Sunday, August 18, 2019

none too fragile has new home—high quality of productions still the same!

None Too Fragile Theatre has a new home!  But fear not! If their production of “Woody’s Order!” is any indication, the high quality of the theatre company’s shows will not suffer.

None Too Fragile, in its short existence, has received many Cleveland Critics Circle and recognitions for excellence in acting, directing and productions.  It has achieved this while appearing in an assortment of settings, including the back room of a restaurant.  Finally, the company has a new, and hopefully, permanent home…the former Coach House Theatre at 732 W. Exchange Street in Akron.

While sprucing up the building, which houses a proscenium stage, comfortable theatre-style seating and a big lobby, None Too Fragile’s co-artistic director, Sean Derry, is on the road with “Boogieban” which, last year, was one of the area’s most awarded shows with David Peacock and Travis Teffner, being chosen as co-winners of the Cleveland Critics Circle award as Best Actors in a Non-Musical. 

After a run in Chicago, which received rave reviews from Windy City critics, the NTF troupe will travel to the New York where they will attempt to prove that it is “The” place to produce new contemporary plays. 

In the meantime, Alanna Romansky, the company’s co-founder and co-artistic director, with the help of a determined group of theatre supporters, opened the new performance space with “Woody’s Order!,” a solo show written and performed by Ann Talman.  

Talman appeared on Broadway in “The Little Foxes” with Elizabeth Taylor, as well as in “The House of Blue Leaves” “Some Americans Abroad” and “The Women.”

An often emotionally tale of the decision that must be made by Ann, a professional actress/comedian who is torn between her Broadway career and being the sole caretaker for her nonverbal, cerebral palsied brother and Alzheimer-afflicted father.

At one point, she’s dividing her time between Los Angeles, New York, her brother’s nursing home in Allentown and her father’s nursing home in Pittsburgh

This is a tale of high drama with strong underlying comedy segments.

The play, which has also been made into a documentary, is finely directed by John Shepard who “makes this a deeply moving journey of pain, compassion and, ultimately, love.”

For the compassionate, this is not an easy play to watch.  But it is a performance well worth the discomfort.  

Talman is nothing short of amazing in telling her own tale and performing all ten or so characters in the script.  This is a master class in acting.

Capsule judgment:   None Too Fragile starts off its tenure in its new Akron theatrical home with a must see production!

For tickets for “Woody’s Order!” which runs through August 31, call 330-962-5547 or go to

Up next: “These Mortal Hosts,” Cleveland Heights playwright Eric Coble’s tale of what happens when three lonely people band together as their lives and bodies herald events far beyond their comprehension.

Saturday, August 10, 2019

“The Lion King” roars mightily at State Theatre

There is an old adage in the theater that an audience should not leave a musical theater production whistling sets and costumes.  In other words, it should be the music and story-line that are most important.

Obviously, the person who dreamt up that line hadn’t been exposed to Julie Traymor’s costumes and puppets as well as her directorial and creative approach to transforming “The Lion King” from an animated film to Broadway musical.  

The integration of the technical elements of the touring production, as was true of the Broadway staging, is captivating.  The story, visuals and musical components are so beautifully stitched together that one cannot conceive any aspect without the other.

Since its 1994 creation, Walt Disney Studio’s animated feature film, “The Lion King” has become a cottage industry.  The film, the stage-show which is still running on Broadway and has numerous touring versions, including one revisiting the State Theatre, a film-remake that is presently in theaters, and products galore including DVDs, t-shirts, stuffed animals, and carry bags, have been produced and are on-sale in the theatre lobby.

With book by Roger Allers and Irene Mecchi, music by Elton John and lyrics by Tim Rice, the tale of King Mufasa and Queen Sarabi, the rulers of the Pride Area, their son, Simba, and the King’s wicked brother, Scar, the tale has been well told.

The show’s music, which includes “Circle of Life,” “I Just Can’t Wait to Be King,” “They Live in You,” ”Hakuna Matata” and “Can You Feel the Love Tonight?,” is memorable.  BTW...don’t anticipate hearing “The Morning Report.”  The song was eliminated, from both the Broadway and touring productions, along with making other musical adjustments, to save about eight production minutes.

