Category Archives: Reviews

May 27, 2026 · 5:14 pm

EMMA at Cincinnati Shakespeare Company Review

By Katrina “Kat” Reynolds

EMMA presented by Cincinnati Shakespeare Company through June 14th. I attended the Opening Night performance.

A.J. Baldwin, Ernaisja Curry, & Jasimine Bouldin. Photo by Mikki Schaffner.

Cincy Shakes is closing out its 2025-2026 season with Emma, an adaptation of Jane Austen’s charming novel by playwright Kate Hamill. While the play is set in the original text’s time period, many more modern references and Easter eggs make their appearance throughout.

Director Candice Handy has gathered a strong and energetic cast to tell the tale of Emma and her matchmaking skills. The stage action pacing is strong on this just-a-touch-too-long script and the separation of our “fourth wall” chats with Emma are staged and executed effortlessly. Scenic Design by Gabby Trice is detailed and delicate while still feeling larger than life. Costume Designer Lindsey McGee Jones had her work cut out for her, but delivers with flying colours. Choices with Emma’s looks in particular are both beautiful and clever (no spoilers from me). Special shoutout to Wig Designer Kayla Cieslinski for a great job as one of the most overlooked parts of any production crew; wonderful work on the coif choices.

Ernaisja Curry is exceptional in the production’s titular role. Ms. Curry has a wonderful quality about her acting where she masters the “sidebars” with the audience while still being entirely in the moment with her fellow cast members in action. Her grasp of the sweetness of Emma along with Emma’s flaws is excellent. A.J. Baldwin is utterly delightful as Harriet, Emma’s unwitting project. We see the character blossom before our very eyes and still wish to cheer her on even when she becomes a wee bit too enamored with herself thanks to Emma’s flawed tutelage. Kudos to the rest of the ensemble as well: Jasimine Bouldin, Brandon Burton, Burgess Byrd, Montez Jenkins Copeland, Sylvester Little Jr., Samuel Stricklen, Aleah Vassell, and Torie Wiggins.

While I’m admittedly not Kate Hamill’s biggest fan, I do think this is a fine adaptation of the original Jane Austen text – although it should be a bit shorter. I enjoy the penchant Ms. Hamill has for adding a speech or scene addressing the oppressive nature surrounding women in the times for which she adapts. Fortunately, this particular foray keeps true to the lovable heart of the story without losing its footing. This finale, as it were, for Cincy Shakes’ 2025-2026 season is simply a joyful time at the theatre.  

Click here for more information about the production.

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May 18, 2026 · 5:15 pm

THE HOUSE ON WATCH HILL at Ensemble Theatre Cincinnati Review

By Katrina “Kat” Reynolds

THE HOUSE ON WATCH HILL presented by Ensemble Theatre Cincinnati through May 31st. I attended the Opening Night performance.

The cast of THE HOUSE ON WATCH HILL Photo by Ryan Kurtz.

For its final show of the 2025-2026 season, Ensemble Theatre Cincinnati is bringing audiences a proverbial “blast from the past” via THE HOUSE ON WATCH HILL with Book & Lyrics by Richard Oberacker & Robert Taylor and Music by Richard Oberacker. Based on true events, it tells the story of a group of teenaged misfits who try to make their mark in the summer of 1984 – the one before they venture into the world of high school.  

Co-Directors D. Lynn Meyers and Dee Anne Bryll (who also serves as Choreographer) work well together in using the entire space at hand. Their use of unconventional parts of the set as beds or couches or seats in a basement is genius. Scenic & Lighting Design by Brian c. Mehring is sleek and stark punctuated by neon lights and…it really works! It is the ideal setting for a show which is trying to make the story itself and the characters the focus. Specific shoutout to the hardworking production staff who created the Spencer’s carts as I was immediately back in SoCal circa the 1980s trying to navigate the store without a parental figure catching me doing it. Music Director Steve Goers and his band (Joel Greenberg, Brian Malone, and Matt Wiles) certainly possess a knowledge of the time period’s music, but I fear a lot of Mr. Goers’ work with the vocalists is lost due to the volume of said accompaniment. It feels like the singers are fighting for their lives and no one wants to hear someone blow out a vocal cord.

While the show boasts a strong ensemble of performing artists, there are certainly some standouts. Sara Mackie, who plays Adult 2 (aka multiple roles throughout) gives us her usual extra effort. She is a delight to see and hear and provides us with some grounded character connections. Julianne Ferreira Da Silva plays Jennifer, a character whom embodies everything I would have been as a teen in the 1980s with the Pat Benetar-esque vocals to boot. Gavin Poronsky is utterly likable as Tim, a character of whom I’d loved to have seen more!

