Scott Miller reviews the reviewer

Roy,

I sent your review of the Shakesphere Festival on to my cousin Scott. Thought you might like to know how he answered me. Can you ad one more name to your list of "subscribers"?

Marcia

Dear Marcia,
Thank you so much for sending the Berko reviews. He is indeed a thoughtful
reviewer, one of the few. I get a real sense that he loves the theater and
wishes that everything he saw was marvelous. When he's critical he's
gracious, when he's positive he's generous and clear in terms of what he
likes. He knows the work he's reviewing, it's plot, history and themes and
sees his job in part to educate his readers which in turn motivates them to
attend the shows he reviews since they would come knowing more about the
them. It's nice to read reviews that don't put the reviewer first but
rather feature the work with a sense of respect and endearment. Thanks!

Scott

Die Fledermaus (Lyric Opera)

Poorly conceived 'DIE FLEDERMAUS' at Lyric Opera

In the 1860s the Parisian operettas were a tremendous vogue in Vienna. The central figure in this movement was Offenbach whose works delighted and provided escapist entertainment.

Offenbach was succeeded by Johann Strauss, the composer of the popular “Blue Danube” waltz. Strauss wrote fifteen operettas which included the incomparable ‘DIE FLEDERMAUS.’ Strauss' association with the dance band naturally resulted in his operettas containing the rhythms of the dance. In order for ‘DIE FLEDERMAUS.’ to be effective the singing, the acting and the dancing must all by joyous and proficient. Unfortunately, under the stiff direction of Jonathon Field, Lyric Opera Cleveland’s production, is proficient in none of these.

As with all operettas, ‘DIE FLEDERMAUS’ is an exaggeration of life. Gabriel von Eisenstein has been sentenced to prison for insulting an official. Before embarking on his sentence he attends a costume ball. He has lied to his wife about where he is going. A series of mistaken identifies including the wife, the parlor maid and numerous other characters leads to some delightful incidents. Well, should be delightful. In this production, poor acting, poorly executed dancing, and some moderately successful singing, are the rule.

One of the traditional problems with Lyric Operas productions has been the poor acoustics. This has been taken care of with the move to the wonderful Drury Theatre in the Cleveland Play House complex. Other problem have been the often poor acting, questionable casting and stilted staging of their productions. Unfortunately, as ‘DIE FLEDERMAUS’ proves, these conditions have not been altered.

The only real highlight of the show is a brief, but joyously delicious pas de deux danced with professional grace and spirit by Karen Gabay and Raymond Rodriguez, formerly of the Cleveland-San Jose Ballet Company. Too bad the whole evening could not have been their dancing. (If you’d like to see them in performance their company, Point of Departure will be performing at Cain Park on July 31.)

Kudos go to Glen Cortese who has done a fine job with the orchestra and Michael Grube whose set design is attractive and functional.

Risa Renee Harman sang and acted the role of the maid with delightful enthusiasm and has a fine singing voice. Christian Elser, as von Eisenstein, displayed nice vocal abilities but his characterization was unconvincing. Scott Guinn also has a nice singing voice, but he was both physically wrong for the role of Dr. Falke, and displayed shallow acting skills. Michael Bragg was totally unconvincing as the lawyer. Elizabeth Sutton’s portrayal of Ida was delightful. Leodigario B. del Rosario was difficult to understand and was unconvincing as Alfred, the wife’s suitor. Terese Cullen’s wife lacked acting texture.

Capsule judgement: A line in ‘DIE FLEDERMAUS’ states, “bribe only the very best critics.” Not even a bribe would have brought this weak production a positive review.”

Fiddler on the Roof (Cain Park)

'FIDDLER ON THE ROOF' is audience pleaser at Cain Park

September 22, 1964 is a significant date. ‘FIDDLER ON THE ROOF’ opened, and forever after, the term musical comedy was changed. With Fiddler’s emphasis on music and dance sequences to extended and perfectly integrate into the story, the art form moved into a new era. Without Fiddler there would have been no modern concept musicals such as ‘CABARET’, ‘COMPANY,’ or ‘A CHORUS LINE.’

