Joseph and his amazing Technicolor Dreamcoat (JCC/Halle Theatre)

Halle’s 'DREAMCOAT' aimed at the kids and their parents

Every production of 'JOSEPH AND HIS TECHNICOLOR DREAMCOAT' is uniquely. Because it is a series of songs, with no script or stage directions, each director does his or her own thing. I’ve seen the show at least 15 times and I’ve never seen the same concept.

Years ago Beck Center did a smashing professional-level adult-centered production starring local actor/director Rob Gibb. Playhouse Square brought in a professional production several years ago that was so outstanding that it made the Biblical story glisten. Last year Berea Summer Theatre did a production which starred the always terrific Craig Recko as Joseph. Now, the Halle Theatre has taken its turn.

Director Jacqi Loewy decided to make her production kid-oriented. It is short, has some nice gimmicks, incorporates a large children’s chorus, and is aimed at the parents and grandparents of the children in the cast and the less-sophisticated theatre goer. My five and six -year old grandson's (Alex and Noah Berko) laughed when the brothers turned their “butts” toward the audience and for some odd reason found the prison scene to be “fun.” Go figure!

Andrew Kay sings well and makes an acceptable Joseph. Sheri Levy Gross, portraying the Narrator, has a nice voice. Tom Wang’s Pharaoh needed more abandonment in his Elvis imitation. The very talented Greg Violand seemed wasted with the minor roles of Jacob and Potiphar. The kids chorus sings well and are kids...how bad can that be?

Don’t go to see this production expecting anything close to a polished show. Take your kids, enjoy the wonderful music and expose them to the theatre. It’s family theatre. No one even minded the exits for “potty” breaks by some younger audience members or the kid who wandered the aisles for most of the production.

Capsule judgement: As a cute blue-haired elderly lady sitting next to me said as we exited, “It’s a nice show.”

Jacques Brel Is Avlie and Well and Living in Paris (Actors' Summit)

'JACQUES BREL' is alive at Actors' Summit

Every once in while a theatre-goer has an experience that makes all future exposures pale by comparison. Sometimes its seeing a single performance: Richard Kiley in 'MAN OF LA MANCHA,' Zero Mostel in 'FIDDLER ON THE ROOF' or Barbara Steisand in 'FUNNY GIRL.' Sometimes it’s a total production that blows the mind, such as the Broadway versions of 'WHO’S AFRAID OF VIRGINIA WOOLF,' 'CHORUS LINE,' or 'WEST SIDE STORY.'

Such an experience was the Cleveland area production of 'JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS' many years ago which started in the little theatre at Berea Summer Theatre, moved to Playhouse Square before the theatres were all renovated, and held the record for the longest continuous run of any production until it was recently eclipsed by 'TONY N’ TINA’S WEDDING.' That show, which starred Cliff Bemis, David Frazier, Providence Hollandar and Terri Pieto and was directed by Joe Garry, with musical direction by David Gooding, was an unmatchable experience. I once heard someone describe that show’s rendition of “If We Only Have Love,” the show’s final selection, as making her “toe nails curl.”

The memory lingers on. It was with that mind set that I attended Actors’ Summit’s production of Jacques Brel. It doesn’t match up. This is not to say that the present production is bad, it’s not. It is quite enjoyable as evidenced by the extended applause at the curtain call. It’s just that this rendition does not have the emotional depth, the perfect blending of voices, the seamlessly smooth staging, and the full musical sound of Cleveland’s classic production.

'JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS' is not the typical musical review. The cast can’t just sing, dance, and go on to the next song. Jacques Brel was a poet and singer. But, most of all, he was a song writer whose creations each told a story with a beginning, middle and end. He told tales of life, death, relationships, war, class struggle, loneliness and love.

In presenting Brel’s work each piece stands alone. Each piece has an attitude, a tone, a purposefulness. It is here that the Actors’ Summit proeduction lacks. Songs are sung. Most are not experienced by the performers and, therefore, not experienced totally by the audience.

The strongest renditions are “Fanette” powerfully sung by Scott Plate, “Next” by Plate and the ensemble, and “Carousel” by Sally Groth and the ensemble, though the necessary emotional enchantment in the latter was somewhat missing. There are special touches in this show. In “The Girls and the Dogs,” Plate and Wayne Turney are accompanied on stage by two adorable and well-trained dogs who beg, heel and exit on cue. Turney has a wonderful time in “Funeral Tango.”

