ARTS & CULTURE

ARTS & CULTURE ARTS & CULTURE

Sara Bennett Wealer

PHOTO:VALERIE EIDSEN

Cincinnati Author’s New Young-Adult Story Cincinnati Author’s New Young-Adult Story Is Sweet But Spooky Is Sweet But Spooky Sara Bennett Wealer’s coming-of-age novel Grave Things Like Love hits bookstores Oct. 11 for a gentle Sara Bennett Wealer’s coming-of-age novel Grave Things Like Love Halloween delight. Halloween delight. BY MACKENZIE MANLEY hits bookstores Oct. 11 for a gentle

BY MACKENZIE MANLEY

Elaine, the protagonist of Cincinnati-based young-adult author Sara Bennett Wealer’s latest release Grave ings Like Love, is known to her small town as “funeral girl.” e nickname isn’t a stretch — she lives above a funeral home that has been in her family since the 1800s. It’s assumed that she’ll one day take over her dad’s role as mortician, but Elaine isn’t so sure.

Grave ings Like Love is a sweet but spooky coming-of-age novel with a paranormal twist, and the Oct. 11 release date means you can add it to your reading list just in time for Halloween. Along with ghostly encounters, Elaine navigates numerous hallmarks of teenage life: evolving friendships, a love triangle, looming college applications, family expectations, mental health and learning to set boundaries.

Grave ings Like Love marks Wealer’s fourth novel, but the idea for its funereal setting goes back to the beginning of her career as a transportation reporter working outside of Pittsburgh. By happenstance, Wealer explains, her reporting led her to a funeral home.

“I can see it very clearly in my head. It was a big yellow Victorian house on a corner in a small town outside of Pittsburgh near the river,” Wealer tells CityBeat. “I was fascinated because the family ran it, and they lived upstairs. ey had this whole funeral home business down below.”

Wealer interviewed the owners for a feature about the ins and outs of running — and living in — a funeral home. Before she was able to write the article, Wealer changed jobs, but the premise stayed with her. Wealer moved with her husband to Cincinnati, where she brie y worked for the Cincinnati Enquirer, and has remained in the Queen City ever since. e idea of what it might be like to be a teenager living in a funeral home –– a place that people may be curious about or even afraid of –– especially interested Wealer.

“I always kept that in my head and wanted to write a book about it,” Wealer says. “And it was fun to bring in all those things that I learned from hanging around with that really lovely family.

Elaine, the protagonist of Cincinnati-based young-adult author Sara Bennett Wealer’s ey gave me a lot of rich ideas and an latest release Grave ings Like Love, insight into what it’s like to live in a place is known to her small town as “funeral like that.” girl.” e nickname isn’t a stretch — she Wealer found that the funeral backlives above a funeral home that has drop o ered plenty of fun and unique been in her family since the 1800s. It’s scenarios. For example, she references assumed that she’ll one day take over a scene near the beginning of the novel her dad’s role as mortician, but Elaine in which Elaine reluctantly drives her isn’t so sure. family’s Victorian horse-drawn hearse

Grave ings Like Love is a sweet for the town’s parade dressed like, as the but spooky coming-of-age novel with book explains, an “old-timey Morticia a paranormal twist, and the Oct. 11 Addams” from e Addams Family. release date means you can add it to Other research included watching your reading list just in time for Hal- YouTube videos of morticians discussing loween. Along with ghostly encounters, their eld of work and going into granuElaine navigates numerous hallmarks of lar detail about the funeral business, teenage life: evolving friendships, a love embalming process, preparing bodies, and more. Wealer says she also gave the rst draft to a friend who grew up across

triangle, looming college applications, family expectations, mental health and learning to set boundaries.

Grave ings Like Love marks Wealer’s fourth novel, but the idea for its funereal setting goes back to the beginning of her career as a transportation reporter working outside of Pittsburgh. By happenstance, Wealer explains, her reporting led her to a funeral home.

“I can see it very clearly in my head. It was a big yellow Victorian house on a corner in a small town outside of Pittsburgh near the river,” Wealer tells CityBeat. “I was fascinated because the family ran it, and they lived upstairs. ey had this whole funeral home business down below.”

