For the holidays, they'll produce The Naughty List, hosted by Ronda Androski and her great staff at Arnold's Bar & Grill downtown and featuring the talent of OTR Improv, one of the groups Know has nurtured with its Jackson Street Market. They'll take holiday memories from those in attendance as they recreate holiday movies and tell you how your life would have been different if you had received that special gift you yearned for. The fun will be happeing in Arnold's courtyard on Sunday, Monday and Tuesday evenings from Dec. 2 to 30. Tickets will be $15 in advance and $18 at the door.
Know will also offer The Apocalypse Show! for two nights on its home stage at 1120 Jackson St.. Since the world is scheduled to come to an end on Dec. 21, 2012 (according to the Mayan calendar), Know will produce a variety show to end all variety shows on Dec. 20 and 21. There will be sketch comedy, predictions, guest appearances, "gratuitous drinking and answers to all of your apocalypse FAQs." Dec. 20 will be a fundraiser (tickets: $50), despite the funny come-on that you should bring all your money, since it will be worth nothing the next day! (If you come to the performance on Dec. 21, you only need to scrape together $15 in advance or $18 at the door.)
Assuming that the world really isn't ending on Dec. 21, Know will co-host its annual New Year's Eve event with CityBeat, the Speakeasy Party from 8 p.m. on Dec. 31 (to 1 a.m.). Know typically attracts 300 well-dressed guests for this event, and everyone has fun with casino games, food, dancing to a DJ and a live band, martinis and a champagne toast at midnight.
After all this fun stuff, Know will get down to some serious theater — presenting Andrew Bovell's "best new play of 2010," When the Rain Stops Falling (Feb. 8-March 16, 2013). It's another partnership, with the production being staged by Brian Isaac Phillips, artistic director at Cincinnati Shakespeare Company. (Bovell's Speaking in Tongues had a great production at the Cincinnati Playhouse last season.) The show uses an intricate fabric of overlapping connections, moving between several generations between 1959 and 2039 and between London and Australia. Acts and sins of the past are connected to three generations that follow.
More will be following, including an unnamed production running from April 5 to May 12. Sometime in late April (date TBA), just in advance of the tenth annual Cincinnati Fringe Festival (May 28-June 8, 2013), Know will host the 2013 United States Association of Fringe Festivals Conference. "We're honored to have been selected to host this year's conference," says Know's Producing Artistic Director Eric Vosmeier. "It's an amazing opportunity to work on ideas and issues at the core of all Fringe Festivals. Every time I have been to a conference, the Cincinnati Fringe is better for it. We can't wait to show off our city to festival producers from all over the United States."
One more note: Know is selling its version of a subscription, Flex Passes. But these have evolved: You can purchase six flex passes for $90. Valid for most Know productions, they do not expire. (If a show ticket has a higher price than the pass, you can use your pass and just pay the difference.) Know's website will designate: "Flex passes are valid for this event." When you run out of tickets (and you surely will), you simply need to buy another pass.
Know's Fringe Festival has promoted itself with the slogan "Weird, like us." And they're living up to that mantra in a way that should appeal to its supporters and more.
If you can tear yourself way from TV ads for the
presidential election this weekend, you'll find plenty of good theater
to distract you, starting with a production at Covington's Carnegie
Center opening Friday night. It's Under a Red Moon, a
world premiere co-production with Dayton’s Human Race Theatre Company.
Michael Slade's taut psychological thriller just spent nearly a month
onstage at the Loft Theatre in Dayton, so it's already a seasoned
production. A dramatized psychological interview in the same vein as Silence of the Lambs,
it’s based on the chilling true story of England’s notorious “Acid Bath
Murderer” from a half-century ago. The play features Broadway actors
Bradford Cover as the criminal and Dee Pelletier as the psychologist
trying to get inside his head. Box office: 859-957-1940.
A different set of thrills are available from Cincinnati Shakespeare Company, which is staging Shakespeare's bloody revenge tragedy, Titus Andronicus. This show requires a lot of hand-to-hand combat, blood and gore — presented by CSC with ghastly zeal. Just as creepy tales like Nightmare on Elm Street and Halloween have chilled film audiences in recent years, this kind of play was all the rage in the early 1590s. (CSC director Jeremy Dubin calls it “a snuff film in blank verse.”) It's especially fun to watch veteran Nick Rose as a Roman general who gets into a grotesque battle of wills with the amoral Queen of the Goths, played by Miranda McGee. The awful things they they do to one another's families make for some delicious, hair-raising storytelling. Also onstage at Cincy Shakes is Romeo & Juliet, with the central characters played as hormonal, irrational teens. Sara Clark is especially good as Juliet. Both productions tell their tale through more contemporary visual filters — R&J's characters wear contemporary clothing and are surrounded with music of the here and now, while Titus gets a "Steampunk" treatment that presumes that the Victorian ingenuity of Jules Verne and H. G. Wells extended its steam-driven, mechanical technology to the present. Both approaches give new vitality to the shows. (Review here.) Box office: 513-381-2273.
