HELL'S KITCHEN is everything a contemporary musical should be!

Normally, juke-box musicals, which are scripts created from pre-conceived music, have songs shoe-horned into what is generally an acceptable, but less-than well-written story (think MOULIN ROUGE! and MAMMA MIA!).
 
This is not the case with HELL’S KITCHEN, the semi-autographical Alicia Keys-centered musical, now on-stage Connor Palace, as part of the Key Bank Broadway series.  This show is a compelling, singing/dance-infused, well-written and crafted show, which has all the elements of what a contemporary musical should be!  
 
“Keys, was heavily involved in creating the musical.”  
 
Kristoffer Diaz’s book is well-developed and is one of the few books for this type of show that deserves kudos.
 
The music, which is a blend of R&B, soul, and hip-hop, often characterized by Keys’ classical piano skills and some electronic compositions, is infectious.  
 
Many of the songs turn into show-stopping musical concerts, complete with complex dancing and visual electronics.  Even the ballads lend themselves to individual and group movement.  All of these are well-choreographed. 
 
Using moving platforms, and scaffolds, Robert Brills’ sets and Peter Nigrini’s electronics, become part of the emotional dynamics.  Gareth Owen’s sound design allows for hearing words clearly, even with the loud musical sounds. 
 
Compositions include “The River,” “Seventeen,” “You Don’t Know My Name,"  “Girl on Fire,” “Perfect Way to Die,” “Fallin’,” “No One,” and “Empire State of Mind.” 

Alicia Keys, according to this narration, is a 17-year-old girl named Ali, being brought up in Manhattan by a single over-protective mother and a sometimes present, but mostly absent father.  

Ali feels, as many teenagers do, stifled by all the rules and constant supervision.  

We are introduced to the people in Ali’s life: the musicians who make up the artist housing in Manhattan Plaza; her friends, Tiny and Jessica; her mother Jersey, a singer and working woman; Knuck, a bucket drummer, who is part of a group that hangs out in the building; as well as her in and out of her life musician father.  Most importantly, we meet Miss Liza Jane.

Miss Liza Jane, who consoles her by pointing out the situation could be much worse, reflects on the racism she has experienced, and urges Ali to continue learning to play piano so she may continue a legacy of music.  In the process of learning and hearing Miss Liza Jane’s sage advice, Ali gains a self- identity and finds out what it means to be a member of a community.
 
The superb cast is headed by 18-year-old Maya Drake as Ali.  According to the program notes this is her professional debut and she has limited academic training.  She is not a product of a prestigious musical theatre program such as University of Michigan or NYU.  From her stellar performance this is shocking.  This is a talented young lady who can sing, dance, act and control the stage with seeming natural ability and ease.  Standing ovation, here!

 
Roz White hits all the right musical and emotional notes as Miss Liza Jane.  Kennedy Caughel is totally believable as Ali’s frustrated mother, trying to handle her own stresses along with being the parent of a teenage daughter.  Desmond Sean Ellington is incorrigibly correct as Ali’s slacker father.  Jon Avery Worrell has just the right tone for Ali’s boy-friend.
 
The choreography is dynamic!  The high intensity movements compel attention.  Congrats to not only Camille A. Brown, the choreographer, but to the outstanding members of the dance company, whose singing matched their physical skills.
 
Director Michael Greif’s creative genius is obvious.  His staging is outstanding.
 
CAPSULE JUDGEMENT:  The touring production of HELL’S KITCHEN is special.  It far succeeds the expectations for a juke-box musical.  The director, choreographer, music-supervisor, technical staff, cast and crew well-deserved the extra-long-standing ovation the production received.  It is a show I could see again and again and be satisfied each time.  Bravo!
 
HELL’S KITCHEN runs through November 1, 2025 at the Key Bank State Theatre.  Go! Be bedazzled!
 
Tickets are currently still available and can be purchased by calling 216-241-6000 or online at playhousesquare.org
 
 

Thought-provoking WITCH, gets very high-quality production at Dobama

 

“The universal themes of transformation, belonging, and resistance found in [Jen] Silverman's work resonates with diverse audiences.  Her use of magical realism and inventive storytelling techniques invites viewers to reconsider familiar narratives, fostering empathy and reflection.”  
 