Wealer interviewed the owners for a feature about the ins and outs of running — and living in — a funeral home. Before she was able to write the article, Wealer changed jobs, but the premise stayed with her. Wealer moved with her husband to Cincinnati, where she brie y worked for the Cincinnati Enquirer, and has remained in the Queen City ever since. e idea of what it might be like to be a teenager living in a funeral home –– a place that people may be curious about or even afraid of –– especially interested Wealer.

“I always kept that in my head and wanted to write a book about it,” Wealer says. “And it was fun to bring in all those things that I learned from hanging around with that really lovely family. ey gave me a lot of rich ideas and an insight into what it’s like to live in a place like that.”

Wealer found that the funeral backdrop o ered plenty of fun and unique scenarios. For example, she references a scene near the beginning of the novel in which Elaine reluctantly drives her family’s Victorian horse-drawn hearse for the town’s parade dressed like, as the book explains, an “old-timey Morticia Addams” from e Addams Family.

Other research included watching YouTube videos of morticians discussing their eld of work and going into granular detail about the funeral business, embalming process, preparing bodies, and more. Wealer says she also gave the rst draft to a friend who grew up across

“I love the idea “I love the idea of adding these of adding these little touches of little touches of weirdness,” Wealer weirdness,” Wealer says. “There’s says. “There’s something going something going on, but it’s not really on, but it’s not really explained. You have explained. You have to work with and to work with and deal with it.”

the street from her family’s funeral business.

“She read the rst draft and was like, ‘Oh my gosh, we had a hearse like that, too!’ ings like that were gratifying to see that I was on the right track,” Wealer says.

From the get-go, the opening parade scene lays the groundwork for multiple con icts explored throughout Grave ings Like Love. Elaine’s parents often sideline what she wants — hanging out with friends, exploring di erent career paths –– for the business’ needs. Her sister, Astrid, is growing up and seemingly apart from Elaine.

Readers also meet Xander, a strongwilled new kid with dreams of being a paranormal investigator. Naturally, Xander, who shares his ghostly ndings online, has his mind set on investigating Elaine’s home. As their relationship deepens, he convinces no-nonsense Elaine to go ghost hunting. Despite being wary of the supernatural, she just may nd herself and uncover family history in the process. Also in the mix is longtime bestie Miles, who isn’t a fan of Xander but loves watching the ctional TV show Dragon y with Elaine every week.

Wealer’s rst draft of Grave ings Like Love didn’t include a paranormal piece. Her editors encouraged her to thread in fun elements to make the book more engaging. Wealer’s last novel, Now & When, also included a touch of the supernatural via a time-travel plot.

“I love the idea of adding these little touches of weirdness,” Wealer says. “ ere’s something going on, but it’s not really explained. You have to work with and deal with it. In Grave ings Like Love, it’s a ghost.”

Wealer’s editors also noticed in early drafts that Elaine had anxiety and encouraged Wealer to lean into that detail. Elaine became Wealer’s rst character written explicitly to have anxiety. Even so, mental health doesn’t de ne Elaine’s story arc or personality; anxiety is simply something she has.

Wealer drew upon personal experience while writing a character with anxiety, though she notes that mental health and coping strategies aren’t one-size- ts-all. e anxiety she depicted felt less

limited to her personal experience and more universal due to seeing her children grow up and begin managing their own mental health. “I can see other people I care about who are needing to manage it, too,” Wealer says. “I think that’s why in this book, it became part of the story organically in a way that it might not have earlier.” Even so, Wealer says Elaine is the most “her” character she’s written. In addideal with it.” the street from her family’s funeral tion to their anxiety and being protecbusiness. tive older sisters, they share another

“She read the rst draft and was like, trait: both needed to embrace the fun ‘Oh my gosh, we had a hearse like that, of Halloween. e reader sees Elaine too!’ ings like that were gratifying to attempt to make peace with a holiday see that I was on the right track,” Wealer she dislikes. After all, talk of her home says. being haunted ramps up to an all-time

