Arienette, central character in the
interest-compelling production Names, is a young girl beset by demons, not
unlike a character in an old-fashioned story. But because this is not an old-fashioned
story, her demons are figments of schizophrenia — every bit as hard to handle
as the demons of old.
“This is a drink-along show,”
it said on the video monitor in Know Theatre’s Underground Bar prior to this
show by Wish Experience from the U.K. It continues, “You may wish to have more
than one drink at the ready. You have been warned.”
self-imposed challenge faced by Short
Attention Span Theatre: 30 short shows performed in a maximum of 60
minutes. An appealing eight-member ensemble from Tucson tackles theater
performance as a quasi-athletic completion. If they can accomplish the feat
within an hour, the cast gets to munch on a bag of candy. If the hour timer
goes off before the plays are completed, the audience gets to eat the candy.
all those statistics we heard a few years back about the vast disparity in the
distribution of wealth in our country — and how the worst area of all could be
found in Cincinnati’s Over-the-Rhine?
It’s a brave journey, changing genders —
not to mention one that most of us perhaps have never imagined and will never
experience. Rebecca Kling shares and bares all in her solo show, Something Something New Vagina.
a medium that allows metaphor to really breathe, and Elizabeth Harris’ play
does just that. The well-established Cincinnati playwright’s collaboration with
Homegrown Theater proves to be a provocative, cerebral and often painful
Tolstoy’s famous opening line to Anna
Karenina proposes that all happy families are
alike, while each unhappy family is miserable in its own way. Patchwork’s entry
for the 2014 Fringe, Bebe, proves the
opposite can also be true.
York-based writer and solo performer Joe Hutcheson returns to the Cincinnati
Fringe Festival with his new show, Son of
a Hutch, a wryly funny riff on his memories of growing up gay in the shadow
of his macho father.
The idea of rape as a life-changing event is certainly not
new ground; it’s been the stuff of movies, plays and public service television
for years. Yet Trey Tatum’s Slut Shaming,
as directed by Bridget Leak, tells us in no uncertain terms that it is other
people — not the rapist — who most influence the aftermath.