Astounding CABARET compels at School of Theatre and Dance of Kent State

 

On a mid-December evening in 1966, as I walked down the aisle to my mezzanine seat in the third row of the Broadhurst Theatre in New York to see one of the first performances of the musical CABARET, I was struck by my image reflected by a huge convex mirror stage.  The closer I got to the stage, the more I was confronted by my grotesque-self getting larger, longer, and out of proportion.     Little did I know, at the time, that out-of-focus image was reflecting the concept of the era being depicted in the story. Yes, it was the time of the growth of the Nazi Party, the rise of Hitler, the creation of concentration camps, and the destruction of much of the Jewish/Gay/Gypsy/Communist/disabled populations of eastern Europe.   Yes, theatre, as is true of the arts, represents the era from which is comes.  And, CABARET, the John Kander (music), Fred Ebb (lyrics), Joe Masteroff (lyrics) musical, is a perfect reflection of the decadence and horrors of that time.     The musical, which in its first staging starred Cleveland-native Joel Grey, was not an instant success due to its perceived immoral content.  As Masteroff shares, “When the show opened in Boston there were a lot of walkouts; however, once the rave reviews came out the show was a success.”    The multi-award-winning script inspired numerous subsequent productions as well as the 1972 Emmy winning film.    “Set in 1929–1930 Berlin during the twilight of the Jazz Age, the musical focuses on the hedonistic nightlife at the seedy Kit Kat Klub and revolves around American writer Clifford Bradshaw's relations with English cabaret performer Sally Bowles. A subplot involves the doomed romance between German boarding house owner Fräulein Schneider and her elderly suitor, Herr Schultz, a Jewish fruit vendor. Overseeing the action is the Master of Ceremonies at the Kit Kat Klub, and the club itself serves as a metaphor for ominous political developments in late Weimar Germany.”    American writer Christopher Isherwood's autobiographical tales is of his escapades when he came to Berlin to enjoy the city's orgiastic cabarets in hopes of finding a topic about which to write a novel.     Two weeks after Adolf Hitler implemented the Enabling Act, which cemented his dictatorship, Isherwood fled Germany and returned to England on April 5, 1933 and wrote GOODBYE TO BERLIN. (CABARET is based on the John Van Druten 1951 play I AM A CAMERA, which was based on the Isherwood book.) The script had a strong rebirth when in 1993 Sam Mendes directed a reconceptualization version in London.    The most significant change in the reimagined CABARET was in the character of the Emcee. In the original version the role, as played by Grey was an asexual character with rouged cheeks dressed in a tuxedo. Alan Cumming, in the Mendes-directed version, was highly sexualized, and the horror of the forthcoming Holocaust was emphasized.   The KSU production, using the Mendes interpretation, is under the creative and focused directing of Terri Kent and the ingenious choreography of Martin Cespedes, who also serves as Artistic Collaborator.  It is astounding.     The story is clearly told.     The characters are clearly etched.     Cespedes’ “Willkommen” opening number movements set a perfect pace  and image for the show.  The kick-line in “Married” had the audience screaming for more.     The orchestra arrangements often differ from previous productions.  “Cabaret,” Sally Bowe’s epic song, gets a character-developing “hard-assed,” interpretation by Madison Shannon, as does her interpretation of “Main Herr” and “Maybe This Time.” Hers is not a Liza Minnelli air-headed character-copy.   “Married” a duet by Tim Culver, as Schultz and Rebecca Poole, as Frau Schneider, has all the necessary delight, but has an added foreshadowing of the disaster to come.     “Tomorrow Belongs to Me” is powerfully engulfing.    “I Don’t Care Much” (Nicholas Bradley as the Emcee—he alternates in the role with Dominic Young) and “The Finale” (Anthony Ghali as Cliff and Bradley) sets the audience up for an emotionally-wrenching ending.   It is so tempting to explain in detail the powerful finale, but it would be a disservice to future audiences.  Just to say, it would have been made even stronger if the blackout at the end had been held even longer, letting the audience sit in darkness, deservedly uncomfortable, and then walking out in half-dimmed lights with no curtain call.   Jennnifer Korecki’s orchestra is right on key, but could have been tuned-down in some segments, where they drowned out the singers.   The sets (Gennie Neuman-Lambert), costumes (Michelle Hunt Souza), lights (David Bruns) and sound (Bella Brehm) designs were excellent.  The concept of using up-side down chairs as cells and cell bars was ingenious.   Capsule judgment:  KSU’s CABARET is one of the highest quality college performances this reviewer has ever seen.  Every aspect was well-conceived.  Terri Kent and Martin Cespedes are to be commended for their vision and execution and every person who participated in bringing this show to stage should be proud of their accomplishments!  Applause, applause, applause. CABARET runs through November 9.  Tickets can be purchased through the Performing Arts Box Office by phone at 330-672-2787 or online at https://kentstateticketing.universitytickets.com/w/default.aspx?cid=167. (Fairness factor:  I am a proud theatre/speech graduate of Kent State University (Class of 1955) and hold the distinction, while serving as Vice President of the Student Senate and All-University Social Chairman, of being the producer of FINIAN’S RAINBOW, noted as the first official musical theatre production at KSU.  This was long before the school had a Musical Theatre program.)

