Tag Archives: Cincinnati Ohio

A House Twice Storied

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I have heard it said that Uncle Tom’s Cabin was written in this house. It was not. Until recently, I had not heard that it was listed in The Negro Motorist Green Book. It was.

Although the book was not written here, Harriet Beecher Stowe, the author of Uncle Tom’s Cabin, did live in the house at one time and the house has long borne her name. It has just reopened after an extensive restoration that recognizes its importance both as the Beecher family home and as a tavern and boarding house a century later.

There was a ribbon cutting for the restored Harriet Beecher Stowe House last Friday with special events continuing through the weekend. I missed the “Housewarming Weekend” but did reserve a ticket for the first regularly scheduled tour on Thursday. The site is closed Monday through Wednesday. I arrived early enough to look over the many informative panels placed around the grounds. Note the National Register of Historic Places plaque with both of the building’s claims to fame listed, beside the new entrance ramp.

Executive Director Christina Hartlieb was our guide, and, despite it being the first “regularly scheduled” tour following the reopening, it was pretty obvious that this was not her first time as conductor. I’m guessing that the “Housewarming Weekend” had given her and other guides ample experience. It is also the case that much of the information provided is about the house’s residents and unchanged by the restoration.

The house was built by Lane Seminary in 1833 as a home for its new president, Lyman Beecher.  The Seminary is a most interesting part of history in its own right. Particularly the slavery-related debates of 1834 and a related mass exodus of students that has been called the “first major academic freedom incident in America”. The tour began in the parlor where 25-year-old Harriet Elisabeth Beecher became Mrs. Calvin Stowe in 1836. The original part of the house has been restored to its 1840 appearance. A strip of original wallpaper once covered by a temporary wall has been saved and copied. In the kitchen, the original beehive oven and its surroundings have been retained.

Even though Harriet lived in Cincinnati for less than twenty years, it was here, with slavery in operation just across the river and fallout from it everywhere she looked, that the memories that became Uncle Tom’s Cabin were formed. In an upstairs hallway, beside a section of original brick wall intentionally left exposed, there is a photo of the Hartford, CT, statue of Stowe’s meeting with Lincoln. There is no recording and no proof that Lincoln actually said, “So you’re the little lady who started this big war”, but I like to think he did.

The Monfort family lived in the house from 1865 to 1930 and in 1908 they built a large addition. The addition’s exterior is currently painted white to distinguish it from the original building’s yellow. This was their formal dining room. During the 1930s and ’40s, it served as the Edgemont Tavern with a listing in The Negro Motorist Green Book. During that same period, the obviously updated second floor served as a boarding house. As a long-term residence rather than an overnight stop for tourists, only the tavern portion appeared in The Green Book. By coincidence, a traveling Green Book exhibit recently opened at the nearby National Underground Railroad Freedom Center and was the subject of a previous blog post.

So, no, Uncle Tom’s Cabin was not written here but its author did live here, and a lot of other pretty darned important stuff also happened here. The Harriet Beecher Stowe House is back and ready to let you peek at 1840 and a little 1940 too.

Wassup, Big Boy?

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Frisch’s Big Boy restaurants have been in the news quite a bit recently. In fact, when I sat down to write this article yesterday, a pointer to this photo essay was waiting in my email. It seems likely that the essay, like this article and my Friday outing, was inspired by not particularly cheerful reports such as this one from a few weeks ago. It was that article and other news of restaurant closings that prompted me to finally check out the museum that opened in 2018 inside Frisch’s Mainliner.

The Mainliner, Cincinnati’s first year-round drive-in, opened in 1942 and was named for an airplane. Several sources, including the Mainliner’s own signage, identify that airplane as a tri-motor but I think not. The plane that those sources are almost certainly referring to is the Ford Trimotor which was produced from 1922 to 1933. Boeing’s DC-3, which United Air Lines actually called the Mainliner when launched in 1937, would have been the most well-known passenger plane when the restaurant opened. The plane on the iconic Mainliner sign certainly looks a lot more like a DC-3 than a Ford Trimotor, and, despite the nose being a little extra pointy, I’m not aware of it ever having more than two propellers. At present it has none. I do, however, have a short video of the sign “at speed” from a few years ago. I’m sure there are more and better videos online.

