Little Shop of Horrors

‘LITTLE SHOP OF HORRORS’ okay but not 'EVIL DEAD THE MUSICAL’

Several weeks ago ‘EVIL DEAD THE MUSICAL’ opened at Beck Center. My capsule judgement of the show stated: “If you want to go to the theatre and have a great old time and escape from reality, see ‘EVIL DEAD THE MUSICAL.”
My view wasn’t alone…the show has become a cult hit with viewers returning again and again. Its run has been extended once again. (For ticket info and dates call 216-521-2540.)

I wish I could have the same enthusiasm for Beck’s present production, ‘LITTLE SHOP OF HORRORS,’ but I can’t. First, in spite of the show having won several awards, I don’t like the script. It just isn’t as far-out as it could be considering the creative concept. Second, the music, though at times delightful, is not of consistent quality. The history of the show proves this. The original cast album omits the songs "Call Back in the Morning", and "Somewhere That's Green" (reprise), and only had abridged versions of "Now (It's Just the Gas)," "Mushnik and Son," and "The Meek Shall Inherit." “Call Back” isn’t even in Beck’s production. This tinkering with a show, after it has opened, doesn’t happen in a well scored show.
‘LITTLE SHOP OF HORRORS’ is a rock doo-wop musical by composer Alan Menken and writer Howard Ashman, about a hapless and geeky florist shop worker who raises a plant that feeds on human blood. As the plant demands (yes, it talks) more and more blood, the plot thickens.
The musical, which is based on the low-budget 1960 black comedy film of the same title, premiered on May 6, 1982 in an off-Broadway theatre, and never moved uptown. It closed on November 1, 1987, after 2,209 performances, making it one of the longest running off-Broadway shows.
I saw the show in its off-Broadway run and wasn’t overly impressed. Four or five additional viewings in various venues still hasn’t made me a fan.
My evaluation of the Beck production must be tempered by the fact that I saw a dress rehearsal and not a full-fledged production. What I saw was pleasant enough, with a promise for improvement when the cast settles in and has audience reaction experiences.
Director William Roudebush has appropriately pushed for farce. Again, as the cast gets comfortable with the material, I assume they will totally let loose and just play for fun, which is what the concept requires.
Tim Allen plays Seymour, the “conceiver” of Audrey II, the blood devouring plant. As he admits in the program, he is a natural nerd and a socially inept romantic. He, of very skinny body, awkward gait, and thin voice, is perfect for the role. Meg Maley, who plays Audrey, the stereotypical dumb blond, looks the role, but was often difficult to hear in her vocals and the screeching speaking wears on the nerves at times. Her walk is “Judy Holliday” perfect. Connor O’Brien, Audrey’s dentist boyfriend, is not snarly enough as a sadistic abuser. The Urchins, a doo-wop vocal trio consisting of Katrice Monee Headd, Tonya Broach and Taresa Willingham, are talented and fun. Their versions of the “Prologue/Little Shop of Horrors” set a nice opening tone. I would have liked a more commanding playfulness from Darryl Lewis, the voice of Audrey II.
Larry Goodpaster’s musical direction and Michael Metcalf’s choreography were fine. After the show runs for a while maybe the set moving crew will master the intricacies of Don McBride’s scenery. During the preview, they had a lot of trouble getting the pieces moved in time for the next scene. No credit was given for who created Audrey II, but whoever did deserves a special round of applause.
Is it youth friendly? My 13 year-old grandson Alex, the “Kid Reviewer,” was not overly enthusiastic. He didn’t think there was enough fun to hold a tween’s attention, but did recognize that things could improve as, “we only saw a rehearsal and you can’t expect it to be perfect.” His remarks concluded with, “This was not my favorite show.”

CAPSULE JUDGEMENT: ‘LITTLE SHOP OF HORRORS’ is not a great script. From my preview viewing perspective, it is getting an acceptable production at Beck.

Groundworks 6/09

Groundworks great at Cain Park!

Groundworks has, since its inception 11 years ago, continued to prove that it is Cleveland’s premiere small troupe dance company. Their programs continue to be focused, challenging and well-performed. If possible, they outdid themselves in their recent Cain Park three-peat performance.

The Cain Park program consisted of three top notch works. ‘Allow,” choreographed by Artistic Associate Amy Miller, which, like Miller, was strong, purposeful and powerful. Initially performed with little physical interaction and touch , the dancers used static and gymnastic moves to eventually blend together, effectively executing lifts, and flying bodies to create an exhausting gymnastic number that well paralleled the atonal sounds of Dennis Dugan.

Choreographed by Alex Ketley, to the music of Bon Iver and Phillip Jeck, “For You,” was a flowing, interactive, audience pleasing creation. Really two dances of different style and purpose, the first segment was high powered, the latter a emotional section which was tenderly danced by Miller and Kelly Brunk. The ending was met with a screaming reaction of approval from those in attendance.

Shimotakahara’s “Boom Boom,’”in its world premiere, is a wonderful new addition to Groundworks’ repertoire. Danced to eight different musical pieces, each developed a unique perspective of jazz sounds and interactions between people. Highlight segments found Shimotakahara vertically dancing on the side of a wall in “Black Mattie.” Sarah Perrett and Damien Highfield climbed on, over and beneath each other while interpreting “Sitting on Top of the World.“ In “Today I Sing the Blues,” Felice Bagley and Brunk performed the entire piece without losing contact with the theatre’s back wall…quite a dance accomplishment.

When it has been necessary to “restock” his company, Artistic David Shimotakahara has an eye for picking new performers that fit the perfectionist mold of the troupe. His latest find is Kelly Brunk. Tall and handsome, with a sparkling personality that lights up the stage, the lanky blonde is in control of his body at all times. His lifts, gymnastic moves, gestures and eye contact, are well performed and purposeful. He’s a wonderful addition to Groundworks, as was Sarah Perrett, a short time ago.

Capsule judgement: Danceworks’ Cain Park 2009 performance was a total delight. What a treat! It was dancing and choreography at its best! Bravo!

Pangs of the Messiah

Sadness and frustration greet final curtain at JCC’s ‘PANGS OF THE MESSIAH’

As the stage went dark at the Brooks Theatre following JCC’s production of ‘PANGS OF THE MESSIAH,’ I was struck with a feeling of sadness. Having been an active member of the Jewish Community Center’s theatre program, both acting and directing plays on the stage of the Halle Theatre, and it’s predecessor, the storefront on Lee Road, I was struck with the realization that the days of “Jewish” theatre in Cleveland was probably coming to an end.

When the Mandell JCC was built without a theatre, and the Mayfield JCC was destroyed by the wrecking ball, and the staff members of the theatre program were let go, the end was in sight. Now, unless there is an unexpected about face, the end is here. How sad that the voice of Jewish oriented plays has been snuffed out.

My other feeling after PANGS ended was frustration. Watching a play about a peace potential in Israel, and the prospective consequences of following the paths available, and realizing that all of the hopes and dreams of those who desire a true peaceful homeland for the Jewish people, may potentially be leading to another holocaust, is not a pleasant thought. On the way to our car, my wife and I talked about the play and what may well be a hopeless situation. As we drove home, we fell into a pall of silence as we were consumed by what appears to be a problem with no ideal solution or maybe not even a hopeful solution.

‘PANGS OF THE MESSIAH,’ a play by Israeli playwright, Motti Lerner, was originally written in 1986 and performed in Tel Aviv. Its English translation premiered at Theatre J in Washington, in 2007. It had a staged reading in Cleveland.

Set in 2012 amidst the signing of a peace treaty between Israel and the Palestinians, the script is an apocalyptic yet human drama which centers on a group of religious West Bank Jewish settlers pitted against an Israeli leadership they feel betrayed by. The family not only finds itself torn between fighting to stay in their settlement, but obeying their government’s decision to dismantle it. In addition, they are caught between realism versus philosophy.
Lerner doesn’t attempt to provide answers to the unanswerable. This may frustrate some, but it is reality. He avoids the temptation to demonize, leaving us with frustration and a sorrowful meditation on how it might all end. “Questions are over,” Shmuel (the rabbinical leader of the community) says early on. “Maybe there’ll be some answers.” Yes, maybe, but we come to the conclusion that the answers may not be the ones that those who are interested in the welfare of the Jews of Israel, and the state itself as a homeland for the Jewish people, want. The play is not for those wanting escapist theater. This is reality. It is scary and provocative.

The JCC production, under the direction of Scott Plate, is generally well done. It is apparent that the time the production team spent with the playwright, rabbis and Jewish consultants, has helped in using the correct rituals and understanding the plight of those living on the West Bank. What makes this most impressive is that many members of the cast are not Jewish.

Laura Carlson Tarantowski’s scenic design and Amber Michalak’s painting of the background sets a correct mood. Stan Kozak’s sound effects, especially the sound of the barking dog and the Kol Nidrah chanting at the conclusion, enhances the effect.

One might ask why several characters use accents since it seems apparent that everyone is speaking in Hebrew, though we hear them in English. This stage effect becomes even more frustrating as the accents come and go.

Strong performances are put in by Charles Kartali as Shmuel, Jean Zarzour as his wife, Karon Sabo as his daughter-in-law, Amy Pawlukiewicz as his daughter, and Ryan Jagru, as Shmuel’s conflicted son-in-law. Ethan Rosenfeld is outstanding as Nadav the autistic son whose simplistic obsessive mannerisms mirror the narrowness of the situation, yet mirror the breath and frustration of the conflict. On the other hand, Neal Poole is a overly whinny as Benny’s father and Mark Mayo’s characterization of Avner (Shumuel’s oldest son) comes and goes.

