Preservation Hall Jazz Band

Preservation Hall Band jazzes up Blossom
New Orleans’ Preservation Hall is a small weathered music venue in the heart of the French Quarter. Its jazz band was founded in 1961 by Allan and Sandra Jaffe. Since its inception the group has travelled world wide spreading the New Orleans sound, which centers on creating a joyful spirit.

In its own intimate setting the band fits like an old shoe, with the players creating sounds which seems informal, almost like a jam session without structure. In fact, the talented collection of marvelous musicians start out with a preset head, which introduces the tune. Then the players embellish on that theme, and return to conclude the leitmotif.

Blossom is not an intimate venue. It mattered little to the Preservation group. They created intimacy by speaking to the audience, getting the listeners’ involved through cues for cadence clapping, dancing in place, and encouraging applause for instrumental solos. The players yelled encouragement to each other, made comments, and generally enjoyed themselves while creating a joyous audience experience.

The band is headed by Ben Jaffe, the son of the group’s founders. An Oberlin graduate, he introduced one of his college professors and invited the audience to visit the new jazz building on the Oberlin campus.

Song choices included Bourbon Street Parade, Tailgate Ramble, Old Man Mose,
Ice Cream, Tootie Ma, and I'll Fly Away.

The group’s version of Ain’t She Sweet took the audience on a trip to the true joys of jazz.

Mark Braud on trumpet, Freddie Lonzo, trombone, Rickie Monie, piano, Clint Madgen, tenor sax, Ronell Johnson, tuba, and Joseph Lastie Jr, drums, gave a lesson on what it’s like to be in the presence of musical greatness. Eighty-year old Charlie Gabriel, danced as he played his clarinet, and let loose with mello sounds as he sang. He was an obvious audience favorite.

Alex, my sixteen year-old, award winning composing grandson, who has just returned from a summer studying composition and jazz piano at Interlochen, the renowned arts camp in Michigan, was overjoyed with the program. He commented on the group’s ability to build and bound off each other, and capture the audience’s attention. I think nothing would have made him happier than to have been able to slide onto the piano bench and jam with those guys.

Capsule judgement: The exciting and involving Preservation Hall Jazz Band, perfect weather, and the beautiful Blossom setting—what else could anyone want?

Spotlight on Kory of 102, theatre reviewer

Kory of 102 newest member of Cleveland Critics Circle

Members of the Cleveland Critics Circle, the official organization of area theater reviewers and critics, come from various backgrounds. Some are college professors and teachers, some are professional reporters and writers, others are public relations experts. There is even a life coach in the mix. But they have one thing in common, they all have strong theatre backgrounds as directors, actors, producers or have studied theatre history and playwrighting. That is, except for the newest member, Christopher Beale, known professionally as Kory.

Beale, was brought up in Apopka, Florida. He recounts that he was a kid with ADD, on Ritalin, who was a “dork.” In high school he was, in his words, “obnoxious, brave, insecure, and bullied.” He took several actions during that time that has set him on an interesting life path. In his freshman year he came out as gay. Part of the reason for his actions was his self-acknowledged “not afraid to be different.” Then, after his third freshman year, he decided that school wasn’t for him, and dropped out.

His path led to Disneyworld and eventually, because of his deep, resonant voice, to a job in radio. As he explains it, “I went to work at a little psychotic libertarian station connected to the Liberty Works Radio Network.” The job came about because he made a demo on a computer, contacted a number of stations on Friendster, and was hired as an intern. He moved to Maryland . After they found out he was gay, he was fired.

Not to be deterred, he moved back to Orlando, made another demo and got a job with Metro Traffic as their weekend traffic reporter and camera operator on a helicopter. Eventually he was hired as the overnight weekend dj at Y-100 Miami. Remember, this is a young kid, a high school dropout, competing in a world of many college trained and educated professionals. After a disastrous experience in Boston, he was offered a job in Colorado Springs. After three years there, the still twenty-something year old, wound up in Gainesville, then Orlando, and finally in Cleveland.

How did he get into theatre reviewing? The same serendipity that has followed him throughout his life reared its head. He went to see a production of ALTAR BOYZ and hung out with the cast. One of the cast members suggested, after hearing him comment on the show, that he write a review. Why not? He went into radio with no training or background, why not reviewing? He posted the critique on the station’s media list. It started to get hits. He was on his way to being a self-declared reviewer.

His commentaries don’t follow the usual approach of evaluating the production aspects of a show. Since he has never been in a play, except for one-line in kindergarten, never has directed nor read scripts, and has no formal theatre educational background, he writes from his gut.

Kory believes that the average theatergoer isn’t a theatre expert either. He states, “They are looking for entertainment and something that they have never done before. I write from that perspective.”

Why should someone pay any attention to his views? He says, “I don’t represent what I know about. I only know what I saw when I went to the theatre.” He seems to be learning on the job. His reviewing skills have increasingly had more depth. He admits that “since doing reviews and reading the writings of others, I’ve started to do research about the shows I see.”

He doesn’t actually read the reviews on air. He mentions a show a couple of times. He leads his listeners to his blog site, where the entire review resides. He often interviews cast and production members. “If there is a live interview, a segment is presented on air and my blog links to the interview.”

Some comments about his reviews include: “When I look at a show, I put it on a curve based on the kind of theatre I’m reviewing.” “I have the benefit of going into the theatre as an uneducated theatre-goer, so I go in fresh faced.” “I don’t claim to be an expert, but I know good entertainment when I see it.” “My bottom line is, if I had spent $90 to see this show would I have been feeling ripped off?”

Some might question whether Kory’s reviews have credibility. The answer depends on your viewpoint. If you are one who believes that there must be some educational and experiential basis for evaluation of any art form, whether it is painting, dance, music or theatre, then Kory’s background isn’t going to lead you to his blog. If, on the other hand, you want a gut level reaction to a show, Kory, is probably your man. There are many in town who seemingly buy into his perspective as the number of hits on his blog keep increasing!

To read a sampling of Kory and reviews of the other Cleveland Critics Circle members go to www.clevelandtheaterreivews.com

GroundWorks Dancetheater 8/12

Sold out GROUNDWORKS program varied and interesting

With the ever increasing popularity of reality television shows like SO YOU THINK YOU CAN DANCE and DANCING WITH THE STARS, the interest in dance is expanding. Local evidence was the large enthusiastic audience at Doug Elkin’s ‘FRÄULEIN MARIA, recently presented by DanceCleveland at the Hanna Theatre and the sold out Cain Park run of the Groundworks DanceTheater’s at Cain Park.

