Full Monty (Playhouse Square Center)

'FULLY MONTY' full of fun at the Palace

I was fortunate enough on opening night of ‘THE FULL MONTY, now on stage at the Palace Theatre in Playhouse Square, to have seats in the third row. Bonnie, a female friend, came running down the aisle after she saw where I was sitting and asked if I’d be willing to change seats. She wanted to be up front, “as close as possible.”

Since it opened in October, 2000, there have been two main questions asked about this Tony nominated musical. Question 1 is “do the actors really strip naked at the end of the show?” The answer is “yes.” But, if your main reason for attending the show is to see male nudity, you’d be better off spending your money at one of the local male strip joints because you aren’t going to see much physical equipment in this production. As the men remove their g-strings, blinding lights glare into the eyes of the audience and a blackout quickly follows. Sorry Bonnie!

The second question is, “Where does the title come from?” Legend has it that it is a British expression meaning “to take to the fullest extent.” And stripping before 2000 or so audience members is the full extent.

The basic story line centers on Jerry and his five Buffalo, New York buddies.. Jerry is a great Dad. But he's unemployed, broke and divorced. If he doesn't get enough money together soon to pay support, he’ll be unable to see his son. Jerry and five equally desperate out-of-work friends embark on an unexpected and revealing journey in which they plan to make money in a show in which they will do the “full monty.” Of course, complications set in and the audience is the recipient of the fun.

Jack O’Brien’s musical comedy version of the biggest ever box office grossing British movie retains the heart and soul of the film without attempting to copy it. Terrence McNally’s adaptation is very funny and engenders lots of pathos. David Yazbek’s score maps the character-based comedy with some stand out numbers, especially “Breeze Off The River,” a beautiful ballad, the moving “You Walk With Me” and the gorgeous “You Rule My World.”

The touring production is top notch. The acting and singing are wonderful. So great that the ensemble stands together and no single performance stands out. That’s a triubute to good acting and fine directing. The sets are a little chintzy, but it matters little. You will smile, you will laugh, you will root...you’ll enjoy yourself immensely. This is what good musical theatre is all about.

Capsule judgement: ‘THE FULL MONTY’ is a slick celebration the resilience of the human spirit. You’ll be on your feet at the end cheering and feeling good all the way home.

La Cage Aux Folles (Beck Center)

'La Cage Aux Folles' fun at Beck, but...

“Is the biblical condemnation of homosexuality a rigid commandment broken at dire risk to the sinner?” This was a question recently raised in a southern US city when a publicly funded theatrical presentation was to be staged. The core of the controversy was a production of ``La Cage Aux Folles.''

Fear not, Lakewood’s Beck Center’s production of La Cage is in no danger of being picketed or the funds withdrawn. In fact, it will probably rake in the dollars.

The supposedly controversial musical, ‘LA CAGE AUX FOLLES’, which won 6 Tony Awards, is based on the movie ‘THE BIRDCAGE.’ It is the story of gay nightclub owner Georges, his star attraction and love interest, Albin, and their "son" Jean-Michel. Complications set in when Jean-Michel falls in love with the daughter of an uptight, political moralist. The hijinks which result from the mismatch of family types, are both amusing and telling.

A play’s director has many decisions to make. In the case of La Cage, the major one is how much of the action will be based on letting the script and music carry the humor and meaning, or how broad and farcical will the cast be encouraged to go in order to entertain. Fred Sternfeld, Beck’s director, decided to go with the latter approach. He pulls no punches. Every shtick, double-take, and farcical device is used to get laughs.

If the opening night audience, which consisted of lots of the cast member’s friends and family, plus a group who obviously had been partying long before curtain time, was any indication, Sternfeld made the right choice.

On the other hand, if the characters had been presented as real people we would have seen a love story, with lovers, gay and straight, who simply love each other. We probably would have asked, "and, what's wrong with that?" And, answered, nothing! In this age of war, bullyism, and terrorism, it was nice to be entertained, but developing the message of tolerance, being proud of who you are, and awareness of who is really important in one’s life, would have added much.

La Cage is a very, very difficult show to stage. Any theatre presenting this script knows that they are undertaking a formidable task. The demands are partly at fault for the less than polished production at Beck. The many light cues, the need for numerous set changes, the sheer number of costumes, and the necessity for a uniformly talented cast created difficulties.