The stage show starts as Rafiki (a baboon who serves as a shaman to the royals of Pride Rock), calls for all to know that the circle of life will continue as a new cub, to be named Simba, will be announced at the gathering of the animals.

The theatre is soon filled with large puppet birds and animals, including an elephant, who march down the aisles and fill the stage. 

The tale continues as playful Simba, whose enthusiasm often overcomes his emerging logic, gets into one scrap after another, including going to the elephant burial ground and being involved in a wildebeest stampede in which his father is killed by Scar.
Scar convinces Simba that his father's death was his fault and tells him to run away, which the guilt-ridden boy does.

Scar claims the throne and allows hyenas to control the Pride Lands.  They willfully destroy the animals needed to keep the survival of the fittest in balance.  Hunger and desolation exist.
After running away, Simba collapses from exhaustion.  Vultures begin to circle, but are scared away by Timon, a mischievous meerkat, and Pumbaa, a warthog with gastrointestinal problems. 
Simba grows to adulthood and eventually he realizes that he must return and reveal himself. 

As in all good tales of good versus bad, Simba defeats Scar, who has destroyed the tranquility of the jungle.

With the battle won, Simba's friends come forward and acknowledge him as the rightful king. Simba ascends Pride Rock and roars out across the kingdom. The Pride Lands recover and the animals gather in celebration as Rafiki presents Simba and Nala's newborn cub, continuing the circle of life.

 “The Lion King” opened on Broadway on November 13, 1997.  It is still running to sold out houses.  The show has been seen nationally and internationally by over 100 million audience members.  It has received over 70 major theatre awards internationally, and is the 3rd longest running Broadway musical.

The touring show has most of the elements of the original Big Apple production.  Some of the scenic effects have been pared down so the show can be set up on various sized stages.  But, do not doubt that the show has the same effect as the original. 

The touring show is spectacular!

The touring cast is outstanding!  There is not a weak performer on stage. 

It should be revealed that this is not a tale for some children, especially young and/or sensitive ones.  The staging is filled with hyenas, numerous deaths, and there are scary dark scenes. “Cinderella” this is not!   A little boy, who was sitting in front of me kept covering his face and whimpering in the scary segments, and didn’t come back for the second act.  It is one thing to see the action in a movie, but in real life, things get much scarier.

Capsule judgment:  If you have not seen the stage version of “The Lion King” do it now!  Due to the complicated technical aspects, and exceptional puppets and costumes, no community theatre is going to be able to duplicate the production qualities.  Besides, these are difficult roles to sing, dance and act.  It takes professionals to pull it off.  Go!  Enjoy!  But, maybe leave the young and more sensitive kids at home.

“The Lion King” runs through September 1, 2019 in the State Theatre, as part of the Key Bank Broadway Series.  To purchase tickets, call 216-241-6000 or go to

Sunday, August 04, 2019

“The Ladykillers” a lesser farce at The Shaw

Farce is a sub-genre of dramatic comedy with the intent of making an audience laugh.  The story line is the device that gets the amusement-reaction. The plot in a farce is likely to be improbable, and maybe even incomprehensible.  That’s part of the humor-inducing methodology.  Verbal humor runs the show.   An example of a classical farcical play is Oscar Wilde’s “The Importance of Being Earnest.”  Ken Ludwig’s “Lend Me a Tenor” is another.

The farcical genre sometime takes on the guise of low comedy when it goes beyond using language to get the desired laughs by adding slap-stick physical absurdity.  Examples of physical farces are “Noises Off,” ‘The Torch Bearers” and, the present off-Broadway hit, “The Play That Goes Wrong.”

It takes special directing and acting skill to get the desired effect of farce, especially the physical variety.  Special attention needs to be paid to getting the audience to laugh at the spoken word, not at the actors exaggerated presentational skills.  If over-done the ridiculous becomes so absurd that it is no longer funny, but stupid.

Graham Linehan’s “The Ladykillers,” now on stage at The Shaw, bills itself as a farce. It is of the physical variety, with lots of shticks and gimmicks inserted to get the audience to laugh not only at what is said, but for what is done. 

The slight plot concerns a sweet little old lady, alone in her house, who is pitted against a gang of criminal misfits.

