A Little Night Music

Silver, Patterson, Wright and Sondheim—A LITTLE LIGHT MUSIC at FPAC

Some theatre goers have a love-hate relationship with Stephen Sondheim. His music is often beautiful, but complicated to play and sing. His lyrics often have hidden meanings. His plots usually are not the escapist surface level tales from which musical comedy is made. With few exceptions, his style is sophisticated and most appealing to theatre-wise audiences. A LITTLE NIGHT MUSIC, a production of which is now on stage at Fairmount Performing Arts Conservatory (FPAC) is no exception, but in the hands of director Fred Sternfeld, it gets an audience-friendly approach.

Inspired by an Ingmar Bergman film, Smiles of a Summer Night, LITTLE NIGHT MUSIC opened on Broadway in 1973, and ran for 601 performances. It was directed by Harold Prince and had a cast which included Glynis Johns and Hermione Gingold. The script has experienced several revivals and was made into a film staring Elizabeth Taylor.

The beautiful score includes Night Waltz, Now/Later/Soon, Remember, A Weekend in the Country, The Sun Won’t Set and It Would Have Been Wonderful.

A LITTLE NIGHT MUSIC is set in 1900 Sweden. It is a romp focusing on the sexual dalliances of some obviously badly matched couples. The result is a series of love triangles. It is these triangles that gave Sondheim the idea of writing the entire score in ¾ time, thus creating a series of waltz movements that carry over not only in the sound of the music but in the dialogue and lyrics.

The poorly matched couples include an 18-year-old self-absorbed virgin (Anne) who is married to a 50-something lawyer (Frederick), who is still in love with an actress (Desiree) with whom he unknowingly has a daughter (Fredericka). Complicating matters is that his uptight teenage son (Henrik) is in love with Fredrik’s wife. Then there is the affair between Desiree and Count Magnus-Malcolm, who has a wife (Charlotte), who decides to make her husband jealous by pursing Frederick. A maid, who is Henrik’s lover, and a butler are also having a romp in the hay. Sound complicated? Actually, on stage it isn’t. First, the characters are clearly identified, the alliances easy to follow, and the Liebesslider Singers act as our Greek chorus to guide us through the experience and help bring order to mismatched lovers while helping them find the right mate.

The FPAC production, under the direction of Fred Sternfeld, has charm and humor. The cast mainly has fine voices and the character development is generally clear. Even the technical elements are finely tuned.

Doing Sondheim is not an easy task. As a performer said, “Just to understand Sondheim has been a good challenge, just figuring out what it means. There’s a lot of hidden depth in his work. There’s a little laughter, a little tears, a whole gamut of emotions.” Sternfeld and his cast get the meaning and open up the audience to those ideas.

The lead performers are sound, performance and picture perfect. Dorothy Silver, the grand dame of Cleveland theatre, is endearing as Madame Armfeldt, Desiree’s mother, and the spinner of wondrous tales. Silver sing-talks her songs with fidelity and attention to creating meanings from the words with a musical undertow.

It’s worth going to the see the production if for no other reason than to hear Tracee Patterson’s rendition of Bring in the Clowns. Patterson gives just the right serious yet playful interpretation to Desiree.

Matthew Wright is well cast as Frederick, the lawyer going through middle age crisis. He is properly conflicted as a man in a sunrise-sunset relationship who is still in love with a woman from his past. Wright has a fine singing voice.

William Clarence Marshall, Claire Connelly, Bernadette Hisey, Justin Williamson and Lydia Hall, the Liebeslieder (love song) Singers, not only have well-trained voices but carry their acting roles with ease.

Natalie Green is delightful as Petra, a free-spirited young lady who dreams of love in the well sung, The Miller’s Son. Katherine DeBoer is excellent as Charlotte Malcolm.

Though some of the supporting performers have difficulty in creating realistic characters, the strength of the leads and the quality of the singing make those weaknesses fade.

