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October 26, 2007

Oxford actress recalls a lifetime of roles

JournalNews feature

Acting has been a life-long labor of love for Dixie Utter, who performs this weekend in the Oxford Area Community Theatre production of “Spoon River Anthology.”

Utter was a theater major at Dennison University in Granville, Ohio, class of 1949 and a classmate of actor Hal Holbrook.

“For several years after graduated I was in a touring company,” she said. “In the early 1950s, high schools would have assemblies and one of our classmates formed a company and we set out with an hour-long version of ‘The Importance of Being Ernest.’

“We took the seats out of a limousine to hold our set and props, then traveled up and down the East Coast doing three shows a day, five days a week.”

Her future husband, William “Luke” Utter, was also in that troupe and took her to Denver while he worked on his masters degree. He had some television experience and eventually landed a job at WMUB in Oxford.

“When he took the job we decided we would stay in Oxford for two years — and it turned into 50,” she said.

She went to work at Talawanda High School teaching English and speech, retiring in 1986.

She kept acting whenever she could, she said. Miami University once had a summer theater program that was open to the community, so she performed in those.

“I played Dolly Levi in ‘The Matchmaker,’ which is what ‘Hello, Dolly’ is based on,” she said. “But I can’t sing a note, so I’d never be able to do the musical.”

When OxACT was formed in the 1980s, she quickly became a mainstay in the group with a role in “Mousetrap,” the very first production, but also performed with Greater Hamilton Civic Theatre, most memorably, she said, in the play “On Golden Pond” opposite Henry Cepluch. She also had a small role in the Cincinnati Playhouse in the Park’s production of “To Kill a Mockingbird” in 1993.

This weekend, Utter plays “nine or 10” characters in “Spoon River Anthology,” a play based on the poems of Edgar Lee Masters, inspired by life the small Illinois towns he grew up in. She turned 80 years old while the play was in rehearsal.

One of her cast-mates in “Spoon River Anthology,” Donna Stevens, was also one of her high school students.

“A teacher doesn’t have too many students that you remain close to for the rest of your life, but Donna was one of these,” she said. “She loved to speak and sign up for my classes without credit because she loved it so much.”

She remembers teaching the poems of Edgar Lee Master’s “Spoon River Anthology” in her sophomore English classes and as character studies in her speech classes.

“Some of them are pretty crazy,” she said. “These are people speaking from the grave and they all have stories to tell.

“It’s not a comedy but some of them are funny and  some are sad, some are outrageous, but I do think people are going to love it.”

Contact this reporter at (513) 820-2188 or rjones@coxohio.com.

Fairy tales go haywire in ‘Pillowman’

Go! review

“Pillowman,” the Know Theatre Company’s season opener, takes place in a non-specified totalitarian fascist state where a pair of interrogators try to solve the murders of several children.

The main suspect is Katurian K. Katurian, the writer of fairy tales. Like the traditional Grimm stories, his tales mostly concern bad children who come to a bad end.

Only one of them has been published, and it bears a striking resemblance to the method used by one of the killers. While poring over his manuscripts, the investigators find similar similarities to another murder, and they feel they must act quickly because a third child is missing.

The play takes place in two different interrogation rooms. While Katurian promises his full cooperation under the threat of physical pain, he hears the cries of his mentally-challenged brother in the next room, presumably the result of his own torture.

There are themes and ideas a-plenty in “Pillowman,” some timeless and some quite timely. How responsible is the author of a fiction whose work has inspired crimes? Are there instances when torture is an acceptable and/or efficient way of gathering information? Can the confession of a man under pressure to confess be reliable?

The acting by Nick Rose and Vandit Bhatt as the interrogators and Todd Patterson as Katurian are all effectively chilling, but seem to be held down by the use of non-specific Eastern European accents that are both inconsistent and distracting. Derek Snow’s turn as the mentally-challenged brother is further hampered by his use of palsied mannerisms that fail to ring true.

But the story itself is strong enough to cut through whatever deficiencies there are in the performance, making “Pillowman” food for thought, and perhaps a cautionary tale about the downside of torture.

  • WHAT: “Pillowman” by Martin McDonagh
  • WHERE: Know Theatre Company, 1120 Jackson St., Cincinnati
  • WHEN: Thursday through Nov. 10
  • COST: $15-$22
  • MORE INFO: (513) 300-5669; www.knowtheatre.com


One-man 'Frankenstein’ at Shakespeare Company

Go! feature

In addition to nine years as a key ensemble player for the Cincinnati Shakespeare Company, Giles Davies has also been the resident solo-show specialist.

He did his first solo show during his senior year at Ball State University in Muncie, Ind., a Charles Dickens program that he worked up with a professor there, which he later performed at the Hong Kong Fringe Festival in the city of his birth, and also for the Cincinnati Shakespeare Company when he joined.

“As an independent actor, it’s sometimes hard to find work” he said. “But as a solo performer, I could perform at schools, bars or any venue I could get in.”

He later followed the Dickens with “Turgid Tales of Turmoil, Terror and Tortured Souls,” a Gothic anthology, but it was at the urging of CSC artistic director Brian Isaac Phillips that he took on “Frankenstein.”

“Brian is very interested in horror stories and Halloween in general,” Davies said. “In our nine years together, we’ve had a very good working relationship, and this plays to my sweet spot, so I jumped at the opportunity.”

The script was compiled by the director of the Orlando Shakespeare Company, “so we know the script had worked,” Davies said. “It’s an incredibly compelling story with a large amount of suspense. But also the universality of some of the themes really struck a chord with me, about our relationship with a higher power.

“The question in the modern world is about our responsibility to all of the power science has given us. It’s very relevant today and is something every human needs to grapple with,” he said.

The story is told by the ship’s captain that finds Victor Frankenstein floating on an iceberg. The first act is told from Victor’s point of view and the second from the monster’s, Davies said.

  • WHAT: “Frankenstein: The Modern Prometheus” by Jim Helsinger adapted from the novel by Mary Shelley
  • WHERE: Cincinnati Shakespeare Company, 719 Race St., Cincinnati
  • WHEN: Seven performances through Nov. 7
  • COST: $20 adults; $15 students
  • MORE INFO: (513) 381-2273; www.cincyshakes.com

 

'More Fun that Bowling’ puzzles and delights

Go! review

“More Fun Than Bowling” begins with the image of a man dressed in gangster black with a blood red tie, brandishing a gun and telling us he’s on the lookout for Jake Tomlinson.

So for the rest of the play, we wait to find out why this man, Mister Dyson, wants to kill Jake.

After all, Jake (Josh Aaron McCabe) seems like a pretty nice guy, even though he’s expecting his own death at any moment and can’t remember which of his two dead wives (his second and third) are in which grave. But he’s the loving father of a cute-as-a-bug daughter, Molly (Leah Rae Hulgin), that was abandoned by the first wife (still living, as far as we know) and a bowling aficionado, the owner of a small bowling alley (the Dust Bowl, indicating that it’s probably not thriving) in a small town (the oxymoronic Turtle Rapids, where life moves slowly), whose wives fall victim to bizarre, ironic bowling-related accidents.

The play takes place at the site of their graves, where Jake has been keeping vigil, anticipating his own demise.

We see his life being played in reverse, but it’s unclear who’s doing the telling. Could be the presumed hit man, who seems somewhat in control of the narrative as a perverse kind of chorus, or it could be Jake reliving his past in order to make sense of his doomed (as he perceives it) future. And it matters some. We first learn about his latest wife, Loretta, who was best friends with his first, Lois, and to whom he proposed only 12 days after Lois’ death, then we learn about Lois.

That’s not as confusing as it sounds. The mysterious man in  black and red is, and when it’s all revealed, it seems too pat, the deus ex machina (unearned resolution) that Aristotle warned us about.

But that doesn’t mean it’s not a funny play. Morgan Grahame and k Jenny Jones are both charming and engaging actresses that share a warm, down-to-earth kind of presence and humor. And Michael Bath is as funny as Mr. Dyson as the character is inexplicable.

We laugh, but we scratch our heads, too.

  • WHAT: “More Fun Than Bowling” by Steven Dietz
  • WHERE: Ensemble Theatre of Cincinnati, 1127 Vine St., Cincinnati
  • WHEN: Through Nov. 4
  • COST: $27-$35 adults, discounts for students/seniors/children
  • MORE INFO: (513) 421-3555; www.cincyetc.com


'Altar Boyz' sends up the love

Go! review

“Altar Boyz” occupies a strange place in the universe of theater somewhere between “Forever Plaid” and “Smoke on the Mountain.”

One of the most widely-produced plays of this season (a version just closed in Indianapolis while the off-Broadway and national tours are still in production), “Altar Boyz” presents a fictional Christian boy band, a la Backstreet Boys, ‘N Sync or the real Christian boy band PlusOne.

They’re on the final stop of the “Raise the Praise” tour, and each of the five members — Matthew, Mark, Luke, Juan and Abraham — have a secret.

But they also have a show to do, and souls to save. There’s a live band to help them with the first, and the Soul Sensor DX-12 to help with the latter. The Soul Sensor keeps a running tally of the souls left to be saved in the audience, even as the misfires — and the aforementioned secrets — keep it from reaching zero.

There are regional references built in to this production, including a hilarious version of Cincinnati’s landmark fountain, and a small amount of audience participation, but mostly it’s the funny, clever songs that poke fun at both popular Christian music and boy band crazes.

All five members of the cast are making their regional debuts, but there may be a couple of familiar faces to some. Matthew is the handsome leader of the group, played by Machael Kadin Craig, a Hollywood finalist on the second installment of “American Idol.” Playing the barely-closeted Mark is Northern Kentucky native Shua Potter. Adam Fleming, the urban white boy Luke, can be heard in the original cast recording of “Hairspray” as Sketch.

It would have been easy to totally skewer this small genre of music, but the creators have instead created a sort of loving tribute. The songs are meaningful in their own way, but the naivete of the presentation, down to the cheesy show choir dance moves, are the root of most of the humor.

  • WHAT: “Altar Boyz” by Kevin Del Aguila, Gary Adler and Michael Patrick Walker
  • WHERE: Cincinnati Playhouse in the Park, Eden Park, Cincinnati
  • WHEN:  Through Nov. 16
  • COST: $43-$56
  • MORE INFO: (513) 421-3888; www.cincyplay.com

Exhibition takes distorted look at Native American culture

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By 1890, all of the Indians had been removed to the reservations and the White Man no longer saw him as a savage, but as noble beings living a traditional and archaic way of life.

“There was no collective guilt about what the White Man had done to destroy their way of life,” said Anita Ellis, a Cincinnati Art Museum curator speaking on “Vanishing Frontier.” “But there was a sense of collective sympathy because they had lost their way of life.”

