Sumida River Dance Company (Cleveland Public Theatre)

Cleveland Public Theatre's exciting dance program continues with Sumida River

Cleveland Public Theatre has become one of the most exciting entertainment settings in the area. Under the guidance of Artistic Director James Levin and Producing Director Randy Rollison the theatre is not only almost single handled reviving the Detroit Avenue and West 65th Street area, but it is giving the community exciting theatre, dance and entertainment. After completing its most expansive project, the refurbishing of the Gordon Street Theatre, there is no telling where this group will venture next. They have entered Lorain County with its ELYRIA-Y PROGRAM which focuses on spoken words as a means of expression through weekly classes.

With the demise of the Cleveland San Jose Ballet only sporadic dance programs are available to the community. CPT stepped in with their DANCEWORKS 02 which allows audiences to examine tap, hip hop, contemporary, modern and international dance. Much appreciation to the staff, and in particular Jeff Syroney, co-producer of the DANCEWORKS 02, for making a major contribution to the local entertainment scene.

SUMIDA RIVER offers a different view of dance than is usually experienced by local audiences. The program is based on a 15th century Noh Japanese play, SUMIDAGAWA, which tells the story of the tragedy of a mother who has lost her child, and the difficult inner journey of the woman.

Denise Fujiwara, the sole dancer, was in total control of her body during the program. Every movement, every facial expression, every gesture was a well thought out vehicle for conveying meaning.

This was not a program for everyone. The Japanese are noted for their ability to very slowly and meticulously develop a concept. The Fujiwara Dance Inventions style follows that prolonged movement concept. This is definitely not contemporary in your-face dance. It is slow, almost ponderous. A viewer must accept the almost mesmerizing small, intricate movements or the experience can be tortuous. The style does have its following. One audience member had driven here from Pittsburgh specifically to see the performance he had previously experienced in Toronto. A Fujiwara Dance Inventions’ groupie!

Proposals (Beck Center)

Beck's 'PROPOSALS' entertains

Some plays are perfect fodder for community theatres. Neil Simon’s 'PROPOSALS,' getting its Cleveland premiere at Beck Center for the Arts, is that kind of script. It has everything to delight audiences. There is a plausible story line, lots of funny one-liners, conflicted love, and a wonderful voice from the dead.

Neil Simon is the crown prince of American comic theatre. His 30 plays have almost all been hits...hits with the public if not always with the critics. 'PROPOSALS,' in the vein of 'BRIGHTON BEACH MEMOIRS' and 'LOST IN YONKERS' is not only entertaining, but renders a message.

The story concerns the Hines family and their last summer together at their summer home in the Pocono Mountains, Pennsylvania. We are carried back to the 1950’s by Clemma, the African American cook, housekeeper and nanny of the family. Acting much like the Greek chorus, she introduces us to the setting and the characters, and steps in and out of her role as tour guide and participant in the action. This format is unique for Simon as he expands beyond his usual pat writing format. He uses a narrator, an African American lead character, and the play takes place outside of New York City.

Beck’s production, under the guidance of director Sarah May, is a little slowly paced. In spite of that the actors sometimes stomp on laugh lines and/or don’t cue the lines to assure audience response.

The cast is uneven. Joyce M. Meadows is nothing short of outstanding as Clemma. It’s worth going just to see this woman dominate a stage.

Joe Bandille as Burt Hines, the father/husband, and Jennifer Clifford as his daughter Josie are also excellent. James Seward, as Clemma’s estranged husband, hits the right emotional notes. Joel Nunley as Vinnie, a Mafia-clone, just isn’t broad enough in his characterization. He loses many lines as his accent comes and goes. He is also not helped by wearing a costume totally “unMafiosso.” Kellie McIvor, as the airheaded model, again, was played much too seriously. The other cast members tend to act rather than react to the goings-on which leads to surface level performances.

