Inbal Pinto and Avshalom Pollak Dance Company

Israeli dance troupe captivates audience

When Pam Young, the Executive Director of Dance Cleveland, went to Tel Aviv, Israel to attend the International Exposure in Dance, she had an ulterior motive. Young was looking for companies for future programs. There were 40 dance troupes from 30 countries present. Young was drawn to Inbal Pinto and Avshalom Pollak Dance Company, an Israeli group. She set her sights on bringing them to Cleveland. Young not only succeeded in getting them to come, but to open their 2012 United States tour at Playhouse Square’s Ohio Theatre.

Besides Dance Cleveland’s usual corporate sponsors, the logistics of bringing in the troupe was provided by the newly formed Cleveland Israel Arts Connection, Jewish Federation of Cleveland, Mandel Jewish Community Center of Cleveland, and the Maltz Museum of Jewish Heritage.

An Israeli dance troupe. That translates to Klemzer and cantorial music and Sephardic and Ashkenazi folk dances. Right? Wrong!

The Inbal Pinto and Avshalom Pollak Dance Company blew away the capacity audience with the one-act, hour-long production of OYSTER, an ingenious creation which gives the illusion of a circus-world of wandering street people whose intimate artistic vision speaks of truths.

The full-length work is filled with dreamlike qualities which reminds the viewer of the works of Fellini and Tim Burton. It is set to the music of Piazzola, Leoncavallo, Harry James, Yma Sumac and the Tuvan throat singers. The latter is a variant of overtone singing practiced by the Tuva people of southern Siberia. The effect is mesmerizing and lends itself to an almost mystic-like involvement.

The troupe has 13 dancers who range in age from very young to 75 years of age, and are of diverse nationalities and backgrounds.

OYSTER is a series of scenes which are done with amazing fluidity. The movements require great physical control. It is both dramatic and comedic. According to the choreographers, the presentation is constantly being updated through rehearsal, performance, polishing and cast changes.

It’s almost impossible to give a blow-by-blow description of OYSTER as it contains ballet, modern dance, gymnastics, mime, acrobatics, flying figures, illusion, dramatic lighting effects, shadow movements, and the unexpected, all blending into a fascinating whole.

The printed program contained a column entitled Dance Matters by former Plain Dealer dance critic Wilma Salisbury. It was an interesting discussion, not only of Pinto/Pollack, but of why dance is important.

Capsule judgement: It’s too bad that the Inbal Pinto and Avshalom Pollak Dance Company was only at the Allen for two performances. The positive word of mouth would have sold out many, many concerts. Let’s hope that Dance Cleveland brings the company back…sooner, rather than later.

Martin Céspedes: choreographer extraordinaire

Spotlight on Martin Céspedes: choreographer extraordinaire

And, the award for the Best Choreography for a Musical Theatre Production in the Cleveland area during 2011 goes to Martin Céspedes for his reinvention of the dancing and staging for JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT at Beck Center. This type of citation is not unusual for the
Westlake resident.

Céspedes has been the recipient of more than ten Times [newspapers] Theatre Tributes awards. He was nominated by Northern Ohio Live for their theater award in 2005, 2006 and 2009. He was named by Scene Magazine as Cleveland’s Best Choreographer of 2006. He was highlighted for his theatrical work by Bravo magazine. He was nominated for the award as Outstanding Cleveland Choreographer by Broadway World.com. (The results have not yet been announced.)



Born in New York, Céspedes is a first generation American. His mother, who was a professional singer, is Puerto Rican. His father is Spanish.



He started to gain his dance knowledge when, in fifth grade, he was selected to participate in the elite Jacques d’Amboise’s National Dance Institute in New York City’s PS 161 Program. He was active in that group until, after his parent’s divorce, he moved to Lorain, Ohio to be near his mother’s family.



During high school, he danced in and choreographed local shows and was selected to appear on Cleveland TV’s ‘DANCE FEVER’ and NBC’s ‘WEEKDAY FEVER.’ After graduation he continued his training as an apprentice at the Denver Dance Theatre. While studying there, he saw a casting call for a professional western area tour of ‘GUYS AND DOLLS.’ He tried out, was selected, dropped out of the Denver company, and his professional career was underway.



He went on to appear in the national tours of ‘MAN OF LA MANCHA’ with Jack Jones, ‘THE KING AND I’ with Hayley Mills, ‘SOUTH PACIFIC’ with Robert Goulet and ‘WEST SIDE STORY’ with Bebe Neuwirth. He danced in opening acts for “Earth, Wind and Fire” and the “Bee Gees.”



