Monthly Archives: April 2015

THE BANE TRILOGY Runs May 7-24

KTC_Bane logoTHE BANE TRILOGY
Presented by Know Theatre of Cincinnati
Runs May 7-24
Over-the-Rhine

Bruce Bane is a hired hand who shoots first and doesn’t ask questions.

Join Joe Bone and Ben Roe for this one man, one musician film noir comedy trilogy. Each installment is about an hour, and can be enjoyed individually as self contained stories, or in any order. (Though there is a special delight to experiencing them sequentially.)

Joe Bone is the Guinness world record holder for most characters portrayed by one actor in an evening. Following each episode will be a talkback about how this story came to be, and the process of touring the world, speaking before international crowds.

BANE 1

  • Thu, May 7 at 8pm
  • Sun, May 10 at 2pm
  • Sat, May 16 at 8pm
  • Fri, May 22 at 8pm

BANE 2

  • Fri, May 8 at 8pm
  • Thu, May 14 at 8pm
  • Sun, May 17 at 2pm
  • Sat, May 23 at 8pm

BANE 3

  • Sat, May 9 at 8pm
  • Fri, May 15 at 8pm
  • Thu, May 21 at 8pm
  • Sun, May 24 at 2pm

Official page |

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Auditions Announced for ACAPULCO at CenterStage Players

CSPOH_logoCenterStage Player’s auditions for ACAPULCO, a new play by David Hughes, are at the North College Hill City Center 1500 W. Galbraith Rd. on Monday, May 18 and Tuesday, May 19, 7pm.

Cold readings from the script. Familiarity with the play is not expected. Just creativity and an open mind.

Performances are Oct. 9 – 17. Rehearsals begin mid-August.

A hard copy of the script or electronic is available on request by e-mailing David at vine1313@aol.com. An electronic copy is also available at www.centerstageplayersinc.com.

A newly-married couple, each with a dark past, face foreclosure on their home. They must question their assumptions about love, art and faith.

  • LIZZIE: Age range: 40 to 60. Fiercely driven by her artwork. Rarely smiles but when she does the sky opens.
  • BEN: 35 to 50. Kind but drifting through relationships until he meets LIZZIE.
  • JACK: 45 to 65. LIZZIE’S ex-husband. A jealous English professor with a drinking problem.
  • RICHARD/FATHER HANNIGAN: Over 30. RICHARD- an aggressive loan officer. HANNIGAN- a boisterous, very likeable priest. Same actor.
  • EDNA: Over 60. Jack’s mother. Struggling physically but a sense of humor.
  • FATHER O’REILY Domineering. The pedophile who drives LIZZIE’S artwork. Possibly played by the actor who plays JACK.

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Cincinnati Playhouse in the Park Honors a Cincinnati Legend with Free Evening CELEBRATING KING RECORDS

CFF_Cincinnati King(CINCINNATI) – The Cincinnati Playhouse in the Park will salute the legacy of Cincinnati’s own King Records with a one-of-a-kind celebration in Over-the-Rhine’s Washington Park on Sunday, May 31. CELEBRATING KING RECORDS will feature an evening of food, music and memories, capped with an exciting staged concert reading of KJ Sanchez’s play CINCINNATI KING. The event launches the OTR Performs series and is also included as part of this year’s Cincinnati Fringe Festival.

Sanchez has described CINCINNATI KING as a “theatrical album” about the history of Cincinnati music, racial equality and the legendary rhythm and blues label.

CELEBRATING KING RECORDS festivities will begin at 5 p.m. with music and theatre activities for children and the chance to explore memorabilia from King Studios. Legendary King Records studio drummer Philip Paul and his quartet will kick off the evening’s entertainment at 5:30 p.m. with a performance of the label’s greatest hits and behind-the-scenes stories. The staged concert reading of CINCINNATI KING will be presented at 7 p.m. Throughout the evening, food trucks and beverage sales will be available in the park.

