Porthouse Theatre's LITTLE SHOP OF HORRORS features creative directing and fabulous choreograph

 

LITTLE SHOP OF HORRORS, the horror comedy rock musical which is now on stage at Porthouse Theatre, is the kind of show that many love to hate while others love it.  The topics of abuse and drug use, which are not in the wheelhouse of musicals, sometimes turn people off, as does the phy-sci-centered plot. Filled with rock and roll, doo-wop and early Motown music, it has a strong cult following who gleefully singalong with the shows catchy “Skid Row” “Somewhere That’s Green, and “Suddenly Seymour” and imitate the “Feed Me” sounds of Audrey II, the blood thirsty plant who plays a major part in the story’s warped plot. The Alan Menken (music) and Howard Ashman (lyrics and book) stage show, is loosely based on the low-budget 1960 black and white film of the same name. The plot based on the story, “The Reluctant Orchid,” a tale of a humble florist who uses a man-eating plant to get rid of his enemies and raise his own status. Howard Ashman, who wrote the lyrics and book, in the introduction to the acting edition of the libretto, states that the show "satirizes many things: science fiction, "B-movies, musical comedy itself, and even the Faust legend." The musical premiered Off-off Broadway in 1982, then moved to Off-Broadway for a five-year run. When it closed, it was the highest-grossing production in Off-Broadway history. The tale starts with a trio of street urchins named Crystal, Ronette, and Chiffon setting the 1960’s mood and foreshadow the tale, singing the title song.  We meet Seymour Krelborn, a geeky young man who was taken from an orphanage by Mr. Mushnik, the owner of a failing florist shop located on skid row.  Also present are cranky Mr. Mushnik and Audrey, a pretty blonde who is in an abusive relationship with Orin Scrivello, a sadistic dentist.  Seymour finds a mysterious plant that looks like a large Venus flytrap.  Since Seymour is secretly in love with Audrey, he names the plant Audrey II in her honor. Though Seymour takes very good care of it, the plant does not thrive in its new environment. He accidentally pricks his finger on a rose thorn, which draws blood, and Audrey II's pod opens thirstily. Seymour realizes that Audrey II requires blood to survive. Thus starts the farcical tale of how Audrey II’s blood-needs are met, the florist shop becomes famous because of Audrey II, the abuser gets “done-in,” Seymour finds a way to be with Audrey, and lot of other weird “stuff” happens. The Porthouse production, under the creative direction of Terri Kent, is delightful.  Morgan Mills (Seymour), is appealing and sings well.  It would have been nice if he was a little-more “geekier.”   Abby Stoffel has the right looks and attitude for Audrey.  Her “Somewhere That’s Green,” was the show’s emotional highlight.  A little less screeching while speaking, would have been appreciated.  The street urchins, Chiffon (Jocelyn Trimmer), Crystal (Israeljah Aylah Khi-Reign) and Ronette (Hannah Hall), who act as a Greek Chorus, commenting on the action, are top-notch.  Their singing, dancing and acting are show-stoppers. Tim Culver’s Mr. Mushnik is “kvetch” (whiner) perfect. Martin Cespedes’s choreography, especially in the scenes with the street urchins, was creative and visually compelling. His use of authentic 1960 dance moves, such as the Frug, Pony, Swim, Twist, Paso Doble and the ageless Hora, added a special choreographic aesthetic. Jennifer Korecki’s musicians, Brad Bolton (guitar) Don Day (Bass) and Scott Thomas (Percussion) were boppin’-right, underscoring, rather than drowning out the singers. The set, lighting, props and costumes all helped “flesh out” the production. No credit is listed in the program for who made the crowd-pleasing Audrey II puppets.  Since productions receive designs for building the puppets as part of the rental scripts and scores, which are based on the original Martin P. Robinson designs, the plant may have been locally produced, may have been rented from another theatre who did the show, or rented from a professional prop company.  Kudos to Robert Miler, the Audrey II Puppeteer, and Tyrell J. Reggins (Audrey II’s voice). Capsule judgment:  Porthouse’s LITTLE SHOP OF HORRORS is well directed by Terri Kent, creatively choreographed by Martin Cespedes, and musically on-key by Jennifer Korecki and her musicians.  Audiences should enjoy themselves with the spirited production, but may return home and get rid of their house plants. Ending notes:  Eric van Baars Porthouse’s Executive Producer, will be retiring at the end of this season.   In her pre-curtain speech on June 19th, Producing Artistic Director, Terri Kent wished me “Happy Birthday,” and recognized my presence in the audience.  Though greatly appreciated, I had to admit that the charming and thoughtful Terri was about a month early.  The banter that pursued got a good laugh from the audience.  THANKS TERRI! (The correct date is July 10 and I will be in the audience that day seeing GODSPELL.) Tickets are available at 330-672-3884 or www.porthousetheatre.com