Jerry Bock’s score, reeking of Jewish harmonies and prayer-like intonations, and the sensitive lyrics of Sheldon Harnick, resulted in a show that ran 3242 performances in its first Broadway showing. They proved that art, universality and popularity can all come together.

Based on the stories of Yiddish writer Sholom Aleichem’s description of life in the shtelle’s (small villages) of eastern Europe, especially on “Tevye and His Daughter,” the musical has been staged in such far reaching places as Japan and Argentina with equal success. It’s major reason for success? It has emotional heart power. Audiences come back again and again to “qvell”--a Yiddish word meaning to laugh and cry with delight.

The original sets were modeled after the works of Jewish Russian painter Marc Chagall. One of his most famous pieces pictures a fiddler on a roof. It laid the foundation for Harnick's’ opening musical statement, “In our little village of Anatevka you might say everyone of us is a fiddler on a roof, trying to scratch out a pleasant, simple tune without breaking our back.” The story is a metaphoric history of the Jewish people..traditions broken, violated and changed.

There have been thousands of amateur and professional productions of the show. Some are good. Some, especially the amateur versions, are bad. Cain Park’s rendition, based on the strong staging by Fred Sternfeld, proficient musical direction by Larry Hartzell, wonderful reproduction of the original choreography by Eric van Baars, and Jeff Herrmann’s fine scenic and lighting designs, is one of the better versions.

Tom Fulton makes Tevya his own. This is not a Zero Mostel or Topol imitation. His Tevya is strong, yet sensitive. He plays for drama, and gets both laughs and emotional responses. His voice is strong, his acting right on-key. Sean Szaller is delightful as Motel the Tailor. He vocally and acting-wise matches with Kari Kandel, who portrays Tzeitel, the eldest daughter. Their “Miracle of Miracles” enchants. Jennifer Zappola gives a well-developed and musically solid portrayal as Hodel. Hannah DelMonte finely engenders daughter Shprintze’s with the right emotional highs and lows. Elaine Rembrandt has some nice moments as Yente, the Matchmaker. Unfortunately, Paula Duesing does not give Tevya’s wife Golda the right emotional shadings. This is a one dimensional characterization. The same can be said for Noah Budin’s Lazar Wolf, the Butcher. The men’s chorus is extremely strong as is the vocal power and blending of the cast. The dancing is well-tuned.

The production is blessed with violinist Michael Winer. His playing enhanced the production. The mini-concert he performed at intermission was outstanding. Too bad some members of the audience found their need for conversation more important than listening to his music.

Wisely, director Sternfeld, eliminated the often poorly done accents, and was very sensitive to the religious traditions that help make for an authentic portrayal.

The show’s highlights include the beautifully staged “Sabbath Prayer,” the creatively developed “The Dream,” and “Tradition,” the opening number which lays the foundation for the play.

Capsule judgement: If you have never seen ‘FIDDLER ON THE ROOF,’ or if you have seen it and want to renew acquaintances with this wonderful story, go to Cain Park. You will experience one of the better amateur productions! The show runs through July 6 in the Evans outdoor covered ampitheater.

A Chorus Line (Porthouse)

‘A CHORUS LINE’ A MUST SEE AT PORTHOUSE

In 1975 I went to New York to see Lorain County Community College graduate Chrissy Wilczak in the Broadway production of ‘A CHORUS LINE.’ The Elyrian had been in the off-Broadway rendition of the show whose book was also written by an Elyrian--James Kirkwood. That production was a seminal theatrical experience.

Each time I see a production of the musical I wonder if my emotional illusion will be broken. Oft times it is. This is a hard show to stage, especially for a non-professional cast. I need not have worried about The Porthouse Theatre production. Under the able direction of Victoria Bussert, with choreography by the gifted MaryAnn Black, “A CHORUS LINE’ kicks high. It is a wonderful experience.

Based on true stories of the original off-Broadway cast, which Kirkwood and Nicholas Dante wove into a compelling story, and augmented with music by Marvin Hamlisch and lyrics by Edward Kleban, the show tells the tale of trying out for a musical. The show is an audition--an audition of dancers to be in the chorus. It is filled with humor, pathos, and explosive visual images.

