Tag Archives: The Carnegie

November 15, 2011 · 7:16 pm

IN THE NEXT ROOM OR THE VIBRATOR PLAY Review

Links to all reviews can be found on the BTC REVIEWS page. Blog postings, links and more are available on my FaceBook fan page. You can receive updates on Twitter from @BTCincyRob.

IN THE NEXT ROOM OR THE VIBRATOR PLAY presented by The Carnegie Visual and Performing Arts Center & the University of Cincinnati College-Conservatory of Music Department of Drama through Nov. 20. You can read the show description here.

The set. Photo by Mikki Schaffner.

Congratulations to members of the technical team, led by technical director Nick Koehlke*, who were responsible for creating such an impressive environment for this play. This includes a set design by Jennifer M. Rhodus*, lighting design by Gustavo E. Valdes*, and the work of properties artisan Stacey Szczepanik* Also excellent was the wig and makeup design by Suseon Bok* (* indicates CCM student.)

Jared Wilson as Mr. Dalby, Clare Ward as Annie, Mary Malloy as Sabrina Daldry and Kristopher Dean as Dr. Givings. Photo by Mikki Schaffner.

Production values aside, the play itself was…fine. This was the fifth Sarah Ruhl play I’ve attended, and of those, it’s probably my favorite script to date. In this interpretation, it seemed to be staged more as a period drama instead of a comedy/drama that explores contemporary themes by setting the play in “the dawn of the age of electricity; and after the Civil War; circa 1880s.” I found the production to be slowly paced (with a running time approaching three hours), emotionally flat and static in its blocking.

Jared Wilson as Mr. Dalby and Kristopher Dean as Dr. Givings. Photo by Mikki Schaffner.

In a Ruhl play, the voice of the playwright is usually heard strongest in the female lead. Generalized, the lead is likable, intelligent, a bit quirky, stuck in an unhappy situation but determined to pursue opportunities to change it. The audience sympathizes with her and gains satisfaction when those goals are achieved.

Catherine Givings (played by Caroline Shannon) comes off more as a somewhat whiny victim of her unhappiness, drawn to the happiness of others, as opposed to someone who sees the happiness in others as a means to gain knowledge and find her own happiness. Where we should be sympathetic that Dr. Givings abandons his wife every evening to discuss the merits of electricity at the club, part of me thinks, “who would want to sit home and listen to that every night.”

Mary Malloy as Sabrina Daldry and Caroline Shannon as Catherine Givings. Photo by Mikki Schaffner.

Regarding the play being emotionally flat, while I understand the notion of polite society, in this play it should serve as a contrast to what goes on behind closed doors and also to the characterizations of the patients after their “treatments.” Considering that Sabrina Daldry (Mary Malloy) and Leo Irving (Parker Searfoss) are suffering from “hysteria,” I found their pre-treatment personas to talk about their conditions but not actually show outward signs of their conditions. For example, Mr. Daldry (Jared Wilson) is not bringing his wife in for this radical treatment out of concern for her well-being, but instead out of concern for how he is perceived because his wife is unable to mask her condition in polite society (hence having her face covered in public). I want to see the cracks in the facade come through the acting.

Parker Searfoss as Leo Irving and Kristopher Dean as Dr. Givings. Photo by Mikki Schaffner.

Patient Leo Irving is a self-professed painter who has been unable to paint for nine months. Yet in his first meeting with Dr. Givings he is impeccably dressed, not a hair out of place and discusses his condition as if it belonged to someone else. I’m not seeing the burden of his “hysteria.” I did think that after his treatment, Searfoss was successful in his characterization and that Irving’s energy and emotional level was exactly where it needed to be.

Mariel Tompkins as Elizabeth and Parker Searfoss as Leo Irving. Photo by Mikki Schaffner.

I also enjoyed Mariel Tompkins as Elizabeth. She seemed to have a strong sense of the core of her character and maintained that character through the various situations and strange conversations she was a part of.

