"Miraculous" ANNIE wraps up the season at Porthouse Theatre

Terri Kent, the Artistic Director of Porthouse Theatre, Kent State University’s summer home on the grounds of Blossom Center, states in her program notes for ANNIE, “I believe the arts have the power to transform lives and I believe in miracles.”   Kent, therefore, chose to end the venue’s “Miracles! Season” with the tale of an orphan named Annie, who, through guts, gall and cuteness charms herself, in miracle-like fashion, into the life of Oliver Warbucks, the mid-depression billionaire, and, in the process outsmarts the conniving orphanage matron Miss Hannigan, and her dastardly brother, Rooster.   ANNIE, the musical, is loosely based on “Little Orphan Annie,” which was a daily comic strip created by Harold Gray.  “The strip took its name from the 1885 poem "Little Orphant Annie" by James Whitcomb Riley, and it made its debut on August 5, 1924, in the New York Daily News.” With its commentary on politics, American life and depression angst, the strip, in contrast to many of the escapist writings and illustrations of the comics genre, attracted adult readers, rather than children.   If you were a reader of the comics version of the story, don’t go expecting any strip you’ve read in the newspapers, as Meehan used only the characters of Annie, Oliver Warbucks, and Sandy in his plot, and wrote an original story, with new personae. The Meehan tale is set in New York during the downbeat Great Depression. The author stated that he saw “the character of Annie as a 20th-century American female version of the titular orphan characters created by Charles Dickens in works such as Oliver Twist and David Copperfield, with the mystery of Annie's abandonment and unknown parenthood as consistent with a strand of mysteries in Dickens' tales.” It's “1933 in New York City, eleven-year-old Annie is housed in an orphanage. When six-year-old Molly wakes up from a bad dream, Annie comforts her by singing about her own parents; even though they abandoned her at the orphanage as a baby, she holds on to the hope that they will come back for her.” Annie decides to escape to search for her parents, but is caught by Miss Hannigan, the alcoholic, nasty matron of the institution.   Annie finally does sneak out of the orphanage, wanders the streets, finds a dog which she names Sandy, is caught and brought back to Miss Hannigan, is chosen by Grace, Mr. Warbucks’s aid, to be a guest at Warbucks’s home as a guest-orphan for the Christmas holidays.  And, as we all know will happen, she charms the man, his staff, President Roosevelt, and the audience, is adopted and becomes a non-orphan.  “Leapin’ lizards!” Ah, to live in the world of comics and miracles! ANNIE opened on Broadway in 1977, won seven Tony Awards, including for Best Musical and ran for nearly six years.  It spawned a national tour, international productions and numerous community and little theater productions. The musical's songs "Tomorrow" and "It's the Hard Knock Life" are among the most popular tunes of Broadway. THE Porthouse production, under the focused direction of Terri Kent, with Artistic Collaboration and choreography by Martin Céspedes, gets a warm and comfortable staging.  The negative thoughts of the script are minimized and the positive is stressed.  Even Miss Hannigan’s obnoxious ways are down-played.  This approach minimized some of the humor, but left the “miracle” aspects present. First and foremost, the role of Sandy, the stray dog is played by Bean Kent (Kent?  Oh, yes, the director’s own sandy colored poodle, who had its own director—AB Dog Training). Bean’s entrance was deservedly met with appropriate “uhhs and ahhs!” The obedient animal was well-behaved and seemed to relish the attention! Parker Towns, who is double cast with Ava Kimble, made for an adorable and winsome Annie, the day I saw the production.  (Ava Kimble plays the role when Kimble plays July.)  She has a strong singing voice and developed a consistent characterization.  (But, where were the head of ringlets and signature Annie dress?) Dante J.L. Murray, who recently lit up the Porthouse stage as Pontius Pilate in “JESUS CHRIST SUPERSTAR,” has a big voice and was convincing as Daddy Warbucks. Courtney Elizabeth Brown was charming as Grace Farrell.   Amy Fritsche was properly obnoxious as Miss Hannigan, as was Matthew Gittins as her brother Rooster, though I would have liked for each to have played the roles with more exaggerated farce. The orphans were delightful.  Martin Cespedes’s choreography, a little more subdued than his usual work, was filled with his signature creativity.  Capsule judgment:  There is no “Maybe” about it, since “You’re Never Fully Dressed Without Smile,” get down to Porthouse theatre, today, not “Tomorrow” to see the “Little Girls” [and the rest of cast] of ANNIE, do their thing! ANNIE runs through August 4, 2024 at Porthouse Theatre on the grounds of Blossom Center.  For tickets go to http://www.porthousetheatre.com or call 330-929-4416 or 330-672-3884.

 

Sensational MJ explodes with amazing dancing, rockin’ music and powerful visuals at Key Bank State Theatre!