The cast gives their all. Plate has a big voice, which sometimes causes problems as the other voices are much more subtle and he sometimes drowns out the other performers. Sally Groth sings well, but is somewhat shallow in the upper registers, especially in the song, “Alone.” MaryJo Alexander has a pleasant if not commanding sound. Turney does best in songs where he can clown.

Capsule judgement: All in all, 'JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS' at Actors’ Summit is a serviceable show that audience members should enjoy. And, obviously they have, and have spread the word , as the show has been extended for another three weeks.

Dinner With Friends (Cleveland Play House)

'DINNER WITH FRIENDS' thought provoking at Cleveland Play House

Donald Margulies, the author of 'DINNER WITH FRIENDS,' now receiving its Ohio premiere at The Cleveland Play House, received a 2000 Pulitzer Prize. The play also garnered the American Theatre Critics Association New Play Award and the
Dramatists Guild Award. Anyone seeing the play will understand why.

Margulies writes plays that probe how people treat each other and how we deal with the inevitable losses in our lives. In 'DINNER WITH FRIENDS' he digs deeply into relationships, families and marriage in his comedy-tinged drama. Margulies lays bare feelings, loyalties, personal values and self concepts. This is not a feel-good play, it is a mind blowing experience. It would be nearly impossible for an audience member to leave the theatre without probing personal attachments.

'DINNER WITH FRIENDS' allows us to peek in on the lives of four long-time friends. Karen and Gabe are international food critics. Beth is an artist who is married to Tom, a lawyer. We share an evening when Beth announces to Karen and Gabe that Tom is leaving her for another woman. We later hear Tom's side of the story. A flashback scene shares the first meeting of Tom and Beth at Karen and Gabe's summer home. Flashes forward allow us to further examine the two couple's relationship now that one is divorced and the other starts to examine their lives together.

The CPH production doesn't always live up to the potential of the script. Director Seth Gordon has allowed his actors to generally graze the surface of their roles. Though this is enough to involve the audience, as evidenced by the sustained laughter and curtain call applause, he did not pull out all the emotional levels of each character. This was especially true with Kate Hodge's interpretation of Beth. Making her first appearance on a stage, Hodge displayed mannerisms more appropriate to the television screen. Her movements were repetitive, her character never seemed to feel the pain. Wayne Maugans as Tom fared better, but, again, acted out rather than reacted to his internal pain, leaving us adrift as to his real sincerity. A script line summarizes his characterization: "Stuff coming out of his mouth is like bad greeting
cards."

Susan Ericksen fairs better as Karen. By far the best performance is that of David Colacci whose frustrations, feelings and deep hurt and questioning are clear throughout.

Kent Dorsey's set design is outstanding. Housed on a turntable, we are exposed to a kitchen, bedroom, living room, summer house, bar and another bedroom. All are realistic and add dimension to the production.

Capsule judgement: DINNER WITH FRIENDS is an emotional experience. It is the kind of play that stays with a viewer long after the curtain falls. It's a wonderful way for the theatre to end what has been a satisfying season.

Saturday Night (Beck Center)

'SATURDAY NIGHT' Sondheim's tooth cutting musical

The musical 'SATURDAY NIGHT' was Steven Sondheim’s first attempt at a musical. It began as a play by the authors of the screenplay for 'CASABLANCA.' Money was secured for a staging, but the producer died suddenly and the project was abandoned. Individual songs were published and became part of Sondehim lore. Then, in 1997 a London theatre company, with the blessing of the composer, staged the show. It then had a short off-Broadway run and found its way to the Beck Center stage.

Having completed its run, the odds of your ever seeing it again are remote. This is not the Sondheim of 'WEST SIDE STORY,' 'SUNDAY IN THE PARK WITH GEORGE,' 'COMPANY,' or 'INTO THE WOODS.' This is a Sondheim who writes such lyrics as, “a girl is a thing that is made of glass lace.” This was Sondheim who wrote about a group of Brooklyn male friends who spent most of their waking hours complaining because they didn’t have dates and the attempt of one to become a “swell.”

Fortunately for Beck audiences, director Fred Sternfeld decided not to take the script seriously. He wisely played much of the action as if he were doing a 1930 MGM “let’s go out to the barn and do a musical” complete with exaggerated line interpretations and stylized dance movements.