The elements of the musical score are legends. Songs like the opening number, “I Hope I Get It,” “At the Ballet,” and “One” have become classics. The visual images of a line of dancers, dressed in white spangled tuxedos doing high kicks is etched in the minds of all theatre junkies. The use of a wall of mirrors to reflect the images of the dancers’ inner souls to the audience is a touch of staging genius.

The winner of nine Tony Awards and a Pulitzer Prize for Drama, the show has all the elements that make for an exciting and entertaining evening of theatre. The elements are there, but in weak hands, the show can seem laborious. Laborious is not the word to describe the high powered Porthouse staging.

This is not to say that this is a perfect production. It isn’t. But the weaknesses--some questionable characterizations and some uneven singing and dancing--get lost in the excitement of this young cast that has a clear idea of how to wow an audience.

An ensemble piece, there are no real stars in the show. Certain people, do, however stand out. As he has proven time after time, Kristopher Thompson-Bolden explodes onto a stage. He captivates an audience with his enthusiasm, fine singing and electric dancing. Kaitlyn Black’s rendition of “Dance: Ten; Looks: Three” was a show stopper. Lisa Kuchmen, Kelly Meneer, and Lauren Champlin melded perfectly in “At the Ballet.” Kuchnen’s portrayal of Sheila was right on. Jessica Cope has a powerful and compelling voice, as was displayed in both “Nothing” and the poignant, “What I Did For Love.” Too bad her acting doesn’t quite match her singing abilities. Matt Lillo’s “I Can Do That” was an audience pleaser, but he could have toned down the mincing in other scenes. Eli Zoller did a delightful segment on the trama of coming of age.

The highlight acting scene was Gary Walker’s long soliloquy. He brought tears while recounting his character’s self-perceived shameful life. Kelly Simmons and Joshua Gordon did an engaging rendition of “Sing.” Gordon has a strong singing voice. Daniel Puck’s mimed striptease pleased those looking for eye candy.

Capsule judgment: Combine a talented cast, focused directing, creative choreography by a professional who performed one of the roles in the Broadway production. Mix those elements with a fine orchestra, a precise conductor, a well conceived set, well-conceived lighting and well-designed costumes. The results? Porthouse Theatre’s must see production of “A CHORUS LINE.”

Grease (Playhouse Square Center)

‘GREASE’ slides through Cleveland

Audience members who came to the Palace Theatre to hear Frankie Avalon recreate his film portrayal of Teen Angel in the film version of ‘GREASE’ got their money’s worth. He not only appeared briefly during the show, but did a Las Vegas stand-up act during the curtain call.

Those who came to see a classic production of ‘GREASE’, the rock and roll musical that captured the true picture of the ‘50s, should have been disappointed. Should have been, but probably weren’t upset because many in the audience didn’t have any idea of what the 50s were all about.

The audience, mostly made up of teens, probably weren’t aware of the lack of era correctness. The costumes were not really those of the era...no poodle skirts, no turned up cuffs on the Levi 501s, no black or white t-shirts with cigarette packs rolled up the sleeves. They didn’t realize that the music had been transposed to make it lose its mellow and true rock sounds. They didn’t realized that the disk jockey didn’t sound like Bill Randall, Phil McLean or Alan Fried, but was a jiving 2003 incarnation.

Those who did know, like the mature lady sitting in front of me who, during the precurtain music was clapping and jumping in her seat with anticipation of the reliving of her youth, knew. As the play went on she sunk further and further into her chair. At the curtain call, when the kids rose screaming to their feet, she sat, clapping, politely, but unenthusiastically.

Director Ray DeMattis has supposedly directed ‘GREASE’ on numerous tours. Why he decided not to capture the roots of the show which gave birth to such Fifties craze productions as the classic ‘AMERICAN GRAFFITI’ film, and the top-rated ‘HAPPY DAYS’ television show, is beyond understanding. The film version of ‘GREASE’ which added some songs, but duplicated the clear picture of the ‘50s, was the top money making musical film ever, even surpassing ‘THE SOUND OF MUSIC’. Why did he decide to throw away that tradition? Who knows.

