DwayneSteward.com

Actors' Theatre hosts outdoor theater

2009-09-02T04:03:00.005-04:00

C-bus natives enjoy Shakespeare in the park

By Dwayne Steward
Metromix Columbus
Associate Producer
July 16, 2009

Chatting with the 'Idols'

2009-09-02T04:10:00.002-04:00

Check out our exclusive interviews with the 'American Idol' finalists

By Dwayne Steward
Metromix Columbus
Associate Producer
August 25, 2009

The ratings juggernaut that is "American Idol" gave Columbus fans of the show their annual live fix on Aug. 25, as the "Idols Live Tour" stopped by Value City Arena.

The tour sends "Idol" champ Kris Allen and the other nine finalists on a dizzying trip though 53 arenas across the country.

We got a chance to talk with six of the top 10 finalists before they took the stage for the night.

Click through the gallery to see what they had to say about touring, their futures, and Paula's sudden departure from the show.

Kris Allen

Age: 23

Hometown: Conway, Ark.

Which "Idol" is he?: The soft-spoken 2009 "Idol" champion unexpectedly beat out Adam Lambert for the title. He became known as the darkhorse contender with his John Mayer-esque vibe and vocals. Many fans say it was his brilliant remake of Kanye West's "Heartbreaker" that sealed his victory.

Thoughts on the tour: "It's kind of bittersweet because it's almost over, but all of us finally get to start on our careers. ... Some of my favorite things are hanging out with the 'Idols' and crew and stuff. And I do love seeing the fans. 'American Idol' fans are the best. Worst thing is being away from family and friends. It's been really busy. We get a break every once in a while—we had one yesterday and we went to an Ohio State scrimmage game. It was pretty cool."

Thoughts about the show: "I miss the people that work on the show. We actually got to meet up with them in Atlanta, which was fun. But what I don't miss—I don't like the cameras. That's why I like the live show. I feel like without the cameras we can be ourselves and not worry about them. ... I got used to it, but still, it's not my thing to be on camera."

On his debut album: "I was flying back and forth to L.A. a lot at first [to work on the album], when we were doing shows near California. We started working on the album two weeks after the show ended. I'm just trying to get used to the co-writing thing. We're hoping for it to come out sometime in November. It's been fun. I got to work with [Joe King from] The Fray and Mat Kearney, they're helping me write some songs. But they've also got me writing a lot. On my 'days off' I'm writing songs."

On Paula's departure: "Personally, I think it's a sad thing. I'm glad I got be a part of the last season that she was on. She's so loving and caring. No matter what we did, she always cared for us. I think the show will miss that. But the show will go on. [It's] the biggest show in the world."

Lil Rounds

Age: 23

Hometown: Memphis, Tenn.

Which "Idol" is she?: Lil Rounds perplexed the world with her stage-name-but-that's-my-real-name "controversy." An early front-runner, the bluesy mother of two became known for not being afraid to state her opinions during the judges' critiques.

Thoughts on the tour: "I really enjoyed going back home and being able to perform on the home stage. Washington was nice because we got a chance to tour Capitol Hill. It was great because I had never been. Before the show had only been to five other states outside of Memphis, so seeing 50 is ... wow!"

On being a mom: "I can't bring my family with me to every state. It's really hard. But they've come to a few shows to see me and we use Skype, so it hasn't been too bad."

Thoughts about the show: "I miss being able to meet new mentors every week—that was really cool. I also miss the band that they had and being able to go to rehearsals. We would have so much fun in rehearsals. But I have to admit that the tour is better [laughs]."

What's next?: "Right after tour I'm going to a few meetings to see about a record deal. ... Right now I'm working on my writing. For the first album there will be a lot of co-writing, You won't see any full songs written by myself just yet, but I'm working on it."

On her sound: "An R&R and soul vibe for me especially. It'll be a little bit like the music now, like Beyoncé and Alicia Keys, but I want to bring back the live band feel of singers like Marvin Gaye and Aretha Franklin—that kind of warm sound. I also like jazz, so it won't be your regular all R&B album; there'll be a little bit of something for everybody."

On Paula's departure: "Paula will definitely be missed. Even when everybody else kind of gave you a whipping, she was the one that kind of said, 'Dry your tears, you're going to make it.' But it's still one of those shows that makes people's dreams come true, so I think it's going to go on, but I'm definitely going to miss seeing her smiling face on the panel."

Matt Giraud

Age: 23

Hometown: Kalamazoo, Mo.

Which "Idol" is he?: A dueling pianist by trade, Giraud snuck into the top 13 during the re-instated Wild Card round. He was most famous for his hats and his sexy crooning behind the piano. He also was spared with the hotly debated "judges' save" before his fifth-place elimination.

Insight about the concert: "We do a Billy Joel song and 'Don't Stop Believing' by Journey. We go head to head and it's pretty fun—it puts a little twist on the show. They actually rebuilt two pianos and put them together on one rig. It's pretty cool."

Thoughts on the tour: "It's great playing in these huge venues that you just always just thought you'd drive past. Before, for four hours I would do the dueling piano thing, I'd be this human jukebox. But now it's cool to be considered an artist and have people just sit and listen to you and not scream out "Journey" [laughs]."

Thoughts about the show: "There's not really much I miss from the show [laughs]. I liked getting a good comment from the judges every so often, but I'm just happy to have people making their own minds up about me now—and not having to worry about votes."

On Paula's departure: "I don't have much of an opinion. I love her to death and we keep in contact. She would say that she used to come back for the contestants and to help them out, so I think she'll miss that. But the show knows what they're doing, and no matter what Paula does, I'll be happy for her."

On his future: "I'm actually going straight for the Christian rap genre [laughs]. No, I'm just kidding. I'm going to be hosting an online show called 'Make the Cut.' It's an online singing competition on the Web site YOBI.tv. I'm just booking shows, and I was asked to work with some really great fundraisers. All the record deal stuff is in talks, but either way I'll be putting music out there. I'm excited to get out there and perform again. And just get out there and play music, for more than, like, 10 minutes [laughs]."

Megan Joy

Age: 22

Hometown: Sandy, Utah

Which "Idol" is she?: Deemed the wild "Idol" in some circles, Joy was the saucy single mother with vocals like Janis Joplin and a punk-rocker attitude like Pink. She became known for "cawing" during her famous "Rockin' Robin" rendition and later upsetting Simon for telling him she didn't care what he thought right before her elimination.

Thoughts on the tour: "My favorite part about the tour is knowing that when I get home I can move out of my mother's house and take care of my son myself. A close second is being up there for seven minutes and being able to do what I love to do."

On missing her son: "I hate being away from my baby, but we do have opportunities to bring our husbands and girlfriends to the show. No Skype for me though. It's kind of hard for my situation."

Thoughts about the show: "Glad to have that behind me. It was rough. [I do] miss the uncertainty of not knowing how far you were going to go. It was exciting climbing that ladder, but I'm climbing a much bigger ladder now."

On the debut album: "I don't have a deal musically, but modeling and TV are in the mix for me, which I'm supper stoked about. I've started a band back home with a super-genius, and I'll make music forever. It's going be a hip-hop/jazz fusion."

The story behind her tattoos: "My sleeve [on the right arm] is a castle, and then in the window is my fairy tale. There's me and Prince Charming, who isn't colored because I don't know what he looks like yet. And then my mom, brother and son are on the other side. I have my feet, my hands, my back and my hip done too. I have a little bit on my ribs, but I'm going to [add more and] do an 'American Idol' thing on one—not the logo, but a lucky charm I had throughout the whole thing, and then a treehouse on the other side."

Scott MacIntyre

Age: 23

Hometown: Scottsdale, Ariz.

Which "Idol" is he?: A seasoned pianist, drawing on the Billy Joel appeal, MacIntyre was first known as the visually impaired contestant (though he's not completely blind, he has severe tunnel vision caused by Leber's congenital amaurosis) but soon stood out for his musical abilities. Paula and Simon famously got into an argument over whether he should ditch the piano.

Thoughts on the tour: "I'm having the time of my life. There's about a thousand people outside after the show waiting for you. I love that part the best. It ends the night on a high note, and it's where you get the true reaction from the fans. I also enjoy the late-night talks with the 10 of us. You really get to know each other. I think we need a one-week reunion after the tour and then a one-month reunion after that, and then a one-year reunion [laughs]."

What's next?: "I'm in discussions right now with several major music publishers as far as representing me in writing for other bands and other artists. I've also been approached to write a book by random publishers, so I'm running in a lot of different directions [laughs]."

On his debut album: "My album's actually about midway through production. It's being independently published and should be out before Christmas. Once you're on 'Idol' you can't really say, 'I don't want to be a performer.' Our contract with 'Idol' ended Aug. 20, so we're free to start signing with other labels. I'm in talks with labels so it may still go that way, too."

What the album sounds like: "The album is going to be all original music along the lines of John Mayer, Gavin DeGraw, Vanessa Carlton, and a little bit of One Republic. It's very much that singer-songwriter meets pop rock genre, and very piano driven. You can check out some of the tracks on my Myspace page."

Danny Gokey

Age: 28

Hometown: Milwaukee, Wis.

Which "Idol" is he?: First became known because of his back story involving his deceased wife, but later made a name for himself with his raw gospel growl, evangelical past and clean-cut good looks.

Thoughts on the tour: "I like the music aspect and meeting the fans and even the money aspect, just getting paid to sing. Downsides are no sleep and getting used to the schedule. And also not having much freedom. But these are good problems to have [laughs]."

Hindsight about the show: "I kind of miss being on TV. It was fun being on TV. I kind of miss being a TV personality for a while. However, the pressure is the number one thing I don't miss. Mostly because I don't think I handled it very well. People say I was calm and reserved, but I was a mess behind the scenes [laughs]. I definitely don't think I gave my A-game when I was on the show."

On his debut album and new foundation: "I'm starting my project next month. I'm also working on my foundation, Sophia's Heart Foundation (named after his wife). We actually had a good day today. We have a food and shelter program, scholarship program and medical program. Two of the winners from the scholarship program are from Ohio, so we brought them out to the show and set them up with a gas card, a hotel room and we just had lunch with them. It was really nice."

