42nd Street (Playhouse Square Center)

‘42ND STREET’ DANCES DELIGHTFULLY INTO THE PALACE

As one of the key songs of the show, ‘42ND STREET’ states, “Come along and listen to the lullaby of Broadway.” Come along and thoroughly enjoy ‘42ND STREET’ at the Palace Theatre in Cleveland.

‘42ND STREET’ is the third longest running American musical in Broadway history. In 1980, when it opened it ushered in the new age of theatrical spectacle with a cast of 54, 750 costumes and dozens of stage effects. Don’t expect to see such ambience on the Palace stage, but you won’t be disappointed. The touring show is first class. Due to a special contract arrangement with Actor’s Equity, the production company was able to mount a show with a huge cast, gorgeous costumes, wonderful sets, and a proficient orchestra. The end result is a feel-good evening of theatre which features fine voices, good acting, and exciting dancing.

As much fun as the show is, and as great a reputation as it has, its history is not happy. When original producer David Merrick tried to raise the money to mount the show, potential investors told him the project was doomed because of the costs of hiring the huge cast and paying for the huge production requirements. When it finally went into previews at the Kennedy Center in D.C. the show was met with a poor response. The director, Gower Champion, was too ill to recreate the production. When ‘42ND STREET’ came to Broadway it mysteriously went back into rehearsal. The opening date was set back, usually a sign that a production is in deep trouble. The night the show opened, Champion died. In spite of all its troubled past, the opening night reviews stated,"’42ND STREET’ Paved In Gold,""An Absolute Knockout!,” “The Unexpected Triumph of the Season!,” and “Virtually Nonstop Pleasures!.” The combination of the reviews and Champion's tragic death pushed the show into sellout status.

From the toe-tapping inspired overture, to its exciting conclusion it’s pretty hard to sit quietly in your seat during the show. With songs such as “You’re Getting To Be a Habit With Me,” “I Only Have Eyes for You,” “We’re in the Money,” “Lullaby on Broadway,” “About a Quarter to Nine,” and “Shuffle Off to Buffalo,” the show has one of musical theatre’s greatest scores.

Based on the classic 1933 movie musical of the same name, ‘42ND STREET ‘ tells the story of a starry-eyed young actress named Peggy Sawyer who has come to audition for the new Julian Marsh musical that is about to open on Broadway. Unfortunately, Peggy can't seem to work up the nerve to walk through the stage door until it's too late--the audition is over. But Peggy soon catches the eye of the director, and when the chorus turns up one girl short, Peggy gets her big break. She can't seem to stay in the good graces of the show's ageing leading lady. The situation only gets worse, or better, on opening night, when another dancer accidentally pushes Peggy into the leading lady who falls and breaks her ankle. The furious director fires Peggy. Discouraged and ready to give up all her dreams of becoming a star, Peggy packs her bags and heads for the train station, but fate has other plans and Peggy turns out to be a star. Yes, this is the stuff of which Broadway dreams are made.

The touring production is blessed with some outstanding individual performances to go along with exceptional chorus dancing and singing. As Peggy Sawyer, Catherine Wreford displays a wonderful singing voice and is a superb dancer. She lights up the stage. Patrick Ryan Sullivan displays wonderful stage presence and powerful vocal abilities as Julian Marsh. Blair Ross carries off the difficult role as Dorothy Brock with ease. Patti Mariano is delightful as the supposed writer of the show. Dexter Jones controls the stage as the stage manager. Though Robert Spring, who portrays Billy Lawlor dances well, his singing and acting aren’t up to the level of the rest of the leads.

Capsule judgment: If you love old-time musicals; if you go to the theatre to have a good time if you want to see a quality level production, then, dance down to the Palace Theatre and join the crowds cheering “42ND STREET.”

Robert Hawkes reviews the reviewer

Roy:

Last Friday after the show, my wife and I were wondering out loud for some time what we thought of JEFFERY. I think your review hits the nail on the head.

Robert Hawkes

Wild Plum Theatre Company Emerges (Wild Plum Theatre Company)

The Wild Plum Theatre Comany Emerges

Theatre companies come into being to satisfy a need. The local theatre scene has such companies. Karamu Theatre grew from the lack of a venue for the performance of plays about and written by blacks. Though many theatres now perform black-oriented plays, especially since the advent of Black history month, Karamu continues to fulfill its original purpose. Halle Theatre at the Jewish Community Center focuses on plays with Jewish themes or by Jewish playwrights. Other theatres produce plays of interest and about the Jewish scene, but Halle is still the consistent focus of that community’s ethnic and religious offerings. Red Hen sets forth a women’s perspective. Others do women centered plays, but Red Hen stands alone in its focused mission.

It is with a purpose that The Wild Plum Theatre Company has come onto the Cleveland scene. Cleveland has not, to date, had a venue offering gay and lesbian -themed or authored pieces. Several years ago Elephant Productions emerged. Their demise was brought about quickly when they produced several poorly performed and written shows. A lesson should have been learned from that experience. Though a venue was needed, if that organization doesn’t chose their vehicles wisely, and doesn’t do quality level productions, it will not last in spite of initial audience interest.

Wild Plum grew out the felt need that the gay-lesbian voice needed to be heard and there were those who were interested in listening. Fortunately for the fledgling group Cleveland Public Theatre set aside two months during their production year to make its facilities available to groups who needed a performance space. Wild Plum took them up on their offer and recently produced an evening of one-act plays. The results were a mixed bag. Despite a gallant effort, some acceptable acting, and appropriate directing, the lack of script quality created a problematic evening. In spite of this, the enthusiastic sold-out house on opening night cheered loudly. Obviously, given that enthusiasm, if presented with quality scripts and productions.

There are many fine gay-oriented plays and playwrights. ‘GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE,’ ‘THE NORMAL HEART,’ ‘ANGELS IN AMERICA,’ ‘JEFFREY,’ ‘THE SUM OF US,’ ‘LA CAGE AUX FOLLIES.’ ‘BENT,’ ‘THE LARAMIE PROJECT,’ and ‘THE CHILDREN’S HOUR,’ are only a few. Well know plays such as LOVE! VALOR! AND COMPASSION! have not had local productions. Newer vehicles such as ‘THE GENE POOL’ have been produced here.

It can only be hoped that Wild Plum will seek out quality scripts which will bring pride to the company and give a needed voice to the area’s gay and lesbian community.

Ragtime (Cassidy Theatre)

"RAGTIME' at Cassidy--the first national non-professional production

On January 18, 1998 ‘RAGTIME’ opened on Broadway. Stephen Flaherty, who wrote the music for the show, gave his writing partner, Lynn Ahrens a notebook containing the original song sketches and notations from the show. It is inscribed: “Ragtime is about America in transition, constantly bending, blending, adapting.” It is that, and so much more.

‘RAGTIME’ ranks with the great shows of musical theatre. It has been called “A brilliant work of musical storytelling, ”a near masterpiece,” and “one of those rare musicals that can be mentioned in the same breath as ‘SHOW BOAT,’ ‘PORGY AND BESS,’ and ‘FIDDLER ON THE ROOF’.”

The story intertwines the lives of a Black American family, victims of brutal racism; a recently arrived Jewish father and daughter, impoverished, despairing; and an old New York family steeped in Victorianism. The play starts with our exposure to the characters.

It is New Rochelle, New York in 1906. There is a large Victorian house, the home of an upper middle class family. It is the home of Father, who has derived his wealth from the manufacture of fireworks, flags and bunting; Mother; their young son and Mother's brother, a genius at explosives who works in Father's fireworks factory.

In Harlem, crowds dance to the music of ragtime pianist Coalhouse Walker Jr..

America is filled with famous characters: escape artist Harry Houdini, J.P. Morgan, the wealthiest man in America, the radical anarchist Emma Goldman, and the chorus girl Evelyn Nesbit.

Tateh and his daughter arrive at Ellis Island, as part of the 1.2 million immigrants who flee from Europe.

As the families interact we are carried through an examination of the history of the era and the biases and prejudices of the population. This is told with a well-integrated story and wonderful music. Outstanding musical numbers are “YourDaddy’s Son,” “New Music,” “Heels of a Dream,” and the wonderous “Make Them Hear You.”