While clearly a deeply personal piece, I do think The House on Watch Hill could use some further workshopping. I can myself relate to being a “weird little kid” (hell, I’m a weird not-so-little adult), but that isn’t always enough motivation to care about a character or where they are headed. The nostalgia is real, the visuals are fantastic, and the heart is clearly present; it could all just use a wee more depth. Some things are timeless, however: dealing with liking someone or something to a precarious degree, finding your way through the world in your own skin, and holding dear the people who helped you survive those formative times.

Click here for more information about the production.

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May 18, 2026 · 5:14 pm

SUFFS at Broadway in Cincinnati Review

By Katrina “Kat” Reynolds

SUFFS presented by Broadway in Cincinnati through May 17th. I attended the Opening Night performance. 

The Cast of SUFFS presented by Broadway in Cincinnati. Photo by Joan Marcus.

As a 2025-2026 Broadway in Cincinnati season option, the Aronoff Center is presenting SUFFS with Book, Music, & Lyrics by Shaina Taub. The Tony Award-winning musical gives an inside, more personal look at the women who helped drive the fight for the right to vote.

Director Leigh Silverman masterfully takes the helm of this strong ensemble piece by producing many stunning stage pictures and setting up excellent pacing. Ms. Silverman allows for individual moments when appropriate while still keeping the spirit of camaraderie constant. Choreographer Mayte Natalio has an incredible gift for movement, even with a large cast on a smaller stage than other cities may offer. Gavotting is seamless and natural, but remains impactful. Tour Scenic Design by Christine Peters appears opulent and reads as wonderfully functional for the performing artists. Ms. Peters incorporation of the “key colours” (purple, white, and yellow for those who may not know) is done smartly and pops against the time-period appropriate darker aspects of the set.

In an piece written to empower women and educate all, do you include men in on the bit? Well…sort of – but you have the women portray them, of course! This all-female cast is the definition of an ensemble and choosing standouts is a tall order. Every vocalist is top-notch, mastering perfectly blended harmonies like it’s just another day at the office and their acting is superb.

Monica Tulia Ramirez is nothing short of perfection as Inez Milholland. You will either wish you could be like her or be with her – or both, in my case. Danyel Fulton as Ida B. Wells is a show-stopper. The audience is left suitably uncomfortable and on the edge of their seats from the first to the last words of “Wait My Turn” thanks to Ms. Fulton’s incredible vocal talent and acting prowess. Additional kudos to Jenny Ashman as Woodrow Wilson; Marya Grandy as Carrie Champman Catt; and Maya Keleher as Alice Paul.

Most of you probably know that, in general, I am not a huge fan of musicals. Sure, there are exceptions – and I will say without any pretense that SUFFS is one of those exceptions and has easily become one of my top three favourites. In fact, this particular performance is on the top list of best shows of any kind I’ve ever seen, full stop. It is original, informative, rife with talent, and just plain entertaining. The music will stick with you long after you leave the theatre and the reminder of how obstacles once deemed insurmountable have been overcome is necessary. I will personally be making the effort to see this show any time it comes through.  

Click here for more information about the production.

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April 28, 2026 · 5:30 pm

TENDERLY: The Rosemary Clooney Musical at Cincinnati Playhouse in the Park Review

TENDERLY: The Rosemary Clooney Musical presented by Cincinnati Playhouse in the Park through May 17th. I attended the April 25th matinee performance. 

Mollie Vogt-Welch & Sam Simahk

Originally staged at Cincinnati Playhouse in the Park in 2014, which resulted in an extended sold-out run, TENDERLY: The Rosemary Clooney Musical has returned to the Shelterhouse stage.

Based on the life of Rosemary Clooney, the book, music and lyrics for TENDERLY were created by local artists Janet Yates Vogt and Mark Friedman. The pair do a wonderful job of providing insight into Rosemary’s life, and of showcasing her songbook without forcing the songs into place within the book. The scenes, flashbacks and songs are natural and flowing.

The story follows a defiant Clooney struggling to work with a therapist after a nervous breakdown. Over the course of the performance, we follow Clooney’s career, from singing on the porch with her sister Betty to the pair being discovered here in Cincinnati. Rosemary’s decision to strike out on her own, her multiple marriages and her eventual comeback give audiences a glimpse into her grit and determination.

Headlining this two-person show is Mollie Vogt-Welch as Rosemary, who embodies the vocalist’s sound and sass. The clarity and quality of her voice are perfect for the role and her performance leaves little doubt who is the commanding presence.

