Touring SPAMALOT a little less zany than expected, but still funish!

SPAMALOT, also known at MONTY PYTHON’S SPAMALOT: A MUSICAL (LOVINGLY) RIPPED OFF FROM THE MOTION PICTURE MONTY PYTHON AND THE HOLY GRAIL, is settled in at the Connor Palace for a short run (December 1-6).   From the very start of the show, you know that you are in for a “different” evening!  A recording encourages members of the audience to "let your cell phones and pagers ring willy-nilly," and the audience should "be aware there are heavily armed knights on stage that may drag you on stage and impale you."  (And, believe it not, some naïve second-row-seated gentleman, did find himself onstage!)   Though the trend today is for Jukebox musicals, revivals, and musical dramas, for those who want to laugh, there are of shows around that are classified as musical farces.  These include FUNNY THING HAPPENED ON THE WAY TO THE FORUM, SOMETHING ROTTEN and SPAMALOT.   SPAMALOT, with music by John De Prez and Eric Idle, and lyrics and a book by Idle, is based on the 1975 film ”Monty Python and the Holy Grail.  It loosely follows King Arthur on his quest to find members of his roundtable, and incidentally, the holy grail.   The show first appeared on Broadway in 2005, garnering fourteen Tony Award nominations.  It won for Best Musical.   During its initial run of 1,575 performances, the production was seen by more than two million people and grossed over $168 million.    It was one of eight UK musicals commemorated British postage stamps. The show starts harmlessly enough.  A historian relates the “history of England.”  Unfortunately, the fish smacking dance turns out to be Scandinavia and we are off on a serious of potentially outlandish “schticks” (bits). SPAMALOT has “everything that makes a great knight at the theatre, from flying cows to killer rabbits, from British royalty to French insulters, to dancing girls, fake shrubbery, and of course, the Lady of the Lake.”  There are lots of vaudeville-like scenes.   The score includes such classical songs as “The Song That Goes Like This,” “Find Your Grail,” ”You Won’t Succeed on Broadway (If you don’t have any Jews)” and “His Name is Lancelot.”   SPAMALOT makes references to other musicals, such as: “The Song That Goes Like This” (a spoof of Andrew Lloyd Webber productions; “Whatever Happened To My Part” reminiscent of “And I Am Telling You I'm Not Going” from DREAMGIRLS, the knights doing a bottle dance harking back to FIDDLER ON THE ROOF, and another reminiscent of WEST SIDE STORY; a member of the French army dressed as Éponine from LES MISERABLES; and a line pulled from "Another Hundred People" from Stephen Sondheim's COMPANY. The last time the show was in CLE, I was accompanied by two male tweens, who, following the show, skipped through the lobby, loudly singing, “Always Look on the Bright Side of Life” and yelling a line from another song, “I Ain’t Dead Yet.”  Yep, that’s the kind of experience this is, or should be.   CAPSULE JUDGEMENT:  A reviewer said of the original production, "It's UNFAIR to make me laugh this much!”  I wish I could say that of the touring show.  Unfortunately, I can’t.  This production seems to be missing some of the abandonment needed to really get the audience to let loose.   That’s not to say the show is bad.  It’s not.  But, it  seems a little uninspired, a little too much on automatic pilot, and not as zany as it could be or has been in previous incarnations.  We need more ridiculous farce and less-Hamlet drama! SPAMALOT, which is in its North American Tour launch, runs December 1- 6, 2025 at the Connor Palace.  For tickets call (216) 241-6000 or go to playhousesquare.org.

 

HELL'S KITCHEN is everything a contemporary musical should be!

Normally, juke-box musicals, which are scripts created from pre-conceived music, have songs shoe-horned into what is generally an acceptable, but less-than well-written story (think MOULIN ROUGE! and MAMMA MIA!).
 
This is not the case with HELL’S KITCHEN, the semi-autographical Alicia Keys-centered musical, now on-stage Connor Palace, as part of the Key Bank Broadway series.  This show is a compelling, singing/dance-infused, well-written and crafted show, which has all the elements of what a contemporary musical should be!  
 
“Keys, was heavily involved in creating the musical.”  
 
Kristoffer Diaz’s book is well-developed and is one of the few books for this type of show that deserves kudos.
 
The music, which is a blend of R&B, soul, and hip-hop, often characterized by Keys’ classical piano skills and some electronic compositions, is infectious.  
 
Many of the songs turn into show-stopping musical concerts, complete with complex dancing and visual electronics.  Even the ballads lend themselves to individual and group movement.  All of these are well-choreographed. 
 
Using moving platforms, and scaffolds, Robert Brills’ sets and Peter Nigrini’s electronics, become part of the emotional dynamics.  Gareth Owen’s sound design allows for hearing words clearly, even with the loud musical sounds. 
 
Compositions include “The River,” “Seventeen,” “You Don’t Know My Name,"  “Girl on Fire,” “Perfect Way to Die,” “Fallin’,” “No One,” and “Empire State of Mind.” 

Alicia Keys, according to this narration, is a 17-year-old girl named Ali, being brought up in Manhattan by a single over-protective mother and a sometimes present, but mostly absent father.  

Ali feels, as many teenagers do, stifled by all the rules and constant supervision.  

We are introduced to the people in Ali’s life: the musicians who make up the artist housing in Manhattan Plaza; her friends, Tiny and Jessica; her mother Jersey, a singer and working woman; Knuck, a bucket drummer, who is part of a group that hangs out in the building; as well as her in and out of her life musician father.  Most importantly, we meet Miss Liza Jane.

