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Coming Up in Cincinnati Theatre: March 7-11

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…BLINK AND THEY’RE GONE

THE AFGHAN WOMEN’S WRITING PROJECT

Know Theatre of Cincinnati

The Story: THE AFGHAN WOMEN’S WRITING PROJECT is aimed at allowing Afghan women to have a direct voice in the world, not filtered through male relatives or members of the media. Many of these Afghan women have to make extreme efforts to gain computer access in order to secretly submit their writings, in English, to the project.
The Dates: March 8-11, 2012
Tickets and More Information: Know Theatre of Cincinnati | BTC listing

CELEBRITY OLD TIME RADIO SHOW

Xenia Area Community Theatre

The Story: Xenia celebrities and area actors perform old time radio favorites. Also presented for the first time is A ‘TIME’ FOR RADIO
The Dates: March 9-11, 2012
Tickets and More Information: Xenia Area Community Theatre | BTC listing

…NEW THIS WEEK

COLE

Mariemont Players Inc.

The Story: Follows Cole Porter’s life – from Yale to Paris to Manhattan to Broadway to Hollywood. This delightful musical tribute to the King of Musicals includes such hit tunes as I Love Paris, Take Me Back to Manhattan, “Love for Sale, Night and Day, and I Get a Kick Out of You.
The Dates: March 9-25, 2012
Tickets and More Information: Mariemont Players Inc | BTC listing

THE DINING ROOM

Lebanon Theatre Company

The Story: A mosaic of interrelated scenes—some funny, some touching, some rueful—which, taken together, create an in-depth portrait of a vanishing species of the upper-middle-class.
The Dates: March 9-18, 2012
Tickets and More Information: Lebanon Theatre Company| BTC listing

MERRILY WE ROLL ALONG

Cincinnati Playhouse in the Park

The Story: Stephen Sondheim’s remarkable Broadway fable of friendship and the high price of success opens in the present and moves backward in time. The triumphs and failures of a jaded composer and his two closest friends are traced from their estranged ending to their idealistic beginning. Directed by John Doyle, who led Playhouse’s Tony Award-winning production of COMPANY, the performers in this highly anticipated revival will play all of the instruments as they act and sing in one of Sondheim’s most melodic scores. Ages 13 and up.
The Dates: March 3-31, 2012
Tickets and More Information: Cincinnati Playhouse in the Park | BTC Listing

THE PRODUCERS

Loveland Stage Company

The Story: A fading producer, Max Bialystock, convinces accountant Leo Bloom to partner with him in producing a guaranteed flop and then running off with the money they’ve raised. “Springtime for Hitler” couldn’t possibly be a hit, right?
The Dates: March 9-18, 2012
Tickets and More Information: Loveland Stage Company | BTC listing

Burgess Byrd as Clairee Belcher & Christine Dye as Ouiser Boudreaux in CCPA’s STEEL MAGNOLIAS.

STEEL MAGNOLIAS

Covedale Center for the Performing Arts

The Story: Welcome to Truvy’s beauty salon in Chinquapin, Louisiana, where all the ladies who are “anybody” come to have their hair done. Filled with hilarious repartee and not a few revealing verbal collisions, the play invokes knowing laughter and certain tears when the spunky Shelby risks her life for a child of her own. The realization of mortality affects the others, but also draws on the underlying strength—and love – in these uniquely American women.
The Dates: March 8-April 1, 2012
Tickets and More Information: Cincinnati Landmark Productions | BTC listing

…CONTINUING

Sara Clark as Marianne Dashwood, Giles Davies as Colonel Brandon, Kelly Mengelkoch as Elinor Dashwood & Brent Vimtrup as Edward Ferrars. Photo by Jeanna Vella.

Jane Austen’s SENSE & SENSIBILITY

Cincinnati Shakespeare Company

The Story: When a lack of luck makes for difficult marriage prospects, the Dashwood sisters set sail on the volatile seas of courtship. The sisters soon discover that neither reserved Elinor’s common sense nor impulsive Marianne’s passion offer the key to happiness. Scandalous secrets, burning betrayals, and suave (and some not-so-suave) suitors line the path to true love in this fresh adaptation.
The Dates: Through March 18, 2012
Tickets and More Information: Cincinnati Shakespeare Company | BTC listing

…ENDING THIS WEEK

THE BIG PICTURE

Beavercreek Community Theatre

The Story: It’s the summer of 1962, college freshman Billy Carson is spending his first summer home with his mom and best friend. With only a few items to provide clues, Billy sets out with a renewed interest in discovering the father he never knew – B-Movie script writer and war hero, Jack Carson. But when old wounds are opened and new loves are discovered, Billy realizes that coming home is more difficult and ultimately more enlightening than he ever imagined and the sleepy town of Pine Springs, Illinois may never be the same. With script and lyrics by Troy native David Brush and music by Jim Farley of Piqua.
The Dates: March 2-11, 2012
Tickets and More Information: Beavercreek Community Theatre | BTC Listing

Don Volpenhein as Ray & Ashley Hail as Una in BLACKBIRD.

BLACKBIRD

The Story: Fifteen years ago, she was twelve and he was forty. Their relationship put him in jail and changed their lives forever. Now she has found him living a different life, under a different name. Will either person ever come to terms with the past? Or will the past consume them both? Ages 18 and up.
The Dates: March 2-11, 2012
Tickets and More Information: BLACKBIRD blog | BTC Listing

THE DINING ROOM

Stagecrafters

The Story: The play is set in the dining room of a typical well-to-do household, the place where the family assembled daily for breakfast and dinner and for any and all special occasions. The action is comprised of a mosaic of interrelated scenes – some funny, some touching, some rueful – which, taken together, create an in-depth portrait of a vanishing species of the upper-middle-class.

The Dates: March 3-11, 2012
Tickets and More Information: Stagecrafters | BTC Listing

Michael Shooner as Man. Photo by Mikki Schaffner.

ST. NICHOLAS

New Edgecliff Theatre

The Story: A burned-out theatre critic becomes infatuated with a young actress. Leaving his wife and children in Dublin to pursue his obsession, things become complicated in London when he finds himself in the employ of a coven of vampires. This wicked and riveting one-man show is sure to captivate audiences. Intended for mature audiences only.
The Dates: Through March 10, 2012
Tickets and More Information: New Edgecliff Theatre | BTC listing | BTC review

TALLEY & SON

The Drama Workshop

The Story: The time is Independence Day, 1944, the place the parlor of the Talley homestead in Lebanon, Missouri. As World War II rages across the seas, the Talleys are beset with crises of a different sort. Commenting on the action, unseen by the others, is the “ghost” of the second son, Timmy, already a casualty of the Pacific war, although the family has not yet learned of his death.
The Dates: March 2-10, 2012
Tickets and More Information: The Drama Workshop | BTC Listing

Mike Moskowitz as Mr. Green in VISITING MR. GREEN. Photo by Mikki Schaffner.

VISITING MR. GREEN

Falcon Theatre

The Story: After his car narrowly avoids an elderly man wandering into traffic,bright young professional Ross Gardiner has been sentenced to community service;he must visit his almost victim,Mr. Green,once a week for the next six months. Curmudgeonly Mr. Green resists Ross’s help,still overwhelmed with the death of his wife and harboring a deep and painful secret. But Ross has a secret of his own,and together the unlikely companions learn to understand each other and themselves in a humorous and touching story of forgiveness and compassion. This two-man play features real-life grandfather and grandson, Mike Moskowitz & Joshua Steele
The Dates: March 3-11, 2012
Tickets and More Information: Falcon Theatre | BTC Listing

Evy Ortiz as Maria and Ross Lekites as Tony in the First National Tour of WEST SIDE STORY. Photo © Carol Rosegg 2011.

