MEAN GIRLS opens opportunities for future Broadway stars to strut their talent in a like-level production

Think back to high school, specifically the cafeteria, at lunch time.  Depending on the institution you attended there was probably the table of math geeks, another of drama kids.  The testosterone-laden jocks hung out over there and the cheerleaders were right next to them.  Then there was the hive of “Plastics,” the “mean girls,” headed by the queen bee and her small swarm of drones.  They were perfectly coiffed, expensively dressed, spoiled, and lacking in empathy. 

MEAN GIRLS is a rock musical with a book by Tina Fey, lyrics by Nell Benjamin, and music by Jeff Richmond. It is based on the 2004 film by Mark Waters, which was also written by Fey and was in-turn inspired by Rosalind Wiseman's 2002 book Queen Bees and Wannabes. 

The musical focuses on Cady Heron, a teenage girl who transfers to a public high school after being home-schooled while living in Africa. She knows little of the US popularity competition of teen-life and the resulting bullying.

Cady is taken on a tour of her new educational institution, an Illinois high school, and exposed to the ways of its pecking order, by Janis and Damian.  

 

The J and D duo have taken the attitude of not being affected by the Plastics.  They caution Cady to be careful in deciding where she belongs in the school’s social fabric. (This is a Tina Fey satirical farce, so, of course ridiculous and angst breaks loose.)

 

And, wonder of wonders, for an unexplained reason, Cady is invited to sit with the Plastics on a one-week trial.  (Hmm…what do the terrible trio have in mind?)

 

Fans of the movie should be relieved that nothing important has been purged from the story. 

Those who went through the horrors of slam/shame books, hazing, verbal abuse and general “hell” at the hands of the mean girls at their high schools will be happy to know that, in this musical, the queen and her swarm get their stingers removed.  (Yeah! Revenge for the high school “nerds.”) 

 

Everything goes well for Cady until she meets “dreamy” Aaron in honors math class.  She falls for him.  But, horror of horrors, Aaron has recently broken up with Queen Regina.  (You know this is going to make life for Cady a shock show.)

 

In order to “keep” Aaron’s interest Cady plays dumb, turning to him for unneeded “extra” help. 

 

 A bus accident, a Burn Book which slams students by commenting on their weight (“hips like a Hippo”), parents’ infidelities (“the only reason he made the team is that his mother slept with the coach”) and eating habits (“Vegan freak”), Cady taking over Regina’s place as Queen of the Plastics, Cady being elected Spring Fling Queen and her surprising act of sharing the crown, all lead to a happy-ever-after feel-good ending.  (Hey, this is a Tina Fey written Broadway musical, what did you expect?)

 

Though it received 15 Tony nominations, MEAN GIRLS, as evidenced by the fact that it won no statues, it is not a great musical.  This is definitely not DEAR EVAN HANSEN or NEXT TO NORMAL quality. 

 

It can be, however, enjoyable and, it has developed a cult following.

 

The serviceable score, the Tina Fey sharp tongued satire and one-liners gave a general positive vibe to the goings on.

MEAN GIRLS premiered on Broadway in 2018. The show received positive to mixed reviews from critics. 

The show closed after 833 performances on Broadway on March 11, 2020, due to the COVID-19 pandemic. 

A film adaptation was released in theaters in January 2024.

The score contains such unmemorable songs as "Where Do You Belong,”  "Stupid with Love", "What's Wrong With Me?," “Whose House is This?," "More is Better," "I'd Rather Be Me,” "Fearless," "Do This Thing," and “I See Stars.”  The delightful score from GREASE, another teen-centric show, this is not.

 

The script can be misleading.  Because it is populated by a cast of young people, if you find the right singers, dancers and actors it appears to be easy to perform.  Nope.  Not true.  This is farce, and farce is hard to achieve.  The characters have to be real, yet exaggerated.  The audience should be laughing with them, not at them.  

 

The Beck production proves that point.  The cast is composed of Baldwin Wallace and Oberlin musical theatre majors.  Most have their sights on Broadway and are very talented.  What they need most to make this show work, is a production team, especially a director, which understands the concept of farce and guides the thespians in this direction. 