The Mainliner was remodeled when the museum went in and has the latest generation of the Big Boy statue standing by the door. There are pictures here and here of previous generations on display a few miles away at the American Sign Museum. A cool mural greets customers right inside that door.

I sat at the counter and placed my order before walking over to the museum area. Only then did I realize that it contained what appeared to be some quite usable classic seating areas. There were people at one of the museum tables when I left.

In addition to the throwback seating, there are several signs and cabinets filled with artifacts in the museum. Among the artifacts was a reminder that once upon a time people might look for something to help them “dial the right number every time”.

I was probably still using a dial telephone the last time I had a Big Boy but it seemed the right thing to order today. Has corporate ownership brought a decline in quality that others say they see? Maybe, but maybe not. The sandwich was pretty much as I remember it although my memories aren’t very recent. I sensed the same slight understaffing that I feel in just about every restaurant I visit these days. No more. No less.

As I wrote this, it occurred to me that Frisch’s has been in my life longer than any chain restaurant. Although it’s no longer there, a Frisch’s restaurant sat at the edge of the seat of my home county. It was the place where, maybe once a year, the band bus would stop on the way home from an away game. When my friends and I began driving, it marked one end of our Saturday night cruising route. An A&W rootbeer stand marked the other. When I got my first co-op job in college, a Frisch’s was just about the only place within walking distance for lunch. The one at right is within walking distance of my current home and I stopped there on my Saturday afternoon walk. Rather than a Big Boy statue, this door is guarded by one of the Mr. Redlegs sculptures that were placed around the area as part of the Cincinnati Reds 150th Anniversary Celebration in 2019. Inside, a localized (Mason hosts the Cincinnati Open ATP Tournament) mural hangs on the wall. A big reason that I had not had a Big Boy in so long was not that I never patronize Frisch’s but that when I do I almost always have a fish sandwich. On Saturday I reverted to form.

I’m certainly no fan of corporations taking over privately held businesses. Maybe it was a decline in quality or some accountant’s idea of improved efficiency that led to those closures. Personally though, I’m more concerned about those missing props on the Mainliner sign.

New Stuff to Look At

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New exhibits opened at two Cincinnati museums yesterday. A major expansion at the American Sign Museum doubles the length of its sign-filled Main Street and The Negro Motorist Green Book finally makes it to the National Underground Freedom Center. The two exhibits simultaneously became available to the public when both museums opened their doors at 10:00 on Saturday. American Sign Museum members, of which I am one, were able to see the addition at a ribbon-cutting celebration on Friday evening.

While awaiting the planned ceremonies, attendees were treated to refreshments and entertained by the Rob Allgeyer Trio as excitement built. We could look into, but not enter, the newly filled space beyond the uncut ribbon.

Speeches were few and reasonably short. Executive Director David Dupeecoul and Museum Founder Tod Swormstedt spent much of their time thanking folks for their help in getting the addition funded, built, and filled. Mayor Aftab Pureval’s brief speech was, in noting what having the country’s largest public sign museum means to Cincinnati, also one of thanks.

When ribbon-cutting time arrived, Tod and Aftab were joined by ASM Board Chair Michael Mattingly. The intention was to cut the ribbon in synch with the signs being illuminated but that turned out to be a little time-consuming so a little watching and waiting was required.

More music awaited in the new space. The first group encountered was Jake Speed and the Freddies. I believe the fellows with the chairs are Mechlem & Ruzsa and the couple standing is StringDaze but it could be the other way around.

And there was more food, too. This lite bite station happens to be under the actual canopy from Cincinnati’s Famous Maisonette restaurant. Another member preview took place back in May when painters were still working on the storefronts. I chatted with the Colorado fellow who was working on the Maisonette. At that time it looked like this. I only ate once at the Maisonette but ate several times at its sister restaurant, La Normandy. When I mentioned this to the painter, he told me that he planned to put that name on an upper window and there it is.