Before the show a group of high schoolers, who had obviously just performed their version of the show were in the Palace Theatre’s grand lobby. There they were with their duck-tailed haircuts and poofed hair, dressed in what must have been their production’s costumes, looking like and acting like what they were expecting on stage. “Who’s playing me,” the Danny Zuko-look alike asked? Unfortunately, no one really played the youth. From what I saw and heard in the lobby, I would have preferred seeing their production.

Capsule judgement: The quick in-and-out five performance schedule for this the umpteenth touring production of the show is now gone. It’s publicized “hottest ride in town” turn out to be a slide through a script and music that was not given its due.

Picnic (Actors' Summit)

‘PICNIC’ fine at Actors' Summit

In the mid-nineteen fifties and for the next decade, three playwrights dominated the U.S. dramatic scene: Arthur Miller, Tennessee Williams and William Inge. Known as the Modernists, since their writing examined real people and real issues of the post World War II modern era, they each left their mark on American theatre.

Miller constantly asked, “Is this the best way to live” while centering his plays along the eastern seaboard. Think of ‘DEATH OF A SALESMAN,’ ‘ALL MY SONS,’ ‘THE CRUCIBLE,’ and ‘THE PRICE.’

Williams, the southerner, continued to observe women who found themselves in societies which didn’t understand them, and which they didn’t understand. Think of Blanche DuBois in ‘STREETCAR NAMED DESIRE” and ‘Amanda Winfield’ in ‘THE GLASS MENAGERIE.’

Then there was William Inge, the troubled midwesterner who explored the darker recesses inside each person. His plays often reflected his depressed state which finally lead to his committing suicide. His autobiographical “DARK AT THE TOP OF THE STAIRS” and his classic “COME BACK LITTLE SHEBA’ are but two of his probing inquiries. Many critics, including this one, consider his1955 play ‘PICNIC’ to be his signature work. It won the Pulitzer Prize, the Drama Critics Circle Award, the Outer Circle Award, and the Theatre Club Award.

The action of the play is set in a small Kansas town outside the home of Flo Owens, a middle-aged widow who lives with her two daughters and a spinster boarder. When drifter Hal Carter arrives in time for the town’s Labor Day celebration the women’s lives are disrupted and transformed.

On the surface ‘PICNIC’ appears to be a simple play to produce. Everything needed to develop clear characters is present in the script, and the setting is a backyard with a single house as the backdrop. ‘PICNIC’ is anything but simple to stage. Based on Inge’s midwestern quiet voice a production requires a director and cast who are aware of the power of underplay. This is not a play of great emoting. It is a play that requires clear character etching, as Inge is a person writer, not a plot developer. Too many productions are ruined by not understanding the need for midwestern restraint.

It was with daunting task that Neil Thackaberry and his Actors’ Studio cast staged ‘PICNIC.’ They did a very, very creditable job. In spite of some minor glitches, such as some line flubbs and the inexplicable use of southern accents by some of the cast, this is one of the theatre’s best productions. The director and cast were in harmony on their interpretation, understanding of Inge, and grasp of the right nuances make the play work.

Though not completely the right physical types for the lead roles, Constance Thackaberry and Keith Stevens well developed their characters. Hal’s total charade of life would have been better developed if Stevens, in earlier scenes, had displayed a little more braggardness in his speech and swagger, but, as is, this was a creditable performance. Thackaberry needs to show a little more depth of vulnerability for being a physical trophy rather than appreciated as a person; but, again, this was a respectable performance.

Ellen Rankin was properly pathetic as Helen Potts, the next door neighbor. Eryn Murman’s tomboyish Millie was on target. MaryJo Alexander gave one of her best career performances as Flow, Millie and Madge’s mother. Scott Espositio was physically and performance close to perfect as Alan.

One of the most difficult scenes in American modern theatre is the “Rosemary and Howard scene” in which Rosemary, a matron school teacher begs in beau, Howard, a milktoast-type store owner, to marry her. Too many times the scene is overacted and played for laughs. The test of any production is whether the audience sits in stunned silence during the scene. The opening night Actors’ Summit audience stopped breathing and was held in rapt silence by the stunning performances by Lucy Bredeson Smith and Bob Keefe. This was one of the very best presentations of this scene I have ever experienced. Bredeson-Smith is perfection in all of her scenes.

