Times Tributes--2005

TIMES THEATRE TRIBUTES--2005

Greater Cleveland is blessed with a vital theatre scene. It is the purpose of the TIMES THEATRE TRIBUTES to recognize theatrical experiences that, in the mind of this reviewer, were excellent.

I did not see all of the productions in the area, so only shows performed in 2005 that I reviewed were considered. Selections are limited to locally produced performances, so none of the professional touring shows are recognized, though actors, directors and technicians who were imported by local theatres were considered. Actors were not separated by gender or leading or supporting roles.

Thanks to the following for making the theatre scene in the Cleveland area vital and exciting:

PRODUCTIONS
AS YOU LIKE IT, GLTF
BABY, Kalliope
BEAUTY AND THE BEAST, Beck
A CHORUS LINE, Carousel
CLARENCE DARROW, Actor’s Summit
FOOTLOOSE THE MUSICAL, Carousel
I AM MY OWN WIFE, CPH
LONG DAYS JOURNEY INTO NIGHT, Ensemble
OPAL, Kalliope
PTERODACTYLS, convergence-continuum
SONGS FOR A NEW WORLD, Cain Park
THE SPITFIRE GRILL, Porthouse
STATES OF SHOCK, convergence-continuum
SWING, Carousel
THE BOYS NEXT DOOR, Porthouse
THE EXONERATED, Dobama
THE GOAT OR WHO IS SYLVIA?, Dobama
TUESDAYS WITH MORRIE, CPH
URINETOWN: THE MUSICAL, Beck

DIRECTING
Risa Brainin, AS YOU LIKE IT, GLTF
Anders Cato, I AM MY OWN WIFE, CPH
Alex Cikra, CLARENCE DARROW, Actor’s Summit
AC Ciulla, FOOTLOOSE THE MUSICAL, Carousel
Licia Colombi, LONG DAYS JOURNEY INTO NIGHT, Ensemble
Donna Drake, A CHORUS LINE, Carousel
Carol Dunne, SONGS FOR A NEW WORLD, Cain Park
Paul F. Gurgol, BABY, Kalliope
Paul F. Gurgol, CABARET, Kalliope
Seth Gordon, TUESDAYS WITH MORRIE, CPH
Joel Hammer, THE EXONERATED, Dobama
Joel Hammer, THE GOAT OR WHO IS SYLVIA, Dobama
Caroline Jackson Smith, JOHNNIE TAYLOR IS GONE, Karamu
Terri Kent, THE SPITFIRE GRILL, Porthouse
Claude Simon, PTERODACTYLS, convergence-continuum
Claude Simon, STATES OF SHOCK, convergence-continuum
Scott Spence, URINETOWN: THE MUSICAL, Beck
Fred Sternfeld, BEAUTY AND THE BEAST, Beck
A. Neil Thackaberry, HERBAL BED, Actor’s Summit
John Woodson, THE BOYS NEXT DOOR, Porthouse

