Audience pleasing JOSEPH @ Beck Center

My first exposure to JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT was ironically at Beck Center, where I recently saw their newest edition of that play.  

That show, many years ago starred Rob Gibbs, now a local director and actor, was a fine introduction to Andrew Lloyd Webber and Tim Rice’s musical, which had an unusual path to being one of the oft-produced musicals of all time.  It has been estimated that world-wide, over 20,000 school, community and professional theaters have produced the work.
 
As its creation story goes, in 1967, when Webber was 19 years-old, he was asked to write a pop cantata for the school choir to sing at their Easter end-of-term concert.   He asked his friend, Tim Rice, to write lyrics for the project.  They decided to base the work on the story of Joseph from the Biblical book of Genesis. 
 
JOSEPH started as a twenty-minute choral piece.  The show gradually developed into what is now a full script.  It is, however, a different type of script than most musicals.  In fact, it is not a script at all, just a collection of twenty songs arranged in chronological order, with no narrative and no stage directions.  This is why each production of the show takes on a different approach.
 
Sometimes the presentation is done in two acts, sometimes in one.  It has been staged as a bedtime story in pajamas, a Biblical epic complete with clothing of the time of Jacob, a fantasy costumed in out-of-this world clothing, and with and without a chorus.  
 
The Narrator explains, in the “Prologue,” that this is a tale of Joseph, whose clairvoyant powers, intelligence and charm lead to both his being his father’s favorite and the wrath of his 11 brothers (“Jacob and Sons”).   The envy increases when Jacob gives Joseph, a symbol of respect (“Joseph’s Coat”).   His “bros” get rid of him by planning fratricide, but change their minds and  sell him to some passing Ishmaelites (“Poor, Poor Joseph”), who take him to Egypt.  They explain his “death” to their father in “One More Angel in Heaven.”
 
Joseph eventually becomes the Pharaoh’s favorite when he successfully enciphers the leader’s nightmares (“Pharaoh’s Dreams Explained”), saves Egypt from famine, becomes the second in command, eventually forgives his brothers when they come to beg for food (“Grovel/Grovel”) and, in an emotional climax, reunites with his father (“Jacob in Egypt” ).
 
The play concludes with the audience on its feet clapping as the cast sings ‘Any Dream Will Do” and “Give Me My Colored Coat".
 
Like many of Andrew Lloyd Webber conceptions, which includes CATS, THE PHANTOM OF THE OPERA, JESUS CHRIST SUPERSTAR, EVITA, ASPECTS OF LOVE, AND SUNSET BOULEVARD, much of the music is infectious.  There are parodies of French ballads ("Those Canaan Days"), rock and roll ("Song of the King"), western ("One More Angel In Heaven"), 1920s Charleston ("Potiphar"), Calypso ("Benjamin Calypso"), and go-go music ("Go, Go, Go Joseph").
 
Like most British musicals, there is no dialogue, just musical lyrics which tells the tale.
 
Tim Rice, the lyricist and Webber’s longtime collaborator, not only has written for Broadway, but for such Disney films as ALADDIN, BEAUTY AND THE BEAST and THE LION KING.
 
Broadway Tony nominee, Mary Bridgett Davies, the Narrator, has a fine voice and the ability to sing meanings, not just words.  Her “Prologue” set a perfect tone to start the show and introduced us to the story and let the chorus of kids enter.  
 
Jess Markowitz has a pleasant voice and stage presence, but misses the undefinable special quality that makes Joseph into a charmer.  His “Close Every Door” was nicely interpreted and sung.  
 
Jimmy Helms does an Elvis-light interpretation in “Song of the King.”  Maybe not wearing a traditional Elvis white body-hugging onesie was issue.  But more relevant were directorial decisions.  As in other parts of the show the words being sung are ignored as clues to the visuals being created on stage, so the audience is left with conflict between what they are hearing and what they are seeing.  
 
The children’s chorus is excellent in both their vocal abilities, staying in character and reacting appropriately throughout.
 
All of the brothers do a nice job of creating individual different personalities into their characterizations, and nicely singing solos and choral sounds.
 
Lauren Tidmore’s choreography was creative and well interpreted, fitting the changing moods of the music into the style of each segment of the show.
 
Brittany Merenda’s projections enhanced the liveliness and visual aspects. 
 
The musicians did a nice job of supporting, rather than drowning out the performers, especially in the solos.  Some of the musical arrangements, which changed the intent of some songs, might be questioned by JOSEPH traditionalists.
 
Capsule judgement:  Joseph and The Amazing Technicolor Dreamcoat is a fun show for audiences of all ages.  As evidenced by the extended applause at the end of the show, and the many instances of audience delight displayed during the production, despite some questionable directorial decisions, the cast and crews efforts were appreciated. 
 
Joseph and the Technicolor Dreamcoat runs through December 30 at Beck Center for the Arts. For tickets call 216-521-2540 or go to beckcenter.org
 

World Premiere of A LIGHT IN THE NIGHT: A HANUKKAH PLAY by Tailspinner Children’s Theater

The little children sat, laid on, or snuggled with the pillows that were wisely placed on the floor of the Stonehill Auditorium at the Jewish Community Center.  The kids, and their relatives were there to watch and sometimes participating in the world premiere of A LIGHT IN THE NIGHT: A HANUKKAH PLAY.  

