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.

 Dobama stages the first local production of THE HOT WING KING, the 2021 Pulitzer Prize winner for Drama

Roy Berko

(Member:  Cleveland Critics Circle, American Theatre Critics Association)
 
Since THE ROPE DANCERS, the first play it produced over 60 years ago, Dobama has been known for staging alternative works that would not otherwise be seen in Cleveland. 

Their stages have been lit up by such plays as TRUE WEST, CATCH 22, ROOTS, GOD OF CARNAGE, 4000 MILES, THE FLICK, AN OCTOROON, HAND TO GOD, and the first professional area production of ANGELS IN AMERICA.

Cleveland’s off-Broadway theatre is now presenting the 2021 Pulitzer Prize for Drama THE HOT WING KING.

Though the Katori Hall script received mixed receptions in early stagings, the Pulitzer recognition citation described the play as "a funny, deeply felt consideration of Black masculinity and how it is perceived, filtered through the experiences of a loving gay couple and their extended family.”

When I think of Pulitzer Prize winning plays, such classics as OUR TOWN, A STREETCAR NAMED DESIRE, DEATH OF A SALSESMAN,’night Mother, PROOF and WHAT THE CONSTITUION MEANS TO ME come to mind.  Though it has some poignant moments, THE HOT WING KING is not a script of that quality.

The play follows Cordell (Wesley Allen), his boyfriend, and their friends in Memphis preparing for the annual "Hot Wang Festival.”  Cordell’s kitchen is a flurry of activity as his boyfriend, Dwayne (Corin B. Self), their close friends Isom (Charles Mayhew Miller) and Big Charles (Syrmylin Cartwright), are busy marinating, frying, and carrying on in a bid to make him a winner of the annual hot wing competition. 
 
When Dwayne’s nephew, TJ (Prophet Seay), the son of his sister who died of an overdose, shows up, the subject of Cordell’s marriage to a female and his two sons come-forth, it becomes a recipe for angst.

“I am thrilled to further the conversation around what makes a family in Northeast Ohio, especially in the black queer community,” says Director Sheffia Randall-Nickerson. “Navigating my own blended and chosen family these several years made the story behind THE HOT WING KING especially compelling!”
 
Dobama’s production is basically well-conceived…many performances are on-point.  The emotional levels, especially in the dramatic scenes when Cordell and Dwayne clash over their relationship, and the subject of whether they will allow TJ to move into their house comes up, the play hits its emotional peaks.  
 
Other times there is almost a begging for laughs.  Part of this is the cause of the uneven script, other times overdone flamboyance takes over and takes away from the script’s message. 
 
Cameron Caley Michalak’s realistic whole house set is meticulously designed and executed.  Vanessa Cook did an outstanding job of acquiring the many authentic props.  
 
As is often the case at the extremely long and narrow Dobama acting space, speeches were lost due to the lack of consistent projection.
 
CAPSULE JUDGMENT:  The 135- minute play, with intermission, is filled with many moments of laughs and angst, enough to hold the audience’s attention.  In spite of this, the sometimes soap opera-like script just doesn’t garner the quality to be expected from a Pulitzer Prize winning script.  Go, see, but realize that ANGELS IN AMERICA this is not!  
 
Performances are Thursdays through Sunday from January 24-February 16, 2024. Evening performances are at 7:30pm and matinees at 2:30pm. For a complete performance schedule, ticket prices, and reservations, call the Dobama Theatre box office at 216-932-3396. Ask about the "pay-what-you-can" performances.


Some forthcoming area productions include:  
 
2/14-3/9—Beck Center--WAITRESS-- Baldwin Wallace Music Theatre Program Collaboration directed by Victoria Bussert.  The story of Jenna, the titular waitress and expert pie-maker who dreams of a way out of her small town and rocky marriage.
 
2/7th-23—Ensemble--HENRIK IBSEN’S ‘ENEMY OF THE PEOPLE’ A RUSTBELT ADAPTATION-- What inspires people to action? Can scientific discovery mobilize outcomes when economic opportunities are at stake and fear is pervasive? Will a scientist sacrifice everything, her job, her friends, her family--for the truth? Or is she just the enemy of the people?

2/7-3/2—Great Lakes Theater--PETER AND THE STARCATCHER— Set sail to explore the Neverland you never knew with this Tony Award-winning prequel that charts a course through Peter’s untold escapades. A dozen actors portray over 100 unforgettable characters in this high-flying adventure bursting with imagination and ingenious stagecraft.

2/6-3/2—Ohio Shakespeare Festival--ROMEO & JULIET--Two dignified households, two star-crossed lovers, and one famous balcony.
 
2/4-23—Key Bank Series--PARADE-- The Tony Award-winning musical drama is based on the true story of the trial and lynching, in early 20^th-century Atlanta, of Jewish factory manager, Leo Frank, who was accused of murdering a teenaged factory girl the day of the annual Confederate Memorial Day parade.
 

And, yet, another examination of Peter Pan at Dobama, but . . .