PERFORMANCE
Sharon Alexander, THE SOUND OF MUSIC, Carousel
Lynn Allison, MERRY WIVES OF WINDSOR, GLTF
Michael Anderson, THE BOYS NEXT DOOR, Porthouse
Mike Backes, FOOTLOOSE, THE MUSICAL, Carousel
Tom Beckett, ROOM SERVICE, CPH
Marla Berg, OPAL, Kalliope
Marla Berg, A LITTLE NIGHT MUSIC, Kalliope
Sonia Bishop, THE FAMILY LINE, Karamu
Sonia Bishop, RAISIN IN THE SUN, Beck
MayAnn Black, THE SPITFIRE GRILL, Porthouse
Adina Bloom, BABY, Kalliope
Ed Blunt, TOPDOG UNDERDOG, Beck
Scott Boulware, THE THING ABOUT MEN, Actor’s Summit
Lucy Bredeson-Smith, TALES OF THE LOST FORMICANS, convergence-continuum
Brian Breth, PTERODACTYLS, convergence-continuum
Cornell Calhoun, III, JOHNNIE TAYLOR IS GONE, Karamu
Kathryn Cherasaro, MERRY WIVES OF WINDSOR, GLTF
Kathryn Cherasaro, AS YOU LIKE IT, GLTF
Alex Cikra, THE HERBAL BED, Actor’s Summit
Jennifer Clifford, THE CHILDREN’S HOUR, Beck
Kris Comer, OPAL, Kalliope
Kris Comer, BABY, Kalliope
Liz Conway, THE SECRETARIES, CPT
Andrew Cruse, THE BOYS NEXT DOOR, Porthouse
Andrew Cruse, LONG DAY’S JOURNEY INTO NIGHT, Ensemble
Kayce Cummings, WEST SIDE STORY, Porthouse
Kayce Cummings, THE SPITFIRE GRILL, Porthouse
Jimmie D. Woody, TOPDOG, UNDERDOG, Beck
Stephen Dale, STONE COLD DEAD SERIOUS, TITLEwave
Michael David Edwards, ROUNDING THIRD, CPH
Sandra Emmerick, THE THING ABOUT MEN, Actor’s Summit
Julia Evan Smith, AS YOU LIKE IT, GLTF
Dan Folino, BEAUTY AND THE BEAST, Beck
Scottie Gage, A CHORUS LINE, Carousel
Mark Alan Gordon, ROOM SERVICE, CPH
Natalie Green, BEAUTY AND THE BEAST, Beck
Sally Groth, THE HERBAL BED, Actor’s Summit
Joseph Haladey III, CABARET, Kalliope
Lauri Hammer, PTERODACTYLS, convergence-continuum
Hollis Hayden, Jr, THE BOYS NEXT DOOR, Porthouse
Marvin A. Hayes, JOHNNIE TAYLOR IS GONE, Karamu
Ali Hernan, THE SECRETARIES, CPT
Geoffrey Hoffman, STATES OF SHOCK, convergence-continuum
John Jensen, BABY, Kalliope
Betsy Kahl, URINETOWN: THE MUSICAL, Beck
Charles Kartali, TUESDAYS WITH MORRIE, CPH
Nick Keoster, THE HERBAL BED, Actor’s Summit
Annie Kital, LONG DAY’S JOURNEY INTO NIGHT, Ensemble
Nick Koesters, TEN MINUTES FROM CLEVELAND, Dobama
Robert Koutras, FOOTLOOSE, THE MUSICAL, Carousel
Kristie Lange, THE CHILDREN’S HOUR, Beck
Andrew May, YOU CAN’T TAKE IT WITH YOU, GLTF
Andrew May, AMADEUS, GLTF
Andrew May, MERRY WIVES OF WINDSOR, GLTF
Mitch McCarrell, SONGS FOR A NEW WORLD, Cain Park
Christopher McHale, A CHRISTMAS STORY, CPH
Dougfred Miller, AS YOU LIKE IT, GLTF
Scott Miller, THE GOAT OR WHO IS SYLVIA?, Dobama
Wiley Moore, THE PIANO LESSON, CPH
Marlon Morrison, THE PIANO LESSON, CPH
Cristin Mortenson, THE SOUND OF MUSIC, Carousel
Sarah Morton, T.I.D.Y., Beck
Sarah Morton, 4 MINUTES TO HAPPY, CPT
Kathryn Mowat Murphy, A CHORUS LINE, Carousel
A. Neil Thackaberry, CLARENCE DARROW, Actor’s Summit
Mark Nelson, I AM MY OWN WIFE, CPH
Bernie Passeltiner, TUESDAYS WITH MORRIE, CPH
Tracee Patterson, SONGS FOR A NEW WORLD, Cain Park
Tracee Patterson, THE GOAT OR WHO IS SYLVIA?, Dobama
Scott Posey, OPAL, Kalliope
Scott Posey, BABY, Kalliope
JdBowman, PTERODACTYLS, convergence-continuum
Chuck Richie, THE BOYS NEXT DOOR, Porthouse
Rhoda Rosen, THE CHILDREN’S HOUR, Beck
Linda Ryan, SHE STOOPS TO CONQUER, Actor’s Summit
Wes Shofner, STATES OF SHOCK, convergence-continuum
Wes Shofner, TALES OF THE LOST FORMICANS, convergence-continuum
Reuben Silver, TO KNOW HIM , JCC
Andrew Smith, BABY, Kalliope
Lenne Snively, THE SPITFIRE GRILL, Porthouse
Greg Thornton, ROOM SERVICE, CPH
Elizabeth Townsend, THE EXONERATED, Dobama
Elizabeth Townsend, FIFTH OF JULY, Ensemble
Wayne Turney, YOU CAN’T TAKE IT WITH YOU, GLTF
Wayne Turney, SHE STOOPS TO CONQUER, Actor’s Summit
Greg Violand, URINETOWN: THE MUSICAL, Beck
Jimmy Wood, THE EXONERATED, Dobama
Nan Wray, TEN MINUTES FROM CLEVELAND, Dobama
Matthew Wright, URINETOWN: THE MUSICAL, Beck
Brian Zoldessy, THE BOYS NEXT DOOR, Porthouse
Brian Zoldessy, TO KNOW HIM, JCC