Miss Liza Jane, who consoles her by pointing out the situation could be much worse, reflects on the racism she has experienced, and urges Ali to continue learning to play piano so she may continue a legacy of music.  In the process of learning and hearing Miss Liza Jane’s sage advice, Ali gains a self- identity and finds out what it means to be a member of a community.
 
The superb cast is headed by 18-year-old Maya Drake as Ali.  According to the program notes this is her professional debut and she has limited academic training.  She is not a product of a prestigious musical theatre program such as University of Michigan or NYU.  From her stellar performance this is shocking.  This is a talented young lady who can sing, dance, act and control the stage with seeming natural ability and ease.  Standing ovation, here!

 
Roz White hits all the right musical and emotional notes as Miss Liza Jane.  Kennedy Caughel is totally believable as Ali’s frustrated mother, trying to handle her own stresses along with being the parent of a teenage daughter.  Desmond Sean Ellington is incorrigibly correct as Ali’s slacker father.  Jon Avery Worrell has just the right tone for Ali’s boy-friend.
 
The choreography is dynamic!  The high intensity movements compel attention.  Congrats to not only Camille A. Brown, the choreographer, but to the outstanding members of the dance company, whose singing matched their physical skills.
 
Director Michael Greif’s creative genius is obvious.  His staging is outstanding.
 
CAPSULE JUDGEMENT:  The touring production of HELL’S KITCHEN is special.  It far succeeds the expectations for a juke-box musical.  The director, choreographer, music-supervisor, technical staff, cast and crew well-deserved the extra-long-standing ovation the production received.  It is a show I could see again and again and be satisfied each time.  Bravo!
 
HELL’S KITCHEN runs through November 1, 2025 at the Key Bank State Theatre.  Go! Be bedazzled!
 
Tickets are currently still available and can be purchased by calling 216-241-6000 or online at playhousesquare.org
 
 

 

Well-written, directed, acted and emotionally-wrenching THE NOTEBOOK THE MUSICAL starts national tour in Cleveland   Roy Berko   THE NOTEBOOK THE MUSICAL tells the heart warming, and often heartbreaking life-long love story, of Allie and Noah.  It is based on a true tale inspired by author Nicholas Sparks’ wife’s-grandparents who shared a love story which started as a summer-romance and endured separation, renewal and Alzheimer’s.  It is filled with loving moments, humor and tear-inducing reality.   Set basically in a nursing home in the present day, it is framed by older Noah reading from a journal to his wife, Allie.  The story flashes forwards, and backwards, from the duo’s passionate summer as teenagers to their renewed connection as adults.    Covering over 52 years of the character’s lives, the tale illustrates parental prejudices, classism, and the harsh reality of aging and memory loss.  It exposes the raw strain of advancing dementia on both the victim and their caretakers, while centering on the enduring power of love that can transcend time and stresses.    The show features indie-folk-rock music created by Ingrid Michaelson.  In contrast to other contemporary musical dramas, there is no “Waving Through a Window,” as in DEAR EVAN HANSEN, or “It All Fades Away,” as in THE BRIDGES OF MADISON COUNTY or “I Miss the Mountains,” as featured in NEXT TO NORMAL.  In this score, there is no break-out hit that one might hum or sing as they exit the theatre.  The music, like the dialogue, is part of the whole.   It is well-crafted to be inseparable from the story.    Bekah Brunstetter’s book, based on Nicholas Sparks’ 1996 novel of the same name, flows seamlessly, using the unusual device of three different duos of performers to portray the characters as they grow from young adults, to a middle-age couple, to the older couple.  They are constantly, physically and emotionally, weaving within each other on stage, in a non-linear manner.     It is an ingenious way to illustrate the continuousness of life and the flow of the past, to the present, to the future.     While not being as emotionally charged as the tearjerker 2004 film, which starred James Garner, Gena Rowland, Ryan Gosling and Rachel McAdams, the musical still evokes strong emotional responses as displayed by the constant wiping of tears  as evidenced in the audience. The show, co-directed by Michael Greif (RENT, NEXT TO NORMAL, GREY GARDENS and DEAR EVAN HANSEN) and Schele Williams (Broadway debut), is meticulously-conceived, and tells the story by highlighting both the serious and comic moments of the script.  David Zinn and Brett J. Banakis’s effective set design features rolling platforms, pieces flying in from the loft, a proscenium space within the outer arch, and a realistic rain storm.  The set is highlighted with vertical light fixtures and a creative lighting design by Ben Stanton. The cast is excellent, each creating a real person rather than portraying a character.  They not only have well-trained vocal voices, but sing meanings, rather than song lyrics.  The six leads, three sets of Allies and Noahs, at various stages of their lives, include teenaged Allie and Noah (Chloe Cheers and Kyle Mangold)  who are separated by her parents; the middle couple (Alysha Deslorieux and Ken Wulf Clark) who meet again after ten years at which time Noah is now a Vietnam veteran and Allie is engaged to marry Lon, a lawyer; and the older couple (Sharon Catherine Brown and Beau Gravitte), now in a nursing home as Allie has developed Alzheimer’s Disease and Noah has chosen to live in the same facility to be near her. Connor Richardson (as Johnny, a physical therapist) is a total delight, who displays a wonderful sense of comic timing and provides stress-relief from the script’s many angst-invoking moments.  The musical opened on Broadway on March 14, 2024 and closed on December 15, 2024.  It received 3 Tony nominations, but unfortunately there were no wins. The touring production rehearsed in Cleveland and opened at the Connor Palace theatre on September 12th.   As David Greene, the Senior VP or Programming for Play House says in his program notes, “Cleveland continues to prove that it is not just a stop on the map:  It is a destination for world-class theater.”  He concludes with the statement, “Let it [the show] move you, challenge you and remind you of the power of love.” CAPSULE JUDGMENT: THE NOTEBOOK THE MUSICAL tells an emotional story of love, family, loyalty and compassion.  The touring production is a high-quality, well directed and performed show.  It should be well-received in the hinterlands where its less than sophisticated tone and tale should appeal to audiences more than it did in the high-powered less-than sentimental New York.  YES, GO SEE AN IMPRESSIVE PRODUCTION OF A WELL-CRAFTED AND CONCEIVED SHOW!  THE NOTEBOOK THE MUSICAL which is being staged at the Connor Palace will continue on through Saturday, September 27th. Tickets are currently still available for all performances and can be purchased by calling 216-241-6000 or online at playhousesquare.org.