CAPSULE JUDGMENT: And, so, it appears we say goodbye to the Jewish Community Center’s long running theatre program. At least it will be remembered for closing with a thought-provoking well conceivedproduction.

(Thanks to Roe Green for her continued generous support for the JCC arts program.)

A Funny Thing Happened on the Way to the Forum

A fun, “A FUNNY THING’ lights up Porthouse Stage!

From the time I saw ‘A FUNNY THING HAPPENED ON THE WAY TO THE FORUM,’ several days after its 1962 opening, it’s been my “feel good” musical. Whenever I need a happy fix, I put on the cd. Just hearing Steven Sondheim’s music and lyrics to “Comedy Tonight,” “Free,” “Lovely,” and “Pretty Little Picture,” makes even the most overcast day glow.

‘A FUNNY THING’ is now on stage at the Porthouse Theatre. Though not a perfect production, nothing that director Terri Kent and her cast do, diminishes my love of the show.

Inspired by the farces of ancient Roman playwrights, its a bawdy story of a slave named Pseudolus and his attempts to win his freedom by helping his young master woo the girl next door. In this case, the girl next door isn’t a sweet innocent, but a virgin prostitute (go figure). The show contains all the elements of farce. Yes, there are lots of double sexual entendres, slamming of doors, mistaken identities, unrealistic plot twists, and the freedom for actors to just let loose and do vaudeville shticks.

The Broadway production won several Tony Awards, including Best Musical and Best Book. It ran nearly 1000 performances and has had many revivals and evolved into a successful movie.

Broadway legends about the show include that the show's creators originally wanted Phil Silvers in the lead role, but he turned them down, allegedly because he would have to perform onstage without his glasses, and his vision was so poor that he feared tripping into the orchestra pit. Milton Berle also nixed the project. Then, along came Zero Mostel, who not only was the show’s star, but became a Broadway legend for not only this show, but for his Tevya in ‘FIDDLER ON THE ROOF.’

This was Sondheim’s first Broadway attempt at writing both words and music and opened the doors for another star to emerge.

Porthouse’s production is delightful. Nick Koesters makes the role of Pseudolus his. This is not a Mostel imitation. He plays with the words, the lyrics, the audience.

Eric van Baars’ creative choreography helps with the quick pace, visual hysteria and general fun mood as did Rayna Middleton’s costume designs.

Koesters is well supported by J. P Makowski as Hysterium, who lives up to his hysterical character name, and Marc Moritz as Senex, a hen-pecked husband. Sarah Roussos, she of beautiful face and glorious voice, as Philia, the virgin, adds the right touch of fun with her wide-eyed stupidity. The male dancers were great, as was Mark Monday, as the old man in search of his lost children. He got cheers for doing nothing more than stumbling across the stage and counting the number of times he “walked around the city.”

On the other hand, though he has a great voice, Brian Keith Johnson, didn’t totally sell his uber-machoness as Miles Gloriosus, the Roman general. Melissa Owens wasn’t shrewy enough as Domina and Brian Duncan, who has a very pleasing voice, wasn’t beguiling enough as Hero, giving a surface level performance. Jonathan Swoboda’s musical direction was highlighted by some squealing brass, especially in the overture.

In spite of the minor flaws, the results are so fun-making that a woman behind me moaned, between howls, “I think I just wet my pants from laughing.” My 13 year old grandson was grinning from ear to ear as he watched the hysterics.

CAPSULE JUDGMENT: ‘A FUNNY THING HAPPENED ON THE WAY TO THE FORUM’ is a great summer entertainment and the production calls out for going to the theatre and having a good time! It’s worth attending for no other reason than seeing Nick Koesters, do his “thing.”

Cinderella

Creative ‘CINDERELLA’ at Mercury Summer Stock

Mercury Summer Stock, which is now staging Rogers and Hammerstein’s ‘CINDERELLA,’ lists itself as “a professionally based, not-for-profit, and community-supported theatre. Located in Parma, it basically serves the west side communities by offering low-cost plays, which are usually family friendly.

Recently, MSS added a “My First Musical Program” to its program. It is intended to make the theatrical experience open to children who, because of financial and other issues, would not normally be exposed to live stagings. As evidenced by the young lady, who, at a special Wednesday early evening performance, spent most of the second act of ‘CINDERELLA’ hanging onto the edge of the stage and who immediately followed Cinderella and Prince Charming down the aisle at the close of the show as they exited to the lobby to spend time interacting with the audience, the concept worked!

‘CINDERELLA’ is the only Rodgers and Hammerstein musical written for television. It was originally broadcast on March 31, 1957 as a vehicle for Julie Andrews, who played the title role. It is based upon the fairy tale of the same name, which concerns a young woman forced into a life of servitude by her cruel stepmother. With the help of her Fairy Godmother, Cinderella is transformed into a Princess and finds her Prince. The stage musical contains all the elements that make for a dream-like fantasy, including a prince, a pumpkin which becomes a carriage, a glass slipper, and a fairy god mother. And, of course, there is the must have “happily ever after” ending.

The melodic score includes: “The Sweetest Sounds,” “In My Own Little Corner,” “Impossible; It’s Possible,” “Do I Love You Because You’re Beautiful,” and “A Lovely Night.”

The Mercury Summer Stock production, under the direction of Pierre-Jacques Brault, with musical direction by Eddie Carney (who accompanies the singers on the piano), is quite creative. Brault has a nice flair for the bizarre and uses the piano, which is set center stage, as the stage coach, uses puppets for the mice who become the coach’s horses, adds ingenious costumes, and incorporates extensive physical and verbal farce.

I saw the show during a special staging aimed at children. This affected the performance. For example, Rob Gibb, who plays the cross-dressing wicked step mother, and Brian Marshall, who portrayed the Herald (court jester) were quite tame during the performance. This, according to Brault, was intentional as he was afraid the children wouldn’t get the extended farce. In reality, I thought the duo should have over done what they normally did in performance, as the kids giggled with delight when something was over-exaggerated, such as the actions of the wicked step sisters.

As is my pattern, since this show was child friendly, I took the “Kid Reviewers,” my grandsons Alex (13) and Noah (12), to see the production. They liked the farce, thought that the singing voices were generally okay, but that almost all of the performers needed to project more. (We were in the third row and often couldn’t hear the words.) “Maybe,” said Alex, an accomplished pianist and member of the Cleveland Orchestra’s Children’s Chorus, “the pianist should have played more softly, but it’s really the responsibility of the cast to sing loud enough.” Both boys thought that in the movie version, the special effects helped make the production more visually appealing, but realized that the special effects couldn’t be done on stage. They both would have liked the stepmother and the Herald to “play around more.” Noah, in particular, thought the choreography was excellent. They liked the step sisters “a lot.” Alex gave the show a 7 on a scale of 10, Noah a 6, with the recommendation that the story was mainly aimed at those 8 and under, and was of interest “mainly to girls.” From my perspective the boys were right on.

Nicholas Varricchio has the right physical attributes to be Prince Charming. He has a nice singing voice, but was often difficult to hear. Emily Grodzik was generally charming as Cinderella, but had vocal projection problems. Kelvette Beacham and Jennifer Myor were delightful as the bickering stepsisters. Their plastic wigs in the ballroom scene, were a hoot and their ‘Stepsister’s Lament” duo was fun.

CAPSULE JUDGEMENT: Mercury’s ‘CINDERELLA’ is a very pleasant evening of summer theatre, well tailored to children. Be sure to read both the adult and children’s versions of the program. The latter is delightful. Who knew that Brault was an ‘ALICE IN WONDERLAND’ expert, Prince Charming wants to be a Dalmatian when he grows up, and the Herald wants to grow up to be a French fry.

Summer Previews--2009

Summer is coming and there’s gonna be a lot of dancing and acting going on!

In spite of the downturn in the economy, there’s a lot of local theatre and dance that’s going to take place. Here are some of the offerings:

CAIN PARK

New Play Festival—presentations of scripts by Cleveland playwrites
Fri June 19 – ‘DROWNING THE FLAME’ by Michael Oatman. Rival Hip Hop artists struggle to win the affection of a successful Hollywood actress.
Sat June 20 –‘ BEING EARNEST’ by Deborah Magid. Bacharach meets the Beatles and Algernon takes center stage in this witty, playful modern-day musical homage to Oscar Wilde.
Sun June 21 – ‘BON VOYAGE,’ NATE by Steve Maistro. Surprising feelings emerge when a well meaning but lousy grief counselor leads a workplace session in this dark comedy.

‘Stars Of Cain Park,’ past and present stars of Cain Park perform on Tuesday, August 4, 2009 at 7pm

GroundWorks Dancetheater
Friday-Sunday, June 26-28, 2009. Alma Theater. Friday & Saturday 7pm, Sunday 2pm.

Inlet Dance Theatre
Thursday, July 30, 2009. Evans Amphitheater, 8pm. Inlet Dance Theatre returns for another summer of free community performances. Kids’ Matinee concert on Wednesday, July 29, 1-2pm.

Pointe of Departure
Friday, July 31, 2009. Evans Amphitheater, 8pm.
Karen Gabay and Raymond Rodriguez, return to Cleveland!

