Name: Richard Jones. The "0" was added in college because I was born without a middle name. Long story.

Primary Occupation: Writer, Arts Journalist and Critic. 20 years with the Hamilton Journal-News, now part of Cox Ohio Publishing. More...

Orange Blazes

Terrance Huff on MySpace.com
T-Minus Productions

UPDATES

Sally Heller's Colorful Detritus

February 02, 2008

Local filmmaker debuts documentary

January 22, 2008

Sea Monsters at the OmniMax

October 01, 2007

Keeping an 'institution' fresh year after year

December 05, 2008

Shakespeare lives in the Roaring Twenties Know gets 'bare'

March 28, 2008

Cincinnati Playhouse announces '08-'09 season

March 16, 2008

It takes a madman....

March 10, 2008

Screaming Mimes make some noise

January 15, 2008

Those Horrible Herdmans

December 07, 2007

Who in the World is Ellie Greenwich?

November 30, 2007

A Very Nunny Christmas

November 22, 2007

Joy Christiansen Erb: Revealing secrets in the living room

October 14, 2008

Artists explore outer space at CAC

February 03, 2008

Sally Heller's Colorful Detritus

February 02, 2008

Photographer focuses on mystery

December 14, 2007

Young artist’s work a reminder of his roots

December 07, 2007

Watts Prophets leave a trail of poetry

April 09, 2008

A different kind of Cirque in the arena

November 19, 2007

Mozart for the TV generation

November 09, 2007

‘Balanchine’s muse’ recreates his ‘Chaconne’

Dawn Cooksey: Because it's therapy

December 22, 2008

Hotel Cafe Tour boasts up-and-coming singer/songwriters

October 31, 2008

Ellie Fabe: Checking back in

October 23, 2008

Natalie Stovall: Peace, Love, Fiddle

October 02, 2008

Sparrow Quartet finds its wings

September 18, 2008

Dawn Cooksey: Because it's therapy

December 22, 2008

Keeping an 'institution' fresh year after year

December 05, 2008

Shakespeare lives in the Roaring Twenties Hotel Cafe Tour boasts up-and-coming singer/songwriters

October 31, 2008

Ellie Fabe: Checking back in

October 23, 2008

-- columns --

December 22, 2008

Dawn Cooksey: Because it's therapy

Go! Feature

"I write songs because I need to," said Yellow Springs singer/songwriter Dawn Cooksey. "I would write them even if I didn't play them for anyone."

It's therapy, she said, and she knows a little bit about that because she is a therapist and a licensed social worker. For a time, she worked for an agency in Hamilton, and through her contacts began performing for the Farmer's Market, which in turn led to her upcoming appearance at the Music Cafe on Tuesday, Dec. 23.

Born in Dayton, Cooksey lived several years in Austin, Texas, where she performed in the folk/alternative rock band Dik Dam Dyk. It was in the Austin open mic nights that she overcame her fear of performing her own songs.

"I didn't think anyone would care about my problems," she said. "I'd be a wreck for days before a gig, but I told myself I'd go every week until I'm not scared anymore.

"It took a long time."

Her songs tend to be sad, mad and everywhere in between, she said. "There have been a few exceptions, but I generally don't write when I'm happy and enjoying my life — which is most of the time.

"There are a few exceptions that blow me away, but happy songs tend to be kind of dorky anyway," she said.

She has a band, 68 South.

 Dawn Cooksey on MySpace

December 05, 2008

Keeping an 'institution' fresh year after year

Go! feature

Having played Bob Cratchit for two years prior to taking over the helm as the director for the Cincinnati Playhouse in the Park's production of Charles Dickens' "A Christmas Carol," Michael Evan Haney has been involved in what is now a Cincinnati tradition from the very beginning.

"It's really become a part of my life," he said. "I never thought I'd be involved in a play that would become a city-wide institution. When we started, we didn't even know there would be a second year, but even though it was not critically accepted, it was good in audience numbers."

Every year before rehearsals start, Haney goes back to the original novel and reads it — even though the adaptation uses nearly the same dialog word-for-word.

But he still looks forward to it every year with the goal of putting on a "crackerjack" performance.

"Other groups that do this often allow the quality to slide as the years go by," he said, "but that's just a sacrilege. Dickens is just a sacred as Shakespeare.

The key, he said, to keeping it real is to remember one thing.

"I wrote it at the top of my script: 'It's about Scrooge, stupid,'" Haney said. "The ones that are not successful are those that lose that focus."

For instance, some productions have made that into a lavish, show-stopping production number.

"But you have to remember Scrooge's involvement in the party," he said. "If he's not at the heart of it all, you're in trouble."

Local favorite Bruce Cromer will be humbugging as Ebenezer Scrooge for the fourth year.

"Bruce is a wonderful actor and his Scrooge is special because he never stops working on it," he said. "Each year, he finds something new and closer to the human soul of what Scrooge is.

"I call Scrooge 'the middle-age man's Hamlet' because he goes through just about every human emotion possible."

Also returning are Dale Hodges as the Ghost of Christmas Past/Mrs. Peake, Keith Jochim as Mr. Fezziwig/Ghost of Christmas Present, Todd Lawson as Young and Mature Scrooge, Gregory Procaccino as Jacob Marley/Old Joe, Andy Prosky as Bob Cratchit, Regina Pugh as Mrs. Cratchit, Wayne Pyle as Mr. Cupp/Percy, Tony Roach as Fred, Ron Simons as Mr. Sosser/Topper and Amy Warner as Mrs. Fezziwig/Patience.

"Almost everybody, from Scrooge on down, is a little richer this year and I see some nuances that I haven't seen before," Haney said. "It's like Shakespeare in that the text is so dense with so many levels that you can find all sorts of different ways to use them."

A lot of the production, however, remains exactly the same.

