Category Archives: Reviews

September 14, 2015 · 5:30 pm

LUNA GALE Review

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

Annie Fitzpatrick as Caroline. Photo by Ryan Kurtz.

Annie Fitzpatrick as Caroline. Photo by Ryan Kurtz.

LUNA GALE presented by Ensemble Theatre Cincinnati through Sept. 27. Click here for more information on the production. I attended the opening night performance.

A sure sign that you’re thoroughly captivated by a play? Being surprised when the lights come up for intermission. That’s what happened to me with LUNA GALE. The over-burdened and under-funded social services system serves as a backdrop for this powerful and thought-provoking play by Rebecca Gilman.

Brent Vimtrup as Cliff & Annie Fitzpatrick as Caroline. Photo by Ryan Kurtz.

Brent Vimtrup as Cliff & Annie Fitzpatrick as Caroline. Photo by Ryan Kurtz.

Annie Fitzpatrick is engrossing and emotionally pitch-perfect in the demanding role of social worker Caroline. The central character that is nearly ever-present on stage. In her first scene, you immediately know who Caroline is…a weary and experienced social worker, starting a new case for infant Luna Gale. And that is who she is, but as the play progresses new facets of her emerge that surprise and touch me. I’m inspired by her inner strength and saddened by her loneliness.

With young adult roles to fill, director D. Lynn Meyers has cast three of ETC’s 2014-2015 acting interns. I find it exciting to see these young actors get their first professional roles locally. It’s great to be with them as they take that next step in their careers with such strong performances.

Molly Israel as Karlie, Patrick E. Phillips as Peter & Annie Fitzpatrick as Caroline. Photo by Ryan Kurtz.

Molly Israel as Karlie, Patrick E. Phillips as Peter & Annie Fitzpatrick as Caroline. Photo by Ryan Kurtz.

First is Molly Israel portraying Karlie, Luna’s drug-addicted mother, who I found very frustrating. The character, not the actress. With any vulnerability buried deeply behind a constantly-angry persona, I didn’t connect emotionally with her…apparently my compassion is tied to her effort. This lack of connection keeps me questioning the motive behind her decision at the end of the play.

Peter, Luna’s father, is played by Patrick E. Phillips. Peter is a people pleaser and that, in part, led to his drug use. The possibility of losing custody of Luna appears to be a wake up call for him. Phillips handles the maturing of the character over the two acts very convincingly.

Annie Fitzpatrick as Caroline & Natalie Joyce as Lourdes. Photo by Ryan Kurtz.

Annie Fitzpatrick as Caroline & Natalie Joyce as Lourdes. Photo by Ryan Kurtz.

Lourdes (Natalie Joyce) is one of Caroline’s cases,  who is aging out of the foster system by turning 18. I enjoyed how each of their scenes together had a different awkwardness to them. Joyce handles the growing distance between the two believably.

Kate Wilford is spot on as Luna’s maternal grandmother, Cindy. I liked her immediately as she fretted over the details of taking in Luna. That is, until she shared her (extreme to me) religious beliefs. Let’s just say that recent events in Kentucky have that particular nerve close to the surface. This revelation brings another theme to the narrative and can polarize your view of what is best for Luna.

Annie Fitzpatrick as Caroline, Charlie Clark as Pastor Jay & Kate Wilford as Cindy. Photo by Ryan Kurtz.

Annie Fitzpatrick as Caroline, Charlie Clark as Pastor Jay & Kate Wilford as Cindy. Photo by Ryan Kurtz.

Brent Vimtrup is perfectly horrible as Cliff, Caroline’s passive-aggressive, condescending supervisor. Their interactions always turn combative and the intensity of their battle of wills is damn good theater.

Rounding out the cast is Charlie Clark as Pastor Jay. His performance pushed all the right buttons for me, and it’s probably better I don’t go into details about the why.

Kate Wilford as Cindy & Patrick E. Phillips as Peter. Photo by Ryan Kurtz.

Kate Wilford as Cindy & Patrick E. Phillips as Peter. Photo by Ryan Kurtz.

Brian c. Mehring’s rotating set is smartly designed, offering great versatility in creating the multiple (six if memory serves) locations. Property master Shannon Rae Lutz delivers believable spaces. Varies rooms include Cindy’s kitchen, Caroline’s office and the children’s play room. Great job by the stage crew who quickly and quietly took care of the changes.

Pulitzer-nominated script, excellent cast plus strong and sure direction make LUNA GALE a timely, emotionally-gripping and artistically-satisfying beginning to ETC’s 30th anniversary season.