Also worth seeing is a funny, touching tale of growing up in Depression-era Brooklyn, Neil Simon's Brighton Beach Memoirs at the Cincinnati Playhouse (513-381-3888)). (Review here.) It's the first time that the Playhouse has staged a work by Simon, one of America's most prolific playwrights of the 20th century. Box office: 513-421-3888
All rooms were jam-packed with people in imaginative costumes, and in the ballroom the DAAP Girls (outfitted for the night as the DAAP Witches) belted out a funky, soulful, garage-rock version of “Ghostbusters” far better than the cutesy original.
Best of all, for those who remember coughing and hacking their way through the old Southgate House, the place was non-smoking for this event and had signs up everywhere to enforce that. If it can keep up the pleasant smoke-free environment, Thompson House might just become the nightclub that counts in Greater Cincinnati. Still not sure if that will make me turn out for the upcoming Dying Fetus/Malignancy concert, but the place is definitely back on my radar.
Carnevil’s turnout also proved that FotoFocus, as an event, was on people’s radar. There had been some questioning of that earlier in the week, after moderate turnouts for two appearances by nationally significant photographers at Cincinnati Art Museum’s Fath Auditorium.
Laurel Nakadate gave the prestigious FotoFocus Lecture there on Oct. 24, presenting a slide show of the past 12 years of her sometimes-eyebrow-raising performative-video and still-photography work.
For one project, she wandered around truck stops and invited truckers to dance with her in their cabs. In another, she traveled across Canada by train and threw her underwear out the window each day, photographing the colorful results. (As far as I know, she did not get arrested for littering.) Someone asked about the inherent danger in some of her early work, which involved putting herself in erotic situations with strange men. “I look back at my early work and fear for my life,” she said. “But I’m really glad I made that work.”
Incidentally, one of her more recent projects — for which
she showed slides — was to photograph herself crying everyday for one year. The
“one year” motif seems to be such a strong one that some curator somewhere
should devote a show to its variations. There’s plenty of material right here.
At Michael Lowe’s Downtown gallery, site of the “Using Photography” FotoFocus
exhibit featuring work by 1970s-era (and beyond) Conceptual Artists, there is
an example of On Kawara’s “I Got Up” series. For 11 years (1968-1979), he sent
friend picture postcards stamped with the time that he arose each day.
And when Todd Pavlisko was in town last week to plan for his “Docent” rifle-firing project that occurred Monday at Cincinnati Art Museum, he said that one piece in his resultant museum show next year will be displaying all the loose change he’s collected in a year. (He will gold-plate the coinage.)
At the other appearance of a photographer at CAM last week, Chief Curator James Crump discussed the future of photography books with Minnesota photographer/publisher Alec Soth and Darius Himes, a gallerist whose Radius Books publishes unusual photography creations.
Some in the audience wished the event would have featured much more of Soth and his fascinating photojournalistic work. He did discuss a current project, in which he and Brad Zellar are photographing election-eve everyday life in Michigan for his LBM Dispatch, which tries to quickly publish and distribute photo essays. (The work will then be displayed at Detroit’s Cranbrook Institute.)
But Himes did express admiration for the strangest Conceptualist book project I’ve heard of in a long time. That would be photographer Mishka Henner’s printed-on-demand Astronomical, twelve 506-page volumes representing, in total, a scale model of the solar system from the sun to Pluto. Many of the pages are blank, representing the great distances between planets in space. Himes did not say if you must order the whole set or just your favorite volume, but you can find out more at here.
I was able to spend some time last week with Barry Andersen, photography professor emeritus at Northern Kentucky University who has been a strong, forceful advocate for the importance of this form as both an artistic medium and a critical societal observer. His own show, the now-concluded Sky, Earth and Sea at Notre Dame Academy in Park Hills, served as a satisfying retrospective of thirty years of his work. Especially lovely were his gorgeous aerial-shot” Cloudscapes,” vivid inkjet prints from negative scans.
