Porthouse’s THE PROM tells important story packaged in a solid production

Not only can truth be stranger than fiction, it also can create it!  A case in point is THE PROM, now on stage at Porthouse Theatre, the summer home of Kent State University’s musical theatre program.

In 2010, Constance McMillen was a senior at Itawamba Agricultural High School in Fulton, Mississippi. She had plans to bring her girlfriend to their senior prom.  She was banned from attending by the school board. McMillen challenged the board's decision.  The board then decided to cancel that year's senior prom.

McMillen and the ACLU sued her school district.  A federal court found the District guilty of violating McMillen's First Amendment rights. 

That’s not the end of story.  The board eventually decided to allow McMillen to attend the prom, but the event, held at a local country club, was attended by only seven students.  Why?   Conservative parents had organized a separate prom, on the same night, for the rest of the students, making sure to keep the location secret to avoid media attention and “undesirables” from attending.

Here’s where the story gets really interesting.  “Celebrities—such as Green Day, Cat Cora, and Lance Bass—rallied together via social media to show their support for McMillen and helped sponsor a ‘Second-Chance’ prom, where McMillen and her girlfriend could attend without homophobic backlash.”

Yes, truth can be stranger than fiction.

Jack Viertel thought the tale would make a good story line for a musical.  Bob Martin and Chad Beguelin agreed with Viertel and wrote the book for a show, entitled, THE PROM.  Music by Matthew Sklar, with lyrics by Beguelin were added to script. 

The musical premiered on Broadway in October 2018.   That production had 309 regular performances.  Critics called it, "a joyful hoot,” and stated, that it had “a tuneful score, a playful book, and performances that remind you what Broadway heart and chutzpah are all about,” while another stated,” this cause celebre of a show turns out to be a joyous, funny, and sweet production." 

The Broadway production was nominated for six Tonys.  It won none, but was named Outstanding Musical by Drama Desk.

A film adaptation, was released on Netflix on December 11, 2020.
The national tour of THE PROM launched on November 2, 2021, at Playhouse Square in Cleveland.  My review’s capsule judgment of that production stated, “THE PROM is an old-fashioned musical which tells a contemporary tale with a moral.  The touring company gives a fresh, dynamic, fun and tune-filled performance that delighted the audience and got a well-deserved standing ovation.  Applause, Applause!”

“The musical opens on Broadway, where ELEANOR!: THE ELEANOR ROOSEVELT STORY is celebrating its opening night. The musical is bashed by The New York Times because the leading characters do not understand their characters since they are self-absorbed narcissists, resulting in the show closing on opening night. To improve their image, the actors decide to take up ‘a cause’ to appear selfless. They team up with two other actors.  

After searching on Twitter, they find Emma, a teenager from Indiana whose prom was cancelled by the Parent-Teacher Association because she wanted to bring her girlfriend. Seeing the opportunity, and some personal connection, the actors decide to go to Indiana to help.”
 
And, thus we enter in a rockling tale of self-centeredness, ego, conflict, parental misguided actions, liberal and conservative counter-goals, mid-western small-town values, and a heart-warming ending (Kleenex’s required) when the two girls finally getting to “Dance With You” and share a kiss!
 
The Porthouse production, directed by Terri Kent, is nicely crafted.  The characters are clearly etched, the chorus actively involved, and the pacing was mood correct.
 
Lane LaVonne creates an Emma, the Lesbian who is at the center of the major conflict in the story, who is both sensitive yet strong.  They has a fine singing voice and moves well.  Their renditions of “Dance with Me” (the script’s anthem) and “Unruly Heart” were nicely interpreted.
 
Emma’s love interest, Alyssa, was effectively developed by Jocelyn Trimmer.  Though there could have been more real emotional connection between she and Lane LaVonne, her rendition of “Alyssa Greene” was one of the shows emotional highlights.
 
Eric van Barrs, the former Director of the School of Theatre and Dance at Kent State, took a break from retirement to do what he does best…perform audience-pleasing “schtick” as the egocentric Barry Glickman. His “Berry Is Going to Prom” was endearing.
 
Talking of playing “schtick,.” Sandra Montevideo, who is probably best known to local audiences as Sandra Emerick, was her dynamic self as Dee Dee Allen, the other half of the ego-centric duo that comes to Indiana to fake helping out the “lesbian girl,” but winds up learning a great deal about herself.
 
