Beautifully crafted script and production makes A VIEW FROM THE BRIDGE a must see!

 

The post-World War II-era centered on the changes of, among other factors, the application of psychological principles to examine the happenings of the day.   Arthur Miller, William Inge and Tennessee Williams are considered to be the leading playwrights of that, the modern American era of theater.     Miller, who is the author of A VIEW FROM THE BRIDGE, which is now in production at Cain Park’s Alma Theatre, is noted for asking, in his scripts, “Is this the best way to live?”   In the case of VIEW, Miller’s dramatic tale examines such matters as difficult relationships, family honor, fear of loss, personal pride, forbidden love, assimilation and how justice and law often collide.  In the end, Miller seems to conclude that Eddie, the story’s protagonist, meets his end, being killed by his own knife, as a metaphor for his self-inflicted personal moral and ethical fall.   In examining the play, the writer’s own life may be the real topic.  “Miller was called to testify in front of the House Un-American Activities Committee to name names of communist sympathizers in 1956, the height of the McCarthy Era. Miller refused to do so and was heralded by the arts community for his strength of conviction and loyalty.”   Miller, like Eddie Carbone, was faced with the problem of choosing how to live his life and affirm or reject his value system.   “Unlike Eddie Carbone, Miller chose to be loyal to his fellow artists, but like Carbone, Miller went against the cultural consensus at the time. Miller, in the play, chose to script a community that accepted and protected unlawful people. The consequences and eventual repercussions of naming names, for Eddie Carbone, are drastic.”    Miller used this play to strongly condemn the McCarthy trials and those who named the names of fellow artists.   This is not the only play in which Miller takes on the ethics of McCarthy and his committee.  In THE CRUCIBLE, which is being staged at Blank Canvas Theater, on Cleveland’s near west side, the topic of witch-hunting takes center stage, and much like A VIEW FROM THE BRIDGE, Miller points the accusing finger at the perpetuator of “evil” and comes to the conclusion that the action of the witch hunters and McCarthy, was and is not the best way to live. The story in A VIEW FROM THE BRIDGE is narrated by Alfieri, who was raised in Italy, but is now working as an American lawyer.  Acting as our guide and commentator, much like a Greek chorus, he represents the “bridge” between the Italian and cultures of that era. The plot centers around the Carbone family – Eddie, his wife Beatrice and their niece Catherine. The family is awaiting the arrival from Sicily of Beatrice’s cousins Marco and Rodolpho, who have entered the country illegally.    The cousins arrive. Catherine and Rodolpho are attracted to each other, which annoys Eddi, who has feelings for Catherine.   Jealous Eddie finds more and more things to dislike about Rodolpho as the young couple grow closer.  When the duo decides to get married, Eddie reports the cousins as illegal immigrants. This makes his family and all the neighbors hate Eddie.  Marco and Eddie fight. Marco uses Eddie’s knife to stab him. Eddie dies.   The Cain Park production, under the wise guidance of director Celeste Cosentino, is compelling.  It is well-staged, the concepts clear, and the acting generally top-notch.     Dan Zalevsky gives full life to the role of Eddie.  Eddie lives through Zalevsky’s clear character development and concentration on being, not acting.   Ursula Cataan creates a Beatrice who is both sensitive and aware of her limitations and her role as “wife” to Eddie.   Arianna Starkman matures as a character as Catherine faces the reality of becoming a woman, rather than a girl.   Abraham McNeil Adams well-portrays Alfieri, our guide and commentator.   Santino Montanez sizzles in the final scenes, as his role as family member and provider is spotlighted.   Be aware that the tented Alma theatre has no hard walls. The ambient sounds of street noise, wailing ambulances and revved-up motorcycles, the size of the stage which hinders actor projection to all parts of the small auditorium, plus the necessary Italian accents, all blend to wipe out some speeches.    Capsule judgment:  A VIEW FROM THE BRIDGE is a powerful and meaningful play that gets a fine production.  This is an absolutely must-see for any serious theater-aficionado.   A VIEW FROM THE BRIDGE runs through September 15th.  For tickets call 216-371-3000 or go online towww.cainpark.com

BIG FISH @ Cain Park—good staging of well-meaning, but shallow script

 

“I've seen this all before When I was just a child I met a witch who took a bow and showed me how it ended” These words, from the song, “How It Ends,” near the conclusion of BIG FISH, the Andrew Lippa/John August musical now on stage at Cain Park, summarizes a major plot message.   The tale, based on Daniel Wallace’s novel “Big Fish: A Novel of Mythic Proportions,” is part of the trend of Broadway musicals taking on serious subjects.  DEAR EVAN HANSEN, which deals with teen angst, autism and suicide, and NEXT TO NORMAL which takes on how mental illness effects not only the victim, but the entire family, are examples of this new vision for American musicals.  In 2013, BIG FISH, after 34 previews ran only 98 regular performances, due to tepid reviews and weak audience excitement.   Comments about the show included, “BIG FISH arrives on Broadway as an earnest, family-friendly, heart-warming and mostly successful new American musical.”  “It is sweet and inoffensive which plops its unabashed wholesomeness right in your lap.”  It is a pleasant, slightly bland musical, more like THE BRIDGES OF MADISON COUNTY, than blockbusters like HAMILTON.   “BIG FISH revolves around the relationship between Edward Bloom, a traveling salesman, and his son Will.  At the start of the tale, Edward and his son, discuss Will's impending wedding. Edward tells him a story about when he was walking down the river and met a man trying to catch fish to no avail. So, Edward teaches him the proper way to catch fish. Edward tells Will another story of a witch that Edward met as a teenager.   Edward is a storyteller.  His son never knows if the tales his father weaves, encountering a Witch, a Giant, a Mermaid are real or part of the man’s imagination.   The tales go on and on until, near the conclusion, we finally learn Edward’s truth and the moral of BIG FISHin the song, “Be the Hero.” The Cain Park production, which is well- staged and interpreted by director Johanna May Cullinan, does everything it can with what some might deem as a sappy tale.    Connor Stout makes for a believable Edward Bloom.  He creates a dreamer and nice guy who, until the end, we aren’t sure whether his tales are real or figments of his imagination.  He has a fine singing voice.  His duet, “Time Stops,” sung with Sandra (Kate Fahey), his wife, is lovely.  “The River Between Us,” sung with Will (Ryan Sweeney) vividly shows the chasm between father and son.  Baldwin Wallace musical theatre program has produced a number of handsome young men with fine singing voices and good acting chops who have gone on to make their marks in professional theater.  Included are Chris McCarrell (LES MISÈRABLES, THE LIGHTNING THIEF, Colton Ryan (NEW YORK, NEW YORK, GIRL FROM THE NORTH COUNTRY, THE PUBLIC, DEAR EVAN HANSEN) and Corey Mach (KINKY BOOTS, HANDS ON A HARD BODY, GODSPELL, WICKED, MERRILY WE ROLL ALONG).  Ryan Sweeney (Will) is of the same mold!   Kate Fahey (Sandra, Edward’s wife) sings and interprets the poignant “I Don’t Need a Roof,” well. Monica Olejko’s choreography is effective, as is Ken Lear’s musical direction, Richard Morris’s set design and Adam Ditzel’s lighting. Capsule judgment:  The songs are well interpreted, the story made clear, the performances quite good.  There is nice storytelling, music and a moral. If there is a flaw, it is the writing, not the production.  There are little real highlights, little encompassing action.   BIG FISH runs through June 30, 2024 at Cain Park’s Alma Theatre.  For tickets call 216-371-3000 or go to www.cainpark.com

THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE delights at Cain Park

 

It is only appropriate, since the National Spelling Bee wound down last week, that Cain Park, the Cleveland Heights outdoor entertainment venue, has mounted THE 25^TH ANNUAL PUTNAM COUNTY SPELLING BEE.
 
As Patrick Ciamacco, the show’s director states of the show in his program notes, “The spelling bee serves as a microcosm for the intricacies and pressures we face as adults. From the pressure to be perfect to the frustration of constantly being underestimated or the desire to be supported by people you care about, this show addresses these situations with humor, charm and more importantly …heart.”
 
How would you do if asked to spell: “syzygy,” “capybara,” “cystitis,” “pandemonium,” and “qaymaqam?”  How about “crepuscule?”  And, then there is “cow!”  (The latter, as attenders of the show find out, is a very important word in the script, as is “erection.”) 
 
C-r-e-p-u-s-c-u-l-e, which means twilight, and, ironically, is the original name of the musical now known as THE 25^TH ANNUAL PUTNAM COUNTY SPELLING BEE.  (The name was probably changed so that reviewers, like myself, who are spelling handicapped wouldn’t embarrass ourselves if spell-check didn’t catch our errors.)
 
The play created by Rebecca Feldman for her New York based improvisational comedy group, was transitioned into the present script by Rachel Sheinkin with the addition of music and lyrics by William Finn.
 
The 2005 Broadway production was a hit, garnering six Tony Award nominations, including Best Book.  
 
The fun-filled romp centers on a fictional spelling bee conducted at the Putnam Valley Middle School, which finds six quirky kids, joined by four culled-from-the-audience “volunteers,” who vie for the coveted large blue and gold trophy and the pride that goes with it.  (The losers are awarded juice boxes.)
 
We meet the nerdy group of “r-e-a-l” spellers who are competing for our laughs, hearts, the trophy and a cash prize.
 
There’s Chip Tolentino (Gabriel Hill), hunky Eagle Scout and last year’s winner, who, unfortunately, gets distracted by a pretty young lady in the audience and his resulting erection throws him off and, though he spells the word correctly, he is eliminated by Vice Principal Panch (Brian Altman) because of a rule infraction.  As is, we find out that he is a master of rule infractions!
 
Logainne Schwartzandgrubenniere (Sophie Ruiz), is an elementary school lesbian, who is accompanied by her over-attentive gay fathers. The girl of many causes also falls by the wayside.
 
Leaf Coneybear (Andres Martinez), an adorable geek who makes his own “unique” clothes, is considered dumb by his family.  He’s only in the competition because the winner has her bat mitzvah on the day of the competition, and her best friend, the runner-up, is also at the religious event.  Much to his surprise Leaf sails through the early rounds.  Unfortunately, he stumbles on the word “chinchilla” but walks away head held high, singing “I’m Not That Smart,” having proven to himself, despite his elimination, that he is okay.
 
William Barfee (Seth Crawford), an obnoxious know-it-all, demonstrates his very successful “magic” foot spelling routine, in which he spells out the word on the ground with his shoe.
 
Marcy Park (Kayla Peterson), an up-tight young lady, the product of “tiger parents” has obviously been put under high pressure to succeed, whizzes through words until she makes a life-changing decision and intentionally spells an easy word incorrectly.
 
Olive Ostrovsky (Kate Day Magocsi) is able to break through Barfee’s curtain of insecurity and nastiness by doing a kind deed when he is threatened by Chip with peanuts, one of many things to which Barfee is allergic.
 
The cast, which also includes Rona Lisa Peretti (the multi-talented Bridie Carroll), former bee winner, who has made a career out of coordinating contests and Mitch Mahoney (Geoffrey Short), the contest’s gruff/lovable bouncer and counselor-in-residence.
 
The cast, as can be expected from a group who are mainly products of Baldwin Wallace’s national recognized Musical Theatre program, sing and dance as future Broadway stars should.  They each create consistent characterizations.
 
Add Ciamacco’s focused directing, Rachel Woods finely tuned musical directing and Katie Gibson’s limited choreography, and the result is a fine evening of summer theater!.
 
CAPSULE JUDGMENT: Sometimes it’s fun to just sit in the theatre, smile and admire the talent of the cast.  If that is your kind of entertainment, THE 25^TH ANNUAL PUTNAM COUNTY SPELLING BEE is your thing and will spell “d-e-l-i-g-h-t.”
 
Sidenote:  The street construction on Lee Road is complete, so there is parking in the handicapped lot at the Park’s east entrance.  Also be aware that the golf-cart transportation provided for the handicapped is inconsistent.  I had to walk both ways to and from the Alma, quite a distance, along with a man with two canes and a pair of ladies that needed to stop several times to catch their breath.
 
THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE runs through June 9, 2024 at the Alma Theatre of Cain Park.  For tickets call 216-371-3000 or go to www.cainpark.com

RENT, now on stage at Cain Park, introduced a new era in the history of the American musical theater

  

 
There are a handful of plays that have had a profound effect on the form we know as the American musical theatre.   
 
SHOWBOAT, with its melodramatic loosely developed storyline laid the foundation for the eventual development of the book musical.
 
Rodgers and Hammerstein carpentered the format of putting the book (story), music, lyrics, and dance blending together to create a whole when they created OKLAHOMA!.  
 
Next came CHORUS LINE, which had a series of spotlights, individually placed on members of the chorus, each with their own plot, which molded into a single story, forcing dance to be an integral part of the storyline. 
 