KIMBERLY AKIMBO—a pleasant theatrical experience at the Connor Palace

 

Offerings of the musical theater cover a vast array of topics.  There is the tale of the young prince who wants to find his “Corner of the sky” (PIPPIN), the flower girl who wants to be a lady (MY FAIR LADY), and the dairy man who has a life ruled by tradition (FIDDLER ON THE ROOF).   Then there is KIMBERLY AKIMBO, now on stage at the Palace Theatre as part of the Broadway series, in which the title character suffers from a rare, fatal disorder that also causes accelerated aging.  KIMBERLY AKIMBO is a 2023 Tony Award-winning musical with lyrics and book by David Lindsay-Abaire and music by Jeanie Tesori.  The show's premiere production opened Off-Broadway on December 8, 2021.  It moved to Broadway on November 9, 2022.  It won five Tony Awards. The reviews stated that, “While some will find the show deeply moving and funny, others feel it falls flat with generic songs.” “KIMBERLY AKIMBO is a show that elicits strong opinions, with many praising its unique concept, strong performances, and heartwarming message, while others will find issues with its pacing, music, and uneven tone.”  And, “It seems to be a show that resonates deeply with some audiences while leaving others feeling underwhelmed.” The story starts at an ice-skating rink in Bergen County, New Jersey.   We are quickly introduced to Kimberly Leveco (Carolee Carmello), an obviously lonely “teenage girl” who has a disease which causes her to age four and a half times as fast as normal, thus trapping her inside the physical body of an elderly woman.  We also meet Seth (Miguel Gil), an employee of the rink, a tuba player, and a quirky outsider.  Also present are Delia (Grace Capeless), Martin (Darron Hayes), Teresa (Skye Alyssa Friedman) and Aaron (Piece Wheeler) a quartet of high schoolers who are members of their school’s show choir, but seem like fringe members of the general school society, who cling to each other for security.    Further into the tale we meet Kim’s alcoholic father (Jim Hogan), her neurotic pregnant mother (Laura Woyasz) who has numerous imagined real physical and psychological illnesses, and her delinquent Aunt Debra (Emily Koch), a schemer who is always just one step ahead of the law.   Kimberly not only has to handle her being the new kid in town with no friends and her illness, but navigate the world of her neurotic mother, drunkard father and felony-prone aunt.  In spite of it all, she is determined “to find happiness in a world where not even time is on her side.” She is befriended by Seth, and her life changes for the better.  In what might be identified as a book weakness, the reason for his attraction to her is not revealed, as are many other actions and character traits in the story, but, this is a fantasy musical tale, so we just accept the issues as author’s license.  Of course, problems develop.  Aunt Debra talks the teens into joining her in stealing checks from the Postal Service, altering and cashing them.  Dad promises to stop drinking and doesn’t.  Mom develops yet another illness.  Kim tells Seth about her illness as part of a class Biology assignment.  Her illness catches up to Kim and she is hospitalized and it looks like she will never get to find happiness before she ages out. An affair between mom and the next-door neighbor is revealed.   Kim and Seth steal the family car and the money fleeced from the check kiting and go off in search of happiness but are thwarted by a hippo and other animals.  (Yep, that really happens!) The touring company cast is excellent.   Miguel Gil is adorably charming and geek-right.  Emily Koch has the right “mafia-light” touch. Laura Woyasz is correctly neurotic.  Jim Hogan switches moods and personas with ease.  The quartet sings well and develops clear characters.   Though Carolee Carmello develops a clear character and sings well it might be wonderful, since she is definitely not a teenager, and displays bodily movments of the age of a mature women, if a younger actress would be more appropriate in the role. The set is rather skimpy.  The music is well performed.  The sound system is poor.    With its small cast, easily performed music, and need for little scenery, don’t be surprised to see this script, after it is released for amateur productions, to see it being staged by numerous little and community theatres.   CAPSULE JUDGEMENT:  The script will never be compared other teen-centered musicals such as WEST SIDE STORY or DEAR EVAN HANSEN or even HAIRSPRAY, but the story is interesting, the touring-show is well performed and all-in-all, it makes for a pleasing evening of theater. Tickets for the show which runs through Sunday, August 3, 2025,  are still available for all performances and can be purchased by calling 216-241-6000 or online at playhousesquare.org.

