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April 24, 2008

Playwright group to stage Holocaust play

Cincinnati Playwrights Initiative (CPI) and Cincinnati Arts Association continue the New Voices Series of staged readings by local actors, with another Holocaust-theme play.

Embers from the Ashes: A Girl's Holocaust Diary -
       Written by Kalman Kivkovich
       Directed by Tom Manning

       Original Music, Kamionka 1942, by Kalman Kivkovich

"Embers from the Ashes: A Girl's Holocaust Diary" is loosely based on a recently found journal, Ruthka Laskier's.  A 14-year-old Israeli girl discovers having a sister who had perished in the Holocaust.  Decades later, in 2006, she learns that a Polish woman had found her sister's notebook, but kept it a secret for 61 years. . . .  A flashback takes us to 1942, Nazi-occupied Bedzin, Poland.  We stay with a family who faces foreseeable destruction.  We witness the struggle of an adolescent coming of age in the foreground of formidable evil.   It echoes the voices of a million and a half Jewish children who didn't live to tell their stories.

The story keeps making news around the globe.  A third book will be published in April.  The events took place 2 blocks from where Kalman's mother lived.  Her family shared Ruthka's fate.


Tuesday, May 13, 2008, at 7:30 PM
Aronoff Center for the Arts, Fifth Third Bank Theater
Corner of Main and Seventh Streets

Tickets are only $7 ($4 students).  Reservations may be made in advance at Aronoff Center Box Office, or by calling 513-621-2787, or online at
http://www.cincinnatiarts.org/event_detail.jsp?event_id=753    
       Tickets are limited!
   
The Cast:  in order of appearance

Stephanie Brait as Ora & Ruthka
Michael G. Bath as Moishe
Alana Ghent as Sonia
Emily Matlack as Stasia
David Speer as Romek
Kate Wilford as Ora
Herb DuVal as Moti

Violinist: Alberta Schneider (KSO)

About the Director:
Tom Manning has directed over ninety plays in university, summer stock and off-off-Broadway venues.  He has taught acting and directing courses at five universities, including Columbia University and Miami University.  He served as president of the Ohio Theatre Alliance.  Recently, he has focused on acting with roles in That Championship Season at the Covedale, Tuesdays with Morrie at the Ovation Theatre Company, and To Kill a Mockingbird at the Falcon.  Other acting credits include the title role in King Lear with the Indianapolis Shakespeare Festival and School for Scandal with the Ensemble Theatre of Cincinnati.  He has worked with Cincinnati playwrights in performances of the CPI staged reading of Soldiers' Christmas and The Cincinnati 28 at the Museum Center.

About the Playwright:
Kalman Kivkovich is a retired architect, an artist, a writer and playwright.  He is a man of many continents; born in Kazakhstan in 1945 to Polish nationals, lived in Poland, Israel, Italy and for the last 35 years right here in Cincinnati.  Kalman published his first nonfiction in 1975, in Italy.  He finished his first novel, In the Vise of Evils, in 2006.  This is his second play to be selected by CPI; his first, In the Vise of Evils, based on his novel, was awarded the unprecedented two performances and offered a third.   Kalman frequents the InkTank Writers' Salon and is a member of CPI, Cincinnati Playwrights' Initiative, chairing its Publicity and informal Cold-Readings.

       For more information about this play, contact:
       Kalman Kivkovich
       513-861-0004
       Kivi1@aol.com

Playwright Kalman Kivkovich resides in Cincinnati, OH 45220

About CPI:
The Cincinnati Playwrights Initiative is a grassroots organization of playwrights, directors and actors devoted to bringing plays written by local playwrights to the Cincinnati stage in the form of staged readings.  Staged readings are an important step in the development of new plays.  The audience is encouraged but not required to join in the collaborative process of bringing a new play to life.  Staged readings allow playwrights, actors and directors to receive feedback from the audience about the play-in-progress.  Plays originally presented in the New Voices Series have been produced locally as well as in New York and Los Angeles.  For information about CPI, visit www.cinciplaywrights.org.

April 09, 2008

Watts Prophets leave a trail of poetry

JournalNews feature

HAMILTON — The paper can’t be as old as it looks. The poem was written just last week by a student at Talawanda High School, but already it’s creased and wrinkled and showing the wear and tear of continued admiration.

Amde Hamilton, one of the Watts Prophets, reads from it:

“You know that’s pretty bold coming to our school
Even though you’re so old, but it’s cool that you’re here.
It shows that you have no fear.
It shows that you care.
And let me tell you, that’s rare.”

