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An Arts & Culture Revue

December 01, 2008

'Scientology Pageant' needs further clearing

Go! review

The title is not only long, but hilarious in its own right: “A Very Merry Unauthorized Children’s Scientology Pageant,” Know Theatre of Cincinnati’s off-the-hook holiday offering.

If only the production lived up to the promise.

The Pageant won an Obie Award for its off-Broadway premiere, with predictions of a cult phenomenon as a dead-pan musical rendering of the life of L. Ron Hubbard, the science fiction writer who was fond of saying that his craft was a waste of time when a guy could get rich by starting his own religion. Then he started a religion and got rich (and I am confident that I will get a stern letter from a Scientologist for writing this — it’s happened before).

The premise, and the hoped-for charm, of the Pageant is that it uses the trappings of a church or school Christmas pageant, calling to mind ubiquitous “The Best Christmas Pageant Ever,” in telling this story, substituting Hubbard’s life and doctrine for that of Jesus.

But this show is not about making a pageant, but a parody of one, and as such falls victim to the imitative fallacy by being self-consciously, but not skillfully, exactly what it should only be pretending to be.

This is the second show of its kind in the Know season. But with “Reefer Madness,” with the premise of being a school production warning of the evils of marijuana, there was constant winking and nudging at the out-dated propaganda. When the character did something cheesy and over-the-top, we knew that it was a comedic choice (whether it was funny or not).

But the humor doesn’t work when the production doesn’t have something in it to let us know that they’re trying to sing off-key, rush their lines or hesitate on a cue. These things could happen with comedic intent and result, but there’s nothing here to clue us in that this isn’t just a poorly-cast and under-rehearsed show, but a parody of one. There’s no wow factor, no moment when we are awed by either the talent of the cast or the brilliance of the material. We may have had both, but the production seems so poorly-conceived and tossed-together that nothing stands out. Since we never see the man behind the curtain, never get a sense of his presence, we presume he’s not there. Consequently, the show doesn’t seem campy and silly, but pathetic.

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how to go
WHAT: “A Very Merry Unauthorized Children’s Scientology Pageant” by Kyle Jarrow
WHERE: Know Theatre of Cincinnati, 1120 Jackson, Cincinnati
WHEN: Through Dec. 28
COST: $12
MORE INFO: (513) 300-5669; www.knowtheatre.com

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November 17, 2008

Playhouse offers up another light and fluffy

Go! review

If you're looking for scintillating insights on the battle of the sexes (yes, it still rages), then "I Love You, You're Perfect, Now Change" probably isn't the place to go.

The musical revue takes a tired-but-true look at the battle, keeping it very much in the man-Mars/woman-Venus vein.

Unless you don't know that women like to shop and go to tear-jerking movies, that men like sports and action/adventure flicks, and that couples get goofy when they have a baby, there's not much to learn here (Hope I didn't spoil it for you).

The upside is that the show is nicely produced (with the exception of some technical issues on opening night) and beautifully sung, the cast led by Bob Walton, who might be remembered by Cincinnati audiences as Pseudolus in the Playhouse's production of "A Funny Thing Happened on the Way to the Forum" a few years back.

While some of the comedy is over-done, better placed on sketch comedy show than the legitimate stage, there's also a poignant moment where a woman creates her first dating video that strikes a few emotional nerves.

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HOW TO GO:
"I Love You, You're Perfect, Now Change" by Joe DiPietro and Jimmy Roberts
Through Dec. 31
Cincinnati Playhouse in the Park
$51-$61
(513) 421-3888; www.cincyplay.com

 

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October 24, 2008

Not a musical: "Love Song" is a quirky comedy


Go! review

Joseph Parks as Beane in the Playhouse in the Park's production of "Love Song." Photo by Sandy Underwood.

Last summer, we saw Joseph at the Second Stage Theatre in New York where he starred in "Eurydice," a play that the Know Theatre is prooducing next spring. Small world..... 

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October 22, 2008

Ensemble shines in 'Seafarer'

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Joneal Joplin, John LiBrizzi and Adrian Sparks in "The Seafarer" 

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A palpable 'Hamlet'

Go! review

Matt Johnson as Hamlet; Justin McComb as Guildenstern Rosenstern Rosencrantz; Billy Chace as Rosencrantz Guildencrantz Guildenstern. 