Several cast members stood out. Rebecca Borger was a delightful as the ditzey Celeste and Kenneth Bently made the role of Ray fun. The multi Times Tribute award- winner Craig Recko was somewhat miscast in the lead role. He seemed uncomfortable with the stylized dancing and stilted lines.

Capsule judgement: It is always interesting to see new theatre pieces...even if they are not of the highest literary quality. This was a good lesson in seeing Sondheim before he matured into one of America’s greatest contemporary lyricists.

Betrayal (Cleveland Play House)

'Betrayal' fails to captivate at Play House

Harold Pinter is a first class poet. His plays and films are masterfully crafted word songs. He is multi-talented. His plays include 'THE BIRTHDAY PARTY,' 'THE DUMB WAITER,' 'PARTY TIME' and 'CELEBRATION.' His film credits include 'THE FRENCH LIEUTENANT’S WOMAN,' 'THE HANDMAID’S TALE' and 'BUTLEY.' Television credits are 'THE HOTHOUSE,' 'PARTY TIME' and 'LANDSCAPE.' He has appeared as an actor in numerous plays, films, tv and radio. His bio lists over 25 international awards. This is one very, very prolific man.

'BETRAYAL,' now on stage at the Cleveland Play House, was first presented in 1978 in London. It contains biographical material, but is not autobiographical. The story, which is written in a backwards tunnel of time, starts with a meeting between adulterous lovers, Jerry and Emma, two years after their seven year affair has died. In nine scenes the play moves back through the stages of the affair, until the play ends with its beginning in Emma and her husband Robert’s house. In the process we see Jerry and Emma’s love for each other and the interactions between best friends Robert and Jerry. We are eavesdroppers in a series of betrayals.

This is a world of poetic tone. Unfortunately, the Play House production, under the direction of Peter Hackett fails to fully orchestrate those rhythms. The play, written as a two act script, is performed without intermission. The slow pace, the lack of setting up many of the humor lines, and the physical setting of the Bolton Theatre, all add up to a less than satisfying enactment of a wonderful script.

The Bolton, which was envisioned as CPH’s answer to an intimate space doesn’t serve the purpose well. This is an intimate play, we need to feel close to the action. The depth of the stage, the fact that much of action takes place near the rear of the stage, doesn’t allow the audience to become involved.

Paul Vincent Black’s Robert doesn’t make us feel his cause for betrayal. Anne Torsiglieri’s Emma doesn’t project the pain that leads to her affair and betrayal. Even the always competent Andrew May fails to dig into the bowels of Jerry. They all just seem to be saying words, not beautifully crafted words.

Pavel Dobrusky’s sterile set doesn’t help in creating the necessary intimacy.

Capsule judgement: All in all, the Cleveland Play House’s BETRAYAL misses the theatrical mark. Bad? No. Not to be seen? No. Wonderful? No.

Blast! (Playhouse Square Center)

'Blast!' explodes with entertainment at the Palace

It has been dubbed “a novel art form, “ “a musical spectacular,” and a “new artistic genre.” In reality, BLAST!, now on stage at the Palace Theatre, is an undefinable piece of entertainment. How many adjectives and adverbs are there to explain perpetual motion and sound, a visual explosion of pleasure, audience glee, and enthusiastic appeal? No matter the number, they can all be used to describe BLAST!

BLAST! has no story line. It is a series of musical numbers, accompanied by a flag show, musicians sitting on chairs hanging from the ceiling, cast members twirling rifles and sabres, performers sitting next to audience members, musicians marching up the aisles, and drummers playing in the lobby during intermission. Add to that the use of grass blades, bells, wings, scalenes, double sticks, media flags, poles, techno flags, techno sabres, glow rifles, glowing light rods, whistles and whirly gigs. The drummers are dynamic, the dancers excellent, the music foot-tapping, the musicians competent.

The rendition of “Gee Officer Krupke” from 'WEST SIDE STORY' found cast members running, writhing, and interacting with each other in a delightful parody. “Color Wheel” was emblazoned by a flag team using material of varying hues. “Tangerinamadidge” was a song played on didgerydoos.

Jim Mason, the creative force behind the show, developed the concept in 1985. A life-long veteran of drum and bugle corps he set out to transform the squads into a complete theatrical experience. As he says, “BLAST! is almost like a Disneyesque animation, only in BLAST! the animation comes to life with real people playing the music and interpreting it visually.”