HD Radio

2006-09-04T17:05:00.001-04:00

Radio's new wave
With HD, listeners get better sound -- and stations can offer more programming

By DWAYNE STEWARD
The News Journal
Monday, September 4, 2006

Move over satellite radio, a new bull's in town and he's in high definition.

Like its cousin HD TV, HD radio's clearer, CD-quality sound is predicted to be the future of radio airwaves. Many analysts compare it to the effect the DVD had on the VHS market.

The technology originated with iBiquity Digital Corp., which the Federal Communications Commission has made the sole licenser for HD radio in the United States.

HD radio offers free digital AM/FM radio, unlike XM and Sirius Satellite Radio, which require subscriptions.

Under what is called multicasting, which allows stations to have up to four channels, a local pop station could offer their usual programming on one channel, country on another and a talk show on the next.

To listen to radio stations in high definition, however, you must have an HD radio, and like early DVD players, HD radios are relatively expensive.

Prices start at $199, and some consumers are paying $500 to $600 for better quality units.
But the price is coming down, said Jonathan Magasanik, the general merchandise manager for Tweeter home entertainment.

Boston Acoustics "Recepter" tabletop model ($300)

"We started selling HD tabletop receptors back in March, and they were going for $499," he said. Tweeter sells tabletop models produced by Boston Acoustics, for $299. It also offers car units by Alpine for $199.

The Boston Acoustic model is being sold at major retailers such as Radio Shack, Tweeter, Crutchfield and Amazon.com.

"We're changing the way people listen to radio but we're not making the old version obsolete," said Todd Baker, Boston Acoustics product manger. "All stations come through on the HD radio, but you'll be able to hear the difference of those with the HD technology."

Polk Audio last month also came out with a tabletop home entertainment system that includes HD Radio. The iSonic, at $599, includes HD digital, satellite, AM/FM radio, a DVD and CD player, iPod downloading capabilities and more.

Radio Shack started offering the radios in May in areas with high saturation of HD radio stations. The units are not for sale at stores in Delaware, which has only two stations using the new technology.

"Our stores in Philadelphia are selling the new technology but right now it's on a trial basis," said Charles Hodges, Radio Shack spokesman. "We will be introducing our own branded HD digital radio in October for $199, and once more stations start using the technology we will begin selling them in more of our stores."

FCC regulations require radio stations and manufacturers to purchase a license for the technology from iBiquity.

JVC KD-SHX900 car model ($600)

Pop music station WSTW 93.7 FM, in Wilmington, paid $200,000 for rights, a broadcast license, HD transmitter and multicast capabilities. But, Bob Mercer, owner of Delmarva Broadcasting, thinks it was worth it.

"It's like you're sitting in the studio listening to the speakers here," said Mercer. "It's a whole new world. In four years, all 11 of our FM stations should be switched over."

The technology that allows stations to "multicast" -- that is, broadcast two or more programs simultaneously -- is relatively simple. Traditional radio is sent out on one analog signal per channel. But with digital broadcasting, analog and digital are bundled together and the digital signal is compressed, using less capacity. The smaller size of the signal allows more than one packet of information to be sent.

WRTX 91.7 FM, in Dover, has been using HD technology for about a year. Executive Director Dave Conant said he hopes to have all 12 stations in the group's network running on multicast digital systems by the end of the year. Conant said it costs $100,000 per station to make the switch to HD technology.

Across the nation, 959 stations have made the switch, and 100 offer multicasting. More than 2,000 are in the process of switching.

"I think digital radio is what AM/FM is evolving into," Magasanik said. "It's going to become the standard for ... radio."

An afternoon at Pride Festival

2009-09-02T03:01:00.005-04:00

See who got flashed by Metromix at this year's Pride Festival

By Dwayne Steward
Metromix Columbus
Associate Producer
June 21, 2009

Review: "The Quintessential Roulette"

2009-09-02T04:00:00.002-04:00

MadLab kicks off new project with emotional bang

By Dwayne Steward
Metromix Columbus
Associate Producer
August 6, 2009

When MadLab says quintessential, they mean it.

The quirky and experimental theater troupe, who has come to define alternative theater locally, kicked off "The Quintessential Roulette" Thursday with a phenomenal showcase of three plays, in a lineup of 11 shorts being featured through Aug. 29.

"Quintessential" is a special tribute rerun of plays from the last 10 years of their popular annual shorts festival, "Theatre Roulette." (Check out our preview article on "The Quintessential Roulette" to get the full scoop on how this tribute show came about and to catch up on your history of MadLab and its "Theatre Roulette.")

Running like its regular "Roulette" shows, each week will feature three completely different nights of entertainment. We had the privilege of catching Night A, titled "Sticky Fingers." Here's our take on the three short plays featured.

The first, and decidedly best, script of the night was F.J. Hartland's "Postcards from a Dead Dog" (2008), the story of a mother and son's dysfunctional, yet devoted relationship. Melissa Blair's (who's reprising her role) commanding turn as the deteriorating, sharp-mouthed mother, who's dying of cancer, is the soul of this production, while Hartland's witty turns of phrase during a dramatic, slow-paced storyline are constant breaths of fresh air.

Justin Toomey, as the son, got off to a clunky start but definitely came into a nice stride, especially when the story took a sharp emotional turn. And the play thrives under Nikki Smith's stealth direction; her varied staging decisions strengthened the play's two-person dynamic.

"Smugglers Three" (2005) by David Lavine followed, with each of its three actors (all reprising their roles from 2005) giving a gut-busting performance as a motley crew of pill-thieving kidnappers.

Brian Spangler-Campbell shined as the moronic Pablo, a Latin bi-sexual addicted to the prescription pills the trio is trying to smuggle. Robert Stretch and Sarah Brunet showed amazing chemistry as Cliff and Kiki a quirky and dysfunctional Bonnie/Clyde duo.

Michael Erickson's "Alien Hand Syndrome," a pick from the most recent "Theatre Roulette," closed out the evening. Andy Batt stole the show, and maybe the night, as Mark, a man battling a right hand that's leading a life of its own. Batt brilliantly takes on a Jerry Lewis in "Nutty Professor" vibe, which includes an all out brawl between himself and his hand. The physical comedy in and of itself is worth acclaim.

Stephen Woosley also deserves a shout-out as Mark's pencil-necked boss, Mr. Smalls, and Dr. Carmody, Mark's slightly unhinged physician. Erin Prosser rounds out the cast as a coworker who falls for Mark's hand, who has named itself "Hank."

Add Erickson's witty parody of old school, low-production horror films and Jim Azelvandre's fast-paced direction and you've got a play, that's worth the night's headlining spot.

MadLab's "The Quintessential Roulette" continues Friday with three shows for Night B ("Empty Heads") and Saturday with four shows for Night C ("Bleeding Hearts").

"The Quintessential Roulette" runs 8 p.m. Thursdays through Saturdays until Aug. 29 (the last night showcases all of the plays starting at 2 p.m.). Tickets are $12 for adults, $8 for students and senior citizens, and $6 for members. For each night's list of plays and more information visit the MadLab Theatre Web site.

'Quintessential' theater

2009-09-02T03:55:00.002-04:00

MadLab's dynamic history on display during tribute show

By Dwayne Steward
Metromix Columbus
Associate Producer
August 2, 2009

According to the Merriam-Webster Dictionary, the adjective 'quintessential' originates from the noun 'quintessence,' meaning "the essence of a thing in its purest and most concentrated form" and "the most typical example or representative." Those phrases fit both MadLab Theatre and its 10th anniversary celebration of the popular shorts festival "Theatre Roulette."

"The Quintessential Roulette" (running Aug. 6-29 at MadLab's Grant Street theater downtown) will feature 11 plays from the past 10 years of "Theatre Roulettes," with 21 of 35 actors reprising their original roles and five of the plays being helmed by the original directors.

Earlier this year, MadLab asked its patrons to go online and vote for their favorite show from the first nine "Roulettes." Then, during "Theatre Roulette" 2009 back in May, they asked the audience to vote for their favorite each night. And finally, one show was chosen by the MadLab ensemble and board, which gave them 11 shows representing the best of the past 10 years.

In the beginning
The journey to "The Quintessential Roulette" is a long and trying one, representing the story of a quirky group of theater geeks who just wanted to put on plays that were their own. That dream, from the REM cycle of founder Eric Myers nearly 15 years ago, is now a bonefide institutional franchise.

"That's kind of how I came up with the name MadLab," Myers said, calling from his home in San Francisco. "It was all a huge experiment."

The company began in 1995 with Myers and his pal Dan O'Reilly (who's since left MadLab due to artistic differences) with their first performances taking place in the tiny basement of a hair salon in the Short North.

"We were an underground operation, literally," Myers said laughing. "We become sort of a nomadic company and would bounce from space to space."

A modern reconstructing of Euripides ancient masterpiece "The Bacchae" called "BAkkEE" (1997) brought rave reviews and their first string of sold-out shows. It was at this point that MadLab began to crack the local mainstream, setting itself up as the definitive alternative to traditional theater.

In 1999, they procured an oil-stricken commercial garage downtown and spent four months renovating it into the full-service production space that it is today.

After six years of running the company, Myers said he had become burnt-out, deciding a change of pace was needed and thus making the move to California. However, he couldn't bring himself to cut the strings completely, as he still serves on MadLab's Advisory Board, watching over his artistic baby from afar. He's even thinking about starting a MadLab West in San Francisco.

His departure wasn't easy to overcome, according to Andy Batt, MadLab's managing director.

"[Myers] was so much the life and soul of this company when it started, it was a tremendous blow to the theater when he moved away," he said. "We have people with vision in our company, but [Myers] was visionary. I don't think any of us who are left embody that on our own."

"Theatre Roulette" is born
With a new building, an established fan base and some local legitimacy, the group decided to take yet another risk in 2000: starting the largest and most successful original shorts festival in the region.

"It was my wildly ambitious vision to offer three different nights of programming each week for a month," Myers said. "Trying to pull it off was definitely a bit of a gamble."

Attendance was sparse during the festival's first few years, but the public soon caught on, and "Theatre Roulette" became the company's largest annual hit.

"‘Roulette' has always been our signature show," said Batt, who is the only person to have acted in every "Theatre Roulette" since its inception. "It's developed its own identity."

Batt will be directing Myers' script, "The Secret Life of Mimes" (2000), which was the first play he ever saw at MadLab.

