SPONGEBOB, farce-lite at Beck Center

 

When I reviewed it on Broadway, several year ago, my capsule judgment stated: “SPONGEBOB SQUAREPANTS THE BROADWAY MUSICAL” is a wonder of neon psychedelic delight starring a character-perfect lead surrounded by a fun-centered cast which should delight adults and children of all ages!”  Therefore, my expectations for the Beck Center production of the script were sky-high, especially when I found out that many of the cast are from the newly founded musical theater program at Oberlin College.   The musical was conceived by Tina Landau.  It has songs by such artists as Sara Bareilles, Cindy Lauper and Rob Hyman, Lady Antebellum, John Legend, David Bowie and Brian Eno, Steven Tyler and Joe Perry of Aerosmith.   It is based on the characters and themes of the “SpongeBob SquarePants” animated children’s television show, which was created by marine biologist and animator Stephen Hillenburg.  It takes place in the fictional underwater city of Bikini Bottom.    SPONGEBOB SQUAREPANTS has its own vision…to entertain in a psychedelic underwater world of neon colors.  No strong message, but there are child-friendly hints of the value of friendship and of overcoming fear!       The stage version opens as SpongeBob SquarePants wakes up, in his usual wide-eyed happy mood, ready to face another wonderful day with his pet snail, Gary.  He wanders through Bikini Bottom, greeting various people including his best friend, Patrick (a squid) and Sandy Cheeks (a human who lives in a bubble-like dome and possesses great scientific skills).     As the day progresses a violent tremor rocks the town.  A television news report relates that a nearby volcano is about to erupt.  Oh, what to do?  Stay and be destroyed?  Flee?  Find a way to save the city by neutralizing the danger.    Hey, this is an escapist farce.  There has to be a plot device that contains danger, a bad guy and a happy ending to fulfill the formulaic story requirements.      So, off to climb the volcano, get rid of the danger (thanks to an invention by Sandy), and defeat an evil villain.  And, of course, our hero has to be the title character—SpongeBob.   The process of saving the town is filled with lots of singing and dancing, climbing the walls of the volcano, skateboarding rockers, and ideally lots of overdone farcical acting.  Donald Bianchi, the creative genius and founder of Dobama Theatre had many pet phrases that he used when directing.  Among his “Donisms” was his saying that to be successful, a production had to have “ziztfleish,” the Yiddish/German word which implies "the ability of the performance to grab and hold the audience’s attention, thus getting the viewers to focus on the stage.  The test of this was to watch the audience members and be aware what they were doing.  Shuffling in their seats, rattling the programs and whispering to others, were signs of negative ziztfleish.     Though the Beck cast puts out full effort, a combination of the difficulty of doing farce, and a lack of directing creativity, left the Beck production lacking in the fantasy factor, thus the audience, primarily young kids, had difficult sitting still.  The parade of youngsters up and down the aisle, jumping around in their seats and asking questions of their adult companions, was of a high level.     These kids are used to action loaded and farcical schticks.  They obviously didn’t find it in this performance.  As the restless four-year-old blond cutie sitting in front of me, who was using her chair alternately as a bed and trampoline said to her father at intermission, “This isn’t fun like tv SpongeBob.”  Nope, no ziztfleish!   The show needs a farcical, quirky set, creative costumes, goofy and over-the-top acting.  In-other-words, everything that would make for escapist enjoyment.  The cast needs to have the direction that allows them to excite the viewer and hold their attention.     The Beck staging has some of those things.  It just doesn’t have all of them, or enough to come close to duplicating the wonderful Broadway version.     The set needed more Rube Goldberg gimmicks and fantasy graphics.  The volcano needed to be more treacherous and hold more potential danger.  The actors needed to be more playful.  Be bigger than life!  The lighting, the sound effects, the costumes need to excite.    Kudos to Lauren Marousek for her creative choreography.  The high points of the show were the wonderful tap dancing and kick-line sequences.   Probably, of interest to Beck patrons is that SPONGEBOB was produced in New York by the Araca Group, Cleveland natives Matthew Rego, Michael Rego, and Hank Unger, who are members of Beck’s Alumni Hall of Fame.  The show added to the group’s ever-expanding list of Broadway hits, which include such smashes as URINETOWN, WICKED, ’ NIGHT MOTHER, THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, ROCK OF AGES, and THE OUTSIDERS, last year’s Tony winner for best musical.   Capsule judgment: “Spongebob Squarepants The Broadway Musical” delighted on Broadway.  The Beck production is an acceptable, if underwhelming version!   For tickets to SPONGEBOB, call 216-521-2540 or go on line to beckcenter.org.

Touring SPAMALOT a little less zany than expected, but still funish!

