Beautifully crafted “Pride and Prejudice” at Great Lakes Theater

Great Lakes Theater has found a perfect combination of scripts to start its 57th season.  The fun, escapist juke box musical, “Mamma Mia!,” had the audience excitedly on its feet for the extended curtain call.  “Pride and Prejudice,” the epic     story of class-stratification and misunderstanding feelings in 19 th century England, also had the audience on its feet at the end.  This time, instead of dancing and singing, it was applause for a well-directed and performed staging. 

Jane Austin, the author of the romantic novel, “Pride and Prejudice,” is noted for her abilities to write narration, create lush locations, present ideas in the form of letters exchanged by the story’s characters, and write long complex sentences.  These all work fine in a novel, but cause major problems for anyone attempting to transform her works into plays. 

Confronted with the task of adapting one of Austin’s most famous books, Joseph Hanreddy, who also serves as director of Great Lakes Theater’s production, built on the volume’s dynamic dialogue and simplified the need for many settings and costume changes by using a minimalistic approach.  He did so masterfully.  The play flows, the tale unfolds, the use of sliding panels and period furniture placed on stage through ingenious choreography, the simple addition of hats and shawls make the costume changes effortlessly simple. 

The story centers on Elizabeth Bennet, the attractive, intelligent, out-spoken second daughter of Mr. Bennet of the Langbourn estate. 

Bennet, the father of five daughters, finds himself in the position of being a member of the “upper” class, but almost impoverished because his property is “entailed,” meaning none of the girls can inherit it. 

Five daughters with no dowries makes them undesirable pawns on the marriage market.   Having a near hysterical wife, doesn’t make matters easier.  Oh, what to do? 

The 1813 tale, as is the case with many of the author’s works, looks at “the importance of environment and upbringing in developing young people’s character and morality.”   It exposes not only the folly of the British class system, the error of making hasty judgments, the difference between superficial and essential, and the “lies in the depiction of manners, education, marriage and money in the British Regency period.”  

Elizabeth is twenty, witty and opinionated and full of unbending pride.  She meets and verbally spars with the Mr. Fitzwilliam Darcy, a wealthy, seemingly distant, moody and prideful man.  The two must confront their prejudices in order for their spiral into love for each other. 

Surrounding Elizabeth and Mr. Darcy’s love story are others who fumble, through a series of almost Oscar Wilde-like overblown humorous, ridiculous situations related to love, family squabbles, and parental and societal stumbles.

Hanreddy’s fine directing keeps the play moving along at a nice clip, stressing the story while incorporating a light and laugh-filled attitude.  What many could perceive as a dry meander through an “old time” trite tale becomes a fun-filled romp.

The cast is totally immersed in developing the balance between the almost melodramatic drama and high comedy.

It’s so nice to have Andrew May back in town doing what he does best—using his mobile face and wide range of acting skills to get laughs by overplaying roles with the right amount of farce.  He steals the show as the put-upon Mr. Bennet.

Carol Healey comes close to matching May as his angst-ridden “daughters must get married at any cost” wife, who is always one step away from hysteria.

In the lead roles, Laura Welsh Berg (Mary Bennet), and Nick Steen, (Mr. Darcy), are character perfect.  

Berg gives the role just the right amounts of disdain and sweetness, displaying the needed pride and prejudice.   Steen has the correct levels of aloofness, but allows for his kindness to peek through.  They both create characters who, by the end of the play, make the viewer happy for their bliss. 

Other standouts are Jillian Kates (Elizabeth Bennet), Courtney Hausman (Mary Bennet), Daniel Millhouse (Mr. Bingley), Eric Damon Smith (Mr. Collins) and Lynn Allison, as the over-blown, pompous Lady Catherine de Bourgh. 

CAPSULE JUDGEMENT:  The adaptation of novel-to-play is finely done. The directing is inspired.  The acting is finely tuned. The technical aspects are outstanding.  This is a must-see production which shines a spotlight on Great Lakes Theater at its finest. 

Tickets for “Mamma Mia!” and “Pride and Prejudice,” which run in tandem through November 4, 2018 can be ordered by calling 216-241-6000 or going to http://www.greatlakestheater.org/

A female “Hamlet” brings a twist to the play at Great Lakes Theater, well, almost . . .

Prince Hamlet is depressed, disillusional, and maniacal. 

Having been summoned home to Denmark from school in Germany to attend his father's funeral, he is shocked to find his mother Gertrude already remarried to his Uncle Claudius, the dead king's brother, who has declared himself the king, though young Hamlet is the actual heir to the crown. Hamlet, rightly, suspects foul play.

Shakespeare’s “Hamlet” is considered by many Bard experts to be his greatest tragedy script.  For years, the melancholy tale of death, betrayal, family dysfunction, and revenge has been a staple on the programs of major theatres and analyzed in many a school classroom.

“Hamlet” is filled with intrigue, betrayal, deception and revenge. 

On a dark winter night, a ghost walks the ramparts of Elsinore Castle in Denmark.  The apparition resembles the recently deceased King.  When Hamlet’s friend, Horatio sees the illusion, he brings the Prince of Denmark to see the ghost, who speaks to him, declaring that it is indeed his father’s spirit, and he was murdered by his brother, Claudius.  The ghost disappears with the dawn, leaving Hamlet with no option but revenge.

We observe as Hamlet schemes, acts irrationally, considers suicide ("To be, or not to be: that is the question"), and comes to the realization that death wouldn't be the escape he craves.

In this, and many other scenes, Hamlet displays his personal tragic flaw, a requirement that Shakespeare incorporated, based on Greek theatrical tradition, as a trait element of tragic heroes.  The Prince is unable to make decisions, and when he decides, the outcome has tragic consequences.  In the play, eight of the nine primary characters, including Hamlet, Ophelia, her father, her brother, his mother and uncle all die, because of Hamlet’s actions.

The play is filled with many themes, each identified by a quote. 

Political intrigue:   The king has been killed, there is a new king on the throne, one of questionable right to the seat, the deceased king's son acting erratically, something's clearly off. (“Something is rotten in the state of Denmark.”)

Awareness of the process of life:  As Hamlet stands at the newly dug grave which will soon house Ophelia, he looks at a skull, which the gravedigger has identified, says, “Oh Yorick I knew him well.”  Yes, it is the remains of Yorick, the court jester who was the young man’s companion and tutor.  Hamlet realizes that death eliminates the differences between people as we all ultimately crumble into dust.

Women and their roles:  "Frailty, thy name is woman!" and “The lady doth protest too much, methinks” highlight Hamlet’s perception that women, like his mother, are weak, as she is not even strong enough to mourn but escapes her angst by insincerely moving on.  She is also manipulated by a man, unable to act on her own.

Irony is a part of life that becomes a message when Polonius gives advice to his son, Laertes, that "This above all: to thine own self be true." Yet he does not follow his sage words and both he and Laertes die because they are not true to themselves. 

The script goes on with more and more Shakespearean ideas such as, “What a piece of work is man! How noble in wisdom! How infinite in faculty!” and “Brevity is the soul of wit.”

Charles Fee, the director of Hamlet at Great Lakes Theater, in his program notes explains some of the artistic decisions of this production.  He states, “In choosing to double cast the role of Hamlet with a woman and a man playing alternate performances, we are exploring the possibility that Hamlet’s nature and his responses to the dramatic action may reveal more depth and elicit more compassion than we would experience through a single actor’s interpretation.”

