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Charlotte Brontë’s book, “Jane Eyre,” is a gothic melodrama which centers on strong-minded Jane’s cruel treatment by her sadistic cousin and aunt, being shipped off to jail-like boarding school, departing to become a nanny for the ward of the wealthy but psychologically tortured Edward Fairfax with whom she falls in love, and the resulting angst of secrets revealed.
When the musical “Jane Eyre” opened on Broadway in 2000, it was classified, along with the likes of “Phantom of the Opera” and “Jekyll and Hyde,” as being a “tragic-poetic musical drama.” It was, as were the others, based on an important epic tale, was dark in mood and staging, had big sets, and had lush, over-drawn orchestrations.
In spite of being credited with having a “luxuriant score, haunting and memorable music, crisp and intelligent lyrics,” the Broadway show ran for only 209 performances.
Most reviewers agreed it, as was also the case with the other tragic-poetic musicals, they were over-staged. “Phantom” was noted for the crashing chandelier and rowboat floating across the stage, “Jekyll and Hyde” for the “two people in one” physical switches and Jekyll ending his life by impaling himself on a swordstick.
These shows were noted for too many performers and too much emphasis on sets and costumes, which visually drowned out the tale itself and the impact of the music.
Along came Miles Sternfeld, the artistic director of Cleveland Musical Theatre, “a non-profit professional theater company that produces newly developed and re-imagined musical theater, featuring Broadway and Cleveland artists with emerging talent.”
Sternfeld felt that many of the problems with “Jane Eyre” could be fixed by shrinking the production, reexamining the score, and reimagining some of the book.
In most ways, as evidenced in the well-directed, perfectly cast, beautifully choreographed, and impressively scored music, Sternfeld was right. The CTP’s “Jane Eyre” is special!
Gabriel Firestone’s simple, ever-changing set, focuses the action into a compressed proscenium within proscenium, forcing the audience to focus on the actions. Even simplifying the set more and depending more on subtle electronic graphics would help. Benjamin Gantose’s dark lighting and Sydney Gallas’s period-appropriate costumes enhanced the somber mood.
The talented cast is both period and style correct. Andrea Goss, has the right attitude and demeanor for the high-minded Jane, while Matt Bogart transitions beautifully from morbid to caring as Edward. They both have big Broadway voices and sing meanings rather than words, making the vocals carry the story.
The duo is aptly supported by Allison England (Mrs. Reed/Mrs. Fairfax) and Emma McClelland (Young Jane). The rest of the cast (Cody Gerszewski, Lauryn Hobbs, Emma McClelland, Genny Lis Padilla, Laura Perrotta, Fabio Polanco, Gregory Violand, Sydney Howard, Patrick Mooney, Nina Takacs) is superb, switching into various roles, attitudes and accents with ease.
The musical, without show stoppers, dream ballets or line dances, is greatly enhanced by choreographer Martin Céspedes’ masterful creation of moving tableaus by subtly altering bodily positions and movements to create meaningful stage pictures.
The real star of the production, besides Miles Sternfeld’s sensitive direction, is the musical score. Though it could have used a signature song, such as “The Music of the Night” (“Phantom of the Opera,”) Paul Gordon’s music, with additional lyrics by John Caird, seamlessly carries the message of Caird’s book, placing the instrumental and vocal sounds parallel to the spoken words.
The contributions of Nancy Maier (musical direction) Steven Tyler (additional arrangements), Brad Haak (music supervision/orchestrations), Conor Keelan (associate orchestration) and Alex Berko (music preparation) cannot be overlooked.
Capsule judgement: “Jane Eyre,” in its new form and format, is a musical that shows that a “small” production, in which care is taken with directing, casting and technical aspects can make musical theatre more captivating than big, splashy, over produced shows. With an additional “signature” song, the revised script seems ready for an off-Broadway, small theatre run.
“Jane Eyre,” runs through September 9, 2018 at the Rose and Simon Mandel Theatre located on the Cuyahoga County East Campus (4250 Richmond Road, Highland Hills). For tickets, $15 to $45, call 216-584-6808 or visit http://clevelandmusicaltheatre.org/.
Cleveland Music Theatre (CMT), the brainchild of native Clevelanders Miles Sternfeld and SeanPatrick, was created to provide exceptional education for the Cleveland community and beyond through reimagined, innovative musical theater productions and workshops. Broadway, national, and local artists collaborate to create a dynamic synergy, fostering successful professional careersand development in the theatre. The organization has presented the critically praised shows The Who’s Tommy (2013) and Aida, in July (2015).
To date, CMT’s major thrust has been to present well-attended intensive training by providing opportunities for local students to explore the realities of what it means to be a modern working theater professional. The intensive classes are taught by working Broadway professionals, national and local artists, including Tony Award winners, and cover every aspect of the business including the role of the performer, casting directors, agents, directors, music directors, choreographers, conductors, producers, and composers.
Intensive presenters have included Alice Ripley (Tony Award winner for Next to Normal), Shoshana Bean (Broadway: Wicked and Hairspray), Christina DeCicco (Broadway: Evita, Sister Act), Paige Faure (Broadway, Cinderella), Morgan James (Broadway: Godspell, Wonderland, Motown), John Leggio (Broadway: Cats, My Fair Lady, Showboat), Kathleen Marshall (Three-time Tony Winning Director/Choreographer), Patina Miller (Tony Award winner for Pippin), and Jared Zirilli (Broadway: Lysistrata Jones, Wicked).
Local theatre professional instructors have included: Victoria Bussert (Director of Musical Theatre, Baldwin Wallace University), Martín Céspedes (award winning choreographer), Jacqui Loewy (Director of Theatre, Notre Dame College), Fabio Polanco, (Professor of Acting, Kent State University), and Brian Zoldessy (Cleveland Critic Circle and Times Theatre Tributes award-winning actor).