SPAMALOT, also known at MONTY PYTHON’S SPAMALOT: A MUSICAL (LOVINGLY) RIPPED OFF FROM THE MOTION PICTURE MONTY PYTHON AND THE HOLY GRAIL, is settled in at the Connor Palace for a short run (December 1-6).   From the very start of the show, you know that you are in for a “different” evening!  A recording encourages members of the audience to "let your cell phones and pagers ring willy-nilly," and the audience should "be aware there are heavily armed knights on stage that may drag you on stage and impale you."  (And, believe it not, some naïve second-row-seated gentleman, did find himself onstage!)   Though the trend today is for Jukebox musicals, revivals, and musical dramas, for those who want to laugh, there are of shows around that are classified as musical farces.  These include FUNNY THING HAPPENED ON THE WAY TO THE FORUM, SOMETHING ROTTEN and SPAMALOT.   SPAMALOT, with music by John De Prez and Eric Idle, and lyrics and a book by Idle, is based on the 1975 film ”Monty Python and the Holy Grail.  It loosely follows King Arthur on his quest to find members of his roundtable, and incidentally, the holy grail.   The show first appeared on Broadway in 2005, garnering fourteen Tony Award nominations.  It won for Best Musical.   During its initial run of 1,575 performances, the production was seen by more than two million people and grossed over $168 million.    It was one of eight UK musicals commemorated British postage stamps. The show starts harmlessly enough.  A historian relates the “history of England.”  Unfortunately, the fish smacking dance turns out to be Scandinavia and we are off on a serious of potentially outlandish “schticks” (bits). SPAMALOT has “everything that makes a great knight at the theatre, from flying cows to killer rabbits, from British royalty to French insulters, to dancing girls, fake shrubbery, and of course, the Lady of the Lake.”  There are lots of vaudeville-like scenes.   The score includes such classical songs as “The Song That Goes Like This,” “Find Your Grail,” ”You Won’t Succeed on Broadway (If you don’t have any Jews)” and “His Name is Lancelot.”   SPAMALOT makes references to other musicals, such as: “The Song That Goes Like This” (a spoof of Andrew Lloyd Webber productions; “Whatever Happened To My Part” reminiscent of “And I Am Telling You I'm Not Going” from DREAMGIRLS, the knights doing a bottle dance harking back to FIDDLER ON THE ROOF, and another reminiscent of WEST SIDE STORY; a member of the French army dressed as Éponine from LES MISERABLES; and a line pulled from "Another Hundred People" from Stephen Sondheim's COMPANY. The last time the show was in CLE, I was accompanied by two male tweens, who, following the show, skipped through the lobby, loudly singing, “Always Look on the Bright Side of Life” and yelling a line from another song, “I Ain’t Dead Yet.”  Yep, that’s the kind of experience this is, or should be.   CAPSULE JUDGEMENT:  A reviewer said of the original production, "It's UNFAIR to make me laugh this much!”  I wish I could say that of the touring show.  Unfortunately, I can’t.  This production seems to be missing some of the abandonment needed to really get the audience to let loose.   That’s not to say the show is bad.  It’s not.  But, it  seems a little uninspired, a little too much on automatic pilot, and not as zany as it could be or has been in previous incarnations.  We need more ridiculous farce and less-Hamlet drama! SPAMALOT, which is in its North American Tour launch, runs December 1- 6, 2025 at the Connor Palace.  For tickets call (216) 241-6000 or go to playhousesquare.org.

 

SHREK THE MUSICAL brightens up holiday season at CVLT

 

When theatre-goers think of the color green, many automatically recall Elphaba of WICKED.  Yes, she is definitely green, but she’s not the only musical character of that hue.  Besides the misunderstood Wicked Witch of the West there is Shrek, an also misunderstood emerald-shaded-being.  (And, let’s not overlook his lady-love, Princess Fiona).     As Elphaba flies around in the newly released movie, WICKED:  FOR GOOD, Shrek and Fiona are on stage at Chagrin Valley Little Theatre.   The stage show, often dubbed the "I'm a Believer" musical, based on the show’s song which was originally played as the audience left the theatre.   Due to the tune’s popularity, it was incorporated into the score on October 2, 2009, and is now sung by the entire company during the curtain call.   SHREK is a musical with music by Jeanine Tesori and book and lyrics by David Lindsay-Abaire. It is based on the 2001 DreamWorks Animation film of the same name.   The Broadway production of the show received eight Tony Award nominations, including Best Musical.  It ran 441 performances. At the time, it was one of the most expensive musicals to open on Broadway, at an estimated $25 million.  It has gone on to be one of the most produced community theatre and high school scripts, as well as having numerous international productions and touring companies.   The tale starts with “two ogre parents sending their seven-year-old son Shrek out of their house and into the world to make his living. They warn him that because of his looks, he will be shunned by the world. Some years later, an embittered, grown-up Shrek is living contentedly alone in a swamp.  However, his solitude is disrupted when a refugee caravan of fairy tale creatures show up on his property. They explain of their banishment from the Kingdom of Duloc, by order of the evil Lord Farquaad (a dwarf with short legs and a nasty disposition), who banished them for being “freaks,” under penalty of death if they ever return. Shrek decides to travel to see Farquaad and try to regain his swamp.”   And, thus, we are thrown into a fantasy which includes coming in contact with a donkey with a twisted sense of humor, a band of fairy tale characters including Pinocchio, the Pied Piper, Peter Pan, the Cheshire Cat, the three bears, the Ugly Duckling, the Sugar Plum Fairy and the Big Bad Wolf, a lot of singing and dancing, and high antics.  And, of course, since this is a fairy tale, a happy ending!   In attending a CVLT production, don’t expect a professional staging.  There is not an Actor’s Equity member in the cast.  These are amateurs who are performing for the love of theater, interest in developing some experience and entertaining an audience.     The cast is enthusiastic, the score outstanding, and the musicians, under the baton of Heidi Herczeg, outstanding, and Chris Bizub’s directing keeps the action rolling right along.    Highlight musical numbers include “What’s Up Duloc?”, “I Know It’s Today,” “Who I’d Be,” “When Words Fail,” “Build a Wall,” “This is Our Story,” and “I’m a Believer.”  The choreography by Lauren Stepanski is ambitious. The settings and projections designed by Steven M. Savanyu, nicely conceived.     Strong performances were given by Tom Jones as Shrek, Caralyn Steck as Princess Fiona, Kaity Poschner as Donkey and Cameron Zona as Lord Farquaad.   CAPSULE JUDGMENT:  SHREK THE MUSICAL is a green-tastic script, with a strong score. It’s moral is to accept others for who they are, rather than judging them by their appearance.  It teaches self-acceptance, finding your own true self, and the importance of friendship and love that embraces your quirks and imperfections.  Be aware that this is a stage show and children who have seen the movie may be expecting more gimmicks than will appear on stage.   SHREK THE MUSICAL runs through December 14.  For tickets go to CVT.org or call 440-247-8955.

Normally, in a who-done-it, the question facing the audience is to figure out who the killer is.  In DIAL M FOR MURDER, which is now on-stage at Great Lakes Theater, Jeffrey Hatcher, who rewrote the present play version of the epic, doesn’t leave us in the air. Early in the play we know who the bad guy is, the questions are, will he get caught or will he get away with perpetuating a perfect crime.  It isn’t until the very, very end that, as we sit at the end of our chairs, biting our finger-nails, we get an answer!

The script was originally penned by Frederick Major Paull Knott, an English playwright and screenwriter known for complex crime-related plots.  Hatcher’s adaptation has gone on to be one of the most-produced plays.

