The Melody Lingers On...The God Belss America Musical (Berea Summer Theatre)

Pleasant Meldoy lingers on at Berea Summer Theatre

Summer is made for relaxing, reminiscing, and pleasant times. Berea Summer Theatre’s THE MELODY LINGERS ON...THE GOD BLESS AMERICA MUSICAL, which is based on the songs of Irving Berlin will satisfy all those summer needs.

Irving Berlin was born in Eastern Russia in 1888. His family moved to New York in 1893 to escape the pogroms. At the age of eight, he took to the streets of the Lower East Side of New York City to help support his family after his father had died. In the early 1900s he started writing songs. His first published hit was "Marie From Sunny Italy."

In World War I he wrote the musical YIP, YIP, YAPHANK which included the hit song "Oh, How I Hate to Get Up in the Morning." On Armistice Day, 1939, he introduced "God Bless America," which was sung by Kate Smith (a filmed version of this is included in the BST production). This song threatened to replace the national anthem because of its popularity. In World War II, he wrote the musical THIS IS THE ARMY, which contained "This is the Army, Mr Jones" and “I Left My Heart at the Stage Door Canteen."

Berlin was prolific. He wrote more than 900 songs, 19 musicals, including the legendary ANNIE GET YOUR GUN, and the scores of 18 movies. Some of his songs that have become classics include "There's No Business Like Show Business," "Easter Parade," and "White Christmas."

Following a 1988 gala 100th birthday celebration concert at Carnegie Hall, Morton Gould, president of ASCAP, said that "Irving Berlin's music will last not for just an hour, not for just a day, not for just a year, but always." Songwriter Jerome Kern observed "Irving Berlin has no place in American music. He is American music." Not bad for a poor immigrant who had only two years of formal schooling and who never learned to read music! Irving Berlin died on September 22, 1989, at the age of 101.

THE MELODY LINGERS ON...THE GOD BLESS AMERICA MUSICAL chronicles Berlin’s life and music, with an actor portraying Berlin acting as the narrator.

Director/choreographer Eric van Baars has developed a pleasant show. There are neither stirring moments nor disappointing flaws. The 10-person cast is competent, the music well presented, the choreography nicely developed. Scenic designer Todd Kripsinsky’s mutli-leveled piano-motifed set works well. The use of real slides and pictures of Berlin’s life was a production enhancement. Jeffrey Smarts’ costumes are nicely conceived.

Show highlights include the cleverly choreographed “When the Midnight Choo Choo Leaves for Alabam’,” the flapper era ditty “Shaking The Blues Away,” “ the energetic “Steppin’ Out With My Baby,” and the creative “Let Yourself Go.”

Capsule judgment: One of the show’s lines states, “The evening was electric.” No, the evening wasn’t electric, but it is pleasant and reminiscent and relaxing. It makes for a nice summer entertainment.

The Music in Me!/Varla Jean (Cleveland Public Theatre)

I've got 'The Music in Me!' a delight at CPT

The stage is dark. The music, “Make Your Own Kind of Music” fills the theatre. A vision appears, a tall, long legged, muscular, full-busted woman with flowing red hair appears. Varla Jean Merman is here! Well, in actuality it’s Jeffery Roberson portraying Varla Jean. Don’t get the idea that this is a drag show. It’s not. Jeffery is Varla Jean. He/she also does all her own singing. No tapes of Liza, Bette or Barbra here. As Varla states, “I’m too self absorbed for that.”

The show, which is audience-inclusive, is part adlib, part music, part video, part double entendre, and full-time fun! This “woman” can sing. “She” can sing even when shooting canned cheese whiz down her throat. This “woman” can bat her eye lids and convulse an audience. Her rewritten version of MY FAIR LADY’S “Why Can’t the English” as a rap song is clever. Her Yodeling Weiner ventriloquism act convulses. The video of her attendance at her prom was delightful. Her final goodbye, complete with a plea to the audience to buy her c.d., left the audience laughing.

Capsule judgement: Go to the show expecting the outrageous and you’ll go with the right attitude. Do go, you’ll be enraptured.

Tony and Tuna's Wedding, adds a new star (Hanna Theatre)

TONY N’ TINA adds a new star for the night

After a lifetime on stage as an actor and director, I hadn’t appeared on stage in over 15 years. That string was broken on July 17 when I had made a cameo appearance in TONY N’ TINA’S WEDDING, the longest running play in Cleveland history. The program addition read, “At this performance Roy Nunzio will be played by theater critic Roy Berko.”

Not only did I have a wonderful time, but was again impressed with the delight the cast shares with the audience as they enact a wild Italian wedding complete with fights, a priest and nun who get drunk, dollar dances, a gay romance, an Italian feast highlighted by Orlando’s bread, a bad-joke MC, wedding guests singing and dancing, and a congo line down 14th Street.

The members of the cast are dedicated to the production and were wonderful hosts. Pete Ferry, the father of the groom, steered me through the evening with the able assistance of beautiful Erika Nicol Whites, who portrays his blond bimbo girlfriend. Michael Herzog, a charmer who conned my wife into giving him a backrub, and who portrays Tina’s brother, was always at hand with a smile to assist when Pete had to leave me alone. Tony, James Klein, and Mark Gates, portraying Father Mark were wonderful in our interactive scenes.

People in the audience who I knew tried, of course, to get me to break character. After a while they just started to play along.

My favorite moment? When a woman asked me to dance and slipped a dollar bill into the cummerbund I was wearing with my tux!