Céspedes worked as theatre impresario John Kenley’s assistant, running dance rehearsals during the legendary producer’s last several seasons in Akron. He served as associate choreographer and fight captain for the PBS production of ‘LE CID’ with Placido Domingo. He has also choreographed for Great Lakes Theatre Festival, Cleveland Opera, Cleveland State University, Baldwin Wallace College, and The University of Akron Opera Department.


Céspedes considers himself to be a “hybrid director-choreographer in the mode of Jerome Robbins, Michael Kidd, and Bob Fosse.” Many in the Cleveland area would agree with him.

What’s in the future? Coming up are BLOODY BLOODY ANDREW JACKSON and LEGALLY BLONDE, THE MUSICAL at Beck Center. Then, MY WAY, A MUSICAL TRIBUTE TO FRANK SINATRA and MAN OF LAMANCHA at True North Cultural Arts.

Having just been inducted into SSDC, the national union for directors and choreographers, Céspedes feels he is “at the point where I am ready to break out.” Does this mean he will leave Cleveland? Though locals may hope not, it is going to be hard to keep this talented man in the area if prestige venues call.



For more information about Céspedes go to www.martincespedes.com

Ten Chimneys

Cleveland Play House inaugurates Second Stage with TEN CHIMNEYS

Believe it or not, for much of the 20th century, Genesee Depot, Wisconsin, was considered the center of the U. S. theatrical world. The site houses Ten Chimneys, the home of Alfred Lunt and Lynn Fontanne, considered by many to be the king and queen of Broadway theatre. The likes of Helen Hayes, Laurence Olivier and Katharine Hepburn were guests. In 2003, Ten Chimneys was opened as a museum for theater, the arts and the art of living (www.tenchimneys.org).

The Cleveland Play House’s Michael Bloom directed, Jeffrey Hatcher written TEN CHIMNEYS attempts to introduce us to the life style, acting skills and personal relationship of Lunt and Fontaine.

The play had its world premiere last January at Tucson’s Arizona Theatre Company, which commissioned the piece. Since then, due to positive reviews, it has become a much sought-after vehicle.

TEN CHIMNEYS is not totally factual, but is based on Hatcher’s imagination and information he gleaned about the couple, their life style and choices. The author indicates that his interest in the project had three thrusts: he was in the Lunt-Fontanne Theater in New York the day Lunt died in 1977 and became curious about the man, his reading of Hagen’s book, RESPECT FOR ACTING, and a tour of Ten Chimneys.

The story is set in the late 1930s. Alfred Lunt and Lynn Fontanne have decided to perform Anton Chekhov's The Sea Gull. They plan and rehearse the play at Ten Chimneys, their legendary Wisconsin estate, surrounded by actors, Lunt’s mother, step-sister and step-brother. When a young actress named Uta Hagen arrives, a romantic triangle begins to mirror the events in Chekhov's play about passion and art.

Lunt, who was generally recognized as his era’s finest actor, was so confident of his abilities on stage that he made a point of playing at least one protracted sequence with his back to the audience, conveying his character's emotions with his voice and body rather than his face. (A technique Donald Carrier does as well in playing the role.)

Fontanne, born in Britain, was noted for her comic skills, but also possessed the ability to play great drama.

One issue that has fascinated theatre gossips for years was the couple’s sexual orientation. A book about them, DESIGN FOR LIVING, recounts that, “Their marriage was almost certainly sexless. Passion was what they enacted on the stage.” As Fontanne herself said: ''We were friends right away. . . . I loved him utterly. We were in the same profession. We were like twins.'' Hardly sounds like a recipe for romantic love or sexual passion.

The play hints at Lunt’s life issues: an enmeshed relationship with his mother; a series of love letters from Ray Weaver, a life long friend and roommate; and, his close friendship with Noel Coward, who was such a frequent visitor at 10 Chimneys that he had his own bedroom.

The script is filled with witty lines, sarcasm and snappy comebacks. For example, when Sidney Greenstreet, who was a stage actor before becoming a movie actor in such classics as THE MALTESE FALCON and CASABLANCA, cuts down his on-stage performing, Fontaine asks him "but don't you miss acting?" The run-ins between Fontanne and Hattie Sederholm, Lunt’s mother light up the stage. For example, when Lynn learns a package has arrived and breaks into a run to get it, her mother-in-law says, “only a full-length mirror could cause her to move so fast.”

Unfortunately, there are places where the writing lags in keeping the action moving.

CPH’s production is audience appealing and filled with humor, but seems overly long due to some languid pacing.

Donald Carrier makes for a wonderful Lunt. He plays off others well and creates a finely honed character. Kelli Ruttle is appealing as Uta Hagen (the multi-Tony award winning actress). She does an excellent transition from young ingénue at the start of the play to mature actress at the conclusion.