Ellis said 1890 was a notable year because the U.S. Census had determined that there was no more land left to settle, and the act of taming the frontier — the courage it required and the “can-do” spirit that it employed — had up until that time determined the “American character,” the only thing that set the United States culture apart from European culture.

“It was a time for people to determine 'What is American?’” she said. “At the same time, the United States was experiencing the paradigm shift from the agrarian way of  life to the industrial. The urban areas were becoming increasingly crammed and the pollution deadly. So white Americans began looking nostalgically at what they perceived to be an easier way of life.”

Artist Henry Farny, originally from western Pennsylvania, took a trip west in 1881 and came back with a large collection of Native American artifacts along with his own drawings and photographs that inspired his work for the rest of his life as he settled in Cincinnati to work.

At the same time, the Cincinnati-based Rookwood pottery company discovered that images of the noble Indians were just the ticket to get more men to purchase their wares.

Consequently, Farny and the Rookwood artists had a big influence on the way the rest of America saw the natives, even though it wasn’t necessarily an accurate portrayal.

“Vanishing Frontier” contains 39 Farny paintings and 52 examples of rookwood pottery along with 35 pieces of authentic Indian artifacts from the period in an attempt to help separate the facts from the legends.

  • WHAT: “Vanishing Frontier: Rookwood, Farny and the American Indian
  • WHERE: Cincinnati Art Museum, 953 Eden Park Dr., Cincinnati
  • WHEN: Through Jan. 20
  • COST: $8 adults; $6 students/seniors; $4 children
  • MORE INFO: (513) 721-2787; www.cincinnatiartmuseum.org

 

Play takes loving shots at Catholic culture

Kathy Largent figured that the first play she directed should be one that she could relate to.

So having grown up in Philadelphia’s Catholic school system — Christ the King School — she chose a play that she once performed in as a nun, the musical “Do Black Patent Leather Shoes Really Reflect Up?” for her first effort with the Mason Community Players.

“This is my life,” she said. “I lived it.

“It’s really a cute little music about eight children growing up in the Catholic school from first grade through high school.”

Eddie (Erich Geoppinger) is going back to the school to look for his first love, Becky (Christina Ballas), and other characters appear to re-live the parochial school experience.

“Becky starts out overweight, so she and Eddie vow in the second grade to be friends throughout school because everyone else is picking on her,” Largent said. “But by the eighth grade, she blossoms and looks very nice.”

The play talks about different milestones in growing up Catholic, including first communion and sex education, from where the title is derived.

“Way back then, they had some real interesting ideas about sex,” she said. “They’d tell you that if you had to get in a crowded car and had to sit on a boys lap you should put a phone book on his lap, or if you went on a date you had to stay some distance apart to make room for the Holy Spirit.

“Also, you should wear pearls because they reflect down, nor patent leather shoes because they reflect up and would let boys see things they shouldn’t see.”

With music direction by Sara Davis and Larry Hirth, and choreograpy by Laureen Catlin, the production also features Keith Largent as Father O’Reilly, Teri Beerens as Mary, Diane DeHaven as Nancy, Bryan Campbell as Mike, Jason Gonzalez as Felix and Phil Catlin as Louie.

The nuns are played by Rebecca McLaughlin, Mary Taylor, Sierra Minton and Debbie Wesolowski.

WHAT: “Do Black Patent Leather Shoes Really Reflect Up?” by John R. Powers, James Quinn and Alaric Jans
WHERE: Mason Middle School Auditorium, 6370 Mason Montgomery Road, Mason
WHEN: 8 p.m. Nov. 1-3; 2 p.m. Nov. 4
COST: $12 adults; $10 seniors/students
MORE INFO: (513) 398-7804; www.masonplayers.org
 

October 23, 2007

New releases today: Neil Young, Robert Plant/Alison Krauss, Carrie Underwood

AllMusic.com

cover

Neil Young
Chrome Dreams II
Reprise

It's billed as a sequel to a 1977 album that never was released, but Neil Young's Chrome Dreams II plays more like a second Freedom -- it's a hodge-podge of sweet folk, loping country rock and crunching hard rock, all built around an epic 1988 outtake called "Ordinary People," recorded with his horn section the Bluenotes. This makes for a bit of a messy listen, especially when compared to his recent focused conceptual works, but Neil Young is often most endearing when he's messy, and that's true here. Even if there are no major songs here outside of "Ordinary People," Chrome Dreams II feels ragged but right in a way Neil hasn't been in years.

cover

Robert Plant/Alison Krauss
Raising Sand
Rounder

Former and future Led Zeppelin vocalist Robert Plant and bluegrass maven Alison Krauss seems an unlikely pair. Yet, on Raising Sand, they team with producer/guitarist T-Bone Burnett and all star band-that includes guitarist Marc Ribot and master drummer Jay Bellerose they make it sound easy and effortless. The differing timbres and interpretive reach of their twined voices-no matter who is singing lead, work in a remarkable and mysterious ways. Over 13 songs that range from Sam Phillips' "Sister Rosetta Goes Before Us," Gene Clark's "Polly Come Home," Mel Tillis' "Stick With Me Baby," and Dorothy LaBostrie's "Rich Woman," the pair explore sultry rockabilly, blues, country various folk styles and more in a manner that feels timeless.


cover

Carrie Underwood
Carnival Ride
Arista

Carrie Underwood's much-anticipated second album Carnival Ride proves that the smash success of her 2005 debut Some Hearts was no fluke. Underwood sharply downplays the lingering adult contemporary pop elements of her debut -- there are no Diane Warren songs, for instance -- and plays up her country roots. Admittedly, she's far from being a country traditionalist, but now that Shania and Faith Hill have gone pop, Carrie is the standard bearer for mainstream country-pop and Carnival Ride proves that she's just beginning to hit her stride.

 


October 16, 2007

The Bard out-Grimms the Brothers Grimm

Go! feature

Sure, there’s a chill in the air when they do the Scottish play, everybody dies in “Hamlet” and “Titus Andronicus” has its fair share of amputations and cannibalism, but William Shakespeare is at his grisly best in the rarely-produced “Cymbeline.”

“It out-Grimms the Brothers Grimm,” said director Brian Isaac Phillips of the Cincinnati Shakespeare Company. “We have headless corpses and heads flying through the air.

“But as soon as I saw the villainess was a wicked stepmother, I knew we would have some fun with this. We’ve given it a neat Tim Burton feel, a lot of quirkiness and whimsy.”

Guest artist and Cincinnati favorite Amy Warner plays the wicked stepmother and resident actress Corinne Mohlenhoff plays Princess Imogen, King Cymbeline’s only daughter, who secretly marries against his wishes. The king banishes his daughter’s young groom, Posthumus, from his court.

The play is both a tragedy and a romance, Phillips said, with a touch of comedy. The scenic and costume design are inspired by Disney’s fairy tale world as well as the Brothers Grimm.

The cast also includes guest artists Sherman Fracher as a soothsayer and Memphis actor Jim Hopkins, who recently performed the title role in “Jerry Springer: The Opera,” as Belarius. With the regular players, there are 18 actors in the cast, the largest to ever grace the Cincinnati Shakespeare Company stage.

  • WHAT: “Cymbeline” by William Shakespeare
  • WHERE: Cincinnati Shakespeare Company, 719 Race St., Cincinnati
  • WHEN: Today through Nov. 10
  • COST: $20-$26
  • MORE INFO: (513) 381-2273; www.cincyshakes.com


The people's right to know is the issue in "Top Secret"

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Around 1990, Susan Loewenberg was talking with attorney Geoffrey Cowan about some business for the L.A. Theatre Works, where she is the producing director, when he mentioned that he had written a play about what happened when the Washington Post set out to publish a top-secret study documenting the United States’ involvement in Vietnam.

The epic legal battle between the government and the press eventually ended up being argued before the Supreme Court and is often considered the most important case ever on freedom of the press.

Although Cowan’s play was a “rip-roaring journalistic thriller,” meticulously researched and co-written with a former Post editor, she wasn’t sure what — if anything — to do with it.

“But then the Gulf War broke out and there were big discussions about the people’s right to know,” she said.

Working out a deal with National Public Radio to support a series of community forums and panel discussions to accompany a reader’s theater production of “Top Secret.”

More than 15 years later, right-to-know issues have come up again in the context of yet another war, so it seemed right to stage a revival, particularly since so many younger people don’t know what happened in the original case.

“It’s great material for a non-partisan discussion becaue it’s a documentary about what really happened,” Loewenberg said.

The current incarnation of “Top Secret: The Battle for the Pentagon Papers,” stars Gregory Harrison, John Heard, and  John Vickery.

“John Heard absolutely channels Ben Bradlee,” the Post’s executive editor at the time,” Loewenberg said. “He really captures this dynamic jouralist who was very ambition to make the Post a national paper.”

  • WHAT: L.A. Theatre Works presents “Top Secret: The Battle For The Pentagon Papers” by Geoffrey Cowan and Leroy Aarons
  • WHERE: Hall Auditorium, Miami University, Oxford
  • WHEN: 7:30 p.m. Wednesday
  • COST: $20 adults, $19 senior citizens, $9 students/youth
  • MORE INFO: (513) 529-3200; tickets.muohio.edu



Daddy Warbucks: Man of change

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Barton was a high school drama teacher and community theater performer in Hendersonville, Tenn., when the opportunity to swtich careers came along.

“We had done a production of ‘Annie’ and one of my students wanted to audition” for the national tour, he said, “but didn’t want to go to New York on her own.”

So Barton accompanied her and on a lark, and having just finished performing the role of Daddy Warbucks, went to the audition, too.

He got the part, and she didn’t.

“Everything is bigger and grander,” he said comparing community theater to the national tour. “The talent level is higher.”

One of the biggest thrills, however, is that this revival is directed by lyricist Martin Charnin, who brought “Annie” to the stage for the first time in 1977.

“Working with him has been an experience that I don’t think any of us will ever forget,” Barton said. “His approach was to make the show very real even though it is based on a comic strip.

“The researched the history of the time period and tried to be accurate to the Depression era and to make the characters more dimensional,” he said.

“Daddy Warbucks is the one character who goes through a transformation,” Barton said, from a man who is very closed off and focused on making money in the business world. For the first time in his life he lets someone get close and that opens up new opportunities for him.”

Although Barton said he didn’t have quite a full head of hair going into the role, he was daunted some by the prospect of shaving it for the role.

“Just working up to it was the hardest part,” he said. “Now, I like the look and everyone says I look good, so it’s not as horrible as I thought it would be.”