With that increased interest, as was evidenced by the comments made at intermission and after the Groundworks’ performance, has come a higher awareness for the quality of the dance.

It’s impossible to watch SO YOU THINK YOU CAN DANCE and not gain appreciation for both the dancers’ skills and the abilities of the choreographers like Mia Michaels to tell stories and create visual beauty. People in the Alma Theatre courtyard sounded like Nigel Lithgoe and Mary Murphy, the reality show’s judges, as they commented on the performance.

The opening number, BOOK OF WATER, choreographed by David Shimotakahara, the company’s artistic director, was a multi-sectioned piece which dramatized substance in its many forms, as a metaphor of the images of dance. In this selection, “each image is part of a journey touching on memory, chance legacy and ultimately the ways we are joined together.” Joining together is a Shimotakahara signature theme. Using gymnastic moves, flowing hands, and strong lifts, each segment mirrored the varied sounds of the music, which ranged from digital, to jazz, to atonal, to vocal. Though well performed, the piece was somewhat long.

SWEET, staged by Shimotakahara, was a compelling selection danced to the mellow sound of Bobby McFerrin’s Sweet in the Morning. The always precise and engaging Felise Bagley and the dependable Damien Highfield melded together, flowing to the musical sounds, in movements reminiscent of Heinz Poll’s poetic choreography.

CURRENT FRAME, getting its Cleveland Premiere, is the work of Amy Miller, former Groundworks dancer and its Artistic Associate. Miller was a powerful and athletic dancer. Her choreography mirrors her dance form. Exploring the dramatic interplay between the formal structure of Baroque composer Heinrich Biber’s Passacaglia violin solo, brilliantly performed by Hanne-Berit Hahnemann, and the emotional undercurrent found in the music’s themes and cadences, the piece mirrored intertwining sounds with intertwining bodies. Filled with strong lifts, no facial expression, and effective intensity, Kathryn Wells Taylor and Gary Lenington well carried out Miller’s design.

The highlight of the evening was BRUBECK, getting its Cleveland premiere. Dedicated to Jim Branagan, an active Groundworks supporter who recently died, the involving dance was everything Brubeck.

Combining seven of Brubecks’ lexicon of compositions, including, Take Five, Bluette, Pick Up Sticks and Unsquare Dance, Shimotakahara has given a snapshot of the sounds of the American jazz icon as physical movements.

Each section highlighted a different side of Brubecks’ experimentation with moods and time signatures. His style has been epitomized as “motion and commotion” as “creating infectious melodies and dynamic rhythms,” and this was well reflected in the dancing.

The dancers switched gears as the moods of the music changed from plaintive, to sassy, to happy, to sensual. Noelle Cotler added a special presence with her ever reflective appropriate facial expression.

Kristine Davies’ costume design was confusing. The female short shirt-waist pink dresses and then the varying styles of bathing suits didn’t parallel to the musical moods. Lenington’s white tank top and belted brief shorts accentuated his increased bulk and, as with the women’s costumes, did little to create the needed visual image.

Capsule judgement: Groundworks DanceTheater is one of the area’s finest small dance companies. Their recent tenth anniversary concert at Cain Park, again highlighted their versatility and proficiency.

Milk Milk Lemonade

MILK MILK LEMONADE, laugh filled, but message light at convergence continuum

Joshua Conkel’s MILK MILK LEMONADE, now in production at convergence continuum, is about milk, right? Wrong. It’s about lemonade, right? Wrong.  It’s about Katy Perry’s song MILK MILK LEMONADE. Also, wrong.

MILK MILK LEMONADE is about Emory, an effeminate 11-year-old boy who lives on a farm with his Nanna, his old friend who is a depressed chicken named Linda, who is about to be processed, and Elliot, the pyromaniac kid down the road who bullies Emory, but likes playing “house” with him. Emory dreams of appearing on Reach for the Stars, a reality tv show, winning, and becoming a Broadway star. Between choreographing ribbon dances, playing with his Barbie doll, talking to Linda, observing as the hen does a smut mouthed stand up comedy routine, and sneaking into the barn to have sex with Elliot, Emory is one busy little boy.

According to the author, “MILK MILK LEMONADE started as an experiment in memory. It’s a collage of images, ideas and memories, many of which are completely false, from my childhood.” The out gay playwright goes on to say, “I wanted to write a play about growing up queer that takes place in a nightmare landscape that expresses how terrifying life can be for gay kids in an expressive, rather than strictly literal way.”

What Conkel wound up with is a very dark, melancholy, yet funny piece of children’s theatre for adults, filled with questions of gender, life, death and what it means to be.

The con-con production, as staged by Cory Molner, leans a little much on comedy, and not enough on the depth of the tale, but, as staged, will delight many. It could only be wished that the dark underbelly had been more well exposed.

Scott Zolkowski’s design of the chicken costume, which used elements of Swan Lake, got howls of laughter on Linda’s first entrance. The molting as the show went on, whether preplanned or not, added to the glee.

Wes Shofner’s chicken-processing machine, into which chicken’s entered to come out as bagged or boxed Chick-fil-A tenders, is hysterical.

Zac Hudak, he of huge eyes and expressive face, well develops Emory, the pathetic man-child, yearning to be gay and uninhibited. He longs to live in a make-believe world where he isn’t bullied and controlled, but allowed to be himself.

Lisa Wiley is fine as the narrator who interprets chicken talk and is the evil influence on Elliot. Marcia Mandell is properly air-headed as Nanna. Sarah Kunckik was chicken right!

Brian Devers has some nice moments as the fire-obsessed Elliot, but there was a need for a stronger negative personality which would have textured his conflicted bi-polar swings with his sometimes tender moments with Emory.

Capsule Judgement: MILK MILK LEMONADE, is a thought provoking, laugh filled play that leans a little too much on comedy, and not enough on the depth of the tale. Though not for everyone, it is tailor-made for the typical off-the-wall con-con audience member.

Blossom Center

Wonderful experience at Blossom

Several weeks ago I spent a glorious evening at the Blossom Festival 2012. The evening started with Bartok’s popular Romanian Folk Dances, a brief set of six movements, was filled with varying styles and tempos.

Symphony No. 4 (“Tragic”) in c minor, D 41, was written when Franz Schubert was only nineteen. Despite this, the piece has continued to garner attention and praise. Played in a minor key, the symphony contains four movements, which vary from quiet to forceful.

Beethoven’s Coriolan Oveture, Opus 62, is one of the master’s Mid Period compositions. A musical drama, it is a portrait of Coriolanus, the Roman general who turned against his own city. It is filled with anger, gentleness, and finality.

