Monthly Archives: April 2015

RACE Review

Links to all reviews can be found using the REVIEWS link at the top of the page. Blog postings, links and more are available on my Facebook fan page. You can also receive updates on Twitter from @BTCincyRob.

Robert Allen as Charles Strickland. Photo by Mikki Schaffner.

Robert Allen as Charles Strickland. Photo by Mikki Schaffner.

RACE presented by New Edgecliff Theatre through April 25. Click here for more information on the production. I attended the opening night performance.

For its final show of the season, NET tackles a contemporary look at the “race” in a play by David Mamet. Commenting on his own work, Mamet has said the “theme is race and the lies we tell each other on the subject.” At the beginning, the theme is discussed clinically as an experienced attorney shares his legal-wisdom with his young protege. But when the theme turns personal, lines are quickly drawn between the characters.

Michael Shooner as Jack Lawson. Photo by Mikki Schaffner.

Michael Shooner as Jack Lawson. Photo by Mikki Schaffner.

The four-person ensemble is solid across the board. Tackling a Mamet play is not an easy undertaking with its dense dialogue. Opening night, there were times when it felt like the cast was not quite on top of the script yet.

As the accused Charles Strickland, Robert Allen brings a great presence to the character. He is all indignation and wounded pride. There were moments when this came off as defensive which made me think the character was guilty of something. Perhaps a bit of rich man arrogance and swagger would have diffused that a bit at the beginning of the play.

Reggie Willis as Henry Brown. Photo by Mikki Schaffner.

Reggie Willis as Henry Brown. Photo by Mikki Schaffner.

Jack Lawson, one of the defense attorneys, is portrayed by Michael Shooner. Jack tends to wear his arrogance like an accessory. I thought Lawson’s mentoring relationship with Susan was very believable and yet contained a hint on inappropriateness that worked for the character.

Renika Williams as Susan. Photo by Mikki Schaffner.

Renika Williams as Susan. Photo by Mikki Schaffner.

Reggie Willis plays the other defense attorney, Henry Brown. I enjoyed how he would allow Jack to lead the interaction when dealing with Strickland, but clearly showed he was an equal partner when their client wasn’t present. Henry’s animosity toward Susan made sense, but initially it seemed a bit harsh. Perhaps if it built a little more.

Rounding out the cast is Renika Williams as young attorney Susan. Williams does well in holding her own against her peers. I wouldn’t have minded to see Susan a bit more grounded with a bigger chip on her shoulder. There were a few times Susan’s reactions seemed more appropriate to the actor’s age than the character’s.

Robert Allen as Charles Strickland, Reggie Willis as Henry Brown & Michael Shooner as Jack Lawson. Photo by Mikki Schaffner.

Robert Allen as Charles Strickland, Reggie Willis as Henry Brown & Michael Shooner as Jack Lawson. Photo by Mikki Schaffner.

Daryl Harris’ solid hand and knowledge of the material is visible in his direction of the actors. He also handles the performance space well, finding every opportunity to naturally move the action away from the stage left table to balance out the staging.

Set designer Rachel Kuhn uses the Hoffner Lodge space well. With the main floor being an over-sized conference room, she created two playing contrasting playing areas. By hanging material between the poles of the balcony, she smartly uses silhouette to depict the office area above.

Renika Williams as Susan & Michael Shooner as Jack Lawson. Photo by Mikki Schaffner.

Renika Williams as Susan & Michael Shooner as Jack Lawson. Photo by Mikki Schaffner.

Both prop master Mary Gascho and costume designer Sherry Amott Tippey do well in presenting “wealth” on a limited budget. The only costume that read less than ideal for me was Strickland’s first suit.

Overall, a well-executed, interesting and at times, intense drama.

My rating: 4 out of 5

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.