Endearing ELLIOT AND ME pinpoints brotherly love

 

There’s a lot of brotherly love, some good songs, professional actors, and an appealing story going on at Chagrin Valley Little Theatre!   ELLIOT AND ME, a slight but charming script by Steven Willensky and Scott Coulter, with music and lyrics by the late Elliot Willensky, is based on the real-life experiences of Steve and his older brother, Elliot.   The script and life reveal that Elliot was a classic Zodiac Leo, “radiantly joyful, loving, living life to the fullest rather than taking responsibility, being self-centered, creative, loving to be obsessed over, a lover who loves to love for the sake of loving, and often a drama queen.”   Elliot, a brilliant but undisciplined student, graduated who from Boston University with a degree in biology. He undertook post-graduate studies and worked as a research scientist of the National Institutes of Health. He suddenly left his medical degree studies, much to the chagrin of his over-bearing mother, to become a songwriter.  Elliot's most well-known work is "Got to Be There" which was Michael Jackson's first solo hit and reached number 4 on the R&B singles chart in 1971.  The song reached number 5 on the R&B chart again in 1983 when it was covered by Chaka Khan. The song has also been covered by The Miracles in 1972, Boyz II Men in 2007, and an instrumental version by jazz guitarist/singer George Benson in 1993. Willensky continued his affiliation with the Jackson family into the 1980s, writing the noted Jermaine Jackson and Whitney Houston duet, "If You Say My Eyes Are Beautiful," which appeared on Jermaine's 1986 Precious Moments album.  He also wrote for Smokey Robinson. He composed the music for the 1999 off-Broadway musical ABBY'S SONG and served as the music coordinator for the Tony Orlando and Dawn variety show on CBS. Elliot died from complications of a stroke in 2010, at the age of 66.   Steve, on-the-other hand, is a Zodiac Cancer, who fits perfectly the definition as being “devoted; fond of their loved ones, often to an unhealthy degree; placing a high value on family and close friends; who often go to great lengths to defend them, no matter the price.”  Yes, Steve is a classic enabler, a softy for, as the script reveals, Elliot’s many appeals for a loan of money.  Yes, Elliot, the successful musical composer, had no ability or desire to manage money, much to the chagrin of Steve.   Now a Clevelander, Steve, a Brown and Northwestern graduate, is a successful “retired” businessman, and has been uber involved in the community.  He has served as a Board member of such organizations as The Menorah Park Foundation, The Cleveland Sight Center, and Intelligent Mobile Support, as well as being the Chief Executive officer of the Woodstock Theater Group, and a business development advisor.  Among his many recognitions was being cited as an “Everyday Champion” by WKYC-TV for “making high school students shine” and being selected as National Trustee of the Year by the Association of Jewish Aging Services.   As the CVLT program states, “In the early 2000s, Elliot and Steven began talk about fulfilling a lifelong dream—creating a show to feature Elliot’s song catalogue with family stories sprinkled in between the musical numbers.”     ELLIOT & ME, after 11 years of development, had its stage debut in 2021, at the Hudson Theatre Works in NJ.  It consisted of 8 original numbers and includes “I’m My Brother’s Keeper, ““We’ve Got Forever,” “The Singer,” “If You Say My Eyes Are Beautiful” and “Got to Be There.”   As the sometimes slowly moving production develops, with a blend of Borscht-belt comic standup skits, song interludes, verbal snapshots of a typical New “Joisey” Jewish mother and compassionate laid-back father, and heartwarming and frustrating interludes, we gain an understanding of strong and meaningful brotherly love and connection.   The local production, which is basically the same show that appeared on the Hudson Theatre Works stage, is directed by Michael Bias, with musical arrangements by Michel Holland, musical direction by Mathew Dolan, choreography by Amanda Whitford Grundy and Lighting by Valerie Hughes.     The two-person cast, who play not only the leads, but many supporting roles, consists of Equity actors Eric Briarley and Drew Seigla.     The duo take-on the actual aura of the brothers.     Briarley, who has a great singing voice, is loose-limbed, laid back and totally dynamic and undisciplined.  His Elliot is spot-on!   Drew Seigla, slightly chubby, and up-tight, creates a Steven that is true to form.  He has a nice singing voice and mumbles and stumbles in all the right ways.     The production works on many levels.  If it is to be performed again, the powers that be might consider having the boys, at least early on, have “Joisey” accents.  Since the play is stylized, prop tables, one on each side of the stage, in view of the audience,  instead of the small boxes which caused difficulty in finding items needed to flesh out characters, and two “mother” wigs, would eliminate breaking the flow of the show.  Since the production is already using electronic media, adding clips of Michael Jackson and others singing Elliot’s songs would add a needed alternate dimension.    Capsule judgment:  ELLIOT & Me is a “hamisha” (warm/comfortable) show that makes for an enjoyable evening of theatre.  It’s the kind of script that could be comfortably performed by community theatres and maybe even off-Broadway.   ELLIOT & ME runs through June 25 at Chagrin Valley Little Theatre, 40 River Street, Chagrin Falls.  Free parking is available adjacent to the theatre.  For tickets call 440-247-8955 or visit CVLT.org