 

Confession:  I am not a big fan of Juke Box musicals, the now popular Broadway vehicle which is a genre of American Musical Theatre in which pre-written songs are woven, mostly with no real reason, into an often soap-opera-like story.   Reality:  MJ, now on stage at the Key Bank State Theatre as part of the Broadway series, is a Juke Box musical. Confession:  I am not an avid fan of disco/hip-hop!   Reality: MJ mostly is disco/hip hop with some pop. Confession:  Though I have heard his music, and know some things about his life story, I am not a Michael Jackson fan and have never attended any of his concerts.   Reality:  MJ is a tale based on some of Jackson’s life told through his songs and a so-called series of interviews and observations while Jackson and his cast members were preparing for his Dangerous World Tour.  The revelations include the discovery of his profound singing and dancing talents, the sadistic and often physical and emotional abuse by his father, which thwarted his rise to manhood and aided in his often child-like vocal and lack of reality-views of the world, and his personal physical and psychological issues.  Final reality:  I was totally blown-away with the dynamism, creativity and showmanship of MJ, and was on my feet, along with the rest of the screaming stomping and clapping audience at the conclusion of this sumptuous show!  (Make sure you stay for the ear-shattering, visually over-load of a curtain call!   In contrast to most Juke Box musicals which are written by the subject of the show or someone who doesn’t know much about theatre, MJ is blessed with a book by two-time Pulitzer winner Lynn Nottage, who undertook the daunting task of delving into the man-boy who did few interviews, was very private, and was often referred to as the “man behind the mirror.”  (A constant device used in the staging and choreography.)   Yes, his volatile relationship with his demanding often fearsome father, his use of pills to escape reality, his hypochondriac-like illnesses, his face-bleaching and surgeries to change his appearance, are all there, but, as it should have been, most of the spotlight was on his singing and dancing! “Many things have been said about Michael Jackson, both during his famed life and after his untimely death. Some have been substantiated, some not — but two things are undeniable. Jackson’s music was groundbreaking, tying ’60s Motown to ’70s disco, hip-hop, and of course, pop, of which he was labeled the King. His popularity forced the music industry to integrate, breaking down barriers for Mariah Carey, Beyoncé, and a slew of rap performers. It wasn’t just his sound. Jackson’s choreography — executing sexually suggestive moves with innocent abandon — thrilled audiences.”   And, all that is on-stage in MJ: The Musical. “Over a four-decade career, his contributions to music, dance, and fashion, along with his publicized personal life, made him a global figure in popular culture. Jackson influenced artists across many music genres. Through stage and video performances, he popularized street dance moves such as the moonwalk, which he named, and the robot.” MJ, opened on Broadway in February 1, 2022.  It is still playing. and is running at about 91% of audience capacity.  It has earned over 200 million dollars, making it one of the highest grossing musical theatre productions of all time.   These totals are surprising since the show opened to divided critical reviews.  While Nottage’s book was noted by one reviewer as having “bland, exposition-heavy and often trite dialogue,” another noted that he “left the theater entertained, but not convinced I had seen the man in the smoke and mirrors."  To counter these negatives, a critic stated that the show was "visually and sonically ravishing," while another claimed that the show was "beautiful to experience throughout, which one almost never can say about jukebox musicals."    I am, with a few caveats, on the side of the latter! The show received 10 Tony nominations, winning four, including a well-deserved one for director/choreographer Christopher Wheeldon.  The choreography is outstanding.  It’s a blinding blend of Wheeldon, Bob Fosse and a mélange of other hoofers and dance creators.  Wow! Locals should be interested in knowing that the Broadway cast contains three grads of Baldwin Wallace’s famed Musical Theatre program and the touring company also has a BW representative. The touring cast is strong.  Roman Banks creates a believable Jackson.  Unfortunately, he sometimes, in his attempt to duplicate the soft-spoken MJ, fails to project, so some of his speeches can’t be clearly heard. The same is not true of his singing, which is loud and clear, nor his dancing, which is compelling. Jackson’s other selves, Brandon Lee Harris and Bane Griffith (the night I saw the show) are excellent, displaying solid singing and dancing skills.  Devin Bowles is nastiness incarnate as Joseph Jackson, Michael’s self-absorbed, abusive father. The singing and dancing chorus are superb.  They must be totally exhausted after each performance as they are on-stage constantly moving!  Bravo! CAPSULE JUDGMENT:  MJ, the Juke Box musical, puts a spotlight on a segment of mega star Michael Jackson’s career and conflicted life.  The show gets a powerful production featuring exciting electronic graphics, dynamic musical arrangements, superb choreography, some strong performances and exciting choral work and dancing, encased in an acceptable story. MJ runs at the KeyBank State Theatre in Cleveland’s Playhouse Square until August 11, 2024 as part of the Key Bank Broadway Series.  For tickets call 216-241-6000 or go to playhousesquare.org

Audience-pleasing BEAUTIFUL, THE CAROLE KING MUSICAL, lights up Beck Center stage!

 

 
BEAUTIFUL, now on stage at Beck Center for the Arts, is a Juke Box musical loosely based on the life of Carol King (aka Carol Joan Klein), one of America’s most prolific songs writers, arrangers and entertainers.
 
As with all musicals of that classification (e.g., MAMMA MIA!, JERSEY BOYS, MJ THE MUSICAL), the songs, which were not written specifically for the show, are shoe-horned into a script.  The music doesn’t always fit smoothly, but the importance is not the literary development of the tale, but the fact that the character, performer or person, who is the center-piece of story, has connection to the songs.  
 
BEAUTIFUL, shows the development of King, a young Jewish Brooklyn girl, with a dominating divorced mother, who has little self-confidence, but a strong drive to write music and succeed in the stressful business, growing from a modest song scribe to a popular and confident writer and performer of songs.  It spotlights a conflicted person within the reluctant star, who emerged as a leader in her field and also in politics and the women’s movement.
 
The audience is taken on a journey of her relationship with her husband, and song-writing partner Gerry Goffin, to her career’s development, divorce and close friendship and playful rivalry with fellow song-writing duo Barry Mann and Cynthia Weil.
 
The musical opened on Broadway on January 12, 2014 and ran through October 27, 2019.  The 60 previews and 2,418 performances made it, at that time, the 27th longest-running musical in Broadway history.
 