"It's a major decision to change anything," he said, "and you have to have meetings. We changed Marley's entrance a few years ago, and so had to change all the sound and technical cues."

how to go
WHAT: Charles Dickens' "A Christmas Carol"
WHERE: Cincinnati Playhouse in the Park
WHEN: Through Dec. 30
COST: $31-$59
MORE INFO: www.cincyplay.com

Bruce Cromer as Ebenezer Scrooge/Sandy Underwood

Shakespeare lives in the Roaring Twenties

Go! feature

The Great Gatsby meets the Bard of Avon as the Cincinnati Shakespeare Company updates the comedy "Twelfth Night" to the Roaring Twenties.

Directory Jeremy Dubin said he hit on the idea over the summer while reading F. Scott Fitzgerald's classic novel of a man who re-invents himself so that he can work his way into the upper reaches of society.

"I was struck by the similarities between the characters," he said, "and of what comes out of trying to change your fundamental nature.

"And I felt that the scenes with the clowns Toby Belch and Feste have a vaudeville flavor that would work nicely in this kind of format."

The official synopsis:

After a shipwreck, Viola (Sara Clark) finds herself separated from her twin brother Sebastian and alone in the city of Illyria. Bereft at the loss of her brother and forced to make her own way in the world, she disguises herself as a man, "Cesario," and takes a job in the court of Duke Orsino (Rob Jansen). Orsino is hopelessly in love with the Lady Olivia (Kelly Mengelkoch), who has refused all of his previous advances. When Orsino sends "Cesario" to Olivia to plead his case one more time, Olivia falls instantly in love with "Cesario". Meanwhile, Viola has fallen in love with Orsino, but cannot express her desires without revealing her true identity. The classic love triangle becomes further complicated when Viola's twin brother, Sebastian (Kristopher Stoker), arrives in Illyria and is mistaken for "Cesario." As the romance unfolds, Olivia's drunken uncle, Sir Toby Belch (Matt Johnson), conspires with Olivia's servants Maria (Sherman Fracher), Feste (Christopher Guthrie) and Fabian (Billy Chace) to play a practical joke on Olivia's stuffy butler, Malvolio (Jim Hopkins).

"'Twelfth Night' has so many story elements that resonate with the Roaring Twenties," Dubin said. "Women were becoming more independent, dressing in a more masculine fashion, and taking work outside the home, just as Viola is forced to do.

"Prohibition created a black market in bootleg alcohol that led to a lot of outrageous behavior, a perfect opportunity for Shakespeare's drunken rascal Sir Toby Belch to make mischief. And the birth of jazz created a free-wheeling atmosphere where the desire for true love was often at odds with the social mandate to be the life of the party."

While it's become common practice to put Shakespeare's stories in more contemporary environments, Dubin points out that it seems Shakespeare did the same thing in his day, with plays like "Julius Caesar" making topical references to things that Caesar would not have known about — a striking clock, for instance.

"He worked within a certain visual vocabulary, using his contemporary references to place a character's social status to make it relatable to his audience," he said. "We have our visual vocabulary, too, and these plays are not museum pieces, but relevant, living theater."

The danger, then, comes when the production distracts from the script, to become cute or irrelevant to the action.

"It's a trial and error process," Dubin said. "We're careful not to force things into the text that aren't there. You want to make sure that you don't make it something it's not."

_______________________

how to go
WHAT: "Twelfth Night" by William Shakespeare
WHERE: Cincinnati Shakespeare Company, 719 Race St., Cincinnati
WHEN: Through Jan. 4
COST: $26 adults; $22 seniors; $20 students
MORE INFO: (513) 381-2273; www.cincyshakes.com

photo: Rob Jansen and Sara Clark


October 31, 2008

Hotel Cafe Tour boasts up-and-coming singer/songwriters

Go! feature

 

New York singer/songwriter Jaymay is part of the Hotel Cafe Tour 

The Hotel Café in Los Angeles has become an influential venue — “the place that breaks artists” — featuring the country’s up-and-coming singer/songwriters.

“The stellar songwriters that grew The Hotel Café scene into community and camaraderie are the focus,” said spokesperson Patrice Fehlen, and the Hotel Cafe Tour, stopping next week at Bogart’s, follows the same formula.

“There are no headliners, the band is shared and spontaneous collaborations between artists are encouraged,” she said. “With a revolving cast of songwriters jumping on and off the bus, each evening is unique, creating a feeling of 'these people in this place will never happen again.’”

Now in its fourth year, Over the Hotel Café Tour will feature an all female line-up for the first time. Nineteen female songwriters, both established musicians and hot rising stars such have embarked on this 34-city tour, featuring a different line-up on each stop.

“One bus, one band, and a bunch of girlfriends on the road,” Fehlen said.

Cincinnati’s stop features Rachael Yamagata, Meiko, Thao Nguyen, Jaymay and Alice Russell.

“It’s almost like a talent show,” Jaymay said. “The band gets all of our songs in advance, so we go out and do three songs, let someone else play for a while, go back and do two more.”

 

how to go
  • WHAT: The Hotel Cafe Tour
  • WHERE: Bogart’s, 2621 Vine St., Cincinnati
  • WHEN: 8 p.m. Monday, Nov. 3
  • COST: $13.50
  • MORE INFO: (513) 562-4949; www.bogarts.com

 

October 23, 2008

Ellie Fabe: Checking back in

Go! feature

 

Cincinnati singer/songwriter Ellie Fabe is still finding her way back into the scene, making her second appearance at the Music Cafe at the Fitton Center on Tuesday, Oct. 28.

“I have two kids, and that can check you out for a while,” she said. “But they’re a little older, 10 and 14, so I’m just now checking back in.”

Admitting that it’s hard to negotiate her way this time around — there was no MySpace.com when she first started playing her songs — Fabe said her strategy is just to play as much as she can, especially in performer-friendly venues like the Music Cafe.