  • WHAT: “Annie” by Charles Strouse, Thomas Meehan and Martin Charnin
  • WHERE: Aronoff Center for the Arts, 650 Walnut, Cincinnati
  • WHEN: October 23-28
  • COST: $20-$55
  • MORE INFO: (513) 241-7469; www.BroadwayAcrossAmerica.com

 

photo by Joan Marcus

New Stage Collective presents Kushner musical

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The “change” in “Caroline, or Change” could refer to the vast social changes taking place in America’s racial landscape during the 1960s, or it could just be the coins that Caroline finds in the laundry.

“Caroline is a divorced single mother who started working as a maid in this Jewish household even though it was a job she didn’t really want,” said Taylore Mahogany Scott, who portrays the title character in New Stage Collective’s regional premiere of the Tony Kushner musical.

When the mother of the family dies, Caroline becomes the primary caretaker of 8-year-old Noah.

“She’s not the kind of nanny we normally think of,” Scott said. “She’s never really nice to him, but she’s not mean either. He watches her do her work in the basement and is kind of a nuisance sometime, but they have a kind of unspoken friendship.”

Kushner, best known as the Pulitzer Prize winning author of “Angels in America, wrote the lyrics for a fully-sung socre by Jeanine Tesori (“Thoroughly Modern Millie,” “Violet”), which blends rhythm and blues, Motown, gospel, klezmer and traditional Jewish melodies.

“It’s a story about struggle, and something will resonate with everyone,” Scott said. “Everyone has to work and have a livelihood, so the question is whether Caroline is going to give in to the struggle that is trying to close in on her, or is she going to muscle her way through the days.”

 

  • WHAT: “Caroline, or Change” by Tony Kushner with music by Jeanine Tesori
  • WHERE: New Stage Collective, 1140 Main St., Cincinnati
  • WHEN: Oct. 25-Nov. 18
  • COST: $20 general; $16 seniors, $12 students
  • MORE INFO: (513) 621-3700; www.newstagecollective.com



A whirlwind Rush of Fools

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It’s been a fast-forward ride for Rush of Fools.

Singer/guitarist Wes Willis of Birmingham, Alabama, was in a praise and worship band all through high school, but as often happens, graduation served as a portal to college and other interests, so music seemed to go by the wayside.

“But it was tough to leave that ministry,” he said. “I was really praying that if God really wanted me to do this, he would open a door, but if he didn’t, to just close it and let me get on with my life.”

He enrolled in automotive school just in case the door was closing, but he didn’t stay there long because a friend of a friend was at a similar crossroad and looking for someone to start a band. Soon there were five, and after a few months of practicing their own worship songs and coming up with a cool, Bible-based name, a gig for 70 people in a church led to the hiring of a booking agent who suggested they compete in the Band with a Mission in Nashville.

“We were only together four or five months,” Willis said, “so we told her that wasn’t our thing. But she said that we’d get a written critique, so we felt that would help us be a better worship band.”

More than 60 bands were in the competition, so Rush of Fools did their part and was packing up to leave when they got word that they’d made the Top Six and had to stick around another day.

After taking the title, Rush of Fools found themselves with a manager and a deal with Midas Records.

“It was crazy, but it worked out for us,” Willis said.

  • WHAT: Better Questions Tour with Todd Agnew, Rush of Fools and Joy Whitlock
  • WHERE: Cincinnati Hill Christian Academy, 11525 Snider Road, Cincinnati
  • WHEN: 7 p.m. Thursday
  • COST: Free
  • MORE INFO: www.chca-oh.org

 



Murphy-Price thinks about memory, time and artificiality

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Althea Murphy-Price likes to keep people guessing, so it may take a while to figure out what the primary media are in her exhibition “Artificial.”

Here’s a hint: You’ll find it on your head, but not really.

There are two types of work in the exhibition. On the wall are lithographic prints, each comprised of innumerable fine lines. In the middle of the Hiestand Gallery is a larger installation that appears similar, but the material creating the lacy image is not printed on the base, but simply lying there, tiny black fibers on a white background.

“These were intended to be installed in a salon or barbershop,” she said, “the remnants of another creative process.”

Yes, Murphy-Price makes art out of hair. But it’s artificial hair, not human, although it’s meant to appear so.

“The concept of artificiality and falsity is something I think about,” she said. “I associate hair with identity and culture, and I use it to talk about personal relationships to culture.

“I also like the concept of hair as something we prize, but also something that can be seen as dirty or disgusting.”

She created the pattern by placing a lacy table cloth on the base, then sprinkling it with finely cut pieces of hair, giving it an sense of fragility, “to be both something and nothing,” she said. The prints take that technique a step further by making it a permanent image.

“This work is similar to how people would use hair as a way of remembering,” she said. “The majority of my work is about my feelings on memory and time.”

The table cloth, for instance, revisits some of her earliest memories of things she saw in her grandmother’s closet.

“That’s where I got my first interest in art and being an artist,” she said.

  • WHAT: “Artificial” by Althea Murphy-Price
  • WHERE: Hiestand Galleries, Hiestand Hall, Miami University, Oxford
  • WHEN: Through Nov. 14
  • COST: No charge
  • MORE INFO: (513) 529-1883; www.fna.muohio.edu/galleries

 

'Spoon River' about community

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After a hiatus of several years, OxACT founder Bill Brewer has returned to the helm to direct “Spoon River Anthology,” opening next week.

Brewer said that after finishing his master’s degree in theater in 1980, he and some colleagues noticed a wealth of talent around Oxford, but no venue to showcase it.

“We had fairly skilled and talented directors, which are the lifeblood of community theater,” he said.

Since then, Brewer estimates that he’s directed over 100 shows and performed in as many others, both in Oxford and with other community theater groups. But his professional obligations has kept him from the stage for the past three or four years, so he’s glad to be back in the fold and has chosen a play with a strong community flavor, “Spoon River Anthology,” based on the collection of poetry by Edgar Lee Masters.

“Although the poems were inspired by a cemetery, it’s not about death, but about community,” he said, “and what that means to our lives.”

His staging reflects that sense of community by breaking the fourth wall and putting some of the audience on stage at the Oxford Community Arts Center to present the monologues and songs in the round.

“I think people will be stunned when they walk into that space,” he said.

“The actors actually sit in the audience to establish a connection with the theater-goers and says that we all have our stories to tell.”

The cast includes  Dixie Utter (who appeared in the very first OxACT production, Agatha Christie’s “Mousetrap,”), Nora Ellen Bowers, Daryl Olthaus, Donna Stevens, Erin Schilling (first seen in 1986 at age 7 in OxACT’s “Evita” directed by Brewer) and Mike Robinson.

  • WHAT: Edgar Lee Masters’ “Spoon River Anthology,” conceived, adapted and arranged by Charles Aidman
  • WHERE: Oxford Community Arts Center, 10 S. College Ave., Oxford
  • WHEN: 7:30 p.m. Oct. 25-27; 2 p.m. Oct. 28
  • COST: $12 general admission; $10 seniors/students
  • MORE INFO: (513) 523-6228; www.oxact.com

 

Material Culture in the Context of War

Miami University Art Museum

Sara Butler, Miami University professor of art, will lead a discussion titled "Camouflage and Beyond: When Dress Meets War" at 4 p.m. Thursday, Nov. 1, at the art museum.

Miami University Art museum hours are 10 a.m.-5 p.m. Tuesday through Friday and noon-5 p.m. Saturday. Admission is free. For more information, call (513) 529-2232, or visit: www.fna.muohio.edu/amu.

The talk is co-sponsored by Miami’s women’s studies program. Butler will lead an interactive session exploring how dress in the U.S. and abroad has been employed both literally and symbolically to communicate perspectives about war.

The audience will have an opportunity to share their thoughts about wearable textiles and their use as a medium for visual communication.

Butler holds B.S. (1966), M.S. (1972), and Ph.D. (1977) degrees in textiles and clothing from Michigan State University. She teaches courses in global dress and the history of dress and her scholarly interests center on dress and human behavior.

She has published articles in the Clothing and Textiles Research Journal and Perceptual and Motor Skills and has presented numerous papers at conferences of the International Textiles and Apparel Association.

Sunset Limted roars into Dayton

Human Race Theatre Company

Cormac McCarthy is on a roll. His latest novel, "The Road," just won the Pulitzer Prize and the hearts and minds of Oprah’s Book Club. An earlier book, "No Country for Old Men," is coming out next month as a Coen Brothers movie starring Tommy Lee Jones and Javier Bardem. And his play, "The Sunset Limited," gets a regional premiere by The Human Race Theatre Company at The Loft Theatre in downtown Dayton, October 25 through November 11.
 

Preview night for "The Sunset Limited" is October 25, with official opening night October 26. The show runs Wednesdays through Sundays through November 11, plus Tuesday November 6. There is a Pay What You Can Night, with admission by donations of food or money to local charities, October 24.  Tickets are $15.50 to $34, available by calling (937) or (888) 228-3630 or visiting www.humanracetheatre.org .

"The Sunset Limited" is as basic as a play can be – two men, one question they try to answer. But when that question is “Is there a reason to go on?” and the discussion is guided by the immensely gifted hand of McCarthy, one question is plenty.
 
The play is set off when a professor named White tries to commit suicide by throwing himself in front of the title train and is saved by a faith-driven ex-con named Black. When Black takes White home to his tenement apartment to mull the meaning of life, they find their ideas meld into shades of gray.
 
While the set-up is perplexing geographically – the real Sunset Limited runs from Florida to California and Black’s apartment is in New York City – the discussion becomes more perplexing, as the two men try to resolve their conflicting views.
 
"The Sunset Limited" is directed by Human Race Artistic Director Marsha Hanna. White is played by HRTC Resident Artist Michael Kenwood Lippert, most recently noted for his performance as Angus in "The Drawer Boy." Black is played by visiting artist Lindsay Smiling, who was Darren Lemming in this summer’s production of "Take Me Out."
 
Pam Knauert Lavarnway is the Scenic Designer, Carol Finley the Costume Designer, Charlie Parker the Sound Designer, and John Rensel the Lighting Designer.
 
"The Sunset Limited" is part of Series 2 of The 2007-2008 Eichelberger Loft Season. The production is sponsored by First United Methodist Church, Requarth Lumber, and Robert & Leesa Comparin. Season sponsors are The Jack W. and Sally D. Eichelberger Foundation, NCR, Premier Health Partners, Morris Home Furnishings, Jim and Enid Goubeaux and the Sam Levin Foundation, with Official Host the DoubleTree Hotel downtown and Official Media Sponsor ThinkTV.
 

