by Rick Pender
Posted In: Theater
at 11:00 AM | Permalink
Blake Robison to stage "Cabaret," "Pride and Prejudice" among compelling new work
“People look to the
Cincinnati Playhouse for classic entertainment and the best contemporary
theatre,” says Blake Robison, producing artistic director, as he announces his
second season, coming in September. For 2013-2014 he’s assembled an array of
big titles — including the classic Kander and Ebb musical Cabaret and a stage adaptation of Jane Austen’s Pride and Prejudice — and a
collection compelling new work (including two world premieres), mostly on the
Shelterhouse Theatre stage.
The Cincinnati Playhouse in the Park has two stages: The Robert
S. Marx Theatre is the mainstage with 626 seats; the Thompson Shelterhouse
(which is in fact a one-time park shelter) can accommodate an audience of 225.
Both have thrust-style stages surrounded by audience seating on three sides,
making the action is close and intimate in both theaters.
On the Marx Stage:
Trey Ellis and Ricardo Khan (Sept. 7-Oct. 5, 2013). The story of World War II’s
Tuskegee Airmen is told using live action, video projections and tap dancing.
This new work will be directed by Khan, its co-creator.
by John Kander and Fred Ebb (Oct. 19-Nov. 16, 2013). Set in Berlin in the
1930s, and especially in the decadent Kit Kat Club, it’s a musical love story
with lots of choreography. Marcia Milgrom Dodge, a Broadway veteran, will
Christmas Carol, adapted by Howard Dallin (Nov. 27-Dec. 29, 2013). Michael
Evan Haney will direct the holiday show with a cast of 30 for the 21st time.
Park by Bruce Norris (Jan.18-Feb. 16, 2014). This one won the 2011 Pulitzer
Prize and Tony Award for best play. Inspired by Lorraine Hansberry’s classic
play, A Raisin in the Sun, the play
is explores racial attitudes in a Chicago neighborhood in 1959 and 2009.
Artistic Associate Timothy Douglas (who staged the current production of A Trip to Bountiful) is the director.
Prejudice, adapted by Joseph Hanreddy and J. R. Sullivan (March 8-April 5,
2014). Robison will direct this lavish, full-scale production of Jane Austen’s
Fur by David Ives (April 19-May 17, 2014). Maybe you know Ives’ very funny
collection of skits, All in the Timing. This is a full-length comedy about a
director seeking the right actress who gets more than he bargained for.
Artistic Associate KJ Sanchez is staging this one.
On the Shelterhouse Stage:
Spots on the Sun by Martín Zimmerman (Sept. 28-Oct. 27, 2013). The first of
several world premieres for the season, this one is a fable of revenge and
redemption set in a Latin American village just after a brutal civil war.
Sanchez is directing this one.
Complete History of Comedy (Abridged) by the Reduced Shakespeare Company
(Nov. 9-Dec. 29, 2013). The same guys who abbreviated Shakespeare, the Bible
and American history are at it again, premiering their latest abridgment right
here in River City.
by Amy Herzog (Feb. 8-March 9, 2014). Robison will stage this tale of a pair of
unlikely roommates, a 91-year-old grandmother and her 21-year-old grandson.
Ship by Anna Ziegler (March 22-April 20, 2014). Another world premiere
production, this one by an impressive young playwright who offers a humorous
and heartbreaking look at love, memory and decisions that change lives. Michael
Haney will direct. (Haney, perhaps Cincinnati’s best local director, was the
Playhouse’s Associate Artistic Director from 2001 to 2013; starting in the
fall, he joins Douglas and Sanchez in a trio of “artistic associates” who each will
direct two shows.)
Pool by Rajiv Joseph (May 3-June 1, 2014). Rajiv Joseph’s riveting
psychological drama is the story of a transfer student from the Middle East
whose life quickly becomes complicated. Douglas is the director.
by Rick Pender
Posted In: Theater
at 07:47 AM | Permalink
My schedule hasn't afforded me the time to see the production of Don't Cross the Streams: The Cease and Desist Musical, a show that began its life in the Cincinnati Fringe Festival back in June. (It also was a festival highlight at the IndyFringe in Indianapolis in August.) But the very tongue-in-cheek piece inspired by the film Ghostbusters (but not allowed to say that) has now been expanded into a full-fledged
musical that's onstage at Newport's Monmouth Theatre, presented by
Falcon Theatre and Hugo West Theatricals. The League of Cincinnati
Theatres has termed the show a "recommended production," so it's evident
that their judging panel enjoyed it. One panelist called
it "a lively, enthusiastic spoof," and another said that the show is
"an evening of theater that doesn't take itself too seriously. The show just had a two-weekend run, so it's final performance is Saturday at 8 p.m. Tickets: 513-479-6783.