 

Leave a comment

Filed under Reviews

New Edgecliff Announces 2015-2016 Season: The Eye of the Beholder

NETAt the opening night of our current production, Race by David Mamet, New Edgecliff Theatre announced their 2015-16 Season: The Eye of the Beholder. Included in the season are Frankie and Johnny in the Clare de Lune by Terrence McNally, the return of The Santaland Diaries (based on the writings of humorist David Sedaris) and Neil LaBute’s The Shape of Things. In addition to the regular season, NET will again present their annual radio-style performance fundraiser, Sweet Suspense. This year’s Sweet Suspense will present Strangers on a Train directed by NET Artistic Associate Bob Allen.

“These are plays that challenge the way the characters view their lives and the circumstances they find themselves in,” says Producing Artistic Director Jim Stump. “They are stories of how much can change when you change how you look at things.” Impossible relationships, how we see ourselves versus how others see us and even holiday expectations explore perceptions that alter with time.

NET brings back two popular directors this season. Jared Doren, who helmed their critically acclaimed production of Bus Stop, returns to direct Frankie and Johnny in the Clare de Lune. Doren has directed for a number of Cincinnati theatres including the Carnegie, Falcon Theatre and, of course, New Edgecliff Theatre. Former NET Artistic Director Elizabeth Harris returns to direct The Shape of Things. Harris’ direction of NET’s production of The Night of the Iguana also garnered critical praise.

September 17 – October 3, 2015
Frankie and Johnny in the Clare de Lune by Terrence McNally
directed by Jared Doren

The season begins with Frankie and Johnny in the Clair de Lune by Terrence McNally. Jared Doren, who directed NET’s critically acclaimed production of Bus Stop directs. Winner of the Dramatists Guild Hull Warriner Award, this bittersweet comedy combines poignancy and laughter as it traces the unlikely romance that begins to develop between two middle-aged “losers.”

December 3 – 19, 2015
The Santaland Diaries based on the writings of David Sedaris, adapted by Joe Mantello

Everyone’s favorite elf is back as we continue our seasonwith the wickedly hilarious The Santaland Diaries based on the writings of David Sedaris and adapted by Joe Mantello. Out of work, a slacker decides to become a Macy’s elf during the holiday crunch. At first the job is simply humiliating, but once the thousands of visitors start pouring through Santa’s workshop, he becomes battle weary and bitter. He grins and bears it, occasionally taking out his frustrations on the children and parents alike.

April 14 – 30, 2016
The Shape of Things by Neil LaBute
directed by Elizabeth Harris

NET’s 18th season concludes with Neil LaBute’s The Shape of Things directed by former NET Artisitic Director Elizabeth Harris. A modern day retelling of the fall of man, after a chance meeting in a museum, Evelyn, a sexy, aggressive artist, and Adam, a shy, insecure student, become embroiled in an intense affair. Before long, it veers into the kind of dangerous, seductive territory that LaBute does best, as Adam, under Evelyn’s steady influence, goes to unimaginable lengths to improve his appearance and character. How far would you go for love? Only in the final and shocking exhibition, which challenges our most deeply entrenched ideas about art and love, does Evelyn reveal her true intentions.

2 Comments

Filed under Press Releases, Season Announcements

LCT Review of THE UNDERPANTS

LCT_VThis review has been reposted courtesy of the League of Cincinnati Theatres. For more LCT reviews click here to visit their reviews page.

If you are looking for a lighthearted night out, The Carnegie Theatre concludes its season with The Underpants, a bedroom farce adapted by comedian Steve Martin. The Underpants is an outrageous, over-the-top story about a young bride who creates a sensation when her underpants fall down while watching a parade for a turn-of-the-century German king.

Randy Lee Baily as Theo, Erin Ward as Louise, Michael Hall as Cohen & Brian Griffin as Versati. Photo by Mikki Schaffner Photography.

Randy Lee Baily as Theo, Erin Ward as Louise, Michael Hall as Cohen & Brian Griffin as Versati. Photo by Mikki Schaffner Photography.

The audience does not actually see the scandalous incident. The play opens in the living room of Frau Louise and Herr Theo’s home, a respectable middle-class, newlywed couple. Having just heard of Louise’s underpants incident, Theo (Randy Lee Bailey), a stuffy and pompous civil servant, has come home from work and is mortified — not for Louise (Erin Ward), but for himself, imagining all sorts of repercussions from the embarrassing incident that will affect his job and their overall livelihood. Louise, on the other hand, is not at all concerned.