October 15, 2007

Rembrandt coming to Cincinnati

Cincinnati Art Museum

Rembrandt presents himself to the world as a young man, a self-made burgher and an old master painter this spring at the Cincinnati Art Museum. Three extraordinary self-portraits by Rembrandt van Rijn, one of the greatest masters in the history of Western art, will be presented together for the first time at the Cincinnati Art Museum from March 8 to May 21, 2008. Rembrandt: Three Faces of the Master will feature three landmark paintings on loan from the Louvre Museum in Paris, the Thyssen-Bornemisza Museum in Madrid and the Indianapolis Museum of Art. The Louvre’s masterpiece painting will travel to the U.S. for the first time for this exclusive showing in Cincinnati.

Rembrandt presents himself to the world as a young man, a self-made burgher and an old master painter this spring at the Cincinnati Art Museum. Three extraordinary self-portraits by Rembrandt van Rijn, one of the greatest masters in the history of Western art, will be presented together for the first time at the Cincinnati Art Museum from March 8 to May 21, 2008. Rembrandt: Three Faces of the Master will feature three landmark paintings on loan from the Louvre Museum in Paris, the Thyssen-Bornemisza Museum in Madrid and the Indianapolis Museum of Art. The Louvre’s masterpiece painting will travel to the U.S. for the first time for this exclusive showing in Cincinnati.

Together, the three paintings will allow visitors to intimately view Rembrandt during three distinct life junctures, getting to know him as both man and artist through his self-portraits.

“Rembrandt’s self-portraits are a window into his identity and personal history. While the paintings are records of different stages of his life as an artist, Rembrandt is role-playing as both artist and subject,” said Dr. Benedict Leca, curator of European painting and sculpture. “The Louvre’s self portrait in particular is the first in which Rembrandt chose to affirm himself as an artist. Visitors will now have a rare opportunity to see this international masterpiece up close in their community museum along with two other very highly regarded self-portraits.”   

As the first of the three self-portraits seen in the sequence of the exhibition, the Indianapolis Museum of Art’s Self Portrait with Gorget and Beret (c. 1629) depicts Rembrandt as a young artist on the make. This painting presents an outstanding example of Rembrandt’s incredible skill in the manipulation of light and shade, and in the handling of subtle color effects and textures.

Self Portrait with Beret and Two Gold Chains (c. 1642-1643), on loan from the Thyssen-Bornemisza in Madrid, shows Rembrandt during his middle-aged years as a well-to-do burgher. Rembrandt presents himself as a citizen much like the Dutch merchant class that patronized him.

“This middle-aged self-portrait reminds visitors that although such self-depictions might have reflected Rembrandt’s actual station, they also represented his social aspirations and thus involved a certain amount of role-playing,” said Dr. Leca. “After seeing these works, which show Rembrandt as a young man, a middle aged bourgeois and a professional artist, visitors will feel as if they’ve traveled through time with Rembrandt—peering at the artist through the various stages of his life and through the multiple guises he adopted.”   

        

The third self-portrait seen in the exhibition, Self Portrait of the artist at the Easel (c. 1660), on loan from the Louvre Museum in Paris, marks the capstone of this exhibition. This painting has been recognized as one in which Rembrandt, for the first time, presents himself as mature professional —the aged, experienced master taking pride in his craft. In 1671, it was acquired by the King of France, Louis XIV.

“These are paintings that at one level chronicle Rembrandt’s life story, and at another make a statement about the instability of one’s identity,” said Dr. Leca.

This exclusive exhibition was made possible thanks to a series of loans to foreign museums made by the Cincinnati Art Museum in the last year, and now reciprocated. In 2006, the Art Museum loaned an exquisite ancient Persian silver bowl to the Louvre for an exhibition at the Cernuschi Museum. Also, in Sept. 2007 the Art Museum loaned an Islamic silk tomb cover to the Louvre for an exhibition at the Louvre Museum itself. Most recently in June 2007, the Art Museum loaned one of its most precious masterpieces, Undergrowth With Two Figures (b. 1853) by Vincent van Gogh to the Thyssen-Bornemisza Museum in Madrid —it was the featured piece in their special exhibition Van Gogh: The Last Landscapes. In return, the Louvre will generously loan Self Portrait of the artist at the Easel and the Thyssen-Bornemisza Museum will loan Self Portrait with Beret and Two Gold Chains to the Art Museum as part of Rembrandt: Three Faces of the Master.

The exhibition will also include a selection of Rembrandt’s self-portrait prints from the Art Museum’s permanent collection.

Tickets are required for Rembrandt: Three Faces of the Master; $5 for individuals 6 years and older; free for children 5 and under; free for Art Museum members. Tickets go on sale Jan. 7, 2008; purchase tickets at www.cincinnatiartmuseum.org <http://www.cincinnatiartmuseum.org>  or (513) 721-ARTS.

October 11, 2007

The odyssey of 'Anon(ymous)'

CCM Mainstage 

The University of Cincinnati College-Conservatory of Music (CCM) Mainstage Series opens with the local premiere of Naomi Iizuka's adventurous new drama, 'Anon(ymous),' a modern retelling of Homer's 'The Odyssey.' Performances take place in CCM's Patricia Corbett Theater Oct. 25-28. (A specially priced preview takes place Oct. 24.)

 

 

 

 

 

 

 


 

 

 

TICKET AND PARKING INFORMATION
Tickets are $15-27. To order or for additional information, please call 513-556-4183 or visit www.ccm.uc.edu.

 

Premiered by the Minneapolis Children's Theatre Company in 2006, 'Anon(ymous)' tells the tale of Anon, a young Southeast Asian refugee who embarks on a journey to a new life in the United States. After surviving a
boat wreck and being swept ashore, Anon travels across America, bouncing from one absurd situation to another and meeting wild characters -- some friendly, some frightening. He must rely on his instinct, resilience and humor to survive.

Rich in wit as well as political poignancy, 'Anon(ymous)' confronts a highly debated social issue. "The question of immigration is one of the most singularly polarizing topics in America today," said director Richard Hess.

"It is a topic about which most Americans have strong opinions. I hear voices urging a closing of our borders, arguing about the disintegration of America due to the influx of refugees and immigrants, both legal and illegal. I hear other voices urging amnesty and acceptance."

CCM presents 'Anon(ymous)' as part of a continuing effort to present meaningful new works to which both students and audiences can relate.

Continued Hess, "Whether by fate, luck, circumstance or chance, many in America are living lives that parallel our hero Anon in their search for identity on our shores and their struggle to make this country home."

Germans return to Over the Rhine

Know Theatre Company press release

Five actors — three from Germany and two from the United States — two Austrian video artists and the GTA team are going cross-country in a tricked out bus, playing Johnny Appleseed with the play "Start Up," written especially for ROAD THEATER USA by Roland Schimmelpfennig, Germany’s most produced contemporary German playwright. With a combination of the filmed “reality” of the tour and the theatrical “fiction” of the play, the audience is treated to an ever-changing performance event.

"Start Up" by Roland Schimmelpfennig
Presented by GTA: Road Theatre USA
8:30 p.m. Oct. 19
1201 Jackson St, across the street from the Know Theatre of Cincinnati
$15 Gen. $12 Student/Senior
(513) 300-5669; www.knowtheatre.com

"Start Up" is an intelligent comedy which deals playfully with American and German stereotypes, pioneer romanticism and cinematic myths. The play paints a portrait of an absurd, comic clash of cultures in a US small town. Young Germans, Rob and Micha, try to find their fortunes as they journey to the west. They have a business idea: selling cultural imports from Old Europe. Real theater. The concept is pretty shaky for a business plan and the negotiations with the pragmatic real estate owner Ike are just as shaky, since Ike has his own agenda. The two women of the quintet, however, Rob’s girlfriend Kati and Ike’s daughter Liz, both get what they want: one settles down and one moves on.
 
The theater company German Theater Abroad (GTA) has been traveling between both sides of the Atlantic for the last 11 years and is the “most important organ of German-US theatrical exchange” (American Theatre Magazine, 2006). Contemporary plays form the core of the work with artists from different countries. GTA turned heads in Manhattan with the festival STADTTHEATER NEW YORK in 2006, now the company is setting off on its biggest trip ever. The journey will take the troupe from New York through 16 states over 7 weeks. They will cover 6,000 miles and perform in 24 cities until they reach Los Angeles and the Pacific Ocean.
 
More Info at: http://www.g-t-a.de/english/news/
 

October 10, 2007

Innaresting, nay, Bizarre collaboration

Press release from Rounder Records

Robert Plant and Alison Krauss, two of the most distinctive vocalists in modern music, recently put the finishing touches on "Raising Sand" – their astonishing new collaborative album. Set for release October 23, the album was produced by T Bone Burnett and recorded in Nashville and Los Angeles with a stellar cast of supporting musicians, including guitarists Marc Ribot and Norman Blake, multi-instrumentalist Mike Seeger, drummer Jay Bellerose, and bassist Dennis Crouch. Plant is quick to define Raising Sand as more a band record than a duet record, as it puts the two great singers in a variety of vocal and instrumental combinations – from songs featuring two-part brother-style harmony throughout to solo features for each. Though they come from entirely different traditions, Alison Krauss and Robert Plant create an amazing, unexpected, and entirely new sound when they sing together.

Listen to samples here 

I have to admit to a large amount of skepticism when I first heard about this collaboration. I mean, Alison Krauss has one of the most perfect voices ever (in my opinion) and Robert Plant— well, as a adolescent of the 1970s, I pretty much grew up on Led Zep, so he holds a relatlively honored place in my own musical history, but certainly a much different place than Alison. But I'm listening to this right now and it is an amazing record. Plant is effectively subdued and while their voices don't exactly blend like the Everly Brothers (listen to the cover here of their "Gone Gone Gone" and you'll see what I mean), they do manage to complement each other very well. T-Bone has assembled a great group of musicians, too, so it's a winner all-around.

I wonder if there'll be a tour? 

The material, ingeniously chosen by Burnett with input from Plant and Krauss, is the crucial thread that guides Raising Sand and gives the two unique singers a forum to interact and equally express themselves. The songs range from modern to classic, consisting mostly of lesser-known material from a wide spectrum of great blues, R&B, country, and folk songwriters – Tom Waits, Gene Clark, Little Milton Campbell, Mel Tillis, Townes Van Zandt, Doc Watson, Phil and Don Everly among them. They also recorded the Robert Plant/Jimmy Page song “Please Read the Letter,” from the 1998 album Walking Into Clarksdale. “You’ve got two singers that can handle a wide range of material – storytellers,” explains Burnett. “So you look for the stories….”

Krauss explained that the genesis of Raising Sand came about seven years ago, when Plant called to say hello and that he’d love to work with her someday. A few years later, Plant made good on his word and called Krauss about participating in a Leadbelly tribute at the Rock and Roll Hall of Fame, where they sang together for the first time. The collaboration revealed instant potential to the pair, and several years later they enlisted Burnett to help them realize a more full-scale collaboration.