Creative, thought-provoking LIFE OF PI captivates at the Connor Palace

Yann Martel is noted for his ability to write tales filled with adventure, survival and spirituality.  His novel, LIFE OF PI, sold more than 15 million copies and won numerous awards. The novel has been translated into a film and now a stage play by Lolita Chakrabarti.  It is on stage at the Connor Palace Theatre, as part of the Key Bank Broadway Series. The play premiered in June, 2019 in Sheffield, England and was transferred to London’s West End in November, 2021.  It went on to win numerous awards.  It came to Broadway in 2023 and had a healthy Big Apple run. The story centers on Piscine (Pi) Patel, a teen boy from India.  His family owns a zoo.  In the 1970s the country was swept with political and economic unrest.  In order to ensure a better life for the children, they sold the zoo.  The parents and their two children, along with some of the more exotic animals, boarded a cargo ship to Canada.    A storm sinks the ship in the middle of the Pacific Ocean.  All are lost except for Pi, who is marooned on a life boat with a Bengal tiger (named Richard Parker), a zebra, a hyena and an orangutan.  Over the next 227 days, the question of existence becomes paramount.  How does one deal with hunger, thirst, and dangerous animals in such a confined environment?    In order to live, Pi has to face conflicts of man versus nature, man versus self, and man versus animal.  An added element is the role of faith and the role of “God.” David Greene, the Senior Vice President of Programming for Playhouse Square, states in the well-crafted show’s program notes, “The immersive sensory experience created left me entranced.”  I totally agree.  I was mesmerized by the quality of the production.   The cast is excellent.  Taha Mandviwala is masterful as Pi.  His physicality, emotional immersion and total believability is awing.      Mandviwala is no stranger to the Cleveland area.  In 2019 he starred in two Great Lakes Theater productions, TAMING OF THE SHREW and WITNESS FOR THE PROSECUTION.  In addition, his brother is a doctor at University Hospital.    He states of LIFE OF PI, “On the surface it is just a very simple story, about a young boy who is ship-wrecked and just trying not to die.”  He further states, “However, it’s more than a survival story, the production dives into deeper themes about family, nature and faith, challenging audiences to ponder what it means to believe when you have every reason to give up.”    Is the tale one of truth or fiction?  “In the author’s note to the book, Martel states that he met a man named Francis Adrubasamy at a coffee shop.  Francis told Martel he had a story that would make Martel believe in God.  That story ended up being the basis for the book.   Is the story fact or fiction?  Does it matter?  In the hands of a masterful writer, it makes for a wonderful book, movie and theatre production!   The staging by director Max Webster is creative.  He places demands, not only by the actors to create reality, but for technical creativity and expertise that go far beyond the usual performance.   The puppet designs are by Nick Barnes and Finn Caldwell.  The puppeteers performing as Richard Parker were Austin Wong Harper, Jon Hoche and Betsy Rosen.  They render a master class in puppetry.  The special lighting effects by Tim Lutkin and Tim Deiling, video and animation design of Andrzej Goulding and sound design by Carolyn Downing, help create compelling effects.   Capsule judgment:  It is difficult to watch such a combination of writing, acting and special effects and not be swept up in the wonder of live theatre.  The written story made for a thrilling experience in imagination. The film version added the visual experience.  The stage presentation offers an immersive experience that goes well beyond either of the other formats.  Do yourself a favor and see this production of LIFE OF PI.    LIFE OF PI runs at the Connor Palace through January 26, 2025. Tickets are available for all performances and can be purchased by calling 216-241-6000 or go online to playhousesquare.org.

Underwhelming MEAN GIRLS, is a trip back to the worst experiences of high school

 

BYE BYE BIRDIE, HAIR, GREASE, CARRIE, 13 (MUSICAL), DEAR EVAN HANSEN, MEAN GIRLS.  What do all these Broadway musicals have in common?  They placed the spotlight on teen angst.

 

OMG!  Think back to high school, specifically the cafeteria, at lunch time.  Depending on the institution you attended there was probably the table of math geeks.  Another of drama kids.  The testosterone-laden jocks held out over there and the cheerleaders were right next to them.  Then there was the nasty yet revered queen bee and her small swarm of drones.  The mean girl and her attack team.  They are perfectly coiffed, expensively dressed, spoiled, and lacking in empathy.  No one was willing to cross them!

 

With that in mind, depending on your place in the pecking order, you may or may not be ready to immerse yourself into MEAN GIRLS, the stage-show with music by Jeff Richmond, lyrics by Nell Benjamin, and a book by the queen of television comedy, Tina Fey.

 

The musical is based on Fey’s popular 2004 film which was inspired by Rosalind Wieseman’s book, “Queen Bees and Wannabes.”

 

Fans of the movie should be relieved that nothing important has been purged from the story.   Those who went through the horrors of slam/shame books, hazing, verbal abuse and general “hell” at the hands of the mean girls at their high schools will be happy to know that, in the musical, the queen and her swarm get their stingers removed.  (Yeah, revenge for the high school “nerds.”)

 

In the musical, Cady, fresh from a life in Kenya (Africa), is a new girl in town.  She is taken on a tour of her now educational institution, an Illinois high school, and exposed to the ways of its pecking order, by “good guys,” Janis and Damian. 

 

The J and D duo have taken the attitude of not being affected by self-selected school royalty and nasty-girl Queen Bee Regina George and “the Plastics” (Gretchen and Karen), her lackey hangers-on.  They caution Cady to be careful in deciding where she belongs in the school’s social fabric.

 

And, wonder of wonders, for an unexplained reason, Cady is invited to sit with “the Plastics” on a one-week trial.  (Hmm…what do the terrible trio have in mind?)

 

Everything goes well for Cady until she meets “dreamy” Aaron in honors math class.  She falls for him.  But, horror of horrors, Aaron has recently broken up with Queen Regina.  (You know this is going to make life for Cady a horror show.)

 

In order to “keep” Aaron’s interest Cady plays dumb, turning to him for unneeded “extra” help.