This is so true of WITCH, Silverman’s reimaging of the 1621 Jacobean drama THE WITCH OF EDMONTON, which is now on stage at Dobama.  
 
At the conclusion of the production, the “devil” stands downstage/center, a spotlight accentuating the tears running down his handsome face, as he asks the audience, “Do you have hope?”  
 
A man sitting behind me loudly said, “Hell no!”  He continued, “How can anyone have hope when our freedoms are being taken away, the miliary is taking over our cities, and the constitution is being run-over.  All this for the ego of a President out of control.”  A couple of people sitting in his area applauded.
 
What does all of this have to do with the play WITCH?  
 
WITCH is a 2018 script that “follows a devil named Scratch who arrives in the village of Edmonton to buy souls, but finds himself unexpectedly intrigued by Elizabeth, an outcast woman accused of witchcraft. As the devil attempts to tempt her, he also encounters two young men, Frank [a poor charismatic farmer who has been befriended by Sir Arthur Banks, the wealthy owner of a castle] and Cuddy [Sir Arthur’s closeted gay son], who are willing to sell their souls for ambition and a desired inheritance. 
 
A series of events concerning who will be Sir Arthur’s heir, how the love/hate conflict between Frank and Cuddy turns out, who will gain the affection of Winnifred, the castle’s maid, and what will eventually happen to the witch and the devil, keep the action buzzing along.
 
Written in modern language, but set in an era gone-by, the play explores themes of social ostracism, power, and desire, but, most importantly, it asks, “at what point do you lose all hope?”
 
This is neither an easy script to perform or meet the demands of gaining and holding the audience’s attention.  The production, under the discerning eyes and ears of talented director Carrie Williams, handled the challenging content with competence and seeming ease.  
 
The cast, Lisa Louise Langford (Elizabeth Sawyer—the witch), Michael Glavan (Scratch—the devil), Mike Frye (Cuddy Banks--the son), Daniel Telford (Frank Thorney--the heir-apparent), Brian Pedaci (Sir Arthur Banks) and Bridgett Martinez (Winnifred—the Maid), each dressed in spectacular period costumes, designed by Inda Blatch-Gelb, were superb.  Each character was clearly etched and consistent.  Bravo.
 
Dobama’s stage, with no audience member more than 5 rows from the action makes it difficult to fake anything.  This made the brawl between Cuddy and Frank so outstanding.  It was impressively choreographed by fight director, Kelly Elliott.  Only the fact that after one of the characters is “killed” does any flaw appear.  Lying on his back, face up, it was apparent that he was still breathing.  Because of the severe realism of the battle, this flaw stood out.  Placing him on his stomach, or facing away from the audience, might have eliminated this problem. 
 
Laura Carlson Tarantowski’s set design, complete with a revolving platform, was era correct and added positively to the over-all effect, as did Josee Coyle’s lighting and Dred Geib’s props.
 
CAPSULE JUDGMENT:  From its inception Dobama has continued to stage challenging scripts with skill and effectiveness.  WITCH continues that tradition. This is a challenging script that in less talented hands could have been a very long and frustrating experience.  As is, it well developed the author’s intent and purpose.  Some will probably still find it obtuse, while others, like myself, will find it a very satisfying experience.

Due to the demand for tickets, the run of WITCH has been extended through November 2.  For tickets go to dobama.org or call (216) 932-3396.

Side-note:  In the lobby there is a visual tribute to the recently deceased Mary Jane Nottage, one of the earliest members of the Dobama acting family, and a generous donor to the theatre’s coffers.  She was a unique, funny, creative spirit who will long be missed by members of the Cleveland acting family.  She was a special person and a dear friend.  I miss her!

Next up:  THE HOBBIT, from the smallest beginnings come the greatest legends from December 4, 2025-January 4, 2026. 
Roy Berko
 
“The universal themes of transformation, belonging, and resistance found in [Jen] Silverman's work resonates with diverse audiences.  Her use of magical realism and inventive storytelling techniques invites viewers to reconsider familiar narratives, fostering empathy and reflection.”  
 