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'Ears on a Beatle' plays with history

Go! review

Ryan Wesley Gilreath (l) and Tim Lile (r) 

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September 18, 2008

REVIEW: "Grey Gardens," Ensemble Theatre of Cincinnati

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September 10, 2008

REVIEW: "Amadeus," Cincinnati Shakespeare Company

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September 08, 2008

REVIEW: "Over the Tavern," Human Race Theatre Company

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March 28, 2008

'Radio Golf' plays the right notes

Go! review

Life is good for Harmond Wilks and his circle. Not only is he on the verge of becoming Pittsbugh’s first black mayor, but a development deal he’s working on will make him rich AND be a boost for the Hill District where he grew up. And there’s more: His wife, Mame, is about to land a prestigious job in the governor’s office and his partner Roosevelt Hicks has been promoted to vice president of the bank where he’s worked his way up the ladder.

So it’s no wonder that everybody seems to be going around humming “Nothing but blue skies from now on.” Indeed, when “Radio Golf” opens, Wilks and his partner are preparing to tear down the last house that stands in the way of their development, which would include prestigious and trendy tenants like Starbuck’s and Barnes & Noble. But on his way to work, Hicks sees an old man painting the house. Known around the neighborhood as “Old Joe,” the man says he’s getting the house ready for his daughter to move in, and as it turns out, he just might have a legal claim to the property because of the way it was purchased even though Hicks and Wilks currently have the deed.

The situation puts everything in jeopardy: The development, the mayoral race and even his wife’s job, and Harmond Wilks has to make a moral decision whether to back out of the deal and let justice prevail, or to bully ahead no matter what the consequences.

Although there were a few rough moments on opening night, the Ensemble Theatre’s production of “Radio Golf” seems to hit all the right notes with a cast of actors all new to the Cincinnati area. It’s a beautiful and thought-provoking production of a play that explores an aspect of Murphy’s Law (what can go wrong, will go wrong).

  • WHAT: “Radio Golf”
    WHERE: Ensemble Theatre of Cincinnati, 1127 Vine St., Cincinnati
    WHEN: Through April 6
    COST: $27-$35
    MORE INFO: (513) 421-3555; www.cincyetc.com

photo by Sandy Underwood 

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March 18, 2008

'Rabbit Hole' shows aftershocks of tragedy

Go! review

“Rabbit Hole” begins with a woman folding clothes, a mundane kind of activity, but a significant act in Becca’s life, for this is the last time that she’ll do the laundry for her son. A few months before the action of the play begins, her 4-year-old son Danny was killed when he chased his dog into the street and ran into the path of an on-coming car.

Undoubtedly the worst thing in the world for a parent is to suffer through such a loss, and “Rabbit Hole” explores how Becca and her husband Howie cope with it — which is not very well. She wants to rid her house of all reminders of her son down to getting rid of the house itself. Howie likes having the stuffed animals around and takes to sitting up alone late at night watching home videos from happier times. She loathes the support groups because the other parents feel their own grief, but not hers. He finds comfort there.

Becca’s sister and mother share in their grief but are helpless to unburden them. In fact, Becca resents her mother’s constant comparisons to the loss of her own son, certain that her grief is unique. And her sister Izzy, now pregnant with her own child, has to remind Becca that the whole family lost Danny.

Most difficult for Becca and Howie, however, is the presence of Jason, the teenager who was driving the car that killed their son, and having to share their grief with him.

“Rabbit Hole” is the kind of play to bring tissues to, no doubt, but that doesn’t mean it’s totally depressing. Indeed, David Lindsay-Abaire’s script is a total delight, the way the characters talk around a point, letting the real story and their real feelings out by degrees.

The Human Race production is beautifully staged on a turntable set (though a little noisy) that reveals three rooms in the house through cut-away walls.