Violin Concerto in D major, Opus 61, is Beethoven’s single violin concerto. It requires a master violinist, and, fortunately, American-Israeli Gil Shaham, well fits that description. The notes from the multi-award winner’s “Countess Polignac” Stradivarius thrilled the audience.

Beethoven’s Fifth, was conducted by the animated Jahja Ling. Considered by many to be one of the greatest symphonies ever written, the sounds of the fifth are familiar to almost everyone. The wonders of the composition were brilliantly performed by one of the world’s greatest orchestras. 

What more delightful experience can one have than sitting in the midst of the beautiful Blossom grounds on a perfect summer evening, listening to the glorious Cleveland Orchestra, playing some of the world’s greatest music?

Haven’t been to Blossom this summer? There is still time to make the journey. How about August 25 to hear the Preservation Hall Jazz Band? Or September 1 and 2 which offers Broadway’s Greatest Hits as played by the Blossom Festival Orchestra.

For a list of the season’s remaining concerts go to http://www.clevelandorchestra.com/about/blossom-festival.aspx

Fraulein Maria (Doug Elkins and Friends)

Doug Elkins and Friends delight in ‘THE SOUND OF MUSIC’ take-off

As evidenced by ‘FRÄULEIN MARIA,’ his take-off of the musical THE SOUND OF MUSIC, which was recently presented by DanceCleveland at the Hanna Theatre, Doug Elkins may well be the crown prince of comic dance choreography.


THE SOUND OF MUSIC is a stage musical based loosely on the von Trapp family who escaped Europe at the onset of World War II after being harassed by the Nazis. The musical is inspirational, fairly serious and contains Rogers and Hammerstein’s usual social message of what it means to be part of a community.


Elkins in noted for deconstructing and then reconstructing concepts. THE SOUND OF MUSIC is a perfect vehicle for him, for, in fact, the musical is about the various phases of construction. Maria, flees to the abbey in order to escape from her life and build a new persona. When she comes to the von Trapp she takes on a dysfunctional family, deconstructs it and then makes it anew. The same process happens when the family flees Austria to come to America.



You’ve seen the movie? You’ve seen the play? Now, picture the goings-on as envisioned by Elkins.

“Let’s start at the very beginning, a very good place to start.” You think attending a dance concert is a passive experience? Not in Elkins’ creative hands. You will--yes, you will--take part by singing “Do-Re-Mi,” in three-part harmony.



The dance, itself, is introduced by Richard Rogers. Well, it’s a spotlight on the center of the stage which represents the song writer and is supplemented by a tape recording of the great man, who probably rolls over in his grave every time Elkins and Friends does a take off on his beloved musical score.



Since the story takes place in the hills of Austria, we need hills. These are created by dancers encased in and waving green and tan strips of fabric. A snow-capped mountain is formed by Elkins (who not only choreographed the performance but dances in it as well) leaping off the stage, snatching a white shawl off the shoulders of a woman in the front row, running back onto the stage and tossing it on top of one of the hills. Voila, snow! This is done while hip hop, classical ballet, contemporary and modern dance, martial arts moves and improvised maneuvers are exploding on stage to the entire score from the musical.



Then there is Maria, the singing nun turned nanny, turned dressmaker, turned mommy, who is simultaneously performed by three dancers, one a male, of course, in a dress.



Elkins is not your usual run of the mill choreographer. He started his performance life as a B-boy, a break dancer who toured the world with groups like the New York Dance Express and Magnificent Force. And, with that background, as you watch the madcap antics on stage, you will surely note that his work is inventive, eccentric and compelling.”



Even Elkins’ choice of dancers is not traditional. While most dance companies go for thin woman and muscle toned males, Elkins favors sturdy, often fleshy men and women, with lots of power. There's nothing exotic, about this company, but, they are talented. And, as can be expected, their backgrounds don’t fit the usual company description.

Even the curtain call was fun.



Capsule judgement: . ‘FRÄULEIN MARIA’ was an evening of dance not to be missed! Too bad Elkins has announced that this is the last go around for this program. No, no, say it isn’t so. Let’s hope that Pam Young, Executive Director of DanceCleveland, can convince Elkins to change his mind and bring the production back again and again.

Pointe of Departure 8/12

Classic and modern ballet highlight POINTE OF DEPARTURE at Cain Park

When the Cleveland Browns snuck out of town in 1995, it left a void, but three years later the team was resurrected. When the Cleveland San Jose Ballet waltzed to San Jose in 2000, another void was left in the city’s psyche.

Unfortunately, there has been no resurrection, so the city is left with no professional ballet company.

The void is sometimes filled when Dance Cleveland brings in a touring company whose specialty is classic dance, but that doesn’t provide a consistent diet for ballet aficionados.

Locals had hoped that, due to their strong local ties, former Cleveland Ballet wunderkinds, Karen Gabay and Raymond Rodriguez, would make Cleveland the permanent home for Pointe of Departure, their small nonprofit ballet company, and grow it into a local treasure.

Point of Departure originated here in 1998 as a collaboration between violinist Lev Polyakin, Assistant Concert Master for the Cleveland Orchestra, and Gabay. After sold-out performances at the Cleveland Museum of Art and the Cleveland Institute of Art, the collaboration got a name and a mission. It’s purpose is to “erase the stereotypical antiquated image of classical ballet and launch it into the 22^nd century as an art form in demand!”

Though still “based” in Cleveland, the company appears in other venues, performing locally once a year. Next week, for example, they will be bringing their repertoire to the Mountain View Center for the Performing Arts in the California south bay area. That performance will feature 16 Ballet San Jose dancers in contrast to the eight who recently performed at Cain Park.

The Cain Park concert consisted of seven pieces, four of which were Gabay’s choreography. The rest were “after Petipa.”

Marius Petipa was a French ballet teacher and choreographer who is considered the most influential ballet master of all time. Many of his creations are used as the basis for other choreographers to stage works “anew.” These are traditionally listed in dance programs as “after Petipa.”

Gabay’s own pieces were the highlights of the program.

The evening started with a delightful Z BLUES, in which Rodriguez spent most of the number dancing with his feet in the air as he stood on his head, in white face, while Gabay attempted to be the classic female tutu-costumed ballerina. The short piece delighted the audience as the duo proved that even though they are past their prime as featured dancers, they can still grab, hold, and delight an audience.

The rest of the first act were classical after Petipa selections. There was generally a lack of variety in the prescribed movements, making for little visual variance.