I honestly wish I could speak more to some of the smaller roles. Unfortunately I found my attention to the second act repeatedly distracted by some of the most ill-mannered theater patrons I have ever had the misfortune of experiencing. These scenes included the kiss between Mrs. Daldry and Annie (Clare Ward), the painting scene with Irving, Elizabeth and Catherine, the unwanted advances of Mr. Daldry to Catherine and the “sensation” discussion of Catherine, Sabrina and Elizabeth.

Caroline Shannon as Catherine Givings and Parker Searfoss as Leo Irving. Photo by Mikki Schaffner.

The final scene with Leo and Catherine is a good example of the static blocking I referred to. These stoic conversations do not make for dynamic theater. Neither does repeatedly watching people slowly dress and undress.

Caroline Shannon as Catherine Givings and Kristopher Dean as Dr. Givings. Photo by Mikki Schaffner.

The final scene, while visually stunning, again falls in the trap of being slow, deliberate and unemotional. Catherine and her husband FINALLY having this emotionally-satisfying love-making in the snow and it’s rather dull.

Overall I wanted more energy and emotion from the actors. The cast has capable performers but the seven individuals didn’t coalesce into a strong ensemble.

Click here for a complete list of show times, articles and other reviews for IN THE NEXT ROOM OR THE VIBRATOR PLAY.

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October 20, 2011 · 10:08 am

Love, Sex and Electricity Titillate in Regional Premiere of Pulitzer Finalist at the Carnegie

COVINGTON, KY- With five Cincinnati premieres in five years and hundreds of productions of her plays nationwide, Sarah Ruhl is perhaps the country’s hottest contemporary playwright. Now her most acclaimed piece, which earned Ruhl’s Broadway debut and Tony and Pulitzer nominations, receives its local premiere at The Carnegie with the exceptional talent of CCM.

The Carnegie Visual and Performing Arts Center (The Carnegie) and the University of Cincinnati College-Conservatory of Music Department of Drama (CCM Drama) proudly present the regional premiere of the comedy/drama IN THE NEXT ROOM, OR THE VIBRATOR PLAY, playing weekends November 4 – 20, 2011, in the historic Otto M. Budig Theatre. Staged by award-winning director Ed Cohen, IN THE NEXT ROOM is the second production of The Carnegie’s 2011-12 Theatre Series and the first of CCM Drama’s Studio Series. Tickets are $16 – $21 and are available at The Carnegie Box Office, 859.957.1940, or www.thecarnegie.com.

Opening weekend of IN THE NEXT ROOM (November 4 and 6) includes the “In The Next Room Expo” in the Carnegie Galleries, featuring the area’s best purveyors of passion and intimacy including Pure Romance by Tisa, Erotic Time Parties, and Votre Vu with Julena Bingaman. Sponsored by CincyChic.

The Carnegie’s 2011-12 Theatre Series is presented in honor of Otto M. Budig, Jr., whose leadership instilled the beauty, elegance and life that The Carnegie’s Theatre now enjoys during its fifth anniversary year.

Hysteria and Paroxysm- The Plot of IN THE NEXT ROOM
The age of electricity has dawned, and in a seemingly perfect Victorian home, proper gentleman and scientist Dr. Givings has invented an extraordinary new device for treating “hysteria” in women: the vibrator. As his young wife struggles with their newborn daughter, a conflicted couple, a passionate artist and a grieving wet nurse enter their lives, shocking mannered society with unexpected amperes of love, attraction and the need for connection.

A Splendid Electrical Instrument- The Co-Production
For the second time in as many years, The Carnegie and CCM Drama partner to produce an unfamiliar but captivating theatrical work for Greater Cincinnati and Northern Kentucky audiences. Their collaborative 2010 staging of BURY THE DEAD garnered critical praise and two Acclaim Awards, and paved the way for future productions such as IN THE NEXT ROOM to allow gifted collegiate actors an opportunity to work in a professional theatre environment.

“IN THE NEXT ROOM will be a treat for Carnegie audiences and a perfect showcase for the talents of CCM Drama students,” predicts Richard E. Hess, A.B., Dolly, Ralph and Julia Cohen chair of Dramatic Performance at CCM. “CCM Drama students benefit from working in the professional setting in an extended run, and gain valuable experience in bringing characters to life over an extended run.”