‘RAGTIME’ is a difficult show for any group to perform. For an amateur theatre it is a real stretch. The show requires a huge cast, a massive number of costumes, and a many scene set. The music is complicated.

Cassidy Theatre’s production, under the direction of David Jecman, is a credable amateur outing. Musical Director John D. Roberts has done an excellent job of bringing out the best in the cast’s voices. His orchestra is generally good but there are problems in the brass section and the underscoring is often too loud, thus drowning out some of the spoken lines. Choreographer Larry Braun has developed dances appropriate to the level of his performers. Scenic designer Mark Kobak has created a very functional set. Lester Currie’s costumes are excellent, but having Tateh wear a prayer shawl as a scarf was questionable. The lighting design was problematic. Many times performers were in the dark and light cues were sometimes late.

Geoffrey Short, as Coalhouse Walker Jr., and Trinidad Rosado, as his girlfriend, are each astounding. They both have outstanding voices, excellent acting skills and develop and keep their characters throughout. It’s worth attending this production just to see them light up the stage.

Beth O. Cubbison is fine as Mother. She has a lovely voice and wraps herself around the character. Michael Snider displays a wonderful singing voice as Mother’s brother. Noreen Lehmann develops a clear character as Emma Goldman.

Capsule judgement: ‘RAGTIME’ is a difficult show for any group to perform. For an amateur theatre it is a real stretch. The Cassidy production, under the direction of David Jecman, is a credable amateur outing.
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Six Degrees of Separation (Charenton)

'SIX DEGREES OF SEPARATION' fine at Charenton

In 1967 Harvard Social Psychologist Stanley Milgram conducted an experiment that illustrated that everyone in the world can be reached through a short chain of social acquaintances. The Small World Phenomenon estimates that each of us is only 5.8 genealogical steps away from any other person in the world.

The Small World Phenomenon is the basis for John Guare’s play ‘SIX DEGREES OF SEPARATION’. Guare, by his own admission, altered the theory as he didn’t feel that ‘5.8 Degrees of Separation’ would make a good play title. Guare’s play is now on stage at Charenton Theatre at Playhouse Square Center.

Guare is a musician and poet. This comes out in his writing with the creation of verbal librettos with melodic overtones. His plays are full of talk and the characters often tell extended stories much like those in the plays of Anton Chekov.

The majority of Guare’s protagonists are fixated on what they think will make them happy. Guare’s dramatic structure involves the use of twists and turns and allowing the audience to know what the characters do not know. All this makes Guare, a highly adventurous playwright.

The story concerns Fifth Avenue socialite Ouisa Kittredge and her purveyor of high-art husband Flan. They are pedigree parents of "two at Harvard and one at Groton." But the privileged insular world inhabited by the Kittredge family makes them easy prey for a consummate con-artist. One night, Paul, a young black man mysteriously shows up at their door - injured and bleeding- claiming to be Sidney Poitier's son and a close college crony of the Kittredges' children. Paul proves to be sharp-witted. He soon has the Kittredges loaning him money and putting him up for the night and taking satisfaction in his appraisal of their posh lifestyle. What follows is both a mystery and a challenging philosophical tale. Who really is Paul? Can the Kittridges’ liberal views stand up to the challenge of reality?

The play demonstrates how separate people are from one another, not how close, how little responsibility each feels for the other. The intruder is less a man than an emblem.

Charenton’s production is involving, if not captivating. Part of the difficulty centers on director Sarah May’s to decision start the production at a slow pace. This lulls the audience into a sense of complacency that allows ideas and Guare’s message to sometimes slip under their emotional radar. On the other hand, her creative staging has cast members rising from seats in the audience and creating clear characters.

The huge cast is talented and each develops a clear character. Sean Booker is outstanding as Geoffrey. He cons not only the characters in the play, but the audience as well. Jacqi Loewy creates a very believable Ouisa. Other quality performances are given by Jesse James Kamps, as the young man who teaches Paul what he needs to know in order to pull off the scam, James Savage Jr, who falls for Paul’s line with traumatic effect and Jennifer Clifford, as the Kittredge’s erratic daughter.

Capsule Judgement: 'SIX DEGREES OF SEPERATION' gets a fine production at Charenton.

The Magic of Dance: Winter Program (Ohio Ballet)

Ohio Ballet celebrates the magic of dance

One of the cues to how effective a performance has been is to listen to the audience “buzz” as they exit after the final curtain. If the topics center on what’s just been experienced it usually means that the audience has had a moving encountered. That movement may have been either positive or negative, but, they have been effected. Unfortunately, the “buzz” after many of the Ohio Ballet performances has been missing.

Does this mean the performances have been bad? No. They just don’t distinguish themselves, excite the audience. They don’t bring prolonged applause, let alone a standing ovation. The company is acceptable if not outstanding. On the male side, there is no Raymond Rodriguez, no David Shimotakahara, though there is Brian Murphy, who comes close and youthful Eric Carvill seems to be coming into his own. The women are stronger, but still no Karen Gabey or Cynthia Graham. Jesica Salomon is developing into a potential star. Eva Trapp showed much promise in the winter program.

With that said, let’s examine ‘OHIO BALLET CELEBRATES THE MAGIC OF DANCE: WINTER PROGRAM.” The opening number, “Nell Amore E La Devozione” examines “in love is devotion.” Due to an injury changes were made in the partnering and the second segment was cut. The piece opened with “Canto Della Terra” which featured intricate partnering danced to soaring music. A beautifully performed solo piece followed. “Sogno” was the highlight of the set, featuring the excellent partnering of Alicia Pitts and Brian Murphy, though the frenetic choreography didn’t fit the classical music. “Tremo E T Amo was nicely danced by Larissa Freude and Eric Carvill, though, again, the choreographed movements didn’t always fit the mood of the music. “The Prayer” featured excellent female dancing but group movements were often not coordinated.

Danced to the dual pianos of Margaret Baxtresser and David Fisher,“Spring Waters”is
a revival of acrobatics in Soviet ballet. Choreographed by Asaf Messerer, the very brief piece featured nice performances by Amanda Cobb and William Hoppe.

“GHOST TOWN,” which features the music of Richard Rodgers, was staged as part of the National Centennial Celebration to the famous theatre writer of such shows as ‘SOUTH PACIFIC’ and ‘CAROUSEL.’ This is the only ballet music written by Rogers. Mary Beth Hansohn and Damien Highfield performed the piece as part of ‘SHALL WE DANCE--A DANCE TRIBUTE TO RICHARD RODGERS’ at the City Center in New York on October 21, 2002. For the Ohio Ballet’s winter program Brian Murphy replaced Highfield. Performed to the excellent live piano music of Margaret Baxtresser and David Fisher, this was a playful piece, featuring many gymnastic movements. Hansohn and Murphy were excellent.

The grand pas de deux from “Don Quixote,”was a company premiere which featured Alicia Pitts and Dmitry Tubolstev. The work debuted in 1869 at the famed Moscow Bolshoi Theatre. Pitts sparkled. Her performance featured fine toe work and excellent solo moves. Tubolstev is the company’s highest leaper and does an excellent job of executing flying circles. Unfortunately, his partnering skills are lacking and he draws attention to his technique rather than to his dancing. He postures, poses and feigns involvement instead of actually being involved in his performance.

The final number was the “Firebird Suite,” based on the music of Igor Stravinsky. The futuristic approach to the fairy tale which examines the contrast between desolation and hope, the conflict between machine and humankind. After a compelling opening, which featured flashlights, fog, a mechanistic set, and sensational light effects, the piece ground to a chaotic but technically compelling conclusion complete with snow and spectacular lighting. Part of the problem centered on using many young children from local dance schools. The youngsters just did not have the dancing skills to carry their load. The timing of the adult dancers was often off. The over-all concept was not defined enough to make for clarity.

Capsule Judgement: The Ohio Ballet’s winter program was an acceptable, if not outstanding evening of dance. It’s too bad the company hasn’t picked up the challenge and filled the void left by the Cleveland San Jose Ballet. Our area needs and deserves a world class ballet company.

