August: Osage County

‘AUGUST: OSAGE COUNTY,’ long but well worth the sit

Tracy Letts’ ‘AUGUST: OSAGE COUNTY,’ gives new meaning to dysfunctional family. His subjects are one large assemblage of people who desperately need long-term group therapy.

There’s the drunken father and drug abusing mother. There are three sisters who are alienated from each other. One is having a relationship with… (let’s not talk about that because it could ruin your enjoyment of the revealed truth). Another has a husband who is having an affair with one of his students. The youngest sister has had a number of failed relationships, is desperate to get married, and has hooked up with a guy who …(nope, can’t reveal that either). There’s an angry aunt who says whatever comes into her filth-filled mind and has a secret to hide (hmmm). Add a teen-age granddaughter who is not only a habitual pot smoker, but also… (woops, let’s not bring that up). I could go on, but you get the idea….this is one messed up bunch of people whose lives make for great theatre, must see theatre.

It wouldn’t be so bad if the whole menagerie was made up, but, the author admits the play is a “largely fictional story of Letts’ family,” and Violet, the vindictive, substance abusing mother, is based on his maternal grandmother. He states, “My grandmother was a piece of work.” When Letts gave the play to his mother to read he was nervous, but her first response was, “I think you’ve been very kind to my mother.” Kind? Only if kind means Attila the Hun on meth!

The dark comedy (yes, the show is full of laughs) had its Broadway debut on December 4, 2007, moved to another theatre April 29, 2008, and ran for 648 performances. In the process, it deservedly won the Pulitzer Prize and the Tony for Best Play.

The plot centers on a reunion of the Weston family, living in the state of Oklahoma. The title refers to Osage County, which lies northwest of Tulsa, on the plains. The setting plays a major role in the story.

The three-act production, which runs for about 3 hours, 20 minutes including intermissions, deals with such issues as drug abuse, alcoholism, suicide, death, family dysfunction, sexual harassment, pedophilia, aging, generational change, incest, infidelity, and even love.

The touring production is outstanding. Everything from the fully constructed three-story house, to the well-used lighting, to the character development, are well done. This is professional theatre as its best. The play and production hark back to the era of Williams, Miller and Inge and the well made, well produced play.

Estelle Parsons is Violet. She doesn’t portray Violet, she is Violet, with all her warts and flaws. This is an award winning performance. Also outstanding is Shannon Cochran as the oldest daughter. This is a “have a nervous breakdown every night” part.

The rest of the cast are all excellent, not a weak link in the chain.

CAPSULE JUDGMENT: As a line in the play states, “Life is very long.” So is ‘AUGUST: OSAGE COUNTY,’ but its worth every minute of the time you spend while watching a well-conceived play get a superb production.

Bill W. and Dr. Bob

The story of Alcoholics Anonymous unfolds at CPH

Two men stand on opposite sides of the Cleveland Play House’s Bolton Theatre stage at the start of ‘BILL W. AND DR. BOB.’ As they speak we learn that they are going to share with us the tale of two alcoholics and how they founded Alcoholics Anonymous.

Alcoholism is an addictive disorder characterized by the compulsive and uncontrolled abuse of alcohol. The alcohol controls the person, rather than the person controlling the substance. It often results in adverse effects upon the drinker's health and can cause life issues. It is medically defined as a treatable disease, but definition and reality are not the same. Alcoholism is a major disease in the US. It is estimated that among persons aged 12 or older, 7.6 percent (18.2 million) meet the criteria for being alcoholics.

In the spring of 1935, New Yorker, Bill Wilson, found himself on a business trip in Akron, Ohio, trying to annihilate his craving for a drink. This was not his first slam against the wall of alcoholism. He had bottomed out in a hospital some months earlier. While he was there he supposedly was awakened by a flash of light and experienced what he described as a “spiritual conversion.” He could have gone in many directions, but as the story goes, through a serendipitously happening, he contacted a surgeon named Bob Smith, also an alcoholic. The rest is history.

‘BILL W. AND DR. BOB’ is the attempt of Stephen Bergman, a doctor and novelist, and his wife, Janet Surrey, a clinical psychologist, to explain how the two men developed what many consider to be the best non-clinical approach to dealing with alcoholism.

The play, though it is emotionally stirring from the standpoint of the good the two men did, is not totally satisfying. I found some of the dialogue stilted and I left the theatre with lots of questions. We hear over and over the plea to join the duo in their process. What, exactly, is the process? We are never directly told. Queries such as, how did the philosophy of the meetings develop? Why are the sessions leaderless? Maybe answers to those questions weren’t the purpose of Berman and Surrey, but it seems a lot of time in the play was used to discuss factors that could have been left out and some more meaty matters dealt with.

The CPH production, under the adept direction of Seth Gordon, is quite good. The angst and the frustrations are evident. The humor--yes, there is humor--comes through.

Timothy Crowe is outstanding as Dr. Bob, He, of tall and gawky stature, has a wonderful way of keying humor and his displays of his character’s frustrations with himself, and the world in which he lived, are compelling. His pitch-perfect New England sound helps shape the person. Though fine, Sean Patrick Reilly is not Crowe’s match. Reilly is void of accent and seems to move in and out of concentration and realism.

In supporting roles, Denise Cormier isn’t always given line motivations in her role as Bill W’s wife, but makes good of what she is given. Margaret Daly plays the understanding wife well, but, again, her lines don’t always give her the ability to develop a complete being.

Charles Kartali does wonderfully with his mutli-roles. He presents a mesmerizing reading of one of the strongest speeches in the play, that of a hospitalized alcoholic who is forced to make a decision as to whether he will turn himself over to the theories of Bill W. and Dr. Bob or continue to flounder in a world of alcoholic haze. Also good in various roles is Heather Anderson Boll.

CAPSULE JUDGMENT: ‘BILL W. AND DR. BOB’ is an introduction into the frustrations of alcoholism and how the basic idea of Alcoholics Anonymous was developed. It is an illuminating, if not an entirely satisfying evening of theatre.

Verb Ballet--Fresh Inventions

Verb Ballet presents unique evening of dance


The diminutive 14 year-old stood in the lobby, surrounded by a group of gushing admirers, selling cds of his self-performed piano compositions. The setting? Intermission of ‘VERB BALLETS @ DANCEWORKS: FRESH INVENTIONS.’

Margaret Carlson, the Artistic Director of Verb Ballets envisioned an evening of dance with a creative twist--a night of dance collaboration and experimentation. She assembled seven Northeast Ohio choreographers, seven local composers, and seven dancers (Jennifer Moll Safonovs, Gary Lenington, Katie Gnagy, Brian Murphy, Erin Conway Lewis, Ashley Cohen and Antwon Duncan), assigning a composition to each choreographer, with the idea of stretching the creativity of each. Some of the music was to be played live, some recorded, all productions would receive only one hour of actual rehearsal time to get ready. This means the dancers had to learn all the pieces with short exposure and no ability to adjust to the idiosyncrasies which are always present in live performance.

The results? An evening of dance which was very well received by large and appreciative audiences. When was the last time you went to a dance concert and heard audience members pounding their feet with pleasure on the seating platforms?

Of course, as the four-production series rolled out, each night the nuances of the dancing became more exposed. The entire process would have made for an excellent video docudrama.

‘RANDOM ACTS,’ with choreography by Sara Whale, was danced to “Habanera” by Nicholas Underhill. An often strident composition, it was beautifully performed by violinist Cara Tweed. Controlled and quick movements, often chaotic in nature, created a severe contemporary visual set of images.

‘CLEVELAND FLATS SUITE,’ with music by Richard Rinehart and choreography by Diane Gray, was enhanced with visual effects by Jay Horowitz and lighting designed by Trad Burns (who did a wonderful job of lighting all the shows). A flow of water, images of the bridges and the flats area of Cleveland, which faded to other abstract visual impressions, created a perfect background for a piece which was nicely danced by the company.

‘PIANO RHAPSODY’ was set to “Volcano Rhapsody,” by Alex Berko. The mutli-award winning piano composition was enhanced by the live performance by the junior high student. Kay Eichman used classical modern ballet movements to create a vision that fit the moods of the music. (In full disclosure, the composer is my grandson.)

‘10:39’ was choreographed by Troy McCarty to “Overtures” and “Blood and Oil,” by Alan Emerson. A six-piece orchestra played the fast atonal music and the dancers performed gymnastic and jazz movements to a positive effect.

Following the intermission, Lisa Lock’s choreography brought forth ‘the cat is watching,’ set to “Coil,” an atonal composition of Larry Baker.

‘CHAIR,’ a five-movement composition by Loris Ohannes Chobanian, entitled, “Characters You are Likely to Meet” was staged by Richard Dickinson. Much of the choreography was a series of point and counter point movements which did not always parallel the music. Cellist Regina Mushabac was excellent in her interpretation of the modern composition.

The dance highlight of the evening was ‘KIDS AT PLAY,’ a joyful presentation played to “Cosmo,” a composition by Eric Ziolek. With much of the feeling and energy of Jerome Robbins’ “Fancy Free,” which was the basis for Leonard Bernstein’s musical ‘ON THE TOWN,’ Terence Greene created a fun, fast paced, visually pleasing performance. This number should be considered for inclusion in the Verb repertoire.