Greg Violand is excellent as Georges, the more “macho” of the couple. He has a strong singing voice, dances well, develops a clear and consistent character, and weaves the role with the proper pathos. Kevin Joseph Kelly has the more difficult role as the character of Albin is very complex. Kelly needed to make the audience love him for who he is and why he is that person, while being amusing, yet sometimes serious. Kelly doesn’t totally pull it off. He wanders in and out of character. He does the comic parts with ease, but has difficulty texturing the serious segments. He does perform the show’s highlight. Experiencing his rendition of the first act curtain closer, “I Am What I Am,” is worth the price of permission. Violand and Kelly’s humorous love song “With You on My Arm,” was sheer delight.

Brian Etchell is acceptable as their son, Jean-Michel. He has a nice, if nasal singing voice. He fails to make the audience really care about him, to realize his conflict between his love of family versus his love of a new relationship. Howard Pippin, though generally funny, often goes over the top as the maid/butler Jacob. This is again a case of begging for laughs, rather than letting them come naturally.

In general, the Les Cagelles, the transvestite dance line, had more enthusiasm than talent. This was especially obvious in the opening number, which lacked cohesion. At most productions of this script, the question is often, “who are the males and who are the females in the chorus line?” There was never any question with this group.

Charles Eversole’s orchestra and musical arrangements were wonderful. Martin Cespedes’s choreography was creative, though the requirements of tapping, doing the cancan, and performing soft-shoe routines often were beyond the abilities of some of the cast. Allison Hernan and Jeff Smart had the unenviable task of producing hundreds of costumes. In the main, they did an acceptable job.

Capsule Judgement: Beck Center deserves credit for undertaking such a daunting show in these times of short finances. Worry not. In spite of some flaws, the word should spread quickly about how much fun the show is, and that should equate to good box office sales.

In the Blood (Dobama)

‘IN THE BLOOD’ awesome at Dobama

The average theatre-goer has probably never heard the name Suzan-Lori Parks. It does not flow out of the memory bank like Lorraine Hansberry, considered to be America’s best Black woman playwright. But Suzan-Lori Parks is a playwright to be reckoned with. The New York Times named her as "1989’s most promising playwright.” She has won the MacArthur Award, was the first African-American woman to win a Pulitzer Prize for Drama, has been awarded two Obies (best off-Broadway play awards), and was a Pulitzer Prize nominee for ‘IN THE BLOOD’.

Parks’ writes plays that dissect the black experience in collision with a white-dominated society. Parks's plays have been hailed for their creative mix of fantasy, myth, and history, expressed in language that captures the sounds heard on the inner-city streets and in the rural backwaters of America. All of these qualities are present in the brilliantly written ‘IN THE BLOOD’ getting its Ohio Premiere at Dobama.

‘IN THE BLOOD’ uses Hawthorne's classic “A Scarlet Letter” as a stepping-stone for the tale of Hester La Negrita, a black woman with five children from various fathers. We experience Hester’s fears, frustrations, and elation as she confronts sterilization, hunger, living under a bridge, rejection, dejection, and falling through the cracks of the welfare system. This is unsettling stuff.

Director Sonya Robbins leaves no emotional leaf unturned in her staging. The scenes are riveting. The performances are honed to a high-level. Even the technical qualities are first rate. Bill Ransom’s original music sets the emotional tone. Todd Krispinsky has created a totally realistic bridge abutment. Andrew Kaletta’s lighting is mood perfect.

You will not see a finer performance than Rasheryl McCreary’s emotionally shattering Hester. Her pain is our pain. Her frustrations are our frustrations. She is magnificent! Victor Dickerson, Anthony Elfonzia, Renee Matthews-Jackson, Kevin Brewer and Cassandra Vincent are all wonderful.

Capsule judgment: Every once in a while theatre-goers have the experience of knowing they have experienced greatness. This has to be the case of anyone who has attended a performance of ‘IN THE BLOOD” at Dobama Theatre.

Arms and the Man (Great Lakes Theatre Festival)

‘ARMS AND THE MAN' marches to victory

“Patriotism is your conviction that this country is superior to all others because you were born in it.” “Oh, war! war! the dream of patriots and heroes! A fraud...a hollow sham...” What do these lines have in common? Of course they are speeches, recently spoken at pro and anti-war rallies. If that’s what you thought, you’re wrong. They were written in 1894 by George Bernard Shaw for his play, ‘ARMS AND THE MAN.” Like much of Shaw, his ideas are as relevant today as they were when he penned them.