 

Though basically entertaining, this staging falls somewhat short of the level it should be considering the talent-level of the cast.

 

Bryan Bird’s musical direction is fine.  The orchestra plays well.  The cast all sings well, intoning meaning, just not singing words. 

  

 

SIDE SHOW IN CONCERT -- A BLEND OF GOOD VOICES AND CREATIVE STAGING

Roy Berko

It would not surprise me to find out that few, if any one who is reading this, knows much about the musical SIDE SHOW, let alone has seen it on stage.

I hold, what may be a record of having viewed it several times.  To make it even more “oohing, both shows had local connections.  

On Broadway, I viewed a production staring Kent State grad and Tony winner Alice Ripley. 

Another exposure as Cleveland Heights’s Cain Park outstanding production directed by Victoria Bussert the present Director of Oberlin College’s Musical Theater program, which featured Gregg Violand, who will be featured, later this season, in Porthouse’s BRIGADOON.

SIDE SHOW is a musical by Bill Russell (book and lyrics) and Henry Krieger (music).

Why haven’t many seen it or know of it?  

 

The story line, though generally interesting, doesn’t have the comedy and drama texturing of such other show-business centered shows as GYPSY or FOLLIES, nor the melodic and memorable lyrics of such classics as CAROUSEL, OKLAHOMA or BRIGADOON. 

 

The pop-rock score features "Who Will Love Me As I Am?" and "I Will Never Leave You."    Though they fit well into the script, the audience doesn’t go out humming even those songs.  No obsessive brain-freeze which grabs and holds. No “Almost Like Being in Love” here, which is included in the theater’s next production.

 

“The story follows the co-joined Daisy and Violet, who begin as the star attraction in a carnival sideshow run by an abusive ringmaster. Despite being physically connected, the twins have very different personalities and dreams: Daisy longs for the spotlight and celebrity life, while Violet simply wants a quiet home and a traditional husband. Their lives change dramatically when a talent scout discovers the duo, helping them escape the sideshow and climb to the top of the Orpheum vaudeville circuit.” 

 

The show originally premiered on Broadway in 1997, earning three Tony Award nominations.

 

Despite receiving some positive reviews, the show closed after only 91 performances.

 

A Broadway revival opened in November 2014, and closed after 56 performances.

 

Terri Kent, the director of the Porthouse show, wisely decided that the music was the soul of the show and the dialogue didn’t demand sets and movement.  She staged the work as a concert!   Excellent choice!

 

Fortunately, the mainly Kent State musical theatre student cast has the vocal ability and acting chops to pull off the unusual approach.  Bravo!

 

Raquel Teare (conductor/Pianist) and Scott Thomas (drums) provided fine accompaniment, though a bigger musical presence would have helped round out the thin sound.

 

Chloe Lee Hall (Violet) and Lucia-Lazzara-Goodrich (Daisy) have excellent singing abilities and effectively performed as the conjoined twins.  The rest of the cast, mostly composed of KSU students, clothed in tuxedos and formal black gowns, provided fine vocal blends and individual solos, duets and choral singing.

 

Strong performances by Jack Campbell, Thomas Anstine, Ron Hubbard II and Lexi Black helped develop the smoothly developed production.

 

Highlight musical selections were. “Before Devil You Know,” “Feeling You’ve Got to Hide,” Say Goodbye to the Sideshow,” “Stuck With You,” and “I Wil Never Leave You.”

 

Capsule judgement:  SIDE SHOW IN CONCERT, which is nicely staged and performed,  continues through July 18^th at Porthouse Theatre on the grounds of Blossom Center.  This is one of the few opportunities to see this seldomly produced script. 

 

For tickets call 330-672-3884 or go online to www.porthousetheatre.com.
 
NEXT UP AT PORTHOUSE: BRIGADOON, JULY 24-AUGUST 9, 2026

GREASE @ PORTHOUSE

An incomplete review of Porthouse’s rockin’ GREASE

 
Roy Berko
(Member, American Theatre Critics Association, Cleveland Critics Circle)

 

Sometimes going to the theater can have unexpected outcomes.  Such is the case of my reviewing the opening shows at Kent State University’s Porthouse for the past two years.  