Capsule judgement: Even non-enthuiasts can be won over by the presentation. As one audience member said, “I was expecting to come out with a headache from the loud noise. Instead I came out humming, whistling, dancing, and wishing that I could entertain like those kids!” (The average age of the cast is 23.8 years.) Yes, it’s impossible not to have a blast at BLAST!.

Groundworks Dancetheatre & Actors' Summit--2002 (Groundworks Dancetheatre)

Groundworks Dancetheatre--a special treat

Anyone in Northeastern Ohio who appreciates dance and has not had the experience of attending a performance of GROUNDWORKS DANCETHEATRE, has missed out on one of the country’s most exciting companies.

Headed by Artistic Director David Shimotakahara the group performs in various settings. Their latest offerings were staged at Actors’ Summit in Hudson.

Performing to well-deserved near sold-out audiences, the combination of dance and musical performances by pianist David Fisher and guitarist Stephen Aron, was an emotionally fulfilling evening.

Hamlet, the Ballet (Ohio Ballet)

Ohio Ballet's 'HAMLET, THE BALLET' visually effective

Earlier this year the Ohio and Dayton Ballet companies combined to present a wonderful dance version of 'PETER PAN.' Their newest joint venture is the full-length balletic version of Shakespeare’s 'HAMLET.' Though the production does not reach the excitement level of 'PETER PAN,' 'HAMLET, THE BALLET' makes for an enjoyable evening of dance.

Choreographing to contemporary composer Phillip Glass’s composition, choreographer Stephen Mills wisely chose to stylize the production. Mills, the Artistic Director of Ballet Austin, was hailed by Dance Magazine for his sleek and sophisticated version of 'HAMLET, THE BALLET.' And sleek and sophisticated it is. Except for the repeated device of using vertical leaps to portray anguish, the choreography showed texturing and integration of music and movement.

The ballet follows the Hamlet story closely enough that viewers familiar with the Shakespearean piece have no trouble in understanding the danced story. In general, Hamlet’s father is killed by his uncle Claudius. Claudius marries Hamlet’s mother. Hamlet broods, sees visions, and is visited by the ghost of his dead father who asks him to revenge his death. In the process of plotting revenge, more murder, intrigue and finally the destruction of Hamlet’s world, as we know it takes place.

Kirk Henning, who portrayed Hamlet on opening night, danced with ease but he lacked the physical and emotional presence needed to portray the great brooding and bigger-than-life character. Rachel Carmazzi was lovely as the emotionally tortured Ophelia. Mary Beth Hansohn danced and portrayed the role of Gertrude with strength and power. Dmitry Tubolstev, as he has done in previous performances, continues to feign emotion. Though adequately danced, his Claudius was overacted. Brian Murphy exerted his usual strong presence as Laertes. The sword fight between Murphy and Henning was extremely effective and well staged.

Tony Tucci’s lighting design, Christopher McCollum’s contemporary costumes, and Jeffrey Main’s scenic design added a strong visual dimension to the production.

Capsule judgement: Yes, this ballet is sleek and sophisticated!

Who's Afraid of Virginia Woolf (Actors' Studio)

'WHO’S AFRAID OF VIRGINIA WOOLF' superlative at Actors' Summit

Edward Albee’s play WHO'S AFRAID OF VIRGINIA WOOLF? opened on Broadway on October 13, 1962. That same month, the world seemed poised on the edge of a nuclear war when the United States faced off against the Soviet Union over the presence of nuclear weapons on Cuba. Much like the missile crisis, George and Martha, the play’s protagonists, hurl threats, epitaphs, and fight a battle of wills.

Interestingly, though the play is considered to be one of modern America’s classics, the script did not win the Pulitzer Prize. The committee actually selected it as the winner. However, the award is overseen by Columbia University, and the trustees decided that the explicit language, interest in "taboo" subjects, and controversial public reception made it the wrong choice. Nonetheless, it won the New York Drama Critics Circle Award and the Tony Award for Best Play that year.

In this era of Jerry Springer and similar television shows which are embraced by the public, the profanity and hateful words between George and Martha that so shocked audiences in the 1960's, now seems commonplace.

The story concerns the relationship between George, a history professor, and his wife, Martha, the daughter of the college’s president. It depicts a series of battle games with escalating stakes upon which George and Martha have built their marriage. The proceedings encompass a young couple, Honey and Nick, who are guests in the house.