 “PARADE” showcases Southern anti-Semitism and political corruption on stage at Kent State 

Roy Berko

(Member, American Theatre Critics Association, Cleveland Critics Circle)

It is totally appropriate in this era of increased activity by White Supremist groups and rising anti-Semitism, that Kent State University’s Musical Theatre program stage “PARADE,” with book by Alfred Uhry and music and lyrics by Jason Robert Brown.

The musical dramatizes the 1913 trial of Jewish factory manager Leo Frank, who was accused and convicted of raping and murdering a thirteen-year-old employee, Mary Phagan. The trial, sensationalized by the media, spotlighted anti-Semitic tensions in Georgia. 

When Frank's death sentence was commuted to life in prison by the departing Georgia governor, due to his exposing problems with the trial, Frank was transferred to a prison in Miledgeville, Georgia, where a lynchingparty seized him.

Frank was taken to Phagan's hometown of Marietta, where he was hanged from an oak tree. 

The events surrounding the investigation and trial led to two groups emerging: the revival of the defunct KKK and the birth of the Jewish Civil Rights organization, the Anti-Defamation League (ADL). 

Ironically, even after the revelation of lying, witness tampering, and Franks’ lynching, it was not until 1986 that the state of Georgia posthumously declared him innocent. 

The script was crafted by Jason Robert Brown and Alfred Uhry, both Southern Jews.  Ironically, Uhry’s great-uncle owned the pencil factory run by Leo Frank, which is the lynch pin of the story.

The Broadway production won Tony Awards for both the book and the musical score.  The story, much like Uhry’s “DRIVING MISS DAISY,” illuminates not only his keen story-telling ability, but his knowledge of the South and its long history of anti-Semitism.

The music is very much in the vein of Brown’s trademark rhythmically dynamic and harmonically unconventional melodic style and contains pop-rock, folk rhythm and blues and gospel music.  

The emotionally charged play, which is based on a tale which normally wouldn’t be considered ideal for a musical, highlights political corruption and ambition, highlighted by the corrupt prosecutor, Hugh Dorsey, who later became the governor of Georgia and a judge, and anti-Semitic Tom Watson (later elected a U.S. senator). 

The KSU production, under the direction of Fabio Polanco, who was recognized as best actor of 2019 by Broadway World for his astonishing performance in Porthouse Theatre’s “MAN OF LAMANCHA,” clearly develops the story line.

Polanco’s program notes state that his goal for the production “is to show how art can lead spectators to think, question and learn about the social conditions exhibited in the work, and consider parallels between the past and the present and engage in civic discourse.”  

The production is slowly paced, with special care to highlight the angst, corruption and Southern manners traditionally stressed.  Though the cast varies greatly in their southern drawls and accents, there is little variance from highlighting the play’s southern setting, with a southern belle floating through many of the scenes to illustrate that, in spite of the Civil War, the “old” south still exists.  

KSU Freshman Matthew Hommel shines as the high strung, obsessive Leo Frank.  His fine singing voice and riveting stage presence bode well for his theatrical future.  

Devin Pfeiffer is slick and smarmy as over-zealous, politically motivated Hugh Dorsey.  Terence Cranendonk displays a nice singing voice as governor John Slaton.  

Though some of the choral sounds were not well-blended, the cast generally displayed strong singing voices.  Jonathan Swoboda’s orchestra did a nice job of not only playing the difficult music well, but underscored the cast, thus allowing for the important words of the vocals to be easily heard.

Tamara Honesty’s scenic design, as well as Caleb Stoller’s sound design and Sierra Walker’s lighting all worked to enhance the production.  The costumes, unfortunately, were not consistently era correct.  The choreography was often static and uncreative and not always well-performed. 

CAPSULE JUDGMENT: “Parade” tells a wrenching tale of hate and corruption that highlights the worst in people.  It is told in a well-conceived story with strong musical messages. The KSU production is a solid college production.

“PARADE” is scheduled to run at Kent State University through March 1, 2020.  For tickets and information call 330-672-ARTS or go to www.kent.ed/theatredance.com

Dynamic, must see “HAIR” commemorates Kent State Massacre of 1970

On May 4, 1970, over a period of 13-seconds, nearly 70 shots were fired upon Kent State University unarmed students by the Ohio State National Guard.  The students, and their supporters, were protesting against the bombing of Cambodia by the United States, part of the ill-conceived Vietnam incursion.  Forever after, to be known as “The Kent State Massacre,” the attack killed four and wounded nine others.

It is entirely appropriate, as the university prepares for the 50^th anniversary of that event, they do so with the staging of “Hair:  The American Tribal Love-Rock Musical.” 

The James Rado, Gerome Ragni, Galt MacDermot’s hippie, counterculture, sexual revolution musical that introduced rock and roll to Broadway, shocked the nation with nudity, swearing, anti-Vietnam protest, sexuality, drug usage, and irreverence for the American flag.  It is a perfect example of theatre representing the era from which it comes and how to teach history through the arts.  