One of the highlights of the run was that King attended the April 3, 2014 performance and appeared on stage at the curtain call, singing "You've Got a Friend" with the cast. 

As is often the case with Juke Box musicals, when the show opened on Broadway, it was criticized for the weakness of the book.  As one reviewer stated, the musical does not have the "dramatic coherence of book bio-musicals.”  Another stated, while the musical "doesn't hang its songs on the greatest or most suspenseful story ever told, it has enough bounce and Broadway show glitz to keep you in your seat."

The near sold-out Beck audience, however, wasn’t in their seats.   At the conclusion, they leapt to their feet, clapping and yelling their appreciation. 

BEAUTIFUL is a difficult musical to produce.  Not only do you have the “Carole King” sound that is familiar to many, but there are also the groups, The Shirelles, Drifters, Righteous Brothers, each of whom has a recognizable sound and movements.  To do the script service means for the director, choreographer, music director and cast to be familiar with all of these elements, or the authenticity of the show is lost.

In the main, the Beck production, which is the local premiere of the piece, is on track.  While some of the acting was superficial, most of the material was well-conceived. 

Reese Henrick (as Cynthia Well) and Jordan Potter (as Barry Mann) were delightful.  They had a wonderful physical and emotional connection, displaying a keen sense of comic timing.  Her “Happy Days” and their duet “He Sure the Boy I Love,” were show highlights.

Elsie Carlisle displayed a fine singing voice and an understanding of Carole King, while Mikhail Roberts was appropriately tortured as Gerry Goffin.

There are well-known synchronized movements identified with each boy or girl group.  In some, in this staging, the choreographic timing was off.   It was especially obvious in “On Broadway,” the song made famous by the Drifters.   More time was need for each of the quartets to watch videos and getting the styles down pat, with fine tuning by choreographer Lauren Tidmore Marousek.

Chris Richards, he of dead-pan comic face, developed a fine Donny Kirshner.

Cheri Proguh Devol’s juke box set was ingenious.  Inda Blatch Geib effectively used yards and yards of fabric to create the era-correct costumes.

Capsule judgment:  BEAUTIFUL, THE CAROLE KING MUSICAL, though there were some acting and choreographic stumbles, and the script is more soap-opera than quality musical theater writing, gets an audience pleasing production at Beck.  The music is wonderful. The cast sings with gusto. There is lots of dancing. It is well-worth a look-see!

BEAUTIFUL runs through August 11 at Beck Center’s Senney Theater.  For tickets call 216-521-2540 or go to beckcenter.org.

NUNSENSE delights audience at Porthouse

Musicals are born from many sources including books, movies, plays and comic strips.  None, however, has a more intriguing past than NUNSENSE, which is now on stage at Kent State’s Porthouse Theatre, on the grounds of the Blossom Center.  
 
NUNSENSE, with book, music, and lyrics by Dan Goggin, originated as a line of greeting cards which depicted nuns making nasty, snide and sarcastic comments.  The cards were a sensation.  
 
Goggin, ever the creative entrepreneur, expanded the concept into a cabaret show that ran for 38 weeks off-Broadway, and eventually into a full-length musical. “The original Off-Broadway production opened December 12, 1985, running for 3,672 performances and became the second-longest-running Off-Broadway show in history.” The show eventually spawned six sequels and three spin-offs.
 
It is estimated that more than 25,000 women have played in NUNSENSE productions worldwide, including such classical ladies from the “mature generation” as Edie Adams, Kaye Ballard, Phyllis Diller, Sally Struthers and JoAnne Worley.
 
The tale concerns five of the surviving Little Sisters of Hoboken, a one-time missionary order that ran a leper colony on an island south of France.  Upon returning to the convent one evening, after a wild game of bingo, the quintet discovers that their cook, Sister Julia, Child of God, accidentally killed the other fifty-two residents of the convent with her tainted vichyssoise.
 
Unfortunately, the Sisters have limited funds and can’t afford to bury all of their now-dead members.  How are they going to get the corpses out of the freezer and into the ground? 
 
Hey, this is a farce, so no logical rules are expected.  In fact, the more ridiculous, the more the audience will be entertained!
 
Mother Superior has a vision in which she is told to start a greeting card company to raise funds for the burials, along with vaudeville shows and passing the hat (literally).
 
And, so, we enter into a series of incidents in which the “holy” women, which includes a ballerina nun, a wack-job novice, a streetwise sister, and a childlike member of the group, who lost her memory when a crucifix fell on her head, take us on a journey of solos, dance routines and an audience quiz.  (Ridiculous?  Remember it’s a farce meant to entertain!)
 
The Porthouse production, under the guidance of director, Eric van Baars, does the work proud.  The audience was laughing and clapping throughout, enjoying the ridiculousness. 
 
The cast, Sandra Ross, Colleen Longshaw, Theresa Hall, Lara Troyer and Becca Bailey, along with a surprise “guest” whose identity not to be revealed as it will run a clever schtick, all create clear characterizations.  They have good singing voices and carry out their farcical interpretations well.  
 
The audience was especially delighted with “Turn Off That Spotlight,” the first act concluder in which the Mother Superior, “accidentally” gets stoned. 
 
Musical director Jonathan Swoboda and his on-stage musicians are in good tune, Joe Burke’s lighting design aided in setting the right moods.  It is difficult to set the sound levels in what is basically an open-air theatre, so that all can hear the song lyrics, but there seems more of a problem in this production than past experiences at Porthouse.  (Maybe it was because I was seated in the last row in the extreme corner of the audience.)
 