Tracks include:
Rich Woman (Dorothy LaBostrie-McKinley Millet)
Killing the Blues (Rowland Salley)
Sister Rosetta Goes Before Us (Sam Phillips)
Polly Come Home (Gene Clark)
Gone, Gone, Gone (Done Moved On)(Phil and Don Everly)
Through the Morning, Through the Night (Gene Clark)
Please Read The Letter (Robert Plant-Michael Lee-Jimmy Page-Charlie Jones)
Trampled Rose (Tom Waits-Kathleen Brennan)
Fortune Teller (Naomi Neville)
Stick With Me Baby (Mel Tillis)
Nothin’ (Townes Van Zandt)
Let Your Loss Be Your Lesson (Milt Campbell)
Your Long Journey (A.D. Watson and Rosa Lee Watson)

Call for Entries: Photography

Manifest Gallery

 

 

New Voices Series: "Mourning View"

Press Release

Cincinnati Playwrights Initiative (CPI) and Cincinnati Arts Association continue the New Voices Series of staged readings by local actors, with a transformation of a one-act into a full-length play.

In "Mourning View," by Denise Stoner-Barone, four sisters — one of whom hasn't been seen by the family for the past ten years-assemble for a final viewing of their mother.  As the sisters grieve, old wounds are re-opened, jealousies revealed, and a level of redemption occurs. 

Tom Fox directs.

 

WHAT:  "MOURNING VIEW" by Denise Stoner-Barone - staged-reading play
WHERE: The Aronoff Center for the Arts, Fifth Third Bank Theater.
WHEN: 7:30 p.m. Oct. 16
COST: $6; $3-students 513-621-2787, or online at www.cincinnatiArts.org.
MORE INFO: 513-241-5154 or visit www.cinciplaywrights.org 

About the playwright:
Denise Stoner-Barone's first play, "A Moomoir," received a staged reading as part of a CPI developmental workshop at the Contemporary Arts Center in 2005. "A Licorice-Dipped Lexapro," a ten-minute play, was part of a 2005 fundraising campaign. The one-act "Mourning View," directed by Jane Goetzman, was presented at the Aronoff, Fifth Third Bank Theater in 2006. Stoner-Barone's novel "Fantasy Daze" has been recently published under the pen name of Gwen Williams, and is available through Liquid Silver Books.

"MOURNING VIEW" - Part of CPI's New Voices Series.


Act One of "Mourning View" begins in the present.  Melanie arrives at the Randolph Brothers Funeral Home to view her mother's body and to pay her last respects.  Her sisters, first Helen and then Jenny, join her.  A surprise visitor, the sisters' long estranged sister, Georgia, adds tension to the mix.  Although Georgia is actually relieved to see that her mother has died, the other sisters berate her for lack of feelings.  The sisters fight about Georgia's affair with Melanie's husband; Helen takes Melanie's side.  Jenny is frustrated by the fact that being the youngest, she has been kept out of everything.  When the sisters discover that Melanie will be inheriting Mama's entire estate, there is a conflagration of emotion.  A sort of rapprochement occurs at the end of the act.

Act Two begins ten years earlier with Papa's funeral.   We see the sowing of seeds of discontent and enmity; Melanie is still reeling from the fact that her own sister has had an affair with her husband.  Helen is furious with Georgia.  Mama, who never has understood Georgia, does further damage to the relationship with her fragile daughter.  Jenny, of course, is kept out of everything.  Feeling embittered, Georgia leaves early, not to return for another ten years.  Although Georgia is gone, Mama proceeds to engage in a family prayer and at the same time she dispenses her blessings upon her three remaining daughters.




October 09, 2007

Not your grandpa's 'Frankenstein'

Go! feature

Gretchen Roose scared herself silly researching her latest role.

“I joined Netflix so that I could watch all those old horror movies,” she said of her preparation to be Baroness von Frankenstein in the Drama Workshops upcoming production of “The House of Frankenstein.”

“They really are quite scary,” she said. “Bela Lugosi is really, really good.”

A 1981 graduate of Lakota High School, Roose is a veteran of many local theater groups, including Greater Hamilton Civic Theatre (“Scrooge”) and the group formerly known as the Rotary Revels (“Cinderella” as one of the stepsisters), as well as regional community theater organizations such as Stagecrafters, Ovation Theatre and the Drama Workshop, where she currently serves as president of the board.

But don’t expect “House of Frankenstein” to be as blood-chilling as Roose’s research.

“This is definitely a comedy,” she said. “It’s a send-up of all those old Universal horror movies.

In this one, Baron Victor von Frankenstein tries, against all odds to create life, Roose said. Unfortunately his only success, if you can call it that, is a mute monster whose only real use is doubling as a lamp, so spends much of the play with a lampshade on his head.

There’s also an inept assistant named Ygor, a German maid with blood all over her apron and a parade of famous monsters (including the Wolfman, played by Mason-area resident Michael Ireland) who come to Frankenstein’s castle to remove their various curses.

“My character is bored out of her mind,” Roose said. “She can’t stand the gloom and doom of the castle.”

For each Saturday night performance of the run, patrons are encouraged to dress in up in Halloween costumes to receive $2 off the price of their admission, and will be entered into our costume contest that will happen during the show intermission.

  • WHAT: “The House of Frankenstein!” by Martin Downing
  • WHERE: Westwood Town Hall,  3017 Harrison Ave., Cincinnati
  • WHEN: Through Oct. 20
  • COST: $12-$14
  • MORE INFO: (513) 598-8303; www.thedramaworkshop.org

 

What in the world could possibly be 'More Fun Than Bowling'?

Go! feature

When he was a child, Jake Tomlinson was a piano prodigy, but an accident left his hand grotesquely deformed and unable to play.

But when life hands you lemons....

“Jake realizes he has a perfect bowling hand,” said Morgan Grahame, the actress playing his third wife, Loretta, in the regional premiere of Stephen Dietz “More Fun Than Bowling,” going up next week at the Ensemble Theatre of Cincinnati.

So bowling becomes a way of life for him.

“He buys a bowling alley, so it becomes his livelihood, but it’s also more than that,” Grahame said. “He sees it as a parallel to life.”

In his bowling lessons, he describes the bowling ball as Death trying to kill the 5-pin, and the bowler has to be clever enough to get around the other pins that protect the intended victim.

“He feels that everyone is out to get him,” Grahame said. “He can’t control much in his life, but he can control the bowling ball.”

The script does not tell the story in a linear way, she said, but jumps around in time exploring Jake’s three marriages and his freakish accidents more or less simultaneously.

“On one hand, it’s a very  dark comedy with characters in weird situations,” Grahame said. “Parts of it area very sad, but what happens is like real life and it definitely has something to say about life and love.

“Instead of giving up and saying he’ll never love again, he makes the decision to bounce back and take care of his daughter,” she said. “He doesn’t fit in this little bowling town, so he has to find himself and in the course of the play, we find him, too.

“All of the characters are honest and spontaneous. They know what they want and go after it. Jake really is full of love, but if you’d ask him about it, he’d deny it.”

  • WHAT: “More Fun Than Bowling” by Stephen Dietz
  • WHERE: Ensemble Theatre of Cincinnati,
  • WHEN: Oct. 17-Nov. 4
  • COST: $27-$35
  • MORE INFO: (513) 421-3555; www.cincyetc.com

 

'Pillowman' creates dark alternate reality

Go! feature

Somewhere in the fascist dictatorial world of “Pillowman,” there are murders, and the chief suspect is a writer of fantasy fiction, Katurian.

The police detain the writer and his mentally challenged brother to try to find out why the murders sound so much like his unpublished stories.

“The stories are like modern Grimm’s fairy tales,” said Nick Rose, the actor portraying one of the interrogators. “The children are always in danger. Sometimes they make it, sometimes they don’t.”

The interrogators stop at nothing to get answers they want. Scenes shift between a cramped interrogation room and Katurian’s imagination, in a script described as Quentin Tarantino-meets-Alfred Hitchcock.

Rose said that his character is “a bad cop with a heart of gold.”

“He even admits that he sometimes uses excessive force, and sometimes on an innocent man,” he said. “But that’s not going to let him ever ruin his chance to catch the criminal. He has an honorable goal to protect children, but...”

Derek Snow, plays Michal, Katurian’s brother, a developmentally-disable man-child, said that the play is challenging for the actors, but will keep the audience engaged by the psychological drama.

“It’s like a cold splash of water when you get to the reveal,” Snow said.

For his part, he said drew upon his experiences growing up with a mother who taught developmentally challenged children.

“She had a close relationship with several of her students,” he said, “so I also got to know them very well, and there were a couple who were specifically helpful.”

Because the play takes place in a fictional society with Eastern European-sounding character and place names, director Jason Bruffy added the extra challenge of having the actors adopt non-specific accents, sort of Russian, sort of something else .

“I don’t do things that don’t challenge me anymore,” he said. “We’ve got enough ‘My Fair Ladies’ out there.”


 
  • WHAT: “Pillowman” by Martin McDonagh
  • WHERE: Know Theatre Company
  • WHEN: Oct. 18-Nov. 10
  • COST: $15-$22
  • MORE INFO: (513) 300-5669; www.knowtheatre.com


Mad Anthony Theatre Company presents "Art"

Go! feature

Can a friendship endure bad taste in art?

That’s one of the questions raised by “Art,” the award-winning Yasmina Reza play opening the Mad Anthony Theatre Company’s season at the Fitton Center for Creative Arts.

“Art,” which won the 1998 Tony Award for Best Play and equivalent awards in France and Great Britain, is the story of three men whose longtime friendship is threatened when one of them buys an outrageously expensive painting.

Serge, played by Cincinnati actor and Mad Anthony veteran Dennis Murphy, has just gone through a rough divorce and has fallen in with an artsy crowd. His old friends Marc (Burt McCollum) and Yvan (Bill Balfour) are chagrined to discover that Serge has purchased a completely white canvas, presumably painted by a hot young artist named Antrios.

“This time he’s gone over the line,” Cepluch said, “at least as far as his friends are concerned.”

By a plot description, the play is simple, he said, as the three characters debate the purchase and the state of contemporary art, but it’s not about art so much as it’s about friendship and studies of the three characters.

“I’m always looking for plays with a minimal cast,” said director Henry Cepluch, “and some of the strongest actors in the area are middle-aged men, so this was perfect.

“After I decided to do the play, I sat down a couple of nights and just let it sift through my head: Who are the three bets comic actors in the area?

“I called them up and they all three said they’d love to do it. They each have a wealth of experience and there’s an incredible chemistry among them. When they get going, the electricity is just wonderful.

“Art” contains mature language and may not be suitable for younger audiences.