"It blew me away. I remember thinking to myself, 'This is what theater should be,'" said Batt, who's also acting in "The Rebuttal" (2006) and "Alien Hand Syndrome" (2009). "Being able to work with [Myers] was an experience you really can't replace."

Becoming quintessential
From the beginning, MadLab and their "Theatre Roulette" have supported and cultivated locally created original work.

"A local theatre scene without original work is like a local music scene with only cover bands," Myers said.

The compnay has grown from scrounging for script submissions during the festival's early years to now receiving nearly 1,000 submissions from playwrights all over the world.

"I remember giving them a play of mine just to kind of look over, and [Myers] was like, ‘Let's throw in the Roulette,'" said Chris Lane, MadLab's artistic director. "That's just kind of how things were in the beginning."

Today, MadLab and "Theatre Roulette" are legitimate parts of the city's cultural landscape. And as we continue hearing about the many artistic instutions loosing funding because of the recession, they may be the only one in the city that's actually growing financially.

"This year's ‘Theatre Roulette' was our largest grossing show ever, where the box office is concerned, and all of our shows this year have outdrawn our shows from last year," Batt said. "We're actually very surprised, considering the state of the economy."

MadLab started on the premise of redefining the modern theatre experience by presenting controversial, locally created works geared toward a younger audience. Now the troupe is considered by most theater-lovers to be an irreplaceable part of Columbus' theater scene, making the company not only one of the city's top artistic institutions, but a quintessential example of the art form it represents.

MadLab Theatre's "The Quintessential Roulette" begins at 8 p.m. every Thursday through Saturday from Aug. 6-29. Tickets are $12 for adults, $8 for students and senior citizens, and $6 for members. For more information visit the MadLab Theatre Web site.

Shakespeare takes over Schiller Park

2009-09-02T03:48:00.003-04:00

Enjoy some of the Bard's classics for free

By Dwayne Steward
Metromix Columbus
Associate Producer
July 13, 2009

The Actors' Theatre Company doesn't mind doing it in the rain. And by it, we mean "acting."

The Columbus institution has been putting on outdoor productions of classic plays for nearly 30 years, and has often braved the elements.

"During opening night we had some small rain showers," said Pam Hill, director of the company's current production of Shakespeare's "The Tempest," which runs every Thursday through Sunday at Schiller Park until Aug 2. "The story begins with a huge violent storm outside in the ocean, so sometimes the weather cooperates with you."

However, don't count on always having to sit through a downpour, as the theater troupe's Web site states that shows will be cancelled if it's raining too hard.

"One of the downturns of outdoor theatre is that you are subject to the weather, and as we all know, Ohio weather can be somewhat fickle," said John S. Kuhn, the company's artistic director and an eight-year Actors' Theatre veteran.

The company suggests that patrons not only bring blankets and lawn chairs to sit on, but some extra clothing in case a chill sets in.

Shakespeare's timeless tale of "The Tempest," which is the current production, follows the journey of Prospero, a Duke of Milan, after he's banished by his own brother from the city. He lands on a mysterious island full of magic and mythical creatures. Endowed with the island's powers, he causes a storm to shipwreck his brother's ship on the island as it's passing by.

"This is my favorite Shakespeare play because it's not just a comedy or a tragedy or a romance—it combines all three," said Hill, a guest director who's worked with the Cincinnati Playhouse, Dayton's Human Race, Columbus' Contemporary American Theatre Company and directed in 10 other states throughout her career. "It's very magical, and that's how I try to direct it."

"Prospero introduces the king's son to his daughter, there's the romance. There's a jester and a drunken butler, there's the comedy. And the brother betrays him, that part is the tragedy," she said. "The essence of the play is, ‘What does he do with these people that betrayed him?'"

For the company's third staging of "The Tempest," Hill wanted to make things as authentic as possible.

"We didn't change anything—it's the story that Shakespeare wrote, but we found the original music," Hill said. "Paul Shammel (from local band Reganomics) was able to take this music and put it to the harpsichord and a pipe and other instruments from back then. So the music that people hear is what people heard when it was staged during Shakespeare's time."

There are also a host of special effects being added to the production that Hill said shouldn't be missed.

"They say it's something they've never seen before in the park," she said. "It's kind of ... magical."

The company typically produces three plays throughout the summer. "The Three Musketeers" ran in June, and the troupe is currently in rehearsals for Shakespeare's "As You Like It" (running Aug. 6 through Sept. 6.), which they're planning to shake up a little bit.

"We're going to be staging it in the style similar to 'Avenue Q,' where life-size puppets will interact with the actors," Kuhn said. "I thought it would be a fun approach, seeing that it's a comedy."

Kuhn will be teaming up with Beth Kattelman, a local puppet connoisseur, to direct the one-of-a-kind production.

"I don't think anyone has ever done it this way," Kuhn said. "And we're always trying to find ways to make Shakespeare more accessible to a younger audience."

So, why should you take a chance on Shakespeare in the park?

"It's the only place where people can see classical theatre for free," Kuhn said. "As a community resource, there's nothing else like this in the central Ohio region."

"The Tempest" runs at Schiller Park Thursday through Sunday until Aug 2. Admission is free, but donations are encouraged. For more information, visit the Actors' Theatre Company Web site.

Review: 'As You Like It'

2009-09-02T03:45:00.002-04:00

Actors' Theatre scores with quirky rennovation of classic bard

By Dwayne Steward
Metromix Columbus
Associate Producer
August 31, 2009

Who knew a simple stroll through the park could be so artistically rewarding, especially after it's been taken over by Actors' Theatre Company's renovated look at Shakespeare's "As You Like It."

The theater troupe is closing its 28th season with the classic comedy, running through Sept. 6 at Schiller Park. But the show offers a refreshing double-take right from the opening scene, adopting an "Avenue Q"-style format, with a slew of puppets standing in for major roles.

Actors' head honcho John S. Kuhn teamed up with Beth Kattleman, a local puppet creator extraordinaire, to direct this never-before-scene version of the play. The inclusion of life-sized puppets actually makes Shakespeare a little easier to digest, giving it a slightly more accessible edge for younger adults.

The play follows star-crossed lovers Orlando (Ryan Hooks) and Rosalind (Liz Wheeler) and the characters they encounter on their separate journeys though the Forest of Arden, after being exiled by the evil Duke Frederick (Aaron Deuschle).

The puppeteers are definitely the stars of the show, especially Dee Shepard, who takes on a few different roles, but is particularly engaging as the wise lord Jacques. Zach Hartley, also navigating several characters, impressively takes on the vocals of three, performing throughout the play as a musical trio with two puppets at his side.

Deuschle however seems to have it the hardest, acting in two roles, as Frederick and Frederick's brother, Duke Senior. He's also the puppeteer behind the promiscuous Audrey, whose paring opposite Touchstone, played by the witty Matthew Moore, acts as much of the night's comic relief.

Hooks and Wheeler exude a giddy innocence, showing great chemistry as the title couple. Wheeler comes into her own much more after Rosalind disguises herself as man, becoming wrapped up in the drama of her deceit.

Jan Woods' beautifully colorful costumes and Victor E. Shonk's typically vibrant and large-than-life set designs, just adds to the brilliance of the overall production.

Actors' Theatre hits this one out of the park, offering a boldly updated take on a play that's, on its own, stood the test of time, making it a great choice for theater lovers and newbies alike.

"As You Like It" takes over the Schiller Park Amphitheater 8 p.m. Thursdays through Sundays until Sept. 6. Tickets are free, but donations are strongly recommended. For more information visit the Actors' Theatre Web site.

Review: 'The Tempest' by the Actors' Theatre

2009-09-02T03:39:00.002-04:00

Columbus company brings high-class theater experience for low-class price

By Dwayne Steward
Metromix Columbus
Associate Producer
July 17, 2009

Go see "The Tempest."

It's actually that simple. Go.

Why are we being so pushy, you ask? Well, after seeing the Actors' Theatre Company's production of Shakespeare's popular play at Schiller Park on Thursday night, we couldn't believe the brilliance playing out onstage before us was free.

Yes, we said free.

Let us break it down for you:

The theater troupe, in their 28th season, has perfected the art of outdoor theater.

The large two-tiered stage is draped in a florescent glow of fabric, revealed after the chaotic first scene. The costumes are even more elaborate, flooding the stage with a sea of 16th Century color and style. (All of this is due to the set, lighting and costume designs of Victor E. Shonk, Jarod Wilson and Jan Woods, respectively.)

Seasoned actors and a veteran director bring the show classical yet updated staging, complete with elements of magic and special effects—all set against the backdrop of a beautiful summer night and a gorgeous lakeside sunset.

And did we mention it's free. (But be sure to drop a few bills in the donation hats that are passed around during intermission. Actors need to eat, too.)

The play chronicles the story of Prospero (Jim Azelandre), a mighty sorcerer and disgraced Duke who's been exiled with his daughter (Angela Henderson) to an enchanted island. He uses his powers to cause a shipwreck that brings his brother (Benjamin Gorman) and the king (Ben Hackney) who betrayed him to the island, so he can exact his revenge. He does this with the help of a spirit, Ariel (Angela Barch) and a monster, Caliban (Mark Mann).

Under Pamela Hill's direction, the two-act play completely embodies the magical realism Shakespeare intended. Hill enhances the play's visual elegance (including an magical appearing act by the spirit Ariel and flashes of fire during the storms) while simultaneously staying true to the script's original presentation.

The cast rises to the task, especially Azelvandre and Barch, who show a particularly intriguing chemistry in their master/servant relationship. The character of Prospero holds much of the play on his shoulders, and Azelvandre adds a perfect touch of cynicism and sensitivity to the role.

The drunken antics of Mann, Zach Hartley (Trinculo) and Ted Amore (Stephano) are a definite highlight. Their Three Stooges take on the trio is a pleasant comedic aside. And taking on the romantic side-story are Henderson and Matt Proctor (Ferdinand), who's giddy chemistry is also refreshing.

So, as affectionately stated above, go see "The Tempest." It's a romantic tragedy/comedy that's well worth a night out. The location is perfect for a lakeside picnic at sunset. A date can't get any better than that. Well ... at least not a date in public.

