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.
When Andrew Carnegie mapped out plans for
libraries across America — including one now serving as the Carnegie
Center in Covington — he probably never envisioned one of them as a
venue for a play about issues of love and sexuality in the 1880s. But
that’s what’s happening at the Carnegie (Nov. 4-20) when Sarah Ruhl’s In the Next Room, or the Vibrator Play is presented.
When a director pushes boundaries, great things can happen. That's certainly what John Doyle's staging of 'Three Sisters' has tried to do. A high-profile venture for the Cincinnati Playhouse's 50th anniversary, Doyle's production uses a new, very colloquial version of Anton Chekhov's play by the much-admired writer Sarah Ruhl and a team of Tony Award winners and nominees.
When the Cincinnati Playhouse's Ed Stern described his 50th anniversary season last spring, he was especially excited about a new version of Anton Chekhov's 'Three Sisters,' a 1905 play about three siblings who yearn for the life they once enjoyed in Moscow but now find themselves trapped in a cultural backwater. Stern and veteran Broadway director John Doyle talk about the Playhouse production.
Imagine one of René Magritte's paintings brought to fulminous, razzle-dazzle life. That's Sarah Ruhl's highly, wryly comic new play, 'Dead Man’s Cell Phone.' Ensemble Theatre of Cincinnati offers this regional premiere in a well conceived but mostly impenetrable production directed by Michael Evan Haney and brilliantly designed by Brian c. Mehring.
When the Cincinnati Playhouse in the Park kicks off its 50th anniversary season this fall, Ed Stern will be in his 18th year as producing artistic director. That's a remarkably long tenure as a theater leader, but he has an uncanny knack for offering tried-and-true classics alongside works by rising playwrights.
Sarah Ruhl's script and Know's production, inventively and fluidly directed by Jason Bruffy, make this telling of the sad tale of Orpheus and Eurydice, with its roots in ancient Greece, more profound. It's not merely about the loss of a passionate love: 'Eurydice' becomes an exploration of the many forms of love and connection, especially between a father and a daughter.