 

 A bus accident, a Burn Book which slams students by commenting on their weight (“hips like a Hippo”), parents’ infidelities (“the only reason he made the team is that his mother slept with the coach”) and eating habits (“Vegan freak”), Cady taking over Regina’s place as Queen of the Plastics, Cady being elected Spring Fling Queen and her surprising act of sharing the crown, all lead to a happy-ever-after feel-good ending.  (Hey, this is a Tina Fey written high school Broadway musical, what did you expect?)

 

Though it received 15 Tony nominations, MEAN GIRLS, as evidenced by the fact that it won no statues, it is not a great musical.    This is definitely not DEAR EVAN HANSEN quality.

 

It can be, however, enjoyable and, it has caught on and has developed its cult following.  (Be ready for every high school and community theatre producing the script as soon as it is released for general consumption.)

 

The serviceable score, the Tina Fey sharp tongued satire and one-liners gave a general positive vibe to the goings on.

 

This tour is composed of mainly recent college grads who have little to no Broadway or even off-Broadway experience.  Unfortunately, the lack of experience shows.   Many characters are not well-developed, the singing is adequate, the dancing is often stilted and has been “dumbed down” from the Big Apple production and even the touring show, which appeared locally several years ago.  The laughs are there, but limited.  The show-stoppers, such as “Where Do You Belong,” don’t explode with the needed energy.  It isn’t until “Do This Thing” and “I See Stars,” the last two songs of the show, that the dynamics are turned on.

 

As the young lady sitting next to me, who professed to be “MEAN GIRL fanatic, commented: “I am disappointed.  I know every line of the movie.  I know all the songs.  This is less than I expected.”  I must agree with her.

 

Capsule judgment:   MEAN GIRLS is filled with music, characters and Tina Fey satire that will appeal to younger audiences.  The production is not the quality expected of a professional tour.  Too bad, it really has the potential to be a really fun show!

 

NEXT UP AT PLAYHOUSE SQUARE:  11/5-24—SOME LIKE IT HOT (Key Bank Series) --The rollicking musical, based on the hit movie, of two musicians forced to flee the Windy City after witnessing a mob hit.

 

 

PLEASE VOTE YES ON ISSUE 55:  Cuyahoga Arts & Culture (CAC), which was approved by voters in 2006 and reapproved in 2015 allows CAC to fund millions of arts and cultural experiences for residents each year.

Neil from Flatbush on display in A BEAUTIFUL NOISE @ Connor Palace

 

David Greene, in his program notes for The Neil Diamond Musical A BEAUTIFUL NOISE, states, “Great songwriters have a distinct voice and style that sets them apart from others.  They bring their own perspective and experiences into their work, creating something that feels fresh and genuine.  He goes on to say, “Neil Diamond is one of those songwriters.” Diamond, a Jewish kid from the Flatbush area of Brooklyn, has sold more than 125 million records, had 38 singles reach the Top 10 on the Billboard Hot 100 charts, with 10 reaching number one. A BEAUTIFUL NOISE, the tale of Diamond, yes, his real name is Neil Diamond, is a juke box musical, much in the style of JERSEY BOYS and THE CAROLE KING MUSICAL, in which pre-written songs are shoe-boxed into a story line.   In the case of NOISE, the writing/staging gimmick are fictional counseling sessions between Diamond and a psychologist who probes into his past by asking the man, who no longer can tour due to his contracting Parkinson’s Disease, to reveal the motivation for writing many of his songs.  As he explains it, ““She opens the book, and all 60 years of my songwriting and all that exploration pours out into a majestic musical collage, and once unloosed from the book, the songs take on lives of their own." As the superstar tells how and why a select number of his hits were written, we are exposed to the ascent of Diamond from frustrated song writer, to nervous night club performer, to uber-super-star, and finally, a member of the Songwriters and Rock and Roll Hall of Fame. We learn some aspects of the man and his music, including illusion to such factors as: “Diamond is a New Yorker through-and-through, but ironically, ‘Sweet Caroline’ has become a Boston anthem. Fans sing the song during the eighth inning of every Red Sox home game. Diamond wrote "Sweet Caroline" for his second wife, Marcia Murphey, but "Sweet Marcia" didn't fit the tune. Also, that Diamond met his first wife, Jaye Posner, in high school and she was the person who early-on encouraged his music career.  The show, filled with dynamic dancing and staging, includes such crowd favorites as “America,” “Cherry, Cherry,” I’m A Believer,” “Kentucky Woman,” “September Morn,” and “You Don’t Bring Me Flowers.”  Not well known was that he attended Erasmus Hall High School and was a member of a chorus whose membership included Barbra Streisand, though they, according to Diamond, “were not close friends at the time.” Chess grandmaster Bobby Fisher was also a member of their class. The musical opened on Broadway in December of 2022 to mixed reviews, grossing more than $1 million before its premiere.  It closed on June 30, 2024, when ticket-sales faded.  At closing it had “grossed more than $63 million.” Nick Fradiani, the winner of the 2015 American Idol television competition, who effectively stars as Neil-then, carries the majority of the role’s singing, dancing and acting.  He is charismatic, has an excellent voice and looks and sounds like the superstar.   Robert Westenberg makes for an acceptable Neil-now.  He displays some excellent Diamond-like musical chops near the show’s ending.  Beautiful Hannah Jewel Kohn has an excellent voice and realistically develops the Marcia Murphey role (Diamond’s second wife).  Tiffany Tatreau, gives full-life to, Jayne Posner, Neil’s first wife.  Kate A. Mulligan has a nice cameo role as Ellie Greenwich, an early Diamond founder and producer. Michael Mayer directs.  Steven Hoggett choreographs. CAPSULE JUDGEMENT:  This is not a great musical.  It won’t ever be compared to GYPSY, WEST SIDE STORY or even, RAGTIME but for Neil Diamond fanatics, or for those who love his music, it will more than be a pleasing experience.  The music is fine, the dancing is dynamic and the concert-level staging is enveloping.  It’s worth a sit-through. A BEAUTIFUL NOISE runs October 8-27, 2024 at the Connor Palace as part of the Key Bank Broadway Series.  For tickets call 216-241-6000 or go to www.playhousesquare.org PLEASE VOTE YES ON ISSUE 55:  Cuyahoga Arts & Culture (CAC), which was approved by voters in 2006 and reapproved in 2015 allows CAC to fund millions of arts and cultural experiences for residents each year.