 

Last year, for some unexplainable reason, rather than on opening night, I found myself at the preview performance of Porthouse’s FIDDLER ON THE ROOF.  The lead, who was to play Tevya, was ill, so his understudy went on in his place.  (Yes, this is live theater and the show must go on!)  The replacement was quite good and I found the production fulfilling the intent and purpose of the writers, but my review contained the warning of it lacking in “whole play” comments.

 

This year, for GREASE, I got to the theatre on the right date, the cast was all healthy and the curtain went up on time!  Everything was going along smoothly, until about 10 minutes into Act II.  Then mother nature and chaos took over. 

 

Sirens went off, indicating the possibility of a tornado.  The cast fled the stage, the audience flooded the aisles in a mad rush to get to their cars before the storm hit.

 

Unfortunately, some of the show’s highlight songs, “Beauty School Dropout,” “There Are Worse Things I Could Do,” the reprise of “Look at Me, I’m Sandra Dee” and the reprise of “We Go Together,” were not performed!  

 

This review, therefore, like my last year’s FIDDLER critique, is a less then complete evaluation of the production.  But, the show/review must go on, so take this into account as we examine GREASE.   

 

1971 was a groundbreaking time on Broadway for American musical theatre.

 

That year saw the rise of rock musicals and the opening of such massive theatrical hits as GODSPELL, Stephen Schwartz and John Michael Tebelak’s “Day By Day,” epic, ON THE TOWN, and GREASE.

 

GREASE is a musical with music, lyrics, and a book by Jim Jacobs and Warren Casey. 

Named after the 1950s United States working-class youth subculture known as greasers (tons hair gel adorn the male youth), is set in 1959 at the fictional Rydell High School.  

In actuality, it is based on the real Taft High School in Chicago.  The plot follows ten working-class teenagers as they navigate the complexities of the teen angst of that era.

The score borrows heavily from the sounds of early rock and roll.  “The book mentions social issues such as teenage pregnancy, peer pressure, and gang violence; its themes include love, friendship, teenage rebellion, and sexual exploration during adolescence.”

Jacobs described the show's basic plot as “a subversion of common tropes of 1950s cinema, since the female lead, who in many 1950s films transformed the alpha male into a more sensitive and sympathetic character, is instead drawn into the man's influence and transforms into his wild, roguish fantasy.^”

GREASE's 3,388-performance run was, at the time, the longest in Broadway history. It became a successful feature film,had two Broadway revivals, a TV show, and is a staple of regional theatre, summer stock, community theatre, high school and middle school drama groups.

On the surface, GREASE appears an easy show for teens and post-teens to perform as, mainly , the cast is playing people similar to themselves.  Right? No, wrong!

The show is about the 1970 youth…not the cyber, Trump-influenced, 2026 teens.  The era is before birth control devices, cell phones and laptops.  

Today’s kids, and even many of the people who direct and do the technical aspects of the show weren’t even alive in the greaser-era.  It is not easy for today’s youth to be these kids.  They can’t identify with the attitudes, dancing and even the walking styles of that day.  What was “shocking” then, isn’t shocking today.  What it meant to be a “good” girl it not the same.

The clothing was different.  Male teens staples—leather motorcycle jackets, tight tees (with a pack of “cigs” placed into the short-sleeved arm material), rolled denim jeans, platform shoes, and heavily greased hair were “in.” 

To dress like a 70s female,  the look included high-waisted flare jeans, maxi dresses, peasant tops, and platform shoes. Earthy tones, bright psychedelic prints, and fabrics like satin, leather and  denim were the vogue.  Identifying clothes were club jackets (in this show, the Pink Ladies shiny jackets).  Letter sweaters separated the jocks from the greasers. (The insiders, from the outsiders.)

The highlight of the Porthouse show is Martin Cespedes’s inventive, era-right choreography, the smooth flow of Terri Kent’s story development and Jennifer Korecki’s musicians and musical sound.  

More emphasis on the era’s attitudes, spoken sounds and rhythms, and uniformly correct costuming, would have helped set the right tone for the show.