“Sometimes you find yourself in uncharted territory at open mic nights,” she  said. “But I’ve been writing regardless of whether or not I’m playing out, so you start to get into this ‘if a tree falls in the forest’ thing.

“So for now, I’m just trying to stay next to myself and not get too far out ahead.”

Part of that includes recording. Although she’s recorded some demos of her work, she’s not sure what to do with it all other than post it on MySpace.

“I’d love to make a record, but I don’t see that as something that will catapult you to the top,” she said.

Fabe, who is also a working visual artist, said her songs, laden with girl-longing themes, seem to be especially popular among teenage girls.

“My work is a little self-confessional,” she said, “writing about what’s going on with me — although a lot of it is fictional. I also like words that just go together well.”

Also performing at the Music Cafe will be Christian pop artist Kevin Stokely, Debbie Silverman and Mitch Lieberman playing novelty and parody tunes, singer/songwriters Myron Gabbard and Brent Burch, and folk/rock/country band Diamond Blue.  


October 16, 2008

Hamilton native slings his axe on "The Late Show"

JournalNews feature

NASHVILLE — Butler County native and Nashville guitarist Tim Baumgartner is a little nervous about his apperance on “The Late Show” with David Letterman, airing Friday, Oct. 17.

Except for a couple of music videos in which the camera has “breezed by,” this will be Baurmgartner’s first performance on national television.

Baumgartner takes two solos on “Butte America USA,” a song performed by country singer Tim Montana. The first, he said, he emulates the solo played by the studio musician on the record, but the second one is all his and he’s out front and center.

Montana is just one of several musicians that Baumgartner slings his guitar for. In fact, the Letterman appearance marked his 210th gig of the year, no small feat in a city overflowing with pickers.

Baumgartner said that his first musical gigs were playing in a family band at Queen of Peace Church that included his siblings and his mother, Celeste Baumgartner, a frequent Journal-News contributor, on mandolin.

Like many other guitar players from Hamilton, Baumgartner took his first lessons at Mehas Music with Dave Sams, now the resident guitar teacher at the Fitton Center for Creative Arts. 

While a student at Badin High School, class of 1985, he played in a couple of different rock bands, including Risk and Scimitar, both of which played a lot of original music.

He got his first taste of professional work at Kings Island at the encouragement of  his mother.

 "It was the best thing she could have done for me," he said. "I had spent my summers baling hay and making maybe $300 the whole summer. At Kings Island, I was making $300 a week playing 30 minute shows with one-hour breaks, and we were treated royally."

After a year at the prestigious Berklee School of Music in Boston, Baumgartner finished his education at the University of Cincinnati College-Conservatory of Music where he studied jazz guitar performance. He continued his theme park career in the meantime, not only at Kings Island and at Bush Gardens in Florida before moving to Nashville in 1992.

Tim Montana first approached him last summer to go on tour in (where else?) the state of Montana, which included a gig in Choteau, where David Letterman owns a vacation ranch.

He and one of the other band members were playing cards on the bus outside the venue after a sound check when Letterman came knocking on the bus door, wanting to meet Montana. Apparently, he was impressed enough to offer the band a slot on "The Late Show."

“He was just the nicest guy you could imagine,” Baumgartner said. “The people there treat him like one of their own.”

In New York at the theater, however, it’s a different story. While the band and the stage crew were all very friendly, he said, Letterman was kept isolated.

Although “The Late Show” normally tapes the same day as the broadcast, the Friday shows are sometimes taped earlier in the week. Other guests tonight, Oct. 17, include comedian Tina Fey, who has been making headlines for her impersonation of vice presidential candidate Sarah Palin.

“All in all, I think the performance came off great,” he wrote on his MySpace.com blog. “However... the TV mix won’t lie.  Any tuning or intonation glitchs that are buried in the live stage volume will come out clear on the TV mix. So... I am biting my nails until I see it.”

October 14, 2008

Joy Christiansen Erb: Revealing secrets in the living room

Go! feature

The exhibition is set up like a family’s living room, with furniture emblazoned with photographs and text.

“The images are mostly of people and the text comes from interviews I did with people with eating disorders and people who are close to people with eating disorders,” said Joy Christiansen Erb, assistant professor of photography at Youngstown State University whose “Family Gathering: A Look into the World of Eating Disorders,” opening next week at Miami University’s Hiestand Gallery, investigate the psychological and emotional effects of eating disorders.

“Eating disorders are often talked about in the media, but at the personal level, it’s often kept quiet,” she said, so her art makes an attempt to move the conversation from the tube to the living room.

“I first thought about how secretive eating disorders are,” she said. “They live in the home. So I created a desk to represent the mind and had things tucked away in the drawers so when you pulled them open and re-arranged things on the desk you could see more images and text.”

After that, she moved on to chairs to represent a counseling session. Facing each other, one chair expressed a professional, educating voice while the other had “a needy, raw” voice, she said.

She created the room of furniture for a traveling exhibition called “Share Your Voice” in 2005.

Her goal, she said, is to “help people, especially students, talk about their eating disorders and open up that dialogue.”

how to go
  • WHAT: “Family Gathering,” an installation by Joy Christiansen Erb
  • WHERE: Hiestand Gallery, Miami University, Oxford
  • WHEN: Oct. 21-Nov. 5
  • COST: No charge
  • MORE INFO: (513) 529-1883



October 02, 2008

Natalie Stovall: Peace, Love, Fiddle

Go! feature

It started out as a choice between acting lessons or violin lessons when Natalie Stovall was 4 years old. Because her mother had fiddled with a violin while carrying the child, music won out.

“I’m not even sure I understood what the instrument was at the time,” Stovall said, “but I had a lot of fun in class.

Practicing, however, was another matter.

“I liked the attention and I liked being on stage,” she said. “That was a big deal, but she couldn’t get me to practice until she figured out that if she took me to a park, people would gather around me to listen, and then I’d practice all day.”