“Hair” is often referred to as the ending the bookend of the era known as the Golden Age of Broadway.  The first true book musical, “Oklahoma” (1943), set the format for what is known as the American Musical, and the Age of Aquarius musical (1968) ushered in major changes to that format, showcased by a racially integrated cast, taking on a serious topic, and adding rock music to the genre’s lexicon.  

The script is time-specific, furthering the concept that theatre is representative of the era from which it comes.  “Hair” is the 1960s, a time of political activity, flower children, drugs, long-haired hippies, bohemian life style, free love, tie-dyed shirts and polyester bell bottom pants, rebellion against tradition family values and conservative beliefs, and the preaching of making love/not war.  

“Hair” tells the tale of friends, Claude, Berger and Sheila, and their “tribe” as they struggle to balance their youthful lives, with rebellion against the Vietnamese War and draft conscription.  It is also a reflection of the tidal waves of change that were ripping the country apart.

Even the theatrical staging of the original was a change from tradition with scaffolds to climb, breaking of the third wall with cast members flowing over the apron of the stage to interact with the audience, and dance and sing down the aisles.  This was definitely not “Oklahoma,” “My Fair Lady,” or “Annie Get Your Gun.”

The score is eclectic and electric.  “Aquarius” placed the “world” in a dream-like/flower power state.  “Sodomy” gave words to free love. “Hashish” introduced the topic of drugs.  “Colored Spade,” Black Boys” and “White Boys” put black oppression front and center.  “Hare Krishna” assaulted western organized religion.  “Where Do I Go” showcases the angst of growing up in the era.  “The War” shocks reality, while “Good Morning Sunshine” opens new paths. And, on and on it goes… confronting realities, challenging what was, and making a case for what might be.

The KSU production is brilliantly and intelligently directed by Terri Kent.  It wisely does not try to bring the story to the 2000s, but emphasizes it as a historical piece of reality, complete with its Kent State connection, which is creatively developed with pictures of the campus massacre emblazoned on a parachute, similar to those that were used to drop the US military-forces onto foreign soil.

Choreographer Martin Céspedes has re-imagined the original movements to make the cast into a dancing, singing, story-telling machine.  The performers respond to the staging with enthusiasm and power.  His visual creations fit the music and create the desired effects.  It’s exciting to see dancers on stage, well instructed and inspired.  Bravo!

The vocalizations are outstanding.  The choral sounds are full and engulfing.  Impressive is that the entire cast stayed in character throughout the production, creating the needed reality.  They weren’t acting, they were being.

The cast is universally excellent.  There is not a weak-link.  

 Ben Richardson-Piché (Woof) nails “Sodomy.” The strong voiced Brian Hirsch (Claude) plays “Manchester, England” for appropriate tongue-in-cheek laughs, and textures his role with wise performance choices.  “Eyes Look Your Last,” led by Sami Kennett (Sheila), was transfixing.  Lexie DiLucia (Jeanie), Hallie Walker (Crissy), and Sy Thomas (Dionne) nicely interpret “Air,” singing meanings not just words.  Hallie Walker is “child-like” endearing in her rendition of “Frank Mills,” while Aylah Mendenhall wails with delight throughout. 

Music Director Jennifer Korecki and her orchestra are note perfect, setting the right rock tone.

The technical aspects, especially the visual images and lighting, enhanced the production.

I dare you to sit impassively through the last scene without eyes welling, thinking back to the slaughter of innocents on the KSU campus, and not wanting to rage against war, especially the Vietnam debacle.  

CAPSULE JUDGMENT:   This production will make you aware of the changes that took place in this country by the reactions to the Vietnam War, including bringing about the Kent State Massacre, while illustrating that theater can not only entertain, but shine a mirror on history.  See “Hair?”  Absolutely! It is a powerful and well-conceived production!  The Terri Kent-Martin Cespedes combination, as was evidenced in “Man of La Mancha” at Porthouse this summer, sparkles again.  Bravo!

“Hair” is scheduled to run at Kent State University through November 10, 2019.  For tickets and information call 330-672-ARTS or go to www.kent.ed/theatredance.com

Creative staging, quality singing featured in Kent’s “Children of Eden”

When one thinks of Stephen Schwartz, the lyricist and composer of theater titles “Godspell,” “Pippin,” and “Wicked,” or the films “Pocahontas,” “The Hunchback of Notre Dame,” and “Enchanted” come to mind.  How about “Children of Eden”?  Probably not.

Yet, in 1991 Schwartz did pen that show.  Why isn’t it commonly identified with this prolific tunesmith award winner?  It was one of Schwartz’s few flops.

“Children of Eden” is a two-act musical, with a book by John Caird.  The first act is based on the Adam and Eve, Cain and Abel tales from the Book of Genesis.  The second act deals with Noah and the flood. 

Originally written under the title “Family Tree” for a production by Youth Sing Praise, a religious-oriented high school theater camp, it was later adapted into a full-length musical intended for commercial use, with its new “Children of Eden” title. 