Ensemble Cast: BABY, Kalliope
Ensemble Cast: A CHORUS LINE, Carousel
Ensemble Cast: THE BOYS NEXT DOOR, Porthouse
Ensemble Cast: SONGS FOR A NEW WORLD, Cain Park
Ensemble Cast: SWING, Carousel

TECHNICAL
MaryJo Alexander, Props, CLARENCE DARROW, Actor’s Summit
MaryJo Alexander, costumes, SHE STOOPS TO CONQUER, Actor’s Summit
Paul Black, lighting design, SWING, Carousel
Russ Borksi, set design, OPAL, Kalliope
Trad Burns, scenic and lighting design, THE SECRETARIES, CPT
Trad Burns, set design, THE GOAT OR WHO IS SYLVIA?, Dobama
James C. Swonger, musical arrangement, ROUNDING THIRD, CPH
Felix Cochren, set design, THE PIANO LESSON, CPH
Nolan Dell, WEST SIDE STORY, Porthouse
Dale DiBernardo, costume design, SWING, Carousel
Michael Gaino, Set Design, A CHRISTMAS STORY, CPH
Todd Krispinsky, set design, TEN MINUTES FROM CLEVELAND, Dobama
Hugh Landwehr, Set Design, I AM MY OWN WIFE, CPH
Don McBride, Set Design, RAISIN IN THE SUN, Beck
Don McBride, set design, URINETOWN: THE MUSICAL, Beck
Don McBride, Set Design, AIDA, Beck
Ben Needham, Set Design, BEAUTY AND THE BEAST, Beck
Ron Newell, set design, TALLY’S FOLLY, Ensemble
Devon Painter, Set Design, AS YOU LIKE IT, GLTF
Steve Pauna, set design, SPITFIRE GRILL, Porthouse
Paul Sannierud, set design, SWING, Carousel
Cynthia Stillings, lighting design, SPITFIRE GRILL, Porthouse
Lance Switzer, lighting, OPAL, Kalliope
Sergio Villegas, set design, VENUS, CPT
Eric Wahl, visual media design, STATES OF SHOCK, convergence-continuum
Gage Williams, set design, YOU CAN’T TAKE IT WITH YOU, GLTF

MUSICAL DIRECTION
Melissa Fucci, WEST SIDE STORY, Porthouse
Melissa Fucci, THE SPITFIRE GRILL, Porthouse
Larry Goodpaster, BEAUTY AND THE BEAST, Beck
Larry Goodpaster, URINETOWN, Beck
Nancy Maier, SONGS FOR A NEW WORLD, Cain Park
Brad Wyner and Anthony Ruggiero, OPAL, Kalliope

CHOREOGRAPHER
Martin Cespedes, URINETOWN: THE MUSICAL, Beck
Martin Cespedes, AIDA, Beck
Martin Cespedes, BEAUTY AND THE BEAST, Beck
Donna Drake, CHORUS LINE, Carousel
AC Ciulla, FOOTLOOSE THE MUSICAL, Carousel
Beverly Durand and Mark Stuart Eckstein, SWING, Carousel
Janiece Kelley-Kiteley, SONGS FOR A NEW WORLD, Cain Park

OTHER

The Halle Theatre--The wrecking balls have completed their work, so “Rest in Peace” to the long time home of the Jewish Community Center’s Drama program.

The closing of Dobama Theatre’s bowling alley theatre ends a long era of the theatre’s down-under Coventry Road run. Good luck to Joyce Casey in her wanderings until the new venue is built.

Bill Allman--his passing has left a big hole in the Cleveland Theatre Community’s collective hearts..his ever-present smile is missed.

Sean Cercone--for his insight and dilligence in raising the quality of performances and play selection at Carousel Dinner Theatre.

Goodbye to Wayne Turney, one of the area’s best overall actors, who has moved from the city to assume a college teaching position.

