MILLWOOD OUTPOST is a raw look at white men in a changing society at Playwrights Local

 

Playwrights Local says of itself, we are “dedicated to supporting the dramatists of Northeast Ohio.  As a playwrights’ development and production center we foster diverse talents and present locally written works.”  They have done this with excellent results as evidenced by the number of Cleveland Critics Circle and Broadwayworld-Cleveland award recognitions.

After several years of hiatus, caused by the Covid pandemic, the company is back, staging Tom Hayes’ MILLWOOD OUTPOST.

The tale tells that “Confined on a stormy day, six highway workers are forced to share one room in an abandoned Department of Transportation outpost. Over the course of several hours, the men must confront their own fears, prejudices, and beliefs, and those of each other, while elemental forces outside threaten them all.”

Director Rachel Zake, says of the script: “I love how Tom combined realism and mysticism. Particularly, the idea of the storm bearing down and creating a haunting background for the mounting tensions between the characters stood out to me.”

She continues, “The emotions are striking and the conflict is relatable, even for those who aren’t ODOT workers. The struggle between old and new, tradition and progress is one that is familiar. But, we don’t usually see it up close, in a pressure cooker situation, provoked by a mysterious fog. As the audience has the privilege of sitting up close to the action, I think they will feel immediately drawn in by the characters and their journeys.”
 
I wish I could agree with the director, unfortunately, I can not.
 
While the last ten minutes of the play are compelling, the other 70 minutes are slow moving, rambling, seemingly going nowhere.  Then, bang, the real issues are thrown out, tension results, and the playwright’s purpose is exposed, but not fully developed.
 
Where does the problem lie?  
 
Maybe the writer needs to find a way to more quickly get the issues of white male fear of losing their traditional roles in society, concern over women entering the workplace, strongly felt homophobia and anti-Semitism, the differences in the beliefs of the young and educated versus their less schooled elders.  Interestingly, these are the same issues which have stimulated the allegiance to Donald Trump and his fellow hate-spewers.  Maybe this is the hook needed to develop the play’s message.
 
Maybe the director and some of the cast members needed to realize that there are ways of expressing angst without screaming.  Once an actor has screamed, he has used up the emotion and has no place to go to express his frustrations, fears and hatred.  Underplay rather than overplay has its place if the playwright has given the actor the words to express those feelings.
 
Questions abound in the script and production:  What was the real purpose of the bra stuffed into the chair?  Why was the accused homosexual young man stripped of his shirt?  How does a person get drunk on three or four small drinks of wine and why is this even included?  Why was a bright light shining through the window outside if there was a raging storm and all-encompassing fog?  Why were there no sounds of rain pounding the windows?  Why were people coming in from a storm wearing dry clothing and showing no effects of the rain?  Why were the physical confrontations so unrealistic?  Why the mention of Manischewitz kosher wine when the bottle of liquid being used is not that brand?  Why were mentions made of issues, but the issues, themselves not developed?
 
The ending leaves many issues hanging and was so sudden that the audience wasn’t aware that the play was over until the lights came up with the cast lined up for the curtain call.
 
As to the acting, congrats to Zach Palumbo (Nick) and August Scarpelli (Moon) for developing real and accessible characters.

 
Capsule Judgment:  MILLWOOD OUTPOST is a new script getting its first staged production. It obviously needs work, from the writing, to the staging. The author and director would be wise to use this experience and make changes which would help the important message of the play come out more effectively. 
 
MILLWOOD OUTPOST will be performed Fridays and Saturdays @ 7:30pm and Sundays @ 2:30pm through March 18- April 2, 2022 at the Creative Space at Waterloo Arts.  Get tickets here.
 
Next up for Playwrights Local:  HEY SIRI, written by Mary E. Weems, July 20-24, 2022, BorderlLight Festival.

Impressive, startling, educational “LIVE BODIES FOR SALE” @ Playwrights Local

Human trafficking doesn’t just take place somewhere else.  It is a CLE problem as well. 

Interestingly, the horrific act, wasn’t recognized nationally as a crime until 2000, with the passage of the Trafficking Victim’s Protection Act.  That law recognized two types of trafficking:  labor and sex.  The former is “using a person for labor or services through force.  Yes, it is a form of slavery.  

The latter requires “a commercial sex act or sex exchange for money, food, shelter or anything that has commercial value” and “some form of force, fraud or coercion perpetrated by what we call a pimp or trafficker.”