Director Neil Thackaberry, in a master stroke of interpretation, decided to pull away from the oft-used device of George and Martha constantly shouting at each other. Instead, using a clue from the script in which the characters comment on the fact that they are “numbed enough,” he chose to have them underplay their lines. This is not to say the venom is not present. Much like snakes, the couple strikes quickly and often, subtly, with deadly results.

Paula Duesing and Tom Fulton’s performances are both astounding and outstanding. They totally understand the nuances of Albee’s lines and live their roles.

Though his lines are effectively delivered, Peter Voinovich doesn’t have the physical presence to play Nick, the young professor who is described as a stallion. In addition, he sometimes feigns feeling with exaggerated facial expressions.

Susanna Hobrath shrilly whines her way through the role of Nick’s wife Honey, making her spaced out rather than pathetic.

Robert Stegmiller’s light and set designs are excellent.

Capsule judgement: Actors’ Summit should be justly proud of their mounting of WHO’S AFRAID OF VIRGINIA WOOLF. If you like fine modern theatre at its best, see this production.

The Waverly Gallery (Cleveland Play House)

Play House's 'THE WAVERLY GALLERY' meaningful, but misses the mark

It is sad indeed to watch those around us get old and lose their sense of dignity and purpose. The question facing many, in the era of the longer life spans, is how to deal with those who lose their memories and physical strength, becoming shadows of their former selves. This, basically, is the situation explored by Kenneth Lonergan in his memory play, 'THE WAVERLY GALLERY.'

Gladys Green, a former lawyer, activist and small art gallery owner has come to the stage of her life when her faculties are abandoning her. She runs a small art gallery in Greenwich Village and lives in a near-by building also inhabited by her grandson Daniel. We watch as her family struggles to find the balance between allowing Gladys to maintain her dignity and keeping their own lives in balance.

Lonergan’s script is lacking. The writing doesn’t clearly separate the pathos from the humor. Audience members giggled at what seemed inappropriate moments causing discomfort for those around them. What is funny about seeing a once vital person become lost in a sea of confusion? Should we laugh or cry? Lonergan often gives us no help. Shouldn’t we expect that the elderly woman’s daughter and son-in law who are both psychiatrists to be better be able to handle their loved one’s demise? Problems can overwhelm, but shouldn’t we expect these experts to have more understanding?

Peter Hackett’s direction gives us little help. The actors come out shouting and the decibel level continues throughout. There is little real empathy, just over-wrought frustration and yelling. Even Daniel, the supposedly compassionate grandson, is forced into what would appear to be uncharacteristic rage.

It’s worth seeing the production to experience the acting wonders of long-time television performer Ann Guilbert. Guilbert, who portrayed Millie on 'THE DICK VAN DYKE SHOW' and Grandma Yetta in 'THE NANNY,' gives understanding to the role as we watch her fall deeper and deeper into the chasm of chaos. Andrew Katz, as her grandson, has many wonderful moments. The script and the direction fail him at times causing the character to portray seemingly uncharacteristic acts. Darrie Lawrence and Mike Hartman as the daughter and son-in-law spend too much time yelling and fretting. Is this the fault of the writing or the directing? Gregory Northrop portrays a painter whose presence is irrelevant to the story line.

Capsule judgement: 'THE WAVERLY GALLERY' is disappointing. In this age when the topic of aging is so important, a meaningful, well performed play could have been a gift. As is, it’s an opportunity to see a wonderful performance in a less than pleasing production.

Hairy Ape (Cleveland Public Theatre)

'HAIRY APE' at CPT more style than substance

After seeing 'THE HAIRY APE' at Cleveland Public Theatre no one will accuse guest director David Herskovits of not being creative. His imagination in staging is evident throughout. But, as happens with productions which stress style over substance, the production fails to fully develop the author’s intent and purpose. So much effort was placed on visual images that acting nuances, vocal projection, and idea development were lost.

'THE HAIRY APE' is Eugene O’Neill’s major expressionist play. It draws heavily on the philosophy of Freidrich Nietzsche and from the concepts of psychologists Sigmund Freud and Carl Jung.

'THE HAIRY APE' centers on a depiction of the suffering caused by societal attitudes. O’Neill conjures up a nightmare in which Yank, a steamship stoker, searches for a place to belong, only to end crushed in the arms of a zoo gorilla.

Herskovits, the Artistic Director of the Target Margin Theatre in New York, has conceived a vivid production. He manipulates his actors like chessmen, every move programmed. He uses all parts of the Gordon Theatre, a former movie theatre which is in the process of being refurbished. The partially destroyed balcony, the underbelly of the balcony, the open staging area, and the aisles are all fair game.