The plot is simple, “Tony Wendice married his wife Margot for her money; he now plans to murder her for the same reason. Tony arranges the perfect murder – he hires a scoundrel to strangle Margot, and arranges a brilliant alibi for himself.”  But, the obvious becomes less obvious, the apparent isn’t that apparent, and the best plans can often go astray.”

Set in a beautiful London art deco apartment, the suspenseful script, builds tension through plot twists and turns, gradually revealing Tony’s scheme, using sharp irony in what is apparent and real, often twists into the unexpected.  The plot dangles upon a key, a scissors and a stocking. 

Opening in 1952, the show was an instant success with critics and audience, alike.  So much so it was immediately bought by Warner Brothers and turned into a movie.  The flick was directed by the Master of Suspense himself, Alfred Hitchcock, and featured Grace Kelly as Margot and Ray Milland as Tony.

The story illustrates how greed, secrets and reputations often motivate what we do and why we do those things.  

The Great Lakes Theater production, under the steady directing of Sara Bruner, is a well-paced, excellently acted, and a technically fine staging.

Nick Steen, as has been the case in his twelve seasons with GLT, develops a clear-cad as Tony, who is intent in “doing-in” his wife and getting all her money.

Jodi Dominick is spot on as Margot, the wealthy woman who naively trusts her husband, Tony.

Carie Kawa, Margot’s best friend, and maybe rival for Tony’s affections, leaves us wondering, until the very end, of her real intentions and to whom she has loyalty.

Jeffrey C. Hawkins is fine as the sleezy would-be murderer, Captain Lesgate.

David Anthony Smith is on-target as the British inspector Hubbard.

Jeffrey Herrmann’s impressive fragmented set, Trad A Burns, lightening design complete with a menacing storm and stress-inducing illuminating levels, Matthew Webb’s oft-spooky sound effects and Darrin J. Pufall Purdy’s era perfect costumes, all add to the quality of the production.

Capsule judgment:  DIAL M FOR MURDER is the kind of play that, if well done, grabs and holds an audience.  The GLT staging is a well-done production that reaches that high level!  Go, enjoy a fun night of theatre!

Great Lakes Theater (GLT) continues its 64th season with DIAL M FOR MURDER, which runs through November 19, 2025, in the intimate Hanna Theatre at Playhouse Square.  Tickets range from $24–$119 (inclusive of all fees). $18 tickets available for patrons 25 and under. Groups of 10+ save up to 33%.

Next-up at GLT:  A CHRISTMAS CAROL, 11 28-12-21, 2025, Mimi Ohio Theatre.

HELL'S KITCHEN is everything a contemporary musical should be!

Normally, juke-box musicals, which are scripts created from pre-conceived music, have songs shoe-horned into what is generally an acceptable, but less-than well-written story (think MOULIN ROUGE! and MAMMA MIA!).
 
This is not the case with HELL’S KITCHEN, the semi-autographical Alicia Keys-centered musical, now on-stage Connor Palace, as part of the Key Bank Broadway series.  This show is a compelling, singing/dance-infused, well-written and crafted show, which has all the elements of what a contemporary musical should be!  
 
“Keys, was heavily involved in creating the musical.”  
 
Kristoffer Diaz’s book is well-developed and is one of the few books for this type of show that deserves kudos.
 
The music, which is a blend of R&B, soul, and hip-hop, often characterized by Keys’ classical piano skills and some electronic compositions, is infectious.  
 
Many of the songs turn into show-stopping musical concerts, complete with complex dancing and visual electronics.  Even the ballads lend themselves to individual and group movement.  All of these are well-choreographed. 
 
Using moving platforms, and scaffolds, Robert Brills’ sets and Peter Nigrini’s electronics, become part of the emotional dynamics.  Gareth Owen’s sound design allows for hearing words clearly, even with the loud musical sounds. 
 
Compositions include “The River,” “Seventeen,” “You Don’t Know My Name,"  “Girl on Fire,” “Perfect Way to Die,” “Fallin’,” “No One,” and “Empire State of Mind.” 

Alicia Keys, according to this narration, is a 17-year-old girl named Ali, being brought up in Manhattan by a single over-protective mother and a sometimes present, but mostly absent father.  

Ali feels, as many teenagers do, stifled by all the rules and constant supervision.  

We are introduced to the people in Ali’s life: the musicians who make up the artist housing in Manhattan Plaza; her friends, Tiny and Jessica; her mother Jersey, a singer and working woman; Knuck, a bucket drummer, who is part of a group that hangs out in the building; as well as her in and out of her life musician father.  Most importantly, we meet Miss Liza Jane.

Miss Liza Jane, who consoles her by pointing out the situation could be much worse, reflects on the racism she has experienced, and urges Ali to continue learning to play piano so she may continue a legacy of music.  In the process of learning and hearing Miss Liza Jane’s sage advice, Ali gains a self- identity and finds out what it means to be a member of a community.
 
The superb cast is headed by 18-year-old Maya Drake as Ali.  According to the program notes this is her professional debut and she has limited academic training.  She is not a product of a prestigious musical theatre program such as University of Michigan or NYU.  From her stellar performance this is shocking.  This is a talented young lady who can sing, dance, act and control the stage with seeming natural ability and ease.  Standing ovation, here!

 
Roz White hits all the right musical and emotional notes as Miss Liza Jane.  Kennedy Caughel is totally believable as Ali’s frustrated mother, trying to handle her own stresses along with being the parent of a teenage daughter.  Desmond Sean Ellington is incorrigibly correct as Ali’s slacker father.  Jon Avery Worrell has just the right tone for Ali’s boy-friend.
 
The choreography is dynamic!  The high intensity movements compel attention.  Congrats to not only Camille A. Brown, the choreographer, but to the outstanding members of the dance company, whose singing matched their physical skills.
 
Director Michael Greif’s creative genius is obvious.  His staging is outstanding.
 
CAPSULE JUDGEMENT:  The touring production of HELL’S KITCHEN is special.  It far succeeds the expectations for a juke-box musical.  The director, choreographer, music-supervisor, technical staff, cast and crew well-deserved the extra-long-standing ovation the production received.  It is a show I could see again and again and be satisfied each time.  Bravo!
 
HELL’S KITCHEN runs through November 1, 2025 at the Key Bank State Theatre.  Go! Be bedazzled!
 