CMT’s next offering will find Broadway performer, Natalie Weiss, doing double duty, teaching in the Cleveland Musical Theatre’s “Pop/Rock Intensive,” as well as starring in the organization’s Music Box Supper Club concert. The venue is located at 1148 Main Avenue, on the West Bank of the flats.
Weiss, who graduated from Pennsylvania State University, was a season 4 semi-finalist on “American Idol,” was the understudy for Elphaba in Wicked, and spent two-and-a-half-years with Les Miserables. She was also an understudy in Sherie Rene Scott’s Everyday Rapture. Her videos, “A New World” and “Spark of Creation,” preceded her breakaway YouTube hit “Breaking Down the Riffs.” She is noted for her impressions of Celine Dion and Britney Spears. For more information on Weiss go to http://www.natalieweiss.net/
CMT alums Christina Ciofani, Dani Apple and Grace Hunt will also appear on December 18 at the 7:30 concert.
The “Pop/Rock Musical Theatre Intensive” runs from December 16-18, 2016 at Cuyahoga Community College-East. It will not only have Weiss on the faculty, but also features Martin Céspedes (choreographer) and Rob Kovacs (composer and music director). The curriculum will include breaking down riffs, singing coaching, teaching auditioning techniques, and demonstrating original Broadway choreography. Participants will also sing live in Natalie’s concert.
For information for both the intensive and the concert go to http://www.clevelandmusicaltheatre.org
“The Cleveland Musical Theatre” and “Making It on Broadway” may not mean much to many in the local community, but soon, if Sean Patrick and Miles Sternfeld have their way, those organizations will become a regular part of the Cleveland theater agenda.
Patrick is the Managing Director and Sternfeld is the Artistic Director of “Cleveland Musical Theatre.” The native Clevelanders, Patrick from North Olmsted and Sternfeld from Moreland Hills, revealed in an interview from New York, where they now live, founded the organization because, “Cleveland has an incredibly rich source of professional theater talent, many of whom go on to national careers. We want to create the highest quality musical theater in the Cleveland area by fusing Broadway talent with local talent.”
The duo combined to produce “Tommy” several seasons ago as a charity fundraiser and “Aida” this past summer as a showcase for what is to come. The model is based on successful programs around the country. For example, Pittsburgh has such an endeavor. “The productions give local talent the opportunity to work with national talent and national talent to work with Cleveland talent.”
In both “Aida” and “Tommy,” the principals were from New York but most of the cast were locals. Some were Equity, others were young talent hoping to work toward their Equity membership.
“The financial model centers on the talent paid salaries with competitive contacts as required by Equity.”
The production aspects are parallel to what John Kenley did in his early days with the Kenley Players, and Carousel Dinner Theatre did in Akron in its waning years. The major difference will be that both Kenley and Carousel “did true summer stock, about five days rehearsals, followed by the productions.” Patrick and Sternfeld see CMT (Cleveland Musical Theatre) doing more fleshed out stagings, with higher production values.
The long-term plans are for three productions each summer and a year-round educational program.
The educational program, “Making It on Broadway” will find CMT working with the well-established New York organization of the same name, “which allows for training in the realities of what it means to be a modern Broadway professional.”
The classes will be taught by Broadway professionals. For example, the recent intensive, which was held on the campus of Cuyahoga Community College-East, was staffed by Jamibeth Margolis, the NY casting director of “The Golden Bride,” Jodie Langel who appeared on the Great White Way in “Les Misérables,” Martin Céspedes, multi-award winning choreographer who toured in “Man of LaMancha,” Natalie Weiss of Broadway’s “Wicked,” Bob Cline, a Broadway casting director, and Jackie Lowey, college drama professor who appeared on Broadway in “Oh, Calcutta.” Master classes were taught by Natalie Weiss, who appeared in the 25 th anniversary tour of “Les Miserables” & Patina Miller, the 2013 Tony Winner for PIPPIN 2013.
Courses included: “Broadway Master class,” “Acting Your Song,” “Building Your Audition Book,” “Acting,” “Vocal Technique,” “The Business of Theatre,” “Audition Technique,” “Dance,” and “Business for Parents.”
Last summer’s class of 40 consisted of 16 out-of-towners and 24 locals. This fall’s group of 30 had 6 from away and 24 locals. “The summer class had 5 participants who received interested from Telsey + Co., Broadway’s largest casting office.”
Space is still available for the January 10, 2016 Master class that will be taught by Tony Award winner and Kent State graduate, Alice Ripley.
On January 11, “Dream: The Inaugural Gala” will be held in the newly redesigned Simon and Rose Mandel Theatre at CCC-East.
The event is open to the public. The cost is $55 for the stage show, which will feature former Clevelanders who have “made it on Broadway,” including Alice Ripley (Tony Award Winner for “Next To Normal”), Corey Cott (“Newsies”--Chagrin Falls), Corey Mach (“Godspell,” “Hands On A Hard Body,” and “Flashdance”--Strongsville), Timothy Warmen (“Spider-Man”—Willowick/Bratenahl).
Sponsor prices are: $195 for the show and a preshow reception including a meet and chat with the performers; $495—on stage seat with dinner with the guest artists with wine service; 10 person tables are $6000 which include 2 complimentary tickets for each person for the up-coming season and full page ads in the season programs.
For further information about CMT, “Making It on Broadway, ”Master class with Alice Ripley,” or “Dream: The Inaugural Gala” go to: http://www.clevelandmusicaltheatre.com