If you’ve seen it before, come back to see TONY N’ TINA’S WEDDING, it’s even more fun the second time. If you haven’t seen it, do so, you’ll have a wonderful time. According to Jeon Francis, the show’s public relations coordinator, the show is scheduled to run through New Year’s Eve.

By the way, if Jacqui Loewy, the show’s production stage manager, ever needs a fill-in cast member, I ‘m willing to appear at a moment’s notice.

Brigadoon (Porthouse/KSU)

Well-conceived 'BRIGADOON' closes succesful Porthouse season

Alan Jay Lerner and Frederick Loewe are icons of musical theatre. Their musicals center on the theme of the perfect place, the perfect time, the perfect love story. Think of CAMELOT, MY FAIR LADY, and, of course, BRIGADOON.

Brigadoon was the first big hit for the magical team. The story is based on a tale by Frederick Gerstacker. The original story centered on the mythical German village of Germelshausen that fell under a magical spell. The play transforms the setting to a Scottish village named Brigadoon which remains unchanging and invisible except for one day every hundred years, when it can be seen and visited by outsiders. Visitors might be allowed to stay, but if any residents ever left, the spell would be broken -- and that would be the end of them all. Two American tourists, Tommy Albright and Jeff Douglas stumble upon the misty town. Tommy soon falls in love with Fiona, a local lass, and must decide whether to return to the real world or remain in Brigadoon forever. The title comes from the word "Brigadoonery" which describes anything that is grotesquely Scottish-like, but well-intentioned.

The Porthouse production is very well-intentioned. Director Terri Kent has assembled a talented cast, has a clear concept of where she wants the production to go, and has created a well-conceived though slightly flawed production.

As Tommy, Lorain County’s Raymond Ewers has Broadway leading-man good looks and possesses a pleasant singing voice. He needs to sell his songs more, stressing the meaning of the words, not just singing them. Mary Klaehn is enchanting as Fiona. She has a marvelous singing voice and develops a clear character. May Ann Black, a Rue McClanahan look and act-alike, portrays Meg, the female comedy relief. She has a fine sense of timing, but the clever words to her songs are often lost between the heavy brogue and lack of crisp articulation. Frank Kosik, as Tommy’s friend Jeff, brings the right New Yorker touch to the role. Lauren Marshall and Lisa Kuhnen display finesse in two dance solos. Adam Day Howard’s proficiency as a bagpiper is astounding.

Scenic Designer Raynette Halvorsen Smith’s set is impressive, but turns out to cause problems. It is so massive that it leaves performers little room for movement. Choreographer John Crawford has conceived some wonderful dance numbers, especially considering the limited space with which he had to work.

Kent has done a good job of making sure that the chorus is involved in the production. She might, however, urge some of the members to cut down their distracting overacting and preplanned facial moves and gestures. A problem was also present in a pivotal death scene. Since the body is lying on the floor within easy view, when he was pronounced dead, due to the actor’s obviously heavy breathing after a furious chase scene, the audience giggled. Placing the body on a level, or blocking him from the audience would have eliminated this problem. Small problems in an otherwise audience-pleasing production.

Capsule judgement: 'BRIGADOON 'brings to an end a very impressive season at Porthouse. Terri Kent and her staff deserve a curtain call for taking this Kent State University summer project to a higher level than has been experienced in the past. Kudos!

The Shaw Festival/Canada--2002 review

Shaw Festival, a place to go for entertainment and beauty

Nestled in lower Canada’s beautiful wine-country, just over the border from Buffalo rests Niagara-on-the-Lake, Ontario. It is noted as the most beautiful little city in Canada. The reputation is deserved. In spring and summer the village blooms with wonderful flowers, green golf courses, and vineyards. It is the home of fine bed and breakfasts, spas, and an excellent array of restaurants.

For many US Americans, besides the beauty, the big draw is the annual Shaw Festival. Housed in three unique theatres, the festival is dedicated to producing musicals, dramas and comedies that were written during the life span of George Bernard Shaw or about that era. The mainstay productions are Shaw pieces themselves. This is high quality, professional theatre at its finest. The Festival has been successfully headed by Artistic Director Christopher Newton who is retiring this year after 22 years at its helm.

The present season includes two wonderful productions ,CANDIDA and CAESAR AND CLEOPATRA, both written by Shaw. There are also a couple of strong shows, MERRILY WE ROLL ALONG, a musical by Steven Sondheim, and Ronald Ackland’s THE OLD LADIES which is based on a novel by Hugh Walpole. Also on the board are two less successful productions, Sidney Kingsley’s DETECTIVE STORY and Harly Granville Barker’s HIS MAJESTY. Shows which are running, which I didn’t get to review are THE RETURN OF THE PRODIGAL, THE HOUSE OF BERNARDA ALBA, and THE OLD LADY SHOWS HER MEDALS. Later in the season Noel Coward’s HAY FEVER and Simon Bradbury’s CHAPLIN will be added. Productions run to late November.

CANDIDA is a delight which centers on a menage a trois between a vicar, his beguiling wife, and a youthful poet. The show has a perfectly balanced cast and is well directed. It is Shaw at his finest...illustrating the power of women, poking fun at the frailties of men, mocking the church, making political lectures, and dispensing with God. And, of course, adding memorable lines to the English vocabulary such as “Nothing worth saying is proper.” “Poets talk to themselves out loud and the world hears them.” and “The quantity of truth the average man can bear is still very small.” As Jackie Maxwell says in her director’s notes, “CANDIDA shows us that nothing is still as timeless, resonant and fascinating as the mysterious workings of the human heart.” This is a wonderful production!