Why was Alex hawking albums at intermission and after the performance? So many people on Thursday and Friday asked whether he had an album of his music that the enterprising young man, who has an album entitled ‘ALEX BERKO UNPLUGGED,’ decided to bring some along for the final two performances. The results was a generous addition to his college fund. Alex, asked me to remind my readers that if they attended the program on Thursday or Friday night, and didn’t get a chance to buy a cd, they are still available for $10. (I guess you can contact me and I’ll forward the info to him.)

The evening worked well, but if Verb is to do this type of program again, it would be wise to vary the kinds of music. There was only one tonal piece and after a while the sounds started to grate on the nerves. As a lady behind me moaned, “I love the dancing, but why is so much of the music ear piercing?”

Capsule judgement: Verbs’ gamble paid off! Very sizable houses showed up to see and hear creative productions. Nice job Margaret.

Bat Boy

GLTF spreads its wings with the bizarre ‘BATBOY’

When one thinks of the Great Lakes Theatre Festival, the normal vision is for a Shakespearean drama or comedy, or maybe a Noel Coward farce, but, not a musical, and especially not a musical based on sensational headlines from The National Inquirer.

In a search for new and younger audiences, and wanting to go down a path less traveled, the company’s Artistic Director has reached into his hat of tricks and pulled out Keythe Farley, Brain Flemming and Laurence O’Keefe’s outrageous Off-Broadway” ‘BAT BOY: THE MUSICAL,’ which in its Big Apple run was referred to as the “musical of the year.”

What is this outrageous show all about? According to the Weekly World News, the Bat Boy saga began in 1992 when the 19-pound mutant, described by scientists as half human and half bat, was captured in a cave in Virginia's Shenandoah Mountains. Supposedly, the strange creature had enormous amber eyes that enabled him to see in the dark and oversized ears that worked like radar! The feisty creature was taken to a secret federal laboratory, where experts from all over the world came to study him. In 1993 and again in 1994, government officials denied rumors that Bat Boy had escaped from the lab and was on the loose. His present whereabouts is unknown. (Gee, maybe that kid sitting next to you in the theatre is not really a nice little child, but….Bat Boy!)

THE musical tells the tale of finding the Bat Boy and his struggle to assimilate and gain societal acceptance against great odds. It takes on a ‘MY FAIR LADY’ meets sci-fi, as Bat Boy is taught how to behave like a respectable citizen, complete with a proper British accent, and finds out the “real” story of his conception. The moral? Who cares! You go to see ‘BAT BOY: THE MUSICAL’ to be entertained. It’s the National Inquirer, Cleveland-Action 19 News version of theatre.

The Great Lakes Theatre Festival production, under the direction of Victoria Bussert, starts slowly but, in the second act picks up steam. So much of the fun, the outrageous visual images, is undoubtedly the creation of Martin Céspedes. Listed as the choreographer, his imprint is all over the staging, from the gestures, to the body poses, to the visual images, to the movements. He not only gets Shakespearean actors to dance--let’s say, move creatively to music--but he creates physical images that become the mountain folk caricatures that the show needs to be outrageous.

Mitch McCarrell, a Baldwin Wallace musical theatre graduate, is Bat Boy incarnate. He hangs from the rafters, sings with gusto, textures the role with pathos, and captivates the audience. His diminutive physical size enhances his believability. He is one of the few cast members who can actually sing as a musical theatre performer should sing. The others, unfortunately, are actors who have been required, because of the repertory nature of GLTF, to vocalize.

Lynn Allison is fun as the mother with a secret. Lynn Robert Berg is less successful in portraying the tortured doctor/father. An even more outrageous melodramatic interpretation is needed to flesh out the role. Erin Childs makes for a nice “forbidden” love interest for the Bat Boy, though she could have been filled with more disdain and teenage angst in the opening scenes. Aled Davis is a hoot as the Barney Fife-like Sheriff. Eduardo Placer does a wonderful vocal version of “Children, Children.”

Unfortunately, many of the lyrics to the songs are drowned out by the overly enthusiastic on-stage band. Why, oh why hasn’t musical director Matthew Webb learned that the purpose of the band in musical theatre is to back up, not drown out the singers. This is not a rock concert. Calm down the guitar and percussion. If the audience can’t hear the singers, there is no story line understanding.

CAPSULE JUDGEMENT: You have to go see ‘BAT BOY: THE MUSICAL,’ with the right attitude. You have to will yourself to have fun, realizing that you are participating in a tabloid fantasy. Set aside your traditional beliefs about what GLTF theatre should be. If you do, once you get past the draggy first act, you are in for a fun-filled flight of fantasy.

Stratford Shakespeare Festival of Canada--2010 preview

Stratford Shakespeare Festival of Canada…a celebration of theatre

The economy has started to stabilize. It’s time to start thinking of a place to go that is filled with quality entertainment and good food. One surefire answer is The Stratford Festival of Canada which takes place in Stratford, Ontario, Canada.

Stratford plays are done in four theatres. This season’s productions are:
‘AS YOU LIKE IT’ (Shakespeare), ‘KISS ME KATE’ (music and lyrics by Cole Porter, book by Same and Bella Spewack), ‘THE TEMPEST’ (Shakespeare), ‘DANGEROUS LIAISONS’ (Christopher Hampton), ‘EVITA’ (lyrics by Tim Rice and music by Andrew Lloyd Webber), ‘PETER PAN’ (J. M. Barrie), ‘THE WINTER’S TALE’ (Shakespeare), ‘JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS’ (Eric Blau and Mort Shuman, based on Jacques Brel’s lyrics and commentary), ‘FOR THE PLEASURE OF SEEING HER AGAIN’ (Michael Tremblay), ‘DO NOT GO GENTLE’ (Leon Pownall), ‘THE TWO GENTLEMEN OF VERONA’ (Shakespeare), ‘KING OF THIEVES’ (George Walker, songs and music by John Roby, lyrics by George F. Walker

Besides their regularly scheduled plays, the Festival offers stage side chats, the Celebrated Writers Series, Night Music, Table Talks, pre-show lectures, lobby talks, public lectures, the teaching Shakespeare School and The Teachers’ Conference.

What’s the lodging like? Hotels, motels and bed and breakfasts abound to fit any wallet. I enjoy the B&Bs where you get to meet local people who operate the facilities and fellow travelers from around the world. My favorite has been “The Jennie Forbes Cottage” a charming regency cottage erected in 1857 (www.jennieforbescottagebb.com). It has recently changed hands and been updated, so I’m not sure what to expect when we arrive this year.

Hungry? For moderate cost and high quality, try The Annex Cafe (38 Albert Street). For a relaxed and fairly inexpensive breakfast treat try Demetre’s Family Eatery (1100 Ontario Street). Cleveland theatrical legends Dorothy and Reuben Silver, who are Stratford regulars, recommend The Waterlot Restaurant and Inn (17 Huron Street behind the Royal Bank) in New Hamburg, which is about 20 minutes away “and well worth the trip.”(www.waterlot.com) Also on their favorites list is The Keystone Alley Cafe (34 Brunswick Street) in Stratford (www.keystonealley.com) which has an outdoor patio.

Packages can be arranged by www.theatrevacations.com. Stratford Escapes (theatrevacations.com), is an efficient way to make reservations. For individual tickets call 800-567-1600 or go on-line to www.stratfordfestival.ca.

Helpful hints: The ride from Cleveland is about six hours through Buffalo. Go on-line to the festival to get directions. (The routings offered by both the AAA and Yahoo maps are confusing and miles longer.) And, to satisfy board requirements carry some official form of identification (passport, or driver’s license with a picture).

Go to Stratford, Canada! Find out what lovely hosts Canadians are, and see some great theatre!

Shaw Festival 2010 Preview

It’s the time of year to start thinking…..THE SHAW FESTIVAL

The brochure has arrived. The season is set. It’s time to start thinking about spending some time this spring, summer or fall at the SHAW FESTIVAL.

The Shaw Festival is conducted in four theatres in Niagara-on-the-Lake, Ontario, Canada, an easy four-hour trip from Cleveland. Once you arrive, you will be entranced by the “most beautiful city in Canada.” Lovely flowers, classical home architecture and inviting well-stocked shops and galleries make for an inviting experience.

The season has actually opened already with lots more to come. It’s possible to see three or four shows a day and pack in an extra special event. As always, The Shaw has a balanced season…comedies, social critiques, musicals and dramas.

This season’s theatre offerings are: ‘AN IDEAL HUSBAND’ (Oscar Wilde), ‘THE WOMEN’ (Clare Boothe Luce), ‘THE DOCTOR’S DILEMMA’ (G. B. Shaw), ‘THE CHERRY ORCHARD’ (Anton Chekhov), ‘JOHN BULL’S OTHER ISLAND’ (G. B. Shaw), ‘AGE OF AROUSAL’ (Linda Griffiths), ‘HARVEY’ (Mary Chase), ‘ONE TOUCH OF VENUS’ (music by Kurt Weill, lyrics by Ogden Nash), ‘HALF AN HOUR’ (J. M. Barrie) and ‘SERIOUS MONEY (Caryl Churchill).

Besides the plays themselves, the Festival includes a play reading series, pre-cast chats, Tuesday Q&A, Saturday conversations, Sunday coffee concerts and backstage tours. Also check out the Shaw Workshops for Adults and the Teen Workshops.