‘ARMS AND THE MAN’ is one of Shaw's earliest and most popular plays. He took the title from the opening line of Virgil's epic poem the "Aeneid," which begins "Of arms and the man I sing." Virgil glorified war. Shaw, on the other hand, uses the play to attack the romantic notion of war by presenting a depiction of war, devoid of the idea that death and destruction are noble. It is not an anti-war statement, but rather a satirical assault on those who glorify war.

The setting of the play is in war-torn Bulgaria. The story focuses not only on the romance between the young people of the play, but the atrocities that go on during war times and the ability of people to ignore the horrors completely. Written just a few years before World War I, Shaw's play turned out to be sadly prophetic. When war was declared, young men flooded to sign up, carrying with them the wholly romantic but inaccurate ideas of the glory of combat.

The secondary theme of the play is love and marriage. Shaw, in his usual satirical way states, “When two people are under the influence of the most violent, most insane, more delusive, and most transient of passions, they are required to swear that they will remain in the excited, abnormal, and exhausting condition continuously under death do them part.”

As one theatre expert stated about the play, “The success of ‘ARMS AND THE MAN’ has been consistent right from its first production. The original staging of the play was so well received that Shaw's reputation as one of the greatest wits in the London drama scene was almost instantly established.” The Great Lakes Theatre production, under the creative and able hand of Artistic Director Charles Fee, will do little to harm Shaw’s reputation. This is a well-designed, expertly-acted, thoroughly enjoyable and edifying evening of theatre.

The cast, which consists of both local and imported actors, give highly professional performances. Dudley Swetland is perfectly stuffy as the Major. Carole Healey is wonderful as the flighty wife. Sara Bruner is adorable and charming as their love struck daughter. David Anthony Smith is right on target as the self-loving philandering Major. Ashley Smith, with his matinee idol good looks, makes the perfect Chocolate Soldier. Laura Perrotta creates a delightful tart with a mind of her own as the maid. Tom Ford makes buttling fun.

Although the script is now more than a hundred years old, its themes of love and war are as valid as ever. Its comedy is still fresh and entertaining and its story of love and romance appeals to all.

Capsule Judgment: Congratulations to Charles Fee for teaching us what quality level professional theatre in Cleveland can be. He is a much welcomed addition to the local performance scene. Hopefully, he will be with us a long, long time and continue in his already successful quest to make GLTF the cream of local professional theatres.

Tartuffe (Actors' Summit)

'TARTUFFE' entertains audience, but...

Molière (Jean-Baptiste Poquelin) was born in Paris on January 15, 1622. As a young boy, he learned that he could cause quite a stir by mimicking his mother's priest. This laid the path for his use of satire and his development into an actor. As a playwright he was a favorite of the French court in spite of his making fun of all that surrounded him. He died, as he had lived, a man of contradictions. On February 17, 1673, he suffered a hemorrhage while on stage. He passed away later that night. The local priests refused to take his confession, for actors had no social standing and had been excommunicated by the church. Nor would they permit him to be buried in holy ground. Four days later, the King interceded and Molière was finally buried in the Cemetery Saint Joseph under the cover of darkness.

Molière is considered to be one of France’s greatest writers and laid the foundation for what we now call satire or farce. His plays, which are still frequently done today, include ‘THE MISANTHROPE,’ ‘THE DOCTOR IN SPITE OF HIMSELF’ and ‘THE IMAGINARY INVALID.’

“Tartuffe’ relates the story of an attempt by a con-man, to destroy the domestic happiness of the wealthy, but naive, Orgon and his family. The plot is full of improbable twists and turns which illustrate manipulation, and the plight of young love. Of course, in the end, good wins out over evil and the audience has had a good laugh and has supposedly learned some valuable lessons.

Farce has been defined as“a style of writing that centers on improbable situations,” “the persons and action of a farce are all unnatural, and the manners false.” Farce is hard to perform because it must be so serious in its presentation that the ridiculousness comes out. Many directors and actors fail to understand that the power of the word is the power of farce. They, instead, contrive to make what is written to be funny, humorous through devices. The result is a very entertaining evening of theatre, but loses the lessons of the writer. This is the case with Actors’ Summitt’s 'TARTUFFE.'

Director Neil Thackaberry has been given a wonderful translation of the French script by local actor and writer Wayne S. Turney. Turney has lost none of the satire and style as he tightened what is an overly long original theatrical piece. He has also maintained the wonderful rhyme and cadence of the language. Thackaberry has taken the script and staged it in its most slapstick and broadest form. Lots of double-takes, over exaggerations in speech and gestures pour-forth. As evidenced by the audience’s response, they loved the interpretation.