Written in 1898, CAESAR AND CLEOPATRA is as relevant today as it was then. It is part lesson in how states should be governed, part comic critique of the occupation of one country by another, part love story and part murder mystery. The play asks, How do you live a good life? Can we accomplish the impossible? Can there be such a thing as ethical government? One of Shaw’s great plays it is crammed with authentic historical details and then embellished with the writer’s own philosophy of life and politics. As director Christopher Newton states, “Like the Sphinx itself, this is a play of smiling riddles and mysterious omens.” CAESAR AND CLEOPATRA is a wonderful theatrical experience. Everything is well honed. The sets are awesome, the acting compelling, the pacing perfect, the humor well-keyed.

How does US America’s most proficient writer, Steven Sondheim, wind up on a Shaw Festival stage? MERRILY WE ROLL ALONG fits the Festival’s mission as it is based on a 1930’s Kaufman and Hart comedy.

The musical has an interesting gimmick. It is written in reverse order. We know how the characters end up right at the start. What we find out is how they got there. Memorable music includes “Old Friends,” “Not a Day Goes By,” “Opening Doors,“ and, of course, the title tune. The festival chooses its cast for their acting abilities as they all appear in several shows. Unfortunately, this leads to some inconsistency in their musicals as singing and dancing are not the company’s primary strengths. That’s not to say the production is bad. It isn’t. In fact, it is quite good. Just don’t go expecting to hear Broadway caliber singers. The audience was delighted at the show and that, in reality, is all that is important.

THE OLD LADIES makes for intriguing theatre. The play is brooding and spooky. Set in an old house with three apartments for let, we find ourselves entwined in the lives of three very different old, unmarried women. The story concerns displacement, poverty, fear, social reality, disappointment, and relationships between individuals. The weakness, if there is one, is the ending. It was interesting to hear the audience offering alternative conclusions as they exited.

The performances are outstanding. Each character is perfectly developed. We are made to feel like voyeurs peeking in on the solitary lives of these three elderly women, sharing their few joys and many sorrows. This is a thought provoking theatrical experience.

Both DETECTIVE STORY and HIS MAJESTY, though very different venues, suffer the same problem. They both are ploddingly directed by Neil Munro. DETECTIVE STORY is a US American mystery. As often happens with Canadians attempting to do US plays, they lack the right cadence and attitude. DETECTIVE STORY requires New York accents, rapid pacing and intensity. An interesting play that weaves multiple characters into a story, much like present-day TV programs such as THE PRACTICE, Kingsley forces characters to reveal themselves to each other, and therefore, to the audience. Basically, it is a story about the fall of a policeman who becomes one of the criminals he despises.

With a better production HIS MAJESTY could have been captivating. It is a political thriller which examines the role of a deposed monarch and his role in dealing with a brutal political struggle for his country. As the king proclaims, “I won’t win back my kingdom by bloodshed,” but the forces around him plot otherwise. HIS MAJESTY is filled with the stuff good scripts are made of--ultimatums, political intrigue and the games of war men play. It’s a shame that the production lacks dynamism. As is, it’s a talkathon.

The Shaw Festival is about a 3 1/2-4 hour easy drive from Cleveland. See a show or two, visit nearby Niagara Falls, see the Welland Canal, ride in a horse drawn carriage, take a bike ride along the river, visit a winery, go antiquing, experience a jet boat ride, and take advantage of the great exchange rate which makes the entire experience a bargain. Stay at a bed and breakfast. Suggested: TAIGH-NA-MRRA on Mississauga Street. Margaret Currie, the owner, offers old-fashioned Scottish hospitality, her breakfasts are wonderful, and the house is immaculate. (Call 905-468-4646). Favorite places for dinner are The Inn on the Twenty Restaurant (a Zagat Guide favorite) and Queenston Heights Restaurant, which has wonderful food and an awesome view of the river and valley.

I Love You, You're Perfect, Now Change (Actor's Summit)

'I LOVE YOU, YOU’RE PERFECT, NOW CHANGE' pleasant at Actors' Summit

Now in its 6th smash year I LOVE YOU, YOU'RE PERFECT, NOW CHANGE Is currently Off-Broadway's longest-running musical revue. Written by Joe DiPietro and Jimmy Roberts, the show opened on August 1, 1996. Since then productions have been mounted in more than 150 cities worldwide. Since its opening, I LOVE YOU, YOU'RE PERFECT, NOW CHANGE has become the most proposal-friendly show in history. On thirteen reported occasions a young man has taken the stage to make a surprise proposal to his sweetheart. In all cases, the brides-to-be accepted as the audience roared with approval.
The show takes the audience on a musical ride through the difficulties and joys of connecting with another person. It specifically probes dating, dating rituals, romance, marriage, lovers, husbands, wives, in-laws, sex, the effect of babies on a marriage, and late life relationships. The cast portrays over 50 roles in a collection of scenes and songs.
Actors’ Summit is the first local theatre to present the review. Though slowed down by extensive set changes, most of which could have been eliminated by allowing the audience to imagine the various settings , the production is an audience pleaser.
The young cast is pleasing but uneven in their performances. The singing, which is the center of the production, is generally fine, but sometimes there are problems in vocal blending. The musical accompaniment is generally good, but the violin and piano sound is shallow and on occasion the performers have precision difficulties.
Broadway bound Jenn Goodson has both a strong singing voice and nice comedic timing. Her version of “Always a Bridesmaid” was especially endearing. Kari Kandel has a pleasant singing voice. A show highlight was her rendition of ”He Called Me,” about the habit of men forgetting to call after promising to do so. Keith Stevens is a delight, especially in ”The Baby Song,” portraying the idiocy associated with being a new father. Andrew Brelich has some good moments as in his rendition of “Shouldn’t I Be in Love With You.” Other show highlights are “A Stud and a Babe” about nerds finding love and “Not Tonight, I’m Busy, Busy, Busy” about contemporary speed dating.“
I LOVE YOU, YOU'RE PERFECT, NOW CHANGE is a delightful concept and a perfect summertime escapist break from world and personal problems.