Ensemble Theatre's production of Black Pearl Sings! features one of the finest performances by a local actor that I've seen this season. Torie
Wiggins plays a woman in the 1930s who translates her memory of songs
from her African ancestors into a ticket out of prison and to some
notoriety in New York City. Wiggins nuanced performance is complemented by veteran Annie Fitzpatrick as the folk music researcher who sees Pearl as her own ticket to success. Their tentative relationship becomes a delicately balanced friendship, while both explore issues of racism, sexism and getting ahead. Definitely worth seeing. Through March 31. Box office: 513-421-3555. Lizan Mitchell is at the other end of the career spectrum from Wiggins, but she too plays Carrie Watts, a sprightly, elderly African-Amerian woman whose powerful sense of home takes her on an impromptu journey back to her roots in A Trip to Bountiful at the Cincinnati Playhouse.
It's laced with sadness, since what she remembers no longer exists, but
her memories and her joyful take on life make it all worthwhile, not
only for her but for others in her life, including her browbeaten son and his selfish wife as well as a sweet young woman who is Carrie's companion on a long bus ride. Through April 7. Box office: 513-421-3888.
This weekend Cincinnati Shakespeare is opening a production of the much-loved Shakespearean romantic comedy, A Midsummer Night's Dream. It's been transported to 1940s America and set in a Jazz-inspired
magical forest, with original musica composed by resident sound
designer Doug Borntrager; there's also original choreography by Brittany
Kugler. The production is staged by Jeremy Dubin, and features veteran
actor Nick Rose in the role of Nick Bottom the Weaver, the guy who makes
an ass of himself — literally. It's a tangled, funny story that all
works out perfectly in the end. A great show to kick off springtime. Through April 21. Box office: 513-381-2273 x1.
by Rick Pender
Posted In: Theater
at 08:59 AM | Permalink
February is Black History Month, a period when the arts traditionally wake up and pay attention to African-American stories and artists.
I'm always a bit troubled by this segmenting, so I want to commend both
the Cincinnati Playhouse in the Park and Ensemble Theatre Cincinnati
for presenting two fine productions of shows featuring African Americans
in engaging stories — in the middle of March. They represent two of this weekend's best choices.
At ETC, Black Pearl Sings! features two outstanding local actresses. Annie Fitzpatrick plays Susannah Mullally, a folk music researcher in the 1930s; Torie Wiggins is Alberta "Pearl" Johnson, a prisoner (for a violent but probably justified
crime) who has a remarkable recollection of songs she learned as a
child from her family. They form an uneasy alliance that turns into a
guarded friendship, and Fitzpatrick and Wiggins have a delightful
interplay and chemistry. I heard that this might be the 40th production
Fitzpatrick has done at ETC; she's a versatile actress, and she convincingly creates the uptight but driven Susannah. Wiggins, who graduated from the drama program at CCM, earns her Equity card on this production: Chronologically, she's probably a tad young for the role, but she so wholly embodies Pearl's feisty character that it makes no difference. Hers is a tour-de-force rendition, musically and theatrically. This one is a definite must-see. Box office: 513-421-3555.
Let's give the Playhouse — and new artistic director Blake Robison — props for finally getting around to staging a show by Horton Foote, who died in 2009 at the age of 92. He was a prolific dramatist and screenwriter (he wrote screenplays for To Kill a Mockingbird and Tender Mercies) for years, and his play A Trip to Bountiful is a lovely, emotional paean to the notion that "there's no place like home." Foote wrote the play about an
elderly Texas wido pining to return to her hometown in 1953 (as a play
for television, in fact) and it was an award-winning 1985 movie with a white cast. For the Playhouse, Timothy Douglas has changed up the story by overlaying an African-American filter over the story and casting veteran actress Lizann Mitchell as Carrie Watts. She's a dream of an actress,
portraying a tiny Texas cyclone of energy with a wry sense of humor.