This is so true of WITCH, Silverman’s reimaging of the 1621 Jacobean drama THE WITCH OF EDMONTON, which is now on stage at Dobama.  
 
At the conclusion of the production, the “devil” stands downstage/center, a spotlight accentuating the tears running down his handsome face, as he asks the audience, “Do you have hope?”  
 
A man sitting behind me loudly said, “Hell no!”  He continued, “How can anyone have hope when our freedoms are being taken away, the miliary is taking over our cities, and the constitution is being run-over.  All this for the ego of a President out of control.”  A couple of people sitting in his area applauded.
 
What does all of this have to do with the play WITCH?  
 
WITCH is a 2018 script that “follows a devil named Scratch who arrives in the village of Edmonton to buy souls, but finds himself unexpectedly intrigued by Elizabeth, an outcast woman accused of witchcraft. As the devil attempts to tempt her, he also encounters two young men, Frank [a poor charismatic farmer who has been befriended by Sir Arthur Banks, the wealthy owner of a castle] and Cuddy [Sir Arthur’s closeted gay son], who are willing to sell their souls for ambition and a desired inheritance. 
 
A series of events concerning who will be Sir Arthur’s heir, how the love/hate conflict between Frank and Cuddy turns out, who will gain the affection of Winnifred, the castle’s maid, and what will eventually happen to the witch and the devil, keep the action buzzing along.
 
Written in modern language, but set in an era gone-by, the play explores themes of social ostracism, power, and desire, but, most importantly, it asks, “at what point do you lose all hope?”
 
This is neither an easy script to perform or meet the demands of gaining and holding the audience’s attention.  The production, under the discerning eyes and ears of talented director Carrie Williams, handled the challenging content with competence and seeming ease.  
 
The cast, Lisa Louise Langford (Elizabeth Sawyer—the witch), Michael Glavan (Scratch—the devil), Mike Frye (Cuddy Banks--the son), Daniel Telford (Frank Thorney--the heir-apparent), Brian Pedaci (Sir Arthur Banks) and Bridgett Martinez (Winnifred—the Maid), each dressed in spectacular period costumes, designed by Inda Blatch-Gelb, were superb.  Each character was clearly etched and consistent.  Bravo.
 
Dobama’s stage, with no audience member more than 5 rows from the action makes it difficult to fake anything.  This made the brawl between Cuddy and Frank so outstanding.  It was impressively choreographed by fight director, Kelly Elliott.  Only the fact that after one of the characters is “killed” does any flaw appear.  Lying on his back, face up, it was apparent that he was still breathing.  Because of the severe realism of the battle, this flaw stood out.  Placing him on his stomach, or facing away from the audience, might have eliminated this problem. 
 
Laura Carlson Tarantowski’s set design, complete with a revolving platform, was era correct and added positively to the over-all effect, as did Josee Coyle’s lighting and Dred Geib’s props.
 
CAPSULE JUDGMENT:  From its inception Dobama has continued to stage challenging scripts with skill and effectiveness.  WITCH continues that tradition. This is a challenging script that in less talented hands could have been a very long and frustrating experience.  As is, it well developed the author’s intent and purpose.  Some will probably still find it obtuse, while others, like myself, will find it a very satisfying experience.

Due to the demand for tickets, the run of WITCH has been extended through November 2.  For tickets go to dobama.org or call (216) 932-3396.

Side-note:  In the lobby there is a visual tribute to the recently deceased Mary Jane Nottage, one of the earliest members of the Dobama acting family, and a generous donor to the theatre’s coffers.  She was a unique, funny, creative spirit who will long be missed by members of the Cleveland acting family.  She was a special person and a dear friend.  I miss her!

Next up:  THE HOBBIT, from the smallest beginnings come the greatest legends from December 4, 2025-January 4, 2026.

