Tag Archives: Ensemble Theatre Cincinnati

LCT Review of DETROIT ’67

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 Ensemble Theatre CINCINNATI’S production of DETROIT ’67 is a winner. The set/lighting/props/sound are all stellar, a delicious time capsule from the 60s.

I remember being invited to a “basement party” back in the 60’s in the hood where, for a small cover, you got great music, a bar, and for a white girl like me, dance lessons! I still feel those were the best moves I ever had!

Darnell Pierre Benjamin as Sly & Bryant Bentley as Lank. Photo by Mikki Schaffner.

Darnell Pierre Benjamin as Sly & Bryant Bentley as Lank. Photo by Mikki Schaffner.

The basement in the ghetto neighborhood of Detroit serves as the underground after hours party place for locals and is a major source of income for Chelle and Lank, the sister and brother who grew up in the house and live there now as adults. They have recently inherited the house from their deceased parents. A stairwell bisects the stage and distinguishes life above ground and the life that goes on underground. The actors are constantly climbing down or up and traveling between worlds. Above the basement stairs, just a hint of the hallway and the house beyond leads your eyes to a long span of dark shadowy cityscape that reminds you where you are. The sound was marvelous. Who doesn’t want to listen to old Motown, the Temps, Marvin Gaye and the like? But in the background, muted sirens scream that the rioting isn’t far away. An old stereo that plays 45s keeps skipping to the irritation of Chelle.

The play flows through the five days and events of the 1967 Detroit riots like the music which characters turn to constantly; music for the nightly party, music to wait by, to dance to, to celebrate a moment, to tolerate a moment, to dream to, to delight one other. The characters are struggling with who they are, to the world, to each other and what stands in their way, whether it’s their own beliefs, the color of their skin, or the limits of the culture of the times they live in.

The acting is energetic and consistent, honest and earnest – not a false note in the show. Bryant Bentley as Lank, a Dayton native now in Columbus, is particularly good as he conspires with his best friend Sly, Darnell Benjamin, performing locally and teaching with Pones Inc., Know Theatre and across the Tri-State, who mollifies his sister Chelle. Burgess Byrd’s Bunny is a sight to behold. She is cast beautifully and fills the role with sexy gusto. Zina Camblin’s Chelle is sweet in her pedal pushers and sleeveless shirts, playing Lank’s big sister and is touching as she tries to keep everyone and everything safe from the troubles outside. Sly, all legs and fedora, is enthusiastic beyond all measure, Lank’s best friend and would-be beau of Chelle, if she’d take him seriously. And Leslie Goddard’s Caroline, is strong and problematic and gives her role nice complexity, so that you can’t easily tell if she’s a good girl or not. She’s a savory mystery. All the actors work beautifully together.

The production is one not to be missed!

For more information on the production, click here.

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DETROIT ’67 Review

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

Darnell Pierre Benjamin as Sly. Photo by Mikki Schaffner.

Darnell Pierre Benjamin as Sly. Photo by Mikki Schaffner.

DETROIT ’67 presented by Ensemble Theatre Cincinnati through April 5. Click here for more information on the production. I attended the opening night performance.

Director D. Lynn Meyers makes great use of the space and elicits memorable performances from her cast. The solid five-person ensemble includes Darnell Pierre Benjamin as Sly, Bryant Bentley as Lank, Burgess Byrd as Bunny, Zina Camblin as Chelle and Leslie Goddard as Caroline.

Zina Camblin as Chelle Bryant Bentley as Lank. Photo by Mikki Schaffner.

Zina Camblin as Chelle
Bryant Bentley as Lank. Photo by Mikki Schaffner.

Bentley serves as the focal point for the show and does excellent work. His relationships with each character are fully-formed and very believable. Simply put, he is a good man and a bit of a dreamer.

Byrd is fun, sassy and quite the force of nature as go-to-girl Bunny. I enjoyed the underlying mother-hen quality to her character. The scene where Chelle confided her fears to Bunny about Lank’s decision-making, worked really well.

Burgess Byrd as Bunny. Photo by Mikki Schaffner.

Burgess Byrd as Bunny. Photo by Mikki Schaffner.

Part of the success of the character of Bunny has to go to costume designer Chad Phillips. The bold prints and smart accessories visually defined the character creating a great synergy with Byrd’s performance. Another highlight was Sly’s celebratory purple jacket. Across the show, all costumes were vintage and fit the characters nicely.