She loved playing so much that her teachers sometimes chastised her for smiling too much during recitals. Music, after all, is serious business, Stovall learned, until she discovered the other side of the instrument, the fiddling side.

“You could play fast and you could play two strings at once and you could make it up as you go,” she said. “I continued classical training up until I was 16, just to work on technique, but I was really a fiddler by then.
When she was 10, she auditioned for a job performing in Opryland park when they asked her to sing something. She didn’t sing, she told them. Sing anything, they said. She sang “Happy Birthday” and got a job singing as well as playing fiddle, and taking voice lessons.

Stovall ended up studying at the prestigious Berklee College of Music in Boston, where she played in orchestras and formed her first band, taking them home to Nashville with her to play around there during the summers. The drummer in that band is still with her today, but it took her 27 different musicians to create the lineup, now together for two years, that will perform with her on Saturday at the Fitton Center.


September 18, 2008

Sparrow Quartet finds its wings

Continue reading "Sparrow Quartet finds its wings" »

September 10, 2008

Butler County 9-year-old publishes her first book

Journal-News feature

TRENTON, OHIO — Many children aspire to be authors. Some actually are.

Sydney Smith, daughter of Susan and Davis Smith of Trenton, has been writing and making her own books since she was 3 years old, according to her mother.

“I’ve always been interested in writing and drawing,” said Sydney Smith, who recently turned 9. “I got the idea for the book when I thought of a character’s name and made a comic book of the things that happened to her.”

Her mother said, “She came downstairs one day with a shorter version of this, but it was a real story with a beginning, a middle and an end, and a message, so I told her she should work on it some more.”

So Sydney Smith went back upstairs and for three days used her advanced knowledge of paper doll-making techniques along with a set of stickers and craft paper for making scrapbooks to create a 24-page picture book titled “Mary Jonathy: A Bad School Day.” Susan Smith served as her editor and did all the advance work to bring down the cost of publishing it through Author House, a contract publisher located in Bloomington, Ind. Although they wouldn’t say exactly how much it cost, they said the sales of the book — now approaching 100 — have covered the cost and they’re now in the black.

And Sydney Smith is enjoying the fruits of the writing life, giving readings at Border’s Books in Mason, which has “Mary Jonathy” in stock.

“I was a little nervous,” Sydney said of her first reading. “But when I saw all the kids on the floor, I said, 'I know I can do this.’ They seemed to like it.”

She will also have a booth at the Pyramid Hill Arts Fair on Sept. 27-28, her mother said.

She’s still thinking about her next book, Sydney said.

August 25, 2008

Mindy Smith's Cincinnati connection

Go! feature

Although Mindy Smith spent some time in Cincinnati — and joined  her first band while there — one gets a sense that it was not exactly a memorable part of the native Long Islander’s life. For one thing, she was recovering from the death of her mother, her musical idol and inspiration.

“She had the most beautiful voice I’ve ever heard,” said Smith, who was 19 when her mother died of cancer. “She had the ability to touch people, to move mountains with her voice. If I learned anything from her, it’s to put all of your emotion into your performance.”

So she found herself enrolled at Cincinnati Bible College.

“I went there because I had some friends who went there,” she said. “I was a lousy student, but I needed to get out of New York. I tried to do a band-thing, but that only lasted about two months. It was fun, but...”

After dropping out, she re joined her father, who had relocated to Nashville, and that’s where she found her voice and her instrument.

“That was my version of college,” she said, “learning how to write. I started out singing them a capella, but realized I needed to learn how to play guitar to accompany myself. But I felt like that’s what I was meant to do: Write original songs.”

Smith got to work on her career, going to songwriters showcases and open mics nearly every night. Winning the Tin Pan South writer’s contest in 2000 led to a staff position at Yellow Dog Music. The company allowed her to earn a living writing songs for others while she made demos and generated a buzz that earned her an appearance with Lee Ann Womack at South By Southwest and as the only unsigned artist on the Dolly Parton tribute CD, “Just Because I’m a Woman.” She was singled out by Parton herself for that project.

She’s still on the road for her 2007 album “Long Island Shores,” her second, playing solo acoustic sets.

“That’s really the way I like to do things,” she said. “That’s how I started out, so I’m quite comfortable out there alone.”

Official site

MySpace 

August 06, 2008

Couple calls their sound ‘Christian blues’

JournalNews feature 

HAMILTON — “Musicianaries” Gary and Julie Tussey have both been making music since they were children.

 

She’s a little bit pop and rock with three self-released solo CDs to her credit. He’s a little bit country and blues. Together they’ve hit upon a sound that has landed them a national distribution deal for their next record, “Dance!”

The Tusseys have been together as a couple for 13 years, but it wasn’t until about two years ago that they joined forces in their music ministry to perform as a duo, inspired by an enigmatic encounter after a gig.

“He always played piano with the floating left-hand technique like Jerry Lee Lewis,” Julie said.

“Then about two years ago, I was playing in a church, a guy came up to me after and said, ‘The Lord is using the guitar now,’” Gary said. “I think he meant it like a smart aleck, but I took it as a challenge,” and he retired to his studio to study.

For the next six months, even his wife didn’t really know what he was up to except that she’d hear him playing endless scales.

Then one day, he came to her with a riff he had written, and she immediately started writing lyrics to it, and they kept writing until they had their first duo disc in the can, a self-produced and self-marketed project they called “Hillbilly Praise.”

When they started on the second set, the music became more “rhythm ’n’ blues meets gospel,” they said, or what they decided to call “Christian blues.”

“‘Hillbilly Praise’ was more praise-and-worship, but for the next CD we tried to tell more life stories,” Gary said.

While there are still details to be worked out in regard to post-production on the music, the Tusseys hope that “Dance!” will be released in time for the Christmas season.

Contact this reporter at (513) 820-2188 or rjones@coxohio.com.