Solid versions of “Freddy, My Love,” and “We Go Together” added to the story telling.  “Grease is the Word” and Summer Nights” lite up the stage.

Thomas Anstine (a well-scrubbed, macho-lite Danny) and a pleasant though, not good girl-enough Sandy (Lucia Lazzara-Goodrich), displayed well-toned singing voices.  One could have wished for more fun in “Mooning” and a more sarcastic sound in “Look at Me, I’m Sandra Dee.”

CAPSULE JUDGEMENT:  GREASE, Porthouse-style, is a nostalgic reminder of the era of mid-1900’s and left those of a certain-age satisfied and maybe those of the Information Age/Digital Age asking “what was the attitude, grease and angst” all about.  
 
GREASE runs until JUNE 27 at Porthouse Theatre, on the grounds of Blossom Music Center.  For tickets call 330-672-3884 or go online to www.porthousetheatre.com.
 
NEXT UP AT PORTHOUSE:  JULY 7-18, SIDE-SHOW IN CONCERT.

Disappointing STEREOPHONIC at Connor Palace

 

 
What drama or comedy has  received the most Tony-Award nominations?  

The logical guesses would be DEATH OF A SALESMAN, STREETCAR NAMED DESIRE, or maybe, OUR TOWN.  

The answer:  STEREOPHONIC.  

“The original Broadway production of STEREOPHONIC made history when it garnered 13 nominations at the 77^th Tony Awards, breaking the record previously held by SLAVE PLAY.” 

It ran 321 performances on Broadway, exceeding its initial 14-week limited engagement.

STEREOPHONIC, which is now on stage at the Connor Palace, is a 4-act, 3-hour production, was written by American playwright David Adjmi, with music composed by Will Butler.  

The script has a unique background.  Adjmi and Butler began working on the piece in 2014, with the idea of creating a piece of theatre that felt like the audience was watching a documentary unfolding on stage, while avoiding the piece becoming a full-blown musical in which songs and dances are seamlessly woven into the play’s fabric.  This is not the same format as CHORUS LINE, FIDDLER ON THE ROOF or RENT.

The play follows a fictional British-American band through a turbulent year in a studio.  It kind of mirrors Fleetwood Mac's messy interpersonal relationships and creative struggles to produce their hit album, Rumours.  So much a mirror that there were lawsuits concerning the parallel of the stories. 

(In reality, "Fleetwood Mac producer Ken Caillat  and co-author Steven Stiefel sued the creators of STEREOPHONIC in late 2024, alleging copyright infringement for allegedly stealing substantial parts of their memoir, Making Rumours.”  “A settlement in December, 2024, resolved the dispute and paved the way for future productions.”) 

Each of the four-acts has a specific date, place and action.  For example, in Act I set in July, 1976, in Sausalito, CA, an unnamed band gathers at a studio in Sausalito to record their second album.  The band rehearses new songs, while their personal angst-filled lives unfold.
  
In Act II, which takes place in September of 1976, musical and aesthetic conflicts continue, with different arrangements of various songs being tried.  
 
Act III, which takes place in late December of 1976, continues to probe the album’s march toward completion, while personal issues continue to thwart the progress. 
 
Act IV: First week of June 1977, Los Angeles, CA reveals more of the nightmare of the recording process and the lies that are needed to accomplish the task.
 
David Greene, the Senior Vice President of Programing for Playhouse Square writes, in the show’s program notes, “At its heart, STEREOPHONIC is about the creative process—exhilarating, exhausting and often brutal.”  He goes on to state that after he saw the show in the Big Apple, “The play lingered with me for days, not because of its spectacle, but because of its honesty.”  He also states that, in his opinion, “the show is unforgettable.”
 
I wish I, and, as it appears much of the audience, agreed with Greene. 
 
My attention started to wain about a half-hour into the show.  It was about the same time that I noticed audience members starting to exit the theatre.  
 
After intermission, and my wife having asked, “Do we have to stay?,” I became aware that the two rows in front of us, were basically empty.  A glance to the left indicated that that section, which had been totally occupied, had lost many of its members.  
 
At the show’s conclusion, when the nice LAND audience was usually on its feet giving a show a standing ovation, many of this assemblage were flooding toward the exits, having given  meager applause.  
 