The young dancers sometime seemed overwhelmed by the complexity and required precision of the choreography. A late entrance, shallow pointe work, difficulty in freezing moves, uncertain lifts, and lack of confidence were sometimes evident. The most accomplished selection, LE CORSIRE, featured dynamic and talented Jing Zhang and proficient, high flying Damir Emric. The lovely Amy Marie Briones handled her role in Black Swan Pas De Deux with proficiency and appeal.

The second act, dedicated to modern balletic and contemporary dance pieces, was highlighted by RUSSIAN BLUE, in which the entire company displayed free form movement, well fitted to their skill levels, resulting in a dynamic connection to the audience.

Gabay and handsome gym toned Maykel Solas, combined to present a sensual selection which was both titillating and satisfying.

The wonderful live violin interpretations by Lev Polyakin and pianist Elizabeth DiMio were a highlight of the evening.

Capsule judgement: Cleveland needs a resident ballet company. Though not world class, Pointe of Departure would be a wonderful permanent addition to the local scene. It can only be wished that Gabay and her company will find the desire and financing to make their home here, permanent. For information about the company go to: www.pointofdeparture.com

Side note: Dennis Nahat, who served as the long time artistic director of the Cleveland Ballet and later the Cleveland San Jose Ballet, was dismissed as the Ballet San Jose’s artistic director earlier this year.

Theatre calendar, Fall '12

A calendar of Fall, 2012 Cleveland, Ohio theatre offerings

Here’s a partial list of what’s on the boards this fall in Cleveland’s professional theaters:

CLEVELAND PLAY HOUSE
216-241-6000 or go to www.clevelandplayhouse.com.

September 14 - October 7
LOMBARDI is a play not only about Hall of Fame football coach Vince Lombardi, but a family drama about integrity, fathers and sons.

November 2 - 25
THE WHIPPING MAN, which is set at the end of the Civil War, the play upends all the clichés of that period, drawing the audience into a world they’ve never seen before.

November 23 - December 23
A CAROL FOR CLEVELAND, a world premiere play by Cleveland playwright, Eric Coble, is based on a story by Clevelander Les Roberts.. It is a modern take on the Dickens classic and is for the entire family.

DOBAMA
216-932-3396 or dobama.org

September 14 - October 7
THE MOTHERF**KER WITH A HAT, which was nominated for 7 Tonys, is a dark comedy which centers on Jackie, a petty drug dealer, who is just out of prison and trying to stay clean with the help of Ralph, his AA sponsor.

October 26 - November 18
A BRIGHT NEW BOISE takes place in a corporate break room of a craft store in Idaho, where we find a disgraced Evangelical minister who has fled his rural hometown. It is a deeply empathetic comedy that won the 2011 OBIE AWARD.

December 7 - January 6
4000 MILES concerns 21 year-old Leon, who comes to his feisty 91 year old grandmother for solace. In a single month they infuriate, bewilder, and ultimately reach each other.

PLAYHOUSESQUARE
216-241-6000 or go to www.playhousesquare.org.

October 2 - 14
ANYTHING GOES is the so delightful, so delicious, so de-lovely Tony Award winning musical with such songs as I Get A Kick Out of You and You’re the Top.

October 12 and 13
THE SCREWTAPE LETTERS! is C.S. Lewis’ funny, provocative and witty tale of spiritual warfare from a demon’s point of view.

October 16 - November 4
DIXIE’S TUPPERWARE PARTY returns to the 14th Street Theatre to throw Tupperware Parties filled with outrageous tales. (For a review of the previous showing go to www.royberko.info)

November 6 -18
DISNEY’S BEAUTY AND THE BEAST is the classic musical story of Belle, a young woman in a provincial town, and the Beast, who is really a young prince trapped in a spell placed by an enchantress. Can Belle succeed in getting the Beast to love and be loved, so the curse will end?

BECK CENTER
216-521-2540 or http://www.beckcenter.org

September 24 - October 14
XANADU is a musical based on Greek muse, Cilio, who descends from Mt. Olympus to Venice Beach, California on a quest to inspire a struggle artist to achieve the greatest creation of his life—a roller disco.

October 5 - November 11
THE LITTLE DOG LAUGHED is a farce that examines the scandalous world of celebrities.

December 7 - January 6
ANNIE is the comic book inspired story of a spunky Depression-era orphan determined to find the parents who abandoned her on the doorstep of a New York City orphanage.

ACTOR'S SUMMIT
330-374-7568 or go to www.actorssummit.org

October 4 - 28 (No performance October 19)
WILL ROGERS’ U.S.A. is a one-man play about one of America’s great folk humorists which uses Rogers’ actual quotes to comment on current events.

November 29 – December 23
MY MOTHER’S LESBIAN JEWISH WICCAN WEDDING is the answer to the question, “What do you do when you are a straight white male and discover your mother is a lesbian?” You write a musical based on a true story that celebrates love in all its forms.

CLEVELAND PUBLIC THEATRE
216-631-2727 or go on line to www.cptonline.org

October 4 – 20
STANDING ON CEREMONY: The Gay Marriage Plays is a new work by 8 of the nation’s best playwrights (Jordan Harrison, Moisés Kaufman, Mo Gaffney, Neil LaBute, Wendy McLeod, José Rivera, Paul Rudnick, Doug Wright), which is staged to promote gay marriage rights and explore our ever evolving (and sometimes not) society.

October 4 - 20
THE KARDIAC KID is a one-person show in which Cleveland playwright Eric Schmiedl shares his love of the Browns and his shared disgrace at their 1981 defeat after the fateful “Red Right 88” play.

October 11 – 21
SPRINGBOARD features staged readings (not actors standing at podiums) in which audience members give feedback and engage in post-show discussions to help local playwrights improve their work.

November 1 – 3
LEAP/CONCEIVE is a developmental series intended to support work that is at the midpoint in the creation process by featuring 15 minute segments from larger works-in-progress.

LAKELAND THEATRE
440-525-7526

September 21-October 7
PROOF is a psychological mystery surrounding the authorship of a potentially revolutionary mathematical proof and the relationship between a father and his daughter.

ENSEMBLE THEATRE
216-321-2930
September 28 - October 21

NORMAL HEART is Larry Kramer’s political play about a tight group of friends who won’t let doctors, politicians and the press bury the truth of an unspoken epidemic (AIDS).

November 15-December 2

MIRACLE AND WONDER, written by Clevelander Jonathan Wilhelm, is set three days before Christmas when a kindergarten teacher receives jarring news about missing relatives, a drag queen, broken hearts, a Bette Davis movie, mistaken identity and Midrashic parables.

GREAT LAKES THEATRE
http://www.greatlakestheater.org or 216-241-6000

September 28 - November 4
THE WINTER’S TALE, Shakespeare’s epic of romance and renewal tells the story of a royal family ripped apart by suspicions of infidelity and exile.