Vonn Jazz Lounge

2009-09-02T03:33:00.002-04:00

Jazz, romance and fine dining are winning ingredients

By Dwayne Steward
Metromix Columbus
Associate Producer
August 28, 2009

Finding a place to hear good live jazz in Columbus can sometimes feel like looking for that proverbial needle in the haystack. But alas, it seems that not all is lost.

Growing out of its Worthington location (which now houses the Vonn Blues Lounge), the owners of the Vonn Jazz Lounge have opened up a much more spacious location at Crosswoods on Campus View Boulevard.

Just like Vonn Blues, the new spot offers live jazz acts (both local and national groups) every night of the week.

Coupled with an impressive fine dining menu and upscale atmosphere, it's rapidly becoming the newest hot spot for any jazz lover in town.

Food: The Vonn Jazz Lounge menu takes a host of Southern down-home delights and transforms them into deliciously upscale indulgences.

Vonn does walk a bit on the pricey side. Their signature dishes are the shrimp & grits ($12) and the chicken & waffles ($16), and the prices only go up from there. But the food is worth it, as the grits are some of the best you'll ever taste, especially in the Midwest.

Louisiana style seafood plates monopolize much of the menu. From the jumbo lump Gulf Coast crab cake appetizer ($14) to the meaty Cajun-marinated duck breast ($23) to the saucy smoked trout fillets. Gourmet salads, soups and sandwiches round out the menu.

Libations: The lounge features two fully stocked bars, eliminating difficult drink access. The specialty cocktails list is a long one, so parking yourself at the bar for a few hours might not be such a bad idea.

Try the "Dragonfly" (a name the bartender said is still in the works). It's a devilish mixture of Bacardi strawberry rum, dragon fruit, ginger, triple sec and fresh mint, with a splash of champagne and cranberry juice. The sinfully sweet concoction may send your taste buds into overdrive, but in a good way.

There's a hefty list for you beer drinkers as well, plus a host of wine options.

Décor: Here's where things go slightly downhill. The red, white and black landscape mixed with the horde of tacky chandeliers that line the ceiling, and the bright red leather chairs (circa 1993) that fill much of the interior are all just a bit over the top.

The spatial setup, however, is pretty amazing. The front hallway opens up into a very spacious dining room with a piano lounge to the left and a "bedroom" (featuring a plush full-sized bed, surrounded by dining tables) to the right. All of this faces an instrument-packed stage that sits at the back of the building. We also enjoyed the wine-glasses-turned-vases that held pink roses at each of the candlelit, white-clothed tables.

Crowd: The lounge is a definite stop for anyone who's into jazz. Much of the clientele is a little older, many of them trying to get away from the modern pop tunes that vibrate through most of the downtown bars.

Service: The service at Vonn is exceptional. The backroom kitchen is slightly visible from the dining room, so you can, in theory, watch while they cook your meal. Servers, in spiffy black attire, dart about the room making the dining experience as efficient and enjoyable as possible. The bartenders are thoroughly attentive with drink orders and eagerly ready with suggestions and menu explanations.

Specials: The happy hour (4 to 7 p.m. weekdays) features signature martinis, including chocolate and green apple, and $1 off all import and domestics beers. There also are specialty wine selections featured on the happy hour menu. Try the Cupcake Merlot and Gnarly Head Chardonnay, each for only $5 a glass.

Insider's tip: Keep some cash on hand if you're heading through during the latter half of the week. There's a $5 cover Thursday through Saturday nights. Also be sure to check out the Vonn Jazz Lounge Web site for a complete list of the acts for each night and links to the performers' Web sites.

Bottom line: Despite the less-than-appealing decorating scheme, Vonn Jazz Lounge is the great date spot for an upscale and romantic night out on the town. And with the sweet and sultry sounds of jazz coming at you live on a nightly basis, it's an after-dark club that should be added to every jazz-lover's weekend checklist.

Level Dining Lounge

2009-09-02T02:53:00.003-04:00

Upscale lounge another bright light in sparkling Short North

By Dwayne Steward
Metromix Columbus
Associate Producer
June 15, 2009

Most average bar-hoppers in Columbus might be in for a bit of a jarring experience the first time they visit Level Dining Lounge. The ultra sleek, leathered décor may have you thinking you've somehow been transplanted to a trendy scene in New York or Los Angeles.

The new Short North night club isn't sticking to Columbus' normal set of tricks when it comes to the dining and night-lounging landscape.

Food: Where do we begin? To say the menu is extensive would be like calling Barack Obama relevant. It goes a bit further than that. There's everything from tuna tartar ($11.99) and shrimp scampi ($8.99) to the sweet potato fry basket ($6.49) and grilled chicken wings ($8.49) ... and that's just the appetizers.

On the entrée side, try the fried buffalo-style ravioli ($8.99). Yes, we said buffalo, but don't scoff just yet. The lightly crisp Florentine pasta chunks (stuffed with cheese and spinach) are only lightly glazed with Level's house buffalo sauce, giving it a surprisingly refreshing kick. The scallops ($14.99), seared with lemon garlic butter and served with grilled asparagus, and the 8-ounce flat iron steak ($16.99) are also worth ordering. Planning to add a salad? Go for the Caesar—the addition of chunky Parmesan flakes and the tangy dressing make it a tasty addition to any of the entrées.

If you're looking for a sandwich, the specialty grilled paninis are a sure bet. The "Gambino's Big Hit" ($9.49) melts provolone cheese on salami and ham and tops it with a flavorful Italian olive salad. All sandwiches come with sweet potato fries or Level's house-made (and extremely delicious) Parmesan potato chips.

Level's menu also does something a little different with the inclusion of its "Lighter Level" section—a short list of low-calorie options. The "Sinless Chicken" ($11.99) is dubbed so because, unlike most restaurants, you're given a grilled marinated chicken breast with your choice of sauce on the side. The low-cal list also includes the "Ciao Bella" ($10.99), a vegetarian delight that includes grilled portabella, roasted red peppers, red onions, fresh spinach and feta cheese sandwiched between a whole grain sesame seed bun.

For dessert we recommend the N.Y.-style cheesecake ($5.99) or the traditional crème brulee ($4.99). Also be sure to head through on Saturday or Sunday for their full breakfast menu (served 11 a.m. to 3 p.m.). Highlights on the brunch list include a potato and bleu cheese frittata ($5.29) and cinnamon French toast ($5.99).

Libations: Level's drink menu rivals pretty much anyone's in town, especially for those cocktail drinkers among us. Try the "Chocolate Snickers" martini, a mix of triple espresso vodka, Godiva chocolate liqueur and butterscotch schnapps that's a guilty pleasure worth the indulgence. The "Blue Skye" is a definite crowd favorite, blending Smirnoff raspberry vodka and blue Curacoa with a touch of Sprite. The full bar also includes an extensive wine list and pretty much all of the normal beer options.

Décor: In a word, the interior of Level is fabulous, maybe even overly so. A copiously furnished downstairs dining room is full of sleek green and brown leather furniture that adorns each of the wooden dining tables. The large bar sits right in the middle of the downstairs, making the space slightly cramped on the sides. If there's a crowd, be sure to expect some shoulder grazing. The upstairs, however, opens up into a fully furnished lounge with couches, a DJ booth and another full bar.

Much like Level's direct competition—Union Bar + Food (just down the street)—the walls are covered with flat-screen televisions that play music videos. Also, while we're comparing bars, Level's most noticeable difference to Union is the lack of a patio. Smokers are relegated to a crowded sidewalk void of cigarette butt dispensers.

Service: The ultra lounge is still getting the kinks together concerning service. There are plenty of waiters that dot the downstairs, attentively waiting on those deciding to partake of the kitchen fare (served until 11 p.m. nightly), but the bar tends to be short-staffed, so expect a bit of a wait.

Crowd: Level definitely caters to a more upscale young professional. Though pretty much a gay and lesbian hangout, the bar isn't strictly so, accommodating pretty much anyone who craves a hefty injection style into a night on the town.

Insider tip: Head to the upstairs bar upon first arriving. There's sure to be a shorter wait up there for your first drink. And getting there before the 10 p.m. rush is probably a good idea, especially if you're looking to get a table.

Bottom line: A much needed departure, Level is the trendy new "place to be" on the Short North strip. And "lounge" is definitely the key word on the moniker, offering a very laid-back yet upscale aura to the dining experience. Chic, classy and comfortable. That's pretty much Level in a nutshell.

Click here for my photo gallery of Level Dining Lounge.

Review: 'Best of Shadowbox'

2009-09-02T02:48:00.002-04:00

Shadowbox creates perfect comedy/music mix with new show

By Dwayne Steward
Metromix Columbus
Associate Producer
June 12, 2009

If it's still unclear to anyone out there whether or not Shadowbox Cabaret is an entertainment force to be reckoned with, look no further than the current production, "Best of Shadowbox," running at the Easton theater through August 29.

If you've gone to any of the sketch comedy and rock ‘n' roll club's regularly scheduled shows this season, you're sure to catch a repeat at some point during this performance. That actually turns out to be a good thing, as Shadowbox has somehow one-upped themselves; making many of the skits and musical acts even better the second time around.

The show's best moment is "Sci Fi Story," a campy take on a battle between Star Trek and Star Wars lovers (Jedis vs. Trekkis), set to the tune of "West Side Story." Amy Lay's aggressive Princess Leia, Jimmy Mak's William Shatner impression as Kirk, a Luke Skywalker (David Whitehouse) and Uhura (Storm Woods) love story, and fully choreographed musical numbers with reworked lyrics to recognizable "West Side Story" tunes are just a few of the reasons this sketch is phenomenal.

Lay and Mak continue to score with their pairing in "Game Night" (playing teenagers on an awkward first date), "Temptation Island" (an overly dramatic spoof on soap operas) and "The Exorsister" (a brother's warped understanding of his sister's "monthly gift"). The latter sketch also includes Andrew Cioffi's hilarious showcase of endearment as Mak's best friend, who's in love with Lay.

A series of video shorts featuring ABC weather man Jym Ganahl, with a hilarious appearance by 10TV anchor Andrea Cambern, received some of the crowd's strongest reactions during the show we attended.

On the music side, Julie Klein is the night's star, belting a pitch-perfect rendition of the Boston classic "Piece of Mind" and a spellbinding vocal on Pink Floyd's "Time."