Jonathan Larson broke the Rogers and Hammerstein mold completely with his creation of RENT, which is generally credited with being the model for the American musical drama...serious story, no show stopping production-numbers, realistic characters.  It opened the door for such shows as DEAR EVEN HANSEN, SPRING AWAKENING, NEXT TO NORMAL and HAMILTON.
 
RENT is Jonathan Larson’s rock musical which is broadly based on Puccini’s LA BOHÈME, but, is not a translation of that epic opera.  It is a reimagining, a view of Larson’s 1996.  It puts the spotlight on the physical and psychological temperature of New York at that time.  
 
The title was chosen because Larson was looking at how, from his viewpoint, traditional society was thwarting the hopes and dreams of the MTV generation.  He chose the term rent, because it means tearing apart as well as the financial means of securing a place to live. 
 
RENT takes place in New York’s Lower East Side, before gentrification, when the old buildings and warehouses were home to the bohemian and drug worlds.  
 
The story covers about a year in the life of roommates Mark and Roger, who live in a condemned building.  
 
Roger, is HIV positive and is numb to life, trying to write a song which has only one musical line that he keeps repeating over and over on his electric guitar.  
 
Mark is trying to capture life on film, but may, in fact, be using his camera as a tool to steal himself away from life itself. They are intertwined with an exotic dancer/drug addict, a cross dresser, an HIV+ philosophy professor, an ex-friend who has married for money, and Mark’s ex-girlfriend and her lover.  Together the group deals with love, loss, illness, and everyday existence.
 
The musical is somewhat autobiographical.  Larson, who lived in the Big Apple for many years as a starving artist, sacrificed a life of stability for his art, and shared many of the same living conditions, hopes and fears as his characters.

The show premiered and quickly gained popularity fueled by enthusiastic reviews and the startling reaction to Larson’s sudden death, on the night of the script’s Off-Broadway premiere. 

Due to such overwhelming popularity it moved to a Broadway theater later the next year.  It continues to be a “fave” production script for professional, college and community theatres.
Larson, after so many years of struggle, never was aware of the show’s financial success, its receipt of the Pulitzer Prize and four Tony awards. 
 
The dynamic score includes the illuminating Light My Candle, the plaintive I Should Tell You and, the stirring Seasons of Love.  (Dayshawnda Ash stopped the show with her powerful segments of this song, the show’s anthem). Other outstanding vocals were Another Day, Without You and the title song.
 
As director Nathan Henry states in the program, “In our society, we find ourselves challenged (or chained to) social constructs that dictate what ‘love’ is and how (or who) to love.  Larson’s unforgettable story reminds us that each of us requires a supportive community and genuine human connections.  It is my hope that Larson’s words can help us remove the barriers of our society that keep us from being our full selves.”
 
I’ve seen the show on and off-Broadway, and in several other venues, and this version holds up well against the others.  The staging by Henry and choreography by Kenya Woods are exciting and exacting. 
 
Laura Carlson-Tarantowski’s symbolic metal-beam set forces the audience to focus on the characters and not be distracted by confining walls.  
 
The intimacy of Cain Park’s Alma Theater adds to the power of the presentation as it makes the audience up-close and part of the action!
 
Bradley Wyner’s well-tuned band did great justice to the music, but they did, on occasion drown out the vocals which are so necessary to be able to hear in this lyric-driven show.
 
Shane Lonergan is outstanding as Roger.  He has an excellent voice, moves well, and developed a real and textured characterization.  Benson Anderson is spot on as Mark.  He creates the right balance between geek and heartfelt persona.  Jason Eno, as professor Tom Collins, left no eye unfilled with tears with his segment of the eulogy, Goodbye Love, though his popping eye contact with the audience made for an eerier distraction.      
 
On the other hand, Tobias Yeung, failed to project, making his words almost intelligible and never created the warmth and empathy needed for the pivotal role of Angel.  He performed as being Angel, not really living the character.  And, though she had some fine moments as Mimi, Alex Lopez, let the character’s multi-level existence slip away at times.
 
The chorus was outstanding.  Not only did they sing well, but they were in character throughout and created meaningful stage pictures.  
 
CAPSULE JUDGEMENT:   RENT holds a special place in American Musical Theatre history, ushering in the era of the musical drama.  Though, thanks to science, we are long past the time when AIDS was a sure-thing death sentence, because politicians such as President Ronald Reagan and NY mayor Ed Koch denied the existence of AIDS and denied funding for research, causing many unnecessary deaths, the power of the music and the development of the characters makes it a special script with a well-honed production.  THIS IS A WELL-HONED PRODUCTION!  Standing O! 
 
RENT runs at the Alma Theater in Cain Park through June 25, 2023.  Next up:  the area premier of FUN HOME (August 10-27).  For tickets:  216-371-3000 or https://www.cainpark.com/148/Buy-Tickets

Cain Park’s SONDHEIM ON SONDHEIM is a visual and lyrical love song to the “Father of the modern American Musical”

 