And as a curator, he put together a superb, sadly also now-concluded, show at NKU called Reporting Back, which surveyed the work of 14 documentary photographers whose thematic interests covered the globe. Each one’s work was presented as a series of photographs, a thematically related suite, to remind us of the journalistic impact of the photo essay. Ashley Gilbertson’s quietly moving “Bedrooms of the Fallen” visited the bedrooms of soldiers slain in Iraq and Afghanistan. Their solemnity was balanced by Jim Dow’s colorful portraits of idiosyncratically appealing, retro-Americana buildings. You can learn more about the show — and be introduced to some fine photographers — here.
FotoFocus has the potential to shine a lens on fine Cincinnati photographers of the past whose reputations could use a revival. One of the best shows to achieve that goal this year was Cincinnati Museum Center’s Photographic Legacy of Paul Briol: 1909-1955, which closes Thursday. Briol’s black-and-white images of the rhythms and architecture of Cincinnati life have a dreamy beauty, partly because he was not adverse to stripping in more dramatic skies and otherwise heightening an image’s dramatic effect.
The populism and humanism in his work are evident — Lewis Hine perhaps was an inspiration. An elderly African-American couple sits while the woman peels a potato; children in what seems to be an aged urban schoolroom pose with their stuffed animals. Those, along with images of the skyline, a roller coaster, Fountain Square, the riverfront, Rabbit Hash, Ky.’s general store, give life to that era’s Cincinnati.
Actually, the photo of his that moved me the most was in a different show, the concluded Images of the Great Depression: A Documentary Portrait of Ohio. It was by far the best thing in that exhibit. His contribution, an extraordinarily composed photo from 1935 called “Waiting for Work,” shows the looming shadows of men against a room’s wall. A sign reads, “Dirty Men Will Not Be Sent Out.” Briol may have arranged this image rather than just observed and captured it, but no matter. It magnificently speaks to the despair and denigration that the Depression brought.
One hopes 2014’s FotoFocus will find room to spotlight a few other Cincinnati photographers of the past who could use rediscovery — perhaps Nelson Ronsheim or George Rosenthal. Or, if you have ideas, send them along to me at firstname.lastname@example.org. In the Nov. 14 Big Picture column in CityBeat, I’ll address some suggestions for how we can keep the momentum going now that the interest level for photography has been raised.
The Cincinnati Symphony Orchestra (CSO) launched its new seven-week initiative, “One City, One Symphony” earlier this month. The goal of the program is to get the CSO engaged with people of all walks of life through nine listening parties across the region. “One City, One Symphony” concludes with three concerts Nov. 15, 17 and 18 at Music Hall featuring A Survivor From Warsaw by Arnold Shoenburg and Beethoven’s Ninth Symphony.
The Jewish Foundation of Cincinnati and The Carol Ann and Ralph V. Haile, Jr./U.S. Bank Foundation host the free listening parties across Greater Cincinnati and Northern Kentucky. These parties are a chance for the public to interact with CSO musicians and conductors while listening and discussing the music from Schoenburg and Beethoven.
“I already feel a strong connection with our audiences, the supportive community and of course the incredible musicians of the CSO, and I am looking forward to deepening this relationship in the coming months and years," Music Director Louis Langrée said in a press release.
If you haven’t attended a listening party yet, there are still several more chances to meet the players and discuss the music around town.
Tonight, Anderson High School welcomes CSO timpanist Patrick Schleker to host a listening party from 7-8:30 p.m.
To attend one of these performances or learn more about the CSO and One City, One Symphony, click here.
The rest of the listening parties are as scheduled:
Thursday, Nov. 1, 7-8:30 p.m. at the Xavier University’s Bellarmine Chapel. This performance is hosted by CSO violinist Sylvia Samis and XU Director of Interfaith Community Engagement Abie Ingber.
Thursday, Nov. 8, 6-7:30 p.m. at Coffee Emporium. Associate Conductor Robert Treviño hosts.
Tuesday, Nov. 13, 2-3:30 p.m. at Mayerson Jewish Community Center. Again hosted by Sylvia Samis and Abie Ingber.
You'll have to pick and choose this weekend because
there's so much theater onstage. In addition to our professional
theaters, it's worth checking out production at universities: Tonight
through Sunday, CCM's esteemed musical theater program is offering the
cult favorite Chess, with music by ABBA's Björn Ulvaeus
and Benny Andersson. The story is set in Bangkok and Budapest during a
mid-1970s world chess championship — and it's driven by gamesmanship
between nations, between lovers and, of course, between chess players. I
saw the opening on Thursday, and it's a BIG show with a gigantic cast.
Several leading roles are double cast (with more juniors than seniors,
in fact, which bodes well for CCM productions for this season and next).