WEST SIDE STORY

Broadway in Cincinnati

The Story: More than fifty years ago one musical changed theater forever. Now it’s back, and mesmerizing audiences once again. From the first note to the final breath, West Side Story soars as the greatest love story of all time. Directed by David Saint, using Tony Award-winning librettist Arthur Laurents’ Broadway direction, West Side Story remains as powerful, poignant and timely as ever. The new Broadway cast album of West Side Story recently won the 2010 Grammy Award for Best Musical Show Album. The Bernstein and Sondheim score is considered to be one of Broadway’s finest and features such classics of the American musical theatre as “Something’s Coming,” “Tonight,” “America,” “I Feel Pretty” and “Somewhere.”
The Dates: Feb. 28-March 11, 2012
Tickets and More Information: Broadway in Cincinnati | BTC Listing | BTC Review

…COMING SOON

EDGE WALKING

Cincinnati Playwrights Initiative

The Dates: March 13, 2012
Tickets and More Information: Cincinnati Playwrights Initiative | BTC listing

TIME STANDS STILL

Ensemble Theatre of Cincinnati

The Dates: March 14-April 1, 2012
Tickets and More Information: Ensemble Theatre of Cincinnati | BTC listing

NIXON’S NIXON

Middletown Lyric Theatre

The Dates: March 15-17, 2012
Tickets and More Information: Middletown Lyric Theatre | BTC listing

A STREETCAR NAMED DESIRE

Rivertown Players Inc.

The Dates: March 15-17, 2012
Tickets and More Information: Rivertown Players | BTC listing

TIGERS BE STILL

Cincinnati Playhouse in the Park

The Dates: March 17-April 15, 2012
Tickets and More Information: Cincinnati Playhouse in the Park | BTC listing

Bach Society of Dayton Joins with the Central State University Chorus “For the Joy of Singing”

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The Bach Society of Dayton, under the direction of John Neely, will join forces with the renowned Central State University Chorus, under the direction of William Henry Caldwell, for two inspiring concerts on March 10 and 11.

The combined choirs will perform Schubert’s Mass in G, as well as a selection of contemporary and traditional works by African-American composers. The Bach Society will perform Bach’s Lobet den Herrn, alle Heiden (Praise the Lord, all the nations). Lee Hoffman, assistant professor at Central State, will be the soprano soloist. The choirs will be accompanied by a chamber orchestra and organist R. Alan Kimbrough.

“The Central State University Chorus is recognized as one of the finest choral ensembles in the region, and we are excited to perform on stage together for the first time,” said John Neely, music director, Bach Society of Dayton.

March 2012 marks the 125th anniversary of Central State University. The Central State University Chorus will begin a tour of China shortly after the March concerts.

For the Joy of Singing

March 10, 7:30 p.m.
Central State University, Wilberforce
Paul Robeson Performing Arts & Cultural Center

March 11, 4:00 p.m.
Kettering Adventist Church
3939 Stonebridge Road, Kettering
3:00 p.m. Concert preview by Dr. James Arthur Williams, University of Dayton

Tickets
Adults $15; Students free with ID on March 10 and $10 on March 11; 12 and under free
Available at the door or call to reserve: 937-294-2224

Getting in the Game: Research, Prepare and Negotiate the Exhibition of your Artwork

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The Dayton Visual Arts Center, Rosewood Arts Centre and the Springfield Museum of Art present Getting in the Game: Research, Prepare and Negotiate the Exhibition of your Artwork. This three-part, three-venue series will focus on different aspects of exhibiting artwork, from finding appropriate exhibition opportunities, preparing a strong portfolio and application, and best exhibition practices. This is the inaugural event in a series of practical practice workshops for artists. Attending all three sessions is encouraged as the sessions are organized cumulatively; however, participants may attend any or all three.

Session 1 | March 10 | Making a Game Plan | Dayton Visual Arts Center

Free agent or professional? Fairs, festivals, auctions, galleries, museums, corporate commissions? Get out of the studio and on the field! Learn to create the best game plan to reach your exhibition goals.

Session 2 | March 17 | The Right Equipment | Rosewood Arts Centre

Learn the basics of preparing your work for the jury process or presenting a solo exhibition proposal. Artist statements, resumes, documentation of artwork, and more will be discussed.

Session 3 | March 24 | Rules of Engagement | Springfield Museum of Art

For profit, not for profit? Galleries, coffee shops, restaurants, museums? 10%, 25%, 50%? Learn what to expect from each venue, and what they expect from you, including contracts, marketing, and commission fees.
(submitted by DVAC)

The Look of Love

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Love, in many forms and stages, permeates the mythical air of John Cariani’s tender comedy “Almost, Maine,” fluidly directed with a dash of whimsy by Kimberly Borst at Sinclair Community College.

Transpiring on a wintry Friday evening in the sleepy titular town, excellently envisioned by scenic designer Terry Stump and lighting designer Gina Neuerer, “Almost, Maine” flows as a series of nine vignettes effectively grounded in self-reflection and emotional connection. Cariani’s concept, which should have been conceived as a one-act, is predictably fueled by the universal desire of finding The One, but he astutely avoids the temptation to drown his appealing, relatable characters in melodramatic romanticism or mundane rom-com hijinks.

Cariani’s couples are particularly impactful when vulnerable or attempting a deeper intimacy and understanding. In fact, the Act 1 finale (“Getting It Back”) and Act 2 opening (“They Fall”) typify the play’s engrossing charm. “Getting It Back,” an eye-opening, symbolic look at love measured in bags of varying sizes, likely resonates with any woman who has endured a serious, long-term relationship without a wedding ring to show for it. The feisty Angela Dermer and sensitive Chris Hahn, paired as strongly here as they were last fall portraying Abigail Williams and John Proctor in “The Crucible,” wonderfully explore the frustrated discontent that arises when the end seems near even though a bright future actually looms over the horizon. In a striking role reversal, Hahn, opposite the admirable Josh Smith, is also featured in “They Fall,” a terrific bromance innocently peppered with random chatter encompassing bad hygiene and an impromptu Queen salute that endearingly climaxes with unexpected honesty and funny physical comedy.

Jenna Burnette and Isaac Hollister’s subtle love-at-first-sight compatibility in “This Hurts,” an intriguing account of a young man immune to pain, and Michael Marvin and Becca Sebree’s believably bruised “Where It Went,” a tale of a rocky marriage, are equally sharp.  Amanda Hanisch, John Ray, costumer Kathleen Hotmer and the evocative strains of composer Julian Fleisher also contribute to the success of this perfect date night outing.

“Almost, Maine” continues through March 3 in Blair Hall Theatre, Building 2, at Sinclair Community College, 444 W. Third St. Performances are Thursday at 7 p.m. and Friday and Saturday at 8 p.m. Act One: 50 minutes; Act Two: 45 minutes. Tickets are $10-$15 with the exception of the Downtown Dayton Thursday Night performance which is an additional $5 and includes pre-show appetizers and cash bar. For tickets or more information, call (937) 512-2808 or visit www.sinclair.edu/tickets.

Love is in the air both joyous and tough at the Dayton Ballet Romance Series

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Love in all its complicated, glorious infectiousness was on display at the Dayton Ballet Romance Series performance. While it was not a perfect concert there was enough of a incipient charm that kept me going as a lover of dance.

In talking about showcasing “relationships” in ballets, George Balanchine may have made a matter of fact observation. “ You have a man and woman, How much more story do you need?” In this cynical age in which people can get married and divorced in seventy-two days (the Kardashians immediately come to mind) we are all holdouts for true love. And this slightly imperfect showcase held steadfast to this premise.

The concert began with Stephen Mills Red Roses set to a musical score of the incomparable Edith “The Sparrow” Piaf. The work, which began perfunctorily with group unison partnering, while very well crafted held no surprises. When we moved into the solo danced by Erika Cole set to La Vieux Piano, the energy of the ballet ramped up considerably and more nuanced work began to emerge. We started to embrace the familiarities of couples falling in and out of love, because it showcased how love is complicated and unpredictable in an accessible way. The highlight of the piece was the comedic juxtaposition of the couples in C’est Peut-Etre Ca (The Apache), with an inspired full throttled performance by Abby Phillips along with Paul Gilliam, Erika Cole and Justin Koertgen.