Smokey Joe's Cafe (Beck Center)

Remarkable 'SMOKEY JOE’S CAFE' at Beck Center AT BECK CENTER

Start with an outstanding score, add a very talented cast, sprinkle with functional sets, spice with a great band, and place the mixture in the hands of a talented director and choreographer. The results? Beck Center’s remarkable SMOKEY JOE’S CAFE.

SMOKEY JOE’S CAFE is a musical review composed of songs written by Jerry Leiber and Mike Stoller, who are the soul of the 1950s and 60s Rock and Roll era. Their songs were sung by the likes of Elvis Presley and include such classics as “I’m a Woman,” Jailhouse Rock,””Hound Dog” and “Yakety Yak.” There is no plot, no story line, no attempt to impart a message. This is singing, dancing and music. In lesser hands than choreographer/director Martin Cespedes and his marvelous cast it would have been nothing more than a nice journey back in time. But, not so with the Beck production. This show sizzles with originality and audience pleasing creativity leaving the audience on its feet yelling for more.

Music Director David Anthony Williams, who has conducted over 600 productions of SMOKEY JOE’S CAFE has honed the singing talents of his cast to perfection. His band rocks, yet wisely does not drown out the performers.

The multiracial cast is talented and finely honed. Alltrinna Grayson, who was in the Broadway version of the show which earned seven Tony award nominations, wails. Her version of “Fools Fall in Love” was poignant and powerful. She controls the stage whenever she appears. Multi-talented Laurel Held-Posey convulses the audience with her rendition of “Teach Me How To Shimmy.”

Lawrence Maurice’s deep base voice perfectly blends with the quartet throughout and he endears himself in “Charlie Brown.” Darrel Miller thrilled the audience with his falsetto version of “Who Have Nothing.”

Michelle Moye, does a fine job with “Neighborhood.” M. Duanne Osborne is a Nat King Cole look and sound-alike. His “Spanish Harlem” is exceedingly well danced and sung.

Craig Recko, a former Times Tribute award winner, had the audience cheering with his rendition of “Jailhouse Rock.” Beautiful and vocally talented Trinidad Rosado totally enticed the audience with “You’re the Boss” and “Don Juan.” Devon Settles is a wonderful dancer and did a fine version of “Love Potion #9.”

Caplsule judgement: Beck’s SMOKEY JOE’S CAFE illustrates what local theatre can be at its very best! Congrats to Martin Cespedes, his cast, and production crew. The show deserves a sold out run...it’s that good!

Patience (Lyric Opera)

Wooden, Over-directed 'PATIENCE' at Lyric Opera

Gilbert and Sullivan wrote fourteen operettas including 'TRIAL BY JURY,' 'H.M.S. PINAFORE,' 'PIRATES OF PENZANCE,' and 'MIKADO.' The duo is noted for their creativity and cleverness as well as their social and political satire.

The Gilbert and Sullivan partnership was absolutely unique. Neither could create alone, but as a duo they were the light opera masters of their day. This is interesting since the two men did not get along very well. Sullivan, without Gilbert, seemed to lose the gift of melody, and Gilbert, without Sullivan was parted from that exquisite humor which made him, even above Mark Twain, the merrymaker of his generation. Their works were often descirbed as vehicles which convulsed audiences.

'PATIENCE 'opened April 23, 1881 at the Opera Comique and ran for 578 performances. It concerns a bevy of county dames who are in love with two poets. The poets, however, are both in love with Patience, the village milkmaid. The dames are sought after by the Dragoons, a brigade of soldiers who don’t understand or appreicate the need for aesthetics, such as poetry, but decide they had better give it a try to win the women's love.

In reality, the opera satirizes Great Britain’s aesthetic craze. It also pokes fun at Oscar Wilde, an acknowledged wit and dramatist, who became famous as the leader of aestheticism in England. The dialogue of 'PATIENCE 'is witty and the music full of richness.

Productions of Gilbert and Sullivan’s works vary greatly in their quality as their shows require a special directorial touch and fine musical and comic talent. Credit must be given to a director who has a clear image of what he or she wants from a cast and production and achieves it. Unfortunately, sometimes that vision gets in the way of the production.

Cleveland Lyric Opera’s 'PATIENCE,' under the heavy hand of director Philip Kraus, comes off as wooden, affected, and as one of the lines states, “Hollow and unsatisfactory.” Much of Gilbert and Sullivan’s humor was lost in the maze of over stylized movements and lack of spontaneity on the part of the cast.