It opened in January of 1991 and closed in April of that year in London’s West End.  Poor reviews sealed its fate.  Interestingly, though it has not been revived for professional productions, it has become a staple for community and educational theatres.

Though Schwartz’s music is fine, it’s the book that pales.  The first act is the better written of the two. 

The story generally holds the attention as God creates and then warns Adam and Eve not to be tempted to eat from the tree of life.   The all questioning Eve breaks the rules and the duo, along with their children, Cain and Abel, are sent from the Garden of Eden to wander in the wilderness.  Cain eventually kills Abel, is marked with the “sign of Cain,” and sin and destruction follow.

The second act tells of Noah’s building of the Ark and the killing off of those not thought worthy of continuing to inhabit the earth.  It is filled with many innocuous lines and situations that defy smooth story-telling.

Artistic director Terri Kent has let all her creative talents fly in staging The Kent State University School of Theatre and Dance production.  She is ably assisted by MaryAnn Black, whose innovative choreography helps create moving pictures.  Ben Needham's original scenic designs, three constantly moving steel pipe scaffolds, and building blocks whose sides are painted with pictures that depict various visuals as they are assembled and disassembled, create all the needed images from the ark, to animals, to the tree of life

The cast, under the musical direction of Jennifer Korecki, sings well.   The solos are strong and the choral blends are clearly in-tune.  The orchestra nicely underscores, rather than drowning out the singers, as is more and more common in many musicals.

In the first act, Fred Rose creates a strong yet loving Father (God).  He has a strong singing voice and nicely interprets his lines.   Devon Pfeiffer and Merrie Drees are charming as Adam and Eve.  Each has a fine singing voice and creates a realistic character.  Mason Henning shines as Cain.  The young man sings and moves with confidence, displaying strong talent.  His “Lost in the Wilderness (Reprise) is one of the show’s finest vocals.  Adam Kirk does a nice turn as Abel.

The first act ends with the show’s highlight, “Children of Eden.”

In the second act Clinton Owens develops a believable Noah.  Montria Walker whales as Mama Noah.  Her “Spark of the Skies” and powerful solo in “In the Beginning” are showstoppers.

Capsule judgment: “Children of Eden” gets a strong production due to creative staging, innovative choreography, fine singing, and an effective set design.  The production, which far exceeds the mediocre book, is an excellent showcase for the Kent State musical theater program students.

“Children of Eden” runs in the E. Turner Stump Theatre on the Kent State University main campus through November 11.  For tickets call 330-672-ARTS or go on-line to http://www.kent.edu/theatredance

Cradle Will Rock, a product of the Federal Theatre Project, is next Musical Theatre Project staging

In 1929 the country was plunged into a financial collapse.  The result was a diminishment of funds for not only food and housing, but the collapse of the arts, including the film and theatre industries. 

Live stage productions had been diminished even before the crash due to the rise of  popularity of films and radio, so the financial crisis was literally the nail in the coffin to the near demise of commercial theatre.

In 1935, then President Franklin Delano Roosevelt enacted the New Deal with the intent putting the population to work on federal programs.  Included in that legislation was The Federal Theatre Project. 

The FTP was created as a relief measure to employ artists, writers, directors and theatre workers, as well as to give low to no cost entertainment outlets to the people suffering from the drastic change in their economic and aesthetic lives. 

A federation of local theatres was created to encourage experimentation in new forms and techniques, including encouraging millions of Americans to see live theatre for the first time.

Hallie Flanagan, the National Director of the FTP, tried to keep the program apolitical, promising “to lay the foundation for the development of a truly creative theatre with outstanding producing centers in each region of the country which would have common interests as a result of geography, language origins, history, tradition, custom, and occupations of the people.”  Unfortunately, the project ran into a buzz saw of controversy when conservatives contended that the productions were “left-wing political messages.”

One of the shows created by the FTP was Marc Blitzstein’s The Cradle Will Rock.  It started previews on Broadway on June 16, 1937, with elaborate sets and a full orchestra.  It was closed down four days later by a censorship board which declared it “too radical.”  The theatre was padlocked!

The production team rented the Venice Theatre and a sold out house saw a stripped down show (the costumes and sets were locked in the Elliott theatre, where the show was to be performed), with only Blitzstein at the piano (the musicians’ union refused to play unless they received their full salaries). The actors, in defiance of their union which had refused permission to allow them to appear on stage, sat in the audience and rose when they were to perform to recite lines and sing.  The result was a successful extended run.

The Cradle Will Rock, will receive several local productions under the partnership of the Musical Theatre Program of Kent State University and the Musical Theater Project. 

Directed by Terri Kent, with musical direction by Nancy Maier, the in-concert musical will feature Joe Monaghan and members of the KSU Musical Theatre program.

A recent interview with KSU Professor Kent, revealed much about the upcoming KSU/TMTP staging and her attitudes about the play.