The play’s title is an English translation of the German name for Mozart's Serenade No. 13 for strings in G major, Eine kleine Nachtmusik. Scenic designer Trad Burns has taken this theme and created the set by constructing walls covered with musical notes of Mozart’s score. It is a perfect backdrop for the goings on. Craig Tucker’s costume designs and execution are era right and beautiful in detail. Benjamin Gantoe’s warm lighting helps create the perfect love moods.

David Williams’ orchestra plays well, especially considering that shortly before opening night curtain, the violin player broke her wrist and had to be replaced. Yes, the old adage, the show must go on, was in force.

CAPSULE JUDGEMENT: The FAPC production, under the creative direction of Fred Sternfeld, makes for a wonderful theatrical experience. Go see!

big, THE MUSICAL

big, THE MUSICAL a good experience for the starry eyed at FPAC

As could be expected, the curtain call for big, THE MUSICAL, at the Fairmount Performing Arts Conservatory, was met by a standing ovation. Why not? The opening night audience was filled with parents, grandparents and friends of the youthful cast. A cast who is devoting their summer to perfecting their performance skills in possible hopes of becoming the next great theatrical star.

Was it “better than Broadway” as some of the attendees gushed? Of course, not. These are pre-tweens, tweens and teens with limited experience and untapped talent. Was there a future star on stage? Possibly. Professionals have to start somewhere, and places like Fred Sternfeld’s FPAC gives them the opportunity to get training from experienced actors, directors, musical directors and choreographers.

Do some of these kids shine and display that they are above the rest? Yes. Dani Apple, a past PFACer is a case in point. I first saw a very young Dani on stage at Kalliope Music Theatre in Cleveland Heights. It was obvious she had “it,” whatever that means. She has lots of local credits, did a spot in the Macy’s Thanksgiving Parade, and she just finished another season at Stage Door Manor, one of the best national summer theatre programs. She so impressed that she was extensively written about in Theater Geek: The Real Life Drama of a Summer at Stagedoor Manor, a novel about the camp. Stage Door has produced the likes of Natalie Portman, Zach Braff, John Cryer and Lea Michell. Is Dani the next to get her name up on the footlights? Who knows.

As the former Artistic Director of Berkshire Center for the Arts and Theater International (Leysin, Switzerland), I’ve watched former campers go on to great things. Cheryl Arutt, a Berkshire find, was dubbed "queen of the After School Specials,” did hundreds of commercials, numerous television shows, and went on to win the Youth in Film Award for her performance in the film Bobby and Sarah.

I’ve also seen others decide that the Great White Way is not for them. My son, a very talented performer, who started in theatre at age 4, and was cast and cast again, decided that he’d rather be a psychologist. How does he use his theatrical talents? He sings the national anthem at the Indians’ games and does musical gigs.

I saw Crissy Wilzak in a high school production of MY FAIR LADY. She was a rose in a field of weeds. Working with her for two years and then watching her go off to Kent State for further training, it was no surprise to follow her career that included being in the original casts of CHORUS LINE, 1940’s RADIO HOUR and SEESAW, as well as television’s MORK AND MINDY.

Rex Nockingust tried out for a production of CAROUSEL I was directing. After hearing half a song and ten lines of dialogue, I sent all the other competitors for Enoch Snow, Jr. home…I had witnessed a potential superstar. He went on to play numerous parts locally and nationally, including the coveted off-Broadway role of Matt in THE FANTASTICKS.

Yes, there are those special people who, with good training and a lot of luck, reach their star goals. Was there anyone in FPAC’s big, THE MUSICAL who might reach the pinnacle? Maybe. Recent high school grad, Sean Grandillo, has, to my eyes and ears, probably the best shot. Not to say there was no one else on stage who wasn’t very good (okay grandmas and dads of others in the cast, put down the poison pens), but Sean seems to be the whole package…acting, singing, dancing, stage presence, and the immeasurable “it” factor. This is surprising as he only “found” theatre last year.