Capsule judgement: Once the cast gets settled into their roles, and the line stumbles and exact characterizations are developed, ‘PICNIC’ at Actors’ Summit should be one of the theatre’s very best presentations to date.

A..My Name Will Always Be Alice (Jewish Community Center)

Pleasant “A...MY NAME...” at Halle/JCC

Watching ‘A...MY NAME WILL ALWAYS BE ALICE’ at the JCC’s Halle Theatre is like eating Chinese food. It’s filling while you are experiencing it, but shortly afterwards you are left with an empty feeling. The strength of the production is also its weakness. It’s a nice, safe, mildly messaged review type musical. It doesn’t go out on a limb and take strong stands, it will offend no one, most of the musical numbers are pleasant, but none stands out. You smile, clap, and then leave the theatre.

Joan Micklin Silver and Julianne Boyd, the play’s creators, seem to have assumed the mission of teaching the viewers what it’s like to be a woman. Unfortunately, most of the pieces aren’t edgy enough to do that. The closest are “Friends” which takes a short journey from two teenagers daily talking on the phone to their still daily talking on the phone as they traverse into old-age and “Nonbridaled Passion” about a woman coming to the reality of an unfulfilled life.

The cast, consisting of Tiffany Gates, Paula Kline-Messner, Maryann Nagel, Tina D. Stump and Casandra Vincent are all excellent. They sing, act and dance well. Highlights include a very funny sequence of poetry readings by the very talented Nagel; a plaintiff “I Sure Like the Boys” sung by Tiffany Gates; Nagel and Kline Messner’s “Welcome to Kindergarten, Mrs. Johnson” and “Friends;” Gates’ “Nonbridaled Passion;” and Vincent and Nagel’s “Hot Lunch.”

Director Douglas Farren, Choreographer Eric van Baars, Musical Director Marc Baker, Costumer Alison Hernan and Scenic Designer Tony Kovacic have all done their things efficiently. All of the technical and aesthetic aspects work.

Capsule judgement: ‘A...MY NAME WILL ALWAYS BE ALICE” is a pleasant evening of theatre. If you go to experience “entertainment-light” you’ll appreciate the production.

Sincerely Yours (convergence-continuum)

Outstanding production outshines script at convergence-continuum

In the late 1960’s and early to mid-70s the big thing in theatre were plays which investigated the “whys of being.” Often based on asking“why do we exist?” these often wordy, esoteric and thought-bending scripts were aimed at that fringe audience who wanted to go to the theatre to think, to be challenged, to experience the out-of the-ordinary. Such a script is Mac Wellman’s ‘SINCERELY YOURS’, now being staged at convergence-continuum.

Convergence-continuum is a small professional theatre tucked into a storefront in Tremont. ‘SINCERELY YOURS’ is its third production. Obviously Artistic Director Clyde Simon and Executive Director Brian Breth have decided that the likes of Neil Simon are not their thing and that Cleveland needs a totally alternative drama center. They intend to make convergence-continuum just that. They have assembled a talented group of actors who share their vision.

Mac Wellman, the most prolific writer you’ve probably never heard of is a former Clevelander. He grew up when this area was dubbed "The Mistake by the Lake." This Cleveland often populates Wellman’s writing, including his signature piece, “Cleveland.” The Poetry Project Newsletter said, "Mac Wellman continues his exploration. . .of a low-rent rural America, festering in the backwater pollution from the urban environment. Wellman's astonishing Ohio-like world has been tagged by some theatre-goers and critics as 'Macland,' a world peopled by cantankerous, wistful, confused and frightened people who have lost parts of their body, their minds and their souls to the perpetual machine of the American dream."

Wellman writes audaciously deconstructive and rambling text. It is often based on the concept that the whole modern view of the world lies in the illusion that the so-called laws of nature are the explanations of natural phenomena. He purports that “It is not interesting at this point in human time to portray the real world as it seems to be in its own terms; but it is interesting to unfold, in human terms, the logic of its illogic and so get at the nut of our contemporary human experience.”