The area itself is filled with activities ranging from a golf course within the city limits; an art park (www.artpark.net), The Good Earth Cooking School (www.goodearthcooking.com), the Jordan Village, a diverse blend of fine shopping, dining, and antique treasures (www.jordanvillage.com), an international chamber music festival (www.niagramusicfest.com), learning vacations at Niagara College (www.niagaralearning vacations.com), bike paths,
Mystery on the Lake (www.motl.ca), and a Niagara river jet boat trip.

The Niagara area is dotted with wineries, many of which, besides offering wine tastings and sales, have fine dining restaurants. My favorite is Hillebrand Estates Winery. Friends love Peller Estates.

There are some wonderful restaurants including my favorite, Queenston Heights Restaurant (www.queenstonheights.com). The latter is located in a park just over the US-Canadian border and has a breathtaking view of the Niagara River gorge. (Make a reservation and ask for a window table.) Lunch often finds me at The Epicurian, next to the Court House theatre. A real find is the restaurant at the Niagara Culinary Institute (www.niagaracollege.ca/dining), at which student chefs hone their skills.

Downtown has a new influx of stores and restaurants. Old favorites include Greaves Jams and Marmalades which is famous for its products since 1927. A Niagara tradition is the Maple Leaf Fudge store.

The area has many excellent hotels and bed-and-breakfasts. Our home away from home is the beautiful and well-placed Wellington House (www.wellington.house@sympatico.ca), directly across the street from The Festival Theatre. For information on other B&Bs go to www.niagaraonthelake.com/showbedandbreakfasts.

For theatre information, a brochure or tickets, call 800-511-7429 or go on-line to www.shawfest.com. 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.

Tired of waiting for a casino to come to Cleveland? Niagara Falls, a half-hour ride from Niagara-on-the-Lake, has several casinos. The falls area has a large outlet store complex for the bargain shopper. If you are taking kids, there is a huge indoor water park which connects to several hotels. And, of course, not to be overlooked are the attractions connected with the magnificent falls.

Helpful hint: To satisfy border requirements carry some official form of identification. A passport, US birth certificate or naturalization certificate) will all do.
Go to the Shaw Festival! Find out what lovely hosts Canadians are, and see some great theatre!

2010-2011 Keybank Broadway Series

2010-2011 KEYBANK BROADWAY SERIES ANNOUNCED

Explaining that, “there is no substitute for the real thing,” Gina Vernaci, the Vice President of Theatricals, sat in the Idea Center in front of a group of sponsors, season ticket holders and reviewers, to announce 2010-2011 KeyBank Broadway Series. She stressed that the goal of the upcoming season is to showcase elements and emotional experiences of live performance.

A video illustrated how close Cleveland had come to losing what is now called The Playhouse Square Center, the second-largest theater complex in the United States. As was illustrated in the video, in 1972 the wrecking balls were lined up ready to knock down the complex, and create a large parking lot.

How did the complex come to be and what saved it so that, at present, 19,000 subscribers form the base that supports the Broadway series and numerous other offerings at PHSquare? A foundation that makes Cleveland a very, very desirable site for the best of touring shows.

Following World War I the Ohio and State theatres opened. The Hanna followed in late March, 1921. The Allen opened that same year and the Palace became a reality in November, 1922. For forty years, good times reigned, but the demise of vaudeville and the rise of television led to the decline of the theaters. Between May, 1968, and July, 1969, all the theaters closed except the Hanna. Plans to raze the Ohio and the State Theatres in 1972 caused a public outcry, and in 1973 the newly-formed Playhouse Square Foundation obtained long-term leases for the Palace, Ohio, and State Theatres, while Cuyahoga County commissioners purchased the Loews Building, which housed the Hanna. And, miracle of miracles, in 1973, the musical revue JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS opened in the State Theatre's lobby. Expected to run three weeks, the show played for two years, giving time to raise the money to restore the theatres and have them added, in 1978, to the National Register of Historical Buildings, thus preserving them forever.

So, what is Gina pulling out of her theatrical hat for the coming year to fill the beautiful complex? A performance without words, a show which stars a dancing teenage boy, stagings of several classics, a reworking of an American classic which now features both English and Spanish spoken words and lyrics, and a popular children’s film which became a Broadway hit musical with real people replacing the cartoon characters.
Specifically:

BLUE MAN GROUP, October 5-17, 2010; Palace
Blue Man Group is best known for their combining comedy, music, and technology to produce a totally unique form of entertainment. The New York Times describes the show as “One of the most delightful performance pieces ever staged.”

BILLY ELLIOT THE MUSICAL, November 19 – December 12, 2010; State
With music by Elton John, this winner of ten 2009 Tony Awards, including Best Musical, is a celebration of one young boy’s journey to make his dreams come true. Based on the smash-hit film, the show is set in a small English mining town. The story follows Billy as he stumbles out of the boxing ring and into a ballet class, discovering a surprising passion that inspires his family and community. I saw this show in London and loved it!

SOUTH PACIFIC, February 1-13, 2011; Palace
With new staging, SOUTH PACIFIC swept the 2008 Tony Awards, winning seven honors. It features a cast of 34 and a full orchestra of 26 members – the largest orchestra of any touring Broadway production. The score includes “I’m Gonna Wash That Man Right Outa My Hair,” “This Nearly Was Mine” and “There is Nothin’ Like a Dame.” This reinvention of one of America’s most beloved musicals should make for “Some Enchanted Evening.”

SHREK THE MUSICAL , March 1-13, 2011; Palace
Based on the Oscar-winning DreamWorks film SHREK, the musical is part romance, part twisted fairy tale and all irreverent fun. It’s an evening of entertainment and enchantment for adults as well as kids.

LES MISÉRABLES, April 5-17, 2011; Palace
Cameron Mackintosh presents the 25th anniversary of this classic show with new staging and re-imagined scenery inspired by the paintings of Victor Hugo. Les Miz is the longest running musical in London theatre history. This is one of my favorite musicals.

WEST SIDE STORY, May 3-15, 2011; Palace
From the first note to its final breath, WEST SIDE STORY remains as powerful, poignant and timely as ever. The Bernstein and Sondheim score is one of Broadway's finest and features such classics as "Something's Coming," "Tonight," "America ," "I Feel Pretty" and "Somewhere." I saw the show’s Broadway premiere in 1957 and it quickly went on my list of the top five greatest musicals.

NEXT TO NORMAL, June 7-19, 2011; Palace
NEXT TO NORMAL is an emotional powerhouse of a musical with a thrilling contemporary score about a family trying to take care of themselves and each other. Winner of three 2009 Tony Awards, the show is the most talked about new show on Broadway.

Subscriptions to the KeyBank Broadway Series at PlayhouseSquare are now available by calling 216-830-7221 or online at www.PlayhouseSquare.org. The seven-show KeyBank Broadway Series subscription package ranges from $85 to $520 per seat. Additionally, Donor Circle seating is available. For information visit www.PlayhouseSquare.org/DonorCircle or call 216-348-5268.

The 25th Annual Putnam County Spelling Bee

Everyone’s a winner at Beck’s Spelling Bee

How do you spell “f-u-n,” “c-h-a-r-m-i-n-g,” and “a-u-d-i-e-n-c-e p-l-e-a-s-i-n-g?” Easy, ‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE,’ now on stage at Beck Center.

The setting: A thirteen-year old standing on stage Saturday night during Beck’s ‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE.’ The background: The words already spelled included “syzygy,” “hasenpfeffer,” and “origami.” The plot: What would a competitive sports jock do if he was eliminated on his first spell, like just happened to one of the adult spellers? He stood with anguish on his face. The pronouncer said, “And your word is (dramatic pause) cow.” A smile spread across the boy’s face, but, playing by the rules, he asked, “Can you give me a definition?” Followed up by, “Can you use the word in a sentence.” He paused a second, and with complete confidence stated, “Cow, c-o-w, Cow.” The finale: The audience broke into applause.

The boy? Noah Berko, my grandson, known to many of my readers as one of the “kid reviewers.” He had “volunteered" to be one of the audience participants who came forth to offer their spelling knowledge during the show so he could given an “insiders” view of the production.

The musical is based on ‘C-R-E-P-U-S-C-U-L-E,’ an improvisational presentation created by Rebecca Feldman. The script was fleshed into a formatted musical in 2004 with music and lyrics by William Finn and book by Rachel Sheinkin. It opened to critical and audience raves off-Broadway in 2004. It was moved to a Broadway theatre in April of 2005 and ran 1136 performances.
The story concerns six young people in the throes of puberty who learn through pain and pleasure that winning isn’t everything and that losing doesn’t necessarily make you a loser. These kids are their schools’ nerds, the kids whose lives center on doing odd-ball things, such as winning spelling championships, in their own unique and hysterical ways.

Beck’s production, under the creative direction of Scott Spence, is a total winner. I saw the show off-Broadway and then as a touring production, and this staging is the equal of both. Each member of the cast well fits the physical and psychological image needed. They can all sing, are totally involved in their characterizations, and make the evening speed along with humor and pathos.

Highlight songs were the endearing, “I’m Not That Smart,” the hysterical “Magic Foot,” the confessional “Chip’s Lament,” and the charming, “I Love You Song.”

Larry Goodpaster’s musical direction is excellent and Robin Lee Gallo, who was in the original Broadway cast, duplicates the show’s Big Apple choreography with finesse.