The world premiere of Between Heaven and Earth by Gina Gardner-Walther was a beautiful meditation on a love that matures and transcends the shadows. Beautifully costumed in shades of plums, violets and lilac this was a work that challenged the dancers to work with choreographic material that was contemporary and allowed us to see the dancers in a fresh light. As I was watching the ballet the textured choreography of Mark Morris came to mind. The sensitive gestural movement vocabulary and the subtle caressing and framing of the face by the dancers spoke poignantly to this reviewer. This was a work that suggested the weathering of a very personal storm that only committed couples in love can overcome. For all of you single people out there this is the point you are trying to get to in any relationship, a real place. This sensitive and mature choreographic work was an excellent showcase for the contemporary movement ability of Case Bodamer. When I see works like this presented on the stage I am giddy with anticipation at what this company is truly capable of. My only quibble is a technical one. The ladies need to smooth out there landings in pirouettes, which were a little clunky. Overall this is a work that invites repeated viewing.

The Butterfly Suite as choreographed by the artistic director Karen Russo Burke had moments of theatricality that made me sit up and take notice and then there were moments that did not add up artistically. Because the libretto of the Madame Butterfly, in my opinion, is iconic and instantly identifiable even to those who may not have seen the opera, the viewing of this particular ballet is hampered by this previous knowledge. This is a work about grand passion and the huge emphasis needs to be on the “grand”. The opening and closing segments delivered on the grand passion and heightened theatricality. The middle section lost something in translation. I think Ms. Burke is on to something here and I think if she were to look at maybe re-working the mid-section of this ballet, I think it can be an even stronger work.

As I was watching the plight of Cio-Cio San, beautifully danced by Erika Cole, I immediately thought of the plight of Giselle, another ballet character sacrificed on the alter of love. As Giselle progresses we as an audience are made aware of what is at stake for her character almost immediately which allows us to embrace the tragic journey that she subsequently takes us on. I needed to viscerally feel and see what is at stake for the character of Cio-Cio San in the same way and in my opinion this is what is missing from Butterfly Suite. Fundamentally this story is all about navigating the difference between love and lust and the dangers that not knowing the difference exposes one to in relationships. It is also about the tragedy of searching for that knight in shining armor, who turns out to be a cad. I think that there is a goldmine waiting to be explored in this ballet and I have faith that Ms. Burke has the capacity to bring it out. In the final moments of the ballet when Cio-Cio San has resigned herself to commit suicide and seek redemption, the staging of the finale was in my opinion nothing short breathtaking. This story is about how the grand passion of love can tragically carry you to heights of unforeseen passion. If we as the audience had been transported to that place, the pay off would be magnificent.

“Bus Stop” Opens at the Dayton Playhouse

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The Dayton Playhouse will present the popular drama, “Bus Stop,” March 16-25.

The play is set in a diner about 30 miles west ofKansas Cityin early March 1955. A freak snowstorm has halted the progress of the bus, and the eight characters have a weather-enforced layover in the diner from approximately 1 to 5 a.m. Romantic or quasi-romantic relationships ensue.  “Bus Stop” original opened on Broadway in 1955.  The play was nominated for four Tony Awards. “Bus Stop” was written by William Inge and is made available through Dramatists Play Service.

The Dayton Playhouse production stars Lorrie Sparrow as Grace,MargaretFoley as Elma, Craig Smith as Will,RickFlynnas Dr. Gerald Lyman, Ellen Ballerene as Cherie, Scott Knisley as Bo, Mike Rouseculp as Virgil and Mark Hassel as Carl.  “Bus Stop” is being directed by Matthew Smith.

Performances will be Friday through Sunday, March 16-25.  All performances are at 8:00 p.m. except Sundays, which are at 2:00 p.m.  Tickets are $15 for adults, $14 for seniors and $10 for students.

Tickets can be purchased online at www.daytonplayhouse.com, or through the box office, 937-424-8477, which is staffed Monday, Wednesday and Friday 2:00 -5:00 p.m.  Messages may be left for the box office at any time.  The Dayton Playhouse is located at 1301 E. Siebenthaler Ave., Dayton, OH 45414.

The Dayton Playhouse is a community theatre providing outstanding theatrical productions toMiamiValleyaudiences of all ages for more than fifty years.  The Playhouse is nationally recognized for “FutureFest,” a festival of new plays.

(submitted by The Dayton Playhouse)

Dayton Ballet’s “The Spring Series”

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The Spring Series, at Victoria Theatre from March 15 – 18, 2012, will feature four ballets in one amazing performance:  two world-premiere ballets:  one by Dayton Ballet’s Ballet Master, Justin Koertgen titled Violin Concerto and performed to Max Bruch’s Violin Concertos #2 and #3; 2011 New Music for New Dance choreography winner, Susanne Payne’s Parádeigma; and two ballet revivals:  Dermot Burke’s Interlude, performed to Dmitri Shostakovitch’s Piano Concerto No.2, Op. 102 and Gregory Robinson’s Hot Riffs and Blue Notes, performed to music by The Pointer Sisters.

A feature on the program, Violin Concerto, is choreographed by Dayton Ballet’s 11 year veteran, Justin Koertgen, and is a return to the pure roots of classical ballet.  With tutus, tiaras, and tunics, Violin Concerto, is performed to Max Bruch’s Violin Concertos #2 and #3 with the elegance, energy and glorious partnering of true ballet.

Daytonfavorite, GregoryRobinson, presents his popular revival, Hot Riffs and Blue Notes, performed to the melodically-layered music of The Pointer Sisters.

DermotBurke, former Executive and Artistic Director of Dayton Ballet, returns with his revival, Interlude. This Neo-Classical ballet is danced by two couples to the romantic Piano Concerto No. 2, Op 102, byDmitriShostakovitch.

The Spring Series program concludes with a contemporary ballet choreographed by Dayton native, Susanne Payne.  Susanne is the 2011 Choreography winner of New Music for New Dance.  Her world premiere ballet, Parádeigma, pushes the company dancers to explore their limitations both physically and mentally.  Parádeigma challenges the dancers and audience to move beyond their perceptions of what traditional ballet should be.  The goal is for all is to experience the freedom achieved by breaking loose from the routine.

Performances of The Spring Series are at theVictoriaTheatre, March 15, 16, & 17 at 8:00 pm, and March 17 and 18 at 3:00 pm.

Tickets are on sale now! Call Ticket Center Stage at (937) 228-3630 or (888) 228-3630 or visit www.ticketcenterstage.com.  Ticket Center Stage hours are Monday-Friday 10 a.m. to 6 p.m., Saturday Noon-4 p.m. and two hours prior to each performance.

Oscar Winner A SEPARATION Starts Friday!

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Hello Everyone,

I’m sad to report that the community has not embraced PINA well enough for it to stick around a second week.  If you still need to see this artful and inspiring film, you only have today (Thursday, March 1) to see it at THE NEON.  Though I’m sad to see this film leave, I am happy to announce that we will open the Oscar-winning film A SEPARATION on Friday!   THE ARTIST, winner of 5 Academy Awards including “Best Picture,” will continue its run.

