Yearly Archives: 2013

October 22, 2013 · 9:20 am

AS YOU LIKE IT Runs Nov. 21-Dec. 8

Top to bottom: Sophomore Hunter Henrickson as Touchstone, Senior Miranda Kaye Hamilton as Rosalind, and Junior Victoria Hawley as Celia

Top to bottom: Hunter Henrickson as Touchstone, Miranda Kaye Hamilton as Rosalind & Victoria Hawley as Celia

AS YOU LIKE IT
Presented by Northern Kentucky University
Nov. 21-Dec. 8
Highland Heights

Directed by Sandy Forman

AS YOU LIKE IT is considered by many to be one of Shakespeare’s greatest comedies. Rosalind, the daughter of a banished duke falls in love with Orlando the disinherited son of one of the duke’s friends. When she is banished from the court by her usurping uncle, Duke Frederick , Rosalind switches genders and as Ganymede travels with her loyal cousin Celia and the jester Touchstone to the Forest of Arden, where her father and his friends live in exile. As friends are made observations on life and love follow (including love, aging, the natural world, and death). But will these any of them ever find true happiness? Will the Duke finally come to his senses and reunited his family as well as his kingdom? Shakespeare keeps you guessing until the end!

  • Thu-Sat, Nov. 21-23 at 8pm
  • Sun, Nov. 24 at 3pm
  • Wed-Sat, Dec. 4-7 at 8pm
  • Sun, Dec. 8 at 3pm

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October 21, 2013 · 5:45 pm

UCT Announces 2014 Season

UCT_logoTHE UNION COMMUNITY THEATRE 2014 SEASON

THE WHO’S TOMMY
Directed by Roberto Henriquez
March 27, 28, 29, 30, Apr 2, 3, 4, 5
*Auditions to be announced THIS WEEK! *

LITTLE SHOP OF HORRORS
Directed by Laura Boggs
YOUTH PRODUCTION
Oct 1, 2, 3, 4, 8, 9, 10, 11

WHO IS EXCITED? WE ARE! Keep your eyes peeled as we announce Auditions for Tommy this week!

For more information on Union Community Theatre visit www.unionct.net.

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October 21, 2013 · 4:58 pm

THE WHALE Review

Links to all reviews can be found on the BTC REVIEWS page. Blog postings, links and more are available on my FaceBook fan page. You can receive updates on Twitter from @BTCincyRob.

THE WHALE presented by Clifton Players through Oct. 26. Read the show description.

The Clifton Players open their season by ambitiously tackling Samuel D. Hunter’s THE WHALE. The result is an uneven production that stumbles in defining the environment for the show.

Cathy Springfield as Liz & Reggie Willis as Charlie. Photo by Jim Springfield.

Cathy Springfield as Liz & Reggie Willis as Charlie. Photo by Jim Springfield.

Reggie Willis gives a strong performance as 600-pound Charlie. He worked well within the limitations of the body suit. The prosthesis design, by Kelly Yurko, succeeded in bringing the weight to Willis’ face and looked great head-on. Unfortunately, the intimacy of the space doesn’t allow distance to hide problems such as the make-up running onto Charlie’s shirt or the visible “scar” (perhaps a tear in the appliance) on his neck. Several times issues like this pulled focus at certain angles.

Leah Strasser as Ellie & Carter Bratton as Elder Thomas. Photo by Jim Springfield.

Leah Strasser as Ellie & Carter Bratton as Elder Thomas. Photo by Jim Springfield.

Carter Bratton does nice work as Elder Thomas. I really enjoyed both the energy he brought to the character and the physical choices he made for the wayward Mormon. I did think there were a few more comedic opportunities in the script. I also would have like a hint that ET he wasn’t being totally honest.

Cathy Springfield portrays Charlie’s nurse and friend Liz. Springfield has some nice moments when she has a good grasp of the character, but there were other times where she seem to lose that Liz attitude. Her initial outburst at Elder Thomas seemed more like a rant than actual pain or anger. When we learn the connection between Charlie and Liz it seemed to be delivered off-handedly with no break for the audience to comprehend and react. The revelation of Charlie’s betrayal (that is how I would characterize it) was disappointing. Liz immediately turns so her back is facing the audience, and we can’t see her reaction to the news or Charlie’s reaction to Liz’s hurt. Her subsequent lines don’t pack the emotion needed to sell the moment. And the reconciliation in a following scene seemed emotionally-light and rushed.

Leah Strasser as Ellie. Photo by Jim Springfield.