I also enjoyed the dynamic between Lank and Benjamin’s Sly. Their close, “partners in crime” friendship worked well.  When it comes the ladies, Sly is a bit of a good-natured player. It’s effective when he lets that persona drop a bit to reveal his honest affection for Chelle.

Leslie Goddard as Caroline & Zina Camblin as Chelle. Photo by Mikki Schaffner.

Leslie Goddard as Caroline & Zina Camblin as Chelle. Photo by Mikki Schaffner.

Camblin has a strong character in overly-protective Chelle. She handles the role well, but on opening night she didn’t seem 100% comfortable yet. I do think there were a couple of opportunities to see her character’s shell crack a bit more, especially in her second act scene with Sly. This would create an even stronger emotional impact later.

Leslie Goddard as Caroline & Bryant Bentley as Lank. Photo  by Mikki Schaffner.

Leslie Goddard as Caroline & Bryant Bentley as Lank. Photo by Mikki Schaffner.

The character of Caroline is a bit frustrating to me. As written, the audience is given practically no information about her in the first act. so we go into intermission with little sense on how she fits into the narrative. The role is nicely played by Goddard. Caroline’s relationship with Lank reads as genuine and their quiet scene together works well.

Darnell Pierre Benjamin as Sly & Bryant Bentley as Lank. Photo by Mikki Schaffner.

Darnell Pierre Benjamin as Sly & Bryant Bentley as Lank. Photo by Mikki Schaffner.

Excellent work by set designer Brian c. Mehring and the properties master, Shannon Rae Lutz. The sound of the wooden staircase and the metal support beams immediately evoked memories of my childhood home. I probably say this at least once a year, but when it comes to filling a set with “life clutter,” no one does it better than Lutz. Her choices are always extremely interesting, thoughtful and fun to explore.

Bryant Bentley as Lank & Burgess Byrd as Bunny. (background) Leslie Goddard as Caroline. Photo by Mikki Schaffner.

Bryant Bentley as Lank
& Burgess Byrd as Bunny.
(background) Leslie Goddard as
Caroline. Photo by Mikki Schaffner.

I did what to mention that there were moments I had trouble hearing and understanding the dialogue. At times the actors became a bit too soft, other times the issue seemed to be that they were facing upstage. During the confrontation between Chelle and Caroline, the latter was blocked near the bar, facing toward Chelle for a long stretch of dialogue, upstaging herself to most of audience right. Also at times, a few of the acting choices were too small or lacked a physical component to read to the back of the house.

Overall a solid production that packs an emotional punch. Another tale that puts a face to the statistics of a tragic moment in history. A moment, unfortunately, still reflected in current events.

My rating: 4.0 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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World Premiere Announced for Oberacker & Taylor’s BANDSTAND

MISC_BandstandLate last year, I posted an article about BANDSTAND, a new musical by Cincinnati-native Richard Oberacker (CCM ’93) and partner Robert Taylor. Its September reading had the NYC theatre community abuzz.

Oberacker and Taylor’s musical ACE opened Cincinnati Playhouse in the Park’s 2006-2007 season. In 2009, their musical DON’T MAKE ME PULL THIS SHOW OVER: DISPATCHES FROM THE FRONT LINES OF PARENTING was produced at ETC (after a preview at the 2008 Cincinnati Fringe Festival).

This week, the Paper Mill Playhouse, a regional theater in Millburn, New Jersey, announced BANDSTAND will be making its world premiere as the opening production of its 2015-2016 season.

Running October 8-Nov. 8, “…this sizzling new big-band swing musical with an amazing original score and a plot that is full of surprising twists and turns. Emotionally charged and beautifully crafted, this is the story of a mismatched band of WWII veterans. Battle-scared and broke, dreaming of a better life, they join together to compete in a national radio contest with a prize that will guarantee instant stardom to the winners.”

BANDSTAND is directed and choreographed by Tony Award winner Andy Blankenbuehler. Blankenuehler is also a Cincinnati native, and a graduate of St. Xavier High School.

Wishing them all a long and successful run.

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ETC is Firing Up Some Motown With Regional Premiere of DETROIT ’67, March 17-April 5, 2015

ENSEMBLE THEATRE CINCINNATI IS FIRING UP SOME MOTOWN
WITH THE REGIONAL PREMIERE OF DETROIT ‘67, MARCH 17-APRIL 5, 2015

ETC_Detroit 67 logo(Cincinnati, OH) Dust off your eight-track stereo and join Ensemble Theatre Cincinnati for the hippest after-hours joint in town with the regional premiere of DETROIT ’67! Playwright Dominique Morisseau introduces audiences to a a dynamic brother and sister as they host rockin’ parties and fight to keep their home (and their future) out of the ashes during the 1967 Detroit riots. Records, raids, and riveting drama take the stage for this sizzling production, playing March 17-April 5, 2015. Directed by D. Lynn Meyers.