Unfortunately, lost in the staging is a lack of attention to presentational detail. Jimmie D. Woody as Yank lacks a clear idea of the meaning of his lines. His final speech, which should be wrenching, makes little sense. Many of the cast are hard to understand due to garbled pronunciation and poorly conceived accents. Performers feign characterizations rather than developing ideas. Sound is often lost under the balcony overhang and actors presenting lines with their backs turned to the audience create sound vacuums.

Capsule judgement: If you are interested in seeing a visually compelling production, and are willing to set aside the playwright’s intended meaning, CPT’S 'THE HAIRY APE' will satisfy you.

Moon for the Misbegottten (Great Lakes Theatre Festival)

Moon for the Misbegotten a must see at GLTF

Eugene O’Neill is the only American ever to be awarded the Nobel Prize for Literature. His writing raised American dramatic theater from frothy escapism to meaningful messages. Ironically, both the Great Lakes Theatre Festival and Cleveland Public Theatre have chosen to present O’Neill plays simultaneously. The plays and productions are quite different.

O’Neill’s works spanned the genres of realism and expressionism. 'MOON FOR THE MISBEGOTTEN,' the script Great Lakes Theatre Festival chose to produce is one of his realistic plays and considered to be his finest work.

GLTF has wisely decided to edit and shorten the autobiographical play which concerns the ill-fated love affair between the guilt-ridden and alcoholic Jamie (modeled on O’Neill’s real life brother) and Josie, a shy woman who hides her real feelings by feigning to be something she is not. The play paints life in harsh colors with an overstroke of light as represented by underlying love and respect of father toward daughter and the brilliance of sunrises.

The production, under the able direction of James Bundy, works extremely well. He shows an understanding of the script, its message and how to get the meaning across.

Vincent Dowling, the former Artistic Director of GLTF, returns to portray Phil Hogan, the drunken lout of a father. He is, as the script describes, “As spry as a yearling and nasty as a wasp.” His performance is acting at its finest. Derdriu Ring, who does not physically fit the supposedly physically unattractive large boned daughter, none-the-less overcomes that by emotionally fleshing out the role. Sean Haberle has some shallow moments as Jamie but generally is convincing.

John Ezell’s set design is wonderfully realistic and Matthew Frey’s lighting helps develop the proper moods.

Capsule judgement: GLTF’S 'MOON FOR THE MISBEGOTTEN' is O’Neill at its finest! The production has been honed to perfectly develop the drama, pathos and humor of the script. This is a must see for any real theatre-lover!

The Interview (Halle Theatre/JCC)

Powerful script bring audience to tears at Halle/JCC

Every once in while a script is so powerful, so well written, that even when give a mediocre production, it brings the desired effect from an audience. This is the case with THE 'INTERVIEW' at the Halle Theatre.

Local write Fay Sholiton has crafted a play that delves the emotional depths. On the surface it might be viewed as another Holocaust play, but it is more, much, much more. It examines survivor guilt, mother/daughter issues, rejection, generativity (what happens to one generation as they receive the traditions from the previous generation), what happens when one person wants to share and another doesn’t want to receive the message and vice versa, and what it feels like to walk in someone else’s shoes. That’s a lot of stuff to unload in an hour-and-a-half. But Sholiton manages to weave it well!

Unfortunately, the Halle production is not of the same quality as the material. Tom Fulton’s direction just doesn’t delve deeply enough. In general his characters are saying lines, not experiencing emotions. Yiddish (the Jewish language) contains many very descriptive words. One of these is “taum” which is defined as “taste.” It really means the shadings of taste that make foods or events extra special. This production lacks “taum.”

Ann Meshenberg as the interviewer comes closest to delivering a stirring performance. Her meek, bird-like personality in the first act gives way in Act II to an overwhelmed woman who has suffered the emotional loss of not being allowed to share her mother’s experiences, to understand the depths of her torment.

Marji Dodrill, as Holocaust survivor Bracha Weissman, gives a serviceable performance, but fails to lay bare the underlying depth of the woman’s hurt. Dodrill uses anger instead of agony as her acting catalyst resulting in some audience alienation rather than understanding.

Kathryn Wolfe Sebo’s words lacked the depth and nuances needed to display her frustration and bitterness fully.

Michael Roache gives a nice reading of his part as the youthful photographer.