Don McBride’s set is wonderful...one could smell the woods, feel the dampness coming off the lake. Casey Jones 1950’s musical selections had the audience singing along as Doris Day and friends filled the auditorium.

Capsule judgement: With a wonderful production 'PROPOSALS' could totally enrapture an audience. Though Beck’s production falls short of that, it is still very entertaining.

Kaeja d'Dance (Cleveland Public Theatre)

Cleveland Public Theatre presents award winning Kaeja d'dance

The Cleveland Public Theatre often goes where other local entertainment centers dare not tread. The theatre had the nerve to present the likes of HEDWIG AND THE ANGRY INCH. It allows its facilities to be used to present a play where all the actors wind up nude. And, now, they present an innovative dance series that runs through March 3.

Unfortunately, programs are only scheduled for short runs. For example, Kaeja d’Dance was only presented for three performances this past weekend. It’s too bad there wasn’t time for word to spread about this creative, innovative, fascinating Canadian company. This award winning dance ensemble is led by Allen Kaeja, a Jewish choreographer. His ethnic background and family experiences gave birth to his powerful piece Resistance which chronicles the Jewish struggle that took place against the Nazi. Composed of gymnastic, synchronized, powerful movements, the performers use four benches which are so synchronized into the patterns that they often take on the role of dancers. The furniture pieces are slammed, stacked, balanced on, swung, and spun to create awesome effects. The variety of musical accompaniment spans pinging beats, Hebraic melodies, plaintive pitches and the roar of engines. The movements are perfectly choreographed to fit the tone and feeling of the music. Though it may be difficult for the uninitiated to understand the connection of the piece to the Holocaust, the overall effect of violence, intimacy and reflection are crystal clear. The dancers are suburb. They work as a well polished machine to create a highly emotional performance.

The opening piece was an improvisation in which the dancers were randomly chosen to perform, with and without music, with no rehearsal and no theme. Working like a perfectly honed machine the company created an exciting experience for the audience.

Capsule judgement: The only regret of the evening was that so few people attended this enticing dance program. Let’s hope that in the future CPT asks this wonderful company back.

The Infinite Regress of Human Vanity (Cleveland Play House)

'THE INFINITE REGRESS OF HUMAN VANITY' funny to the very end at CPH

When I first saw 'THE INFINITE REGRESS OF HUMAN VANITY' when it was workshopped at the Cleveland Play House as part of the 1999 Next Stage Festival of New Plays, I called it “one of the funniest plays I’ve ever seen.” In its present enactment I still think it is one of the funniest plays I’ve seen, but I’ll also add that along with its deep humor the playwright has imbedded a very thought-provoking message. It’s a toss-up as to which is most pleasurable about the play.

The story supposedly concerns Nathan Pine, a playwright who comes to see his new play presented at a play festival, not unlike the experience of writers who are invited to have their plays showcased at the CPH New Play Festival. Pine who has a history of unusual experiences in the theatre, including having killed a producer when the man was accidentally shoved off a theatre balcony by an upset Pine, again runs into strange theatre people and the roadblocks placed in the way of a show going from script to stage.

Author Murphy Guyer, who is the CPH’s Associate Artist, has a wonderful way with words. He throws out one-liners like Neil Simon. But, unlike many of Simon’s shows, Guyer bases his scripts on a set of philosophical principals and questions. In this play Guyer states, “Self interest is the essence of life itself” and “Our vanity is our mind’s immune system.” That philosophical bent makes 'THE INFINITE REGRESS OF HUMAN VANITY' more than just a comedy, but a very funny play that makes an important point.

Cleveland is blessed with many fine actors. Andrew May is one of them. May is wonderful in this production. No one has a more mobile face than May, no one can look as pained as May, no one can key a laugh with an open-eyed expression as May can. He is perfect in his role. Liz Hazel as the women’s libber dramaturg is hysterical. Christie Butter, as the beautiful young assistant, is engaging.