The singing was accepatable, though many of the words to the clever patter songs that G & S are famous for were lost due to poor diction amd improper phrasing. This was especially true with the performance of John Payonk, the Colonel Calvery. Lance Ashmore, as Reginald, one of the poets, sings well, but his overly stressed facial expressions, affected speech patterns and excessive makeup, made him come off more like a marrionette than a person. Marian Vogel, who portrayed Patience, has a nice voice. Todd Ranney has a fine sense of comic timing, though, again, stylization got in the way of meaning. The chorus sings well.

Don McBridge’s set design was funcitional and attractive. Though they sometimes drowned out the singers, the orchestra, under conductor Dennis Northway, had a solid sound.

Capsule judgement: Gilbert and Sullivan’s operas not only carry a message, but are supposed to be fun. Since the performers in Cleveland Lyric Opera’s 'PATIENCE' did not appear to be having fun, neither did the audience. There were titters, but not the myrth that often accompanies G &S.

Once On This Island (Porthouse/KSU)

'ONCE ON THIS ISLAND' a calypso delight at Porthouse

Combine the purposeful directing of Victoria Bussert, the fine musical direction of Nancy Maier, the creative choreography of Eric van Baars, the whimsical costuming of Robin Ruth, the consistent dialects created by Chuck Richie, and a multi-talented cast with a lovely script by Lynn Ahrens and the memorable music by Stephen Flaherty. The results? 'ONCE ON THIS ISLAND,' Porthouse Theatre’s audience pleasing evening at the theatre.

'ONCE ON THIS ISLAND' was Ahrens' and Flaherty's first real taste of success. Based on the novel My Love, My Love by Rosa Guy, the show is a twist on the Little Mermaid legend. The musical tells the story of Ti Moune, a poor native peasant girl who falls in love with Daniel, an upper class white boy whose life she saves after a car crash. Central to the story are four gods that the peasants believe rule their lives. The gods of Love , (Erzulie), Earth (Asaka), Water (Agwe) , and Death (Papa Ge) cause the lives of the young lovers to intersect, and send Ti Moune on the fateful journey that tests the strength of her love. It centers on the idea of stroytelling and the way people use stories to understand their own life expereinces. As a line in the play says, “Our lives become the stories we weave.”

Set in the French Antilles, 'ONCE ON THIS ISLAND' boasts a score that makes the feet tap, the body flow and the nose smell the Caribbean breezes. There are rousing, upbeat numbers like "Mama Will Provide" and "Some Say," poignant ballads like "The Human Heart" and "Forever Yours,” emotional songs such as “A Part of Us,” and the joyous “Why We Tell The Story.” Throughout, each song helps build the tale and grows from the story's Caribbean roots.

'ONCE ON THIS ISLAND' opened on Broadway on October 18, 1990 and played for 469 performances. The show received eight Tony Award Nominations, including Best Musical, Best Score and Best Book.

The Porthouse production is a delight. It shimmers with the smells, sights and traditions of the island. There is hardly a weak link in the production elements or casting. The voices are pure and melodic. The dancing is precise and full of creative abandonment. Under Bussert’s clear direction cast members understand the story, their role in that tale, and how to develop their presence.

Thomasina Gross is enchanting as Ti Moune. She has a wonderful voice, moves well and acts effectively. Dominic Roberts is adequate as Daniel, Ti Moune’s love. He sings and dances well. At times, however, his acting makes his character less than believable. Angela Gillespie-Winborn and Brian Johnson light up the stages as Ti Moune’s adoptive parents. Lauren Marshall’s dance solo is excellent.

All the supporting actors are effective, but Kristopher Thompson-Bolden and Yolanda Christine Davis stand out. Portraying the Death god, Thompson-Bolden grabs and holds the audience each time he appears. This is a very, very talented young man. Davis lights up a stage with an infectious smile and beautiful singing voice.

Capsule judgement: If you only see one show this summer make it 'ONCE ON THIS ISLAND.'

One Flew Over the Cuckoo's Nest (Porthouse Theatre/KSU)

Insightful, humorous 'ONE FLEW OVER THE CUCKOO'S NEST' at Porthouse

In his early 20s Ken Kesey volunteered to be a subject in experiments with hallucinogenic drugs. Near the end of the trial, he began working the night shift in a mental ward. He began to believe that the patients weren't really crazy after all, just more individualized than society was willing to accept. The result of his experiences was the book 'ONE FLEW OVER THE CUCKOO'S NEST.'

The book, considered by many to be a masterpiece, was widely used as required reading in colleges just as baby boomers began to challenge authority. The movie and play versions have both received critical acclaim.

The play, penned by Dale Wasserman, effectively develops the theme of the book. It is a grim satire set among the patients and workers in a mental institution. It tells the story of Randle McMurphy, an energetic con man, who seeks institutionalization as a means of escaping the rigors of a prison work farm without realizing that his short stay may turn out to be forever as he has given up his rights when he entered the facility. Before long, in order to reduce the sexual and emotional impotence of the men at the institution, he challenges the dictatorial Nurse Ratched. McMurphy becomes a hero, changing the lives of the inmates, but pays for his defiance with consequences that bring a startling conclusion to the story.

This is a very difficult script to produce. Its many nuances require unique acting skills as each character is finely developed, even those who do not speak. The Porthouse production, under the adept direction of Sue Ott Rowlands, is startlingly forceful. Rowlands hones fine performances from her cast, paces the production with precision, and competently leads the audience through the humor and pathos.

Rowlands is ably assisted by a fine technical crew. Nolan O’Dell’s sterile set adds to the feeling of isolation and despair. Emily Cooper’s costumes give us clear pictures of each character.