THE BEST OF THE BEST

I have continually been asked why I don’t select my “best of the best” for each season. So, to satisfy those requests, I present my selections:

2005 BEST LOCAL DRAMAS: ‘THE GOAT, WHO IS SYLVIA’ at Dobama; ‘BOYS NEXT DOOR’ at Porthouse.

2005 BEST LOCAL MUSICALS: ‘SONGS FOR A NEW WORLD’ at Cain Park; ‘URINETOWN’ at Beck Center; CHORUS LINE at Carousel Dinner Theatre

Beauty and the Beast (Beck Center)

‘Beauty And The Beast’ Is A Beaut At Beck!

‘DISNEY’S BEAUTY AND THE BEAST,’ which is now on stage at Beck Center, tells a "tale as old as time." It was originally conceived in 1740 as a dark and scary tale. In 1992 Disney released a lighter version of the story which became the first animated feature to be nominated for the Academy Award’s Best Picture. In 1994 Disney transformed the script into an award winning Broadway musical.

Beck is one of the first non-Broadway or touring companies to present the show. What is impressive about Beck’s getting the rights is that the show is still running on Broadway. This is yet another tribute to what’s been going on in Lakewood. The theatre, under the wise guidance of Scott Spence, has recently staged such winning productions as ‘URINETOWN,’ ‘MISS SAIGON,’ ‘AIDA’ and ‘THE FIX’ establishing itself as one of THE places to see musicals in the Cleveland area.

Their production of ‘BEAUTY AND THE BEAST’ under the able direction of Fred Sternfeld, and the marvelous choreography of Martin Cespedes, is yet another winner.

‘BEAUTY AND THE BEAST’ concerns a prince who, because he has no love in his heart, is transformed into a beast by an enchantress. To break the spell, the Beast must learn to love another and earn her love in return. If not, he will be doomed to remain a beast for all time.

Into the Beast’s life comes Belle, a beautiful young woman who lives with her eccentric father in a small town near the Beast’s castle. Belle longs for a life of adventure like those she reads of in books. Her father gets lost in the woods and wanders into the Beast’s castle, where he is imprisoned. Upon finding her father in the Beast's clutches, Belle offers herself as a captive in return for her father’s release. And...you can guess the rest. Yes, the Beast learns kindness and love, it is reciprocated by Belle, and we all go out of the theatre singing the likes of “If I Can’t Love Her,” “A Change in Me,” “Be Our Guest,” and the title song, “Beauty and the Beast.”

Beck’s production is enchanting. Everything from the sets, to the music, to the singing, to the dancing, to the cast, works well.

Natalie Green is glorious as Belle. She is beautiful, lights up the stage with her smile, sings like an angel and dances with ease. Her version of “A Change in Me” was enchanting. She is a star in every sense of the word.

Dan Folino, who has done some marvelous work in the area, has a full and powerful voice and gives a vulnerable texture to the role of the Beast that adds much to the characterization. His “If I Can’t Love her” was captivating. He and Green make the perfect fairy tale prince and princess. It is wonderful to see Folino, who has not been seen on the stage lately, appear where he should be--front and center! I can only hope that he will excite us with return performances.

Though he doesn’t have the physical presence or the natural swagger ideal for the role of the pompous Gaston, Josh Noble has a nice singing voice and a perfect set of pearly white teeth and creates an acceptable characterization.

Zac Hudak (Lefou) makes for the perfect straight man and punching bag for Gaston. If Hudak gets through the run of the show without a few broken bones it will be a marvel.

Doug Collier as Cogsworth (the clock), and Larry Nehring, who gives a Danny Kaye quality to Lumiere are both delightful, as is Tracee Patterson as Madame de la Grande Bouche (the dresser) and Kristin Netzband (Babette, the feather duster), and Miles Sternfeld (Chip, the tea cup). Aimee Collier has a fine voice. Her rendition of “Beauty and Beast” was charming. Unfortunately, she is missing the matronly touch needed for Mrs. Potts.

Martin Cespedes is a master of choreography. It is amazing what he can do with a group of performers who, in general, are not dancers. “Be Our Guest” and “Gaston” were absolute show stoppers!

Larry Goodpaster’s orchestra is excellent, remembering the rule that the orchestra in a musical plays backup to the singers, not giving a concert. Too bad other conductors at local theatres don’t follow Goodpaster’s lead.

Ben Needham’s scenic design is excellent. It is amazing how he used every inch of space on the small stage to allow for ease of movement.