October 5 - November 3
THE IMAGINARY INVALID is Moliere’s comedy, with music, about a house-bound hypochondriac who fears he has every illness he can imagine.

BLANK CANVAS
www.blankcanvastheatre.com

October 5th - October 21st
NEXT FALL looks at faith, commitment and unconditional love through the actions of Adam who is older, neurotic and an atheist and Luke who is impulsive, a struggling actor and a devout Christian.

All Shook Up!

Mercury Summer Stock closes its summer season with ALL SHOOK UP!

Jukebox musicals are a trend in modern American musical theater. The format force-feeds a story line around already created music. The sources are usually the works of groups (GOOD VIBRATIONS, the music of the Beach Boys, MAMMA MIA, the songs of ABBA) or singers (COME FLY WITH ME, the songs of Frank Sinatra and MOVIN’ OUT, the songs of Billy Joel).

ALL SHOOK UP, now on stage at Mercury SummerStock, takes the songs of Elvis Presley and tries to sandwich them into Shakespeare’s TWELFTH NIGHT. The story is credited to Joe DiPietro.

TWELFTH NIGHT, as do many of The Bard’s comedies, centers on mistaken identity. In the Shakespearean version, which takes place in the kingdom of Illyri, there are shipwrecks, storms, a dead or alive twin brother, sea captains, a girl dressed as a page to the Duke, and lots of plot twists. Almost none of that story is in ALL SHOOK UP! Yes, a girl dresses as a boy and there are lots of invented twists and turns, but that’s about it.

If, after hearing of the connection between TWELFTH NIGHT and ALL SHOOK UP!, you think are going to see something like the well-constructed WEST SIDE STORY, based on ROMEO OR JULIET or KISS ME KATE, based on the Bard’s TAMING OF THE SHREW, forget it.

ALL SHOOK UP! opened in March of 2005 in New York and closed after only 213 performances, after receiving very mixed reviews. Gotham’s leading paper stated, “Yet another synthetic jukebox musical opened last night on Broadway, fresh off the assembly line.” It went on to extol the shallowness of the plot.

The show has, however, proven to be a cult hit. In fact, it is one of the most produced musical reviews at regional theatres, colleges and high schools. It is the type of show, given the right production, that can please audience members familiar with Elvis, wanting an escapist evening of theatre, who aren’t interested in a well-constructed play, and are out to see their relatives and friends on stage.

The plot finds Chad, a motorcycling sex symbol, he of mobile pelvis, thrusting crotch, sneer, and sultry singing voice, dropping in on a small Midwestern town, supposedly because his bike broke down. The burg has a decency proclamation instituted by its uptight lady mayor. As can be expected, chaos reigns as hormones hop, love sweeps in, and the status quo is no longer status or quo.

In the course of singing the likes of Jailhouse Rock, Heartbreak Hotel, One Night With You, Blue Suede Shoes, Love Me Tender and Don’t Be Cruel, a young female garage mechanic, her widowed father, the mayor’s son, a waitress, and the town’s nerd, all fall into the throes of love. Don’t expect the songs to fit smoothly into or advance the story line. They most of them don’t.

Mercury SummerStock’s continued strength is director/choreographer Pierre-Jacques Brault’s dance designs. He continues his winning ways with this production. The highlight number is Can’t Help Falling in Love.

Conductor/pianist Eddie Carney’s orchestra performs well. Janet Conley’s scenic art works, especially on the Eisenhower era correct proscenium arch.

Performance highlights include Jesse Markowitz (Dean, the mayor’s son), who, as in his recent starring role in Cain Park’s AVENUE Q, lights up the stage with his effervescent smile, fine singing voice, let-loose dance style, and spot on character development. His scenes with the equally talented Lauryn Alexandria Hobbs (Lorraine) are charming. It’s Now or Never is one of the show’s highlights.

Brian Marshall is engaging as Dennis, the town’s love-sick nerd. He gets to show off his singing prowess in It Hurts Me.

Klevette Beacham, who has made high comedy her performance genre, does it again as Sylvia, she of hard outside and soft-hearted inside. Her There’s Always Me brought deserved “hurrahs.”

Dani Apple has one of the best trained and biggest voices on local stages. Though the Elvis songs don’t fit well into her power vocal sound, she does a nice job with the songs in her range. Forcing her to reign in her sound to fit into lower register songs takes away her usual ability to mesmerize audiences.

Dana Aber, one of the two Equity members in the cast, plays well the aloof Miss Sandra, the director of the art museum. Her Let Yourself Go, is well done and nicely staged.

CAPSULE JUDGEMENT: If you like Elvis’s songs, are in the mood for escapist theatre wrapped in a nearly non-existent plot, and want to see lots of high school and college kids have a good time performing, ALL SHOOK UP! could be your thing.

One Night With Janis Joplin

Janis Joplin and the black blues divas are alive and well at CPH

There is a love-in going on at the Cleveland Play House’s Allen Theatre between Janis Joplin and the audience. Janis Joplin? She’s dead. She died in 1970 at the age of 27. You’d never know it from the happenings on the CPH stage. Mary Bridget Davies, who took over the role opening night, doesn’t imitate Janis, she is Janis!

Davies stepped in when Cat Stephani withdrew from the role for “personal reasons.” Davies, who was the understudy, captivated the audience. Don’t know what Stephani can do, but Davies, as one Joplin’s songs states, got a “Piece of My Heart.”

Joplin is remembered for her mass of flying hair, which she regularly ran her hands through, her unconventional appearance and off the wall clothing choices. Her 1960s beatnik lifestyle, and amazing voice, led to her being called, “The Queen of Rock and Roll” and “The Queen of Psychedelic Soul.”
Her rise to prominence came as the lead singer with the acid rock band, Big Brother and the Holding Company.

ONE NIGHT WITH JANIS JOPLIN, which was created, written and directed by Randy Johnson, with the full support of the estate of Janis Joplin and Jeffrey Jampol for JAM, and the Joplin family, is a tribute to the great lady of rock and the blues.

Davies, or is it Janis (?), stands center stage and talks to the audience. She ad libs to fit the reactions of the enamored, many of whom were dressed in tie-dye shirts, head bands, and long haired wigs. The audience responded with peace signs, singing the words to the great one’s songs and imitating the performer’s gestures. Obviously they saw the “other” Janis in her “other” life.

Songs included: My Baby, Maybe, Down on Me, Piece of My Heart, Today I Sing the Blues, Try, Kozmic Blues, I Shall be Released, Mercedes Benz, and the finale, I’m Gonna Rock My Way to Heaven.