Unfortunately, some of this cast isn’t as convincing as the workshop production. Jonathan Partington doesn’t quite convince as the playwright in the play within the play, Ben Nordstrom skims the character’s surface as the young hip kid, and Paul Floriano doesn’t break the emotional plane as the producer.

Capsule judgement: Go to see 'THE INFINITE REGRESS OF HUMAN VANITY' expecting to laugh. Go to see 'THE INFINITE REGRESS OF HUMAN VANITY' expecting to be moved to think about about self interest and the ego. Go see 'THE INFINITE REGRESS OF HUMAN VANITY' because, as the script says, “A true comedy is funny to the very end.” Go to see 'THE INFINITE REGRESS OF HUMAN VANITY.'

Beauty and the Beast (Playhouse Square Center)

'BEAUTY AND THE BEAST' delights at Allen Theatre

There are some critics who damn the Disneyfication of the American musical. They believe that the Disney organization has made the theatre into a place of formula plots and overblown productions. I am not one of them! I think the arts, theatre included, has to appeal to many different types of people on different levels for it to fulfill it’s mission.

It was exciting on opening night of 'BEAUTY AND THE BEAST' to see a near capacity audience made up of young children, teenagers, Generation Xers and the Geritol set. They came in spite of the fact that this is not the first time the show has been in Cleveland. They came, they were excited about being in the theatre, and they enjoyed themselves. Many of these people would not come to see the likes of 'PARADE,' 'BLOOD BROTHERS' or 'CHESS,' but they came to see the fantasy, the magic, the farce, the inventive sets, and the wonderful costumes of this show. This mass assemblage wanted to enjoy themselves, to have some cotton candy for the mind and cherry cokes for the soul. Hurray for Disney for finding a way to draw these people into see live theatre.

Did the Disney studios actually reinvent the musical? No! The 'BEAUTY AND THE BEAST' plot line follows the tried and true formula set up by Rogers and Hammerstein in the 1940s. The first act lays the foundation for the plot, the last incident of the act makes us want to come back to find out how the story ends. It’s the same as what we experience in Lerner and Loewe’s 'MY FAIR LADY.' The question at the end of the first act is, “Will Eliza be able to fool everyone and be perceived as a lady of breeding?” The question in 'BEAUTY AND THE BEAST' is, “Will Beauty be able to teach the Beast how to love and thus break the wicked spell?” In both cases the answer, of course, is “yes.” That’s the stuff of which fantasies are made.

The production on stage at the Allen Theatre is everything one could ask for. It’s been that way since 1993 when the musical previewed in Houston and 1994 when it opened to its long run on Broadway. It’s been that way as it has worked its way across the world and thrilled people in such places as Sydney, Toronto, Vienna, Osaka, Mexico City and London.

This is a full-scale beautifully mounted production which will enchant children of all ages. But, be warned, it may also scare the little ones as the Beast roars, the shadows and fog fill the stage, and wolves chase Beauty. (As one sweet 3-year old, all dressed up in her pink ruffles said, “I don’t like this movie, it scares me.” Her parents snuggled her in, reassured her, and she remained transfixed for the rest of the show.

The cast is wonderful. Danyelle Bossardet is a Snow White-like Beauty with a warm and charming voice. Grant Norman’s voice fills the theatre as it did when he played the lead in Phantom of the Opera on Broadway and in London. Marc Dalio creates a Gaston who is perfectly overblown. Gerard McIsaac is a perfect slapstick fool and punching bag for Gaston.

Capsule judgement: Over 17 million people worldwide have seen and loved 'BEAUTY AND THE BEAST.' I challenge anyone except the reviewer-Grinch to not love this production. 'LONG LIVE' the Disneyfication of the musical! Ba, humbug to the sourpusses who look down at making people laugh, smile and want to come to the theatre!