Crumbs From the Table of Joy (Cleveland Play House)

Crumbs won't fill you up at CPH

A review of ‘CRUMBS FROM THE TABLE OF JOY,’ as produced in another city, stated that the production’s “engagingly brisk pacing and energetic staging keep this consistently tense production from lapsing into too much negativity. While the subjects are tough, and the emotions run high, he [the director] has kept the relationships true, the battles broad, the surprises unexpected, and the resolutions encouraging.”

Unfortunately, the Cleveland Play House production of the play, as directed by Chuck Patterson, cannot make that claim. This is rather surprising as Patterson’s deft hand crafted last year CPH’S ‘AMEN CORNER’ to be one of the highlight productions of that season.

For some reason Patterson decided to stylize the production and give it a slow methodical pace. This decision emphasized the very talky nature of the script. It also made his actors often appear to be charactures rather than real people, losing the reality that would allow us to truly imagine the writing of the author who has been said to write like a cross between Tennessee Williams and Lorraine Hansberry.

‘CRUMBS FROM THE TABLE OF JOY’ tells the story of a widower who moves from rural Florida to Brooklyn with his two nearly grown daughters. It’s the 1950s and we learn about the complexity of the post Second World War years when Black life changed with the Civil rights movement, integration, and the presence of charismatic religious leaders such as Father Divine, who pioneered integrated worship. The tale is told through the eyes and voice of 17 year-old Ernestine.

Ayanna Silveris’s Ernestine lacks the emotional involvement to aid us to understand the depth of her feelings. Instead of moving swiftly between narrator and participant, she has been directed to be hesitant and pensive. Zinab Jah, portraying Ernestine’s sister Ermina is a delight. Terry Alexander is much to pensive as their father Godfrey. Vivian Reed, as their aunt, is both entertaining and properly pathetic. She clearly allows us to know the conflict that is going on within her, though, at times, she too is the victim of the stylized directing. Meg Kelly Schroeder has difficulty with the required German accent and stays on the surface of the role of the caucasian woman who marries Godfrey.

Scenic designer Felix Cochren has created a functional set which allows for easy movement and helps set the proper mood. Robin Heath has selected music that aids in our understanding of the era.

Capsule Judgement: The CPH production of ‘CRUMBS FROM THE TABLE OF JOY,’ leaves too much of the joy on the table.

Safmod Performance Ensemble

SAFMOD EXCITES AT CLEVELAND PUBLIC THEATRE

The dance scene in Cleveland, in spite of the departure of Cleveland-San Jose Ballet, is very healthy. There has been an explosion of small dance companies that have more than filled the void of no longer having a world-class production company in town. Two of the best are in-residence at Cleveland Public Theatre: SAFMOD Performance Ensemble and GroundWorks Dancetheater.

SAFMOD was founded in Ann Arbor, Michigan in 1991 by percussionist/composer Neil Chastain and dancer/choreographer Young Park. The company moved to Cleveland in 1993. The group is dedicated to multi-disciplinary, multi-cultural performances which strive to push the boundaries of dance, music, and visual artistry. Their multi-media approach has included the use of projected digital animation, aerosol art installations, dancers on stilts, spoken word poetry, audience involvement, trapeze work, and costumes often made from recycled materials.

SAFMOD’s recent performances at CPT were met by appreciative sold-out audiences.

The evening opened with “Temporal Tides,” a well-conceived piece which grapples with the forces of time. The dancers were huddled in a heap, mid-stage at the start. Each grew upward, upside down, feet first, then torsos, then heads. The slow, controlled movements continued throughout the piece. As is typical of the group, such props as tree limbs and ethereal lighting helped convey the message.

“Fionacci” was an astounding example of a perfect fusion of dance and music. The movements were so well synchronized to Neil Chastain’s music, which was specifically developed for this piece, and for Young Park’s choreographic and dance styles, that the two elements became one.

“(With In) Instrument” was a happy gymnastic-centered piece which had an almost Disneyesque quality. It featured the guitarist/singer Alex Alvarez performing an original song which choreographer Young Park transformed into a modern dance. The dancers conveyed convincingly the concept of people as bags of humanity who often bumped into one another.

“Ahimsa” was the weakest piece of the evening. Many segments of this attempt to portray some people’s inhumanity toward each other were to be acted as well as danced. It illustrated that proficient actors do not necessarily make proficient dancers. Many facial expressions and body movements were unrealistic. This was also the only piece in which the synchronization of dancers was weak. The stilt and masks created by Alison Egan and Alexandra Underhill were outstanding. Ezra Houser’s stilt movements were well done.

“The Playground” was a total delight. Not only did the audience love it, but the performers appeared to be having a wonderful time. The segment starts with a chorus of nine drummers beating on blue buckets. It segued into a playground with a trapezoid-shaped metal structure which was moved to allow the dancers/gymnasts to play at ease. A combination of routines similar to Olympic gymnastic routines combined with swinging and flipping brought the audience to gasps and prolonged applause.

Capsule Judgment: Safmod presented a wonderful evening of dance!

Anything Goes (Great Lakes Theatre Festival)

‘ANYTHING GOES’ delights at Great Lakes

Take a typical 1930’s musical full of obvious plot twists and extended slapstick gags and give it a creative, no-holds barred production. The results: Great Lakes Theatre Festival’s delightful and audience-pleasing ‘Anything Goes.’

‘Anything Goes’ was first envisioned by its producer while hiding out aboard a fishing boat in the Gulf of Panama after fleeing the country to escape creditors. His idea was based on the premise of an ocean liner facing the threat of a possible shipwreck. He returned to New York, assembled a production team and started rehearsals. Unfortunately, the S.S. Morro Castle sunk off the coast of New Jersey. How could he open a happy go-lucky musical based on a ship wreck? So, the task of quickly rewriting the show was undertaken. The basic idea was retained, but the shipwreck was eliminated and a plot of hidden identities and unrequited love was substituted. Think ‘Importance of Ernest’-lite. The very title refers to the desperation with which the show was put together. Any and everything was tried to save the initial investment and make sure that the show went on.

The show, even in a recent rewrite which was used in the staging of this production, is long on music and short on plot. What is not wanting is the music of Cole Porter. Porter is a wordsmith of the highest order. His rhyming patterns and erudite language are unique among song writers. His songs require that you listen carefully in order not to miss a single word or clever phrase.

Porter’s background was unique among American popular composers of his era in that he was born to wealth, and that his apprenticeship took place not in Tin Pan Alley but in the playgrounds of Europe. Most Broadway writers of the era were immigrants, such as Irving Berlin, with little formal education. Porter’s schooling included Yale and the Schola Cantorum in Paris.

‘Anything Goes’ opened in November of 1934 and, in spite of the book, turned out to be the fourth longest running musical of the 30’s. Much of the credit for the success was not only Porter’s words, but Ethel Merman portraying an evangelist become night-club singer and singing such Cole Porter delights as "Blow, Gabriel Blow," "You're the Top," and "I Get a Kick Out of You". It’s pretty hard for anyone familiar with musical theatre to listen to those songs and not hear Merman belting them out. In 1987, the show was revised and revived.

The main action takes place on a luxury liner sailing from New York to Southampton and includes gangsters, evangelists, sailors and a whole lot of singing and dancing. Songs include such standards as, "All Through the Night," "It’s De-lovely,” “Easy to Love” and the title song, “Anything Goes.”

The Great Lakes production is blessed with the creative, let-loose directing of Victoria Bussert, creative choreography by Janet Watson and right-on musical directing by Steven Gross. John Ezell’s set adds to the effervescent feeling of the show, but the midstage turntable caused production problems, with the continued presence of stage hands moving the turntable and walking around backstage and some turning difficulties.

It was worth the price of admission just to see Steve Routman’s portrayal as Public Enemy number 12, Moonface Martin. He not only looks like Buster Keaton, but also has Keaton’s deadpan expression. He is a master of the ad lib as displayed several times when his covering of set mishaps and line fluffs brought extended applause from the audience.