 

Peter Pan, lovingly known to many as the mischievous young boy who can fly and never grows up, is the cultural iconic symbol of never-ending childhood.    Peter’s fictional life on the mythical island of Neverland, which is populated by fairies, pirates, indigenous people and mermaids, was formed in the imagination of J. M. Barrie, a Scottish novelist and playwright.   Though he continued to write other literary works, Peter and his adventures overshadowed Barrie’s other works. Pan has become so important that it has become a cottage industry.  Besides “The Little White Bird (1902, with chapters 13–18 published in Peter Pan in Kensington Gardens in 1906), and the West End stage play Peter Pan; or, the Boy Who Wouldn't Grow Up (1904, which expanded into the 1911 novel Peter and Wendy), the character(s) have been featured in a variety of media and merchandise, both adapting and expanding on Barrie's works. These include numerous films and a television series. Yes, Peter Pan and Wendy and Tinker Bell clothing, figurines, posters, Halloween costumes, and jewelry, as well as books and magazines bannering the images of the beloved characters.  A statue of Peter Pan by the sculptor George Frampton, was erected in Kensington Gardens in 1912 as a surprise to the children of London.  Six other statues have been cast from the original mold and displayed around the world. In 2002, Peter Pan was featured on a series of UK postage stamps issued on the centenary of Barrie's creation of the character.  As an explanation of why Dobama chose to do PETER/WENDY, Jeremy Bloom’s adaptation of the Barrie story, Nathan Motta, the theater’s Artistic Director and director of this production, states in his program notes, “As adults, it can be thought-provoking and rewarding to look back at the world of Neverland and find new meaning in the text.”    In response to those who may think that with all the new, thought-provoking scripts available, why would Dobama use a major segment of its season to produce yet another version of the over-exposed tale, Motta states, “PETER/WENDY is meant to be whimsical, immersive, and joyful for all ages, while lifting up some of the larger ideas for those who are interested in exploring the deeper parts of Neverland.” Bloom’s adaptation is being produced for the first time on a professional stage in Cleveland.   The author describes PETER/WENDY as his “dream project” and explains, “My goal with it is to be most simple and sleek of all and tell the story as purely as it has ever been told, not skewed in any way, not towards an audience of children or with any particularly un-Barrie-ish take.” He elaborates, “It's not some new crazy adaptation, but the story stripped down to its bare elements.”   Other stagings of the script have garnered such critical comments as, “The charming story may well feel, to some, like that nice, warm virtual hug very much needed during this harsh, cold winter,” and “Engagingly explores the questions of innocence, friendship, family and loss that have made the story a classic for more than a century.”   The local staging is blessed with a talented well-rounded gender-blind cast (Peter is played by she/they) Kelsey Angel Baehrens, Wendy by (she/her) Mikaela Ray and Tiger Lily by Diwe Augustin-Glave (they/them).   Other members of the fine assemblage include Charles Mayhew Miller (Lost Boy/Mermaid), Abigail Jarvis (Tinkerbell), Lara Mielcarek (Mrs. Darling/Hook), and Trey Gilpin (Mr. Darling/Smee). Nathan Motta’s creativity can be seen all over the stage.  This is not a conventional staging.  Like the tale, the audience is forced to use their imaginations, clapping when they are asked whether they believe in fairies (in order to save Tinker Bell, who has taken poison in order to stop Peter from ingesting the liquid placed in a vial of “medicine” by evil Captain Hook), to see Peter and Wendy fly, and accept a blue laser as Tinker.   Production Design by Jeremy Paul, Sound Design by Angie Hayes, Costume Design by Angelina Herrin, and Props by Vanessa Cook, all enhance the staging.   Capsule judgment:  Yes, PETER/WENDY is yet another version of the tale of the boy who refuses to grow up, but it adds a creative element that other stagings don’t.  On the intimate Dobama stage, it will involve and entrance you.  It’s well-worth your time to think happy thoughts and let your inner child soar!   Performances are Thursdays through Sunday from December 6-29, 2024.   For tickets go Dobama.org or (216) 932-3396   Next up at Dobama: The Pulitzer Prize winning THE HOT WING KING (January 24-February 16, 2025).

Oh, woe is me…POTUS is must see theatre at Dobama!

 

 
Once upon a time, in the very near land of the U S of A, there lived a POTUS.  

According to such a source as the New York Times, he never was a good person, but “With the passage of time, the president’s speeches have grown darker, harsher, longer, angrier, less focused, more profane and increasingly fixated on the past, according to a review of his public appearances over the years.”

Yes, this “fictional” person, who is the subject of the very farcical play, POTUS, which is now on stage at Dobama Theatre, has had a history of being a womanizer, purveyor of lies, an attacker of those people who were not like him (blacks, browns, religious minorities, and females, among others) while living in a fantasy world seemingly centered on himself.  He fires people at will, attacks with vitriolic glee, and often destroys for the sake of just destroying.  He seemingly leads an insurrection, yet sees it not as such.  Oh, woe is me!
 
In spite of what some would say are despicable actions, there are those who adore him, worship him, follow his view of his world-of-fantasy, though they often know not why. They even wore uniforms, mostly hats of raging red, to identify themselves.  Oh, woe is me!
 
The sub-title of the show is, “Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive,” for good reason.  
 
In Selina Fillinger’s portrait of POTUS, this ogre is surrounded by seven beleaguered women whom he relies upon to keep him out of trouble.  They try and extract him from creating yet another global crisis due to his unwittingly spinning a public relations nightmare as he refers to his wife as a “cunt,” insults a leader of an Arabic country, offends a group of honored women, generally attempts to bully the rest of world for his own gain, while bringing his latest bimbo into the nation’s home for his sexual pleasure.  
 