Jude McCormick (Chip), he of Eagle Scout badges and erectile problems, Kelly Smith (Logainne Schwartzandgruvenniere), whose two fathers are proud of her being President of her elementary school’s Gay-Straight Alliance, Timothy Allen (Leaf Coneybear) who makes his own outlandish clothes and grasps the entire concept of being ADD and off his meds, Patrick Ciamacco (William Barfee) who spells with his foot, Robin Lee Gallo (Marcy), who insists with rigid body that she isn’t up-tight, and Devon Meddock (Olive) whose mother is searching for her “self” in India, are each f-a-n-t-a-s-t-i-c in their character developments.

Tricia Bestic as the queen mother of the spelling bee, Jonathan Kronenberger as the pronouncer, and Kyle Primous, as the comfort counselor, play their roles to the hilt.

Trad Burns’ set design, Jenniver Sparano’s costumes and Richard Ingraham’s sound enhance the production.

Oh, Noah, finally went out in the third round when he misspelled a word that isn’t even a word. (Is that any way to treat a little kid?) Playing the role to the hilt, he smiled shyly, pouted and took his token award (a box of fruit juice), and left the stage to the cheers of the audience.

CAPSULE JUDGEMENT: The kid reviewers, all three of them, loved the show and were only upset because they each couldn’t appear on stage. Grandpa, and the entire audience, joined the boys during the curtain call as we screamed our approval. This is a must see, fun filled, evening of theatre.

How I Learned to Drive

None Too Fragile theatre company premieres with compelling production

For about four years, Bang and Clatter Theatre performed like the little engine that could. Run by the two Seans (McConaha and Derry), possessing little money, but lots of chutzpa, the company performed before nice-sized and appreciative audiences in Akron. True to its mission, the theatre presented innovative and challenging works. The atmosphere was relaxed, free wine flowed, and the performances were generally of high quality.

Several years ago they added a Cleveland theatre, opening a new space in the former Cole’s Shoe Store on public square in downtown Cleveland. That venue, due to poor parking availability, little publicity and the competition of the crowded Cleveland theatre market, never caught on. Then the economic crash finished off both theatres.

Now, growing out of the smoldering ashes, a new theatre company, None Too Fragile, has been formed by Sean Derry and former B&C actress, Alanna Romansky. Housed in the CityArt Indie Box Center on Front Street in downtown Cuyahoga Falls, the company’s first play is Paula Vogel’s 1998 Pulitzer Prize chilling drama, ‘HOW I LEARNED TO DRIVE.’

The story follows the strained, sexual relationship between Li'l Bit and her aunt's husband, Uncle Peck, from her adolescence through her teenage years and beyond. Using the metaphor of driving and the issues of pedophilia, incest, and misogyny, the play explores the ideas of control and manipulation.

The None Too Fragile production is exceptionally well done. Alanna Romansky is mesmerizing in the role of Li’l Bit. She presents a multi-textured character that displays maturity, while being a teen and then an adult. It’s worth going just to see Romansky weave her magic.

Jeffrey Grover shows a nice balance between predator and caring uncle. Though his accent comes and goes, he makes Uncle Peck a real person, complete with complex feelings ,who clearly is a sick and conflicted being.

In an interesting directing twist, Derry does the show with only two actors on stage, while six people actually appear in the production. Clever use of video and projections makes this possible.

CAPSULE JUDGEMENT: ‘HOW I LEARNED TO DRIVE’ is a complex play that is emotionally difficult to sit through, yet, it is so well directed and performed that it is fascinating theatre. Let’s hope that the audiences who found Bang and Clatter such a rewarding experience show up at the company’s new home, and the word spreads quickly so that Derry and Romansky can make this new venture thrive.

Kimberly Akimbo

‘KIMBERLY AKIMBO’—dysfunctionality at convergence continuum

What’s it like to be a sixteen-year old and have already gone through menopause? Sound impossible, or at least improbable? Well, as displayed in Pulitzer Prize winning David Lindsay-Abaire’s play, ‘KIMBERLY AKIMBO,’ now getting a staging at convergence-continuum, such an anomaly is not impossible.

Progeria is a rare, fatal, genetic childhood condition characterized by an appearance of accelerated aging. Signs of the hereditary illness include growth failure, aged-looking skin, and stiffness of joints. Those with Progeria die at an average age of thirteen.

Don’t get the idea that this play is a downer because it deals with illness. There are a lot of laugh lines and situations. The experience may be a downer, but it’s not because of the illness…it’s a reaction to sharing time with this neurotic and dysfunctional group of characters. If anything, the person with the illness is probably the most psychologically healthy person on stage.

‘KIMBERLY AKIMBO’ concerns a lonely teenager who is a victim of progeria. She is trapped inside the frail physical body of an elderly woman. Jeff, one of her classmates, escapes from his hellish life, which includes living with a widowed drunken father and a drug addicted brother, by doing anagrams. He is a social misfit who wants to use the topic of Kimberly’s disease for his science report. The two form an attachment that allows each to have someone in their lives other than the members of their dysfunctional families, thus, gaining a sense of normalcy.

Kimberly’s father, Buddy, is an alcoholic who works at a gas station. Her insensitive and selfish mother, Pattie, is a pregnant hypochondriac with a foul mouth and a deep secret. Pattie's sister, Debra, is a homeless lesbian whose get-rich schemes get her in constant trouble with the law.

The play is well-written and the concept and the plot development lead to a high level of audience interest.

Convergence-continuum’s production, under the direction of Clyde Simon, doesn’t quite get all the empathy of the words, but works on its own level. The acting doesn’t always accent the characters’ psychological underpinnings. The lines and story concepts give us hints, but neither Tom Kondilas (Buddy), whose words often sound flat and memorized, nor Amy Bistok-Bunce, who screams almost every one of her lines, helps us to understand their underlying pain. It’s a simple rule of acting…if the actors feign and don’t really feel, the audience doesn’t empathize.

Marcia Mandell has the difficult task of making Kimberly both human and a victim of circumstances. She doesn’t always succeed. There is too much “old” lady and too little, 16-year old.

On the other hand, Scott Gorbach, he of slight body and sensitive nature, is right on-target as Jeff. Lauren Smith gives the right angry tone and physicality to the macho-lesbo aunt.

Clyde Simon and Jim Valore’s set design is excellent, creating five different settings on the tiny convergence stage.

Capsule Judgement: ‘KIMBERLY AKIMBO’ is a thought provoking play which gets an acceptable, but not a fully developed production, at convergence-continuum. It’s worth seeing.

Cloud Nine

Caryl Churchill’s thought provoking gender bender ‘CLOUD 9’ well performed by CWRU/CPHMFAAP

That theatre group with the impossible name is at it again. The Case Western Reserve University/Cleveland Play House Master of Fine Arts Acting Program is presenting Caryl Churchill’s ‘CLOUD NINE,’ a play about colonial and gender oppression in CPH’s Brooks Theatre. The play itself is a thought provoking, often humorous, often psychological mind twister, as is the company’s moniker. Why, oh why, can’t the program’s powers that be come up with an insignia that isn’t mind and mouth rattling?

‘CLOUD NINE’ is a two-act play which was first performed in 1979. It is as relevant today as it was back then. Yes, colonialism and western world feminine gender suppression are not as clear in the present time. However, inequality for homosexuals, opposition to equal rights for all, verbal and physical aggression by the older white males in the United States who are afraid they are loosing control of “their country,” female “inferiority” in the Muslim world, and resistance to a flat world concept, are still present.

The play uses melodrama and controversial portrayals of sexuality and obscene language to establish a parallel between colonial and sexual oppression. It is filled with incongruity and “shock” language to convey Churchill's political message about accepting people who are different and not dominating them or forcing them into particular roles.

Churchill has stated that during the development of ‘CLOUD NINE,’ she was influenced by Kate Millet’s Sexual Politics and Frantz Fanon’s Black Skin, White Masks. Millett’s book was the bible for the women’s movement. It awakened many American and European women to the nature of the patriarchal society in which they lived.

Fanon’s book explained the feelings of dependency and inadequacy that Black people experience in a White world. This is well brought out in ‘CLOUD NINE,’ through the character of Joshua, the Black servant, who has chosen to “turn white” rather than disappear. Those who choose the opposite are either flogged or run the risk of being the victims of punitive raids by British soldiers, as their lives are considered of no importance. Joshua’s words, “My skin is black but oh my soul is white” are an allusion to “The Little Black Boy,” a poem by William Blake.

The two acts of the play form a contrapuntal structure. Act 1 is set in British colonial Africa in Victorian times, and Act 2 is set in a London park in 1979. Interestingly, each actor plays one role in Act 1 and a different role in Act 2, often of another gender.
Churchill’s creative approach makes it necessary for the viewer to make a mental switch from seeing a rag doll “child” in the first act being portrayed by a real adult in the second act, and a white male with an accent who in the first act is a Black male servant, playing a female child in the second act. It’s all part of Churchill’s well-honed attempt to make the story present-day relevant and not an illusion of “then” and “them.”

The CWRU/CPHMFAAP’s production, under the creative directorial eye of Ron Wilson, is excellent. From the creative pop modern art set of Jill Davis, to Michael Boll’s insightful lighting, to Tiffany Goff’s music, to the clear development of each character, the entire production works. The intimate Brooks Theatre adds immediate presence to the message…you can’t escape from being involved.