Capsule judgement: 'THE INTERVIEW' is worth seeing. It is a powerful script that left the audience with tear-soaked wads of Kleenex.

Dobama, A Commentary (Dobama)

Letter to the Editor
Cleveland Jewish News:

Dobama Theatre is a theatrical gem and one well-attended by the Jewish community. It is therefore appropriate that the CJN highlighted the theatre's contributions in its March 8 edition. It is especially relevant since Donald Bianchi, the founding light of the theatre, has been diagnosed with acute leukemia.

As much as a I appreciated Margin Herwald's article, there are historical errors that need correction. The article indicates at Dobama's did its first production in a Cleveland Height's hotel. 'Taint so." The first two productions ('ROPE DANCERS' and 'RAPE OF THE BELT') were done at the Chagrin Valley Little Theatre. The company then moved to the now destroyed Quad Hotel at E. 75th and Euclid for the next couple of seasons. This was followed by the move to its present Coventry basement home. The relocation was accomplished by volunteers ripping out of the four-lane bowling alley and constructing a theatre. It was a labor of love for those of us who believed in Bianchi and his mission. Forty years later many of the same people still support this wonderful theatre.

For those who have admired his contributions to theatre in Cleveland please drop a note to Donald Bianchi at 2348 Charney Road, University Heights, 44118. (Please no phone calls or visits).

Roy Berko

Night Bloomers (Cleveland Play House)

Next Stage Festival at CPH previews 'NIGHT BLOOMERS'

Sarah Morton is one of Cleveland’s better playwrights. Her play SAFETY was nominated for the American Theatre Critic Association’s “New Play Award” and the Osborn Award For Up And Coming Playwrights. Her newest work-in-progress NIGHT BLOOMERS, had its first-ever public reading as part of the NEXT STAGE FESTIVAL OF NEW PLAYS--2002 at the Cleveland Play House. Originally planned as a longer play Morton, according to cast member Dorothy Silver, discarded her original concept following the 9-11 tragedy and sculpted a one-act play in its place.

NIGHT BLOOMERS centers on a grandmother, her twenty-something grandson and a young female playwright. The setting is December, 2001 in the backyard of the grandmother’s house somewhere in the Southwest. Lilia, the grandmother, has received an exotic plant as a present from her daughter whose son Nathan is visiting his grandmother. In reality, Nathan, on the run from reality. A run which always leads him to his grandmother. Neli, the playwright-wanna-be is also in a search...a search for the center of her play, and probably her life. Grandma, though wise, also escaped in her early life to Italy, met and married her husband and has been adrift since. The Night Bloomer plant’s existence centers on building up its energy so it can shoot forth an occasional beautiful bloom. In the play it acts as a metaphor for each of the characters.

Though not a completed work it is an interesting one-act play that evokes questions of the purpose of life and what each person’s role is in his/her existence. One of the major questions that the author will have to address is whether she leaves the work as a one-act play or expands it into a full work.

Capsule judgement: Though just a reading, CPH’s cast was effective. Headed by the wonderful Dorothy Silver, who can make a pause and a sideways glance yell meaning, she was ably supported by Jason Markouc and Erin Hurley.

The Weir (Ensemble)

The Weir slow moving at Ensemble

The Irish are known for many things. Outstanding among them is their ability to spin a tale. Talking and drinking are close runner-ups. Thus, it is no surprise that Conor McPherson’s play 'THE WEIR,' which was the winner of two 1998 Olivier Awards including Best New Play, takes place in a bar and concerns the telling of tales and lots of talk and drinking.

The plot line centers on the arrival of a mysterious outsider to a rural area set in traditions, where little new or exciting ever takes place. She brings with her a search for a new lease on life and breaks the tedium of the pub regulars. Drinking ensues and the barroom chat soon becomes a series of local legends and distressing tales. Supposedly, the play was inspired by the author’s visits to the small town of Leitrim to see her granddad.

When it opened in Philadelphia, on its way to becoming a Broadway hit, one reviewer said, “'THE WEIR' does what all good stories do: effectively transports the audience to another world that seems both far, far away and simultaneously right around the corner from home.”

I’m not sure what the Broadway or Philadelphia reviewer saw, but that’s the not the play being produced on the Ensemble stage. Local viewers are exposed to a very, very talky play, with little action, in which the stories, with one exception, lack the intrigue to hold attention.