In Ohio, which was the first state in the Union to prohibit slavery, human/sex trafficking wasn’t recognized until 2010.  Yes, only nine years ago.  And even then, the actual law prohibiting it didn’t go into effect until 2012.

Playwright Christopher Johnston spent eight years researching human trafficking.  He met with individuals who were trying to help the victims, as well as agency and governmental representatives who were working to end the practice and support those who were brutalized.  His purpose was to gain the necessary information to write the compassionate, moving, and startling “LIVE BODIES FOR SALE,” a real local story of sex trafficking.

“The play is based on in-depth interviews with women forced into prostitution, exploited and rescued” and is based on his book, “Shattering Silences:  Strategies to Prevent Sexual Assault, Heal Survivors, and Bring Assailants to Justice.”

Johnston’s script is now in its world performance premiere at Playwrights Local in Waterloo Arts.

The stories, as told and acted out, are compelling and upsetting.  They speak to the very worst in people, as well as the best in those who try and help, and those who survive.  Sometimes encouraging, all the stories have an undercurrent of horror.

The cast, under the direction of Terrence Spivey, is excellent.  They inhabit their roles so completely that the presentation does not appear to be a theatrical work, but a demonstration by the actual victims, perpetuators, and those who try and help those who have been abused. 

Rocky Encalada, Arien Hodges, Stephen D. Hood, Hayley Johnson, Rochelle Jones, Joseph Milan, Juliette Regnier and Emily Taylor, in a talk-back following the opening night sold out presentation, revealed that, besides doing extensive research, they each met individually with the person they portrayed in order to have first-hand knowledge of their lives and what led to their being dragged into the trafficking or becoming an advocate for the victims. 

The setting, lighting, costumes and sound effects are minimal.  The words and actions are front and center.  This is an involving experience that rips at the heart and bombards the mind with questions, as well as feelings of helplessness and rage.

One positive part of the revelations is gaining knowledge about the Cleveland area Renee Jones Empowerment Center, a nurturing safe place where those who have survived being trafficked or sexually assaulted can rebuild their lives. (A portion of the proceeds from this production will benefit the Renee Jones Empowerment Center.)

Capsule judgment: “LIVE BODIES FOR SALE” is a powerful and compelling exposition that grabs and holds attention, not only because of the stories told, but also because of the well-conceived performances.  This is an absolutely must-see experience which shows the power of theater to teach and persuade.  (Side note:  Talkbacks are held after performances.)

“LIVE BODIES FOR SALE” runs November 22-December 15 at Creative Space at Waterloo Arts, 15605 Waterloo Road, Cleveland.  There is a free parking lot next to the performance space.   For tickets go to info@playwrightslocal.org or call (216) 302-8856

Playwrights Local and Dobama present “Down By Contact”

CTE is a “neurodegenerative disease found in people with multiple head injuries.” It often occurs in athletes involved in boxing, football, wrestling, ice hockey, rugby and soccer, all activities that include the participants being hit in the head, often resulting in concussions.

“CTE cannot currently be diagnosed while a person is alive. The only known diagnosis for occurs by studying the brain tissue after death.”
 
In 2012, retired National Football League’s Junior Seau committed suicide.  He shot himself in the heart.  It is speculated that he made the conscious choice not to “blow out his brains” because he wanted his brain to be donated to Dr. Bennet Omalu, a forensic pathologist, who was doing research on CTE.  

Pressure from the NFL management denounced Omalu’s professional ethics, qualifications and motives and pressured Seau’s son to withdraw his father’s brain from the testing.  In 2013 the research was completed and “the brain pathology report revealed that Seau did have evidence of CTE.”

“Down By Contact,” now being performed on the campus of Gilmour Academy, appears to be broadly based on Seau, named Carson Busser in the script, and his deterioration into alcoholism, mood swings, paranoia, lying, behavioral problems, mood swings and cognitive thinking issues including financial irresponsibility. All of these are possible signs of CTE.
 
It is appropriate that the production is being co-produced by Playwrights Local and Dobama.  “Playwrights Local is dedicated to supporting the dramatists of Northeast Ohio. As a playwrights’ development and production center, they foster diverse talents and present locally written works.” 
Dobama, commonly referred to as Cleveland’s Off-Broadway theatre, has a mission of premiering the best contemporary plays by established and emerging playwrights.”
 
