets ($10) can be purchased at the door.

Another summer company is presenting the 1998 Tony Award-winning musical Ragtime at Highlands High School’s Performing Arts Center (2400 Memorial Parkway in Ft. Thomas). The Commonwealth Artists Summer Theatre (C.A.S.T.) is led by theatre instructor Jason Burgess; his cast includes students from Anderson, Walnut Hills, Newport Central Catholic, Cincinnati Country Day, Seven Hills, Highlands, Scott High Schools and more. Ragtime is a remarkable show with great music (composed by Stephen Flaherty, a graduate of the University of Cincinnati’s College-Conservatory of Music). Set at the dawn of the 20th century, it’s a time of change and possibility in the volatile melting pot New York City. The show tells three interwoven stories — a stifled upper-class wife, a determined Jewish immigrant and a daring young Harlem musician — united by courage, compassion and belief in the promise of the future. It’s being presented for two weekends, opening tonight and continuing through a matinee on July 26. Tickets ($10) can be reserved at (Remaining unreserved seats may be purchased at the door one hour prior to each performance.)

Queen City Flash, Cincinnati’s flash-mob theater company, is up to the third installment of its four-part play cycle of Mark Twain’s tales of Tom Sawyer. This part, The Complete Tom: 3. Abroad, is performed by three actors and an array of puppets. For this episode, the characters of Tom, Huck Finn and Jim the runaway slave are on a trans-Atlantic voyage in a Jules Verne-like airship. Free performances begin at 8 p.m. but the outdoor locations remain secret until 4 p.m. when an email is sent to ticket holders with a map and parking instructions. (The fourth installment is set to happen in August.) Tickets — no charge — can be reserved at

You can stay at home on Saturday evening, if you prefer, and enjoy a radio theater production of Edmond Rostand’s Cyrano de Bergerac by LA Theatre Works, broadcast on WVXU-FM 91.7 at 8 p.m. The story of the brash 17th-century soldier-poet with an oversized nose is also a tale of love and longing. The audio production features Hamish Linklater, Jason Ritter, Devon Sovari and Gregory Itzin. This is your chance to get prepared for Cincinnati Shakespeare Company’s season opening production (Sept. 11-Oct. 13).

Continuing productions of 1776 at the Incline Theater (513-241-6550) and The 25th Annual Putnam County Spelling Bee (859-572-5464) are both worth seeing.

Rick Pender’s STAGE DOOR blog appears here every Friday. Find more theater reviews and feature stories here.