David Rambo's 1999 play takes a savage, albeit occasionally comic, look at industrialized Christianity and at mega-churches that operate less on a foundation of faith than on the rock-solid egos of their heaven-hawking pastors.
When done well, Gilbert & Sullivan comic operas can be a delightful blend of whimsical exuberance and lighthearted satire. Cincinnati Music Theatre's production of "H.M.S. Pinafore," directed by Rick Kramer, has a modicum of these qualities, but not enough.
Playwright John Kolvenbach likes simple things. He lives in lower Manhattan and walks across the Brooklyn Bridge to his tiny studio office in an area called “DUMBO” (Down Under the Manhattan Bridge Overpass) where he works on scripts … and answers the phone for interviews.
The desire for love is a fundamental urge, but perhaps as basic is the drive to remake the object of your affection. That's the funny and poignant premise of Joe DiPietro and Jimmy Roberts' off-Broadway musical "I Love You, You’re Perfect, Now Change."
There's enough enthusiasm to spill beyond the confines of NKU's intimate Stauss Theatre, the university's blackbox studio. The production lacks some discipline, but this is a thoroughly entertaining rendition of a tuneful show.
During the Halloween season a kind of madness seems to grip many Cincinnati theater companies who seek to outdo one another in scaring audiences. Cincinnati Shakespeare Company (CSC) is already at it with a spooky production of "Hamlet," but they're turning up the volume with a second production to fill in the cracks, a two-person theatrical version of Henry James' classic tale "The Turn of the Screw." Performances happen opposite "Hamlet" on Sunday Tuesday and Wednesday at 7:30 p.m., concluding Nov. 9. $15-$20.
Cincinnati Shakespeare Company (CSC) is promoting its current production of "Hamlet" as "the greatest ghost story ever told." But if you gravitate toward such tales, you need to return during the run of the great tragedy for CSC’s staging of "The Turn of the Screw," offered on Sunday, Tuesday and Wednesday evenings.
If you need to be uplifted, you couldn’t find a better tonic for your mental state than the Cincinnati Playhouse’s regional premiere of John Kolvenbach’s Love Song, a quirky, contemporary romantic comedy with characters and situations that would fit perfectly in a Seinfeld episode.
This is an intellectual vaudeville that uses some songs, lots of supporting music, even a casual dance or two to augment its witty examination of serious ideas. So "The History Boys" is right up director Alan Patrick Kenny’s alley. And what a scampering pleasure he makes of it, raucous scene after raucous scene, right up to a powerful closing moment when the boys turn “Bye, Bye Blackbird” into a singularly appropriate dirge.
Those pedagogical purposes, however, don't mean there's not solid entertainment on area campuses. Of course, you might have to suspend your disbelief when a 20-year-old plays Willy Loman, but by and large scripts are chosen as learning experiences...