As for a female playing the lead role, this is not that unusual.  In 1775, Sarah Sidons portrayed the Prince of Denmark in British stagings, while in 1820 Sarah Bartley did an American production in the role. 

Probably the best known of female Hamlets was Sarah Bernhard, who, at the turn of the century, was much praised for her performances.  On the other hand, Dame Judith Anderson’s 1970 Carnegie Hall performances, at age 73, were “deemed weak and ill-conceived by critics.”

Joseph Papp, who established the Public Theater, explained, regarding a woman portraying the role, “''I have always felt that there is a strong female side to Hamlet --not feminine so much as female. To me that has to do with an easier capacity to express emotion. The person playing Hamlet should be able to weep unabashedly and unashamedly. There are men who can do that, but they should be young; Hamlet is a very young person, an adolescent, a student.” 

Papp went on to warn, ''I think most people would not approve of having a woman in the role.  I think most audiences are conservative about a change of sex of any kind, and they consider 'Hamlet' sacrosanct.''
 
Papp may well have been right.  In an intermission conversation with people at the GLT preview performance I was told by several Shakespeare traditionalists, “Why don’t these people leave Shakespeare as it was written.” And, “Why can’t they leave things alone and not tinker with greatness.”

I found Laura Welsh Berg’s portrayal of Hamlet appealing and providing a different emotional dimension to the role.  There was an introspection that I hadn’t heard in the many, many performances I had seen before, with males performing the role.

Frustration emerged however, since the actors referred to “her” as “he,” “him,” and “sir,” when I was aware that Berg was a female and was using “feminine” gesture patterns and vocal tonations.  (As per the research on masculine-feminine studies by Sandra Bem and Deborah Tannen.) 

Also, the relationship to Ophelia was confusing with the masculine gender terms.  If played as a woman-to-a-woman, truly a new, a modern dimension, would have been introduced.  If the intent was to stretch the interpretation, why not go all the way?  (The same could be done by adding a male-male component to the male Hamlet version.)

A third issue might be the assumption that members of the audience are going to see the performances of both Berg and the other Hamlet, Jonathan Dyrud.  If not, there is going to be no way to gain the appreciation which Fee explained might happen in the duo casting.

Fee’s program notes also state, “Our scenic design will allow part of the audience to sit onstage, surrounding the actors, as well as on either side of the platform downstage.”  He explains, “For those sitting onstage the experience my feel like being in the play rather than passively watching the play.”

Having some of the audience on stage was a departure.  In Shakespeare’s Globe Theatre, the groundlings stood around the stage in close proximity to the actors.  Several persons who were seated in the added seats which hugged the stage apron on two sides, expressed their pleasure in seeing and “feeling” the action up close.  

On the other hand, a local reviewer who was seated on stage, moved into orchestra seats for the second act, as he said he couldn’t hear many of the lines in the first act, as they were projected into the auditorium, with the actor’s backs to those ensconced on stage.  He also indicated that he could not see a great deal of action because of the wooden framing which blocked much of the stage and all of the action portrayed in the alcove at the rear of the center stage.

Fee nicely added some humor to the performance, which relieved a degree of the tension without eliminating the angst.  The pacing was sprightly, making the long production seem short, with a high degree of audience attention.

The cast was excellent.  Berg earned her standing audience curtain call.  Erin Partin was superlative as Ophelia.  Her “insane” scene was spell-binding.  Laura Perrotta was properly conflicted as Gertrude, Hamlet’s mother. David Anthony Smith nicely developed the king of Denmark, Hamlet’s uncle, who killed the youth’s father, into a disliked not overly-done melodramatic maniac.  This added a nice realistic dimension to the role.  Strong performances were also presented by Dougfred Miller (Polonius), Nic Steen (Laertes), and Christopher Tocco (Horatio).

Kim Krumm Sorenson’s opulent costume designs, Rick Martin’s lighting and Ken Merckx’s fight choreography added much to the performance.  High praise to Lynn Robert Berg and Dougfred Miller whose coaching made the speeches easy to understand.

Capsule judgement:  The preview performance of “Hamlet” grabbed and held the audience’s attention.  Laura Welsh Berg was convincing and gave a “different” dimension to the role of the Prince of Denmark.  Though Shakespeare traditionalists may scream “something is rotten in the state of Denmark” (GLT), others who see the “female” version of the play should leave saying, “Good-night, sweet prince; And flights of angels sing thee to thy rest.”  
 
“Hamlet” runs through April 15 at the Hanna Theatre.  To ascertain when the male or female Hamlet is performing and to get tickets call 216-664-6064 or link to www.greatlakestheater.org

“Wouldn’t it be loverly” if all theatre was as enchanting as GLT’s MY FAIR LADY

MY FAIR LADY, Alan Jay Lerner and Frederick Loewe’s award winning and universally praised musical, based on George Bernard Shaw’s play, PYGMALION, centers on Eliza Doolittle, an uneducated Cockney flower girl who, in an attempt to “become a proper lady,” takes lessons from professor Henry Higgins, a self-centered egotist.

MY FAIR LADY has been called “the perfect musical.”  Perfect in form, musical style, and audience appeal.  It follows of the blueprint of customs defined by Jack Viertel in his “The Secret Life Of The American Musical:  How Broadway Shows Are Built.”

Traditional modern musicals, from the time of Rogers and Hammerstein’s OKLAHOMA on, have had a developmental format.  For example, those that are successful have an “I want song,” a tune that clearly tells us what is wanted by the lead character(s).  This is presented early in the script and sets the course of the play.  In MY FAIR LADY, Eliza sings,  “All I want is a room somewhere, far away from the cold night air.”  Yes, and a little chocolate.  These “I want” desires set up the story line.

The scripts also include a “deal song,” a musical number which illustrates what will attempt to be accomplished and the steps to get to that desired conclusion.    In MFL Higgins will teach Eliza “proper” English, she will do her best to learn, and if he succeeds Higgins will win a bet with Colonel Pickering who believes he can’t accomplish the task of turning Eliza into a “proper lady.”  Without this tune and the “I want song,” there would be no plot.

Another format ingredient is that the “key to the romance,” if there is to be a romance.  This element centers on the inappropriateness of the couple.   In MY FAIR LADY, Higgins and Eliza are polar opposites.  How can any romance bud between them?  We are lead to watch and find out.

A musical’s structure also includes a “conditional song,” a tease as to whether a goal will be accomplished.   In this musical, after Higgins shows a bit of niceness after Eliza finally correctly speaks the difficult passage, “the rain in Spain stays mainly in the plane,” she fantasizes the possibility of accomplishing her ultimate goal as she sings “I Could Have Danced All Night.”  Normally the conditional love song is about the feelings toward a person, but here, it is aimed at the possible success for her hard work.

An “understanding song” allows the audience to comprehend a character.  In MY FAIR LADY, Eliza has several of these numbers.  “Just You Wait,” is a comic tirade, which displays the lady’s temperament in which she imagines her tormentor, Higgins, with his head on a platter and facing a firing squad.  “Without You” is a defiant declaration of independence.  In the case of Higgins’, his “I’ve Grown Accustomed to Her Face,” reveals his feelings for Eliza, and our gaining the understanding that under his harsh exterior, there may be a tender underbelly.  His “A Hymn to Him” illustrates his attitudes toward women.