Nancy Hess made the role of Reno Sweeney, the night club evangelist her own, choosing not to do an Ethel Merman imitation as often happens with those who portray this role. She has a pleasant voice and a nice perky acting style.

Hunter Bell, who has neither the physical or facial requirements of Broadway males who usually portrays leading man roles, nevertheless makes a creditable, if not outstanding, Billy Crocker.

Capsule Judgment: All-in-all ‘Anything Goes’ at Great Lakes Theatre Festival continues the thus far excellent year under new Producing Artistic Director Charles Fee.

The Male Intellect: An Oxymoron (Playhouse Square Center)

‘THE MALE INTELLECT: AN OXYMORON’ delights at the Hanna

When ‘THE MALE INTELLECT: AN OXYMORON’ ran in Cleveland several years ago I referred to it as being hysterical. I went on to say that it gives the audience a comedy version of “MEN ARE FROM MARS, WOMEN ARE FROM VENUS” and “YOU JUST DON’T UNDERSTAND,” two best selling book on male-female communication.

The story? Bobby is in a state of confusion. Several weeks before the curtain rises, he had found the girl of his dreams. He made the commitment. He planned to get married. She dumped him. Since then he's been trying to figure out what went wrong. The only thing he has figured out about women is that they are female. In this he is like most guys, clueless as to what makes women tick.

Capsule judgment: Robert Dubac, who both wrote the script and portrays Bobby, has bridged a career between acting, comedy and writing for over ten years. ‘THE MALE INTELLECT: AN OXYMORON’ grew out of the desire to bring his three interests together. And blend them together he does well. As another local critic said in its last pass through he area, “In case you were wondering, it is possible for a person to be tasteless, sensitive and funny, all at the same time. The proof lies in "THE MALE INTELLECT: AN OXYMORON"

Late Night Catechism (Playhouse Square Center)

‘LATE NIGHT CATECHISM’ delights at Hanna

When you go see ‘LATE NIGHT CATECHISM’ at the Hanna Theatre, and you should, there are a few “rules” you better follow. Don’t chew gum because Sister will make you spite it out. Don’t think of swallowing it because, as Sister says, “it stays in your stomach six weeks.” Don’t talk while she is talking. A “heathen” Jewish lady did, and Sister made her change her seat. A duo was whispering and had to stand up in front of the entire “class” and apologize. Be aware that if she finds out you didn’t go to Catholic school you’ll get her lecture about your parents not loving you.

You’ll learn much during this delightful interactive theatre piece. Sister will inform you that Dead Catholic accountants keep track of your indulgences, that she once had a nun teacher who was so old that “she could have been a waitress at the last supper” and that “Episcopalions are really Catholic-lites.” You also be told that St. Simeon Stylis was the patron saint of pole sitters and two Notre Dame nuns can beat the “hell out of 3 Ursilines.” Also, did you know that nuns are really gang members? Sure they are, they wear a common uniforms, hang around together, have colors.

And so it goes. One hysterically funny comment after another. ‘LATE NIGHT CATECHISM’ is not for the plot oriented, it’s not thinking person’s theatre. This is just plain fun stuff.
Do you have to be Catholic to appreciate the goings-on. No, but, it doesn’t hurt. Several of the opening-night attenders were planning using this experience on an on-going basis instead of going to confession. And, even though it’s a production based on audience participation, you can hide and not participate. That is, if Sister doesn’t catch you.

Lisa Buscani, who plays Sister in this hoped-for long-running local production, is a delight. She is not only knowledgeable and opinionated about the church, but she is excellent at ad libbing and making the entire evening delightful.

And, true the Catholic Church, you’ll have a chance to play bingo and place an offering in the collection box.

Capsule judgment: You don't have to be Catholic to enjoy LATE NIGHT CATECHISM, but it helps!

Voice of Good Hope: The Words and Life of Barbara Jordan (Ensemble Theatre)

Barbara Jordan shortchanged at Ensemble

The late Barbara Jordan is one of my heros. If not for her illness and premature death, she may have been the first Black women to be nominated for a high national office. This was a woman of high spirit, intelligence and a clear mission of life who translated her background and yearnings into a national platform for civil rights and high values.

Unfortunately, VOICE OF GOOD HOPE: THE WORDS AND LIFE OF BARBARA JORDAN does little to help sell her greatness. This is a poorly written script which is given a shallow production at Ensemble Theatre.

The script is fragmented, jumping from time to time in Jordan’s life with little logical bridging. Though hinted at, we miss entire segments of her life where would see her rise to being a respected and national political power.

The production values are also lacking. The set, which consists of series of levels, is awkwardly designed, causing actors to constantly step up and down to get from place to place. This is very problematic in scenes in which Ms. Jordan is supposed to be suffering from knee and hip problems. Taped speeches of Richard Nixon and other notables in Jordan’s life are often difficult to understand.

Besides the technical problems, the acting levels are generally poor. It is the obligation of a director to work with her cast to insure that they both understand the meaning of their lines and can interpret the words to the audience. This is not the case in this production. Except for Mary Jane Nottage, as Jordan’s companion Nancy Earl, and James Seward as Jordan’s grandfather, the cast fails to perform effectively. Lines are often spoken as flat statements with little meaning. In addition, the stage movement are often ill-conceived. In a scene where Jordan is supposedly in physical pain she has been directed to constantly sit and stand.

Capsule judgment: It’s a shame that a great woman like Barbara Jordan has not been given a better rememberance.

Bring in 'da noise, bring in 'da Funk (Playhouse Square Foundation)

NOISE, FUNK dazzles and sizzles at State

If you didn’t get to see BRING IN ‘DA NOISE, BRING IN ‘DA FUNK in its short four day visit to Cleveland, you missed one of the most sizzling, dazzling, exciting dance shows ever!

Much of the credit for the excitement centers on Savion Glover, the preeminent percussive dancer in the world. He has not only choreographed this show, which tells the history of African-Americans from slavery to the present through dance, specifically tap, but he starred in the touring production which graced the State Theatre. He and his cast of amazing dancers, drummers and singer-narrators exploded.

The show is talking with taps, talking with song, talking with words, talking with percussion. The beat, the talk, the story emerges from a pool of light falling upon a single slave and grows into a story that examines slave auctions, families ripped apart, lynchings, the underground railroad, freedom, movement of people north, and riots. It is visualized through the development of tap dancing, music, song and a little narration. It covers the music of the likes of Eubie Blake and Satchmo and Josephine Baker and the dancing of Chuck Green, Jimmy Slyde, and Buster Brown.

The most outstanding segment of the evening was Savion in front of a mirror, dancing and dancing and dancing, his reflections shooting out into the eyes of the audience! Second only to that was the creative drumming of Jared and Raymond playing percussion without the use of drums. Cans, legs, the taps on the shoes, pots, pans and chains became the instruments of ‘da beat.

Capsule judgment: The audience was on its feet howling at the end with well deserved screams of joy! WOW!

Cherry Docs (Jewish Community Center)

'CHERRY DOCS' examines hate at the Halle

The lights come up on a representation of the scales of justice. Each side of the scale looks like a prison...bars pointing to the ceiling encircling a confining platform. In each area we will soon meet and experience two men who are very alike, and very different. The combatants are a skinhead perpetrator of a vile hate crime (Mike) and his Jewish legal-aid lawyer (Danny). Two men who are troubled by their pasts and have different paths to their futures. We will observe them going through belief changes. We will see them, as one of the lines states, “go through the eye of the needle.”

The play? David Gow’s CHERRY DOCS. The place? The Halle Theatre.
The title? Cherry Docs are red colored sturdy shoes with steel covered toes that are so endangering that they can kick though a wall. They are the “boot of choice” for the Nazi-attitude group known as skinheads.

On the surface the play concerns murder and hate. It uses the analogy of life being a fabric made from threads to tie the themes together. That analogy allows us to see how Danny’s liberalness and spirituality become woven into his latent prejudices and ambitions. As these threads weave together he begins to crumble. On the other-hand, the punk, who once said to his lawyer, "In an ideal world I'd see you eliminated," comes to realize that his cloth of evil must become a fabric that includes tolerance.