My rating: 4.75 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.

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September 11, 2015 · 2:23 pm

MOTOWN THE MUSICAL Review

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

Patrice Covington as Martha Reeves (center) & Cast. MoTOWN THE MUSICAL First National Tour 14. Joan Marcus, 2014.

Patrice Covington as Martha Reeves (center) & Cast. MoTOWN THE MUSICAL First National Tour 14. Joan Marcus, 2014.

MOTOWN THE MUSICAL presented by Broadway in Cincinnati through Sept. 20. Click here for more information on the production. I attended the opening night performance.

The touring production of MOTOWN, currently at the Aronoff Center, doesn’t do anything small. It’s a large cast with big voices, performing more than 50 songs that defined the record label Berry Gordy built. Biggest of all? The incredible array of costumes capturing the looks of the Motown musical icons.

Reed L Shannon as Michael Jackson (center) with the Jackson 5. MoTOWN THE MUSICAL First National Tour 14. Joan Marcus, 2014.

Reed L Shannon as Michael Jackson (center) with the Jackson 5. MoTOWN THE MUSICAL First National Tour 14. Joan Marcus, 2014.

The ensemble is solid and polished. They make this physically demanding show look easy. I’m fairly certain that if an actor is not on stage they are changing costumes to come right back on. Audience favorites included Josh Tower as Berry Gordy, Ashley Tamar Davis as Diana Ross, Jesse Nager as Smokey Robinson, Jarran Muse as Marvin Gaye, Elijah Ahmad Lewis as Stevie Wonder and Leon Outlaw Jr. as a young Michael Jackson.

Jarran Muse as Marvin Gaye & Cast. MoTOWN THE MUSICAL First National Tour 14. Joan Marcus, 2014.

Jarran Muse as Marvin Gaye & Cast. MoTOWN THE MUSICAL First National Tour 14. Joan Marcus, 2014.

As with many jukebox musicals, the book for MOTOWN is not the show’s strongest element. It does have a have some great comic bits peppered throughout. For me, the second act seems to lose its momentum in several places. I also felt like the chemistry between Berry Gordy (Tower) and Diana Ross (Davis) was lacking, as I never bought them as a couple.

The Temptations. MoTOWN THE MUSICAL First National Tour 14. Joan Marcus, 2014.

The Temptations. MoTOWN THE MUSICAL First National Tour 14. Joan Marcus, 2014.

Opening night, my major complaint with the show (echoed by other opening night attendees) was the sound. For the bulk of the performance, the vocals were overpowered by the orchestra. Hopefully this problem was addressed for the second performance.

Overall a fun, energetic and rockin’ trip through the songs of Motown, featuring a strong cast of vocally-powerful performers

My rating: 4.5 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.

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September 10, 2015 · 2:18 pm

A CHORUS LINE Review

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

Photo by Mikki Schaffner Photography.

Photo by Mikki Schaffner Photography.

A CHORUS LINE presented by Cincinnati Landmark Productions at the Covedale Center for the Performing Arts through Sept. 27. Click here for more information on the production. I attended the opening Sunday performance.

“At the Ballet.” Photo by Mikki Schaffner Photography.

For me, what makes or breaks a production of A CHORUS LINE is the dance ability of the cast. Far too often I’ve seen productions that are “Dance 3: Looks 3,” if you get my meaning. (And it you don’t, it’s a reference to the show, go see it.) That is NOT the case with the Covedale’s production. Here, the majority of the performers have dance training under their belts, and it shows.

Cetner: Afton Shepard as Val Clark. Photo by Mikki Schaffner Photography.

Cetner: Afton Shepard as Val Clark. Photo by Mikki Schaffner Photography.

Choreographer Angela Kahle takes full advantage of her talent pool. The dance numbers as a whole are nicely staged, visually strong and build naturally. It is also evident that the cast has worked very hard to master the routines. Great job, and I hope to see more of Kahle’s work on stage soon.

Director Matthew Wilson does well in defining the characters and hitting the right emotional beats. The interaction between Paul (Ben Goodman) and Zack (Matt Dentino) after the former’s monologue was very nicely handled. To me, a monologue or two felt confined by its lack of movement. The actors seemed rooted to one place.

Hannah Aicholtz as Cassie. Photo by Mikki Schaffner Photography.

Hannah Aicholtz as Cassie. Photo by Mikki Schaffner Photography.

