For more than 15 years, Star Cinemas has screened new and recent releases in its clean, well-maintained facilities. The family-owned theater, with locations in Hillsboro and Grove City, offers handicap access and hearing-impaired service and is conveniently located near major highways and out of the sightlines of roving T-1000s.
The Hershey Theatre, conceived in 1933 by noted philanthropist and chocolatier Milton S. Hershey, stands as an opulent tribute to the performing arts. Taking architectural cues from Saint Mark’s Basilica in Venice, the foyer’s towering arches gleam with golden paint and crystal chandeliers. The blue-and-gold mosaic that leads to the main seating area is the masterwork of two German artists who spent two years on its construction. Once inside the theater, audiences might think they’ve stepped onto the streets of Venice thanks to the atmospheric ceiling, stonework facades, and gondoliers paddling them to their seats. ####Bethel Woods Center for the Arts Music has permeated the 800 manicured acres where the Bethel Woods Center for the Arts has stood since 1969, when farmer Max Yasgur agreed to let love, peace, and harmony grow wild at the very first Woodstock festival. These days, the renowned outdoor venue and cultural center continues to attract the biggest acts in music to its pavilion stage. The open-air design ensures ample ventilation on the natural sloping lawn, and a roof protects up to 15,000 fans from inclement weather and the prying eyes of Cessna pilots.
The consortium of professional instructors at Fred Astaire Dance Studios, which was cofounded by the legendary toe tapper himself, shepherds students of all ages and skill levels through lessons that span the style spectrum. Low-pressure private sessions allow enthusiastic teachers to fine-tune individual students' techniques and form, using their expert eyes and mechanical dancing shoes preprogrammed to do the Charleston. Patrons can learn how to cavort through classic waltz and fox-trot romps or swivel through the modern steps of salsa, swing, or samba. For dancers hoping to hoof it up in a social setting, the group practice parties provide a one-night extravaganza of instruction, demonstrations, and amateur firewalking.
The oldest surviving theater in central Ohio, the fin de siècle elegance of the Southern Theatre's jewel-box auditorium transports audiences back to the days of vaudeville antics and silver-screen spectacle. Built in 1896 to state-of-the-art standards, the theater's bandshellesque proscenium bucked architectural norms to funnel sound into the seats. Its 204 light bulbs required that the theater generate its own electricity for years, until scientists figured out that nobody needed to worry about that stuff.
Elton John. Dolly Parton. Dave Matthews Band. Harlem Globetrotters. These are just a handful of celebrated acts that have descended upon Winston-Salem Entertainment Sports Complex over the years. The sprawling event center remains a go-to destination for visitors who want to catch a first-rate concert, root for their favorite sports team, or get an autography from their favorite gym towel.
A treat for horror-movie buffs and fans of sing-along slapstick mutilation, Evil Dead: The Musical lovingly mutates Sam Raimi's goofy and gory ‘80s splatterfest into a gut-busting cult classic that the New York Times has heralded as "the next Rocky Horror Picture Show." Packed with pratfalls, a jaunty score, and gallons of old-fashioned gore, Evil Dead trebuchets audiences into a spooky remote cabin, where doomed college students succumb to possessive demonic forces more pesky and sinister than a pebble-filled sock. Limbs fly and heads roll as our hero, Ash, armed with his signature moxie and chainsaw, battles the undead while the cast is giddily eviscerated to showstopping numbers such as "Do the Necronomicon" and "Look Who's Evil Now." Cheeky, campy, and catchier than an appendix removal, Evil Dead: The Musical rewards fans of the horror franchise while recruiting new generations into the cult. The front rows at Evil Dead shows are typically covered in plastic to catch the crimson corn-syrup shrapnel from the stage geysers, much to the delight of contemporary artists who tote around blank canvases.