Many of the speeches are direct addresses to the audience, making us participants in Danny’s insistence that the young offender helps construct his own defense in order to "stand up" and be accountable. It also allows us to be involved in their personal transitions. We share in the epilogue, a cutting from The Book of Daniel, which proposes that like Daniel the world must reach toward righteousness.

Reuben Silver’s direction is on-target. He has taken the play from staged reading last year to a full-blown production. This was a real challenge. The play has little action, is basically a duet of words, and sometimes is too talky, complete with three epilogues. To make it an involving experience took inspiration.

Scott Plate, complete with shaved head and body tatoos, is unbelievably good as the skin-head. He creates a character the audience must hate, yet by the conclusion, comes to understand.

Joel Hammer’s Danny is involving , but, at times, his rage lacks motivation, sometimes caused by the weakness of the script.

Tony Kovacic’s scene design is excellent, as are Casey Jones’ musical interludes which transition moods clearly from scene to scene.

Capsule judgment: CHERRY DOCS asks a simple, but harrowing, question: Can we eliminate hate? Though the play doesn’t answer the unanswerable question, it does make us think.

Times Tributes--2002

TIMES THEATRE TRIBUTES--2002

Greater Cleveland is blessed with a vital theatre scene. Unfortunately, the local performers, directors and technicians often get little acknowledgment. It is the purpose of the TIMES THEATRE TRIBUTES to recognize theatrical experiences that, in the mind of this reviewer, were excellent.

No attempt is made to name the best in each classification. Actors were not separated by gender or leading or supporting roles. It is also recognized that I did not see all of the productions in the area, so only shows performed in 2002 that I reviewed were considered. Selections are limited to locally produced performances, so none of the professional touring shows are recognized, though actors, directors and technicians who were imported by local theatres were considered.

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

A Times Theatre Tribute 2002 for an Outstanding Production to:
AVENUE X, Cain Park
BLUE SKY TRANSMISSION: A TIBETAN BOOK OF THE DEAD, Cleveland Public Theatre
LOVE, LANGSTON, Great Lakes Theatre Festival
MAN OF LAMANCHA, Halle Theatre
MOON FOR THE MISBEGOTTEN, Great Lakes Theatre Festival
MUCH ADO ABOUT NOTHING, Great Lakes Theatre Festival
PARADE, Beck Center
SMOKEY JOE’S CAFE , Beck Center
THE LATE HENRY MOSS, Dobama
THE WILL ROGERS FOLLIES: A LIFE IN REVUE, Berea Summer Theatre
THREE IN THE BACK, TWO IN THE HEAD, Dobama
WHO’S AFRAID OF VIRGINIA WOOLF, Actors’ Summit

A Times Theatre Tribute 2002 for Outstanding Acting to:
Miche Braden, LOVE, LANGSTON, Great Lakes Theatre Festival
Bernie Capenari, THREE IN THE BACK, TWO IN THE HEAD, Dobama
Donald Clark, ONE FLEW OVER THE CUKOO’S NEST, Porthouse Theatre
Derrick Cobey, AVENUE X, Cain Park
Yolanda Davis, CONSTANT STAR, Dobama
Vincent Dowling, MOON FOR THE MISBEGOTTEN, Great Lakes Theatre Festival
Paula Duesing, WHO’S AFRAID OF VIRGINIA WOOLF, Actors’ Summit
Robert Ellis, THE LATE HENRY MOSS, Dobama
Susan Ericksen, BRIGHT IDEAS, Cleveland Play House
Annie Fitzpatrick,ONE FLEW OVER THE CUKOO’S NEST, Porthouse Theatre
Amanda Folino, WILL ROGERS FOLLIES: A LIFE IN REVUE, Berea Summer Theatre
Tom Fulton, MAN OF LAMANCHA, Halle Theatre
Tom Fulton, WHO’S AFRAID OF VIRGINIA WOOLF, Actors’ Summit
Keith Gerchak, THE MELODY LINGERS ON, Berea Summer Theatre
Keith Gerchak, Parade, Beck Center
Seth Gordon, THREE IN THE BACK, TWO IN THE HEAD, Dobama
Alltrinna Grayson, SMOKEY JOE’S CAFE, Beck Center
Thomasina Gross,ONCE ON THIS ISLAND ,Porthouse Theatre
Ann Guibert, WAVERLY GALLERY, Cleveland Play House
Robert Hawkes, THREE IN THE BACK, TWO IN THE HEAD, Dobama
Providence Hollander, THE LEADING LEADIES OF BEREA SUMMER THEATRE, BST
Anna Kitral, THE INTERVIEW, Halle Theatre
Mary Klaehn. BRIGADOON, Porthouse Theatre
Marty Lodge, McMurphy, ONE FLEW OVER THE CUKOO’S NEST, Porthouse Theatre
Andrew May, THE INFINITE REGRESS OF HUMAN VANITY, Cleveland Play House
Andrew May, BRIGHT IDEAS, Cleveland Play House
Joyce M. Meadows, PROPOSALS, Beck
Kate Mulgrew, TEA AT FIVE, Cleveland Play House
Frederick Owens, LOVE, LANGSTON, Great Lakes Theatre Festival
Gary Walker, AVENUE X, Cain Park
Tyson Postma, THE LATE HENRY MOSS, Dobama
Kyle Primous, PARADE, Beck Center
Trinidad Rosado, SMOKEY JOE’S CAFE, Beck Center
Dorothy Silver, THE MAI, Dobama
Nan Wray. HOMEBODY/KABUL, Dobama
Jean Karzour, HOMEBODY/KABUL, Dobama
Ensemble cast: Lisa Black, Tracy Broyles, Kishiko Hasegawa, Holly Holsinger, Brett
Keyser, Amy Kristina, Karin Randoja, Sophia Skiles, Rebecca Spencer, and Chi-wang Yang, BLUE SKY TRANSMISSION: A TIBETAN BOOK OF THE DEAD, Cleveland Public Theatre


A Times Theatre Tribute 2002 for Outstanding Directing to:
Drew Barr, MUCH ADO ABOUT NOTHING, Great Lakes Theatre Festival
Loni Berry, adaptation and directing, LOVE, LANGSTON, Great Lakes Theatre Festival
Russ Borski, THE LATE HENRY MOSS, Dobama
Victoria Bussert, AVENUE X, Cain Park
Raymond Bobgan, BLUE SKY TRANSMISSION: A TIBETAN BOOK OF THE DEAD ,
Cleveland Public Theatre
Martin Cespedes, SMOKEY JOE’S, choreographer/director, Beck Center
Scott Spence, PARADE, Beck Center
Fred Sternfeld, MAN OF LAMANCHA, Halle Theatre
Sue Ott Rowlands, ONE FLEW OVER THE CUKOO’S NEST, Porthouse Theatre
Lora Workman,THE WILL ROGERS FOLLIES: A LIFE IN REVUE, BST

A Times Theatre Tribute 2002 for Outstanding Choreography to:
Eric van Baars, ONCE ON THIS ISLAND, Porthouse Theatre
Martin Cespedes, MAN OF LAMANCHA, Halle Theatre
Jimmy Helms, THE LATE HENRY MOSS, Dobama, fight choreography

A Times Theatre Tribute 2002 for Outstanding Technical Achievement to:
John Ezell, set design, MOON FOR THE MISBEGOTTEN, Great Lakes Theatre Festival
Michael Guy-James, set, BLUE SKY TRANSMISSION: A TIBETAN BOOK OF THE DEAD , Cleveland Public Theatre
Gina Leone’s lighting THE WILL ROGERS FOLLIES: A LIFE IN REVUE, Berea Summer Theatre
Don McBride, set design, PROPOSALS, Beck Center
Ron Newell, set design, THE WILL ROGERS FOLLIES: A LIFE IN REVUE, Berea Summer Theatre
Robin Ruth, costumes, ONCE ON THIS ISLAND, Porthouse Theatre
Robert Stegmiller, set design, OVER THE RIVER AND THROUGH THE WOODS, Actors’ Summit
Jeffrey Smart, costumes, THE WILL ROGERS FOLLIES: A LIFE IN REVUE, Berea Summer Theatre