I also captured these signs during that May preview. The East End Cafe sign was lit but the area was rather empty otherwise. The Lenny’s window was painted but empty and the Full Service was still in process with the pattern laying nearby.

The Ioka Theater marquee and all the signs around it sure look good now but it was definitely a work in process back in May. The marquee fronts a real theater that will be used for presentations.

There is a lot more to the expansion than Main Street but that is where I found myself standing awestruck a few times Friday evening. I believe I’ve seen something new on every visit to this museum even when nothing new had been added. Now there is a whole new section to explore and some things have changed in existing areas as a result of the expansion. My next visit is going to be a lot of fun and so will several after that.

The Negro Motorist Green Book was supposed to open its nationwide tour in Cincinnati in the fall of 2020. The tour was impacted by the COVID-19 pandemic declared in the spring of that year so that it is ending rather than starting in Cincinnati. On its opening day, Candacy Taylor, the exhibit’s curator, would be giving a tour to museum members then making a presentation to everyone interested. I looked forward to hearing Taylor speak for the third time.

The members-only tour was in process when I arrived and the exhibit, though open, was congested. I opted to fill the time by revisiting other parts of the museum and taking a few pictures.

At 11:00, Taylor was introduced to the audience for what she called “an author conversation”. Rather than delivering prepared remarks, she answered questions. Almost everyone in attendance seemed familiar with her book and probably half, having taken part in the morning’s tour, were familiar with the exhibit. There was no shortage of good questions.

The mentioned book, for any who don’t know, is Overground Railroad: The Green Book and the Roots of Black Travel in America which I reviewed here. I obtained my copy when I heard Taylor speak in Indianapolis in February of 2020. That was the second time I heard her speak but was probably the first time we actually met. I had a pleasant chat with her today before the presentation.

I entered The Negro Motorist Green Book exhibit after the presentation. The Green Book identified places where Negro travelers were welcome as they were decidedly not welcome everywhere. It was published from 1936 through 1967. It was not the only such book but none of the others were anywhere near as popular or successful.

The Green Book was created by Victor Green and its name comes from him rather than from the book’s color. Among the artifacts in the exhibit is a 1959 letter from Green soliciting listings and advertising. The earliest editions of The Green Book focused on New York but it ultimately grew to include all sorts of businesses throughout the entire nation.

The chauffeur’s hat is not directly related to The Green Book but to the Jim Crow era which made the book necessary. I recognized it instantly from a story Taylor told in Indianapolis and which is included in Overground Railroad. Ron Burford, the man quoted, was Taylor’s stepfather.

Much of the exhibit features businesses that were listed in The Green Book. “Then and now” images often appear of those still in existence.

Road trips on Route 66 or any other highway do not generate the same sort of nostalgia for people of color as they do for others but there are a couple of Route 66 connections in the exhibit. One is an Esso quote from Route 66 historian and author Joe Sonderman. Part of The Green Book‘s success can be attributed to the fact that Esso stations carried it. The cash register is from the historic Threatt Filling Station currently being restored near Luther, Oklahoma, on Route 66.

The Negro Motorist Green Book will be at the Freedom Center through October 13, 2024. The Main Street extension and other additions will be at the American Sign Museum forever.

CincItalia 2024

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It looks like CincItalia came into being in 2010 so it is not an ancient Cincinnati tradition I need to feel guilty about not attending in years gone by. But it was something I was aware of and thought sounded interesting so I was kind of pleased when things worked out for me on Friday. Yes, it is a church fundraiser and that is something I’m trying to cut back on but I realize that my flesh is entirely too weak to completely avoid a little backsliding now and then.

One of my first stops at the festival was in a large building where some presentations take place and where a couple of culturally significant items are displayed. One is a Sicilian Festival Cart from Palermo, Italy, described by the sign propped against it. The other is a plaster cast used in replacing a bronze statue stolen from Cincinnati’s Eden Park in 2022 as summarized on a nearby sign. A fuller telling is here. A photo of the currently displayed statue is here.

I was here for my evening meal and thought of it as essentially just another dining-out occasion and not so much as a wild festival. With that in mind, I made one “browsing” pass through the area identified in the opening photo as “Little Eataly” and then selected my three-course meal.