Professor Marcus and his fellow robbers rent a room in the home of eccentric Mrs. Wilberforce.  The villains plot to involve her, unwittingly, in a supposedly well-conceived heist.

Their pose to the landlady is that they are musicians and need a place to practice.  A series of ridiculous events, including hiding the money from the heist in a bass case, killing each other off, playing a concert for a group of Mrs. Wilberforce’s friends, and trying to keep one-step ahead of the landlady and the police, gives open invitation to lots of ridiculousness.

“The Ladykillers” is a 2011 stage adaptation based on the film of the same name.  Those who saw the movie, which starred Alec Guinness, Peter Sellers and Danny Green, know what a delight it was.  The West End reviews of the play stated that it was a “perfect pitch performance,” "A joy from start to finish," and "An exuberantly inventive evening."

I wish I could say the same of the Shaw production. 

The script is not of the same quality as Wilde or Ludwig, but it is serviceable.

Unfortunately, though there were many funny and audience laugh-inducing moments, Tim Carroll’s directing begged the audience for laughs.  There were enough naturally funny moments in the play that would have brought laughter, without begging for the humor. 

Sight gags were repeated over and over.  The first time someone is hit in the head by a turning blackboard it was funny.  By the fifth time it was not.  How many times can we be induced to laugh by an off-kilter picture being straightened?  An actor’s over-expressed confusion may be amusing the first time.  When repeated over and over it becomes boring.  The same with the over-done parrot squawking. 

Judith Bowden’s clever turn-table set design was a nice visual addition as was Paul Sortelli’s original music. 
Chick Reid was delightful as Mrs. Wilberforce.  Damien Atkins was on-point as Professor Marcus.  Steven Sutcliffe nicely developed the role of the old-lady-hating Louis.  Ric Reid properly phumphered his way as Major Courtney.

Capsule judgment: “The Ladykillers” gets an over-done farcical production at The Shaw.  It will be of great glee to many, however, it would have been more amusing if the material had been allowed to develop its natural farcical level, without redundant shticks and over-done characterizations.
WHEN:  Through October 12

“Sex”—Mae West as you never thought you’d see her!

Many know Mae West as a sex symbol and purveyor of bawdy double entendre, as well as an advocate of sexual independence. 

Did you know that she was also a playwright? 

Yes, Mary Jane West, who many know only from her famous lines, “You only live once, but if you do it right, once is enough," "Too much of a good thing can be wonderful," and "It is better to be looked over than overlooked," wrote many play scripts including “Sex” which now is onstage at The Shaw Festival.

The pillar of sexuality had a seven-decade career as a performer in amateur shows and beauty contests, as well as vaudeville and Broadway productions.   She later moved to Hollywood where she gained fame and fortune on the silver screen. 

Her career was capped when The American Film Institute named her 15th among the greatest female stars of classic American cinema.

“When her cinematic career ended, she wrote books and plays and continued to perform in Las Vegas and in the United Kingdom, on radio and television, and she recorded rock and roll albums.”
West’s Broadway career started in 1926 with the play, “Sex,” which she wrote, produced and directed.  The production was panned by the critics.  One review stated, “The play is nasty, infantile, amateurish, and has vicious dialog.”  Another commented, “We were shown not sex but lust—stark naked lust.”

The city officials raided the theatre, arrested West and the entire cast.  She was prosecuted on morals charges and for "corrupting the morals of youth."

Instead of paying a fine, in a good publicity stunt, she chose to go to jail.  It is reported that “while incarcerated on Welfare Island, she dined with the warden and his wife; she told reporters that she had worn her silk panties while serving time, in lieu of the burlap the other girls had to wear. She served eight days with two days off for good behavior. Media attention surrounding the incident enhanced her career by crowning her the darling bad girl who had climbed the ladder of success wrong by wrong.”

Audiences loved the show and the arrest publicity and awarded it with good ticket sales for the 375 performance run.  The marquee boasted the bright, glittering word ‘SEX’ and posters were shouting “Sex with Mae West.”  

Eventually, “the guards of morality in New York had had enough.  After complaints from key religious and political figures permanently closed the show.”
What was the fuss all about?