  • WHAT: “Art” by Yasmina Reza
  • WHERE: Fitton Center for Creative Arts, 101 S. Monument Ave., Hamilton
  • WHEN: 8 p.m. Oct. 18-20; 2 p.m. Oct. 21
  • COST:  $15 general admission, $12 members, $6 student
  • MORE INFO: (513) 863-8873; www.fittoncenter.org

 

Wussy

Go! feature

In 2001, Lisa Walker was consoling her friend Chuck Cleaver as he was preparing himself at the bar for a pending “dreaded” pre-show performance as part of the Cincinnati Entertainment Awards.

Cleaver — a former member of the popular Cincinnati band Ass Ponies — didn’t like performing alone, Walker said, so she kindly offered to come up with him.

“I was familiar with his work,” she said. “I didn’t know all the words, but I knew how the songs went. I just wanted to cheer him up, but to my surprise he said OK.”

So Cleaver wrote some lyrics on a napkin, and (little did they know at the time) Wussy was born.

“It actually went over pretty well,” Walker said, “so we immediately started talking about doing it again — maybe even rehearse.”

The downside was that Walker had just moved to Columbus, so it didn’t seem like a good situation to start a band, but Cleaver kept calling her to sit in on gigs he had, so they “met in the middle” to practice.

“I felt like I left too soon,” she said, “so I moved back after a couple of months.”

The rest of the band just sort of came their way.

“We saw (bassist) Mark (Messerly) while we were out and about one night and Chuck said, 'I think Mark’s supposed to play with us,’” Walker said. “And another night out of the blue Dawn (Burman) came up to us and said, 'I’m supposed to play drums for you.’

“So we said we better learn how to play together because a band has formed. It really was that spontaneous.”

Cleaver already had a name picked out.

“He seemed to know what it was going to sound like before we even played,” Walker said. “I don’t doubt him anymore.”

Wussy started forming — probably — before it was really ready, operating under the principal that the best way to learn is to fall on your face in front of a crowd.

Now with the upcoming release of “Left for Dead,” Wussy will have three CDs and glowing national reviews in Blender and Harp magazine, Village Voice and RollingStone.com, among others.


WHAT: Wussy with the Kyle Sowashes
WHERE: The Comet, 4579 Hamilton Ave., Cincinnati
WHEN: 9 p.m. Oct. 12
COST: No charge
MORE INFO: (513) 541-8900; www.cometbar.com
 

Rise for Freedom

Go! feature

Although he’s a poet by trade, he’s a musician at heart, so David Gonzalez has found becoming a librettist an enjoyable transition.

“It’s been kind of a dream project,” he said regarding the commission to provide the words for “Rise for Freedom: The John P. Parker Story” by the Cincinnati Opera. “My first identity is music, playing guitar and composing, so writing a libretto falls right into these things.”

This commission arose from a previous commission from Cincinnati Playhouse in the Park to create “Finding North,” a one-man show based on the John P. Parker story.

After purchasing his freedom at the age of 18, Parker became a successful inventor and owner of an iron foundry in Ripley, Ohio.

For this opera, however, he chose to focus on one singular “adventure” in Parker’s life, Gonzalez said.

“In his autobiography, ‘His Promised Land,’ this adventure is a mere page or two, but it epitomizes his vision and fortitude,” he said. “The opera is part of the mythologizing of John Parker, so I was careful to give him real, human qualities.

The adventure begins when cruel Kentucky slave owner named Sroufe drunkenly dares him to come on his land and “run away” one of his slaves.

“He’d already done 300 missions,” Gonzalez said, “so we need to explore why he’d do another one. He had a family to support, and this was a very risky endeavor, so why would he want to help out this unknown person?”

Gonzalez said that when he wrote the words, he created his own melodies in his head to make sure that the text was musical enough, even though composer Adolphus Hailstork never heard — and  consequently didn’t use — any of them.

“It was really just an intuitive way to judge the sound of the words, the balance of vowel sounds and rhymes, the rhythms. All of that was very important to me and (Hailstork) was very complimentary.”

In addition to public performances, Cincinnati Opera is presenting eight school-day performances and a series of related community programs leading up to the opera’s premiere.

“It’s a very rare thing that a work for young people is given such credence and support from a major institution,” Gonzalez said. “Young people’s art is often treated as a B job, but this is an A job all around. Everyone involved is an artist at the highest level.”

  • WHAT: “Rise for Freedom: The John P. Parker Story” by Adolphus Hailstork and David Gonzalez
  • WHERE: Jarson-Kaplan Theatre, Aronoff Center for the Arts, 650 Walnut, Cincinnati
  • WHEN: Oct. 13-21
  • COST: $15 adults; $10 students
  • MORE INFO: (513) 241-2742; www.cincinnatiopera.com

 


MEET THE CAST

Singing the role of John P. Parker is renowned bass Terry Cook who made his Cincinnati Opera debut in the role of Colline in La Bohème (1994). Mr. Cook is well-known for his numerous performances of Porgy in Gershwin’s Porgy and Bess, where he has been recognized for creating “an endearing Porgy who instantly captured hearts with his beautiful smile and glorious voice” (The Plain Dealer). He has appeared in New York Harlem Productions’s Porgy and Bess at Houston Grand Opera, Opera Bastille, and La Scala. Mr. Cook also has sung in more than twenty productions with the Metropolitan Opera, most recently in La Fanciulla del West, II Trovatore, A Masked Ball (telecast on PBS’s “Live from the Met”), and Les Troyens.

 Soprano Andrea Jones-Sojola sings the role of Miranda Parker, John’s wife. Ms. Jones-Sojola is currently touring with the critically acclaimed trio 3 Mo Divas. A recent CCM Graduate, she was a member of the Artist-in-Resident program with Dayton Opera where she sang the roles of Frasquita in Carmen and Papagena in The Magic Flute. Ms. Jones-Sojola sang the role of Lonnie, Muhammad Ali’s wife, in Muhammad Ali: Outside the Ring with Kentucky Opera. She even had the honor of singing it for the “Champ” himself.  

 Returning to sing the role of Reverend John Rankin is tenor Daniel Weeks. Mr. Weeks, who has performed with Cincinnati Opera on numerous occasions, was commended for his “strong performance” (Cincinnati Enquirer) as Don Basilio in the Marriage of Figaro (2002). A member of the applied voice faculty of the University of Louisville since 1998, Mr. Weeks has become an integral part of the vocal program at the university while maintaining an active recital, concert, and operatic career.   

 Tenor Jeremy Cady, a doctoral student at the University of Kentucky, portrays Sroufe, a slave owner. Mr. Cady has been a member of Cincinnati Opera’s The Corbett Foundation Young Artist Program for the past two seasons. He recently sang the role of Pang in Puccini’s Turandot with the Kentucky Opera.  

 Soprano Kearstin Piper Brown, who was a member of the 2007 Cincinnati Opera Resident Ensemble, sings the role of Mrs. McDowell, an enslaved woman. Tenor John Christopher Adams, a CCM student who sang in the Cincinnati Opera Chorus this past season, sings the role her husband, Mr. McDowell.  

 

MEET THE CREATIVE TEAM

Adolphus Hailstork, Composer

Adolphus Hailstork’s symphonic, chamber, and choral works have been performed by major orchestras all over the nation, including Baltimore, Chicago, Detroit, Philadelphia, and New York, and have been led by renowned conductors such as Lorin Maazel, Daniel Barenboim, and Kurt Masur. Recognized for his range of compositional styles, this is Dr. Hailstork’s third opera. In 1995, Dayton Opera commissioned the new one-act opera Paul Laurence Dunbar: Common Ground. In 1999, the composer’s second symphony (commissioned by the Detroit Symphony Orchestra), and his second opera, Joshua’s Boots (commissioned by the Opera Theatre of St. Louis and the Kansas City Lyric Opera), were premiered. In 2002, James Conlon conducted Dr. Hailstork’s oratorio Done Made My Vow at the renowned Cincinnati May Festival.

A CD of Dr. Hailstork’s Symphonies No. 2 and 3, recorded by David Lockington with the Grand Rapids Symphony, was recently re-released. In 2006, the Cincinnati May Festival Chorus premiered Dr. Hailstork’s deeply moving Earthrise. His career also has included professorships at Youngstown State University in Ohio, Norfolk State University in Virginia, and Old Dominion University, also in Norfolk, Virginia, where currently he is Eminent Scholar and Professor of Music.


David Gonzalez, Librettist

Broadway playwright and librettist David Gonzalez has created numerous productions including The Frog Bride, nominated for a 2006 Drama Desk Award for “Unique Theatrical Experience,” and critically acclaimed shows ¡Sofrito! with Larry Harlow and The Latin Legends Band, and MytholoJazz with the D.D. Jackson Trio.

All three of these productions have enjoyed sold-out runs at Broadway’s New Victory Theater. His work Double Crossed: The Saga of the St. Louis, was commissioned by the Smithsonian Institution’s Discovery Theater and has toured nationally including at the United States Holocaust Memorial Museum. In 2004, Mr. Gonzalez’s Finding North, a one-man play with music by Marvin Sewell, based on the Underground Railroad, premiered at the Tony-award winning Cincinnati Playhouse in the Park with the support of a grant from the National Endowment for the Arts. His poetry has been featured at Lincoln Center’s Out-of-Doors Festival in 2001, Bill Moyers’ documentary Fooling with Words on PBS, as well as NPR’s All Things Considered. He received his doctorate in Music Therapy from New York University’s School of Education.

 

James R. Cassidy, Conductor  

Music Director and Executive Director of the Kentucky Symphony Orchestra (KSO) since 1992, James R. Cassidy has many years of experience as an educator, arts administrator, and conductor. Under his leadership, the KSO has become the fastest growing orchestra in the United States. The KSO has grown more than tenfold in budget, launched summer and education programs, and has expanded the orchestra’s musical offerings by creating several Symphony-sponsored subsidiary groups. Recognized throughout the country for his innovative programming, Mr. Cassidy remains passionate about making symphonic music attractive, accessible, and affordable. A Florida native, Mr. Cassidy has been music director of the Florida Ballet Theatre and the Tampa Chamber Symphony. He has conducted the St. Petersburg Opera, the Cincinnati Chamber Orchestra, and the Cincinnati Philharmonia Orchestra. Mr. Cassidy holds degrees from the University of South Florida and the University of Cincinnati’s College-Conservatory of Music.