Synopsis for A SEPARATION: “Set in contemporary Iran, A Separation is a compelling drama about the dissolution of a marriage. Simin wants to leave Iran with her husband Nader and daughter Termeh. Simin sues for divorce when Nader refuses to leave behind his Alzheimer-suffering father. Her request having failed, Simin returns to her parents’ home, but Termeh decides to stay with Nader. When Nader hires a young woman to assist with his father in his wife’s absence, he hopes that his life will return to a normal state. However, when he discovers that the new maid has been lying to him, he realizes that there is more on the line than just his marriage.”  (Taken from Sony Pictures Classics)

[yframe url=’http://www.youtube.com/watch?v=58Onuy5USTc’]

A SEPARATION – official site

THE ARTIST – official site

On Thursday, March 22 at 7:30, Keener Farm has rented our space for a special screening of the acclaimed documentary AMERICAN MEAT.  “The film explains our current industrial meat system and shows the feedlots and confinement operations – not through hidden cameras but through the eyes of the farmers who live and work there. The film then shifts to the burgeoning sustainable, local-food movement made up of farmers, food advocates, chefs and everyday folks who could change everything about the way meat reaches the American table…Sustainable farming is expanding exponentially as Americans learn more about their food and how to connect with local farmers…”  (taken from press notes)  The screening will be preceded by a meet and greet with appetizers provided by Olive: An Urban Dive (beginning at 6:30), and a panel discussion with the filmmaker as well as local farmers & restaurateurs will follow the screening.  Admission is free (first come, first serve), but donations will gladly be accepted to help offset costs.

Our Annual Oscar Party was a success.  Many thanks to those of you who came out and participated in the fun evening, and many additional thanks to our friends at ThinkTV and Square One Salon & Spa for helping to make our evening a big hit.
For this week’s remaining showtimes, please visit www.neonmovies.com.

Thanks for your continued support.
We hope to see you soon,Jonathan

P.S.  We now have TWITTER.  If you use this application, we hope you’ll follow us. @neonmovies

SHOWTIMES for Fri. March 2 – Thur. March 8:

A SEPARATION (PG-13) 2 Hr 03 Min
Friday, Saturday, Sunday:  1:30, 4:00, 7:00, 9:30
Monday – Thursday:  2:40, 5:10, 8:00

THE ARTIST (PG-13) 1 Hr 40 Min
Friday, Saturday, Sunday: 12:40, 2:50, 5:10, 7:30, 9:30
Monday – Thursday: 2:50, 5:10, 7:30

COMING SOON:
As always, all dates are tentative.  Many of these dates will change.
In some rare cases, titles may disappear.
March 9   SHAME
TBD   THE HEDGEHOG
TBD   PARIAH
March 23   IN DARKNESS
March ?   WE NEED TO TALK ABOUT KEVIN
April ?  FOOTNOTE
Spring   SALMON FISHING IN THE YEMEN
Spring  BEST EXOTIC MARIGOLD HOTEL

Puttin’ on the Ritz at Opera Ball 2012

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(submitted by the Opera Guild of Dayton)

You heard about it, didn’t you? You know ─ Tom (Bankston that is) and a few hundred of his closest friends from Opera Guild of Dayton are meeting at Dayton Country Club (DCC) on Saturday, March 3, at 6:30 p.m. They’re Puttin’ on the Ritz at Opera Ball 2012. They’ve got The Tom Daugherty Orchestra coming. Do they ever play the tunes! How about the Charleston or maybe some swing? There’ll be lots more to keep your feet tappin’.

Now I hear that the food at DCC is pretty terrific. They won’t be serving bathtub gin, just the good stuff. Don your glad rags ─ that’s your black tie attire and some bling. How about a bow tie and a top hat or some long pearls? Feathers and boas? Sure.

And for the auctions, the prizes are the “bee’s knees.” How about a week at Big Sky, Montana, or Winter Park, Colorado? Also, there’s a glamorous trip to New York City to dine at the 21 Club with a hotel stay at the incomparable The Lowell on the Upper East Side. Try for the Segway tour of Woodland Cemetery or tickets to the opera. Dining certificates are available at some hotsy, totsy restaurants. Pamper yourself at a spa. And they’ve got luscious wine baskets, art glass and lots more.

Call 937/434-8236 and ask for Sam. She has all the details. She’ll make sure that your reservation is set.  That new fangled Web has information too at OperaGuildOfDayton.org. Now all this partying helps the Opera Guild support Dayton Opera productions and keeps their educational endeavors with the schools in swell shape. And those high school and college vocal competition winners need the Guild’s dough too.

Be there for a roarin’ good time Puttin’ on the Ritz!

Coming Up in Cincinnati Theatre: Feb. 27-March 4

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…BLINK AND THEY’RE GONE

THE LARAMIE PROJECT

SSCC Theatre

The Story: In October 1998 a twenty-one-year-old student at the University of Wyoming was kidnapped, severely beaten and left to die, tied to a fence in the middle of the prairie outside Laramie, Wyoming. His bloody, bruised and battered body was not discovered until the next day, and he died several days later in an area hospital. His name was Matthew Shepard, and he was the victim of this assault because he was gay.
The Dates: March 2-4, 2012
Tickets and More Information: SSCC Theatre | BTC Listing

…NEW THIS WEEK

Pam McGinnis of Oakwood, Brian Kester of Fairborn & Eric Bracht of Beavercreek rehearse THE BIG PICTURE.

THE BIG PICTURE

Beavercreek Community Theatre

The Story: It’s the summer of 1962, college freshman Billy Carson is spending his first summer home with his mom and best friend. With only a few items to provide clues, Billy sets out with a renewed interest in discovering the father he never knew – B-Movie script writer and war hero, Jack Carson. But when old wounds are opened and new loves are discovered, Billy realizes that coming home is more difficult and ultimately more enlightening than he ever imagined and the sleepy town of Pine Springs, Illinois may never be the same. With script and lyrics by Troy native David Brush and music by Jim Farley of Piqua.
The Dates: March 2-11, 2012
Tickets and More Information: Beavercreek Community Theatre | BTC Listing

BLACKBIRD

The Story: Fifteen years ago, she was twelve and he was forty. Their relationship put him in jail and changed their lives forever. Now she has found him living a different life, under a different name. Will either person ever come to terms with the past? Or will the past consume them both?  Ages 18 and up.
The Dates: March 2-11, 2012
Tickets and More Information: BLACKBIRD blog | BTC Listing

THE DINING ROOM

Stagecrafters

The Story: The play is set in the dining room of a typical well-to-do household, the place where the family assembled daily for breakfast and dinner and for any and all special occasions. The action is comprised of a mosaic of interrelated scenes – some funny, some touching, some rueful – which, taken together, create an in-depth portrait of a vanishing species: the upper-middle-class WASP.
The Dates: March 3-11, 2012
Tickets and More Information: Stagecrafters | BTC Listing

MERRILY WE ROLL ALONG

Cincinnati Playhouse in the Park

The Story: Stephen Sondheim’s remarkable Broadway fable of friendship and the high price of success opens in the present and moves backward in time. The triumphs and failures of a jaded composer and his two closest friends are traced from their estranged ending to their idealistic beginning. Directed by John Doyle, who led Playhouse’s Tony Award-winning production of COMPANY, the performers in this highly anticipated revival will play all of the instruments as they act and sing in one of Sondheim’s most melodic scores. Ages 13 and up.
The Dates: March 3-31, 2012
Tickets and More Information: Cincinnati Playhouse in the Park | BTC Listing

TALLEY & SON

The Drama Workshop

The Story: The time is Independence Day, 1944, the place the parlor of the Talley homestead in Lebanon, Missouri. As World War II rages across the seas, the Talleys are beset with crises of a different sort. Commenting on the action, unseen by the others, is the “ghost” of the second son, Timmy, already a casualty of the Pacific war, although the family has not yet learned of his death.
The Dates: March 2-10, 2012
Tickets and More Information: The Drama Workshop | BTC Listing

Joshua Steele as Ross Gardiner & Mike Moskowitz as Mr. Green in Falcon Theatre's VISITING MR. GREEN.