Amy Fritsche, who obviously has no physical flexibility issues, fills much of her stage-time doing high kicks as Angie Dickinson, whose only wish in life is to play Roxie in CHICAGO.”  She gets to do a master class in Bob Fosse’s Jazz Hands in “Jazz.”
 
That number, and all the rest of the dancing, is masterfully choreographed by Martin Céspedes.  Not only is Fosse’s influence present, but hip hop, contemporary gospel, golden age of Broadway, showcased.  Céspedes has the ability to take trained dancers and non-dancers and molding them into a cohesive unit of high-quality movements.  This production is a case in point.
 
Alexander Marr’s conducting wisely had the musicians underscoring rather than over-powering the performers, but, at times, a more rapid pace would have added to the show.
 
CAPSULE JUDGMENT:  As is the case with modern American musicals, THE PROM harks back to a Rodgers and Hammerstein-like social message of tolerance and the need to accept the beliefs and needs of others.  It is extremely relevant to today where the rights of sexual minorities, especially trans-individuals, is under both physical and political attack by right-wing bigots.  The Porthouse production, is well-conceived and brings to a conclusion a successful season.
 
THE PROM runs through August 6th.  For tickets go to www.kent.edu or call 330-672-3884.

Feinstein, Thibaudet and the Cleveland Orchestra…who could ask for anything more?

 
About ten minutes before the Blossom music complex was to be filled by glorious music, an announcement asked all attendees who were sitting on the lawn to come into the pavilion as bad weather was moving into the area.

A few minutes later the stragglers were encouraged again to enter the covered area with the warning that the concert would not start until all were safe from the weather forecast of rain and lightning.

Shortly after the concert started a horrendous downpour started.

Combine the compelling piano virtuosity of pianist/singer/musical historian Michael Feinstein, superb pianist Jean-Yves Thibaudet and the world-renowned Cleveland Orchestra and not even torrential rain could corral the enthusiasm of the massive crowd at the TWO PIANOS:  WHO COULD ASK FOR ANYTHING MORE? 
Concert at the Blossom Center on July 23rd. 

Michael Feinstein, an American singer and pianist, is well-known as an archivist and interpreter for the repertoire known as the GREAT AMERICAN SONGBOOK. 

A multi-platinum-selling, five-time Grammy-nominated recording artist, the diminutive, Feinstein currently serves as Artistic Director for The Center for the Performing Arts in Carmel, Indiana.  In 1988 he won a Drama Desk Special Award for celebrating American musical theatre songs. 

Feinstein was born in Columbus, Ohio.  “At the age of five, he studied piano for a couple of months until his teacher became angered that he was not reading the sheet music she gave him, since he was more comfortable playing by ear.” 

After graduating from high school, Feinstein worked in local piano bars for a couple of years and then moved to California.  In 1977 he was introduced to Ira Gershwin, who hired him to catalogue his extensive collection of phonograph records. 

The next six years opened a new world to the creative young man which led, in 2008 to his founding the The Great American Songbook Foundation, whose purpose is to preserve, research, and exhibit the physical artifacts of American music and educate youth about the music's relevance to their lives.

Jean-Yves Thibaudet was born in France.  “He entered the
Conservatoire de Lyon at the age of five and began studying the piano. He made his first public appearance at the age of seven. He won a gold medal at the Conservatoire when he was twelve and subsequently entered the Conservatoire de Paris .” Three years later, he won the Premier Prix du Conservatoire and at the age of eighteen, won the Young Concert Artists Auditions in New York.

Thibaudet has performed with most of the world's leading orchestras.  He has also appeared in the major concert halls of Europe, North America and Asia. 

His recording of Lists drew rare praise from the great Vladimir Horowitz, who remarked, “It was amazing, such dexterity, such technique, such articulation, such command.

The quality of the Cleveland Orchestra, considered one of the greatest in the world, is unquestionable.

The concert, which was advertised as the first time Thibaudet Feinstein joined forces, celebrated the music and tales about George Gershwin, Irving Berlin, Richard Rodgers, Vincent Youmans, Andre Previn and Andrew Firth.  

Feinstein recounted his experiences with the composers as well as singing their songs, while playing duets with Thibaudet.  The orchestra both supported the duo, as well as playing solos.

The two program segments, each about 45-minutes in length, were continually supported by enthusiastic applause.

Capsule judgment:  Yes, Thibaudet, Feinstein, the Cleveland Orchestra, under the baton of Keith Lockhart and the finest works of some of Americans great composers.  Who could ask for anything more!!