How far will Sean go? Well, he’s on the right track, having picked a solid college musical theatre program for this fall, has his presence on a YouTube site, and has the FPAC experience. Next steps…more training, tryouts, getting an agent, and stumbling on the one person who can open the doors for his future. And, believe it or not, the latter is probably the most important. For Crissy Wilzak it was going on a student trip to NY while a student at Lorain County Community College, sitting in the front row of HAIR, meeting a cast member, getting introduced to a Broadway director, and eventually getting a chance to be in his off-Broadway production of CHORUS LINE. The rest, so they say, is history.

CAPSULE JUDGEMENT: big, THE MUSICAL, is a pleasant summer musical experience, well fitting the educational purpose of the FPCA. It’s a nice way to see local talent in its budding stage, support their efforts, and for you, at the end of the show, to give the cast and crew the thrill of an ovation and encourage their dreams--realistic or not.

Company

COMPANY is go see theatre at FPAC

As Stephen Sondheim, who wrote the music and lyrics for Company, which is now on stage at Fairmount Performing Arts Conservatory, stated of the musical’s story, “A man with no emotional commitments reassesses his life on his thirty-fifth birthday by reviewing his relationships with his married acquaintances and his girlfriends. That is the entire plot.”

COMPANY is unlike most modern musicals, which follow a clearly delineated plot. It is actually a concept musical composed of short vignettes, presented in no particular chronological order, linked by a birthday party.

COMPANY was among the first musicals to deal with adult problems through its music. For example, Bobbie confronts the five couples. He asks, “Why get married?” “What do you get from it but someone to smother you and make you feel things you don't want to feel?” In spite of his arguments, which seem more for himself than for his listeners, he comes to the conclusion, in the emotional curtain-closing song, that he, in fact, needs someone to share his life with, someone to help and hurt and hinder and love, someone to face the challenges of Being Alive.

The show opened on Broadway on April 26, 1970 and ran for 705 performances in spite of mixed reviews. Numerous revivals have been undertaken, often tweaking the script, the staging and the score. The latest was a recent New York Philharmonic Concert whose all-star cast included Neil Patrick Harris as Bobby and Craig Bierko, Stephen Colbert, Jon Cryer and Patti LuPone.

The Fairmount production, under the adept direction of Fred Sternfeld, is excellent. Simple staging, creative choreography by Bebe Weinberg-Katz, Trad Burns turntable set, and Benjamin Gantose’s lighting design, all add to the quality of production. Musical director Jonathan Swoboda’s orchestra plays well and underscores rather than drowning out the performers. The choral blends are very good.

The cast is universally strong. Standouts include Ursula Cataan (Amy) whose fast-paced doubletalk Getting Married Today is a showstopper. Natalie Green’s (Marta) plaintiff Another Hundred People is another highlight. Tracee Patterson (Joanne) gave just the right drunk, tourchy, vibrance to her characterization and the plaintive The Ladies Who Lunch.

Connor O’Brien (Robert) has a well-trained operatic voice which he uses well in the thoughtful Someone Is Waiting, the delightful Side by Side and the powerful Being Alive. His acting is not of the same level as his vocalizations, as he often feigns facial expressions and emotions. He acts, rather than reacts, thus sometimes giving a superficial feel to the role.

CAPSULE JUDGEMENT: COMPANY is a go-see production! The quality of staging and performances gives good service to this Sondheim adult musical.

Preview: Inlet Dance,, David Sedaris, Fairmount Center

PREVIEWS: INLET DANCE, DAVID SEDARIS, FAIRMOUNT CENTER

INLET DANCE

Inlet Dance Theatre and The Nehemiah Mission of Cleveland have partnered to offer Stone by Stone, a fundraiser at the Breen Center for the Performing Arts, on the campus of St. Ignatius High School on November 12 and 13, 2010 at 8:00 p.m.

The feature piece will be Stone by Stone by Bill Wade which is inspired by the Biblical story of Nehemiah rebuilding Jerusalem. Other Inlet pieces in the concert include Ascension, In, Not Of, ImPaired, and The Door.

Reserved seating tickets are $30, with limited $60 VIP tickets that include a post-show reception with the Inlet dancers on Friday. Tickets are available by calling 216-961-6968 or online at www.nehemiahmission.org.