Is the show bad?  I think not.  It is contains conflicts that seem contrived, and a fragmented soap-opera story, which doesn’t always flesh out what is going on.  These are overlaid on a marvelous musical score.  
 
If only the script was of the same quality as the music.  
 
I’m not sure what motivated the Tony nominators and voters to garner the show its many  honors, but it appears that not only I, but some of the local audience, were not as enthralled.
 
The less than enthusiastic reaction is not aimed at the cast.  They were excellent.  Their singing and musicianship were of the highest level.  In addition, David Zinn’s studio set was perfection.  Director Daniel Aukin paced the show well.  
 
Maybe the problem was editing of the original script to what is now dubbed “The Radio Edit”—the cutting of the running time to three hours.  Maybe something was lost in the paring.  Maybe it was vastness of the Connor Palace and the loss of the needed intimacy.  Maybe it was all the awards, setting the audience’s expectations too high.  Whatever. . . 
 
CAPSULE JUDGMENT:  The touring production of STEREOPHONIC was, in the mind of this observer, unfortunately, less than expected! (I wish I had seen the Broadway show as the basis for comparison.)
 
STEREOPHONIC, as part of the Key Bank Broadway Series, runs through January 26, 2026.  For tickets 216-241-6000 or go to www.playhousesquare.org.
 
Next up:  Feb 3 – 22, Connor Palace…the acclaimed Tony Award®-winning musical SUFFS about the brilliant, passionate, and funny American women who fought tirelessly for the right to vote. 

SPONGEBOB, farce-lite at Beck Center

 

When I reviewed it on Broadway, several year ago, my capsule judgment stated: “SPONGEBOB SQUAREPANTS THE BROADWAY MUSICAL” is a wonder of neon psychedelic delight starring a character-perfect lead surrounded by a fun-centered cast which should delight adults and children of all ages!”  Therefore, my expectations for the Beck Center production of the script were sky-high, especially when I found out that many of the cast are from the newly founded musical theater program at Oberlin College.   The musical was conceived by Tina Landau.  It has songs by such artists as Sara Bareilles, Cindy Lauper and Rob Hyman, Lady Antebellum, John Legend, David Bowie and Brian Eno, Steven Tyler and Joe Perry of Aerosmith.   It is based on the characters and themes of the “SpongeBob SquarePants” animated children’s television show, which was created by marine biologist and animator Stephen Hillenburg.  It takes place in the fictional underwater city of Bikini Bottom.    SPONGEBOB SQUAREPANTS has its own vision…to entertain in a psychedelic underwater world of neon colors.  No strong message, but there are child-friendly hints of the value of friendship and of overcoming fear!       The stage version opens as SpongeBob SquarePants wakes up, in his usual wide-eyed happy mood, ready to face another wonderful day with his pet snail, Gary.  He wanders through Bikini Bottom, greeting various people including his best friend, Patrick (a squid) and Sandy Cheeks (a human who lives in a bubble-like dome and possesses great scientific skills).     As the day progresses a violent tremor rocks the town.  A television news report relates that a nearby volcano is about to erupt.  Oh, what to do?  Stay and be destroyed?  Flee?  Find a way to save the city by neutralizing the danger.    Hey, this is an escapist farce.  There has to be a plot device that contains danger, a bad guy and a happy ending to fulfill the formulaic story requirements.      So, off to climb the volcano, get rid of the danger (thanks to an invention by Sandy), and defeat an evil villain.  And, of course, our hero has to be the title character—SpongeBob.   The process of saving the town is filled with lots of singing and dancing, climbing the walls of the volcano, skateboarding rockers, and ideally lots of overdone farcical acting.  Donald Bianchi, the creative genius and founder of Dobama Theatre had many pet phrases that he used when directing.  Among his “Donisms” was his saying that to be successful, a production had to have “ziztfleish,” the Yiddish/German word which implies "the ability of the performance to grab and hold the audience’s attention, thus getting the viewers to focus on the stage.  The test of this was to watch the audience members and be aware what they were doing.  Shuffling in their seats, rattling the programs and whispering to others, were signs of negative ziztfleish.     Though the Beck cast puts out full effort, a combination of the difficulty of doing farce, and a lack of directing creativity, left the Beck production lacking in the fantasy factor, thus the audience, primarily young kids, had difficult sitting still.  The parade of youngsters up and down the aisle, jumping around in their seats and asking questions of their adult companions, was of a high level.     These kids are used to action loaded and farcical schticks.  They obviously didn’t find it in this performance.  As the restless four-year-old blond cutie sitting in front of me, who was using her chair alternately as a bed and trampoline said to her father at intermission, “This isn’t fun like tv SpongeBob.”  Nope, no ziztfleish!   The show needs a farcical, quirky set, creative costumes, goofy and over-the-top acting.  In-other-words, everything that would make for escapist enjoyment.  The cast needs to have the direction that allows them to excite the viewer and hold their attention.     The Beck staging has some of those things.  It just doesn’t have all of them, or enough to come close to duplicating the wonderful Broadway version.     The set needed more Rube Goldberg gimmicks and fantasy graphics.  The volcano needed to be more treacherous and hold more potential danger.  The actors needed to be more playful.  Be bigger than life!  The lighting, the sound effects, the costumes need to excite.    Kudos to Lauren Marousek for her creative choreography.  The high points of the show were the wonderful tap dancing and kick-line sequences.   Probably, of interest to Beck patrons is that SPONGEBOB was produced in New York by the Araca Group, Cleveland natives Matthew Rego, Michael Rego, and Hank Unger, who are members of Beck’s Alumni Hall of Fame.  The show added to the group’s ever-expanding list of Broadway hits, which include such smashes as URINETOWN, WICKED, ’ NIGHT MOTHER, THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, ROCK OF AGES, and THE OUTSIDERS, last year’s Tony winner for best musical.   Capsule judgment: “Spongebob Squarepants The Broadway Musical” delighted on Broadway.  The Beck production is an acceptable, if underwhelming version!   For tickets to SPONGEBOB, call 216-521-2540 or go on line to beckcenter.org.