Toasted ravioli made a great appetizer and lasagna was perfect for the main course. That’s CincItalia Pils, brewed by West Side Brewing especially for this event, in the cup. Mini-cannolis were three for the price of two. I forced myself.

Plus there were plenty of food and beverage choices that I did not get around to.

No self-respecting Cincinnati church festival would omit several raffles and other games of chance but that’s another thing I did not get around to. I did poke my head into one of the cooking demonstrations but it was full and I’m pretty sure it would have been over my head anyway.

I definitely enjoyed the many “Leonardo’s Fun Facts” that I spotted but I know that I missed a bunch.

Even though I was there, as I’ve said, only for the food, I did stick around for a bit of the Naked Karate Girls show. These guys are definitely entertaining and one or two of them may even know some karate. If so, that would mean their name isn’t a complete lie.

The festival is a three-day affair with Saturday and Sunday presented as family-friendly events. I assume that means, among other things, that the carnival-style rides I saw parked around the edges will be operating. Saturday runs 3:00 to 11:00 and Sunday runs 1:00 to 9:00. Friday’s 6:00 to 12:00 run was billed as adults only but I’m not sure whether that meant a wild Bacchanalia throughout the grounds, some dirty jokes from the bandstand, or old folks nodding off at sundown. I left before I found out and before I nodded off.

ADDENDUM 2-Jun-2024: These photos were not part of the original post but, after tagging a Facebook link to it with the line “There’s a party on the Buddy LaRosa side of town.”, I thought them appropriate. Yes, LaRosa’s Pizza had a trailer there and San Antonio Church had a booth. That’s the church where Buddy sold his first pizzas using sauce made from his Aunt Dena’s recipe.

2024 Appalachian Festival

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I know I have gone to the Cincinnati Appalachian Festival before but I don’t know when. It was first held in 1970 so I could have attended fifty years ago. That seems ridiculous, of course. Surely I’ve attended more recently than that. I believe that I must have but the truth is that I have no clear memories to support that belief and I most definitely have no physical evidence. As crazy as it sounds, it seems at least possible that my visit on Saturday was the first in a half-century or so.

Like any good festival, there were food vendors. There were also crafts and other items offered for sale along with numerous displays with nothing for sale at all.

Demonstrations of various aspects of life in the area during past times were offered. Blacksmithing and weaving were both very important parts of Appalachian life.

Maybe I should have spent more time among the vendors and taken more pictures of the exhibits but I guess I was more interested in the music. Two stages presented a non-stop parade of Bluegrass and other forms of American Roots Music. The only groups I saw on the Up Close & Personal stage were Sherry Stanforth & Tangled Roots and the Forest Hills Bluegrass Band. I had actually seen FHBB earlier on the other stage but did not immediately recognize them because I’d not heard the Dobro earlier.

Here is the Forest Hills Bluegrass Band on the Appalachian Heritage Stage with the fellow at stage-left playing a banjo. The middle picture is of the Wayfarers (check out that bass) with Sammy Adkins and the Sandy Hook Mountain Boys filling out the panel.

I also checked out some of the non-stop action in the dancing tent. That’s the Country Steps Cloggers in red and two different lines of the Kentucky Bluegrass Cloggers in blue.

As much as I enjoyed the bluegrass and cloggers, I believe I spent more time watching the Native American dancers.

A skilled drum circle backed the dancers and often supplied singing and chanting too. When the dancers and drummers took a well-deserved break, a talented flute player (and maker) filled the space wonderfully.

A lot of energy went into the dancing but it was quite apparent that the dancers had also put considerable effort into their authentic dress.

I have many more pictures of the Native American dancing but will move on after these scenes from a dance depicting ritualized combat between two warriors.

Coney Island was the site of the festival. The former amusement park had been operating as a water park until it was sold in December to a group associated with the Cincinnati Symphony Orchestra for development into a concert venue. The giant Sunlite Pool has already been demolished and I’ve no idea what else will disappear soon. I’m hoping that this entrance where riverboats once delivered patrons to the park — and through which I once walked while on a dinner cruise during 1988’s Tall Stacks — will be spared.