VISITING MR. GREEN

Falcon Theatre

The Story: After his car narrowly avoids an elderly man wandering into traffic,bright young professional Ross Gardiner has been sentenced to community service;he must visit his almost victim,Mr. Green,once a week for the next six months. Curmudgeonly Mr. Green resists Ross’s help,still overwhelmed with the death of his wife and harboring a deep and painful secret. But Ross has a secret of his own,and together the unlikely companions learn to understand each other and themselves in a humorous and touching story of forgiveness and compassion. This two-man play features real-life grandfather and grandson,  Mike Moskowitz & Joshua Steele
The Dates: March 3-11, 2012
Tickets and More Information: Falcon Theatre | BTC Listing

The First National Tour of WEST SIDE STORY. Photo by Carol Rosegg.

WEST SIDE STORY

Broadway in Cincinnati

The Story: More than fifty years ago one musical changed theater forever. Now it’s back, and mesmerizing audiences once again. From the first note to the final breath, West Side Story soars as the greatest love story of all time. Directed by David Saint, using Tony Award-winning librettist Arthur Laurents’ Broadway direction, West Side Story remains as powerful, poignant and timely as ever. The new Broadway cast album of West Side Story recently won the 2010 Grammy Award for Best Musical Show Album. The Bernstein and Sondheim score is considered to be one of Broadway’s finest and features such classics of the American musical theatre as “Something’s Coming,” “Tonight,” “America,” “I Feel Pretty” and “Somewhere.”
The Dates: Feb. 28-March 11, 2012
Tickets and More Information: Broadway in Cincinnati | BTC Listing

…CONTINUING

Michael Shooner as Man. Photo by Mikki Schaffner.

ST. NICHOLAS

New Edgecliff Theatre

The Story: A burned-out theatre critic becomes infatuated with a young actress. Leaving his wife and children in Dublin to pursue his obsession, things become complicated in London when he finds himself in the employ of a coven of vampires. This wicked and riveting one-man show is sure to captivate audiences. Intended for mature audiences only.
The Dates: Through March 10, 2012
Tickets and More Information: New Edgecliff Theatre | BTC listing | BTC review

Sara Clark as Marianne Dashwood, Giles Davies as Colonel Brandon, Kelly Mengelkoch as Elinor Dashwood & Brent Vimtrup as Edward Ferrars. Photo by Jeanna Vella.

Jane Austen’s SENSE & SENSIBILITY

Cincinnati Shakespeare Company

The Story: When a lack of luck makes for difficult marriage prospects, the Dashwood sisters set sail on the volatile seas of courtship. The sisters soon discover that neither reserved Elinor’s common sense nor impulsive Marianne’s passion offer the key to happiness. Scandalous secrets, burning betrayals, and suave (and some not-so-suave) suitors line the path to true love in this fresh adaptation.
The Dates: Through March 18, 2012
Tickets and More Information: Cincinnati Shakespeare Company | BTC listing

…ENDING THIS WEEK

COLLAPSE

Know Theatre of Cincinnati

The Story: In 2007, the Mississippi River Bridge in Minneapolis collapsed, killing 13 people and injuring another 145. Hannah’s husband David was driving one of the cars that went off the bridge. He is suffering from post-traumatic stress disorder, but refuses to attend a support group. Hannah’s life is falling apart. She can’t get pregnant, she’s one step away from losing her job, and she thinks her husband, who hasn’t been to work for months, may be an alcoholic. COLLAPSE is an uncomfortably funny exploration of the crumbling structures that undergird our bridges, our economy, and our most intimate relationships.
The Dates: Through March 3, 2012
Tickets and More Information: Know Theatre | BTC listing

Chris Blem as The Baker, Victoria Cook as The Witch, Michelle Rombola as the Baker's Wife in CCM's INTO THE WOODS.

INTO THE WOODS

UC CCM Musical Theatre

The Story: Stephen Sondheim’s Tony Award-winning musical follows the journey of a Baker and his Wife on their quest to reverse a curse put on them by the Witch next door, forcing them to face the consequences of their actions. As the fairy tale characters work to fulfill their greatest wishes, they learn a heartwarming moral of the importance of family and community.
The Dates: Through March 4, 2012
Tickets and More Information: UC CCM | BTC listing

RENT

Footlighters, Inc.

The Story: Jonathan Larson’s Pulitzer-prize winning Broadway musical based loosely on Puccini’s opera “La Bohème.” RENT follows a year in the lives of seven friends living the disappearing Bohemian lifestyle in New York’s East Village.
The Dates: Through March 3, 2012
Tickets and More Information: Footlighters | BTC listing

SPEAKING IN TONGUES

Cincinnati Playhouse in the Park

The Story: Love, sex and deceit create the emotional labyrinth in this stylish, noir thriller. This theatrical jigsaw puzzle of parallel stories explores the betrayals of two married couples and the unexpected links among five isolated strangers
The Dates: Through March 4, 2012
Tickets and More Information: Cincinnati Playhouse in the Park | BTC listing

…COMING SOON

THE AFGHAN WOMEN'S WRITING PROJECT presented by Know Theatre of Cincinnati on March 8-11

Know Theatre of Cincinnati

The Dates: March 8-11, 2012
Tickets and More Information: Know Theatre of Cincinnati | BTC listing

COLE

Mariemont Players

The Dates: March 9-25, 2012
Tickets and More Information: Mariemont Players | BTC listing

THE DINING ROOM

Lebanon Theatre Company

The Dates: March 9-18, 2012
Tickets and More Information: Lebanon Theatre Company | BTC listing

THE PRODUCERS

Loveland Stage Company

The Dates: March 9-18, 2012
Tickets and More Information: Loveland Stage Company | BTC listing

STEEL MAGNOLIAS

Covedale Center for the Performing Arts

The Dates: March 8-April 1, 2012
Tickets and More Information: Cincinnati Landmark Productions | BTC listing

 

And The Oscar Goes To…

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A delightful silent film shot in stunning black and white and the moving saga of African-American maids in the Deep South particularly attracted the 6,000 voting members of the Academy of Motion Picture Arts and Sciences who determined nominees for the 84th annual Academy Awards. “Hugo” leads the pack with 11 nominations, but faces stiff competition from “The Artist,” a frontrunner on the verge of a sweep. Equally noteworthy is the best adapted screenplay category which has local ties thanks to “The Ides of March,” co-written by Beau Willimon, George Clooney and Grant Heslov based on Willimon’s fantastic political drama “Farragut North,” the winner of the 2005 Dayton Playhouse FutureFest.
As always, anything is possible when winners will be revealed Sunday, February 26 at the Hollywood and Highland Center in Los Angeles. I’m especially anticipating the overdue return of host Billy Crystal and his signature musical medley of Best Picture nominees. Here are my predictions in the top six categories.

 

BEST PICTURE

“The Artist”
“The Descendants”
“Extremely Loud & Incredibly Close”
“The Help”
“Hugo”
“Midnight in Paris”
“Moneyball”
“The Tree of Life”
“War Horse”

Overlooked: “50/50”; “A Better Life”; “Beginners”; “Bridesmaids,”; “The Conspirator”; “Contagion”; “Drive”; “The Girl with the Dragon Tattoo”; “Harry Potter and the Deathly Hallows: Part 2”; “The Ides of March”; “Like Crazy”; ”Margin Call”; “Melancholia”;  “Super 8”; “Tinker, Tailor, Soldier, Spy”; “Warrior”; “Weekend”;“Win Win”

Will Win: “The Artist”
Should Win/Shocker: “The Help”

I’m still a fan of the Academy’s long-standing tradition of placing five nominees here. Bloating the category to nine still feels excessive. At any rate, “The Artist,” an enjoyable French import saluting bygone Hollywood and the magic of movies, is the clear favorite in the minds of prognosticators and art house aficionados. However, it lacks the gravitas traditionally associated with Best Picture recipients and a compelling emotional center. Did anyone watch “The Artist” and feel a sense of connection? In the scheme of things, it’s important not to underestimate “The Help,” an inherently impactful American tale of triumph in the face of adversity, culturally and financially. Tate Taylor’s wonderfully engrossing adaptation of Kathryn Stockett’s best-seller, the only nominee the majority of America has seen, grossed $170 million. It also sparked a national discussion on civil rights and race relations, fueling the film’s thought-provoking significance in the Obama era. Due to its 10 nominations and critical acclaim, “The Artist” will likely become the second silent Best Picture winner in Oscar history, but I’m hoping “The Help” defies the odds to become the first film since 1932’s “Grand Hotel” to win Best Picture without nominations for direction or screenplay.

