2 piano, 4 hands (Cleveland Play House)

Cleveland Play House hits right keyes in ‘2 PIANOS, 4 HANDS’

Alex Berko is 7 years old. He has had three piano recitals and has been asked to participate in a piano competitions. He has a bright future, right? Well, after watching Ted Dykstra and Richard Greenblatt’s ‘2 PIANOS 4 HANDS,’ Alex, and anyone else who has aspirations of being a top flight pianist, might have different thoughts. And anyone who has ever taken piano lessons, or knows anyone who has, will be carried back to those glorious (?) days.

Ted Dykstra and Richard Greenblatt are the subjects of their own play. They, in their own words, are “the best pianists in the neighborhood.” Neither of them started out that way. Much like Alex, as children they became fascinated with the piano, an instrument for which they apparently had great talent. As we follow their lives and careers in music we experience their musical journey from adolescence to adulthood. A journey that is filled with laughter, euphoria, pain and tears.

The CPH cast is composed of Mark Anders portraying Ted, and Carl Danielsen as Richard. The two are both excellent pianists and actors. Without such a talented cast, the play wouldn’t work. We need to see the two actually playing, mature through the years. Taped music just wouldn’t have done it. The playing of less accomplished performers also wouldn’t have worked. This is not a play that will be done by amateur groups. The whole task would be too daunting.

The audience is confronted by two grand pianos, nicely nestled in a room with plush royal blue walls and busts of Bach and Beethoven. Through flashbacks, we watch as the two are confronted by parents, teachers, professors and numerous others who invaded their real and musical lives. The two even musically and psychologically directly wrestle with each other at piano competitions and during their training.

The production is wonderful. It hits all the right keys. It is filled with great music, covering everything from Bach to Billy Joel, from Beethoven to jazz. The script, which centers around the music, allows us to experience the fun and pain of trying to achieve in the world of music.

CAPSULE JUDGEMENT: If you love classical music, if you appreciate fine performances, and are willing to expand your definition of what theatre should be, you’ll love ‘2 PIANOS, 4 HANDS.”

Groundworks Dancetheater--October, 2003 (Groundworks)

GROUNDWORKS DANCETHEATRE excites once again!

I was once asked by a reader of my reviews, “If you had only one entertainment event to attend, and wanted to be assured that you’d experience excellence, where would you go?” Without any hesitation I answered, “Groundworks Dancetheater.” Why? I have never attended a performance of David Shimotakahara’s dance troupe that has been wanting. David has the ability and foresight to be able to blend audience appeal, creativity, and constructive vision to insure an evening of entertainment. He has assembled a corps of dancers who buy in to his philosophy and enjoy working together and creating exciting and involving illusions for an audience. The company has been called intelligent, fresh and invigorating. It is that, and more!

Groundworks latest event was performed at St. Peter’s Church, in downtown Cleveland. It was part of the company’s Landmarks Series. These productions take place in settings not usually thought of as dance venues. Pilgrim Church in the historic Tremont district, the Icehouse in Akron, and St. Peter’s have all been enhanced with the company’s works. This format brings people to interesting locations in the community with the possibility of experiencing dance and music in new places.

The St. Peter’s program consisted of the wonderful “Major To Minor” in which a point and counterpoint of music and dancers were evident. Performed to five musical recordings of different moods and paces, Felise Bagley, Amy Miller, Mark Otloski and Shimotakahara, all classically trained ballet dancers, performed contemporary and modern dance movements with ease. They danced slowly to “I Wished on the Moon,” and let loose and had fun with “Peanut Vendor.” They used their bodies, the floor and a banana to captivate the sold-out audience.

“Lavender” was a musical interlude performed by Gaelyn Aguilar and Derek Keller. Though it was sometimes difficult to hear the words in the vast, highly arched cathedral, the emotional tone of the music was involving.