Only Joe Gunderman, as Orgon’s brother-in-law plays his role tongue in cheek. Theatre traditionalists will love his interpretation. Tom Fulton, as Tartuffe, pulls out all the stops. He mugs, he prances, he feigns, in the best comedy sense. Thackaberry, who not only directs but plays Orgon, yells and mugs his way through the roll. Again, with positive reaction from the assemblage. Mary Jane Nottage plays Orgon’s ditsy mother to the hilt.

Capsule judgment: The audience loved Actors' Summit's interpretation of 'Tartuffe,' but the show doesn't really illustrate Molliere's point.

The Chosen (Jewish Community Center)

‘THE CHOSEN’ well-done and thought provoking

When on July 23, 2002 Chaim Potok died, the English speaking world lost one of the few voices who has been able to paint a picture of Hasidic life in America. Hasidics are ultra-Orthodox Jews whose belief in a divine God who must be listened to and adored have been unwavering in their convictions for many generations. They still adhere to the dress codes of ancient times and spend their days and nights in religious study. It is this world that Potok illuminates. He does it from authority. As he once said, “I grew up. . .in a Hasidic world.” His world, however, was not the religious extreme. He, therefore, is capable of looking at the movement through clear eyes.

Potok started writing fiction at the age of 16. With the publication of his novel ‘THE CHOSEN’ in 1967, Potok entered the American literary scene and he grew in stature with eight subsequent publications.

The play version of “THE CHOSEN’ is now being staged at the Halle Theatre of the Jewish Community Center. With dramatic force, it tells of the powerful bonds of love and pain that join fathers and sons and how that love differs, yet is the same in divergent settings.

It’s the 1940's in the Williamsburg neighborhood of Brooklyn. Two boys who have grown up within a few blocks of each other, but in two entirely different worlds, meet for the first time in a bizarre and explosive encounter--a baseball game between two Jewish parochial schools that turns into a holy war. The assailant is Danny Saunders- moody and brilliant. He is driven by his pent-up torment. He feels imprisoned by the tradition that destines him to succeed his awesome father in an unbroken line of great Hasidic rabbis. The victim of Danny's rage is Reuven Malther, the gentle son of a gentle scholar. He is one of the less-Orthodox Jews whom the Hasids regard as little better than infidels. Their lives become entwined and we are carried into an investigation of what it really means to love a son and finally fulfill the obligation of letting him go into the world he wants and needs.

Director Dorothy Silver has crafted an engrossing evening of theatre. She has molded a cast, most of whom had no understanding of the religious implications and philosophical concepts of Hasidism, into a body that allows audience member, Jews and non-Jews alike, to understand the universal themes of the script.

Sean Szaller is outstanding as the Young Reuven Malter. He totally grasps the slightest nuances of the character. Doug Rossi, develops a believable Danny, but one must wonder why an American-born young man would be speaking with an accent. An accent which is not well sustained. Larry Nehring, as the adult Reuven, acts as the show’s narrator with ease. He seamlessly weaves in and out of scenes and is the audience’s eyes and ears. One of Cleveland’s acting treasurers, Reuben Silver, is texture-perfect as Reb Saunders. The character alternately frustrates in his rigidness and surprises with his insights. This is a fine, fine performance. Michael Regnier, as Reuven’s father illustrates the rational, caring man who understands his limitations yet is driven by his intellectual passions.

Larry Gorjup has designed an impressive evening of sound. Consisting of 1940s radio broadcasts and the appropriate music, the audio transports the audience into the proper mood and illuminates the era perfectly. The postage stamp-sized stage is always a challenge to scenic designers. Tony Kovacic has done a wonderful job of using the limited space. Alison Hernan’s costumes are period and religiously correct.

The Old Neighborhood (Dobama)

'THE OLD NEIGHBORHOOD' tedious at Dobama

It is reported that when Joyce Casey, the Artistic Director of Dobama Theatre, read the script of 'THE OLD NEIGHBORHOOD' she was “lukewarm” about producing it. Casey should have stuck to her gut-level reaction. It is not a good sign when opening night audience members, many of whom are reviewers and friends of the cast, are reading their programs during the production rather than concentrating on the stage.

'THE OLD NEIGHBORHOOD' is a three-part memory play. It concerns Bobby Gould’s return and reconnection with the people and places of his past, a past that centered in Chicago’s Rogers Park area, once the center of the city’s Jewish population. It’s the place where the old shoe store, the movie theatre, the high school, the cemetery, and the drug store once stood. It’s the place where he grew up and laid the foundation for who he was to become. It is the place he hasn’t seen in years. The play explores conversations with his high school best friend, his sister and a former girlfriend.