From the get-go, the opening parade high during spooky season. But this year, scene lays the groundwork for multiple she’s determined to step outside her con icts explored throughout Grave comfort zone. ings Like Love. Elaine’s parents often “She is a bit overly serious about sideline what she wants — hanging out it,” Wealer says of Elaine’s reaction to with friends, exploring di erent career Halloween. “It was fun writing that part paths –– for the business’ needs. Her sisbecause it was a message to myself to ter, Astrid, is growing up and seemingly lighten up a bit. [Elaine] goes out for Halapart from Elaine. loween and has fun. And so I think it’s

Readers also meet Xander, a strong- going to be great to have the book come willed new kid with dreams of being out around that time.” It’s tting that a paranormal investigator. Naturally, Grave ings Like Love, a book about Xander, who shares his ghostly ndings a teenage girl who lives in a possiblyonline, has his mind set on investigathaunted funeral home, includes a ing Elaine’s home. As their relationship Halloween scene complete with trick-ordeepens, he convinces no-nonsense treating and an impromptu party. Elaine to go ghost hunting. Despite While the book includes a love being wary of the supernatural, she just triangle between daredevil Xander and may nd herself and uncover family Elaine’s a able childhood best friend history in the process. Also in the mix is Miles, Wealer included multiple types of longtime bestie Miles, who isn’t a fan of relationships. Readers see Elaine grapple Xander but loves watching the ctional with her parents’ expectations, tension TV show Dragon y with Elaine every with her little sister Astrid, and changing week. friendship dynamics.

Wealer’s rst draft of Grave ings “To me, friendships are maybe even Like Love didn’t include a paranormal a little more important,” Wealer says. piece. Her editors encouraged her to “I’ve tried to portray strong friendships thread in fun elements to make the book with my main characters. I’ve had some more engaging. Wealer’s last novel, Now books where I’ve portrayed tense rela& When, also included a touch of the tionships, rivalries, because I think that’s supernatural via a time-travel plot. important, too. And sometimes they can

“I love the idea of adding these little fall apart when you’re that age.” touches of weirdness,” Wealer says. Wealer says she wants readers to have “ ere’s something going on, but it’s not fun with her book while taking away really explained. You have to work with the message that it’s normal to still be and deal with it. In Grave ings Like guring your life out as a teenager. Even Love, it’s a ghost.” if your family has expectations that may

Wealer’s editors also noticed in not align with yours, or you feel tugged early drafts that Elaine had anxiety and in di erent directions, it’s okay to not encouraged Wealer to lean into that know what the future holds. detail. Elaine became Wealer’s rst char“I won’t spoil the end, but Elaine nds acter written explicitly to have anxiety. a compromise for something she can do Even so, mental health doesn’t de ne for now that she likes,” Wealer says. “ e Elaine’s story arc or personality; anxiety things you can nd for now can often be is simply something she has. the stepping stones to the things that you

Wealer drew upon personal experireally want to do forever.” ence while writing a character with anxiety, though she notes that mental health and coping strategies aren’t one-size- ts-all. e anxiety she depicted felt less limited to her personal experience and more universal due to seeing her children grow up and begin managing their own mental health. “I can see other people I care about who are needing to manage it, too,” Wealer says. “I think that’s why in this book, it became part of the story organically in a way that it might not have earlier.” Even so, Wealer says Elaine is the most “her” character she’s written. In addition to their anxiety and being protective older sisters, they share another trait: both needed to embrace the fun of Halloween. e reader sees Elaine attempt to make peace with a holiday she dislikes. After all, talk of her home being haunted ramps up to an all-time high during spooky season. But this year, she’s determined to step outside her comfort zone. “She is a bit overly serious about it,” Wealer says of Elaine’s reaction to Halloween. “It was fun writing that part because it was a message to myself to lighten up a bit. [Elaine] goes out for Halloween and has fun. And so I think it’s going to be great to have the book come out around that time.” It’s tting that Grave ings Like Love, a book about a teenage girl who lives in a possiblyhaunted funeral home, includes a Halloween scene complete with trick-ortreating and an impromptu party. While the book includes a love triangle between daredevil Xander and Elaine’s a able childhood best friend Miles, Wealer included multiple types of relationships. Readers see Elaine grapple with her parents’ expectations, tension with her little sister Astrid, and changing friendship dynamics. “To me, friendships are maybe even a little more important,” Wealer says. “I’ve tried to portray strong friendships with my main characters. I’ve had some books where I’ve portrayed tense relationships, rivalries, because I think that’s important, too. And sometimes they can fall apart when you’re that age.” Wealer says she wants readers to have fun with her book while taking away the message that it’s normal to still be guring your life out as a teenager. Even if your family has expectations that may not align with yours, or you feel tugged in di erent directions, it’s okay to not know what the future holds. “I won’t spoil the end, but Elaine nds a compromise for something she can do for now that she likes,” Wealer says. “ e things you can nd for now can often be the stepping stones to the things that you really want to do forever.”