Capsule judgment:  Great theatre this is not, but the sold-out audience was totally delighted, and that is the goal of this type of show.  If farce is your thing, go, see, enjoy!  (BTW---it can get hot in the covered outdoor theatre so be sure to hydrate!)
 
NUNSENSE runs through July 13, to be followed by ANNIE from July 19 through August 4.  For tickets go to porthousetheatre.com or call 330-672-3884.

BIG FISH @ Cain Park—good staging of well-meaning, but shallow script

 

“I've seen this all before When I was just a child I met a witch who took a bow and showed me how it ended” These words, from the song, “How It Ends,” near the conclusion of BIG FISH, the Andrew Lippa/John August musical now on stage at Cain Park, summarizes a major plot message.   The tale, based on Daniel Wallace’s novel “Big Fish: A Novel of Mythic Proportions,” is part of the trend of Broadway musicals taking on serious subjects.  DEAR EVAN HANSEN, which deals with teen angst, autism and suicide, and NEXT TO NORMAL which takes on how mental illness effects not only the victim, but the entire family, are examples of this new vision for American musicals.  In 2013, BIG FISH, after 34 previews ran only 98 regular performances, due to tepid reviews and weak audience excitement.   Comments about the show included, “BIG FISH arrives on Broadway as an earnest, family-friendly, heart-warming and mostly successful new American musical.”  “It is sweet and inoffensive which plops its unabashed wholesomeness right in your lap.”  It is a pleasant, slightly bland musical, more like THE BRIDGES OF MADISON COUNTY, than blockbusters like HAMILTON.   “BIG FISH revolves around the relationship between Edward Bloom, a traveling salesman, and his son Will.  At the start of the tale, Edward and his son, discuss Will's impending wedding. Edward tells him a story about when he was walking down the river and met a man trying to catch fish to no avail. So, Edward teaches him the proper way to catch fish. Edward tells Will another story of a witch that Edward met as a teenager.   Edward is a storyteller.  His son never knows if the tales his father weaves, encountering a Witch, a Giant, a Mermaid are real or part of the man’s imagination.   The tales go on and on until, near the conclusion, we finally learn Edward’s truth and the moral of BIG FISHin the song, “Be the Hero.” The Cain Park production, which is well- staged and interpreted by director Johanna May Cullinan, does everything it can with what some might deem as a sappy tale.    Connor Stout makes for a believable Edward Bloom.  He creates a dreamer and nice guy who, until the end, we aren’t sure whether his tales are real or figments of his imagination.  He has a fine singing voice.  His duet, “Time Stops,” sung with Sandra (Kate Fahey), his wife, is lovely.  “The River Between Us,” sung with Will (Ryan Sweeney) vividly shows the chasm between father and son.  Baldwin Wallace musical theatre program has produced a number of handsome young men with fine singing voices and good acting chops who have gone on to make their marks in professional theater.  Included are Chris McCarrell (LES MISÈRABLES, THE LIGHTNING THIEF, Colton Ryan (NEW YORK, NEW YORK, GIRL FROM THE NORTH COUNTRY, THE PUBLIC, DEAR EVAN HANSEN) and Corey Mach (KINKY BOOTS, HANDS ON A HARD BODY, GODSPELL, WICKED, MERRILY WE ROLL ALONG).  Ryan Sweeney (Will) is of the same mold!   Kate Fahey (Sandra, Edward’s wife) sings and interprets the poignant “I Don’t Need a Roof,” well. Monica Olejko’s choreography is effective, as is Ken Lear’s musical direction, Richard Morris’s set design and Adam Ditzel’s lighting. Capsule judgment:  The songs are well interpreted, the story made clear, the performances quite good.  There is nice storytelling, music and a moral. If there is a flaw, it is the writing, not the production.  There are little real highlights, little encompassing action.   BIG FISH runs through June 30, 2024 at Cain Park’s Alma Theatre.  For tickets call 216-371-3000 or go to www.cainpark.com

Dynamic production of JESUS CHRIST SUPERSTAR at Porthouse

 