The ladies are forced to hide his sexually induced disease, cover yet another series of transgression, and even cover over what may be his death.  Oh, woe is me! 
 
POTUS is now getting its area premiere.  That staging is done at a most logically selected venue, Dobama, Cleveland’s off-Broadway theatre, known for its more liberal look at the contemporary world.

A review of a previous production of the show stated, “I am woman, hear me roar — with laughter, at … playwright Selina Fillinger’s delicious feminist farce.”
Nathan Motta, Dobama’s Artistic Director says, “This show is the laugh-out-loud comedy that we all need right now.” POTUS is packed with farcical hijinks and a stage full of woman power. In times such as these, perhaps only laughter can provide some temporary relief.”
 
In interviews, Fillinger has said that she hopes POTUS audiences “have a wonderful night of laughter and joy. Then I hope they wake up the next day and put their money, time, and votes towards equity and freedom for all.” Fillinger’s goal is that the play will create solidarity and “intergenerational dialogue between women,” saying, “We can only build movements and coalitions when we debate, converse, and learn from each other. There is a false notion that solidarity and conflict are mutually exclusive. The goal should not be to avoid conflict, it should be to lovingly engage with differing beliefs and experiences so that everyone may bring their best self to the common cause.”
 
Dobama’s production, under the creative directing of Carrie Williams, is nothing short of hysterical.  Hysterical and, to many, shocking.  
 
The script is full of outlandish situations and actions.  Doors slam, prat-falls and stage slaps abound.  Visual and verbal hijinks overflow.  The ridiculous reigns.  The sad part is that one finds oneself laughing through tears and sadness.  This is the pathetic world in which we live.  Oh, woe is me!
 
The opposite of laughing is not crying, but indifference.  You cannot watch this chaotic, brilliantly written play and be indifferent!  
 
The play clearly focuses its microscope on the political world, but brings the reality of that world into shocking detail by using such vocabulary dialogue as, “ass play,” “cunt,” “dildo,””” blow job,” and “dick,” just to highlight a few!  
 
If you are a language prude, or only want to look to the world through sterilized ideas, this is not going to be your “cup of tea.”
 
Does the script go too far, at times, to make its point, thus emphasizing the ridiculous?  Sure, but it’s worth the over-kill.  It makes us laugh instead of lecturing us, which is a better way to gain attention.
 
The cast is superb.  There is not a weak link in this chain of pure talent.  The ensemble includes Kristy Cruz (Harriet), Nina Domingue (Jean), Natalie Green (Stephanie), Chennelle Bryant-Harris (Chris), Nicole Sumlin (Margaret), Katherine Nash (Dusty), and Amiee Collier (Bernadette).
 
It’s impossible to separate one for attention as they form a whole that is inseparable. Each molds and shapes her part! Hurrah!!!
 
Capsule judgement:  The night I saw the production a number of John Carroll students were in attendance as a class assignment.  They howled, laughed, shouted and applauded as their reality played out on the stage.  These young people got it!  This is the world which the present older generation has left them.  Oh, woe is me!   This is absolutely must-see theatre!  
 
For tickets to the show which runs through November 3 go to:  BoxOffice@dobama.org or call 216-932-3396.
 
PLEASE VOTE YES ON ISSUE 55:  Cuyahoga Arts & Culture (CAC), which was approved by voters in 2006 and reapproved in 2015 allows CAC to fund millions of arts and cultural experiences for residents each year.

Angst-filled, laugh-centric SIGNIFICANT OTHER gets outstanding production at Dobama

 

Artistic Director Nathan Motta says of Joshua Harmon’s SIGNIFICANT OTHER, which is having its regional premiere at Dobama, “This play is both a fun night out at the theatre to share with friends and a thought-provoking examination of adult relationships, emotional wellness, and the ways we connect with the people in the world around us.”   Dobama bills itself as Cleveland’s Off-Broadway Theatre, with the goal of examining our contemporary world.  Their plays may not appeal to the older, more traditional based theater-goer, but it does give snapshots of the world in which we presently live.  Their script choice is thinking-people’s theater which is often filled not only with angst, but dark humor.   SIGNIFICANT OTHER is a perfect script for Dobama!     The story was written by Joshua Harmon, the author of BAD JEWS.  As was the case of in that script, SIGNIFICANT OTHER centers on companionship, loneliness and love.   The play centers on Jordan, a gay, Jewish, twenty-something who has a strong loyalty to his near end-of-life Boobie (grandmother) and who is the best friend of three females.  His life besides some joyous moments, is filled with the angst of not being able to find a boyfriend with whom to have a long relationship, marriage and children.    The angst increases as one-by-one his friend-girls, each finds a mate.  Jordan attends and participates in showers, bachelorette parties and weddings.  Everyone’s, but his own!   Crush after crush, even ones that seem promising, lead to frustration and increased insecurity.   Jordan, increasingly “discovers that the only thing harder than finding love is supporting the loved ones around you when they do.”   The play has received critical acclaim ever since it was first produced in 2015.  The “New York Times” called SIGNIFICANT OTHER, “A tenderly unromantic romantic comedy, as richly funny as it is ultimately heart-stirring.”   The play highlights the adage, “We enter relationships for a season, a reason or forever.  Jordan wants forever from his connections, an unrealistic expectation, which often leads to intrapersonal conflicts.   Dobama’s production, under the clearly focused directing of Colin Anderson, is filled with fine acting, clearly-focused characterizations and well-tuned humor countered by seriousness.   Broadwayworld and Cleveland Critics Circle acting award winning Scott Esposito, is superb as Jordan.  He swings in his manic angst-ridden reactions to his life with clarity and consistency.  This is another award-winning worthy performance!   He is well supported by his friend-girls, Mary-Francis R. Miller (Vanessa), Kat Shy (Kiki), Katherine Nash (Laura) as well as Michael Glavan and Adam Rawlings, who excellent portray multi-male roles.     One of the area’s finest vintage actors, Catherine Albers, portrays Jordan’s Boobie with humor and warmth.     The technical aspects of the show: scenic design by Richard Morris Jr., lighting design by Adam Ditzel, sound design by Jim Swonger, costume design by Suwatana Rockland and props design by Andy Zicari all enhance the staging.   Hurrah to the crew, who do a fine job of moving set pieces at a rapid and accurate pace!    Dobama’s Full Circle program actively engages members from communities represented in the scripts the theater produces.  For this production, the theater’s partner is the LGBT Community Center.   Capsule judgment.  SIGNIFICANT OTHER is a significant contemporary play that gets an outstanding production.  Go experience the fine performance of Scott Esposito, and the rest of the cast, and be exposed to a must-see production!   SIGNIFICANT OTHER runs through May 19, 2024.  For tickets: 216-932-3396 or visit: https://www.dobama.org/significant-other