 “A triumph song” helps move the plot along.  Without that song, the plot comes to a standstill.  ”She Did It” is proof that Eliza has become a “proper lady.”  The song also illustrates the pattern of two-act musicals to end the first segment with a conflict that has to be resolved.  As Eliza dances with dances with Zoltan Karpathy we wonder if she will convince him as to her authenticity as a true lady.  Unless the audience comes back for act two, they don’t know if she has achieved her goal.

In this Lerner and Loewe show, “She Did It” also is a “changing the game song,” a lyric of realization.  Eliza, who now realizes that she is no longer an ignorant flower girl, challenges Higgins with a series of questions: “What am I fit for? What have you left me fit for?  Where am I to go?  What am I to do?  What’s to become of me?”  She is changed.  Now, what is going to happen as a result of that realization?

“The end song” allows an important character to expose an emotional core that brings the show to its conclusion.  In MY FAIR LADY, “I’ve Grown Accustomed to Her Face” allows Higgins to admit that he has feelings for another human being.  It is here that we realize his “love” or need for Eliza.  And, now the issue of the ending can be confronted.  Will she come back?  If so, under what conditions?  Or, will she use the skills she now has to move on?

The Great Lakes Theatre production, under the creative and focused direction of Victoria Bussert, who is celebrating her 30 th year with the company, is superb!

Bussert confronted the question of which of the various ending scenarios to use.  Will Eliza, now a “lady,” go forward with her life and accomplish her life goals?  Will she marry Freddie?  Will she come back to Higgins and tolerate his mode of control, because she “loves” and needs him?  Will she come back to Higgins on  her own terms.  (No spoiler alert here.  You’ll have to see the production to find the answer.)

Every aspect of the show is masterful.  From the cast to technical aspects to the musical sounds…there is a joining together of masters-at-work.

Jillian Kates transitions from flower girl to society lady with skill.  She alters accents and physical presence with ease.  She totally embraces the role of Eliza.   She is matched by Tom Ford as Henry Higgins.  Ford does not imitate Rex Harrison, who originally created the role.  He gives a nice twist to the role, being incorrigible while still being human. There is a faint bit of tenderheartedness which sneaks out in shy smiles and even a delightful laugh or two.  He sings instead of reciting the songs.  There is a nice chemistry between Kates and Ford.

Aled Davies is delightful as Colonel Pickering, as is M. A. Taylor as Alfred P. Doolittle, Eliza’s conniving father.  His versions of “With a Little Bit of Luck” and “Get Me to the Church on Time” were show-stopping delights.

Colton Ryan added an endearing quality to Freddy Eysford-Hill, who is traditionally played as a colorless mamma’s boy.  Ryan presented a believable love-struck feel to the role.  His unique interpretation of “On the Street Where You Live” was endearing.

Strong performances were also given by Jodi Dominick (Mrs. Pearce), Laura Perrotta (Mrs. Higgins), and Lynn Robert Berg (Zoltan Karpathy).

Choreographer Gregory Daniels created visually pleasing and appropriate dance numbers that were well executed.  Joel Mercier’s song interpretations were nicely conceived and his orchestra performed well, supporting rather than over-powering the singers.

Jeff Herrmann’s scenic designs were nicely done.  There was adequate space for crowd scenes, dancing and ease of set changes.  The color tones worked perfectly with the costumes.

Costumer Charlotte M. Yetman outdid herself on this show.  The costumes were era correct, the women’s  millinery and gowns were compelling, especially in the Ascot scene.  It was nice to see a different approach…using light mauves and grays rather than the stereotypical black and white.  Paul Miller’s lighting added the right gel tones to accent the sets and the costumes.
    
Capsule judgement:  Victoria Bussert has staged a MY FAIR LADY that is as close to perfect as any musical can be. Everything about the production screams, “This is a special evening of theatre that has to be seen!”  If you only see one theatrical production this season, this is the show!  Bravo!!!

MY FAIR LADY runs through October 29, 2016  at the Hanna Theatre.  For tickets: 216-664-6064 or www.greatlakestheater.org

Aesthetically exquisite THE SECRET GARDEN at GLT

Every once in a while a theater-goer is privileged to participate in a staged production that aesthetically enfolds them. Under the creative direction of Victoria Bussert, Great Lakes Theater’s THE SECRET GARDEN, is such a creation.

The musical THE SECRET GARDEN is based on Frances Hodgson Burnett’s novel of the same name.  It was transformed into a play by Marsha Norman, with music by Lucy Simon.  The Broadway show, which opened in 1991 to positive reviews, ran over 700 performances.

The story takes place in 1906 and centers on Mary Lennox, who is left an orphan in India, when her parents die in a cholera outbreak.  She is sent to live with her only living relative, Archibald Craven.  A hunchbacked widower, who is in deep mourning, he lives in a secluded manor on the British heath.  The house is haunted by bitterness and ghosts of loss.  Archibald’s wife, Lily, died in childbirth.  Her son, Colin, is sickly, resented, and ignored by his father.   Mary enters into the residence with her own “ghosts,” her deceased parents and the “Indian dreamers.” 

After rejection by her uncle, and isolation and loneliness, Mary is befriended by Martha, a chambermaid and, as she wanders the grounds she makes the acquaintance of Dickon, a young gardener.  He shares with her that Lily’s once beautiful garden has been allowed to fall in disrepair. 

Against her uncle’s orders, Mary enters into her guilt-ridden cousin Colin’s room and helps him to overcome his hypochondria.  Of course, in the end, as the garden blooms, Archibald finds peace, Colin becomes well, Mary finds a place to call home, and we learn of “the power that one small girl can have when she wants things to grow.”

Simon’s musical score is glorious.  It contains beautiful songs with Indian and classical intonations.  The haunting “Come to My Garden” wanders in and out of the entire score.  Other highlight songs are Mary and Dickon’s duet, “Show Me the Key,” “Lily’s Eyes,” sung by Neville and Archibald, and the gorgeously presented “Where in the World” (Archibald) and “How Could I Ever Know” (Lily and Archibald).  

Unfortunately, at the Sunday matinee I saw, the sound level of the orchestra was set so high that most of the lyrics in the first act were drowned out.  Fortunately, the problem was corrected in the second act, and the words and music formed a wonderful collage of meaning and effect.

As attested to by the vast number of tween and pre-tween girls in the audience, the book has a vast number of readers, cherubs who not only have read the book, but know it well.  

At intermission, many of the girls were enthusiastically commenting on the similarities and differences between the book and the script.   Most comments centered on the additional emphasis on the adult characters.  One little smarty commented that in the book, Archibald’s wife was named Lilias, and that she was the sister of Mary Lennox’s father, but in the musical, Colin’s and Mary’s mothers are sisters named Rose and Lily.  Another told me that she thought Dr. Neville Craven was an evil man who intentionally made Colin sick so that Neville could inherit the estate.  Others stated that they wanted to play the role of Mary.  Ah, the imagination and dreams of the young.

Bussert’s creativity is stamped all over the production.  The story is clearly developed, the pacing holds the audience’s attention, the pathos is nicely honed, and the over-all effect is aesthetically exquisite.   She is aided by excellent choreography by Gregory Daniels.  His concept for “Come Spirit, Come Charm” is magical.  Charlotte Yetman’s costume designs, Paul Miller’s lighting, and Jeff Herrmann’s scenic design all help enhance the visual aspects.

