Apollo’s Fire’s ISRAEL IN EGYPT takes audience on a compelling journey

 

As the story goes, “In 1991, Jeannette Sorrell was invited to interview for the position of Assistant Conductor with The Cleveland Orchestra.  Sorrell met with Music Director Christoph von Dohnányi who told her that there was no point in trying to find time in the orchestra's schedule for an audition because the audience in Cleveland would never accept a woman as a conductor. Sorrell replied that she had actually not sought this post and she really wanted to work with period instruments. Following this interview, the orchestra's artistic administrator, Roger Wright, offered to help Sorrell launch a period-instrument orchestra in Cleveland." 

With Wright's assistance, “Sorrell received start-up funding from The Cleveland Foundation. The ensemble made its debut in June 1992 under the name of Apollo's Fire - The Cleveland Baroque Orchestra. The debut concerts were sold out. Apollo's Fire began receiving touring invitations within a few months.”  

And, a legend was started. Apollo's Fire, with Sorrell as Music Director, has developed a national and international reputation.

Apollo’s Fire’s recent production, HANDEL’S ISRAEL IN EGYPT A DRAMATIC ORATORIO, a concert which is a new adaptation, took the audience on a triumphant musical journey from the Israelites being enslaved in Egypt, escaping with the aid of the plagues that were cast upon their oppressors, and Moses leading the assemblage crossing the Red Sea into what is now Israel. 

The piece, which has a “dramatic arc, from grief and lamentation, through fear and crisis to triumph,” is a display of the startling abilities of the orchestra’s musical sounds and solo and choral performances.  

The two-hour evening is divided into two segments.  “Part I. Lamentations of the Israelites for death of Joseph.” It starts with the chorus singing, “The sons of Israel do mourn, and they are in bitterness; all the people sigh, and hang down their heads to the ground,” and ends with, “But the waters overwhelmed their enemies, there was not one of them left.”

Part II: “Exodus” and Part III.  “Moses’s Song” begin with “I will sing unto the Lord” and ends “I will sing unto the Lord for he hath triumphed gloriously.”

The printed program wisely provides a narration of the words being sung, which are easy to follow as the auditorium’s lights are left on.

ISRAEL IN EGYPT is different than many of the orchestra’s presentations as the music is played mostly by traditional Western instruments.  In contrast, in their recently released O JERUSALEM CITY OF THREE FAITHS, the musicians play regional and baroque instruments.  In addition, EGYPT is sung entirely in English, in contrast to many of the orchestra’s offerings in which a variety of languages are used.

The soloists, sopranos Margaret Carpenter Haigh and Molly Netter, tenor Jacob Perry Jr. and baritone Edward Vogel were excellent, singing meaning, not just words.  Daniel Moody captured the audience with his compelling countertenor tones.  Moody’s range, the highest male adult singing voice, was impressive in its pure tone.
 
Capsule judgment:  Whether you are a believer in the tale as a religious statement or as a piece of literature, the effect of Sorrell’s adaptation and arrangements and the quality of the Apollo’s Fire music and the singing, makes ISRAEL IN EGYPT a powerful emotional journey and an audience pleaser. 
 
Look forward to Virtuoso Bach & Vivaldi, March 18-22, 2022; and Mozart and the Chevalier, May 6-8, 2022. 

 

For information call 216-320-0012 or visit apollosfire.org.

Michael Cavanaugh rocks audience with THE MUSIC OF BILLY JOEL AND ELTON JOHN

  

 

Cleveland native, Michael Cavanaugh, has been called the “New Voice of the American Rock and Roll Songbook.”  He came to national fame when he was handpicked by Billy Joel to star in his Broadway musical MOVIN’ OUT.

 

Cavanaugh appeared in the Broadway show for three years, logging over 1300 performances, and receiving both Tony and Grammy nominations.

 

In THE MUSIC OF BILLY JOEL AND ELTON JOHN, which was on stage at the State Theatre for one night, the handsome, youngish-looking and charismatic Cavanaugh sings and plays some of the greatest hits of the two rock piano legends.  Included are Piano Man, Rocket Man, Bennie and the Jets, Movin’ Out, I’m Still Standing, and My Life.

 

How did Cavanaugh gain his fame?  The story goes, “When he was 7, his parents bought a piano and he began playing immediately. He played his first club show at age 12. By age fourteen, Cavanaugh was playing keyboard with bands at weddings and other events several nights a week.  In January 1999, Cavanaugh had the opportunity to play in Las Vegas, where he happened to catch the attention of Billy Joel.”  And, as the song goes, he was “Movin’ Out.”

 

Besides his theatrical performances, he appears with symphony orchestras playing music, not only songs of Billy Joel and Elton John, but those of John Lennon, Paul McCarthy, Paul Simon, Neil Diamond and James Taylor.

 

Cavanaugh has synesthesia. As explained when doing a media interview, "When I hear a note of C, I see the color red in my mind's eye. A is blue, F is gray. Growing up I thought everyone was like this." 