The story centers on Margy LaMont, an ambitious prostitute, who, in search of a better life, travels from a Montreal brothel to a Trinidad night club to a Connecticut upper class dwelling.  The humorous and sex innuendo–loaded plot is filled with gangsters, sailors and society matrons while displaying both tongue-in-cheek and out-and-out humorous incidents and inciting language.
The production is cleverly directed by Peter Hinton-Davis.  Creative scene changes, inventive use of cross-dressing, and a key eye on the humorous, leads the audience on a fun-filled, often outrageous journey.

The cast is outstanding.  Diana Donnelly looks like Mae West, but wisely makes the role of Margy hers, not doing a West-like imitation.  She textures the lines, indicating not only a fine sense of comic timing, but the ability to wring meaning from the speeches.

Though it is sometimes hard to accept her as a him, Julia Course gives the correct illusions to the role of Jimmy, Margy’s wealthy young lover.

Fiona Byrne does a nice turn as Clara, the society woman caught in an act of deviance.

Jonathan Tan is touchingly brilliant as Agnes, a put-upon prostitute.

The costumes, set and lighting all enhance the production.

Capsule Judgment: “Sex” is a delightful surprise.  Besides getting a compelling production at The Shaw, it is an eye-opener into the life of an American sex symbol who not only fought censorship, but once quipped, “I believe in censorship. I made a fortune out of it.”  This is a must see show!

WHAT: “Sex”
WHERE:  Jackie Maxwell Studio Theatre
WHEN:  Runs through October 13.

G B Shaw merrily mutilates, mystifies and maligns marital bliss in “Getting Married” @ The Shaw

George Bernard Shaw is noted for his stands on women’s liberation, religiosity and the British cast system. 

In his “Getting Married” the Irish curmudgeon is in full voice as he dissects, debunks, devalues and basically destroys the institution of marriage, while making his case for women’s rights and the ridiculousness of religious customs and practices.

Specifically, GBS “analyses and satirizes the status of marriage in Shaw's day, with a particular focus on the necessity of liberalizing divorce laws.”  And, where better to do this than on the day of a marriage.

Though generally considered one of Shaw’s lesser works, most critics agree that though it is short on action and some of the sharper barbs that are included in the Shavian lexicon, it is an excellent discussion on the foibles of the traditional Western world’s laws about marriage, divorce, having children and the role of women in the work world.

Shaw is noted for the preface to his plays where he often sets forth the views he is expressing in his scripts.  In “Getting Married” he takes the view that "Marriage remains practically inevitable.” 

“In a future society, he argued, there could be no practicable replacement for marriage, neither individually negotiated deals or unconstrained free love. Despite this, there was a very pressing question of improving its conditions. Shaw went on to argue for sensible divorce laws to protect the welfare of adults and children.”

It’s 1908. Edith, youngest daughter of Bishop Bridgenorth, is about to be married. Her uncle will give her away, as he has all her sisters. As at all the other weddings, he proposes to Lesbia, the bride's aunt, who refuses him for the "tenth and last" time. Lesbia wants a family, but not a husband who smokes and is as untidy as the General.  The General is soon shocked to find that his disreputable brother Reginald will be at the wedding. Reginald was recently divorced by his wife for assaulting her and for his adultery with a prostitute.  

Thus is laid the foundation for a battle over marriage, divorce, family values, the reproduction of children.  A pamphlet about the dangers of marriage, which is being read by both the potential bride and groom, adds to the angst.  

An attempt to write “new” rules for marriage just adds to the frustration.  Such matters as disagreement over rights and responsibilities about medical, religious, and financial matters, and how to get divorced emerge. 

As must happen, for this is a dramatic comedy, the young couple gets married, several other problematic relationships get solved, and everyone dances in the curtain call.

The Shaw’s nicely paced, often whimsical production, under the direction of Tanja Jacobs is delightful, especially the first act.

Many patrons thought the play had ended when the initial act curtain descended, only to be told there was more to come.  The second act, which brought about the final denouement, was not as fun-filled as the first.  In fact, cutting out much of it would have not left much of a hole in the writer’s intent and purpose.

The cast, which was both racially and age inclusive, sometimes with confusing results, was mostly excellent.  Standouts were Damien Atkins, Martin Happer, Stephen Sutcliffe, Graeme Somerville and Chick Reid. 

The technical aspects of the show were excellent.