Leah Strasser as Ellie. Photo by Jim Springfield.

I would have liked to see a bit more vocal variety by Leah Strasser as Charlie’s daughter. I understand that Ellie is an angsty teenager mad at the world. But, when every word is uttered with the same vocal intonation, it’s hard to figure out who or what is making her so angry. Opening night, Strasser had a tendency to pounce on her pick-up lines, causing her dialogue to come off prepared instead of spontaneous. I also think there were a few more comedic opportunities in the script for Ellie as well.

Reggie Willis as Charlie & Carol Brammer as Mary. Photo by Jim Springfield.

Reggie Willis as Charlie & Carol Brammer as Mary. Photo by Jim Springfield.

Carol Brammer does some nice work as Mary, Charlie’s ex-wife and mother of Ellie. The chemistry between Charlie and Mary is great and their shared past is easy to believe. I did think Charlie’s weight gain should have had a bigger impact on Mary, considering what he looked like when she knew him, and how long it had been since she had seen him.

So overall a good script with a good cast, although uneven in characterization and emotion.

That being said, for me, attention to detail can make a good show great. There are also times when inconsistencies in choices can draw me out of the show and lessen my enjoyment. In this production, there were decisions in decor, props and blocking left me scratching my head.

Cathy Springfield as Liz, Reggie Willis as Charlie, Leah Strasser as Ellie & Carol Brammer as Mary. Photo by Jim Springfield.

Cathy Springfield as Liz, Reggie Willis as Charlie, Leah Strasser as Ellie & Carol Brammer as Mary. Photo by Jim Springfield.

To get to and to maintain 600 pounds, you have to eat alot of food. (Somewhere in the neighborhood of 9,000 calories per day according to the interweb.) While I don’t expect to see Willis constantly eating, we do need to see evidence of this eating over the course of the five days within the show. As presented, this production implies that Liz is Charlie’s enabler and his only source of food, and this just doesn’t ring true. He also binge eats, so not sure I buy him reaching for an open bag of doughnuts, just eating two, then putting them back.

Also, where is the evidence of food delivery being made to the house? The majority of the debris on the floor is from fast food joints that don’t deliver. Where are the empty cans from his multiple colas each day. The liquid in his giant drink cup looks more like Kool-aid than soda. You would think a man with limited mobility and his health issues would have his myriad of medications at arms reach.

Carter Bratton, Reggie Willis, Cathy Springfield & Leah Strasser. Photo by Jim Springfield.

Carter Bratton, Reggie Willis, Cathy Springfield & Leah Strasser. Photo by Jim Springfield.

Speaking of the debris on the floor. No character in the show makes any attempt to clean up this mess, although all (but Liz) initially react to it. Yet when a bucket of chicken is brought in for a scene, it is struck during the blackout, implying someone is selectively cleaning?

There just doesn’t seem to be any logic to it.

In one scene, Ellie makes a point of not sitting on the couch due to the strong smell coming from it. Yet a day or two later she is fully lounging on the couch with her hooded-head where her father normally sits.

It also goes against credibility to see the character of an experienced nurse fumble with a stethoscope they have used everyday for years. There needs to be a level of comfort with your props.

I’m not listing all these things just to be nit-picky. I’m trying to illustrate that many small issues can have a negative impact on my overall suspension of disbelief.

I applaud the Clifton Players for what they are attempting to do in this intimate theater space, but I think they need to make smarter production decisions and find more creative ways to tackle the limitations of their home venue.

Complete list of show times for THE WHALE.

I would enjoy hearing what you think about the show or my review. All I ask is that you express your opinion without attacking someone else’s opinion. You can post your comments below.

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October 21, 2013 · 1:12 pm

EdTA Seeks Membership Service Specialist

EdTA_logoThe Educational Theatre Association (EdTA) is a professional organization for theatre education with approximately 90,000 members nationwide. EdTA’s mission is shaping lives through theatre education by: Honoring student achievement in theatre and enriching their theatre education experience; Supporting teachers by providing professional development, networking opportunities, resources, and recognition; and Influencing public opinion that theatre education is essential and builds life skills. EdTA operates the International Thespian Society (ITS), an honorary organization that has inducted over 2 million theatre students since its founding in 1929.

POSITION:
EdTA seeks a Membership Service Specialist to perform day-to-day customer support and data processing. This is a full-time, entry level position with benefits. This individual will have heavy interaction with members, non-members, and staff.

