By Liz Eichler
In Rude Nights at the Midland, Timothy Andrew Leonard is doing something audacious.
He said so on Friday night, noting that after six years of building audiences and earning their trust, Southbank Shakespeare was finally in a position to take a real risk. And this is certainly that: not a musical adaptation of Shakespeare’s The Taming of the Shrew, but an original ska-punk musical inspired by its themes—particularly the question of what makes someone so profoundly angry and uncomfortable all the time.
This won’t be for everyone–but I’m very glad I got to experience it.
Rude Nights is an Immersive Experience
From the Doc Martens to the drumsticks, this cast commits completely to the world Leonard has created.
Rude Nights isn’t simply a show—it’s an immersive concert experience that you will likely be clapping to or dancing in your seat. Programs are designed as gig posters. A merchandise table, courtesy of Strange Records in Morrow, is packed with T-shirts, stickers and band swag. Giant subway posters advertise the bands Premedicated Murder and The Water Cycle’s Gay. Security is in the lobby.
Before long, we’re fans waiting for a concert to begin.
We watch the sound checks, cheer the bands, and realize we’re witnessing more than a performance. Two lead singers aren’t simply rivals—they’re former lovers carrying years of unresolved hurt. They tear each other’s hearts out, stomp on them, then sing songs celebrating the experience.
Jessie (Val Allen) fronts Premedicated Murder. She’s talented, charismatic and undeniably problematic. She’s built a reputation for pushing boundaries, and it may finally be catching up with her. Her girlfriend wants her out of the band, prompting the questionable decision to book Jessie’s ex-boyfriend Trevor’s band as the opening act.
Predictably, sparks fly. “Better than Housewives, and I am absolutely enraptured,” states one character.
The relationship between Jessie and Trevor (Timothy Andrew Leonard) proves more complicated than expected. It’s been ten years since high school, and while they both have matured some, there’s still something that both pulls her toward Trevor and drives her away.
Strong Ensemble
Leonard proves himself to be a remarkable multi-hyphenate. As writer, director, actor and singer, he creates an entirely believable punk world populated with memorable characters. Onstage, he possesses an infectious energy reminiscent of Jack Black, backed by an impressive vocal range that moves effortlessly from falsetto to full-throated belt. His performance of Reel Big Fish’s “Your Guts (I Hate ‘Em)” is one of the evening’s undeniable highlights. Another of a number of strong performances include No Doubt’s “I’m Just a Girl,” sung by Peyton Leonard as Jamie, Jessie’s sister.
Allen matches Leonard’s intensity, sustaining Jessie’s simmering anger until the cracks finally begin to show.
The supporting cast is equally committed. Bri Willingham, Dylan Waters, Peyton Leonard, Freddie Caldwell, Maxx Ruth, Kayleigh Tamborski, Claire Lefton and Joe Mitchell create believable band families, while Nicole Grace, Taylor Mattingly and Enzo Battaglia delight as three die-hard fans who remain enthusiastically in character—even during intermission.
Claire Lefton’s Desiree deserves special mention. Initially introduced as the band’s free-spirited member—someone equally comfortable embroidering as playing music—she becomes one of the emotional anchors of the second act, accompanying pivotal moments with acoustic guitar.
David Goble appears as sound booth operator Chris Bently, Jeff Centrello provides comic relief as Horton the security guard, Kayla Haas-Centrello brings wonderfully quirky energy to Shannon—evoking a bit of Meg Stalter—and Veronica Ventura makes a memorable appearance in a key role.
Creative Team
Visually, Rude Nights fully embraces the punk aesthetic. Costumes (Jamie Swisshelm) feel authentic–perhaps the actors’ own–dominated by black clothing, tattoos and well-worn Doc Martens, with the horn players sporting cheerfully appropriate button ups. The playing space is one of the most unusual I’ve encountered: part basement studio space, part wrestling ring, allowing actors to literally bounce off the ropes before diving back into the emotional fray. The sound levels (Sam Blair, also Music Director) in the space are spot on–but all audience members are given ear plugs if needed.
Lighting (Leo Jenkins) and projections (Leen Leonard) effectively recreate the feeling of a live club show. While some lighting effects become a bit overwhelming during portions of the second act, the animated typography, illustrated sequences and childhood photographs add personality and texture to the storytelling. Stage Manager Lauren Davidson keeps it all running smoothly.
The first act leaves you eager to discover where these fractured relationships are headed. Unfortunately, much of the second act circles familiar emotional territory before moving the story forward. Trimming perhaps fifteen minutes—particularly some of the repeated confrontations—would tighten the narrative considerably and allow the central relationship, especially the connection involving Jessie’s sister, to emerge even more clearly. The history of ska is also a bit off topic.
Again, Leonard’s version is inspired by The Taming of the Shrew, not a replication. Both Jessie and Jamie had some major issues in high school. Leonard explores how people cope with coming back–or staying in–their home town when they have been stigmatized. Kate was labeled “difficult” and “headstrong, so no one wanted to marry her, in Shakespeare’s play. Her relationship with her beautiful younger sister became skewed.
Overall a Win
Still, Leonard’s script is packed with funny dialogue, memorable songs and genuine heart. By the final moments, what begins as loud, chaotic punk rock unexpectedly evolves into something surprisingly warm and human.
Rude Nights at the Midland is likely to become a favorite for a particular audience: fans of ska-punk, followers of Southbank Shakespeare’s fearless approach to theatre, supporters of the many Xavier University Theatre artists who contribute to the production, and anyone who enjoys discovering emerging local talent before everyone else catches on. It ends on a joyful note, with a song I rocked out to during my college days: “99 Red Balloons.”
The production runs only through July 19, 2026. Catch it live if you can. Get more information on their website. But there’s even more information on their Facebook page. Can’t wait to see what he dreams up next.