Verb Ballets
Friday, August 7, 2009. Evans Amphitheater, 8pm.

Dancing Wheels
Thursday, August 20, 2009. Evans Amphitheater, 8pm.

For tickets: Ticket Office, located outside east gate to Evans Amphitheater (No convenience fee); by phone: 216-371-3000 (as of June 6), $2 convenience fee per ticket. On-line @ www.Ticketmaster.com, service charge applied on every ticket.
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JOFFREY BALLET AT BLOSSOM

The Blossom Festival will present ballet performances, for the first time since the 1988 season, on August 22 and 23 when The Joffrey Ballet performs four signature works. Blossom Music Center, 1145 W Steels Corners Rd., Cuyahoga Falls, OH 44223. For tickets: (330) 920-8040 or www.ticketmaster.com.

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MERCURY SUMMER STOCK

‘CINDERELLA, ’June 12, 13, 17, 18, 19, 20, 24, 25, 26, & 27
‘GODSPELL, ’July 10, 11, 15, 16, 17, 18, 22, 23, 24 & 25
‘ME AND MY GIRL,’ August 7, 8, 12, 13, 14, 15, 19, 20, 21 & 22
TICKETS: Adults: $15.00. Seniors/Students: $12.00
Venue: Parma Little Theatre (adjacent to Parma High School), 6285 W. 54th Street, Parma, OH 44129
For tickets: 216-71-5862 or mercuryss@mac.com
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BECK CENTER

My capsule judgement of Evil Dead: The Musical at Beck Center was: “If you want to go to the theatre and have a great old time and escape from reality, see ‘EVIL DEAD THE MUSICAL.’ Great that is, if you have a strong stomach, a good sense of humor, and aren’t the up-tight type.” I wasn’t alone in my praise. The show has been extended until Sunday, July 5. Show times are 8 p.m. Fridays and Saturdays and 7 p.m. Sundays. A special 11 p.m. performance will replace the 8 p.m. performance on Friday, June 19.
For tickets, call 216.521.2540 x10 or visit www.beckcenter.org.
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ACTORS SUMMIT

‘AMERICAN MIRRORS, REFLECTIONS ON THE AMERICAN EXPERIENCE’
59 performances of 4 plays in two spaces
June 19 - July 26

‘UNFORGETTABLE’
The life and times of Nat “King” Cole

‘DON'T HUG ME’
A musical with book & lyrics by Phil Olson

‘MARK TWAIN, Semi-literate Lecturer, Liar & Loafer’

‘CLARENCE DARROW FOR THE DEFENSE’
Starring Neil Thackaberry

Actors’ Summit – EVENINGS, 8:00 PM. Hudson Library – 7:30 PM. MATINEES: 2:00 PM at both venues

For details and information: (330) 342-0800 or visit actorssummit.org
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PORTHOUSE THEATRE
Blossom Grounds, W Steels Corners Rd., Cuyahoga Falls, OH

‘A FUNNY THINGS HAPPENED ON THE WAY TO THE FORUM,’ June 11-27. Steven Sondheim’s delightful musical.

‘THE ODD COUPLE,’ July 2-18. Neil Simon’s classic comedy.

‘ANNIE GET YOUR GUN,’ July 23-August 9. Irving Berlin’s Annie Oakley musical.

For tickets: 330-929-4416 or 800-304-2363 or go on-line to www.tix.com.

DREAM/HOME

‘DREAM/HOME,’ must see engaging, thought-provoking powerhouse at Dobama

Hook up the focused directing of Sonya Robbins, a compelling script by Sarah Morton, add a high quality cast, place them in Todd Krispinsky’s creative set and the result is one heck of a great evening of theatre. An evening that not only holds your attention, but makes real life and theatre one and the same!

Cleveland is in the midst of a major crisis. In the past decade the city has lost about one-third of its population. Many homes are boarded up and abandoned. The same fate is attacking many of the rim suburbs and the filthy hands of predatory lenders, aided by a weak economy, are making the march of recession/depression spread further east, south and west. Over 60,000 foreclosures have taken place. The county has an estimated 35,000 vacant homes. Beautiful and family friendly streets have given way to drug houses, sites for the stealing of aluminum siding and copper pipes for profit, and danger and fear.

A school teacher, wanting the security of home ownership and safety for her family, goes to a bank to get a loan. Even though educated, she is naïve about finance matters and is talked into a predatory ARM loan by a sleazy agent only interested in his personal financial gain. Not only does this spell disaster for her, but for many others and the community as a whole. Such is the story which unravels in Sarah Morton’s meticulously written ‘DREAM/HOME.’

Director Robbins wrings every emotion out of the script. Under her watchful eye, we meet the teacher, her daughter, a banker, the loan officer, two neighbors, a realtor, and the wife of a policeman. All are people who are either catalysts or victims of the problem.

The production is added to by a talk back following many of the stagings. The night I attended, Jim Rokakis, Cuyahoga County Treasurer, shared his observations of how the entire collapse of the housing market in the county happened and pointed fingers at who helped in the march down hill. He focused on The Plain Dealer for not alerting the community to the problem, abd the role of the Taft administration and his Attorney General in allowing and encouraging bad legislative actions. He pointed a finger at National City Bank as a major culprit in inner city green lining. He also held out hope, the hope of the success of the Land Bank, which he helped persuaded the Ohio Legislature to authorize. It will lead to the destruction of many empty and abandoned houses, leaving them as green spaces or open to new types of use, thus eliminating settings for drug houses and making neighboring homes worthless. There is hope that the Obama administration’s plan to help those who were caught in the march of greed and false dreams, might be able to see some sunlight.

Morton has pulled no stops. She engages us in a series of solo pieces, which she has woven together to give a multi-dimensional view of what happened and is still going on. Wow!

The cast, George Roth, Fabio Polanco, Alexis Floyd, Anne McEvoy, Tom White, Rodney Freeman, Kristi Little, Cathy Albers and Lisa Langford are all top notch. There is not a weak link in the acting chain. Wow!

CAPSULE JUDGEMENT: ‘DREAM/HOME’ is MUST SEE production for everyone who wants to understand, to realize the horrible outcomes of financial and personal greed that has attacked our city, our county, our country and our lives. Wow!

Alvin Ailey American Dance Theatre, Ohio Dance Theatre, Antaeus Dance

Dance reviews: ALVIN AILEY, OHIO DANCE THEATRE, ANTAEUS DANCE

ALVIN AILEY amazes!

Imagine the nerve of a Black dancer/choreographer who, in the 1950s, at the height of segregation in this country, deciding to start a company whose purpose was to tell the story of African Americans. The person? Alvin Ailey. The results? A company that in 2009 is celebrating its 50th anniversary and is on an upward curve, while other arts organizations are withering on the vine.

The works of Alvin Ailey American Dance Theatre range from classical ballet, to jazz, to native American dance. Though Ailey died in 1989 at the age of 58, his hand-selected successor, Judith Jamison, took over the company and has helped it thrive.

Ask any of those who gave screaming curtain call after curtain call to the company in their recent State Theatre production, co-presented by Playhouse Square and Dance Cleveland, with sponsorship by Huntington Bank, and they’ll tell you that they had just experienced a presentation of dance wonderment!

In the company’s sixth Cleveland appearance, the program included ‘REVELATIONS,’ considered by many to be the best-known and most often seen modern dance piece. The program also included excerpts from ‘BLUES SUITE,’ one of Ailey’s earliest works. Also showcased in the fourteen selection program, were a powerful rendition of ‘STREAMS,’ the engrossing ‘MARY LOU’S MASS,’ the beautifully performed, ‘HIDDEN RITES,’ the finely honed ‘NIGHT CREATURE,’ and the sensual ‘PHRASES.’

The curtain call, the stirring ‘ROCKS THE SOLE,’ was a perfect ending to an outstanding evening dance which, on opening night of the three performance stand, was thoroughly enjoyed by the near sold-out audience.

CAPSULE JUDGEMENT: It is going to be interesting to see what happens as the Alvin Ailey American Dance Theatre confronts the future with the retirement of Jamison and a new, yet unannounced leader. Let’s hope that whoever is selected has the insight and creativity of the two preceding bright lights of dance.

OHIO DANCE THEATRE presents multi-leveled program

Denise Gula, the founder and artistic director of the Oberlin based Ohio Dance Theatre, is both a choreographer and a theatre person. As such, much of her dance repertoire has a dramatic, story-telling base.

In the company’s recent residency at Cleveland Public Theatre, as part of ‘DANCEWORKS 09, they presented a three-segment program. The opening piece, ‘WHEN I FALL,’ featured the talents of Janet Strukley and Brain Murphy in a well danced, dramatic piece which found the dancers in perfect harmony with the oft-changing musical sounds of Nat King Cole, James Edward Davis and Young and Heyman.

‘SPENDTHRIFT,’ which explored the beauty and power of the ocean’s water as it blows, creates foam, and swirls at the base of the shoreline, found five female dancers using their arms and bodies to move through space. A strong solo by Juliana Freude was a highlight of the classic piece which was set to Vivaldi’s Four Seasons.

The highlight of the program was ‘SILENT WITNESS,’ a tribute to women who are the victims of abuse. The number was inspired by an exhibit presented by Genesis House, which Gula witnessed. She states, “I found myself stunned and moved by the starkness and simplicity of the images. I wanted to make a ballet that would honor these women and help bring awareness to this disturbing social issue.”