Sara Bennett Wealer will discuss Grave ings Like Love at 7 p.m. Sara Bennett Wealer will discuss Oct. 11, at Joseph-Beth Booksellers, Grave ings Like Love at 7 p.m. 2692 Madison Road, Norwood. Oct. 11, at Joseph-Beth Booksellers, Info: josephbeth.com. 2692 Madison Road, Norwood. Info: josephbeth.com.

CULTURE CULTURE Murder on the Orient Express Pulls into Downtown Cincinnati Murder on the Orient Express Pulls into Downtown Cincinnati for a Winning Whodunit

for a Winning Whodunit BY RICK PENDER

BY RICK PENDER REVIEW BY RICK PENDER

Andrew May’s Hercule Poirot is on the case in Murder on the Orient Express

PHOTOS: MIKKI SCHAFFNER Andrew May’s Hercule Poirot is on the case in Murder on the Orient Express Andrew May’s Hercule Poirot is on the case in Murder on the Orient Express

PHOTOS: MIKKI SCHAFFNER PHOTOS: MIKKI SCHAFFNER

If you’ve been paying attention to the Cincinnati theater scene, you probably know that the Playhouse is not “in the park” this fall while construction wraps up on its new mainstage (the Marx eatre, its longtime “big” theater, was recently demolished).

As a result, three Cincinnati Playhouse in the Park productions will be presented elsewhere this fall. e rst, a theatrical adaptation of Agatha Christie’s Murder on the Orient Express, has opened a three-week run at the Arono Center’s 437-seat Jarson-Kaplan eater.

It’s all aboard for playwright Ken Ludwig’s 2017 clever recreation of the proli c mystery writer’s 1934 novel, which depicts the famous detective Hercule Poirot solving a murder on a luxurious train traveling across eastern Europe. e story was made into lms in 1974 and again in 2017, when Kenneth Branagh played Poirot.

Designer Rob Koharchik rst designed this production for Indiana Repertory eatre in early 2020 as a co-production with the Cincinnati Playhouse, which was set to stage it in March 2020. Of course, the worldwide COVID-19 pandemic prevented that.

Two-and-a-half years later, the Orient Express has nally pulled into Cincinnati, with Koharchik’s ornate set redesigned for the somewhat close con nes of the Jarson-Kaplan eater. But how does one stage a story that takes place on a train?

Koharchik’s luxurious design, heavy on Art Deco details, looks great — dark wood paneling, brass ttings and golden ornamentation everywhere. When the front wall opens, it reveals several train cars that can slide back and forth to reveal a swanky dining room or several deluxe passenger cabins.

Poirot, the fussy Belgian detective who became a star in Christie’s mystery novels, is heading back from Istanbul after a recently solved case. He’s expecting a relaxing break on a train designed for high-end service and demanding passengers. But within a few hours of the train’s departure, an overnight snowstorm stops progress and a man is murdered, stabbed eight times in his chest. Poirot is recruited to ferret out the perpetrator. Everyone he questions has an alibi, but in his inimitable, often irascible pursuit, he begins to piece together several possible solutions to the crime.