SCHOOL OF ROCK

What happens when a musical film earns over $131-million on a $35-million-dollar investment?  If you are Andrew Lloyd Webber, you buy the rights and turn it into the musical SCHOOL OF ROCK with lyrics by Glenn Slater and book by Julian Fellowes.  
 
What happens when you take a dynamic, totally uninhibited actor who uses the stage as his playroom, add a bunch of adorably geeky fifth-graders who are singing, dancing and musical instrument playing phenoms, and add to the mix the rock musical sounds of Andrew Lloyd Webber?  The combination becomes SCHOOL OF ROCK. 
 
In contrast to his usual scheme of things, Britain’s Webber opened the show in New York rather than in London.  Why?  Child labor laws are more relaxed in the United States than in England.  In addition, the subject matter better fit Broadway than London’s West End.  But, most importantly, the American schools “produce the sort of kids required to actually perform the show.”  
 
So, what’s it all about?  
 
The musical starts with a performance by the No Vacancy band.  Dewey Finn, who has an ADHD-type personality, has difficulty pulling back his exuberance and keeps upstaging the lead performer.  Enough is enough, and he is kicked out of the group.
 
With no income, he moves in with and mooches off Ned, his long-time easily manipulated college band buddy, and part-time teacher, much to the irritation of Patty, Ned’s domineering girl friend.  
 
When a call comes for Ned to substitute at Horace Green, a prestigious prep school, Dewey sees a chance for some much-needed money by posing as Ned. Despite the doubts of Rosalie, the uptight principal, he gets the gig.
 