Tickets are currently still available and can be purchased by calling 216-241-6000 or online at playhousesquare.org
 
 

Thought-provoking WITCH, gets very high-quality production at Dobama

 

“The universal themes of transformation, belonging, and resistance found in [Jen] Silverman's work resonates with diverse audiences.  Her use of magical realism and inventive storytelling techniques invites viewers to reconsider familiar narratives, fostering empathy and reflection.”  
 
This is so true of WITCH, Silverman’s reimaging of the 1621 Jacobean drama THE WITCH OF EDMONTON, which is now on stage at Dobama.  
 
At the conclusion of the production, the “devil” stands downstage/center, a spotlight accentuating the tears running down his handsome face, as he asks the audience, “Do you have hope?”  
 
A man sitting behind me loudly said, “Hell no!”  He continued, “How can anyone have hope when our freedoms are being taken away, the miliary is taking over our cities, and the constitution is being run-over.  All this for the ego of a President out of control.”  A couple of people sitting in his area applauded.
 
What does all of this have to do with the play WITCH?  
 
WITCH is a 2018 script that “follows a devil named Scratch who arrives in the village of Edmonton to buy souls, but finds himself unexpectedly intrigued by Elizabeth, an outcast woman accused of witchcraft. As the devil attempts to tempt her, he also encounters two young men, Frank [a poor charismatic farmer who has been befriended by Sir Arthur Banks, the wealthy owner of a castle] and Cuddy [Sir Arthur’s closeted gay son], who are willing to sell their souls for ambition and a desired inheritance. 
 
A series of events concerning who will be Sir Arthur’s heir, how the love/hate conflict between Frank and Cuddy turns out, who will gain the affection of Winnifred, the castle’s maid, and what will eventually happen to the witch and the devil, keep the action buzzing along.
 
Written in modern language, but set in an era gone-by, the play explores themes of social ostracism, power, and desire, but, most importantly, it asks, “at what point do you lose all hope?”
 
This is neither an easy script to perform or meet the demands of gaining and holding the audience’s attention.  The production, under the discerning eyes and ears of talented director Carrie Williams, handled the challenging content with competence and seeming ease.  
 
The cast, Lisa Louise Langford (Elizabeth Sawyer—the witch), Michael Glavan (Scratch—the devil), Mike Frye (Cuddy Banks--the son), Daniel Telford (Frank Thorney--the heir-apparent), Brian Pedaci (Sir Arthur Banks) and Bridgett Martinez (Winnifred—the Maid), each dressed in spectacular period costumes, designed by Inda Blatch-Gelb, were superb.  Each character was clearly etched and consistent.  Bravo.
 
Dobama’s stage, with no audience member more than 5 rows from the action makes it difficult to fake anything.  This made the brawl between Cuddy and Frank so outstanding.  It was impressively choreographed by fight director, Kelly Elliott.  Only the fact that after one of the characters is “killed” does any flaw appear.  Lying on his back, face up, it was apparent that he was still breathing.  Because of the severe realism of the battle, this flaw stood out.  Placing him on his stomach, or facing away from the audience, might have eliminated this problem. 
 
Laura Carlson Tarantowski’s set design, complete with a revolving platform, was era correct and added positively to the over-all effect, as did Josee Coyle’s lighting and Dred Geib’s props.
 
CAPSULE JUDGMENT:  From its inception Dobama has continued to stage challenging scripts with skill and effectiveness.  WITCH continues that tradition. This is a challenging script that in less talented hands could have been a very long and frustrating experience.  As is, it well developed the author’s intent and purpose.  Some will probably still find it obtuse, while others, like myself, will find it a very satisfying experience.

Due to the demand for tickets, the run of WITCH has been extended through November 2.  For tickets go to dobama.org or call (216) 932-3396.

Side-note:  In the lobby there is a visual tribute to the recently deceased Mary Jane Nottage, one of the earliest members of the Dobama acting family, and a generous donor to the theatre’s coffers.  She was a unique, funny, creative spirit who will long be missed by members of the Cleveland acting family.  She was a special person and a dear friend.  I miss her!

Next up:  THE HOBBIT, from the smallest beginnings come the greatest legends from December 4, 2025-January 4, 2026. 
Roy Berko
 
“The universal themes of transformation, belonging, and resistance found in [Jen] Silverman's work resonates with diverse audiences.  Her use of magical realism and inventive storytelling techniques invites viewers to reconsider familiar narratives, fostering empathy and reflection.”  
 
This is so true of WITCH, Silverman’s reimaging of the 1621 Jacobean drama THE WITCH OF EDMONTON, which is now on stage at Dobama.  
 
At the conclusion of the production, the “devil” stands downstage/center, a spotlight accentuating the tears running down his handsome face, as he asks the audience, “Do you have hope?”  
 
A man sitting behind me loudly said, “Hell no!”  He continued, “How can anyone have hope when our freedoms are being taken away, the miliary is taking over our cities, and the constitution is being run-over.  All this for the ego of a President out of control.”  A couple of people sitting in his area applauded.
 
What does all of this have to do with the play WITCH?  
 
WITCH is a 2018 script that “follows a devil named Scratch who arrives in the village of Edmonton to buy souls, but finds himself unexpectedly intrigued by Elizabeth, an outcast woman accused of witchcraft. As the devil attempts to tempt her, he also encounters two young men, Frank [a poor charismatic farmer who has been befriended by Sir Arthur Banks, the wealthy owner of a castle] and Cuddy [Sir Arthur’s closeted gay son], who are willing to sell their souls for ambition and a desired inheritance. 
 
A series of events concerning who will be Sir Arthur’s heir, how the love/hate conflict between Frank and Cuddy turns out, who will gain the affection of Winnifred, the castle’s maid, and what will eventually happen to the witch and the devil, keep the action buzzing along.
 
Written in modern language, but set in an era gone-by, the play explores themes of social ostracism, power, and desire, but, most importantly, it asks, “at what point do you lose all hope?”
 
This is neither an easy script to perform or meet the demands of gaining and holding the audience’s attention.  The production, under the discerning eyes and ears of talented director Carrie Williams, handled the challenging content with competence and seeming ease.  
 
