There's nothing unlucky about Friday the 13th in the theater world. (Theater folks have enough other superstitions anyway.) So you have lots of excellent choices this weekend, from the very funny The Foreigner at the Playhouse (just opened) to the satiric Timon of Athens at Cincinnati Shakespeare (see review here).

If you want a heavy-duty drama, try Bent at New Stage Collective (it's about the mistreatment of gays in Nazi concentration camps; see my review here). And if you want to see some of the talent that keeps spilling out of UC's College-Conservatory of Music, I recommend that you stop by the Over-the-Rhine nightclub Below Zero tonight after 10 p.m.

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Cincinnati Playhouse in the Park’s 2010-11 season has a distinct difference between the plays it will present on its Robert S. Marx main stage and the shows slotted for its smaller Thompson Shelterhouse. With a few significant exceptions, it’s a divide between the 20th and 21st centuries.

All of the coming season’s Shelterhouse shows have originated since 2000, four of five in the past three years. On the main stage, the average age of shows is more than 20 years. (It stretches out a lot further if you use the original publication date of Charles Dickens’ A Christmas Carol, dating back to 1843, rather than the 1991 adaptation by Howard Dallin that the Playhouse produces annually.)

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Some people yearn for sunshine this time of year and find their way to a beach to recharge their batteries. Theater fans who are impatient for the annual Cincinnati Fringe Festival, which doesn’t roll around until June, were reminded this past weekend of the kind of creativity that makes those two weeks in early summer so stimulating. Thanks to the drama program at UC’s College-Conservatory of Music (CCM), theater fans were offered a jolt of onstage vitality that just might be enough to sustain us for a few months. It was a festival called Transmigration.

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A lot of Stephen Sondheim’s shows are kind of heady, but Into the Woods — an intersection of a bunch of fairytale characters — is perhaps the most approachable and especially when it’s given the kind of colorful, overflowing with talent treatment that you’ll find for the next two weekends at UC’s College-Conservatory of Music (that’s longer than usual, but tickets will still be in short supply, I suspect). Act I is about “happily every after,” while Act II explores what comes next. Twenty years ago, when an endowed chair in musical theater (the first in the nation) was established at CCM, professor and director Aubrey Berg staged the show; to honor the gift of Patricia Corbett, he’s mounting a new production at the theater named in her honor. I thought last fall’s Oklahoma at CCM was a wonderful production, but this one, which I saw open on Thursday evening, is even better, with an incredible array of talent and wildly inventive staging. Tickets: 513-556-4183.

A year ago Cincinnati Shakespeare had a big hit with a stage adaptation of Jane Austen’s Pride & Prejudice. Looks like they’ve done it again with another adaptation of the 19th-century novelists Sense & Sensibility. This time it’s the sisters Dashwood, one rational and one emotional. The roles are wonderfully played by Kelly Mengelkoch (as the reserved, reasonable Elinor) and Sara Clark (as the willful and romantic Marianne), and they’re surrounded by delightfully drawn supporting characters — and a story of romance and domestic intrigue. I gave the production a Critic’s Pick. I’m told that several performances are already sold out (it’s onstage through March 18), so if you hope to see this one, you should line your tickets up right away. Tickets: 513-381-2273.

In case you wanted a short course in shows by Sondheim, the next few weeks is your big opportunity. In addition to Into the Woods at CCM, you can catch the touring production of West Side Story at the Aronoff (it opens a two-week run on Tuesday), a show that Sondheim wrote the lyrics for when he was 26 (he’s about to turn 82). And a week from now, the Cincinnati Playhouse will start previews of Merrily We Roll Along, a show from 1981 that was a flop at first, but now is praised as one of his greatest musical accomplishments. It’s about the joys and frustrations of success from the perspective of people involved in creating musical theater. It will be on the Marx Stage through March 31.

Andrew Bovell’s Speaking in Tongues is a complicated noir-ish tale of marital deceit and cryptic crime that unfolds more clearly because of its accomplished four-actor cast, including local professionals Bruce Cromer (who’s played roles as varied as Ebenezer Scrooge for the Playhouse to King Lear for Cincinnati Shakespeare) and Amy Warner (a regular at Ensemble Theatre and Cincinnati Shakespeare). The show is a fascinating piece of theater that takes work to watch, follow and absorb. I suppose that some casual theatergoers will be put off by it, but if you like challenging drama and multi-layered acting, you’ll leave the theater with their gears spinning. I gave Speaking in Tongues a Critic’s Pick. Through March 4. Box office: 513-421-3888.

