Tag Archives: Ensemble Theatre Cincinnati

April 21, 2015 · 2:10 pm

Ensemble Theatre Cincinnati Wraps Up Season with the Regional Premiere of OUTSIDE MULLINGAR, May 5-24, 2015

ETC_Outside Mullingar logo(Cincinnati, OH) Pack your bags and grab your passport! Ensemble Theatre Cincinnati’s closes its 29th season with an adventure across the pond in the regional premiere of OUTSIDE MULLINGAR by John Patrick Shanely, one the most celebrated contemporary playwrights. Winner of the Pulitzer Prize and Tony Award® for his play Doubt and an Academy Award for his film Moonstruck, he is also the screenwriter and director of the cult classic Joe Versus the Volcano. OUTSIDE MULLINGAR takes audiences to lush Ireland with a charming story of two families and their journey with fate as the vast countryside teaches them about identity, heritage, and love. Join ETC as Irish banter, family loyalty, and Guinness (of course!) floods the stage in this romantic comedy, playing May 5-45, 2015.

This production welcomes a powerhouse ensemble cast: Dales Hodges, Jen Joplin, Joneal Joplin, and Brian Isaac Phillips. ETC is also pleased to welcome back Guest Director Ed Stern for OUTSIDE MULLINGAR.

Tony Reilly is getting old. With his wife dead and gone and his own time approaching, he threatens to leave the family’s cattle farm to an American nephew instead of his own son, Anthony. That is, until neighbor Rosemary steps in with a long-held family secret to change Anthony’s fate — and her own. Set in the Irish countryside, this is the story of Anthony and Rosemary — loners, eccentric souls, and, perhaps, just right for each other.

“John Patrick Shanley writes so beautifully from the heart and about the heart,” explains Producing Artistic Director D. Lynn Meyers. “He has a real gift for capturing how difficult love is to be fully realized. He takes us to a place where the land is eternal and generations old. I love the fact that the play celebrates the inheritance of that kind of legacy.” Director Ed Stern adds, “I love the inherent optimism of the play. Despite loneliness and suffering, love will find a way. How rare in theatre today.”

About the Cast

Dales Hodges (Aoife Muldoon) returns to Ensemble Theatre Cincinnati, having last appeared in the regional premieres of Other Desert Cities, Mrs. Mannerly, 33 Variations, and Grey Gardens. Her other ETC credits include: String of Pearls, Bed Among the Lentils, The Cripple of Inishmaan, Vigil, Side Man, The Skriker, Going to St. Ives, Death of a Salesman, The Illusion, Seascape, A School for Scandal, Everything in the Garden, Buckminster Fuller, In & Out of the Universe, and Eleemosynary. Ms. Hodges’ Playhouse in the Park credits include: Sherlock Holmes and the Adventure of the Suicide Club, The Piano Teacher, The Crucible, King Lear, Ten Little Indians, Wit, The Importance of Being Earnest, Our Country’s Good, How the Other Half Loves, Les Liaisons Dangereuses, Equus, and twenty-two seasons of A Christmas Carol. She has also performed in Cincinnati Shakespeare Company’s productions of The Grapes of Wrath, Long Day’s Journey Into Night, The Merchant of Venice, and Coriolanus, and on the stage of Cincinnati Music Hall, as a narrator with the Symphony, and as the Duchess of Krakenthorpe in La Fille du Régiment with the Cincinnati Opera.

Jen Joplin (Rosemary Muldoon) made her Ensemble Theatre debut last season as Ruth in Tribes and one of her all-time favorites, Gwen in Rapture, Blister Burn. Originally from St. Louis, she has worked across the country as an actress, corporate trainer, voiceover artist, and teacher. Some of her other favorite roles include Annette in God of Carnage, Cleopatra in Anthony and Cleopatra, Catherine in Proof, Maria in Twelfth Night, Lenny in Crimes of the Heart, Bun in The Love Talker and Harper in Angels in America. She is a proud member of Actors’ Equity and graduate of Wright State University.

Joneal Joplin (Tony Reilly) returns to Ensemble Theatre Cincinnati, having last appeared in The Seafarer and Copenhagen. Cincinnati theatergoers have also seen him in productions at the Playhouse in the Park and Cincinnati Shakespeare Company. Roles have included A Christmas Carol as Scrooge, The Fantasticks, Lear in King Lear, Judge Turpin in Sweeney Todd, Matthew Brady in Inherit The Wind, James Tyrone in Long Day’s Journey, Krapp in Krapps Last Tape, Ernie Smith in Hughie and Candy in Of Mice and Men, to name a few. He has appeared in theatres across the country in over 250 productions, most recently at the Repertory Theatre of St. Louis in Guess Who’s Coming To Dinner as Monsignor Ryan.