The festival continues today, May 12, 2024, 10:00-6:00.

Greater Cincinnati Police Museum

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For the third week in a row, I’m posting about visiting a new-to-me museum. The first of the three (Small Wonders (And More)) was triggered by an online reference and the second (Miami Valley Veterans Museum) by a friend’s spontaneous suggestion but this one is completely on me. I say that I use canned posts here when my life is either too busy or too boring. My life was not too busy this week but, without some purposeful action on my part, it would have been too boring and I’d have posted something from the warehouse. That purposeful action was little more than typing “Cincinnati museums” into a search engine and scanning the results.

Quite a few lists turned up, and there were several museums that appeared on nearly all of them. One came from TripAdvisor, one of my favorite providers of crowd-sourced lists. The Greater Cincinnati Police Museum is currently number one on their list of Cincinnati Museums when sorted by “traveler ranking” and sixth when sorted by “traveler favorites”. More importantly for my purposes, it was the only top twelve entry by either sorting method that I had not visited.

I soon corrected that and soon learned that those high marks at TripAdvisor were well deserved. The museum is on the second floor and, while things are well-marked outside, figuring that out took a little doing once inside. A sign that stood in the lobby had recently been stolen and there was universal agreement when I commented, “That sure was ballsy.” Potential issues with the free on-street parking in front of the museum are avoided by displaying a dated tag provided with admission. When I started toward the elevator with my tag, a fellow whose name I failed to get volunteered to take it down for me. I was impressed before I even looked at the first exhibit.

“This is why the museum exists,” Ed, my guide, told me when we did reach that first exhibit. I had seen several pictures of Handsome over the years so had some idea of what he meant. Cincinnati’s first “police dog” was rescued from the city’s rough and tumble riverfront in the last years of the nineteenth century and served the department until his death in 1911. Handsome’s story, including numerous captures, is told here.

The word “Greater” in the museum’s name is significant. The museum honors not only the City of Cincinnati Police Department but many other law enforcement agencies in southern Ohio, southeast Indiana, and northern Kentucky. It first opened in 2002 on 8th Street on the west side of downtown then moved to its current Reading Road location in 2015. At the time of the move, bricks paving a walkway and inscribed with donor names were rescued and now line this hallway beneath rows of historic photos and certificates.

Most if not all of the people working at the museum are retired police officers. Both Ed and Rick, who split guiding me on what was essentially a personal tour, were. Ed mentioned that he had spent a few years on a SWAT team as we looked over the associated display. Rick may have also spent time with SWAT but I don’t know that. I do know that both of these guys were pretty familiar with much of the gear on display.

All police gear displayed in the museum is obsolete but some things are more obsolete than others. When the Civil War ended, Cincinnati was able to pick up plenty of surplus uniforms at a great price with only a change of buttons required to outfit the police. Alexander Bell patented the telephone in March of 1876. In September 1879, the first police telephone exchange in the world went live in Cincinnati.

Of course, there are lots of guns (all disabled) displayed in the museum along with other tools of the trade such as breathalizers, radar guns, and fingerprinting equipment. That communication console is a little more modern than the one my cousins frequently staffed when their dad was a police chief in Indiana but looks pretty crude when compared to the multi-screened internet-connected rig that my son operates as a police dispatcher in California.

There is one notable exception to the claim that everything in the museum is obsolete. Posters for the FBI’s “Ten Most Wanted Fugitives” are kept current. Seeing them here reminded me of the days when reading these was what you did while waiting in line to buy stamps or get a package weighed. One of several reasons that they are no longer displayed is that the wall space is better used to promote the purchase of commemorative stamps and the like. The posters are still there but they are now kept in a binder behind the counter available for “on demand” viewing. Just like on the FBI website.

The pictured magazine is kept in protective custody but there is another copy nearby where the story of “Cincinnati’s Model Police Force” of 1957 can be accessed. The Greater Cincinnati Police Museum is open from 10:00 to 4:00 on Tuesday, Thursday, and Saturday.