“Ephemeral,” precisely choreographed by Shimotakahara, and perfectly performed by Felise Bagley and Mark Otloski, was based on music composed and played by Gustavo Aguilar and Alan Lechusza. The audience, seating no more than twenty feet from the dancers observed powerful bodies performing slow controlled movements, with little physical contact, doing counter movements to the discordant sounds. The audience appeared awed by the performance and responded to the conclusion with long and continuous applause.

“Take 2,” in its Cleveland premiere, is a collaborative piece between the dance corps and the musicians. Developed through ongoing exploration, the piece’s open structure allows both dancers and musicians to improvise and react. The overall effect was a visual and emotional roller coaster ride which was met with appreciative audience response.

Capsule judgement: If you haven’t had the privilege of seeing Groundworks Dancetheater perform, do so!

Love of Mike (Cleveland Play House)

'LOVE OF MIKE' at CPH--performers outclass material

Want to produce a musical review? The songs are usually not the problem...they are readily available unless you are writing an all original score. You pick a theme, decide on what songs to do, and put them in an order based on the effect you are trying to achieve. Sounds easy? Nope! Musical reviews are hard devices to conceive. More miss than hit.

William Hoffman, the conceiver of ‘FOR THE LOVE OF MIKE’ now being staged in the Cleveland Play House Club, decided to do a musical celebration of a vaudeville life. He selected about 20 songs and conceived it as a tribute to Mike. He assembled a very talented cast, rehearsed the materials, and invited audiences to attend.

Audiences will hear some wonderful songs like “The Bowery,” “The Streets of New York,” and “Hard Hearted Hanna.”

Unfortunately, the evening doesn’t work very well. Much of the evening seemed forced. The script is so weak that the performers had to force-feed the notions to the audience, material which they didn’t appear to have much belief in. In addition, rehearsal time was obviously limited and the performers had to learn a lot of patter and unfamiliar songs such as “I’m Looking for Daddy Long Legs,” “Cleaning and Dyeing,” and “The German 5th.” (Yep, I’m not making these up.) Because of this there were lyric and line problems.

The cast, Greg Violand, Maryann Nagel, Kevin Joseph Kelly and Charles Eversole are all solid performers. Violand’s “That’s the Reason Noo I Wear a Kilt” is delightful. His voice soars in “I Belong to Glasgow.” Nagel and Violand are wonderful in “Yiddisha Nightingale” though at times Irish seems to creep into their Yiddish patter. The company does a rousing “Alabamy Bound” and “Are You From Dixie?” Kelly‘s “Oh What a Gal” was fun. Eversole plays the piano with pizazz.

CAPSULE JUDGEMENT: This is a very talented group of performers. I wish they had just stood and sung and forgotten about Hoffman’s attempt at creating a hat tree on which to hang the material. Shticks like “Cleaning and Dyeing” were close to embarrassing and the “surprise” ending was not clever. GO HEAR THE VOICES.

Forest City (Cleveland Play House)

Cast and staging outstanding in CPH's 'FOREST CITY'

When you attend a play, whether at a professional or amateur theatre, do you have any idea of the process that the playwright has gone through to get that script ready for production? Many people naively believe that a person sits down at a computer and spews forth a finished product. ‘Taint so. Scribing a play is usually an arduous task which requires writing and rewriting and rewriting. The process is often for naught as, in the end, in spite of valiant efforts, the script doesn’t work. It may not succeed because it just doesn't get the authors’ ideas across, or it doesn’t look and sound right on stage, or it is too complex to stage, or the audience doesn’t respond positively.

The Cleveland Play House is presenting the world premiere of ‘FOREST CITY,’ a play by Bridgette Wimberly. How did this script come to being? If typical, Wimberly had an idea. She, worked for a period of time to get the plot clear, the lines meaningful, the characters set and the production qualities clear. Then started her real work. A script on paper is not the same as one on stage. A reader can fill in the blanks, can imagine that which is and isn’t. On stage all of these things must be made crystal clear to hold the audience’s attention and allow each listener to gain the playwright’s intentions. What is most valuable to a playwright is to have the play staged in some way that the voice of the script can be heard. This “hearing” often takes place at a staged reading in which actors take the script and create an audio version. In some cases these readings are actually staged so the author can both see and hear the script.