The entire cast is excellent. Special performances include Andrew Gorell’s interpretation of Betty, the mistress of the African plantation. Gorell, does not play the role as a cross dresser, but as a “real” woman. Yan Tual’s use of his natural accent adds an interesting dimension of white man playing Black man in the first act, while his transformation to a female child in the second act is startling considering his over six-foot height. Kelli Ruttle’s transformation from first act nanny to second act recently divorced mother, in search of who she really is, is excellent.

CAPSULE JUDGMENT: ‘CLOUD 9’ is a thought provoking play that gets an excellent production by the ill-named CWRU/CPH acting program.

Speech & Debate

‘SPEECH AND DEBATE’—script exceeds production at Dobama

As a former speech and debate coach at the high school and college levels, I appreciated the device that author Stephen Karam used naming the scenes of his play ‘SPEECH AND DEBATE’ after the various events of the verbal competitions (e.g., duo interpretation, impromptu speaking, Lincoln-Douglas Debate). I also identified with some of the machinations of the competitors. Yes, members of speech competitions are often outsiders, the nerds, and the more academic members of the school community, looking for validation in other things than sports. They also often go on to be life-long superstars. Some of my former competitors have pleaded cases before the Supreme Court. There are a couple of college professors, a number of doctors, the head a major NY public relations firm and a WKSU-FM newscaster

Karam’s 2006 play, which is getting its area premiere at Dobama, concerns Howie, Solomon and Diwata, three teenagers in Salem, Oregon who discover they are linked by a sex scandal that’s rocked their town and another exposé which has been kept under wraps. When one of them sets out to reveal the “truth,” secrets become currency, the stakes get higher, and the trio’s connection grows deeper in this quirky comedy with dark overtones.

A New York review of the original production termed the show a "…savvy comedy…bristling with vitality, wicked humor, terrific dialogue and a direct pipeline into the zeitgeist of contemporary youth…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 points…" Another stated, “Stephen Karam's dark comedy seems to be about a frumpy girl, a nerdy guy and an openly gay guy who band together to disclose the truth about a teacher who preys on his male students. But that topical plot is almost window dressing. The play's real accomplishment is its picture of the borderland between late adolescence and adulthood, where grown-up ideas and ambition coexist with childish will and bravado."

Though the script contains what the Big Apple reviewers saw, the Dobama production doesn’t live up to the hype. The trio of Baldwin Wallace College actors, under the direction of Scott Plate, are adequate, but, except for Nick Pankuch, miss the mark. There is a lot of acting, rather than reacting going on. Much of what we see is characterizing, not characters.

While Pankuch, as Howie, the new “blonde” gay kid in town, who searches for hook-ups on the Internet, seems to identify with his character, Shelby Bartelstein gives us a goth video version of Diwata, the quirky drama queen. She’s not real, she’s an illusion of what Bartelstein envisions Diwata to be. Nicholas Varricchio is also not totally real. He tries too hard to think his way through how the uptight Solomon should be portrayed. If the duo had just let Karam’s lines flow and react to their meanings, the entire evening would have worked better. Plate needed to guide his actors with more care.

Elizabeth Ann Townsend, one of my favorite local actresses, also misses the mark as the teacher. She just doesn’t ring true, “feigning” not “being.”

Laura Carlson’s set design works well. The creative use of PowerPoint visuals to illuminate the title of each segment also are effective.

CAPSULE JUDGEMENT: Many aspects of Dobama’s SPEECH AND DEBATE work, but the overall effect is not what should have been the outcome of producing Karam’s contemporary and meaningful script.

Review of the Reviewer: Fred Sternfeld

Thanks again for coming out to TrueNorth [to see BABY]and giving them their first review ever - literally. You are the first critic to attend one of their shows. New venues in town need the support of people like you to succeed.

Fred

Baby

‘BABY’ gets rebirth at True North Cultural Arts

“It’s March, snow covers a college campus. And miracles are taking place. Unseen, sperm are reaching eggs. Life is beginning.” Thus starts the story of ‘BABY The New Musical.’

‘BABY,’ which has been one of my favorite small musicals since I saw it in New York in 1983, is now having a rebirth at True North Cultural Arts Center. Rebirth since the Sybille Pearson, David Shire, Richard Maltby, Jr musical has been rewritten since its initial production.

The New York staging was met with favorable reviews including one which stated, “Baby is a modestly scaled entertainment that woos us with such basic commodities as warm feelings and a lovely score.” The show ran 241 performances. Having seen the show in the Great White Way venue, I thought it was physically misplaced. It should have been produced in an intimate off-Broadway theatre, a space similar to that of True North.

The story centers on three couples who live in a university town and are involved in the excitement and the problems that accompany the experience of conceiving and giving birth to a child. One of these couples is composed of two 20-year olds, Danny and Lizzie. Another duo is Alan and Arlene who have been married for 20 years and are empty-nesters with three grown children. The final pair is Nick and Pam, 30-year-olds who want a child, but have been having trouble conceiving. Each couple feels they are on the verge of great changes.

The authors thought the show should be reformatted and, in 2004, an altered version of the script, complete with new plot twists, a new song and some alterations in the order of the music, was presented at The Paper Mill Playhouse in Millburn, New Jersey. The second-ever presentation of the new script is presently being staged at True North Cultural Center.

The new version transforms the musical from being a very pleasant experience, to becoming an emotional roller coaster. The additional song, “The End of Summer,” adds pathos not previously present.

The True North production, under the direction of Fred Sternfeld, is excellent. The six leads are extremely well cast. Their singing and acting are right on target.

Shane Joseph Siniscalchi, who has a nice singing voice, creates in Danny a real person who we see grow from an immature fun-centered musician into a soon-to-be responsible dad. His duet with the beautiful, sparkling-eyed, talented. American Idol semi-finalist Natalie Green (Lizzie), “What Could Be Better?” is delightful, filled with a clever interpretation and an intriguing musical arrangement. “I Chose Right” and “Two People in Love, are also show highlights. Green’s “The Story Goes On” is mesmerizing.

Bernadette Hisey (Arlene) and Michael Dempsey (Alan) match well as the older couple questioning whether life will be better with a new child. Their “And What If We Had Loved Like That,” is the emotional highlight. Each develops a clearly etched and textured character.

Maggie Stahl-Floriano (Pam) and David Robeano (Nick) are yet another balanced duo. Their scenes are filled with emotional highs and lows as they traverse the world of trying to conceive. “Romance” and ‘With You” are well sung and nicely textured.

Doug Bill does a nice shtick as the fertility Doctor with new contact lenses.

Rick Fortney’s musical direction adds much to the production, underscoring rather than competing with the cast. Bebe Weinberg Katz’s choreography also adds to the quality of the show.

CAPSULE JUDGEMENT: The new concept for the musical ‘BABY’ adds to what has always been a fine musical theatre experience. Sternfeld’s direction and the superb cast make this a very special evening of theatre. Hopefully he will consider taking this cast to his Fairmount Performing Arts Conservatory so east siders can experience this wonderful production.

EMMA

‘EMMA’ enchants at Cleveland Play House

Jane Austen is considered one of the best authors of English language romantic comedies. Her book ‘EMMA’ which has been adapted by Cleveland Play House’s Artistic Director, Michael Bloom, into a play format, is now on stage at CPH.

Director Peter Amster, who so brilliantly staged last year’s CPH production of ‘PRIDE AND PREJUDICE,’ has again configured a charming version of a classic tale. He seems to have a magical touch with making good scripts visually attractive and purposeful.

Many know ‘EMMA’ by the author’s explanation of the plot’s title character: “I am going to take a heroine whom no one but myself will like much.” In that statement she introduces Emma Woodhouse, a beautiful, clever, spoiled and self-centered know-it-all. Emma is an expert on matchmaking, at least she thinks she is an expert. As we find out, she misses out on the most important matchmaking, her own! We watch as many of her schemes go awry, leading to both humor and awe.

‘EMMA’ is more character than plot driven. This made Bloom’s task of whittling down the interweavings of persons difficult. How can so many people each be developed so that the audience keeps them all in mind? Bloom nicely succeeds.

Characters abound. Besides Emma, there is Mr. George Knightley, a close friend of the lead character, and seemingly, her only critic. In reality, as we find out, he cares deeply for her. Then there is Frank Churchill, whom at one point Emma thinks she may love, and Jane Fairfax, a very beautiful, clever, and elegant woman, with the best of manners. She is the sole person that Emma envies. Next, Harriet Smith, a young friend of Emma's, is a very pretty but unsophisticated girl who is too easily led by others, especially Emma. And, the list goes on and on.

In order for this play to succeed, all of the characterizations need to be well honed. And, fortunately, in the CPH production, the performers are up to the task. Scene after scene is charming and witty. The movements and machinations are well formatted by Amster.

Though she could have made a more transparent transition from know-it-all to woman-in-love, Sarah Nealis is charming as Emma. The scene where she runs and leaps through the garden, squealing like a freed animal, while Mr. Knightley asks her father for her hand in marriage, is a delight.

Mark Montgomery is properly aloof as Knightley. Patrick Clear is wonderful as Emma’s hypochondriac father. This is one talented and meaningful cast.

Robert Mark Morgan’s classic set is beautiful and Kristine Kearney’s costumes are era perfect.