Capsule judgment:  George Bernard Shaw is the master at skewering social, religious and political actions and concepts with which he disagrees.  His sharp, satirical and comedic language is put to good use in the delightful and pointed “Getting Married.”

WHAT: “Getting Married”
WHERE: Royal George Theatre
WHEN:   Runs through October 13

“Rope”—a treatise on Nietzscheism and religious questioning masquerading as a mystery

When theatrical mysteries are thought of the works of Agatha Christie (“The Mousetrap”), Anthony Schaffer (“Sleuth”), Tim Kelly (“The Butler Did It”), Sir Arthur Conan Doyle (“Sherlock Holmes”) and Tom Stoppard (“The Real Inspector Hound”) come to mind. 

These shows build tension and suspense, leave the audience grasping at clues to solve “who did it” or what twist and turn will reveal the villain.

Patrick Hamilton’s “Rope,” which is now on stage at The Shaw’s Royal George Theatre, unfortunately wouldn’t make the well-made mystery list, as it suffers from poor concept development and a weakly conceived production. 

The British play is set on the first floor of a house in London in 1929.  The story, centers on Wyndham Brandon and Charles Granillo, two young university students who have pulled off what they perceive to be the perfect crime, that of murdering a fellow student. 

Much like in the real Leopold and Loeb murder of young Bobby Franks, their reason centers on the belief that they can get away with the act because of their supposed intellectual superiority, a very Nietzschesque concept.

Friedrich Nietzsche proposed an ethical relativism philosophy in which superior men ignore the concept of good and evil and, because they are super beings, transcend the morality of the herd.  He stated, “Man is a rope, fastened between animal and Superman—a rope over an abyss.”

It is from this quote that the play’s title emerges.

As the play opens, in a dimly lit room, we see the duo carry in a body and dump it into a chest center stage. 

In a bizarre twist, the young men host a party at which the locked chest, which contains the corpse, is used to serve a buffet.  Included in the guests is the father of the dead student.

“After the party, one guest, a former professor of the murderers, returns and contrives to open the chest. He is shocked and ashamed that they have acted in response to his own declarations of amorality. The play ends with this quandary unresolved.”

The play was first an experimental BBC show, then an Alfred Hitchcock film.  The latter contained many changes to the stage play.  (Changes it appears should have been considered for this production.)

The script which, in the Shaw program is compared to Meyer Levin’s “Compulsion,” is neither as well-written or intriguing as that masterful play. 

Some of the characters are weakly developed, others seem to have no place in the tale, and the plot lacks the needed twists and turns to grab and hold the audience.

As for the production, director Jani Lauzon does what she can to breathe life into to it, with little success. 

Joanna Yu has done a masterful job of creating a multi-level set which allows us, through the use of a scrim back wall, to see people ascending and descending a staircase.  The lighting, however, did little to enhance the production.

Capsule judgment: “Rope” is a weakly written script which fails to compel or demand attention.  One can only wonder why the powers that be decided that it was worth the time and effort of the cast, crew and audience.

WHERE:  Royal George Theatre
WHEN:  Runs through October 12

Audience-pleasing “Brigadoon” at The Shaw

The Golden Age of the American theatre, which is generally identified as from 1943 to 1975, starting with “Oklahoma” and ending with “Chorus Line,” were highlighted by a combination of songs, spoken dialogue and dancing contained in a story which had a clear structure, emotional content, and whose components were integrated together.

The shows that followed “Oklahoma” generally followed a format.

An important aspect of the musicals was of a two-level plot.  The first consisted of a love story, the second a tale of comic relief.  (e.g., Curley and Lauri—love story, Will and Ado Annie—comic relief, in “Oklahoma.”)

The script generally also included an opening number that set the emotional mood for the story (e.g., “Comedy Tonight” from “Funny Thing Happened on the Way to the Forum”).

There was an “I Want Song” in which the lead character told what they want from life (e.g., “Wouldn’t It Be Loverly” from “My Fair Lady.”) 

Other elements were a conditional love song that set up the romantic tale (e.g., “If I Loved You” from “Carousel.”  And, a “noise” song, a show stopper in each act intended to “wake up” the audience (e.g., “Bloody Mary” and “There is Nothing Like a Dame” in “South Pacific.”)