Director Fred Sternfeld again proves that he is a master at placing large casts on stage and making them look good. He pays special attention to ensure that his chorus and townspeople are involved in the production and not just standing around as is often seen on local stages. His ability to invent “shtick” comes through loud and clear in this production.

CAPSULE JUDGEMENT: Beck’s “BEAUTY AND THE BEAST” is a delightful production. It is the best holiday present that the theatre could give its audience.

Side note: Beck Center would be wise not to sell bagged candy and bottles of soda before the show and at intermission. Though it is a fund raiser, the amount of ripping open bags of goodies and bottles rolling down the floor of the auditorium during the production is distracting for the audience. In addition, since ‘BEAUTY AND THE BEAST’ is not a children’s show, the box office would have been wise to inform ticket buyers that very young children might not have the attention span to sit through the production. No one expects total silence, but the yelling and talking by little ones during the show was very disturbing.

The Nutcracker (Cincinnati Ballet/Playhouse Square Center)

Local kids perform in Cincinnati Ballet's ‘THE NUTCRACKER’

For the past several years the University Hospitals Health System Ballet Series at Playhouse Square Center featured, as it holiday offering, the Pennsylvania Ballet in what I believed was an ill-conceived production of ‘THE NUTCRACKER.” This year they switched to the Cincinnati Ballet’s version. Based on my viewing of the Thursday night performance, it was a wise choice.

‘THE NUTCRACKER’ is a ballet is based on the story ‘THE NUTCRACKER AND THE KING OF MICE’ written by E.T.A. Hoffman. When Marius Petipa had the idea to choreograph the story, it was actually based on a revision by Alexander Dumas, the well known French author. His version reflects more of what we have come to love as the ‘NUTCRACKER BALLET.’

It is the story of a young girl who is given a Nutcracker Prince as a Christmas present. When she goes to bed she dreams of a tale the Nutcracker and his wooden soldiers as they fight against a Mouse King and his gang of mice. After the battle, Marie and the Nutcracker Prince are transported on a trip to the Land of Sweets where they are greeted by the Sugar Plum Fairy. The Prince tells her about their daring battle with the army of mice and she rewards them with a celebration of dance performances which include Spanish, Arabian, Russian and Chinese, as well as the Waltz of the Flowers. The dream ends as Marie is transported back to the safety of her bed, along with her precious toy Nutcracker Prince.

This is the stuff that all the beautifully clad little girls in the audience dream about.

Not since Cleveland Ballet’s Karen Gabay and Raymond Rodriguez performed the roles of Marie and The Nutcracker have I been as entranced with a dancing duo as I was with Adiarys Almeida (Marie) and Cervilio Amador (The Nutcracker). The duo were a delight. She is charming. The stage lights up every time she smiles. Her dancing skills equal her stage presence. She is certain in her toe maneuvers, does leaps into the arms of her prince with ease. Her movements have clear beginnings, middles and endings, something often missing except in prima ballerinas. Almeida is perfectly coupled with Amador. His partnering skills are strong. At no time did he falter in his catches, balances and lifts. His standing leaps were high and resulted in solid and secure landings. His horizontal turns were well executed. He displayed great body control. Since the casts change nightly, unfortunately you might not see this dynamic duo. Their duet at the end of Act II was exciting.

Noteworthy performances included Heather Liberman as the doll who came to life, Joseph Gatti as the Chinese dancer whose high leaps were impressive, and the adorable group of pot-bellied kids who emerged from the skirt of Mother Ginger’s dress during one of the dance numbers.

Part of the fun of the production was the presence of young children on stage. They were well trained and disciplined and added much to the artistic delight. Credit to Valentine Liberatore and Gladisa Guadalupe for their contributions.

Local children who performed in the production were Kathryn Tokar, Bay Village, Andrea Szabo, Columbia Station, Marissa Moore, Fairview Park, Madeleine Crosby, Lakewood, Ashley Fares, Lakewood, Alyssa Cook, North Ridgeville, Megan Auzenbergs, Rocky River, Jacqueline Gentner, Rocky River, Monica McDonough, Rocky River and Madeline Murphy, Rocky River.

The piece was not without its flaws. Rene Micheo, as Herr Droselmeier, the toy maker, failed to capture the pixie quality needed for the role. He altered between being menacing and playful, which led to some story development confusion.