Finely directed, acted and sung SUNDAY IN THE PARK WITH GEORGE at GLT

 Finely directed, acted and sung SUNDAY IN THE PARK WITH GEORGE at GLT

George Pierre Seurat was a French post-Impressionist artist best known for devising a painting technique entitled Pointillism, “a series of paint or crayon dots of multi-colored paint which allows the viewer's eye to blend colors optically, rather than having the colors physically blended on the canvas.” One of his most famous paintings, “A Sunday Afternoon on the Island of La Grande Jatte”, which took over two-years for him to complete, is presently on permanent display at the Art Institute of Chicago.   The painting shows members of each of the social classes participating in various park activities. It was the inspiration for James Lapine and Stephen Sondheim’s musical, SUNDAY IN THE PARK WITH GEORGE.   Interestingly, it also played significant symbolic role in the cult classic film, “Ferris Bueller’s Day Off. Little known to many is that though Seurat is perceived today as an icon, a major figure in the art world, he supposedly did not sell any major piece of art during his life-time. “The plot revolves around George, a fictionalized version of Seurat, who immerses himself deeply in painting his masterpiece, and his great-grandson (also named George), a conflicted and cynical contemporary artist.”  Act I, which is mostly exposition, with music underscoring, tells of George, his obsession with developing the art work, his mistress, Dot, and the people who appear in the composition.  George, explains to the audience, "White, a blank page or canvas. The challenge: bring order to the whole, through design, composition, tension, balance, light and harmony." It is within this act that the audience is taxed with the responsibility to use their imaginations to help create the masterpiece, itself. Act II, which takes place many years later, with the same cast playing different roles, introduces us to the Maria, the daughter produced by George and Dot, now an old-women, as well as his grandson, George, a frustrated performance artist who is attempting to create an art form based on electronic aesthetics.   It is this act which gives true life to the work’s magnificent score and includes such compositions as “Putting It Together [Art Isn’t Easy], “Children and Art,” “Lesson #8,” “Move On,” and the stirring revival of “Sunday.” The musical won the 1985 Pulitzer Prize for Drama, two Tony Awards for design (and a nomination for Best Musical), numerous Drama Desk Awards, the 1991 Olivier Award for Best Musical, and the 2007 Olivier Award for Outstanding Musical Production.  In spite of mixed critical reviews, the musical ran 604 performances and 35 previews.  “GEORGE” almost didn’t come to be.  The story is told that after the failure and scathing critical reception of MERRILY WE ROLL ALONG in 1981 (it closed after 16 performances), Sondheim announced his intention to quit musical theatre.   Sondheim, in his book, “Look I Made a Hat,” the sequel to his best-selling “Finishing the Hat,” which was named by the New York Times as one of the 10 Best Books of 2010,” states that after he and Lapine spent several days at the Art Institute of Chicago studying the now famous painting,  “he commented on how much Seurat’s depiction of the island looked like a stage set.  In addition, Lapine noted that one major figure was missing from the canvas: the artist himself. This observation provided the springboard for Sunday and the production evolved into a meditation on art, emotional connection and community.” The Great Lakes production, under the well-trained eye of Victoria Bussert, is mesmerizing.  It is a cacophony of music, vocalizations, pictures, acting and frozen movements, all blending into an impressive staged vision of not only the painting, but the humanization behind the white canvas turned into an important work of art.  It centers on the actual process of creating the painting, not the painting, itself. The cast, which contains many past and present Bussert students, is headed by Alex Syiek, another of Vicky’s “kids,” who is a multi-Cleveland Critics Circle and Broadwayworld.com-cleveland award winner as best actor in a musical.  Though not doing an imitation of Mandy Patinkin, who played George on Broadway, Syiek has many of the star’s visual and vocal qualities.  He inhabits the role of the moody, self-obsessed artist, whose life centered on the creation of art.. his form of art.  His vocals are filled with meaning.  He sings meaning not words. This is a star performance. As Dot, and later Marie, Jillian Kates, another of Bussert’s former students, is excellent.  Her vocals are well interpreted. Another standout is Laura Perrotta (Old Lady/Art critic), her duet “Beautiful,” sung with Syiek, is poignant. Music Director Matthew Webb’s work is note-on!  Kudos to scenic designer Jeff Hermann, costume designer Tesia Dugan Benson, Lighting designer Trad A Burns and sound designer Patrick John Kieman. CAPSULE JUDGMENT—SUNDAY IN THE PARK WITH GEORGE, as directed by Victoria Bussert, and performed by the GLT cast, is a quality production.  It is a must see!  Congrats to the entire team on creating a special evening of theater. For tickets to the show, which runs through October 12th go to www.greatlakestheater.org or call 216-241-6000.