In the main, Gula succeeds. There was live dancing by a solo performer, while simultaneously a video showed her falling in love, and the unfolding tumult and brutal relationship which had strong visual and emotional overtones. The music, the illusions of woman, man, children in conflict, and the pain was clearly depicted in the dance and movements of Janet Strukley and Kyle Primous.

Unfortunately, the piece become overly long and redundant by the addition of a music video which was seemingly tacked onto the ending. The dance, sans music video, ended on high emotion. No more was needed. The video, which introduced new people and another media, was overkill and weakened the overall effect.

The lack of a curtain call was a creative touch as it left the audience fidgeting uncomfortably in the strong emotions of the piece, encouraged to exit at their own pace, with the images lingering in their minds.

CAPSULE JUDGEMENT: Ohio Dance Theatre’s DANCEWORKS O9’ performance was well received. Gula’s ability to combine dance and theatre, gives the company a hands-up over other groups who often fail in telling stories which require more than dance proficiency.

ANTAEUS DANCE’S MOLT, molts

‘MOLT,’ Antaeus Dance’s offering at the recent Cleveland Public Theatre’s ‘DANCEWORKS 09, failed to ignite the audience. This selection, which was overly long, was often repetitious. How many ways and times can dancers arrange and rearranged a pile of straw? Yes, the company proposes to have “a sense of connecting to earth,” but what about this piece, beyond the straw, was earth connecting?

Choreographer Joan Meggitt states in the program that, “The group [those not dancing] acts as a mirror to the soloist’s interior life, with the soloist reflecting upon what the group, in turn, reflects back to her.” Oh, if only that were true. That may have been her intent, but it wasn’t what was visually presented.

The dancers, though they tried, were not always in sync. They needed much more work, and a honing of their skills by a purposeful choreographer.

CAPSULE JUDGEMENT: Joan Meggitt and the Antaeus Dance Company disappointed in their ‘DANCEWORKS ‘09’ presentation. Abstract descriptions and the lack of a clear mission do no a good dance program make!

Dee Hoty

Dee Hoty, local celeb makes it BIG and pays back

What does Lakewood, Ohio, ‘MAMA MIA,’ Tony Award nominations, The Great Lakes Theatre Festival, Richard Oberlin, B. Neil Davis, Higbees, Clinique and the Cleveland Play House’s Annual Gala all have in common? The answer? Dee Hoty.

Dee Hoty, a native of Lakewood, who graduated from the local high school in 1970, is a major Broadway star. In a recent telephone interview, Hoty credited then Lakewood drama director B. Neil Davis and choral director Ulah Gilmore with infecting her with the theatre bug. She also shared that being the youngest child in her family inspired her to be an out-going, get attention type of kid. Her local roots are still present as her mother lives in Rocky River. Her dad, who is deceased, will be remembered for operating J.D. Hoty’s, a well known steak house on West 6th and Superior.

Hoty attended and graduated from Otterbein College in 1974. Shortly afterwards, she was hired by Great Lakes Theatre Festival, which at that time was housed at Lakewood High School, to appear in ‘MEASURE FOR MEASURE.’ She was seen there by Richard Oberlin of the Cleveland Play House and was retained as an acting apprentice.

How did she get to be a star? In her spare time from GLTF Dee sold Clinique products at Higbee’s Department Store, She asked for a transfer to the Big Apple, was trained at Lord and Taylor, bounced back and forth between Cleveland and New York in an attempt to get her Actors’ Equity card, and within two years she got her big break. First, a part in ‘BARNUM starring Stacey Keach,’ next ‘FORBIDDEN BROADWAY,’ then ‘PERSONALS,’ and she was on her way.

Dee went on to star in ‘MAMA MIA,’ both in NY and on tour. She was nominated for a Tony for her starring roles in ‘FOOTLOOSE,’ ‘THE BEST LITTLE WHOREHOUSE GOES PUBLIC,’ and ‘THE WILL ROGERS FOLLIES.’ Other Broadway shows included ‘CITY OF ANGELS,’ ‘ME AND MY GIRL,’ ‘BIG RIVER,’ ‘THE FIVE O’CLOCK GIRL,’ and ‘SHAKESPEARE’S CABARET.’ She recently toured with Tommy Tune in ‘DOCTOR DOOLITTLE,’ which had a Cleveland run.

She has also been seen in film and television productions including, ‘AS THE WORLD TURNS,’ ‘GUIDING LIGHT,’ ‘ST. ELSEWHERE,’ ‘RYAN’S HOPE,’ ‘CRIMINAL INTENT,’ and ‘SPENSER: FOR HIRE.’

What advice does she have for the star-struck? “Go to college!” “Find out what you really want!” “You need to be grounded in more than just acting.” (This grounding is why she recommends college rather than the conservatory route.)

What’s in the future? She is in rehearsal for a production of ‘42nd STREET’ in St. Louis and, “there’s something in the works, but I’m not allowed to talk about it, yet.”

Hoty will be the featured entertainer at the Cleveland Play House’s annual benefit on June 6, performing in a one-woman entitled, ‘DE-LIGHTFUL, DE-LOVELY, DEE HOTY!’ Why the return to the area? “It’s my way of paying back CPH for the boost the organization gave me in the past.” For details about the benefit call 216-795-7000, extension 226.

Evil Dead The Musical

‘EVIL DEAD THE MUSICAL’ is a bloody hoot at Beck

To really appreciate ‘EVIL DEAD THE MUSICAL,’ now in production at Beck Center, you should probably be perverse, have a warped sense of humor, enjoy getting squirted with blood and are willing to see body parts being separated from the human body. Yep, that’s what ‘EVIL DEAD’ is all about.

Plot? Oh, come on. Hummable music? Be serious. This is about gore! Oh, did I mention, this is one perverse musical? And, did I also state, “It is a hoot!”

‘EVIL DEAD’ is the kind of production, which is a cult builder. In fact, in its short run here, there are people who already have come back to see every performance. There have been, it is rumored, a couple of guys who drove down from Toronto, where the show just closed, to continue their viewing pleasure.

People fight to sit in stage right seats A 9 & 10 so they can get full streams of blood squirted on their “EVIL DEAD’ t-shirts (which are available for sale in the lobby). And those who don’t get enough of the red stuff, roll on the sopping wet red covered floor after the performance to make sure that they are properly blood soaked!

Created by the Canadian team of George Reinblatt, Christopher Bond, Frank Cipolla and Melissa Morris, each of whom must be walking a psychologically ill tightrope, the show had a weird path to success. After a workshop in Toronto in 2004, an off-Broadway production ran over a year. Then the show reopened in Toronto on May 1, 2007 and kept getting extended and extended. Now there are productions all over the globe.

If you are still reading this review…here’s what the whole thing is about.
Several college students spend the weekend in an abandoned cabin in the woods, accidentally unleashing an evil terror. Characters and demons sing and dance to such ditties as “Blew the Bitch Away,” “Bit Part Demon,” “What The ??? Was That?,” “All the Men in My Life Keep Getting Killed by Canadarian Demons.” If you are saying, “You are making up those titles.” Come on, could I make up such sickness?

The Beck production, under the warped direction of Scott Spence, is fun. The creative choreography by Martin Céspedes increases the hysteria. Add Don McBide’s funky set, Larry Goopaster’s over the top music, and Jenniver Sparano’s perverted costumes, and you have the full warped package.

The very talented Dan Folino plays Ash, the handsome “hero” who tries to insure us in his song, “I’m Not a Killer,” that he is a good guy. Yeah, sure! Folino is also responsible for the perverse special effects (along with P. J. Toomey). Yep, the severed hand, the squirting blood, the singing moose that gets shot, the female breast that gets severed, the head that somehow “accidentally” no longer is connected to a body. I could go on, but all this has to be seen to be realized.

The rest of the cast waivers from good to okay, but the quality of the acting and singing matters little, it’s the overall effect that is important. And the Beck production is long on effect.

CAPSULE JUDGEMENT: If you want to go to the theatre and have a great old time and escape from reality, see ‘EVIL DEAD THE MUSICAL.” Great that is, if you have a strong stomach, a good sense of humor, and aren’t the up-tight type. Oh, you might want to buy a white t-shirt in the lobby before you go in so you can have a “bloody good” souvenir. And, don’t wear good clothes as they might get very red!

Heaven's My Destination

Thought-proving ‘HEAVEN’S MY DESTINATION at CPH, but…

At the start of intermission of ‘HEAVEN’S MY DESTINATION,’ which is getting its world premiere at the Cleveland Play House, the woman sitting next to me leaned over to her companion and loudly whispered, “This is pretty weird, huh?” I think she was echoing the thoughts of many in the audience, especially those who disappeared before the second act.

‘HEAVEN’S MY DESTINATION’ was Thornton Wilder’s first novel set in America. It introduces the audience to George Marvin Brush. Brush, a traveling textbook salesman, is a fervent religious convert who, like his hero Ghandi, wants the world to be a better place and the people in it to lead better lives. “Better” in this case means no smoking, no drinking, everyone being nice to each other and living lives of financial abstinence. Much like Don Quixote, he travels around spreading his version of what it takes to “live the impossible dream.” Of course, he is misunderstood, ostracized, beaten up, ignored, laughed at, arrested, and shunned.

What is not clear in Lee Blessings adaptation of the novel is whether the material is meant to be taken seriously or as a tongue in cheek concept.