The kids are wary of him, especially the uber-organized, brainiac Summer.  He also has to confront the problems of Tomika, the extremely shy daughter of gay men, who turns out to be a superstar singer; Zack, the son of an uptight businessman who doesn’t realize his son is a musical prodigy; Lawrence, who has no confidence, but is a keyboard wizard; Freddy, who everyone thinks is intellectually slow, but once he gets a pair of drum sticks in his hand, he shows how talented he really is; Billy, who is flamboyant, has an interest in fashion design, but is not appreciated by his macho father.  Each of the other kids has untapped talent which the creative Dewey brings out through non-traditional means.
 
Dewey decides to enter them in the Battle of the Bands.  They get to the tryouts after sneaking out of school, but they are too late to play.  Summer tells the casting director that all the children have “stickittothemanis,” pleads for some mercy, and the heartbroken manager lets the kids perform.  Of course, they get into the competition.
 
What follows is a series of manipulations, implausible coincidences, and some out and out stretching of dramatic license.  The result?  Farce and hysteria run wild and the audience has one heck of a good time.
 
Do they win the Battle of the Bands?  That’s not important.  What is significant, is that Dewey and the kids find love and self-respect.
 
The musical score, though it includes iconic songs from the film, adds well-crafted additional theatrical melodies.  Among the show stoppers are, “You’re in the Band,” “Stick it to the Man,” “In the End of Time,” “Math is a Wonderful Time,” and “School of Rock.”  Throw in “If Only You Would Listen” and “Time to Play,” and you have the makings of a great score.
 
A positive staging of SCHOOL OF ROCK requires adorable music-talented kids, an uninhibited slacker dude to portray Dewey, an on-point rock band, and creative staging.  
 
Fortunately, Cain Park’s creative theater director Joanna May Cullinan has found most of the right ingredients.
 
In the original production, most of the kids played musical instruments.  Cullinan wisely cut that number down to a manageable four.  David Jezek (piano), Julia Leach (bass), Nathan Miller (guitar) and Jaiden Willis (drums) creatively whaled! 
 
The other kids in the cast—Nya Ku, Lucas Klodnick, Harmoni Garrett, Annie Pelletier, Gigi Simone Pretzer, Kaitlyn Bartholomew, Ella Stec, Ethan Monaghan and Sam Spencer all did a nice job of creating their characters.

Douglas F. Bailey II is slacker-right as the irrepressible Dewey.
 
Music director Bradley Wyner and his well-tuned six-piece band had the theatre rocking!
 
Ben Needham created a turn-table set that helped smoothly move from scene to scene.  The lights and sound helped enhance the show.
 
Cullinan’s staging was on-target and she did a great job of cueing the comedy.  
 
The only missing elements were the haphazard choreography, which often made the performance look chaotic rather than synchronized, and embarrassingly bad costumes.  The last scene where the kids and Dewey really break loose should have found them in leather, tie-dye, funky rock costumes, not in assorted garments which looked like they were scarfed together at the last moment from a thrift store.
 
In the long run, however, at-least not on opening night, where most of the audience brought bouquets of flowers to give their children after the screaming, stomping curtain call, did anything matter except the fact that the show went on.
 
Capsule judgment:  SCHOOL OF ROCK is a fun-filled show with a nice moral message. The Cain Park production is well-directed and performed. The music rocks.  The cast entertains.  It’s the kind of show that audiences love.   
 

SCHOOL OF ROCK runs through June 26 in the Alma Theatre of Cain Park.  For tickets go to cainpark.com 

THE SPARKS FLY UPWARD is an intriguing musical-in-process at Maltz

 

THE SPARKS FLY UPWARD, which was staged at the Maltz Performing Arts Center, from June 9th through the 12^th, is the creation of Cathy Lesser Mansfield.  She was not only the composer and librettist, but conceived the musical’s book.  

 
Lesser, a Cleveland area native, is founder and Executive Director of The Sparks Fly Upward Foundation, a non-profit organization dedicated to educating people about the Holocaust, genocide and tolerance through presentations of Sparks, and ancillary activities.  She teaches the course, “Holocaust and the Law,” at Case Western Reserve University School of Law.
 