Brian Isaac Phillips (Anthony Reilly) returns to Ensemble Theatre Cincinnati, having last appeared in Dead Man’s Cell Phone, The Seafarer, Ice Floe, and the Off-Center Series production of God’s Country. Other recent credits include Collapse at Know Theatre, Porgy & Bess and Carmen at the Cincinnati Opera, as well as Shylock in The Merchant of Venice at Cincinnati Shakespeare Company. Other favorites include the title roles in Hamlet, Macbeth and Henry V, A Streetcar Named Desire, The Weir, all with Cincinnati Shakespeare Company, The Goat or Who is Sylvia with New Stage Collective, as well as productions with Playhouse in the Park and the Children’s Theatre. He is currently serving his 12th season as Producing Artistic Director at Cincinnati Shakespeare Company.

Production team includes Joseph P. Tilford (Scenic Designer), Brian c. Mehring (Lighting Designer), Jack Murphy (Technical Director), Matthew Hollstegge (Production Coordinator & Master Electrician), Shannon Rae Lutz (Properties Master & Design Assistant), Matt Callahan (Sound Designer), Reba Senske (Costume Designer), and Rocco Dal Vera (Dialect Coach). 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 www.ensemblecincinnati.org.

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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April 6, 2015 · 1:46 pm

OUTSIDE MULLINGAR Runs May 5-30

ETC_Outside Mullingar logoOUTSIDE MULLINGAR Presented by Ensemble Theatre Cincinnati May 5-30 Extended Over-the-Rhine Directed by Ed Stern Cast: Joneal Jopin as Tom Reilly & Dale Hodges as Aoife Muldoon, Jen Joplin as Rosemary & Brian Isaac Phillips as Anthony A new romantic comedy from Pulitzer-, Oscar-, and Tony Award-winner John Patrick Shanley (Doubt, Moonstruck). Tony Reilly is getting old. With his wife dead and gone and his own time approaching, he threatens to leave the family’s cattle farm to an American nephew instead of his own son, Anthony. That is, until neighbor Rosemary steps in with a long-held family secret to change Anthony’s fate — and her own. Set in the Irish countryside, this is the story of Anthony and Rosemary — loners, eccentric souls, and, perhaps, just right for each other.

  • In preview, Tuesday, May 5 at 7pm*
  • Wed-Thu, May 6-7 at 7:30pm*
  • Fri, May 8 at 8pm*
  • Sat, May 9 at 2pm & 8pm SOLD OUT
  • Sun, May 10 at 2pm & 7pm
  • Tue-Thu, May 12-14 at 7:30pm
  • Fri, May 15 at 8pm
  • Sat, May 16 at 2pm & 8pm SOLD OUT
  • Sun, May 17 at 2pm SOLD OUT & 7pm
  • Tue-Thu, May 19-21 at 7:30pm May 20 performance sign language interpreted
    Tue & Wed perfromances are SOLD OUT
  • Fri, May 22 at 8pm
  • Sat, May 23 at 2pm & 8pm SOLD OUT
  • Sun, May 24 at 2pm
  • Wed-Thu, May 27-28 at 7:30pm
  • Fri-Sat, May 29 & 30 at 8pm

Official page |

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April 2, 2015 · 4:39 pm

Cincinnati CityBeat Best of Cincinnati Performing Arts-ish Winners

MISC_2015 Citybeat Best of CincinnatiHey Gang

Cincinnati CityBeat announced their 2015 Best of Cincinnati Winners. I’ve scanned through the list and pull the ones I thought would be of interest to you. -Rob

Click here for the complete list of 2015 Arts and Nightlight Staff Picks.

Performing arts-related winners include:

BEST ONE-MAN SHOW
You might think you know Bruce Cromer through his many years at the Cincinnati Playhouse as Ebenezer Scrooge. But he demonstrated his versatility and range in AN ILLIAD at Ensemble Theatre, a one-man retelling of Homer’s great epic of the Trojan War. Like a timeless reincarnation of the poet, Cromer bemoaned the devastation and futility of warfare, painting lurid pictures with words and dynamic physicality and bringing the story to life playing heroic Achilles, conscientious Hector, coy Helen of Troy and ambitious Patroclus. Cromer had a great script to work from, but he made it memorable with a stellar performance. Ensemble Theatre Cincinnati, 1127 Vine St., Over-the-Rhine, 513-421-3555, ensemblecincinnati.org.

BEST OLD & NEW OPERATIC STORYTELLING
For its 2014 summer season, Cincinnati Opera showed how singing and storytelling have evolved across four centuries. At the School for Creative and Performing Arts, audiences had the chance to see a bawdy, laugh-out-loud piece of Baroque entertainment, Francesco Cavalli’s La Calisto (1651). Back at Music Hall, audiences were transported to the First World War’s “Christmas Truce” with a moving production of Silent Night, the winner of the 2012 Pulitzer Prize for music. America’s second-oldest opera company has the formula for giving operagoers a memorable sampling of the art form. Cincinnati Opera, ensemblecincinnati.org.

