Category Archives: Reviews

By Katrina “Kat” Reynold

NEXT TO NORMAL presented by Ensemble Theatre Cincinnati through October 11^th (extended). I attended the Opening Night performance. 

In celebration of its 40^th Season (way to go, ETC!), Ensemble Theatre Cincinnati presents a re-mount of one of its most popular productions: NEXT TO NORMAL with music by Tom Kitt and book & lyrics by Brian Yorkey. The 2010 Pulitzer Prize winner for Drama is the story of a family and how they navigate everyday – and not-so-everyday – troubles. Director D. Lynn Meyers (along with Assistant Directors Emily England and Becca Schall) give us a rock opera about mental health and its casualties at its finest.

Ms. Meyers truly encompasses everything a director should be: her vision goes above and beyond what most of us civilians could comprehend. In a show of this magnitude, it is safe to say that the production elements themselves are also important characters. It should come as no surprise that ETC delivers on all fronts. (I’m waiting for my partner in crime to tire of the fact that I will not shut up about an ETC set every single time I enter their theatre.) Scenic Designer Brian c. Mehring clearly understood the assignment with his appropriately stark and sleek blueprint of a set. Its design is solid (thanks to Carpenters Jeremiah Plessinger and Nathan Neorr) and its aesthetics (thanks to Scenic Charge Artist Rae Mack Kuhn) complement the lighting effects (executed flawlessly by Light Board Operator Allyson van Haaren and Spot Light Operators Krishangi Allin and Maximus Winski).

The set (and cast!) of NEXT TO NORMAL. Photo by Ryan Kurtz.

Music Director Steve Goers wields his magic once more in this strong ensemble piece. Mr. Goers has an enviable musicality and has been able to produce a simply stunning cacophony of emotionally-driven voices. (Particular shout-out to a seamless harmonic symphony in Act II’s “Song of Forgetting”.) His keyboard is supported by the following adept musicians: Aaron Almashy on guitar, William Mullen on drums, and Matt Wiles on bass.

This cast of six performing artists is an embarrassment of riches for lucky audiences. At the helm is Jessica Hendy as Diana, a woman struggling with a bi-polar diagnosis and the challenges of life as a wife and mother. Ms. Hendy has a clear, effortless voice rife with a deep emotional understanding of the material she is performing. Taking on the role of Diana’s husband Dan is Charlie Clark. Mr. Clark tackles probably the toughest character arc in the show and does so with incredible instincts and flawless portrayal.

My personal pick for stand-out performance is Julianne Ferguson in the role of Natalie. This talented CCM student commands the stage as the overachieving daughter who is just trying to find her place in life. Ms. Ferguson’s vocal talent is beyond her years: excellent control and filled with thoughtfulness. This will no doubt be one of many professional appearances for this up-and-coming artist.

Julianne Ferguson as Natalie and Charlie Clark as Dan. Photo by Ryan Kurtz.

Rounding out the ensemble are Carter Minor with an endearing turn as Henry; Jameson Zoller whose performance as Gabe is energetic and emphatic; and Rory Sheridan coming in like a hurricane as both Dr. Madden and Dr. Fine (and he is fine). Cheers to a superb ensemble!

Everyone can find something or someone in this story with whom they can empathize. Whether you’ve seen it before or this would be your first time, NEXT TO NORMAL is absolutely one of those shows you should make a priority. You will cry your heart out and then you will thank the performers for making it happen.

Click here for more information about the production.

By Katrina “Kat” Reynold

JAJA’S AFRICAN HAIR BRAIDING presented by Ensemble Theatre Cincinnati through June 22nd. I attended the Opening Night performance. 

Brianna Miller as Miriam, Elexis Selmon as Jennifer, Samantha Russell* as Marie, Candice Handy* as Aminata & Keisha L. Kemper as Bea. Photo by Ryan Kurtz.

To close out its incredible 2024-2025 season, Ensemble Theatre Cincinnati presents the Regional Premiere of Tony Award-nominated Jaja’s African Hair Braiding by Jocelyn Bioh. Set in the heart of Harlem, a lively community of West African immigrants work together and survive together. While the term “love letter” can be overused in describing a script, there is little doubt that Ms. Bioh is offering us a celebration of African culture and the common bonds those deemed “outsiders” share.

When producing a show celebrating the allure of strong, melanated women, who better to direct than the inimitable Torie Wiggins? And let me tell you, Ms. Wiggins does not make one misstep in her direction: her cast is rock-solid, her use of the playing space is as smooth as a silk press, and her attention to detail is unmatched. Resident Scenic & Lighting Designer Brian c. Mehring along with the work of Properties Curator/Design Assistant Shannon Rae Lutz are to be applauded as well. The set is an absolute work of art and gives off the exact vibe of a busy shop that has been operational for more than a minute.

Huge and well-deserved praise is due to the Costume, Hair, & Wig Designer, Tiara M. Jones. Since the action takes place entirely in Jaja’s hair braiding salon, great hair is paramount. Not only did Ms. Jones create wigs in different stages of braiding (truly flawless work), but a few of the players portray more than one character. In addition, the costume choices are nothing short of brilliant. I think we will all agree Tiara is the actual star of this show – brava!

It is an impossible task to cite any of these performing artists over another, so prepare yourselves for as much as I can squeeze into a review before you lose interest.

A.J. Baldwin (multiple roles) always has the uncanny ability to chameleon herself into any role and turn them into someone you know you know.

Beasley (multiple roles) is absolutely giving character this round and I want more.

Jasimine Bouldin delivers as Ndidi, with a well-executed accent (shout-out to Dialect Coach Debora Crabbe for her work with the entire cast) and her deliberate and precise subtleties.

Burgess Byrd glows as Jaja and owns the stage every moment she graces it. Just when you think Ms. Byrd can’t get any better, she does.

Candice Handy (Aminata) is not only a vision aesthetically, but her entire manner from the way she walks to her facial expressions are a director’s dream.

Keisha L. Kemper (Bea) is impossible to ignore and her adept depiction of her character’s complicated arc is *chef’s kiss”.

Brianna Miller is delightful as Miriam – there is absolutely nothing not to like about her!

Samantha Russell’s Marie is splendidly done; she manages to make the heavy lifting of this central character look easy and that is admirable.

Elexis Selmon as Jennifer changes before the audience’s very eyes (in more ways than one) and she simply gives us “likable” energy.

Samuel Stricklen has his work cut out – not only as the only male performer, but in making each of his characters so wonderfully distinctive. Spoiler alert: he crushes the assignment.

What else can a white girl convey about this show except it is a beautiful thing to see an ensemble of black women who gets to say exactly what they want? This is their time, their laughter, and their heartache; no hiding or dumbing it down for a society who just doesn’t always “get it”. At its very core, Jaja’s is about community, home, and heart.

I was fully engaged in this experience from start to finish and I left the theatre feeling something we do not always get to feel in today’s climate: hope. I implore Cincinnati to sell out this show every single night and to continue to talk about it long after the lights dim on this run.

Click here for more information about the production.