SOMETHING CLEAN is compelling in its Regional Premiere at Dobama!

 

Northwestern grad, Selina Fillinger, was the first Judith Barlow Prize winner, an annual student award given to work inspired by a historic female playwright.  “In 2019, her play SOMETHING CLEAN received the Laurents/Hatcher Award.”  “Her play POTUS: OR, BEHIND EVERY GREAT DUMBASS ARE SEVEN WOMEN TRYING TO KEEP HIM  ALIVE,  premiered on Broadway at the Shubert Theatre in 2022, making Fillinger, at 28, one of the youngest playwrights to be produced on Broadway.”  She is one of the new bright lights in the world of contemporary playwriting.   In his well-written program notes Dobama’s Artistic Director Nathan Motta states, in regard to female and male rape, that the spotlight is usually placed on the victim or perpetuator.  But, “what are the ripple effects on the families of both the survivor and perpetrator? What warning signs or behavior did those close to the offender miss? While it might be natural to worry about an act of violence happening to someone you love, how often do we consider the thought of someone we’re close to committing such an appalling act?”   At the start of SOMETHING CLEAN, now on stage at Dobama, we find Charlotte (Derdriu Ring) and Doug (Robert Ellis) center stage in a pin-spot light.  They stand emotionless.  Doug reaches tentatively to hold Charlotte’s hand.  She pulls away.     As we find out through a number of quick-enfolding scenes, the respectable lives of Charlotte and Doug have been in free-fall due to the emotional fallout caused by their college-age son’s imprisonment for a sex crime.  It appears, from the reaction of their friends and the community, that this will forever taint them.   To add to the angst, a recent trial and conviction of a black young man resulted in a prison sentence much longer than that assigned to their white son, is causing public outcry.   As the play speeds through scenes of Charlotte and Doug’s strained bedroom routines, Doug’s long absences to be “at work,” her volunteering at an inner-city sexual assault counseling center, where she is reluctant to reveal her name and qualifications other than that she is “really good at tackling stains … any stains,” to her developing into a mother figure for gay employee Joey, to his revealing that he was a survivor of assault by a neighbor beginning when he was 9 years old, to her finally telling Joey who she is, to her attempts to clean the dumpster, near the fraternity house, where her son’s crime occurred, we are taken on a speeding train heading for either a possible safe arrival at the station of resolve or a resounding crash destined to destroy the lives or two people.   Fillinger has etched clear characters, in a focused plot, interspersed with dark ideas and even darker comic dialogue.  She well deserves the awards the script has garnered.   Sindelar’s directing is laser-sharp.  The pace, the character development, the humor and the angst, is clearly developed.   Derdriu Ring, the four-time award winner for best local actress from The Cleveland Critics Circle and BroadwayWorld-Cleveland, gives another superb performance as Charlotte, a woman struggling to make sense of her own grief and culpability.  She doesn’t portray the role, she is Charlotte.  Her pain, is our pain.  Her angst is our angst.  Bravo!   Robert Ellis matches Ring as Doug, a suffering father trying to both confront his role in his son’s fall and his failure to be emotionally present when his wife needs him.    Isaiah Betts makes his Dobama premier in fine fashion as Joey.  He has a nice touch for both drama and comedy, and displays solid acting chops.     It is always difficult to design a set in Dobama’s long narrow stage space.  Naoko Skala has succeeded in fitting three unique settings into the space.  Jeremy Paul’s lighting and Angie Hayes’ sound designs helps the rapid-fire scenes in perspective.     Capsule judgment:  Combine the fine writing by Selina Fillinger, with the focused directing of Shannon Sindelar, add in the excellent technical aspects of the Dobama staff, and three finely-etched realistic portrayals, and the result is a superb evening of must-see theatre.   SOMETHING CLEAN runs through March 30, 2024 at Dobama on Lee road in Cleveland Heights.  For tickets: call 216.932.3396 or go to https://www.dobama.org/

Dobama’s AT THE WAKE OF A DEAD DRAG QUEEN fulfills theater’s mission, but isn’t for everyone!