May 12, 2008

Never give up on your dreams, says local nurse and her family

Journal-News Mothers Day Feature

PROLOGUE — This Mother’s Day, a Seven Mile nurse will have a very proud daughter and mother helping her celebrate a milestone.

After 37 years of constant setbacks, health concerns and general life frustrations, Terri Sweeney will graduate from Miami University’s Hamilton campus today, May 11, as a registered nurse.

When she was 19 years old, Sweeney was in an automobile accident that kept her in and out of surgery for the next 15 years — and still occasionally feeling the pain. Then 12 years ago, she was diagnosed with breast cancer and endured chemotherapy and a double mastectomy.

“Most women would have given up a long time ago, but she kept going,” said her mother, Juanita Mayes. “For her to have become so strong is really good.”

“She’s my hero,” said Sweeney’s daughter Lisa Back. “I’ve always said when I was little that I wanted to be just like my mom.”

So even though Back doesn’t think she has the right stuff for nursing, she still pursued the medical field and works second shift registering emergency room patients at Mercy Hospital in Fairfield.

“Pretty much everything I’ve learned, I’ve learned from my mom,” she said.

Mayes believes that her daughter’s story is an inspiring one and hopes that other women will heed the lessons she’s learned.

“She’s exceptionally brave and has always been encouraging to other women,” she said.

 

THE STORY:

Terri Sweeney has always been a sensitive soul, even as a toddler.

“When she was a little girl riding around on her tricycle, she would fall, and with every little scratch, she screamed so loud every neighbor on the block would come running out,” said her mother, Juanita Mayes.

“If you sympathized with her, she’d never stop crying.”

But eventually, she learned not only to toughen up, but to use the pain she experienced to help others.

“Dogs, animals, anybody that had anything wrong, she would pick them up, bring them home and take care of them,” Mayes said.

When she was a teenager, she had what she called her “Marcus Welby bag,” named after the TV doctor.

“When somebody would get sick in the family or getting ready to have a baby, I’d put my overnight stuff in and spend some time with them, helping them get through whatever it was,” she said. “That’s when my light clicked on, when somebody needed help.

“I’ve always wanted to be a nurse. I felt it in my heart that I was a nurse.”

Life and its hardships got in the way, for a while. But today, May 11, Sweeney will finally achieve her registered nurse status at the age of 56 at a special graduation ceremony from Miami University’s Hamilton campus.

“She tried many times to get into nursing, but things would come up, and she’d have to drop her plans. It’s taken a lot of determination,” her mother said.

When she was 19 years old in 1971, she was a passenger in a car that struck a metal utility pole, just in front of where she was sitting.

“The engine was on my feet,” she said. “I was trapped.”

Her body was nearly shattered with a broken back, broken leg, broken foot and a broken jaw with several teeth missing.

 They kept Sweeney in a Cincinnati hospital for more than 30 days because she couldn’t be moved.

For the next 15 years, the injuries, the subsequent surgeries, the pain and the pain killers all kept her from going to school, but the idea of becoming a nurse was always on her mind. Instead she worked at all kinds of jobs, from waitressing to driving a forklift in a warehouse. From time to time, she would make steps toward school, taking self-study courses or college prerequisites, but something always seemed to get in the way.

She married, had a daughter, got divorced and met Stan Sweeney, who worked for the Middletown Fire Department and whom she married in 1986 — hobbling to the ceremony on crutches because of surgery on her knee.

At the time, she said, she had been accepted at Bethesda

Hospital’s nursing school, but lost her financial aid and decided instead to focus on raising her daughter and stepdaughter.

Then in 1996, she was diagnosed with breast cancer and endured chemotherapy and a double mastectomy.

Two things came of the experience. Her back pain went away, which she attributes to an unusual side effect of the chemotherapy.

And it helped put her back on track to pursue her dream of becoming a nurse.

“The whole time I was going through chemo, I thought there was something I was supposed to learn or do,” she said. “I felt like everything happens for a reason and that I should give it back.”

 At age 46, she gained her licensed practical nurse designation from Butler Tech in 1998.

Part of the inspiration, she said, were some of the nurses who cared for her.

“It was a great help to me to have a nurse take care of me who had been through it herself,” Sweeney said. “They tell you that 90 percent of your recovery is your attitude. So when I saw how much that helped me, I figured I could help others, too.”

With her body still recovering from the cancer and the chemotherapy, she found work on an as-needed basis for the flexibility, but also found herself taking care of Stan, who had a stroke and triple-bypass open heart surgery.

As she gained her strength, she worked in hospitals and long-term care units, but realized that being an LPN was too limiting for her ambition, so in August 2006, she started taking the classes needed for the Miami University nursing program on the Hamilton campus, working two or three 12-hour shifts a week in Mount Airy while taking classes and frequently driving to Dayton for clinics.

“Even if she didn’t feel good, she still got up to go to work or class and only missed one class,” her mother said. “She hasn’t stopped for a minute these last two years.”

Sweeney said she feels like she can be a good nurse because of the experiences she’s had.

“I know what it feels like to be the patient, what it feels like to be laying there sick and waiting for somebody to come and do something,” she said. “ Somebody’s got to be there for people.”

Sweeney said she especially feels the calling when she is caring for women.

“I’ve taken care of a lot of women who were newly diagnosed with breast cancer and they’re thinking this is it, this is a death sentence or they’re going to be sick the rest of their life,” she said.

“When you tell them that you’ve been through it, their attitude does this big turn-around,” she said.   And so at an age when her colleagues are finding a way out of the profession, she has other ideas.

Last week, she said one of her patients, a young man, expressed some shock when he found out she was graduating from college.

“You should be retiring,” he said.

She told him, “I’m just getting started.”