 

The local concert was a combination of music, comments by Cavanaugh, and some audience participation, consisting of singing and clapping. 

 

Most of the music segments found the performer accompanied by his five-piece band.  

 

Cavanaugh’s comments paid homage to his Cleveland, western burbs, Midpark High School roots.  His loyalty to his hometown was stressed when he related that during the Broadway run of MOVIN’ OUT he was made aware that the touring production of the show would be coming to 216/440.  He made arrangements for his Great White Way standby to take his place, while he came home to perform. 

 

Even his back-up band consists mainly of Ohioans. 

  

Those attending the concert hoping that, like his performance in MOVIN’ OUT, you would be able to hear his fine voice, clear articulation and beautiful piano playing, would have been disappointed.  Most of the evening was a loud rock concert, with sound and lighting fitting that type of venue, rather than allowing for the clear hearing of the words to the songs.  

 

The large audience, seemed to really be into the goings on, clapping, singing, hooting and giving every song explosive applause.  

Controversial JESUS CHRIST SUPERSTAR celebrates its 50th anniversary at the Connor Palace

 

JESUS CHRIST SUPERSTAR, now on stage at the Connor Palace as part of the Key Bank Series, is a show with a history of controversy.  It has been condemned by some religious groups, as well as sectarians.  

Some of the controversy is based on comments made by the script’s lyricist, Tim Rice, who said, “It happens that we don't see Christ as God but simply the right man at the right time at the right place.”  

Some Christians cried out that the comment was blasphemous and went on to complain that the characterization of Judas was too sympathetic, and that Jesus was misinterpreted.  The lack of resurrection of Jesus was also a point of contention as was the insertion of contemporary attitudes, slang and illusions to modern day life.  

Jewish organizations claimed that some of the illusions bolstered antisemitism.  Agnostics and atheists declared that it was religious propaganda, and it was banned in South Africa for being irreligious.

What’s the controversy about?  JCSuperstar is a rock opera with music by Andrew Lloyd Webber with lyrics by Tim Rice.  It is loosely based on “the Gospels’ account of the Passion.”  It “adds a texture above the religious text by examining the motives and psychological underpinnings of not only Jesus, but of Judas, who it spotlights acted as he did because he was dissatisfied with the direction Jesus was steering his disciples, and not for the gold he was given. 

The score is eclectic and powerful.  It is 80’s rock at its finest.  The score includes such classics as “Everything’s Alright,” “Hosanna,” “I Don’t Know How to Love him,” and, “Superstar,” as well as the showstopping, “What’s the Buzz.”

Released as a concept album, before it was staged, it was already a hit before it hit the theatrical boards.  When it finally opened, it ran for eight years in London and was the longest-running show for almost a decade.
In 2016, celebrating 45 years since the musical debuted on Broadway, JESUS CHRIST SUPERSTAR returned to London.  As a further tribute to the show, a 50^th anniversary tour edition, based on the London revival, was mounted.  It is this reconceived show that is now in CLE, after an opening and then an elongated delay.
 
In March, 2020, after performing two shows of a planned three-week run at Playhouse Square, the effect of COVID-19 pandemic hit.   The show, as was true with Broadway shows and all national touring productions, was closed!  Eighteen months later, it is back to audiences with their proof of vaccinations and the wearing of masks. 

No matter one’s religious beliefs, or lack of them, looking at the show from the standpoint of the musical score and the potential staging effects, there is much to admire.

Having seen the original staging in the early 1970 and many touring productions, I have usually left the theatre with an emotional hangover. Unfortunately, though admiring much of it, I found this edition to beoverdone and over-loud, stressing abundance over story telling.  
 
This is not a rock concert, it is a theatrical production, and hearing the lyrics that carry the meaning is paramount.  Often the band and orchestra, for this production there were 22 local string players added to the usual 11 musicians, overpowered the superb voices of the singers. (As the woman sitting behind me loudly whispered, “I wish I could hear the words.”)
 
The crucifixion, the cumulation of the production, dragged on and on, leaving the audience minus the passionate grip that the scene should evoke.
 
The staging is often breath taking.  The viewer is wrapped in stimulating lighting and exciting visual displays.  The question is, “Is this a story that is being told or a sound and light show?”  
 
Aaron LaVigne effectively underplayed the role of Jesus.  Omar Lopez-Cepero left a clear image of a philosophically tortured Judas.  Tommy McDowell was impressive as Peter.  The entire cast had strong singing voices and carried out the complicated choreography with ease.  

Capsule judgment:  JC SUPERSTAR, 50^th anniversary edition, is a spectacle that will leave some with the reaction that it is overdone, overly loud, stressing abundance over story telling. This is not to say the audience will not marvel at the show.  They will leave talking about the grandeur of what they have seen and heard.  The question is, did they see a sound and light show or an epic musical that effectively told its story?
 