Dynamic production of JESUS CHRIST SUPERSTAR at Porthouse   Roy Berko (Member: Cleveland Critics Circle, American Theatre Critics Association)   Combine focused direction by Terri Kent, dynamic choreography by Martin Cespedes, with a talented cast, and the result is the high quality, crowd-enveloping JESUS CHRIST SUPERSTAR, now on stage at Kent State University’s Porthouse Theatre, on the grounds of Blossom Center.   JCSUPERSTAR is a rock opera with music by Andrew Lloyd Webber with lyrics by Tim Rice.  It is loosely based on “the Gospels’ account of the Passion.”  It “adds a texture above the religious text by examining the motives and psychological underpinnings of not only Jesus, but of Judas, who it spotlights acted as he did because he was dissatisfied with the direction Jesus was steering his disciples, and not for the gold he was given.  In spite of its cult following, JCSUPERSTAR is a show with a history of controversy.  It has been condemned by some religious groups, as well as non-believers.   Some of the controversy is based on comments made by the script’s lyricist, Tim Rice, who once said, “It happens that we don't see Christ as God but simply the right man at the right time at the right place.”   Some Christians cried out that the comment was blasphemous and also complained that the characterization of Judas was too sympathetic, and that Jesus was misinterpreted.  The lack of resurrection of Jesus was also a point of contention as was the insertion of contemporary attitudes, slang and illusions to modern day life.   Jewish organizations claim that some of the illusions bolster antisemitism.  (I’m sure the costume choices and jewelry laden jackets for a Temple scene which seems to mock the male Orthodox community, will not endear the production to some.)  There is no controversy about the music.  The score is eclectic and powerful.  It is 80’s rock at its finest.  Songs include such classics as “Everything’s Alright,” “Hosanna,” “I Don’t Know How to Love him,” “What’s the Buzz” and, “Superstar,”    Released as a concept album, before it was staged, it was already a smash before it hit the theatrical boards.  When it finally opened, it ran for eight years in London and was the country’s longest-running show for almost a decade. In 2016, celebrating 45 years since the musical debuted on Broadway, JESUS CHRIST SUPERSTAR returned to London.  It is this reconceived script that is now at Porthouse.    The Porthouse staging is often breath taking.  The viewer is wrapped in stimulating lighting and exciting visual displays.  The choreography is amazing.  Cespedes has outdone himself.  Almost every number has showstopping moment.  He has honed the skills of this cast, probably giving the mainly student performers a master class in movement.  Exceptional dancing is displayed in “Hosanna,” “The Temple,” “The Arrest,” “Trial Before Pilate/39 Lashes,” and “Superstar.”   Enrique Miguel underplays the role of Jesus for positive effect.   Matthew  Gittins is outstanding as Judas.  He left a clear image of a philosophically tortured Judas, caught between his values and loyalty his to Jesus.     Dominic Young was impressive as Peter.  Madison Shannon is vocally, physically and emotionally-correct as Mary Magdalene. Tim Culver,  a “faye” vision in a voluminous purple costume, stops the show with his exaggerated version of “Pilate and Christ.”   The entire cast had strong vocal voices and carried out the complicated choreography with competence.     Jennifer Korecki has her musicians underscoring rather than dominating the action, so the audience recognizes that they are at a musical, not a rock concert.   Capsule judgment:  The staging, choreography and emotional values of the controversial show are well developed.  No matter your philosophical bent, this production will leave a positive understanding of the value of a well-done theatrical presentation!  Go see!   Tickets for JESUS CHRIST SUPERSTAR, which runs through June 29, 2024, can be obtained by going to http://www.porthousetheatre.com or calling 330-929-4416 or 330-672-3884.

Special effects and quirky story pleases audience at Back to the Future: The Musical

 
 

In 1985 “Back to the Future,” the feature film, opened.  It stared Michael J. Fox and Christopher Lloyd.  It quickly became a cult favorite and spun off two sequels edged on by those who like the bizarre, the farcical, the outlandish and the quirky!  

When a musical version of the tale opened on Broadway, the reviews all basically echoed the comment that, “It’s a terrifically fun and amusing story that works nearly as well on stage as it did on film.”

Yes, there was some carping that “the score [which contains such quickly forgettable songs as “Got No Future,” “Cake,” “Something About the Boy” and “For the Dreamers”] was mainly superfluous,” but audiences don’t seem to mind.  In fact, if the assemblage at the Key Bank State Theatre the night I saw the touring show is any indicator, the musical will also become a cult favorite as it tours the hinterlands.

Don’t go expecting the emotional power and storylines of such musicals as DEAR EVAN HANSEN, HAMILTON or RENT.  This show isn’t intended for that type of experience.  This is for those who like fantasy and extreme effects such as a car levitating and flying, lots of blasting rock music, and visual gymnastics.

What’s the hullabaloo about?  “When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history as he inadvertently prevents his future parents from falling in love – threatening his own existence.  Now he's in a race against time to fix the present, escape the past and send himself... back to the future.”

The musical originally premièred in Manchester and transferred to London's West End.  It received positive reviews and won the Laurence Olivier Award for Best New Musical in 2022.

The show opened on Broadway in August, 2023. 

The production is billed as “appropriate for those 6 and up.” At a running time of 2 hours and 40 minutes it may be a little long for the young ones, but there are enough spectacular effects that that may not be a problem.

The tour’s cast features Caden Brauch, in his national tour debut, as Marty McFly.  He sings and dances well, and is totally involved in the role.  He is a delight to watch.  (Side note:  wisely he does not do an imitation of Michael J. Fox, who played Marty in the film.)

Long time Broadway and television star, Don Stephenson (Broadway: THE PRODUCERS, BY JEEVES, ROCK OF AGES, WONDERFUL TOWN; Television: “Law and Order,” “The Blacklist ,” “The Good Wife,” “Glee” and “Ugly Betty) is properly eccentric as Doc Brown.

Locals may recognize Ina Black, a member of the ensemble, who was cast in the tour during her last semester at Kent State University, as well as Ethan Rogers, a 2021 Baldwin Wallace grad, who plays Biff.

The small band does credit to the pop to do-wop to rock-centric score.  Chris Fisher’s illusion designs, Tim Hatley’s designs and Tim Lutkin’s lighting, are the co-stars of the production, along with Chris Bailey’s choreography and John Rando’s creative directing.

Capsule judgment:  BACK TO THE FUTURE:  THE MUSICAL will delight anyone who loves farcical, outlandish and quirky stories and who has a special liking for special effects.  Don’t expect a deep thought-provoking tale or sublime music.  This isn’t a show for that.  Go!  Sit back and enjoy the overdone hijinks! Escape from reality!  Laugh, clap and jump up at the end for the required standing ovation!
 
Tickets for the show, which runs through July 7, 2024, can be purchased by calling 216-241-6000 or online at playhousesquare.org.

