Category Archives: League of Cincinnati Theatres Reviews

LCT Review of OUTSIDE MULLINGAR

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

Outside Mullingar, by John Patrick Shanley, is a charming and heartwarming, Irish, romantic comedy at Ensemble Theatre Cincinnati.  Director Ed Stern makes a welcome return to Cincy stages and steers this production right into our hearts and minds. Stern very rightly points to this work as a different voice than we are used to hearing from Shanley; it’s a journey into his Irish roots and as Stern describes it: “There is a lyricism, a beauty, with nuanced comedy and drama intermingled into a soft human and humane work.”  Just so.

Jen Joplin as Rosemary Muldoon & Brian Isaac Phillips as Anthony Reilly. Photo by Mikki Schaffner.

Jen Joplin as Rosemary Muldoon & Brian Isaac Phillips as Anthony Reilly. Photo by Mikki Schaffner.

The ensemble is worthy of the theatre’s name and unfolds this simple and poetic story with ease. Two longtime farm neighbors have a friendly but sometimes strained relationship over a land dispute and an incident that happened between the kids when they were young. Shanley’s characters are real and engaging and are infused with the bittersweet longing found in the characters he created in Moonstruck. Quirky and lovely, Shanley gives the characters so much narrative and so many descriptive scenes, you feel you’ve known them all your life.  A very neat feat in only 90 minutes.

Area favorites Joneal Joplin as Tony Reilly, and Dale Hodges, as Aofie Muldoon, are crusty and endearing neighbors who have both lost their spouses.  Both inhabit these characters completely with genuine charm and dynamic realism.  Brian Isaac Phillips, usually directing at Cincinnati Shakespeare Company and is its’ artistic director, was a delight to see onstage.  He plays Anthony Reilly, son of Joneal Joplin’s Tony Reilly, with heartbreaking vulnerability and his scene with his dying father is a stunning revelation into the depth of both Phillips and Joplin.Tony Reillycomplains that his son has trouble “standing up for himself” and ruminates about giving the farm to his American cousin instead. But Anthony is the real poet of the land he works and dreams of flying.  Phillips gives the son such pathos and an aching longing that instantly engages him with the audience. Jen Joplin as Rosemary Muldoon (and real life daughter of Joplin), is as sturdy and rugged as her male counterpart farmers  Jen gives her the Irish soul of a rare beauty like the white heather she finds among the hills during her solitary walks. Jen Joplin is a study in contrasts and yet steady as the day is long, giving a beautiful and grounded performance. Brian Phillips and Jen Joplin have a lyrical quality together that was both sweet and aching for the love of each other that they can’t seem to express.

Thanks to Rocco Dal Vera’s expert vocal coaching all of the actors had spot on Irish brogues. Joe Tilford’s extravagant wagons slide on and off stage with slick, quick and complete scene changes. Bravo to the running crew!  The addition of real rain and a couple of surprises at the end made this a truly remarkable set design. This is Tilford’s debut at ETC who can be found more regularly at Playhouse in the Park. It is a brilliant debut.  Additional props to the perfection of set dressing by the always-on-point Shannon Rae Lutz and a moody lighting design by Resident Designer Brian Mehring sets this journey on the right course.

Don’t miss this comfortable and quirky visit to Mullingar!

For more information on the production, click here.

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LCT Review of THREE DAYS OF RAIN

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

Untethered Theater’s Three Days of Rain is definitely an ambitious performance at Clifton Performance Theatre. The first act opens in 1995, the second act in the same apartment in 1960. This was a play of three actors playing two roles each and was well-played by this 3-person ensemble, MaryKate Moran, Carter Bratton, and newcomer to Untethered, Adam Jones.

MaryKate Moran as Nan, Carter Bratton as Pip & Adam Jones as Walker.

MaryKate Moran as Nan, Carter Bratton as Pip & Adam Jones as Walker.

The story begins with the encounter of a brother (Ned) and his sister (Nan) after a long period of time only to meet a lawyer to find out what their deceased father had left behind for them. Pip, a common friend of them both, as well as affectionately close to their father, joins the meeting as well. The elaborate yet concise stage set up is initially a rundown studio apartment where the Ned and Pip’s Dad began their modest journey together as architects. It is clear neither of the siblings went through a normal family life During the first half of the play Ned attempts to discover his father through an enigmatic journal, first page of which is dated for three consecutive days and has just these four words written: “Three Days of Rain”.