Q.  Cradle was written was written in 1937.  Why do you think it is relevant today?

A. “We all struggle with times when we must choose between our principles and the powers that be.  Are we selling out, or protecting our well-being and families?  With the election on our heels, I think these questions are haunting our country on a daily basis.”

Q.   The show was part of the Federal Theatre Project.  Do you think today’s audiences will know anything about that project and why it was needed?

A.  “Bill [Rudman] and Nancy [Maier] and I are going to do a pre-show, multi-media presentation on the background and controversy of the show. So the audience will have a context in approaching our 60-minute version of Cradle. We think they will be hungry for it!  Bill has written the pre-show presentation, which is extremely compelling.  Working with Bill is like having a musical
theatre historian and dramaturge at every rehearsal.”

Q.  The musical is a Brechtian allegory of corruption and corporate greed and includes references to societal figures of the day.  Is the concept too abstract to stage as a reading?

A.  “Not at all.  Yes, Blitzstein [the author] was influenced by Brecht. [Bertolt Brecht developed the concept of the Epic Theatre that proposed that a play should not cause the spectator to identify emotionally with the characters or action, but should self-reflect.  He had the actors directly address the audience, used harsh and bright stage lighting, used songs to interrupt the action, displayed explanatory placards, and had the actors speak the stage directions aloud.]

“Much of Cradle Will Rock, as Blitzstein said, is a ‘cartoon.’ And in doing it as a reading, we’re coming very close to what director Orson Welles [the play’s original director] did with it for its Broadway run: no sets, street clothes, simple lighting and the actors seated on stage.  It focuses attention on the stunning words and music.  Welles called it an ‘oratorio version.’”

Q.  How are you going to handle the references to the societal figures who are    unknown to present day audiences?

A.  “The satire is so clear for the actors in each of their scenes that no footnotes
are needed to enjoy it. But of course, the actors are googling all those references. The more they understand about the times, the more clearly they can tell the story.  Again, with Bill in rehearsal, we have a built in dramaturge!”

Q.  There is an operatic quality to the show. Are your students capable of pulling that off?

A.  “Though Blitzstein admitted he had written an opera, he wanted nothing to do with operatically trained voices.  He knew that would work against the piece.
Like Brecht and Kurt Weill in The Threepenny Opera, he wanted actors first,
singers second, and yes, our students will do full justice to this highly theatrical
score.”

Bill Rudman, the Artistic Director of TMTP in the publicity for the production states his belief regarding the purpose of the show that, “Cradle goes well beyond the theme of Unionism, challenging all of us to stay true to our principles no matter what the cost.”

The Cradle Will Rock (In-Concert Musical) will be presented on Wednesday, September 21, 2016 at 7:30 PM at the Beck Center for the Arts, Mackey Theatre. For tickets call 216-245-8687 or visit MusicalTheaterProject.org
Sunday, September 25, 2016 at 2 PM at Kent State University’s E. Turner Stump Theatre.  For tickets call 330-672-2787 or visit kent.edu/theatredance

Kent State’s Musical Theatre program joins Musical Theater Project for ZORBA!

“I believe in grabbing at life.”  “Every minute is a new minute.”  Thus states Zorba, the lead character in ZORBA!, a musical that “captures of the spirit of Greece and celebrates a people who embrace love, life and death with equal passion.”

As a follow-up to its PERFECTLY MARVELOUS:  THE SONGS OF JOHN KANDER, the Musical Theater Project will be present an in-concert version of Kander’s ZORBA!, in coordination with Kent State University’s Musical Theatre program.

An adaptation of Nikos Kazantzakis’ novel “Zorba The Greek” and the 1964 movie based on the book, the musical is set in Crete in 1924.   It centers on Zorba, a Greek who has a life-embracing philosophy, which he intends to share with Nikos, an uptight young student.  Nikos has inherited an abandoned mine in Crete which he wants to reopen.  A friendship develops between the very opposite men, and romantic relationships develop between the duo, a French woman and a local widow. 

The show, which premiered on Broadway in 1968, was nominated for Best Musical.  It has music by Kander, lyrics by his longtime writing partner Fred Ebb, and book by Joseph Stein. 

An interview with Terri Kent, Head of the Musical Theatre Program at KSU and Producing Artistic Director of Porthouse Theatre, who will direct the concert, revealed that she and Bill Rudman, the Artistic Director of MTP, have developed a partnership to produce shows for TMTP using Kent State students.  Last year, they staged BABES IN ARMS.

In order to prepare for working with ZORBA!, which will focus on the text and music rather than the traditional staging, Kent probed into Greek culture, traditions and dancing.   Fortunately, she had a built-in resource in Effie Tsengas, the KSU College of the Art’s Communication and Marketing Director, who is Greek and is involved as both a Greek folk dancer and instructor at several Greek churches.  Kent also watched the movie, which starred Anthony Quinn. 

Kent indicated that since this isn’t a traditional production, the four dance numbers written into the show, which move the story along, will have to be creatively dealt with. 

The director is aware that when the show originally opened, reviewers commented that the “material was too dark,” and the “book was too heavy” for a Broadway musical.  She states, “Yes it is dark, but it is also a celebration.  The tone is set by the exquisite music.” 