Mary Randle also produces a stellar showcase on "Right Now" by Van Halen, providing an impressive husky Stevie Nicks vibe to the classic rock number. Stephanie Shull's lead take on the closing number, AC/DC's "Highway to Hell," is another vocal highlight.

It goes without saying that house band BillWho? are the stars when it comes to the theater's rock ‘n' roll element. Notable band moments include a guitar battle during "Piece of Mind" and, well, any guitar solo throughout the night.

To detail every amazing moment from Shadowbox's annual summer showcase would take up a lot more space. It's a night in celebration of what Shadowdox does best, and we suggest it's a night you don't miss.

"Best of Shadowbox" is showing at Shadowbox Cabaret Thursdays (7:30 p.m.), Fridays and Saturdays (7:30 p.m. and 10:30 p.m.) through August 29. Tickets are $20 and $30. Visit Shadowbox's Web site for more information.

Review: 'A Chorus Line'

2009-09-02T02:43:00.002-04:00

Broadway manifesto looks the same, but beats with modern intensity

By Dwayne Steward
Metromix Columbus
Associate Producer
June 10, 2009

The revival of the famed musical "A Chorus Line" may have been stripped from Broadway last year, after only a two-year run (compared to its original 15-year run from 1975-1990), but don't be too quick to count it out. The show's national touring company is entering its second year, with no plans to stop.

And if last night's showcase, at a packed Ohio Theatre, is any indication, it's safe to say the show's legacy will be living on for quite some time to come. (The show's resurgence of fame has even led to the critically-lauded documentary "Every Little Step," released in April, that chronicles the musical's journey from conception to revival.)

The touring company's young cast, under the direction of Bob Avian (who co-choreographed the original with the show's legendary creator Michael Bennett), breathed new life into a dated franchise, ultimately creating a night of theater magic.

Stripped down to an empty stage, the play follows nearly two dozen performers vying for eight spots in a chorus line. The costumes and storylines remain cookie-cutter true to the original, but the young actors' contemporary passion and revitalized choreography make the show a modern spectacle.

The musical opens with fierce intensity as the fictitious show's director, Zach (Kevin Neil McCready), and his assistant, Larry (J.R. Whittington) introduce the dancers to the show's choreography. The audition takes a sharp turn towards Freudian when Zach ask each of the performers to share their life stories, in order to get a feel for their personalities.

It was here where many of the actors shined, most notably Rebecca Riker (Diana) who nearly stole the show with her stellar aria during "Nothing." She seemed to have no problem filling the shoes of Priscilla Lopez, whose origination of the role garnered her a Tony nod.

Emily Fletcher perfectly donned the hard skin of Shelia—a role for which Kelly Bishop won the Tony—that she was able to shed during a spot on vulnerable transition in "At the Ballet," with equally amazing accompaniment by Dena DiGiacinto (Bebe) and Hollie Howard (Maggie).

However, it was Bryan Knowlton's emotional showcase as Paul that took the night's acting prize. His gut-wrenching monologue about the shame he felt when his parents discovered he did drag and their surprising response offered the show's only true tearjerker.

Jessica Latshaw (Kristine) and Colt Prattes (Al) also had shining moments with the vocal acrobats they displayed in "Sing!," while Mindy Dougherty (Val) earned the largest audience response with her cheeky strut during "Dance: Ten; Looks: Three," an ode to the benefits of plastic surgery in showbiz.

Robyn Hurder was also a scene-stealer as Cassie, a woman returning to the chorus line after failing as a Hollywood actress and who'd had a past relationship with Zach. Hurder probably had it the hardest because both the role's originator (Donna McKechnie) and the revival role (played by Charlotte d'Amboise) received Tony attention. She hit a few bum notes during "The Music and the Mirror," but gracefully shimmied and sashayed throughout, offering one of the best dance showcases of the night.

The show's intense choreography was definitely the night's winning highlight. Re-staged by Baayork Lee (an original cast member), each step, from the moment the lights went up, came adorned with the wow factor and kept you wondering if body movement that fluid was safe. Impressing alongside Hurder were Clyde Alves (Mike), who vigorously trick stepped through "I Can Do That," embodying a young Gene Kelly, and Anthony Wayne, who majestically soared during his "Gimme the Ball" solo.

Since the touring show may be all we have left of Bennett, Avian, scribes James Krikwood & Nicholas Dante, lyricist Edward Kleban and composer Marvin Hamlisch's ensemble masterpiece it would be a shame for anyone, theater buffs and theater virgins alike, to miss.

"A Chorus Line" is showing at the Ohio Theatre until Sunday, June 14. Tickets are $22.50 to $68.50. For more information visit Broadway Across America's Web site or the official Web site for "A Chorus Line."

Review: 'Blackbird'

2009-09-02T02:40:00.002-04:00

CATCO's closing production packs an emotional punch worth enduring

By Dwayne Steward
Metromix Columbus
Associate Producer
June 6, 2009

Sometimes a theater experience packs enough of a punch that it leaves a bit of a sting afterwards. This was definitely the case with David Harrower's gut-wrenching drama "Blackbird," on presentation at the Vern Riffe Center until June 21, courtesy of Contemporary American Theatre Company.

Following a heated confrontation between a man, Ray, and woman, Una, who haven't seen or spoken to each other in 15 years, "Blackbird" leaves you uncomfortably, yet alluringly, staring at the proverbial mutilated carcass you're unable to turn away from; that carcass being Una and Ray's bared souls.

Last night's opening appeared in front of a packed theater and to just say the starring duo of Anna Paniccia and Jonathan Putnam (CATCO's associate artistic director) “came through” would be doing them both a grave disservice.

The story begins with Una bursting in on Ray after tracking him down, in order to find answers about their scandalous three-month encounter when he was 40 and she only 12, the consequences of which led to Ray skipping town and changing his name. The play is said to be based on the case of Toby Studebaker, a middle-aged ex-marine who ran away with a 12-year-old British schoolgirl he'd met online.

Paniccia threw herself into Una's emotional turmoil, nailing her many crazed outburst. But she seemed to lack the course sexuality that described Alison Phill ("Milk," "Confession of a Teenage Drama Queen"), who originated the Off-Broadway role. Her shining moment came during an extensive replay of Una and Ray's last night together, with Paniccia sounding much like Una's 12-year-old self throughout. The powerful monologue showcased the fact that this woman had become trapped in that moment, which had come to define her entire life.

Putnam brilliantly portrayed Ray—who was played by Jeff Daniels ("State of Play," "Dumb and Dumber") opposite Phill—starting off as a shocked observer with a cold indifference that soon melted into fond remembrance.

Stripped down to theater at its simplest—one man, one woman, one set—the entire play takes place in a messy break room in the building Ray (now Peter) works. Set designer Jessica Trent-Secrest created an extremely disheveled space complete with garbage-ridden cafeteria tables, full coffee area, sink and all. The room was a definite representation of the cleansing that needed to take place within the characters.

The only other players included the occasional off-set interruption from Ray's co-workers and current wife, and a short cameo by Ray's stepdaughter (Marisa Jean Riegle) who interrupts the pair on the verge of an intense relapse. Riegle, though young, produced a scene-stealing moment filled with embarrassed discovery and harsh inquisition.

Geoffrey Nelson's (CATCO's artistic director) direction brought out swift, effective banter between Paniccia and Putnam, and a stealth sense of blocking strategy, definitely needed to keep the audience engaged in such a long exchange between just two people.

Harrorwer's script is masterful, shifting the angle of sympathy from Una to Ray and back again, making it impossible to decide whose story to believe, somehow turning the pair's illegal situation into a provocative love story.

"Blackbird" is showing in Studio Two of the Vern Riffe Center until June 21. Tickets are $11 to $40, for more information visit CATCO's Web site. Also check out the company's preview clip from "Blackbird" on YouTube.

Review: 'Negotiations and Love Stories'

2009-09-02T02:02:00.002-04:00

Raconteur’s tribute to amorous tendencies has highs and lows

By Dwayne Steward
Metromix Columbus
Associate Producer
May 30, 2009

We recently got a chance to get out to Raconteur Theatre's anniversary production of "Negotiations and Love Stories," the title for the company's annual Flex Series (which is a festival of short plays).

Seven plays filled out the night, producing an eclectic take on love at various stages, from that awkward initial encounter to its often tragic demise.

The night was cut into to two acts, with patrons given the choice of paying for either session or both (thus the name Flex Series). We recommend forkin' up the cash for both acts, as the night operates on a pretty level playing field of hits and misses. (Check out our breakdown of each Act.)

One of the highlights was "Rock-a-bye Bullet" by Theatre Daedalus founder Jaclyn Villano. The play is a witty look at a couple (Emily Mills and Brent Small) on the verge of discovering they might be pregnant, even though they aren't exactly ready for it. Mills and Small created a dynamic that felt real and endearing, while Villano's dialogue included plenty of enjoyable quips throughout.

The night opened with "Plugged In" by Dave Grant. The one-man show took on the simple theme of modern communication, and it was a success, thanks in part to the versatile and energetic Joel Dickerson in the lead. He stealthily navigated the many mediums—at one point operating his cell phone (texting and talking), computer and interactive video game all at once. He did it all with an extra layer of frat boy "dude" antics to go along with an amusing disheveled appearance.

Jimmy Mak's "Roger's Beard" showed quite a bit of promise. Eddie (Sam Blythe) and Claire (Allison Wheeler) discuss the problems that might arise from going on a double date with a married couple they've both slept with. Mak's script is hilarious, turning the common soap opera structure on its head by inflicting a steady stream of biting one-liners. Wheeler, for better or worse, adds a healthy dose of the neurotic to her unstable Claire, and Blythe offers a few scene-stealing moments after he's revealed his own secret.

The first-act dud was "Forever Again." Alex (Chad Hickman) and Blair (Jennifer Ntiri) find themselves rudely interrupted by thoughts of their exes (Anna Wang and Derek McGrath) during Alex's marriage proposal. Though a rousing effort is given by the emotionally-stricken, four-person cast, the script—trying to take on the oft time overbearing theme of "forever" when it comes to marriage—became a little too confusing to follow, especially when Alex and Blair's "thoughts" began to interact.