SUMMARY OF BASIC DUTIES AND RESPONSIBILITIES:
The Membership Service Specialist answers phones, processes an array of transactions, responds to emails, troubleshoots and solves problems, and supports fulfillment of member benefits in many ways. Specialists frequently facilitate successful website navigation for members and non-members. Excellent and accurate communication and computer skills are essential. Knowledge of theatre is a plus.

JOB TITLE: Membership Service Specialist

POSITION REPORTS TO: Membership Manager

EDUCATION REQUIRED: High school diploma. Theatre education is helpful. Basic knowledge of accounting is helpful.

STATUS: Nonexempt; Regular full-time

STARTING WAGE: $11.00 per hour

BENEFITS: Include medical, dental, life, retirement (403 B), vacation, casual work environment

JOB DESCRIPTION:

  • Answers telephone calls and provides prompt, courteous, complete service to members and non-members of the Association. Provides comparable level of professional service with respect to fax, mail, email, and other communications with the Association. Routes incoming calls to Association staff as needed.
  • Enters batches of dues, registration, subscription, merchandise order and other transactions to the association management software modules.
  • Reviews and approves web transactions submitted to the Association website: Schooltheatre.org.
  • Facilitates successful member navigation of the Association website and online transactions.
  • Maintains Association database and records according to established procedures and standards.
  • Fulfills membership benefits (membership cards, certificates, etc.).
  • Process claims for lost magazines, resolve subscription problems, make subscription changes, send back issues, etc. as needed.
  • May serve as liaison with select Association vendors.
  • Provides recruitment information to prospective members.
  • Consults with troupe directors and serves as a reference on membership and troupe management issues.
  • Makes follow-up contact with prospective members to answer questions and encourage membership.
  • Fulfills requests for Association information and supplies from members.
  • Assists with monthly billing as needed.
  • Assists with mailings as needed.
  • May serve as backup to the Inventory and Shipping Coordinator for daily mail procedures including receiving incoming mail, opening, date stamping, sorting, routing, metering, etc.
  • Responsible for checking, monitoring, maintaining, and clearing the Association’s automated telephone system.
  • May be asked to travel on behalf of the Association.
  • Performs other duties as assigned by authorized co-workers. 

SKILLS AND QUALIFICATIONS:

  • Strong customer service skills and experience
  • Strong organization, multi-tasking, and time management skills
  • Very strong verbal and written communication skills
  • Self-motivated self-starter
  • High degree of accuracy is necessary
  • Excellent keyboard skills required (60 WPM minimum)
  • Must be able to maintain a high level of confidentiality and good judgment
  • Positive, team-oriented attitude
  • Knowledge of and experience in theatre is a strong plus 

COMPUTER SYSTEMS USED:

Microsoft Windows, Excel, Word, Outlook, and Internet Explorer. Adobe Acrobat a plus. Association Management Software experience desired.

Please submit cover letter, résumé, salary history and/or requirements by email to:

EdTA
Attn: David LaFleche, Director of Membership
members@schooltheatre.org

No phone calls, please.

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October 21, 2013 · 12:59 pm

THE COMPLETE HISTORY OF COMEDY (ABRIDGED) Debuts At Playhouse Nov. 9 – Dec. 29

THE REDUCED SHAKESPEARE COMPANY IS BACK!
THE COMPLETE HISTORY OF COMEDY (ABRIDGED)
DEBUTS AT CINCINNATI PLAYHOUSE IN THE PARK NOV. 9 – DEC. 29

PIP_Complete History of Comedy(CINCINNATI) – The Reduced Shakespeare Company (RSC) is pulling out all of the comedy weapons in its oversized arsenal to set off a laugh riot at the Cincinnati Playhouse in the Park. The RSC, which has been rapidly reducing expectations since 1981, is premiering its ninth stage show, THE COMPLETE HISTORY OF COMEDY (abridged), from Nov. 9 to Dec. 29 in the Playhouse’s Thompson Shelterhouse Theatre.

The show is a look at the evolution of comedy from cavemen telling “rock-rock” jokes all the way to Chris Rock and everything in-between. You can expect the entire shebang from the rule of threes to falling down, vaudeville to silent movies and commedia to stand-up in this fast-paced production.

RSC managing partners and performers Reed Martin and Austin Tichenor team up for the eighth time to write and direct THE COMPLETE HISTORY OF COMEDY (abridged). They have discussed the show and its development in episodes of their weekly podcast, touching on everything from their research on humor to their writing process and why they think the art of comedy is underappreciated.

