TWELFTH NIGHT (or WHAT YOU WILL) delights many at Great Lakes Theater

In 2023, stating that it “encouraged homosexuality” because of its cross-dressing characters, a New Hampshire school system banned a production of William Shakespeare’s TWELFTH NIGHT, sub-titled:  WHAT YOU WILL.

The romantic comedy, which contains the honored lines of the Bard, including ““Be not afraid of greatness. Some are born great, some achieve greatness, and some have greatness thrust upon 'em,” and “Why, this is very midsummer madness,” is a play that, though it contains no references to or scenes of Christmas, was supposedly commissioned for production at the end of that holiday season. 

The play centers on “the twins Viola and Sebastian, who are separated in a shipwreck on the coastline of Illyria.

Viola (disguised as a page named 'Cesario') falls in love with the Duke Orsino, who in turn is in love with Countess Olivia. Upon meeting Viola, Countess Olivia falls in love with her, thinking she is a man.”

Sounds farcical?  It contains many segments which, as Shakespeare oft did, was filled with humor and melodramatic opportunities. 

“Some modern scholars believe that TWELFTH NIGHT, with the added confusion of male actors and Viola's deception, addresses gender issues "with particular immediacy".  They also accept that its depiction of gender stems from the era's prevalent scientific theory that “females are simply imperfect males.”

Yes, TWELFTH NIGHT does explore gender identity and sexual attraction, having a male actor play Viola enhanced the impression of androgyny and sexual ambiguity.  It also, as was the custom of the day, that the role of young men and boys would be played by males.  Homosexuality?  No, a little cross-dressing, yes!  

“In the comic subplot, several characters conspire to make Olivia's pompous steward, Malvolio, believe that she has fallen for him. This involves Olivia's uncle, Sir Toby Belch; another would-be suitor, the squire Sir Andrew Aguecheek; Olivia's servants Maria and Fabian; and Olivia's fool, Feste. Sir Toby and Sir Andrew engage themselves in drinking and revelry, disrupting the peace of Olivia's household.”
 
GLT’s production, under the direction of Sara Brunner states in her program notes, “Our production illuminates how grief and joy are not opposites but rather are intimately linked.”
 
She accents the dramatic and comic, and throws-in some farcical interludes.  Not as many as is common in other productions of the script, thus cutting down the chance for hysteria.  This restraint may account for the polite, rather than screaming standing ovations that often conclude other stagings.
 
Courtney O’Neill’s curving levels, which create the illusion of continuous water movement, works well.  It is enhanced by Rich Martin’s lighting.  Mieka van der Ploeg’s ageless perky costumes work well.
 
The cast is universally strong.  Grayson Heyl (Viola/Cesario), and Nic Scott Hermick (Sebastian) are believable as the twins.  James Alexander Rankin makes a perfect fool of himself as squire Sir Andrew Aguecheek.  Dar’Jon Marquise Bentley well fits that role of Sir Toby Belch.
 
CAPSULE JUDGMENT: TWELFTH NIGHT gets a pleasing production at GLT.  It could have been enhanced by broader farce and more joyous attitude.  As might be said of the New Hampshire Board of Education that banned the play, “The fool doth think he is wise, but the wise man knows himself to be a fool.” (AS YOU LIKE IT)

TWELFTH NIGHT continued at Great Lakes Theater, in performance at the Hanna Theatre through April 6, 2025.

Next up at GLT:  NOISES OFF, the uproarious backstage farce, from April 25-May 18.

For tickets to GLT shows go to greatlakestheater.org or call 216-241-6000.

CVLT’S JERSEY BOYS --” Oh, What a Night”!

 

A juke box musical consists of pre-existing songs which are melded into a script to tell a story.  The songs, in contrast to lyrics and music, which are specifically integrated into a traditional musical’s story, don’t always smoothly transition into the juke box tale.  
 
The songs can be by one specific artist or songwriter, for example MAMMA MIA features songs by ABBA and WE WILL ROCK YOU features tunes by Queen.  On the other hand, MOULIN ROUGE! THE MUSICALfeatures a score primarily composed of the material of many artists. 
 
JERSEY BOYS, which is now on stage at Chagrin Valley Little Theater features songs by Frankie Valli & the Four Seasons.

There is a special aura about New Jersey, excuse me, “Nu-joisy.”  “De joisy guys” talk different. “Dey” have an “add’e’tude dat” which reeks of testosterone (even the women), and find glee in being “in-ya face.”  They live by “der own ruhls.”  This combination of being and doing flows onto the stage in JERSEY BOYS.  
 
It supposedly is the tale of how a group of blue-collar boys from the wrong side of the tracks became one of the America’s biggest pop music sensations. They supposedly wrote their own songs. They invented their own sound and sold 175 million records worldwide - all before they were thirty.

You’ll note in the last paragraph I wrote “it supposedly is the story” and they “supposedly wrote their own songs.” There is some controversy over how much the script’s writers, Marshal Brickman and Rick Elice, deviated from the real story. There is also some question about whether Bob Gaudio, in fact, did write all of the songs. 
 
Be that as it may, the show is filled with hummable after hummable song.   As evidenced at intermission, almost everyone was singing, humming or bopping down the aisles. There is no question about the entertainment value and the wise choice of staging of the tale. 