Following the intermission we see the same set but everything is alive as the set takes us back to the days when Walker (Ned’s father) and Theo (Pip’s father) were in their early days as architects. The low self-esteemed and a chronic stutterer Walker felt fortunate to have an outgoing and influential friend like Theo, while Theo diplomatically depended on the talent of Walker to advance to fame as an architect. Theo also has a rocky relationship with his girlfriend, Lina, who is not always charmed by his extraverted nature. The chemistry and relationship between these characters form a complicated triangle.

The first act develops curiosity within the audience who try to anticipate where the story is going. We expect some twisting revelation. But although the story in the second half presents a sharper relationship drama, it lacks the brilliance of the first half and seems to present a more clichéd version of a romantic triangle.

Nevertheless, the three actors still render excellent performances that continue to draw our undivided attention. Adam Jones (Ned) from the first half reappears as his father, Walker, in the second half. The strongly contrasting character of these two men was vividly portrayed in Adam Jones’s performance. From his clothing, hairdo and mannerisms, Adam Jones led us to believe he was not the same man in these two different roles. Mary Kate Moran’s performance as Nan and Lina, was less polished and her roles were much less dynamic. As Pip, Carter Bratton’s portrayal was somewhat flat, as the smooth finesse of both characters did not allow as much contrast between them.

This production, perhaps, needs a bit more time to gel. Once it does, it will be compelling theater. As it stands, it is a show that had good moments with occasional missteps in between. The costumes in this play needed a lot more attention, especially to draw contrast between Walker and Theo and the different eras. The sound and lightening design helped to separate the indoor and outdoor spaces but it was rough at times. The sound was often too loud over the actors and the light didn’t hit all the actors correctly and caused strange shadows. Lighting operation malfunctioned a couple of times though Adam Jones spontaneously attempted to cover it up by impromptu dialogue. And most definitely big kudos must go out to Buz Davis for a creatively thoughtful scenic design with extensive detail. Leah Strasser did a great job directing this play. Her skill was evident, although occasional lack of attention to details provided some confusion at times.

Overall, the audience was well-served by this subtle play. The bond between the actors, as well as everyone else at the Clifton Performance Theatre was vibrantly in evidence through their collaborative and energetic presentation. One can warmly utter: “a small theatre doing big things”. Three Days of Rain is recommended for the passionate lovers of good theater.

For more information on the production, click here.

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LCT Review of THE SOUND OF MUSIC

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 Covedale Theater concludes its season with a solid, enjoyable and touching rendition of the classic Rodgers and Hammerstein musical “The Sound of Music”.   The key to a successful show is Maria and the children and both perform very well in this version. Maria, played by Helen Raymond-Goers, transitions well between the naïve postulate to the mature woman who helps the family deal with the Nazi threat and eventually escape Austria. She also has an excellent voice and handles the variety of songs from the comic and boisterous to the delicate love songs with equal aplomb. The children, a critical part of the play, who help Mariawith that transition, excel in their roles as believable and distinct characters with good voices.   Margot Grom, as Liesl, was the best singer and dancer among the children and Violet Hicks was delightful as the youngest, Gretl. Justin Glaser found the arch in the role of the Captain and his big bass/baritone voice was powerful and appropriate.

Justin Glaser as Captain Georg Von Trapp & Helen A. Raymond-Goers as Maria Rainer. Photo by Mikki Schaffner.

Justin Glaser as Captain Georg Von Trapp & Helen A. Raymond-Goers as Maria Rainer. Photo by Mikki Schaffner.

Much of the success for the show must be attributed to co-directors Dee Anne Bryll and Ed Cohen who keep the action moving without falling into the trap of being overly sentimental. The set design by Brett Bowling was very cleverly constructed to easily represent both the abbey and the Von Trapp living room with a minimum of alterations. My quibble is that the music was canned and robotic. Initially, the singers were out of sync with the music but that improved as the evening progressed. Some of the scene changes could have been done with more blackout – the scene changes were long and somewhat disruptive.   Overall, I recommend the show and hope people will “Climb Every Mountain” to see it.

For more information on the production, click here.

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LCT Review of MOONLIGHT AND MAGNOLIAS

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

Prepare to have the “Theme from Tara” playing in your head for a few days after you see Moonlight and Magnolias, the latest production of Mad Anthony Theatre Company at the Fitton Center in Hamilton. Director Patricia Ganz uses the familiar music to good effect in the play, which provides a true back story to the making of the movie Gone with the Wind.