Inaugural Cincinnati Chili Week

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Today, February 25, 2024, is the very last day of the very first official Cincinnati Chili Week. With all the noise that has been made about this iconic Cincinnati food over the years, it is really hard to believe that this did not happen long ago. While waiting, I had my own “Chili Week” in 2013. Because I was in control, I synchronized it with this blog’s schedule and got in visits to seven different chili parlors for Chili All Week and It’s Cold, Too. With the official Chili Week week running Monday through Sunday, one day remains when the Sunday morning post is published but that also means it can include only six days of chili.

Eleven years is a long time ago. Of the dozen chili parlors covered in that 2013 post and a follow-on 5 More 4s second chapter, four have closed and another has relocated a block away. Three of the closures were of a brand’s only location and three brands that were part of my 2013 dozen have chosen not to participate. The result is that exactly six of the dozen chili brands I wrote about in 2013 were candidates for visits during the six days of Cincinnati Chili Week preceding this post. Coincidence? Perhaps, but, despite being saddened by the closures, I’m happy to be spared the need for tough choices for the official version of my unofficial Chili Week.

Monday: In 2013, the Monday of my full week of chili saw me at one of the two Empress Chili parlors that remained. That location has since closed so this year I headed to Empress Chili in Alexandria, KY. Other restaurants in the area serve Empress brand chili but this is the only place where the restaurant itself carries the Empress name. Their slogan, “The first edition of a Cincinnati Tradition” comes from the fact that Cincinnati-style chili originated in the Empress Chili parlor on Vine Street in 1922.

Tuesday: An article that mentioned Price Hill Chili was the seed that led to the 2013 week of chili and it is where I ate on the Sunday that got that week rolling. That was my first time ever at the restaurant but I’ve been back multiple times since then and was happy to make it my second stop for the first official Cincinnati Chili Week.

Wednesday: The spread of Cincinnati chili across the region began when an Empress Chili employee set up shop in an 8 by 30-foot space across the river in Newport, KY. The original, but greatly expanded, Dixie Chili location is still in operation and two more restaurants have been added. Today, owner Spiros Sarakatsannis ate lunch (chili & salad) and conducted a little business at a nearby table while I enjoyed my third 4-way of the week.

I went overboard on Wednesday and indulged in dessert while in Kentucky. In the same spirit that area sweet shops have served macarons and beignets disguised as hamburgers during Burger Week, Frosthaus, in Covington, served this sundae disguised as a 3-way. I had no idea that spaghetti ice cream even existed but apparently, it is fairly common in Germany and it’s the perfect basis for a Chili Week dessert.

Thursday: Cincinnati Chili Week is wrapped around National Chili Day and this is it. I celebrated the doubly special occasion at Blue Ash Chili. In April 2021, the store where it all started in 1969 was closed and the operation moved about 500 feet away to this strip mall location. It’s not as photogenic as the standalone building was but it looks great on the inside and the chili is just as good as it ever was. My standard order is a 4-way with onions but that’s a stock 3-way in the picture because that’s their Chili Week special.

Friday: There’s a lot to like about Camp Washington Chili including the fact that it is just a few blocks away from the American Sign Museum which makes it the perfect stop before or after a visit to the museum. I followed my fifth Chili Week check-in with a stop at the museum where I could hear sawing or grinding on the other side of the wall as work on the expansion area continues.

Saturday: Even though Cincinnati Chili Week promotional materials say there are 50+ Gold Star locations taking part in the event, I had my sixth and final 4/3-way of the week at the same one I visited for that 2013 blog post. At around two miles distance from my door, it’s the closest.

Skyline Chili is the 140-store gorilla that’s not in the room. According to event organizers, “They opted not to participate as they did not want to discount or offer a $5-$7 special.” I doubt the absence does much harm to the company and it did simplify my schedule for the week. C’est la vie.

The First Day of Pompeii:
The Exhibition

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Pompeii: The Exhibition opened at the Cincinnati Museum Center on Friday. I would have been in the first group admitted and possibly even the first person admitted if a guard had not blocked the stairs and escalators until precisely 10:00 AM. That was the official exhibit opening time but an unguarded elevator a few feet from the stairs meant that a group of patrons were receiving their pre-entry briefing when I and the rest of the walkers arrived. It’s always good to begin the day with something funny.