Though there were many successful Golden Age writers, probably the kings of the movement were the duos of Rogers and Hammerstein and Lerner and Loewe.

The former centered most of their shows on exploring community and social messages (e.g., “The King and I” and “Flower Drum Song.”)  The latter duet of writers, including their “Camelot” and “Brigadoon,” looked at the perfect time, the perfect place and the perfect love story.”

“Brigadoon,” which is now on stage at The Shaw Festival, tells the tale of two men, who, following World War II, while vacationing in Scotland stumble upon Brigadoon, a magical and mythical place that appears for only one day every 100 years. 

As must happen in any good romantic musical, Tommy, one of the tourists, falls in love with Fiona, a young woman from Brigadoon.  Problems abound as he is engaged, the wee village only has a short period of presence based on a deal made between the town’s pastor and the powers-that-be, and Tommy needs to stay forever or return to a life in New York sans love.   Added to the problems is the tale of a young Scottish lad, frustrated that the love of his life has been given to another, threatens to leave Brigadoon, thus breaking the spell, leading to its disappearance, forever.

From the opening number, we see and feel that “the mist is on the gloamin', and all the clouds are holdin' still,” that we are going to “go roamin' through the heather on the hill.” 

Love is in the air and we are aware from the “Vendors Call” and Fiona’s I wish song, “Waitin’ for My Dearie,” that song and dance are going to take us on a “wee” wonderful journey in which “Almost Like Being in Love” will become a reality.

“Brigadoon” is filled with enchanting and endearing songs.  It’s almost impossible to leave the theatre not humming such standards as “Almost Like Being in Love,” “From This Day On,” and “There But For You Go I.”

The Shaw production is an audience pleaser.  The story is clearly told, the almost cartoonish set illuminates the lack of reality of the goings on, and the music, in most instances, is well sung and interpreted.

As illustrated by Agnes DeMile’s dynamic original choreography for the Broadway production, the dancing in the Shaw staging is a little too controlled, needing more spontaneity and dynamism.  This was especially true in the “The Chase” in which the danger of the very existence of Brigadoon should be apparent, and “The Sword Dance” which needed to highlight the strong emotional feeling of impending doom.

The “noise” songs, “The Love of My Life” and “My Mother’s Wedding Day,” needed more abandonment and clearer diction to ensure that the humor of the musical tales could be understood and enjoyed.

The cast was generally strong.  Lovely Alexis Gordon was charming as Fiona MacLaren, the romantic lead.  She has a fine singing voice as was well illustrated in “From This Day On.” 

Handsome George Krissa created a totally believable Tommy, Fiona’s “Heather on the Hill” partner.  His “There But For You Go I” was a production emotional highlight.  He and Gordon displayed a nice interpersonal connection.

Mike Nadajewski was generally pleasing as Jeff, but both he and pert Kristi Frank as the seductive Meg, needed to have more dynamism as the comic reliefs.

The costumes, musical sound, lighting and sound all enhanced the production.

Capsule Judgment: “Brigadoon,” which is a classic example of one of the great American musicals, gets a very credible, audience-pleasing performance, at The Shaw. 

WHERE:  Festival Theatre
WHEN:  Through October 13

“The Glass Menagerie” shimmers at The Shaw

The modern era of theater was highlighted by the writings of Arthur Miller, William Inge and Tennessee Williams. 

Miller, the sophisticated Jewish easterner, who as a social philosopher, asked in his writings, “Is this the best way to live?”

Inge, reflecting on his Mid-western sensibilities and Christian moralism, plus his guilt over his homosexuality, viewed a world peopled by solitary protagonists encumbered with strained sexual relationships.

Williams, writing in a style referred to as “Poetic Realism,” was a man born of the south.  His messages and symbolism reflected his family and its influences as he wrote of those fighting to retain their dignity, find their lives unsatisfactory, often doomed to go unnoticed while being overwhelmed.  His lead characters are often crushed by the world around them, specifically the women who found themselves living in worlds which they didn’t understand and which didn’t understand them.

His “The Glass Menagerie,” now in production at The Shaw, is probably the best example of pure Williams.  It premiered in 1944 and catapulted Williams to theatrical prominence.