If you’ve been paying attention to the Cincinnati theater scene, you probably know that the Playhouse is not “in the park” this fall while construction wraps up on its new mainstage (the Marx eatre, its longtime “big” theater, was recently demolished). As a result, three Cincinnati Playhouse in the Park productions will be presented elsewhere this fall. e rst, a theatrical adaptation of Agatha Christie’s Murder on the Orient Express, has opened a three-week run at the Arono Center’s 437-seat Jarson-Kaplan eater. It’s all aboard for playwright Ken Ludwig’s 2017 clever recreation of the proli c mystery writer’s 1934 novel, which depicts the famous detective Hercule Poirot solving a murder on a luxurious train traveling across eastern Actor Andrew May brings Poirot to life, right down to his manicured mustache and impeccable attire, which includes a tiny ower in his lapel. e playwright frames the story by immediately bringing Poirot to the front of the stage to address the audience directly: “ e story you are about to witness is one of romance and tragedy, primal murder and the urge for revenge. What better way to spend a pleasant evening together?” Ludwig’s script provides May with plenty of moments to ash some quick humor, capturing Poirot’s ickers of enthusiasm as he draws closer to a solution, exclaiming “Ooh-la-la, ooh-la-la, ooh-la-la!” May also delivers several moments of exasperation by Poirot when others mistakenly believe they have solved the mystery.

Europe. e story was made into lms in 1974 and again in 2017, when Kenneth Branagh played Poirot.

Designer Rob Koharchik rst designed this production for Indiana Repertory eatre in early 2020 as a co-production with the Cincinnati Playhouse, which was set to stage it in March 2020. Of course, the worldwide COVID-19 pandemic prevented that.

Two-and-a-half years later, the Orient Express has nally pulled into Cincinnati, with Koharchik’s ornate set redesigned for the somewhat close con nes of the Jarson-Kaplan eater. But how does one stage a story that takes place on a train?

Koharchik’s luxurious design, heavy on Art Deco details, looks great — dark wood paneling, brass ttings and golden ornamentation everywhere. When the front wall opens, it reveals several train cars that can slide back and forth to reveal a swanky dining room or several deluxe passenger cabins.

Poirot, the fussy Belgian detective who became a star in Christie’s mystery novels, is heading back from Istanbul after a recently solved case. He’s expecting a relaxing break on a train designed for high-end service and demanding passengers. But within a few hours of the train’s departure, an overnight snowstorm stops progress and a man is murdered, stabbed eight times in his chest. Poirot is recruited to ferret out the perpetrator. Everyone he questions has an alibi, but in his inimitable, often irascible pursuit, he begins to piece together several possible solutions to the crime.

Actor Andrew May brings Poirot to life, right down to his manicured mustache and impeccable attire, which includes a tiny ower in his lapel. e playwright frames the story by immediately bringing Poirot to the front of the stage to address the audience directly:

“ e story you are about to witness is one of romance and tragedy, primal murder and the urge for revenge. What better way to spend a pleasant evening together?”

Ludwig’s script provides May with plenty of moments to ash some quick humor, capturing Poirot’s ickers of enthusiasm as he draws closer to a solution, exclaiming “Ooh-la-la, ooh-la-la, ooh-la-la!” May also delivers several moments of exasperation by Poirot when others mistakenly believe they have solved the mystery.

Murder on the Orient Express requires a sizeable cast of suspects with numerous motives — some obvious, some hidden — to murder the reprehensible bully Samuel Ratchett, quickly revealed to be an even worse criminal. As the characters rush to board the train, Poirot observes them, absorbing seemingly random details. Colonel Arbuthnot (Nick Vannoy) is having a secretive romance with Mary Debenham (China Brickey). Helen Hubbard (Jennifer Joplin), a brassy American divorcée who is noisy and overly familiar, cozies up to several of the men. Hector MacQueen (Harry Davis) is Ratchett’s nervous business assistant.