And it’s cool that after 40 years of working with young people, helping them express themselves through words written and spoken, that the Watts Prophets would still be moved enough by the words of a teenager that they carry something like this around to share.

The Watts Prophets — Hamilton, Richard Dedeaux and Otis O’Solomon — first came together in 1967 at the Watts Writers Workshop in Los Angeles, which was created by screenwriter Budd Schulberg (“On the Waterfront”) from the ashes of the riots two years earlier.

“When we first came down there, Watts was called ‘Charcoal Valley’ because it was so burned up,” said Prophet Richard Dedeaux, “and there was still a lot of tension.”

Because so much of what was going on at the Watts Writers Workshop was for the theater and performing arts, the Prophets got the idea of making poetry more performance-oriented, thus becoming one of the early practitioners of what evolved  into hip hop.

“We were the ones to take poetry from the podium to the stage,” Dedeaux said. “At that time they’d just stand up at the podium and read their poetry. We decided to add a little drama to it and take the paper away.”

“Each poem became a complete play with a beginning a middle and an end,” Hamilton added, “with call and response, add music and a rhythm section.”

“We did a performance at a talent show at the Inner City Cultural Center, which is similar to the Watts Writers Workshop but located in another part of town,” O’Solomon said.

“They had singers, dancers, comedians and musicians, but never had any poets before and we came out with poetry and won second place,” Hamilton said.

While getting the award, someone asked them what their name was.

“We said ‘Watts Fire’ or something like that,” Hamilton said. But one of the young women in their group at the time shouted out that they were the Watts Prophets, and that name stuck through the years.

Their early success found them performing in Los Angeles-area clubs, opening for Earth Wind and Fire, the Fifth Dimension, Richard Pryor and other popular acts.

“A lot of college students would come through and a lot of them would ask us to come and perform there during the day,” O’Solomon said, and thus began the educational wing of the Watts Prophets.

A few years ago, a request from U.C.L.A. resulted in a change in the way they present themselves in communities around the nation. Rather than come in, conduct a few classes, do a show and then move on to the next city, they decided to create a “hip hop poetry choir” during their residencies and hope that they would continue beyond the Prophets’ stay.

“They scatted, chanted, hummed, sang, danced, painted, whatever creative way they can present their poetry,” Hamilton said. “We bring the community to the university and the university to the community. Some last; some fade out.”

But when they came to the Booker T. Washington Center last week for the first time, they discovered a hip hop education program already in place: The BTW Hip Hop Institute.

Even so, the center’s executive director Kelly Dukes said she was excited about the chance to have her 45 students work with hip hop pioneers like the Prophets.

“Part of the focus of the Hip Hop Institute is to teach them about hip hop history, to teach them something about music, so to have some of the founding members has really hit home for our students,” she said. “They have really helped them clean up their performance skills and to pay more attention to their writing technique.”

There are about 45 students regularly attending the group, the the Watts Prophets sessions helped narrow down the number to a select few who will join students at other sites from the residency — Talawanda High School, the Middletown Community Center and all three branches of the University — for a show at Hall Auditorium for the Miami University Performing Arts Series.

There, the students will practice “the three Ps” — posture, presence and projection — that are the heart of the Prophets’ technique.

“Those three things empowers them,” Hamilton said, “and we require 100 percent participation, so everyone gets involved. Once we’re through with them, they handle the whole show.”

But there is more for them to teach than just technique.

“We teach them to believe in themselves,” Hamilton said, “that they can change this horrible world that we have here right now.”

“When they respect themselves, they respect others,” Dedeaux added.

“We get them thinking about being the replacement generation, they’ve got to replace the group that went before them and they can change things and turn things around,” Hamilton said. “So it’s a combination of things.”

And as in most learning situations, the teachers are sometimes the students, too.

“We learn to listen more, to get more involved,” Dedeaux said. “We realize how intelligent they are. They have solutions to a lot of problems if you listen to them.”

  • WHAT: The Watts Prophets and the Oxford Area Hip Hop Choir
  • WHERE: Hall Auditorium, Miami University, Oxford
  • WHEN: 7:30 p.m. Friday, April 11
  • COST: $10 adults, $9 senior citizens, $5 for students/youth
  • MORE INFO: (513) 529-3200; www.muohio.edu/PerformingArtsSeries

Photos by Nick Daggy

 


April 06, 2008

Bad Signs: No Parking Any Time

photos hosted on flickr 

Bad Signs: No!

Bad Signs: Slow Children

Yellow Star

Bad Signs: Clearance 7'9"

Bad Signs: Opicz

Dog Eye

Egg Bird

Bad Signs: Pi

Bad Signs: Drive Thru


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