Stephen Sondheim is generally credited with being the “father of the modern American musical.”     His recent death has encouraged theatres to do commemorative productions of his plays.  Locally, Lakeland Theatre will do FOLLIES this fall, Porthouse is now presenting WEST SIDE STORY, and Cain Park is staging SONDHEIM ON SONDHEIM in its intimate Alma Theatre.   Stephen Joshua Sondheim was an isolated and emotionally neglected child.  His parents divorced when he was about ten.  He detested his mother who blamed him for her failed marriage and once wrote him a letter saying that the only regret she ever had was giving birth to him.  His animosity was so strong that when she died in the spring of 1992, Sondheim did not attend her funeral.  It is said that one of his most poignant songs, “Children Will Listen,” was his message to the world about the effect his mother’s words had on him.     His saving grace was forming a close friendship with James Hammerstein, son of lyricist and playwright Oscar Hammerstein. (Yes, that Oscar Hammerstein, the co-author of such block-buster musicals as OKLAHOMA, CAROUSEL, THE SOUND OF MUSIC, and THE KING AND I.)  The elder Hammerstein became Sondheim's surrogate father, influencing him profoundly and developing his love for musical theater.   It was at the Hammerstein’s that Sondheim was introduced to Arthur Laurents, who told him he was working on a musical version of ROMEO AND JULIET with Leonard Bernstein.  Laurents indicated that they needed a lyricist.  Sondheim held a degree in composing and was reluctant.  He turned to Hammerstein who supposedly said, "Look, you have a chance to work with very gifted professionals on a show that sounds interesting, and you could always write your own music eventually. My advice would be to take the job.”     Sondheim took the job and wrote the words to WEST SIDE STORY.  He fulfilled Hammerstein’s forecast, when in 1962 he wrote both words and music for A FUNNY THING HAPPENED ON THE WAY TO THE FORUM.  The show ran 964 performances and won six Tony awards.  And, as the trite saying goes, “The rest is history.”     SONDHEIM ON SONDHEIM is a revue which incorporates both visual clips of media and journalistic segments of actual interviews with Sondheim, interwoven with songs from all 19 of his musicals which appeared on Broadway stages. These range from the beloved to the obscure including “Something’s Coming” from WEST SIDE STORY, "Finishing the Hat" from SUNDAY IN THE PARK WITH GEORGE, "Being Alive" from COMPANY, and "Send in the Clowns" from A LITTLE NIGHT MUSIC to “The Gun Song” from ASSASSINS and “Opening Doors” from MERRILY WE ROLL ALONG. The show enforces the composer/lyricist’s role as having reinvented the American musical with shows that tackled "unexpected themes that range far beyond the [genre's] traditional subjects" with "music and lyrics of unprecedented complexity and sophistication.” His shows often addressed the darker, more harrowing elements of the human experience, with songs often tinged with ambivalence about life. His songs reveal that Sondheim used “angular harmonies and intricate melodies.” And that he rejected the traditional image of the Western world typically presented in Broadway productions, and instead depicted it as "predatory and alienating." It also illustrates that his works acquired a cult following with gay audiences.  This gay connection is somewhat misleading as Sondheim, who was often described as introverted and solitary, didn’t open up about his homosexuality until he was in his 40s, didn’t enter a relationship until he was in his 60s, and didn’t get married to Jeffrey Scott Roley, a digital technologist, until 2017. As a kind of thank you to his being mentored by Oscar Hammerstein II,  Sondheim returned the favor, saying that he loved "passing on what Oscar passed on to me.”  Included in the stable of those he aided were Adan Guettel, grandson of Richard Rodgers, Jonathan Larson, who wrote TICK, TICK… BOOM! and RENT, and Lin-Manuel Miranda, who Sondheim asked to work with him on a planned Spanish version of WEST SIDE STORY. Miranda, in turn, approached Sondheim to aid with his HAMILTON.  Cain Park's production, which was directed by Joanna May Cullinan, has music direction by Jordan Cooper and choreography by Monica Olejko.   It features Amiee Collier, Mario Clopton-Zymler, Andrea de la Fuente, Trey Gilpin, Frank Ivancic, Kate Klika, Connor Stout, and Nicole Sumlin with Cameron Olin, Adam Rawlings, Danny Simpson, and Amanda Tidwell.    The excellent production featured prime singing, well-conceived song interpretations and creative staging.   Capsule judgment:  SONDHEIM ON SONDHEIM is a theatre-lovers dream.  It is an in-depth look at one of America’s musical theatre greats presented in his spoken words, his musical sounds, and creative lyrics.  It is a must see for anyone who admires his work or is interested in finding out more about Sondheim!   For tickets, to the show, which runs until August 13, call (216) 371-3000 or visit https://tinyurl.com/ye2b2zzu

SCHOOL OF ROCK

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

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

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

“Ragtime The Musical” tells a story that must be heard @ Cain Park

It is entirely appropriate in this era of rising anti-immigrant feelings, the re-emergence of the White Supremacy movement, increased anti-Semitism, and having a President who believes in nationalism and Eugenics, that Cain Park revisit the historical foundations of this country via the musical “Ragtime.” 

The history lesson is based on E. L. Doctorow’s epic 1975 novel “Ragtime.”

The musical has a book by Terrence McNally, lyrics by Lynn Ahrens, and marches, cakewalks, gospel and ragtime music by Stephen Flaherty.

The Broadway production, which opened on January 18, 1998, and ran for two years, was met with mixed reviews, but still garnered 13 Tony nominations.  It introduced such up-coming super stars as Lea Michele, Brian Stokes Mitchell and Audra McDonald. 

The musical “tells the story of three groups in the United States in the early 20th century: African Americans, represented by Coalhouse Walker Jr., a Harlem musician; upper-class suburbanites, represented by Mother, the matriarch of a white upper-class family in New Rochelle, New York; and Eastern European immigrants, represented by Tateh, a Jewish immigrant from Latvia.” 

All of these present a picture of this country when the phrase “I lift my lamp beside the golden door” meant that those who needed a place to escape, to look for their “golden medina” (Yiddish meaning promised land), were welcome.

Upper-class white Christian families had established a pattern of privilege and were secure in having their needs and wants met.  Blacks and the immigrants were subjected to prejudices and misunderstandings because they were not part of the “in-group.”  

“Ragtime” confronts the contradictions inherent in American reality: experiences of wealth and poverty, freedom and prejudice, hope and despair.
 
The tales and attitudes of real celebrities, such as J. P. Morgan, Henry Ford, activists such as Booker T. Washington and fiery orator and union organizer Emma Goldman, and entertainers such as Harry Houdini are woven into the well-told tale. 

The score is powerful and is the tool that carries the story telling. 

Songs such as “Prologue: Ragtime” and “Goodbye, My Love,” foreshadow the story’s development.  “A Shtetl iz Amereke” sets the wishes and dreams of the new immigrants.  “His Name Was Coalhouse Walker” and “Getting’ Ready Rag” introduce the plight of Blacks, the only immigrants who didn’t have a choice about coming to this country, and their fears and frustrations. 

“Henry Ford” provides the picture of industrial America and its role in the development of the “American” way.   The powerful “The Night that Goldman Spoke at Union Square” placed a spotlight on the abuse of workers by the likes of Ford, and the need for unionization. 

The powerful “Justice” highlighted the oppression and abuse of Blacks by white nationalists. 

“Till We Reach That Day” is a moving anthem to the need for respect for all.  

“Sarah Brown Eyes” is an anthem to love, while “Make Them Hear You” is an appeal to the need for respect and tolerance.

Those who have been to the Alma Theatre in Cain Park will need to adapt their expectations as the entire theatre has been reconfigured.  The proscenium stage has been replaced by a center platform in an oval configuration, with the audience surrounding the elongated stage on two sides.  (Be aware that it can be a precarious adventure to navigate the uneven levels to get to some of the new seating.)

The present format allows the audience to be close to the action and become emotionally involved in the show.  This script was aided by the new stage.  