Compelling, must-see ANDY WARHOL IN IRAN at Beck

 

When one thinks of seeing experimental or area premieres of new contemporary scripts at local theaters, one normally doesn’t think of Beck Center for the Arts.  Those kinds of plays are for the likes of Cleveland Public Theatre, Dobama (the self-proclaimed Cleveland’s Off-Broadway theater) or even Ensemble.  Beck is usually the home of ELF, JOSEPH AND THE TECHNICOLOR DREAMCOAT and LITTLE MERMAID.   ANDY WARHOL IN IRAN, is a “new play,” so new that Sarah May, the director of Beck’s production, couldn’t even find a script after seeing, what she labels as a, “provoking, exciting and funny production” four years ago at Chicago’s Northlight Theatre.    But, May, one of the area’s top directors, who is known for her tenacity, sought out a script, and convinced Scott Spence, the Artistic Director of Beck, to let her stage the show, in a venue not known for experimentation.     Their gamble paid off!    Don’t be surprised if this production doesn’t get recognized as one of the area’s best plays of the year on both the Cleveland Critics Circle and Broadwayworld.com’s list of 2025 awards. Don’t also be surprised if director May and her fine two-person cast, also don’t get the award’s spotlight shown on them.   What’s it all about?     As May states in her program notes, “Journey with us back to exotic Tehran in 1976 with the Godfather of Pop Culture Andy Warhol who has come to do portraits of the Shah and his wife.  Caught in a country on the verge of revolution, our clueless artist encounters a young Iranian activist, and together they discover a surprising bond.”   It’s a play about self-discovery, intrigue, history (of both Iran and Warhol), freedom, justice, set in a plot filled with high emotion, fact and humor.  Yes, humor!   Written by Brent Askari, an award-winning Persian-American playwright and actor, who has written scripts for HBO, Paramount Pictures, Marvel Films and MTV, the script has had previous stagings in Chicago, Pittsburgh and Washington, D.C., but is having its area premiere at Beck.   Scott Esposito, one of the area’s most prolific actors, and multi-award winner for his performances, stretches his well-trained and experienced acting chops, as the eccentric Andrew Warhol.  This is a role which requires someone who has both the ability to play all ends of the performance gambit—high drama and profound comedy.  Esposito covers the spectrum with professional ease.  This is a very fine acting display!  Applause, applause, applause!   Esposito has a fine performance partner in the person of Kareem McGauran, who shows a breath of acting skills as Farhad, an enthusiastic, but probably misguided young Iranian terrorist. He engenders the youth whose intentions are right, but who seems naive in his means-to-a-questionable-end.     May’s direction is clearly evident in the clear characterizations and plot development.  She is aided by a strong technical staff.     Patrick Ciamacco’s projection designs well-capture the Iranian conflict, Warhol’s art work and the conflict in the middle east.    Cameron Michalak’s set design nicely captures the correct visual allusions of an Iranian hotel room.    Jeff Lockshine’s lighting and Tesia Dugan Benson’s costumes also develop the right images.     Esma Eddeb’s knowledge of the Iranian culture appears to have assisted in developing the right historical and cultural moods.    CAPSULE JUDGMENT:  ANDY WARHOL IN IRAN is a gem of a production.  The well-honed script, focused direction and fine acting all lead to the conclusion that this is MUST SEE show that exposes the audience to an understanding of Warhol, Iran and the Middle East conflict through high drama and humor!     ANDY WARHOL IN IRAN, which runs with no intermission, is on stage through November 2, 2025 in the Studio Theater of Beck Center.  Seating is limited.  Contact beckcenter.org or 216-521-2540 for tickets.