Constant Star (Dobama)

'CONSTANT STAR'--an effective history lesson at Dobama

Booker T. Washington, Rosa Parks, Frederick Douglas, Martin Luther King, Ida B. Wells. While the first four names may be familiar, the last one, Ida B. Wells probably is not. Those who have taken US history classes, even those that attempted to give a voice to African American achievements and concerns, were probably not introduced to Wells. Playwright Tazewell Thompson’s desire to right the historical wrong gave birth to 'CONSTANT STAR,' now in its Ohio premiere at Dobama Theatre.

Operating under the motto, “I was put on this earth to agitate,” Wells, who was born in Mississippi in 1862, was a slave for the first six months of her life and spent the rest fighting for the rights of free blacks and justice for all. Maybe the lack of historical attention was due to her style. She operated under an umbrella of no compromise and not pulling punches. Her mother had left her with the motto, “Remember, girl, no one is better than you.” Ida B. Wells seemed to wholly embrace that philosophy. Her disdain for Frederick Douglas, who she considered an “Uncle Tom” and for the NAACP, which she felt “accomplished nothing” were not popular stands.

Wells pursued her beliefs in earnest. She sued a railroad for their attempt to force her to sit in the smoking car in spite of the civil rights laws that guaranteed black passage in first class. As a journalist she conducted a lifelong campaign against lynching and she led a boycott of the 1893 World’s Columbian Exposition when she felt it lacked highlights of African American achievements. She led Blacks to believe they could defend themselves. She didn’t believe in turning the others cheek. She once challenged a group of whites by stating, “If I go down, some of you will go down with me.” This was a woman of arrogance, self-centeredness and determination. In spite of her activity, maybe another reason for her lack of historical note was that she has no specific accomplishment to which her name is tied. She has no “I Have a Dream” speech, no attitude changing bus boycott, nor a March on Washington.

Thompson’s play is powerful, but talky. It is repetitious, too long and needs heavy cutting to make it compact and effective. The musical interludes, which take us from one scene to another are well-conceived and effective.

Dobama’s production is well-honed by director Margaret Ford-Taylor. Her cast of five African American women, playing interchangeable parts as Wells at various times in her life, as well as supporting characters, were generally fine. Though there were some line lapses, the ideas flowed well. Especially effective was Yolanda Davis, a junior at Kent State, who commanded the stage whenever she spoke. There was a glint in her eye and an edge to her voice that were both powerful and compassionate. J. Elaine Linzy also stood out.

Capsule judgement: CONSTANT STAR has an important message for all audience members, no matter their race. It is a play to be seen, thought about, and talked about.

Jill Hayman

Rocky River High grade to appear in 'BEAUTY AND THE BEAST'

When Disney’s 'BEAUTY AND THE BEAST' makes its joyous return to Playhouse Square’s Allen Theatre in early February, Rocky River High School alum Jill Hayman will be returning home for the first time in many years. In a recent interview with the 1975 RRHS grad she revealed that she is looking forward to returning to a city which, when she was growing up, had the reputation of being “the mistake on the lake.” She said, “People come home as adults and often everything seems small and shabbier. Coming home to Cleveland, however, gives me pride and a feeling of being awestruck by what Cleveland has done with itself in the last 25 years.” It’s great to see a marvelous town which is full of pride.” She went on to say, in spite of her now being a landed immigrant in Canada, she still cheers for the Indians, and is “proud to be a Clevelander.”

Jill’s Cleveland theatre connections run deep. She appeared at Huntington Theatre, playing the lead in 'FINIAN’S RAINBOW,' Greenbrier (now Cassidy Theatre) in 'GUYS AND DOLLS,' Carousel Dinner Theatre, Kenley Players and was even a regular on the long-running Sunday morning 'GENE CARROLL’S AMATEUR HOUR.'

Right out of high school she worked at Halle’s Department Store selling panty hose and three nights a week she served as singer-guitarist at Don’s Lighthouse. This was followed by two seasons at the Cleveland Play House.