On the other hand, as is often a problem with stage formats where the audience surrounds the actors, hearing can be problematic.  In the case of “Ragtime,” the lack of sound balance between the orchestra and the singers meant that the sound battle often resulted in the loss of hearing the lyrics to the songs.  That’s too bad, because those words are vital to understanding the intent and purpose of the author.

Joanna May Cullinan’s focused directing helped develop the story line.  She was aided by a cast which could act, sing and dance with proficiency and purpose, and purposeful choreography by Imani Jackson.

Young Jake Spencer was delightful as Edgar, the little boy who acted as the show’s narrator and commentator.  Bridie Carroll was compelling as Mother, a woman ahead of her time.  Her “Goodbye My Love” and “Back to Before” were emotionally moving.

Mariah Burks presented a Sarah who sang and acted with clarity.  Her version of “Your Daddy’s Son” was exceptional.  “Wheels of a Dream,” which she sang with Coalhouse, was one of the production’s highlights.

Though at times he could have been more verbally and physically dynamic as an actor, Eugene Sumlin (Coalhouse), has a powerful vocal range and demanded attention and respect in “Justice” and “Make Them Hear You.”

Will Price was superlative.   I’ve seen this show a half-dozen times and he ranks as one of the best Mother’s Younger Brother that I’ve reviewed.

Kate Leigh Michalski didn't portray Emma Goldman; she WAS Emma Goldman!  Her performances in both “That Night That Goldman Spoke at Union Square” and “He Wanted To Say” almost brought the audience out of their seats to march with her to support her cause.

Scott Esposito made Tateh into a compassionate and wise “mensch.”  He has a solid singing voice and was appealing in his presentation of “Gliding.”  “Our Children,” sung with Mother, was charming.

The rest of cast, especially the African American dancers, were excellent.

CAPSULE JUDGEMENT: “Ragtime” tells an important tale that needs to be seen and heard.   Except for an over-enthusiastic orchestra and some audio balance problems, this production does the script justice.  It’s well worth the sit!
 
The show runs through June 30, 2019 in the Alma Theatre in Cleveland Heights’ Cain Park.   For tickets call 216-371-3000 or go to http://www.cainpark.com/

HOCKADOO! “Memphis” enjoyably rocks Cain Park with its music and poignant message

The 1950s was a period of racial stress in much of the south.  Lynchings, school segregation, separate lunch counters and drinking fountains, blacks to the back of the bus, laws against black and white mixing.  Even separate black and white radio stations was the custom, as were black and white musical styles.  Patty Page, Perry Como and “nice music” was the white style.  Rock and Roll was for blacks. 

Memphis, Tennessee was no exception.  That was until “Huey Calhoun,” a somewhat slow, naïve and black music-loving white disc jockey popped onto the Memphis scene.  (The show is loosely based on real-life Dewey Phillips.)

One night, Huey, who coined the non-defined word “Hockadoo!” wandered into an underground black Rock and Roll bar.  He was probably the first white man, other than the police looking to collect payoffs, to invade the premises.  The patrons made for the exits, suspicious of Huey’s presence.  After a few more visits, the well-meaning pseudo-redneck, became convinced that the music he was being exposed to, Rock and Roll (Negro blues on steroids), needed to be heard by the white community.

Legend has it that Huey made a deal with a local department store owner that if he could sell 5 records by playing music over the store’s speakers, he could have a music sales job.  Huey supposedly played a rock & roll song and sold 29 records in five minutes.  Unfortunately, the store owner reneged on his deal because he was incensed at the “black” music. 

Huey later conned his way into a white radio station, commandeered an on-air mike, played a rock and roll record, was about to get thrown out by Mr. Simmons, the owner, when a burst of phone calls demanding more of “that” music, took place. 

Simmons agreed to give him a two-week trial, and if he was successful, he'd get hired full-time. That opportunity, and his adlibbing of a beer commercial (he couldn’t read so he made up the wording), and inserting his signature “Hockadoo!,” led to Huey’s march to becoming the number one disk jockey in Memphis.

Adding to the tale is the love affair between Huey and Felicia, a black singer, her rise to fame, his decline into becoming a down and out, end-of-the-dial disc jockey, his prejudiced mother, Felicia’s over-protective brother, and societal laws and barriers.

“Memphis” is a musical by David Bryan (music and lyrics) and Joe DiPietro (lyrics and book).  It played on Broadway from October 19, 2009 to August 5, 2012 and won four 2010 Tony Awards, including Best Musical.

Musical selections include “Music of My Soul,” “Scratch My Itch,’ “Everyone Wants to Be Black on a Saturday Night,” “Someday,” “Say A Prayer,” “Tear Down the House,” and “Love Will Stand.”

Great White Way opening night reviews stated, "An exuberant musical with classic values: catchy songs, heaping spoonsful of inspirational moments,” "It's nice to know a new musical can actually surprise you,” and "I guarantee you a rambunctious good time.”

The Cain Park version, under the adept direction of Joanna May Cullinan, choreographer Leillani Barrett and musical director Jordan Cooper is a sure-fire crowd-pleaser. 

The high energy cast is generally excellent.  The singing is strong and though the choreography often challenges some of the dancers, the over-all effect is very positive.

The Cain Park production is blessed with two dynamic lead performers. 

Though he is a little over-the-top on selling the character’s eccentricity at the start, Douglas F. Bailey II soon settles into a realistic pattern, and develops Huey’s uniqueness.  He wails with a big, on-tune voice and deserved the screaming opening night ovation during the curtain call.

Nicole Sumlin is electric as Felicia.  Captivating the audience with her stage presence and marvelous singing voice, she doesn’t portray Felicia, she is Felicia.

Chris Richards does a nice turn as Mr. Simmons, Elijah Dawson convinces as Bobby, Cynthia O’Connell is redneck-right as Mama.

CAPSULE JUDGEMENT: “Memphis,” Cain Park style, is a total delight.  It’s a must see for anyone who likes well sung and preformed rock music, is interested in a well-conceived juke box musical and wants to relax in the Alma Theatre’s “in nature” setting.  HOCKADOO!

The show runs through July 1 in the Alma Theatre in Cleveland Heights’ Cain Park.   For tickets call 216-371-3000 or go to http://www.cainpark.com/

“Rock of Ages” rocks, really rocks, Cain Park

Cain Park’s Alma Theatre is rocking and rolling with the classic up-beat sounds of the ‘80s.  Yes, “Rock of Ages” features the likes of “The Final Countdown,” “Here I Go Again,” “I Wanna Rock,” “High Enough,” and “We’re Not Gonna Take It.”  That’s right, the songs of  Styx, Journey, Bon Jovi, Pat Benatar, Twisted Sister, Steve Perry, Poison and Europe.