It takes a major leap of faith to produce THE SECRET GARDEN, as the major character is a tween.  To find a local girl who can proficiently sing, act, memorize all the lines, and produce a natural and consistent  British accent is a major undertaking.  Fortunately, the talented Sheffield Middle School’s Giovanna Layne came forth.   She is nothing short of wonderful.  She is matched by the equally talented Warren Bodily, a Boise, Idaho import.  He well portrayed and sang the role of Colin.

Stephen Mitchell Brown, who was recognized by the Cleveland Critics Circle, Times Tributes, and Broadwayworld.com as the Best Actor in a Musical, for his GLT performance as Jean Valjean in LES MISÉRABLES, again commands the stage as Archibald Craven.  His voice is glorious and his performance totally convincing.  This is another bravo performance.

Jillian Kates enchants as Lily.  Her vocalizations are exquisite.  BW rising junior, Colton Ryan, is excellent as Dickon.  His is one of the many fine singing voices on stage and appears to be another of  “Vicky’s kids,” who is Broadway ready.

Other strong singing and acting performances are given by Sara Masterson as Martha and Tom Ford as Dr. Neville Craven. 

Capsule judgement: Victoria Bussert, her technical crew and the cast join their skills to make the Great Lakes production of THE SECRET GARDEN a very special theatrical offering.  This is a show that deserves the standing ovation that it should get after each performance.  Bravo!

THE SECRET GARDEN runs through October 31, 2015 at the Hanna Theatre.  For tickets and information: 216-664-6064 or www.greatlakestheater.org

THE TEMPEST brews up a storm at GLT

William Shakespeare is considered by most experts on English language theatre as being the greatest of all writers.  His vast folio of plays, consisting of tragedies, comedies, histories and dramas have lasted for over four hundred years.  He is one of the few writers who has theatres, let alone festivals, dedicated exclusively to his works.

One of his last solo-written plays was THE TEMPEST, now on stage at Great Lakes Theater, which some consider the Bard’s farewell to the stage.  Ironically, it concerns a great magician ending his career, which may have been Shakespeare’s vision of himself giving up his magical years as a writer.  

THE TEMPEST is one of the Bard of Avon’s shortest and most simply constructed plays, which leads to the belief that he was fading out and didn’t have the desire or fortitude to develop a play as complex as MACBETH, HAMLET or his multi-leveled comedies.

A product of the early seventeenth century, the plot is probably entirely original.  He doesn’t evoke real historical characters, but may, in some ways, suggest the tempest of storms unleashed on ships sailing from Europe in search of a pathway to what we now know as Asia.  Specifically, there was a wreck off Bermuda and another account of a fleet being destroyed on a sailing from what is now known as Plymouth to a port in Virginia.  In both cases, survivors were washed up on an island.  There, they found Native Americans, who they referred to as “Cannibals.”  It is probably not by accident that Prospero, the magician of the story, referred to his man servant as “Caliban,” an anagram of the word “Cannibal.”

Generally performed on a fairly bare stage, the play lends itself to the description of those who returned from some of the voyages to “the Americas” as being barren.   This does not mean it is not filled with special effects for which Shakespeare is famous.  His plays are filled with fantasies such as humans becoming animals, fairies, and witches and wizards who perform magical tricks.  THE TEMPEST is no exception.

The story centers on Prospero, the Duke of Milan, who was stranded for twelve years on an island after Prospero’s brother, Antonio, deposed him and set him adrift with his child, Miranda.

Prospero is maniacal in his desire to restore his daughter to her rightful place in society.  Prospero has no magical powers other than the ability to persuade others.  He uses those verbal skills to persuade Ariel, a spirit, to conjure a storm (the tempest.)  Ariel, acts as requested because he is beholden to Prospero as the former King freed the spirit from captivity in a tree in which he was placed by Sycorax, a cruel witch.  The storm wrecks the ship of Prospero’s brother, Antonio, his son Ferdinand, and the complicit King Alonso of Naples, and their company of travelers.  The group is washed up on the island, and the tale unfolds. 

Prospero is successful in achieving his goals by having Miranda marry Ferdinand, reconciling with his brother, and freeing of Ariel from his spell, thus rendering a happy ending.

As in all Shakespeare plays, there is a philosophical message.  As Drew Barr writes in his directorial notes, “That which makes us human, as Shakespeare shows us time and time again, is our struggle to reconcile the enormity of our dreams with the exquisite vulnerability of our beliefs.”  He continues, “THE TEMPEST dares us to open our hearts and minds fully enough to drown with all the world in the deluge of our senses.”

The GLT production is well conceived by Barr. The play itself is not as well developed as many of Shakespeare’s works, which causes some segments to fail to be clear in their purpose in developing the plot.  For example, a long farcical section seems inserted as an attempt for humor, for the sake of humor, with no great reason or purpose for plot development.  As for the production, to accomplish the sought after laughter, an even stronger “Three Stooges” approach was needed.  If there is going to be slapstick, it needs to be done with full abandonment.

The cast is excellent.  D. A. Smith rants effectively as Prospero.  Ryan David O’Byrne develops fully the role of Ariel.  Dustin Tucker delights as Trinculo, a drunken cook.  J. Todd Adams, looking much like Alan Cummings portraying the M.C. in the latest Broadway staging of CABARET, is eerily effective as the savage Caliban.  Dougfred Miller (Alonso) and Jonathan Dyrud (Antonio), do justice to their character development.  Patrick Riley is on target as the youthful Ferdinand.

Though he gets laughs, it appears that Tom Ford (Stephano, a butler) has played the role of the fool once too often and falls back on using the same physical and vocal devices to the detriment of originality. 

Though her voice sometimes goes into too high an octave range for pleasant listening, Katie Willmorth creates a pleasant Miranda.

Scenic Designer Russell Metheny has conceived a set that is creative, but at times distracting.  The light instruments shining and the shimmering effects off the plastic panels, which dominate the grid set, became distracting and the reflections sometimes temporarily blinded members of the audience.

Kim Krumm Sorenson’s costumes are often intriguing, but the use of plastic and other stiff materials cause crackles as the performers move, and make static-like sounds, drowning out lines.

Capsule judgement:  THE TEMPEST, reported to be Shakespeare’s last solo dramatic writing, is not one of the Bard’s great plays, but there is enough fantasy and intrigue to allow for a pleasant evening of theater.  The GLT production does justice to the script.

THE TEMPEST runs through April 26, 2015 at the Hanna Theatre.  For tickets: 216-664-6064 or www.greatlakestheater.org

DIAL “M” FOR MURDER, another exciting murder mystery at GLT

Mystery books are the second highest money-making genre in literature, only exceeded by Romance/Erotica.  They are the highest rated television demand topic. 

Building on the desire of readers and viewers, Great Lakes Theater has included a “who done-it” in each of their last two seasons.  Both DEATHTRAP and THE MOUSETRAP met with audience approval.  Their present offerings, DIAL “M” FOR MURDER, should do the same.  Finding a cash cow topic, the theater has announced that Agatha Christie’s AND THEN THERE WERE NONE is being staged in the 2015-2016 season.

As explained in GLT’s excellent “Teacher Preparation Guide,” DIAL “M” FOR MURDER is filled with “Deception, betrayal, passion and greed.”