DAVID SEDARIS

David Sedaris, who will be speaking on Tuesday, October 12th at 8:00pm in the State Theatre at PlayhouseSquare, is the rock star of speakers. His sold-out engagements, highlight his funny and philosophical tales which he has published in plays, such SantaLand Diaries. His books, which display his sardonic wit and incisive social critique, including Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, and When You Are Engulfed in Flames, each of which became a bestseller.

Tickets, which are priced from $10.00 to $40.00, can be purchased at the PlayhouseSquare Ticket Office, playhousesquare.org or by calling 216-241-6000.

FAIRMOUNT CENTER


The encore production of 13, a new musical, features the return of the entire original Ohio premier cast. 13 follows the lives of thirteen 13 year olds as they navigate their way through friendships, love, popularity, honesty, and growing-up.

My review of last year's production was: “13 is a slight script, which will have strong appeal to tweens and teens. It is being performed by teenagers, not theatre professionals, and it does itself proud on its own level. Adults should will themselves back to the age of teen angst. Teens should revel in life as they know it. And they should go and enjoy a group of kids who are having a wonderful time, making their personal dreams of being “stars” come true.”

The show runs through October 10, 2010 at Mayfield Village Civic Center, 6622 Wilson Mills Road, Mayfield Village which is at the corner of Wilson Mills and SOM Center Roads.

EAT (IT'S NOT ABOUT FOOD)

After seeing last years' production of Eat, It's Not About Food, I wrote: “If you are a teenager, the parent of a teenager, or an educator of teens, 'EAT IT'S NOT ABUT FOOD' is required viewing. Shut off the tv, stop the texting, and go. If you are teen, it could save your life or, if you are a parent, it could save the life of your child.” Now the theatre is making the show available for schools, colleges, universities, community groups and organizations throughout the region from November of 2010 to May of 2011.

The show puts the spotlight on the world of eating disorders, society's obsession with food, weight and body image, as presented through the eyes of teens and adults struggling with this epidemic,

For tickets to 13, or information about booking EAT (IT'S NOT ABOUT FOOD),
go to http://fairmountcenter.tix.com/ or call 440-338-3171.

Eat It's Not About Food

Must see production for teens, their parents and teachers at FPAC

Teens, their parents and teachers should go to Fairmount Performing Arts Conservatory to understand the potentially horrendous effects of Anorexia Nervosa, Bulimia Nervosa and Binge Eating. ‘EAT IT’S NOT ABOUT FOOD’ is a production that should tour the junior and senior high circuit and be force-fed to audiences, both males and females. I say this as a crisis and school counselor who has dealt with those who are the victims of these eating disorders.

‘EAT’ was written by Linda Daugherty, playwright in residence at Dallas Children's Theatre.

As the author states, “‘EAT IT’S NOT ABOUT FOOD’ examines the dangerous and baffling world of eating disorders in girls and boys. Using interwoven vignettes, ranging from realistic to satirical to humorous, EAT candidly explores causes and warning signs, takes a hard look at the influences of society and the media, and tells individual stories of young people struggling with this epidemic and too often tragic problem.”

Published comments about the script state, “EAT inspires as much laughter as it does tears. ... The emotional impact is raw and unapologetic ... awe-inspiring ... It is a difficult hour to spend in the theater. But it is also one of the most revelatory plays I’ve seen. It makes the inevitable pain one will feel well worth it, especially if it means a deeper understanding.”

In an attempt to alert the general public to the problems of eating disorders, the Cleveland Center for Eating Disorders (CCED) is the lead sponsor of the theatrical production. Dr. Mark Warren, CCED’s co-founder and medical director states, "We value the opportunity to support this influential performance that addresses the issues surrounding eating disorders We aim to create an open dialogue and help give a voice to those suffering in silence."

CCED, in conjunction with University Hospitals' (UH) Geauga Medical Center and local physicians, will lead 30-minute open discussions immediately following each performance to interact with the audience on the topics presented.

Director Fred Sternfeld and his large cast of adults and teens do a very credible job of developing the play’s ideas. The staging is creative and meaningful. Especially strong performances are given by Amy Pawlukiewicz, Dylan White, Meghan Grover and Alexis Floyd.