The closer in act two, "Walking Distance" by David Lewison, is another gem. Blythe (the only actor making two appearances) and Shanelle Marie bring the chemistry in this cheeky portrayal of the typical guy-meets-girl-in-a-bar scenario. Marie is a convincing seductress on the prowl, while Blythe plays the coy nerd looking for more then just a one-night stand.

"Fast, Light and Brilliant" by Richard Martin Hirsch opens act two, bringing the story of a two middle-aged strangers (Elizabeth Huff-Williams and Robert Foor) who bond over their respective miseries during the last night of a business conference. Huff-Williams shines in the role of a woman battling divorce, and Foor adds an appealing sharp wit to a unhappily married man resigned to his marital cell.

"His Return" by Percival Wilde rounded out the second act. A period piece showcasing the early 20th century, it impressively featured some pretty elaborate World War I-era costumes and décor. Helen Hartley (Jill Ceneskie) gets herself into an emotional frenzy over the return of her husband (Andrew Hartley, Ceneskie's real life husband) from the war. Ceneskie commands the stage like a pro, completely adorning the era's aristocratic airs. However, the buildup to the big reunion falls a little flat, looking a bit emotionless at moments.

"Negotiations and Love Stories" runs at Club Diversity Thursdays through Saturdays until June 6. Tickets are $6 for either Act I (which starts at 8 p.m.) or Act II (starting at 9 p.m.), or $10 for both. For more information, check out the Raconteur Theatre Web site.

BalletMet presents 'Alice in Wonderland'

2009-09-02T00:27:00.003-04:00

The dance compnay's innovative re-creation isn't just for kids

By Dwayne Steward
Metromix Columbus
Associate Producer
March 2, 2009

BalletMet Columbus is at it again. This time the dance company is bringing back their critically-lauded adaptation of the infamous Lewis Carroll classic "Alice in Wonderland," March 6-14 at the Capitol Theatre.

"Wonderland" made its debut back in 2006 featuring the stellar collaboration of Gerard Charles (BalletMet's artistic director) and Steven Anderson (director of the Phoenix Theatre for Children). The show features a dazzling array of larger then life costumes and sets by the troupe's personal crew of in-house designers, offering a full revamped, modernized take on the tale.

Metromix caught up with Charles, as he prepared for round two of the masterpiece, to discuss BalletMet's knack for adaptations, why the show is adult-friendly and if he's planning any surprises this time around.

BalletMet is known for creating fascinating adaptations that become returning classics ("The Nutcracker," "Jazz Moves," "Alice in Wonderland"). What is your focus when it comes to these types of productions? Is it bringing a refreshed, new look at the production or staying true to the brilliance of the première?
Well, first of all, you only know what it looks like when you are performing and there are always little things you want to change. There are some scenery drops that we were going to include but didn't have time to finish so were going to add them in this year. Choreographically, there are some transitions I want to change and little tweaks we're doing all over the place. It's like Broadway, you do the first round to test audiences and now we can bring it bigger and better than before.

Going along the same lines, BalletMet is also known for bringing classic stories to life ("Aladdin," "Sleeping Beauty," "Romeo and Juliet," coming soon "The Great Gatsby"). Where does the inspiration come from when creating dance moves for these stories?
Each story has its own root. When we were thinking about creating "Alice in Wonderland" (Steven Anderson) and I spoke about what's really the essence of the story. That's why we wanted to incorporate the spoken word. It's about the central issues of who is Alice and how she fits into the story. Is she a young child or maturing woman? We used that for inspiration. And it's about actually finding music that suits those characters. And then there are Linda Pisano's costume designs. Those ideas percolate through your mind and then each of those individual parts grow as you go along.

BalletMet shows are always just as visually appealing as they are beautifully choreographed, how will Alice in Wonderland showcase this strength?
Myself, our costume designer (Pisano) and Stephanie Gerkens, who designs our sets, all work together from the beginning. We feed off each other and give each other ideas and there's a great deal of strength that comes from working together so closely. It also helps that we build all our own sets. In the case of the costumes, the dancers try them on in rehearsals and I use the costumes to help create movements. We decide if we need to use more fabric here or take a little bit off there. We do work very closely, which makes things tighter by opening night. I personally drive inspiration from all those people

Is "Alice in Wonderland" just a kid's show? What's in it for the adults?
No, one of the things I try to do with all of our shows is make them not just for kids or just for adults. For "Alice" the intent was to make it work for a large range of ages. I'm actually very proud of our efforts and think it succeeds at doing that. There are many levels of entertainment for many people to enjoy. The visuals and story are something a child can follow, it's not simplistic and doesn't speak down to children in any way.

Something that I, and many others, love about BalletMet is that the shows are very modern, it doesn't feel like you're going to a normal ballet show; you guys are definitely on the cutting age of your genre. You've taken your shows to New York to rave reviews. What makes BalletMet so special? Why has America taken notice of this Columbus operation?
I've been with this company for many years, first as a dancer then as a director, and as long as I've been here it's always been important for us to make new works and we've always liked to add theatricality. If you're a creative artist you want to add something of yourself, that's what makes a live performance so exciting. It's also a great opportunity to explore different areas. The dancers all feel a kind of challenge and it stretches them in both directions and improves their artistry. And the audiences also benefits from that in the long run.

As you know we are in a recession, that I know BalletMet is also feeling the strain of, why should people spend their money on at ticket to see "Alice in Wonderland?"
I do believe at this time of stress it's very important not to forget our humanity. And the arts are a very large part of that humanity. We also, throughout history, always tend to revert back to artistry during tough times. It's also great entertainment. It takes you out of your cares, even just for a little while. Away from cell phones and the bad news, and maybe even gives you a chance to reflect inwards a little and see why you liked what you saw and in turn what that inspirers you to do or create. Lastly, these dancers also live and work in this community every week out of the year, just like everyone else, and it's important to support what you've got locally.

Review: 2009 Theatre Roulette

2009-09-02T01:53:00.001-04:00

This year the playwright festival is all about the dramedy

By Dwayne Steward
Metromix Columbus
Associate Producer
May 8, 2009

We got a chance to check out a slice of MadLab Theatre's 2009 Theatre Roulette lineup and, as is usually the case with MadLab, it's a show that shouldn't be missed.

The independent troupe is in its 10th year of putting on the popular short plays festival, a daunting milestone of its own, with this year featuring 10 plays whittled down from more than 700 submissions from around the world.

The show May 7 kicked off the second weekend of performances, which are slated to run with three themed nights of shorts through May 23. We had the pleasure of sitting in on "High Crimes," featuring four plays filled with drama, comedy and murder. ("Idle Hands" and "Ignorant Bliss" are the two other themed nights.)

The highlight of the night was the spritely "Not Funny" by Massachusetts playwright Christopher Lockheardt. Under the direction of Jennifer Feather, the play hit a comedic stride like none of the others.

In this parody about how couples sometimes struggle to communicate, the lights come up on Emily (Amada Howell), who has just stabbed boyfriend Brad (Josh Kessler) for refusing to be serious during an argument. Howell shines with Emily's rollercoaster of emotions, one minute concerned about Brad's condition and the next berating him about his lack of self-control, all while he writhes on the floor in pain. Brad is equally hilarious, literally hanging on to his biting wit with each breath.

"Sit Still" brought a stellar showcase of Traci Weaver as a woman already past the brink, fielding questions from a detective (Brian Spangler-Campbell) about the disappearance of her husband. Weaver throws out some pretty raw emotions as an abused woman who may—or may not—have been driven to murder.

Playwright Jae Kramisen of New York melds the past and present effectively, while director Randi Morgan intelligently helps guide the audience with conveniently placed spotlighting. Spangler-Campbell also showa some serious versatility with his instant transformations between the detective and the abusive husband.

"The Alpha Bindleman" by Californian Paul Braverman also starred Spangler-Campbell as a company's star employee who becomes the target of his insane superiors. His boss, Douglass (Jim Azelvandre), has decided it's best for the company if they kill Bindleman, cut him up into pieces, grind his bones to a pulp and feed him to the employees in hopes of spreading around his efficient behavior.

The actors make what they can of this ridiculous story line. Spangler-Campbell displays the absurdity on his face throughout, while Azelvandre is a scene-stealer with his overly-nerdy display as a supervisor, seeming to take some of his cues from the cult-classic "Office Space." Douglas' imps, Reily (Ric Shoemaker) and Felicia (Rachel Wiley) offer a crowd-pleasing entrance, especially Wiley's infectious crackling that adds flavor to an otherwise flailing plot.

"Extreme Green" by Columbus playwright Tay Dreher takes a stab at the sometimes overly-hyped environmental movement. Two conservationists (Traci Weaver and Phillip Hickman) dream about their takes on the movement, each offering a campy look at both sides of the argument. The clothed portrayal of an environmentally friendly porno draws the biggest reaction, and a segment on a doctor who refuses to treat a dying patient (Stephen Woosley who seamlessly tackles a slew of roles) because it's not "natural" offers some comedic food for thought. Director Chris Lane brings out a few laughs, but overall this was a great idea that ultimately lost something in translation.

MadLab's 10th Theatre Roulette continues at 8 p.m. Thursdays, Fridays and Saturdays until May 23. The last night of the festival will showcase all 10 plays starting at 2 p.m. For the full schedule, tickets or more information, visit MadLab's Web site.

'Theatre Roulette' returns

2009-09-02T01:38:00.003-04:00

MadLab writer/director duo showcase latest offering at popular playwright festival

By Dwayne Steward
Metromix Columbus
Associate Producer
April 28, 2009

With hundreds of scripts coming in every year from all over the world, the selection committee for MadLab's "Theatre Roulette" doesn't always run with the local talent. Less than a dozen submissions actually make it to the stage each year, and odds are there are a few more worthy entrants outside of central Ohio.

But this year Columbus came up with not one but two plays featured in the lineup for the popular shorts festival, which runs from April 30 to May 23 at the troupe's theater on Grant Street.

Among the Columbus entries featured is "Exit Interview," the latest collaboration in a series of MadLab hits from writer Chris Morris and MadLab veteran director Stephen Woosley.

Being friends, the two have a typical communication pattern—e-mails, along with the occasional phone call or guys nights out—but unlike most friends, these conversations sometimes end up on stage in front of a large audience. "Exit Interview" is one such example, presenting the story of Dave (Jason Sudy), a man who can't seem to get the hang of dating. To solve his problem, he ingeniously decides that before letting his girlfriend, Betsy (Melissa Bair), cut him loose, she must first answer a few questions.