Kent explains, “ZORBA! is hopeful.  It is about finding the joy in life.”   As philosophized by the lead character, “you can live life as if you are going to die tomorrow or you can live like you are going to live forever.  The latter makes you free.” “Zorba accepts things that are unacceptable . . . he takes ownership for what he does.  He is honest.  He is likeable.”   “Many people can’t live life being a Zorba, but it sure offers a lot to be admired.”

She also indicated, “When the musical opened in 1968 there had been few musical dramas.  Since then the likes of SWEENEY TODD [and other Sondheim musicals] have changed the musical theatre landscape.” 

The show is being developed on the Kent campus where tryouts were held earlier this fall.  Jennifer Korecki, an Assistant Professor of Musical Theatre, is preparing the music with the cast.  Nancy Maier, MTP’s musical director, will come in close to the production dates and the duo will polish the musical aspects of the performances.

The cast will include 17 people playing 53 roles, standing behind podiums with microphones.   KSU faculty member Fabio Polanco will portray Zorba and Jess Tanner, an MFA graduate student, will portray Hortense.

ZORBA! In-Concert Musical, will be presented Saturday, December 5 at 2 PM in the E. Turner Stump Theatre on the campus of Kent State University (tickets—General admission $18, Seniors/TMTP members $14):  330-672-2787 or kent.edu/theatredance) and Wednesday, December 9 at 7:30 PM in the Mackey Main Stage Beck Center for the Arts (tickets—General admission $26, Seniors/TMTP members $21, Children 12 and under $10):  216-245-8687 or online at musicaltheaterproject.org) 

There will be post-show discussions with the performers, director Terri Kent and Bill Rudman.

MY HEART IS THE DRUM gets staged premiere at Kent State

One of the major purposes of collegiate musical theater programs, besides teaching acting, singing and dancing skills, is to expand student knowledge of not only traditional, but new scripts.  Kent State is offering its students such an opportunity by presenting MY HEART IS THE DRUM.

Though the Jennie Redling (book), Phillip Palmer (music and original concept) and Stacey Luftig (lyrics) musical has been workshopped three times in the last couple of years, this is the first completely staged version.

The time is 2000.  Dealing with such subjects as the lack of educational opportunities for women, arranged marriages, AIDS, superstition, and Ghana gender traditions, the script aims to illustrate the country’s third world mentality regarding health issues and male and female societal roles.

Efua Kuti, an intelligent young lady who lives in Kafrona in rural Ghana, is encouraged by her teacher to attend university.  Efua’s father, who needs her to pick and sort cotton so the family can eke out a living, opposes her educational advancement. 

When Efua’s cousin, Balinda, is given in an arranged marriage to a “wealthy” jewelry merchant in Accra, the country’s capital, where a university is located, Efua accompanies her.  The duo confronts the issue of sexual slavery when Caesar Nabuto, the merchant, turns out to be a man who sells his product by supplying women to his wealthy patrons.  Both Efua and Balinda are trapped into working for Caesar.  Efua fights off the advances of the man to whom she is given. Balinda is not as fortunate.

Edward, who is in love with Efua, and who has been betrothed to her in an arranged marriage forced upon her by her father in an attempt to control her and keep her in Kafrona, follows the girls to Accra and frees Efua and Balinda.

Brought back to Kafrona, Efua is determined to get her education, and Balinda, who has acquired AIDS, dies and follows her Nana into the spirit world of her ancestors.

The script is not well developed.  It bridges segments with a lack of clarity.  The music, though often poignant, generally lacks true African cadence and vividness.  The words to the songs are often trite.  This lack of material fidelity makes it difficult for the student cast, under the direction of Terri Kent, to create real characterizations.

Samara Costa displays a nice voice and her Efua is as believable as possible with the lines she is given.  Alex Echols is also on point as Balinda, but, as with Costa, is limited in her character development by unreal sounding conversational language and a lack of plot fidelity.  David Holland has a nice voice and is delightful as the fearful Edward.  His “What’s Possible” is the comedy highlight of the production.

Colleen Longshaw has a fine voice and creates a nice characterization as Nana, the guiding spirit of the Kuti family.   Her “Your Heart is the Drum” is poignant.
Kirk Lydell displays strong dancing abilities. 

Musical Director Jonathan Swoboda wisely has his orchestra underscore rather than overshadow the performers. MaryAnn Black’s choreography tries to add Afro beat dancing but is somewhat limited due to the musical score. Benjamin Williams has created a clever scenic design centering on ever-moving curved set pieces with African motifs.

CAPSULE JUDGMENT:  Kent State’s Musical Theatre Program should be commended for exposing their students to a new theatrical experience in MY HEART IS THE DRUM.  Though the material is generally obvious and often trite, the message of third world naivety, when it comes to curing diseases such as AIDS, the plight of women in a patriarchal society, and the dependence on tradition and superstition, comes through.

MY HEART IS A DRUM runs from February 20-March 1, 2015 at Kent State University. 