The play’s setup is that famed producer David O. Selznick has started shooting Gone with the Wind when he realizes the script is terrible and he fires the director. He takes director Victor Fleming off the almost-finished Wizard of Oz and cajoles screenwriter Ben Hecht to rewrite the script.

MATC_Moonlight and Magnolias logoThe three movie men have five days, locked in an office, to produce a new script so filming can start again.

The play’s humor starts immediately with screenwriter Hecht’s admission that he has not read the famous novel. So Selznick and Fleming “act out” scenes from the book while Hecht furiously types.

Moonlight and Magnolias is mostly fun, and Mad Anthony’s production is in the capable hands of veteran director Ganz and the small cast led by Henry Cepluch as Hecht. Playwright Ron Hutchinson has given Hecht the best lines – “Does the movie have to be set in the Civil War?” and “Isn’t it obvious that tomorrow is another day?” Cepluch plays the role with an understated dry wit.

The role of Hecht here also has a social conscience that broadens his character. He is the one concerned about the portrayal of the slaves in “Gone with the Wind” and also about the current (1939) discrimination against Jews – Hecht and Selznick are both Jewish.

But the insertion of social issues into what is mostly a farce in some ways feels like “filler,” because the audience has been set up to laugh, and that’s what we wanted. And each of the actors are saddled with long monologues pontificating on the roles of the producer, director and writer of a movie. Appreciated are Selznick’s lines about everyday people, the audiences of movies, being the true determination of success.

Bob McClain as Selznick and Steve Tunning as Fleming are at their comedic best play-acting scenes from Gone with the Wind–Melanie giving birth and Scarlett fiddle-dee-deeing. A good laugh when Selznick finally comes up with the iconic line, “Frankly, my dear, I don’t give a damn.”

There is good use of sound effects when McClain as Selznick gives a fast-track synopsis of the novel – a baby crying, the saw mill whirring.

It is great fun for the audience to know what these struggling movie men don’t yet know – that “Gone with the Wind” will win many Oscars and become the highest-grossing film of the 20th century. Meanwhile, thanks to this play, we now know the movie’s shaky start.

Moonlight and Magnolias runs through May 3.

For more information on the production, click here.

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LCT Reviews of YOU’RE WELCOME (A Cycle of Bad Plays)

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

I have no idea what I saw on stage the Cohen Family Studio Theatre of the College-Conservatory of Music, but I haven’t laughed this hard at a farce in a long time. What a wacky refreshing evening of theatre at CCM Studio Series. If Monty Python and Carol Burnett had a child this would be the offspring.  The play is a series of sketches, vignettes, or whatever you want to call it (it’s billed as a cycle of bad plays so take your pick). The fun is that it’s a series of satirical views of theatre — complete with an overzealous director (the real one, not the one portrayed by very talented Bartley Booz and, well, a very famous CCM director in cameo at the curtain call!).

CCM_Youre Welcome promo 2It was very “fringey” and that’s what I loved. While this show feels like acting exercises and improv games made into a piece of theatre, I enjoyed the effort. Often times when I see shows at CCM their offerings are highly polished and technically proficient but lack some emotional energy or edginess. Kudos to director Brant Russell for changing things up!! This is devised theatre, funny and scrappy and showcasing several of the drama students to great effect. It’s hard to single out individuals when you’re seeing an ensemble hard at work. Spencer Lackey was disturbingly charming and mysterious in a Norman Bates sort of way sitting on a bench waiting for a train. It took the audience a while (if not right at his reveal) to realize it was a man as a woman boozing it up during the voice-over monologue.  Andrew Iannacci, Colleen Ladrick, Laura McCarthy, Devan Pruitt, Alison Slutter and Arielle de Versterre are all juniors in the program, so you should not miss this fun with them before they graduate. I’m looking forward to more work by sophomore Emily Walton (along with sophomore Lackey), who seem to make the transition from drama to comedy smoothly.

It’s theatrical sin at its finest. The “We’ve got a fog machine” was a brilliant zinger of the rule “just because you can, doesn’t mean you have to” that plagues many theatre productions — professional, community, high school, Las Vegas, even mega-churches. Not to mention the hilarious send-up in sound design and choreography of Michael Jackson’s “Thriller”. I loved the breaking of the fourth wall and loved the fun ending.

I’m reminded of a John Cleese bit “If you’re not old enough to cope with bad language then you should not have chat shows.” If you’re not old enough to laugh at some fine theatre you shouldn’t be a theatre-goer at all.

For more information on the production, click here.

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