Wilder, who spent much of his childhood in Hong Kong and Shanghai was a strict Congregationalist who was brought up on the classics and attended such colleges as Oberlin and Yale. His brother was a New Testament scholar.

The Pulitzer Prize winning author of such plays as ‘OUR TOWN,’ ‘THE SKIN OF OUR TEETH,’ and ‘THE MATCHMAKER,’ he wrote with Asian precision. His preciseness is what makes this play confusing. In Wilders other works, his intentions are clear. We know when to laugh, when to be overcome with nostalgia or emotion. Not so with ‘HEAVEN’S MY DESTINATION.’

The Play House production, under the adept directing of Michael Bloom, is well staged, the acting fine, and the production qualities creative. What’s missing is the message and that’s not Bloom or the cast’s fault. The script is never clear on what Wilder/Blessing was/is trying to say. Is Heaven each person’s destination? Is it impossible to lead the “good” life? Are those who preach goodness bound to be outcasts? Can idealism be converted into realism? These suggestions just touch on the possibilities.

Michael Halling, who starred on Broadway in ‘A TALE OF TWO CITIES,’ ‘IN MY LIFE,’ and ‘THE PAJAMA GAME is believable and gives a textured performance as George Brush. Besides having a depth of acting skills, he has a beautiful singing voice which he uses well tointerpret Josh Schmidt’s musical compositions.

The rest of cast, John Woodson, Diane Dorsey, Christian Kohn, Katie Barrett, Justin Tatum, Kailey Bell and Coutney Anne Nelson are all excellent in multi-roles.

Russell Parkman has created an impressive set, but it is not always clear to what the large pile of antiques which are mounted on a movable turntable, is exposing us. As with the script, it is interesting, but not always clear in purpose.
CAPSULE JUDGMENT: ‘HEAVEN’S MY DESTINATION’ receives a well honed production at CPH. In fact, the production outshines the script.

An Evening with Patti LuPone and Mandy Patinkin

PATTI LUPONE and MANDY PATINKIN…A CLASS ACT AT PALACE

‘AN EVENING WITH PATTI LUPONE AND MANDY PATINKIN,’ is a dream concert for those in the “theatre”-know. It is a match up of two of Broadway’s superstars. Put the dynamic duo on the stage with a piano and a bass, add some ghost lights, allow them to probe the Broadway song book, and the result is a wonderful evening of entertainment.

Mandy Patinkin is an American actor of stage and screen and a tenor vocalist. He is noted for his ability to stylize songs by reverting to falsetto and rephrasing the original scoring of a song. Though well known for his roles in television’s ‘CHICAGO HOPE’ and ‘CRIMINAL MINDS,’ and the films ‘YENTEL’ and ‘RAGTIME,’ he is renowned for his musical stage performances. His initial success came when he played Che in ‘EVITA’ in 1979. It was here that he and LuPone, who played the title role, made professional contact. Patinkin went on to win that year's Tony Award for Best Featured Actor in a Musical. He returned to Broadway in 1984 to star in ‘SUNDAY IN THE PARK WITH GEORGE,’ which saw him earn another Tony Award nomination. He also appeared in ‘THE SECRET GARDEN,‘ ‘FALSETTOS,’ ’THE WILD PARTY,’ and ‘SAVAGES.’ He sings in Yiddish, often in concert, and on his album, ‘MAMALOSHEN.’

Patti LuPone swept the 2008 theatre awards winning the Tony, Drama Desk and Outer Critics Circle Awards for Best Actress for her performance as Mama Rose in ‘GYPSY.’ Other smash appearances include ‘ SWEENEY TODD,’ ‘CAN-CAN,’’ ‘CANDIDE,’ ‘NOISES OFF,’ ‘PAL JOEY,’ ‘ANYTHING GOES,’ ‘OLIVER!,’ ‘THE ROBBER BRIDEGROOM,’ and ‘LES MISÉRABLES.’ In 1995, she appeared on the Great White Way in a one-woman show, ‘PATTI LUPONE ON BROADWAY.’

With that history, the major problem in putting together their evening, was the selection of songs. Though the program was varied, many of the songs were not from the shows in which they appeared. These included segments from ‘SOUTH PACIFIC,’ ‘MERRILY WE ROLL ALONG, and ‘CAROUSEL.’ Though entertaining, the program wasn’t what many of those who came to see and hear the duo yearned for. The response to LaPone’s “Don’t Cry for Me Argentina” (‘EVITA’) and “Everything’s Coming Up Roses” (‘GYPSY’), in which the audience erupted in applause during the first several notes of each, illustrated the desire. Unfortunately, Patinkin didn’t feature any of the songs from his major shows.

This is not to say the evening was disappointing, it wasn’t. However, I left a little empty for not hearing more of the musical theatre history of the duo.

Highlights included “Another Hundred People” (‘COMPANY’), “Everybody Says Don’t” (‘ANYONE CAN WHISTLE’), “April in Fairbanks” (‘NEW FACES OF 1956’), “The God-Why-Don’t You-Love-Me Blues” (‘FOLLIES’), and “You’re Just in Love” (‘CALL ME MADAM’).

CAPSULE JUDGEMENT: ‘AN EVENING WITH PATTI LUPONE AND MANDY PATINKIN’ will be of great joy to anyone who loves musical theatre. That’s not to say others will not like the offerings, but there is a special place in the hearts and minds of “theatre-people” for this near queen and king of musicals.

Verb Ballet 5/09

VERB makes quick recovery….they are back on top of their game!

Last April my headline for Verb Ballet’s dance concert read, “‘VERB good, but needs to step up their game.” I went on to say that “I consider Verb Ballets to be one of the best dance companies in the area. I have watched in pleasant joy as the company matured. Unfortunately, in the last year, I’ve seen what I consider a stagnation setting in. They haven’t upped their game.”

Little did I know that Dr. Margaret Carlson, the company’s Chief Executive Officer and the Board were looking for a solution to situation which one Board member called, “stopping the careening train by pulling the emergency cord.” In contrast to such organizations as the Ohio Ballet and Cleveland Ballet, which went belly up because of poor management, this group was on top of the issue and took swift action. From the looks of the company’s recent showing at Fusion Fest, they identified the problem and provided a solution. They replaced the artistic director, have gone out to find new male corps members, and changed the course of the company. Congrats to all who brought about this transition.

Their Fusion Fest program consisted of two acts. The first, a mélange of short pieces, included ‘VESPERS,’ a company staple, which examines the passion and the spirituality of women with faith. The piece, as choreographed by Ulysses Dove, has been restaged by Dawn Carter. It is one of the offerings that I panned last year for lacking discipline. The precision of this year’s version attests to the change of attitude and the improved focus of the company. The crisp and swift movements as six female dancers moved between two sets of chairs, sitting on, moving under, jumping astride and flowing around the seating devices, was intense and impressive.

‘ONE,’ as choreographed by one of the company’s newest additions, Michael Medcalf, the former artistic director of Cleveland Contemporary Dance Theatre, was outstanding. Medcalf and Brian Murphy, one of the area’s top male dancers, displayed strong muscularity in developing a contemporary ballet vision, to Samuel Barber’s “Adagio for Strings.” The dancers flowed as they moved together and apart to create beautiful stage pictures.

‘THE NATURE OF THINGS: BROWNIAN MOVEMENT,’ was also choreographed by Medcalf to music by J. Swinscoe and J. Ellis. Starting slow, the dancing evolved into a joyous free dance echoing the musical sound. The costumes, women in softly flowing white and aqua material, and the men, bare-chested in white leotards, helped create appealing visual allusions, which were highlighted by Trad Burns’ lighting. The choreography clearly reflected botanist Robert Brown’s theory of the random movement of tiny particles mingling in a multitude of ways. The dancers’ facial expressions displayed a joy of freedom of movement and positive attitude.

The evening’s highlight was an original piece conceived by Dianne McIntyre. ‘IN THE GROOVE AND OVER THE TOP,’ is a conversation of music and dance. It combines the fine jazz offerings of a trio consisting of piano, bass and drums (Drene Ivy, Glenn Holmes and Robert Hubbard, Jr.), with vocal offerings (Mariama Whyte) and dancers (Michael Medcalf, Erin Conway Lewis, Catherine Meredith Lambert, Antwon Duncan, and Telly Fowler) to create what appeared to be an improvisational blending of sound and movement. In reality, the improvisation was finely developed and rehearsed. The results were involving and sensational. The number consisted of a series of different blendings. First just jazz music, then music and full company dance, then singing and dancing, then drum and dance, piano and dance, vocal scatting and dance, music alone, then a capella dance, and finally the blending of all elements. Wow!

Capsule judgement: Verb Ballet is back to its former level of excellence in a big way! Congrats to Margaret Carlson and the company’s visionary board who made changes when changes were needed!

Tremont

‘TREMONT’ probes into Cleveland’s past at Actors’ Summit

The city is on a search for its identity. In the past year at least three theatres have probed into areas of the municipality. Jewish Community Center’s Arts Program examined ‘CLEVELAND HEIGHTS.’ Dobama probed into the area’s historical immigration with ‘THE CLEVELAND PLAYS.’ And, on May 15 they open ‘THE CLEVELAND PLAYS: II’ about the effect of the present mortgage crisis on nine Clevelanders. Not to be outdone, Actors’ Summit premiered ‘TREMONT,’ a play by locals Robert Thomas Noll and Pamela Noll. It examines the results of white flight of first generation Europeans from the Tremont area, near the steel mill area on the shores of the Cuyahoga River.