"It all came from an e-mail conversation," Woosley said.

"It was a byproduct of my own growing personal frustrations with the dating scene," Morris said. "Sometimes a relationship ends and you're not sure why. When you leave a job you sometimes do an exit interview to see what they liked about you or what you can do better. This character takes it to a literal extreme."

The duo met back in 1997 when Woosley was a writer for the school paper while studying law at Capital University. Morris was his editor. After graduation Morris moved to Chicago but later returned when Woosley was just getting his start at MadLab five years ago. After thriving for a year under the theater company's tutelage, Woosley roped Morris in, too.

"It's interesting our roles have kind of switched now," Woosley said. "He trusts me to mold his stuff."

However, after creating several productions together (including "Stripped Away," "Aphrodisia" and "Raye of Sunshine"), it begs the question: Why is this working?

"He and I don't share a brain," Woosley said. "But I do have a good feel for his material, and I can interpret it. We definitely work well together in that way."

"I typically just hand the script off to Stephen and let him run with it," said Morris, who also admitted he had yet to attend a rehearsal, with opening night just a few days away. "I trust that he'll create something that's in line with my vision."

MadLab's 10th "Theatre Roulette" opens 8 p.m. April 30 and offers 10 plays in three nights each weekend until May 23. Tickets are $6 to $12. For a full schedule, tickets or more information, visit the MadLab Web site.

Review: 'The Color Purple'

2009-09-02T01:44:00.003-04:00

Popular story gets flashy musical makeover

By Dwayne Steward
Metromix Columbus
Associate Producer
May 6, 2009

"The Color Purple" has come a long way.

Alice Walker presented the Pulitzer Prize-winning story about a group of black women during a post-Reconstruction Georgia in 1982. Stephen Spielberg then took the reigns and catapulted the tale to stardom with his 1985 film adaptation. A film propelling the career of Whoopi Goldberg—which included a star-studded cast (Danny Glover, Oprah Winfrey)—that was later nominated for 11 Academy Awards.

Then in 2005 Winfrey and Quincy Jones teamed up to bring the Tony Award-winning musical adaptation, featuring a script by Marsha Norman, who also wrote "'night, Mama" and "The Secret Garden," and a score by Brenda Russell, Allee Willis and Stephen Bray, each known for writing their own list of top-charted Billboard hits. An adaptation that finally made its way to Columbus, for a dazzling and packed opening night May 5 at the Ohio Theatre.

Like many musical adaptations, "The Color Purple" does present a somewhat sugar-coated, watered-down version of Walker's tragic tale of Celie, who, at 14 years old, had given birth to two of her father's children and was sold into marriage to an abusive sharecropper named Mister (Rufus Bonds, Jr.). But the emotional performances of the show's leading ladies made up for show's pitfalls in spades.

Kenita R. Miller was brilliant. She held much of the musical on her shoulders, portraying the broken essence of Celie with glowing innocence and tenacity. "Somebody's Gonna Love You" and her gut-wrenching aria, after her sister Nettie (LaToya London, an "American Idol" Season Three front runner) is separated from her, are simply remarkable. And her self-claiming moment in "I'm Here" at the end of Act II is the stuff of theater magic.

Miller's performance alone is only topped by her pairing with London. The chemistry displayed between the two sisters is the show's definitive highlight and one of the only true feelings perfectly duplicated from the novel to the stage. Their duet during "Our Prayer" sets the bar pretty high for all duets that follow.

Following Celie over four decades as she comes to grips with herself mentally and sexually, the story showcases the many women in her life that led to her finally gaining the strength to claim her own destiny. Sophia (Lynette DuPree), her daughter-in-law, offered a show-stopping segment with "Hell, No!," a tribute to women taking salvation into their own hands; and Shug Avery (Angela Robinson), an old fling of Mister's, helps build Celie's self-esteem with "Too Beautiful for Words," and later her faith with the show's title song.

The musical also progressively represented the intense love affair between Shug and Celie, a storyline completely left out of the Spielberg film. In a bold move, instead of ending with a bedazzled, full company Act I closer, the curtain falls on the love song, "What About Love?," featuring Robinson and Miller.

The men weren't too shabby either. Harpo (André Garner), Mister's son and Sophia's husband, was a refreshing aside, adding spunk and comic relief to campy, crowd-pleasers "Brown Betty" and the Sophia duet "Any Little Thing." Bonds shined during Mister's moment of self-revelation in "Celie's Curse," but his ruthlessness paled in comparison to that which was displayed by Glover in the film.

Director Gary Griffin's staging rushed through much of the book's detailed storyline, sometimes making it hard to keep up with the deep emotions constantly changing onstage. But John Lee Beatty's beautiful set designs definitely stayed the course, showcasing the poor Southern climate of the time with striking panache, while Paul Tazewell's period costumes perfectly presented the 1930s sentiment.

The musical does have its flaws, but if nothing else "The Color Purple" must be seen for its emotional tribute to the brilliant untold story of how black women thrived, with dignity and grace, during a time when they were considered less then second class.

"The Color Purple" is showing at Ohio Theatre until Mother's Day on Sunday. Tickets are $22.50 to $64.50, for more information call (614) 469-0939 or visit http://www.broadwayacrossamerica.com/.

Review: BalletMet's 'The Great Gatsby'

2009-09-02T01:33:00.001-04:00

Tribute to Roaring ‘20s sparkles during world premiere

By Dwayne Steward
Metromix Columbus
Associate Producer
April 25, 2009

BalletMet all-star Jimmy Orrante had the daunting task of staging F. Scott Fitzgerald's literary masterpiece, "The Great Gatsby," for his first full-length ballet, which premiered April 24 at The Capitol Theatre. And we'd say he succeeded.

Pulling out all the stops, BalletMet presented a dazzling, must-see spectacle, at the center of which was Orrante's magnificent choreography, showcasing him as an artistic force to be reckoned with.

"Gatsby," a tribute to the overconsumption and moral wasteland that was the Jazz Age—often referred to as the Roaring ‘20s—follows Jay Gatsby (David Tlaiye), an inspiring entrepreneur whose only objective is to win the heart of former love Daisy Buchanan (the bubbly Jamie Dee), who is married to Tom Buchanan (Jackson Sarver).

In order to translate "Gatsby" from print to stage, Orrante took a few creative risks that really paid off, effectively stripping the novel down to the central love triangle. Tlaiye and Dee shine as the primary couple. An undeniable chemistry electrifies between them during the various pas de deux they perform throughout the show.

There was just as much drama as dancing, notably from Amanda Phillips-Bosshart, who played Tom's mistress (the ill-fated Myrtle Wilson), and Bryan Jenkins as her husband, George. Jenkins' raged moment of torment after his wife's death is one of the best, presenting a perfect marriage of movement and emotion.

However, it's the boisterous Gatsby parties that are the real showstopper. Employing that controlled chaos BalletMet loves so much, the stage filled with party guests, each working on their own versions of the fox trot while popular jazz and swing tunes pumped through the speakers. The only regret of the night is that there wasn't a live orchestra to complement the production.

Other notable roles include Nick Carraway (an underused Adam Hundt), who acts as narrator, and his love interest Jordan Baker (the elegant Annie Mallonee). Their cheery duets add a complementing contrast to Tlaiye and Dee's tragic love story.

The production sports some pretty outstanding set designs by Peter Farmer, along with beautiful period costumes designed by Rebecca Baygents Turk. Extravagance was the name of the game in 1922, and Farmer and Turk don't hold back in representing it. The girls are adorned in gorgeous flowing dressed and fitted headwear, while the men (somehow still dancing with fluidity and grace) are wrapped in three-piece suites and sharp tuxedoes.

This show is definitely the bees knees, and after watching Orrante soak in the packed house's standing ovation during the final curtain call, it begs the question—where has BalletMet been hiding Orrante all this time? We think it's time Orrante was made a permanent part of the great artistic team.

Choreographing history

2009-09-02T01:26:00.002-04:00

BalletMet’s star dancer presents highly anticipated world premiere this weekend

By Dwayne Steward
Metromix Columbus
Associate Producer
April 20, 2009

When most people think of the Jazz Age—that era of glitz and glam during prohibition-torn 1920s America—the most recent thought might be of a tacky theme party they once attended in college, where the boys wore suspenders and top hats while the girls flaunted cheap beads and fancy thrift-store dresses.

Well, BalletMet Columbus' Jimmy Orrante hopes to do you one better with the opening of his world premiere of "The Great Gatsby" at the Capitol Theatre Friday night.

F. Scott Fitzgerald's classic cautionary tale of materialism and overconsumption mostly surrounds a love triangle between Jay Gatsby (David Tlaiye, Gabriel Gaffney Smith), Daisy Buchanan (Jamie Dee, Christine Mangia) and her husband Tom Buchanan (Jackson Sarver, Jeffery Diehl). Daisy chooses wealth and stability over love when she marries Tom over Gatsby, only to find herself back in Gatsby's arms years later after he's made his fortune. All occurs under the watchful eye of Nick Carraway (Adam Hundt, Jeff Wolfe), who serves as the story's narrator.

Though the five-year BalletMet all-star has been a principle dancer in nearly every production this season ("Dracula," "The Nutcracker") and has over the years even choreographed his own smaller works and parts of full-length pieces ("Aladdin," "Alice in Wonderland"), Orrante found tackling his first full-length ballet a bit of a challenge.

"The show touches on a lot of what's in the book, but the challenge was making the dances into a story that the audience would understand," Orrante said at a preview of the show earlier this month. "I see it as a love story that was there but couldn't take place because of how society operated at the time."

The show takes elements of the exciting jazz and swing music that reigned supreme at the time, showcasing impressive use of the full company (28 dancers) doing intricate tango and fox trot steps during elaborate party scenes that Gatsby throws throughout the novel.

But Orrante found he had to also incorporate softer music from other eras during any pas de deux between Gatsby and Daisy. Orrante also assured that all would play out against a gorgeous backdrop of BalletMet's typical elaborate sets and spot on period costumes designed by Rebecca Turk.

Operating on a short production time span, much of the show was organically constructed with steps literally going from Orrante's head straight to the dancers.