Emmy Award winning Mariette Hartley is spot on as Lunt’s drama queen mother. She has a great time with both the satirical and manipulative scenes. Gail Rastorfer suffers wonderfully as Lunt’s put upon step-sister. Jeremy Kendall as Lunt’s step-brother Carl, gets all he can from his limited role. Michael McCarty not only has the Greenstreet girth, but hints at the real life person without doing an imitation.

Jordan Baker never seems to totally grasp the underbelly of Lynn Fontanne. This is a hard role to portray. It requires being the passionate Fontanne of on-stage life, while being the dispassionate Fontanne of real life. In addition, there needs to be precise timing in order to get laughter from the sarcastic lines. Somehow, in spite of some excellent moments, Baker just doesn’t give complete texturing to the role.

Set changes, musical choices which are era correct, and lighting effects are all quite good.

The Second Stage is a completely flexible theatre. For this production, the configuration is theatre-in-the square, meaning the stage is completely surrounded by the audience. Only 6 rows deep, there are no bad sight line problems seats. Be warned, however, that if you are not steady on your feet, that requesting front or back row seats is advisable. You can get to the ground row via an elevator by requesting help of the house manager. You enter the theatre, which goes down from the entrance, so anyone can easily get to the top row. (Sounds confusing, but once you get into the theatre you’ll understand.) In addition, the 19 steps down to the seating rows are quite narrow, as are the spaces between rows, resulting in some people expressing fear of falling.

CAPSULE JUDGMENT: Even if it’s not of the same quality as the company’s first three shows in their new home, audiences should generally like CPH’s TEN CHIMNEYS. It’s very worth seeing.

Hair

No bombs greet this version of HAIR at Playhouse Square

Theatre is representative of the era from which it comes. Seeing a play that reflects a specific time period reveals the cultural attitudes of the people and society of that instance.

Seeing HAIR, “The American Tribal Love-Rock Musical,” gives a vivid film clip of the 1960s and early 70s in the U.S. It was the era of the anti-war movement, rebellion against traditional societal patterns. It was the time of sit-ins on college campuses, hippie communes, flower children, pot smoking, tie-dye wearing, long hair, swearing and public nudity. It was a period of rage against the military-industrial complex. It was the time of a clear generational divide. If the young people could find a way to upset their elders, it was the “in” thing to do.

Written by Gerome Ragni and James Rado, the show’s book was put to music by Galt MacDermot. Its slim story was based on the authors’ personal experiences. It centers on Claude, a member of the hippie community, who sells out and allows himself to be taken into the Army rather than burn his draft card or go to Canada. The play concludes with Claude laying in a death-like pose on an American flag.

When the show first opened, it engendered strong protest. In fact, on April 25, 1971, a bomb exploded in front of Cleveland’s Hanna Theatre during the Age of Aquarius show’s run at that venue.

HAIR broke all sorts of theatrical traditions. Members of the cast, known as the “tribe,” constantly jumped off the stage and interacted with members of the audience, invited patrons to dance with them, and they gave flowers and hugs to the unsuspecting. The U.S. flag was used as parts of costumes and burned. There was full-frontal nudity. Swearing, sexual acts, pot smoking, mocking of parents, a dance-in after the curtain call invited everyone to come forward and “be themselves.” There was an intentional ignoring of theater’s proverbial “fourth wall,” a separation of the stage actions from the audience.

This is not a well-written book musical. The plot meanders, the songs don’t fit into the story, often doing nothing to move the plot along. Again, a break from the traditional musical of the day. Though often referred to as the “grand daddy of the rock musicals,” its really a mélange of music and imagery. The music changes from rock to country to ballad to African American rhythms.

The show intends to incite strong reactions. How could a script which includes such lines as represented by signs carried during a protest which state “I saw god (note the small g) and she’s black,” “It’s a war that sends blacks to kill yellows for whites who stole their lands from the reds,” and “lay don’t slay,” not bring about reaction…especially in the 1960s?

The highlight of action centers on Claude’s hallucinatory drug trip in Act II where a series of horrifying visions, loaded with historical figures who are presented in the oddest contexts. It’s a microcosm of the whole show, which essentially unfolds like a tune-filled acid trip that gives HAIR its distinctive period edge.

So, how does the show wear over 50 years? The times they have changed. Reaction to swearing, smoking of pot, nudity, and protest are mundane by today’s standards. Many of the references are beyond the knowledge of the younger members of the audience. Unless you are an uptight conservative or an evangelical, who are not candidates to attend this show, the goings on won’t evoke much reaction. Only the wonder of “what was all the fuss about?”