People seem to think that everyone can be funny, but that’s not the case. “Comedy isn’t brain surgery; you can learn brain surgery,” Tichenor said. “You can’t learn comedy. You’ve either got it or you ain’t!”

THE COMPLETE HISTORY OF COMEDY (abridged) is unlike previous RSC shows in that the subject does not define the structure of the production. In The Bible: The Complete Word of God (abridged), content was divided according to the Old Testament and New Testament; in The Complete History of America (abridged), it made sense to organize chronologically. But comedy has no innate organizing principle. This show gives Tichenor and Martin an enormous amount of freedom to play with the order of the sketches and create a rhythm.

This is the third time the RSC members have visited the Playhouse. Their first visit was in 2002 to workshop All the Great Books (abridged), and the second was in 2005 to perform The Complete History of America (abridged) and All the Great Books (abridged) in the Thompson Shelterhouse Theatre. The Playhouse has also produced its own versions of several RSC shows, including The Complete Works of William Shakespeare (abridged) and The Bible: The Complete Word of God (abridged). THE COMPLETE HISTORY OF COMEDY (abridged) has been rehearsing and workshopping since mid-July at the Napa Valley Playhouse in California.

In classic RSC fashion, the play will consist of three characters — the archetypes of the intellectual, the enforcer and the man-child. Martin and Tichenor will be joined onstage by Dominic Conti, who appeared in the Playhouse’s productions ofThe Complete History of America (abridged) and All the Great Books (abridged).

Martin says, “People should come see THE COMPLETE HISTORY OF COMEDY (abridged) because tickets cost less than a day at the amusement park, but you’ll come away with the same feeling of nausea and motion sickness. This show is a high-speed, roller-coaster type condensation of the history of comedy and is not recommended for people with heart ailments, back problems, inner ear disorders or who are humor-impaired. The Reduced Shakespeare Company cannot be held responsible for expectant mothers.” The show is recommended for adult and teenage audiences.

The creative team for THE COMPLETE HISTORY OF COMEDY (abridged) includes costume designer Skipper Skeoch, puppet designer Barbara McFadden, lighting designer Catherine Girardi and sound designers Zach Moore and Joe Winkler. Jenifer Morrow is the production stage manager. The production is sponsored by Clark, Schaefer, Hackett & Co. The design sponsor is Stable Two Financial, LLC.

Prices for THE COMPLETE HISTORY OF COMEDY (abridged) range from $30 to $75, depending on seat location. Prices are subject to change, and patrons are encouraged to buy early for the best seats at the best prices. Teen and student tickets are $25 each. Previews are at 8 p.m. Saturday, Nov. 9; 7 p.m. Sunday, Nov. 10; 7:30 p.m. Tuesday, Nov. 12; and 7:30 p.m. Wednesday, Nov. 13. The official opening night is Thursday, Nov. 14, at 8 p.m.

Performances take place at 7:30 p.m. Tuesdays and Wednesdays, 8 p.m. Thursdays and Fridays, 4 p.m. and 8 p.m. Saturdays, and 2 p.m. and 7 p.m. Sundays.

Special performances include free Meet the Artistsprograms that allow audiences to interact with cast members and others associated with the production after the show. Meet the Artists performances are at 2 p.m. Sunday, Nov. 17; 2 p.m. Sunday, Nov. 24; 7:30 p.m. Wednesday, Nov. 27; and 8 p.m. Thursday, Dec. 5. The Playhouse is fully accessible. Audio enhancement receivers, large print programs and complete wheelchair access are available.

Tickets to THE COMPLETE HISTORY OF COMEDY (abridged) are on sale now. For more information, call the Playhouse Box Office at 513-421-3888 (toll-free in Ohio, Kentucky and Indiana at 800-582-3208) or visit www.cincyplay.com. Call 513-345-2248 for Telecommunications Device for the Deaf accessibility.

The 2013-14 Thompson Shelterhouse Theatre season is sponsored by Heidelberg Distributing Company, and Humana is the Thompson Shelterhouse Theatre season design sponsor. The season sponsor of new work is The Lois and Richard Rosenthal Foundation.

The Playhouse is supported, in part, by the generosity of the tens of thousands of individuals and businesses that give to ArtsWave.

The Ohio Arts Council helps fund the Playhouse with state tax dollars to encourage economic growth, educational excellence and cultural enrichment for all Ohioans.

The Playhouse also receives funding from the Shubert Foundation and the National Endowment for the Arts.

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