Touring SPAMALOT a little less zany than expected, but still funish!

SPAMALOT, also known at MONTY PYTHON’S SPAMALOT: A MUSICAL (LOVINGLY) RIPPED OFF FROM THE MOTION PICTURE MONTY PYTHON AND THE HOLY GRAIL, is settled in at the Connor Palace for a short run (December 1-6).   From the very start of the show, you know that you are in for a “different” evening!  A recording encourages members of the audience to "let your cell phones and pagers ring willy-nilly," and the audience should "be aware there are heavily armed knights on stage that may drag you on stage and impale you."  (And, believe it not, some naïve second-row-seated gentleman, did find himself onstage!)   Though the trend today is for Jukebox musicals, revivals, and musical dramas, for those who want to laugh, there are of shows around that are classified as musical farces.  These include FUNNY THING HAPPENED ON THE WAY TO THE FORUM, SOMETHING ROTTEN and SPAMALOT.   SPAMALOT, with music by John De Prez and Eric Idle, and lyrics and a book by Idle, is based on the 1975 film ”Monty Python and the Holy Grail.  It loosely follows King Arthur on his quest to find members of his roundtable, and incidentally, the holy grail.   The show first appeared on Broadway in 2005, garnering fourteen Tony Award nominations.  It won for Best Musical.   During its initial run of 1,575 performances, the production was seen by more than two million people and grossed over $168 million.    It was one of eight UK musicals commemorated British postage stamps. The show starts harmlessly enough.  A historian relates the “history of England.”  Unfortunately, the fish smacking dance turns out to be Scandinavia and we are off on a serious of potentially outlandish “schticks” (bits). SPAMALOT has “everything that makes a great knight at the theatre, from flying cows to killer rabbits, from British royalty to French insulters, to dancing girls, fake shrubbery, and of course, the Lady of the Lake.”  There are lots of vaudeville-like scenes.   The score includes such classical songs as “The Song That Goes Like This,” “Find Your Grail,” ”You Won’t Succeed on Broadway (If you don’t have any Jews)” and “His Name is Lancelot.”   SPAMALOT makes references to other musicals, such as: “The Song That Goes Like This” (a spoof of Andrew Lloyd Webber productions; “Whatever Happened To My Part” reminiscent of “And I Am Telling You I'm Not Going” from DREAMGIRLS, the knights doing a bottle dance harking back to FIDDLER ON THE ROOF, and another reminiscent of WEST SIDE STORY; a member of the French army dressed as Éponine from LES MISERABLES; and a line pulled from "Another Hundred People" from Stephen Sondheim's COMPANY. The last time the show was in CLE, I was accompanied by two male tweens, who, following the show, skipped through the lobby, loudly singing, “Always Look on the Bright Side of Life” and yelling a line from another song, “I Ain’t Dead Yet.”  Yep, that’s the kind of experience this is, or should be.   CAPSULE JUDGEMENT:  A reviewer said of the original production, "It's UNFAIR to make me laugh this much!”  I wish I could say that of the touring show.  Unfortunately, I can’t.  This production seems to be missing some of the abandonment needed to really get the audience to let loose.   That’s not to say the show is bad.  It’s not.  But, it  seems a little uninspired, a little too much on automatic pilot, and not as zany as it could be or has been in previous incarnations.  We need more ridiculous farce and less-Hamlet drama! SPAMALOT, which is in its North American Tour launch, runs December 1- 6, 2025 at the Connor Palace.  For tickets call (216) 241-6000 or go to playhousesquare.org.