Fortunately for Wimberly, for the last eight years the Cleveland Play House has produced the “Next Stage Festival of New Plays.” It provides a venue to a select group of playwrights to be allowed to see, hear and hone their scripts. And so ‘FOREST CITY’ was given the opportunity to go from childhood toward maturity. As my review of that first reading indicated, I felt that the script needed a lot of work. It was very long, very wordy, unfocused, lacked texturing. The play had requisite conflicts- infidelity, financial problems, illness, big business versus the citizenry, inner family conflict. It had an interesting idea that was based on a real series of incidents. To make it a viable script, it needed some heavy rewriting.

The tinkering has been completed. ‘FOREST CITY’ is being given a full-scale production at CPH. The redoing did wonders. The play has been tightened up, shortened, extraneous materials eliminated, and humor added. Unfortunately, Wimberly has still not decided on an ending. There are at least four conclusions that could be interpreted as, “okay, this is it.” The final, final one, is not the strongest. In fact, it changes the tone of the play and makes it almost hokey. If the play is going to be produced elsewhere, Ms. Wimberly is going to have to rethink the final several scenes by asking herself what message she really wants to leave with her audience. She also needs to ask why she introduces a child character near the end whose physical presence plays no real role in the play’s meaning.

The play is set in Cleveland in the late 1960s. Carl Stokes has become the first African American mayor of a major city, segregation is finally coming to an end, the Glenville riots have brought attention to the plight of blacks in the Forest City. We see it all through the eyes of the Taylor family: JT, his wife Sandra Mae, his mother and his half brother. JT is trying to fend for his family on a railroad day-laborer’s salary. The family lives in a home they purchased, and are fighting to keep. Though not much, it is theirs. A small black-owned and operated hospital wants to expand. To do so, they will need to tear down the family’s residence. The situation is complicated by the fact that JT’s half brother is a doctor on the hospital’s staff.

Seth Gordon, who is not only the director of this production, but the Director of New Play Development at CPH, has nurtured this script from its infancy to this staging. He has created a well-paced, creatively staged, generally well-acted show. He has keyed the laughs and has stressed empathy in the right places.

The cast is universally excellent. Margaret Ford-Taylor, as Mother Taylor milks the role for all it is worth. She has excellent comic timing and builds the emotional levels with ease. Her role of “witch doctor,” family center and peacemaker are clearly developed.

Caroline S. Clay, as Sandra Mae, shows the pain of a wounded woman with much clarity. Johnny Lee Davenport gives us a JT that is both strong and weak. He clearly shows us the hard head and the soft underbelly.

Wiley Moore, as the doctor brother, could have textured his performance more. His sometimes monotone presentation and lack of facial expression makes him appear to be less than involved in the goings-on. Count Stovall, though having line problems, gives a clear picture as an old-time doctor whose dreams have been overshadowed by the times.

Scenic designer Beowulf Boritt has been forced to create a set that must reveal many settings...porch, living room, bedroom, doctor’s office, banquet hall lobby, staircase and dock. To do this he has created an impressive complex piece of work on a turntable and moving platforms. It works moderately well though the action is often slowed down by all the changes.

CAPSULE JUDGEMENT: ‘FOREST CITY’ is worth seeing. As a former dramturg for the Festival, I would urge Ms. Wimberly to keep working on the script. That additional tinkering could result in a modern day “A Raisin in the Sun.”

Tartuffe (Great Lakes Theatre Festival)

'TARTUFFE' delights, Andrew May is wonderful at Great Lakes Theatre Festival

Based on his spoken belief that, “The most effective way of attacking vice is to expose it to public ridicule” Moliere, considered to be France’s greatest dramatist, laid the foundation for his revered farce, ‘TARTUFFE.’ The play, which is also known as ‘THE HYPOCRITE,’ relates the story of an attempt by Tartuffe, a scheming hypocrite, to destroy the happiness of Orgon, a well-to-do Parisian householder. Orgon is so deceived by the villain’s manipulations that he makes Tartuffe the master of the house, including promising the marriage of the charletan to Marianne, Orgon’s daughter. The play illuminates how right wins out over wrong through a series of hysterically funny scenes.