Monsieur Bouc (Taha Mandviwala), Poirot’s friend and a director of the rail line Compagnie Internationale des Wagons-Lits, grants the detective last-minute passage on the train. Russian Princess Dragomiro (Playhouse veteran Dale Hodges in a caftan and turban) imperiously marches across the stage, followed by the anxious and zealously religious Greta Ohlsson (Lenne Klingaman). And nally, the exotic Countess Andrenyi (Katie Bradley) charms the elegant detective even as he is dubious about her story. Rob Johansen takes on the dual role of a doddering restaurant waiter and the train’s solicitous conductor.

In the show’s rst act, Poirot questions each passenger as he attempts to assemble what has happened. More and more evidence is unearthed, but much of it seems random, implausible or simply doesn’t t with any explanation. Bouc, eager to get to the bottom of things before the train’s reputation is sullied by the crime, keeps leaping to conclusions that Poirot almost instantly de ates. e rst act ends with the possibility of another victim, forcing the audience to wait through the intermission to learn what has happened.

In the second act, Poirot begins to piece together various scenarios, much to the consternation of each character. Everyone, it turns out, has secrets to hide, which Poirot will eventually suss out and assemble into several possible explanations. How this all unfolds in time for the nale (just as the train is ready to move again after the snowstorm) is one of those patented Christie solutions. As Poirot reveals the pieces and motives he has put together, director Risa Brainin has each character step forward into pools of light and repeat lines tossed o earlier — but Poirot has threaded them together for the ultimate

Murder on the Orient Express requires a sizeable cast of suspects with numerous motives — some obvious, some hidden — to murder the reprehensible bully Samuel Ratchett, quickly revealed to be an even worse criminal. As the characters rush to board the train, Poirot observes them, absorbing seemingly random details. Colonel Arbuthnot (Nick Vannoy) is having a secretive romance with Mary Debenham (China Brickey). Helen Hubbard (Jennifer Joplin), a brassy American divorcée who is noisy and overly familiar, cozies up to several of the men. Hector MacQueen (Harry Davis) is Ratchett’s nervous busisolution. If you’ve never seen or read Murder on the Orient Express, you’ll be both surprised and satis ed. And if the tale is familiar to you, you’ll still admire how everything ts together, ticking into place like a ne Swiss watch. e Playhouse’s talented technical team has assembled a polished, rstclass production at the Arono Center. In keeping with the professionalism Cincinnati theatergoers have come to expect in Mount Adams, the Playhouse doesn’t miss a beat in this temporary venue. ness assistant.

Monsieur Bouc (Taha Mandviwala), Poirot’s friend and a director of the rail line Compagnie Internationale des Wagons-Lits, grants the detective last-minute passage on the train. Russian Princess Dragomiro (Playhouse veteran Dale Hodges in a caftan and turban) imperiously marches across the stage, followed by the anxious and zealously religious Greta Ohlsson (Lenne Klingaman). And nally, the exotic Countess Andrenyi (Katie Bradley) charms the elegant detective even as he is dubious about her story. Rob Johansen takes on the dual role of a doddering restaurant waiter and the train’s solicitous conductor. In the show’s rst act, Poirot questions each passenger as he attempts to assemble what has happened. More and more evidence is unearthed, but much of it seems random, implausible or simply doesn’t t with any explanation. Bouc, eager to get to the bottom of things before the train’s reputation is sullied by the crime, keeps leaping to conclusions that Poirot almost instantly de ates. e rst act ends with the possibility of another victim, forcing the audience to wait through the intermission to learn what has happened. In the second act, Poirot begins to piece together various scenarios, much to the consternation of each character. Everyone, it turns out, has secrets to hide, which Poirot will eventually suss out and assemble into several possible explanations. How this all unfolds in time for the nale (just as the train is ready to move again after the snowstorm) is one of those patented Christie solutions. As Poirot reveals the pieces and motives he has put together, director Risa Brainin has each character step forward into pools of light and repeat lines tossed o earlier — but Poirot has threaded them together for the ultimate solution. If you’ve never seen or read Murder on the Orient Express, you’ll be both surprised and satis ed. And if the tale is familiar to you, you’ll still admire how everything ts together, ticking into place like a ne Swiss watch. e Playhouse’s talented technical team has assembled a polished, rstclass production at the Arono Center. In keeping with the professionalism Cincinnati theatergoers have come to expect in Mount Adams, the Playhouse doesn’t miss a beat in this temporary venue.