The plot centers around Tony Wendice, a recently retired British tennis player, his wife, Margot, who Tony married for her money, and Max Halliday, a New York mystery writer, who is visiting in London, and may or may not be having an affair with Margot. 

Tony, wanting to inherit Margot’s money, develops a “perfect crime” plot, which includes his hiring a hit man.  The problems start when Margot, during the attempt to kill her, accidentally kills her attacker and is sentenced to death.  Will Tony inherit the money?  Will Max be able to save his love?  Will Inspector Hubbard see through the charade and save Margot? 

DIAL “M” was originally created by Frederick Knott as a BBC television production.  Both the play and the screen script were also written by Knott.  The 1954 Warner Brother’s film starred Ray Milland and Grace Kelly, was directed by Alfred Hitchcock, and was filmed in 3D, a new innovation in cinema filming.

Knott was noted for writing material that focused on women who innocently became victims of sinister plots.

Great Lakes production, under the focused eye of Charles Fee, is well paced, builds efectively to the creative and mind boggling conclusion, and grabs and holds attention.

The cast is universally excellent.  Beautiful Robyn Cohen makes for a believable Margot, the potential murdered wife.  She gives a convincing portrayal of a rich, perfectly coifed woman, who transitions into the potential victim.

Nick Steen, has become GLT’s choice for the handsome leading man in their murder mysteries.  He follows up his outstanding portrayal in DEATHTRAP with another believable characterization as Max, Margot’s lover.

Aled Davies, is accent and action perfect as Inspector Hubbard.  He seems born to play the wise policeperson who can and will solve all cases in a clever manner.

Jonathan Dyrud as Tony, has the lithe body need to make for a believable tennis player and the Iago good looks to give an air of innocence.

Dougfred Miller creates Captain Lesgate, Tony’s former college acquaintance,  as a perfect cad and a fine potential killer.

Russell Metheny’s fragmented set design allows for a clear view of the action, both on and off stage.  His incorporation of a large picture window on the second level, cleverly serves as a screen for Lucy Mackinnon’s projections.  The films of the receivers of telephone calls add to the visual dimension of the production, which is more effective than just hearing the voices of the participants, which is the standard way of staging the interactive scenes.

Rick Martin’s lighting design and Joe Court’s sound all aid in developing the mystery aspects of the script. 

Capsule judgement:  Great Lakes production of DIAL “M” FOR MURDER makes for a wonderful escapist evening of theatre.  Anyone liking murder mysteries, good acting, and good staging will enjoy this production.  As to the theatre’s evolving pattern of staging a mystery each season, as long as they continue in the vein of their DEATHTRAP, MOUSETRAP, and DIAL “M,” let’s have some more!

“Great Lakes Theater Teacher Preparation Guide for Dial ‘M’ for Murder, as prepared by Kelly Schaffer Florian and David Hansen, is a available from GLT’s Education Outreach program. Kflorian@greatlakestheater.org

DIAL “M” FOR MURDER runs through March 22, 2015 at the Hanna Theatre.  For tickets: 216-664-6064 or www.greatlakestheater.org

Impressive, must see "Les Miz" @ Great Lakes Theater

“Les Misérables” is a classic historical novel by Victor Hugo.  It is probably one of the most noted literary pieces of the 19th century. “Les Misérables,” Alain Boublil and Jean-Marc Natel’s musical adaptation of the novel has become an epic of the musical theatre stage. 

The script is usually performed in grand style with large sets, a huge cast, a big orchestra.  The Great Lakes Theater’s production of “Les Miz,” as it is commonly called, takes a somewhat different approach.  The ingenious Victoria Bussert has reimagined the show as a smaller, more intimate, more personal offering. Bussert’s concept works wonderfully.  

The Hanna Theatre, GLT’s Cleveland home is a perfect venue for Bussert’s concept.  The audience is up close to the happenings, making every action, every emotional feeling, every nuance, observable.   The cast, the theatrical elements, and the musicians, don’t let the audience down.

Hugo was a commentator on the French condition during the 19th century.  He examines such topics as morality, the power and place of religion, the justice system, the role and format of the family, and the corruption of the times. 

His “Les Miz” gives a vision of the frustrations of the people with the royal system of the time.  It exposed the injustices of the legal system, where a man can get a long prison sentence for stealing bread, food intended for a starving nephew.  It tells of how, even after serving his sentence, the man must carry papers and a body signature that tattoo him for life as a convict.  It illustrates the frustration of a group of idealistic dreamers who wish to make changes, but lack the skills, the tools, and the support to exact alterations in a bad governmental system.

The musical version, a two-year labor which the writers call a period of “cutting, condensing and shaping,” resulted in a moving tale that parallels the book, and gives further light to Hugo’s message. 

When it opened in London, the show received mixed reviews.  Cameron Mackintosh, the show’s producer, who reported that he was in an “elevated state” due to the powerful emotion of the cast and audiences, as the preview period came to an end, was surprised by the reviews.   He said, “I couldn’t reconcile the sense of uplift and exhilaration I had witnessed in the theatre with these words [the reviews].”  The public seemed to take the reviews in stride, and besieged the box office for tickets.  The results have been astounding.

The show has been translated into 22 languages, has played in 42 countries and is still running in London.  The original New York show ran 6,680 performances, one of the longest runs on-Broadway. It was recently revived on the great white way.

The centerpiece of the story is Jean Valjean, a prisoner who serves his time, breaks parole, steals silver from a priest who was kind enough to take him in, is caught by the police, and released when the clergyman tells his captors that the silver was a gift.  Valjean transforms himself into a self-made successful, moral man, but is sought after by Inspector Javert, who obsessively perceives it his mission to catch convict 20641.  Valjean becomes wealthy, assumes responsibility for the daughter (Cosette) of a former worker [Fantine] at his manufacturing factory, who was slandered by gossip, cast out, turned to prostitution, becomes ill, and is visited in the hospital by Valjean who promises to raise Fantine’s daughter as his own.  The rest of the tale follows Valjean, Fantine and Marius, one of the student leaders of an attempted revolt to change the governmental system, as they live out their lives against the background of 19th century France.

Bussert has taken the serious underbelly of the tale, softened it with some humor, and fashioned a musical tale that clearly develops the story, stresses Hugo’s intentions, and presents the musical aspects in a glorious vision.  This is a masterful job of directing.

Instead of the usual massive set on a turntable and an impregnable barricade, scenic designer Jeff Herrmann, has given a fragmented, suggestive vision.  The barricade is made of regular household items—bed headboards, tables and chairs—things that would have been really used to create a makeshift structure.  They are staked from the floor and hung from the fly gallery to create an impression of what might have been part of the battle.  Houses, the sewer, walls, the ballroom are suggested in such ways that there is no question of where the scene is taking place.  The only slightly out of kilter visual was the illusion of Javert’s body falling into the water after he jumped off a bridge.

Musical director Joel Mercier and his orchestra present a lush and well interpreted sound that highlights the action and supports rather than drowning out the singers.  The individual and choral singing is excellent.

Esther M. Haberlen’s era-correct costume designs enhanced the production, as did Mary Jo Dondlinger’s lighting and Amanda Werre’s sound design.  Gregory Daniels choreography added to the show’s quality.