Reimagined COMPANY lights up Connor Palace as part of Key Bank Broadway Series

Stephen Sondheim is generally considered the most important composer/lyricist of the 20^th century American musical theater.  Many consider him to be the person who reinvented the genre.
 
His musicals introduced the “darker elements” of human experiences.  “His music and lyrics were tinged with complexity, sophistication, and ambivalence about various aspects of life.”
 
He opened the door to “serious” topics that emerged in such musicals as RENT, NEXT TO NORMAL, DEAR EVAN HANSEN and HAMILTON.
 
He won eight Tony Awards, an Academy Award, eight Grammy Awards and the Pulitzer Prize.
“A theater is named after him both on Broadway and in the West End of London.” 
 
His works include GYPSY,  A LITTLE NIGHT MUSIC, SWEENEY TODD: THE DEMON BARBER OF FLEET STREET, INTO THE WOODS and WEST SIDE STORY. 
 
Included in his lexicon is COMPANY, an adaptation of which is now on stage at the Connor Palace, as part of the Key Bank Broadway Series.  He wrote the music and lyrics, with a book by George Furth, which deals with “contemporary dating, marriage, and divorce.”  

As Sondheim wrote, COMPANY is about "the challenge of maintaining relationships in a society becoming increasingly depersonalized.  As the musical points out, it is the key to "being alive."
 
The original 1970 production was nominated for a record-setting 14 Tony Awards, winning six. 
 
In the early 1990s, Furth and Sondheim revised the libretto, cutting and altering dialogue that had become dated and rewriting the end of act one.   
 
COMPANY tells the story of Robbie, a confirmed bachelor who, on the night of his 35^th birthday, contemplates his unmarried status with the “help” of his married, divorced, happy, frustrated, gay and straight friends.  
 
In 2020 there was a 3^rd Broadway revival of the show, based on the 2018 West End production.  It opened December 9, 2021, to broad acclaim.  It featured a Bobbie who was a female, rather than the original male lead character.  In addition, the very delightful, “Getting married today,” sung by a prospective bride who is on the verge of a nervous breakdown caused by pre-marriage fears, is now sung by a gay male.

“Five days before he died, Sondheim discussed the revival's change of the lead character's gender. He expressed how theater is distinguished from film and video because "you can do it in different ways from generation to generation…What keeps theater alive is the chance always to do it differently, with not only fresh casts, but fresh viewpoints. It's not just a matter of changing pronouns, but attitudes." 

The newest version became the most nominated musical revival of the season, receiving nine Tony Award nominations and winning five including Best Revival of a Musical.  It is this version of the script that is in on tour in Cleveland.

The production well-develops the original, along with the adjusted story changes.  The female Bobbie has the additional angst of her ticking body clock, as well as taking a more assertive gender role.  

The technical approach is modern, using many electronic graphics rather than traditional set pieces.  The orchestrations have also been modernized, as have been the costumes and the language.

The score, filled with musical theater classics including the title song, “You Could Drive a Person Crazy,” “Another Hundred People,” “Marry Me A Little,” “Side by Side,” “Barcelona,” and “Being Alive,” are all well-presented.  

Matt Rodin (Jamie), gives a show-stopping, rapid patter delightful dynamism to “Getting Married Today,” while, Judy McLane (Joanne), hits all the emotional levels in “Ladies Who Lunch.”

Though well-versed theater-goers, who have grown-up with a male Bobbie, may have some trouble adjusting to a female Bobbie, Britney Coleman should be able to win most of them over.  She develops a clear character, sings well, and is generally convincing.

The show is well-conceived and staged by director Marianne Elliot. 

Capsule judgment:  The “new” gender-bender, reconceptualized COMPANY, nicely displays how a script can grow and become relevant, once again, in the hands of the right writing and production crew.  It makes for a feeling of “Being Alive” while you are “Side by Side by Side” with other joyous theater-goers.
 
COMPANY runs through May 19, 2024 at the Connor Palace.  For tickets: 216-241-6000 or www.playhousesquare.org
 

People who enjoy musicals may love FUNNY GIRL at Connor Palace!