BEST THEATRICAL HANDOFF
After a half-dozen years of artistic leadership at Know Theatre, Eric Vosmeier handed the keys over to Andrew Hungerford, a CCM master’s grad who has been designing sets for the Jackson Street company since 2007. Vosmeier was an energetic force there, especially pushing the annual Fringe Festival in creative directions and to new heights. The transition was announced late in 2013 and occurred seamlessly during the 2014 summer. Hungerford has brought a new kick of creativity with some new directors, staff and free performances on Wednesday evenings. Know Theatre of Cincinnati, 1120 Jackson St., Over-the-Rhine, 513-300-5669, knowtheatre.com.

BEST VENUE FOR GETTING A MODERN DANCE FIX
If you’re looking to see modern dance in Cincinnati, you can count on the Aronoff Center’s Jarson-Kaplan Theater to deliver the goods. Several times a year, the mid-sized theater of the Aronoff’s trio of venues hosts performances from myriad companies across a broad range of contemporary styles. From local ensembles, such as the Jazz-tinged Exhale Dance Tribe and postmodern MamLuft&Co. Dance, to Contemporary Dance Theater’s Guest Artist Series (featuring national and international companies) and its annual Area Choreographers Festival, the 437-seat venue offers a rather intimate, no-bad-seat-in-the-house space to catch contemporary dance. Aronoff Center for the Arts, Jarson-Kaplan Theater, 650 Walnut St., Downtown, 513-721-3344, cincinnatiarts.org/aronoff-center.

BEST CHANCE TO SEE BALLET DANCERS PUSH THE ENVELOPE
Catch Cincinnati Ballet at its most modern in the annual New Works season opener each September. As its name suggests, this program is designed to move dance forward, thanks to a broad range of big-name innovative choreographers, many of whom represent the cutting edge of the international dance scene. Of course, such boundary-pushing choreography demands top talent — enter Cincinnati Ballet dancers’ versatile terpsichorean prowess, which makes it all come alive. Audiences also enjoy the intimacy of these shows in a close-up space. (Until last year, New Works shows had been held in the Ballet’s home studios; now they’re in the Aronoff Center’s Jarson-Kaplan Theater.) Cincinnati Ballet, 1555 Central Parkway, Downtown, 513-621-5219, cballet.org.

BEST REASON FOR INDIE ROCK FANS TO GO TO THE SYMPHONY
It seems like only affluent old people attend the symphony, and one reason is because young people either can’t afford it or have no interest in listening to music that is 200 years old. But for the MusicNOW fest the past two years, Cincinnati-bred/Brooklyn-based group The National played an evening with the Cincinnati Symphony Orchestra at Music Hall. Yes, your fave Indie band appeared at the symphony — National member Bryce Dessner heads up MusicNOW — so suddenly it was cool to be seen among the olds, and tickets were as cheap as $25. MusicNOW,musicnowfestival.org.

BEST FLASH FROM THE PAST
Although Rosemary Clooney’s nephew George is the one making headlines today, the girl singer who grew up in Maysville, Ky., and Cincinnati made her own name back in the ’40s and ’50s. Her rise, fall and comeback were neatly documented in TENDERLY: The Rosemary Clooney Musical at the Playhouse. It was like a trip back in time at the Cincinnati Playhouse’s intimate Shelterhouse, where performer Susan Haefner wonderfully captured the essence of Rosie’s singing career. Local audiences flocked to see her through the holidays in a twice-extended run to the middle of January. Cincinnati Playhouse in the Park, 962 Mt. Adams Circle, Mount Adams, 513-421-3888, cincyplay.com.

BEST EXTENDED THEATRICAL MONOLOGUE 
The one-person theatrical adaptation of Joan Didion’s acclaimed memoir THE YEAR OF MAGICAL THINKING, an anguished but poetic rumination of the death of her husband and extended (and ultimately fatal) illness of her daughter, is a tough, cathartic project to pull off. But Cate White, who starred in it in December as part of the Cincy One Act Festival of plays at College Hill Town Hall, was magnificent at portraying Didion as she addressed the audience in a small, intimate setting. She was assisted by director Lyle Benjamin, lighting designer Chris Carter and projection designer by Doug Borntrager. It deserved the revival it got this year. cincyoneact.com.

Click here for the complete list of 2015 Arts and Nightlight Readers Picks.

Performing arts-related winners include:

Local Theater Company 

  1. Cincinnati Playhouse in the Park
  2. Know Theatre of Cincinnati
  3. Cincinnati Shakespeare Company
Local Actor/Actress 
  1. Annie Fitzpatrick
  2. Erin Ward
  3. Miranda McGee
Local Dance Group 
  1. Cincinnati Ballet
  2. Cin City Burlesque
  3. Exhale Dance Tribe
Local Vocal Arts Group 
  1. Cincinnati Children’s Choir
  2. MUSE Cincinnati Women’s Choir
  3. May Festival Chorus

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March 27, 2015 · 9:38 am

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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March 20, 2015 · 5:40 pm

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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