The 45-minute play with music, was written by local writers Les and Elana Hunter.

Playwright and theater historian Dr. Les Hunter, who is an associate professor of English at Baldwin Wallace University, where he received the 2019 Bechberger Award for Human Development, is noted for a writing with an emphasis on shedding new light on emerging problems of selfhood.  The coauthor is his wife, Elena, who is a counselor.  

The theme is now only the Jewish holiday commemorating the defeat of evil forces of old by the Maccabees, but the facing fear, and being brave. 

The plot centers on Judy and her family, who are moving across town.  It’s the first night of Chanukah, and Mom and Dad forgot to pack the box with the menorah!  Judy rides her bike back to the old house to search for the candelabra. When she finds it, she discovers that not only does the Shammes (the candle that is used to light the others), has the ability to talk but something has gone wrong.  The evil forces have to be defeated once again or there will be no holiday. Judy and Shammes are responsible for fixing the problem or there will be no reason to celebrate. 

As in all good melodramatic tales, the good guys find a way to win, much to the glee of the tykes watching this epic tale.  Mazel tov to Shammes and Judy!

Observing various children during the presentation was an educational experience.  Some were totally involved, singing when they were instructed to do so.  Others jumped around when the cast danced.  Still others were passive.  It appeared that this offering was probably best for 5 through 8 years old.  The older children, in the main, did not verbally participate and seemed uncomfortable when encouraged to participate. The very little didn’t seem to know what was going on and there was not enough action and slapstick to hold their attention.

As is, there may have been too much talking and not enough action in the script.  In addition, the use of Yiddish was over the heads of the children, even though all terms are defined verbally or on the screen which flashed the play’s dialogue.  Most of them were not of reading age, and even for those that were, having them pay attention to both the screen and the dialogue seemed cut down on reactions.   A little rewriting and some stage activity should take care of the problems.

The Tailspinner cast, under the direction of Margi Zitelli, was quite good, but lacked some opportunities to get more audience interaction such as a victory parade.  This is very important as the “kinderlach” have short attention spans.

Capsule judgment:  The production, with its simple set and small cast would be perfect for tours to 1st through 3rd grade Sunday or Jewish school classes, where the kids could be pre-taught the Chanukah story and the script’s songs, so they could be knowledgeable active participants.  

The show was staged at the JCC in Beachwood from December 2nd through the 10th.

HAIRSPRAY is at Connor Palace as part of Huntington Broadway series

 

The farcical, yet message-loaded HAIRSPRAY, is the type of musical that in a bad production falls flat, but in a good production the audience gets all-kinds of involved.    I wish I could say that the touring version at Playhouse Square was one of the good ones, but with its languid first act yet dynamic second act, which left the audience dancing in the aisles, could only be called a partial success.   Let’s put this in perspective for CLE audiences.     The Key Bank Broadway series presents fresh productions peopled by actors who usually have been in the Big Apple production of the show or have professional experience, are Equity members, and which has top-notch technical ingredients.  The shows tend to run, in each city on its itinerary, for 2 or 3 weeks.    The Huntington Featured Performance series, of which HAIRSPRAY is an offering, are short-stay productions, usually 3 or 4 days, often feature professional newbies, or performers past their prime, and are low-cost technical presentations.   They usually are a step-above local little theatre or school productions, but not of the quality of Broadway shows or the offerings of the Key Bank Series.   HAIRSPRAY, the stage musical, is based on the 1988 John Walters movie of the same name.  It has up-beat music by Marc Shaiman, encompassing lyrics by Scott Wittman and Shaiman, and a purposeful book by Mark O’Donnell and Thomas Meehan.  It was a cry for integration in 1960s for segregated cities such as Baltimore.     The story focuses on “zaftig” Tracey Turnblad, who has three desires in life:  dance on the “Corny Collin’s Show” (think Dick Clark’s “American Bandstand”), have “every day be Negro day on that show,” and meet Link Larkin, the show’s “stud” male.    Tracey keeps getting sent to detention at school because of her well-sprayed huge hair (the Jackie O signature style of the era).  The detention room is populated by African Americans who expose the liberal-minded Tracy to “Black” dancing.     After Tracy gets selected to be on the show, against the wishes of Velma von Tussle, the program’s multi-prejudiced producer, she launches a campaign to integrate the show.      Of course, all hell breaks loose including picketing, a riot, a jail lockup, a jail breakout, white kids singing and dancing in 'Balmur’s all Black North side, the coming out of Tracy’s agoraphobic and plus-sized mother, love affairs between Link and Tracy as well as that of Penny, Tracy’s white best friend, and Seaweed, the son of Black DJ and vocalist, Motormouth Maybelle.     The 2002 Broadway production won eight Tony Awards, ran over 2500 performances, and has had numerous foreign and community theatre productions.   The touring show’s opening act was slow-paced.  The cast seemed either over-whelmed by the script’s requirements, or were tired from their two or three nights in one town and quick get-away to their next performance site.     Even the mediocre scenery presented problems as the show had to be stopped shortly before intermission because of an errant piece of scenery go onto the stage.     Let’s not even discuss the bad wigs, overacting, volume issues or tinny-sounding electric music.   The cast and crew seemed to have had a pep-talk or a nap at intermission, because the second act was dynamic.   Caroline Eiseman, whose credits do not include any Broadway work, has the required chunky cheeks, biggish voice, and dancing feet, to create Tracy.    Caroline Portner, was Gidget-cute, but over-acted as Tracy’s best friend Penny.     Greg Kalafatas (in drag), though quite adequate in the role, never really was totally endearing as Tracy’s mother.   Skyler Shields, who sings and dances well, was “kind of” okay at Link, but was missing the necessary stud-factor needed for the role.   Deidre Lang, Motormouth Maybelle, almost achieved the impossible deed of stopping the show with her wailing, infectious rendition of the gospel-rock “I Know Where I’ve Been.”     Josiah Rogers, an Orange High School graduate, was a dancing dynamo as Seaweed, while Kaila Symone Crowder was delightful as the full-spirited Little Inez.   Song highlights were: “I Can Hear the Bells,” “Mama, I’m a Big Girl Now,”” Welcome to the ‘60s,”and “Big, Blonde & Beautiful.”     CAPSULE JUDGMENT:  The touring production was quite adequate, but could have been so much more with more focused direction, better technical aspects and a stronger cast.  The opening night audience was on their feet at the end in spite of the performance and technical issues.   HAIRSPRAY is here through December 10, 2023. For tickets 216-241-6000 or go to playhousesquare.org