Though David Mamet’s script has a strong underbelly of the role our past has on our lives, it is a talky, slow moving, often abstract play. Under Scott Plate’s cautious directing and slow pacing, 'THE OLD NEIGHBORHOOD' becomes a tedious theatrical experience.

There is generally a lack of contact between the cast members and their motivations. The audience never gets swept up into the story or the real angst of the characters. There is a lot of surface in the performances but not a lot of emotional digging. To be successful, the play needs an emotional bonding between the actors of each of the characters. There must also be an understanding, by both the director and the cast, of the ethnic underpinning and the generational conflicts that help set the characters on their life paths. This connection seems missing.

This is not to say that there are no humorous or compelling moments. There are. It’s just that they are far outnumbered by the long pauses, low-level emotional output, and tentative acting.

Mamet is known for creating demonic males thrusting words like hand grenades in each other’s faces. He is noted for casting an astute eye on the difficulties Americans males encounter in establishing their manhood. Mamet is a proponent of the thesis that the second generation seeks to forget the past experiences of their ancestors. All of these themes emerge in 'THE OLD NEIGHBORHOOD.' He is also noted for writing playable scenes that actors can get their teeth into. If that is in this script it did not translate onto the stage.

Capsule judgement: The viewer of 'THE OLD NEIGHBORHOOD' will probably ask whether the problem with the production lies with the writing, the acting or the directing. I vote for all three!

The Strange Case of Dr. Jekyll and Mr. Hyde (Cleveland Play House)

'JEKYLL AND HYDE' disappoints at CPH

Robert Lewis Stevenson’s ‘THE STRANGE CASE OF DR. JEKYLL AND MR. HYDE’ was published in 1886. Supposedly, Stevenson drafted the story in three days and completed its writing in six weeks. The story was supposedly developed in an unconscious state of sleep. As one Stevenson expert states, “ The dream served as a catalyst for every other aspect of the story to Stevenson. He had long been trying to write a story on this subject, to find a body, a vehicle, for that strong sense of man's double being, which must at times come in upon and overwhelm the mind of every thinking creature"

On the surface the story centers on the actions of a staid British doctor’s discovery of a formula created by his father. Curiosity drives Dr. Jekyll to take the potion which transforms him into the monster Mr. Hyde who knows no control for his emotions. Hyde attacks and kills at the slightest provocation. Soon, his potions begin to fail to work. When he can no longer obtain the chemicals to renew the potion Hyde kills himself, therefore letting both Jekyll and Hyde free.

This is, in reality, not a story about a madman or a serial killer. It is a story about the theory that inside each of us dwells a being that externally conforms to culture, yet internally lusts for the liberty to act out what our emotions drive us do. Thus Dr. Jekyll, brought up in a staid English society, in a world where appearance was more important than substance, had a strong drive not to be so pure, so emotionally controlled. When he could no longer control his impulses he acted on them. The father of modern psychiatry, Sigmund Freud, would theorize that "The two sides compare almost as conscious and unconscious.”

The stage adaptation, now being performed by the Cleveland Play House, comes with good credentials. It was written by David Edgar, who adapted the highly proclaimed ‘NICHOLAS NICKLEBY’ for the stage. The CPH production is starring Andrew May, one of Cleveland’s premiere actors. So, how could CPH go off course? Well, somehow it did.

David Kay Mickelsen’s costumes are period perfect. Rick Paulsen’s lighting attempts to lead us from scene to scene, mood to mood with appropriate lighting. It works most of the time. Robin Heath’s sound design and Larry Delinger’s music help set the right moods and transitions.

Michael Ganio’s scene design, on the other hand, creates chaos. Strange happenings occur. A piano is on stage during a street scene, door flats fall, actors have to dodge around set pieces and furniture, actors get hidden in the far back areas of the stage, a witness can’t be seen by much of the audience, though her voice is heard. There are just too many pieces-parts flying in and out, revolving around and over-stuffing the stage. If this was to help the audience understand the chaos in Jekyll’s head it didn’t. Rather than help, the set distracted.

Actors in this production are often hard to understand due to heavy and often inconsistent accents. Many characterizations are on-the-surface rather than creating clear people. Yes, this is not reality, but the audience must believe what they are seeing has reality or the shock effects, the meaning, gets lost. As one audience member said at intermission, “Will someone please tell me what is going on?”