She moved on to New York. In her first tryout she was offered a role in a production at the Great Lakes Theatre Festival, so back to Cleveland she came.

She fondly remembers Bill Allman, the Managing Director of Berea Summer Theatre, who she feels did so much for helping her theatrical career.

Her connection with BEAUTY AND THE BEAST started in 1995. She was cast in the touring production and performed for four and-a-half months. She has been on the present tour for about five months.

How will you find Jill on stage? Generally you look for the Egg timer. She sometimes plays the Wardrobe. On February 14 she will meet and greet her family and friends while playing the major role of Mr. Potts.

As Jill said with a giggle in her voice, “I haven’t always been the Egg Timer. At one point I portrayed the Sugar Bowl.” This enactment led to one of her most embarrassing moments on stage. She recounted, “I was making my entrance during the song ‘Be My Guest.’ The costume weighed 30-pounds. I was on top of a 20-foot staircase, started coming down, turned my ankle and fell to the stage. I hit the floor, my wig and hat came off, I landed in the middle of the dancers, continued to sing while lying on the floor, was hoisted up by another cast member and finished the number.” The next edition of the Disney newspaper contained a story about the mishap with the headline, “Sugar Bowl Not Broken.”

Jill’s future? She will continue with the BEAUTY AND THE BEAST tour until August. She then plans to go back to one of her passions...traveling. She will do her solo act on cruise ships. She has travelled most of her adult life and the thought of getting paid while she gets the opportunity to perform is, as she puts it, “a good thing.” Until then she will continue with her one-week stops as the show wends its way across the USA. As she indicated, “It’s a nice way to go. Disney takes very good care of us.”

She encourages all her Cleveland friends to see this production, even if they’ve seen past editions. She proudly says, “they have done some restaging and I’m impressed with the changes.”

BEAUTY AND THE BEAST, the classic love story of Belle, a young woman in a small mythical town, and the Beast, who really is a prince trapped, by a spell, in the ugly body.

Over the River and Through the Woods (Actors' Summit)

Audience pleasing 'OVER THE RIVER' at Actors' Summit

Every once in a while a strange phenomena happens on a stage. A play is selected which is not a great script and the production values miss the mark. In spite of this, the final result is very positive and results in an audience pleasing production. That is the case with 'OVER THE RIVER AND THROUGH THE WOODS' at Actors’ Summit.

The story centers on Nick Cristano, a third-generation Italian American who finds himself emotionally trapped in New Jersey with his two sets of grandparents who feel abandoned when their children move to Florida and their granddaughter moves to San Diego. The elder’s last grasp on familia is to smother Nick with love and food. The problems start when Nick is offered a promotion which entails moving to Seattle and leaving his grandparents behind.

The script has some wonderful lines that set the theme and tone of the happenings: “I need to make my life something of my own doing.” “How much do you owe those who have done so much for you?” “You can’t keep the people around you forever.”

Director Neil Thackaberry has assembled a group of Cleveland area pros to portray the grandparents. These are people who are comfortable with the stage. Unfortunately, because of their Anglo physical appearance, it’s hard to accept the duet as the Italians they are supposed to be portraying. Accents, both Italian and New Jersey, also come and go.

Glen Colerider as Frank, one of the grandfathers is properly stolid. Jean Colerider is warm and meaningful as Frank’s wife. Lenne Snively is wonderful as the other grandmother. Robert Snook, in spite of some line problems, is effective as the near-death grandfather. His speech near the end when he emotionally lets go of Nick is nothing short of superb. Peter Voinovich, as Nick, never seems comfortable with his role. Though one would like to pinch his chunky cheeks for being such a good grandson, he acts rather than reacts facial expressions and line interpretations, thus losing some of the character’s impact.

The production is blessed with a wonderful Robert Stegmiller two level set. It is period perfect in every detail, down to the table top doilies. Before the opening curtain you know who lives there, what the family is like (the large dining room table dominates the space), and the loving qualities that surround the inhabitants.