BLACK NATIVITY leaves audience joyously singing praises of Afrocentric holiday musical

 

Langston Hughes, the author of BLACK NATIVITY, now on stage at the Allen Theatre, in a joint production between Karamu, the country’s oldest black producing theater and the Cleveland Play House, the nation’s first resident company, was an American poet, social activist, novelist, playwright, and columnist.   One of the earliest innovators of the literary art form called jazz poetry, Hughes is best known as a leader of the Harlem Renaissance.      Langston Hughes had a special relationship with Cleveland, where he went to school and lived for a period of time.  He also had a special connection to Karamu Theatre, and with Reuben Silver, then the theatre’s Artistic Director, who was on the staff for 21 years, as well as Reuben’s wife, Dorothy Silver, the theatre’s guest artistic director. Many of his plays were developed and premièred at Karamu.    In an interview with Silver, Hughes said: "It is a cultural shame that a great country like America, with twenty million people of color, has no primarily serious colored theatre. There isn't. Karamu is the very nearest thing to it...It not only should a Negro theatre, if we want to use that term, do plays by and about Negroes, but it should do plays slanted toward the community in which it exists. It should be in a primarily Negro community since that is the way our racial life in America is still...It should not be a theatre that should be afraid to do a Negro folk play about people who are perhaps not very well-educated because some of the intellectuals, or intellectuals in quotes, are ashamed of such material.”   Hughes was not afraid, as is obvious in BLACK NATIVITY, to clearly identify a Black coming of the messiah, as his is an adaptation of the Nativity story told from a Black perspective.  It is noted as a trail-blazer as it is performed by an entirely black cast.  In addition, besides the choice of language and songs, it is narrated by a Griot, a traditional West African storyteller and praise singer.  (Think THE LION KING, which is also related by a Griot.)   Hughes was the author of the musical’s book, with the lyrics and music being derived from traditional Christmas carols, sung in gospel style, with a few songs created specifically for the show. It was first performed Off-Broadway on December 11, 1961, and was one of the first plays written by an African American to be staged in New York’s professional theatre district.    Karamu’s BLACK NATIVITY has become a traditional local holiday treat, like Great Lake’s Theatre’s A CHRISTMAS CAROL and Cleveland Ballet’s THE NUTCRACKER.   The performance combines poetry, scripture, gospel music and dance in an Afrofuturist reimagining of the story.  It combines the past, the present, and the future in a continuum asserting that “we are there, we are here and we will be here for years to come.”   The long first act, which spotlights the birth of Christ, and includes such songs as “Joy to the World,” “What You Gonna Name Your Baby,” “Go Tell It On the Mountain,” and “Oh, Come All Ye Faithful,” was quite languid.  There was little audience reaction to much of the material, no call and response, which is so common in both Black church services and many theatrical performances at Karamu.   The second act, however, which started with a fashion parade, to highlight the incredible clothing created by costume designer Inda Blatch Geib, changed the pace.  Dynamic dancing, rockin’ musical arrangements and direct appeals to the audience, got the audience involved.    ‘Meetin’ Here Tonight,” “We Shall Be Changed,” “His Will Be Done,” “Get Away Jordan,” and the over-the-top “Said I Wasn’t Gonna Tell Nobody,” all incited strong reactions.     The show ended with an extended curtain call featuring the reprise of “Joy to the World” and a closing medley.  Don’t leave early—the wrap-up is the highlight of the show!   The cast is strong.  The voices powerful and the dancing exciting (if not always coordinated.)   Musical arrangements by Dr. David M. Thomas, who also conducts the proficient orchestra, were often unique and presents a different mood than when the same songs are presented by a mainly white assemblage.     Errin Weaver’s enthusiastic choreography, pushed her dancers to their limits!     The scenic and digital media designs by T. Paul Lowry added a special visual excitement.   Capsule judgment:  Co-directors, Tony F. Siras and Errin Weaver, conceived a production that gives a true Afrocentric twist to the nativity that clearly stresses that Afro-people were there, are here and will be around for years to come!   BLACK NATIVITY runs through December 16 at the Allen Theatre.  For tickets call 216-400-7000 or https://www.clevelandplayhouse.com/