Lee Moore as the butler was wonderful. His character development was clear and consistent. Anna Cody was on target as Jekyll’s sister as were young Kyle Blackburn Liz Duchez as her children. On the other hand, Ivy Vahanian, who plays Annie, a parlor maid, who has a pivotal role, was very difficult to understand and feigned emotions.

What was most disappointing was May’s performance. While his Jekyll was basically fine, his Hyde was often unintelligible. He was needlessly bent over to fit the script description of a small younger man. Thus, his voice didn’t project. The problem could have been eliminated changing of the unnecessary description. His cockney brogue often drowned out whole ideas. Excessive shouting made some of his lines unclear and, though it mirrored frustration, it eliminated understanding. The roles were not textured the way May he has proven he is capable of doing.

Capsule judgement: The overall effect was less than a stellar production. One must question some of the technical and acting decisions made by director Peter Hackett.

Danceworks/03 (Groundworks Dancetheatre)

Wonderful, wonderful dance program by Groundworks

David Shimotakahara is not only a brilliant choreographer and dancer, but selects other dancers and choreographers of great ability to flesh out his company’s performances. This was proven again when Groundworks Dancetheater presented its ‘DANCEWORKS/03’ at Cleveland Public Theatre February 28 through March 2. The only regret is that the program ran only for three days and those who couldn’t get in to the sold-out performances won’t have a chance to experience the wonderful program.

Groundworks is built on a very solid foundation. Mix creative choreography, excellent dancers, add precision, get the audience close-up, and let the whole mixture blend together. Shimotakahara is the master chef. As the founder of the group in 1998, after years with the Ohio Ballet, he has built a loyal following of not only devoted viewers, but performing professionals. He calls upon his artisans to blend their skills together. The results are consistently deserved standing ovations.

The program opened with choreographer Gina Gibney’s tribute to Patsy Cline. The segment was danced to recordings of six of the country singer’s most popular songs including her signature“Somebody.” Gibney used the company in creative ways. Her signature moves of strong twisting, powerful arm movements, unusual lifts and using the floor as not only a place to dance upon but to writh and interact on, were integrated into each segment. Amy Miller’s finely toned body was used to its powerful utmost as she gymnastically moved through “Love Letters in the Sand.” Mark Otloski and Xochitl Tejeda de Cerda intertwined on the floor effectively in “You Took Him Off My Hands.” It is exciting to see the progress that Otloski has made in recent years. He has moved from a competent dancer to an extraordinary one under Shimotakahara’s guidance. “Does Your Heart Beat for Me” found double tandems of dancers interacting. “Crazy Arms” and “Always” were cleverly conceived pieces. Russ Borski’s costume design of cowboy gear added to the mood. This portion of the evening was fresh, creative, and audience pleasing.

Besides dance Shimotakahara often includes additional arts insertions. piano soloist Michael Root added texture to the program by playing a series of Claude Debussy pieces entitled “Images I.” Root’s rendition on the Steinway isolated on the bare stage, back-lite in red, was marvelous.

Groundworks chooses performance settings with care. Shimotakahara wants the audience to hear the shoes squeak, hear the dancers breathe, see them sweat, share their emotions. This was well illustrated in ‘Hush.’ choreographed by Beth Corning, a piece previously performed by the company. During the number, one of the dancers is placed on the laps of several audience members who hold her for much of the piece. ‘Hush’ touches on the longing for comfort found in moments throughout our lives. Done in slow turning and stretching movements, first to the humming of a single dancer, then segueing into an orchestra of the lullaby, the piece is full of measured moves. Felise Baley, Amy Miller and David Shimotakahara were captivating throughout this thought-provoking dance.

‘Before With After,’ in it’s world premiere, was a well-crafted and danced, if a little over long performance. Danced to the live piano accompaniment of Michael Root, the Shimotakahara choreography was well-supported by Ray Zander’s flowing costumes and Dennis Dugan’s creative lighting. The choreography included interludes of dancers moving together without touching, propelling slowly in parts, rapidly in others to parallel to the moods of the music, and acting and interacting with each other. The company was in total unity throughout. The dancers obviously were enjoying themselves and the audience caught the spirit. Clever humor paralleled with stark drama. Especially effective was a solo segment by Felise Bagley whose lovely moves were elegantly performed. A funny segment between Miller and deCerda was delightful and brought prolonged giggles from the audience.

It is sad to announce that Xochitl Tejeda de Cerda, after many years, is leaving the Cleveland area and this was her last performance. Her talent and personality will be sorely missed.

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!