This production welcomes back to the stage Darnell Pierre Benjamin (Around the World in 80 Days, 2013), Leslie Goddard (The Marvelous Wonderettes: Caps & Gowns), Zina Camblin (String of Pearls), and Burgess Byrd (Around the World in 80 Days, 1999, and Love Child). Ensemble Theatre Cinicinnati is also thrilled to introduce Bryant Bentley in his ETC debut.

It is 1967 in Detroit. When their parents die, Chelle and Lank inherit their childhood home. To make ends meet, the siblings host “basement parties,” spinning the newest records to come out of Motown, a risky business as police crack down on after-hours joints in black neighborhoods. But when a mysterious white woman finds her way into their care and a string of raids increases police brutality around the city, they find themselves much more divided than over just the family business.

“I like plays that have a personal story to tell against the backdrop of a bigger event,” explains Producing Artistic Director D. Lynn Meyers. “Dominique Morisseau has created a world where we can look at our past through the eyes of an individual and how that individual was changed by it. It’s far more powerful than looking at the statistics. I’m thrilled with how our five cast members have come together to share this story of having a haven in the midst of a really deadly storm.”

About the Cast
Darnell Pierre Benjamin (Sly) returns to Ensemble Theatre Cincinnati, having first appeared on their stage in Around the World in 80 Days. Having been in Cincinnati for over five years now, Mr. Benjamin has performed in and around the area frequently, including Titus Andronicus and To Kill a Mockingbird with Cincinnati Shakespeare Company; Cock and Angels in America with Know Theatre of Cincinnati; Othello with Human Race Theatre Company; and A Raisin in the Sun and Romeo and Juliet with Hope Summer Repertory Theatre. He is also a member of both Queen City Queer Theatre Collective and Pones Inc.

Bryant Bentley (Lank) makes his Ensemble Theatre Cincinnati debut. A native of Dayton, Ohio, he now resides in Columbus and has traveled throughout the country performing regional theater. Some of his theater credits include: Master Harold and the Boys, Clarence Brown Theater; Most Valuable Player, Indiana Repertory Theater; A Raisin In The Sun, Wright State University; August Wilson’s Gem of the Ocean, Human Race Theater; A Soldier’s Story and Topdog/Underdog, Phoenix Theater; as well as Jitney, Two Trains Running, The Exonerated, Five Guys Named Moe, Greater Tuna, Cinderella, Blues for an Alabama Sky, and Plenty Of Time. His next production will be a reprisal role of Simon in Matthew Lopez’s The Whipping Man at the Columbia Festival Of The Arts.

Burgess Byrd (Bunny) returns to Ensemble Theatre Cincinnati, having started at the theatre as an intern in 1999 and since appearing in the world premiere of Around The World in 80 Days (1999), as well as Love Child. Raised in Louisville, Kentucky she now calls Cincinnati home and has performed on many local stages. Some of her favorite roles include: the one-person shows Pretty Fire and Neat, Know Theatre; Doubt, Drama Workshop; Avenue Q, Showbiz Players; and Caroline or Change, New Stage Collective. Her recent credits include: Bureau of Missing Persons, Harry and The Thief, and Afghans Womens Writers Project, Know Theatre of Cincinnati; and A Streetcar Named Desire, Covedale Center For Performing Arts. She has worked regionally with Human Race Theatre Company, Kentucky Repertory Theatre, Porthouse Theatre, and Phoenix Theatre Circle.

Zina Camblin (Chelle) also returns to Ensemble Theatre Cincinnati, having last appeared in the 2006 production of String of Pearls. Ms. Camblin completed her MFA in acting from UC San Diego and was a recipiant of the Juilliard Playwrighting Fellowship. While at Juilliard, she received the Lecomte du Nouy Prize for playwrighting. Her play And Her Hair Went With Her was selected as part of Lincoln Center’s Directors Lab play reading series. In addition, she has performed in several regional productions of And Her Hair Went With Her, including The Phoenix Theater in Indianapolis, New Jersey Repertory Theater, and Horizon Theater in Atlanta. Past productions and workshops of her other work include: Memoirs to Live, Brooklyn Arts Exchange; Bedroom Stories, Jon Sims Center for the Performing Arts; Life’s a Drag, UC San Diego; and Bunni and Clyde, The Know Theater. As an assistant writer, researcher, and actor for the Tectonic Theater Project she helped devise and perform in two of their productions, The Jonestown Project and I Think I like Girls at The LaJolla Playhouse and Cherry Lane Theater in New York.