Kleenex required for charming, melodramatic LITTLE WOMEN at Dobama

 

Author Louisa May Alcott created relatable characters in 19th century novels. Her writing style greatly impacted American literature.    Her LITTLE WOMEN is probably her shining glory.  The names of Jo, Meg, Amy and Laurie, who are all based on Alcott’s real family, are permanently etched in the memories of all woman of a certain age, who read the book, fantasized of being one or all of these young women.   As Nathan Motta, the Artistic Director of Dobama says in the play’s program notes, “LITTLE WOMEN“reflects in vivid detail what it means to be family—the joy of togetherness, struggle of conflict, sadness of loss, and unconditional love.”   The tale is set during and after the Civil War and tells the story of the four girls of the March family as they struggle and grow, learning the value of hard work, self-sacrifice, and love, while their father is serving in the war.   A play version of the novel is getting one of its first professional stagings at Dobama Theatre.    The script, adapted by Heather Chrisler, evokes all the right images.  If you are at all sentimental, bring Kleenex to use during the syrupy ending.     “It is through a sense of play that Jo and her sisters find themselves, spending time in the attic making up fairy stories with witches and heroes, or spending an evening reciting the articles written for their beloved imaginary newspaper. It is, however, through the tragedy of losing her sister Beth that Jo finally finds her voice as an artist, and moves into adulthood with the knowledge that while families change and grow apart, the ones we love are always close at heart.”   The script, which came to life in a reading at the PennySeats Theatre, located in Ann Arbor, Michigan.   After further development at several other venues, it got its first professional production at First Folio Theatre in Oak Brook, Illinois.  Yes, small venues.  It has never had a Broadway or Off-Broadway production.   An early review of a reading states, “As the show unfolded, it became clear this was no cursory take. While LITTLE WOMEN remains an endearing testament to sisterhood, and the power of women to sustain and inspire each other, Chrisler's version emerges as a heartwarming portrait of a budding artist [Jo], one determined to express herself.”   The Dobama production, which runs two-hours (including intermission), is creatively directed by Melissa T. Crum.     Laura Tarantowski’s lovely, warm period-correct set, creates the perfect atmosphere, though the constant dragging of furniture and rearranging of flowing drapes, sometimes breaks the mood.  The visuals are enhanced by Josee M. Coyle’s light design and sound designer Angie Hayes music selections.   The women, who have been color-blinded-cast, not only play themselves, but also men who are part of the girl’s lives.  Though they all create emotionally relatable and real people, males as males might help the realism factor.  (Yes, I am aware of the movement to break gender stereotypes, but this is a traditional theme and script, and realism is realism.)   Theo Allyn gives exactly the right humanism to Jo.  The actor has a wonderful sense of comic timing and displays just the right degree of empathy and caring.     Mariah Burks, as Meg, the “I’m supposed to get married and have children and live a normal life” sister, hits all the character-right notes.   Amaya Kikyomi, as the spoiled youngest sister, Amy, grows nicely in her characterization as the girl-to-woman develops.   Natalie Green was born to play Laurie. She nicely displays the vulnerability of the emotionally and physically fragile sister.  Her ending scenes are perfectly etched.    Capsule judgment:  At this time of holiday, yet living in a world of stress and strife, it is nice to be able to go back in time and relive one of the English language’s epic tales.  The Dobama production nicely develops Louisa May Alcott’s sappy, but well-intentioned picture of life in a by-gone era, where melodrama ruled in literature.   LITTLE WOMEN is on-stage at Dobama through December 3, 2023.  For tickets call 216.932.3396 or go to https://www.dobama.org/   Next up:  AT THE WAKE OF A DEAD DRAG QUEEN (January 26-February 18, 2024) --An irreverent play about the fine art of drag.

Uneven PIPPIN somewhat disappoints at Baldwin Wallace University

In the Fall of 1971, while chaperoning a group of college students to New York, I saw PIPPIN, the Stephen Schwartz (music and lyrics), Roger Hirson (book), Bob Fosse (director/choreographer) musical.  I had an instant love affair with the show!

The original production starred Jonathan Rubinstein as Pippin, while the Leading Player was portrayed by Ben Vereen.  Irene Ryan, of “Beverly Hillbilly “fame, played Berthe.  A 2013 revival featured BW grad Sierra Renee as the leading player.

PIPPIN uses the premise of a performance troupe, led by the Leading Player, to tell the “magical” story of a young prince on his search for meaning and significance. 
PIPPIN contains one of my most admired musical theater songs, “Corner of the Sky,” Pippin’s “I want” song, which not only tells us about the character, but reveals the major meaning for the script.  

Originally conceived by Schwartz when he was a student, it was performed by Carnegie Mellon University's Scotch'n'Soda theatre troupe.  Ironically, as the script evolved, Schwartz has said that “not a single line or musical note from that Pippin made it into the final version.”

An example of the evolution of the script is the "Theo ending," which is used in the BW show, was not conceived until 1998, when Mitch Sebastian collaborated with Schwartz in an alternative concept for the show.  The new ending was included in the 2013 Broadway revival.  The new ending, altered the meaning of the original show.

The original Broadway production was performed in one-act. The BW interpretation is performed in two-acts, which, in my opinion, breaks the flow of the show.