Playhouse Artistic Director Blake Robison commissioned KJ Sanchez, one of the theatre’s associate artists, to create the play. Sanchez is the founder and CEO of American Records, a company devoted to making theatre that chronicles our time. The CINCINNATI KING project was designed to collect and share stories that preserve a unique part of Cincinnati’s history, foster understanding and ignite dialogue.

What began as an investigation specifically into the history of King Records quickly took on broader meaning thanks to Syd Nathan’s unique contributions to the music industry and to Cincinnati at large. Nathan founded King Records in 1943 as a country label. King’s sister labels, Queen and Federal, became immensely successful for fulfilling the needs of a different audience and supporting the growing popularity of African-American rhythm and blues artists. Iconic singer James Brown started his career at King Records.

King Records became one of the most successful independent labels of the 1940s and 1950s. Nathan revolutionized the industry by keeping the entire production process in house, recording, mastering, printing, pressing and shipping all of the albums King produced. At the same time, he employed both blacks and whites, who worked side by side, inside and outside of the studio. King Records was one of the first integrated industries in Cincinnati.

Working with a group of Playhouse board and staff members, drama students from the University of Cincinnati College-Conservatory of Music and community volunteers, Sanchez compiled CINCINNATI KING from transcripts of interviews with nearly 50 people from across the Tristate. Additional material was drawn from recordings Nathan himself made, as well as newspaper clippings and books written about King Records.

For more details about Celebrating King Records, visit the Playhouse website at www.cincyplay.com.

The Playhouse is supported by the generosity of the community contributors to the ArtsWave campaign. 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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Two Actors Needed for Women in Theatre Table Read

MISC_Casting callWIT-Women in Theatre is doing a simple table read of a full length play on Sunday afternoon, May 3, at 2:30pm we will produce in the fall of this year.  The play is a work in progress by Grace Epstein, a professor of English and Film at U.C. The working title is RURAL FREE DELIVERY.

We still need to fill two characters:

  • Woman:  mid-30’s to early 40’s, white partner to an African-American woman
  • Man:  mid-30’s, Paramedic and possible love interest to another white character

Please contact WIT-Women in Theatre at Sumytra@fioptics.com if you’d like to join us.

WITfully yours,
Donna Hoffman
Director, WIT-Women in Theatre

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QCQTC and Unity Productions team up for Mother’s Day Barebones reading of INDEPENDENCE‏

QCQTC_IndependenceQueen City Queer Theatre Collective and Unity Productions’ Barebones: Staged Readings are teaming up for a two-night showing of Lee Blessing’s INDEPENDENCE on May 10th at Know Theatre of Cincinnati and May 11th at Below Zero Lounge.

The play, which premiered at The Actor’s Theatre of Louisville’s Humana Festival in 1984, remains today a profound tale of sisterhood, motherhood, and family. This production will be directed by Lindsey Augusta Mercer, resident director and co-founded of the collective, who recently directed Diogenes’ DEATH AND THE MAIDEN, and will feature local artists Alison Vodnoy Wolf and Cathy Springfield, who have received regional acclaim for their writing as well as their performing. Linnea Bond, co-founder of the collective, and Miami University grad Kaleigh-Brooke Dillingham will round out the cast.

Regarding the collaboration, Jon Kovach, Unity Productions’ founder, notes “Unity’s mission to create “positive change in society,” fits directly with QCQTC’s consistent work to bring awareness of equality.” He describes INDEPENDENCE, which will perform on Mother’s Day, as “an all female August: Osage County.” Evelyn has three grown daughters; Kess, Jo, and Sherry. Kess returns home for the first time in four years after a falling out with Mom. Kess is determined to help Jo fly from the nest, but Evelyn tightens her grip, in fear of abandonment. Sherry spends most of her time day-dreaming about her biker-man Spinner. Is it possible, the play asks, to have both family loyalty and independence?

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