Theatre

New Stage Collective

Nov
12

Location

1140 Main Street
45202 Cincinnati , OH
Status: 
1
Number of Stages: 
1
MidPoint Status: 
3
Fringe Status: 
3
Neighborhood: 
Type of Establishment: 
Parking: 
Street, Surface Lot
Former Name: 
Jekyll & Hyde's, Westminster
Business Type: 
1
Date Opended: 
2008
Date Closed: 
2009
Multiple Locations: 
1
Notes-History: 

New Stage Collective moved into the space in 2008 and closed in 2009.

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Sideways Stories from Wayside School @ Know Theatre

Oct
24

Written by John Olive, based on the novels by Louis Sachar.

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Know Theatre's New Year's Eve Party

Oct
24
Details are TBD.

Location

Know Theatre
1120 Jackson St.
45202 Cincinnati , OH
United States
Ohio US
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Cincinnati Fringe Festival

Oct
24

We're getting ready for the
2010 Cincinnati Fringe Festival!

Are you?
JUNE 1 - 12, 2010

Location

Know Theatre
1120 Jackon St.
45202 Cincinnati , OH
United States
Ohio US
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Ainadamar

Jul
10

My favorite thing about opera is actually the pre-opera crowd that gathers in the lobby of Music Hall just before the show.

It's one of the last places in Cincinnati where people get dressed up. Really dressed up. Tuxedo, yes. Jeans & flip-flops, no.

My second favorite thing about last night's performance of Ainadamar was Jesus Montoya's solos. He doesn't have many things to say so he makes them count.

Third was Jesus' costume change at the end during the applause. It's subtle but you'll know what I mean if you go on Saturday.

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Pick of the Fringe 2009

Jun
07

The Pick of the Fringe for 2009 were announced last night and here are the winners:

 

Audience Pick
Gravesongs

 

Critic's Pick
7(x1) Samurai

 

Producer's Pick
Empire of Feathers

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Fringe Review: Assholes and Aureoles

Jun
05

Post-Post Reconstructed Modern Feminism is the best way I can describe the tone of "Assholes And Aureoles" from InterAction Theater, Inc. It's pronounced like the bird "orioles" in case you were wondering.

No, I just made up that form of feminism because I have no other way to describe a show with vignettes about rape, life in a women's shelter, and pedophilia. If you can see the humor that be found in those topics, then this show is for you. It makes you laugh, but you feel a little bit bad for laughing. Then you feel stupid for feeling bad, etc.

Diane Kondrat and Karen Irwin are hilarious with there many different and off kilter characters. Eric Pfeffinger's script is crisp and very funny.

The structure of the shows is based on short segments that are loosely tied together in topic. Most of them work. The rape segment is the weakest and most off putting. The women's shelter portion dominates the show in length and throws the rest of the production askew, slightly.

It is a fun ride, but not for the easily offended. See it on Saturday night at 9:15PM at New Stage.

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Navel-Gazing: Notes from Seeing the Whole Thing

Jun
02

So, one week into the festival, I have a series of personal notes. Read on--if you don't mind navel-gazing.

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Day 7: Call Me

Jun
02

I had a realization while I was doing Call Me. (Note I said "doing" since Call Me is a participatory show.)

Until this show, I have never done a participatory show. Never seen Nick and Tina's Italian Wedding or been to a participatory whodunnit, nothing.

So, I was surprised how much I enjoyed it.

If you're worried that you might get embarrassed--there's no chance of that. It's a very easy show to do, takes about 40 minutes, and it's better with 2-4 people rather than doing it alone. And the costumes were classic. Definitely worth doing.

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Day 5/Day 7: Travel / Where Drunk Men Go

Jun
02

Travel and Where Drunk Men Go: A Poem with Music have very little in common, except one key thing...each had more audiences where over half the crowd had not yet seen a Fringe show. This makes sense, of course, as dance and poetry have their own following, so they would attract a less "fringe" audience.

Travel is an aerial dance show. I had never seen aerial dance before (other than Circe du Soleil performances on television, which are not totally dissimilar). Fringe is about seeing and doing things that you wouldn't otherwise. Travel got me out of your comfort zone, and you should see it for the same reason.

Where Drunk Men Go: A Poem with Music is a long-from poem interspersed with bluegrass music. Griff and I were the youngest in attendance, which I think is a rather nice switch from the usual situation at Fringe. The crowd dug it, particularly the music, and the performance really took life when Richard Hague (the poet) went from memory instead of from his notes.

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Day 6: The Success Show

Jun
02

A raucous satire of motivational speakers, The Success Show is simply one of the funniest shows of the festival.

It's tought to review a comedy that you really liked--how do you demonstrate that it's funny? By ruining the best jokes of the show by repeating them in your review?

I would do anything for the Conveyor, but I won't do that.

I will say, however, that this Powerpoint-based show had the audience rolling up to the end--and it's one of the can't miss shows. It's one of the best of the festival.

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Day 5 Continued: Brother Bailey's Pageant...

Jun
02

So, if you do a satire and your opening night crowd responds with "gales of laughter", is your show a success?

Not if you're the reviewer from CityBeat.

This is called missing the point.

My audience laughed throughout. Apparently, every audience is laughing.

If you like dark comedy and aren't offended by religious satire, you'll laugh. Again, and again.