Some of the music has lost its luster. Aquarius didn’t send me off onto a journey of effervescence. In fact, as sung by Phyre Hawkins, it wasn’t compelling. Hashish, in this age of rampant drug usage, is just a song. On the other hand, I Believe in Love, Easy to be Hard, and Good Morning Starshine, have held up. Of course, having the luminous Sara King singing them helped as did their themes which aren’t era bound. Other highlights were Manchester England, Black Boys/White Boys, Donna, and Where Do I Go?.

The cast is good. Handsome, charismatic Marshal Kennedy Carolan, who was substituting in the role of Claude on opening night, displayed a fine singing voice and made for a sympathetic character who gave in to the system, rather than standing with his “tribe.” Baldwin Wallace grad, Steel Burkhardt, was sensual, sexual and like a kid with ADD as he yelled, screamed and cavorted all over the stage and into the audience as he sang up a storm as Berger. Sara King mesmerized as Sheila. Will Blum was a stitch as a cross-dressing Margaret Mead. Ryan Link was effectively spaced-out as Woof.

The on-stage musicians, some of whom seemed bored after the long road tour, still produced an effective sound and underscored the singers, rather than playing a rock concert and drowning out the important words. The sound system made hearing words an easy task.

CAPSULE JUDGEMENT: HAIR is a classic musical, which entered the theatre into an era of reflection of the turbulent era of the 60s. For those who want to relive the era, or who want to discover what was going on during those times, it’s a good nostalgic trip. A little tired from a long road trip, this isn’t a great production, but it is entertaining.

A Song for Coretta

Ensemble’s A SONG FOR CORETTA points spotlight on the other civil rights King

The recent dedication of the Martin Luther King, Jr. memorial in Washington, DC, draws further attention to the person credited with being the father of the African American civil rights movement. Often, the effect of his wife, Coretta, seems to be ignored.

Coretta Scott King was a leader, author, and the founder and former president of the King Center. She was a recipient of the Congressional Gold Medal and the Gandhi Peace Prize. Many also know that Mrs. King was a trained singer who was preparing for a career as a vocalist when she met a young preacher, Martin Luther King in the 1950s. Together they helped change history.

Pearl Cleage, in her play A SONG FOR CORETTA, now in production at Ensemble Theatre, explores the impact Mrs. King had on the lives of black women, and the connections they can build with one another through honoring her memory and legacy.

It’s Atlanta, Georgia, on a rainy afternoon in 2006 in front of the Ebenezer Baptist Church, where the body of Coretta Scot King is lying in state. She has died at age 78 after battling ovarian cancer and the effects of a stroke.

A bench center stage is emblazoned with a sign stating, “A seat for those who walked in Montgomery in 1955.” The march that, along with the bus strike that brought Rosa Parks to fame, and the restaurant sit-ins, resulted in breaking the back of segregation in the U.S.

The play centers on five women who are in line to pay their respects to the woman who many think of as a saint of the black community.

Fifty-seven year old Helen, a pious, up-tight, and proud Negro woman, met Mrs. King several times when, as a child, her parents took her to civil rights activities. She rode on the Montgomery bus the day the transit company gave in and let Blacks sit wherever they wanted in the vehicles.

Helen knows her civil rights history and is concerned with the decline of young peoples' values and their lack of interest in the history of the struggle for equal rights. Her fears are confirmed when she meets Gwendolyn, a 17 year old, who has just left an abortion clinic where she had gone to void herself of her second pregnancy. Lil Bit, Gwendolyn’s nick name, knows the words to rap music, but is unaware of any civil rights songs or the purpose or impact of the movement.

Zora is a 22-year-old journalism student who hopes her interviews with people waiting in line will be aired on National Public Radio.

Mona Lisa, a 40-year-old artist who survived the destruction and human horror of Hurricane Katrina, lost almost everything, and lives in her car.

Gwen is a traumatized Iraq war veteran, who is questioning the purpose of the war and the folly of service to her country.

Their serendipitous meeting brings them together and helps each to gain some understanding of how their lives are intertwined and have been influenced by Coretta Scott King.

Taylor’s script is purposeful and filled with the educational material that makes it a good choice for Black History month. It consists mainly of dialogue, with little action. There is some humor mixed in with history lessons and drama.

Ensemble’s production, under the direction of Margaret Ford Taylor is quite acceptable, but sometimes lacks the proper pacing and character development to bring out the impact of the script. In general, the actors stay mainly on the surface, feigning emotion and meaning, though there were moments of depth of motivation. Generally, however, they present characterizations rather than becoming the people they portray. It’s sometimes hard to feel the pain each of these women feels because our emotions aren’t stimulated.

We needed more of the emotional involvement displayed by Sonia Bishop (Gwen), when she exposes us to the horrors she experienced in the middle east.