Though the approach may seem time-worn by modern day standards, when Molliere crafted this work, he was assailing Parisian foibles in a new theatrical mode. The play, which now seems delightfully harmless, incited some theatre-owners to ban it from production. That withstanding, Moliere has drawn admiration few dramatists have equalled. He has developed characters like Orgon and Tartuffe which are considered to be classically crafted. His works, along with Shakespeare’s, have stood the test of time and have become classics.

Drew Barr, except for a casting error, has created a fine production. The pace, keying of laughter, and the creation of visually pleasing stage pictures is well done. The epitome for setting the farcial tone was Scott Plate’s heaven-sent entrance as the King’s soldier, complete with fanfares and billowing smoke and a long, elegant march down the staircase.

Little did Moliere know, when the play was produced for the first time at Versailles in 1664 that an Andrew May would come along in a 2003 production of ‘TARTUFFE’ at the Great Lakes Shakespeare Festival to make his Orgon everything that the writer intended. No one--repeat--no one can play farce better than May. He makes an art form of mumfering, fumphering, bulging out his eyes, getting caught in mid-word stutter, and displaying enormous pain in the most hysterical of ways. He does it with ease and naturalism. This is not acting a role, this is May being Orgon. If you loved May in the Cleveland Play House’s ‘I LOVE HAMLET’ several seasons ago, you will fall in love with him all over again in ‘TARTUFFE.’ May is nothing short of astoundingly outstanding. Applause, applause, standing ovation!

Laura Perrotta as the sharp-tongued maid, Dorine, is a perfect foil for May. She inserts all the right pins to set him off in anguish. This is Perrotta at her finest!

Aled Davies is delightful as Cleante, Orgon’s brother-in-law who can’t say anything other than with pompous long-windedness. Paula Duesing, as Orgon’s mother, gets caught in the rhyming trap of stressing beat and cadence rather than meaning in her early speeches, but recovers well, speaking ideas as the play progresses. Sara M. Bruner, who has made a career of playing “sweet young things,” is a very competent sweet young thing, once again, as Orgon’s daughter Mariane. Wayne Turney is delightful as the bailiff. He gets the most out of a brief appearance.

Steve Tague feigns Tartuffe. As the gentlemen sitting behind me said at intermission,” “Come on now, how could Orgon be fooled by that obvious act being put on by Tartuffe?” Right on, fellow theatre-goer. Tague’s was an all surface portrayal with little texture. Left to Tague’s sole performance, ‘TARTUFFE’ would have missed the mark as much as ‘HAMLET’ did when he failed to well-develop that lead role. But, fortunaely, an otherwise strong cast saved the day.

Gage Williams scenic design and Kim Krumm Sorenson’s costumes aid greatly in creating the right illusions.

CAPSULE JUDGEMENT: ‘TARTUFFE’ is a “go see.” You get to experience Andrew May in action, while also enjoying one of the great comedic plays by one of the world’s greatest writers in a solid production.

Discordia (Cleveland Public Theatre)

'DISCORDIA' in world premiere at Cleveland Public Theatre

Creating a musical from scratch is a daunting task. Musical theatre is the most complex of the arts. It combines the format of a drama or comedy. It requires music, much like a symphony or band. There are the lyrics, the words to the songs, much like a pop or country singer needs. Choreography parallels the part of musicals that make it like ballet or modern dance. Art in the form of sets and costumes is also needed. Then, the production must be staged using actors to create characters and develop the intent and purpose of the creators and a band or orchestra must be rehearsed.

It is amazing that so many musicals get written and staged.

‘DISCORDIA,’ in its world premiere at Cleveland Public Theatre, is the brain-child of James Levin and Linda Eisenstein. According to the theatre’s public relations notes, ‘DISCORDIA’ tells the story of the innocent Percival as he searches for the Holy Grail, trying to do good in dangerous, confusing times. It is billed as an “astutely observed political satire.”