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Fringe Review: Brother Bailey's Pageant of Moral Superiority and Creation Science Island Jamboree

Jun
02
Photo by Mikki Schaffner Photo by Mikki Schaffner Hey Gang, are you ready for some fun? Dance you self over to the Art Academy and see a show full of satire, groovy beach wear, science, religion, murder, and enough sexual innuendo to make 100 teen age guys cream their trunks. "Brother Bailey's Pageant of Moral Superiority and Creation Science Island Jamboree" from Ornamental Messiah Productions has all of that and more.

The script and cast have the satire down squarely and drive a few knives into Religious Extremism. Laughs are abundant and the jokes are very fresh. The staging could use some polishing and the transition between scenes was very choppy at times.

I can say I generally laughed my ass off and that is not an overstatement. I nearly busted a gut with the ending. I will not give it away, but writer Brad Cupples out did himself. Don't miss this one if you want to go to heaven.
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Day 5: 4 Food Groups

May
31

The fascinating thing about 4 Food Groups is that it seems to be morphing over the course of the festival. I sat next to an old friend who had seen the premiere, and she told me that there was considerably more dance in the version she saw today. It was also fifteen minutes longer, apparently.

If you saw the company's The Factory at last year's
Fringe, expect a more polished show, but one that is definitely
non-narrative--it's told primarily through movement and interpretive
dance than dialogue.

The show is a lot of fun--definitely the most sexualized show of the festival that I've seen. I'm not clear really if there is a point, but, when you have a bunch of chewed up food and sexual content, do you really need a point? It seems obvious, now: the connection between sexual politics and food.

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Day 5 Continued: Four Wishes

May
31

Four Wishes is an exception at the Fringe, in that its a children's show that is entirely appropriate for children. It's a puppet show so it kind of follows. I'm not sure if Guns and Chickens is appropriate for children, but it likely comes pretty close. Other than that, I'd be hard-pressed to come up with anything family friendly. That said, the adults in audience seemed to have a good time, too. It's also nice to see something center around Native Americans.

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Day 5: Gravesongs

May
31

Gravesongs staged by the Ensemble Theatre of Cincinnati's intern company in ETC's main theatre is one of the most polished and accomplished shows of the Festival. It's surely in my top 5 at this point.

This is a series of meditations on death, narrated either by the dead themselves or by the dying. The show is remarkable not only for its balance between tones of mournfulness and comedy, but also for its underlying Jewish perspective on death--both in the focus on the Jewish and non-Jewish cemeteries and the deemphasis of the afterlife from what we see in many plays. Instead of going to heaven, the dead come to life to tell their stories from their graves... or wherever they have come to rest. There is a suggestion to believe what gives you comfort about death, but above all, to remember those that we have lost. In a year where Cincinnati's theatre scene has lost so many significant people, remembering is a welcome thing.

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Shows of the Festival After Day 4

May
31

After four days of Fringe, I've seen fourteen shows, on my way to seeing the entire festival. My top shows of the festival at this point are, in no particular order:

  • Empire of Feathers
  • The Terrorism of Everyday Life
  • It Might Be OK
  • Seven (x1) Samurai

All but Terrorism are still in town, and all are well-worth seeing it.
On to Day 5.

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Day 4 Concluded: 7 (x1) Samurai

May
31

A 50 minute, one-man version of The Seven Samurai, 7 (x1) Samurai is a tour de force of movement. See it.

This is one of the top shows of the festival.

The single performer has the kind of motion and movement skills that you normally only see in performers like Jim Carey. (Thanks to Claire for pointing that one out--it helps me avoid using the M word, which I fear will stop people from seeing it.

I have to say I would have enjoyed it more if I had seen the movie more recently. But it's easily one of the best shows of Fringe.

Did I tell you to see it? Yeah? Good.

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Day 4 Continued: Villainy

May
31

Villainy is, in some sense, an educational theatre show for adults... and I mean that in the best possible way.

It's an argument for the continued relevance of Shakespeare in the culture and in the lives of 21st century Americans. When the show started, with video and a postmodern take on Shakespeare, I feared that we would overwhelmed with gimmickry. In one of the best surprises of the festival, though, the cast has the classical chops to do the Shakespeare lines.

Ultimately, I was unclear if the show really added up to something or not, other than its implicit argument for the continued relevance of Shakespeare. But that's not an argument against the show, which stands on the foundation of a strong concept and the acting of its young cast.

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Day 4 Continued: Cinema Fantastique

May
31

I have a vote as one of the critics for Fringe Festival awards, so I am writing a longer piece to discuss how I'm going to be approaching my vote.

Then I see Cinema Fantastique.

It pretty much breaks all my aesthetic rules of Fringe. A loosely linked collection of spoken word, musical mashups, rap, and belly dancing (yes, belly dancing), Cinema Fantastique revolves around the pop culture sensibilities of the thirtysomething dude.

In other words, this show is about me.

And yes, the tribute to Khan Noonien Singh rocks. (If you don't have to google that, then you need to see this show.)

So, you basically have a group that got together and put together the things that they love. It's a cabaret show--a spoken word/belly dancing cabaret show--that's loosely integrated, hit and miss, and all over the map. And I completely loved it.

As I ran off to see show #5 of Day 4, one of the group said, "Come to the bar, and have a drink with us." If I can fit it in to the trek through the festival, I'll totally go again and take them up on it, even if it requires more three-dimensional thinking that I'm used to.

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