The Broadway version opened in November of 2005. It won four 2006 Tony Awards including Best Musical.  It has become a staple for productions at community and little theatres.  
 
The score features the group’s four early smash hits, “Sherry, “Big Girls Don’t Cry,’” “Walk Like a Man,” and “Oh What a Night.”  After those four are presented, the audience is screaming for more!
 
The biggest difficulty of doing a show about real people, who sing and dance, is the necessity of the cast sounding and looking like the originals.  This production has the vocal sounds down pat, it’s the looking alike that is difficult.  But, if you can overlook that yo’ll have a fine experience.

This production includes Nathan Park as Tommy DeVito, the founder of the group.  DeVito’s ego-centrism and wild way of living, his spending and gambling, caused the quartet problems and eventually was the reason for its break up.  He sings and moves well and is properly obnoxious.

Ian Ward portrays Nick, Tommy’s brother, who was basically along for the ride. Ward fits well his part and sings effectively.

Patrick Jalbert, not only looks like the real Bob Gaudio, but has the right boyish charm. Portraying the “intellect” of the group, wraps himself in the role and is completely believable.

The star of the evening is Eric Mortenson as Frankie Valli.  His falsetto is perfection!  Wow!
 
David W. Coxe and his musicians are excellent.  They are right on key and support rather than drowning out the performers.
 
The boy-band choreo by Jennifer Justice is excellent.
 
CAPSULE JUDGEMENT: Go, go, go see ‘JERSEY BOYS.’ You will have one hell of a time and feel like “The Big Man [or Woman] In Town” as you go out of the theatre humming, “My Eyes Adored You.”
 
The show runs through April 6, 2025 at 40 River Street, Chagrin Falls.  Be aware that parking is extremely difficult in the area.  Your best plan is to go very early, go to dinner at a restaurant that has valet parking.  It’s worth the cost.  For tickets to the show 440-247-8955 call or go to www.cvlt.org
 

 CPT’s thought-provoking, SHOWIN’ UP BLACK, focuses on a view of the Black family seldom seen on stage

 

Roy Berko

(Member:  Cleveland Critics Circle and American Theatre Critics Association)

 

In a recent email Cleveland Public Theatre’s Executive Artistic Director, Raymond Bobgan stated, “At Cleveland Public Theatre, we believe in the power of art to transform, heal, and build community. In these times of uncertainty, fear, anxiety, and division, we remain steadfast in our mission to center diverse voices, to celebrate bold and courageous storytelling, and to open space for those who seek refuge in creativity and expression. As we reaffirm our commitment to nurturing compassion and raising consciousness, we believe our collective imaginations can provide comfort in times of darkness and spark the light for ways forward.”

 

The theatre’s present staging, SHOWIN’ UP BLACK, which is getting its world premiere, banners that commitment.

 

“The tale centers on the eve of their daughter's cotillion, the Hopegoodes, an affluent African American family in Cleveland, see their plans for the perfect debutante ball collide with a Black Lives Matter protest. As the protest gets nearer, secrets and competing desires get shaken loose, tearing at the fabric of the family, challenging what, exactly, it is to be Black.” 

In contrast to most of the plays about Blacks which illustrate the moving into white neighborhoods, attending all white schools, fighting to get out of bad neighborhoods, or dealing with gangs, playwright Jeanne Madison places the spotlight on a well-to-do, influential, professional black family, their honor-student daughter and her MIT-attending boyfriend.

Jeanne Madison, a member of the Dramatist Guild, is the 2022-23 Nord Family Foundation Playwright Fellow at Cleveland Public Theater (CPT), which includes a mentorship with prolific Cleveland Heights award-winning playwright, Eric Coble. 

 
Jeanne holds a BA, and an MBA from Case Western Reserve University. She recently completed Scene Study and Playwrighting Master Classes at The Cleveland Play House. After many years in the corporate, and non-profit sectors, during which she lived in Chicago, New York City, and Washington DC, Jeanne now makes her home in Cleveland where she finds inspiration for her writing.

 

The script is generally well-structured and written, though, at times it has some forced and soap-opera-like scenes.  The language is authentic but in some scenes uses written rather than oral language and leaves the actors sometimes sounding like characters in a book.

 

The CPT production, under the direction of well-respected local director, Jimmie Woody, moves along at a nice pace and has balanced performances.

 

Ashley Aqulla, portraying Claire, the college educated mother, has a nice touch with both drama and humor.  Tamicka Scruggs, is delightful as her side-kick, Marie.  Darryl Tatum, is believable as the lawyer/father who has carved a political-oriented path of influence and wealth.  Highlight performances are given by Makayla Smith as Evie, the daughter who finds herself caught in the world of Black cotillions conflicting with her need and to express her independence as a young adult and Drew Pope (Kwan), her MIT black activist boyfriend.  Both create believable and realistic characters.

 

Capsule judgement:  SHOWIN’ UP BLACK gives a thought-provoking view of a non-traditional Black family.  Though there are times when the script writing seemed forced, the over-all effect is positive.  It is a production worth seeing.

 

SHOWIN’ UP BLACK February 20 through March 8, 2025.  Tickets can be purchased at www.cptonline.org through the theater’s Choose-What-You-Pay option which allows patrons to pay what they’d like with no handling fees.