A Times Theatre Tribute 2002 for Outstanding Musical Direction in a Musical
Marcella McElroy Caffie, THE AMEN CORNER, Cleveland Play House
Nancy Gantose-Maier, AVENUE X, Cain Park
Larry Hartzell, MAN OF LAMANCHA, Halle
Nancy Maier, ONCE ON THIS ISLAND, Porthouse Theatre
Danny McElroy, THE AMEN CORNER, Cleveland Play House
Charles Eversole, WILL ROGERS FOLLIES: A LIFE IN REVUE, Berea Summer Theatre
David Williams, SMOKEY JOE’S CAFE, Beck Center
Larry Goodpaster, PARADE, Beck Center

A Times Theatre Tribute 2002 for service to the theatre
ARACA, major contribution to Broadway theatre by a production organization with a Cleveland connection
Don Bianchi, Dobama, lifetime of achievement in Cleveland theatre
Hamlim El-Dabh, music composition, BLUE SKY TRANSMISSION: A TIBETAN BOOK OF THE DEAD , Cleveland Public Theatre
Fay Sholiton, author, THE INTERVIEW, Halle Theatre
TONY N’ TINA’S WEDDING, longest running show in Cleveland theatrical history

Journey (Ohio Dance Theatre)

Lorain County's Ohio Dance Theatre at CPH

Denise Gula is a fascinating woman. She is not only a creative choreographer, but, fighting against the odds, she has become a very successful dance producer. Her Ohio Dance Theatre, which is housed in Oberlin, is taking a giant leap forward when it presents three performances of 'JOURNEY' at the Cleveland Play House. The piece, an original work of musical theatre, chronicles the historical, emotional and spiritual evolution of African Americans from slave days to the present.

The fact that this is a theatrical dance piece should be of no surprise to Gula’s many followers. From her years as a dancer and performer at Karamu House, to her North Ridgeville High School acting days, to her successful career as an actress, director and founder of the Lorain Community College dance program, and choreographing of many community theatre musicals, she has always combined her acting and dancing background in her work.

'JOURNEY' has been a four-year labor of love. As Gula says, “Like so many projects in this arts climate, it was born of necessity. Financial constraints compelled me to develop a piece using the only dancer I had, a dancer who happened to be black.” She goes on to state, “I thought of making a celebration for Black History Month. Brian Lankar’s photo book about black women 'I DREAM A WORLD' was the source of visual inspiration.”

Capsule judgement: The original piece was 35-minutes long. Now, it is a full-length production. And, it is a production of substance. As one reviewer stated, “this ia a fast-paced show that is worthy of being done on a national basis.” Knowing Gula, and her past history of confronting issues straight on, don’t be surprised if a national production doesn’t follow!

Radio City Christmas Spectacular (Playhouse Square Center)

Rockets high-kick in Christmas spectacular at Playhouse Square

How can anyone give a “bah-humbug” to a production with dancing teddy bears, parading wooden soldiers, performing Snowmen, flying reindeer, elves doing rap, singing poinsettias, dancing toys, a singing Santa Claus, falling snow, camels, sheep, a donkey and a preteen ballerina? And, to top it all off, the entire presentation is built around the high-kicking precision of the Radio City Rockettes. You’d have to be a total Scrooge to even suggest that there would be anything but smiles on the faces of the children of all ages who are flocking to Playhouse Square to see the 'RADIO CITY CHRISTMAS SPECTACULAR.'

The show which features such memorable segments as "The Parade of the Wooden Soldiers" and "The Living Nativity," has added a wonderful visual song and dance sequence "Christmas in New York." These, along with “We Need a Little Christmas” (from the musical MAME), “Santa’s Gonna Rock And Roll” (a tribute to Cleveland’s Rock Hall of Fame), a wonderful new tap number, “The Twelve Days Of Christmas,” and “A Teddy Bear’s Dream (a ballet version of “The Nutcracker” featuring bigger than life teddy bears in tutus), lead to cheers of joy. It continues to be a professional, enthusiastically presented spectacular that is hard to resist.

Realizing that not everyone can get to New York to see the show, in 1994 'THE RADIO CITY CHRISTMAS SPECTACULAR' broadened its schedule to encompass other markets. Since then over two million people a year have experienced the excitement. Besides coming to Cleveland, troupes are performing in Detroit, Chicago, Cincinnati, Branson(MO), Atlanta, and The Grand Ole Opry House in Nashville. That’s a lot of kicking and dancing!

The cast includes 22 rockettes, 14 singers and dancers, 4 little people, Santa and Mrs. Claus. More than 200 colorful costumes and 150 hats are used. Each outfit is designed specifically for the show. Nineteen teddy bears appear. Each bear is from a different part of the world and each costume weighs between 30 and 60 pounds. Two camels, 4 sheep and a 1 donkey appear in the nativity scene. It took over thirteen trailer trucks to deliver all the elements of the show to Cleveland.

Capsule judgement: The rockets show is quite a Christmas spectacular!

The Mai (Dobama)

'THE MAI' at Dobama Irish through and through

The Irish are known for their telling of tales which are often long in the relating, center on dysfunctional families, and wander into the maudlin. Think O’Casey, Beckett and Synge and you have a feel for Irish writing. Though Marina Carr, the author of THE MAI, now having its Ohio Premiere at Dobama Theatre, doesn’t consider herself to be in a direct line from all the great Irish playwrights of the past, her play does follow their traditions.

THE MAI is an examination of love and obsession. The play concerns a four generation Irish family who find themselves in constant angst, conflict, and fighting for a sense of self, while being consumed by passion. It takes the view that the greatest love is to be found in another, and supports the myth of finding a soul mate to whom one is completely and eternally bound. In order for that to happen, a person must be willing to let go of her own self. As in much of Irish lore, it is an all or nothing effect, with strong melodramatic underpinnings.

The main character, Mai is a woman consumed by her love of a philandering musician. The love defines her and it controls her. For five years she has survived in his self imposed absence. To entice him back she has built a beautiful home on the shores of Loch Owl. Here, her Robert can compose his music, inspired by her adoration and devotion. It will be a shrine to their love. He returns, but her dreams that he will never leave her again and will be eternally faithful are soon dashed.

Mai's sixteen year old daughter Millie recounts the story, which parallels an Irish legend of tragic lovers who once supposedly lived on the lake where the play takes place. Carr pits myth against reality, illusion against truth, and basic human need against desire. As is the case in most Irish tales, the ending is not one of happiness.

The play is long and has little in the way of emotional texturing except for the actions of Mai’s grandmother. The long speeches and lack of dynamic action are broken by cello interludes which help enhance the mood.

As Mai, Bernadette Clemens never quite convinces of her obsessive love toward Robert. The shadings needed to develop the character are on the surface rather than deep in the soul. Andrew May gives his usual competent performance as Robert. He has to dig to find depth in the character as the part is not written with the same quality as the author uses in developing her women. Sherri Britton and Mary Jan Nottage give fine portrayals as Mai’s aunts. As Millie, Tyler Postma gives a surface level performance.

Dorothy Silver is perfect as Grandma Fraochlan. Her drug induced scene with Tracey Field, who portrays Mai’s sister Beck, is hysterically delightful.

Capsule judgement: Silver, along with the marvelous cello interludes by the very talented Joshua Roman, are reason enough to attend the production.

A Tune Christmas (Cleveland Play House)

'A TUNA CHRISTMAS/entertains at CPH

First there was GREATER TUNA, a delightful comedy exposing theatre audiences to the residents of Texas’ third smallest town, where the Lion’s club is too liberal and Patsy Cline never dies. Now, there is A TUNA CHRISTMAS. We meet all the town’s eccentric citizens portrayed by two actors playing all 24 characters.

The residents of Greater Tuna are full of holiday spirit, but can they cope with such traumas as a disaster-prone production of "A Christmas Carol" or a yard-decorating contest that's being sabotaged by a mysterious phantom?