To make financial ends meet, the couple rent a single room to two boarders, who were attracted by the “wardrobe malfunction” and are willing to pay any price for the chance to live under the same roof as Frau Louise, leading to many comic and somewhat bawdy situations. Versati (Brian Griffin) is a playboy poet who Louise is actually attracted to and Cohen (Michael Hall), is a creepy guy who chases Louise around the apartment. In the thick of all this chaos is the nosey neighbor, Gertrude (Jodie Schwegmann-Meyn), who is the highlight of this Carnegie production as she encourages Louise’s enjoyment and sexual arousal from all this unexpected attention.

All-in-all, the play addresses the roles of men and women, the balance of power in a marriage, and lighthearted sexual tension. The set design by Ryan Howell is appealing and the costumes by Jim Stump deserve kudos–they display the elegance of the period but also add to the absurdity of some of the characters. The cast is loaded with talented local actors who have proved their abilities many times over in past productions, but never quite gelled into a stylistically cohesive unit in this production. Martin’s script is a fast paced ninety minute one-act play, but The Carnegie production was somewhat tepid and drawn-out.

The Underpants continues at The Carnegie through April 26.

For more information on the production, click here.

Leave a comment

Filed under League of Cincinnati Theatres Reviews

LCT Review of THE COVER OF LIFE

LCT_VThis review has been reposted courtesy of the League of Cincinnati Theatres. For more LCT reviews click here to visit their reviews page.

The current production by the cozy Falcon Theatre of Newport is a play written by R.T. Robinson titled The Cover of Life. Life is the famous Life magazine, yet the lives developed and enlarged in this play bring out the realities and the complex conflicts of the women of the  Cliffert family in 1943 Louisiana.

FT_The Cove of Life promoTood, Weestie and Sybil are the three wives married to the three Cliffert brothers. All three brothers are away, engaged in World War II. To save on expenses, the three wives move into the Cliffert family home with Aunt Ola Cliffert, the mother of the three Cliffert boys. Life begins on stage at this point when Kate Miller, a journalist fresh from the frontline, is assigned by Life magazine to cover the story of these three brides of the military family. Kate Miller is supercilious and, therefore, reluctant to visit the rural Louisiana; yet she accepts the assignment, since this would present her with the opportunity to do a cover story for famous Life magazine.

From the very moment of Kate’s arrival at the Cliffert residence the lives of the women, including Aunt Ola Cliffert, continue to unfold. This is by no means just a flat story of wartime wives who are waiting for their husbands to return home while somehow surviving. The lives of these women gradually end up depicting the life stories of women in general. This is where the playwright crafts an extraordinarily powerful revelation through wisdom, insight, and humor which otherwise could have been a bland saga of overflowing emotion.

Though nowhere in the playbill, Falcon Theatre gave credit to the playwright. Through the penmanship of the playwright R.T. Robinson the story was covered in such a lively manner. There was an incredibly strong cast who worked well off of each other.  I give the praise for that to the director, Tracy M. Schoster.  She made certain the emotional core of each of the characters came through loud and clear. Although I wasn’t blown away by this production, I enjoyed it. The play has a powerful and empowering message that gender roles hurt everybody, not just women, and that only when we question what everyone else accepts as “the way it is” can we become awakened. I loved that aspect of the play and thought the actors did a good job of conveying the message.

The lighting and set were stark and didn’t add very much. Monmouth Theatre, though very cozy and intimate, poses some challenges for a very elaborate light design. The set was too busy for a small stage, however, it reflected the thoughtfulness of Tracy M. Schoster, who was also the set designer for the play. The production was well directed by her , skillfully moving between the set piece of the living room to various other scenes  on the small Falcon stage. One suggestion would be to be a bit more thoughtful about the smooth flow between the scenes, as they appeared to be somewhat abrupt.  The costume design by Tara Williams, who also enacted the character of Kate Miller, was appropriately dated for the period, although they seemed to have more clothes than their financial situation would allow.