  • WHAT: “Rabbit Hole” by David Lindsey-Abaire
  • WHERE: Human Race Theatre Company, Loft Theatre, 126 N. Main St., Dayton
  • WHEN: Through March 30
  • COST: $28-$31
  • MORE INFO: (937) 228-3630; www.humanracetheatre.org

Samara Bay and Barbara Calarese Dirr

Photo: Scott J. Kimmins


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March 11, 2008

No doubt about the quality of "Doubt"

Go! review

 

At first blush, Sister Aloysius seems like the cliche educator nun. Even in 1964, when “Doubt: A Parable” takes place, she rails against the ball-point pen and the effect it has on penmanship. She speaks in sentences that seem to be culled from a book of pithy quotes: “Innocence is a form of laziness,” or “Don’t let a little blood muddle your judgment.” And when it comes to being sympathetic to the children in her charge, forget about it. “Every easy choice today will have its consequence tomorrow,” she tells fledgling teacher Sister James.

So when she has concerns about a relationship between the parish priest and one of the new students, the first “Negro” student in the St. Nicholas Church School in the Bronx, we have to wonder if she’s just reacting from her loathing of the priests in general, or if she really has such a keen sensibility in such matters.

Father Flynn’s story makes sense to Sister James, but then again, her pie-eyed enthusiasm is as much a source of the underlying humor in “Doubt” as Sister Aloysius’ crustiness. Nevertheless, the principal is so convinced that something untoward is going on that she bucks the Catholic hierarchy to challenge Father Flynn’s position.

Thus John Patrick Shanley’s script — winner of both the Pulitzer Prize and the Tony Award for Best Play — presents a moral dilemma with potentially tragic consequences.

Even though it takes place in 1964, “Doubt” resonates with the scandals afflicting the Catholic Church in the last decade or so in regard to the behavior of priests. In this time, the nuns are so suspicious of priests that they avoid even passing them in the courtyard.

This conflict, augmented by an insightful wit and sharply-drawn characters that rise above their type, not to mention an evocative set that looks about to implode on itself, makes “Doubt” an important play for our era and surely one not to be missed.

 

  • WHAT: “Doubt: A Parable” by John Patrick Shanley
  • WHERE: Cincinnati Playhouse in the Park, Cincinnati
  • WHEN: Through April 4
  • COST: $39-$52
  • MORE INFO: (513) 421-3888; www.cincyplay.com

 

Photo by Sandy Underwood

Caitlin O’Connell portrays Sister Aloysius and Ted Deasy is Father Flynn

 

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March 01, 2008

Williams’ 'Menagerie’ shattered by lack of focus

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I guess by this point, it would be easy to caricaturize the strong personalities of Tennessee Williams’ plays.

He did it himself in the 1956 film “Baby Doll,” his first time writing specifically for the screen, to parlay the themes of the fallen South into broad comedy.

But there’s something amiss about Cincinnati Shakespeare Company, a troupe devoted to classic plays, turning Williams’ “The Glass Menagerie” into a parlour comedy.

Being a self-proclaimed “dream play,” we would naturally expect the characters to be drawn rather broadly and exaggerated in the mind of Tom, the narrator and authorial intrusion on the event.

But Drew Fracher’s direction pitches “The Glass Menagerie” at the level of a situation comedy, as if mining the laughs instead of letting them flow from dreamy surrealism. Amanda is an outrageous character in Tom’s memory, to be sure, but guest artist Irene Crist would have her more at home in network television than serious theater. Brian Isaac Phillips, who has shown his dramatic chops many times over in area stages, gives us a Tom who is far too cheerful through most of the play, and should have used the same melancholy with which he delivers the final, tear-inducing monologue, as a touchstone for the rest of the show.

The second act finds better footing as the family welcomes the gentleman caller (Christopher Guthrie). Here, Amanda’s pomposity seems about right as she puts on happy airs in hopes of landing a mate for her daughter, and by the time we get to the candlelight interlude between Laura and the gentleman caller, this production strikes exactly the right tone.


WHAT: “The Glass Menagerie”
WHERE: Cincinnati Shakespeare Company, 719 Race St., Cincinnati
WHEN: Previews Feb. 20-21; opening night Feb. 22; continues through March 16
COST: $12 preview; $20-$26 for run
MORE INFO: (513) 381-2273; www.cincyshakes.com

 

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February 04, 2008

Brothers in conflict in “Topdog/Underdog”

Go! review

As in the game of three-card monte that runs through the script, not everything is as it seems in “Topdog/Underdog,” the Pulitzer Prize-winning play by Suzan-Lori Parks now playing at the Know Theatre of Cincinnati.