The cast is generally excellent.  Stephen Mitchell Brown displayed a well-trained voice in his portrayal of Jean Valjean.  He knows how to sing meanings, not just words so the songs resonated with the audience.  His “Bring Him Home” brought the show to a stop as a result of a screaming positive audience reaction.  His rendition of “Who Am I?” was another of the show’s highlights.

Jodi Dominick, as Fantine, was properly down trodden by life’s issues of having an illegitimate child, being abandoned by the child’s father, and being the brunt of unfair gossip.   Her role interpretation was excellent, her musical version of “I Dreamed a Dream” was emotionally tear inducing.

Brian Sutherland, as the obsessive Javert, displayed a solid singing voice. “Stars” was well interpreted.  He could have been more menacing, thus enhancing the emotional level of his dealing with Valjean. 

Kyle Jean Baptist displayed a strong voice and a powerful stage presence as Enjolras, the leader of the rebellious students. 

Though both were fine,Tracee Patterson (Madame Thénardier) and Tom Ford (Thénardier) could have had added even a little more farce to their roles.

Capsule judgement:  Director Victoria Bussert and her production team fashioned  a marvelous and impressive “Les Misérables.” Besides the quality of staging, it’s worth seeing the show, to experience Stephen Mitchell Brown’s ownership of the difficult role of Jean Valjean. The GLT production is an absolutely must see!

“Les Misérables” runs through November 2, 2014 at the Hanna Theatre.  For tickets go to: 216-664-6064 or www.greatlakestheater.org

Farcical "The Merry Wives of Windsor," doesn't leave well enough alone @ Great Lakes Theater

“The Merry Wives of Windsor,” a version of which is now on stage at Great Lakes Theater, is considered by many literary critics to be one of Shakespeare’s “lesser” plays.  Not bad, just not up to the dramatic level of the great writer, though its farcical nature is often praised.

Nicholas Rowe, a Bard expert, indicates that the reason the play was written may account for its structure and format.  According to Rowe, Queen Elizabeth was pleased with the character of Falstaff in two parts of “Henry IV” so she commanded the writer “to continue him for one play more,” for a special occasion.  She wanted and got a fun farce which is intended to be a romp, delightful, and for audience enjoyment.

It is the opportunity for creative staging that should make this production excellent, since Tracy Young, the show’s director, is noted for her imagination.  In my review of “The Imaginary Invalid,” which she staged for GLT a while back, I stated, “Under director Young’s guidance, the cast has a wonderful time and so does the audience.  She directs with a broad brush, creating lots of easy to laugh at shticks.”

If only I could write that about “The Merry Wives.”

I’m not a Shakespeare purist.  I like a director with creativity, but the reinvention has to be purposeful.  From my perspective, Young tried to add message where it wasn’t needed.

The director explains in her program notes that the play is now placed in an era following the Second World War.  (Why?)  She has moved the place from Windsor, England to Windsor, Wisconsin.  (Why?)

The director refers to the late 1940’s era  as a time of “darker awareness of humanity,” and “tensions between ideals of community and individualism, transformations of accepted notions of status, and evolving expectations of traditional gender roles.”  Yes, some of these ideas are lightly hit upon in “Merry Wives,” but Shakespeare wrote the script as a farcical romp, not a “message play.” Yes, Madam Director, create broad farce, but why attempt to add a social/political message where none was intended?

The slight story centers on Falstaff, one of the Bard’s most beloved creations.  Falstaff, the boisterous, lively, funny and mischievous fat man gets himself into all sorts of trouble, thus delighting audiences.  In “Merry Wives” he comes to the city, broke, and desiring to get some quick money.  Young has imagined him as “a down-on-his-luck celebrity in exile from Hollywood.  Think Orson Welles plotting his come-back!”  (Why was that twist added?  Does that add humor?)

He thinks he can get cash by deceiving Mistresses Ford and Page, as they are “only” women.  As it turns out, the ladies turn the tables on Falstaff, resulting in his getting put into a trash container, dumped into the river, being forced into women’s clothing in order to escape the wrath of the ladies’ husbands, getting thrashed, and humiliated. 

In a subplot, three different men are trying to win the hand in marriage of the Page’s daughter, Anne.  The mother prefers Doctor Caius, a French physician. The father wants her to marry Mr. Slender.  Anne, herself, is in love with Mr. Fenton.  In the end, there is a festival as each of the men gets what he really wants.

Production questions arise:  Why do accents come and go?  Why is Dr. Caius unintelligible?  Why does Falstaff keep changing physical size?  What is the purpose of the costumes (Hawaiian shirts and grass skirts, safari clothing, modern day suits, varying eras of women’s fashions)?  Why the large contemporary set that makes movements on stage difficult?  What is the purpose of the group of children, who are at various times  Scouts, birdwatchers, and ballet dancers?

Fortunately, Young has inserted some great shticks.  The farce is at a high level. The pace zips along, though the ninety-minute first act is a long sit, followed by another, though shorter act.  Most of the acting is excellent.

Laura Welsh Berg and Jodi Dominick are delightful as Mrs. Ford and Mrs. Page as are Lynn Robert Berg and Ian Gould as their husbands.  When he is allowed to go over the top in his performance, Aled Davies is fun as Falstaff, but too often he is bogged down by the film scenes and other sidetracks that are intended to develop the “plot.’  His getting thrown into the trash and impersonating of a woman scenes are what this script is all about!

Clare Howes Eisentrout is charming as Ann Page.  Sam Wolf (Fenton) shows some great dancing talent in the celebration scene.

Capsule judgement:  Opening night audience reactions to “The Merry Wives of Windsor” varied greatly.  Many of the spectators generally sat in stony silence, not even giving the show the traditional Cleveland standing ovation.  A group in the theatre’s rear section laughed constantly and stood at the curtain call.  A fellow reviewer left at intermission stating, “I’ve never walked out of a show before!” Me? Though there were some very entertaining segments, this was not one of my favorite evenings of Shakespeare.

“The Merry Wives of Windsor” runs through November 2, 2014 at the Hanna Theatre.  For tickets go to: 216-664-6064 or www.greatlakestheater.org

"As You Like It"-- comedic farce delights at Great Lakes Theater

What do the phrases, “all the world’s a stage” and “too much of a good thing” have in common?  They are both quotes from Shakespeare’s pastoral comedy “As You Like It.”  As is true of that genre, the play, which was written early in 1600, deals with shepherds and the rustic life, but, also concerns love, in its various forms.

“As You Like It” is  one of the Bard’s most famous works and, as presented at Great Lakes Theater, one that delights an audience.

The plot seems complicated, but, as is true of many of Shakespeare’s works of exile and romance, which are meant to entertain, there is a great deal of farcical slapstick, overly wrought lovers who find bliss by the time the final curtain falls, and what seems confusing is, in fact, simplistic.

The plot:  Frederick has taken over and exiled his older brother, Duke Senior.  The Duke’s daughter, Rosalind, has been allowed to stay in the castle to be a companion to her cousin Celia.  In a parallel plot, Orlando, whose wealthy father has died, is denied his part of his father’s estate by his older brother.  The stories join when Rosalind and Orlando fall in love, but their connection is broken when the Duke has a change of heart and exiles Rosalind.  Celia and Rosalind steal away to the forest where Duke Senior is ensconced with a group of his followers.  Rosalind, is dressed as a male, a common Shakespearean theatrical device of hidden identities.   Add a jester, a couple of sheppards, some chance encounters, some twists and turns, lots of farcical shticks, more music than is normal for Shakespearean play, and a happy ending.  Of course, to quote the Bard, “All’s well that ends well.”