At various times during the performance the audience was clapping, singing and stomping. Yes, Cleveland is noted for freely give standing ovations, but has there ever been a play where there were seven standing “O’s” during the performance and jumping, screaming and flower-throwing for the curtain calls? Remember, this was a play, not a rock concert. Well, maybe a combination play and rock concert.


Not only does Davies wail, but there are the amazing vocal performances by Sabrina Elayne Carten, who sings the roles of the black blues divas who influenced Joplin. Carten sings the likes of Aretha Franklin, Bessie Smith, and Nina Simone.

The staging is as amazing as Davies and Carten. Scenic and lighting designer Justin Townsend, sound designer, Carl Casella and projection and video designer, Darrel Maloney, let out all the stops.

The stage is ablaze with psychedelic colors and lights, Janis’s paintings are flashed on electronic panels at the rear of the stage, the lights pulse to the beats of the music, smoky effects steam forth to add a surreal feel to the goings on. These production qualities could not have been possible in the old CPH venue.

Stephen Flakus and the band, which is ever present on stage, are rock concert perfect. The eight-instrument group is well-integrated into every aspect of the show.

CAPSULE JUDGMENT: ONE NIGHT WITH JANIS JOPLIN is musical play, rock concert and love-in, all mashed into one! Doesn’t matter if you are a blues, rock and roll, or Joplin fan or not, there is no way you aren’t going to leave this performance on an emotional high! Bravo. Yes, Bravo, bravo, bravo!

BTW---the show would have been better served by a more upbeat opening announcement. The staid “turn off the cell phones mantra” needed a rock exciting sound to get the assemblage in the mood! Come on CPH, get with it!

Review of Reviewer's reviews--Ken Allan

Your reviews are great. Glad we have someone like you.

All the best,

Ken Allan

The Sound of Music

SOUND OF MUSIC climbs ev’ry mountain at Porthouse

Many consider THE SOUND OF MUSIC the greatest American musical. Others think of it as a sentimental piece of fluff. Whatever their view, few can sit and listen passively to the likes of such songs as My Favorite Things, Climb Ev’ry Mountain, Do-Re-Mi, and Maria. This is Rogers and Hammerstein at their best.

The musical centers on Maria, a young Austrian who is studying to be a nun. She is sent to be a governess for the children of Captain von Trapp, a widower who was a naval commander. Maria falls in love with the children, and the children return the love that they do not get from their overbearing father. von Trapp plans to marry a baroness, but their views of the upcoming Anschluss get in the way. Love blossoms between Maria and the Captain. The duo marries. In order to avoid Nazi rule, the family flees the country.

Interestingly, there are facts about the von Trapp family and the show itself that have been lost as viewers assume that the musical is a factual story.

The idea for the script was based on the 1956 West German film, THE TRAPP FAMILY, and its 1958 sequel. Originally it was to be made into a non-musical, written by Howard Lindsay and Russel Crouse, that would feature songs from the repertoire of the Trapp Family Singers. Several additional songs were to be written by Rodgers(music) and Hammerstein (lyrics). Then the full-blown Rodgers and Hammerstein show was proposed. The rest is history.

An award winning Broadway show, it ran 1443 performances with Theodore Bikel and Mary Martin in the lead roles. Then it was transformed into an award winning film with Julie Andrews and Christopher Plummer, which is generally regarded as one of the most popular films of all time.

For dramatic purposes, the actual family’s life was altered. In reality, Maria was only hired to tutor one of the children, the names and ages of the children were altered, the family spent years in Austria after Maria and the Captain were married, and, no there was no escape over the mountains. The family went by train to Italy, then to London and then to the United States.
Another misconception is that Edelweiss, the song that the von Trapp’s sing at the Salzburg Music Festival, is the Austrian national anthem. It isn’t. It is simply a song that Rogers and Hammerstein wrote as a plot device.

If you are a SOUND OF MUSIC aficionado, you’ll know that the Porthouse production includes two songs, I Have Confidence and Something Good, which were not in the Broadway production, but which Rogers wrote for the film version.

THE SOUND OF MUSIC was the last show written by Rogers and Hammerstein. Hammerstein died of cancer nine months after the Broadway premiere.

The Porthouse production, under the direction of Terri Kent, is joyous. It’s impossible not to smile your way through the show. It is the kind of happy big cast production, that Kent does so well.

The show is fleshed out by the creative choreography of MaryAnn Black. Jonathan Swoboda’s musical direction is good, but his brass section sometimes goes astray. Nolan O’Dell’s scenic designs are creative, but the many set changes become tiresome after a while.

The lovely Kayce Cummings, who has been on the Porthouse stage many times, is glorious as Maria. She exudes warmth and love. Marla Berg, she of big voice and strong vibrato, wails as the Mother Abbess. Lenne Snively is properly uptight as Sister Berthe, and Lissy Gulick is adorable as the cherubic Sister Margaretta.

Larry Nehring is fine as Captain von Trapp, though he could have been a little more strict at the start, so his transition to the nurturing father would be obvious later. Kyle Kemph sings and dances well as Rolph, Louisa’s boyfriend. He and Louisa do an excellent rendition of Sixteen Going on Seventeen. All of the children are charming, with Cameron Nelson a standout as the precocious Brigitta. Eric van Baars hits the right comic notes as Max, as the Captain’s friend.

Capsule judgement: Porthouse’s THE SOUND OF MUSIC is a crowd pleaser that brings out the best of the script through good pacing, fine singing, dancing and line interpretation.

Trouble in Tahiti

TROUBLE IN TAHITI, with words and music by Leonard Bernstein

Leonard Bernstein is noted for his wonderful musical scores. To the surprise of some, he did pen lyrics. TROUBLE IN TAHITI is a Bernstein one-act opera, with both words and music by the great one.

The story depicts the life of one couple, Dinah and Sam, in their attempt to cope with different points of view as they live life in the suburbs. The area might well be Levittown, the mid-nineteenth century mass-produced suburb, which was the rage about the time that Bernstein wrote the piece.

The 1952 work, which runs about 45 minutes, is filled with musical themes that give hints of Bernstein works including WEST SIDE STORY, ON THE TOWN, WONDERFUL TOWN and CANDIDE. The piece was later incorporated into Bernstein’s 1983 opera, A QUIET PLACE.

The young Bernstein tried to make TROUBLE IN TAHITI as real as possible. He stated that he wanted everything to be believable. The language is everyday speech, set to a typical American cadence and syncopation, almost a slurred quality.

The script harks of realism. It appears to be a snapshot in time of Bernstein and his wife, Felicia Monteleagre.