Joe DiPietro’s play is very funny, and the writer knows no restraint when it comes to sentimentality. He weaves in every tear-jerking device every conceived...old age, hidden illness, death, abandonment, immigrant displacement, family disintegration, loneliness, and emotional manipulation. Its ending is a three-hanky affair. The results? The audience is charmed.

Capsule judgement: All in all, in spite of a flawed script and performance issues, audiences will laugh, cry and love 'OVER THE RIVER AND THROUGH THE WOODS' at Actors’ Summit. Go, see, and mange emotionally and literally with the familia.

Times Theatre Tributes--2001

Times Theatre Tributes--2002

For many years the Cleveland Critics Circle recognized theatre directors, performers and technicians for excellence in providing top quality presentations to local audiences. Changes in personnel in the various media outlets has led to the elimination of those awards.

It is not the purpose of the “Times Theatre Tributes” to take the place of Cleveland Critics Circle awards. They are to recognize theatrical experiences that, in the mind of this reviewer, were excellent.

No attempt is being made to name the best in each classification. Actors were not separated by sex or leading or supporting roles. It is also recognized that I did not see all of the productions in the area. Selections are limited to locally produced performances, so none of the touring shows are recognized. Only plays performed during the year 2000 were considered.

Thanks to the following for making the theatre scene in the Cleveland area a vital and exciting place.

A Times Theatre Tribute 2000 for an Outstanding Production to:

CROSSROADS DANCING--Dobama
INFINITE REGRESS OF HUMAN VANITY--Cleveland Play House
NEVER A SINNER--Halle Theatre of Jewish Community Center
SIDE SHOW--Cain Park
THE GUARDSMAN--The Cleveland Play House
THE SKIN OF OUR TEETH--Cleveland Public Theatre
TWELFTH NIGHT--Great Lakes Theatre Festival
WIT--Dobama

A Times Theatre Tribute 2000 for Outstanding Performances to:

Catherine Albers in WIT--Dobama
Kirk Brown in THE TRESTLE AT POP LICK CREEK--Dobama
Bernard Canapari in NEVER A SINNER--HalleTheatre--Jewish Community Center
Hannah DelMonte in VIOLET--Cain Park
Keith Gerchak in BILOXI BLUES--Porthouse Theatre
Lissy Gulick in FUDDY MEERS--Dobama
David Hansen in CLOUD NINE--Bad Epitaph Theatre
Ken Jennings in CROSSROADS DANCING--Dobama
Nick Koesters in CLOUD NINE--Bad Epitaph Theatre
Jason Markouc in NEVER A SINNER--HalleTheatre--Jewish Community Center
Andrew May in DREAM PLAY--The Cleveland Play House
Andrew May in INFINITE REGRESS OF HUMAN VANITY--The Cleveland Play House
Andrew May in THE GUARDSMAN--The Cleveland Play House
Ernest Perry, Jr. In THE TRAGEDY OF PUDD’NHEAD WILSON--The Cleveland Play House
Scott Platte in VIOLET--Cain Park
Scott Platte in GROSS INDECENCIES: THE TRIALS OF OSCAR WILDE--Cleveland Public Theatre
Karin Randoja in THE SKIN OF OUR TEETH--Cleveland Public Theatre
Craig Recko in DAMN YANKEES--Cain Park
Doug Rossi in NEVER A SINNER at HalleTheatre--Jewish Community Center
Reuben Silver in 2-1/2 Jews--Cleveland State University/Actors’ Summit
Chuck Richie in FUDDY MEERS--Dobama
Deidrium Ring in DREAM PLAY--The Cleveland Play House
Lori Scarlett in VIOLET--Cain Park
Dorothy Silver in CROSSROADS DANCING--Dobama
Dorothy Silver in COLLECTED STORIES--Halle Theatre of Jewish Community Center
Brian Anthony Wilson in TWO TRAINS RUNNING--The Cleveland Play House