CAPSULE JUDGMENT: CPH’s ‘EMMA’ is a classic production of a classic book. Michael Bloom’s adaptation works well. Peter Amster’s direction is spot on. The acting is universally excellent. For anyone who appreciates good theatre, ‘EMMA’ is a must see.

'Til Death Do Us Part--Late Night Catechism

Yet another Catechism at the 14th Street Theatre

She’s back. Yes, a “Catholic” nun is again castigating, teaching the heathens, making attendees who are errant—chewing gum, wearing low cut blouses or short skirts, not showing respect, or are believers in Scientology--all pay the price. The “good” ones in the audience get religious “baseball” cards with pictures of various saints on them.

Created in 1993 by Vicki Quade & Maripat Donovan, ‘LATE NIGHT CATECHISM,’ as the first version was named, was based on their experiences growing up Catholic in Chicago and the stories and experiences they've heard through the years from friends and family members. Part catechism class, part stand-up routine, it has brought its nostalgic kick to every state in the U.S. as well as to Canada, the U.K., and Australia.

The present edition, entitled ‘TIL DEATH DO US PART—LATE NIGHT CATECHISM 3,’ takes those who have gone through Catholic schooling back to their days as students who need to be taught the “right way of leading their lives,” so they can get to heaven. Heaven, is defined by Sister as “A spectacular concert with the presence of God.” She slips in zingers such as referring to Lutheranism being “Catholic Light,” and telling the assembled that “There is no marriage in heaven, only happiness,” explaining her attendance at a nudist wedding, what is meant by Irish Alzheimer’s (“being drunk”), and showing surprise that a newly engaged couple met on Match.com. That duo got the “privilege” of participating in a quiz which showed how incompatible they were.

The various Catechism productions star six different actresses. In the Cleveland showing, Mary Zentmyer does a nice job of ad-libbing, using audience responses and situations, to develop a humorous evening.

A show highlight centered on Sister taking on the Vice President of Theatricals at Playhouse Square, for wearing a short skirt and “Nancy Sinatra” boots after the PHS administrator made the mistake of volunteering an answer to one of Sister’s questions. She wound up on stage on several occasions, having to cover her exposed knees with a napkin while keeping score during the couples’ quiz section of the show. Sister also took on the public relations director of several local theatre and dance companies, who was obedient in giving answers to Sister’s probes. Who gets picked on other nights is up for grabs. If you want to be a victim of Sister’s taunts, sit up close or be silly enough to volunteer to answer one of her questions. If not, do as I did, and hide in the back section of the theatre, sit up straight and keep your mouth shut and hand down.

CAPSULE JUDGEMENT: Those who went through Catholic schooling will certainly have flashbacks as they stand erect, have chewing gum put on their noses, rest against the blackboard with their noses in a chalked circle, and hear the sound of “the clicker.” Non-Catholics should also be amused.

Alex Berko appears with Verb Ballets

Alex Berko, the kid reviewer, to appear with Verb Ballets playing one of his compositions

Many of you know Alex Berko as the “kid reviewer” who accompanies me to theatre productions and gives his views on whether the play is kid friendly. What you may not know is that besides his theatre insights, he is an accomplished pianist and composer.

Alex will be one of the featured performers in Verb Ballets’ Fresh Inventions Series of New Works which pairs a composer with a choreographer who uses the members of Verb Ballets company to create a piece of dance.

Alex, who is 14 years old, fell in love with music very early and has been playing piano since the age of 4. He has had many musical accomplishments throughout the years. Alex was awarded 1st place in the 2009 Scholastic Composer’s Contest. He was selected as a young composer (2009) and as a performer (2008) for the Cleveland Composer’s Guild project, “Creativity; Learning through Experience.” Alex was chosen from over 100 students to receive the Samantha Richardson Award for outstanding leadership and musicianship at Orchard Middle School (Solon, OH). He was selected to train and perform with the Cleveland Chamber Music Camp in 2008. Alex has received consistent Superior ratings in the National Federation of Music Clubs annual piano competition. He currently studies composition with Dr. Stephen Stanziano, piano with Mrs. Sandra Shapiro (Cleveland Institute of Music, Cleveland, OH), and music theory with Mrs. Monica Houghton (Cleveland Institute of Music, Cleveland, OH). An honor roll student, Alex was a member of the Solon Middle School soccer team last fall.

Alex will be appearing on stage, playing his composition, Volcano Rhapsody.

Choreographers include Richard Dickinson, Kay Eichman, Diane Gray, Terence Greene, Lisa K. Lock, Troy McCarty, and Sara Whale. Besides Alex, the other composers are Larry Baker, Loris Chobanian, Ty Alan Emerson, Richard Rinehart, Nicholas Underhill, and Eric Ziolek.

The program will be presented at the Cleveland Public Theatre in the Gordon Square Theatre from April 8 to the 11th. CPT is located at 6415 Detroit Avenue in Cleveland. Performances are at 7 p.m. on the 8, 9 and 10 and at 3 p.m. on the 11th. Tickets, which are $10 on the 8th, and $21 on the other dates ($2 discount for students and seniors), may be obtained by calling 216-631-2727 or going on-line to www.cptonline.org.

The Great White Hope

Karamu, Weathervane and Ensemble Theatre collaborate on ‘THE GREAT WHITE HOPE’

In a display of multi-theatre cooperation, Howard Sackler’s award winning play, ‘THE GREAT WHITE HOPE’ is being staged as a joint production of Karamu, Weathervane and Ensemble theatres.

‘THE GREAT WHITE HOPE’ is a fictional account of the real life of Jack Johnson, an African American who wins the world boxing championship just before World War I, an era of strong segregation. His defeat of the Caucasian champion stirs up prejudices. The desire of the boxing community to find the “great white hope,” a white man who can gain back the championship, is the core of the play. It is not, however the heart of the play.

The viewer watches as the boxer, named Jack Jefferson in the script, who, instead of being honored for his athletic prowess, is psychologically tortured, convicted under the Mann Act for illegally transporting a white woman across state lines for “immoral purposes.” Eventually he must flee the country.

Sackler once said of his play, "What interested me was not the topicality but the combination of circumstances, the destiny of a man pitted against society. It's a metaphor of struggle between man and the outside world."

Boxer Muhammad Ali once commented about the play, "That's my story. You take out the issue of white women and replace it with the issue of religion. That's my story!" Ali was fighting being drafted into the army at the time on grounds of being a conscientious objector.

The play opened on Broadway in 1968, ran 546 performances and starred James Earl Jones and Jane Alexander in the lead roles. Both won Tony Awards for their performances. In 1970 Sackler adapted the script into a film which also starred Jones and Alexander.

Producing ‘THE GREAT WHITE HOPE’ is a daunting task. The script has numerous scenes requiring many sets and numerous costumes. The cast is immense and must speak multiple languages. The leading performers must be masters of their trade.

Anthony Elfonzia Nickson-El is excellent as Jack Jefferson. He develops a clear and textured characterization, which displays the many moods and psychological conflicts of a man caught in the crosshairs of a prejudiced society.

Ursula Cataan is his equal as Eleanor Bachman, a white woman who falls in love with Jefferson, and is the fulcrum for many of his problems. This is a very well developed performance.

Peter Lawson Jones leaves behind his daytime role of Cuyahoga County Commissioner, and effectively transforms himself into Tick, Jefferson’s trainer and friend. This may be your only chance to see Jones as a cross dresser.

Colston Corris is excellent as Cap’n Dan.

Director Terrence Spivey needed to work with many of the supporting ensemble for the creation of reality, thus being the person being portrayed rather than acting like the person.

Richard Morris, Junior’s scenic and lighting designs are appropriate, Jasen Smith’s women’s costumes work well. Why Spivey has music underscoring much of the actions and drowning out lines, is to be questioned.

CAPSULE JUDGEMENT: In spite of excellent performances, the over-all effect of ‘THE GREAT WHITE HOPE’ is not up to the quality of the writing. Sometimes theatres have to be realistic. Picking a script like ‘THE GREAT WHITE HOPE,’ in spite of its relevance and historical truth, creates a daunting task. If it’s too herculean, maybe some other script choice should be made.

Is He Dead

Twain’s “new comedy,” ‘IS HE DEAD?” on stage at Beck

The question anyone looking at the heading of this review should ask is, “How did Mark Twain write a new comedy. Isn’t he dead?”

Well, Twain didn’t just write ‘IS HE DEAD?’ He scribbled the piece in 1898. He had previously written ‘COLONEL SELLERS,’ which became a box-office success. But, before his newest work opened, London’s Bram Stoker Theatre, where ’DEAD’was to be staged, burned down. And, that was the end of that.

Well, not quite. In 2002, Dr. Shelley Fisher Fishkin, a Twain expert who is a professor at Stanford University, discovered the long-forgotten script in the Twain archives amidst a dusty collection of inferior theatrical attempts.

The script was given to David Ives to do an adaptation, which had a Broadway opening in 2007. That production had some positive critical reactions, but was generally viewed as being out of date with references and cornpone humor that were not for modern audiences.

The story is set in 1840s Paris, and fictionalizes the non-death of real-life painter Jean-Francois Millet. To help himself and his debt-ridden friends, Millet fakes his passing to inflate the value of his paintings. He impersonates his imaginary sister, a widow named Daisy Tillou. Millet's contrivances grow more absurd until the moment he's caught dancing in drag on his own coffin.