The cast, Lisa Louise Langford (Elizabeth Sawyer—the witch), Michael Glavan (Scratch—the devil), Mike Frye (Cuddy Banks--the son), Daniel Telford (Frank Thorney--the heir-apparent), Brian Pedaci (Sir Arthur Banks) and Bridgett Martinez (Winnifred—the Maid), each dressed in spectacular period costumes, designed by Inda Blatch-Gelb, were superb.  Each character was clearly etched and consistent.  Bravo.
 
Dobama’s stage, with no audience member more than 5 rows from the action makes it difficult to fake anything.  This made the brawl between Cuddy and Frank so outstanding.  It was impressively choreographed by fight director, Kelly Elliott.  Only the fact that after one of the characters is “killed” does any flaw appear.  Lying on his back, face up, it was apparent that he was still breathing.  Because of the severe realism of the battle, this flaw stood out.  Placing him on his stomach, or facing away from the audience, might have eliminated this problem. 
 
Laura Carlson Tarantowski’s set design, complete with a revolving platform, was era correct and added positively to the over-all effect, as did Josee Coyle’s lighting and Dred Geib’s props.
 
CAPSULE JUDGMENT:  From its inception Dobama has continued to stage challenging scripts with skill and effectiveness.  WITCH continues that tradition. This is a challenging script that in less talented hands could have been a very long and frustrating experience.  As is, it well developed the author’s intent and purpose.  Some will probably still find it obtuse, while others, like myself, will find it a very satisfying experience.

Due to the demand for tickets, the run of WITCH has been extended through November 2.  For tickets go to dobama.org or call (216) 932-3396.

Side-note:  In the lobby there is a visual tribute to the recently deceased Mary Jane Nottage, one of the earliest members of the Dobama acting family, and a generous donor to the theatre’s coffers.  She was a unique, funny, creative spirit who will long be missed by members of the Cleveland acting family.  She was a special person and a dear friend.  I miss her!

Next up:  THE HOBBIT, from the smallest beginnings come the greatest legends from December 4, 2025-January 4, 2026.

Finely directed, acted and sung SUNDAY IN THE PARK WITH GEORGE at GLT

 Finely directed, acted and sung SUNDAY IN THE PARK WITH GEORGE at GLT

George Pierre Seurat was a French post-Impressionist artist best known for devising a painting technique entitled Pointillism, “a series of paint or crayon dots of multi-colored paint which allows the viewer's eye to blend colors optically, rather than having the colors physically blended on the canvas.” One of his most famous paintings, “A Sunday Afternoon on the Island of La Grande Jatte”, which took over two-years for him to complete, is presently on permanent display at the Art Institute of Chicago.   The painting shows members of each of the social classes participating in various park activities. It was the inspiration for James Lapine and Stephen Sondheim’s musical, SUNDAY IN THE PARK WITH GEORGE.   Interestingly, it also played significant symbolic role in the cult classic film, “Ferris Bueller’s Day Off. Little known to many is that though Seurat is perceived today as an icon, a major figure in the art world, he supposedly did not sell any major piece of art during his life-time. “The plot revolves around George, a fictionalized version of Seurat, who immerses himself deeply in painting his masterpiece, and his great-grandson (also named George), a conflicted and cynical contemporary artist.”  Act I, which is mostly exposition, with music underscoring, tells of George, his obsession with developing the art work, his mistress, Dot, and the people who appear in the composition.  George, explains to the audience, "White, a blank page or canvas. The challenge: bring order to the whole, through design, composition, tension, balance, light and harmony." It is within this act that the audience is taxed with the responsibility to use their imaginations to help create the masterpiece, itself. Act II, which takes place many years later, with the same cast playing different roles, introduces us to the Maria, the daughter produced by George and Dot, now an old-women, as well as his grandson, George, a frustrated performance artist who is attempting to create an art form based on electronic aesthetics.   It is this act which gives true life to the work’s magnificent score and includes such compositions as “Putting It Together [Art Isn’t Easy], “Children and Art,” “Lesson #8,” “Move On,” and the stirring revival of “Sunday.” The musical won the 1985 Pulitzer Prize for Drama, two Tony Awards for design (and a nomination for Best Musical), numerous Drama Desk Awards, the 1991 Olivier Award for Best Musical, and the 2007 Olivier Award for Outstanding Musical Production.  In spite of mixed critical reviews, the musical ran 604 performances and 35 previews.  “GEORGE” almost didn’t come to be.  The story is told that after the failure and scathing critical reception of MERRILY WE ROLL ALONG in 1981 (it closed after 16 performances), Sondheim announced his intention to quit musical theatre.   Sondheim, in his book, “Look I Made a Hat,” the sequel to his best-selling “Finishing the Hat,” which was named by the New York Times as one of the 10 Best Books of 2010,” states that after he and Lapine spent several days at the Art Institute of Chicago studying the now famous painting,  “he commented on how much Seurat’s depiction of the island looked like a stage set.  In addition, Lapine noted that one major figure was missing from the canvas: the artist himself. This observation provided the springboard for Sunday and the production evolved into a meditation on art, emotional connection and community.” The Great Lakes production, under the well-trained eye of Victoria Bussert, is mesmerizing.  It is a cacophony of music, vocalizations, pictures, acting and frozen movements, all blending into an impressive staged vision of not only the painting, but the humanization behind the white canvas turned into an important work of art.  It centers on the actual process of creating the painting, not the painting, itself. The cast, which contains many past and present Bussert students, is headed by Alex Syiek, another of Vicky’s “kids,” who is a multi-Cleveland Critics Circle and Broadwayworld.com-cleveland award winner as best actor in a musical.  Though not doing an imitation of Mandy Patinkin, who played George on Broadway, Syiek has many of the star’s visual and vocal qualities.  He inhabits the role of the moody, self-obsessed artist, whose life centered on the creation of art.. his form of art.  His vocals are filled with meaning.  He sings meaning not words. This is a star performance. As Dot, and later Marie, Jillian Kates, another of Bussert’s former students, is excellent.  Her vocals are well interpreted. Another standout is Laura Perrotta (Old Lady/Art critic), her duet “Beautiful,” sung with Syiek, is poignant. Music Director Matthew Webb’s work is note-on!  Kudos to scenic designer Jeff Hermann, costume designer Tesia Dugan Benson, Lighting designer Trad A Burns and sound designer Patrick John Kieman. CAPSULE JUDGMENT—SUNDAY IN THE PARK WITH GEORGE, as directed by Victoria Bussert, and performed by the GLT cast, is a quality production.  It is a must see!  Congrats to the entire team on creating a special evening of theater. For tickets to the show, which runs through October 12th go to www.greatlakestheater.org or call 216-241-6000.