 

SHREK THE MUSICAL brightens up holiday season at CVLT

 

When theatre-goers think of the color green, many automatically recall Elphaba of WICKED.  Yes, she is definitely green, but she’s not the only musical character of that hue.  Besides the misunderstood Wicked Witch of the West there is Shrek, an also misunderstood emerald-shaded-being.  (And, let’s not overlook his lady-love, Princess Fiona).     As Elphaba flies around in the newly released movie, WICKED:  FOR GOOD, Shrek and Fiona are on stage at Chagrin Valley Little Theatre.   The stage show, often dubbed the "I'm a Believer" musical, based on the show’s song which was originally played as the audience left the theatre.   Due to the tune’s popularity, it was incorporated into the score on October 2, 2009, and is now sung by the entire company during the curtain call.   SHREK is a musical with music by Jeanine Tesori and book and lyrics by David Lindsay-Abaire. It is based on the 2001 DreamWorks Animation film of the same name.   The Broadway production of the show received eight Tony Award nominations, including Best Musical.  It ran 441 performances. At the time, it was one of the most expensive musicals to open on Broadway, at an estimated $25 million.  It has gone on to be one of the most produced community theatre and high school scripts, as well as having numerous international productions and touring companies.   The tale starts with “two ogre parents sending their seven-year-old son Shrek out of their house and into the world to make his living. They warn him that because of his looks, he will be shunned by the world. Some years later, an embittered, grown-up Shrek is living contentedly alone in a swamp.  However, his solitude is disrupted when a refugee caravan of fairy tale creatures show up on his property. They explain of their banishment from the Kingdom of Duloc, by order of the evil Lord Farquaad (a dwarf with short legs and a nasty disposition), who banished them for being “freaks,” under penalty of death if they ever return. Shrek decides to travel to see Farquaad and try to regain his swamp.”   And, thus, we are thrown into a fantasy which includes coming in contact with a donkey with a twisted sense of humor, a band of fairy tale characters including Pinocchio, the Pied Piper, Peter Pan, the Cheshire Cat, the three bears, the Ugly Duckling, the Sugar Plum Fairy and the Big Bad Wolf, a lot of singing and dancing, and high antics.  And, of course, since this is a fairy tale, a happy ending!   In attending a CVLT production, don’t expect a professional staging.  There is not an Actor’s Equity member in the cast.  These are amateurs who are performing for the love of theater, interest in developing some experience and entertaining an audience.     The cast is enthusiastic, the score outstanding, and the musicians, under the baton of Heidi Herczeg, outstanding, and Chris Bizub’s directing keeps the action rolling right along.    Highlight musical numbers include “What’s Up Duloc?”, “I Know It’s Today,” “Who I’d Be,” “When Words Fail,” “Build a Wall,” “This is Our Story,” and “I’m a Believer.”  The choreography by Lauren Stepanski is ambitious. The settings and projections designed by Steven M. Savanyu, nicely conceived.     Strong performances were given by Tom Jones as Shrek, Caralyn Steck as Princess Fiona, Kaity Poschner as Donkey and Cameron Zona as Lord Farquaad.   CAPSULE JUDGMENT:  SHREK THE MUSICAL is a green-tastic script, with a strong score. It’s moral is to accept others for who they are, rather than judging them by their appearance.  It teaches self-acceptance, finding your own true self, and the importance of friendship and love that embraces your quirks and imperfections.  Be aware that this is a stage show and children who have seen the movie may be expecting more gimmicks than will appear on stage.   SHREK THE MUSICAL runs through December 14.  For tickets go to CVT.org or call 440-247-8955.