Brothers Lincoln and Booth (whose father apparently had a twisted sense of humor) are living together in a small apartment, presumably in New York City.

In his younger days, Lincoln was one of the top three-card monte hustlers in the city, running a team of players that would bring in a thousand dollars a day. But when one of his team meets a violent end, he gives up the game and takes a regular job — if you can call it that: He plays Abraham Lincoln in an arcade where people pay to sneak up behind him and shoot him with a cap gun. In a reversal of the old minstrel shows, we see a black man in white face. Booth aspires to the career that Lincoln gave up, and throughout the play he’s practicing his three-card monte patter, and even announces to his brother that he no longer wants to be called Booth, but Three-Card.

The play is about their battle for survival and control. Having been abandoned by their parents, first their mother and a few years later their father, family ties don’t seem to carry a lot of weight between them, just enough to keep them living together, although Booth (whose apartment it started out to be) is always on the verge of throwing his brother out on Thursdays, but by Friday (payday) all is well between them.

Lincoln has just ended a unfaithful marriage in which Booth was the other man and Booth is struggling hard to rekindle his relationship with Grace, but with all the posturing and bragging, it’s hard to say just how well that’s going for him — safe to say, however, it’s not going very well at all.

Both Todd Patterson (Booth) and Derek Snow (Lincoln) give first-rate performances under the direction of Richard Hess, the head of CCM’s drama department.

  • WHAT: 2X2: “Topdog/Underdog” by Suzan-Lori Parks and “Red Light Winter” by Adam Rapp
  • WHERE: Know Theatre of Cincinnati,
  • WHEN: In repertory Jan. 31-March 2
  • COST: $18-$22
  • MORE INFO: (513) 300-5669; www.knowtheatre.com

 

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Poor casting aside, ‘Romeo & Juliet’ holds up

Let me get this out of the way up front: Just once, I would like to see a professional theater company present “Romeo & Juliet” with age-appropriate actors. This season has given us a chance to see two fine productions of Shakespeare’s classic tale of the star-crossed lovers, first at the Cincinnati Shakespeare Company and now at the Human Race Theatre in Dayton, and both productions feature actors at least a decade older than what the characters are supposed to be, and in both cases, it’s a major distraction. In the Human Race production, CCM grad Elana Ernst brings a lot of charm and energy to Juliet, but she doesn’t seem to even understand that the character is but a child and at times plays the wrong notes, especially in the tragic final scene where she seems downright amused at the irony. Jordan Coughry, a veteran of the Shakespeare Company of New Jersey fares better and at least plays it like a teenager. Put that to the side, however, and this “Romeo & Juliet” is a visually compelling work, taking place on a set designed like an aging European courtyard and costumes that merge period and contemporary dress with non-descript vintage styles of clothing — which works well, for the most part, although the giant scarves seem to frequently get in the actors’ way. Regional favorite Dale Hodges gets all the laughs as Juliet’s Nurse, while Jennifer Johansen and Jim Hopkins also stand out as her parents. But of course, the real star is the poetry of William Shakespeare and the language that elevates a simple story of young love into an epic tragedy.

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January 18, 2008

All about the hair

Go! review

According to the program notes for “The Blonde, the Brunette and the Vengeful Redhead,” playwright Robert Hewett was inspired to write the one-woman show for an un-named (but apparently well-known and struggling for money) actress that she could “produce and perform, then tuck away in her bag, ready to be pulled out whenever the coffers were getting a bit low.”

His friend never performed the show, but it’s become something of an international hit and now on the boards for one of its first American productions at the Playhouse in the Park.

But with the uneven performance of Annalee Jefferies, making her Playhouse debut, one has to wonder what it might have been like in the hands of Hewett’s anonymous actress friend.

What Jefferies does well is create very distinctive characters, seven of them altogether, in a series of monologues that tells the story of how one woman, Rhonda the redhead, gets herself into a world of trouble when she tries to confront her estranged husband’s lover. That in itself is no small feat, as the characters not only have divergent hair color, but range in age from 4 to very elderly, and include Rhonda’s errant husband, Graham.