Great Lakes Theater’s production, under the direction of Edward Morgan, is entertaining, but doesn’t seem to fulfill Morgan’s director’s notes.  He has reinvented the play, he contends, by changing its setting to America, which he feels, “gives the text new resonance.” 

Morgan writes that the play starts in New England, in the midst of the second Industrial Revolution, not long after the start of the 20th century.  “The Forest of Arden is in the foothills of the Adirondack mountains.  The villains are greedy, thriving Industrialists.”  “Rosalind and Orlando are the new Americans.”  “Rosalind becomes a kind of metaphor for American womanhood.”  The Elizabethan songs have been replaced “with tunes that echo these themes through Yankee sentiment and syncopation.”

Though he philosophizes those goals, starting the play with a metal grinding scene, does not an industrial revolution make.   How are we to know that is his intent?  None of the language of Shakespeare’s script carries the “industrial revolution” message nor any implication of the villains as “greedy Industrialists.”

The music insertions, though many create the right mood, do not all fit the time period described.

Rosalind, rather than being a metaphor for the liberated woman, follows the historical, tried and true path of putting a man (Orlando) above all else and gets her desire, not a career, but a marriage.

If Morgan wanted to really reimagine the play he needed to add dialogue that makes his message clear.  He would not have been the first to add to, or delete the Bard’s words.

All theorizing aside, the production delights.  Martin Céspedes’s choreography, which is evident throughout, is creative and brought applause from the audience.  Especially endearing is the soft-shoe tap dance of Touchstone (Dustin Tucker), the court fool.  Also creative is the dance at the end of the play in which Céspedes has developed character identifying moves for each couple.

The pacing, the visual images, the Borsht-belt shticks, and the performances are all top notch. 

The petite and talented Betsy Mugavero, makes for a radiant Rosalind.  Though she doesn’t really look like the “man” she is supposed to play during her “disguised” segments, she is right for the Shakespeare habit of sex switching.  (Interestingly, during the Bard’s time the task was easy, as young boys played the female roles.)

Handsome and gym-toned Torsten Johnson is a physically strong, yet gentle Orlando.  Johnson and Mugavero have a wonderful interpersonal chemistry that makes their love-in-bloom scenes engaging.

Dustin Tucker, who has a remarkable resemblance to old vaudeville performer Red Buttons, delights as the Court Fool.  He does slapstick exceedingly well.

The rest of the cast develops appropriate characterizations.

Russell Metheny’s set designs and Rick Martin’s lighting help in developing the story.  Kim Krumm Sorenson’s costumes often confuse.  They don’t always develop the era depicted.  Her backwoods inhabitant’s costumes, however, are character right.

Capsule judgement: Great Lakes Theater’s “As You Like It,” though it doesn’t
fully develop director Edward Morgan’s philosophical objectives, is delightful.  The many students who will attend should go away with a very positive concept of the Shakespearean comedy at its best.

“As You Like It” runs from April 9-14, 2014 at the Hanna Theatre.  For tickets go to: 216-664-6064 or www.greatlakestheater.org

"DEATHTRAP"--twists, turns and humor excite at Great Lakes Theater

Overheard at intermission of “DEATHTRAP” at Great Lakes Theatre:  “I never expected that to happen!”  Response:  “I’ve seen this before and what’s coming up in the second act is even more surprising!” 

Yes, “DEATHTRAP” may be a somewhat dated script but it still grabs and holds an audience.  In spite of references to dial telephones, the Merv Griffin TV show, the Great Kreskin, such plays as “SLEUTH,” and “WITNESS FOR THE PROSECUTION,” and people like Hal Prince, David Merrick and George Abbott, the humor and intrigue of the 1978 script hold up.

The material is masterfully written by Ira Levin. Yes, the same person who crafted “ROSEMARY’S BABY,” “THE BOYS FROM BRAZIL,” and “STEPFORD WIVES.” It holds the record for being the longest running comedy-thriller on Broadway.  It was nominated for the Tony Award for Best Play and was made into a classic movie.

Picture this:  A famous mystery playwright (Sidney Bruhl) has run into a dry spell.  His writer’s block has resulted in financial and marital problems.  A former student (Clifford Anderson) has sent him a script entitled ”DEATHTRAP,” which is ready for production.  Sidney jokingly suggests to his wife that he murder the student and have the play produced on his own.  When he finds out that there is only one copy of the script, Sidney invites the student to his Westport, Connecticut home.  The student arrives and . . .

Come on, you don’t expect me to blow the many plot twists and turns and ruin the surprises for those who haven’t been exposed to Levin’s devious mind.   Just be aware that there is a clairvoyant, a handsome student, a wife with hidden money, pain, lots of knives, a crossbow, a fireplace, some guns, a double desk with locking drawers, a lightening storm, a lawyer, and a couple of blackouts.

The Great Lakes production, under the direction of Charles Fee, is well paced.  Rather than over-exaggerating, Fee wisely lets the script’s finely written lines play on their own.  The laughter emanates from the words, rather than from pratfalls and tomfoolery.

Tom Ford well develops the role of Sidney Bruhl.  He fully inhabits the role.

Nick Steen makes Clifford Anderson a real person.  He has the handsome good looks of Christopher Reeve, who played the role in the movie, and the muscular stature to make the physical exertions of the role believable.

Local actress Tracee Patterson, who was spotlighted by the Cleveland Critics Circle in 2013 as the Best Actress in a Non-musical, is totally believable as Bruhl’s excitable wife.

Lynn Allison has the difficult task of making Helga Ten Dorp, the psychic, into a person who is laughed with, not at.  The part is often over-played, making the character farcical.  In Allison’s hands, the many laughs wisely result from her subtle character development.

Aled Davies is fine as Porter Milgrim, Bruhl’s lawyer.

The technical aspects of the show do much to enhance the quality of the production.  Russell Metheny has created an interior of a lodge that creates a perfect visual setting.  Rick Martin’s lighting is spot on.   Richard Ingraham’s musical interludes nicely highlight the mystery aspects and the storm sequences create the perfect storm.

 Capsule judgement: “DEATHTRAP” is a fun mystery filled with plausible twists and turns that incites the curiosity of the audience in their attempt to figure out what’s going to happen next.  The GLT’s production, under the direction of Charles Fee, brings out the best in the script and is a must-see for anyone interested in a delightful escapist theatre experience.

DEATHTRAP runs from February 21-March 16, 2014 at the Hanna Theatre.  For tickets go to: 216-664-6064 or www.greatlakestheater.org

A  wonderfully delightful MUCH ADO at Great Lakes Theater

Boy hates girl. Girl hates boy. Boy overhears that girl is secretly in love with boy; girl hears vice versa.  Other boy and girl love each other, but something gets in the way of their happiness.  That's the basic premise of MUCH ADO ABOUT NOTHING, which is now on stage at Great Lakes Theatre.  Throw in a couple of interesting subplots, including an idiotic sheriff, a phony death, an irrational lover (is there any other kind?), and a vengeful half-brother, and you have the makings of one of William Shakespeare’s best comedies.  In fact, the fifth best of all of the Bard’s plays, according to a renowned Shakespeare expert.