“Rock of Ages,” based on the 2012 film, is a juke box musical.  It takes songs written before the script was conceived and intersperses them into a less than well-put-together story.   Interestingly, for no apparent reason, the title song, as written by Def Leppard, is not included in the goings-on.

The original stage production, which ranks in the top 30 of the longest running shows in Broadway history, played 2,328 performances.

It’s 1987.  Sherrie Christian (the adorable, sweet-voiced Lauren Ashley Berry), a young, small-town virgin (what would you expect with a name like that?) gets off the bus in Los Angeles, ready to become the next great film star, and is immediately robbed.  Into her life comes her “hero,” the handsome Drew (Shane Lonergan), who works at the Bourbon Room, the fabled West Hollywood club, the home of rock and roll stardom. 

No, Drew is not an R&R star, just a busboy, with stars in his huge doe-like eyes, a guitar in his hands, and a stellar voice which hits long-held high notes and slips nicely into a cool falsetto. 

As happens in these fairy-tale tales, Drew is love-struck, gets Sherrie a job at the club, and it looks like we are headed for a “happily ever-after tale.” 

Oh, come on, we have an hour-and-a-half to fill with songs, so there has to be conflict, chaos, heartbreak and then, a happy ending.

The conflict comes in the form of Hertz Klinemann (the funny, over-the-top Kevin Kelly, complete with very bad accent), who dreams of designing formal wear for pets, but instead is planning on knocking down the Sunset Strip and building an upscale shopping center.  His sidekick is his fey son, Franz (David Turner who lisps and swishes his way through his stage-time).  The duo is eventually foiled by a group of activists, who picket to stop the destruction of the strip.

Meanwhile, our heroine, good girl Sherrie, who fight off of the advances of super-rock god Stacee Jaxx (Connor Bogart O’Brien, not quite reaching the sensual level needed for women to lose their undies over), gets Sherrie fired from the Bourbon Room.  She is taken in by Justice (Trinidad Snider, a wailing momma with a big voice, who almost steals the show).  She runs a strip club. 

In the meantime, the show’s MC (the hysterically funny Douglas F. Bailey, who knows his way around a laugh line and does steal the show), and bar owner Dennis Dupree (smarmy Phillip Michael Carroll) discover they are “in love” and delight while singing “Can’t Fight this Feeling.” 

Lots more goes on, but of course, in the end, our Sherrie hooks up again with the still love-struck Drew and, as is the case with all good juke box musicals, they know “The Search is Over,” kiss their way to “Heaven,” knowing that they will never say, “I Hate Myself for Lovin’ You,” and the entire cast and the audience claps, sings and dances to”Don’t Stop Believing.”

The band (Jesse Fishman, Jeremy Poparad, Tim Keo and Justin Hart), under the leadership of Jordan Cooper, rock.  Yeah, man, they really rock!  


Kevin D. Marr II's creative choreography, is spot on!

Director Joanna May Hunkins has the cast psyched, and, after a slow, often hard to hear first act, and lots of overacting, the assemblage gets focused and lets loose in Act II, earning a screaming final reception.

CAPSULE JUDGEMENT:  If you are a fanatic for rock and roll, especially from the genre’s golden age, you will absolutely love “Rock of Ages.”  “Oh Sherrie,” “The Search is Over,” as you’ll think it’s “Just like Paradise” and believe that you are in “Heaven,” having “Nothin’ But a Good Time,“ which is pretty darn good!
The show runs through June 25, 2017 in the Alma Theatre in Cleveland Heights’ Cain Park.   For tickets call 216-371-3000 or go to http://www.cainpark.com/

Upcoming musical theater events at Cain Park:

August 5 & 6--“The Music Man in Concert,” with Eric Fancher, as Harold Hill, and Nicole Sumlin, as Marian Paroo, in Meredith Wilson’s classic musical.

July 20, 7 PM--The Musical Theater Project presents “For Good:  The New Generation of Musicals,” examines Broadway shows from 2000 until today in narration and song.  Hear selections from “Hamilton,” “1776,” Wicked,” “Book of Mormon” and “Dear Evan Hansen.”

August 10, 7 PM—The Musical Theater Project presents “Luck Be A Lady:  the Songs of Frank Loesser,” a multi-media concert featuring the music of “Guys and Dolls,” “Most Happy Fella,” and “How to Succeed in Business Without Really Trying.”

Cain Park’s anti-pollution The Toxic Avenger will delight many!

There seems to be a trend in the choices theaters are making regarding musicals they produce.  Maybe it’s a desire to attract younger audiences, or it’s the popularity of comic book heroes as the subject of television shows and movies, but like it or not, the age of “unusual” protagonists is here.

Broadway has a serial killer in AMERICAN PSYCHO, Beck is running THE HEATHERS, about mean girls, Cleveland Play House showcased LITTLE SHOP OF HORRORS and a human-eating plant, and Blank Canvas staged THE WILD PARTY, which was filled with drugs, “offing” people, and rock and roll.  All contained murderers, weirdos and/or perverts.  Ah, for the likes of OKLAHOMA and FINIAN’S RAINBOW.  Even the gun toting female in ANNIE GET YOUR GUN would do.

Now Cain Park, that leafy little oasis in the middle of Cleveland Heights, has transformed the stage of  its intimate Alma Theatre into a New Jersey toxic waste dump and is staging THE TOXIC AVENGER.

Yes, THE TOXIC AVENGER, a rock musical based on Michael Herz and Lloyd Kaufman’s 1984 cult-film about the attempt of a sweet young man to clean up a New Jersey town, with death-filled results.

The musical, written by Joe DiPietro (who was born in Teaneck, New Jersey and was responsible for MEMPHIS, ALL SHOOK UP and I LOVE YOU, YOU’RE PERFECT, NOW CHANGE), with music by David Bryan, and lyrics by the same duo, contains songs with titles such as, “Get the Geek,” “Kick Your Ass,” “Thank God She’s Blind” and the ever popular, “Bitch/Slut/Liar/Whore.”  Really!  (Could I make this up?)

Before the conclusion is reached that THE TOXIC AVENGER is a definite “do not see,” be aware that it’s impossible for anyone with a sense of humor, who likes outrageous slapstick, cross-dressing, soft rock music, and an affinity for the bizarre, not to enjoy themselves.  (The young lady sitting next to me at opening night, mid first-act, leaned over and whispered to her equally hard giggling friend, “I just wet my pants from laughing.”