The transformations between characters take place semi-transparently behind a scrim that allows the audience to watch as Jefferies changes her look while clever overhead projections provide some ambient music and visual imagery.

In that regard, “The Blonde...” is an enjoyable tour de force and it’s interesting to get a glimpse of the process, like watching a chef at one of those restaurants where they cook at the table.

What’s not so interesting is to get a glimpse of the actress’ inner process as she struggles to remember her lines. It may be that on opening night Jefferies was just a few run-throughs shy of getting it nailed, but her performance was at times smooth and polished but there were significant sections when the pace slowed and she seemed to take halting pauses as if digging deep for the next word or sentence.

Such a distraction only makes the problems in the script itself more noticeable, and I’m not sure that even a perfect performance would have justified the presence of two of the peripheral characters, whose monologues don’t contribute to the story, but may have been included to play to the actress’ strengths.

  • WHAT: “The Blonde, the Brunette and the Vengeful Redhead” by Robert Hewett
  • WHERE: Marx Theatre, Cincinnati Playhouse in the Park
  • WHEN: through Feb. 15
  • COST: $39-$52
  • MORE INFO: (513) 421-3888; www.cincyplay.com

 

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December 14, 2007

'Drowsy Chaperone' bites the hand that created it

Go! review

The Man in Chair is feeling a little blue, so he drops the needle on his record player on “The Drowsy Chaperone,” one of his favorite Broadway musicals.

The play-within-a-play features some of the biggest stars from the 1920s in a romp that takes place in a swank hotel where a wedding is about to take place between a Broadway diva and a rich society boy, and the plot, more or less, revolves around the notion that it’s bad luck for the groom to see the bride on the wedding day. But there’s also a cigar-chomping producer who doesn’t want her to leave his show and has to deal with two mob bagmen disguised as pastry chefs who are there to make sure the wedding doesn’t go off.

But plot is secondary to the splash and glamour of the production and the Man in Chair’s sardonic commentary. He loves musical theater, but also recognizes how silly, trite and over-the-top Broadway can be, especially considering his apartment is taken over by the colorful cast.

The music is more or less true to the era, and there are all the required elements: A big chorus number, a saucy tap number and even a heart-wrenching lament from the bride, although the lyrics,  having to do with monkeys and organ grinders, doesn’t quite fit in with the musical style.

The cast has some star power in Georgia Engel as Mrs. Tottendale, the hostess for the wedding, a role she originated on Broadway. Engel is probably best known to television audiences as Georgette, Ted Baxter’s wife in “The Mary Tyler Moore Show,” a role that earned her two Emmy nominations. Here, her major contribution aside from her energy and distinctive voice, is her ability to do a spit take several times over.

Because it’s as much a parody of musical theater as it is a tribute, “The Drowsy Chaperone” gets away with using and over-using the all the cliches of the genre to great satirical effect, making it an enjoyable show for those who loathe musical theatre as well as those who love it as much as Man in Chair.

    • WHAT: “The Drowsy Chaperone”
    • WHERE: Aronoff Center for the Arts, 650 Walnut St., Cincinnati
    • WHEN: Through Sunday
    • COST: $22-$62
    • MORE INFO: (513) 241-7469; www.drowsychaperone.com
       

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December 11, 2007

Expediency is the key this holiday season

Go! review

Who has time for television and theater this time of year? With all the beloved holiday classics on area stages and television screens, it’s difficult – nay, impossible – to see everything that’s out there.

That is, it was impossible until the Cincinnati Shakespeare Company began to offer “Every Christmas Story Ever Told,” a condensed version of every Christmas story ever told boiled down to the barest and most hilarious essentials.

Of course, it begins with the famous words: “Marley was dead to begin with.” But the young man playing the ghost objects to yet another version of “A Christmas Carol,” and so a a trio from the Cincinnati Shakespeare Company (Justin McCombs, Sara Clark and CSC founding member Nick Rose) embark on an exploration of the Christmas canon. The first act includes versions of “Frosty the Snowman,” “How the Grinch Stole Christmas” and “Gustav the Green-Nosed Reingoat,” a version of a beloved holiday classic cleverly disguised so as to avoid any possible copyright infringement. O. Henry’s “Gift of the Magi” features a cross-dressing McCombs and Tchaikovsky’s “The Nutcracker” is presented with little more than a pose.