The ensemble did well in creating interesting and unique characters. Favorites included Matt Dentino as Zack, Afton Shepard as Val & Jules Shumate as Sheila. Cassie’s (Hannah Aicholtz) dance solo in “Music and the Mirror” is a highlight of the show. My favorite numbers included “At the Ballet,” the “Montage” and “What I Did for Love.” I also enjoyed “Dance 10: Looks 3,” but from my seat, Val tended to blend into the fully lit ensemble behind her. Taking the lights down and giving her a spot would help showcase her during that number.

The only issue I had with the sound was that several times the soloists mics were not up in time to hear their lines. Speaking of solo lines, on the performing side actors need to make sure they draw focus to themselves during them. As an audience member, playing “solo, solo, who’s singing the solo” can be frustrating. During “Sing,” be sure to hit those starting constants so the audience can understand the word you’re singing. Finally a couple of the soloists seemed to have trouble supporting some of their high notes.

Photo by Mikki Schaffner Photography.

Photo by Mikki Schaffner Photography.

The casts’ dance attire was nicely diverse and fit the personalities of the characters. The custom-fit, gold finale costumes constructed by Caren Young were impressive and looked great together on stage.

Overall, strong ensemble; strong direction; strong dance and choreography. Well-done all.

My rating: 4.25 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.

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September 4, 2015 · 1:54 pm

A LITTLE BUSINESS AT THE BIG TOP Review

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

CFF_A Little Business at the Big Top

David Gaines.

A LITTLE BUSINESS AT THE BIG TOP presented as part of Know Theatre of Cincinnati’s 2015/16 Fringe Encore and Extra Season through Sept. 5. Click here for more information on the production. I attended the opening night performance.

David Gaines creates a full, rich and vibrant circus as the backdrop for an old-fashioned love story. In a little over an hour. On a bare stage, Without props. And he doesn’t speak.

Gaines is a brilliant physical performer and a wonder to watch. He is every animal, performer and patron at the circus, He is the everyday hero, the ingenue and the dastardly villain. His focus and energy never wavers as he spins between characters and locations.

I can now say both of Gaines’ fringe performances, 7(X1) SAMURAI and A LITTLE BUSINESS UNDER THE BIG TOP stand as personal all-time favorites.

Two performances remain of this fun, funny and mesmerizing family-friendly show. Tickets are only $15. It just might make you feel like a kid again.

My rating: 4.75 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.

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August 28, 2015 · 6:15 pm

A HUNDRED MINUS ONE DAY Review

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

SOOA_One Hundred Minus One Day logoA HUNDRED MINUS ONE DAY presented Stone on a Walk Theatre through Aug. 29. Click here for more information on the production. I attended the opening night performance.

For the closing production of their sophomore season, Stone on a Walk  mounts a whimsical and touching little show. During his curtain speech, director John Leo Meuthing shares that he has wanted to stage A HUNDRED MINUS ONE DAY since the first came across it. After seeing it, I understand why.

Mollie Jeanette Amburgey does good work as Jen, the central character, who is dealing with an incurable illness. She creates some nice moments with her father and friend Daphne. I didn’t have a good sense of the physical toll the illness was having on her body, aside from the cough. Maybe finding a bit more to do on the physical side of the character would help.

Playing Daphne, Jen’s childhood friend, is Sara Tripp Swartout. Swartout gives Daphne a great energy, which is impressive considering the character’s layered costumes in the hot performance space. On those rare occasions when Daphne focuses on the conversation and is still, that energy mostly disappears. I would have liked to have seen that excess energy redirected into her body more. Even though Daphne is paying attention, sitting completely still is almost impossible for her. So she fidgets or sways, just something to keep the energy of Daphne up, but redirected.

Jimm Wiedeman makes his stage debut as Dad. He does a nice job, and I liked the character he created. Performance-wise, I would like to see Jimm connect emotionally with his lines more. Try to find an experience from your life that emotionally-resonates with the scene, and use those feelings to accent your speech and movement.

Rounding out the cast is Bryce Morr as Guy who nicely handles his small scene with Jen.

Director Meuthing does well within the limitations of the space. I’m sure even an extra five feet of width would have helped immensely. Given the confines, the show was well staged and moved as freely as it could. I would try to keep actors from being close to, and facing parallel to. the stage right wall. It closes them off to over half of the audience.

These were several issues opening night on the technical side and with the pacing. Most of which were probably dealt with before their second performance.

Overall a fun, quirky and bittersweet script.

My rating: 3.25 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.

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