Maybe the difference between here and there were the production qualities. But that can’t account totally for the obvious boredom of the audience. All of the actors on the Ensemble stage were competent, if not spell binding. The exception was Meg Kelly, playing Valerie, the mysterious outsider. She was excellent, especially while telling her tale, the reason she needed to come to this forsaken outpost to get away from the real world. That’s not to say that Bernard Canepari, John Kolibob, Steven Vasse-Hansell and Charles Karali were bad. They weren’t. Their Irish accents, thanks to Kartali’s dialect coaching were right on. They developed clear characterizations, though they generally failed to keep the pace fast enough, and the stories entrancing enough, to grab the viewers.

Special attention should be paid to Ron Newell for his wonderful set and Croby Grubb who selected appropriate Irish music to set the proper mood.

Capsule judgement: In retrospect, why this script was awarded two of the prestigious Olivier Awards continues to mystify. No matter the production qualities, there just wasn’t enough there to make this a prize winner.

Clevelander in 'Hart's War'

Joel Sugerman, son of Ann and Marty Sugerman of University Heights, appears as the Unnamed Soldier in 'HART’S WAR' with Bruce Willis. Sugerman, who is residing in Prague where the film was shot, also appeared in the TV mini-series 'JOAN OF ARC.'

Diamonds and Blues (Ohio Ballet)

Ohio Ballet--baseball, flamenco, The Point Sisters

Several weeks ago when I met with Jeffrey Graham Hughes, the Artistic Director of the Ohio Ballet, we discussed the future and his dream for the company. He is interested in taking it in a direction quite different from the Heinz Poll years. With the dream come pitfalls. Many OB loyalists have difficulty moving on...they were comfortable with the old and want it to remain. We also discussed my observations that though I most often find the new works creative, I often feel that they are not well polished.

Creativity and polish were not an issue with at least one of the pieces from OB’s newest offerings, 'DIAMONDS AND BLUES' at Playhouse Square’s Allen Theatre. The program is being repeated at E. J. Thomas Hall in Akron February 8 & 9.

Karen Gabay, the dancing darling of the now defunct Cleveland San Jose Ballet has started to establish herself as a fine choreographer. Her 'NOUVEAU FLAMENCO' is a modern version of the classic flamenco dance, flamenco on toe shoes. This piece is creative, exciting, and was perfectly executed. Dennis Dugan’s lighting added greatly to the production as did Natasha Guruleva’s black and red costumes. Jesica Salomon was radiant in Part II. Though dancing strongly, with soaring leaps, Dmitry Tubolstev continues to distract with grimacing facial expressions. The company worked as a fine- honed unit in the other segments.

In 'HOT RIFFS AND BLUE NOTES' choreographer Gregory Robinson of the Dayton Ballet presented a series of creative modern dance pieces to the music of the Pointer Sisters. Though innovatively conceived there was a lack of unity among the dancers. Many did not pick up the attitude of the music in their bodies and faces. For example, in Salt Peanuts, the fast pleasurable music engendered hip attitudes. The woman were fine. With the exception of Brian Murphy, whose face and body burst with energy, the male dancers appeared to be concentrating so hard they forgot to have fun, to let loose. (Come on guys, this is not Swan Lake.) Jesica Salomon was wonderfully sensual in Black Coffee. Lowell A. Mathwich’s costumes were attitude perfect.

In an interesting program inclusion, pianist David Fisher presented a musical interlude of three Spanish dance compositions.

The highlight of the evening was supposed to be 'PLAY BALL!' It is intended to take the game of baseball and translate it into a fun-filled ballet. The music spanned most major classical pieces including “Carmen,” “The Comedians,” and “The Barber of Seville.” The piece lacks a strong sense of comedy needed to make it outstanding. Part of the issue is that ballet dancers are hard to accept as baseball players. Also there needs to be a sense of farcical acting that isn’t often part of a dancers’ repertoire. The serious tone of most of the music also seems to get in the way. The highlight of the number was Brian Murphy and Anitra Nurnberger’s nicely performed sixth inning pas de deux. Overall, bad? No. Great? No. Memorable? No. Enjoyable? Yes.

Capsule judgement: It’s worth attending this weekend’s Ohio Ballet performance for no other reason than to see Karen Gabay’s NOUVEAU FLAMENCO. The program should work even better in a setting other than the huge bowling alley shaped Allen Theatre. I’m glad they saved the Playhouse Square theatres but the Allen is a problematic setting for almost every venue, especially for intimate ballet.

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.