The play is set in the Silver Bush Bar, a small neighborhood watering hole with a long time group of regulars, a clientele that has quickly abandoned the area and moved on to Parma. We meet Eva, a daughter who spent her life taking care of her now deceased parents, at the expense of her own happiness. She is working and living in the bar out of fear of living in the family home which has been broken into and ransacked. The bar is owned by Zolton, the son of the bar’s founder, who is an older man who professes love for the younger Eva. An elderly couple, the Popovich’s, are regular customers, but soon may be going southwest with the rest of the central Europeans seeking a safe place. There’s Tree who has lost his job but gains something else. The final character is Eva’s brother, Andre who has reappeared after a long absence with a hidden agenda.

Unfortunately, the play isn’t well written. The first act basically goes no place, filled with “old” people mockery. The second act at least has a somewhat meaningful conflict between the siblings. The conversations are often forced, the jokes aren’t that funny, and the overall effect is a somewhat pleasant, but quickly forgettable script.

The production has the air of community theatre performance, rather than a professional theater presentation. Whether this is the shallow script or the lack of acting depth is up for conjecture.

Sally Groth displays that she is properly tortured by Eva’s past. As the Popovichs, Jean and Glenn Colerider adequately walk the line between mental presence and early senility. Bob Keefe, with accent coming and going, never becomes quite believable as the bartender. Geoffrey Darling (Tree) is given the impossible task of trying to create a real person out of an unrealistically written character. He gets the laughs, but looks foolish in the process. Only Peter Voinovich comes off as real. Again, the script gives him a character that is much closer to believable, and he takes the role and develops it well.

CAPSULE JUDGEMENT: ‘TREMONT’ is a lightweight script that gets an acceptable production at Actors’ Summit. It’s one of those shows that you may enjoy while watching, but quickly forget that you saw it.

[title of show]

‘[title of show],’ another BW-Playhouse Square collaboration

Last year, Baldwin Wallace College and Playhouse Square combined to give us ‘BROOKLYN THE MUSICAL.’ The show, which ran just three productions in the 14th Street Theatre was spectacular. It’s a shame that it wasn’t scheduled for a longer run, as it would have turned out to be a show with a strong cult following resulting in a long run.

This year, Victoria Bussert (BW) and Gina Vernacci (PHSquare) again conceived of giving college students an opportunity to showcase their talents in a professional theatre. This type of production also provides audiences with a chance to gain an appreciation of the performance skills of a group from one of the most respected musical theatre programs in the country.

‘[title of show’],’ which received a Drama League nomination for its off-Broadway production, centers on two struggling guys writing a musical which they want to get to Broadway, which centers on two struggling guys writing a musical they want to get to Broadway. No, that’s not a typo, it’s really what it’s all about…you watch the show which they’ve written as it is being performed as they write it. It’s quite a clever idea.

The production, which will probably be appreciated most by those who participate in or who love musical theatre, is not a great script, but it is entertaining. Some of the in-jokes and name references to pop divas will go right over the heads of the less theatre-savvy members of the audience. And, potential audiences must be warned, as a sign on the entrance door indicates, “This production contains mature language and flash bulbs.” Yes, the “f-bombs” go off on a regular basis.

The inventive book was conceived by Hunter Bell and the lyrics, which are often extremely clever, were written by Jeff Bowen. Bell and Bowen starred in the original production, and that probably added to the easily interactive banter. Those who attempt to portray them have no such personal attachment, which somewhat takes away from the immediate presence style of the script.

I attended one of the pre-14th Street productions of a show which was performed in the Bill Allman Theatre on the BW campus. That showing, under the direction of Victoria Bussert, was quite entertaining. It is difficult to ascertain how a “real” audience will respond, as the BW assemblage was peppered with theatre students who reacted as much to the persona of their friends on stage as to the characters they were portraying.

As is, J. R. Bruno, who plays the ADD, geeky, Bucky Beaver-looking Hunter is both believable and delightful. His huge dark eyes flashing, hair flopping over his sweat streaked forehead, Bruno is manically boyish and hyper-adorable. His comedic abilities outstrip his singing talents, but, it’s his delightfulness that counts the most, and he succeeds in fulfilling that requirement. In discussing if someone he is interested in is gay or straight, he convulsed the audience with a perfect presentation of the line, “Spaghetti is straight until it gets hot and sweaty.”

Dustin Jesberger portrayed Jeff the night I saw the show. This character is the more serious of the duo. Though Jesberger is not as successful as Bruno in developing a full character, he delivers his lines, many of which are written for him to be the “straight” man in the comedy act, with assurance. He has a pleasant singing voice.

Maggie Roach has the correct attitude and mannerisms, but doesn’t have the vocal chops to sing the “big belter” role.

Like Bruno, Emma Ruck, who portrays the ever wise-cracking Susan, has a natural talent for comedy. As with the rest of this cast, her vocal abilities seemed limited. This lack of vocal ability is surprising for Bussert’s students.

Ryan Garrett, who portrays Larry, the entire orchestra, thanks to his extraordinary talents as a keyboardist, plays well and renders his few lines with a fine shy flair.

Capsule judgement: ‘[cast of show]’ is a generally delightful production of a script that is adequately written and which has some good music. Don’t go expecting to be blown away like the audiences were with ‘BROOKLYN, THE MUSICAL,’ last year’s BW presentation at the 14th Street Theatre, but you will have a good time.

Inlet Dance 4/09

Inlet ‘REFLECTIONS’ impressive at DanceWorks ’09

It’s a shame that Inlet Dance, which is one company performing at Cleveland Public Theatre’s DanceWorks ’09 program, only does several public performances a year. Artistic Director Bill Wade’s dancers are well trained, his choreography is focused, and the performances are always filled with innovative concepts.

In ‘REFLECTIONS,’ their newest offering, they repeated past successes and added several world premieres. One is from a guest director, the other is based on an artist-in-residence experience they had in the Easter Islands. The Easter Islands of the giant carvings of myth and wonder.

The program opened with “DOPPELGANGER,’ which uses two male dancers to visually display the creation of uniqueness. The two bodies work as one, much in the style of Pilobolus Dance, which uses strong elements of physical interaction between the bodies of the performers, exaggerations or contortions of the physiques of the dancers, and verges on gymnastics. Inlet is fortunate to have two of the best male dancers in the area. Joshua Brown, thin and agile, floats as he dances. He is perfectly countered by Justin Stentz, whose sculpted body, is a mass of muscle power. The duo is compelling as they act as one, perfectly balancing, gyrating and twisting into fascinating positions.

‘LEGACY,’ in its premiere, was choreographed by Randall Finn, the founder of Ad Deum Dance Company of Houston. Consisting of five movements, which center on how much people have given of self, and how it affects our lives, varying staging devices were effectively used. Chairs, which were sat on, slid under and balanced upon, solo pieces, duets, and group segments, comprised the number. Especially appealing was “Till Time Do Us Part,” beautifully performed by Mikaela Clark with Justin Stentz and “Forget Me Not,” which was superbly interpreted by Mikaela Clark.

‘THERE IS A FOUNTAIN,’ a Wade piece, was nicely executed by Rebecca Inman and Andrew Leatherman.

‘MEMORIATE,’ honored the aged. Though it evoked emotional response, it was less compelling as a dance piece, than the other selections.

The cornerstone offering, the world premiere of ‘TE PITO O TE HENUA, PHASE ONE,’ was dedicated to the company’s visit to Rapoa Nui (Easter Island). Following many of the traditions of the culture, Wade is fashioning a suite of dances. The first movements explore the idea of a healthy interdependent community while citing images of how people came to the island and displayed the strong sense of community of the natives. The five segments covered the traveling on waves to the island, the traditional female and then the male trio of dancers, and a lava tubes dance in which the performers formed mountains and valleys which were climbed and traversed. The piece was creatively choreographed, but needs work. The waves segment was a little too long. The complicated movements throughout take perfect timing, and the dancers weren’t quite in control of all the movements to blend into a unified unit.

Capsule judgement: In ‘REFLECTIONS,’ the Bill Wade’s inspired company again proved their abilities to move and engage an audience. Inlet Dance is one of the area’s premiere dance companies. Because they spend enormous amounts of time in outreach to area schools and institutions, they don’t do as many public performances as might be desired.

Dance Preview, April/May 2009

VerbBallets, Alvin Ailey and CPT’s Dance Works ’09

There’s going to be a lot of dancing goin’ on in Cleveland in the next month. Verb Ballets, Alvin Alley American Dance Theatre and Cleveland Public Theatre’s ‘DANCE WORKS ‘09’ will be populating various area stages.

VERB BALLETS Gets In The Groove!

Verb Ballets, Cleveland’s National Repertory Dance Company, returns to Play House’s FusionFest for a two-night stand that highlights the company’s season of collaborations, called ‘IN THE GROOVE!’

New works from nationally respected choreographers Dianne McIntyre, Michael Medcalf, and Ulysses Dove will be showcased.

Performances take place May 1 and 2, 2009 at 7:30 p.m. at the Cleveland Play House.

Reserved seats are available by calling 216-795-7000 or through www.clevelandplayhouse.com.

ALVIN AILEY AMERICAN DANCE THEATER

A notable event is taking place in Cleveland mid-May. The ‘ALVIN AILEY AMERICAN DANCE THEATER 50TH ANNIVERSARY TOUR’ comes to Playhouse Square May 15-17, 2009 at the State Theatre.