 Dobama bills itself as the area’s Off-Broadway theatre.  It is “dedicated to premiering important new plays by established and emerging playwrights in professional productions of the highest quality. Through theatrical production, community engagement, and education programming, Dobama nurtures the development of theatre artists and builds new audiences for the arts while provoking an examination of our contemporary world.”

 
The theater’s production, AT THE WAKE OF A DEAD DRAG QUEEN, fulfills the venues mission, especially since Dobama has added “Full Circle Program” to its objectives.  That objective “connects audiences with organizations relevant to each production.” 
 
To fully understand how the offering satisfies the objective, it is necessary to know that AT THE WAKE OF A DEAD DRAG QUEEN follows the complicated lives and the relationship of two drag queens. Courtney Berringers (given name: Anthony Knighton) welcomes guests to her wake. She has recently died from complications due to AIDS. In a series of flash backs we are exposed to Courtney’s life and complex relationship with Vickie (Hunter), her fellow drag queen.

The duos relationship is full of love and heartbreak. 

To fully appreciate the script, it is helpful to know, as Terry Guest, the play’s author explains “when he was 15, his uncle…sat me down and said, ‘I am gay and I have AIDS’ literally in the same conversation. I was in the closet, but was queer but was really conflicted by that. I was barely out of the closet to myself.” 
 
His uncle died about a year after that conversation.   He recounts, “That was tough for me. It shoved me further in the closet and further into religion for a couple years, but I still had this interest in exploring his life and honoring him in some way, but I didn’t know how.” 
 
Guest felt that someday he would want to explore those complex feelings of inner turmoil, confusion and fear, which led him to write AT THE WAKE OF A DEAD DRAG QUEEN. 
 
As part of the Full Circle Program, Dobama has employed well-known Queer local Black drag queen “Onya Nurve as a consultant on the show, to help ensure that the production is rehearsed and performed with cultural competency.  Nurve has been present in rehearsals and is assisting on choreography, make-up, costume, and dramaturgy.” 
 
“Because this play deals heavily with the health disparities facing BIPOC LGBTQ+ people living with HIV, Dobama is partnering with the AIDS Taskforce of Greater Cleveland to provide free HIV testing, resources and information to audiences. There will be pre- and post-show discussions throughout the run with representatives from the AIDS Task Force, area Drag performers, and Dobama Artists involved with the production. Also being planned in collaboration with area organizations is a Drag Story Hour and a Drag Cabaret Show. Visit dobama.org/drag-queen for details about these events as they become available.”
 
The Dobama production is directed by Preston Crowder, an Oberlin grad, who is a playwright-actor-director-songwriter with a passion for telling stories surrounding the vast experiences of being Black and Queer in the United States.
 
The two-person show stars Jason Eno (Courtney/Anthony) and Dan Hendrock (Vickie/Hunter). 

The roles require vulnerability and strength in addition to a keen awareness of the scars that each carry, probing the inner depths of each to truly tap into the emotions that should be every-present.
 
Though they give full effort in the ever-present costume/wig/emotion-changing roles, neither actor totally grabs and holds their character, as a person or as a drag performer.  
 
There is a “stagey” quality to their performances that doesn’t quite allow us to believe they are real people or are emotionally hooked on each other.  Neither their kissing or sex scenes are totally believable. And, in spite of their tutoring by Onya Nurve, neither reaches the RuPaul level of “fabulousness” when performing in drag.
 
Suwatana Rockland’s costumes are grand, as appropriately grand as they should be for a backwoods Georgia drag show.  
 
The creative team for the production includes Scenic Design by Ben Needham, Lighting Design by Ben Gantose, Sound Design by Megan “Deets” Culley, Props Design by Vanessa Cook, Intimacy Direction by Casey Venema & Colin Anderson, Assistant Direction by Ananias J. Dixon, and Technical Direction by Jeremy Paul. 
 
Capsule judgment:  The show, which gets an acceptable performance, isn't for everyone. However, it should make audience members think and expose the average person to people and a way-of-life beyond their norm experience. It’s worth a go-see!

For tickets to AT THE WAKE OF A DEAD DRAG QUEEN, which runs through February 18, 2024, call 216.932.3396 or go to Dobama Theatre
Next up:  March 8-30—SOMETHING CLEAN—The line between love and complicity isn’t clean as is revealed in one woman’s struggle to make sense of her own grief, love, and culpability.