April 09, 2008

Watts Prophets leave a trail of poetry

JournalNews feature

HAMILTON — The paper can’t be as old as it looks. The poem was written just last week by a student at Talawanda High School, but already it’s creased and wrinkled and showing the wear and tear of continued admiration.

Amde Hamilton, one of the Watts Prophets, reads from it:

“You know that’s pretty bold coming to our school
Even though you’re so old, but it’s cool that you’re here.
It shows that you have no fear.
It shows that you care.
And let me tell you, that’s rare.”

And it’s cool that after 40 years of working with young people, helping them express themselves through words written and spoken, that the Watts Prophets would still be moved enough by the words of a teenager that they carry something like this around to share.

The Watts Prophets — Hamilton, Richard Dedeaux and Otis O’Solomon — first came together in 1967 at the Watts Writers Workshop in Los Angeles, which was created by screenwriter Budd Schulberg (“On the Waterfront”) from the ashes of the riots two years earlier.

“When we first came down there, Watts was called ‘Charcoal Valley’ because it was so burned up,” said Prophet Richard Dedeaux, “and there was still a lot of tension.”

Because so much of what was going on at the Watts Writers Workshop was for the theater and performing arts, the Prophets got the idea of making poetry more performance-oriented, thus becoming one of the early practitioners of what evolved  into hip hop.

“We were the ones to take poetry from the podium to the stage,” Dedeaux said. “At that time they’d just stand up at the podium and read their poetry. We decided to add a little drama to it and take the paper away.”

“Each poem became a complete play with a beginning a middle and an end,” Hamilton added, “with call and response, add music and a rhythm section.”

“We did a performance at a talent show at the Inner City Cultural Center, which is similar to the Watts Writers Workshop but located in another part of town,” O’Solomon said.

“They had singers, dancers, comedians and musicians, but never had any poets before and we came out with poetry and won second place,” Hamilton said.

While getting the award, someone asked them what their name was.

“We said ‘Watts Fire’ or something like that,” Hamilton said. But one of the young women in their group at the time shouted out that they were the Watts Prophets, and that name stuck through the years.

Their early success found them performing in Los Angeles-area clubs, opening for Earth Wind and Fire, the Fifth Dimension, Richard Pryor and other popular acts.

“A lot of college students would come through and a lot of them would ask us to come and perform there during the day,” O’Solomon said, and thus began the educational wing of the Watts Prophets.

A few years ago, a request from U.C.L.A. resulted in a change in the way they present themselves in communities around the nation. Rather than come in, conduct a few classes, do a show and then move on to the next city, they decided to create a “hip hop poetry choir” during their residencies and hope that they would continue beyond the Prophets’ stay.

“They scatted, chanted, hummed, sang, danced, painted, whatever creative way they can present their poetry,” Hamilton said. “We bring the community to the university and the university to the community. Some last; some fade out.”

But when they came to the Booker T. Washington Center last week for the first time, they discovered a hip hop education program already in place: The BTW Hip Hop Institute.

Even so, the center’s executive director Kelly Dukes said she was excited about the chance to have her 45 students work with hip hop pioneers like the Prophets.

“Part of the focus of the Hip Hop Institute is to teach them about hip hop history, to teach them something about music, so to have some of the founding members has really hit home for our students,” she said. “They have really helped them clean up their performance skills and to pay more attention to their writing technique.”

There are about 45 students regularly attending the group, the the Watts Prophets sessions helped narrow down the number to a select few who will join students at other sites from the residency — Talawanda High School, the Middletown Community Center and all three branches of the University — for a show at Hall Auditorium for the Miami University Performing Arts Series.

There, the students will practice “the three Ps” — posture, presence and projection — that are the heart of the Prophets’ technique.

“Those three things empowers them,” Hamilton said, “and we require 100 percent participation, so everyone gets involved. Once we’re through with them, they handle the whole show.”

But there is more for them to teach than just technique.

“We teach them to believe in themselves,” Hamilton said, “that they can change this horrible world that we have here right now.”

“When they respect themselves, they respect others,” Dedeaux added.

“We get them thinking about being the replacement generation, they’ve got to replace the group that went before them and they can change things and turn things around,” Hamilton said. “So it’s a combination of things.”

And as in most learning situations, the teachers are sometimes the students, too.

“We learn to listen more, to get more involved,” Dedeaux said. “We realize how intelligent they are. They have solutions to a lot of problems if you listen to them.”

  • WHAT: The Watts Prophets and the Oxford Area Hip Hop Choir
  • WHERE: Hall Auditorium, Miami University, Oxford
  • WHEN: 7:30 p.m. Friday, April 11
  • COST: $10 adults, $9 senior citizens, $5 for students/youth
  • MORE INFO: (513) 529-3200; www.muohio.edu/PerformingArtsSeries

Photos by Nick Daggy

 


March 28, 2008

Know gets 'bare'

Go! feature

“bare: The Musical” is, according to director Jason Bruffy, “sort of an epic story, but it deals with high school students in a Catholic boarding school.”

Peter and Jason, students hiding their relationship from their peers, are publicly exposed after they begin experimenting with “designer” drugs in the club scene and exploring their feelings further, and with others.

“It’s about whether or not they can accept their relationship, or whether the church can or the world can,” Bruffy said.

“bare” has been an underground hit for the last several years, making its Los Angeles debut in October 2000, then finding its way to New York and Chicago.

“It’s a little outside the norm of what musical theater is today,” Bruffy said, “drawing from influences like 'Rent’ and 'Spring Awakening.’”

Bruffy said one reason Know Theatre decided to do “bare” was because it gave them a chance to reach out to the regional college programs.

“We have some solid programs at CCM, Wright State University and Northern Kentucky University, so we went on a little bit of a search,” he said. “There’s a cast of 15, which is pretty big for us, and 12 of them are students or recent graduates.”