Overall, it was a warm presentation by the Falcon team and the entire cast and crew are to be given appreciation. Barring a few silly mistakes in dialogue delivery the characters did a superb job in making the audience believe in their authentic southern accent through and through. The cast demonstrated great team work from a small team where many wear more than one hat, promote and to spread value in theatre. The Cover of Life is to be highly recommended for all audiences because of the message it conveys and the energy from the actors onstage.

For more information on the production, click here.

Leave a comment

Filed under League of Cincinnati Theatres Reviews

LCT Review of ALADDIN JR.

LCT_VThis review has been reposted courtesy of the League of Cincinnati Theatres. For more LCT reviews click here to visit their reviews page.

The Children’s Theatre of Cincinnati production of Disney’s Aladdin, Jr. was what you look for in a classic Disney story brought to the stage. Combining elements of the live theatre production of “The Lion King” this production did what is supposed to do – entertain the little Friends Like Me!

Megan Ainsley as Jasmine, Bob Herzog as the Genie & Korey Harlow as Aladdin.

Megan Ainsley as Jasmine, Bob Herzog as the Genie & Korey Harlow as Aladdin.

The narrator enters the stage to the familiar opening scene of the palace of Agrabah while he leads a life-size camel ( a puppeteer like the aforementioned Lion King).  from there the pace of the show explodes non-stop with additions of the Cincinnati Circus performers, whose aerial tricks contributed to the larger-than-life feel of the show.

Inside the palace gates, Princess Jasmine (Megan Ainsley Callahan) prepares to choose from a parade of suitors (Prince Da-Doo Ran Ran!).  The vizier, Jafar (oozing silent screen villainy by Sam Rueff) and his sidekick ( a remarkable and delightful puppeteer, Mia Bella D’Ascenzo who channeled the movie’s Gilbert Godfrey) secretly re-write a law so that the Princess will have to marry Jafar if she fails to choose a husband within the allotted time.  When Jasmine escapes the palace and goes to the marketplace she runs into Aladdin (Korey Harlow as a natural personified goofy teen).

Aladdin is captured and thrown into Jafar’s secret hiding place, the Cave of Wonders, where he finds a lamp. Rubbing it clean, and through something akin to Disney magic, the Genie (an always delightful Bob Herzog channeling a bit of Robin William, but with bold characterizations and a wonderful sense of timing) grants “Al” three wishes.

Since the “Jr.” production is a pared down script based on the original movie,  things happen quickly. But that’s a good thing to keep the young ones in the audience occupied.  Once the genie is out of the bottle it’s showtime!  The addition of  the Cincinnati Circus brought a new level to the marketplace opening number, but  in the Genie’s “Friend Like Me” showstopper they really pulled out all of the stops.  Aerial acrobatics such as seen with Cirque De Soleil productions, flash pots, smoke and all kinds of razzle dazzle made for a terrific introduction to showstoppers for the little ones. The adults have a lot of fun too – with Herzog’s ad-libbing a few local jokes regarding traffic on “the cut-in-the-hill” while taking Aladdin on the magic carpet to meet the princess.  While the adults were laughing one child in the seat behind this reviewer remarked “the carpet is just fantastic, fantastic….I want one, Mommy.”

Director and choreographer Roderick Justice did a fine job with the cast. They were energetic and kept the humor, characterizations and tempo of the original Disney classic.  Lighting design was a bit awkward at times, the follow shots seeming to have a hard time finding their actors while other cues were making it feel like they were being made up on the fly.  The flying effect of the magic carpet was a nice addition.

Overall this fast-paced adventure is a perfect introduction to the theatre for young – and old – alike.  The Children’s Theatre of Cincinnati has done a marvelous job of keeping the magic of theatre alive with imagination and fun.

For more information on the production, click here.

Leave a comment

Filed under League of Cincinnati Theatres Reviews