Compelling A DOLL’S HOUSE: PART II impressively asks questions about life and the choices we make

 

Western culture was struck by numerous changes in the late twentieth century.  Many monarchs fell, Socialism, Communism and Democracy made in-roads, the social sciences developed the concepts of psychology and sociology, the industrial revolution changed manufacturing, and the way the middle class would live was drastically altered.     In the theatre, escapist and melodramatic plays were replaced by dramas that reflected the issues of the era.  The modernists, such as Anton Chekov, illustrated the flailing role of the aristocracy and was a voice in the prediction of Russian Revolution.  George Bernard Shaw challenged the influences of education and the role of religion.  Henrik Ibsen championed the cause against women being considered second class citizens.   One of Ibsen's classic works is A DOLL’S HOUSE.  “The play concerns the fate of a married woman, who lacked reasonable opportunities for self-fulfillment in a male-dominated world. Despite the fact that Ibsen denied it was his intent to write a feminist play, it was a great sensation at the time and caused a storm of outraged controversy.”    At the conclusion of the epic, Nora tells her husband, Torvald, that she is leaving him and, in a confrontational scene, expresses her sense of betrayal and disillusionment.  She says that she has been treated like a doll to play with, first by her father and then by him.   Leaving her keys and wedding ring, Nora walks out of their home.  Leaving behind her husband and children and a way of life she doesn’t want.   At the start of A DOLLS HOUSE--PART TWO, which is now on-stage at Beck Center, a knock is heard at the door — the same door that Nora slammed behind her fifteen years earlier when she exited at the end of Ibsen’s play.   The door closing which has been termed by theatrical experts and feminists as “the door slam heard around the world.”   Nora is now a woman who has become a free-thinking human being!  It is this “new” Nora who is knocking.      After leaving her husband and children, she has become a successful feminist novelist. The reason for her return is to finalize the divorce which she thought had been executed many years before, but which she has recently found out, Torvald had never signed the papers.   Thus, we are thrown into a series of scenes in which both Nora and the audience are forced to examine what it is that she/we want from life.  Questions arise as to what does it mean to have developed one’s own voice and what is the price we each pay for the decisions we make.   The 2028 Broadway production of Part 2, which was to have a limited 16-week run, was extended well-beyond its limited engagement as the production won numerous awards and audiences continued flowing into the theatre.    As Beck’s director, Don Carrier, wrote in his program notes, “Lucas Hnath (the playwright) is one of our most creative contemporary writers and wisely chose to explore the character and subject matter though a comedic lens.  But even that comedic lens can’t help but pick away at the scabs of the past and get to the roots of why Nora left.  It’s a play with a lot of questions and hopefully answers that allow closure.”   Anjanette Hall is superb as the conflicted Nora.  She creates a character that is so real it is hard to believe that she is only portraying a person, and is not the person, herself.   Nanna Ingvaresson breaths Anne Marie, the housekeeper who was left with the task of caretaker and child-raiser when Nora left.   Tabitha Raithel effectively develops the role of Emmy, Nora’s abandoned daughter.   David Vegh endows an honesty into Torvald which leaves the feeling that he is, under the surface, a person who understands the conflict between Nora and himself, but is powerless to do anything about it.   Jill Davis’s stark set, Adam Ditzel’s lighting and Angie Hays’ sound effects add to create an appropriate space for the production.  Jenniver Sparano’s women’s costumes are both era-correct and beautifully designed and executed.   Capsule judgment:  Beck’s production, under the focused direction of Don Carrier, is a model of the right play, the right cast and the right presentation.  It is a perfect model of the “thinking person’s play.”  Though filled with ironic humor, it is the drama of the script that makes it work so well.   A DOLL’S HOUSE-PART 2 runs through June 30, 2024 in the Senney Theater of Beck Center for the Arts.  For tickets go to beckcenter.org or call 216-521-2540.

THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE delights at Cain Park

 

It is only appropriate, since the National Spelling Bee wound down last week, that Cain Park, the Cleveland Heights outdoor entertainment venue, has mounted THE 25^TH ANNUAL PUTNAM COUNTY SPELLING BEE.
 
As Patrick Ciamacco, the show’s director states of the show in his program notes, “The spelling bee serves as a microcosm for the intricacies and pressures we face as adults. From the pressure to be perfect to the frustration of constantly being underestimated or the desire to be supported by people you care about, this show addresses these situations with humor, charm and more importantly …heart.”
 
How would you do if asked to spell: “syzygy,” “capybara,” “cystitis,” “pandemonium,” and “qaymaqam?”  How about “crepuscule?”  And, then there is “cow!”  (The latter, as attenders of the show find out, is a very important word in the script, as is “erection.”) 
 
C-r-e-p-u-s-c-u-l-e, which means twilight, and, ironically, is the original name of the musical now known as THE 25^TH ANNUAL PUTNAM COUNTY SPELLING BEE.  (The name was probably changed so that reviewers, like myself, who are spelling handicapped wouldn’t embarrass ourselves if spell-check didn’t catch our errors.)
 
The play created by Rebecca Feldman for her New York based improvisational comedy group, was transitioned into the present script by Rachel Sheinkin with the addition of music and lyrics by William Finn.
 
The 2005 Broadway production was a hit, garnering six Tony Award nominations, including Best Book.  
 
The fun-filled romp centers on a fictional spelling bee conducted at the Putnam Valley Middle School, which finds six quirky kids, joined by four culled-from-the-audience “volunteers,” who vie for the coveted large blue and gold trophy and the pride that goes with it.  (The losers are awarded juice boxes.)
 
We meet the nerdy group of “r-e-a-l” spellers who are competing for our laughs, hearts, the trophy and a cash prize.
 