But most important is the cast. Annie Fitzpatrick, who portrays Nurse Ratched, received one of the highest compliments an actress can receive...she was booed during the curtain call. She was so effective in her controlled performance that the members of the audience came to hate Nurse Ratched, and could not separate Fitzpatrick from the character, even when the play was over.

Marty Lode, as McMurphy, was the perfect foil for Ratched. He teased, taunted, feigned and struck with the effectiveness of a boa constrictor. He was charming and manipulative in a totally natural way. Never did acting get in the way of clarity of character development.

Donald Clark was pathetically perfect as the stuttering, mother-controlled man child Billy. Adam Hoffman’s twisting hands, inappropriate grins, Albert Einstein hairdo, and bulging eyes made Anthony Martini a living being. Dudley Swetland, made the role of Dale Harding his. The best educated of the men on the ward, Harding gives the audience much of the information we need. He tells McMurphy how Nurse Ratched is able to maintain her power, how electroshock therapy works, what a lobotomy does to people. Swetland gives us hope as we see him change and seems ready to move on thanks to McMurphy. Chief Bromden often acts as our Greek chorus and guides us through the play. He is a tall and strong Native American who feigns muteness and deafness to protect himself from pain. McMurphy rescues him from his silence. He, in turn, rescues McMurphy from life as a vegetable. Michael Greyeyes gives a powerful and finely tuned performance as the Chief.

'ONE FLEW OVER THE CUCKOO'S NEST' is a play filled with questions. It asks, what is insanity? What is morality? It challenges the symbols of conformity and the role of therapeutic intervention. It probes human freedom versus control.

Capsule judgement: 'ONE FLEW OVER THE CUCKOO'S NEST' is a powerful play, given an intelligent, sensitive, and insightful production at Porthouse Theatre. It’s a winner!

The Will Rogers Follies: A Life in Revue (Berea Summer Theatre)

'WILL ROGERS FOLLIES' a creative delight at Berea Summer Theatre

Every once in a while a theatre-goer has a very special evening in the theatre. It doesn’t happen often, but it does happen. It takes place when the script, the music (if it’s a musical), the directing concept and the talent all come seamlessly together. Such was the case at Berea Summer Theatre when it opened its summer season with 'THE WILL ROGERS FOLLIES: A LIFE IN REVUE.'

The musical takes us on a delightful and sometimes touching ride through the life of Will Rogers, one of America’s folk favorites. Famous for such lines as “Never met a man I didn’t like” and “live your life so that when you lose, you are ahead,” Will Rogers rose from school dropout to being one of the most respected political philosophers of his day. His philosophical renderings appear in six books, scores of magazine articles and 4,000 syndicated newspaper columns. He performed in 71 movies where he seldom learned the script, preferring to ad lib. He is probably best known for his nightly chats with the audience as part of the Ziegeld Follies. Drawled comments like "We'll be the first nation in the world to go to the poor house in an automobile," displaying the disparity between rich and poor during the Great Depression, endeared him to audiences. Sometimes called the “Poet Lariat” based on his ability to perform outstanding rope trips while talking to the viewers, he won a slot in the GUINESS BOOK OF RECORDS.

Though the show’s individual songs are not memorable, the score won a Tony Award for writers Cy Coleman, Betty Comden and Adolf Green. THE WILL ROGERS FOLLIES: A LIFE IN REVUE was awarded the Tony as the best musical of 1991. The show played to more than four million persons during its first two years on Broadway and three companies that toured the United States and Canada.

Under Lora Workman’s leadership, THE WILL ROGERS FOLLIES: A LIFE IN REVUE is a very professional amateur production. There are no stars next to the names of the performers, stars that represent membership in the Actor’s Equity Association, but there are stars all over the stage. Workman , acting as both director and choreographer, is not only creative but obviously a perfectionist. The kick lines were polished, the splits well executed, the cartwheels twirled as they should, the patter moves were met with extended applause, the stage pictures exciting, and the enthusiasm was caught by the entertained audience. The entire cast obviously understood the show’s concept and learned and polished the many complicated and enthusiastic dance numbers. Workman did what many directors don’t do..she paid attention not only to the leading performers, but to the acting and dancing choruses.

The technical aspects of the BST production support the show. Scene designer Ron Newell’s red, white and blue leveled set worked well. Gina Leone’s lighting helped create the varying moods. Jeffrey Smart’s massive number of costumes were creative. The only technical flaws centered on sound glitches when performers’ mikes did not work.

Steve Higginbotham was inconsistent in his Will Rogers characterization. His first act performance was partally surface. Forced facial expressions, overly articulated diction, difficulty with the Oklahoma speech cadence and surface emotions were present. The veneer vanished in the second act when he seemed to transform himself into a natural Rogers. This was especially true in a long emotionally-charged soliloquy. He sings well and dances with ease.

Kimberly Lauren Koljat who portrayed Rogers wife, Betty Blake, has a nice voice and an infectious smile. Amanda Folino was wonderfully ditzy as Ziegfeld’s Favorite. She is a polished dancer, a fine song stylist and has a fine sense of comic timing. Chuck Burneson, a professional roper, received extended applause for his rope tricks. The Rogers kids, portrayed by Kyle Branzel, Jenny Sherman, J.P. Gagen and Richie Gagen were engaging. The singing and dancing choruses were amazingly adept.

Capsule judgement: 'THE WILL ROGERS FOLLIES: A LIFE IN REVUE' at BST is one of the finest productions in the theatre’s history. If you want a pleasurable evening of summer entertainment go, see, enjoy and as the BST motto states, “And tell your friends!”