 

Sheila Ramsey, Director

Sheila Ramsey, founder and artistic director of Dayton’s The Dream Keeper Theatre Company, has a long history with the Dayton arts community. One of the original resident artists with the Human Race Theatre Company, she also spent many years with Dayton’s nationally acclaimed education program, The Muse Machine, and has performed with Dayton Contemporary Dance Company. Ms. Ramsey is faculty associate in the Department of Theatre, Dance, and Motion Pictures at Wright State University where she has directed a diverse selection of important contemporary plays including The Colored Museum, Home, A Soldiers’ Play, Inherit the Wind, From the Mississippi Delta, and Biloxi Blues. She was named Best Collegiate Production and Best Director 2004 by the Dayton City Paper for One Flew Over the Cuckoo’s Nest.  

 Mary Tensing, Dramaturg  

Cincinnati-based actor, playwright, director, and teacher Mary Tensing serves as dramaturg, assisting the team with historical research. In Cincinnati, she has performed in numerous productions including: The Christmas Carol (Playhouse in the Park), Durang Durang (The Ensemble Theatre of Cincinnati), and Ironmistress (The Women’s Theatre Initiative). A number of theatres have commissioned her to write new works: Rapunzel, Thanksgiving Eve, The Rockin’ Adventures of Peter Rabbit, Hansel and Gretel (The Children’s Theatre), Tales of the Baba Yaga, and Placing Out (The School for the Creative and Performing Arts). Also, she has directed One Flea Spare by Naomi Wallace for The Women’s Theater Initiative, Neat by Charlayne Woodard for The Know Theatre Tribe, and her own version of Androcles and the Lion for The Children’s Theatre, as well as a number of touring productions for Cincinnati Opera’s Education Ensemble and Theatre IV.

 


Public Performances of Rise for Freedom

• Saturday, October 13 at 7 p.m. (includes opening night celebration at the Contemporary Arts Center)

• Sunday, October 14 at 3 p.m.

• Saturday, October 20 at 3 p.m. and 7 p.m.

• Sunday, October 21 at 3 p.m. and 7 p.m.

 

Single tickets for Rise for Freedom are on sale now; adults $15 and children $10. For more information, please

contact the Cincinnati Opera Box Office at (513) 241-2742 or visit www.cincinnatiopera.org.  

October 02, 2007

Every girl's dream

Go! feature

It’s good to be a princess.

“It’s so much fun to portray a princess and to feel like you’re in a fairy tale,” said Emma Baxter, who portrays Sleeping Beauty in “Princess Classics,” the latest offering from Disney on Ice.

“Kids come to the show dressed up and it makes you feel good to see these characters come to life,” she said.

The show brings together the entire line-up of Disney princesses — Jasmine, Ariel, Snow White, Mulan, Belle and Cinderella as well as Sleeping Beauty, also known as Princess Aurora — in one extravaganza.

“The first act is a short story about each of the princesses,” Baxter said. “They hit every aspect of the story and it’s a good portrayal of them all except Cinderella, who gets the whole second half of the program to herself.

“It renews all of the stories, but I don’t think they will ever get old.”

Baxter actually grew up around the Disney on Ice franchise as her mother and father were both skaters, so she knew her way around the ice from an early age. After high school, she auditioned for “Finding Nemo” and landed a part as one of the school fish and understudy for Dory.

She said she especially likes the special effects of this show, especially the pyrotechnics.

“The stories really come to life in a very high-energy but classic way,” she said.

“It seems so magical. You can tell by the looks on the faces of the kids.”


  • WHAT: Disney on Ice presents “Princess Classics”
  • WHERE: U.S. Bank Arena, Cincinnati
  • WHEN: Oct. 10-14
  • COST: $14-$56
  • MORE INFO: (513) 562-4949; www.ticketmaster.com

 

'My Fair Lady' still loverly

Go! review

Maybe it’s because there’s a George Bernard Shaw plot driving it, or maybe it’s because the tunes are memorable and hummable, but there aren’t many musicals that can endure the years as well as “My Fair Lady.”

The current national tour running at the Aronoff Center in Cincinnati, based on last year’s West End revival, updates the look to give it a darker look that suits the story appropriately, but Christopher Cazenove’s harsh portrayal of Professor Henry Higgins doesn’t fare as well. If we are to believe that Eliza Doolittle would have kind feelings for him at all are lost in his insidious insults and bluster. The point of this production, in fact, is to pay homage to Shaw’s “Pygmalion” by not having a happy romantic ending, but why this Higgins has any friends at all is beyond belief. And it’s hard to believe that someone could be off-key in a talking song.

That said, however, Lisa O’Hare is a delightful Eliza and her transformation from flower girl to princess is remarkable. Tim Jerome brings a comic energy to the part of her father, Alfred Doolittle, that nearly stops the show. His signature number, “With a Little Bit of Luck,” with its “Stomp”-inspired choreography is one of the highlights of the show.

The sets, too, are eye-popping, using a series of arches in creative ways, and Higgins’ study is probably as dense and elaborate as any touring production set ever.

It’s also fun to see Sally Ann Howes as Professor Higgins’ mother. Howes, best known as Truly Scrumptious in the 1968 movie “Chitty Chitty Bang Bang,” replaced Julie Andrews in the original Broadway production of “My Fair Lady” in 1958. Her charming advice to Eliza, then, comes off as quite sincere and wise from experience.

  • WHAT: “My Fair Lady”
  • WHERE: Aronoff Center for the Arts, 650 Walnut, Cincinnati
  • WHEN: Tuesday through Oct. 7
  • COST: $30-$60
  • MORE INFO: (513) 621-2787; www.cincinnatiarts.org

David Kim: 'It's always late autumn in Tchaikovsky'

Go! feature

A good starting question when interviewing any musician could be “How did you get started playing your instrument?”

But David Kim doesn’t remember.

“My mother had my destiny all set before I was even born,” he said.

When he was 3, Santa Claus brought him a 1/8 size violin and from there, “I can’t remember a day in my life when I didn’t play violin,” he said.

What he does remember is that his mother was a tough task-master.

“She was a well-known pianist in Korea and came here as a master’s student, but then I came along a surprise while she was still in graduate school,” he said. “My father wanted a big family, but she refused to have other children because it would be a distraction to my career.

“I was practicing five hours a day by the time I was 8 years old and there were days I hated it, days when I threw the violin on my bed, but there was never a time to say, ‘I quit,’” he said. “The thought never crossed my mind because it was an all-encompassing part of my life.”

Indeed, he said the only slack time he ever had as far as music goes was when his mother died when he was 14.

“There were two years that I barely practiced, but going through that time let me know that I really loved the violin,” he said.

By the time he was 17, he was enrolled at Julliard and began pursuing a career as a concert performer.

“I was pretty much groomed to be a Yo-Yo Ma or an Itzhak Perlman,” he said. “I naively thought it was a given and everyone spoke to me as if it were a given. It took a long time to realize that it wasn’t going to happen.”

So in 1999, in his 30s, he decided to come to terms with the fact that he wasn’t at that level and began looking for a full-time job in a very competitive market. After auditions with seven different orchestras, he landed a position as the concertmaster for the Philadelphia Symphony Orchestra. Oddly enough, however, the prestigious job gave him the boost he needed to get more solo gigs.

“Now I feel like I occupy an enviable position,” he said. “I don’t have to work so hard to get concerts and I can stay home most of the time to be with my two daughters.”

For his performance with the Miami University Symphony, he will play one of his work-horse pieces, the Tchaikovsky Violin Concerto in D Major, Op. 35, one of the best known of all violin concertos and is also considered to be among the most technically difficult works for violin.

“It’s pretty much the only piece I can say I know like the back of my hand,” Kim said. “I find it’s the best audience piece there is, a guaranteed standing ovation.”

This, he said, is in spite of the fact that many people consider Tchaikovsky a second-rate composer, not quite up to the genius of Bach, Beethoven and Mozart, but as the only American to win a prize at the International

Tchaikovsky Competition in Moscow, Kim perhaps has a deeper understanding.

“There’s always some angst and suffering in Tchaikovsky’s work,” he said. “There’s a chill in the air and it’s always late autumn in Tchaikovsky. I never get tired of it.”

how to go

  • WHAT: David Kim with the Miami Symphony Orchestra
  • WHERE: Hall Auditorium, Miami University, Oxford
  • WHEN: 7:30 p.m. Wednesday
  • COST: $10 adults; $9 seniors; $5 students/youth
  • MORE INFO: (513) 529-3200; tickets.muohio.edu

 

TobyMac makes it about the passion

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TobyMac is the kind of artist who believes that lasting music shouldn’t be rushed.

His latest record, “Portable Sounds,” was over a year in the making.

“I really like to take my time to make sure that it’s exactly what I want it to be,” he said in a phone interview on his way to rehearsal. “I wanted it to have a really lush and full sound with a lot of layering.”

That’s why “Portable Sounds” has horn samples laid out over live horn sounds, sampled strings over real strings.

“It’s arranged in an old school way, but mixed new school,” he said. “The goal was to make it as passionate, as
authentic and as real-life as possible.”

Especially real-life.

“So much about my music is about my life and my friends,” he said. “The joy is in it. The pain is in it. The struggle is in it, and the over-coming is in it. My faith is a real part of it.

“All of that ultimately ends up on the pages of my lyric book, the ins and outs of everyday life.”

Perhaps that’s why since going solo after the dissolution of the ground-breaking dc talk in 1999, Toby McKeehan ranks among the most successful artists in Christian music history with two gold albums, six No. 1 singles and two Grammy nominations.

“When you write like that, people can connect,” McKeehan said. “We’re all going through the same things, so if people can relate to what you’re saying, they can feel it, too.”

The challenge, then, is to re-create that lush sound and passion for the work in a live setting as well. It helps, he said, to have reliable support.

“I’ve been blessed with the same band for about seven years now,” he said. “It’s hard for people outside the industry to realize how special that is. They are more than my family.

“It’s tough to translate from the record to the stage,” he said. “The music has a lot more space, but with the horns and the background singers, we have nine people up there on stage and the keyboard player adds loops to give it some texture.”


how to go
WHAT: TobyMac’s Portable Sounds (the Tour)  Featuring TobyMac with special guests Barlowgirl and Thousand Foot Crutch
WHERE: Landmark Baptist Church, 1600 Glendale Milford Rd., Cincinnati
WHEN: 6 p.m. Saturday
COST: $22
MORE INFO: (877) 840-0457; www.ticketforce.com

October 01, 2007

Times are apparently not a-changin’

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When Pat Ganz first started making plans for the Greater Hamilton Civic Theatre production of “To Kill a Mockingbird,” she didn’t know exactly how relevant it would be.

Based on the classic 1961 novel by Harper Lee, the story takes place in the deep South, circa 1935, in which a young girl faces racial prejudice in her small town.

“I thought we were beyond all that,” Ganz said. “I chose it because it’s so beautiful, an important story about tolerance and acceptance.”

But during the rehearsal, news started breaking from Louisiana about “the Jena six,” and the racial strife rearing its ugly head there.