Director Clyde Simon is creative in his staging, most of which takes place in the front seat of an old car, centered in the theatre’s 50-seat, 12 by 20 foot theatre. He is blessed with an outstanding cast. Nina Domingue, as JH--the stranger with a heavy suitcase, is amazing. Her long, curtain closing speech, is riveting. Brian Breth, Lara Mielcarek, Geoff Knox and Josh Spencer shine. The rest of cast is well-focused. Even the pre-show music by Eskimo Taylor is on-target.

The production of ‘SINCERELY YOURS’ is outstanding. It far surpasses the quality of the wordy play. This is a must see for people interested in experiencing fantastic acting, a creatively-staged show, and are willing to wade through a 90-minute intermissionless experience to get Wellman’s obvious message that society is all messed up.

For tickets to “SINCERELY YOURS’ which are a reasonable $12 for adults and $9 for students CALL 216-687-0074. Due to the small audience capacity, early reservations are encouraged.


‘THE BLUE ROOM’ TEDIOUS AT CPH

The woman seated behind me leaned over to her companion about two-thirds of the way through the Cleveland Play House’s production of ‘THE BLUE ROOM’ and sighed, “This is tedious.” The luke warm applause at the conclusion of the production attested to her judgement. ‘THE BLUE ROOM’ David Hare’s adaptation of Arthur Schnitzler’s ‘LA RONDE’ lacked the spark, creativity and variance needed to keep the audience’s attention.

Through a series of vignettes, ‘THE BLUE ROOM’ tells a circular story of seduction in which ten different couples seek intimacy, love and connection. Each of their encounters, however, brings emptiness, unraveling their illusions and leaving them yearning for something more. Two actors play all of the roles which range from a prostitute to an actress, a cab driver to an aristocrat.

Schnitzler was strongly influenced by his friend Sigmund Freud who, in a 1922 birthday card wrote to Schnitzler, “Your preoccupation with the truths of the unconscious and of the instinctual drives in man, your dissection of the cultural conventions of our society, the dwelling of your thoughts on the polarity of love and death; all this moves me with an uncanny feeling of familiarity." If only Hare’s adaptation and Edward Payson Call’s direction reached those lofty goals.

Hare recognized the possible tedium of the concept when he indicated when adapting the story line that he felt challenged by the potential fatal flaw of the repetitiousness of scene after scene.

When the play opened it became an instant hit. A hit not based on the script or the production, but on the titillation provided of briefly seeing Nicole Kidman in the buff.

In the local production, Bradford Dover and Emily Frankovich perform their roles adequately well. They attempt to give different images to each of the people they portray. Accents, hairstyles, costumes, gestures, and facial expressions vary appropriately. The weakness of the production is not totally theirs.

Besides the same-old, same-old of the stories, Edward Payson Calls’ direction centers on finding a clever gimmick and then beating it to death. Each scene change, and the scene changes are many and long, is accompanied by humorous visualized messages about love, marriage and sex from the likes of Mae West, Bette Davis, Oscar Wilde, Willie Nelson, Dorothy Parker and Shakespeare. At first, this is clever. After a while I stopped looking up to the screens suspended above the stage. In addition, each sex act was accompanied by a slide telling the length of time it took for the coupling to take place. Again, ten time alerts was too much. The number of laughs decreased to silence before the last notification.

Capsule judgement: ‘THE BLUE ROOM’ brings to a close The Cleveland Play House’s mediocre season which was highlighted by two outstanding productions. Let’s hope that next season brings more of the likes of ‘DIRTY BLOND’ and “PROOF’ to the audiences of the nation’s oldest professional theatre. If not, in these times of economic tightness, CPH could be in serious trouble.

Dirty Blonde (Cleveland Play House)

'DIRTY BLONDE' totally delights at CPH

When I'm good, I'm very good," Mae West says with a wink, "but when I'm bad, I'm better."

When you attend ‘DIRTY BLONDE,’ now on stage at The Cleveland Play House, and you should, you’ll laugh and thoroughly enjoy yourself as you peer beneath the surface and meet the woman that was Mae West, the performer who became a caricature of herself. ‘DIRTY BLONDE’ earned five Tony nominations for its successful Broadway run in the1999-2000 season.