West Side Story (Cain Park)

Frantic 'WEST SIDE STORY' at Cain Park

In 1949 Jerome Robbins brought together composer Leonard Bernstein and playwright Arthur Laurents to work on a modern musical version of 'ROMEO AND JULIET.' Originally called 'EAST SIDE STORY,' it was about a Jewish boy’s star-crossed romance with an Italian Catholic girl set against the clashing street gangs on New York’s lower East Side. Eventually, Polish was substituted for Jewish, Puerto Rican replaced Catholic, and the setting was moved to the west side. A 27 year-old lyricist by the name of Stephen Sondheim was brought onto the production team to participate in his first Broaway show. A master musical and many legends emerged.

The show concerns Tony, a second generation Polish-American who once was the leader of the Jets street gang. He becomes committed to peaceful coexistence between the “Americans” and the “Puerto Ricans” when he meets and falls in love with Maria at a high school dance. The star-crossed lovers run into complications, when, in spite of his best efforts at avoidance, Tony kills Maria's brother, who has killed Tony’s best friend in a rumble gone awry. Eventually total tragedy hits when Tony is murdered. The show contains such memorable songs as “Something’s Coming,” “Maria,” “One Hand, One Heart,” “I Have a Love, and “Tonight.”

'WEST SIDE STORY' was one of the first Broadway shows I ever saw. I was entranced by the powerful dancing, the integration of story and song, the quality of the music and the depth of the performances. I have seen many productions of the show since. Each, of course has its own interpretation. I must admit, however, I have never seen an interpretation quite like the one conceived by Victoria Bussert. The concept can best be described as “frantic.”

It must be realized that Bussert is generally working with a group of theatrical amateurs. In the main, these are not Actors Equity performers. These are mostly college and high school kids who give their time and effort free of charge. Even so, there were many talented thespians on stage, enthusiastic performers who put forth full-effort throughout the show.

The usual competent and wise Bussert chose to pace the show at a breakneck speed. Maybe she did this because her cast are mainly suburban intelligent clean scrubbed kids whose life experiences don’t parallel to inner city gangs. By pacing rapidly she may have been trying to substitute excitement for emotional intensity. It didn’t work as well as one might hope. Some dramatic scenes didn’t have time to develop, emotions were shown by shouting and screeching, songs were often sung at a rapid pace that didn’t allow the audience to understand the words. Even the delightful “Officer Krupke” got few laughs because the words were swallowed.

Janiece Kelley-Kiteley’s fine choreography was often turned into speed dancing. In spite of great physical effort of the dancers the overall effect was often chaos. Larry Hartzell’s orchestra must have been gasping for breath as they plowed rapidly through song after song, sometimes drowning out the singers. Even the set changes were done as marathon dashes.

The show does have fine moments. The fight scene in which Bernardo and Riff are killed was masterfully done. Tony and Maria’s meeting at the dance was finely honed. The famous balcony scene was both touching and humorous, filled with the youthful joy of first love.

Many of the performances were also on key. Trista Moldovan, a recent Baldwin Wallace grad, who is New York bound following this show, was excellent as Maria. She has a fine voice and her character development was clear and consistent. Joelle Graham smoldered her way through the part of Anita. Her eyes flashed, her intensity light up the stage. Kevin David Thomas, who earlier this year took the part of Tony for Baldwin Wallace College’s production of 'WEST SIDE STORY,' sings well but was inconsistent in his character development. Ryann Green was right on target as Bernardo.

Capsule judgement: One patron as she was exiting the theatre said, “I’m exhausted.” Too bad, she should have been exhilarated, not exhausted.

2 OF 2 (Groundworks Dancetheatre)

Groundworks dances to perfection at CPT

David Shimotakahara is the inspiration behind GROUNDWORKS DANCETHEATER. In January, 2002 he and his company were named as “One Of The Year’s 25 To Watch In The Dance World” by the prestigious Dance Magazine.

Anyone who has attended a dance concert choreographed and danced by Shimotakahara knows why. He is a creative and perfecting choreographer. He is a well-conditioned, well-trained and exacting dancer. Combine the two and you have greatness. The Ohio Arts Council agrees as they have awarded him a fourth consecutive Individual Artist Fellowship this year.

'2 OF 2,' now being staged at Cleveland Public Theatre, which the company calls home, is a combination of a duet of dance pieces and a set of two musical selections. The latter are the works of resident Composer Gustavo Aguilar who has worked with Shimotakahara since 1994 in developing the nucleus of the company’s growing repertory. As the choreographer states, their newest collaboration explores “the limitations placed upon us by external forces, and those which we place upon ourselves.”

MIGRATION is about things in flux, the motion of change. It asks the question, “How far can we journey and still be connected to a place, to each other?” It was premiered in 2001.

The piece starts with tinkling bells, then a blending of lighted color appears, then silhouettes, followed by movements behind two suspended blue curtains, shadow dancing, and finally the appearance of a male and female dancer. He (David Shimotakahara) and she (Felice Bagley) are dressed in sarongs shading from green to purple. He bare chested, she in a tank top.

The dance that follows is a synergy of flying movements, both powerful and athletic. The entire piece was accomplished with little touching and static facial expression. The interweaving of bodies, the sliding behind suspended curtains, often appearing as shadows, creates a searching to connect but having barriers that forbids it. The sheet of sweat which covered and shimmered off Shimotakahara’s muscular body, while Bagley remained emotionally cool added to the total effect. The choreographer’s ability to perfectly blend music and dance was evident throughout. Both dancers were in perfect sync during the entire presentation.