A memory play, a biographical treatise which centers on his mother, sister, himself and his absent father, it reveals all of the author’s digging for his devils, including alcoholism and homosexuality.  This is Williams probing for his “why,” his issues and his writing style. 

The play opens with Tom (the compelling Andre Sills) stating to the audience, “Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion."

This line, the key to understanding Williams use of symbolism throughout the script, is heightened by Sills having interacted with the audience before the start of the show, doing sleight of hand coin and scarf illusions.  A device added in this production, not prescribed in the script.

The setting is a dingy St. Louis apartment.  It’s the home of Amanda Wingfield (extremely well-portrayed by Allegra Fulton), a middle aged woman with remembrances, real and illusionary, of her days as a Southern belle.  A time when she supposedly danced at cotillions, had beautiful dresses and numerous gentlemen callers.  A time before she married a man who abandoned the family, out of frustration and personal need. 

The other occupant is Laura, Tom’s sister (sensitively portrayed by Julia Course).  She is a woman with a limp as the result of a bout with polio, who is socially challenged, is basically an agoraphobic who has made an escape world for herself populated by crystal figurines, her glass menagerie, and a set of records left by their father. 

Amanda yearns for the comforts and life she lived as a girl, worries extensively of what will happen to Laura when she is left alone, with her fears of the outside world and her reactions to the abandonment by her husband and the possibility of Tom departing and leaving Laura and her. 

Her constant nagging for Tom to bring home a gentleman caller for Laura, with the plot of getting him to marry the girl, finally is satisfied when Tom asks a fellow worker at the shoe warehouse where he is employed. 

Unknown to Tom is that Jim, the gentleman caller, (sensitively portrayed by Jonathan Tan), casually knew Laura in high school and called her "Blue Roses", when she returned to school after a bout of pleurosis.   Also unknown is Laura’s crush on Tom when the two were in school.

Amanda’s plans for Laura and Tom are dashed when, after being kind to the young woman, Tom reveals that he is engaged. 

And so the drama spirals to a sad conclusion, as Tom leaves, in an ingeniously staged exit march around the stage, to  seek a way to satisfy his yearnings and Laura blows out the candles leaving her and Amanda to live out their lives in a veil of darkness and unrequited dreams.
The characters and story mimic Williams' own life more closely than any of his other works.  It spotlights Williams (whose real name was Thomas), his mother, Amanda, and his sickly and mentally unstable older sister, Rose.

Williams learned in 1943 that, in his absence his sister had been subjected to a botched lobotomy, leaving her incapacitated (and institutionalized) for the rest of her life.
With the success of “The Glass Menagerie,” Williams gave half of the royalties to his mother, designated half of the royalties from his play “Summer and Smoke” to provide for Rose's care, arranging for her move from a state hospital to a private sanitarium. Eventually he was to leave the bulk of his estate to ensure Rose's continuing care.  Rose died in 1996.

The Shaw production, under the adept and creative direction of László Bérczes is magical.  The clarity of many of Williams’ symbolic radiate.  The theatre in the square stage is effectively used.  The characterizations are cleanly-etched and the performances are nicely textured. 

Tom’s need to escape, while feeling a need to fill in for his absent father, is obvious.  

Amanda is pathetic, not crazy, a woman caught in a time and place she does not understand.  

Laura is maimed, not crippled.  Maimed by having to live with a delusional mother and a slight impediment, made larger by her mother’s unrealistic expectations for her.  

Jim is sensitively interpreted.

Capsule judgment:  The Shaw’s “The Glass Menagerie” is a masterfully staged show of one of the finest dramas in the American theatrical lexicon.  This is an absolutely must see production!  Huzzah!


Shaw Festival Reviews--2019

As I walked down the main street in Niagara-on-the-Lake in Ontario, Canada, I had several people look at my black t-shirt with the white letters which stated, “I liked Cleveland before it was cool” and make positive comments or give a thumbs up.

The Shaw Festival is often like being in downtown Cleveland on game day.   Lots of 216/440 residents migrate North for a day, days or a week to visit “the most beautiful little city in Canada.” 