Times Theatre Tribute 2000 for Outstanding Directing to:

Raymond Bobgan--THE SKIN OF OUR TEETH--Cleveland Public Theatre
Victoria Bussert--VIOLET--Cain Park
Daniel Fish--TWELFTH NIGHT--Great Lakes Theatre Festival
Joel Hammer--NEVER A SINNER--Halle Theatre of Jewish Community Center
Hegyi Arpad Jutocsa--THE GUARDSMAN--The Cleveland Play House
Sonya Robbins--WIT--Dobama
Reuben Silver--COLLECTED STORIES--Halle Theatre of Jewish Community Center

A Times Theatre Tribute 2000 for Outstanding Technical Work to:

Beverly Emmons--Lighting Design--TWELFTH NIGHT--Great Lakes Theatre Festival
Christine Jones--Set design--TWELFTH NIGHT--Great Lakes Theatre Festival
Elizabeth Novak--Costumes--THE GUARDSMAN--The Cleveland Play House
Vicki Smith--Set design--THE GUARDSMAN--The Cleveland Play House
Vicki Smith--Set design--THE TRAGEDY OF PUDD’NHEAD WILSON--The Cleveland Play House
Aubrey Wertheim--Program notes--THE GUARDSMAN--The Cleveland Play House

The Alchemist (Bad Epitaph)

'THE ALCHEMIST' self-destructs at Bad Epitaph

I have a self-imposed rule. I never leave a theatrical presentation before it’s over. If at all possible I try to follow that resolve. Several years ago I attended a nearly sold-out production of the musical 'ON THE TWENTIETH CENTURY.' After intermission I was the only reviewer and one of only a dozen viewers who remained.

I attended the opening night of Bad Epitaph Theatre’s 'THE ALCHEMIST.' I must publicly admit that I broke my cardinal rule...I left before the production was complete. I could no longer sit and listen to the incessant screaming, the high pitched wailing that after a while sounded like fingernails scratching on a blackboard, the misinterpretation of the script, the poor acting, the direction which intended to insight the audience to laugh at the antics rather than with the material. I left after two hours. There was still another act to go.

'THE ALCHEMIST' is a recognized theatrical classic. Written by Ben Jonson, who is considered, along with Shakespeare, the major writer of the early 1600s, he is most noted for his comedies which include 'VOLPONE, THE ALCHEMIST' and 'BARTHOLOMEW.' He uses comedy to highlight those who lie, cheat and steal from others. His language is fluid and, though dated by modern standards, evokes laughter. Well done productions of his works delight.

For some inexplicable reason director Lawrence Nehring decided that Jonson’s intent and writing was not enough. He decided to make the comedy into a farce. A farce with no restraint. Rather than let the words evoke audience reactions he added prat falls, exaggerated acting techniques, sexual innuendoes, confusing costuming, and lots of screaming and door slamming. The company’s publicity called this their third modern interpretation of a classic work. Modern interpretations can be fine. Great Lakes Theatre Festival, among others, has been successful in modernizing when they decide that a play has a contemporary message and by adjusting the setting, costumes and/or the language. The audience then gets the intent and purpose of the writing as it pertains to today. Why did Nehring modernize 'THE ALCHEMIST?' He made comedy into visual farce. Did any of this help the attender to get Jonson’s message? I think not.

The night wasn’t a total waste. There were some talented actors on stage who, with the right guidance, could have shown off their skills. Don McBride’s two-room set was beautiful and, in the real world, the Indians beat the Yankees!

After the first act many of the audience did not return. As I left after the second act, there was an additional parade down the stairs to the great out-of-doors. As one man said rather loudly to his wife on their exit, “I’ve had enough! This is bad theatre!” He echoed my thoughts.

Capsule judgement: Too bad, Bad Epitaph has done some marvelous theatre. Their 'CLOUD NINE' earlier this season was brilliant. Not so for 'THE ALCHEMIST.'