Cincinnati Playhouse Cincinnati Playhouse in the Park’s production of Murder on the Orient Express continues at the Arono Center’s Jarson-Kaplan eater through Oct. 23. in the Park’s production of Murder on the Orient Express continues at the Arono Center’s Jarson-Kaplan eater through Oct. 23. Info: cincyplay.com. Info: cincyplay.com.

CULTURE CULTURE

BY SEAN M. PETERS

Alphas perform their “Secret Agent Wo-Man” (top) and “Femster Gadget” (bottom) sketch comedy routines.

PHOTOS: PROVIDED BY ALPHAS Alphas perform their “Secret Agent Wo-Man” (top) and “Femster Gadget” (bottom) sketch comedy routines.

PHOTOS: PROVIDED BY ALPHAS

Just as we celebrate shopping local, we also should prioritize laughing local — that’s where the comedy troupe Alphas can help. e all-women group performs an original variety show every month at Clifton Comedy eatre and say they’ve sold out every performance in their half-year together.

Alphas was founded by director Patricia Mullins and consists of 21 local writers and performers, all of whom identify as women. Each month’s shows center around speci c themes; August’s focused on spies, and the most recent performance concentrated on time travel. Generally, an Alphas show features improv comedy along with original sketches written by the group, musical numbers, stand-up comedy and even the occasional choreographed dance.

“Doing Alphas is my joy bucket,” says writer/performer Mary O’Connell. “I look forward to it and I need it, because I need to create and write and perform. I write for a living, but nothing that I want to write about – grant-writing stu . is o ers me a great outlet to do it, and I love doing it with all women. It’s such a refreshing change.”

Clifton Comedy eatre is a hopping spot on Saturday nights when an Alphas show is about to start. Stepping into the subterranean performance space right o Ludlow Avenue in the Gaslight District, audience members enter a modest, intimate row of tiered seating facing the stage, which is ground level and unseparated from the front row. A drink is on the house with a ticket purchase (tips/donations welcome), and the show is about an hour long.

During a recent performance, one of the most delightful sketches asked what you would do if you could travel through time if you’re, say, a bit narcissistic. Would you want to meet your former or future self? What would you do with the other self in that case? Minds can’t help but wander a bit perversely to see where this was going: when a woman meets herself, she likes what she sees. at illustrates the kinds of humor achieved by Alphas: raunchy, subverted, yet not overly nihilistic.

Everything is meant to empower women, no matter how silly. At the end of the show, everybody in the audience laughed hard and could nd something to like. e troupe’s intended goal, among others, is to make people feel joy. What they – as women who empower themselves through their creativity – say they get in exchange is an inclusive community of a diverse range. anks to the stage they’ve set, their voices are ampli ed and, at the same time, they’re able to collaborate with real professionals in the performing arts industry. Alphas members say Mullins deserves much of the credit. “Allow me to sing the praises of Patricia Mullins for a moment, who pretty much single-handedly produces, directs and gives us feedback on our sketches,” writer/performer Tatiana Godfrey says. “ e way that rehearsals are structured, it’s very easy entry for everybody who’s involved, so welcoming. Really, that’s all because of Patricia’s work.” Godfrey has a master’s of ne arts in dramaturgy and works as literary manager at Playhouse in the Park. Even though she has a full-time job, as many of the performers do, she says she juggles her hours for projects that inspire the passion needed for these kinds of performances. Empowerment is a big overall theme with Alphas, which even is re ected in the group’s name itself. e term “alpha” historically has referred to men in popular vernacular. An adjective whose meaning in this application is de ned as “socially dominant, especially in a group of animals,” has no speci c gender and can also be embraced by women is important. J ust as we celebrate shopping local, we also should prioritize laughing local — that’s where the comedy “I was listening to NPR and heard a story where they referenced ‘alpha females,’ and it was like a lightning bolt to me that the show I was putting troupe Alphas can help. together should be called ‘Alphas,’” e all-women group performs an Mullins says. “It felt like a powerful original variety show every month at name to give our show and ourselves, Clifton Comedy eatre and say they’ve to jumpstart this new thing we were sold out every performance in their doing together – because it’s the name half-year together. of the show, but it’s also each of us