Leslie Goddard (Caroline) returns to Ensemble Theatre Cincinnati, having performed as Missy in The Marveloous Wonderettes: Caps & Gowns in 2013. She recently moved to Cincinnati from New York City where she had performed on Broadway in Hairspray. She was also seen in Jersey Boys in Las Vegas. Leslie was awarded the League of Cincinnati Theatres award for Best Actress in a Musical for her work as Roxie Hart in Chicago at The Carnegie. She has also been seen locally as Deb in Ordinary Days at Short North Stage, Agnes Gooch in Mame, and Kenni Flood in Becky’s New Car at The Human Race Theatre. Ms. Goddard earned her Bachelor of Fine Arts Degree in Drama from New York University.

Production team includes Brian c. Mehring (Set & Lighting Designer), Jack Murphy (Technical Director), Matthew Hollstegge (Production Coordinator & Master Electrician), Shannon Rae Lutz (Properties Master & Design Assistant), Matthew Callahan (Sound Designer), and Chad Phillips (Costume Designer). Production Stage Manager is Brandon T. Holmes.

Ticket Prices
Ticket prices range from $28 to $44 for adults; student tickets are $25; and children are $18. For the 2014-2015 season, ETC continues its popular $15 student and half-price rush tickets for all performances, which are available two hours prior to show time and may be purchased by phone or in person at the box office.

Performance Schedule
Performances run Tuesday through Sunday. Tuesday-Thursday, 7:30 pm; Friday and Saturday, 8:00 pm; Saturday and Sunday, 2:00 pm; and Sunday, 7:00 pm. A complete calendar is available at http://www.ensemblecincinnati.org.

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Ensemble Theatre Cincinnati is supported, in part, by the generosity of community contributions to the ArtsWave Campaign.

The Ohio Arts Council helps fund Ensemble Theatre Cincinnati with state tax dollars to encourage economic growth, educational excellence and cultural enrichment for all Ohioans. Ensemble Theatre Cincinnati also receives funding from the Shubert Foundation and the National Endowment for the Arts.

2014-2015 Season Presenting Sponsor is the Otto M. Budig Family Foundation. Additional support provided by Garfield Suites Hotel, the Shubert Foundation, and PNC.

Ensemble Theatre Cincinnati is a professional theatre dedicated to producing world and regional premieres of works that often explore compelling social issues. We fulfill our mission through our stage productions and educational outreach programs that enlighten, enliven, enrich and inspire our audiences.

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Off-Broadway Success STOP KISS Gets Stripped-Down Treatment on Local Stage‏

QCQTC_Stop Kiss logoQueen City Queer Theatre Collective proudly announces the March 9 production of STOP KISS, starring Mia Vera, Linnea Bond, Billy Chase, and Jared Hudson. Extended three times off-Broadway in 1998, STOP KISS follows the touching love story of two women who are brutally attacked after their first kiss.

This will be the fifth production of QCQTC made possible through the support of Nigel Cotterill and Absolute Vodka’s ongoing sponsorship. This production will feature young actors from Ensemble Theatre Cincinnati, Know Theatre of Cincinnati, and Cincinnati Shakespeare Company stages, as well as Abby Rowold playing the part of Mrs. Winsley and the Nurse.

Ms. Vera, playing the news reporter who finds herself falling for a new friend, has been a part of the collective from it’s inception six months ago. Of her personal connection the play, she says, “Even before I came out, I was drawn to Diana Son’s writing… So often we have to dig to find others like us, and that glorious moment when you can go, ‘look, they’re just like me!’ is the moment of community we live for. The feeling of sameness after a lifetime of Other. STOP KISS was and is that play for me. The characters leapt out at me, the tragedy and the romance seduced me, and now I feel like I know why.”

The Queen City Queer Theatre Collective seeks to be a safe space for LGBTQ stories and conversation. Actors perform readings monthly on the second Monday at 7:30 pm in the Cabaret space at Below Zero Lounge. Tickets are free, with $5 suggested donation.

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