CAPSULE JUDGEMENT: A SONG FOR CORETTA sets its focus on CORETTA SCOTT KING. It’s worth seeing Ensemble’s production to gain the seldom exposed tale of this important American history icon.

Steel Burkhardt....Berger in Touring Company of HAIR

The Steelman of HAIR, a BW product!

He has a superman inked logo on his arm with flashes of fire shooting out around it. He devotes huge amounts of energy working out at the gym. He spends a lot of time in public with either no clothes on or clothed only in a loin cloth. Fans are drawn to his charisma. Is he a super hero? No, he’s Steel Burkhardt, who plays the role of Berger in the touring production of HAIR, which is going to be playing at the Palace Theatre in downtown Cleveland from January 17th through the 29th.

Burkhardt, whose nickname is Steelman, is from Union, New Jersey. His local claim to fame is his attendance and graduation from Baldwin Wallace College.

How did he get from the Garden State to tiny Berea, Ohio?

During a recent phone interview, Burkhardt indicated that when he started his search for the “right” college, he was drawn to BW because of it’s ranking in the top five college musical theatre programs. During his first visit he instantly fell in love with the beautiful campus with places to ride his bike, the curriculum’s emphasis on self-empowerment and self-growth, the supportive rather than competitive nature of the program, and the quality of instruction.

He praises such faculty members as voice professor, Timothy Mussard, one of America’s most distinguished Heldentenors; Janeice Kelley-Kiteley, the dynamic, now retired dance instructor; Dr. Ellen Posman, Associate Professor of Religion; and, of course, Victoria Bussert, the heart of the music theatre program.

Bussert returned the admiration when she said of Steel, “I loved having him as a student -- always fun, generous and grounded.”

Burkhardt found that the BW stress on a music background, classical training and a balanced program allowed him to soar. It allowed him to present himself to potential agents and casting directors when he performed in the 2007 Senior Showcase in New York. It was from this experience that he got his agent and eventually was cast in the Central Park production of HAIR, which was followed by his performance in the revival of the show on Broadway, the London production, and now, the lead role of Berger in the touring production.

Ironically, Brukhardt’s introduction to HAIR was when he appeared in the show at BW.

Answers to questions he’s asked about the touring production:
•Yes, the famous nude scene, which caused bomb threats and pickets during the NY and touring show, climaxed on April 25, 1971, when a bomb exploded in front of Cleveland’s Hanna Theatre during the Age of Aquarius show’s run. Cast members are encouraged but not required to take off their clothes.
•The long tresses he displays on stage are his own…no extensions or a wig. He washes his hair once a week and just shakes it out and he’s ready to go.
•The show is Claude’s journey through free love and is personified by his love affair with Burger, which is implied but never really acted out on stage.
•The dance party at the end of the show when the audience members are invited up on stage to rock away is always energizing and is a celebration of life which encourages audience members to be “who you are.”
•The tour ends, ironically, in Cleveland, and then Burkhardt is back to New York to try out for hopefully a major role in another show.

An online bio summarizes Steel Burkhardt and HAIR. “Once upon a time Steel graduated from a school called Baldwin Wallace. He was shy in a small concert, then got naked in Central Park, was nude on a Broadway stage, then bared it again on the West End. Now he is ready for America…then perhaps the World!”

Special note: For a enlightening backstage tour of HAIR conducted by Steel Burkhardt go to: http://www.broadway.com/shows/hair/buzz/157333/hair-star-steel-burkhardt-invites-you-on-an-exclusive-backstage-tour/

Review of Reviewer's reviews--Stuart and Joyce Wallace

Thank you for your continuous marvelous reviews.

Stuart and Joyce Wallace

Baldwin Wallace College/A source for Broadway Talent

Cleveland’s Baldwin Wallace Musical College a source for Broadway Talent

There are many music theatre programs in the country. One of the repudiated “top five” is tucked away in tiny Berea, Ohio, a southwest suburb of Cleveland.

Yes, Baldwin Wallace College is exploding with talent that it unleashes upon the professional theatre world. There are a double digit of BW grads performing in, or getting ready to open in Broadway shows. Numerous others are running theatre companies, appearing in various professional theatre productions around the country, appearing on London's West End, and are trodding the boards on cruise ships and theme parks.

It’s the goal of the BW Music Theatre program to prepare students to compete successfully, and to sustain careers, as performers on national and international stages. The program offers an Intensive Conservatory-style training in Music (theory, solo & ensemble voice, and instrumental performance), In addition, Acting (for the stage and on-camera), and Dance (ballet, jazz and tap) help comprise the core performance instruction. The program has a very competitive entrance procedure, a limited enrollment, and strong academic rigor. Besides the Music Theatre major there are dance and Arts Management tracks.