Kent State’s Porthouse Theatre, located on the grounds of the Blossom Center, will present A LITTLE NIGHT MUSIC, June 11-27, VIOLET, July 9-25, and HAIRSPRAY, July 30-August 16.   Single tickets go on sale May 26 at 330—672-3884.  For more information go to http://www.porthousetheatre.com

KSU + Musical Theatre Project = "Babes in Arms"

There’s a new couple in town.  The musical Theatre Project and Kent State’s Musical Theatre program are joining forces to do a staged reading/sing-through of the musical “Babes in Arms.”

People familiar with “Babes in Arms” usually think of it as the “hey let’s us kids, put on a play.”  The 1939 wholesome movie starred Judy Garland and Mickey Rooney.  What might surprises many is that a 1937 theatre version preceded the film. 

To add to the surprise, the original play had political overtones which delved into the concept of Nietzscheism, had a Communist character, and showcased two African-American youths who were victims of racism.   The play was redone in 1959 and was, as the publicity heralded, a “sanitized, depoliticized rewrite.” The script was again adapted in 1999 by John Guare. 

The score includes such classics as “The Lady Is a Tramp,” “Johnny One Note,” “I Wish I Were in Love Again,” and “My Funny Valentine.” 

An interview with Terri Kent, chair of the musical theatre program at Kent State shared some interesting information about the “Babes in Arms” production and the KSU program.

Kent State got involved in this project when Terri was contacted by Bill Rudman, Artistic Director of the musical Theatre Project.  The duo discussed several shows and honed in on “Babes In Arms” because many of the roles are populated by characters the ages of the University’s student body.  Besides the age parallel, Kent liked the idea that the show was set in the mid-thirties and “allows students to gain an understanding of the society of that time.”

Though Kent and Rudman had never worked together, she knew his work and “admires him as a musical theatre historian.”

The twelve students selected for the production tried out in three days of auditions which the KSU musical theatre program holds for all their main stage shows.  In addition to the students, four adults were cast to play the “mature” members of the story.  These are MaryAnn Black, Ron Thomas, Rudman and Kent.  The cast will be supported by musical director, Nancy Maier.

Kent has 85 musical theatre students.  This addition to the regular on-campus productions, and Porthouse Theatre’s summer program, the MTP involvement gives the future “professional theatre stars” a chance for more roles.  KSU grads have gone on to star on and off-Broadway, in cruise ship productions, work at such entertainment venues as Disneyworld, and have become school and college drama teachers and professors.

One of the emerging aspects of the KSU theatre offerings is the Returning Professional Program, in which college graduates, who have been involved in theatre productions, return to campus to finish their advanced degree. Ken Howard, Broadway  (“1776,” “Promises, Promises,” and “See Saw”), film (“The Country Girl,” “Strange Interlude, and “J. Edgar” and television  (“The White Shadow” and “The Thornbirds”), who went on to be president of the Screen Actors Guild, was the first participant in the degree program.  Graduates include Cleveland area performers Tracy Patterson, Greg Violand, and Mark Moritz.  Paul Floriano is now a student.

Kent is looking forward to staging the first student production of the new musical, “My Heart Is The Drum,” in February, 2015.    The show, which has an all Black cast, takes place in Ghana, and centers on Efua Kuti who flees her village when she is forced to marry, but wants to get an education.  It is filled with driving rhythms and rich vocal harmonies.  http://www.myheartisthedrum.com.     

“Babes In Arms” will be presented on September 18 @ Beck Center for the Arts, 8 PM and September 21 @ Stump Theatre, Kent State University, 2 PM.  For tickets call (Beck) 216-521-2540 X10 or visit http://www.beckcenter.org or KSU 330-672-2787, http://www.kent/edu/artscollege/

KSU's Roe Green Visting Director's Series

KSU'S VISITING DIRECTOR'S SERIES--2012

Local arts patron and activist Roe Green is at it again! Much of Cleveland theatre is stamped with the Roe Green tag. She’s the sponsor of the Cleveland Critic’s Circle’s ClevelandTheaterReviews.com. She’s the fairy godmother to the Kent State University’s theatre program, as her foundation recently built their new theatre and dance center. She serves on the KSU Foundation, School of Theatre and Dance and Porthouse Theatre’s Advisory Boards. She serves on the board of The Cleveland Play House and has been the honorary producer for their Fusion Fest. She sponsored the theatre program at the Jewish Community Center for many years. She has also donated to other area theatres.

Her latest foray into the arts is KSU’s Roe Green Visiting Director’s Series which brings in a playwright to work with students and create an original theatre piece. This year’s director/playwrite is Ami Dayan. Dayan, who has studied and worked professionally in the U.S., Europe and Israel, was recently commissioned by The Denver Center Theatre Company and the Colorado Shakespeare Festival to craft new works. He is the president of Maya Productions, an independent theatre company (see www.mayaproductionsinc.com).

Dayan has adapted Gotthold Ephraim Lessing’s 1779 literary masterpiece NATHAN THE WISE, one of the earliest pieces celebrating religious tolerance into a play with music. In actuality, it is a full-ledged musical drama. The script is a plea for religious tolerance between Judaism, Islam and Christianity.