Upcoming offering at Blossom of interest to theatre-centric audience:  

AUDRA MCDONALD & THE CLEVELAND ORCHESTRA—August 13-- Audra McDonald is an accomplished performer, singer, theater, TV, and film actress best known for her work in  such shows as Ragtime, Carousel, Master Class,  A Moon for the Misbegotten, Porgy and Bess and 110 in the Shade. 

Her incredible three-decade career has resulted in multiple accolades, including six Tony Awards, two Grammy Awards, and an Emmy Award. In 2016, she received the state’s highest civilian honor for the arts, the National Medal of Arts, presented by then-President Barack Obama. McDonald was inducted into the American Theater Hall of Fame the following year. 

BROADWAY U CLOSE: Going to New York? Recommendations for a great experience!

Now that COVID seems somewhat under control, people are again traveling. For many that means going to the Big Apple…yes, New York City!
 
As a regular traveler to NYC, one of my favorite things to do, besides taking in a live Broadway or off-Broadway show, is take a “Broadway Up Close” tour.
 
These walking excursions are the brain-child of Tim Dolan.  
 
Dolan, a native of Detroit, is a graduate of the American Musical and Dramatic Academy.  
 
I happily found Tim when I wanted an in-depth tour of the Times Square theatre district that was conducted by someone in the know.  Since my first experience, I have trudged along with Tim in NY and also, during the COVID years, “attending” his on-line treks.  They all were filled with humor, interesting tales and amazing info that only a Broadway fanatic would know.  It is a unique experience.
 
As Tim explains his service: “Three of the tours ("Broadway's Beginnings," "Schubert Brothers & Beyond," and "Hippies, Discos, & Dogs, Oh My!") make up a 3-act tour of Broadway, going from 41st Street to 54th street. Another tour is dedicated entirely to the musical Hamilton, one is a not-so-spooky ghost tour, and another even goes inside a theater!”
 
“Each tour is led by me or a member of the Green Team, working actors and stage managers who share personal stories along with the history of the theatre world. The tour guides carry an iPad chock-full of rare photos that help enhance their stories.”
 
In addition to the tours, there is a gift booth on Times Square that has great tee and sweat shirts, handmade Christmas ornaments and other “tchatchkas.”  (I happily wear my unique purple Broadway sweatshirt, ordered on-line from his souvenir shop.)
 
As for Tim:  He moved to the Big Apple shortly after graduating high school to pursue a career in the arts. 
 
Onstage, Tim was the Dance Captain in the Off-Broadway revival of Once Upon A Mattress. He also performed as Abraham in the long-running hit musical Altar Boyz. His other acting credits include the National Tours of Altar Boyz and Gentlemen Prefer Blondes.  He is a member of Actors' Equity Association.  
 
As an arts educator Tim was on faculty at Rosie's Theatre Kids, Rosie O'Donnell's arts organization, as well as Dream Makers Performing Arts, combining his love of theatre with his experiences as a New York City tour guide.
 
For more information, or to book a tour, go to:  www.broadwayupclose.com
 
Of course, if you are a theater buff, or want a total Big Apple experience, you have to go to at least one live show.  Broadway does it right!   The talent, the production values are top notch. 
 
For tickets, the day of the show you can go to the TKTS booth. There are three of them, but the best known is on Times Squares, located at Broadway and 47^th Street.   Tickets are from 20 to 50 percent lower than box office prices, but be aware that not all shows are available there and you have to stand in line. For information go to: https://www.headout.com/blog/tkts-nyc-booths-broadway/#:~:text=TKTS%20Discount%20Booths%20are%20the,to%2050%25%20off%20regular%20prices.
 
Personally, I don’t like standing in lines and want to be sure what shows I see, so I turn to my trusty best source:  theatermania.com,  If that doesn’t work, try broadway.com
or broadwaybox.com.  There is often a handling fee for the service.
 
BTW, when on Times Square be aware that the Naked Cowboy and other comic characters charge for you to pose with them!  They can get quite nasty if you don’t give them a “tip.”  
 
Go to the Big White Way and see theatre, take a tour. It’s entertainment at its best!!

Brilliantly conceived and performed ONCE ON THIS ISLAND at Beck Center

ONCE ON THIS ISLAND, a musical based on the award-winning novel My Love, My Love by Rosa Guy.  