There’s Chip Tolentino (Gabriel Hill), hunky Eagle Scout and last year’s winner, who, unfortunately, gets distracted by a pretty young lady in the audience and his resulting erection throws him off and, though he spells the word correctly, he is eliminated by Vice Principal Panch (Brian Altman) because of a rule infraction.  As is, we find out that he is a master of rule infractions!
 
Logainne Schwartzandgrubenniere (Sophie Ruiz), is an elementary school lesbian, who is accompanied by her over-attentive gay fathers. The girl of many causes also falls by the wayside.
 
Leaf Coneybear (Andres Martinez), an adorable geek who makes his own “unique” clothes, is considered dumb by his family.  He’s only in the competition because the winner has her bat mitzvah on the day of the competition, and her best friend, the runner-up, is also at the religious event.  Much to his surprise Leaf sails through the early rounds.  Unfortunately, he stumbles on the word “chinchilla” but walks away head held high, singing “I’m Not That Smart,” having proven to himself, despite his elimination, that he is okay.
 
William Barfee (Seth Crawford), an obnoxious know-it-all, demonstrates his very successful “magic” foot spelling routine, in which he spells out the word on the ground with his shoe.
 
Marcy Park (Kayla Peterson), an up-tight young lady, the product of “tiger parents” has obviously been put under high pressure to succeed, whizzes through words until she makes a life-changing decision and intentionally spells an easy word incorrectly.
 
Olive Ostrovsky (Kate Day Magocsi) is able to break through Barfee’s curtain of insecurity and nastiness by doing a kind deed when he is threatened by Chip with peanuts, one of many things to which Barfee is allergic.
 
The cast, which also includes Rona Lisa Peretti (the multi-talented Bridie Carroll), former bee winner, who has made a career out of coordinating contests and Mitch Mahoney (Geoffrey Short), the contest’s gruff/lovable bouncer and counselor-in-residence.
 
The cast, as can be expected from a group who are mainly products of Baldwin Wallace’s national recognized Musical Theatre program, sing and dance as future Broadway stars should.  They each create consistent characterizations.
 
Add Ciamacco’s focused directing, Rachel Woods finely tuned musical directing and Katie Gibson’s limited choreography, and the result is a fine evening of summer theater!.
 
CAPSULE JUDGMENT: Sometimes it’s fun to just sit in the theatre, smile and admire the talent of the cast.  If that is your kind of entertainment, THE 25^TH ANNUAL PUTNAM COUNTY SPELLING BEE is your thing and will spell “d-e-l-i-g-h-t.”
 
Sidenote:  The street construction on Lee Road is complete, so there is parking in the handicapped lot at the Park’s east entrance.  Also be aware that the golf-cart transportation provided for the handicapped is inconsistent.  I had to walk both ways to and from the Alma, quite a distance, along with a man with two canes and a pair of ladies that needed to stop several times to catch their breath.
 
THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE runs through June 9, 2024 at the Alma Theatre of Cain Park.  For tickets call 216-371-3000 or go to www.cainpark.com

Compelling world premiere of THE PROSPECT OF EQUALITY, the Ruth Bader Ginsburg story, at Ensemble

 

In her book, “I Dissent--Ruth Bader Ginsburg Makes Her Mark,” author Debbie Levy states that one of the guiding principles of the former Supreme Court Justice was, “Disagreeing does not make a person disagreeable.  In fact, it can change the world!”  And, with that message, “R.B.G. made a big difference…one disagreement at a time.”
 
In watching Rachel Zake’s play, THE PROSPECT OF EQUALITY, a live-action revelation about Ginsburg, which is having its world premiere at Ensemble Theatre, the viewer soon realizes that the brilliant and gifted “Notorious R.B.G.,” as she was popularly called by her many admirers, was a wonder.  
 
As Celeste Cosentino, Ensemble’s Executive Artistic Director and director of THE PROSPECT OF EQUALITY states in the program notes, “What an amazing woman to write about and what unique approach Rachel has taken with this new work!  Although many of us look at Ruth as an “Icon,” I think Rachel really wanted to try and understand her as a human being, who, like all of us, experiences loss, what seems like insurmountable challenges, and uncertainty, but who also feels passion, compassion, and above all, love.  This is very much a love story about her love, and in turn about our love for her and what she has done for us.”

The play’s author shares that, “Writing THE PROSPECT OF EQUALITY gave me deeper insight into Ruth Bader Ginsburg not only as a judge, which we know quite a lot about, but also as a Jewish woman, mother and wife. It was particularly important for me to focus on and highlight her struggles and successes, and shed brighter light on the relationships that helped move her forward, along with her own determination and grit.

R.B.G., was a woman, wife, mother, lawyer, jurist, associate justice of the Supreme Court, consensus-builder, and advocate for all persons, no matter their gender, sexual preference or political views.  She accomplished all those tasks, with strength, humor and intelligence.
 
She was the first Jewish woman and the second woman to serve on the Court.  During her tenure on the courts, she authored not only well-reasoned majority opinions, but equally clarifying minority statements.
 
We watch in wonder as this determined woman navigates prejudice against her for being a woman, a Jew, and an advocate against male perceived rules.  She is a woman who fought the odds to get into Harvard Law School, study in the restricted Harvard Law Library, graduate first in her class at Columbia Law, yet after graduation, not get a single job offer, while male’s, far her inferiors, were offered stellar positions.