In particular, Matthew Paul Hill, playing the Russian grand master
Anatoly, lifted the roof of Corbett Auditorium with his powerful
baritone voice singing the stirring "Anthem," the Act 1 finale. Tickets
($30) Box office: 513-556-4183. At Northern Kentucky University you'll a production of Royal Gambit
by German playwright Hermann Gressieker (translated into English in the
late 1950s). The subject is King Henry VIII and his six wives, and this
looks to be a beautifully costumed show, featuring senior Seth Wallen
in the leading role. Tickets ($14). Box office: 859-572-5464.
Neil Simon's funny and endearing Brighton Beach Memoirs is onstage at the Cincinnati Playhouse. I gave it a Critic's Pick (review here), and I'm sure audiences will love this sweet portrait of growing up in Brooklyn in the 1930s, where a loving but fractious family copes with hard times. It's told from the perspective of Eugene, a precocious adolescent (he's really Simon as a 15-year-old), who takes notes on his family's behavior. Well acted and beautifully staged. Box office: 513-421-3888l.
My schedule hasn't permitted me to see several shows that are getting good notices, including recognition from the folks evaluating productions for the League of Cincinnati Theatres. I'm catching up this evening with Cincinnati Shakespeare Company, which is offering two shows this month. Romeo & Juliet is its mainstage show, and Sara Clark is getting high marks for her portrait of romantic but tragic young love. Brian Phillips' staging picked up an LCT nod, and the show received an overall recommendation from LCT. On the evenings when R&J is not onstage, there's another Shakespeare work for thrill seekers, specially selected and staged for the Halloween season: the bloody, gory tale of revenge, Titus Andronicus. Veteran actor Nick Rose plays a crazed Roman general, and just about everyone I've heard from says his performance is memorable. (It earned him an LCT nomination, too.) Box office: 513-381-2273.
This weekend is the final one for Mrs. Mannerly at Ensemble Theatre. When Harper Lee reviewed this one for CityBeat (review here), she gave it a Critic's Pick, and I agree wholeheartedly. (LCT named it a recommended production, too.) CEA Hall of Fame actress Dale Hodges is great fun to watch as a strict etiquette teacher in 1967, and Raymond McAnally plays all the other characters — a bunch of kids who are learning how to behave in a "mannerly" way. It's funny from start to finish, but there's a heart-warming message within the story. Definitely worth seeing. Box office: 513-421-3555.
At Clifton Performance Theatre, Clifton Players are staging A Bright New Boise, which also picked up an LCT recommendation. I haven't seen it, but the show won an Obie Award (that's for outstanding off-Broadway plays) in 2011, and it has a strong cast. This is a newish venue that's specializing in "storefront theater." Should be worth supporting. Tickets ($20): 513-861-7469.
The firing of a high-powered rifle inside the Cincinnati Art Museum, sending a bullet past masterpieces through the first-floor Schmidlapp Gallery and into a block of bronze in the middle of the Great Hall, will occur on Monday, museum officials said.
Todd Pavlisko, the New York-based, locally born artist who proposed the project, will be at the museum Friday for final planning and discussions. (CityBeat will interview him for a story in next week’s Big Picture column.)
The museum has refused to allow press — or the public — to witness the actual event, for security concerns, according to Director Aaron Betsky. It also won’t say what time it will occur. The male sharpshooter who will fire the high-powered rifle from a mounted stand also doesn’t want to be identified. The museum normally is closed to the public on Monday.
A spokeswoman said the museum will be on “lockdown” for the event. Those who will attend the actual shooting include the artist and the sharpshooter, Betsky and Chief Curator James Crump and several others. A Cincinnati police officer also will be present, a requirement of the City Council ordinance permitting the event.
According to an earlier press release, which did not set a specific date for the actual rifle shot, Pavlisko’s project is an outgrowth of his work with photography and video. This will reference the work of Harold Edgerton, whose photographs capturing bullets passing through fruit and droplets of milk have become masterpieces for making visible that which the naked eye could not see. Pavlisko’s idea is to contrast the flight of the bullet with the timeless nature of the masterpieces on display in the Schmidlapp Gallery. (The bullet will be 12 feet from any actual artwork.)
High-speed cameras and video equipment will document the shot, and the resultant work will be on display May 25-Sept. 22 in a show called Crown. So, too, will the 36-inch cast brass cube, or what remains of it, as the bullet strikes it.
It is also, like that other Oktoberfest (which actually occurs in September), fun. No, it doesn’t have the World’s Largest Chicken Dance, but it may have come up with something even better in Contained: Gateway Arts Festival, which opened last Saturday and continues with limited hours through Nov. 3.