Normally, in a who-done-it, the question facing the audience is to figure out who the killer is.  In DIAL M FOR MURDER, which is now on-stage at Great Lakes Theater, Jeffrey Hatcher, who rewrote the present play version of the epic, doesn’t leave us in the air. Early in the play we know who the bad guy is, the questions are, will he get caught or will he get away with perpetuating a perfect crime.  It isn’t until the very, very end that, as we sit at the end of our chairs, biting our finger-nails, we get an answer!

The script was originally penned by Frederick Major Paull Knott, an English playwright and screenwriter known for complex crime-related plots.  Hatcher’s adaptation has gone on to be one of the most-produced plays.

The plot is simple, “Tony Wendice married his wife Margot for her money; he now plans to murder her for the same reason. Tony arranges the perfect murder – he hires a scoundrel to strangle Margot, and arranges a brilliant alibi for himself.”  But, the obvious becomes less obvious, the apparent isn’t that apparent, and the best plans can often go astray.”

Set in a beautiful London art deco apartment, the suspenseful script, builds tension through plot twists and turns, gradually revealing Tony’s scheme, using sharp irony in what is apparent and real, often twists into the unexpected.  The plot dangles upon a key, a scissors and a stocking. 

Opening in 1952, the show was an instant success with critics and audience, alike.  So much so it was immediately bought by Warner Brothers and turned into a movie.  The flick was directed by the Master of Suspense himself, Alfred Hitchcock, and featured Grace Kelly as Margot and Ray Milland as Tony.

The story illustrates how greed, secrets and reputations often motivate what we do and why we do those things.  

The Great Lakes Theater production, under the steady directing of Sara Bruner, is a well-paced, excellently acted, and a technically fine staging.

Nick Steen, as has been the case in his twelve seasons with GLT, develops a clear-cad as Tony, who is intent in “doing-in” his wife and getting all her money.

Jodi Dominick is spot on as Margot, the wealthy woman who naively trusts her husband, Tony.

Carie Kawa, Margot’s best friend, and maybe rival for Tony’s affections, leaves us wondering, until the very end, of her real intentions and to whom she has loyalty.

Jeffrey C. Hawkins is fine as the sleezy would-be murderer, Captain Lesgate.

David Anthony Smith is on-target as the British inspector Hubbard.

Jeffrey Herrmann’s impressive fragmented set, Trad A Burns, lightening design complete with a menacing storm and stress-inducing illuminating levels, Matthew Webb’s oft-spooky sound effects and Darrin J. Pufall Purdy’s era perfect costumes, all add to the quality of the production.

Capsule judgment:  DIAL M FOR MURDER is the kind of play that, if well done, grabs and holds an audience.  The GLT staging is a well-done production that reaches that high level!  Go, enjoy a fun night of theatre!

Great Lakes Theater (GLT) continues its 64th season with DIAL M FOR MURDER, which runs through November 19, 2025, in the intimate Hanna Theatre at Playhouse Square.  Tickets range from $24–$119 (inclusive of all fees). $18 tickets available for patrons 25 and under. Groups of 10+ save up to 33%.

Next-up at GLT:  A CHRISTMAS CAROL, 11 28-12-21, 2025, Mimi Ohio Theatre.

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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