Set on an island in the Caribbean Sea, the musical explores theme the power of community in the face of adversity. With echoes of THE LITTLE MERMAID and the struggle of young love in WEST SIDE STORY, this production blends elements of folk and fairy tales with modern storytelling techniques.

The music by composer Stephen Flaherty with lyrics by Lynn Ahrens, which has no well-known pop tunes, contains many authentic sounding calypso tunes, intermixed with contemporary sounds, creates a combination of body moving moments, as well as emotional involvement. 

The original Broadway production which ran from 1990 to 1991, gained little strong reviews.  The London production, on-the-other hand, won the prestigious Olivier Award for Best Musical, which encouraged a “redo” on Broadway in 2017.

That staging was showered with critical acclaim.  Comments included "ravishing" and "an aesthetic experience unlike anything seen on Broadway." It won the 2018 Tony Award for Best Revival of a Musical.

When I saw the revival production at the Circle in the Square in New York, I was impressed by the music and the production qualities.  The set for the stage-in-the round staging area consisted of tons of beach sand, trucked into the theatre, creating a real Caribbean island.  

The authenticity was further enhanced by live animals wandering the stage and aisles before and during the show. Yes, a live goat and other livestock helped set the visual tone.  

I had some difficulty with the NY production’s sound system, which couldn’t overcome the theatre-in-the-round problem of having occasional actors’ backs-to-the audience, which made difficulty hearing all the words.  Since the lines create the meaning, I lost some of the story.

The Beck production, under the brilliant staging and equally impressive choreography of Christopher Chase Carter, had none of the “lack of clarity” problems.  The theater’s once finicky audio system worked to perfection and musical director Larry Goodpaster’s orchestra not only had the right island attitude, but underscored, rather than drowning out the performer’s speaking and singing.

Carter, the Artistic Director of Mercury Theater Chicago, has been recognized for his outstanding work as a director and choreographer in the Windy City.  His reputation, if this production is typical of his work, is well deserved.  It can only be hoped that we will see more of Carter’s magic in 216/440.  

The tale takes place on a fictional island in which the peasants, "black as night," live on one side of the island, and the grand hommes, the lighter-skinned descendants of the original French planters, live on the other.  

One night, a storm hits the island, wiping out many villages. The gods save the life of a little orphan, Ti Moune, by placing her in a tree above the flood's waves. She is found and subsequently adopted by several of the peasants. 

Years later, a grown-up Ti Moune prays to the gods to let her know her purpose.  Hearing her plea, the gods decide to give her her wish.  

A car crash during the storm, Ti Moune’s finding the broken body of Daniel, a young grand homme, and her restoring him to health, allows Ti Moune to fall in love with him and imagine he loves her too. Thus, we find ourselves involved in a tale of pain, grief, faith, and, maybe, hope.

Edith Foley, a fourth grader, shows stage presence well beyond her years as Little Ti Moune.  She is totally involved in her character, displays a fine singing voice and physical presence.  She is heading for stardom!

Israeljah Reign, a recent Kent State grad, is on-point as Ti Moune.  She shows that right levels of compassion, passion and emotional energy in creating a real peasant girl.  Her emotional connection with JT Snow is strong. 

Baldwin Wallace rising Junior, JT Snow, has an aristocratic air that makes him actor-right for playing the grand hommes, Daniel.  He has a pleasant singing voice and develops a meaningful character.

Tina Stump, one of the reigning queens of Cleveland theatre, does what Tina Stump does…sing and act the hell of her role as Ti Moune’s adoptive mother.  

The rest of the cast is exceptional.  They act, sing and dance at the most professional of levels and form a company that has no weak links.

Cheri Prough-Devol’s realistic island set is award worthy, as are Inda Blatch-Geib’s costume designs.  Carlton Guc’s sound design, complete with water, wind, bird and animal sounds, helps create a real feel of the Caribbean.  Emma Hansen’s lighting develops all the right moods.

Capsule judgment:  The stage was constantly displaying well-conceived stage pictures, the choreography was not only creative, but visually encapsulating, and the entire production was a master class in how to create an audience pleasing show that developed the intent and purpose of the author. In fact, it actually made more of the storyline than Lynn Ahrens created.  This is musical theatre at its finest!  Bravo!

ONCE ON THIS ISLAND runs July 7 to August 6, 2023 in the Senney Theater of Beck Center.  For tickets call 216-521-2540 or go to beckcenter.org

THE MARVELOUS WONDERETTES, an inane jukebox musical at Porthouse Theatre

 

It’s summer, a time of year in Northeastern Ohio for escapist activities.  This is the only logical reason that Porthouse would pick a show like Roger Bean’s jukebox musical THE MARVELOUS WONDERETTES.