Joining her onstage in the roles of The Doctor/Others is Sam Simahk. Aside from serving as her therapist, Simahk plays all the other characters that appear in the show: Rosemary’s mother, her sister Betty, her husbands and even Bing Crosby just to name a few. Through small costume additions and changes, Simahk makes every character unique in voice and mannerisms.

Speaking of costumes, designed by Gordon DeVinney, the duo’s main outfits and styling evoke the time-period perfectly. Clooney’s final look for the show could have come right out of her personal collection.

The set design by Tamara L. Honesty is smart and sparing. The pieces used for the therapists’ office are perfect, again cementing the time period. Having the pieces set upstage to gives the audience in the round the best chance to enjoy every moment. The upstage area that houses the musicians evokes a nightclub stage, a fitting backdrop for the songstress.

The trio of musicians accompanying the show are top notch, with music director Matthew Umphreys at the piano each performance.

A special shout-out to the stage crew, managed by Brooke Redler, who were always ready to pass off and receive props and costumes pieces as scenes went into and out of flashbacks.

Director and choreographer Michael Marotta brings a wealth of knowledge and experience to this production. He originated the role of The Doctor/Others in Playhouse’s original production and has played the role several times over the past 13 years. The pacing of the show is excellent as well as the use of the entire play area. By keeping the set pieces upstage, the transitions between past and present flow extremely well.

Overall a lovely and engaging production, a fitting tribute to a local legend. The two actors have great chemistry and make the entire performance appear effortless.

My rating: 5.0 out of 5

For more information on Vogt’s & Friedman’s complete musical catalog, visit www.vogtfriedmancomposers.com.

Please note: Michael Marotta will be returning to the production in the roles of The Doctor/Others beginning May 6th. Sam Simahk is heading back to New York City to star in a Broadway show.

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April 20, 2026 · 4:59 pm

THE PIANO LESSON Review

Review by Katrina “Kat” Reynolds

Lester Purry as Wining Boy & James T. Alfred as Boy Willie.

THE PIANO LESSON presented by Cincinnati Playhouse in the Park through May 3rd. I attended the opening night performance. 

This spring Moe and Jack Rouse, Randolph Wadsworth, and your Cincinnati Playhouse in the Park are celebrating the words of August Wilson with a production of his play The Piano Lesson. This co-production with the Milwaukee Repertory Theater takes us to the time of the Great Depression and tells the story of a dispute between two siblings over a family heirloom – and garnered Mr. Wilson his second Pulitzer Prize for Drama.

Director Lou Bellamy does an excellent job keeping up the momentum of this lengthy drama. Scenes do not fall stagnant and pacing is solid. Set Design by Vicki Smith is rich and layered; however, stage left could have benefitted from some extra touches (a runner on the household steps or a rug on the inside of the door). But make no mistake: the set is easy for the actors to navigate and complements Mr. Bellamy’s vision. Costumes designed by Mathew J. LeFebvre are bold, colourful, and a fine contrast against the home’s modest décor.

The group of artists chosen to perform Mr. Wilson’s timeless text is an embarrassment of riches. James Craven is exceptional as Doaker Charles, the uncle trying to referee the disagreements between his niece and nephew. Mr. Craven brings a deep understanding to his role and gives us a masterclass on how to convey the complicated emotions of being human with ease. Nubia Monks plays Berniece, Doaker’s niece who lives with him along with her young daughter. Berniece is a single woman of colour in the 1930s who is raising a daughter, working ungodly hours, and trying to figure out how to take care of her own peace in the little time she has left to even consider it. Ms. Monks’ talents are boundless and her portrayal of the strong yet sensitive heroine will leave you speechless. (Plus I need her to sing to me daily.)

Special shoutout to La’Tevin Alexander in the role of Lymon. Mr. Alexander is delightfully likable as the genuine, rough-around-the-edges family friend who finds himself caught up in the disagreement in ways he could not have envisioned. He brings an expert physicality to his role along with a special something which can make one blush and want to embrace Lymon, flaws and all.

This is a difficult call to make, but I do believe The Piano Lesson is my favourite August Wilson play I have seen to date. Most people can relate to the heightened emotions which tend to accompany items considered family heirlooms – especially if not everyone is on the same page about them. Ghosts from our past can be friendly or can haunt us mercilessly and it is up to us to figure out how to live with them in harmony. Suffice it to say, I believe this might be one of those times where the ending we witness on stage gives the audience exactly what is needed.

Click here for more information about the production.

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