CAPSULE JUDGMENT: If you are a teenager, the parent of a teenager, or an educator of teens, ‘EAT IT’S NOT ABUT FOOD’ is required viewing. Shut off the tv, stop the texting, and go---if you are teen, it could save your life or, if you are a parent, it could save the life of your child.

13

Teen angst musical gets Ohio premiere at Fairmount Conservatory

Jason Robert Brown, Dan Elish and Rob Horn’s ’13,’ a musical centering on teenage angst, is getting it’s Ohio premiere at the Fairmount Performing Arts Conservatory (FPAC).

‘13’ finds Evan Goldman, a happy Jewish kid from New York City, closing in on his bar mitzvah. His big dream is to have a great party with all his friends. Evan’s parents suddenly announce that they are getting divorced and Evan and his mother are going to move to Indiana. Specifically, Appleton, Indiana. How is that kid, with no friends, going to have a bar mitzvah blast? Is that a place to hold what Even refers to as, “the event that defines you, the Jewish super bowl!”

But, as is the case with this type of story, all is not lost. Evan meets his new neighbor, Patrice, a quirky girl who is as much of an outcast in this Midwestern burg as Evan. They jointly sing, “The Lamest Place in the World.” The rest of the predictable story concerns Evan trying to be popular and get lots of kids to come to his party. In the process he goes head to head with Brett, the football hero at Dan Quayle Junior High (I did not make this up!), and Brett’s attempt to “do the tongue” with Kendra, the head cheerleader. Throw in a quirky crippled kid, a dozen or so hormone and gossip producing tweens and teens, and you’ve got the story. A story which would make a great afternoon TV special, and, of course, has a happy ending!

Okay, this is not a great script. Not a story that adults, except in remembering their own teen years, will get involved in. But that’s okay. It’s not aimed at adults. It’s specifically aimed at a generation of kids addicted to gadgets, who have short attention spans, and are in the midst of those “junior high years.” The years of feeling like a freak, wanting to fit in. The age of gossip, mortifying nicknames, and peer pressure. The unrelenting peer pressure to be someone smarter, prettier, hipper, and better than who you are. The years of the hierarchy of your status determined by at which lunch table you were allowed to sit. (“Oh, please don’t make me sit with the Geeks!”)

The FPAC show, under the direction of Sean Szaller, has many high and low points. The cast is enthusiastic, and in the main quite talented. The blocking is often awkward. The choreography, which has some cute gimmicks built in, tends to be more dynamic than disciplined. The music is well played. The sound system squealed with regularity which was very distracting. The character development is not always clear. Too bad Szaller didn’t work more on teaching the cast to portray reality. These are teenagers playing teenagers, rather than actors acting how teenagers are supposed to be.

The cast highlights included Dani Apple as Patrice, the outcast girl. Apple, who has a long record of local and national successes, continues to mature as a singer and actress. Her very strong musical abilities, at least at this point in her career, are ahead of her acting skills. She, along with Alexis Floyd, are the most mature performers on stage. Floyd rocks, rolls, wails, and dances up a storm in the dynamic after-curtain call. This is the highlight of the show.

Miles Sternfeld has a nice presence as Evan. He has a pleasant singing voice and develops a clear character. Aric Floyd and Daniel Sovich, as the shrimp-sized sidekicks of the football hero, are totally delightful. The duo sing and dance with spirit and are fun to watch.

Jordan Brown nails the characterization of Archie, the “cripple,” who plays his illness for all it’s worth. “Terminal Illness,” his duet with Evan, is a joy.

Other strong songs and production numbers are: “Hey Kendra,” “Get Me What I Need,” “What It Means to be a Friend,” and “Tell Her.”

“Being a Geek,” performed by Evan and the “Rabbis,” was mocking and offensive. As a tween sitting next to me whispered to her friend, “Why are they making fun of rabbis and Jewish people?”

Be aware that this is not the “junior” version of the show. The presentation includes language and sexual innuendos which some parents will find objectionable.