The story is nothing too innovative — she runs away from a cramped apartment where she lives with her son and his demanding wife to return to her girlhood home, which has all but disappeared — but the truth and dignity of the tale (and Mitchell's performance) make this show worth seeing. Box office: 513-421-3888.
Finally, I need to mention Clifton Players production of A Behanding in Spokane by Irish playwright Martin McDonagh. He's the writer of dark tales like The Beauty Queen of Leenane and The Cripple of Inishmaan, as well as the even darker film In Bruges. Clifton Players perform at Clifton Performance Theatre, a tiny, intimate storefront space on Ludlow Avenue. I've heard lots of positive remarks about this production. Be prepared to be shocked and entertained by the show's comic violence. Tickets: 513-861-7469.
by Rick Pender
Posted In: Theater
at 10:19 AM | Permalink
Can you hear the clock ticking? That's not just because this weekend marks the "spring forward" to Daylight Savings Time early on Sunday. It's also because several theater productions are just about over: If you want to see them, you only have a few days left.
Leveling Up, the Cincinnati Playhouse in the Park's show about video gamers,
is as contemporary as can be. One of its characters is recruited by the
NSA to fly drones into war zones — activity that totally blurs the
boundary between the real world and cyberspace, not to mention the moral boundaries between killing video villains and actual living people. (Review here.) The show is also about taking charge of your life in a world of maturity and responsibility, rather than retreating into simulated space. Deborah Zoe Laufer's script uses four characters,
all twentysomethings, who will seem like people you know — their
language, their actions, their concerns are the stuff of contemporary
life. Box office: 513-421-3888.
If you want something that's quite intentionally removed from everyday life, you need to check out the wry and ironic musical theater piece at UC's College-Conservatory of Music, Bertolt Brecht and Kurt Weill's The Threepenny Opera. (Review here.) It's an allegory and critique of corrupt capitalism, told with dark humor in a production by CCM Opera chair Robin Guarino (who has staged productions at the Metropolitan Opera in New York City). She knows how to present the stark humor and cynical attitudes in Brecht's script, and the talented CCM musical theater performers (accompanied by a small onstage orchestra dominated by woodwinds and brass) provide great renderings of Weill's score. This is a rarely produced work, definitely worth seeing. Box office: 513-556-4183.
Perhaps you prefer your cynicism in an 18th century mode: That's what you'll get with Cincinnati Shakespeare Company's production of Dangerous Liaisons, a story of the idle rich who entertain themselves by seducing and manipulating their naive colleagues — or their innocent offspring. (Review here.) It's not a pretty story, in that the central characters are scheming and out for their own entertainment and pleasure, often for revenge. But if you like nasty behavior, this production has it in spades. Two of CSC's best veterans, Corinne Mohlenhoff and Giles Davies, play the Marquise de Merteuil and the Vicomte de Valmont, a pair of arch schemers who relish making a mess of others' lives. It's not everyone's cup of tea, but it's a literate, cleverly plotted piece of theater. Box office: 513-381-2273 x.1. The previous three shows finish their runs this weekend. When the Rain Stops Falling at Know Theatre has one more week (it closes on March 16), but you should order your tickets now: I expect the final performances will be hard to get into on short notice. (Review here.) This is one of the best shows that Know has staged in several seasons, a fine, complex script performed by a talented cast of nine, directed by Cincy Shakes Brian Isaac Phillips. (Four of the cast members are CSC regulars.) They play four generations
of two families, strangely and fatefully intertwined. The story weaves
back and forth between 1959 and 2039; at first it seems to be
disjointed, then things suddenly beging to fall into place. By the time it's over — with several shocking moments along the way — you'll see how it all fits together. If you haven't seen this one yet, this is the ticket you need to get. Box office: 513-300-5669.