They purchase peaches, cherries, and nectarines, tour the wine country, play golf,  and attend plays at The Shaw.  It also doesn't hurt that the present exchange rate is $1.32 American for the Canadian dollar.  (For the non- mathematical—Americans get a little over 30-cents back for every dollar they spend. Use credit cards to get the highest exchange rate.)

The Shaw Festival is a tribute to George Bernard Shaw, his writing contemporaries, and plays that share Shaw’s provocative exploration of society and celebration of humanity.  


It’s a good idea to make both theatre and lodging reservations in advance, especially with the B&Bs on weekends. Our home away from home is the beautiful and well-placed Wellington House (, directly across the street from The Festival Theatre, within easy walking distance of all the theatres, where the breakfasts are great and the furnishings lovely.  Unfortunately, this is the last year that the proprietors will accommodate new guests.  So, if you’d like to stay there, reserve for this year, now! For information on other B&Bs go to

There are some wonderful restaurants.  My in-town favorites are The Grill on King Street (905-468-7222, 233 King Street) and Niagara’s Finest Thai (905-468-1224, 88 Picton Street).  There is also Gingers (905-468-387, 1390 Mary Street) a short ride out of the main square.  The Epicurean is a nice place for a seasonal food lunch.

Having just returned from the Festival, I offer these capsule judgments of some of the shows:

SEX-- “Sex” is a delightful surprise.  Besides getting a compelling production, it is an eye-opener into the life of an American sex symbol who not only fought censorship, but once quipped, “I believe in censorship. I made a fortune out of it.”  This is a must see show!

THE GLASS MENAGERIE--“The Glass Menagerie” is a masterfully staged show of one of the finest dramas in the American theatrical lexicon.  This is an absolutely must see production!  Huzzah!

THE LADY KILLERS--“The Lady Killers” gets an over-done farcical production at The Shaw.  It will be of great glee to many, however, it would have been more amusing if the material had been allowed to develop its natural farcical level, without redundant shticks and over-done characterizations.

BRIGADOON-- “Brigadoon,” which is a classic example of one of the great American musicals, gets a very credible, audience-pleasing performance.

ROPE--“Rope” is a weakly written script which fails to compel or demand attention.  One can only wonder why the powers that be decided that it was worth the time and effort of the cast, crew and audience.

GETTING MARRIED-- George Bernard Shaw is the master at skewering social, religious and political actions and concepts with which he disagrees.  His sharp, satirical and comedic language is put to good use in the delightful and pointed “Getting Married.”  See this one!
To read the complete reviews of the shows I saw, go to:

Other festival shows are:

For theatre information, a brochure or tickets, call 800-511-7429 or go on-line to  Ask about packages that include lodging, meals and tickets.  Also be aware that the festival offers day-of-the-show rush tickets and senior matinee prices.


Go to the Shaw Festival!  Find out what lovely hosts Canadians are and see some theater! 

Don’t forget your passport as it’s the only form of identification that will be accepted for re-entry into the U.S.  Figure in time to get through customs at the U.S.-Canadian border.

Saturday, August 03, 2019

I am often contacted concerning my teaching schedule.  As of now, I am scheduled to teach the following classes for Fall of 2019.  

(Please DO NOT contact me about registration.)

Jewish Community Center


Dr. Roy Berko, one of Cleveland's leading theatre critics, using facts, stories, videos and anecdotes, will take you on a journey from THE BLACK CROOK, the first American musical, to HAMILTON and other present-day productions.  Topics include:  the effect of Jewish lyricists/composers/script writers on the American musical, how examining the musicals and plays of an era allows for an understanding of that era, the formats of musicals, and the role of the writers, lyricists, composers, producers, directors and performers of America’s major contribution to the theatre lexicon.
    Wednesdays--September 4 through October 16

             11:30 AM-12:30 PM
    Jewish Community Center, Mandel Classroom
    Information:  Jan Rutsky 216-593-6248 or jrutsky@mandeljcc


Under the guidance of Dr. Roy Berko, with the use of videos, stories, facts and discussion, explore the history of the Yiddish/Jewish theater, in Europe and America, and those whose creative talents gave birth to not only American theatrical dramas and comedies, but the American musical theater.   Class is limited to 44 students.
    Tuesdays--October 15 through November 19, 2019

              11:00 AM-12:45 PM
    Temple Emanuel, Pepper Pike