THE MUSICAL THEATER PROJECT starts its 26th season with GREAT 21ST CENTURY MUSICALS

 

On August 24th and 25th, The Musical Theater Project will open its 26th season with GREAT 21STCENTURY MUSICALS, a sampling and celebration brand-new musicals, with, according to co-host and author of the program, Sheri Gross, “a glance back at some new works from composers that have been covered before and fit into the timing.”   To be staged in the intimate Chagrin Valley Little Theatre, the summer concert is part of the “Song Is You!” concert and cabaret series.    On its blog, TMTP explains that their mission is to preserve and honor the 20th [and 21st]-century classic American musical (both stage and screen) in songs, stories and social history by guiding their participants to learn about the art form’s past. The organization’s goal “is to bring us all closer together in greater understanding of each other, and in joy, hope and love—these are meaningful and uplifting hallmarks of the classic American musical.” Under the creative guidance of Bill Rudman, nationally renowned educator, broadcaster, producer and founder of The Musical Theater Project, the organization “has created more than 100 concerts and cabarets that celebrate and share musical theater as a uniquely American art form.” Usually, the live concerts are written and narrated by Rudman, with musical direction and additional narration provided by Nancy Maier.   The summer concert is being written and narrated by Gross and Maier, with vocals performed by TMTP audience favorites Nicole Sumlin and Eric Fancher. In an interview with Gross, it was revealed that the shows to be highlighted and songs to be presented were picked by the duo from current shows and musicals that opened on Broadway in the 21st century, augmented by new works from songwriters that have been covered in concerts that fit the timing. Works to be examined will include the Tony Award-winning THE OUTSIDERS, along with WATER FOR ELEPHANTS, SUFFS, THE NOTEBOOK, and THE DAYS OF WINE AND ROSES.  Songs by Jason Robert Brown and music from MERRILY WE ROLL ALONG, COME FROM AWAY, THE PRODUCERS and WICKED will also be included.  (Side note:  both THE OUTSIDERS and WICKED were produced on Broadway by THE ARACA GROUP, whose partners are Matthew and Michael Rego and Hank Unger are native Clevelanders.) How was the program put together?  According to Gross, she and Maier examined shows that fit the theme, decided on what songs work for the singers, evened off the number of songs for cast, decided on how the songs flowed together, selected the opening and closing numbers and then wrote the text.    The program becomes a reality after the narrators and singers rehearse the show 4 or 5 times to make sure of the quality of the production and that it fits into the allotted time.   Experience GREAT 21ST CENTURY MUSICALS in-person on Saturday, August 24 @ 7:30 and Sunday, August 25 @ 2 at Chagrin Valley Little Theatre, 40 River Street, Chagrin Falls.   For tickets go to: https://musicaltheaterproject.org/buy-tickets/   For updates on Chagrin bridge construction, please visit: https://chagrin-falls.org/336/N-Main-Street-Bridge—Information-Porta Free valet parking is available!

CHILDREN OF EDEN brings “The Bible” to life at Western Reserve Playhouse

 