 

Bean has made a cottage industry out of his “Wonderettes” musicals and similar mindless scripts.  

 

He takes songs which were written by others and were popular, or at least recorded and/or performed at concerts, and shoe-horned them into trite story lines.  Titles of some of his “hits” include:  WONDERETTES:  CAPS & GOWNS, WINTER WONDERETTES, WONDERETTES DREAM ON, SUMMER OF LOVE, HONKY TONK LANDRY, and WHY DO FOOLS FALL IN LOVE.

 

These shows, are easy to stage, have small casts and little scenery and are staples in community and summer theaters.  They have probably made the man a millionaire, while adding nothing of value to the American musical theatre genre.

THE MARVELOUS WONDERETTES  uses pop songs from the1950s and 1960s as a vehicle to tell its story, while paying homage to the high school “Songleader”squads of the 50s. 

Beyond fiction, there was a most famous local “girl group,” The Poni-Tails--Toni Cistone, Karen Topinka and Patti McCabe--who started singing at Charles F. Brush High School, in South Euclid/Lyndhurst.  A music publisher, signed them to a local record label.  They had a huge hit in 1958 when their “Born Too Late “rose on the charts.  Ironically, the Poni-Tails, like the girl-group in THE MARVELOUS WONDERETTES, entertained while still at Brush. 

In THE MARVELOUS WONDERETTES, the girl-group—Missy (Alexis Wilson), Betty Jean (Hannah Hall), Suzy (Emma Rose Johnson), and Cindy Lou (Riley McIntyre) are recruited as last-minute replacements at the fictitious Springfield High School. 

In the first act, the Wonderettes rally together to entertain their classmates in four-part harmony and doo-op moves (think The Supremes, Shirelles and Marvelettes). The second act shows the four ten years later at their reunion, still entertaining, gossiping, and sniping at each other.

The musical includes such  the songs "Lollipop", "Dream Lover", “All I Have to Do is Dream,” "Lipstick on Your Color," “Sincerely,” “I Only Want to Be With You,” and ”Leader of the Pack.”

If you, like so many in the Sunday matinee audience I attended are of “that” age, you know and could sing most of the lyrics from those songs.  In fact, there was supportive-singing, some complete with gestures, from the mostly gray-haired assemblage.  They loved the nostalgia of returning to this glory days.

The script had a surprising creation story.  Beach had written DON’T TOUCH THE DIAL, his first musical.  It was a hit at the Milwaukee Repertory Theatre, and “Bean was asked to write a new musical for their intimate black box space.  Bean suggested a musical about high school song leaders from the 50s and 60s, best friends, singing at prom for their best friends and boyfriends. He would use pop songs from the 50s and 60s to tell the story of the characters.”  And thus, his cash cow was born! 

The story, if one can call it that, has many contrived “angst” incidents—boyfriend issues, personal conflicts between the girls, crushes on “Mr. Lee,” a teacher, being teacher’s pet, and one of the girl’s continually chewing and losing her gum. (Come on, could I make that up?)  

The cast, under the direction of Amy Fritsche, who also serves as choreographer, does all it can with the script.  The girls all have good voices, each is featured in several songs, and they all have the coordinated hand, facial expressions and feet movements down pat.

Jonathan Swoboda’s musicians lay down a perfect background for the young ladies, not drowning out the song lyrics, but supporting their song interpretations.

Highlight songs were “Hold Me, Thrill Me, Kiss Me,” “You Don’t Own Me,” That’s When the Tears Start, and “It’s My Party.”

Margaret Peebles’ lighting, Tony Hardin’s set design, and Bethy Winters’ sound all add to the production.

Abbie Hagen’s wonderfully colorful and zany era-correct costumes were show highlights. 

CAPSULE JUDGMENT:  If you love the teeny-bopper music of the 1950s and 60s, and don’t care about a story line (believe me this is not DEAR EVAN HANSEN or SPRING AWAKENING), then wander out to Porthouse, sit in the beautiful tent theatre in the lush lawn and trees, and see THE MARVELOUS WONDERETTES.  Me?  I’m looking forward to THE PROM, the theatre’s next production.

For tickets go to: www.kent.edu or 330-672-3884. Next up at Porthouse is THE PROM (July 21-August 6).