 

Fania Borch was one of early 20th century vaudeville’s greatest stars.  Fania??  Oh, Fanny Brice, as she was known on the Ziegfeld Follies circuit, and is the nominal subject of FUNNY GIRL, now on stage at the Connor Palace as part of the Key Bank Broadway Series.    Brice was born on the Lower East Side of New York in 1891.    Her tale of stardom and a life of both fame and sorrow, started when, in 1908, she dropped out of school to work in a burlesque revue.  She made her mark by singing Irving Berlin’s “Sadie Salome, Go Home,” with a put-on Yiddish accent, (she didn’t speak Yiddish) while performing a parody of the veil dance from Richard Strauss’ opera SALOME.   Several years later, because of her comedic skills, and having “chutzpah” (Yiddish for audacity) to stand up to him, she was made a headliner-act by Flo Ziegfeld in his FOLLIES. Brice is noted for her “goofy elasticity” and “spoofing the grand pretensions of the middle-class arts—ballet, the Barrymore acting style, ragtime and even herself.”   Brice, whose farce skills were the forerunner for the likes of Lucille Ball and Carol Burnett, was also noted for her emotional vocal delivery of her theme song, “My Man” and her delightful “Second Hand Rose” and “Sam, You Made the Pants Too Long.”  (None of these are in the score of FUNNY GIRL.) These songs, are also credited to Barbra Streisand, who played the role of Fanny in the original Broadway and then movie version or of the show. FUNNY GIRL introduces not only Fanny’s rise to fame, but her love affair and later marriage and life with Nicky Arnstein, a ne’er do well gambler and con-man, who served time in both Sing Sing and Leavenworth jails.  Don’t go to see the touring production expecting to see imitations of Streisand or Leah Michelle (who starred in the 2022 revival of FUNNY GIRL).  Katherina McCrimmon who is portraying Fanny, has her own version of the role.  She acts, performs and sings the role with her own persona.  No heavy accent, no attempt at broad exaggerated farce, and no imitation of the Brice vocal sounds.    Maybe it’s McCrimmon’s non-New York background, but it is Brice, without Brice. The interpretation makes for a serious feeling to the show. Fanny’s mother and her card playing neighbors, are delightfully portrayed by Barbara Tirrell, Eileen T’Kaye and Cindy Change.   Stephen Mark Lukas, who is matinee idol handsome, with a cut gym body that, when he appeared in an open bathrobe, got whistles and cat-calls, is properly conniving as Nick Arnstein.  Izaiah Montaque Harris, he of talented tap-dancing feet, is compelling as Eddie Ryan, Fanny’s friend and neighbor. The touring show has a small chorus which becomes obvious in the Follies scenes where few dancers portray being many.   The sets are mainly drops. The small orchestra often sounds electronic, but plays the music well. The sound system is, as is often the case at the Connor Palace, adequate.   The show is directed by Michael Mayer, with choreography by Ellenore Scott and tap choreography by Ayodele Casel. CAPSULE JUDGMENT:  FUNNY GIRL is a throwback to the traditional musical.  From the sprightly overture, to the sequential story line, to an I want song (“Who are You Now!), that sets the show’s storyline in action, to the big score which is nicely woven into the storyline, to several hit songs (“People” and Don’t Rain on My Parade”), it is meant to entertain audiences and, in spite of what some will think is a misinterpretation of the role of Fanny, entertain it does.   FUNNY GIRL, an offering of the Key Bank Broadway Series runs at the Connor Palace through March 10, 2024. For tickets call 216-241-6000 or go to www.playhousesquare.org Next up:  Huntington Feature Performance of ANNIE, March 19-22, 2024.

Rob McClure makes it look “Easy Peasy” as he shines in MRS. DOUBTFIRE at Connor Palace

 

Every once in a while a theater-goer sees a production in which it becomes apparent that the lead actor was born to play a role.  Julie Andrews as Eliza in MY FAIR LADY, Zero Mostel in FUNNY THING HAPPENED ON THE WAY TO THE FORUM and Marlon Brando in STREETCAR NAMED DESIRE, come to mind.   Rob McClure was born to play Daniel/Mrs. Doubtfire.  Others will play the role, but McClure owns the part!  I thought that in New York, I believed that at the Key Bank touring production, now at the Connor Palace. MRS. DOUBTFIRE is a musical based on the 1993 film of the same name, which in turn is based on the 1987 novel “Alias Madame Doubtfire.” The musical, which has music and lyrics by Karey and Wayne Kirkpatrick and a book by Karey Kirkpatrick and John O'Farrell, was directed on Broadway, and on tour by Jerry Zaks, with choreography by Lorin Latarro. Rob McClure played the role of Daniel Hillard/Mrs. Doubtfire on the Great White Way and is now inhabiting the part on tour.  He was nominated as best actor by Drama Desk Awards, Outer Critic’s Circle Awards and the Tony Awards.   The show was scheduled to open in April, 2020, but was postponed due to COVID when all Broadway productions were suspended.  It finally opened, to mixed reviews, with raves for McClure, but ran only 83 performances.   It is not the custom of the lead actor in the Broadway show to tour, but, in an unprecedented turn of events, McClure is traveling with the show.   The score, which was negatively evaluated on Broadway has been expanded for the tour and the London production.  So, this isn’t what appeared on the Great White Way, but is a much-improved version!   What’s it all about?  Daniel Hillard, a struggling, out-of-work actor, will do anything for his kids. The recently unemployed voice actor, following a messy divorce, which came about as his wife Miranda divorced him after coming to the realization that her husband was an extremely immature father to their children, as well as an unfit husband to herself.    After losing custody, when the judge declares he needs to get a job, a place to live, and become an adult rather than playful man-child, he creates the kindly alter ego of Scottish nanny Euphegenia Doubtfire, who will take care of his kids, in a desperate attempt to stay in their lives.  Of course, lots of pratfalls and humorous incidents allow McClure to shine, with a happy ending a must!   Yes, as the last song states, “As Long as There is Love.” Interestingly, Anne Fine, the author of the book on which the musical is based, named the novel on a 1970s-era second-hand store, "Madame Doubtfire," located at the corner of Howe Street and South East Circus Place in Edinburgh.  And, “while William's legendary character was certainly made up, it wasn't a complete work of fiction - Mrs. Doubtfire, it turns out, was actually based on an eccentric, and, reportedly foul-mouthed, Aberdeen-born shopkeeper.”   The touring production, with the exception of a less than clearly tuned sound system, is a delight.     Maggie Lakis, Mrs. Rob McClure, in real life, sings well and develops an appropriate frustrated mother and wife.  The kids, Giselle Gutierrez, Cody Braverman and Emerson Mae Chan, on the night I saw the show, are wonderful.  Both Braverman and Chan had a keen sense of comic timing and got lots of laughs as well as displaying strong real-felt emotional reactions.   Aaron Kaburick, as Daniel’s brother Frank, and Nik Alexander, Frank’s lover, are great at performing schtick.  The chorus sings and dances with professional verve and Leo Roberts flexes with a muscular flair!   If there is unusually loud audience reaction when Mr. Jolly, delightfully played by Canton native David Hibbard (who also appears as the Judge and the doctor) makes his appearance, be aware that the Ohio State grad has many followers in the Cleveland area.    Capsule judgment:  As the much-reprised song, “I Want to Be There” states, you will want to be there…at the Connor Palace…to join Rob McClure, and the rest of the cast, and enjoy the wonderful, fun-filled Mrs. Doubtfire!  Go! Enjoy!   MRS. DOUBTFIRE continues at the Connor Palace through January 28, 2024.  For tickets call 216-241-6000 or go to playhousesquare.org