Kleenex required for charming, melodramatic LITTLE WOMEN at Dobama

 

Author Louisa May Alcott created relatable characters in 19th century novels. Her writing style greatly impacted American literature.    Her LITTLE WOMEN is probably her shining glory.  The names of Jo, Meg, Amy and Laurie, who are all based on Alcott’s real family, are permanently etched in the memories of all woman of a certain age, who read the book, fantasized of being one or all of these young women.   As Nathan Motta, the Artistic Director of Dobama says in the play’s program notes, “LITTLE WOMEN“reflects in vivid detail what it means to be family—the joy of togetherness, struggle of conflict, sadness of loss, and unconditional love.”   The tale is set during and after the Civil War and tells the story of the four girls of the March family as they struggle and grow, learning the value of hard work, self-sacrifice, and love, while their father is serving in the war.   A play version of the novel is getting one of its first professional stagings at Dobama Theatre.    The script, adapted by Heather Chrisler, evokes all the right images.  If you are at all sentimental, bring Kleenex to use during the syrupy ending.     “It is through a sense of play that Jo and her sisters find themselves, spending time in the attic making up fairy stories with witches and heroes, or spending an evening reciting the articles written for their beloved imaginary newspaper. It is, however, through the tragedy of losing her sister Beth that Jo finally finds her voice as an artist, and moves into adulthood with the knowledge that while families change and grow apart, the ones we love are always close at heart.”   The script, which came to life in a reading at the PennySeats Theatre, located in Ann Arbor, Michigan.   After further development at several other venues, it got its first professional production at First Folio Theatre in Oak Brook, Illinois.  Yes, small venues.  It has never had a Broadway or Off-Broadway production.   An early review of a reading states, “As the show unfolded, it became clear this was no cursory take. While LITTLE WOMEN remains an endearing testament to sisterhood, and the power of women to sustain and inspire each other, Chrisler's version emerges as a heartwarming portrait of a budding artist [Jo], one determined to express herself.”   The Dobama production, which runs two-hours (including intermission), is creatively directed by Melissa T. Crum.     Laura Tarantowski’s lovely, warm period-correct set, creates the perfect atmosphere, though the constant dragging of furniture and rearranging of flowing drapes, sometimes breaks the mood.  The visuals are enhanced by Josee M. Coyle’s light design and sound designer Angie Hayes music selections.   The women, who have been color-blinded-cast, not only play themselves, but also men who are part of the girl’s lives.  Though they all create emotionally relatable and real people, males as males might help the realism factor.  (Yes, I am aware of the movement to break gender stereotypes, but this is a traditional theme and script, and realism is realism.)   Theo Allyn gives exactly the right humanism to Jo.  The actor has a wonderful sense of comic timing and displays just the right degree of empathy and caring.     Mariah Burks, as Meg, the “I’m supposed to get married and have children and live a normal life” sister, hits all the character-right notes.   Amaya Kikyomi, as the spoiled youngest sister, Amy, grows nicely in her characterization as the girl-to-woman develops.   Natalie Green was born to play Laurie. She nicely displays the vulnerability of the emotionally and physically fragile sister.  Her ending scenes are perfectly etched.    Capsule judgment:  At this time of holiday, yet living in a world of stress and strife, it is nice to be able to go back in time and relive one of the English language’s epic tales.  The Dobama production nicely develops Louisa May Alcott’s sappy, but well-intentioned picture of life in a by-gone era, where melodrama ruled in literature.   LITTLE WOMEN is on-stage at Dobama through December 3, 2023.  For tickets call 216.932.3396 or go to https://www.dobama.org/   Next up:  AT THE WAKE OF A DEAD DRAG QUEEN (January 26-February 18, 2024) --An irreverent play about the fine art of drag.

MAKE BELIEVE @ Dobama--thought-provoking with some lacking staging and writing qualities

 