Compelling, must-see ANDY WARHOL IN IRAN at Beck

 

When one thinks of seeing experimental or area premieres of new contemporary scripts at local theaters, one normally doesn’t think of Beck Center for the Arts.  Those kinds of plays are for the likes of Cleveland Public Theatre, Dobama (the self-proclaimed Cleveland’s Off-Broadway theater) or even Ensemble.  Beck is usually the home of ELF, JOSEPH AND THE TECHNICOLOR DREAMCOAT and LITTLE MERMAID.   ANDY WARHOL IN IRAN, is a “new play,” so new that Sarah May, the director of Beck’s production, couldn’t even find a script after seeing, what she labels as a, “provoking, exciting and funny production” four years ago at Chicago’s Northlight Theatre.    But, May, one of the area’s top directors, who is known for her tenacity, sought out a script, and convinced Scott Spence, the Artistic Director of Beck, to let her stage the show, in a venue not known for experimentation.     Their gamble paid off!    Don’t be surprised if this production doesn’t get recognized as one of the area’s best plays of the year on both the Cleveland Critics Circle and Broadwayworld.com’s list of 2025 awards. Don’t also be surprised if director May and her fine two-person cast, also don’t get the award’s spotlight shown on them.   What’s it all about?     As May states in her program notes, “Journey with us back to exotic Tehran in 1976 with the Godfather of Pop Culture Andy Warhol who has come to do portraits of the Shah and his wife.  Caught in a country on the verge of revolution, our clueless artist encounters a young Iranian activist, and together they discover a surprising bond.”   It’s a play about self-discovery, intrigue, history (of both Iran and Warhol), freedom, justice, set in a plot filled with high emotion, fact and humor.  Yes, humor!   Written by Brent Askari, an award-winning Persian-American playwright and actor, who has written scripts for HBO, Paramount Pictures, Marvel Films and MTV, the script has had previous stagings in Chicago, Pittsburgh and Washington, D.C., but is having its area premiere at Beck.   Scott Esposito, one of the area’s most prolific actors, and multi-award winner for his performances, stretches his well-trained and experienced acting chops, as the eccentric Andrew Warhol.  This is a role which requires someone who has both the ability to play all ends of the performance gambit—high drama and profound comedy.  Esposito covers the spectrum with professional ease.  This is a very fine acting display!  Applause, applause, applause!   Esposito has a fine performance partner in the person of Kareem McGauran, who shows a breath of acting skills as Farhad, an enthusiastic, but probably misguided young Iranian terrorist. He engenders the youth whose intentions are right, but who seems naive in his means-to-a-questionable-end.     May’s direction is clearly evident in the clear characterizations and plot development.  She is aided by a strong technical staff.     Patrick Ciamacco’s projection designs well-capture the Iranian conflict, Warhol’s art work and the conflict in the middle east.    Cameron Michalak’s set design nicely captures the correct visual allusions of an Iranian hotel room.    Jeff Lockshine’s lighting and Tesia Dugan Benson’s costumes also develop the right images.     Esma Eddeb’s knowledge of the Iranian culture appears to have assisted in developing the right historical and cultural moods.    CAPSULE JUDGMENT:  ANDY WARHOL IN IRAN is a gem of a production.  The well-honed script, focused direction and fine acting all lead to the conclusion that this is MUST SEE show that exposes the audience to an understanding of Warhol, Iran and the Middle East conflict through high drama and humor!     ANDY WARHOL IN IRAN, which runs with no intermission, is on stage through November 2, 2025 in the Studio Theater of Beck Center.  Seating is limited.  Contact beckcenter.org or 216-521-2540 for tickets.

 