The script skewers gun nuts, Baptists, old church ladies, pink-dressed diner waitresses, and just about every other Southern stereotype. This is a He-Haw laced comedy. How can you sit there and not laugh at lines like, “She sounds like white trash at a tent meeting,” “It almost makes me want to go back to school and get my GED,” “Get that out of your mouth, it’s not that kind of thermometer,” and “Even Baptists out to sin once in a while, that’s what the church is for.” Watch as two little old ladies try and kill bluejays with a sling shot and marbles, as a saleslady of weapons encourages everyone to carry guns, or as a pair of midgets stand behind a dutch door ordering food with only their hair in view.

National reviewers have heralded other stagings of the show with such comments as: "I wouldn't want to spend Christmas anywhere but Tuna, Texas,"
“The multiple stories are the stuff of biting comedy -- laced with poignant moments that take one's breath away," and, "A TUNA CHRISTMAS delivers a stocking full of laughs!"

The CPH production, under the guidance of Billy Bob Hoffman, doesn’t produce the delight of the productions starring Joe Sears and Ed Howard, two of the show’s writers and performers. In the local show Dana Snyder is delightful. His characters are each full-blown. He adds emotional nuances to the various men and women he portrays. Chuck Richie, on the other hand, is tentative and doesn’t make the necessary emotional and physical shades between the people he portrays. In his interpretations, pathos and comedy aren’t always separated. In general, the pacing of the production is quite slow, but this should improve as the duo interacts with each other and reacts to the laughs of the audience.

Capsule judgement: 'A TUNA CHRISTMAS' will delight audiences. In spite of some problems, it surely did opening night.

Gina Gibney & Creatch/Company (Cleveland Public Theatre)

DANCE CLEVELAND at Cleveland Public Theatre works well

Dance Cleveland needs a place to present its smaller visiting companies. Cleveland Public Theatre has the Bolton Square Theatre in various stages of restoration. They can use the added income from someone using the facility. CPT’s space lends itself perfectly to dance. It allows the audience to be close to the action. It has excellent lighting and a very danceable floor area. Dance Cleveland and CPT have formed a working relationship that works well for both organizations.

The most recent cooperatively presented works were Gina Gibney Dance presenting 'TIME REMAINING' and Creatch/Company staging 'STUDY FOR A RESURRECTION.' The companies were an interesting contrast. Gibney’s all women's group works for grace and emotional resonance. Creatch’s male ensemble strives for gymnastic, intellectual and powerful achievement to explore and celebrate the sensibility and energy of men.

Gibney’s evening length project centered on the power of time and how it erodes and is renewed. Based on the concept that there is a time for every purpose, the dancers moved in synchronized patterns, blending flowing movements and costumes. The performers created visual images of support, separation and motion. It is interesting that there is kind of charisma that gently demands attention. These are not big, powerful, audience involving movements. She creates a balance between dance and stillness when the body's lines grab the eye and allows the viewer to fill in meaning. Gibney creates exquisite, sensitive choreography.

As one critic has put it, "Gina Gibney has established herself as a poet of modern dance today.” The CPT/Dance Cleveland sold-out audience was very appreciative of the quality of the dancing and the creative talent of the choreographer.

Creatch/Company, a six men ensemble, employs a form of movement entitled contact dance. It uses the body to paint relationships between people. STUDY FOR A RESURRECTION incorporates 13th to 16th century sacred music sung by a fine male ensemble who set the mood for the piece and over look and later entwine within the dancers to create a unit of music and dance.

The brotherhood of dancers creates images of bible stories, art works and AIDS influenced images. Dancing in loose fitting costumes, and sometimes in the nude using gossamer cloth to enhance the visual look of the human form, much like Michelangelo did in his paintings and sculputures, the dancers intertwined by moving underneath, on top of, wrapping around, pushing, rolling together, staring at, jumping and catching each other.

Capsule judgement: The performance was well received by the audience, but repeating the same movements and sounds for over an hour, in spite of the quality of the dancing and singing, created monotony. The program would have been stronger if another form of choreography was introduced to parallel the contact dance.

Other People's Money (Ensemble)

'OTHER PEOPLE’S MONEY' doesn't cash in at Ensemble

In these days of corporate greed, insider trading, Martha Stewart-like stock manipulation, Enron and Adelphia cheating, it is entirely appropriate that Ensemble Theatre chose to present 'OTHER PEOPLE’S MONEY.'

Jerry Sterner’s black comedy centers on corporate raider Larry "the Liquidator" Garfinkle, who gobbles up companies faster than the doughnuts he keeps in his office and limo. He is pure predator; a gross troll in a classy suit.

Written in 1989, 'OTHER PEOPLE'S MONEY' turns on the conflict between good and evil, David and Goliath. It pits the bad guy Liquidator, who wants to acquire the New England Wire and CableCompany and to plunder its assets and shut it down, against Andrew Jorgensen, the company’s patriarch. It matches small-town business ethics against corporate America’s "Greed Is Good." How do we stave off Larry at the pass? Enter Kate Sullivan, the daughter of Jorgensen’s long time mistress. Kate is an attractive young attorney not above sexual politicking and muckraking. Can she convince Jorgensen that he needs to play the corporate take-over game? In the balance hangs the fate of 1,200 factory workers and the old-fashioned way of doing business.

Will Larry the Liquidator wipe out another nice guy from the landscape of free enterprise? As much as we’d like to think the answer is “no,” the real answer is, “sure.”

If only the production qualities had reached the script’s level. In the hands of the right director and cast, this play would be an audience pleaser. Ensemble’s production never catches fire. Except for Michael Raum portraying Garfinkle in a wonderfully evil, nebbish-not-a-real-nasty guy way, the cast seems to be walking through their performances. They never quite get emotionally involved. The situation is not helped by numerous line glitches, forgotten ideas, static characterizations, and some awkward staging. Everything from the costumes, to the set which doesn’t fit the script’s description, just miss their mark.

Capsule judgement: To be successful Sterner's play requires a black-comic sensibility to fire the plot, Ensemble’s version lacks this. It’s worth attending 'OTHER PEOPLE’S MONEY' to see Raum and gobble down a Gilly’s “Not Just Donuts” at intermission. (In the original play Dunkin Donuts was bannered. In Cleveland, it’s Gilly’s which is located in Little Italy which gets the eating honors.) Hopefully, as the rest of the cast gets more comfortable with the material, the production will blossom into a unit that brings full meaning to the play.

Fall program 2002 (Ohio Ballet)

Ohio Ballet presents pleasing winter program

Ohio Ballet is presenting a very pleasant evening of dance as its FALL PROGRAM. It showcased in Cleveland’s Ohio Theatre on November 15 and 16. It will be repeated on November 22 and 23 at the E. J. Thomas Performing Arts Hall.

FRIENDS AND LOVERS, which consists of three pas-de-deux, examines relationships. It featured strong performances by all of the women dancers and exceptional partnering by Alicia Pitts and Brian Murphy. Young Eric Carvil is improving with each Ohio Ballet performance. Unfortunately, the same cannot be said for William Hoppe who still needs to learn the necessary confidence and skills. The live musical accompaniment of Antonin Dvorak’s music was beautifully performed by Linda Nagy Johnston, Madelena Burle Marx and David Fisher.

CAPTURE, choreographed for the Diavolo Dance Theatre, was a fascinating piece. It featured a proficient Damien Highfield and the effervescent Amanda Cobb. Cobb entered and exited a segmented silver half-sphere into which Highfield was attached. The segmented globe rocked and twirled to Juliet Prater’s well-conceived original far eastern music creating a visual illusion of flow and movement.

PYGMALION & GALATEA, choreographed by Jeffrey Graham Hughes, was the weakest segment of the evening. The dance movements were often out of sync with the mood and cadence of the music. In spite of this, Jesica Salomon was wonderful. Unfortunately Dmitry Tubolstev didn’t get physically and emotionally involved in his dancing. He is talented, but his posturing creating overly affected moves and gestures to convey a surface level performance. He failed to emotionally connect with his partner.