The story centers on one day in the life of a couple who appear to be unhappy. Nothing much happens plot wise, so at the end of the production, the duo is at the same crossroads as at the beginning.

THE PHILANDERER George Bernard Shaw wrote, “The test of a man or woman’s breeding is how they behave in a quarrel.” Sam and Dinah fight civilly, in control, and with little effect. Their breeding shows, but their styles don’t help them solve their issues.

Shaw’s production showcases Bernstein’s script. Nothing much shines, nothing much falters. The music sounds a little shallow as played by the five piece orchestra, the singing is adequate, the vocal projection sometimes makes hearing a little difficult.

CAPSULE JUDGEMENT: Bernstein’s TROUBLE IN TAHITI is one of those scripts that is pleasing to watch and listen to as it is being seen, but quickly evaporates from memory.

Ragtime

Captivating RAGTIME lights up the stage at the Shaw Festival

The early 20th century was the time of great change in America. Exploding population growth, creation of the nation’s industrial philosophy, a determination of the political system, the growth of the union movement, and changing attitudes toward minorities, all filled the era.

E. L. Doctorow’s inventive 1975 novel, RAGTIME, tells the story of three groups of Americans during that time.

The upper-class is epitomized by Papa, an industrialist and adventurer.

Coalhouse Walker, Jr., a Harlem musician, who finds himself being marginalized by a group of white bullies, represents African-Americans.

Tateh, a new Jewish Latvian arrival in the country, showcases the burden of the immigrants who must find a place for themselves in the great American tossed salad.

Terrance McNally has taken the Doctorow volume and written the book for a musical drama. When coupled with Lynn Ahrens lyrics and Stephen Flaherty’s gospel, ragtime and cakewalk music, the results are compelling theatre.

Both the book and the musical use invented characters, combined with well-known real people of the day, including Harry Houdini, Evelyn Nesbit, Booker T. Washington, Henry Ford, Admiral Perry and Emma Goldman. This gives an air of historically accurate illusion to the story. In reality, though many of the incidents are real, others are fictionalized to add drama to the historama format.

The musical, which opened in New York in 1998 and went on to be a major Broadway hit, premiered in Toronto in 1996. The Broadway production showcased Brian Stokes Mitchell, Audra McDonald and Lea Michele.

The story develops on multiple levels, but all blend together as the characters accidentally interact.

It’s 1902 in New Rochelle, New York, home of Father, who is leaving for a voyage with Admiral Peary (Goodbye, My Love). His ship passes a vessel bringing European immigrants to the country. He marvels that these people would give up so much to come to America. Immigrant Tateh can only wonder why Father would be leaving, while Mother yearns for adventure (Journey On).

Mother’s young brother becomes enchanted with Evelyn Nesbit, a showgirl whose life and romances become the focus of attention (Crime of the Century), later becoming entranced by union organizer Emma Goldman (The Night That Goldman Spoke at Union Square) and then Coalhouse Walker’s crusade (He Wanted to Say).

In Harlem, Coalhouse Walker, a well known ragtime musician (His Name is Coalhouse Walker), finds that his girlfriend, Sarah, has run. Sarah, who is pregnant, has the child away (Your Daddy’s Son), and in desperation leaves him outside the house in New Rochelle. Mother finds the baby and eventually, the baby and Sarah are taken in. Coalhouse, learning the whereabouts of Sarah and the baby, buys a new Ford (Henry Ford) as a way to travel to Sarah.

Tateh, in need of employment and safety for his daughter, escapes from New York’s slums, and travels by railway as far as his meager savings can carry them. He changes trains in New Rochelle, accidentally meeting and talking briefly to Mother (Nothing Like the City).

The three plot symbols intersect when Mother takes in Sarah and her newborn son, Coalhouse comes to the house in New Rochelle to try and convince Sarah to reconnect. Mother meets Tateh in Atlantic City and the two become a couple on a path to self fulfillment (Our Children).

The play steams along toward an emotional climax (Make Them Hear You), that alters everyone’s lives and reflects on the changing society, a society like a ragtime beat that is often out of sync.

This is a well-integrated script that intertwines the songs, spoken lines, music, and dancing in such a way that one cannot operate without the other.

Shaw’s production is enveloping. Maxwell has a clear idea of Doctorow’s intended message and delivers it. The show is well-paced and the actors develop clear characterizations.

Maxwell is helped by Paul Sportelli’s musical direction. He is careful to have his actors sing the meanings to the songs, not just words. Sue LePage’s costumes and sets create the right visual and era images. Choreographer Valerie Moore effectively adapts the movements to showcase the ever-changing musical sounds and moods.

Thom Allison clearly creates a prideful Coalhouse Walker, Jr. with deep convictions. He has an excellent singing voice and inhabits the role. Alana Hibbert has wonderful vocal abilities and makes for a believable Sarah.

In a highlight performance, Patty Jamieson creates a Mother who is multi-faceted and a real person. Kate Henning is convincing as Emma Goldman. Evan Alexander’s Younger Brother is a real person, no acting here. Julie Martell delights as Evelyn Nesbit.

Only Jay Turvey and Aadin Church disappoint. Turvey’s Tateh is an unreal, surface-level stereotype of the Jewish immigrant, complete with a mocking accent. Church’s Booker T. Washington is almost unintelligible in articulation and volume, and flat in affect.

Capsule judgement: Shaw’s RAGTIME is a must see for anyone who loves a well-staged, integrated musical drama, with superlative music and meaningful lyrics.

Present Laughter

Noel Coward’s PRESENT LAUGHTER delights at The Shaw

Noel Coward is the type of playwright who is the darling of those theatre-goers who love escapist, humor-filled productions. In PRESENT LAUGHTER, now being staged in The Shaw’s Festival Theatre, as Coward once said, “There is nothing which helps people or makes them think. This is not a thought provoking play.” It is pure audience pleasing comedy.

The play was written by Coward in 1939. It was first staged in 1942. The title comes from a song in Shakespeare’s Twelfth Night, which illuminates “present mirth hath present laughter.”

The story centers on Garry Essendine, whose mode of operation centers on his drama queen self-obsessed life and dramatic career. The play, which fringes on broad farce, showcases Essendine’s dealing with women who he wants to seduce and who want to seduce him. There is also his long-suffering secretary, his estranged wife, a crazed playwright, and dealing with his ego-centered obsession during a mid-life crisis.

Much of the story and action mimics Coward’s own life. It is so him that Coward played the role on show’s original tour.

The Shaw production, under the adept directing of David Schurmann, is delightful. William Schmuck’s art deco set enhances the broad interpretation of Coward’s writing, as do the era correct costumes.