The company is presented by PlayhouseSquare in partnership with DANCECleveland.

The program, featuring excerpts of over a dozen ballets spanning each decade of Alvin Ailey’s career, includes beloved works as well as rare gems not seen in three decades. Beginning with Blues Suite, the dance that launched the company in 1958, to Opus McShann, his final piece thirty years later, and closing with the classic Revelations, this retrospective demonstrates the range and resonance of one man’s genius.

For tickets, which range in price from $10 to $70, call 216-241-6000 or go on-line to www.playhousesquare.org.

DanceWorks 09 at Cleveland Public Theatre

April 23 - April 26
Inlet Dance Theatre
Acclaimed both locally and internationally, Inlet Dance Theatre's accessible and powerful signature choreography speaks about the human condition. Repertory for the engagement features world premieres including a work based on the company's recent global travels, along with a remounting of the heartfelt Memoriate.

April 30 - May 3
Antaeus Dance
Directed and choreographed by Joan Meggitt, the company presents Molt, which explores the transformation that results from stripping away undesirable habits and patterns to reveal the essence of the individual.

May 7 - May 10
Ohio Dance Theatre
Choreographed by Denise Gula, Ohio Dance Theatre premieres Silent Witness, a multimedia work that reveals the darkness of the human soul, by honoring victims of domestic violence. Also presented is Spindrift, a contemporary ballet performed to the music of Vivaldi's Four Seasons.

May 14 - May 17
Double-Edge Dance
XspanD is a series of solos and duets formed around the spans of time, memory and relationships. Choreographed by Kora Radella, Julie Brodie and Balinda Craig-Quijada, the pieces are danced to new music composed by Ross Feller and performed by violinist Dorothy Martirano and bassist Armand Beaudion.

May 21 - May 24
Open Window Dance Company
Choreography by Tammy Metz Starr, Coloring Pages, uses IWDC’s unique approach to painting the stage with dances drawn from Asian movement forms.

For tickets to all DanceWorks 09 performances, call 216-631-2727, x501

The Odd Couple

‘THE ODD COUPLE’ pleasant at Fairmount Center, but…

In these tight financial times, when arts agencies are cutting expenses, or even going out of business, its surprising that there is a new theatre in town. Enter FPAC. The Professional Theatre Company of the Fairmount Performing Arts Conservatory is located in the refurbished former Methodist Church on the corner of SOM Center and Highland Roads in Mayfield Village. Other segments of the organization are the Summer Program and the year-round Youth and Teen Theatre.

Operating under the motto, “all ages for all stages,” the organization’s Executive Director is Tom Fulton, while Fred Sternfeld serves as Artistic Director of FPAC.

The theatre chose to perform Neil Simon’s ‘THE ODD COUPLE’ as its inaugural professional production.

Simon, often referred to as “Doc” for his ability to come into troubled professional shows which are having script troubles and doctor the writing, has also been dubbed the “Crown Prince of Broadway Comedy.” Simon, for many years, was the most reliable hit maker in Broadway history, as well as one of the most performed playwrights in the world. The author of over 20 plays, several musicals and 30 movies, he has received such accolades as Tony, Golden Globe, ands Drama Desk awards, as well as a Pulitzer Prize. He hasn’t opened a new show since 2003.

Many think that ‘THE ODD COUPLE’ made Simon a cultural phenomenon. After its long run on Broadway, the play was turned into a successful film, a popular television series, a female edition, an animated series, and later another TV series, “THE NEW ODD COUPLE.’
The story line centers on Felix Unger and Oscar Madison. Felix, who has just separated from his wife, arrives at the apartment of his divorced friend, Oscar, who takes him in. Within a short time, the neat-freak, hypochondriac, obsessive compulsive Felix has driven the slovenly Oscar to distraction. But after a seemingly disastrous double date with a pair of neighboring sisters, Felix announces he will move in with the girls. His stay, however, has not been without its effect, for, when Oscar resumes his poker game, he warns his fellow players not to flick ashes on the floor.

The play is directed by Fred Sternfeld, the master of staging large scale musicals. Unfortunately, he seems more timid with comedies. This production is slowly paced, and misses many of the laugh line cues. The results is an acceptable, but not outstanding production.

The show’s highlight is Brian Zoldessy, a multiple Times Theatre Tribute Award Winner, as the hyper-hysterical Felix. As he has done so many times in the past, Zoldessy controls the stage whenever he appears. He is a skinny, fidgety, ball of hysteria. It is worth seeing the show, just to experience Zoldessy in action.

On the other hand, Scoot Hankins lacks the rough edge, the “go for the throat” instinct to go to the extremes that the role of Oscar demands to create the yin and yang of Oscar and Felix.

Carla Petroski and Amy Pawlukiewicz are delightful as the English Pigeon sisters. The rest of the cast, Noah Budin, Bobby Thomas, Kirk Brown and Bob Abelman all develop their characters acceptably.

Why FPAC chose ‘THE ODD COUPLE’ as its opener is a major question. Is doing a play that has been performed by almost every community theatre the image the producers want to convey? Are they going to do old, worn out, dated scripts and expect to attract audiences? Let’s hope that their play choices improve.

CAPSULE JUDGEMENT: Though Brian Zoldessy shines in FPAC’s ‘THE ODD COUPLE,’ the over-all effect is an adequate production that would have been helped by more dynamic pacing, better keying of the laugh lines and a stronger co-male lead.

2009-2010 Broadway Series

2009-2010 Broadway Series announced!

At a gala preview, Gina Vernaci, Vice President of Theatricals at Playhouse Square Center, announced the Key Bank’s Broadway series for 2009-2100. The lineup is:

YOUNG FRANKENSTEIN
October 13-25, 2009
www.YoungFrankensteinTheMusical.com
Based on the classic Mel Brooks movie, the winner of the 2008 Outer Critics Circle Award, the musical includes show-stopping numbers including "Transylvania Mania," "He Vas My Boyfriend" and “Puttin' on the Ritz." Directed and choreographed by Susan Stroman.

CHICAGO
January 12-24, 2010
www.ChicagoTheMusical.com
This hit musical is the recipient of six Tony Awards, two Olivier Awards, a Grammy and thousands of standing ovations. A tale of sin, corruption and all that jazz.

IN THE HEIGHTS
February 9-21, 2010
www.InTheHeightsTheMusical.com
‘In The Heights,’ winner of four 2008 Tony Awards including best musical, is a new rock musical about chasing your dreams and finding your true home.

XANADU
March 2-14, 2010
www.XanaduOnBroadway.com
Taking audiences back to 1980 California, this new musical follows the beautiful Kira, who travels to earth to inspire a struggling young artist named Sonny, as she helps the aspiring painter to find his voice.

AUGUST: OSAGE COUNTY
April 13-25, 2010
www.AugustOnBroadway.com
Winner of the 2008 Pulitzer Prize for Drama and the Tony Award for best play, ‘August: Osage County’ is a new play which tells the story of the Westons, a large extended clan that comes together at their rural Oklahoma homestead when the alcoholic patriarch disappears. Forced to confront unspoken truths, the family must also contend with matriarch Violet (played by Academy Award-winner Estelle Parsons), a pill-popping, deeply unsettled woman at the center of this storm.

GREASE
May 11-23, 2010
www.GreaseOnTour.com
Take a trip to a simpler time of poodle skirts, drive-ins, and T-birds. “Bad boy” Danny and “the girl next door” Sandy D fall in love all over again to the tune of such favorite songs as: “Summer Nights,” “Greased Lightnin’” and “We Go Together,” “Hopelessly Devoted to You” and “You’re the One That I Want.”
Nominated for 2008 Tony Award for Best Revival of a Musical, is rockin’ across the country in this new production direct from Broadway starring American Idol winner Taylor Hicks as Teen Angel.

DIRTY DANCING
June 15 – July 3, 2010
www.DirtyDancingAmerica.com
The movie is a legendary entertainment phenomenon.Now it showcases on stage. Step inside the story of Baby and Johnny, two fiercely independent young spirits from different backgrounds, who come together in what will be the most challenging summer of their lives. It is told by a cast of 39 and features 35 hit songs, including “Hungry Eyes,” “Hey Baby,” “Do You Love Me?” and “(I’ve Had) The Time of My Life.”

TICKET INFORMATION:
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 $480 per seat.

The Seagull

‘THE SEAGULL” gets okay production at GLTF

In its initial production, Anton Chekhov’s ‘THE SEAGULL,’ which is now in repertoire production with ‘THE COMEDY OF ERRORS’ at Great Lakes Theatre Festival, was a dismal failure. Late nineteenth century Russian audiences were simply not ready to accept a work that seemed to violate almost all the traditional dramatic conventions of escapist and romantic theatre that they were used to seeing.

At that time, the theatre was basically attended by the upper classes. Chekov’s plays portrayed their lack of civility, leading lives with little purpose, and predicted a fall of this class. This was not what the upper classes wanted to hear. Some believe that, in fact, Chekov helped ferment some of the ideas that led to the Russian Revolution.

Chekov was not alone in his desire to change the romantic nature of the theatre of that age. He, Henrik Ibsen of Norway and August Strindberg of Sweden are recognized as writers of the modern theatre movement, which centered on Realism, Naturalism and Expressionism. Their plays were about real situations that affected real people.