The fight between the mice and the wooden soldiers lacked the needed playfulness. The soldiers did not march as stiff legged toys and the interaction between the opponents was not well spelled out. Several children in the audience shrieked with fear due to the scary looking rodents. In addition, several of the Land of Sweets dance segments, such as the Arabian segment, lacked the necessary pacing and power. Kristi Capps as the Rose lacked the needed free flowing ease. Her dancing was stiff and uninvolving. The one-dimensional flying bed did little to create the fantasy mood. Simply moving her one bed have been more effective.

Choreograher Val Caniparoli should be commended for his concept. The sets and costume designs by Alain Vaes were excellent, as was the full-orchestra under the direction of Carmon DeLeone.

CAPSULE JUDGMENT: Cincinnati Ballet’s ‘THE NUTCRACKER’ was a fine substitute for the poorly conceived Pennsylvania Ballet version. Though not of the quality of the now defunct Cleveland Ballet’s presentation, it makes for a fine evening of enchantment, especially if you get to see Adiarys Almeida and Cervlio Amador in the leading roles.

Golda's Balcony (Playhouse Square Center)

GOLDA’S BALCONY tells important story, but....

As I left the Palace Theatre following the opening night production of ‘GOLDA’S BALCONY, a female friend ran up to me and gushed, “Wasn’t Valerie Harper wonderful?” I paused for a second and said, “I knew it was Valerie Harper portraying Golda Meir.”

When an actor portrays a role, we should see, believe, experience the real person. There have been many portrayals that have accomplished that. Richard Kiley was Cervantes in MAN OF LAMANCHA. Zoe Caldwell was Maria Callas in Terrence McNally's ‘MASTER CLASS.’ On the local level, last year Wayne Turney didn’t portray Harry Truman at Actors’ Summit, we saw Harry Truman on stage. In that same venue, Neil Thackaberry transformed himself into Clarence Darrow several months ago. Dorothy Silver made us forget that she was Dorothy Silver and became Maria Callas in Beck’s production of MASTER CLASS. Those were “wonderful” performances. That’s what Valerie Harper should have done. It’s what, Tovah Feldshuh did when she portrayed Golda Meir in the Broadway run of the play. She was Meir.

In Harper’s case, the accent wasn’t consistent. Her body wasn’t intense, it didn’t naturally reflect the anguish. She stumbled over lines. She was acting, not reacting. I never lost the feeling I was in the theatre watching a performance. Was she bad? No. From my perspective, she was just not as wonderful as my friend seemed to think.

William Gibson, the author of ‘GOLDA’S BALCONY,’ developed the play as a series of stories, hinged together with personal comments. At times one has to wonder how much of Golda’s “own words” are really hers and how much were Gibson’s imagination. However, there is enough factual material to learn the lessons of pre-birth pangs and early years of childhood horror that the people of Israel endured.

Israeli Prime Minister Golda Meir was a controversial person. Often perceived as the strongest female leader this world has yet to experience, she was also a real person with hopes, dreams and heartaches. She obviously gave up much of her personal life, including a relationship with her husband and children, in order to help her chosen homeland become a reality.

The play is a mixture of comedy and tragedy. We often laugh through our tears from the opening explosion to the uncertain ending. The play, though it spans her entire life, focuses primarily on one incident, the Yom Kippur War of 1973. It takes us into Meir’s office as she fields a never-ending stream of phone calls, crises large and small, and political posturing while pondering her most difficult decision yet: whether to utilize nuclear weapons against her Egyptian and Syrian enemies.

Throughout, Meir’s commentary alerts us to her motives. She states, "My dream was simple, make a new world." And, make it she did. We are given a glimpse into how one woman mapped her life and how it affected the lives of millions of others.

Gibson does not sugar coat Meir. He reveals her as not only a strong and heroic leader, but someone often hard heartedly making decisions that had negative effects on those she loved.

CAPSULE JUDGEMENT: During its Broadway run, ‘GOLDA’S BALCONY’ was praised as “A 95-minute miracle.” It was that in the hands of Tovah Feldshuh. In the touring company personage of Valerie Harper it is an acceptable production.

Mrs. Bob Cratchit's Wild Christmas Binge - Cleveland Public Theater

IT’S THAT TIME OF YEAR...HOLIDAY SHOWS ABOUND


Each year theatre producers scramble to find some holiday show that will fill their theatre’s seats with patrons either trying to escape from holiday shopping, find the perfect Christmas/Channukah/Kuwanza experience for their children, or view a show in which their kids, grandchildren or the kids next-door are performing.