The play begins on October 28, 1938 with the deportation of Polish Jews residing in Germany to Poland, and concludes with the re-dedication of the Neue Synagogue in Berlin in 1995.
 
At times the families turn to the BOOK OF JOB for diversion, reassurance and enlightenment. Job’s suffering, and the contest between good and evil represented in his story, are reflected in some of the lives of the characters, who face the question of man’s obligation to man in times of moral and political crisis. 
 
The story is told in the opera/operetta format of music and lyrics with on-stage electronic pictures and notations.
 
Extensive research by Lesser has resulted in historical accuracy.  Though the characters have been created for this piece, they are each a complication of real people.  
 
Composing a piece of music is challenging as it requires not only knowledge of musical form and the instruments that create the sounds, but an awareness of developing a purposeful score.  
 
Crafting a play, demands that the writer not only develop a meaningful plot and realistic dialogue that respects that the spoken word is not the same as the written word.  It requires an awareness of the restrictions of placing the creation on a stage with the need for movement, interactions, a set, lights, sound, costumes and special effects.  
 
Developing a musical is a daunting task.  Not only are there the requirements of the music and play, but there is consideration of choreography, individual and group vocalization and theatrical staging.  

Few, if any musicals are achieved in their first, second or even third incarnation.  It usually takes rewriting and reconceptualizing.   Even experts well-trained in musical theatre take many rewrites to “get it right.”  

Rogers and Hammerstein, Irving Berlin, Frank Loesser and Cole Porter all attempted, and failed, to make George Bernard Shaw’s classical PYGMALION into a musical.

The mega-hit FIDDLER ON THE ROOF was scheduled for closing out of town, without even a Broadway opening, until Jerome Robbins challenged Sheldon Harnick (lyrics) and Joseph Stein (book) as to what the musical was about.  They finally agreed that it was about “Tradition,” wrote a new opening, and altered the script to recognize the heart of the story.  
 
WEST SIDE STORY was originally conceived as an exploration of Jewish and Polish gangs in New York, entitled EAST SIDE STORY.  The original score and book were totally scrapped before the present script was developed.  
 
Though it holds much promise, THE SPARKS FLY UPWARD should be regarded as a work in progress.  The score is moving, highlighting the many emotions experienced by the Jews of Berlin, and many of the songs and scenes are captivating.
 
Questions arise in both script and staging.  There is an inconsistency in acting styles, ranging from ultra-melodramatic to non-involved.  There are long pauses to accompany set changes, many of which add nothing to the real story.  (One might ask why the furniture and inconsistently used doors were necessary.). The Job inclusions were often difficult to hear and, in some instances did not fit smoothly into the story.  The electronic graphics, which were very successfully used in the closing sections, often did not visually parallel to the story being told.  Setting the orchestra on the floor in the center of the stage, directly between the audience and the performers not only caused sight-line problems for the audience, a wall of emotional separation between the actors and the viewers, but glaring lights emitted from the musicians stands.  Why wasn’t the beautifully written program’s Story Synopsis more incorporated into the electronic visuals?  They would have made for an excellent guide to the tale.
 
Capsule judgment:  Kudos to Cathy Lesser Mansfield, Jeffrey Lesser and Daniel Singer for giving birth to a historically accurate production.  They can be of proud what they have produced so far. As a work in progress, it can be hoped that they will take the work to the next level. The project would be aided by a non-biased dramaturgy and a staging director viewing what has been developed and what needs to be tweaked for further development.