So, what’s all the fun about? 

Once upon a time in Tromaville, New Jersey, there was a corrupt Mayor-lady (who resembles Governor Chris Christy in many ways and has a Donald Trump hair-do), who with her henchmen (bullies, mobsters and crooked politicians) controlled the city and used it as their personal piggybank, caring little for the environment or the population. 

In the same town was Melvin Ferd, the third, a geeky aspiring scientist, who loves Sarah, the blind librarian.  Melvin wants to clean up the town’s toxic waste dump and also dump the mayor.  For his troubles he is thrown into a vat of sludge and comes out a hulking green monster named “Toxie.”  Toxie becomes a superhero to many as he fights city hall and sleazy politicians and businessmen whose greed have made the correctly named Tromaville unfit for human inhabitation.   

In the process, the hysteria is flamed by the blind librarian tripping over every pebble and crack, an old lady being stuffed into a washing machine, lots of men dressed in drag who sing and dance, as both good and bad guys.  Also on stage is Oprah doing her interviewing “thang”, animal puppets, men with “acne on their soul,” a battle of hairspray cans, a singing and dancing nun, hairdos from hell, and, of course, Toxie, running wild.  The political-infused ending is timing-perfect during this election year.

Add a wailing, but subtle rock score, several nice ballads, fun attempts at coordinated dancing, extended farce, and lots of slapstick, and you have THE TOXIC AVENGER.

The cast is outstanding.  BW musical theatre grad Ellis C. Dawson III is Toxie-right!   He is a hero’s hero, complete with green warts, a dangling right eye, glued on muscles, a charming personality and a nice voice.  His “Kiss Your Ass” and “I Promise” were nicely presented.

Natalie Green is wonderful as the cute and well-meaning blind Sarah.  Her duet, “Hot Toxic Love,” sung with Dawson III,  is delightful. 

Zaftig, big-voiced Kate Leigh Michalski does triple duty as the big-haired Mayor, Toxie’s mother and the singing Nun.  At one point she appears simultaneously as both the Mayor and the mom, with hysterical results.  (The wig designer, who gets no credit in the program, outdid her/himself on that visual allusion.)

Malik Akil, another BW musical theatre grad, has impressive stage presence and a good sense of comic timing, whether he was playing a black dude or in drag.  Trey Gilpin was Akil’s match in “Get the Chick.” 

Mariah Burks and Codie Higer were also excellent in multi-roles.

Jordan Cooper and his band rocked it right and wisely didn’t drown out the singers.

P. J. Toomey’s special effects, which it can be assumed included the makeup that transformed Melvin to Toxie, was impressive.

Though the set changes were a little cumbersome, the off-time was filled with clever actions and lighting effects.

CAPSULE JUDGEMENT:  Under Nathan Motta’s creative direction, and a cast of talented and uninhibited performers, THE TOXIC AVENGER is a total hoot!  If you are in the mood for an evening of extended farce and ridiculousness, this is a must see. 

The show runs through  June 26, 2016 in the Alma Theatre in Cleveland Heights’ Cain Park.   For tickets call 216-371-3000 or go to http://www.cainpark.com/

“Prepare Ye”--Updated musical arrangements and script ,“All for the Best” in Cain Park’s GODSPELL

The story goes that in 1970, while attending college in Pittsburgh, John-Michael Tebelak went to church on Easter Sunday.  A theology student before he decided he wanted to be a theatrical director, he found the service to be devoid of feeling. 

Afterward, the long-haired Tebelak was stopped by a policeman and searched for drugs.  (Remember, this was the era of student protests, hippies, draft card burning, and “dangerous” peaceniks.)   Tebelak confided that this experience provided him the inspiration for GODSPELL, which he developed as a series of parables, mostly based on the “Gospel of Matthew.” He produced the show as his senior project at Carnegie Mellon University.

John Michael left school without graduating.  The show was eventually staged at the off-Broadway Cafe La Mama Theatre.  A producer saw the production and said he would finance it if it had a new score. 

Enter Stephen Schwartz, who wrote the songs in 5 weeks.  (The only tune remaining from the original production is "By My Side"). The newly conceived show opened Off-Broadway on May 17, 1971.  Tebelak was 22 years of age!  GODSPELL then moved onto Broadway where it ran for 2,124 performances.  Hundreds of professional and amateur productions of the show continue to be done, making it one of the most produced scripts.

Tebelak was a Berea product.  As related by Bill Allman, the former producing director of Berea Summer Theatre, “John-Michael cut his theatrical teeth at Berea Summer Theatre where he acted, designed scenery and directed.  In 1980 he returned to his roots when he directed a revival production of GODSPELL.” 

The show’s other connection to the area is that in August of 1971, before it became a mega-hit, GODSPELL was produced at Great Lakes Shakespeare Festival, the predecessor to Great Lakes Theatre, which, at the time was housed in Lakewood High School’s auditorium.  The show’s director was non-other than Tebelak.   

The show is not without controversy.  It has been called “blasphemous.”  Religious leaders have stated, “Surely no Christian who believes the Bible would approve of the perversion of GODSPELL.”  The Wexford Pennsylvania School Board banned a production of it after “complaints about its religious message.”

Any director of GODSPELL has a number of choices to make.  First, there is no traditional script.  There is a score and no stage directions.  It has been done as a series of segments in which comic characters are the center of attention.  It was staged as children in a Sunday school class.  It has been done as a religious sermon in a church setting.  It has been done as a dream sequence.  It has been staged as a circus.

Another issue is the tone of the piece.  Should the production center on the religious message, forsaking the humor, or take Tebelak to heart and make this a production of joy?

Cain Park’s GODSPELL, under the co-direction of Ian Wolfgang Hinz and Joanna May Hunkins, takes a literal approach.  Though there have been new and interesting musical arrangements, and the language and nonverbal gestures have been brought up to date, Tebelak’s message of elation, with preaching overtones, is present.

The staging is creative.  The choreography by Katie Nabors Strong is inventive and well executed.  The singing is exceedingly strong.  The solos well done and the choral sounds nicely blended.  There is a nice spontaneity to the spoken lines and interactions.  The humor is well timed, the dramatic scenes clearly developed. 

Jordan Cooper’s band plays well, but at times gets a little too exuberant and drowns out the singers.   It’s difficult to hear well in the open sided venue to start with, so the musical overplaying rather than underscoring often blocked out song meanings.’’