The BW program has partnered with Cleveland’s PlayhouseSquare in both performance and arts management, as well as with the Beck Center for the Arts in suburban Lakewood.

The 2011-12 theatre season has seen or will see these BW grads on stage: Steel Burkhardt - HAIR (starred last summer on Broadway and is currently the lead in the National Tour); Kyle Post – SPIDERMAN; Hillary Elk – MEMPHIS; Cassie Okenka -- BONNIE AND CLYDE; Corey Mach – GODSPELL; Libby Servais - WICKED and LYSISTRATA JONES; Kevin David Thomas --REBECCA (opening in February); David Cameron Anderson – REBECCA; Trista Moldovan - PHANTOM OF THE OPERA (took over as the primary Christine on Broadway, December 9, 2011); Jen Noble -- GHOST, JR Bruno--national tour of THE BOOK OF MORMON; and Jill Paice--DEATH TAKES A HOLIDAY.

Victoria Bussert serves as the Director of the Music Theatre program. She is also a Resident Director at Great Lakes Theatre, while Scott Plate is the Department Chair.

Times Theatre Tributes--2011

TIMES THEATRE TRIBUTES--2011

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 and deserve recognition.

Only shows performed in 2011 which I reviewed were considered. Selections were limited to locally produced stagings, so none of the professional touring shows are recognized, though actors, directors and technicians who were imported by local theatres were considered. Actors are not separated by gender, equity or lack of union affiliation, or leading or supporting roles.

2011 BEST DRAMATIC PRODUCTIONS:
THE TRIP TO BOUNTIFUL (CPH)
INSOMNIA THE WAKING OF HERSELVES (CPT)
HUCK AND HOLDEN (Ensemble)
RACE (Beck)
THE LIFE OF GALILEO (CPH)

2011 BEST MUSICAL THEATRE PRODUCTIONS:
A LITTLE NIGHT MUSIC (FPAC)
CHICAGO (Porthouse)

2011 BEST CHOREOGRAPHY IN A MUSICAL THEATRE PRODUCTION:
Céspedes, Martin , JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (Beck)

2011 BEST PERFORMANCES IN A THEATRICAL PRODUCTION:
Mitchell, Lizan, THE TRIP TO BOUNTIFUL (CPH)
Kendall, Jeremy, A STEADY RAIN (Dobama)
Caraballo, Daniel, HUCK AND HOLDEN (Ensemble)
Hart, Dana, ST. NICHOLAS (Ensemble)

SPECIAL RECOGNITION:
Roe Green for her major contribution and underwriting of the Fusion Festival at the Cleveland Play House.

The staff, Board of Directors and management of the Cleveland Play House for their farsighted move to Playhousesquare.

Gina Vernaci, in working with New York’s Dodger Productions, to bring the developmental project, THE FAT CAMP to the Hanna Theatre.

Cleveland Play House, PlayhouseSquare Center, Cleveland State University for the re-creation of the Allen Theatre.

Jeremy Paul, Theatre Ninjas, for continued creativity in development of new and creative theatrical presentations.

Celeste Cosentino for giving new life to Ensemble Theatre.

Thanks to the following for making the 2011 theatre scene in the Cleveland area stimulating and memorable:

PLAY/MUSICAL
A LITTLE NIGHT MUSIC (FPAC)
A STEADY RAIN (Dobama)
CHICAGO (Porthouse)
COMPANY (Fairmount PAC)
DARWINII (CPT)
DADDY LONG LEGS (CPH)
HUCK AND HOLDEN (Ensemble)
INSOMNIA THE WAKING OF HERSELVES (CPT)
JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (Beck)
MY NAME IS ASHER LEV (CPH)
PASSING STRANGE (BW/PHSQ)
RACE (Beck)
RENT (BW)
THE LIFE OF GALILEO (CPH)
THE MIRACLE AT NAPLES (congruence-continuum)
THE TRIP TO BOUNTIFUL (CPH)
TRYING (Cesear’s Forum)
WOODY GUTHRIE’S AMERICAN SONG (Actors’ Summit)