She was wise in her approaches to legal success.  “Rather than asking the [Supreme] Court to end all gender discrimination at once, Ginsburg charted a strategic course, taking aim at specific discriminatory statutes and building on each successive victory. She chose plaintiffs carefully, at times picking male plaintiffs to demonstrate that gender discrimination was harmful to both men and women.^”

During her life she had many fine muses—her mother, husband, father-in-law.  Each of these acted as a stimulant for reaching beyond the expected to achieve the seemingly impossible.  

Ensemble’s production, under the focused concepts developed by Celeste Cosentino, is engulfing, encompasses both drama and humor, and stresses not only the history of the amazing woman, but her sense of humor and love and respect for humanity.

Erin Moran shines as the Young Ruth.  She fleshes out a Ruth that has depth of character and purpose.  She portrays a real person, driven by high ideals, superior intelligence and a grasp of what it means to be a real “mensch”—Yiddish for “a good and honest person.”

Cleveland Critic Circle and Broadwayworld.com best actress award winner, Laura Perrotta, portrays RBG as a mature woman, as well as being a psychological guide for the younger Ruth, with clear character understanding.  

Both Nicholas Chokan, as Young Martin and Doug Sutherland, as the mature Martin Ginsberg, Ruth’s supportive life-partner, clearly create a man of compassion, strength and support.
Dan Zalevsky adds both humor and a view of Antonin Scalia, the Supreme Court Justice and long-time RBG friend and philosophical opposite, that adds an added dimension to the story.

The rest of the cast, Samantha Cocco, Keenan Carosielli and Claudia Lief Zalevsky, who each play multi-roles, are all excellent.

The electronic graphics strongly enhance the production.
Capsule judgment:  Though the script could use a little more dramatic tension, and possibly some additional humor, and the staging would be aided by eliminating the excessive movement of furniture to create different settings, the general quality of the writing and the acting excellence makes for an evening of highly satisfying theatre and added appreciation and admiration for Ruth Bader Ginsburg, a woman who optimizes the phrase, “A life well lived!”  See this!

THE PROSPECT OF EQUALITY continues at Ensemble Theatre, which is doing its final show on the campus of Notre Dame College, through June 9.  For tickets call 216-321-2930 or go to www.ensembletheatrecle.org

Angst-filled, laugh-centric SIGNIFICANT OTHER gets outstanding production at Dobama

 

Artistic Director Nathan Motta says of Joshua Harmon’s SIGNIFICANT OTHER, which is having its regional premiere at Dobama, “This play is both a fun night out at the theatre to share with friends and a thought-provoking examination of adult relationships, emotional wellness, and the ways we connect with the people in the world around us.”   Dobama bills itself as Cleveland’s Off-Broadway Theatre, with the goal of examining our contemporary world.  Their plays may not appeal to the older, more traditional based theater-goer, but it does give snapshots of the world in which we presently live.  Their script choice is thinking-people’s theater which is often filled not only with angst, but dark humor.   SIGNIFICANT OTHER is a perfect script for Dobama!     The story was written by Joshua Harmon, the author of BAD JEWS.  As was the case of in that script, SIGNIFICANT OTHER centers on companionship, loneliness and love.   The play centers on Jordan, a gay, Jewish, twenty-something who has a strong loyalty to his near end-of-life Boobie (grandmother) and who is the best friend of three females.  His life besides some joyous moments, is filled with the angst of not being able to find a boyfriend with whom to have a long relationship, marriage and children.    The angst increases as one-by-one his friend-girls, each finds a mate.  Jordan attends and participates in showers, bachelorette parties and weddings.  Everyone’s, but his own!   Crush after crush, even ones that seem promising, lead to frustration and increased insecurity.   Jordan, increasingly “discovers that the only thing harder than finding love is supporting the loved ones around you when they do.”   The play has received critical acclaim ever since it was first produced in 2015.  The “New York Times” called SIGNIFICANT OTHER, “A tenderly unromantic romantic comedy, as richly funny as it is ultimately heart-stirring.”   The play highlights the adage, “We enter relationships for a season, a reason or forever.  Jordan wants forever from his connections, an unrealistic expectation, which often leads to intrapersonal conflicts.   Dobama’s production, under the clearly focused directing of Colin Anderson, is filled with fine acting, clearly-focused characterizations and well-tuned humor countered by seriousness.   Broadwayworld and Cleveland Critics Circle acting award winning Scott Esposito, is superb as Jordan.  He swings in his manic angst-ridden reactions to his life with clarity and consistency.  This is another award-winning worthy performance!   He is well supported by his friend-girls, Mary-Francis R. Miller (Vanessa), Kat Shy (Kiki), Katherine Nash (Laura) as well as Michael Glavan and Adam Rawlings, who excellent portray multi-male roles.     One of the area’s finest vintage actors, Catherine Albers, portrays Jordan’s Boobie with humor and warmth.     The technical aspects of the show: scenic design by Richard Morris Jr., lighting design by Adam Ditzel, sound design by Jim Swonger, costume design by Suwatana Rockland and props design by Andy Zicari all enhance the staging.   Hurrah to the crew, who do a fine job of moving set pieces at a rapid and accurate pace!    Dobama’s Full Circle program actively engages members from communities represented in the scripts the theater produces.  For this production, the theater’s partner is the LGBT Community Center.   Capsule judgment.  SIGNIFICANT OTHER is a significant contemporary play that gets an outstanding production.  Go experience the fine performance of Scott Esposito, and the rest of the cast, and be exposed to a must-see production!   SIGNIFICANT OTHER runs through May 19, 2024.  For tickets: 216-932-3396 or visit: https://www.dobama.org/significant-other