The magic aspect of the show is so important, that in its most recent Broadway revival, it was done as a Cirque de Soleil-like production.

Why director, Nathan Henry, decided to eliminate all of the magic tricks and effects, is a mystery.  Without them, much of significance and creativity of the show is eliminated.  He seemed to somewhat lack how to artistically develop the show to accomplish the intent and purpose of the writers.

Talking about questionable choices, the BW students have wonderful singing voices, but the vocal sounds are only part of the role development.  Most important, especially with Stephen Schwartz songs, is the meaning of the words.  Musical director Chase Kessler, seemed to forget that.  In several numbers, notably “Corner of the Sky” words rather than meaning were sung. 

On the other hand, Greg Daniels’ reinterpretation of Bob Fosse’s choreography was superlative.  Yes, the famous “jazz hands” were present, but there was an expansion of the original dance moves which was effective and wonderful.

For added educational experiences, the University’s musicals are often double cast.  (I saw the “Glory Cast,” so my comments only center on that group of actors.)  
Kris Lyons was superlative as the Leading Player.  She played the lines with meaning and style, working the audience well.  This young lady is Broadway ready.

Julia Martin, as Fastrada, was wonderful.  She milked the laughs showing a complete understanding of comedy, exaggeration, and character development! 
 
Jack Borenstein (Charlemagne) started each of his speeches and singing lines with emphasis and then faded into unintelligible endings.  He played for laughs, for the sake of farcical-reaction, sometimes ignoring that the spoken and sung lines had meaning.

Reese Henrick appropriately had fun as Pippin’s grandmother, Berthe, though she would have been helped if the traditional method of letting the audience see the chorus words that she invited us to sing had been projected onto a screen or printed in the program.

Jack Prisco had some fine moments as Pippin.  He has a nice singing voice.
Zach Mackiewicz was character and physically right as Lewis, Pippin’s dense half-brother.

Camille Brooks made a charming Catherine, Pippin’s love interest.

The singing and dancing ensemble were excellent.

Capsule judgement: When someone goes to a musical theatre production at Baldwin Wallace, they probably go with the knowledge that program is ranked as one of the best of its type in the country and the performers are of high quality. They should also be aware that these are students who are not only performing in a show, but are getting a learning experience.  The unevenness of the recently closed production of PIPPIN was not due to the talent of the students, but the decisions of the guest director and a student musical director.  As is, the show was enjoyable, but not of the usual high BW level of achievement.
 
(Full disclosure:  PIPPIN is one of my favorite musical theatre shows.  I’ve directed it and seen at least twenty different companies produce the show, including a previous staging at Baldwin Wallace.  “Corner of the Sky” is my favorite musical theatre song.)

TROUBLE IN MIND, is a rich experience that is disturbing and thought-provoking!

 

The late-Alice Childress, the author of TROUBLE IN MIND, now being staged by Seat of the Pants Productions, was an American novelist, playwright, and actress, who was acknowledged as the only African-American woman to have written, produced, and published plays for four decades.

Childress described her work as “trying to portray the have-nots in a have society.”

As she explained, "My writing attempts to interpret the 'ordinary' because they are not ordinary. Each human is uniquely different. Like snowflakes, the human pattern is never cast twice. We are uncommonly and marvelously-intricate in thought and action. Our problems are most complex and, too often, silently borne."

Billed as “a moving and heartbreaking look at racism, identity and ego,” TROUBLE IN MIND is a scathing indictment of racism in America and American commercial theatre.

It tells the story of Wiletta Mayer, an African-American actress cast in a supposedly “progressive” play about racism by a white male author.  

The script and the job turn-out to be anything but progressive, both in terms of its script and rehearsal environment.

TROUBLE IN MIND had a strange route to Broadway.  The original Off-Broadway production was sponsored by the Village Presbyterian Church and the Brotherhood Synagogue in 1995.  In 1957, a Broadway transfer had been planned, renamed SO EARLY MONDAY MORNING, but the production was cancelled when the author refused to subdue its content.

TROUBLE IN MIND finally made its Broadway debut on November 18, 2021. The limited run closed on January 9, 2022, after 58 performances and 20 previews. The production was nominated for four Tony Awards including Best Revival of a Play.

“Set during rehearsals for a major Broadway production, TROUBLE IN MIND illuminates the inner life of a Black actress struggling with her career.  As Wiletta grapples with how she's treated, the role she's being asked to play, and what the production says (or doesn't) about race in America, her growing discomfort sets off a chain of events that reveal fissures within the acting company — and bring her into conflict with her director.”

Effectively directed by Jeannine Gaskin, the production takes lots of twists and turns, allowing the observer to examine their attitudes toward race, feminism, prejudices and white male privilege.  Don’t be surprised if you find yourself in states of repeated conflict not only by your feelings toward the characters, but by your own attitudes.

Cleveland Critics Best Actress in a Musical award winner, Nicole Sumlin, is superb as Wiletta. Her climax speech, in which she expresses the author’s strong beliefs on the way in which black people, especially African Americans, both women and men, are negated by attitudinal views, and how women, in general, must be all that men are, plus some, just to be viewed as equal.