0 Comments · Tuesday, February 26, 2013
This week marks the opening Actors
Theatre of Louisville’s 37th annual Humana Festival of New American
Plays. First up is Meredith McDonough’s The Delling Shore, about
two rival authors and their daughters, a work in which words become
by Rick Pender
Posted In: Theater
at 10:27 AM | Permalink
If you're waffling between whether to go to the theater or
do something else this weekend, let me help you decide: You should get a
ticket to see When the Rain Stops Falling at Know Theatre. It's running through March 16, but it's going to be an in-demand ticket soon: I gave it a Critic's Pick in CityBeat (review here),
the League of Cincinnati Theatres bestowed eight nominations on it (I
believe that's the most they've given to any production this season),
and everyone I've talked to has been breathless in their praise of the
script, the cast, the design — well, the entire production. Andrew
Bovell's play bounces around in time between 1959 and 2039 and between
the histories of four generations of two families. That might sound a
bit complicated or confusing, but it's not: There are parallels and
intersections that slowly make sense, and the play uses language and
imagery to bring the stories together into a coherent narrative by
play's end. Two characters are played by two different actresses,
representing younger and older incarnations of these unusual women: One
is an intellectual in her early years, but becomes emotionally distant
due to a personal trauma; the other is a free-spirited young woman whose
life turns dramatically and becomes an older woman with fragmented
memories and a tenuous grip on the present. The stories are about
fathers and sons, parents and children, and how actions by one
generation reverberate down the line. Bovell's script reinforces these
echoes with lines and artifacts that recur in different contexts. It's a
brilliant piece of writing, and director Brian Phillips (he's artistic
director at Cincinnati Shakespeare) uses movement and scene
intersections to tell the story with nine actors (four from his Cincy
Shakes company). The LCT recognition singled out three performers, but
I'd suggest that the show is powerful because the entire ensemble is
operating in a powerful, parallel manner. You don't want to miss this
one. Box office: 513-300-5669
On Thursday evening I attended Leveling Up at the Cincinnati Playhouse, a world premiere by Deborah Zoe Laufer. It's an insightful slice of contemporary life, three
young men and a girlfriend who are obsessed with video gaming, stalled
in their post-college lives. They spend 20 hours a day online, and their
social skills (if they had them previously) have deteriorated amid the
rubble of a basement game room in Las Vegas. Laufer's script will leave
you feeling like you've eavesdropped on real life (in fact, they're
already playing when you enter the Shelterhouse Theatre — although the
"screen" they watch is the theater's invisible fourth wall: They are
staring forward at the central audience section and their attention
never wavers, even when they're having distracted conversations about
life. The divide between their world and being "IRL" ("in real life" as
they shorthand it) increasingly and distressingly — and sometimes
comically — blurs. Laufer's metaphor about "leveling up" in games and
its parallel to stepping up to levels of maturity gives the show meaning
and depth. The young cast are entertaining and convincing. I know this
show will appeal to young audiences, but I heard many in the audience
after the 90-minute performance who were impressed with the story and
what it tells us about society today. It's worth noting that this
weekend the Cincinnati Playhouse has two world premieres on its stages,
which Abigail/1702 (review here) on its mainstage. Box office: 513-421-3888.
Opening tonight is a production of Dangerous Liaisons
at Cincinnati Shakespeare Company. It's Christopher Hampton's stage
play that inspired the 1988 film many will recall featuring Glenn Close
and John Malkovich as manipulative French nobility who play games with
young innocents (including Michelle Pfeiffer). For CSC, the cast
includes two popular performers from the past: Giles Davies as the
Vicomte de Valmont and Corinne Mohlenhoff as the Marquise de Merteuil,
the scheming pair who put devious plots in motion. This promises to be a
delicious drama. Box office: 513-381-2273 x1.
Deborah Laufer explores big questions with playwriting
0 Comments · Tuesday, February 5, 2013
Playwright Deborah Laufer loves to tell stories. “I think what theater does,” she told CityBeat
recently, “is bring people together to contemplate what it means to be
human at this point in time. It’s a place to ask all the big questions..."
0 Comments · Tuesday, December 18, 2012
All right, you’re going to have to
forgive me — I am a theater critic and a theater lover. Those terms are
not mutually exclusive.
0 Comments · Wednesday, December 5, 2012
It’s time for mistletoe and holly, when
theaters entice folks in search of holiday cheer (and occasional
parodies thereof) to celebrate the season. Many theaters need December
ticket revenues to present shows onstage for the rest of the year.
0 Comments · Tuesday, November 6, 2012
Collaboration is the byword for many
arts organizations today, especially theaters where financial support is
tough to obtain and ticket revenues are seldom enough to support the
cost of productions. By working together, economies can be achieved and,
in some cases, multiple constituencies can be activated.