The KSU production succeeds on many levels. It is entertaining, tells its tale in an audience involving mode, and has some interesting, if not memorable music. As is the case with any work-in-progress, it needs some tweeking.

The student cast members do a nice job of developing their roles. The singing is generally very good, the musical sounds enhanced the show supporting rather than drowning out the performers.

Again, thanks to Beachwood High School grad Roe Green for her continued support of the arts.

Roe Green Center at Kent State

College Theatre: Roe Green Center @ Kent State

On November 6, the Kent State Theatre and Dance program entered into a new world. With the opening of the Roe Green Center, the programs took a large step forward when they increased their performance spaces, storage areas, added a grand new lobby, and updated their lighting and sound systems. Added were a lighting laboratory, acting studio, vocal coaching suite and theatre and dance classrooms, a dance rehabilitation studio, a jazz dance class, a dance technique studio and a swing dance studio. All in all, the facilities are beautiful and practical.

The building was made possible due to a large financial grant by local arts patron and activist, Roe Green. An avid theatergoer, she received her M.A. in theatre from Kent State, has been a long time member of the KSU Foundation and School of Theatre and Dance and Porthouse Advisory Boards. She is on the Board at the Cleveland Play House, where she is the honorary producer of “FusionFest.” A graduate of Beachwood High School, where she was my student and got the “theatre bug,” she was recently inducted into the school's Hall of Fame. She is lovingly known to the KSU theatre students as, “The Fairy Godmother.”

At the building's grand opening ceremony and ribbon cutting, the musical theatre program performed BRIGADOON, under the direction of Terri Kent. A sprightly and well-focused production, it featured fine performances by Miriam Henkel-Moellimann as Fiona, Kaitlyn Warren as Meg, and Gunther Henkel-Moellmann as Charlie.

14

‘14’ a thought provoking offering at Kent State University

During the recent amendment fight in California, it was revealed that much of the money for the campaign to eliminate the state’s same-sex marriage legislature,was donated by the Morman Church. This was not the only time that the Morman’s have gained the wrath of the Gay, Lesbian, Bisexual, Transgendered (GLBT) community.

Reparative therapy attempts to change the sexual orientation of a person from homosexual or bisexual to heterosexual. The so-called therapy is based on the religious belief that homosexuality is an illness and can be cured. Since both the American Psychological Association and the American Counseling Association, the official psychological organizations of those who practice in the field, have declared that being gay or lesbian is not an illness, they both recommend that ethical practitioners refrain from practicing reparative therapy or refer patients to those who practice this shame. That, of course, is of little interest to the Morman Church, whose active bigotry goes on.

John Cameron’s ‘14’ illuminates the work of Max Ford McBride, then a graduate student in psychology, who exposed gay male students to pornography and delivered shocks of up to 4.5 miliamperes of electricity in hopes of “curing” them of their “condition.” These procedures, are deemed today to be both ineffective and barbaric. Fourteen students completed the experiment, thus giving the title of the play.

John Cameron was one of the fourteen. When asked why it took him so long to speak out and write the play, he indicated that he had spent so much of his life trying to forget and minimize what he had done that he had somehow convinced myself that most people would find it more disgusting than interesting. Then, he stumbled onto the “Affirmation” website. He learned that his therapy was not an isolated event, but one of the more visible elements in a long history of abuse at BYU. He stated, “Writing the play was a way for me to work though my anger and isolation.”

The story centers on the psychological conflict between the main character, Ron, a BYU professor of English, who is cynical and bitter, and Aaron, a BYU student who is conflicted and confused. The shocking ending, reveals that, in fact, what we are seeing is the same person at two stages of his life, one of whom finally comes to terms with himself.

The Kent State production, under the direction of the play’s author, who graduated from KSU in 1986, was compelling. The night I saw the production, the sold out audience was in rapt attention throughout.

Eric van Baars, a member of the theatre and dance faculty at the university, portrayed Ron with the right amount of angst and sarcsim. His performance is even more impressive considering that he was a late replacement for graduate student Mark Moritz, who had to withdraw from the cast due to his father’s unexpected death. Tricia Bestic, a well know local equity actress portrayed Judy, who acted as the catalyst to get Ron to reveal the truth of the experiements. The rest of the cast was composed of students. Some were more proficient than others. Jason Leupold, as Ron’s lover, who eventually died to AIDS, was excellent. Aaron Schonover (Aaron) had some strong moments, but went in and out of character. The rest of the assemblage varied from excellent to acceptable.

‘14’ was presented as part of the Roe Green Visting Director Series, supported by a 10 year $25,000 a year donation by Ms. Green, a local arts patron and activist who recently made the largest donation capital gift ever given to KSU. It is being used to create the Roe Green Center, which will create new and renovate the present KSU theatre and dance facilities.

CAPSULE JUDGEMENT: ‘14,’ which closed on October 18 was a play worth seeing. It’s the kind of script that Dobama or CPT does so well. Let’s hope that one of them will take on the project.