Tom Woodward, who also has been lauded by the Cleveland Critics Circle, is so effective in his characterization of the “villainous white man” who is unaware of his bullying methods and strong prejudices, that there were times when anything less than hitting him over the head with a two-by-four wouldn’t have been enough to knock some sense into him.  

Strong performances were also presented by Elizabeth Domer (Judy), Andrew Knode (Bill), Madison Ledyard-King (John), Michael Montanus (Eddie), Zyrece Montgomery (Millie), Tom Stephan (Henry), and Darryl Tatum (Sheldon).

Costume design by Marti Coles, lighting design by Ayron Lord, props design by Mia Jones, sound design by Aria Smith, and scenic construction by Christian Sanko all enhanced the production.  The use of an electronic projection on the back wall, was especially effective.

Capsule judgment:  The company’s use of an intensive rehearsal period known as “process driven production method,” paid off.  There is no doubt of clear character development, smooth flow of action, and meaningful stage pictures.  All in all, the show makes for both a rich experience regarding evaluating yours and societal attitudes, as well as a fine theatrical experience!  This is must see theatre!

TROUBLE IN MIND runs November 3-19, 2023 (Fridays and Saturdays at 7:30 PM / Sundays at 2:30 PM) @The Pivot Center, 2937 West 25th Street, Cleveland, OH 44113.  For tickets: https://seatofthepants.org/productions

GIRL FROM THE NORTH COUNTRY of Key Bank Broadway Series is not a typical musical

 

David Greene, the Senior Vice President of Programming at Playhouse Square, informs theater-goers in his program notes for GIRL FROM THE NORTH COUNTRY that “it is a non-traditional musical which features songs by music legend and Rock and Roll Hall of Famer Bob Dylan.”  
 
He goes on to say, “[the songs] do not always sync with the story, rather they run parallel and expose something that we do not already know about a character or situation, a sort of peek into the subconscious.”  
 
You are there to listen to Bob Dylan music and not figure out why this song is being sung by that character and how it fits into the tale.
 
As Greene indicates, theatre-goers should not go to the show expecting to see a story-line musical.  This is not OKLAHOMA, DEAR EVAN HANSEN or RENT.  They shouldn’t even expect MAMMA MIA, JERSEY BOYS or MOULIN ROUGE, juke box musicals which, like GIRL FROM THE NORTH COUNTRY, are a collection of pre-written music, jammed into a synthetic story line.  
 
Bob Dylan?  He’s Robert Allen Zimmerman, an 82-year-old American singer-songwriter, generally regarded as one of the greatest songwriters of all time, who has been a major figure in popular culture for the 60 years of his career. 
 
Much of his most celebrated work dates from the 1960s, when songs such as "Blowin' in the Wind" (1963) and "The Times They Are a-Changin'" (1964) became anthems for the civil rights and antiwar movements. 
 
His lyrics during that period incorporated liberal political, social, philosophical, and literary influences, defying pop music conventions and appealing to the burgeoning counterculture.

Dylan was raised in Hibbing, Minnesota.  His grandparents emigrated from Russia and Lithuania following the pogroms in their native lands.  

He was brought up as part of a small, close-knit Jewish community,  went to college where he became involved in the Dinkytown folk music circuit, which is an area of Minneapolis near the University of Minnesota campus noted for being the center of student life, and began to introduce himself as "Bob Dylan,” supposedly after reading poems by Dylan Thomas. 

As he explained it, "You're born, you know, the wrong names, wrong parents. I mean, that happens. You call yourself what you want to call yourself. This is the land of the free."

In the late 1970s, Dylan converted to Evangelical Christianity and released three albums of contemporary gospel music during what is called his “religious” period.  “He returned to Judaism.” And . . . ? A recent quote seems to sum up his views: “I’m a man of contradictions, I’m a man of many moods. I contain multitudes…”
 
In 2016 he was awarded Nobel Prize for Literature, with the explanation that the committee was awarding Dylan "for having created new poetic expressions within the great American song tradition." 
 
The award was not without controversy, and The New York Times reported: "Mr. Dylan, is the first musician to win the award, and his selection is perhaps the most radical choice in a history stretching back to 1901." 

Dylan was included in Time magazine’s “The 100 Most Important People of the Century.”   He was called "a master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation."

In 2008, the Pulitzer Prize jury awarded him a special citation for "his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power."

GIRL FROM THE NORTH COUNTRY has a book by Conor McPherson and premiered  at The Old Vic in London running from July 8 to October 27, 017.  It came to Broadway on March 5, 2020.  
 
The COVID-19 pandemic shuttered Broadway theaters on March 12, 2020, the show resumed performances on October 13, 2021. It  permanently closed on June 19, 2022. 

The play with music takes place on the shores of Lake Superior in Duluth in the winter of 1934 when America is in the grip of the Great Depression.

The story is narrated by Dr. Walker, physician to the Laine family. Nick Laine is the proprietor of a rundown guesthouse. The bank is threatening to foreclose on the property and he is desperate to find a way to save his family from homelessness. His wife, Elizabeth, is suffering from a form of dementia. Their children are Gene, who is in his early twenties, and their adopted daughter, Marianne, who is nineteen.

As the slight, soap-opera like “story” develops, we meet various residents of the guesthouse and locals, who share their backstories and present lives.

Late at night, during a storm, a self-styled reverend bible salesman and a down-on-his-luck boxer arrive looking for shelter. The arrival of these characters is a catalyst, changing everything for everyone in the house. 