In his program notes, Dobama Artistic Director Nathan Motta states of MAKE BELIEVE, now on stage at Cleveland’s Off-Broadway theatre, “[it] is one of the best scripts I’ve read in my time at Dobama. After I read the play for the first time, I immediately contacted Ms. Wohl to share how fantastic I thought it was and to express my hope that we’d be able to produce it in the future. That’s the only time I’ve done that in my career. The structure, ideas, dialogue, characters, aesthetic, and storytelling are just phenomenal. It’s a play that feels both familiar and unique. It’s funny, moving, thought-provoking, and personal. For a cast and creative team, it presents numerous challenges, but the richness of the writing makes all the efforts well worth the work.”    Normally, I agree with the very theatre-knowledgeable Motta, but, I must somewhat differ from him with his evaluation of MAKE BELIEVE.   On opening night, I found the first segment of the production excruciatingly slow and word-heavy.     The first 20-or-so minutes found four cute, young people “playing house” for a very long, long, long time.  As the scene went on and on, in spite of some laughter, the audience around me were wiggling in their seats, coughing, and generally lacking involvement.   All I could think of was, how many times are those kids going to pop in-and-out that tent of sheets, do the same verbal routine over and over, continue the ear-splitting dog barking, repeat the dad going off to work tale with mom preparing food and daughter futzing over her doll?  Where is this going and when will it get there?     When I find myself carefully visually examining all the props imbedded in the set, I know the action is not holding my attention.   I kept thinking that these issues could be solved with a good red pencil, capable of crossing at least ten minutes of the beginning scene.   Yes, exposition was needed to lead up to the resolution segment, but . . . well, no need to go further, point made.   On the other hand, the second half, when the “adults” take over, the tension and effect of the play flipped in, the writing was more sparce and to the point.  I paid attention.  I got emersed in the characters and story.     MAKE BELIEVE takes place in the attic of a family’s home where four young siblings (Chris, Kate, Carl and Addie) recreate their lives in games of make-believe. Meanwhile, the world beneath them appears to hold a more ominous reality.   In the second half of this intermission less play, following a funeral.  It is 30 years later. We discover how the children have turned out and the effects of their traumatic childhoods.  Taking refuge from their father’s second family, the children, now adults, they are in hiding in the attic which does not seem to have physically changed one bit.  Kate, a gastroenterologist, is an anxious type, continually taking a drink of wine, and worrying about things that are beyond her control.  Addie, a mother, is a television celebrity, with a low tolerance for stress.  Bitter Carl arrived late as his plane was grounded due to a fog in San Francisco. He has missed the funeral and denied the opportunity to give the eulogy.  Each lives as far from their childhood home, as they could possibly have gotten. Also present is Adult Chris, a non-family member, whose reason for attendance is not immediately clear, but eventually we realize his presence is important in understanding life of one of the family members. (I’ll pause here in the story exposition, and examine the production, as revealing more of the story would be a disservice to those who will see the production.)    The production is directed by Motta.    The young cast members, Arthur Atwell (Chris), a University School 7th grader, Kaitlyn Bartholomew (Kate), who has appeared in 20 different performances, Jonah McMurdy (Carl), an 11-year-old Woodbury Elementary School student, and Claire Zalevsky (Addie), a fifth grader at Laurel School, do as a creditable a job as they can for youngsters who take on roles that require understandings and skills well-beyond their years and experiences.     The adult members of the cast are universally excellent in developing the persona of the people play.      Kudos to Courtney Brown as Adult Kate, Anjanette Hall as Adit Addie. Andrew Pope as Adult Chris and Paul Hurley are Adult Carl.  Harley’s belated eulogy speech was the dramatic highlight of the evening.   As is constantly a problem at the “new” Dobama, with its long skinny stage, people seated extreme right and left often can’t hear the lines.  Oh, for microphones to help carry the sound.   The set, with its many props is impressive.   Capsule judgement: MAKE BELIEVE is play with a compelling premise, especially in this era of multi-dysfunctional families and days and nights of angst.  With some careful cutting, and some extra-time spent working with the younger members of the cast, based on comments of reviews of other productions of this script, this may have been an exceptional experience.  As is, the production makes for a thought-provoking evening with some lacking staging and writing qualities.   MAKE BELIEVE runs October 16-29, 2023.  For tickets go on line to  www.dobama.org or call 216-932-3396.   Roy Berko (Member:  American Theatre Critics Association and Cleveland Critics Circle)   In his program notes, Dobama Artistic Director Nathan Motta states of MAKE BELIEVE, now on stage at Cleveland’s Off-Broadway theatre, “[it] is one of the best scripts I’ve read in my time at Dobama. After I read the play for the first time, I immediately contacted Ms. Wohl to share how fantastic I thought it was and to express my hope that we’d be able to produce it in the future. That’s the only time I’ve done that in my career. The structure, ideas, dialogue, characters, aesthetic, and storytelling are just phenomenal. It’s a play that feels both familiar and unique. It’s funny, moving, thought-provoking, and personal. For a cast and creative team, it presents numerous challenges, but the richness of the writing makes all the efforts well worth the work.”    Normally, I agree with the very theatre-knowledgeable Motta, but, I must somewhat differ from him with his evaluation of MAKE BELIEVE.   On opening night, I found the first segment of the production excruciatingly slow and word-heavy.     The first 20-or-so minutes found four cute, young people “playing house” for a very long, long, long time.  As the scene went on and on, in spite of some laughter, the audience around me were wiggling in their seats, coughing, and generally lacking involvement.   All I could think of was, how many times are those kids going to pop in-and-out that tent of sheets, do the same verbal routine over and over, continue the ear-splitting dog barking, repeat the dad going off to work tale with mom preparing food and daughter futzing over her doll?  Where is this going and when will it get there?     When I find myself carefully visually examining all the props imbedded in the set, I know the action is not holding my attention.   I kept thinking that these issues could be solved with a good red pencil, capable of crossing at least ten minutes of the beginning scene.   Yes, exposition was needed to lead up to the resolution segment, but . . . well, no need to go further, point made.   On the other hand, the second half, when the “adults” take over, the tension and effect of the play flipped in, the writing was more sparce and to the point.  I paid attention.  I got emersed in the characters and story.     MAKE BELIEVE takes place in the attic of a family’s home where four young siblings (Chris, Kate, Carl and Addie) recreate their lives in games of make-believe. Meanwhile, the world beneath them appears to hold a more ominous reality.   In the second half of this intermission less play, following a funeral.  It is 30 years later. We discover how the children have turned out and the effects of their traumatic childhoods.  Taking refuge from their father’s second family, the children, now adults, they are in hiding in the attic which does not seem to have physically changed one bit.  Kate, a gastroenterologist, is an anxious type, continually taking a drink of wine, and worrying about things that are beyond her control.  Addie, a mother, is a television celebrity, with a low tolerance for stress.  Bitter Carl arrived late as his plane was grounded due to a fog in San Francisco. He has missed the funeral and denied the opportunity to give the eulogy.  Each lives as far from their childhood home, as they could possibly have gotten. Also present is Adult Chris, a non-family member, whose reason for attendance is not immediately clear, but eventually we realize his presence is important in understanding life of one of the family members. (I’ll pause here in the story exposition, and examine the production, as revealing more of the story would be a disservice to those who will see the production.)    The production is directed by Motta.    The young cast members, Arthur Atwell (Chris), a University School 7th grader, Kaitlyn Bartholomew (Kate), who has appeared in 20 different performances, Jonah McMurdy (Carl), an 11-year-old Woodbury Elementary School student, and Claire Zalevsky (Addie), a fifth grader at Laurel School, do as a creditable a job as they can for youngsters who take on roles that require understandings and skills well-beyond their years and experiences.     The adult members of the cast are universally excellent in developing the persona of the people play.      Kudos to Courtney Brown as Adult Kate, Anjanette Hall as Adit Addie. Andrew Pope as Adult Chris and Paul Hurley are Adult Carl.  Harley’s belated eulogy speech was the dramatic highlight of the evening.   As is constantly a problem at the “new” Dobama, with its long skinny stage, people seated extreme right and left often can’t hear the lines.  Oh, for microphones to help carry the sound.   The set, with its many props is impressive.   Capsule judgement: MAKE BELIEVE is play with a compelling premise, especially in this era of multi-dysfunctional families and days and nights of angst.  With some careful cutting, and some extra-time spent working with the younger members of the cast, based on comments of reviews of other productions of this script, this may have been an exceptional experience.  As is, the production makes for a thought-provoking evening with some lacking staging and writing qualities.   MAKE BELIEVE runs October 16-29, 2023.  For tickets go on line to  www.dobama.org or call 216-932-3396.