Besides the datedness of the material, it is a melodrama. Melodrama requires just the right attitude in staging. It is a theatrical form which calls for double identities, physical exaggeration, lots of slamming of doors as characters run on and off stage while often returning momentarily in different clothing and even as members of the opposite sex. There are stock characters: the pretty heroine, the stud hero, the villain (complete with a mustache and dressed in black) and some cartoon characters who add to the laughter. This is the non-talky ‘PERILS OF PAULINE’ and the Mark Brothers comedies.

‘IS HE DEAD’ contains all the requisite melodrama pieces parts.

Under the direction of Matthew Earnest, the Beck production reaches an acceptable, if not a highlight level. Many in the cast just don’t seem to understand the need to be over-the-top and to exaggerate all their actions, not just the asides, affronts and preplanned gestures. This is surprising, because Earnest is a superb director, as was proven with his productions of ‘OUR TOWN’ and ‘PETER PAN’ at Porthouse Theatres.

Nick Koesters knows melodrama and has the ability to play with characterizations. As both Jean-FrancoisMillet and Widow DaisyTillou, Koesters does his thing and does it well. It’s worth seeing the show just to see his cross-dressing charade. The rest of cast ranged from good to almost acceptable.

Don McBride’s set worked well, Melissa Owens’ costumes were era correct, Joseph Carmola’s lighting was appropriate, and Richard Ingraham’s sound effects were on-target.

CAPSULE JUDGEMENT: ‘IS HE DEAD?’ is one of those plays that I have difficulty figuring out why a theatre would pick to stage. But, pick it Beck did. Even with the low level of the script, the production could have been a lot more fun.

13

Teen angst musical gets Ohio premiere at Fairmount Conservatory

Jason Robert Brown, Dan Elish and Rob Horn’s ’13,’ a musical centering on teenage angst, is getting it’s Ohio premiere at the Fairmount Performing Arts Conservatory (FPAC).

‘13’ finds Evan Goldman, a happy Jewish kid from New York City, closing in on his bar mitzvah. His big dream is to have a great party with all his friends. Evan’s parents suddenly announce that they are getting divorced and Evan and his mother are going to move to Indiana. Specifically, Appleton, Indiana. How is that kid, with no friends, going to have a bar mitzvah blast? Is that a place to hold what Even refers to as, “the event that defines you, the Jewish super bowl!”

But, as is the case with this type of story, all is not lost. Evan meets his new neighbor, Patrice, a quirky girl who is as much of an outcast in this Midwestern burg as Evan. They jointly sing, “The Lamest Place in the World.” The rest of the predictable story concerns Evan trying to be popular and get lots of kids to come to his party. In the process he goes head to head with Brett, the football hero at Dan Quayle Junior High (I did not make this up!), and Brett’s attempt to “do the tongue” with Kendra, the head cheerleader. Throw in a quirky crippled kid, a dozen or so hormone and gossip producing tweens and teens, and you’ve got the story. A story which would make a great afternoon TV special, and, of course, has a happy ending!

Okay, this is not a great script. Not a story that adults, except in remembering their own teen years, will get involved in. But that’s okay. It’s not aimed at adults. It’s specifically aimed at a generation of kids addicted to gadgets, who have short attention spans, and are in the midst of those “junior high years.” The years of feeling like a freak, wanting to fit in. The age of gossip, mortifying nicknames, and peer pressure. The unrelenting peer pressure to be someone smarter, prettier, hipper, and better than who you are. The years of the hierarchy of your status determined by at which lunch table you were allowed to sit. (“Oh, please don’t make me sit with the Geeks!”)

The FPAC show, under the direction of Sean Szaller, has many high and low points. The cast is enthusiastic, and in the main quite talented. The blocking is often awkward. The choreography, which has some cute gimmicks built in, tends to be more dynamic than disciplined. The music is well played. The sound system squealed with regularity which was very distracting. The character development is not always clear. Too bad Szaller didn’t work more on teaching the cast to portray reality. These are teenagers playing teenagers, rather than actors acting how teenagers are supposed to be.

The cast highlights included Dani Apple as Patrice, the outcast girl. Apple, who has a long record of local and national successes, continues to mature as a singer and actress. Her very strong musical abilities, at least at this point in her career, are ahead of her acting skills. She, along with Alexis Floyd, are the most mature performers on stage. Floyd rocks, rolls, wails, and dances up a storm in the dynamic after-curtain call. This is the highlight of the show.

Miles Sternfeld has a nice presence as Evan. He has a pleasant singing voice and develops a clear character. Aric Floyd and Daniel Sovich, as the shrimp-sized sidekicks of the football hero, are totally delightful. The duo sing and dance with spirit and are fun to watch.

Jordan Brown nails the characterization of Archie, the “cripple,” who plays his illness for all it’s worth. “Terminal Illness,” his duet with Evan, is a joy.

Other strong songs and production numbers are: “Hey Kendra,” “Get Me What I Need,” “What It Means to be a Friend,” and “Tell Her.”

“Being a Geek,” performed by Evan and the “Rabbis,” was mocking and offensive. As a tween sitting next to me whispered to her friend, “Why are they making fun of rabbis and Jewish people?”

Be aware that this is not the “junior” version of the show. The presentation includes language and sexual innuendos which some parents will find objectionable.

The opening night audience, consisting of relatives and friends of the cast and crew, loved all the goings on and gave the performance a screaming standing ovation. It was a bit much, an example of bias goes wild, but, in reality, their reactions were justified. They came, they saw, they enjoyed.

CAPSULE JUDGEMENT: ‘13’ is a slight script, which will have strong appeal to tweens and teens. It is being performed by teenagers, not theatre professionals, and it does itself proud on its own level. Adults should will themselves back to the age of teen angst. Teens should revel in life as they know it. And they should go and enjoy a group of kids who are having a wonderful time, making their personal dreams of being “stars” come true.

Peter Pan--A Musical Adventure

You’ve never seen Peter Pan like this before!

Peter Pan, the boy who refuses to grow up, has been seen in various versions: book, film, television and on stage. But he’s never been seen locally in the form being performed by Mercury Summer Stock for their “Just Beyond the Stars” gala.

Peter first appeared in a section of The Little White Bird, a 1902 novel written, ironically, for adults. A play about the boy and his fellow “lost” boys, debuted in 1904. A stage musical came forth in 1950, with music and lyrics by Leonard Bernstein. That version starred Jean Arthur as Peter Pan and Boris Karloff in the dual roles of George Darling and Captain Hook. It was initially intended as a full-blown musical, with Bernstein composing a complete score, but was staged with only five songs – "Who Am I?", "Pirate's Song", "Plank Round", "Build My House", and "Peter Peter," to accommodate the limited vocal ranges of the principal actors.

The boy really took off when, in 1953, Walt Disney’s animated version of ‘PETER PAN’ was released.

In 1954, the popular, and often produced stage version, most recently performed locally at the Beck Center, was conceived. With music by Mark "Moose" Charlap, additional music by Jule Styne, and lyrics written by Carolyn Leigh, Betty Comden and Adolph Green, it starred Mary Martin as Peter and Cyril Ritchard as Captain Hook, and earned Tony Awards for both stars. A major new stage production was performed in Summer 2009 in Kensington Gardens.

Entitled ‘PETER PAN--A MUSICAL ADVENTURE,’ it is this new British version, complete with a totally different score and book, that will be presented by Mercury Summer Stock on February 20 at 7:30 at the Breen Center, on the campus of St. Ignatius High School. It has music by George Stiles and Anthony Drewe, composers of the Broadway hit ‘MARY POPPINS,’ which was a smash hit in its recent Cleveland showing as part of the Broadway Series, and book by Willis Hall.

The Mercury production, only the second time the musical will be performed in the United States, will be a staged reading. The cast includes Matthew Wright as Captain Hook, Maria Thomas Lister as The Storyteller, Natalie Green as Tiger Lily, Jeff Grover as Mr. Darling, Jen Myor as Mrs. Darling, Kelly Monaghan as Wendy and Brian Marshall as Peter Pan. The show will be staged by Pierre-Jacques Brault. Musical director is Bill Corcoran.

“My First Musical” program, is the educational arm of Mercury’s programming. Through it, children under the age of twelve from the Parma City School District and other educational institutions of the Greater Cleveland community, are given access to experiencing live musical theatre by attending, free of charge, each show of the Mercury season. They have interactive pre- and post-performance workshops to foster an interest in, and appreciation of the theatre.

In the Heights

‘IN THE HEIGHTS’ reaches the heights the Palace

There may have been a snowstorm raging outside, but inside the Palace Theatre, where the touring production of the Tony Award winning musical, ‘IN THE HEIGHTS,’ was having its opening night, the place was sizzling! The salsa, hip-hop , meringue and soul music, the dancers who were zooming all over the stage, and the well tuned voices of the singers, all blended to make ‘IN THE HEIGHTS’ reach the heights of an involving show.

The musical gives a glimpse of Washington Heights, an uptown New York City area, which has been the home to many immigrant groups. Though now becoming gentrified, it has a predominantly Latino essence.

‘IN THE HEIGHTS,’ with music and lyrics by Lin-Manuel Miranda and book by Quiara Alegría Hudes, is both an artistic and financial success. In an unusual Broadway story, in less than one year, it recouped its $10 million dollar investment.