Well-written, directed, acted and emotionally-wrenching THE NOTEBOOK THE MUSICAL starts national tour in Cleveland   Roy Berko   THE NOTEBOOK THE MUSICAL tells the heart warming, and often heartbreaking life-long love story, of Allie and Noah.  It is based on a true tale inspired by author Nicholas Sparks’ wife’s-grandparents who shared a love story which started as a summer-romance and endured separation, renewal and Alzheimer’s.  It is filled with loving moments, humor and tear-inducing reality.   Set basically in a nursing home in the present day, it is framed by older Noah reading from a journal to his wife, Allie.  The story flashes forwards, and backwards, from the duo’s passionate summer as teenagers to their renewed connection as adults.    Covering over 52 years of the character’s lives, the tale illustrates parental prejudices, classism, and the harsh reality of aging and memory loss.  It exposes the raw strain of advancing dementia on both the victim and their caretakers, while centering on the enduring power of love that can transcend time and stresses.    The show features indie-folk-rock music created by Ingrid Michaelson.  In contrast to other contemporary musical dramas, there is no “Waving Through a Window,” as in DEAR EVAN HANSEN, or “It All Fades Away,” as in THE BRIDGES OF MADISON COUNTY or “I Miss the Mountains,” as featured in NEXT TO NORMAL.  In this score, there is no break-out hit that one might hum or sing as they exit the theatre.  The music, like the dialogue, is part of the whole.   It is well-crafted to be inseparable from the story.    Bekah Brunstetter’s book, based on Nicholas Sparks’ 1996 novel of the same name, flows seamlessly, using the unusual device of three different duos of performers to portray the characters as they grow from young adults, to a middle-age couple, to the older couple.  They are constantly, physically and emotionally, weaving within each other on stage, in a non-linear manner.     It is an ingenious way to illustrate the continuousness of life and the flow of the past, to the present, to the future.     While not being as emotionally charged as the tearjerker 2004 film, which starred James Garner, Gena Rowland, Ryan Gosling and Rachel McAdams, the musical still evokes strong emotional responses as displayed by the constant wiping of tears  as evidenced in the audience. The show, co-directed by Michael Greif (RENT, NEXT TO NORMAL, GREY GARDENS and DEAR EVAN HANSEN) and Schele Williams (Broadway debut), is meticulously-conceived, and tells the story by highlighting both the serious and comic moments of the script.  David Zinn and Brett J. Banakis’s effective set design features rolling platforms, pieces flying in from the loft, a proscenium space within the outer arch, and a realistic rain storm.  The set is highlighted with vertical light fixtures and a creative lighting design by Ben Stanton. The cast is excellent, each creating a real person rather than portraying a character.  They not only have well-trained vocal voices, but sing meanings, rather than song lyrics.  The six leads, three sets of Allies and Noahs, at various stages of their lives, include teenaged Allie and Noah (Chloe Cheers and Kyle Mangold)  who are separated by her parents; the middle couple (Alysha Deslorieux and Ken Wulf Clark) who meet again after ten years at which time Noah is now a Vietnam veteran and Allie is engaged to marry Lon, a lawyer; and the older couple (Sharon Catherine Brown and Beau Gravitte), now in a nursing home as Allie has developed Alzheimer’s Disease and Noah has chosen to live in the same facility to be near her. Connor Richardson (as Johnny, a physical therapist) is a total delight, who displays a wonderful sense of comic timing and provides stress-relief from the script’s many angst-invoking moments.  The musical opened on Broadway on March 14, 2024 and closed on December 15, 2024.  It received 3 Tony nominations, but unfortunately there were no wins. The touring production rehearsed in Cleveland and opened at the Connor Palace theatre on September 12th.   As David Greene, the Senior VP or Programming for Play House says in his program notes, “Cleveland continues to prove that it is not just a stop on the map:  It is a destination for world-class theater.”  He concludes with the statement, “Let it [the show] move you, challenge you and remind you of the power of love.” CAPSULE JUDGMENT: THE NOTEBOOK THE MUSICAL tells an emotional story of love, family, loyalty and compassion.  The touring production is a high-quality, well directed and performed show.  It should be well-received in the hinterlands where its less than sophisticated tone and tale should appeal to audiences more than it did in the high-powered less-than sentimental New York.  YES, GO SEE AN IMPRESSIVE PRODUCTION OF A WELL-CRAFTED AND CONCEIVED SHOW!  THE NOTEBOOK THE MUSICAL which is being staged at the Connor Palace will continue on through Saturday, September 27th. Tickets are currently still available for all performances and can be purchased by calling 216-241-6000 or online at playhousesquare.org.

OBERLIN ADDS MUSICAL THEATER PROGRAM TO ITS CONSERVATORY OFFERINGS

Did you know that Julie Taymor, director of THE LION KING, John Kander, composer of the scores for 15 musicals, including CABARET and CHICAGO, and Alison Bechdel, author of FUN HOME, are graduates of Oberlin College? 

Do you realize that until this Fall, Oberlin did not have a degree in Musical Theater?

Both of these statements are true!

As stated by College President Carmen Twillie Ambar, “Oberlin is known throughout the world for its deep commitment to the arts, theater, and music. It therefore seemed perfectly appropriate to add music theater to our repertoire of excellence.”

The commitment goes beyond just adding the program, it entails an investment in space and specialized faculty—industry professionals with decades of experience in the field. 

Designed by local award-winning J. Kurtz Architects, a new facility has been located on the ground level of the Peter B. Lewis Gateway Center alongside the Hotel at Oberlin.  It will serve as the home for music theater teaching and training and be the central space for music theater majors as they discover, experiment, and realize their fullest potential at Oberlin.

The first floor of the hotel, originally designed to be commercial space, has been converted into nine faculty offices. The glass-fronted area is now two state of the art dance studios and 4 practice rooms.

The facility also contains the William and Helen Birenbaum Innovation and Performance Space (The Birenbaum).  It is an off-Broadway theatre with 100-flex space seating. The program will also use multiple shared performance spaces on campus, including the 501-seat Hall Auditorium and the Wurtzel flexible black box theater that can accommodate up to 300 seats. Just recently, music theater majors performed along with students throughout the conservatory in a welcome concert for new and transfer students and their families inside a packed 1,200-seat Finney Chapel.

Heading up the program is Victoria Bussert, who has directed more than 500 shows on stages across four continents and has established herself as one of the premiere music theater educators.

Before coming to Oberlin, Bussert was director of the Baldwin Wallace University’s music theater program, named by Backstage as one of the top musical theater programs in the nation, and the Hollywood Reporteras one of the 25 best drama schools in the world. More than 90 of her programs’ grads have gone onto the Great White Way, as well as numerous others into touring companies, summer stock and regional theaters.

Besides Bussert, the Oberlin music theater faculty consists of experienced teacher-performers dedicated to providing individual instruction and mentorship in a curriculum that supports professional careers in music theater. 

The initial faculty are Matthew Webb, Laura Welsh, Lauren Marousek, Colin Briskey, Gregory Lee Harrell and Broadway veterans Cassie Okenka and Alex Sanchez. (Sanchez has appeared in 10 Broadway productions and was nominated for 2024 Lucille Lortel and Drama Desk Awards for co-choreographing THE GARDENS OF ANUNCIA and Okenka has clocked more than a decade as a Broadway performer including her stints as an original Broadway company member of BONNIE AND CLYDE and SCHOOL OF ROCK and headlining as Glinda in the first national tour of WICKED.)

The Oberlin Musical Theatre program is part of an evolution of the art.  The first of such curricula was in 1969 at the Cincinnati Conservatory.  Many of the programs which followed duplicated the Cincy curriculum and teaching methods.  The Oberlin program, with the motto, “At Oberlin, music theater isn’t an afterthought—it’s an art form,” according to the program director, will start from scratch, creating a unique approach.

Though it will have its own faculty, students will take core classes from the conservatory faculty. 

Following the announcement of the major on August 19, 2024, over 600 applications for the Freshman class were received.  After prescreening their videos, there were 456 live auditions and an incoming class of 20 were selected.  In addition, 55 transfer students, sophomores through seniors, from multiple schools, were invited to join this year’s program. Ideally, in the future, each academic grade-level will have 18-20 students.