WHAT WE LOOK LIKE @ Dobama

It’s always exciting and challenging to see a “new” play script come alive in a staged production, especially by a creditable performance company.  WHAT WE LOOK LIKE, now being presented at Dobama, CLE’s self-proclaimed off-Broadway company, is a case in point.

Written by B. J. Tindal (they/them) a Black queer playwright, the script had its inaugural production at Oberlin College in February of 2019.

It is a 155 minute-play with intermission (ignore the notation in the printed program, if you get one, which states, “This play will be performed with no intermission.”)

Billed as, “Both hilarious and poignant, WHAT WE LOOK LIKE is the story of the Hodges - a black family that has recently moved to a suburban white neighborhood. When the youngest son is asked to draw a family portrait at school, he creates an imaginary white family and the Hodges are thrown into a spiral.” 

Playwright BJ Tindal says, “It’s about images of family and how race intersects with that and the pressures it puts on family units.”

Tindal had an interesting path to become a playwright.  At Oberlin, he had his hopes set on majoring in creative writing. When he didn’t get into the required intro-level course his first semester, the aspiring playwright enrolled instead in an African American Drama course.

“Even though the department doesn’t have a playwriting concentration, the class influenced his decision to pursue theater and sparked the inspiration for a play that would help Tindal launch his career.  The script was WHAT WE LOOK LIKE, a play he developed his first year at Oberlin.”

The play grapples with ideas of what a family is supposed to look like and how that can be damaging for some and beneficial for others.  Tindal explains. “It’s about images of family and how race intersects with that and the pressures it puts on family units.”

WHAT WE LOOK LIKE premiered in the fall of 2014, Tindal’s junior year. It was presented again in spring 2015 during Commencement/Reunion Weekend.  It now gets what is being called “The Professional World Premier” at Dobama.

The Dobama staging, under the direction of Darius J. Stubbs, does an adequate job of creating as good a production as possible with the often unfocused and overly long script.

The show starts off with great promise with a dual play going on in the same acting space.  The black family is realistically portrayed and the white family is presented in “Father Knows Best” and “The Brady Bunch” stylized sit-com over-exaggerated to perfection. This format quickly disappears and we get a multi-topic tale of parental confusion, over-done teen-age angst and unrequited love, a tip of the toe into lesbianism, a contrast between white and black child rearing, an unrealistic tale of a child shuttled between two families with one set of parents unaware of the action, the revealing of why the black child drew himself as part of a white family and a “last supper” that includes overdone revealing of the entire convoluted plot.

At times the script, which needs much dramaturgy work of red pencil crossing out of extraneous scenes and unnecessary plot twists, is funny, other times it creates situations, such as the over-done black son’s infatuation with the white girl next door, and “stupid dad” segments, and bogs down.

The cast, Aamar-Malik Culbreth, Diwe Augustin-Glave, Rob Grant III, Alexa Fatheringham, Katricemonee Headd, Katie Booze-Mooney and Andrew Gorell all basically develop the character(s) they portray.  Several, however, have difficulty projecting so they can be heard, carrying on “inside-voice” conversations, rather than thrusting his/her voice to the furthest corners of the space.  

Vocal projection is especially important in the poorly configured Dobama long-thin stage where voices don’t carry well to start with and those seated in the extreme stage right and left seats miss much of the dialogue.  (I could just hear the ghost of Donald Bianchi, the theater’s perfectionistic founder, screaming, from the last row, “I can’t hear you,” his epic admonishment to an actor who failed to project.)

Capsule judgement:  Often with plays of new playwrights, over-complicated plots, over-done premises, and the need for extensive cutting waters down the effect of the premise.  This is the case with WHAT WE LOOK LIKE.  The Dobama staging, under the direction of Darius J. Stubbs, does an adequate job of creating as good a production as possible with the often unfocused and overly-long script.

WHAT WE LOOK LIKE runs through May 14, 2023. For tickets:  call 216.932.3396 or go to https://www.dobama.org/