Les Hunter, the author of “Down By Contact” is a member of the Playwrights GYM at Dobama Theatre and on the Board of Directors of Playwrights Local.  The author’s works have received over 40 productions across the country.
 
“Down By Contact” takes place in the mid-to-late 2000s, about the time that attention was being placed on the physical and mental problems of athletes.  It is set in the Kaides’ mansion in the suburbs of a large, Midwestern city. 
 
As the story unfolds, we observe as Carson communicates with the ethereal, Trypp, a close football buddy, reliving tales of the past.  He is hyper and erratic in dealing with his wife and son, using escapist and avoidant language.  More and more it becomes obvious that the Carson is paranoid and out of touch with reality.
 
Carson speaks of “stars exploding,” that “football is a game that runs on money,” and “that there is an enemy inside you.” 
 
The topic of “Down By Contact” is current and relevant.  The material has many strong scenes, but needs to be refined. 
 
Some of the speeches are erratic in purpose and intent.  Why the son appears in a Speedo bathing suit and dog collar is not clear.  In several instances, on opening night, it was unclear if the actors were transposing lines or if that was the prepared dialogue.  In addition, the audience seemed unaware when the play was over due to a lack of vocal and idea clarity. 
 
The performance aspects, especially the character development of John Busser (Carson) were excellent.  His quivering hands, stumbling walking and sometimes slurred speech created a realistic CTE survivor.  The rest of the cast (Corin B. Self (Trypp), Liam Stilson (Tommy) and Margie Zitelli (Kelsey) were acceptable in their character development. 
 
Capsule judgment: “Down By Contact” exposes the audience to an important present-day issue:  the effects of head trauma on athletes. It also vividly shows the effects of CTE and how the National Football League tried to avoid responsibility for a lack of protection of the players.  The script itself needs some refining and further development.  
 
“Down By Contact” is being performed in the Tudor House at Gilmour Academy, located on SOM Center and Cedar Roads in Gates Mills.  There is a parking lot immediately adjacent to the building.
All of the scheduled performances are sold out, but an additional staging has been added on Thursday, August 30 @ 8 PM.   For information go to www.http://playwrightslocal.org/

Playwrights Local Presents “The Panther Dancer,” a bio-play about Michael Jackson

The mission of Playwrights Local is to support dramatists of Northeast Ohio by presenting locally written works, with the vision of increasing original theater and raising the profile of area playwrights.
 
The staging of often untested scripts makes for a serendipity experience for the observer.  Sometimes there is a gem. Other times the experience leads to viewer frustration.  The possibility of hit or miss makes seeing a production in this venue an adventure.
 
“The Panther Dancer,” a script by Logan Cutler Smith, which basically is a biography about Michael Jackson, is a work in progress which was originally presented in the 2016 NEOMFA Playwright Festival at convergence-continuum. 
 
The story covers Jackson’s life, many of the people he knew and befriended (e.g. Diane Ross, Quincy Jones, Brooke Shields, Prince, Elizabeth Taylor, Liza Minnelli).  It also spotlights his rise and fall from innocent kid, to icon, to accused “pervert.” 
 
We are exposed to his abusive father, many brothers and sisters, signing by Motown Records, the many mega hits, lack of having a childhood or any friends which may have been responsible for his fascination with and probably living the “never grown up” life of Peter Pan, obsession with his “big” nose, the question of whether he was gay, whether he fathered “his” children, the philanthropic activities he funded including the sponsorship of a burn unit and the recording of “We Are the World,” Neverland, his playland home, the comparison to Elvis, the lawsuits over possible child endangerment and molestation, his drug addiction and early death.
 
Smith has obviously done an impressive study of his subject.  His knowledge of the boy/man is admirable.  Unfortunately, he has tried to stuff all of Jackson’s life into one piece.  Though creating a piece of history, he has also used up a huge chunk of time, which makes the sit sometimes overwhelming, and too much of a good thing.
 
A dramaturg needed to take red pencil in hand and eliminate scenes which, though factual, may not be of great importance.   A book of intense length can be put down when there is over-kill of material, but there are no resting periods in a theatrical piece.
 
Smith has used a creative device to portray the plethora of characters.  The actors constantly are changing parts.  A performer may be Jackson in one scene, his father in the next, and then his mother.  This could be confusing, but by use of wigs and costume adjustments the characters are fairly easy to follow.  This, however, creates consistency issues as some of the performers are more adept than others in their singing, dancing and acting.
 