Exquisite touring MY FAIR LADY captivates at Key Bank State Theaatre

 

What do Rogers and Hammerstein, Irving Berlin, Frank Loesser and Cole Porter all have in common?  Yes, they are all composers of American musicals, but they are also just some of those who attempted, and failed, to make George Bernard Shaw’s classical PYGMALION into a musical. At one point, Shaw had given permission to transform his DEVIL’S DISCIPLE into the musical operetta.  The resulting CHOCOLATE SOLDIER was not to his liking and he stated, “Nothing will ever induce me to allow any other play of mine to be degraded into an operetta or set to any music except its own.”  This was especially true of PYGAMLION, supposedly his favorite work.  He was immovable on the point until he died.  After his demise, and the barrier was lifted, many tried but failed to transform PYGMALION. The problems were great.  Foremost, from the time of Rogers and Hammerstein’s smash hit, OKLAHOMA, which ushered in the Golden Age of the American musical, certain “rules” of writing the book for a musical were set.  Included was that there would be numerous settings, a B-level plot with a supporting couple, a chorus, dance numbers, and that it be about a romance.  (Think CAROUSEL, CAMELOT and ANNIE GET YOUR GUN.) PYGMALION didn’t have any of those elements.   Basically, the plot centers on “two older gentlemen who meet in the rain one night at Covent Garden. Professor Higgins is a scientist of phonetics, and Colonel Pickering is a linguist of Indian dialects. The first bets the other that he can, with his knowledge of phonetics, convince high London society that, in a matter of months, he will be able to transform the cockney speaking Covent Garden flower girl, Eliza Doolittle, into a woman as poised and well-spoken as a duchess.”   “The next morning, the girl appears at his home on Wimpole Street to ask for speech lessons, offering to pay a shilling, so that she may speak properly enough to work in a flower shop. Higgins makes merciless fun of her, but is seduced by the idea of working his magic on her. Pickering goads him on by agreeing to cover the costs of the experiment if Higgins can pass Eliza off as a duchess at an ambassador's garden party. The challenge is taken.”    This is not the “stuff” on which traditional musicals are made.    Mainly, there is no love story.  The plot is a reflection of Shaw’s attitudes about the rigidity of the British class system and his strong stand against the view that a person cannot shape his or her own destiny. A look at the ending of PYGMALION clearly illustrates this lack of a romantic tale.  In the play Eliza leaves Higgins after a quarrel, and Higgins remains onstage alone, in what Shaw describes as “a highly self-satisfied manner.” When attempts were made to give his tale a “happy ending,” Shaw fought back.  He even added a postscript essay, “What Happened Afterwards,” to the 1916 print edition of the play in which he explained precisely why it was impossible for the story to end with Higgins and Eliza getting married [or having a romantic relationship].  Another problem with making the conversion from play to musical is that, in contrast to many other such adaptations, the play is so tightly written that any attempt to shoe-horn songs or dance numbers destroys that language and flow of ideas.  It wasn’t until Lerner and Loewe realized that “the lyrics and music have to be an extension of Shaw’s dialogue,” that the classic masterpiece of straight theater could be reimagined as one of the greatest of all musicals. Other problems needed to be confronted before MY FAIR LADY became a staged reality. Shaw was specific that Eliza be eighteen.  Mary Martin, who was decades older than being a teenager, wanted to play the lead, but was too old for the role.  Legend has it that Rex Harrison, who was cast as Henry Higgins, was insecure of his “singing” ability.  He also seemingly had difficulty working with the young and non-classically trained Julie Andrews.  In fact, legend has it that the duo never really got along.  As recounted in one discussion of the two, “There was chemistry on stage, but they were never close off-stage.” Then there was the issue, whether caused by Harrison or her youth and lack of self-worth, that Andrews didn't consider herself to be the star of the show until the musical’s director, Moss Hart, convinced her of that. The original script played out at four and a half hours in its early development.  