Tag Archives: Ensemble Theatre Cincinnati

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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March 15, 2015 · 11:35 am

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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March 5, 2015 · 4:49 pm

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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