The opening night audience, consisting of relatives and friends of the cast and crew, loved all the goings on and gave the performance a screaming standing ovation. It was a bit much, an example of bias goes wild, but, in reality, their reactions were justified. They came, they saw, they enjoyed.

CAPSULE JUDGEMENT: ‘13’ is a slight script, which will have strong appeal to tweens and teens. It is being performed by teenagers, not theatre professionals, and it does itself proud on its own level. Adults should will themselves back to the age of teen angst. Teens should revel in life as they know it. And they should go and enjoy a group of kids who are having a wonderful time, making their personal dreams of being “stars” come true.

The Odd Couple

‘THE ODD COUPLE’ pleasant at Fairmount Center, but…

In these tight financial times, when arts agencies are cutting expenses, or even going out of business, its surprising that there is a new theatre in town. Enter FPAC. The Professional Theatre Company of the Fairmount Performing Arts Conservatory is located in the refurbished former Methodist Church on the corner of SOM Center and Highland Roads in Mayfield Village. Other segments of the organization are the Summer Program and the year-round Youth and Teen Theatre.

Operating under the motto, “all ages for all stages,” the organization’s Executive Director is Tom Fulton, while Fred Sternfeld serves as Artistic Director of FPAC.

The theatre chose to perform Neil Simon’s ‘THE ODD COUPLE’ as its inaugural professional production.

Simon, often referred to as “Doc” for his ability to come into troubled professional shows which are having script troubles and doctor the writing, has also been dubbed the “Crown Prince of Broadway Comedy.” Simon, for many years, was the most reliable hit maker in Broadway history, as well as one of the most performed playwrights in the world. The author of over 20 plays, several musicals and 30 movies, he has received such accolades as Tony, Golden Globe, ands Drama Desk awards, as well as a Pulitzer Prize. He hasn’t opened a new show since 2003.

Many think that ‘THE ODD COUPLE’ made Simon a cultural phenomenon. After its long run on Broadway, the play was turned into a successful film, a popular television series, a female edition, an animated series, and later another TV series, “THE NEW ODD COUPLE.’
The story line centers on Felix Unger and Oscar Madison. Felix, who has just separated from his wife, arrives at the apartment of his divorced friend, Oscar, who takes him in. Within a short time, the neat-freak, hypochondriac, obsessive compulsive Felix has driven the slovenly Oscar to distraction. But after a seemingly disastrous double date with a pair of neighboring sisters, Felix announces he will move in with the girls. His stay, however, has not been without its effect, for, when Oscar resumes his poker game, he warns his fellow players not to flick ashes on the floor.

The play is directed by Fred Sternfeld, the master of staging large scale musicals. Unfortunately, he seems more timid with comedies. This production is slowly paced, and misses many of the laugh line cues. The results is an acceptable, but not outstanding production.

The show’s highlight is Brian Zoldessy, a multiple Times Theatre Tribute Award Winner, as the hyper-hysterical Felix. As he has done so many times in the past, Zoldessy controls the stage whenever he appears. He is a skinny, fidgety, ball of hysteria. It is worth seeing the show, just to experience Zoldessy in action.

On the other hand, Scoot Hankins lacks the rough edge, the “go for the throat” instinct to go to the extremes that the role of Oscar demands to create the yin and yang of Oscar and Felix.

Carla Petroski and Amy Pawlukiewicz are delightful as the English Pigeon sisters. The rest of the cast, Noah Budin, Bobby Thomas, Kirk Brown and Bob Abelman all develop their characters acceptably.

Why FPAC chose ‘THE ODD COUPLE’ as its opener is a major question. Is doing a play that has been performed by almost every community theatre the image the producers want to convey? Are they going to do old, worn out, dated scripts and expect to attract audiences? Let’s hope that their play choices improve.

CAPSULE JUDGEMENT: Though Brian Zoldessy shines in FPAC’s ‘THE ODD COUPLE,’ the over-all effect is an adequate production that would have been helped by more dynamic pacing, better keying of the laugh lines and a stronger co-male lead.