DIRECTOR
Bobgan, Raymond, INSOMNIA THE WAKING OF HERSELVES (CPT)
Bussert, Victoria, PASSING STRANGE (BW/PHSQ)
Bussert, Victoria, RENT (BW)
Caird, John, DADDY LONG LEGS (CPH)
Cesear, Greg, TRYING (Cesear’s Forum)
Céspedes, Martin and Spence Scott, JOSEPH AND THE AMAZING TECHNICOLOR
DREAMCOAT (Beck)
Cosentino, Celeste, HUCK AND HOLDEN (Ensemble)
Douglas, Timothy, THE TRIP TO BOUNTIFUL (CPH)
Edwards, Michael Donald, THE LIFE OF GALILEO (CPH)
Hammer, Joel, A STEADY RAIN (Dobama)
Hoffman, Geoffrey, MIRACLE AT NAPLES (congruence-continuum)
Kent, Terri, CHICAGO (Porthouse)
Kepley, Laura, MY NAME IS ASHER LEV (CPH)
May, Sarah, RACE (Beck)
Paul, Jeremy, MY BARKING DOG (Cleveland Public Theatre)
Paul, Jeremy, THE EXCAVATION (Theatre Ninjas)
Sternfeld, Fred, A LITTLE NIGHT MUSIC (FPAC)
Sternfeld, Fred, COMPANY (Fairmount PAC)
Thackaberry, Neil, WOODY GUTHRIE’S AMERICAN SONG (Actors’ Summit)

PERFORMER
Anderson Boll, Heather, MY BARKING DOG (Cleveland Public Theatre)
Arnold, Curt, VALPARAISO (convergence-continuum)
Bergeron, Ryan, JERRY SPRINGER THE OPERA (Beck)
Bestic, Tricia, TRYING (Cesear’s Forum)
Black, Maryann, CHICAGO (Porthouse)
Brault, Pierre-Jacques, DR. DOOLITTLE (Mercury Summerstock)
Bredeson-Smith, Lucy, VALPARAISO (convergence-continuum)
Bruner, Sara, THE TAMING OF THE SHREW (GLT)
Caraballo, Daniel, HUCK AND HOLDEN (Ensemble)
Carthens, Kyle, HUCK AND HOLDEN (Ensemble)
Cataan, Ursula, COMPANY (FPAC)
Cleveland, Adrianna, DREAMGIRLS (Cain Park)
Colerider, Glenn, TRYING (Cesear’s Forum)
Culver, Tim, CHICAGO (Porthouse)
Domingue, Nina, YA MAMA! (CPT)
Eckstrom, Brittany, HAIRSPRAY (Beck)
Emeka, Justin, RACE (Beck)
Emerick, Sandra, CHICAGO (Porthouse)
Esposito, Scott, ASSASSINS (Lakeland)
Farrell, Diana, JERRY SPRINGER THE OPERA (Beck)
Floyd, Aric Generette, THE LIFE OF GALILEO (CPH)
Gehlert, Rachel, TIGERS BE STILL (Dobama)
Gorell, Andrew, PRESENT LAUGHTER (CWRU/CPH AC)
Grandillo, Sean, big, THE MUSICAL (FPAC)
Hammer, Joel, THE SEAFARER (Dobama)
Hancock, Robert Adelman, DADDY LONG LEGS (CPH)
Hart, Dana, ST. NICHOLAS (Ensemble)
Holsinger, Holly, INSOMNIA THE WAKING OF HERSELVES (CPT)
Hudak, Zac, FIVE BIRDS (convergence continuum)
Hudak, Zac, THE MIRACLE AT NAPLES (convergence continuum)
Kelly, Kevin Joseph, HAIRSPRAY (Beck)
Kendall, Jeremy, A STEADY RAIN (Dobama)
Keyster, Brett, DARWINII (CPT)
Kline-Messner, Paula, BECKY’S NEW CAR (Actors’ Summit)
Koesters, Nick, MY BARKING DOG (Cleveland Public Theatre)
Lawrence, Rod, PASSING STRANGE (BW/PHSQ)
Leach, Andrea, RENT (BW)
Learned, Brint, ASSASSINS (Lakeland)
Lee, Heather, BACKWARD IN HIGH HEELS (CPH)
Little, Kristi, HUCK AND HOLDEN (Ensemble)
Mackay, Donald Sage, SOMETHINGS AFOOT (CPH)
McEvoy, Anne, INSOMNIA THE WAKING OF HERSELVES (CPT)
McGinnis, Meg, DADDY LONG LEGS (CPH)
Mitchell, Lian, THE TRIP TO BOUNTIFUL (CPH)
Morgan-Moyer, Cerris, LEGACY OF LIGHT (CPH)
Nehring, Larry, THE SEAFARER (Dobama)
Patterson, Tracee A LITTLE NIGHT MUSIC (FPAC)
Patterson, Tracee, COMPANY (Fairmount PAC)
Pedlow, Amelia, LEGACY OF LIGHT (CPH)
Perrotta, Laura, CABARET (GLT)
Plate, Scott, A STEADY RAIN (Dobama)
Ratell, Dylan, CHICAGO (Porthouse)
Scerbak, Erin , GRIZZLY MAMA (Dobama)
Sage, Donald Mackay, THE GAMES AFOOT (CPH)
Scott, Aungelique, RACE (Beck)
Seibert, Chris, INSOMNIA THE WAKING OF HERSELVES (CPT)
Simon, Clyde, THE BOYS IN THE BAND (convergence continuum)
Stump, Tina, HAIRSPRAY (Beck)
Taylor, Myra Lucertia, THE LIFE OF GALILEO (CPH)
Thompson, Matthew Ryan, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
(Beck)
van Baars, Eric, HELLO DOLLY (Porthouse)
Violand, Greg, THE UNDERPANTS (Beck)
White, Jon, RENT (BW)
Whitworth, Paul, THE LIFE OF GALILEO (CPH)
Woodson, John, CABARET (GLT)
Woodward, Tom, RACE (Beck)