Director Jimmie Woody has done an excellent job of using a variance of staging techniques.  Acted scenes, singing and dancing segments, use of electronic visuals and shadow scenes, hold interest. 
 
The cast, Andrea Belser, Robert Branch, Corin B. Self and Kim Simbeck, put out full effort.  Anthony Velez stands out.  His singing and dancing are show highlights.
 
Capsule Judgment: “The Panther Dancer,” is a well-researched, in-depth telling of the life of Michael Jackson, but needs a strong dose of cutting. Director Jimmie Woody does a nice job of creative staging.
 
“The Panther Dancer” runs through May 26 at the Creative Space at Waterloo Arts, 397 East 156th Street.  There is a parking lot immediately adjacent to the theatre.

“Things As They Are” examines poet Wallace Stevens @ Playwrights Local

“Things As They Are” explores the life of Wallace Stevens, the American modern poet who was often called “aloof” and “uptight,” has been classified as “meditative and philosophical,” and as “a poet of ideas.”   Those ideas often confounded and confused his readers.

Stevens once wrote, “We approach reality with a piecemeal understanding, putting together parts of the world in an attempt to make it seem coherent. To make sense of the world is to construct a worldview through an active exercise of the imagination. This is no dry, philosophical activity, but a passionate engagement in finding order and meaning.”
 
Stevens won the Pulitzer Prize of 1955 for his “Collected Poems.” 

Stevens, who lived from 1879-1955, is a perfect subject for a thoughtful drama based on his interpersonal relationship breakdowns, his mood swings, his marriage to Elsie Kachel who his social-conscious parents thought was “lower-class,” his breaking off all contact with his family, Elsie’s mental illness, an on-going crisis with his daughter, and his Robert Taft-like conservative political views.

His “Key West, Florida,” arguments with Robert Frost and Ernest Hemingway are legendary, as were the details of his troubled marriage, and short-termed friendships.

This was a man of great contradictions and insights, of varying vocations and avocations.  During his life he was a successful poet, lawyer and insurance executive.

“Things as They Are” is a multimedia work written by David Todd.  It features an impressive original music score performed and conceived by Ben Chasny

Though Stevens is interesting, and well deserves to be immortalized on stage, the play is much too long and the script, as conceived, seems overly-ambitious and not clearly focused.

Due to stimulus overloud, it’s sometimes difficult to pay attention to the story line.  The need for all of the music, electronic images, dancing and Commedia dell’Arte is questionable.  Also up for examination is the weak presentational quality of some of the elements.

Kudos to director Anjanette Hall for attempting to get the pieces-parts all blended together.

Robert Hawkes nicely textures his performance as the Mature Wallace Stevens.  His final acting scene was very effective.  Laura Starnik and Tessa Hager create meaningful women as Elsie (wife) and Holly (daughter).  The rest of the cast, Jason Markouc, Robert Branch, Kenzie Critzer, Jeanne Task, Marco Liguori and Liam Stilson are generally effective.

Ben Chasny and John Elliott create a strong musical presence.  Unfortunately, the sound system is such that most of the off-stage reading of Steven’s poetry was drowned out by the underscoring music.

T. Paul Lowry’s projection design was well-conceived as was Jonathan Maag’s lighting.

Capsule judgment:  As a play in process, “Things As They Are” needs to be reexamined with an eye for sharpening and tightening the dialogue and ascertaining whether all the visual and audio stimuli are necessary to tell the tale.  For those who like to see new works, to discuss and add in-put into the development process, Playwrights Local and this play offer that opportunity.

Playwrights Local, a development and production center, is dedicated to fostering diverse talents and presenting locally written theatrical works.  “It strives to increase the impact of original theater on the community and to raise the profile of area playwrights both within Greater Cleveland and beyond.”

“Things As They Are” is being performed at Reinberger Auditorium on Cleveland’s near west side.  There is a parking lot adjacent to the building.  For information and ticket orders go to:  http://playwrightslocal.org/

Amy Schwabauer wretches her soul in THIS IS NOT ABOUT MY DEAD DOG @ Playwrights Local

A present trend in entertainment is story telling before an audience.  “The Moth:  True Stories Told Live,” is one of Public Radio’s highest rated offerings.   The publicity for the show states, “The Moth is deeply rooted in the desire [of humans] to connect with each other through shared experiences in stories.”  According to its blog site, though there are many opportunities nation-wide to experience first-hand “The Moth” readings, none are being staged in the Cleveland area.