Following our own briefing, we entered, received another short briefing beneath the screen in the opening picture, and were then treated to an introductory video on that screen. At the video’s end, doors opened on a life-size marble statue of the goddess Aphrodite. Much like the moon, this is the view of the goddess that we most often see although there is another.

Pompeii was a prosperous port city and art was plentiful. Public spaces and private homes contained decorative mosaics, frescoes, fountains, and more statues.

There were plenty of practical items too. Examples are scales used in the market, fishing hooks, and cooking utensils. I know I’m not the only one with a cast iron skillet that looks almost exactly like this bronze one from Pompeii.

I suppose these items are also practical in their own way. Gladiatorial contests were primarily held for entertainment but staying alive was definitely a practical concern for the participants. Next to the displays of weapons and armor, a holographic video about the various types of combat got its share of attention.

Also getting attention was a small room offset from the primary flow. Both entry briefings had described the special markings for this adult-oriented display in case parents wanted to make sure their charges avoided it. If any did, it wasn’t obvious. A sign begins with the astute observation that “Ancient Roman sexual customs were different from those of our contemporary society.” Back then arriving with bells on really meant something.

Theatrical entertainment was quite popular in all of Rome including Pompeii. Actors wore masks to establish their characters. Here is a fresco depicting a pair of masks and a full-size marble mask. Both of these were purely decorative as masks actually worn on stage were made of lighter materials such as linen.

Another set of warnings in those entry briefings concerned loud noises and bright lights in the “4D eruption theater”. I do not doubt that these could be disturbing for some but most will find them underwhelming. Same with the slightly moving floor which I assume is the fourth dimension. If you enter expecting a high-definition video of the eruption shown on a large flat screen you will see an extremely good one. Expect more and you might be disappointed.

Images of the casts of the victims of the eruption are the most familiar and also the most disturbing. These are not human bodies but shapes formed within the volcanic ask where bodies once were. The quote on the wall in the first picture is from Pliny the Younger who watched the eruption from a little more than a dozen miles away and then documented it. In this exhibit, many of the casts are displayed in front of large photographs which I assume depict the situation in which they were found.

Exit is, of course, through the gift shop where we are reminded that striking a good final pose will greatly increase your chances of appearing on a shot glass or refrigerator magnet in a couple of millennia.

Aphrodite’s butt and iffy shot glasses aside, this is an impressive exhibit that provides a detailed and accurate look at a real Roman city of two thousand years ago. Pompeii: The Exhibition runs through July 28.

Play Review
A Christmas Carol
Playhouse in the Park

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This is less a review of a play than the reporting of one more Cincinnati Christmas tradition being checked off of my list. I seem to have gotten away with calling Cincinnati’s production of Every Christmas Story Ever Told a tradition even though its first year was just 2006. Cincinnati’s Playhouse in the Park first staged A Christmas Carol a decade and a half earlier, in 1991, so I’m sure its status as a tradition will not be questioned by anyone. What might be questioned is just how much of a reset to this tradition has just occurred, and whether or not it matters.

I don’t believe I had ever previously seen a live performance of A Christmas Carol let alone one of the beloved Playhouse in the Park performances. Although the names are the same, neither the play I saw nor its setting are the same as they were in 1991. A new main theater was built for the Playhouse last year and the annual A Christmas Carol run was put on hold while one theater was torn down and another built in its place. Some changes in the production were required because of physical differences in the stages, and the Playhouse’s artistic director, Blake Robison, took advantage of the hiatus to produce a new script. So the same Charles Dickens story of the ultimate grumpy old man being scared into a complete about-face is being told this year but the telling is not quite the same.

I obviously can’t tell you how the new compares with the old. I can tell you that the production I attended on Wednesday was spectacular in a way that could start a new tradition though I hope it will let an existing one get a new grip and continue.