The story line centers on following two of West's fans as they discover a bit of the Mae West swagger in their own shy and lonely lives and allow the audience to peek inside West’s life. Charlie is a film librarian who met West in his teens and was given one of her beautiful gowns. Jo is a struggling actress who meets Charlie at West’s gravesite. What follows is a sweet love story that gives us a full view of Mae West, her songs and her life.

Why was West such a hit? As one researcher says, “Instead of hiding the fact that she was all about sex, she learned to play it up. She became this sexy creature who would always be in control of the men around her. She uses her sexuality to maintain control.”

West’s career, which spanned the ’20s, ’30s and ’40s was fodder for plenty of Hollywood gossip. Speculation flew that West’s personal life was as sexy as her roles. Eventually, the actress turned from a temptress in her prime to a lampoon of herself in her old age.

Be aware that the play contains nudity, well, one boob gets flashed, and like West, herself, the lines and double-takes are full of innuendo. The bottom line, however, is that it has a fair amount of raunch contained in a tender little love story.

Claudia Shear’s play has been called clever, witty, intelligent, touching, entertaining, unpredictable. It’s that and more under the able direction of Peter Hackett and a wonderful cast.

There are only three performers and they are all brilliantly versatile. Elizabeth Meadows Rouse does a great Mae West imitation, while also portraying Jo, the frustrated actress wanna be. She looks enough like the legend to be mistaken for her, especially when she struts around in the hallmark sequinced gowns, large feather crested hats and blonde wigs.

Tom Frey is wonderful as “The Man.” He plays the piano, sings, dances, switches characters, does shticks with the audience, plays straight and gay with ease. He’s in his CPH debut and deserves to be asked back again and again.

Nick Sullivan plays Charlie, the librarian, among other roles which include being a star struck teenager. He shadows each character perfectly, making each of them unique. He is a very talented performer who brings a quirky humor to his roles.

The staging of the play is clever. We clearly know and understand what is taking place. This is difficult because the script keeps jumping in time and there are numerous characters. The scenes blend seemlessly together in a way that aids us to keep track of the action. The lighting and set designs aid in developing the entire mood.

Unlike some plays which have their slow moments, "DIRTY BLONDE" starts off with a bang and never lets up. Ms. Shear is deserving of every bit of praise that she has received.

Capsule Judgement: The play, which runs about 1 hour and 45 minute, with no intermission, is one of the few highlights of this year’s CPH season, proving that it, like West, when it’s good, it’s very, very good. Go see ‘DIRTY BLONDE,’ it’s CPH at its best.

Proof (Cleveland Play House)

'PROOF' adds up at the Cleveland Play House

You do not have to know anything about math to appreciate 'PROOF,' now on stage at The Cleveland Play House. In fact, there are no math formulas even presented. This is a poignant drama about relationships and the search for self, not numbers.

PROOF is the story of 25 year-old Catherine and her relationships with her brilliant father, estranged sister, and the father’s former student. They are all pieces of the puzzle in the search for the truth behind a mysterious mathematical proof. Questions arise. Who is responsible for the brilliant mathematical results that Hal, the student finds while searching through notebooks that Robert, the father, left behind? Is Catherine following her father on the
path of the fragile line between his brilliance and insanity? Are Hal’s affections toward Catherine real or a put-on to obtain the formula?

PROOF, which recently closed on Broadway, won the 2001 Tony Award for Best Play,
the Pulitzer Prize for Drama and the Outer Critics Circle Award for Outstanding Broadway Play. It has been called "stunning and riveting , ""rich and compelling," "full of life, laughter and hope," and "One elegant piece of work."

Seth Gordon, who recently was given a Times Theatre Tribute Award for his direction of 'THREE IN THE BACK, TWO IN THE HEAD' at Dobama Theatre, again is right on his directorial target. The play is well-staged, has a clear purpose, and achieves its goal. Only the very ending is slightly flawed by a lack of finality in the closing speech. The audience was unaware that the play was over.