HAIRSPRAY is at Connor Palace as part of Huntington Broadway series

 

The farcical, yet message-loaded HAIRSPRAY, is the type of musical that in a bad production falls flat, but in a good production the audience gets all-kinds of involved.    I wish I could say that the touring version at Playhouse Square was one of the good ones, but with its languid first act yet dynamic second act, which left the audience dancing in the aisles, could only be called a partial success.   Let’s put this in perspective for CLE audiences.     The Key Bank Broadway series presents fresh productions peopled by actors who usually have been in the Big Apple production of the show or have professional experience, are Equity members, and which has top-notch technical ingredients.  The shows tend to run, in each city on its itinerary, for 2 or 3 weeks.    The Huntington Featured Performance series, of which HAIRSPRAY is an offering, are short-stay productions, usually 3 or 4 days, often feature professional newbies, or performers past their prime, and are low-cost technical presentations.   They usually are a step-above local little theatre or school productions, but not of the quality of Broadway shows or the offerings of the Key Bank Series.   HAIRSPRAY, the stage musical, is based on the 1988 John Walters movie of the same name.  It has up-beat music by Marc Shaiman, encompassing lyrics by Scott Wittman and Shaiman, and a purposeful book by Mark O’Donnell and Thomas Meehan.  It was a cry for integration in 1960s for segregated cities such as Baltimore.     The story focuses on “zaftig” Tracey Turnblad, who has three desires in life:  dance on the “Corny Collin’s Show” (think Dick Clark’s “American Bandstand”), have “every day be Negro day on that show,” and meet Link Larkin, the show’s “stud” male.    Tracey keeps getting sent to detention at school because of her well-sprayed huge hair (the Jackie O signature style of the era).  The detention room is populated by African Americans who expose the liberal-minded Tracy to “Black” dancing.     After Tracy gets selected to be on the show, against the wishes of Velma von Tussle, the program’s multi-prejudiced producer, she launches a campaign to integrate the show.      Of course, all hell breaks loose including picketing, a riot, a jail lockup, a jail breakout, white kids singing and dancing in 'Balmur’s all Black North side, the coming out of Tracy’s agoraphobic and plus-sized mother, love affairs between Link and Tracy as well as that of Penny, Tracy’s white best friend, and Seaweed, the son of Black DJ and vocalist, Motormouth Maybelle.     The 2002 Broadway production won eight Tony Awards, ran over 2500 performances, and has had numerous foreign and community theatre productions.   The touring show’s opening act was slow-paced.  The cast seemed either over-whelmed by the script’s requirements, or were tired from their two or three nights in one town and quick get-away to their next performance site.     Even the mediocre scenery presented problems as the show had to be stopped shortly before intermission because of an errant piece of scenery go onto the stage.     Let’s not even discuss the bad wigs, overacting, volume issues or tinny-sounding electric music.   The cast and crew seemed to have had a pep-talk or a nap at intermission, because the second act was dynamic.   Caroline Eiseman, whose credits do not include any Broadway work, has the required chunky cheeks, biggish voice, and dancing feet, to create Tracy.    Caroline Portner, was Gidget-cute, but over-acted as Tracy’s best friend Penny.     Greg Kalafatas (in drag), though quite adequate in the role, never really was totally endearing as Tracy’s mother.   Skyler Shields, who sings and dances well, was “kind of” okay at Link, but was missing the necessary stud-factor needed for the role.   Deidre Lang, Motormouth Maybelle, almost achieved the impossible deed of stopping the show with her wailing, infectious rendition of the gospel-rock “I Know Where I’ve Been.”     Josiah Rogers, an Orange High School graduate, was a dancing dynamo as Seaweed, while Kaila Symone Crowder was delightful as the full-spirited Little Inez.   Song highlights were: “I Can Hear the Bells,” “Mama, I’m a Big Girl Now,”” Welcome to the ‘60s,”and “Big, Blonde & Beautiful.”     CAPSULE JUDGMENT:  The touring production was quite adequate, but could have been so much more with more focused direction, better technical aspects and a stronger cast.  The opening night audience was on their feet at the end in spite of the performance and technical issues.   HAIRSPRAY is here through December 10, 2023. For tickets 216-241-6000 or go to playhousesquare.org