To fill out the adult roles, Bruffy not only pulled from the Know regulars but also wrote the Know’s first Equity contract by landing a guest artist appearance from Cincinnati resident Pamela Myers, whose resume includes a Tony nomination for the original Broadway production of Stephen Sondheim’s “Company.” She has appeared on such iconic TV shows as “St. Elsewhere” and in stage classics from “Gypsy” to “Sweeney Todd.” 

  • WHAT: “bare: The Musical”
  • WHERE: Know Theatre of Cincinnati, 1120 Jackson St., Cincinnati
  • WHEN: April 3-May 4
  • COST: $12-$22
  • MORE INFO: (513) 300-5669; www.knowtheatre.com

photo by Deogracias Lerma 

March 17, 2008

Going pro with a rock star fantasy

Go! feature

Gary Mullen had long been a rabid fan of Freddie Mercury and Queen when his mum pulled a fast one on him.

“I was always singing their songs when I was a kid, using my bed as a stage and a hairbrush for a microphone,” the Scotsman said. “Freddie was my hero: larger than life, super-confident, but also with a dark and insecure side.

“He was also very tongue-in-cheek with what he did and never really took himself seriously.”

Mullen played in a few bands and such in high school, but believed he’d had enough of that when it came time to raise his family and took a job with Compaq as a computer salesman, but continued to wow local karaoke audience with his Mercury impersonation.

Then with the consent of the missus, his mother put in an application for him to be on the British television show “Stars In Their Eyes,” a contest in which people impersonate famous singers.

“She knew I wouldn’t do it myself,” he said, “so when they called to tell me I would be in the show, I was incredibly sarcastic with they guy because I thought someone was having me on.”

But compete he did and when he won the Grand Final in 2000, “No one was more surprised than me,” he said.

He also found an opportunity to really make his dreams of being a rock star come true and put together a band “to re-create the Queen experience.”

“For some, it’s a nostalgia trip,” he said, “but the fans keep getting younger and I see people bringing their children and grandchildren. Sometimes I feel like one of the boy bands up there on the stage.”

Since 2002, “A Night of Queen” has been touring the United Kingdom and Europe virtually non-stop, and this year makes its first swing through the United States with rousing renditions of Queen’s greatest hits, such as “Bohemian Rhapsody,” “We Are the Champions,” “Somebody to Love” and “Another One Bites the Dust.”  

“Like Freddie, we give it 140 percent every night,” Mullen said. “Otherwise, you’re cheating the fans if they're not deaf and blind by song four.”

  • WHAT: “One Night of Queen” by Gary Mullen and the Works
  • WHERE: Procter & Gamble Hall, Aronoff Center for the Arts, 650 Walnut, Cincinnati
  • WHEN: 8 p.m. Saturday, March 22
  • COST: $30-$40
  • MORE INFO: (513) 621-2787; www.cincinnatiarts.org


March 16, 2008

Cincinnati Playhouse announces '08-'09 season

Go! Announcement

 

When it comes time to decide what to put on the stages at the Cincinnati Playhouse in the Park, producing artistic director Ed Stern says he doesn’t pick plays, he designs seasons.

“I could just pick 10 plays that I’d be really excited about, but it would be a terrible season,” he said. “When we put together a season, we want to celebrate the breadth and range of theater.

“If people want the same-old same-old every time, well, that’s what television is for.”

The Playhouse’s 2008-09 lineup includes one world premiere and six regional premieres as well as the return of one of the most popular shows in Shelterhouse Theatre history.

At the Marx Theatre, the larger of the two houses:

• A new musical version of Jane Austen’s “Emma,” with music, lyrics and book by Paul Gordon, who scored a Tony nomination for the lyrics to “Jane Eyre” in 2000. Audio excerpts from “Emma” are on-line at www.myspace.com/emmathemusical. Opening night: Sept. 4.

• John Kolvenbach’s “Love Song,” a quirky comedy about a man in a self-imposed exile that celebrates the rich rewards of embracing life and love. Opening night: Oct. 23.

• Cincinnati playwright Joseph McDonough scores his second New American Play Prize for “The Travels of Angelica,” the story of a writer on the run in Colonial America. Opening night: Jan. 22.

• Larry Shue’s classic comedy, “The Foreigner,” the story of a shy man who pretends to be from another country to avoid speaking to the locals while on a vacation. Opening night: March 12.

• A new adaptation of “Dr. Jeklyll and Mr. Hyde” by Jeffrey Hatcher (“Murderers,” “A Picasso,” “The Turn of the Screw”). Opening night: April 23.

The Thompson Shelterhouse season:

• Julia Cho’s “Durango,” the story of a road trip made by a Korean immigrant and his two teenage sons. Opening night: Sept. 25.

• A revival of “I Love You, You’re Perfect, Now Change,” the love-happy musical revue, with book and lyrics by Joe DiPietro and music by Jimmy Roberts, first presented by the Playhouse in 2000. Opening night: Nov. 6.

• “Blackbird,” by Scottish playwright David Harrower, billed as “a cat-and-mouse tale of volatile emotion and sexual intrigue.” Opening night: Feb. 12.

• Arlene Hutton’s “Last Train to Nibroc,” a World War II-era love story between May, a young woman who dreams of doing missionary work, and Raleigh, a soldier with ambitions of becoming a writer, that takes place on a cross-country train. Opening night: April 2.

• “Marry Me A Little,” a new story that recycles songs edited out of popular Stephen Sondheim musicals. Opening night: May 14.

Ticket Packages:
Subscriptions to the 2008-2009 Playhouse season are available now in a variety of packages. Prices range from $111.50 to $304 for the f
• Ten-Show Season: $312.50 to $564.50
• Five-show Robert S. Marx Season: $111.50 to $304
• Five-show Thompson Shelterhouse Season: $202 to $318
• “Build Your Own” package: $164 to $490.50 for four to nine shows
• Discounts available for senior citizens, young professionals and full-time educators.
• The Baby Sitter Rebate Series: Receive $100 at the end of the season to help cover the cost of baby sitters.
INFO: (513) 421-3888; www.cincyplay.com

 

Anna Bullard, R. Hamilton Wright and Mark Anderson Phillips in Arizona Theatre Company’s Dr. Jekyll and Mr. Hyde. Photo by Tim Fuller.