Tickets for JESUS CHRIST SUPERSTAR can be obtained by calling 216-640-8800 or going on-line to https://www.playhousesquare.org/ 

Spell-binding LIZZIE THE MUSICAL rocks at Beck Center

Vickie Bussert, the director of LIZZIE THE MUSICAL, an exploration of the Lizzie Borden story, now on stage as a joint production between Baldwin Wallace’s nationally respected Musical Theater Program and Beck Center of the Arts, is no stranger to the show.
 
Bussert staged the show at the 14th Street Theatre, in Playhouse Square in 2012.  Three of the cast members, Ciara Renee, Keri Rene Fuller and Shannon O’Boyle, went on for Broadway careers.  
 
She then directed the Danish, London and Chicago premieres of LIZZIE, before making a return to PHSquare for four performances in 2017.  Veronica Otim, of that cast, has gone on to a Broadway career. 
 
Bussert says, “LIZZIE is such an exciting musical. I can’t wait to tackle it again for the Beck Center!”  
 
And, tackle it she does! 
 
The BW/Beck production is a high tension, rock-centric musical that has the audience bopping in their seats.  Matthew Webb’s high-octane band wails, and the cast powerfully develops that story with superb acting and singing.
 
Bussert went on to say, “This piece has the power of transformation for the actresses — I’ve seen it over and over again.  There’s just nothing written like this for women in the musical theatre canon.”  
 
She continued, “Although the cast is only 4, we not only double cast the show but added 5 amazing understudies — we weren’t going to let Covid win!”

What’s the show about?  Remember the jump rope rhyme, “Lizzie Borden took an ax and gave her mother forty whacks. When she saw what she had done, she gave her father forty-one.”

Yes, the Lizzie in the title is the infamous Lizzie Borden.

The story is set the late summer of 1892.  We discover that Lizzie Borden was accused of murdering her father and stepmother with an axe. During the trial, testimonies were muddled, evidence was incomplete, and, much to the chagrin of many of the townsfolk, Lizzie was acquitted.

“The musical delves into the mysterious mind of Lizzie Borden and speculates on the motivations she may have had: loss of inheritance, history of sexual abuse, overwhelming oppression, and madness.”

As for Lizzie, her birth name was Lizzie Andrew Borden.  Her father, as she reminds us throughout the show, wanted a son, thus her middle name.  
She was, at least by her recounting, sexually molested by her wealthy father. In addition, she and her sister, Emma, were harshly treated by her step-mother.

The murders and trial received widespread publicity throughout the United States and remain a topic in American popular culture to the present day. They have been depicted in numerous films, theatrical productions, literary works, and folk rhymes.  She, and the murder house, have become a cottage industry in Fall River.

The BW/Beck production is outstanding. From the opening notes of “Forty Whacks” the cast demands attention.  
 
(Note: The show is double cast.  All comments in this review are based on my seeing The Axe cast.”
 
The exposition is laid out clearly in “The House of Borden,” in which the cast of four, tells of the evil and angst within the four walls. The tale is broadened by Lizzie’s narration of the molestation by her father in the haunting “This Not Love” and the wrenching, “Gotta Get Out of Here,” both well-interpreted and sung by petite BW sophomore, Jessi Kirtley.  She commands the stage throughout the show.
 
We gain an understanding of the family dynamics when Lizzie joins in “Sweet Little Sister,” with dynamic BSW senior Autumn Key (Emma).  Displaying a strong singing voice, Key sometimes over did her volume, substituting loudness for line and lyric interpretation.  The duos “What the F#%k Now Lizzie” laid out what was going to happen now that their parents were dead.
 
Graduating BW senior, Colette Caspari, has a wonderful approach to humor and created a delightful Bridget, the family housekeeper, who knows all and tells all.  It is easy to see this talented lady on Broadway stages playing comic roles.  Her “The Fall of the House of Borden/The Alibi” was well-interpreted.
 
Pretty BW junior Andie Peterson nicely textured the role of Alice, Lizzie’s neighbor and secret lover. Her “Will You Stay?,” jointly sung with Kirtley (Lizzie) was nicely interpreted.
 
Jeff Herrmann’s free-standing house, which not only forms the boundaries for the acting area, but reveals the on-stage band, is right on as a setting design for Bussert’s image for the show.  
 
Charlotte M. Yetman’s spandex, see-through materials and goth costumes, help both in character development and in setting the right rock attitude.  
 
Carlton Guc does a nice job of balancing the loud band sounds with the performer’s voices.  Somehow, he even tames the bad Beck sound system, so that every spoken and sung word and lyric is easily heard.
 
Capsule judgment:  The BW/Beck production is a high tension, rock-centric musical that has the audience bopping in their seats.  Anyone who likes good singing and acting, powerful music and interesting story, will have a goth-blast at LIZZIE.
 
LIZZIE THE MUSICAL runs through February 27 in the Senney Theater of Beck Center for the Arts.  For tickets go to beckcenter.org or call 216-512-2540 X10.