In the pre-dawn darkness, alarm clock radios ring from scattered windows announcing a record-breaking heat wave today, July 3. The sun rises, revealing a silhouette of the George Washington Bridge above the apartment buildings.
In the shadows, a young man sprays graffiti onto the awning of a bodega, but his artistic reverie is interrupted when Usnavi, the young store owner, enters and chases him away. Usnavi opens the store, which supplies neighbors with their morning coffee and papers. We meet Abuela Claudia, who raised Usnavi, and Sonny, his young cousin who helps with the store. Everyone's stories and dreams pass through this modest store front: his friend Benny wants a promotion, the ladies who work at the salon want some gossip, and Vanessa, Usnavi's love interest, wants an apartment in a different part of town. Usnavi has a dream of his own: to one day return to the island of his roots, the Dominican Republic.

As we watch the story of a neighborhood unfolds. Not unlike the opening number of ‘FIDDLER ON THE ROOF,’ the traditions of a culture are revealed as the title song curtain opener proceeds. By the time it’s over, the audience is informed and hooked.

Though the story line is trite, often soap opera-like, it matters little. What’s important is the music, the dancing and the singing. Such numbers as “Carnaval del Barrio,” “Enough,” “Breathe,” “The Club/Fireworks” explode on the stage.

Andy Balkenbuehler’s choreography and Thomas Kail’s staging are enveloping. The dancers are such an integral part of the action and the staging is so well developed, that wonderful stage picture after wonderful stage picture evolves.

The cast is universally excellent. All the characterizations are well developed and every voice is solid and on-key, and the dancers are fine, so very fine.
To highlight anyone is unfair to every one else, but a couple of special hurrahs to: Shaun Taylor-Corbett (as the delightful Sonny), Elise Santora (Abuela Claudia, the earth mother), and Kyle Beltran (the appealing Usnavi).

If there is a flaw in the production it’s the over-zealous, over-microphoned orchestra. Sometimes they forget that they are supposed to be playing back-up and drown out the singers/speakers. In a show that contains much hip-hop lyrics, the meanings of which are important to understand the show, the music needed to be underplayed during the speaking segments.

CAPSULE JUDGEMENT: If you like dynamic dancing and music, and want to be swept along to a different musical theatre experience, ‘IN THE HEIGHTS’ is a production for you to see. But, be aware the music is very loud.

Death of Salesman

“DEATH OF A SALESMAN’ gets a thoughtful production at Lakeland

Arthur Miller’s ‘DEATH OF A SALEMAN,’ is one of the greatest American plays. True to Miller’s form, the script probes his theme of the workings of society and asks his perennial question, “Is this the best way to live?”

On the surface, the play concerns Willy Loman, a traveling salesman who has worked for the same company for thirty-four years. He is now sixty-one years old, has lost his clients and has to borrow money from Charlie, his neighbor and only friend, in order to pay his bills. Neither of Willy's sons, who were brought up with Willy’s philosophy that to be “well liked” is the most important thing in life, have become the “heroes” he dreamed they would become. Willy has been plagued by illusions as he disintegrates into a state of failed dreams. He dies, as he lived, in a state of unrealistic expectations.
Oh, but how much more Miller is saying! It is almost impossible for one to leave the theatre without asking personal questions about the values by which you live your life and your affect on not only yourself, but the significant others in your life.

‘DEATH OF A SALESMAN’ opened on Broadway in 1949. It ran only 742 performances, but won both the Tony Award and the Pulitzer Prize for drama. The original production was directed by Elia Kazan with Lee J. Cobb starring in the leading role of Willy Loman.
The play made both Arthur Miller and the character, Willy Loman, household names. Classified as a modern tragedy, it illustrates the downfall of a man, an everyman in this case, because of a tragic flaw. The misguided Loman ( the proverbial "low man"), has the flaws of a misguided image of self and ill-conceived values. As in the traditional tragedy, the hero’s downfall not only affects him, but those who surround him.

The play’s requiem is one the most emotionally moving scenes in modern theatre. Linda (Willy’s wife) and Happy (youngest son), stand in shock after Willy’s poorly attended funeral. Biff (the oldest son) states that Willy had the wrong dreams. (Thus, he has a denouement, an awakening, a requirement for the development of a modern tragedy, which, in this case, acknowledges that he has learned from Willy’s mistakes.) Biff invites Happy to flee the city and Willy’s influence. Happy, having not learned the lesson of ill-placed values, declares that he will stick it out in New York to validate Willy’s death. Linda stands at the grave looking downward and asks Willy for forgiveness for being unable to cry. She begins to sob, repeating “I don’t know why you did it. We’re free, we are finally free and clear. . . .” All exit, and a flute melody is heard as the curtain falls.

‘DEATH OF A SALESMAN’ is very difficult to perform to it’s highest level of effectiveness. This is especially true for amateurs, which basically is what is appearing on the Lakeland Civic Theatre’s stage. Under Martin Friedman’s direction, the cast does an acceptable job.

Mark Cipra gives a creditable performance as Willy. We feel his pain, observe his lack of ability to create reality as he escapes into a fantasy world. We, appropriately, want to scream at him, “Wake up and realize you are living a life of lies and misjudgments.”

Maryann Elder is excellent as the enabler wife who knows what Willy is doing is wrong, but her misspent love causes her to hide the truth from him. Unfortunately, Elder fails to completely develop the emotional impact of the requiem.

Though he tries hard, Christopher Richards doesn’t have the maturity to develop the frustration needed to fully flesh out Biff. Christopher Richards comes closer to exploring the underpinnings of Happy.

Michael Green gives a good spin on the character of Charley. The rest of the cast is quite acceptable.

Friedman has taken several liberties with the script that must be questioned. For example, he has given us actors who portray younger versions of Biff, Happy and Linda. Their reason is questionable. Since much of the play is illusionary, if well conceived the same actors who play the grown up trio would have made for less confusion. Miller didn’t include them in the original script. Why tinker with brilliance?

He has also added music throughout the play. The music does nothing to enhance the actions, often leading to underscoring confusion, and in some instances drowns out the quieter speeches.

Why was the sound of the car starting, followed by the straining engine, and then the crash, eliminated before the final scene? This is needed to clarify the way Willy misguidedly died.

Trad Burns lighting is excellent, but his set design, doesn’t work. The playing area of the house is not well conceived causing awkward blocking. Why are Biff and Happy sleeping on the floor, not in beds? What is the purpose of the anti-room that is on the second level? The supposed “flash back area” is often misused as scenes from the present invade the space.

CAPSULE JUDGEMENT: Lakeland’s ‘DEATH OF A SALSMAN’ will allow its audiences to experience one of America’s great plays. Those attending, in spite of some questionable aspects of the production, will leave having the basic impact of Miller’s message. And, gaining that understanding is the essence of the reason for producing the script.

Ain't Misbehavin'

‘AIN’T MISBEHAVIN’ jazzes up the Cleveland Play House

‘AIN’T MISBEHAVIN,’ the musical now on stage at the Cleveland Play House, is a tribute to the late great “Fats” Waller. Waller, who was known for his musical style of dynamics, tension and release, wrote hit after hit in the 1920s and 30s. In all, he penned over 400 songs.

‘AIN'T MISBEHAVIN' is a review of Waller’s’ songs as conceived by Murray Horowitz and Richard Maltby Jr. It opened on Broadway in 1978 and ran 1,604 performances, The show won three Tony’s, including the Best Featured Actress citation for Nell Carter.

Waller wrote during the heyday of Harlem clubs, often referred to as the Harlem Renaissance. Included in the score are such standards as ''I've Got a Feeling I'm Falling,'' ''Honeysuckle Rose'' and ''Two Sleepy People'.'

Waller wasn’t known for his Broadway tunes. In fact, the title song of this review was one of his few Great White Way contributions. It was first sung in the 1929 ‘HOT CHOCOLATES.’

As with many reviews, there is no plot, just song after song. This makes grabbing and holding an audience’s attention difficult. Each director must develop an entertainment format. In this case, director Kent Gash decided, rather than letting the songs’ natural humor and dramatic overtones create the attention, he would use an extra heavy dose of shticks and begging-for-laughs gimmicks.

From my perspective, the overdone shaking of boobs and booties, the repeated dance routines and over-stylized concepts became redundant. If Gash had allowed the Waller music to prove itself, like he did with the “Black and Blue” segment, ironically, the last song of the script, where the singers sat on stools and beautifully sang a great arrangement, the entire evening would have worked better.

Highlights of the show were the finale, Ken Robinson’s “I’m Gonna Sit Right Down and Write Myself a Letter” and his version of “Your Feet’s Too Big;” Christopher L. Morgan’s “The Reefer Song;” Rebecca Covington’s “I’ve Got My Fingers Crossed;” and the company productions of “Handful of Keys,” “Lookin’ Good But Feeling Bad,” and “Off Time.”

The great sounding band sat stoically during the show, in stark contrast to the ever exploding stage images.

Emily Beck’s proscenium set was vibrant and added to the visual excitement of the show as did the very stylized costumes of Austin Sanderson.

CAPSULE JUDGMENT: CPH’s ‘AINT MISBEHAVING’ is entertaining, especially in the second act, but is overdone, often bombarding the senses. Director Kent Gash and choreographer Byron Easley might have done better by heeding the adage, “sometimes, less is more!”