Technical problems were also encountered when, for the first time on Broadway, twin turntables were used causing balance and coordination problems for the cast and crew.  In spite of the issues, the show did open on Broadway on March 15, 1956 to critical raves.  The production set a record for the longest run of any show on the Great White Way up to that time.  It was followed by a hit London production, a film, and many revivals. The 2018 Lincoln Center revival opened on April 19, 2018 also to rave reviews.  This is the edtion that is now being staged. What about the touring production on stage at the Key Bank State Theatre?  (Personal note:  Having seen the Lincoln Center production in New York, it would be easy to compare the local staging with that version, but that would not be fair to local audiences as they are seeing what is on the Connor Palace stage, not what was, so comments will be limited to this staging.) The Bartlett Sher direction and Christopher Gattelli choreographed production has breathtaking scenery by Michael Yeargan and equally astounding costumes by Catherine Zuber.   It is a shame that the touring company’s smallish orchestra, which is light on string instruments, sounds harsh, rather than lush, brassy rather than sumptuous. The sound changes the emotional tone of the performance. The statuesque Shereen Ahmed, who has a lovely look as well as a strong voice, gives her own slant to Eliza.  She gives us a young lady, caught in the British societal system that has cast her as a “prisoner of the gutter,” but who has the instinct and grit to rise above her surroundings.  The performance makes clear that her “I want” desires, as expressed in “Wouldn’t It Be Loverly?,” are destined to be accomplished.  Achieved with Henry Higgins assistance, but by Eliza’s own gumption, once she has the needed tools to go forth and become an independent woman.  She sings meanings, not just words.  Bravo! Laird Mackintosh is no Rex Harrison-clone as Doolittle.  He makes the role his own.  He doesn’t talk-sing the lyrics, he has a glorious voice.  He starts off arrogant and cocky, (” Why Can’t the English?”).  He doesn’t disdain others; he just doesn’t consider them as being important.  His universe has the world revolving around his wants, desires and needs, as clearly set out in “A Hymn to Him.”  According to Higgins, Eliza has no role in “his” success of turning her into a lady.  It is all his talent that accomplished the task.  Of course, he did it.  Gradually, with Eliza’s teaching, he succumbs to his humanness (“I’ve Grown Accustomed to Her Face”).  As the Brits would say of Mackintosh’s Higgins, “Good show!” Martin Fisher gives a questionable interpretation to Alfred P. Doolittle, Eliza’s father.  Instead of curmudgeon, Fisher, with a football player’s build, and macho personality, misses out on the character’s charming underbelly, eliminating his captivating humanness.  Though “With a Little Bit of Luck” and “Get Me to the Church on Time” are show stoppers, they miss out on the character becoming an accidental “gent.”  In the reimagined orchestrations, “On the Street Where You Live” is written as a wistful song, showing a love-struck Freddy blindly enamored by Eliza.   Sam Simahk, who has a powerful singing voice, interprets Freddy as somewhat of a buffoon, which carries over into his almost maniac interpretation of the song.  Leslie Alexander is charming as Mrs. Higgins.  Kevin Pariseau is excellent as Colonel Pickering.  Lee Zarrett is properly obnoxious as Professor Karpathy.   The show has many highlights including the opening (“Why Can’t the English,” “Wouldn’t It Be Loverly’), the gorgeous, delightfully interpreted Ascot scene (“The Ascot Gavotte”),  the warm-hearted Eliza-Mrs. Higgins-Henry Higgins confrontation, “The Embassy Waltz,” “You Did It,” and “Without You.” Capsule judgment: MY FAIR LADY has deservedly been called "the perfect musical" and the Lincoln Center revival did nothing but increase the respect level. The touring company, may not be up to the New York performance level, but it is a visual and production delight.  It is well-worth a trip to Playhouse Square! Tickets for MY FAIR LADY, which runs through June 26, 2022, are available by calling 216-241-6000 and/or via www.playhousesquare.org