It was produced by the Requiem Project, which is managing and hoping to restore Over-the-Rhine’s Emery Theatre (where there is a Mike Disfarmer photo exhibit that I blogged about last week). Saturday’s opening was hampered by cold weather that kept attendance small on the grounds of Grammer’s in Over-the-Rhine. (Grammer’s is a place that’s probably seen quite a few Oktoberfests in its day.) But the weather didn’t dampen the creative imagination that went into the event.
Using 11 trailer-size steel shipping containers as gallery walls, artists displayed their photography and video-based work, some interactive, as visitors wandered in and out. The standards were quite high and one project — David Rosenthal’s “Everything at Home Depot (Series)’’ — struck me as outstanding.
Installed in vertical pieces on fiberboard along the interior sides of the container, the color heat-transfer prints set out to do what the title suggests. In this environment — with the container’s metal sides, the wood floor and glaring fluorescent lights – the whole project looked just right — a melding of the artistic and the industrial, the soulful and the soulless. If this is part of a larger series (as the title suggests), it deserves to be seen in total. But one hopes future showings will get an environment as cool as this.
In a corner of the grounds, behind one crate and out of direct view, a band played suitably spacey music. After awhile, musicians moved atop a crate to play music with a pronounced electronic component. Meanwhile, video projections were displayed high off the building’s sides — you could see the images when approaching the site and it was really exciting.
The whole festival, itself, worked as an art installation. It will be open again this Friday from 6-10 p.m. (it’s ideal at dark), 2-5 p.m. Saturday and Nov. 3 by appointment at email@example.com. It’s definitely worth a visit, even if not that easy to get to.
Another show you need to see — partly because of its excellence and partly because it’s in a space rarely open to the public — is the Using Photography exhibit at downtown’s Michael Lowe Gallery. He is a private dealer, so it’s a treat to see his elegant, uncluttered two-floor gallery open to the public. Drawing on his own collection, he’s put together a show that works as both top-notch fine-art photography and as a historical exhibition.
In this case, the history that the show addresses is that of the conceptual/performance art world of the 1970s. Pivotal names in international contemporary art’s development are represented here — Marina Abramovic, Vito Acconci, Gerhard Richter, Michael Kelly, Ed Ruscha, Gilbert and George and many more.
With the richness of work represented, and it way it stretches our definition of photography and time-based art, it’s one of FotoFocus’ best shows. To just pick one piece, I was especially moved by Christian Boltanski’s five touched-up photographs comprising 1974’s “Anniversaire,” or “The Birthday.” I am used to the French artist’s solemn, sobering, heart-rending installations that use photography to remember the Holocaust. They are so strong you wonder if they must drain the artist of all joie de vivre. Yet here he is happy in this work, and the meaning of that happiness is revelatory if you know his history. Even if you don’t, it’s a generous and warm piece.
This show originally was going to be open just briefly, but Lowe has agreed to stay open noon-4 p.m. weekdays through the end of the month. His gallery is at 905 Vine St. Plan a downtown lunch trip around it.
Meanwhile, only up through this Thursday is Photogenus at the Reed Gallery inside University of Cincinnati’s College of Design, Art, Architecture & Planning. Put together by Jordan Tate, DAAP photography professor, and gallery director Aaron Cowan, this looks at how today’s international artists use photography in a digital age.
It’s a nice companion to Lowe’s show, as one chronicles breakthroughs from the 1970s (some of which we’re still trying to understand) and one shows how today’s international artists are using photography to make new breakthroughs. Much of it is quite out-there and left me quizzical about individual work’s obscure intent and technique. But some were very striking, like Anthony Lepore’s pairing of a photo (an archival ink print) of a salt field with a piece of carpet of roughly the same color.
I had written earlier about how eager I was to see Nancy Rexroth’s photographs at downtown’s YWCA Women’s Art Gallery as part of FotoFocus. The show consists of previously unprinted images from her influential Iowa project of the early 1970s — she used a toy camera to capture fleeting glimpses of everyday life in rural Ohio.
There was always the chance the black-and-white work had
been left unprinted for a reason all these decades, but I’m happy to report
it’s an excellent, evocative show — underscoring just how strong a body of work
Iowa is. Besides the ghostly “Clara
in the Closet, Carpenter, OH,” previously published in CityBeat, I also loved
“House Vibration, Dayton, OH, 1976,” in which the blurry focus produces an
unsteady image that makes one think an earthquake is occurring. It’s a great
metaphor for the here-today-gone-tomorrow nature of life. This show will be up
through Jan. 10 — Rexroth shares the space with Judi Parks and Jane Alden