The offstage talent for IN THE NEXT ROOM will be just as critical to the success of the show as the performers on the boards. Top graduate students from CCM’s Theatre Design and Production program are working with their professional faculty advisors to create the prosperous (and sometimes magical) late 19th century world of the Givings’ home and medical practice, while venerated and award-winning theatre artist Deb Girdler undertakes the Victorian era costuming.

All of the production aesthetics are being crafted under the steady hand of director Ed Cohen. No stranger to either organization, Cohen recently helmed productions of RECENT TRAGIC EVENTS and FALSETTOS at CCM and a well-received BIG RIVER at The Carnegie, the latter two co-directed with Cohen’s wife, Dee Anne Bryll. IN THE NEXT ROOM, however, offers a level of excitement and promise for Cohen that gives this production a sense of anticipation he doesn’t often experience.

“It’s rare when a play can balance jaw-dropping humor with a delicate metaphor on the nature of love,” says Cohen of IN THE NEXT ROOM. “I consider this the best work to date from one of America’s most important playwrights, and I’m thrilled to help bring it to our area’s audiences for the first time.”

The Gifted Physicians of IN THE NEXT ROOM
CCM Drama culls its talented students from across the country, a dynamic reflected in the cast of IN THE NEXT ROOM. Leading the young group is senior Kristopher Dean (playing Dr. Givings), who was last seen at The Carnegie in BURY THE DEAD and whose myriad credits include summer intensives with New York’s renowned SITI Company and in Kenya with the Dadaab Theatre Project. Fellow senior Jared Wilson (Mr. Daldry) joined Dean in BURY THE DEAD, and shares with Clare Ward (Annie) the distinction of being the show’s only Kentucky natives. Another BURY THE DEAD actor, Mariel Tompkins, plays the role of grieving wet nurse, Elizabeth, and the love interest of Parker Searfoss’ Leo Irving. Senior and New Orleans native Caroline Shannon takes on the mantle of Dr. Givings’ yearning wife, Catherine Givings, and the show’s only underclassman, Mary Malloy, is Dr. Givings’ fragile patient, Sabrina Daldry.

Premiering One of the Country’s Top Playwrights
While former MacArthur Fellow Sarah Ruhl has seen her plays produced at major companies nationwide, her work is perhaps more familiar to Cincinnati theatre audiences than anywhere else. THE CLEAN HOUSE (Cincinnati Playhouse in the Park), EURYDICE (Know Theatre), DEAD MAN’S CELL PHONE, MELANCHOLY PLAY (Ensemble Theatre of Cincinnati), and her adaptation of Chekov’s THREE SISTERS (Cincinnati Playhouse in the Park) have all received local premieres within the past five years, though none of those pieces received the same accolades as IN THE NEXT ROOM.

Transferring to New York’s Lyceum Theatre from the Berkeley Repertory Theatre, IN THE NEXT ROOM (and Sarah Ruhl) received its Broadway debut in 2009 under the auspices of Lincoln Center Theatre. In 2010, the play was nominated for the Tony Award for Best Play and was a Pulitzer Prize Finalist.

What’s Actually Happening “In The Next Room”
During the two opening weekend performances of IN THE NEXT ROOM (November 4 and 6), patrons are invited to check out a special vendor expo in The Carnegie Galleries, featuring the area’s best retailers in passion and personality. The “In The Next Room Expo” is sponsored by CincyChic.

Ticketing
IN THE NEXT ROOM, OR THE VIBRATOR PLAY will feature eight performances:

  • Friday, November 4, 7:30pm †
  • Sunday, November 6, 3:00pm
  • Friday, November 11, 7:30pm †
  • Saturday, November 12, 7:30pm
  • Sunday, November 13, 3:00pm
  • Friday, November 18, 7:30pm
  • Saturday, November 19, 7:30pm
  • Sunday, November 20, 3:00pm
    † Denotes ASL-interpreted and closed-captioned performance

Pricing:
$21 Adults
$19 Carnegie Members, Enjoy The Arts Members, WVXU Perks Card Members
$19 Groups of 10 or more
$16 Students

Tickets may be purchased through The Carnegie Box Office at 859.957.1940 (open Tuesday through Friday, noon to 5:00pm) or online at http://www.thecarnegie.com.

