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.