 

BEST DIRECTOR

Woody Allen, “Midnight in Paris”
Michel Hazavanicious, “The Artist”
Terrence Malik, “The Tree of Life”
Alexander Payne, “The Descendants”
Martin Scorcese, “Hugo”

Overlooked: J.J. Abrams, “Super 8”; Thomas Alfredson, “Tinker, Tailor, Soldier, Spy”; George Clooney, “The Ides of March”; Stephen Daldry, “Extremely Loud & Incredibly Close”; Drake Doremus, “Like Crazy”; David Fincher, “The Girl with the Dragon Tattoo”; Bennett Miller, “Moneyball”; Mike Mills, “Beginners”; Robert Redford, “The Conspirator”; Nicolas Winding Refn, “Drive”; Steven Soderbergh, “Contagion”; Tate Taylor, “The Help”; Lars von Trier, “Melancholia”; Chris Weitz, “A Better Life”; David Yates, “Harry Potter and the Deathly Hallows, Part 2”

Will/Should Win: Hazavanicious
Shocker: Malik

You can never discount Malik, especially when his exquisite yet polarizing “Tree of Life” gained enough support to be nominated for Best Picture over more commercial fare. Scorcese’s contributions are among his finest, but Hazavanicious skillfully resurrected a forgotten genre with intelligence, flair and whimsy.


BEST ACTOR

Demian Bichir, “A Better Life”
George Clooney, “The Descendants”
Jean Dujardin, “The Artist”
Gary Oldman, “Tinker, Tailor, Soldier, Spy”
Brad Pitt, “Moneyball”

Overlooked: Antonio Banderas, “The Skin I Live In”;  Asa Butterfield, “Hugo”; Dominic Cooper, “The Devil’s Double”; Daniel Craig, “The Girl with the Dragon Tattoo”; Tom Cullen, “Weekend”; Leonardo DiCaprio, “J. Edgar”; Joel Edgerton, “Warrior”; Michael Fassbender, “A Dangerous Method” and “Shame”; Paul Giamatti, “Win Win”; Ryan Gosling, “Drive” and “The Ides of March”; Joseph Gordon-Levitt, “50/50”; Tom Hardy, “Warrior”; Woody Harrelson, “Rampart”; Thomas Horn, “Extremely Loud & Incredibly Close”; Jeremy Irvine, “War Horse”; James McAvoy, “The Conspirator”; Ewan McGregor, “Beginners”; Chris New,
“Weekend”; Michael Shannon, “Take Shelter”; Jim Sturgess, “One Day”; Anton Yelchin, “Like Crazy”

Will/Should Win: Dujardin
Shocker: Bichir

Two months ago Clooney seemed unstoppable in his quest for a second Oscar. But as silent film star George Valentin, the incredibly expressive and charismatic Dujardin, attacking the Oscar campaign trail with a foreign charm not seen since Roberto Begnini (“Life is Beautiful”), including a visit to “Saturday Night Live,” scooped up precursor victories from the Screen Actors Guild and British Academy of Film and Television Arts. Although Clooney and Pitt delivered solid portrayals and the superbly understated Bichir could have a last-minute surge, Dujardin is a safe bet, particularly when his exceptionally detailed, Douglas Fairbanks-inspired performance wholeheartedly carries the believability of his film.

 

BEST ACTRESS

Glenn Close, “Albert Nobbs”
Viola Davis, “The Help”
Rooney Mara, “The Girl with the Dragon Tattoo”
Meryl Streep, “The Iron Lady”
Michelle Williams, “My Week with Marilyn”

Overlooked: Kirsten Dunst, “Melancholia”; Vera Farmiga, “Higher Ground”; Anne Hathaway, “One Day”; Felicity Jones, “Like Crazy”; Adepero Oduye, “Pariah”; Elizabeth Olsen, “Martha Marcy May Marlene”; Emma Stone, “The Help”; Tilda Swinton, “We Need to Talk About Kevin”; Charlize Theron, “Young Adult”; Mia Wasikowska, “Jane Eyre”; Rachel Weisz, “The Whistleblower”; Kristen Wiig, “Bridesmaids”; Robin Wright, “The Conspirator”

Will/Should Win: Davis
Shocker: Williams

The heated battle between Davis and Streep isn’t necessarily a nail-biter. Davis is in a Best Picture nominee. Davis has never won an Oscar. Davis received a standing ovation at the Screen Actors Guild Awards. Davis is on the brink of becoming only the second African-American to prevail in this category. Two-time winner Streep, whose excellent embodiment of Margaret Thatcher wasn’t enough to salvage her disjointed film, will undoubtedly return here again and again. In fact, she’ll probably be a serious frontrunner in 2014 for “August: Osage County.” It’s simply time for someone else to bask in the Oscar spotlight. Williams, slowly becoming an Oscar darling, could benefit from vote-splitting among her chief rivals, but expect the Academy to follow SAG and rally behind Davis’ phenomenally complex mix of introverted intensity and heartbreaking emotion as Aibileen Clark. If you’re not sure, just reflect upon “The Help’s” dramatic final minutes. Davis’ knockout confrontation with Bryce Dallas Howard (Hilly Holbrook) and tear-jerking farewell opposite Eleanor Henry (Mae Mobley) is the stuff Oscars are made of. Does Streep compare? Not this year.

 

BEST SUPPORTING ACTOR

Kenneth Branaugh, “My Week with Marilyn”
Jonah Hill, “Moneyball”
Nick Nolte, “Warrior”
Christopher Plummer, “Beginners”
Max von Sydow,” Extremely Loud & Incredibly Close”

Overlooked: Niels Arestrup, “War Horse”; Jim Broadbent, “The Iron Lady”; Albert Brooks, “Drive”; Jesper Christensen, “The Debt”; George Clooney, “The Ides of March”; Robert Forester, “The Descendants”; Paul Giamatti, “The Ides of March”; Armie Hammer, “J. Edgar”; John Hawkes, “Martha Marcy May Marlene”; Philip Seymour Hoffman, “The Ides of March”; Jeremy Irons, “Margin Call”; Ben Kingsley, “Hugo”; Kevin Kline, “The Conspirator”; Hunter McCracken, “The Tree of Life”; Viggo Mortensen, “A Dangerous Method”; Patton Oswalt, “Young Adult”; Brad Pitt, “The Tree of Life”; Christopher Plummer, “The Girl with the Dragon Tattoo”; Alan Rickman, “Harry Potter and the Deathly Hallows, Part 2”; Stellan Skarsgard, “Melancholia”; Andy Serkis, “Rise of the Planet of the Apes”; Kevin Spacey, “Margin Call”; Corey Stoll, “Midnight in Paris”; Burt Young, “Win Win”

Will/Should Win: Plummer
Shocker: Von Sydow

Two 82-year-old veterans rule this race. Plummer, splendid as the terminally ill Hal Fields who joyously comes out of the closet, has swept the precursors, but faces a surprising challenge from the quietly captivating von Sydow as an elderly mute who joins his grandson for a life-changing exploration through New York after 9/11. Nonetheless, Plummer, who should have been nominated for “The Sound of Music,” will finally and deservedly be an Oscar winner.