Twenty-two Bob Dylan songs are performed. Songs include: “Went to See the Gypsy,” “Slow Train,” “Make Me Feel Your Love,” “True Love Tends to Forget,” “Is Your Love in Vain” and “Pressing On.”

Capsule judgment: The singing voices are strong, the music well-played, the technical aspects well done.  The sound system leaves much to be desired as spoken voices are not well-heard. Don’t expect the usual Broadway glossy set, special effects, fancy costumes, or electronic effects.  If you are a Dylan-fanatic, are into his music and/or want to sit back and listen to his songs, while paying a little attention to a slight story, this will be your thing!  Me?  I’m looking forward to FUNNNY GIRL and COMPANY, later in the season offerings.

GIRL FROM THE NORTH COUNTRY, which is part of the 2023-24 KeyBank Broadway Series at Playhouse Square, will play in the Connor Palace at Playhouse Square from Tuesday, October 31-Sunday, November 19. Show times are Tuesday-Saturday at 7:30 p.m., Saturday at 1:30 p.m. and Sunday at 1:00 p.m. and 6:30 p.m. Tickets for all performances are available online at playhousesquare.org or by calling 216-241-6000.

Astounding CABARET compels at School of Theatre and Dance of Kent State

 

On a mid-December evening in 1966, as I walked down the aisle to my mezzanine seat in the third row of the Broadhurst Theatre in New York to see one of the first performances of the musical CABARET, I was struck by my image reflected by a huge convex mirror stage.  The closer I got to the stage, the more I was confronted by my grotesque-self getting larger, longer, and out of proportion.     Little did I know, at the time, that out-of-focus image was reflecting the concept of the era being depicted in the story. Yes, it was the time of the growth of the Nazi Party, the rise of Hitler, the creation of concentration camps, and the destruction of much of the Jewish/Gay/Gypsy/Communist/disabled populations of eastern Europe.   Yes, theatre, as is true of the arts, represents the era from which is comes.  And, CABARET, the John Kander (music), Fred Ebb (lyrics), Joe Masteroff (lyrics) musical, is a perfect reflection of the decadence and horrors of that time.     The musical, which in its first staging starred Cleveland-native Joel Grey, was not an instant success due to its perceived immoral content.  As Masteroff shares, “When the show opened in Boston there were a lot of walkouts; however, once the rave reviews came out the show was a success.”    The multi-award-winning script inspired numerous subsequent productions as well as the 1972 Emmy winning film.    “Set in 1929–1930 Berlin during the twilight of the Jazz Age, the musical focuses on the hedonistic nightlife at the seedy Kit Kat Klub and revolves around American writer Clifford Bradshaw's relations with English cabaret performer Sally Bowles. A subplot involves the doomed romance between German boarding house owner Fräulein Schneider and her elderly suitor, Herr Schultz, a Jewish fruit vendor. Overseeing the action is the Master of Ceremonies at the Kit Kat Klub, and the club itself serves as a metaphor for ominous political developments in late Weimar Germany.”    American writer Christopher Isherwood's autobiographical tales is of his escapades when he came to Berlin to enjoy the city's orgiastic cabarets in hopes of finding a topic about which to write a novel.     Two weeks after Adolf Hitler implemented the Enabling Act, which cemented his dictatorship, Isherwood fled Germany and returned to England on April 5, 1933 and wrote GOODBYE TO BERLIN. (CABARET is based on the John Van Druten 1951 play I AM A CAMERA, which was based on the Isherwood book.) The script had a strong rebirth when in 1993 Sam Mendes directed a reconceptualization version in London.    The most significant change in the reimagined CABARET was in the character of the Emcee. In the original version the role, as played by Grey was an asexual character with rouged cheeks dressed in a tuxedo. Alan Cumming, in the Mendes-directed version, was highly sexualized, and the horror of the forthcoming Holocaust was emphasized.   The KSU production, using the Mendes interpretation, is under the creative and focused directing of Terri Kent and the ingenious choreography of Martin Cespedes, who also serves as Artistic Collaborator.  It is astounding.     The story is clearly told.     The characters are clearly etched.     Cespedes’ “Willkommen” opening number movements set a perfect pace  and image for the show.  The kick-line in “Married” had the audience screaming for more.     The orchestra arrangements often differ from previous productions.  “Cabaret,” Sally Bowe’s epic song, gets a character-developing “hard-assed,” interpretation by Madison Shannon, as does her interpretation of “Main Herr” and “Maybe This Time.” Hers is not a Liza Minnelli air-headed character-copy.   “Married” a duet by Tim Culver, as Schultz and Rebecca Poole, as Frau Schneider, has all the necessary delight, but has an added foreshadowing of the disaster to come.     “Tomorrow Belongs to Me” is powerfully engulfing.    “I Don’t Care Much” (Nicholas Bradley as the Emcee—he alternates in the role with Dominic Young) and “The Finale” (Anthony Ghali as Cliff and Bradley) sets the audience up for an emotionally-wrenching ending.   It is so tempting to explain in detail the powerful finale, but it would be a disservice to future audiences.  Just to say, it would have been made even stronger if the blackout at the end had been held even longer, letting the audience sit in darkness, deservedly uncomfortable, and then walking out in half-dimmed lights with no curtain call.   Jennnifer Korecki’s orchestra is right on key, but could have been tuned-down in some segments, where they drowned out the singers.   The sets (Gennie Neuman-Lambert), costumes (Michelle Hunt Souza), lights (David Bruns) and sound (Bella Brehm) designs were excellent.  The concept of using up-side down chairs as cells and cell bars was ingenious.   Capsule judgment:  KSU’s CABARET is one of the highest quality college performances this reviewer has ever seen.  Every aspect was well-conceived.  Terri Kent and Martin Cespedes are to be commended for their vision and execution and every person who participated in bringing this show to stage should be proud of their accomplishments!  Applause, applause, applause. CABARET runs through November 9.  Tickets can be purchased through the Performing Arts Box Office by phone at 330-672-2787 or online at https://kentstateticketing.universitytickets.com/w/default.aspx?cid=167. (Fairness factor:  I am a proud theatre/speech graduate of Kent State University (Class of 1955) and hold the distinction, while serving as Vice President of the Student Senate and All-University Social Chairman, of being the producer of FINIAN’S RAINBOW, noted as the first official musical theatre production at KSU.  This was long before the school had a Musical Theatre program.)