WAITRESS delivers a tasty treat at the Hanna, except for . . .

 

WAITRESS, which features an all-original score of music and lyrics by singer-songwriter-actress Sara Bareilles, which is now on stage at the Hanna Theatre, in a month-long Huntington featured performance, is unique in that, when it opened on Broadway, it featured an all-female production team.      Also distinctive was that, in order to immerse audiences, real cinnamon loaded pies were warming in special ovens creating the aroma of a pastry shop.  Slices of pie were sold before the curtain rose and at intermission.  The first national tour, which rehearsed and then opened in Cleveland on October 20, 2017, included the same smell-pleasing and mouth-watering device.    The Broadway production went the extra-mile by employing a bakery chef to teach the cast the fine art of pie-baking as several times during the show, pie-preps take place.   The musical opened in January, 2020 to mixed reviews, with much praise for Bareilles score and some questions about Jessie Nelson’s book.  It ran 1,544 performances, was closed by Covid, and reopened when Broadway once again went live.   Based on the 2007 film of the same name, it tells the story of Jenna Hunterson, a baker and waitress, who is in an abusive marriage.  She works with a group of supportive and delightful waitresses and waits on some eccentric customers.     After Jenna unexpectedly becomes pregnant, she finds that her former doctor has retired and has been replaced by a young and attractive man.  A relationship develops between Jenna and Dr. Pomatter, confusing her already trauma-filled life.    Looking for ways out of her troubles, Jenna learns of a pie baking contest with a large grand prize that could give her the financial means to get out of her marriage.  She is stopped from participating when her daughter is born early.     A surprise knight in shining-armor gives her the needed funds, allowing Jenna, much to the delight of the audience, to kick her husband to the curb, open her own pie shop, and, in tradition of the American musical, live happily ever after.   The present touring production, unfortunately, sans the lobby pie ovens, has the mixed blessing of being performed in the Hanna Theatre.     On the positive side, instead of the vast space of the larger Playhouse Square venues, the intimate home of the Great Lakes Theatre allows the audience to be up-front and personal and make the story-telling a sharing of the tale rather than an impersonal observation.  It allows all of the audience, not just those in the close-up seats, to feel an intimacy with the characters.   The negative of the theatre size is that the musical uses a six-member on-stage orchestra which sometimes drowns out the performers.  The matter isn’t helped by the sound system, which is too overwhelming and makes the singers voices echo, blurring the lyrics.  Some fine tuning by the sound people would be appreciated.   The production, as restaged by Abbey O ‘Brien, based on the original direction of Diane Paulus, has right balance between pathos and angst.  The vocals are well-sung and the humor nicely keyed.   Stephanie Torns, who was in the Broadway cast of the show, is excellent as Jenna.  She has a strong singing voice and develops a believable put-upon woman who doesn’t have the wiles to get out of a dangerous and degrading relationship.  Her “Bad Idea,” sung with Bryan Fenkart (the awkward, endearing Dr. Pomatter) was delightful.  Their “You Matter to Me” was also a production highlight.   Daniel Quadrino, as the ADHD tightly wound Ogie, the love interest of the shy waitress, Dawn (Kendyl Ito), quickly emerged as the audience favorite.  His “Never Getting Rid of Me” stopped the show!  Their “I Love You Like a Table” was charming.   Olivia Lucy Phillip, as Becky, the third of the trio of waitresses, has a strong singing voice and keen sense of comic timing.  Her scenes with Timothy John Smith (Cal), the cook, were sensually-filled delights.   Bill Nolte, who recently joined the cast as Joe, perfectly honed the role of a cantankerous old guy. His “Take It from an Old Man” was another show highlight.   Capsule judgement:. If you haven’t seen WAITRESS before, go see this staging.  If you have seen WAITRESS before, go see this staging.  Except for the sound system issues, WAITRESS is a fine theatrical experience.   In spite of that, go see this show!!    BTW...listen carefully to the before the pre- curtain speech.  The “turn off your cellphone” message was written and recorded by Sarah Bareilles.   Tickets for the production, which runs through June 26, 2022, are available 216-241-6000 and/or via www.playhousesquare.org