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October 8, 2011 · 11:33 am

IN THE NEXT ROOM or THE VIBRATOR PLAY runs Nov. 4-20

IN THE NEXT ROOM or THE VIBRATOR PLAY
Presented by  The Carnegie Visual and Performing Arts Center & the University of Cincinnati College-Conservatory of Music Department of Drama
Nov. 4-20
Covington

Reviews: CityBeat | BTC |

The age of electricity has dawned, and in a seemingly perfect Victorian home, proper gentleman and scientist Dr. Givings has invented an extraordinary new device for treating “hysteria” in women: the vibrator. As his young wife struggles with their newborn daughter, a conflicted couple, a passionate artist and a grieving wet nurse enter their lives, shocking mannered society with unexpected amperes of love, attraction and the need for connection.

Directed by Ed Cohen

  • Fri, Nov. 4 at 7:30pm (ASL)
  • Sun, Nov. 6 at 3pm
  • Fri (ASL)-Sat, Nov. 11-12 at 7:30pm
  • Sun, Nov. 13 at 3pm
  • Fri-Sat, Nov. 18-19 at 7:30pm
  • Sun, Nov. 20 at 3pm

Official page | Online ticketing | FaceBook event |

Articles: CityBeat | Enquirer |

Promotional video (includes sexual content) |

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August 20, 2011 · 3:47 pm

PIPPIN review

PIPPIN presented by The Carnegie and Commonwealth Theatre Company through Sept. 3. You can read the show description here. For this performance I was seated on the first floor of the theater, near the back, underneath the second floor balcony.

In the musical number “Love Song,” Pippin and Catherine sing, “They say the whole is greater than the sum of the parts it’s made of…” unfortunately for me, this cannot be said for this production of PIPPIN. The individual elements of the production don’t mesh, and in some cases actually work against each other.

Possibly due to a strenuous tech week; aside from the performances of Deb G. Girdler as Berthe and to a lesser extent, Brooke Rucidlo as Catherine, the show lacked energy and emotion.

The main reason for this complaint is that the actors were not performing to the back of the house. In extreme cases, they seemed more concerned with performing to each other on stage, instead of performing to the audience. Vocal solos sounded fine, but they lacked any kind of emotional punch. Many times, the actor simply stood on stage and sang at the audience. The easy fix – sing out, sell it, and use you entire body in your performances. This is especially true for leads Pippin and Leading Player.

The score for PIPPIN is one of my favorites in musical theater. There are multiple times in the score where you should get goosebumps from the vocals. The ending of “Magic to Do,” “Morning Glow” and “Finale” immediately come to mind. Opening night, the only time that came close was the end of the curtain call.

The too-dimly lit lighting design credited to Mark C. Williams, only added to the problems. It is extremely hard to become invested in a performance when you can’t see the actors’ faces. It wasn’t until Berthe’s number that I realized the male chorus members had make-up designs on their faces.

The costume design by Jeff Shearer also left me extremely confused. The male and female ensemble costumes didn’t seem to be related to each other. The women’s costumes were two pieces with exposed mid-drifts, arms and legs. The male costumes nearly completely covered them (except for a few shirtless performers) with asymmetric, mixed, strong, patterns. I’m still trying to figure out the purpose of the contrasting-color codpieces several of the men sported.

Crossing into the lead’s costumes, things really get confusing. Pippin is dressed in dark blue pants and a white shirt, the latter easily gets lost in the sea of white and cream the male ensemble wears. The same can be said for Berthe’s off-white shawl. Catherine appears in a too-pink and bedazzled gypsy-looking dress. The flat color choices of a grey shirt and brown pants used for the Leading Player blends him into the darkness on stage. Fastrada’s costume, in contrast to those of the women ensemble, contained so much material it buried any movement or choreography in flowing fabric. Lewis’ robin egg blue roman skirt ensemble would get a designer sent home on Project Runway.