Steven Sutcliffe delights as the Coward inspired Garry Essendine. He walks the fine line between comedy and farce with razor sharp technique. This is a delightful performance.

Jonathan Tan nearly steals the show as the hyperactive Roland Maule, a young and obsessed playwright. He zooms around the stage, jumping on furniture and creating chaos like a kid with ADHD. Mary Haney is on target as Monica, Garry’s level headed secretary. James Pendarves is believable as the butler, as is Claire Jullien as Garry’s estranged wife.

At times, the vocal projection of the actors is weak. This results in lines and laughs being lost. This is especially true with Corrine Koslo, who plays the role of the maid with an unnecessary cigarette clench tightly in her mouth, cutting off articulation and projection.

Capsule judgement: Shaw’s PRESENT LAUGHTER is a total delight which features fine acting, good pacing, visual delights and high energy. There’s nothing much to learn, but there is a lot of laughter from this classic play.

Misalliance

MISALLIANCE delights as Shaw pontificates!

George Bernard Shaw was a writer with a purpose, in fact, many purposes. Each of his scripts showcases one or more of the master playwright’s views. Depending on the show, Shaw, the Socialist, took on government, the education system, the diminishment of women, stuffy propriety, parent-child relationships, Victorian standards of helplessness, and the British social class system.

In MISALLIANCE, subtitled A DEBATE IN ONE SITTING, the author uses a single conversation in a large country house in Hindhead, Surrey, to expound on his views. Of course, this is Shaw, so exaggerated personalities, less than subtle illusions, and lots of words comprise the script.

MISALLIANCE is one of Shaw’s “discussion” plays, a genre which he fathered. The style stresses interactive dialogue and verbal conflict over plot or action.

Shaw examines the role of women, the mating instincts of humans, romanticism, and social class by showcasing Hypatia, the daughter of a wealthy man who has made his fortune producing men’s underwear. She is engaged to the bright, but boring aristocrat Bentley Summerhays, but longs for adventure. And, based on the saying, “be careful what you wish for,” excitement falls into her life, when a plane crashes into the roof of her home.

The handsome pilot, Joey Percival, and his passenger, Lina Szcepanowska, a female circus acrobat, emerge from the wreckage and introduce havoc. Unhappy Gunner, who blames John Tarleton, Hypatia’s father, for his problems due to a romantic dalliance that John had with Gunner’s mother, also shows up to further complicate the goings on.

In the chaos, eight marriage proposals are offered by various people with the overriding question of whether any of them would be an auspicious alliance or a misalliance.

One of Shaw’s highlight quotes appears in MISALLIANCE: “If marriage were made by putting all the men’s names into one sack and the women’s names into another, and having them taken out by a blindfolded child like lottery numbers, there would be just as high a percentage of happy marriages as we have now.”

The Shaw’s production is delightful. The action is kept flowing by director Eda Holmes. The costumes and sets are era correct. The lighting is effective, the original music by John Gzowski enhances the play’s moods.

Pretty Krista Colosimo breathes life into Hypatia, while Ben Sandres makes for a perfect spoiled brat as her fiancé Bentley. Handsome Joey Percival is character correct as Joey, Craig Pike is believable as Gunner, and androgynous Tara Rosling steals the show as assertive Lina.

Capsule judgement: MISALLIANCE is Shaw at his humorous best. The production’s staging is excellent and the acting first class, leading to an evening of Shavian awareness and audience pleasure. This is what the Shaw Festival is all about!

His Girl Friday

Poor writing and directing highlight HIS GIRL FRIDAY at The Shaw

Ben Hecht and Charles McArthur’s THE FRONT PAGE was a witty satirical farce about political corruption and the role that newspapermen played in fanning the fires of gossip and sensationalism. The play was made into a movie which starred Cary Grant and Rosalind Russell.

John Guare has transformed the movie into a play which attempts to mock amoral and immoral media and politicians. It is the Guare version of the script that the Festival decided to stage.

The movie and original play were delightful. Guare’s version, though filled with laughter, adds world political references and anti-Semitic comments in an attempt to insert a message into the goings on. Director Jim Mezon has, for some reason, ignored Guare’s inserts and went for just the farce. If getting laughs was his vision, why didn’t he just direct THE FRONT PAGE.

Guare has changed the time of the play from the 1920s so that we are experiencing Chicago and the world on the day that Germany accused Poland of inciting what would eventually turn out to be World War II. History proved that it was Germany, in fact, which faked the incident, and used it as an excuse for the invasion. Only intense listening to the lines allows one to grasp this idea, since the lines carrying this message are thrown away.

The story concerns Walter Burns, a hard-boiled editor who learns his ex-wife and former start reporter, Hildy Johnson, is about to marry insurance man and mamma’s boy, Bruce Baldwin, and settle down in Albany, New York. Walter sabotages these plans by getting Hildy to cover just one more case, the upcoming execution of Earl Holub, an anarchist who accidentally shot a policeman.

Holub escapes. The reporters, who are hanging out in the press room of Chicago’s Criminal Courts Building, all want to get a scoop on the story.

Holub’s girlfriend leaps to her death through an open window. Horror? No! Reporters acting much like the Keystone Kops charge around, slamming doors, leaving to view the body on the sidewalk below. As for the implications of the impending war, they are basically ignored, both in the physical and verbal stress of the actors. To make matters even more confounding, anti-Semitic comments flow as “comic” relief.

Guare is noted for his “mixing of comic invention with an acute sense of the failure of human relations.” Normally, his style works. However, a combination of his writing and Meon’s misguided direction, causes frustration. Instead of being aware of the underlying horror ahead, we are led to laughing at displays of cruelty with a lack of compassion. Don’t blame the audience for laughing at the horrific. The director has set in motion farcical actions and broad humor which destroys any semblance of message, and the writer has tried to add a depth of ideas into a slight escapist comedy.

Poor writing. Poor directing!

As for the cast, the Cary Grant, Rosalind Russell charm and sophistication are missing. The lines simply don’t give Nicole Underhay (Hildy) and Benedict Campbell (Walter) the latitude to develop meaningful characters. To add to the problems, the duo does not have any emotional connection to each other.

The production does get laughs, especially in the first act. There are exaggerated, farce characterizations, physical and vocal energy. But the question is, for what purpose?

Capsule judgement: Why John Guare didn’t leave well enough alone, or why the powers that be at The Shaw didn’t just produce the original delightful play, is a mystery. Why is the production rudderless under the direction of Jim Mezon? This is one of the most frustrating and irritating productions the Festival has produced.