 

BEST SUPPORTING ACTRESS

Berenice Bejo, “The Artist”
Jessica Chastain, “The Help”
Melissa McCarthy, “Bridesmaids”
Janet McTeer, “Albert Nobbs”
Octavia Spencer, “The Help”

Overlooked: Kathy Bates, “Midnight in Paris,”; Sandra Bullock, “Extremely Loud & Incredibly Close”; Jessica Chastain, “The Debt,” “Take Shelter” and “The Tree of Life”; Marion Cotillard, “Midnight in Paris”; Judi Dench, “J. Edgar”; Dagmara Dominczyk, “Higher Ground”; Elle Fanning, “Super 8”; Charlotte Gainsbourg, “Melancholia”; Bryce Dallas Howard, “The Help”; Anjelica Houston, “50/50”;  Allison Janney, “The Help”; Keira Knightley, “A Dangerous Method”; Helen McCrory, “Hugo”; Carey Mulligan, “Drive” and “Shame”;  Vanessa Redgrave, “Coriolanus”; Maya Rudolph, “Bridesmaids”; Amy Ryan, “Win Win”; Sissy Spacek, “The Help”; Marisa Tomei, “The Ides of March”; Cicely Tyson, “The Help”; Emily Watson, “War Horse”; Naomi Watts, “J. Edgar”; Evan Rachel Wood, “The Conspirator” and “The Ides of March”; Shailene Woodley, “The Descendants”

Will/Should Win: Spencer
Shocker: McTeer

This is a terrific slate, particularly the inclusions of breakthrough talent Chastain and the strikingly transformative McTeer. Still, Spencer’s marvelous Minny Jackson was a luminously earthy, comedic and dramatic force to be reckoned with. Hopefully she will make Oscar history by joining Davis to become the first African-American duo to take leading and supporting honors. Davis and Spencer’s probable acceptance speeches could be very powerful so you might want to keep some tissues handy.

 

The 84th annual Academy Awards, hosted by Billy Crystal, will be telecast live on ABC Sunday, February 26 at 8:30 p.m. In related news, The Neon Movies, 130 E. Fifth St. in downtown Dayton, The Little Art Theatre, 247 Xenia Ave. in Yellow Springs, and FilmDayton will host Oscar parties Sunday evening. For information about the Neon’s festivities, call (937) 222-7469 or visit www.neonmovies.com. For Little Art inquiries, call (937) 767-7671 or visit www.littleart.com. For FilmDayton’s festivities, which will be held at Geez Grill and Pub, visit www.filmdayton.com

 

PINA is visceral tour de force must see film for everyone

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Having reviewed dance in Dayton for DMM for the last season and a half I have always talked about my love and passion for all things related to dance. This passion has driven me literally to commute to Columbus for three years for a Masters Degree in dance. I have sacrificed my paycheck to send a needy student away to a summer dance program to give them a chance. I am willing to get up at the crack of dawn to read dance articles and watch YouTube clips of companies from around the world. I have drawn the ire from some people in this community because of my honest and less than salutatory reviews of our local dance companies. It is obvious my passion is deep and resolute.

After seeing Pina I feel the sacrifice and passion are vindicated. This was more than a film about dance it was a visceral journey to a world that we so rarely get to see and inhabit. It is a world in which the singularity of Pina’s vision as an art maker (choreographer is just too limiting of a term) is brilliantly mapped out by the legendary filmmaker Wim Wenders with such loving and passionate detail. It is fascinating hearing her dancers speak about their lives with her, the company is still in existence and performing her work even though she passed away in 2009. They tell us how she did not need to over explain her process, that they [the dancers] will get it. You will get it to as a audience. Seeing that their commitment has an almost quasi-religious fervor, that they are missionaries for the high priestess that was and is Pina Bausch, was inspiring.

But what stood out to me the most was the assemblage of her stage works for the film. The carefully chosen locations for outside performances, which were juxtaposed against the staged works was fluid. It made you feel as a viewer that the level she is operating at as an art maker transcends the confines of mere mortal comprehension and limitations of the proscenium stage. This is heady stuff but it is also rooted in the emotive and spiritual realm that only a genius can tap into for artistic inspiration. We have to acknowledge in a world were everyone thinks they are special and worthy, that we are not, when faced with the staggering creative abilities of Pina Bausch. It is humbling. I couldn’t breathe after seeing this film. I ran through a gambit of emotions just walking to my car, culminating in tears.

I have said in several reviews and speaking at the last installment of Pecha Kucha that the Dayton Arts community needs to step it up. I have been very critical of the arts patrons for not educating themselves about the world outside the bubble of Dayton. Here is a golden opportunity if you are willing to take the journey. Jonathan and the crew at the Neon Movies have provided us with a venue to view brilliance. There are no more excuses.

After seeing this masterpiece (which I am planning to see again at least two more times), I am even more committed to this crusade for “quality” being the lynch pin of the art viewing experience in our community. So dance community of Dayton, I am serving notice. In the immortal words of Bette Davis, “Fasten your seatbelts, it’s going to be a bumpy night!” This film is here for a limited one-week engagement if you miss it, shame on you. This is the level we should all be striving for as art makers and patrons. It took a movie to give me the visceral dance experience that I have desperately wanted to see on our local stages.

Straighten Up and Fly Right

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The world premiere of “Tenderly: The Rosemary Clooney Musical” reveals a tunefully appealing dose of nostalgia in search of a shaper narrative.
Written by Cincinnati-based composers Janet Yates Vogt and Mark Friedman (“Green Gables”) and produced by the Human Race Theatre Company at the Victoria Theatre, “Tenderly” tolerably tackles the triumphs and pitfalls that framed the career of the legendary singer-actress from Maysville, Kentucky. Widely known for the cheeky hit “Come On-A My House” (among 15 songs featured in this one-act), Rosemary rose to fame in the 1954 film “White Christmas” and several TV variety shows of the era, but her rocky upbringing (she regarded her grandmother’s house as home), relationship woes (she married and divorced Tony and Oscar winner Jose Ferrer twice, a union which produced five children) and personal destruction (pill addiction) are the key compelling factors attempting to propel this project past mere jukebox musical thrills.
Vogt and Freidman introduce Rosemary at age 40 in 1968, a month after she heard the shots which killed Bobby Kennedy at the Ambassador Hotel in Los Angeles. While performing at a Reno, Nevada club she had a nervous breakdown which led to her hospitalization and eight years of psychoanalysis therapy. Oddly, Vogt and Freidman’s decision to begin the show with Rosemary’s frazzled, mean-spirited breakdown (which occurs while she happily sings “Come On-A My House”) produces one of the most jarring, disconcerting openings I have seen. I don’t doubt the moment’s authenticity, but it cruelly pulls the rug out from under the audience when the musical’s tone is freshly gestating. In addition to a revamped opening, the material would be better served as a one-woman outing. Rosemary’s amiable doctor doubles as various individuals in her life, but it’s an occasionally distracting, needlessly cutesy device that hinders her thoughts being front and center. I’m instantly reminded of how well the Human Race’s 2009 production of “Ethel Waters: His Eye is on the Sparrow” flowed as Ethel’s experiences vividly resonated with greater depth in her own words.
Despite navigating through conceptual shortcomings and appearing roughly 10 years too young, Muse Machine alumna Tory Ross (Broadway’s “9 to 5: The Musical” and “Cry-Baby”) wonderfully excels as Rosemary. Delicately guided by director Kevin Moore and admirably supported by Scott Stoney, the vibrant, funny Ross warmly embraces Rosemary’s lighthearted persona and grows believably tortured as her downward spiral and resentment of success takes shape. Most importantly, she delivers terrific vocals. Instead of outright impersonation, Ross astutely adopts the legend’s familiar phrasing and lyric-driven flair, particularly delivering marvelous renditions of “When October Goes,” “Hey There,” “Mambo Italiano,” “Slow Boat to China,” “Count Your Blessing Instead of Sheep” (beautifully lit by John Rensel in a soft pink hue), and the gorgeously lush title tune. The final numbers, “What Are You Doing the Rest of Your Life?” and “From This Moment On,” are given upbeat jazz treatments, expertly performed by music director Scot Woolley’s orchestra, perfectly evoking Rosemary’s breezy technique.
“Tenderly” hasn’t reached its potential, but hearing Ross execute some of the timeless standards in the Great American Songbook is a significant plus.
“Tenderly: The Rosemary Clooney Musical” continues through March 4 at the Victoria Theatre, 138 N. Main St. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. The show is performed in 90 minutes without intermission. Tickets are $40-$83. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

Dayton Art Institute Announces 2012 Vectren Jazz & Beyond Series

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Fareed Haque

The Dayton Art Institute has long been a home for jazz in the Miami Valley with the Vectren Just Jazz series performances taking place on the first Thursday of March – November (save for July when they take a month off).  This year the series is being renamed the Vectren Jazz & Beyond Series and will feature performances from some established favorites as well as some newer artists.  All performances are 5:30-830pm in the Dayton Art Institute’s Shaw Gothic Cloister. Admission is free for museum members or $8 for non-members.