“I thought we were beyond that,” Ganz said. “But apparently we’re not.”

But, she said, the process has shown her that there’s hope, especially in the up-and-coming generations.

“Using the 'n-word’ has been very difficult for my actors,” she said. “Everybody in the cast has the same reaction. In auditions, people were just skipping over the word, but we have to get over it because it speaks to the times” in which the play takes place.

While rehearsing the scene where the mad dog roams the streets and the black maid Calpurnia runs to the house next door, Scout has a line wondering if she shouldn’t be going to the back door. Ganz said she asked 10-year-old Leah Hall if she knew what that line meant. She didn’t.

“So I explained to them that at the time, black people had to use different entrances to buildings and different drinking fountains,” Ganz said. “All the kids looked at me like I was nuts, and I loved that they didn’t understand it.”

The cast also includes Joe Nagle as Atticus, Jordon Quisno as Jem, Cory Ziller as Dill, Deasca Donaldson as Calpurnia, Tom Redman as Heck Tate, Michelle Lewis as Miss Maudie, Shirley Moser as Miss Stephanie, Linda Hurley as Mrs. Dubose, Dan Riggsby as Mr. Gilmer, Matt Reed as Judge Taylor, Kevin Bell as Rev. Sykes, Kim Gibson as Mrs. Sykes, Monica Tenhover as Mayella, Dan Britt as Bob Ewell, Matt Reed as Walter Cunningham, Carlos Baxley as Tom Robinson, Roger Iams as Nate Radley, Rhys Richards as Clerk, Teresa Bayer-Iltzsch as Court Reporter, Brett Andress as Boo Radley and Christian Tracy and Jeremy Jones as extras.



how to go
WHAT: “To Kill a Mockingbird” by Christopher Sergel, based on the novel by Harper Lee
WHERE: Ross High School, 3601 Hamilton-Cleves Road, Ross
WHEN: 8 p.m. Oct. 11-14, 2 p.m. Oct. 15
COST: $12
MORE INFO: (513) 737-7529; www.ghctplay.com
 

Sea Monsters at the OmniMax

Go! report

“Sea Monsters: A Prehistoric Adventure” combines dynamic, state-of-the-art animation with dramatic recreations to create a prehistoric adventure.

The film follows a family of Dolichorhynchops, or “Dollies,” as they travel ancient waters populated with saber-toothed fish, prehistoric sharks and giant squid in the Late Cretaceous period, when a great inland sea divided North America in two and covered most of Texas more than 65 million years ago.

On their journey the Dollies encounter other sea creatures, lizard-like reptiles called Platecarpus that swallowed their prey whole like snakes and Styxosaurus with necks nearly 20 feet long and paddle-like fins as large as an adult human. At the top of the food chain are the monstrous Tylosaurus, predators with no enemies.

“Sea Monsters” weaves together a series of paleontological digs from around the globe in a story about scientists working as detectives to answer questions about this ancient and mysterious ocean world.

Viewers accompany modern and historical fossil hunters to remote locations as they excavate the remains of some these creatures, unearthing discoveries which shed light on exactly what happened to the film’s cast of characters.

There will be free family-friendly opening activities from 2 to 4 p.m. Sunday. A  paleontologist from the Texas Memorial Museum will bring fossils discovered in Texas. There are also hands-on activities and fun giveaways for all ages.

The “Sea Monsters: A Prehistoric Adventure” video game release will coincide Friday's world-wide premiere of the film.

The game play will be similar to the film, showcasing a prehistoric world that brings sea creatures to life as they journey through Earth’s ancient seas. It will be available on the new Nintendo Wii, Sony PS2 and Nintendo DS platforms.

how to go
WHAT: “Sea Monsters: A Prehistoric Adventure”
WHERE: OmniMax Theatre, Cincinnati Museum Center, Cincinnati
WHEN: Opens today
COST: $7.25 adults; $6.25 seniors; $5.25 children
MORE INFO: (513) 287-7000; www.cincymuseum.org

Vanishing Frontier: Cincinnati Art Museum

This one will keep you guessing

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Somewhere in the middle of “Rehearsal for Murder,” one of the lead characters, a playwright who specializes in musical theater, announces to the other characters that he’s written a different kind of play, a murder mystery where you lead the audience in the wrong direction and then give them a completely different ending than the one they're expecting.

Such is the play in which he’s speaking, according to Ray Sullivan, director — or should that be “mis-director”? — of the upcoming Fairfield Footlighters’ production.

“This is very much like an Agatha Christie story,” Sullivan said. “I think it’s going to keep the audience guessing right up until the last five or six minutes.”

Rehearsal for Murder was originally written for a 1982 television movie starring Robert Preston and Lynn Redgrave.

“We’re doing it a little bit differently since it’s being done on stage,” Sullivan said. “There are a lot of black-outs and spotlights and an unusual presentation. We’re even putting in a few wrinkles of our own.”

The play takes place in an empty theater where one year earlier a young actress apparently took her own life after the opening night performance of a play written by her fiance, the aforementioned playwright.

“The playwright calls everyone involved in the show in on the anniversary to find out who did her in because he believes that she didn’t commit suicide, but was murdered,” Sullivan said.

The cast of the production includes several veterans returning to the stage, including Carter Bratton, Brigette Horan, Dick Bell and Michael Potter, all of whom last seen in the Footlighters production of Neil Simon’s “Rumors.”  Michael Watson last appeared as a policeman in “Arsenic and Old Lace,” while  John Vanderplough, Kevin Noll and Kent Wrampelmeier are all veterans of last season’s production of “Dracula.” Alli Hershner was last seen on stage in the Footlighters production of “The Best Christmas Pageant Ever.”  

Newcomers to the Footlighter ensemble include Jennifer Drake, Sandy Gahan, Eric Tomeo, Lisa Tippett, Kristel Cunningham and Bob Kelly.

how to go
WHAT: “Rehearsal for Murder,” adapted for the stage by D.D. Brooke from the teleplay be Richard Levinson and William Link
WHERE: Fairfield Community Arts Center, 411 Wessel Dr., Fairfield
WHEN: 8 p.m. Oct. 11-13; 2 p.m. Oct. 14 
COST: $12 adults; $10 students/seniors
MORE INFO: (513) 867-5348; www.fairfield-footlighters.org

The West Side's first Jewish nun?

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When Chessie Vigran first saw the family comedy “Over the Tavern” in a Chicago production, she immediately thought that the role of Sister Clarissa would be right for her.

So when the Covedale Center for Performing Arts added it to their season, she auditioned and landed the role of the nun, never once considering her Jewish background to be a detriment.

“I found a lot of things in my own experience to lend to the character,” she said. “I’m the only person in the cast who actually remembers the ‘50s, so I have a great advantage, because even if you’re not Catholic, everything was done differently in the ‘50s.”

Vigran attended the Chicago public school system and remembers the dominant teaching method was learning by rote memorization.

“Thinking outside they box was not something you did,” she said. “Thinking in the box is what you did. Even though our teachers didn’t talk about going to heaven or hell, they had a set of values they promoted — cleanliness, punctuality, good citizenship.

“So I feel like I know who Sister Clarissa is in a way because she reminds me of some of the teachers I had — although she had corporal punishment in her hands and my teachers weren’t allowed to hit students.”

She said that her schools were very diverse, and after regular classes were over for the day, the Jewish kids went to Hebrew school, the Greek kids went to Greek school, the Catholic kids went to catechism.

“It seems like the Protestant kids were the only ones who didn’t have another class to go to,” she said.

“Religion was an expression of our ethnicity more than anything else.”

So although she did have some exposure to the Catholic culture — she attended a friend’s first communion, for instance — she still went on-line and did some research about how to pray with a rosary and other fine points of Catholic practices.

“I was acquainted with the core beliefs, but I wanted to understand how those beliefs became part of the culture,” she said.

“I’m hoping the people who see it will say that it reminds them of their own third grade teacher,” she said. “I don’t think you have to be Catholic to appreciate the show, to find it funny.”

Vigran said that she and Sister Clarissa have something else in common: They are both relics from a dying era in their own respective age. 

“I have a real hard time with the digital age,” she said. “I have a hard time understanding the way young people think because of it. I’m just not wired that way, so sometimes I can imagine that Sister Clarissa must have felt that way leading up to Vatican II.”

But according to director Tim Perrino, the Covedale’s core audience in Cincinnati’s West Side won’t have any trouble getting the nuances of the jokes. The theater, he said, is in a neighborhood where they used to joke that there is a Catholic church on every corner.

“It’s a real good story about family and coming of age in a day when the two would clash,” he said. “And we have a sweet, sweet cast.”

The cast of “Over the Tavern” also includes Bob Brunner as Chet Pazinski, Julia Hasl Miller as Ellen Pazinski, Tess Wallace as Annie Pazinski, Tom Boeing as Eddie Pazinski, Patrick Phillips as George Pazinski and Alex McCracken as Rudy Pazinski.


how to go
WHAT: “Over the Tavern” by Tom Dudzick
WHERE:  Covedale Center for the Performing Arts, 4990 Glenway Ave., Cincinnati
WHEN: Oct. 4-21
COST: $21 adults; $19 seniors/students
MORE INFO: (513) 241-6550; www.cincinnatilandmarkproductions.com

'Othello' proves itself timeless in Playhouse production

Go! review

It’s a testament to William Shakespeare’s genius that his plays hold up after 400 years of performance and re-interpretation.

Now running in the intimate Shelterhouse Theatre at the Playhouse in the Park, “Othello” proves its mettle.

Although there’s a war at the edges of the action, the plot of “Othello” doesn’t revolve around the grand machinations of governments and kings, but in the relationship between Othello, his wife Desdemona and his captain (“ancient” in the text) Iago.

Indeed, it’s Iago who sets forth the action. Passed by for a promotion and feeling pangs of jealousy himself, believing without evidence that Othello has invaded Iago’s own marriage bed, Iago plants seeds of doubt about Desdemona’s faithfulness.

Consequently, the success of an “Othello” production requires a strong Iago, and R. Ward Duffy plays the conniving and duplicitous provocateur to near perfection.

Likewise, Esau Pritchett and Sarah Dandridge, both making their Playhouse debuts, give winning performances as Othello and Desdemona, and Carine Montbertrand, recently seen in “Sherlock Holmes: The Final Adventure,” does nice work as Iago’s wife Emilia.

It’s hard to fathom, however, what the point is in presenting Roderigo, Iago’s accomplice, as a nerdy frat-boy type, and the only other complaint is that the actors who double roles don’t make their characterizations distinctive enough to be sorted out.

Otherwise, it’s a great joy to watch as Iago nurtures Othello’s jealousy to the dramatic, tragic conclusion.


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