'ONETWOONE SO 2' and 'ONETWOONE SHEKERI 2001' were the two musical pieces centered between the dance selections. SO2 was an improvised tenor sax and live computer processing piece well-performed by Robert Reigle and Phil Curtis. SHEKERI 2001 featured composer Javier Alvarez in a solo for live electro acoustic and shekeri (a musical instrument which looks like a large jar covered with colored beads). Though rather long due to the repeated sounds, it was well performed and haunting.

In 'HEART AND VINE' the choreographer “employs the inherent implications of physical action, reaction and inaction as metaphors for attempts at moving forward, letting go, and finding rest.”

The piece featured Felice Bagley, Amy Miller, Brian Murphy, and Shimotakahara.

Dressed in dark colors, the dancers performed a series of single, duet and quad- danced segments in a cacophony of sound and fast angular and dipping movements. The piece was athletic, stylish and strong. The stage was full of multi-emotions ranging from the sensual intertwining of bodies in a segment by Bagley and Shimotakahara to abandonment of control during a highlight BeBop segment by Miller and Murphy, which ended to rousing applause.

It was exciting to see Murphy finally be given the chance to display his outstanding talent. As a dancer with the Ohio Ballet he was held back by having to conform to the abilities of the weaker male corps members. Here, under the guidance of Shimotakahara, and working with other talented performers, he was allowed to use his athleticism, strong body control, and powerful movements to their fullest. Coupling with the extraordinary Amy Miller allowed for a full exposure of his abilities.

Danced to music provided by the ARC Libre Trio, who moved through the dancers as they played, the piece was both exhilarating and exhausting, if a little long. Shortening it would add to the intensity.

The small but appreciative audience saw a production in which the dancing and music were outstanding. The producers might want to consider putting an intermission between the musical pieces. Breaking the music into two sections would allow each segment to stand on its own and not blend together into a very long interlude.

Capsule judgement: GROUNDWORKS DANCETHEATER is a growing entity that needs to be nourished and treasured. The community needs to back this troupe so that it can become what it should be...a nationally recognized company.

Rivercan’t or The Traficanterbury Tales or A Humorless Celtic Dance Company Made Us Change the Title (Second City--Cleveland/14th Street Theatre)

SECOND CITY opens new home in Cleveland

What do Alan Arkin, Joan Rivers, Robert Klein, John Belushi, John Candy, Bill Murray, Dan Aykroyd, Gilda Radner, George Wendt, Shelley Long, Jim Belushi and Chris Farley have in common? They are all former members of The Second City. What do George Pete Caleodis, Cody Dove, Coleen Doyle, Jack Hourigan, Quinn Patterson and Dana Quercioli have in common? They too are members of The Second City. Except, instead of their having cut their teeth in Chicago, at the company’ s original home, the latter group is here in Cleveland at the newest setting for the famed comedy organization.

Second City has been called “A Temple of Satire” by Time Magazine. The New York Times stated that, “the entire recent tradition of American satire can be summed up in three words: The Second City.”

Recently opened in the Hanna Building in the heart of Playhouse Square, the Cleveland venue is the fifth location in North American to feature a Second City troupe. Other cities include Chicago, Detroit, Las Vegas and Toronto. The local performance space is a newly built contemporary large black box theatre, which seats 300. Patrons sit at tables in comfortable chairs in an arrangement which makes for easy viewing. Food and drink are available at moderate prices. Acoustics are adequate though it was sometimes hard to hear some of the members when the music was played as they spoke.

The show consists of two-40 minute acts interspersed with 30 to 45 minutes of improvisation in which cast members create scenes based on suggestions from the audience. (Think the TV show “Whose Line Is It Anyway?”) The shows, which will change about every three months, are written by the cast and the director.

The opening production, is entitled “Rivercan’t or The Traficanterbury Tales or A Humorless Celtic Dance Company Made Us Change the Title of Our Show.” The latter segment of the title refers to complaints by Riverdance organization over the show’s original title, “Burning Riverdance or The Traficanterbury Tales.” The title is a little misleading. There was a takeoff on Riverdance, but the Traficant reference is misleading, as there was only one reference to the errant Congressman.

In fact, the Cleveland connection, as a whole, was not very well developed. There were references to Mayor Jane Campbell, Halle Berry and Art Modell but there is so much more that makes up the humor of this area.

The improv segments didn’t work as well as should be expected. The cast didn’t seem swift enough to fully develop clever concepts. Hopefully their skills will improve with experience.

During the scripted segments some cast members and the production were inconsistent. Cody Dove and Jack Hourigan were wonderfully funny and totally involved in their presentations. The other cast members varied greatly in their comedy abilities. Again, hopefully this will improve with experience.

Show highlights included a hysterical game of “Pictionary” where gender roles were exposed; the audience’s participation as high school band members; the dancing wheels which was performed while sitting on office chairs; a visit to the psychiatrist; and the sounds of Riverdance.

Weaker sections were the firefighter segment, a high school graduation ceremony, a space walk, a stripper scene, and a chaotic final number which attempted to take the audience on a drive around the area.

Capsule judgement: Here’s hoping that the troupe continues to do what it does well and grows in their presentational abilities. If that happens, Second City will become an exciting place for Clevelanders to go on a regular basis.

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.