In order to make their education affordable Oberlin will meet all students’ demonstrated need, ranging from full scholarships to limited aid.

This coming year, students will participate in on-campus productions including NATASHA, PIERRE & THE GREAT COMET OF 1812 (Wurtzel Theater, December 3-10), TICK, TICK. . .BOOM! (The Cat and the Cream, March 12-13),the academic premiere of STRANGER SINGS! THE PARODY MUSICAL (Birenbaum Theater, April 23-May 3), SPRING AWAKENING (at Beck Center for the Arts, February 12-March 1) and THE WORLD GOES ROUND, a musical review of the music of writing team of John Kander and Fred Ebb, presented by Great Lakes Theater at the Hanna Theatre in Playhouse Square (May 16-17) and at Hidden Valley, located in the foothills of the Santa Lucia Range in the Carmel/Monterey, CA area (January 30-February 1). 

In addition, a fourth-year student showcase will be presented in New York March 23 and 24 at the Alvin Ailey Theatre for agents, managers, and casting directors.

The evening of March 24 following their final showcase, students will perform a concert at 54 Below.

Seniors will have an earlier opportunity to strut their stuff in NYC in October as part of "Broadway Sings," produced by Cory Mach, another one of Vicky's grads to make a career on and off-Broadway.

One of the program’s goals is to help every student meet the requirements to get their Equity card by the time they graduate.

An exciting aspect of the program is the master class series that invites 10 New York agents, managers, and casting directors to campus to hear students sing and offer their critiques. This allows music theater faculty to immediately incorporate real-world feedback to better equip students for careers post-graduation.

Additionally, representatives of 10 summer stock and regional theaters are invited to campus each year to audition students for summer work.

It is with great anticipation that the theater world looks to Oberlin to observe the development of its new program and count how many of its students will be added to the list of “Vicky’s Kids” who have made it in the professional world of the theater. 

Dynamic, A CHORUS LINE excites at Beck Center

 

A CHORUS LINE is considered by many theatre experts to be one of the shows that set the pattern for what is labeled the American Musical Theater.    First came THE BLACK CROOK (a smash-together of a melodrama and ballet).  Some of the other significant shows include SHOW BOAT (a story musical), OF THEE I SING (first musical to win a Pulitzer Prize for Drama),  OKLAHOMA (the recognized model for the “book musical,” a musical in which the songs and dances are fully integrated into a well-made story), RENT (the script which many credit as the catalyst for the development of the serious dramatic musical), and A CHORUS LINE, (the show which stressed dance as the foundation for developing a musical theater production). A CHORUS LINE is a 1975 musical conceived by Michael Bennett with music by Marvin Hamlisch, lyrics by Edward Kleban, and a book by Nicholas Dante and Elyria’s James Kirkwood, Jr.. A CHORUS LINE had a different path to Broadway than most musicals.  It started out as a series of interviews of dancers of past and present Broadway shows conducted by director and choreographer Michael Bennett.    From the many hours of personal and professional information, a script was developed providing a glimpse into the personalities of the performers, as they describe the events that shaped their lives and their decisions to become dancers. The original Broadway production ran for 6,137 performances, becoming, at that time, the longest-running production in Broadway history.  It received twelve Tony Award nominations and won nine, in addition to the 1976 Pulitzer Prize for Drama. The show opens during an audition for a fictional upcoming Broadway production. The director and his assistant are putting the dancers through their paces. Every dancer, expresses their individual and collective hopes in "I Hope I Get It” their individual “I want song.”    After a round of cuts, 17 dancers remain.    Zach tells them he is looking for a dancing chorus of four boys and four girls, wants to learn more about them, wants each to introduce themselves. Reluctantly, they reveal their pasts with stories and songs of hope, pursuing of dreams, picking one’s self up and starting over again.   What is different in this show than the book musical format that Rodgers and Hammerstein laid out in OKLAHOMA?  Among other factors, there is no overture, no single structured story, and the curtain call is a choreographed dance number that is integrated into the production.     Little known facts about the development of the script are that the dancers who participated in the story-telling collection meetings originally received only $1 for their stories, and that some whose personal tales are told had to try out for the show.  Some of those were not cast.   A CHORUS LINE is a difficult show to stage.  The cast each has to dance, sing and act, all on a high level.  It is also an intense show to perform as the cast members are on-stage most of the time and are tasked with numerous exhausting routines.   Beck’s director and choreographer, Christopher Chase Carter’s cast is excellent in all aspects of their performances, though several of the males preened and “posed” at being, rather than actually “being” their characters.     Most of the performers are present or past students of the Baldwin Wallace’s Musical Theatre program or Oberlin’s Conservatory of Music.   Memorable moments were rendered by Jimmy Metz (Paul), whose tale of being a pony dancer in a sleezy theater evoked a spelling-binding hold on the audience, Julia Martin’s (Cassie) compelling dancing in “The Music and the Mirror,” the trio of Eilana Taub (Sheila), Bebe Moss (Bebe), and Andi Brooke Keller (Maggie) who sang “At the Ballet,” the wistful melody, whose harmonies grow and build, Dakota Krouse (Mike) who sings the delightful “I Can Do That,” and Abigail Sanford (Val) who teasingly belts the provocative “Dance: Ten; Looks: Three.”   Kudos also to Scott Sumerak (Zach) and Nic Rhew (Larry), the entire cast for their vocal blending and fine solo work, as well as Orchestra Director David Robinson and his finely tuned orchestra and the lighting and scenic designs of Cheri Prough DeVol, as well as Christopher Case Carter’s choreography, which nicely duplicated and enhanced Michael Bennett’s original dance movements.     The only technical flaw was the poorly balanced sound system of the Senney Theater which continually makes it difficult to hear performers placed extreme stage right and left.   Capsule judgement:  The Beck show is a fine example of what happens when a fine script is staged by a talented director/choreographer, who has the fortune of finding a well-trained and talented cast.  The enthusiastic audience left on an emotional high, humming and singing one of the many memorable songs of the score, realizing that there are those in the world of theater who constantly illustrate, “What I Did for Love!”     A CHORUS LINE runs through August 10, 2025.  For tickets go to beckcenter.org or call 216-521-2540.