Don’t let that deter you from having a story-telling experience.  Playwrights Local is presenting a world premiere of THIS IS NOT ABOUT MY DEAD DOG, Cleveland playwright and actor Amy Schwabauer’s one-woman confession, as she knows it, or what she wants us to know about it.

Schwabauer, a Cleveland State University 2011 graduate, studied sketch comedy writing at The Second City Theater in Chicago.  The improv and sketch training is obvious in both the script and the well-acted presentation of the piece which was originally workshopped in Playwright Local’s 2016 Play Lab.  The show is directed by Dale Heinen, director-in-residence at Playwrights Local, who is a director/dramaturge focusing on new works.

Presented in 20+ sketches, Schwabauer, takes us on a journey through her “so-called” life, much of which took place in Cleveland Heights.  It is performed on a platform, with the audience curving around it.  On the stage are a series of props which the actress/playwright uses to help tell her stories.  Included are a desk, chair, two hassocks, a doll and dollhouse, and a rag rug.  The back wall of the theatre is adorned with three headboards.

The intermissionless staging finds a drunk Amy, wine bottle in hand, looking into the water of the lagoon situated in front of the Cleveland Museum of Art, observing the goldfish (carp) and wondering what the fish do when the water freezes in winter.  As we learn later, the carp descend deep into the water, below the three-foot ice crest, and go into a state of dormancy, saving themselves from being frozen.

Through other interjections we are exposed to what happens to a whale who gets separated from its pod, tries to find a new group, but whose voice and language is not recognized by whales in other pods, so the isolate must remain alone.  In addition, we learn how human reactions to full moons, the traditions of the Catholic church regarding sex, having a “fake boyfriend,” and the carp tale, all have to do with this Amy.

The “morals” are interspersed, sometimes in chronological order, sometimes randomly in “real” stories which include:  Amy’s belief when she was growing up that she was a boy without a penis, her exposure to alcohol at her brother’s house party when she was 6, her love for her dog “Scout,” her status as the family’s bonus baby, a trip to DC to visit her sister where she realized she was invisible, the tale of the “Larchmere” tree, her grandfather’s suicide in the family garage, why she cut off her hair, the trials of being in junior high, life in Catholic school, a tale of Rum drinking in the bathroom with a boy, her first fling at making out, the tribulations of “required” virginity, the problems with Tampons, a sonnet she wrote to Brad, the search for a boyfriend, why college is the worst idea in the world, how to be shy at a party, why her attempts to stalk a man named Tyler lead to her being designated as a “make out whore,” why she is not good at sex, and how an intervention by the Cleveland Heights police helped her become aware of who she really is.

Sounds like a lot.  It is.  The script could be cut by at least ten minutes, the number of drunk scenes compressed, the death of Scout told only once, a lot of the vomiting sequences eliminated and some bright light among the darkness being interjected.  Only so much self-pity works.  After a while the whole thing becomes an endless loop of drunk “mea culpa, mea culpa, mea culpa,” and loses some of its impact.

Capsule judgment:  The largely mid-twenties female sold-out audience responded well to the tales of self-loathing.  Some even shed tears at the end.  The stories obviously hit a chord with them.  Some adjustments in the script could expand the appeal to a wider audience and provide a better theatrical experience.

Playwrights Local, a development and production center, is dedicated to fostering diverse talents and presenting locally written theatrical works.  “It strives to increase the impact of original theater on the community and to raise the profile of area playwrights both within Greater Cleveland and beyond.”

The group has quickly made its mark on area theatre.  In 2016 the organization was recognized by Broadway World in its “BWW-Cle Theater Tributes” for three citations:  OBJECTIVELY/REASONABLE (COMMUNITY RESPONSE TO THE SHOOTING OF TAMIR RICE) was chosen as one of the areas outstanding non-musical productions, Ashley Aquilla, was recognized as having given one of the outstanding performances by a female in a non-musical, and the organization was singled out for “creating a venue for local playwrights to develop their works.”  A recognition was also accorded the organization by the Cleveland Critics Circle in their 2016 awards.  

(Side note:  if you missed OBJECTIVELY/REASONABLE, it will be revived from February 17-March 11, 2017 at Playwright Local’s home theatre, Creative Space at Waterloo Arts.)

Playwrights Local 4181, which is located at 397 East 156th Street, has a parking lot adjacent to the building.  For information and ticket orders go to:  http://playwrightslocal.org/