Know Theater’s “comedy of anxiety” by Allison Moore, Collapse, opens with the collapse of a highway bridge over the Mississippi River in Minneapolis. But it’s about all kinds of things falling down — the economy, relationships. This is the kind of edgy script Know Theatre is known for, funny but meaningful. I gave the production a Critic’s Pick because it combines heart and humor. Collapse is presented with comic finesse and fine acting, especially by local professional actress Annie Fitzpatrick. Know’s best work of the season. Through March 3. Tickets: 513-300-5669.

Planning for next season? Check out my blog from last Sunday about what Broadway in Cincinnati will be presenting, including the zany Blue Man Group.

Each week in Stage Door, Rick Pender offers theater tips for the weekend, often with a few pieces of theater news.

Today, the Enquirer posted a story about the Cincinnati Museum Center considering the addition of a 11,200-square-foot green roof system, which is an awesome prospect. The roof would be covered with plants, could last longer than a normal roof, and would better deal with storm run-off.  Not only that, but it would double the amount of green roof space in the city. 

But buried at the bottom of this article is mention of another part of the issue.  "The other components of the center's project - funded by a $2.4 million local tax levy, the city of Cincinnati, the state and a National Parks Service program called Save America's Treasures - include restoring long-unused dining rooms and exterior repairs," the article states.

It's the National Parks Service program that I think deserves a little more attention.  Frankly, it seems amazing, not only for what it has done for the country, but for what it has done for Cincinnati.

Save America's Treasures (SAT) was started in 1998 and has the directive of "protected America's threatened cultural treasures," like a governmental, art-saving Boondock Saint.  Actually a daughter organization of both the National Parks Service and the National Trust for Historic Preservation, it has completed more than 850 projects since its creation with what seems like a focus on architecture.

In Cincinnati alone, the SAT in 2003 granted $199,000 in 2003 to the Majestic Theater, $250,000 to the Cincinnati Union Terminal, $150,000 to The Showboat Majestic.  And in 2005, they granted $135,250 to restore Joan Miro and Saul Steinberg Murals from Terrace Plaza Hotel and get them on display at the Cincinnati Art Museum.

This 11 x 75 ft mural by New Yorker artist Saul Steinberg is one of the only murals he made.

What other badass art has the SAT helped saved, you might ask. Well, how about the Palace Theatre in Columbus. Not a theater buff, what about the The New York Philharmonic Leonard Bernstein Collection. Still not impressed, what about the Moundville Archaeological Park in Tuscaloosa, Alabama. Oh, you're more into recent history, they gave$295,586 to the USS Joseph P. Kennedy in Massachusetts. Maybe you just like to party, in 2006 Gadsby's Tavern in Alexandria, Virginia got about $50,000 . And my personal favorite, in 1999 they granted $331,000 to save the Anti-Slavery Pamphlet Collection in Ithaca, New York.

The collections of dances, photographs and other documents that have been touched by Saving America's Treasures is astounding, not to mention the dozen of courthouse they've helped to restore across the country.

Just check them out. Our government isn't complete screwed up all the time.

I like books, magazines and movies. I, as you might have guessed by now, like newspapers, too. It should then come as no surprise that the Public Library of Cincinnati and Hamilton County is one of my favorite places on planet Earth and that it continues to offer a smorgasbord of information, almost all of it available for the bargain basement price of $0 across its 40 branches.

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In the Association of Art Museum Curators' recent Annual Awards for Excellence (for the calendar year 2010), Benedict Leca — curator of European Painting and Sculpture at Cincinnati Art Museum — won first place in the Outstanding Article, Essay or Extended Catalogue Entry category for his "A Favorite Among the Demireps" article for the museum's Thomas Gainsborough and the Modern Woman exhibition. He also organized the show.

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The Cincinnati literary scene suffered a loss last summer when Brock Clarke moved to Portland, Maine, to take a job teaching creative writing at Bowdoin College. Through his work as a writer (via two short-story collections and three novels, including 2007's well-received An Arsonist's Guide to Writers' Homes in New England) and educator (he taught creative writing at UC where he brought in such guest speakers/authors as Chris Bachelder, Sam Lipsyte, Heidi Julavits and Jonathan Lethem), Clarke was a one-man literary juggernaut who produced, nurtured and promoted the written word with unwavering commitment, creativity and good taste.

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Earlier this week, Bicycles: Love Poems by Cincinnati-native and Virginia Tech professor Nikki Giovanni went on sale. The poems in this collection are meant to serve as a companion to her 1997 work, Love Poems. This is her 27th work. In the book, she addresses, among many things, the tragedy at Virginia Tech. Hear an interview with Giovanni and read an excerpt on NPR here.

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Quite a few local theaters are opening new productions this week, but if I were to point you to just one for this weekend, it would be Next Fall, a new play by Geoffrey Nauffts, at Ensemble Theatre.

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