CHILDREN OF EDEN, has music and lyrics by Stephen Schwartz.  He is the creator of such hit shows as WICKED, PIPPEN and GODSPELL.  Unlike those shows, EDEN had no Broadway or off-Broadway productions.   In fact, it had very little success until it was realized that it leaned itself to be performed by community, regional and educational theatres as it can be performed with a large or small cast, little or no sets, a small or large musical band, and had the universal themes of family and love.    It is now so successful that the show's publisher, Music Theatre International, reports that it is “one of its top 20 most frequently licensed properties.”   The original cast production of CHILDREN OF EDEN was developed as a Royal Shakespeare Company workshop in the 1990s. Subsequently, it was reworked and edited, with songs and scenes being added and cut. In 1997, a major production was mounted at the Paper Mill Playhouse in Millburn, New Jersey.   This revised version, commonly known as the "American version" is what is on stage at Western Reserve Playhouse.   The musical is based on the “Book of Genesis,” with Act I telling the story of Adam and Eve, and Cain and Abel, while Act II spotlights Noah and the flood. “The universe is born out of darkness. Father, with the help of the Storytellers, brings the universe and life into existence, including Father's new children, Adam and Eve.  It follows the ancient tale of Eve finding.  Though her life is seemingly perfect, Eve still hungers for something more: knowledge, adventure, and to see what lies beyond the garden.  Eve meets a snake who tempts her with apples from the forbidden tree and the possibilities that would open up for her if she eats it.  And, thus, we are taken on an adventure of doom, murder and such heinous things that Father decides that he needs to clear the earth of what has been created by having a flood whip out everything.   He informs Noah of the impending doom, as Noah's family remain the only ones who are untainted by Cain's lineage, and commands him to build an ark for refuge. Noah begs Father to reconsider, but Father leaves him with the command and that the ark must be large enough for both his family and two of every animal!” The Western Reserve production, under the direction of Braelin Andrzejewski, is staged in their charming Barn.  It is a very commendable amateur production, with many creative highlights.  The cast, as is the case with many community productions, is uneven.  While some performs “act,” rather than being natural, others soar.  Strong performances are given by Kelly Pikenroth (Eve/Mama Noah), Nate Zadzilka (Abel/Japeth), Roman Novosel (Cain/Ponair) and Emily Sedmak (Storyteller/Aysha).   Future Suggestion:  Putting the song list in the program would allow for identification of the material, as well as who is performing it.   Capsule judgment:  THE CHILDREN OF EDEN is a show that lends itself to the space and talent of Western Reserve Playhouse.  It gets a solid performance that allowed for a multi-level of talent to perform, to the delight of the large and appreciative audience. THE CHILDREN OF EDEN continues at Western Reserve Playhouse, 3326 Everett Road, Bath through August 17, 2024.  For tickets call 330-620-7314

SPEECH AND DEBATE examines contemporary teen angst at congruence-continuum

 

It is entirely appropriate that convergence-continuum, with its tendency of challenging conventional notions by choosing plays because they contain controversial topics, stage Stephen Karam’s SPEECH AND DEBATE, which examines teenage angst as it relates to love, self-acceptance and what happens when three teens are forced to confront the real world in which they live.
 
The teenage misfits, Solomon, Diwata and Howie, who go to the same school, have different gripes with life, but soon realize that three voices are stronger than one. 
 
Meet the dynamic trio:
 
There is Solomon, a nerdy kid with ambitions of being a journalist.  As his/their latest cause-celeb, he/they wants to investigate homophobic closeted men in positions of power.  He/they gets a chance when the conservative Republican mayor of Salem, Oregon, is caught in a sex scandal involving underage boys.  Solomon writes the story.  It, along with an essay on abortion, are rejected for publication by the school’s newspaper advisor because of her fear that there will be community backlash.
 
Then there is Howie, an out, gay high school senior, who has transferred from a liberal Portland school. He is disgusted by the Puritan culture of Salem, in which he can’t get a Gay-Straight Alliance sponsored at school, but can make a gay “sex” date on-line with a school faculty member.
 
The trio also contains Diwata, a black female diva, who has a grudge against the school’s drama teacher because he refuses to cast her in a major part and won’t stage her musical version of Arthur Miller’s THE CRUCIBLE, a play about witchcraft in Salem, Massachusetts.  She goes into the boy’s bathroom, one day, because the girl’s facility is over-crowded.  While seated in a stall, she witnesses what she thinks is an illicit encounter between a student and the drama teacher. 
 
When the three students realize that they each have a piece of the same scandalous puzzle, secrets are bartered, and ultimately, and in spite of their differences, an alliance is formed. 
 
They realize that since their school has no speech and debate squad, if they form one, and present their “evidence,” maybe this is their chance to be heard at last—by the school and even the world. 
 
The play has been bannered as, “A triumph…hilarious, cliché-free, and immensely entertaining, “…[A] savvy comedy…bristling with vitality, wicked humor, terrific dialogue and a direct pipeline into the zeitgeist of contemporary youth.”  Other reviewers stated, “Karam has a keen ear for how teens talk, move and think, how they view each other and the adult world … and uses both the advantages and perils of cyberspace to make amusing, original point,” and “This play is a f–ing blast.”
 
Con-con’s staging, thanks to solid directing by Léo Fex, in spite of some over tinkering with the various set pieces, which slowed down the production, was effective, holding the attention throughout.  
 
 In most productions of the script, the role of Solomon is played by a male.  Fex, who identifies as “they,” decided to have Keniel Kenney, who also identifies as “they,” play the role.  They are dressed in a shirt whose buttons follow the male buttoning configuration and has a “boyish” haircut.  This interpretation gives a gender/sex fluid, non-differentiated identity, to Solomon.  Whether intentional or not, this casting changes the meaning of some of the author’s lines.  
 