It’s all high-energy and not particularly tight, although the off-stage Santa, who also serves as a sort of warm-up act, is especially tight, if you know what I mean.

The second act, however, requires a lot of fast thinking and quick transitions from the team as they do a mash-up of “A Christmas Carol” and “It’s a Wonderful Life,” with Clark doing double duty as the curmudgeonly Scrooge and the humble George Bailey (gotta love her James Stewart impersonation), bringing out the hidden parallels to their respective stories.

It’s all very casual and fun, and perhaps the best thing that this production has going for it is that it takes place in a bar.

  • WHAT: “Every Christmas Story Ever Told” By Michael Carleton, John Fitzgerald and Jim Alvarez
  • WHERE: Arnold’s Bar & Grill, 210 E. Eighth St., Cincinnati
  • WHEN: Seating at 6 p.m.; show 7:30 p.m. Sunday through Wednesday
  • COST: $20 adults; $15 students, does not include meal
  • MORE INFO: (513) 381-2273; www.cincyshakes.com


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December 07, 2007

A delightful ‘Dream’ at Shakespeare Company

Go! review

With its mixture of courtly manners, fairies, love stories and the ever-popular play-within-a-play, “A Midsummer Night’s Dream” is among Shakespeare’s most popular and most-produced works, and the current version at the Cincinnati Shakespeare Company demonstrates why that is.

Indeed, if you’ve ever been curious about Shakespeare but intimidated by his reputation or the complexity of the language he used, this would be your chance for an easy introduction.

The characters are so rich and colorful that it’s obvious the cast is having a marvelous time chewing at the scenery.

Although it takes place in the summer, the set is a wintry greeting card because a conflict between the fairy king and queen (Oberon and Titania) has set the natural world into chaos. In order to teach his wife a lesson, the king enlists the aid of Puck, also known as Robin Goodfellow, played by Kelly Mengelkock, to give the queen a potion to make her fall in love with the first person she sees. Puck takes it a step further by turning the bombastic Nick Bottom, who is rehearsing a play in the woods for an upcoming courtly wedding into an ass so that she will fall in love with him.

Meanwhile, back in the human world, the beautiful Hermia  is being pursued by Demetrius but is in love with Lysander. Her friend Helena (Hayley Clark, who recently turned in a marvelous Juliet and is equally engaging here) is smitten with Demetrius, but the imp Puck and her potions sets about to influence that story with hilarious results.

Director Brian Isaac Phillips enlisted the aid of the Exhale Dance Tribe to play the fairies, which turns out to be a nice touch as they perform transitional pieces to a be-bop soundtrack.

The script also has plenty of opportunities for great physical comedy, both in the Hermia/Demetrius/Lysander/Helena plot line and from the tradesmen who put on the love story of Pyramus and Thisbe with hilarious results.

  • WHAT: “A Midsummer Night’s Dream”
  • WHERE: Cincinnati Shakespeare Company, 719 Race St., Cincinnati
  • WHEN: Through Jan. 6
  • COST: $26, $22 seniors, $20 students
  • MORE INFO: (513) 281-3373; www.cincyshakes.com


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‘Striking 12’ parallels ‘Little Match Girl’

Go! review

After a rough day’s work on the last day of the year, a grumpy young man eschews all of his party invitations to spend New Year’s Eve alone with a cold beer, a remote control and his recliner.

But an unexpected visitor, a young woman selling light bulbs designed to cure Seasonal Affective Disorder (SAD), reminds him of a Hans Christian Andersen story, “The Little Match Girl,” in  a book left behind by his ex-fiance.

Willfully stranded in his apartment, he delves into the book and finds empathy with the freezing little girl who can’t go home for fear of being beaten by her father for not having sold any matches that day, and rather than face him, she freezes to death in the snow.

Such is the story behind “Striking 12,” New Stage Collective’s part in the holiday roll-out.

More of a song cycle than a play, “Striking 12” takes place on a concert stage with a five-piece band with the musicians playing both themselves and the characters that crop up.