SIXTY-EIGHT, choreographed by Leslie Cook, combined music of Simon and Garfunkel, Jimi Hendrix, Janis Joplin and Buffalo Springfield into a series of dances. It paralleled the musical styles of 1968, the year the Ohio Ballet was created 35 years ago. The highlight was a jazz version of “Summertime” and was beautifully danced by Amanda Cobb and Damien Highfield. Brian Murphy, the company’s strongest and emotionally most involved male dancer, lit up the stage. Strong performances were also put in by Jesica Salomon, Larissa Freude, Kristin Knapp, Alicia Pitts and Mary Beth Hanson.

On Golden Pond (Cleveland Play House)

Selection of 'ON GOLDEN POND' at CPH questioned

Ernest Thompson’s ON GOLDEN POND is a play about aging, love, family and forgiveness. It was an instant hit when it opened on Broadway in 1979. The 1981 film version won Academy Awards for Henry Fonda and Katharine Hepburn. The present Cleveland Play House’s production is entertaining, eliciting laughs and some tears from the audience.

Why did CPH chose a show that is one of the most-oft done plays on the amateur theatre circuit? According to the show’s program Artistic Director Peter Hackett indicates that he chose it because the Associate Directors of Monomoy Theatre, Mike Hartman and Darrie Lawrence, where Hackett saw the show in the summer of 2000, were available to do the show at CPH. He indicates that he is delighted that they are reprising their roles. There are many in the local theatre community who question whether CPH, which proposes to be a major US professional theatre, should be produce such shows rather than stretching itself by appealing to younger audiences and doing more challenging scripts. That controversy withstanding, ON GOLDEN POND is appearing at CPH and needs to be reviewed.

ON GOLDEN POND centers on two elderly people, Norman and Ethel Thayer, returning for their 48th year to their summer home on Golden Pond in Maine. He has heart palpitations, failing memory and a caustic tongue. Chelsea, their emotionally distant adult-daughter comes to visit along with her “boy friend” Bill and Billy, his 13 year old son by a previous marriage. Billy stays behind as Chelsea and Bill go off to Europe on what turns out to be their honeymoon. We see a transformation in both Norman and Billy as they bond together. The summer ends. The Thayer’s are about to leave when Norman has an angina attack. Will they ever return to Golden Pond?

Carol Dunne’s direction is basically on-key. Mike Hartman is wonderfully endearing as Norman. Darrie Lawrence is fine as Ethel. Kate Levy does well as their daughter. Young Adam Siciliano doesn’t quite allow us to see the transition from a kid ripped apart by divorce who transforms before our eyes into a nice young man under the loving guidance of the irascible Norman. Bill Clarke has created an attractive and functional set. Those who attend ON GOLDEN POND will enjoy themselves.

Capsule judgement: Though a questionable choice for a theatre of the professional caliber, the production is quite effective.

South Pacific (Playhouse Square Foundation)

'SOUTH PACIFIC' pleasing but lacks spontaneity at the Palace

When, on March 31, 1943 the curtain came up at New York’s St. James Theatre, and a lone male voice sang out the words to “Oh, What a Beautiful Morning,” a new era in musical theatre was ushered in. Richard Rogers and Oscar Hammerstein took the art form from an escapist vehicle to a new level when they conceived 'OKLAHOMA.' Most musicals since then follow the Rogers and Hammerstein pattern of the well-made play which is a story line into which the music and the dancing are integrated, a story line that has a beginning, a middle and an end.

They also developed the concept of having the first act end with a problem that will be solved in the second act. The viewer must come back or the solution to the dilemma won’t be know.

The duo also used a writing technique that was uniquely their own. In each of their shows they had a key song that carried a philosophical social message that was the key to the show. In 'THE KING AND I' the decision that had to be made about breaking with the past and moving into modernity was presented in “It’s a Puzzlement.” In 'CAROUSEL' the question of faith and courage was brought forth in “Never Walk Alone.” In 'FLOWER DRUM SONG' the challenge of breaking from cultural traditions was highlighted in, “The Younger Generation.” In what some critics think is their best musical, the 1953 Pulitzer Prize winning 'SOUTH PACIFIC,' the powerful “You Have to Be Carefully Taught,” confronts the subject of racism.

In spite of the brilliance of the script one might wonder whether the touring production of 'SOUTH PACIFIC,' now at the Palace Theatre, focuses on the play or its superstar Robert Goulet. From his solo first entrance, which was met with prolonged applause, to the spotlights which were always a little brighter on Goulet than anyone else, the staging seems to center on him. He is well-suited in voice, age and stature to portray Emile de Becque, a role he made his own in a 1987 revival of the show that toured the US and Canada. Unfortunately, it appears that he has so comfortably fit into the role that he is on automatic pilot. This attitude seems to have been picked up by the cast as they go through the motions of the show.

The tale centers on an island in the South Pacific during World War II. Two love relationships are threatened because of prejudice. Nellie, a nurse from Arkansas, falls in love with the mature French planter, Emile. Nellie learns that he has been married to now deceased islander and has two children. She reacts negatively to his liaison with a dark-skinned native. Lt. Joe Cable denies himself the love of a Tonkinese girl, with whom he has fallen in love, out of the same prejudices that haunt Nellie.

The show’s wonderful musical score includes: “Some Enchanted Evening,” “There is Nothing Like a Dame,” “Bali Ha’i,” “I’m Gonna Wash That Man Right Out-a My Hair,” and “Honey Bun.”

Amanda Watkins makes a pleasant Nellie. She is attractive, has a fine voice and a nice vitality. Her scenes with Goulet, however, lack the intimacy necessary to make their love seem believable. Brian Noonan, who has matinee idol looks, has a powerful singing voice. His renditions of “Younger than Springtime” and “You’ve Got to be Carefully Taught” were show highlights. Armelia McQueen is delightful as Bloody Mary. David Warshofsky needed more abandonment in portraying Luther Billis. The men’s chorus was outstanding.

The orchestra’s musical sound was fine. The choreography lacked creativity. The settings worked well.

Capsule judgement: This production of 'SOUTH PACIFIC' is not bad. It is quite pleasant, but, it lacks that extra spark that transposes a show from good to great.

Social Security (Cassidy Theatre)

Cassidy's SOCIAL SECURITY offers side splitting laughter

Cassidy Theatre is one of the oldest and strongest community theatres in the area, and they do not disappoint in the uproariously funny, 'SOCIAL SECURITY.' Andrew Bergman's script is not for the prudish - there is plenty of sexual terminology (not innuendo) in this one.

The story is of two adult daughters of widow Sophie. Barbara and David are art gallery owners in Manhattan, very wealthy and happy by all appearances. Her sister Trudy is a housewife who cares for her boring accountant husband Martin and her "difficult" mother in the suburbs. When Trudy and Martin declare they are visiting Barbara and David, which is very rare, they know something is wrong. Apparently, their Trudy and Martin's 18-year-old daughter, away at college, is in a "sexual crisis", described in vulgar detail by the timid Martin, and they need to leave immediately to help her. With mom in the car, they plan to drop her off for three weeks while they "save" their daughter. One thinks that Barbara is going to have a heart attack, as she has not lived with mom in "20 years", as she tells us. From the moment when Sophie noisily enters with her walker, we know that the lives of Barbara and David will never be the same.

What ensues is hilarity. There were times when you could not hear the dialogue as the audience was laughing so hard.

Sophie turns out to be a very interesting character, and Barbara introduces her to Maurice, a 98-year-old painter, who takes a fancy to Sophie. Bergman is a good writer, once crowned "the unknown King of Comedy" by New York Magazine in 1985.

With a good script and good casting by director Dan Harper, this play is great fun.

The set could was very sparse and could be dolled up to look more like a wealthy Manhattan loft, but the quality of the script and the acting far supercede any concern about the set.

Particularly noteworthy are performances by Marcia Mandell as the incorrigible, "dumb as a fox" Sophie, Marybeth Orr as the neurotic Barbara, and Nancy Helmrich as Trudy, as the spartan, guilt filled caretaker, whose facial expressions were well crafted and sparse. Don Krosin as Maurice Koenig, the nearly 100-year-old painter, was charming as ever.

Capsule judgement: In Act II, Sophie says to Barbara, "there is no reason to analyze anything," as she listens to her neurotic daughter's analysis of every little thing. Go see this play, and don't analyze. As Sophie would say, "Just enjoy!"