Tag Archives: Cincinnati Playhouse in the Park

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.

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.