Singer Lara Courtney plays all the female bits, including the light bulb saleswoman, the match girl and various girlfriends of Alan Patrick Kenny, NSC’s artistic director and keyboard player, who is also the man with the book and the ex-fiance. Drummer Mikhail Roberts, who recently played in Know Theatre’s “Thrill Me” and NSC’s “Radiant Baby,” is the drummer and miscellaneous male characters. The dialogue doesn’t always seem to serve the narrative, at least directly, but the apparent jovial patter among the musicians also informs the parallel stories, adding yet another layer of context.

It might have all been a little too precious, however, if the music wasn’t really good, but the combination of pop, jazz and show-style tunes are cleverly written and expertly played, allowing these actors a chance to show another side of their musical talent.

  • WHAT: “Striking 12” by GrooveLily
  • WHERE: New Stage Collective, 1140 Main St., Cincinnati
  • WHEN: Through Dec. 31
  • COST: $20, general; $16, seniors; $12, students
  • MORE INFO: (513) 621-3700; www.newstagecollective.com


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  • 'Scientology Pageant' needs further clearing
  • Playhouse offers up another light and fluffy
  • Not a musical: "Love Song" is a quirky comedy
  • Ensemble shines in 'Seafarer'
  • A palpable 'Hamlet'
  • 'Ears on a Beatle' plays with history
  • REVIEW: "Grey Gardens," Ensemble Theatre of Cincinnati
  • REVIEW: "Amadeus," Cincinnati Shakespeare Company
  • REVIEW: "Over the Tavern," Human Race Theatre Company
  • 'Radio Golf' plays the right notes

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  • 'Scientology Pageant' needs further clearing
  • Playhouse offers up another light and fluffy
  • Not a musical: "Love Song" is a quirky comedy
  • Ensemble shines in 'Seafarer'
  • A palpable 'Hamlet'
  • 'Ears on a Beatle' plays with history
  • REVIEW: "Grey Gardens," Ensemble Theatre of Cincinnati
  • REVIEW: "Amadeus," Cincinnati Shakespeare Company
  • REVIEW: "Over the Tavern," Human Race Theatre Company
  • 'Radio Golf' plays the right notes
  • 'Rabbit Hole' shows aftershocks of tragedy
  • No doubt about the quality of "Doubt"
  • Williams’ 'Menagerie’ shattered by lack of focus
  • Brothers in conflict in “Topdog/Underdog”
  • Poor casting aside, ‘Romeo & Juliet’ holds up
  • All about the hair
  • 'Drowsy Chaperone' bites the hand that created it
  • Expediency is the key this holiday season
  • A delightful ‘Dream’ at Shakespeare Company
  • ‘Striking 12’ parallels ‘Little Match Girl’
  • Yes, 'The Musical of Musicals: The Musical!" is a musical
  • "Caroline" explores changing society
  • Heady discussions in "The Sunset Limited"
  • Shakespeare Company presents a fall two-fer
  • Fairy tales go haywire in ‘Pillowman’
  • 'More Fun that Bowling’ puzzles and delights
  • 'Altar Boyz' sends up the love
  • 'My Fair Lady' still loverly
  • 'Othello' proves itself timeless in Playhouse production
  • ‘Snapshots’ revues history of a marriage - and a composer
  • Ensemble Theatre of Cincinnati "Rabbit Hole"
  • "Kid in the Dark" is funny and thoughtful
  • 'Romeo & Juliet' still a classic
  • This 'Dracula' really bites
  • Cincinnati Shakespeare Company: "The Tempest"
  • New Stage Collective: "The Goat" (review)
  • Know Theatre Company: "Hamlet"
  • New Edgecliff Theatre: "Master Harold & The Boys"
  • Cincinnati Shakespeare Company: "The Winter's Tale"
  • Cincinnati Playhouse in the Park: "1:23"
  • Ensemble Theatre of Cincinnati: "Fiction" by Steven Dietz
  • Broadway in Cincinnati: "12 Angry Men" by Reginald Rose
  • Cincinnati Playhouse in the Park: "Pure Confidence" by Carlyle Brown
  • Human Race Theatre Company: "I Am My Own Wife"

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