The 2012 Vectren Jazz & Beyond Season Lineup:

March 1: Fareed Haque Trio
April 5: Kick-N-Flava
May 3: Chicago Afrobeat Project
June 7: Soul Express
August 2: Dayton Jazz Orchestra
September 6: Rob Dixon Quartet
October 4: MathGames!
November 8: Puzzle of Light

DPO presents Queen: A Rock and Symphonic Spectacular (Ticket Contest)

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(see ticket give-away details below)
So, you want to start a rock band? The four of you’ve got piano, drums, bass, and lead guitar covered. And you all do vocals…well. All you need is a name. Let’s see…how ‘bout Smile? Yeah, that’s it, Smile. That’s a name that will echo down the corridors of time and everyone will know and remember. Smile.

Sounds a bit on the weird side, eh? Who in their right mind would ever name a rock band Smile?

Guitarist Brian May and drummer Roger Taylor, that’s who. Names sound familiar? They should, and they are because of a fan of theirs, a pianist by the name of Farrokh Bulsara. Brian and Roger played in a band called – wait for it – Smile.

Farrokh was certainly no dummy. He joined the band, and his first order of business was to change its name…and his. Taking his inspiration from the line “Mother Mercury, look what they’ve done to me” in the song My Fairy King, he renamed himself Freddie Mercury. And he came up with a new name for the band, one he thought “…very regal obviously, and it sounds splendid. It’s a strong name, very universal and immediate.” The name? Queen.

And history proved the band to be everything Freddie felt its name implied.

As music lovers, we tend to make things easy on ourselves and pigeonhole our favorite performers into narrow, easily defined categories. That is one thing no one will ever be able to do with Queen.

Follow the band’s musical progression.

When Queen formed in London in 1971 (John Deacon, replacing Smile bassist Tim Staffell, joined Freddie, Brian, and Roger), it began performing tunes influenced by progressive rock, but the band steadily moved forward into more predictable and marketable songs, adding more diversity and inventive styles into its music.

In 1973 the group launched its debut album named (what else?) Queen, influenced by heavy metal and progressive rock. With 1974 came Queen II (clever titling, what?), that featured lengthy, complicated sections, a fantasy-theme to some lyrics, instrumental genius, and The March of the Black Queen, a six-minute-long marathon with no song structure or chorus.

The members were becoming musicians.

Ragtime, heavy metal, ballads, British music hall, and Caribbean music all found their way into the group’s 1974 Sheer Heart Attack album. Testing the water with these diverse genres, Queen began to move away from its progressive roots toward a more airplay-friendly style. And the cut Killer Queen became the group’s breakthrough hit, rising to number two in the UK and number 12 in the United States.

In 1975 A Night at the Opera carried on the musical experimentation Sheer Heart Attack had begun. One of Freddie Mercury’s compositions even featured a harp and vocal harmonies dubbed over. Another song, Bohemian Rhapsody, became the only single ever to sell a million copies…twice, prompting the group to produce a video to go with the single. A video some have touted to have been the first “true” music video ever produced.

1976 saw Queen recording A Day at the Races; inspired by gospel, the album’s big hit Somebody to Love featured Mercury, May, and Taylor singing on multiple tracks to create the sonic illusion of a 100-voice gospel choir.

The 1977 studio album News of the World featured songs written for live performance, including We Will Rock You and We Are the Champions. Doubtless the group couldn’t foresee these two cuts becoming lasting international sports anthems.

1978’s Jazz included the hit singles Fat Bottomed Girls. Another notable track from Jazz, Don’t Stop Me Now, provides another example of the band’s energetic vocal harmonies.

In 1984 The Works featured the successful single Radio Ga Ga, not to be confused with, well, you know…

1986’s A Kind of Magic included another musical breakthrough; Who Wants to Live Forever? featured an orchestra conducted by Michael Kamen.

Music of Queen

Queen released The Miracle in 1989, which used a pop-rock sound mixed with a few heavy numbers and produced the hit I Want It All.

In 1991, Mercury died of bronchopneumonia, a complication of AIDS, and Deacon retired in 1997. For the last two albums made while Mercury was still alive, the band credited all songs to Queen, rather than specific members of the group, freeing them of internal conflict and differences.

On Saturday, March 10 in the Schuster Center at 3pm and 8pm, ­as part of their Rockin’ Orchestra Series, Assistant Conductor Patrick Rey­nolds and the Dayton Philharmonic Orchestra present Queen: A Rock and Symphonic Spectacular. With guest artists Music of Queen, a full rock band and stars from the London West End smash hit musical We Will Rock You, the DPO and over 70 performers on stage will perform all of Queen’s classic hits, including the hit singles I mentioned previously.

And keep the hit-making trail Freddie and the boys started blazing 40 years ago alive.

And hotter than ever.

See more details at the Dayton Philharmonic Website

Ticket Contest

The anticipation for this show was so high that the 3/10 8pm show was SOLD OUT!  So, DPO just added a matinee show for 3pm on 3/10… and we have ticket pairs for that show to give away!  Starting on Wednesday February 29th, we’ll announce one random winner every day for the following 7 days!  All you have to do isthis article and share with your FB friends, and then comment below and name your favorite Queen song.  Good luck!

UPDATE:

And… Congratulations to our winners – enjoy the show!

Heather Chandler
Jennifer Larew
Brian Kesson
Gina Kay Landis
Dan Forshaw
Jamie Werling
Mike Reitz

“Pina” A must see film for lovers of dance and film!

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It is not very often that I get to write about dance presented in a different medium. But a film like Pina is an exception worthy of all of the attention and buzz. This incredible documentary is of the works of Pina Bausch, one the most stunningly original artistic voices of our lifetime. Ms. Bausch agreed to work with the brilliant film director Wim Wenders, who was inspired to create the film after seeing a performance of her company Tanztheater Wuppertal Pina Bausch. Filmed in 3-D and 2-D, this is a dazzling treat no matter the cinematic format. In the film, you will get the opportunity to see her work as presented on the stage and also re-staged for non traditional spaces, including the outdoors. The visceral nature of her work was ripe for this cinematic love poem. Her singular vision is something to behold. Do not be surprised if you encounter all of the dancers from our community in the audience. They are delirious with excitement to experience this film. I can think of no better endorsement.

[yframe url=’http://www.youtube.com/watch?v=CNuQVS7q7-A’]

To learn more about the company and Pina Bausch go to:

http://www.pina-bausch.de/en/index.php

Pina is currently in the running for a Best Documentary Oscar at the 84th Annual Academy Awards being presented this Sunday. And honestly when can you say you have seen one of the oscar nominated films in this category?

PINA opens Feb. 24 at the Neon Movies and showtimes are below:
Fri, Sat, Sun (Feb 24-26)
2:45, 5:00, 7:20, 9:30