Jane Green and Jay Goodlett provided the choreography. The bigger production numbers never seemed to build in intensity. “With You” begins with Pippin singing as the female ensemble dances. Strangely for a song that leads into an “orgy” it takes forever for Pippin and the women to actually touch each other. During the dance segment that follows, the number fails to build to an appropriate (dance) climax.

Also questionable is the decision to dance the duet “On the Right Track” on top of the closed stage curtain. As the number proceeds, the taller Leading Player is blocked downstage of the shorter Pippin. The result is the actors are dancing face to face with the Leading Players’ back to the audience and their view of Pippin blocked. Another problem plaguing the Leading Players’ choreography/blocking was that it existed only in extremes. Either it was too much hand and body-gesturing to hit the music beats or practically non-existent.

Sound execution was also problematic opening night. Several late queues and uneven levels occurred over the course of the performance.

There were other decisions peppered throughout the performance that didn’t make sense to me. During “Glory” the sound of metal weapons hitting each other is added to the number. Perhaps this idea would have worked if the sounds had match the percussion of the song. It becomes too heavy-handed with the addition of the sounds of modern warfare.

During the orgy scene, a female ensemble member comes out dressed as a cowgirl complete with a six shooter. A little extra thought could have found of an element that better fit the show. Several comic moments that already exist in the script are overlooked, instead relying on dated and often no-so-funny shtick for a quick laugh.

So if you have gotten this far in the review, you probably are under the impression that I hated the show. In actuality, I’m disappointed that the show didn’t gel for me and I’m trying to explain why. It seems like the costumes, the choreography and the lighting design were done independently with no collaboration of how these three elements would interact. No discussion on how the lighting effects the costume fabrics or how the costumes effect the choreography. No unifying vision to connect these dots into a satisfying picture.

Bottom line for me, PIPPIN was more extra ordinary than extraordinary.

Click here for a complete list of showtimes.

Links to all reviews can be found on the BTC REVIEWS page. Blog postings, links to other media reviews and more are available on my FaceBook fan page or you can receive updates on Twitter from @BTCincyRob.

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July 20, 2011 · 11:10 am

PIPPIN runs Aug. 19-Sept. 3

PIPPIN
Presented by The Carnegie and Commonwealth Theatre Company
Aug. 19-Sept. 3
Covington

War, politics, women; nothing seems to bring fulfillment for young Prince Pippin. As he searches for his “corner of the sky,” a fantastical band of players guides Pippin on a tortuous journey to a spectacular and deadly finale. Bursting with energetic Fosse choreography and hip tunes by three-time Oscar-winning composer Stephen Schwartz, PIPPIN is a fun, sexy and dangerous fairy tale of self-discovery.

Directed by Ken Jones
Music directed by Jamey Strawn
Choreographed by Jane Green & Jay Goodlett

Cast: Jordan DeLeon as Leading Players,  Chris Stewart as Pippin, Jim Stump as Charles, Grayson Wittenbarger as Lewis, Valerie Witherspoon as Fastrada, Deb Girdler* as Berthe, Brooke Rucidlo as Catherine and Owen Gunderman as Theo
Ensemble:  Brian Wylie, Seth Wallen, Sam Rueff, Cameron Davis, Zack Steele, Abby Wagner, Molly Bryson, Allison Evans, Suzanne Blunk, Courtney Duncan & Allie Heidrich
*Actor appears through the courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

  • Fri-Sat, Aug. 19*-20 at 7:30pm
  • Sun, Aug. 21 at 3pm
  • Fri-Sat, Aug. 26*-27 at 7:30pm
  • Sun, Aug. 28 at 3pm
  • Fri-Sat, Sept. 2-3 at 7:30pm
    *ASL-interpreted and closed-captioned performance

Official page | Online ticketing | YouTube preview | YouTube preview II |

Urban Cincy article |

BTC review | Enquirer review | Talkin’ Broadway review | CityBeat review |

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