Alphas was founded by director individually.” Patricia Mullins and consists of 21 local “We call each other ‘alphas,’ and I can writers and performers, all of whom say that just from my own experience, it identify as women. Each month’s makes me more con dent in every situ-shows center around speci c themes; ation I go into now, to think of myself as August’s focused on spies, and the most an ‘alpha,’” she adds.recent performance concentrated on time travel. Generally, an Alphas show features improv comedy along with original sketches written by the group, musical numbers, stand-up comedy and even the occasional choreographed dance. “Doing Alphas is my joy bucket,” says writer/performer Mary O’Connell. “I look forward to it and I need it, because I need to create and write and perform. I write for a living, but nothing that I want to write about – grant-writing stu . is o ers me a great outlet to do it, and I love doing it with all women. It’s such a refreshing change.” Clifton Comedy eatre is a hopping spot on Saturday nights when an Alphas show is about to start. Stepping into the subterranean performance space right o Ludlow Avenue in the Gaslight District, audience members enter a modest, intimate row of tiered seating facing the stage, which is ground level and unseparated from the front row. A drink is on the house with a ticket purchase (tips/donations welcome), and the show is about an hour long. During a recent performance, one of the most delightful sketches asked what you would do if you could travel through time if you’re, say, a bit narcissistic. Would you want to meet your former or future self? What would you do with the other self in that case? Minds can’t help but wander a bit perversely to see where this was going: when a woman meets herself, she likes what she sees. at illustrates the kinds of humor achieved by Alphas: raunchy, subverted, yet not overly nihilistic. Everything is meant to empower women, no matter how silly. At the end of the show, everybody in the audience laughed hard and could nd something to like. e troupe’s intended goal, among others, is to make people feel joy. What they – as women who empower themselves through their creativity – say they get in exchange is an inclusive community of a diverse range. anks to the stage they’ve set, their voices are ampli ed and, at the same time, they’re able to collaborate with real professionals in the performing arts industry. Alphas members say Mullins deserves much of the credit. “Allow me to sing the praises of Patricia Mullins for a moment, who pretty much single-handedly produces, directs and gives us feedback on our sketches,” writer/performer Tatiana Godfrey says. “ e way that rehearsals are structured, it’s very easy entry for everybody who’s involved, so welcoming. Really, that’s all because of Patricia’s work.” Godfrey has a master’s of ne arts in dramaturgy and works as literary manager at Playhouse in the Park. Even though she has a full-time job, as many of the performers do, she says she juggles her hours for projects that inspire the passion needed for these kinds of performances. Empowerment is a big overall theme with Alphas, which even is re ected in the group’s name itself. e term “alpha” historically has referred to men in popular vernacular. An adjective whose meaning in this application is de ned as “socially dominant, especially in a group of animals,” has no speci c gender and can also be embraced by women is important. “I was listening to NPR and heard a story where they referenced ‘alpha females,’ and it was like a lightning bolt to me that the show I was putting together should be called ‘Alphas,’” Mullins says. “It felt like a powerful name to give our show and ourselves, to jumpstart this new thing we were doing together – because it’s the name of the show, but it’s also each of us individually.” “We call each other ‘alphas,’ and I can say that just from my own experience, it makes me more con dent in every situation I go into now, to think of myself as an ‘alpha,’” she adds.

Alphas perform regularly at Alphas perform regularly at Clifton Comedy eatre, with Clifton Comedy eatre, with “Alphas in Hell” scheduled for Oct. 22. “Alphas in Hell” scheduled for Oct. 22. Info: improvcincinnati.com Info: improvcincinnati.com