Artificial Intelligence trend makes CPH’S MARY SHELLEY’S FRANKENSTEIN even more thought-provoking!

 

 
With the recent uptake in information about Artificial Intelligence, the creation of a monster becomes more real and probably scarier than when Mary Shelley wrote her 1818 novel FRANKENSTEIN; OR, THE MODERN PROMETHEUS.   
 
The tale tells the story of Victor Frankenstein, a young scientist who creates a sapient creature in an unorthodox scientific experiment and the results of that creation. 
 
The real scare may well be that we now are faced with the reality of our ability to “play God” in creating a “life.”  Yes, the danger that lies in willful ignorance, when people neglect to consider the potential negative impacts of their actions.

Frankenstein has become a classic not only because of its of pioneering theme of reanimating the dead and/or creating new life, but also because of the interactions between its two main characters: the young scientist Victor Frankenstein and the creature that he creates, who remains nameless throughout the novel.  (Side note: Since the publication of the novel, the name "Frankenstein" has often been used, erroneously, to refer to the monster, rather than to his creator/father.)

A significant incident In developing her tale took place when, in 1815, Mary Shelley travelled through Europe.  She took a tour along the Rhine River in Germany, and stopping near the site of the Frankenstein Castle, where, two centuries before, an alchemist had engaged in experiments, and it was rumored he created a monster.

As the result of that travel, in 1816, when Mary, her husband Percy Shelley, John Polidori and Lord Byron had a competition to see who could write the best horror story, she imagined the story of a scientist who created life and was horrified by what he had made.  

The book, which she created from her contest story, is considered the first true science-fiction novel. It has had a considerable influence on literature and on popular culture as it has spawned a complete genre of horror stories, films, and plays.

The play, MARY SHELLEY’S FRANKENSTEIN, which is now on stage at Cleveland Play House, is a stage adaptation, by David Catlin, of Mary Shelley's book.

The plot centers on “Victor Frankenstein who creates a monster from human corpses. Once the Creature is brought to life, however, Victor is appalled by his creation's deformed appearance and flees in terror. The Creature wanders through the streets of Ingolstadt, lost and confused. Meanwhile, Gretel, a prostitute, is being assaulted in an alleyway and calls for help. The Creature frightens off her attacker, Gretel recoils from her savior, and a mob of villagers chase the Creature away. The next morning, the Creature sees the dawn for the first time and finds Victor's journal revealing the way in which it was created.”

And, thus we fall deeper into the tale of the horrors of the monster’s existence, lack of having true emotions and, therefore, the lack of being able to love.  In contrast to the book, in which Victor dies, at the end of the play he does not.

The CPH production, under the directorship of Michael Barakiva, is proficiently done.  The cast, Josh Bates, Madeline Calais-King, Ellen Grace Diehl, Gavin Michaels (Victor Frankenstein) and Koydè Soyemi (Creature) are all competent in creating the characters they portray.  

Lex Liang’s scenic and costume design, Jakyung C. Seo’s lighting, and Sharath Patel’s sound design all greatly enhance the staging.

Capsule judgment:  The production, though not as compelling as it could be, tells the tale as Mary Shelly intended it.  If you think of the Frankenstein tale as true horrifying and scary, the monster as epitomized by Boris Karloff in the films FRANKENSTEIN AND THE BRIDE OF FRANKENSTEIN, or ridiculously humorous as portrayed in ABBOTT AND COSTELLO MEET FRANKENSTEIN or HOTEL TRANSYLVANIA, this is not it.  This is a straight-forth telling of the Shelly tale, with the ominous over-tones of what might be in this age of Emotional Intelligence.

MARY SHELLEY’S FRANKENSTEIN runs through November 12, 2023 in the Outcalt Theatre in the Cleveland Play House complex of Playhouse Square.  For tickets call 216-400-7000 or https://www.clevelandplayhouse.com/

Next up at Cleveland Play House…Langston Hughes’ BLACK NAIVITY, directed by Tony F. Sias and Erin Weaver, with musical direction by Dr. David Thomas (December 1-16, 2023) followed by the farcical THE PLAY THAT GOES WRONG, February 10-March 3, 2024.