Chekov, a noted short story writer and doctor, penned four major plays: ‘THE SEAGULL,’ ‘UNCLE VANYA,’ ‘THREE SISTERS’ and ‘THE CHERRY ORCHARD.’ They helped in earning recognition and an international reputation for not only Chekov, but for Constantine Stanislavski, the Father of Method Acting, who staged successful productions of Chekov’s plays at the Moscow Art Theatre.

The story begins with young Konstantin who is desperately trying to find a place for himself in the world. At this point he perceives himself to be a playwright. His life is turned upside down when his mother, a famous actress, returns to their summer home with her new lover, who is a successful writer. Their mere presence seems to wreak havoc and unsettle not only Konstantin, but the entire house hold. Tensions arise, suspicions grow and patience is tested. Many of the characters are caught in destructive relationships that evoke both pathos and humor. They are caught in the destructive nature of false dreams and living lives of fantasy.

The GLTF production, as directed by Drew Barr, who also did the adaptation, is perfectly acceptable, but lacks strong emotional presence. Having seen the play numerous times, I know this is not the way other productions affected me.

The pacing is slow and the internal climaxes not clearly highlighted. Even the unnerving action at the end of the play is not strong and clear. The man sitting next to me leaned over just before the curtain call and asked, ”What just happened? Is the play over?” This is not a good audience reaction.

Kevin Crouch as Konstantin, the tortured son, properly oozes angst. Dudley Swetland nicely develops the role of Pyotr, his bachelor uncle. Gisela Chipe has some nice moments as the woman who rejects Konstantin, and Ian Gould is properly pathetic as a school teacher. Laura Perotta acceptably develops Irina, as the overly dramatic drama queen and Andrew May nicely populates the role of the writer. The rest of cast is also acceptable.

The technical aspects, like the production, are sufficiently well done.

‘CAPSULE JUDGEMENT: GLTF’S ‘THE SEAGULL,’ is an acceptable, but not compelling evening of theatre. The production needed more texturing, greater variance in pacing, and more dynamic character development to truly make a high interest statement.

Nina Domingue is brilliant in’ no CHILD….’at CPT

If you are smart you will go to the phone right now and call 216-631-2727, or go on-line to www.cptonline.org, and order tickets to see ‘no CHILD…,’ now in performance at Cleveland Public Theatre. You’d better hurry because as the accolades spread, the 50-seat performance space will quickly sell out.

There are not enough superlatives in the English language to describe Nina Domingue’s one-woman performance in this well written and conceived play.

‘no CHILD…” was penned by New York City native Nilaja Sun, who has been a teaching artist with New York’s Epic Theatre Company’s “Journeys” program, which brings theatre to city schools through intensive sessions of rehearsal and performance of a single play. It follows Sun as she attempts to mount a production of ‘OUR COUNTRY’S GOOD’ at Malcolm X High School in the Bronx. The script examines prisoners in Australia. Yes, that seems like a strange topic choice for these kids. On the surface, it is, but …. (I’m not going to go any further with this and ruin it for all of you who are going to attend.)

Domingues plays not only Nilaja Sun, but all fifteen characters in the story – the students and fellow teachers, parents and janitors, and even the security guard who mans the metal detector at the school’s gates.

She develops all the roles with absolute clarity. Each character has such a unique gesture pattern, inflection and vocal sound that there is never any doubt who is speaking. This is a “must be seen to be believed” performance.

We, through the presentation, laugh, tear up and get outraged as the play captures the essence of what it is like to be in the public school system today. In this case, the public schools of the Bronx, which parallels the inner city schools in Cleveland and all other major cities that have been the victims of white flight. An exodus that leaves the falling apart buildings and over-worked teachers with student bodies of ill-prepared African American and Hispanics. Kids who are expected to pass the No School Left Behind proficiency tests, but aren’t capable due to poor home environments and inept schools.

The Ohio premiere production is well-directed by Lisa Ortenzio, who is no stranger to the topic. She directs and trains young professional actors and develops programming the school outreach programs. Her background includes being the Education Director of Cleveland Youth Theatre. She has taught at Westlake High School, Willoughby South and Magnificat High School.

Capsule judgement: Domingue so consumes the various roles that it is almost impossible to believe that only one, not fifteen performers appear on stage. BRAVO! BRAVO! BRAVO! Go see this show!!

The Mineola Twins

‘THE MINEOLA TWINS’ opens convergence continuum season

Paula Vogel, the author of ‘THE MINEOLA TWINS, which is now in production at convergence continuum, has been a productive playwright since the 1970s. She is the kind of writer whose works fit perfectly into the convergence play selection criteria of choosing scripts that challenge the audience. W

Although no particular theme or topic dominates her work, she often examines controversial issues such as sexual abuse, AIDS and prostitution. Vogel says, "My writing isn't actually guided by issues. ... I only write about things that directly impact my life."

Following her smashing success and Pulitzer Prize for ‘HOW I LEARNED TO DRIVE,’ Vogel followed up with ‘THE MINEOLA TWINS,’ a feminist condemnation of both the right and the left, which was staged in New York, with super-star Swoozie Kurtz. The play received mixed reviews, and lasted only 3 months.

Identical twins Myra and Myrna are children of the 50s. Myrna, she of extremely large breasts, is the Republican conservative one, while flat-chested Myra is a poster child for the rabble-rousing liberal. In six scenes and four dream sequences set in 1955, 1968, and 1990, the two mortal enemies battle one another and their opposing beliefs, tearing down each other and their loved ones, in a battle to the death.

The convergence production, under the directorship of Clyde Simon, generally works well. Unfortunately, on the night I saw the play there were line stumbles, slow pacing, long set changes. On the other hand, the laughs were plentiful and the over-the-top story clearly developed.

Lucy Bredeson-Smith plays both twins. This is a difficult task in the small 50-seat theatre that makes every movement obvious. On a traditional proscenium stage the changes of clothing and sets could have been hidden, but not in this space. She nicely separates the characters as they age.


Geoffrey Hoffman is excellent in the early scenes, but becomes unfocused as the play rolls on. Bret Holden is fine in the young boy roles. Pandora Robertson’s choreographed set changes are clever and her development of Sarah, the lesbian lover of Myra, is well developed.

Whoever designed and/or selected the wigs did the cast a major disservice. The wigs used to aid in doubling and tripling of characters kept falling off or going askew, which unfortunately, made serious scenes humorous.

Capsule Judgement: ‘THE MINEOLA TWINS’ fits well into convergence’s production philosophy that expands the imagination and extends the conventional boundaries of language, structure, space, and performance that challenges the conventional notions of what theatre is.

THE Lady With All the Answers

Get some good advice from Ann Landers at CPH; Fusion Fest preview

While sitting in the audience on opening night of ‘THE LADY WITH ALL THE ANSWERS,’ the personal story of Eppie Lederer, known to many as Ann Landers, my mind flashed back to when I was a youngster and on Thursday afternoons my maternal grandmother would sit my cousins and I down and read us Bintl Briv, an advice column published in The Jewish Forward newspaper. Tears would flow from her eyes as the counsel was given regarding problems of people, real people in turmoil. They had turned to whom many perceived to be their only source of wise advice.

Ann Landers (Eppie Friedman Lederer) and her twin sister (Dear Abby/Pauline [Popo] Friedman) fulfilled that same role. They were THE two mid-to-late 20th century newspaper advice givers to millions of Americans who found the duo to be a font of information and knowledge.

As competing columnists, the two sisters had a discordant relationship. They publicly reconciled in 1964, but hostility between them persisted. Though they gave advice on how to their lives to millions of readers, they never quite learned how to deal with their own sibling rivalry.

The original "Ann Landers" was Ruth Crowley, a Chicago nurse who wrote the syndicated column from 1942 until her death in 1955. Lederer took over on October 16, 1955 and continued writing until her death. She chose not to have a different writer continue the column.

Lederer sometimes expressed unpopular opinions. She favored legalization of prostitution, wrote in support of equal rights for homosexuals, though she described homosexuality as "unnatural." She spoke out for the rights of women, especially telling those ladies who were being abused by their husbands, to “dump them.”

In her column of July 1, 1975, Lederer wrote, "The sad, incredible fact is, that after 36 years of marriage, Julius and I are being divorced." She received 30,000 sympathetic letters in response.
That divorce is the hub around which ‘THE LADY WITH ALL THE ANSWERS’ pivots.

Written by David Rambo in a breezy “let me talk to you” style, the format lets Mimi Kennedy, who plays Eppie, speak directly to the audience. She does so with assurance and ease, and makes a natural presentation that is filled with some light humor, a little pathos, and is gently provocative. Director Seth Gordon let Kennedy do her thing, and she does it extremely well.

Kennedy, who is best known for playing Abby, Dharma’s hippie mom, on the ABC sitcom ‘DHARMA AND GREG,’ is an anti-war activist who emceed Dennis Kucinich’s announcement in his run for the presidency last year.

Tom Burch’s set is elegant, as befits a woman of wealth and good taste, with an keen eye to architectural design and furnishings. Charlotte Yemen’s clothing choices are appropriate.

CAPSULE JUDGMENT: ‘THE LADY WITH ALL THE ANSWERS’ is a pleasant and informative script which gets a goold production at CPH. It’s a pleasure to watch Mimi Kennedy, in her Ann Landers helmet-like bouffant hair-do, transform herself into Eppie Lederer.