The results vary greatly. Great Lakes Theatre Festival dusts off the set, props and costumes each year and mounts Gerry Friedman’s version of ‘CHRISTMAS CAROL.’ Magical Theatre Company exhibits a different version of ‘CHRISTMAS CAROL.’ The Cleveland Play House performs a joyful ‘A CHRISTMAS STORY.’

Both CPH and Cleveland Public Theatre decided it’s time for both to stage ‘THE SANTALAND DIARIES, David Sedaris’s classic of his short-lived experience as Santa’s elf at Macy’s. The Ballet Series at Playhouse Square Center is bringing in the Cincinnati Ballet for its interpretation of ‘THE NUTCRACKER.’ (Praise to them for not returning with the poorly conceived Pennsylvania Ballet’s version of that ballet). Beck ignores the holiday all together with “BEAUTY AND THE BEAST.’ Carousel follows the idea of doing a non-holiday holiday show as they rock their house with ‘SWING!’ which they bill as “two hours of pure entertainment!”--which it is!

So, here I go, reviewing yet another in what seems like a continuous diet of holiday offerings. This time it’s Cleveland Public Theatre’s production of ‘MRS. BOB CRATCHIT’S WILD CHRISTMAS BINGE,’ Christopher Durang’s contribution to the season.

In its search for a holiday diversion, the City Theatre in Pittsburgh commissioned Christopher Durang to write a take-off on the classic ‘CHRISTMAS CAROL.’ Durang is noted for his jester-satirist look at the world , so, his thinking supposedly went, “Why not deconstruct a holiday tradition that has become as common as petrified fruitcake?” The result was ‘MRS.
BOB CRATCHIT’S WILD CHRISTMAS BINGE’ which premiered in November of 2002. Instead of Dicken’s serious and moralistic writing, Durgang’s approach is to make fun of and sarcastically present Dicken’s story with some weird twists.

This happy perversion is emceed by a black female Ghost ("I don't believe we have Negroes in 1843 London," Scrooge objects) who triples as Past, Present and Future, but who keeps getting mixed up as to which scene follows which. Right off she runs into a Mrs.
Cratchit who won't play along, and in spite of her ghostly skills in behavior modification she eventually needs help from Clarence, the newly-winged angel to straighten things out. Yes, the angel from “IT’S A WONDERFUL LIFE.” This is only one of many literary, theatrical and film illusions which includes forays into ‘OLIVER TWIST,’ ‘UNCLE TOM’S CABIN, and ‘THE OLD CURIOSITY SHOP.’ Durang also adds the mocking of Vice President Chaney and the energy moguls who inspire Scrooge to sell “Energy Units” in a get rich quick scheme. He even throws in a sibling rivalry between Tiny Tim and Little Nell over who is more pathetic. (I told you this wasn’t traditional Dickens.)

CPT’s production, under the co-direction of Randy Rollison and Gregory Vovos lacks polish, but is fun.

Meg Chamberlain, as she did in the previous CPT production of this show, is right on target as Gladys Cratchit. She believes she is caught in the wrong life, doesn’t like being poor, and eventually finds out that she is right and gets to switch lives. She makes the transition between desperate housewife and wealthy hotel baroness with delightful ease. And, as the tradition goes, “lives happily ever after.”

Nina Domingue plays it just right in her delightful interpretation as scattered brain Ghost. Dan Kilbane, he of big eyes and innocent face, is correctly irritating as the cloying Tiny Tim, complete with an ever-smiling face and rasping voice. Randy Rollison actually makes Ebeneezer Scrooge a likeable character, adding an interesting dimension to Durang’s mockery of Dicken’s moralistic take. Young Dan McCarthy is cute and correctly playful as Young Marley. Tom Weaver is so good as Bob Cratchit that a woman sitting near me moaned, after, once again, Cratchit acted as a wimp, “I’d like to get up on that stage and give him a smack across his empty head!” (How’s that for holiday
spirit?) On the other hand, Kevin Ritter often loses his concentration as Young Scrooge, going in and out of character.

‘MRS. BOB CRATCHIT’S WILD CHRISTMAS BINGE” runs through December 18 at Cleveland Public Theatre. For reservations call 216-631-2727.