That word “spectacular” applies most readily to the scenery and costumes. The onstage world looks exactly like what I’d expect a cleaned-up Dickensian world to look like. A giant clock anchors the set and also anchors the audience in stepping through the events of a long Christmas Eve. Special effects, puppets, and moving stage elements add to the sense of spectacle. When telling a story that everyone knows, the “how” really does outweigh the “what”.

Except for my comments about the new theater, pretty much everything I’ve said could be replaced with “Looks good to me” and that’s really all I’m qualified to say. For a real review, check out David Lyman’s report in the Enquirer which includes some official photos. A Christmas Carol will be at Playhouse in the Park through December 30. Go help a new tradition get started or help nudge an old one into a new phase. 

Yippee-Ki-Yule, Y’all

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On Thursday, I got a double dose of holiday hoopla. The first dose was administered at Krohn Conservatory in Cincinnati’s Eden Park. The second came at Thomas More Stadium in Florence, KY.

This year’s holiday show at Krohn is called “Golden Days of Yule”. That name, coupled with my improved understanding of Yule (the subject of next week’s post), was one reason I wanted to visit Krohn this month. Another was that I realized it had been ten years since I’d seen the holiday display at the conservatory. All of my visits since 2013 were to see butterflies.

“Golden Days of Yule”, like previous holiday shows at Krohn, has lots of Cincinnati landmarks such as Music Hall in the opening photograph. All are made of locally sourced plant material and most return year after year. New this year is the National Underground Railroad Freedom Center pictured at left.

Numerous model trains travel among the landmarks and the conservatory’s normal display of plants. Even though no train has ever crossed the real John A. Roebling Suspension Bridge, this version has a double set of tracks so that a train with a Cincinnati Reds boxcar can cross it in both directions.

Other returning favorites include Union Terminal, now the Cincinnati Museum Center, and Findlay Market, which is encircled by Thomas the Train. Procter & Gamble’s Twin Towers and the Tyler Davidson Fountain, featuring The Genius of Water, appear together in the third photo although the relationship between the two is nowhere near accurate in either size or location.

It somehow makes sense that the Krohn Conservatory contains a model of the Krohn Conservatory and there might be nothing more natural for a conservatory to hold at Christmas time than a giant poinsettia tree. “Golden Days of Yule” runs through January 7 with live music on weekends.

Thomas More Stadium, on the other side of the Ohio River, is home to the Florence Y’alls Class A baseball team. Winters here are way too cold for baseball so, for the second year in a row, a skating rink and 2.5 million lights have been moved in for Deck the Y’alls.

There are lights everywhere both inside and outside the stadium. They are impressive to look at from just about anywhere but following a path through the displays at field level is the main attraction.

A family of four was near me during the early part of my walk and the youngest child asked her mother to read the lighted signs that marked each section. As soon as she heard “Dinoland”, she announced that she was not going in there. I’ve a hunch that it was what she saw and not what she heard that prompted her reluctance. The family hung back at the arch but after a few minutes, I saw them move ahead slowly. Before long they were back at their normal pace. Up close, dinosaurs made of electric lights just aren’t that scary, it seems.

And “Ornament Land” just wasn’t scary at all.

Apparently, neither was “Under the Sea” although I lost track of the family somewhere around The Blue Whale of Florence.

Here’s a sampling of the “12 Days of Christmas”. In reality, this whole post is just a sampling.  There’s a lot more here than what I’ve shown.

This is the exit. I hung back to take some pictures — and watch and learn from the people in front of me —  then passed through the maze and headed for a cup of hot coffee.

As I sipped that coffee, I captured a short overview video. Deck the Y’alls runs through New Year’s Day with fireworks on New Year’s Eve.
 
  

For anyone wondering about the team name, it comes from a water tower. The short story is that while Florence Mall was in development, a water tower advertising it was erected nearby. Because the mall did not yet actually exist, that led to some legal issues which were resolved by hastily converting the “M” to “Y'”. This was supposed to be temporary but proved so popular that it remains today even though the mall has now been in operation for decades. A fuller version of the story is here. The team was founded as the Florence Freedom in 2004 but changed its name to Y’alls in 2020.