Derdriu Ring is nothing short of brilliant as Catherine. Her flaming red hair and flashing eyes
light up the stage. She flows from depression, to satire, to glee with ease. Mike Hartman as the father and Carol Dunne as Catherine’s sister Claire are also excellent. There is clarity and consistency in their performances. Only Chad Willett, as the student, falters. His is not a bad performance, it just lacks depth. He stays on the surface, his concentration sometimes slips, and he often acts rather than reacts to his lines and those of others.

Michael Ganio’s set is wonderful. The backstage porch is appropriately surrounded by hundreds of suspended student theme books. He wisely pulled the whole set forward, toward the audience, thus creating the closeness that the Baxter Theatre’s designers had promised.

Capsule judgement: The Cleveland Play House has selected a brilliant play well-worth performing and given it a wonderful interpretation. Go see PROOF!

Credeaux Canvas (Ensemble Theater)

CREDEAUX CANVAS ‘-- Ensemble's last production at the Civic

Lucia Columbi, Artistic Director at Ensemble Theatre writes a somber message to theatre patrons in the program of their present show. It states, “The mounting of this production is a memorable one. It marks the last play Ensemble theatre will present at the Civic. After 18 years as the theatre’s home, it is fitting that we exit with a play about ‘art’.”

Rumor has it that Ensemble is in final negotiations for a new home. We hope so, for the theatre is an important link in the chain of small professional theatres. It is also hoped that, in the future, the theatre reaches out to present challenging shows like their present production, Keith Bunin’s ‘THE CREDEAUX CANVAS.’

The story centers on an interesting premise. When Jamie, the emotionally fragile son of a now-deceased art dealer, finds out he is cut out of his father’s will, he hatches a scheme whereby his roommate, a struggling artist, will create a “newly discovered” painting by Credeaux, an unknown but emerging European painter. The Credeaux canvas will be sold to a very wealthy, and supposedly very gullible, art collector. If it works, they'll be set for life. But if it doesn't...

On the surface it sounds like the potential for an excellent show. Unfortunately, in spite of acceptable performances by the cast, and some fine technical contributions, the total effect is not completely positive. The problem lies with Bunin’s dialogue. His characters often speak in platitudes, not real-sounding words. They describe their own and other’s psychological motivations, rather than allowing the audience to get to know the characters through their own statements. He often sounds like a someone who has taken one too many theoretical psychology classes. The result is an over-reaching and fragmented drama. His play keeps the viewer an arm’s distance away from feeling the emotions of the characters.

Bunin devotes most of the play's first scene into setting up the flim-flam to give us a view of Winston, the painter, Jamie, the schemer, and Amelia, Jamie’s girlfriend. Early in the second act we meet Tess, the potential buyer of the fake painting who eventually asks the right questions to blow the sham.

Winston, Jamie, and Amelia are three rudderless souls, and as such are recognizable. Jamie is the poor rich kid who doubts his own abilities. His contriving to compensate for what he feels he lacks only succeeds in making him believe in himself less. Amelia , who appears to have modest talent has come to New York to make a splash. She slowly realizes she's wading aimlessly through puddles rather than getting swept into the mainstream. Winston is a compulsive loner who can only see the path he's set himself on, a path on which he stumbles and eventually falls.

Colombi’s directing is generally on target, though she may have helped the performers by working on shadowing the intentions of the writer. She is aided by Vincent Polowy’s set which fulfills its purpose. His lighting design does much to key the required perceptible elements of the play, allowing us to visualize the painting elements described.

Sherri Britton is wonderful as Tess. She captivates the audience as she describes the depth of meaning of the painting. Joel Nunley’s Winston is inconsistent. He stumbles through some of his lines but does allow us to see many of the nuances of the character in the spite of being given some very superficial lines to speak. Michael John Sestili has some fine moments as Jamie, but is generally on the surface. Only part of that is his fault. The author has often given very little motivations for developing a meaningful character. Caise Rode, like Sestili, often gets little help from the script in developing a multi-leveled character.

Be aware that there is male and female nudity in the production, thus the warning that the production is for mature adults. It is artistically done. We see both Rode and Nunley mostly in silhouette, with their bodies bathed in light that makes each appear as carved marble statues.

Capsule judgment: In spite of a fascinating concept, the production does not live up to the potential.

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.