The directors have chosen to start the production with speeches by various philosophers, followed by “Tower of Babble,” thus setting a preaching tone.  Many productions simply start with “Prepare Ye.”   (My preference is for the latter approach, which gives an immediate uplifting concept.)  The director’s have chosen to included the oft omitted “[We can build a] Beautiful City,” which many consider Schwartz’s most enthralling composition. (I’m on board with that choice.)

The inclusion of a Pictionary and charades segment got the audience involved in the action.

The cast is universally strong.  Standouts are Scott Esposito, whose Judas was well developed and became the fulcrum for the production, Jade McGee who sparkles on stage, and Douglas F. Bailey II, who has a special talent for comedy. 

Warren E. Franklin III, as Jesus, displayed a strong singing voice and excellent dancing skills, but failed to develop a charismatic Jesus.  His lines were often lost due to rapid delivery.

Highlight songs were “All Good Gifts” (Ellis C. Dawson III), “Light of the World” (Bailey), “By My Side” (Treva Offutt), “Beautiful City” (Franklin), and “We Beseech Thee” (Eric Fancher).  

CAPSULE JUDGEMENT:  Cain Park’s GODSPELL is a creatively conceived and generally well performed production which will keep the audience rocking and laughing, while imparting the philosophical message of the “Book of Mathew.”  You don’t have to be a believer to be entertained by the high spirited songs and the clever staging.  “We Beseech Thee,”---go, see, enjoy---“You’ll Learn Your Lesson Well!” 

(Thanks to John Nolan, theatre buff extraordinaire and a member of the 1980 Berea Summer Theatre “GODSPELL” cast, for background material used in this review.  His contributions were also used several years ago in writing another review of “Godspell.”)

The show runs through  June 28, 2015 in the Alma Theatre in Cleveland Heights’ Cain Park.   For tickets call 216-371-3000 or go to http://www.cainpark.com/

"The Frogs" fails to create much excitement at Cain Park

The Frogs,” Stephen Sondheim and Burt Shevelove’s musical adaptation of Aristophanes’ ancient Greek comedy, had a novel introduction to the stage.  In 1974 it was produced in Yale University’s Swimming Pool by the Yale Repertory Theatre.

The fact that the show closed in 8 performances should have been an omen of what was to come.

Like many Greek plays, “The Frogs” looks at serious issues.  In this case, it examines the challenges of human existence and confronts fear, understandings, life, death, the role of the arts in changing the course of human evolution, and whether the common man is coerced by dubious politicians, conservatives and right-wing thinkers.

The outrageous musical, like the play, follows Dionysos, the God of wine and theatre, as he attempts to go to Hades in search of a theatrical spokesman to spread the word about earthly problems.  Dionysos doesn’t think that present day playwrights have the ability to make major impact like Chekov did, who is, often referred to as the” father of the Russian Revolution.”  Dionysos’ intention is to get Irish/British playwright George Bernard Shaw to write plays about today as he did at the turn of the century when he attacked the British political, educational, social and medical systems in his uncompromising language. 

After an arduous trek, Dionysos and his slave arrive in Hades, convince the powers that be to hold a battle of words between Shaw and Shakespeare to determine who gets to come back to earth and help out society.  It’s like a prose/poetry slam.  Shakespeare wins and comes back with Dionysos, supposedly to “cure” the ills of the world with the powerful tool of theatre speech.

The musical “The Frogs,” as was the case of the original Greek version, is filled with pratfalls, satire, choral speaking, homosexual revelations, outlandish characterizations, and overblown situations.

In July, 2004, a version of the musical, which was revised “even more freely by Nathan Lane,” who starred in the production, opened in New York.  Though Sondheim added seven songs, none of them is memorable.

The show opened to mixed reviews.  Most commented on how “Lane used the stage as a forum” for his Borsht-belt shticks which were made possible by the “loose” nature of the plot.  The run lasted only 92 performances.

The Cain Park version makes allusions to people afraid of change (e.g., conservatives and Tea Party members), politicians who lie to get their needs met (e.g., G. W. Bush and Dick Chaney), and takes a general pro-liberal bent.  At the end of the show, Dionysos steps forward and addresses the audience.  He urges them to shake off lethargy, and to take action to resolve the earthly problems that plague our times.

In spite of the cast wearing microphones, The Cain Park is plagued by a sound system which makes much of the dialogue and singing unintelligible.  Since the lyrics are unfamiliar to many, the story is lost in the sloshing sound. 

The show is creatively staged by Martin Friedman, the local Sondheim maven.  Friedman understands the complexity of Sondheim’s story development and erudite lyrics, but not even he can overcome the script’s weaknesses.  

Dan Folino, portrays Dionysos as a 60s stoner.  This is a little strange as he relates that the play takes place “today.”  That withstanding, Folino has a strong singing voice, and displays a nice sense of the ironic.  He doesn’t have the Nathan Lane comic aura, so some of the extended humor that Lane added to the show is not present, but with the sound as it was, we probably wouldn’t have heard the asides anyway.

Michael Regnier (George Bernard Shaw) and Mitchell Fields (Shakespeare) both look amazingly like the men they are portraying, and are wonderful in reciting the writings of “The Shaw” and “The Bard.”

The standout of the production may well be wrestler turned dancer, Tom Sweeney.  The University of Michigan student lights up the stage with his dancing and expressive face.  He would make a great candidate for TV’s “Dancing With the Stars” competition and could step into a dancing role in Broadway’s “Newsies” right now.

The highlight of the show is Martin Céspedes’s choreography.  The ability of his well-synced dancers to creatively change moods and step-styles is impressive.  The section where the dancers marched like Nazis, dressed in black suits, and waving little flags emblazed with The Tea Party emblem, was meaning-filled and delightful.  The dancing gives the show its only creative texturing.

Musical Director Nathan Motta’s orchestra is excellent, backing up rather than drowning out the singers.

Ron Newell’s scenic design, complete with a river of real running water, and Tesia Dugan Benson’s costumes help in setting the right mood for the production

Capsule judgement: Though the message of “The Frogs” is generally clear, and Martin Friedman’s directing is on target, and Martin Céspedes’s choreography is prime, the script, the music, and the lyrics fail to incite much excitement.  The tepid response of the audience on preview night brings into question the wisdom in selecting this script. 

“The Frogs” runs from July 31-August 17 in the Alma Theatre of Cain Park in Cleveland Heights.  For tickets call 216-371-3000 or go on line to www.cainpark.com