A Christmas Story (Cleveland Play House)

CPH’s ‘A Christmas Story On Stage” is worth seeing

Ask Clevelanders where the movie “A Christmas Story” takes place and they’ll probably answer, “here.” Ask where the movie was filmed and they’ll probably state “the west side of Cleveland and on Public Square in front of what used to be Higbee’s and May Company.”

In reality, the movie does not take place in Cleveland. The setting for the movie and the play, which is now on stage at the Cleveland Play House, is Hohman, Indiana, the home of Jean Shepherd, the writer of the story on which the productions are based. And, though part of the movie was filmed in Cleveland, the production had to be moved to Toronto, because in the Winter of 1982, when the film was made, it didn’t snow much in the Best Location in the Nation. The downtown scenes were filmed with fake snow. But, take heart Cleveland banner wavers, the house at 3159 W. 11th Street, which was used for the exterior shots of the film, has recently been bought and is being refabed into “A ‘CHRISTMAS STORY’ museum.

Set during a Christmas season in the 1940's, nine-year-old Ralphie longs for the ideal Christmas gift--a “Red Rider 200-Shot, Range-Model Air Rifle with a compass in the stock and this thing that tells time.” When his mother, teacher, and even Santa warns, "You'll shoot your eye out!" Ralphie mounts a full-scale campaign that is a combination of innocence and calculation.

But this is more than a story about Ralphie and the BB gun. It is about the trials and tribulations of kids growing up in that safe and secure era which included being confronted by a bully with "yellow eyes,” and how a “Triple-Dog-Dare” leads to a tongue getting attached to a frozen lamp post. It highlights the tale of how Ralphie’s Old Man wins a "Major Award," which turns out to be a lamp in the shape of a woman's leg. And, how Ralphie blurts out swear words and gets his mouth washed out with Lifebuoy soap. It gives a glimpse of how Ralphie’s younger brother, who constantly has to go “wee-wee,” gets Santa to lose his cool. In reality, it’s a story of innocence, wonderment and the reality of being a kid.

When the movie was released in 1983 it did not become an instant hit. It wasn’t until it was released on video that it achieved cult status.

The film is big business. Leg Lamps sell on-line for $129.95. T-Shirts emblazoned with the film’s favorite lines including, "I Triple Dog-Dare You!", "You'll shoot out your eye,” and "Oh Fudge!" are available for $15.95. And Lifebuoy Soap is available for #3.95 a bar.

In 2000, an authorized stage play adaptation was written by Philip Grecian. It sticks very closely to the movie story line. It is that script which is being staged here.

The CPH production is directed by Seth Gordon. The play is generally delightful, though the pacing, at least on opening night, was somewhat slow and some of the characterizations could have been more on key.

Christopher McHale is marvelous as grown-up Ralph, who narrates the play. He is totally natural and completely believable. Charles Kartali as Ralphie’s Old Man and Elizabeth Ann Townsend as his mother are stereotype perfect. Angela Holecko, is a total delight as Esther Jane, the girl who has a crush on Ralphie.

Louie Rosenbaum (Flick) pulls off the best performance among the boys. He lights up a stage, especially when he gets his tongue stuck on the telephone pole and is being victimized by Alex Mayes (Scut Farkas, the bully).

Billy Lawrence creates the right image as Ralphie’s younger brother. The scene where he finds himself unable to move because of the amount of winter clothing he donned, is hysterical. The fact that he towers over Cody Swanson (Ralphie) creates a hard-to accept illusion for his required childish behavior.

Though acceptable in the role, Cody Swanson lacks the charisma, the delightfulness, to completely pull off the role of Ralphie. At times he says lines rather than creating images. For example, when he opens the box on Christmas Day and finds his long desired BB gun, there should have been unbridled delight. That quality just wasn’t present in that scene and in some others.

Michael Ganio’s fine scenic design consists of a snow-flaked filled sky, hanging over Ralphie’s multi-leveled house, a backyard, a school room, and a Santa’s mountain that would have made Higbee’s proud.

A side comment to purists: Higbee’s was a Cleveland department store. It didn’t have national branches. How could it be in Hohman, Indiana as the signs and references indicate?

CAPSULE JUDGMENT: I have loved ‘A CHRISTMAS STORY’ since I appeared as an extra in the film. (That’s a story which won’t be discussed here.) The Cleveland Play House production does little to break my affection though I wish the pacing was faster and some of the casting could have been different.