MUCH ADO, first published in 1600, was first performed during the winter of 1612-13 during the festivities preceding the marriage of Princess Elizabeth and Frederick Palatine.  It proved to be a sublime battle of wit and will, much like the Bard’s other superb comedy, TAMING OF THE SHREW.

What makes the script very welcoming to North American audiences is that the majority of the text is written in prose, rather than in traditional Shakespeare rhyme.  This allows for an ease in understanding the language.  GLT’s production goes one step further and uses basic Midwestern pronunciation, to further aid.

The story, which Shakespeare set in the sixteenth century in Messina, Sicily, concerns two parallel love stories.  One, between Beatrice, she of quick mind and sharp tongue and her love/hate relationship with Benedick, who also verbally thrusts and parries with Beatrice.  Their match makes for one of the comic tracks of the script. 

Then there is the match between handsome Claudio and the beautiful Hero, who fall in love and are to get married.  Unfortunately for the duo, the villainous Don John slanders Hero with a false tale of sexual infidelity.  The planned wedding turns out to be a shameful disaster when the prospective groom reveals his repulsion for his bride-to-be’s lack of chastity. 

A fake death, uncovering of the nefarious plot against Hero by a quartet of bumbling police, Beatrice and Benedick overcoming their need for being the winner in their battle of wits, and a happy-ever-after ending, brings the play to a happy conclusion.

In this script, Shakespeare’s attitudes toward courtship, romance, social realities, marrying for social betterment to ensure inheritance, and female chastity, all roll out.

What makes MUCH ADO intriguing is that it combines many of Shakespeare’s best writing styles…farce, comedy and drama.  This is also what makes the play so difficult to produce.  Few directors and casts can pull off all of the various performance levels.  Fortunately for area audiences, director Sharon Ott has razor sharp control of all the elements, and her cast and production crew are up to their end of the task.  She nicely transforms the plot into the 1920s.  This image is aided by Esther Haberlen’s period-correct costumes, Hugh Landwehr’s fragmented artistic scenery and designs, and Rick Martin’s lighting.

Ott has clearly separated the dramatic reality, the comic elements and the over-the-top farce…a hard thing to do.  Her cast understands the differences and paces, pauses and stresses to create the right effects.

The staging is aided by the creative choreography of Martin Céspedes.  He uses Charleston dance moves of the ‘20s, combined with some hints of Shakespearean attitudes.  Even the scene changes and exits and entrances have choreographic images.  The classically trained actors look at ease doing dance steps, which, for most of them, may be a performance stretch. 

Cassandra Bissell is spot on as the sarcastic Beatrice.  She is balanced by J. Todd Adams (Benedick), who matches her barb for barb, in spite of a distracting fake beard.  Their interactions are like watching well choreographed verbal sword fights.

Betsy Mugavero is charming as lovely Hero.  Neil Brookshire nicely balances both the love-struck and dramatic scenes with fidelity.

David Anthony Smith well portrays Don Pedro, while Juan Rivera Lebron is evil incarnate as Don John, the villain of the story.   He was so convincing that on opening night, he received boos from the audience during the curtain call.

Laurie Birmingham was her usual delightful self as Antonia, Hero’s mother.  David McCann was her equal as her husband.

Dougfred Miller as the bumbling constable, and M. A. Taylor as his sidekick, Verges, nearly stole the show with their keystone cops personas.  The duo was so over the top realistic that they achieved farce at its highest level, having us laugh with, rather than at, a difficult task indeed.

Capsule judgement: GLT’s MUCH ADO ABOUT NOTHING, under the creative and disciplined direction of Sharon Ott, and choreography by Martin Céspedes, is Shakespearean comedy at its highest level.  Bravo! Bravo!  Bravo!

 

BLITHE  SPIRIT…Nöel Coward at his delightful best

Nöel Coward is noted as being one of the most creative dramatists, writers, composers, lyricist, painters and wit of the Western World.  In fact, through his creations he is noted for virtually inventing the concept of “Englishness.” It has been noted that, “he was defined by his Englishness as much as he defined it.”

From the early to mid-twentieth century, on both sides of the “pond,” Coward was so much a high level creator of wit and humor that he was dubbed “The Master.”

Everything about Coward was classy.  Interestingly, he was not born into the upper class, but, even though the early 1900s in England was a very class-conscious society, through determination and charm, Coward earned entry into the choicest of circles.

He once said, “I am determined to travel through life first class.”  To enhance this image, he often wore lavish dressing gowns, a costume necessity for his play’s leading men.

He spoke with a distinctive clipped diction and staccato type of speech because his mother was deaf and this helped her to hear him better.  That sound is woven into many of the leading male roles in his plays, roles he often played on stage. 

BLITHE SPIRIT, a 1941 escapist comedy, is one of Coward’s most popular plays.  It centers on Charles Condomine, a socialite and novelist.  Condomine is married to Ruth, his second wife.  As the basis for a new book he is writing on clairvoyance, he invites Madame Arcati, an eccentric medium, to conduct a séance.   Chaos breaks loose when Charles’ dead wife, Elvira, is summoned.  She arrives, causes mayhem, and refuses to leave.  Hysteria and plot twists and turns, as only Coward can conceive them, become the rule of the day.

Coward, the consummate wordsmith, creates instances that are pure delight.  His plays need little in the way of directorial invention.  The words and the situations develop into humor and move the story right along.

Great Lakes Theater’s BLITHE SPIRIT is quite humorous.  Unfortunately, due to a casting glitch and some slow pacing, it is not as riotous as it could be. 

Director Charles Fee, the local king of farce, adds his own twists by adding some funny shticks such as exaggerating the line descriptions for the actions of Edith, the hyperactive maid, but also playing other scenes for guffaws, rather than allowing Coward’s ironic humor to emerge.

The lead women in the cast are strong.  Maggie Kettering is properly uptight as second wife Ruth.  The beautiful Shanara Gabrielle is right on target as the dead, young, and modern first wife, Elvira. 

Lauri Birmingham totally understands how to create Coward.  She plays Madam Arcati straight, allowing the master’s lines to incite the humor.  The only thing that distracts are some dancing around stage movements, which were added for farcical delight.

Jodi Dominick is hysterical as Edith.  Even in places where farce replaces comedy, she is  capable of being laughed with, not at.

Aled Davies and Molly McGinnis are character right as Dr. Bradman and Mrs. Bradman, house guests for the séance.

Eric Damon Smith mugs, sneers, and bares his teeth as Charles, thus nearly destroying the character written by Coward.   The overacting detracts, rather than enhances.

Russell Metheny’s  elegant set design, Kim Drumm Sorenson’s costumes and Rick Martin’s lighting all work well.

As with plays of its era, BLITHE SPIRIT is 3-acts.  With two intermissions it runs around 2 and one-half hours.

Capsule judgement: Nöel Coward’s BLITHE SPIRIT is one of those magical epics that delights audiences.  Great Lakes Theater is blessed with some excellent female leads who help make the show a smile fest, though it should have been the laugh fest created by the master.

Roy Berko's blog, which contains theatre and dance reviews from 2001 through 2013, can be found at www.royberko.info. His reviews and commentary can also be found on www.coolcleveland.com and www.NeOHIOpal, Broadwaynews.com and ArtsAmerica.org.