"I gave them a lot of freedom to do what they wanted, especially during the party scenes," he said.

Gerard Charles, BalletMet's artistic director (sitting back this time as the show's ultimate cheerleader), can't help but see the shows ultimate potential, saying he suggested "The Great Gatsby" for two reasons.

"I thought people would be attracted to this show and saw that it could possibly be something that we could take on the road," he said. "Also everyone is looking for the next full-length thing, so people could indeed come knocking down [Orrante's] door."

To which Orrante replied—-while laughing-—"I would need to take Daisy with me, because I don't know the steps."

"The Great Gatsby" runs at the Capitol until May 2. Tickets are $25 and $45, visit www.balletmet.org for more information.

Review: 'The Clean House'

2009-09-02T01:20:00.002-04:00

CATCO presents Columbus premiere of hot new script from young playwright

By Dwayne Steward
Metromix Columbus
Associate Producer
April 5, 2009

The Contemporary American Theatre Company has a hot one this month with its presentation of "The Clean House," a quirky script from young New York playwright Sarah Ruhl. The show will run in Studio One of the Vern Riffe Center until April 26.

Rahl's Pulitzer Prize-nominated script offers two hours of laughter under Jonathan Putnam's direction, but it does try a bit too hard to drive its point home, seeming at times to be metaphoric simply for the sake of being metaphoric.

The play chronicles the lives of Matilde (Eleni Papaleonardos)—a sometimes overly delightful cleaning lady/comedian extraordinaire who hates to clean just as much as she loves to tell jokes—and the highly dysfunctional family for which she works. The play opens with her boss, Lane (Katherine Clarvoe), convinced her cleaning lady won't clean because she's depressed. A series of events leads to a handful of jokes in Spanish, a cheating husband, a sister whose obsessive-compulsive tendencies finds her cleaning other people's homes and the most awkward husband-wife confrontation ever.

Papaleonardos, a CATCO newcomer, leads the cast with a charming wit that often outshines her co-stars. She brings a child-like innocence coupled with spot-on comedic timing that gives each punch-line a slightly more seductive bite. Her brilliance is heightened by her pairing with Anne Diehl as Virginia, Lane's germophobic sister. The duo share some of the script's funniest dialogue.

After discovering a pair of red underwear in the pants pocket of Lane's husband, Charles (Chuck Gillespie), who's also a surgeon, Matilde describes how the steamy hospital drama might play out. "If it's a nurse, I bet they pass each other in the hospital and she would say, ‘Hello doctor,' and she knows and he knows ... no underwear," she whispers seductively. To which Lane declares, "No underwear in a hospital? It's unsanitary!"

Clarvoe, also a CATCO newcomer, doesn't quite hit her stride as the overbearing, overachieving surgeon until she discovers the affair at the end of the first act. Her blind-sided reactions during a visit from her husband, who's to end their marriage, are both tragic and hilarious.

Gillespie and Kerry Shanklin perform double duty as Matilde's parents during her imaginative flashbacks and the husband-mistress pair. Shanklin effectively counters the play's comedic bite, playing Anna, Charles' mistress, whose body is taken over by a fatal disease, while Gillespie infuses his role with a side of buffoonery that's endearingly ridiculous, but, at times, also off-putting and over-the-top.

Cast against an elaborate living room setup (courtesy of set designer D. Glen Vanderbilt Jr.), "The Clean House" is a play that dissects the effects of laughter and how a good joke could be the best medicine. Each character learns that a clean house isn't a substitute for a clean life.

Tickets for "The Clean House" are $11.50 to $40. For more information visit www.catco.org. You can also get a sneak peek of the show by checking out CATCO's "The Clean House" preview video on YouTube.

Lemongrass Fusion Bistro

2009-09-02T01:17:00.002-04:00

Trendy diner offers artistic fusion of American and Asian cuisine

By Dwayne Steward
Columbus Metromix
Associate Producer
March 27, 2009

If you take a quick drive by Lemongrass Fusion Bistro, you'll probably miss it. The restaurant is nearly hidden, surrounded by scrunched-in storefronts along High Street in the Short North. The green and red neon signs give off more of a 24-hour-convenience-store vibe than a trendy upscale Asian restaurant.

But upon walking through the door, everything changes. The under-the-sea decorating scheme, white table-clothed dining rooms and high-class, pan-Asian menu make the small bistro feel more like a transplant from deep within Manhattan's hip sushi bar scene.

Food: The Lemongrass menu is full of what they like to call "fusion fare," an interesting mixture of Asian and American cuisine. Though they aren't exactly reinventing the wheel, they have added their own special spin. The menu is dotted with Lemongrass trademarks, including the Lemongrass salad, Lemongrass soup and Lemongrass roll, to name a few.

The food here is pretty delicious, and you won't be breaking the bank if you decide to stop in for a meal. The house-made pad Thai ($9) is a great lunch dish that can be shared. The entrée contains rice noodles, snow peas, carrots, bean sprouts and crushed peanuts, stir-fried in a semi-spicy lime sauce. Like many of the dishes, it can be ordered with shrimp, tofu or chicken.

For sushi try the spicy shrimp tempura and cucumber roll ($8). The seven large servings come with an amazing house-made spicy mayo dipping sauce. And, according to the waiter, house-made sauces are the restaurant's specialty.

If you're a vegetarian be sure to request a special menu they offer just for you.

Libations: Though the Lemongrass bar is pretty small in comparison to most, don't be fooled. The restaurant has a wine cellar on site that requires a menu sheet of its own. Order from the lofty selection by the glass ($7-$9) or the bottle ($24-$79). There's also a large selection of cocktails including the Lemongrass martini ($8)—mandarin vodka, pomegranate and lime—or the mai tai ($8), made from a secret in-house recipe. There's also a plethora of mainstream and international beers, along with a full list of sake and the usual soft drink options.

Décor: When you first walk into Lemongrass you'll see the slightly cramped bar area, but the establishment opens up into a multi-roomed dinging hall. A baby grand piano separates two dining rooms where abstract, sea-centric art covers the walls, all of which seem to be for sale. A winding staircase at the front of the restaurant leads to an upstairs nook where more seating is available.

Service: The service is exceptional. The staff is prompt and knowledgeable. If you're not really a sushi expert, ask your server for help with choosing some of their specialties. Or inquire for their wine suggestions if the list seems a bit daunting.

Crowd: The prices at Lemongrass don't really alienate anyone when it comes to the crowd. It's a great place for sushi lovers, but if you're just into some light Asian options or are a vegetarian looking for something upscale, Lemongrass will work for you, too.

Bottom line: Lemongrass Asian Bistro may be one of Columbus' best-kept secrets when it comes to great food without the outrageous cost. We recommend it for anyone looking for a hip date-night option or any professional looking for a lunch upgrade during a busy day.

Review: Shadowbox's 'Born to Be Wild'

2009-09-02T01:01:00.002-04:00

New show has great sketches but lacks musically

By Dwayne Steward
Metromix Columbus
Associate Producer
March 26, 2009

Paying homage to the wild and crazy partying that often comes with this time of year, Shadowbox Cabaret has unleashed its "Born to be Wild" rock ‘n' roll/sketch comedy show onto the Columbus masses, running from now until June 6 at their Easton Town Center theater.

The independent troupe's comedic chops are in rare form, with head writers Jimmy Mak and David Whitehouse stealing much of the show. The best sketch of the night, "Spazoids—Cutting a Rug," features them both in a nerdy, Dungeons and Dragons-loving trio (with Andrew Cioffi), as they traverse the treacherous waters of a high school dance.

Mak also garners a huge response with his parody of Vince Offer, the famously annoying pitchman of those ShamWow absorbent sponge infomercials. He's also at the center of a handful of faux-commercials for Bolders Coffee. Mak also channels an oily, sharp-tongued video jocky in "AT 40: Van Hatin'" that co-stars Steve Guyer, Shadowbox's artistic director, as a drugged-out David Lee Roth. The skit features another of the show's highlights with parodies of New Kids on the Block, Miley Cyrus and the Pussycat Dolls.

Many of the skits feature Spring Break themes, including the hilarious "Spring Break: The Game," a mock infomercial where Jerrod Roberts and Katy Psenicka tote a board game for high school kids too young to experience the festivities. Each move, however, comes with the horrid side effects of partying, from head-splitting hangover headaches to clinic STD testing.

Whitehouse teams up with Amy Lay in the "I Love Lucy" spoof "I Love Britney," replacing Lucy with the fallen pop star. Lay irresponsibly tosses about a baby doll while drinking out of a bottle of Grey Goose. Ethel (Mary Randle) also shows up with a hilarious Lindsay Lohan joke and finds herself in on another of Britney's "hair-brained schemes." BillWho?, the Shadowbox house band, also joins in on the fun, making the skit one of the best of the night.

Though the sketches are probably some of Shadowbox's best, the singing isn't entirely on point.

BillWho?-—joined by Matt "The Beast" Buchwalter on drums—-is phenomenal with killer guitar, drum and bass solos on "Rock ‘n' Roll All Night," "Keep Yourself Alive" and "Don't Look Back." The brilliant guitar riff leading into the night's closing song, "Eruption/Atomic Punk," a Van Halen medley, pretty much sums up the band's musical excellence.

It's the vocals, however, that don't quite cross past a karaoke rating.

Tom Cardinal and Jerrod Roberts muddle through "Cold Hard Bitch" while Lay heavily over-sings on "Nasty" and "Eruption/Atomic Punk." It was nice to hear a song currently on the charts for once, with Jennifer Hahn's Fall Out Boy cover "I Don't Care," but Noelle Grandison's successful attempt at "Respect" was the only noteworthy vocal performance of the night.

"Born to be Wild" is a definite crowd-pleaser for the Shadowbox regular, but if you're looking to pop your Shadowbox cherry you might want to check out their amazing rendition of "A Funny Thing Happened on the Way to the Forum" (showing Sundays through April 26) or hold off until "The Best of Shadowbox" takes over the Easton theater this summer.

Out@Wex is back

2009-09-02T00:40:00.004-04:00

Popular film festival returns to Wexner Center with focus on New Queer Cinema

By Dwayne Steward
Metromix Columbus
Associate Producer
March 9, 2009

Click here for my photo essay on the Out@Wex Gay and Lesbian Film Festival