Composite cast
A STEADY RAIN (Dobama)
DADDY LONG LEGS (CPH)
HUCK AND HOLDEN (Ensemble)
INSOMNIA THE WAKING OF HERSELVES (CPT)
MONSTER PLAY (Theatre Ninjas)
MY BARKING DOG (CPT)
MY NAME IS ASHER LEV (CPH)
THE MARVELOUS WONDERETTES (Beck)
THE MIRACLE AT NAPLES (convergence continuum)
THE GAME’S AFOOT (CPH)
THE TRIP TO BOUNTIFUL (CPH)
WOODY GUTHRIE’S AMERICAN SONG (Actor’s Summit)

TECHNICIANS
Borski, Russ, costume design, DREAMGIRLS (Cain Park)
Burns, Trad, lighting design, JERRY SPRINGER, THE OPERA (Beck)
Burns, Trad, lighting design, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
(Beck)
Burns, Trad, set design, A LITTLE NIGHT MUSIC (FPAC)
Conway, Daniel, scenic design, THE GAMES AFOOT (CPH)
Gantose, Benjamin, light design, MONSTER PLAY (Theatre Ninjas)
Gould, Richard, set design, RACE (Beck)
Horvitz, Joan, set design, INSOMNIA THE WAKING OF HERSELVES (CPT)
Ingraham, Richard, MY BARKING DOG (Cleveland Public Theatre)
Metheny, Russell, set design, TWO GENTLEMEN OF VERONA (GLTF)
Mitchell, Joseph, set design, HUCK AND HOLDEN (Ensemble)
Needham, Ben, scenic design, THE MARVELOUS WONDERETTES (Beck)
Richards, Matthew, light design, LEGACY OF LIGHT (CPH)
Studley, Christopher, lighting design, THE TRIP TO BOUNTIFUL (CPH)
Tucker, Craig, costume design, A LITTLE NIGHT MUSIC (FPAC)

MUSICAL DIRECTION
Anderson, Michael, WOODY GUTHRIE’S AMERICAN SONG (Actors’ Summit)
Garret, Ryan Fielding, PASSING STRANGE (BW/PHSQ)
Goodpaster, Larry, THE MARVELOUS WONDERETTES (Beck)
Krol, John, ASSASSINS (Lakeland)
Swoboda, Jonathan, CHICAGO (Porthouse)
Swoboda, Jonathan, COMPANY (Fairmount PAC)
Swoboda, Jonathan, HELLO DOLLY! (Porthouse)
Webb, Matthew, TWO GENTLEMEN OF VERONA (GLTF)
Williams, David, A LITTLE NIGHT MUSIC (FPAC)

CHOREOGRAPHY
Black, Maryann, CHICAGO (Porthouse)
Céspedes, Martin, HAIRSPRAY (Beck)
Céspedes, Martin, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (Beck)
Crawford, John, HELLO DOLLY! (Porthouse)
Daniel, Gregory, RENT (BW)
Daniels Greg, DREAMGIRLS (Cain Park)
Reilly, Caitlin Elizabeth, THE MARVELOUS WONDERETTES (Beck)
Robertson, Pandora, THE LIFE OF GALILEO (CPH)
Weinberg-Katz, Bebe, COMPANY (FPAC)

If any names are spelled incorrectly or there are errors in identifications please let me know so I can change the permanent record on my blog.

If you would like to read any of my reviews for the year, please go to www.royberko.info, enter the blog and click on “2011 Reviews” or click on the name of the producing theatre and scroll through their performances. Reviews from previous years may also be accessed.

NOTE: THOSE WHO WOULD LIKE A CERTIFICATE ATTESTING TO THEIR RECOGNITION SHOULD E-MAIL ME @ royberko@yahoo.com. PLEASE INCLUDE THE ADDRESS TO WHICH THE CERTIFICATE(S) SHOULD BE MAILED!