Keeney is “geek” strong in the role.
 
Zoë Frager is drama queen perfect as the obsessed actress/playwright-wanna be.
 
Brandon Alexander Smith nails the role of Howie.
 
Carolyn Demanelis handles both the role of teacher and reporter effectively.
 
Though the program does not give credit for whomever is responsible for the design and execution of the electronic graphics, it should be noted that they strongly enhance the show.
 
Capsule judgment:  SPEECH AND DEBATE is a well-conceived and written play that gets a very creditable production at con-con.
 
For tickets for the show, which runs through August 24 go to www.convergence-continuum.org

Next up at con-con:  THE PITCHFORKS (October 4-October 26).

THE PROM, a musical with a contemporary social message @ CVLT

 
In 2010 a gay Mississippi high school student was banned from going to her senior prom by the school’s Board of Education because she wanted to bring her girlfriend as her date.  She challenged the ruling, which resulted in the cancellation of the prom.  The student and the ACLU sued the district.  The federal court found the school district guilty of violating the student’s first amendment rights and said the prom must be held.  

The board reinstated the prom, but local parents organized an alternative event to be held on the same night, but kept the event and its location a secret so the gay student and the media would not know.  
  
That event was the impetuous for Jack Viertel’s concept musical, THE PROM, which is now on stage at Chagrin Valley Little Theatre.
 
The stage version builds on the real story and expands it to center on four frustrated Broadway actors, at a failure crossroad in their careers, who contrive a way to get attention by traveling to the very conservative town of Edgewater, Indiana, to help Emma, a lesbian student banned from bringing her girlfriend to the high school prom.
 
The Broadway production was critically greeted with such comments as, "such a joyful hoot,” “with its kinetic dancing, broad mugging and belting anthems, it makes you believe in musical comedy again," and “with a tuneful score, a playful book, and performances that remind you what Broadway heart and chutzpah are all about." 
 
The story, though possessing the quality of a TV sitcom tale, has a meaningful purpose, is tightly written and keeps attention throughout.  
 
It is the purpose of community and little theaters, such as Clague Playhouse, Greenbrier Theatre, Brecksville Little Theater and Chagrin Valley Little Theatre, which has been producing shows for 94 seasons, to give local audiences exposure to theater and give non-professional actors and community members a chance to create and perform.  Audiences should not attend expecting the shows to be “better than Broadway.”  That’s the purpose of the Broadway touring shows and the local professional theaters. 
 
THE PROM is a perfect community theatre show. It has a message, a well-written script, good music (especially “Dance With You” and “Jazz”), can be done with less than professional actors, has a fairly easy set to build, and lots of parts for performers of all ages and talents.
 
The show’s song, “We Look to You” banners the good theatre does for performers with its declaration, “We need a place to run when everything goes wrong, when the answer to each problem is to burst into a song, and standard rules of logic just don’t simply apply, when people dance in unison and no one wonders why.”
 
The same song tells why people come to the theatre, stating, “We look to you in good times and bad—the worlds you create make the real ones seem less sad.  The curtain goes up, and every now and then, it feels as if we’re coming home again.”
 
The CVLT show has some good performances including that by Brooke Hamilton who has a nice singing voice and good acting chops as the lesbian, Emma, who is thrust on the national scene as a role-model when all she wants to do is dance at the prom with her girlfriend, Alyssa, who is well-acted and sung by Maela Mazzone. 
 
Jessie Pollak (Kaylee) and Kelly Scott (Shelby) were appropriately nasty as the mean girls and Eric Oswald, as Principal Hawkins, who did a great rendition of “We Look to You.”
 
Nina Takacs (Dee Dee Allen) and Dan Knepper (Barry Glickman) belted out “It’s Not About Me,” and over-acted to the delight of the audience who roared at the over-exaggerations, while accepting the predictable and often awkwardly presented choreography. 
 
David W. Coxe’s orchestra was excellent as were the electronic media insertions.
 
CAPSULE JUDGMENT:  THE PROM is an old-fashioned musical which tells a contemporary tale with a moral and gets a good community theatre staging at CVLT, It is worth seeing.
 
THE PROM continues on the Chagrin Valley Little Theater stage through August 10, 2024.  For tickets, call 440-247-8955 or go to CVLT.org