March 10, 2008

It takes a madman....

Go! Feature

You’d have to be a madman to attempt an adaptation of Herman Melville’s epic 700-page novel “Moby Dick” into a two-hour stage production.

But it would take a genius to be able to not only create a viable, producible work from it, but to also make it relevant and timeless.

“Orson Welles is the guy,” said Timothy Sekk, who plays the narrator — “Call me Ishmael” — in “Moby Dick Rehearsed,” the Acting Company’s touring production that will stop for a night next week at the Aronoff Center.

“In addition to this production being a visually stunning adaptation of a difficult novel that clips along at a wonderful pace, but it is timeless because of the human emotions — revenge and pride — that it deals with,” Sekk said.

“Because of the times we are living in, there are many parallels you can draw about an unstoppable quest for something that cannot be attained, this production can be extremely profound on many levels,” he said. “That’s not to say there’s a political spin on it, but simply that the allegory can affect you in a way you don’t expect.”

The premise is this: A troupe of actors circa 1840s, about the same time as the publication of “Moby Dick,” abandon their rehearsal of a play about one unforgiving, vengeance obsessed man, King Lear, to recreate another of the same emotional stripe, Captain Ahab.  

Set in an empty theater, a tyrannical actor-manager leads his crew and transports audiences to Captain Ahab’s fateful voyage across the open seas aboard the Pequod in search of the great white whale, Moby Dick.

“Our director, Casey Biggs, was very interested in a minimalistic approach to telling this story in a visually-interesting way,” Sekk said. “There are a lot of stage pictures that have literally been choreographed, using crates and rolling ladders to create a ship.

“It’s more exciting to have our imagination do the heavy work.”

  • WHAT: “Moby Dick Rehearsed” by Orson Welles
  • WHERE: Jarson-Kaplan Theatre, Aronoff Center for the Arts, 650 Walnut, Cincinnati
  • WHEN: 8 p.m. March 20
  • COST: $30
  • MORE INFO: (513) 621-2787; www.cincinnatiarts.org

 

March 06, 2008

Never too young to play old

 

Go! feature

Bruce Cromer figured he’d have to wait until he was in his 60s to perform “King Lear,” but he’s glad to be doing it at age 51 for the current Cincinnati Shakespeare Company production.

He’s been in “King Lear” twice before, including playing Albany in a joint production with the Cincinnati Playhouse in the Park and the St. Louis Repertory Theatre, and so knows the show a bit.

“I watched Joneal Joplin do it” in those productions, Cromer said, “and I saw the toll it took on him, and he was around 62 at the time, so I’m glad I’m doing it now because it takes an incredible amount of energy.”

In spite of his previous experience, however, he said that he’s learned so much about it from the inside of Lear this time around that he’s amazed how much he didn’t know.

“There are so many levels to it,” he said. “You dig around and get more out of it because every layer you push aside reveals something more.”

One thing he didn’t realize, he said, is how whiny Lear could come across if he’s not careful.

“There’s some humor in that, but no one wants to see an old man bemoaning his fate all evening long,” he said. “And then there’s the rage. I count 11 times when he just blows his top, but you can’t stay there all night either.”

So he said he’s taking the advice of director Brian Isaac Phillips to put off the madness for as long as he can.

“He slips away bit by bit, but he still comes up with some clear and lucid points,” Cromer said. “He slides into his madness as he loses everything, and it’s not until he gets thrown out into the street as a beggar that he begins to find himself.

“And I think he ages tremendously because of it and becomes very frail by the end.”

Cincinnati Shakespeare Company’s “King Lear” also features guest artists Nick Rose as Kent and Skip Lundby as Gloucester along with the resident ensemble.     

Phillips’ directorial concept focuses on Lear’s journey as a “stripping down of man to his bare essence to find the center of his humanity again,” Phillips said in a press release.  

King Lear, a story of “love and loss,” proves that “familial love is the truest love of all,” he said.

  • WHAT: “King Lear” by William Shakespeare
  • WHERE: Cincinnati Shakespeare Company, 719 Race St., Cincinnati
  • WHEN: March 28 through April 20
  • COST: $20-$26
  • MORE INFO: (513) 381-2273; www.cincyshakes.com
Photo by Cottage House: Bruce Cromer as King Lear and Kelly Mengelkoch as Cordelia

February 04, 2008

Corey Smith's 'calculated risk'

One of Corey Smith’s earliest memories is being allowed to hold his father’s guitar. “Dad played in bands and I sang in church when I was a kid, so I’ve been around music all my life,” he said. “I didn’t take it very seriously as a teenager, but because I was exposed to it at an early age, it came more or less naturally.” At age 7 he won third place in a talent show for his Elvis impersonation, but it wasn’t until he went to college and started playing to earn a little money that music took off for him. “I played cover tunes and would work in my original songs,” he said. “It’s a challenging way to go about it, but playing cover songs, I felt like people were plunking quarters into me and I didn’t like it.” After college, he taught high school social studies for four years, married and fathered two children, with the hope of having something like a normal life. But he continued to write and record and the time finally came when he took the “calculated risk.” “I knew I had to make a certain amount of money,” he said, “and once I realized that I could make more money in one sold-out show than in a month of teaching, it wasn’t such a hard decision.” Writing songs, he said, is “a lot like therapy.” “I never thought that making a living at this was an option, so I wrote the songs I wanted to write, about the stuff that keeps me awake at night,” he said. “But I was lucky that people responded to the sincerity, the authenticity, the whatever it is that the artist strives for, to be as open to ourselves as we can be.”