The production introduces the audience to the necessity for delivering democracy to all the world, the role of God and prayer, toxic waste and the environment, a country in disarray, the role of the drug industry in controlling prices, weapons of mass destruction, the Arabic fatah, Human Rights, big business as our savior, “protecting” countries even if they don’t want the protection (think Iraq and Afghanistan), right wing pseudo manners, and the philosophy of spending as a requirement to national success. Also touched upon is the question of whether the leader, King Arthur in this case, has limited intelligence. There is a rebuke of a political party for having control of the Presidency, the House and Senate and for not taking advantage of their chance to make a difference, (Think Clinton and universal health care.) And then we encounter a search for a Knight to lead us out of our present abyss. (Think the present race for a Democratic candidate.) The story asks who the grail serves, who benefits from the “things,” the money, the requirement to spend, spend, spend. The concept centers on the constant chanted mantra, “Arthur, God, Shopping.”

Sound like a lot to cover in two and-half hours? It is! The story line covers so much that it doesn’t take time to develop any of them in depth, often leaving the audience tired and confused.

Linda Eisenstein’s music is excellent; however, it too covers too much of the musical spectra. The musical sound of ballads, chanting, folk songs, blues, vaudeville patter and rock are all presented. Her strength is the ballads. Songs like “Mother, I Found My Calling,” “The Presence of the Grail,” and “Take Off Your Armour” are excellent. “Whom Does It Serve” is probably the best message song in the score.

Director Raymond Bobgan, who staged last year’s Times Tribute Award production of “Tibetan Book of the Dead”has added some excellent production qualities . Unfortunately, because of the expanse of the play, even Bobgan loses his course.

The cast is uneven. Alison Hernan as Morgan Le Fay, who offers the perspective on the play, has both a powerful singing voice and develops a clear character. Perren Hedderson as Percival, who is on a quest, has a very pleasant singing voice and the physical attractiveness and acting ability to play young leading man roles. (Think ‘PIPPIN’ and ‘JOSEPH AND HIS TECHNICOLOR DREAMCOAT.) Amiee Collier as Percival’s lady love has a very nice singing voice. Jill Levin as the announcer and our guide through the maze of ideas, speaks and sings well. The choral sounds are fine. Much of the others are just not up to the task of grasping their characterizations and singing their roles.

Michael Flohr’s music direction is on target. His musicians don’t drown out the singers and are musically competent. Trad Burns’ scenic design works well considering the number of settings that are required. Inda Blatch-Geib’s costumes leave much to be desired except for Hernan’s excellent clothing. The designs are often unflattering on the female body types in the production.

CAPSULE JUDGEMENT: ‘DISCORDIA’ is a gallant attempt at developing a musical. Unfortunately, it just has too many problems to work in its present form. It is not unusual for authors to relook at and rework their material to make it successful. Let’s hope that that’s the case with ‘DISCORDIA.’

Boy Gets Girl (Beck Center)

'BOY GETS GIRL' captures audience at Beck

In spite of the title, don’t go to see Beck Center’s production of ‘BOY GETS GIRL’ expecting to see a TV-sitcom-like escapist piece of fluff. The play definitely is not fluff. It is a revealing, upsetting, involving investigation of how a woman’s life is quickly destroyed by a disturbed admirer. It is a suspenseful tale about the unraveling of a strong woman’s sense of security.

At the start of the play, we meet Theresa Bedell, a successful thirty-something magazine writer as she encounters Tony, with whom she has been fixed-up on a blind date. It appears that we are in for a boy meets girl, boy likes girl, girl disses boy, boy pursues girl, and that’s it. But, since the boy is a psycho and can’t take “no” for an answer, we watch in horror as boy stalks girl, threatens girl, and finally causes her to give up all she has, including her name, to hopefully get rid of him. This is definitely a case of bad winning out over good.

Time Magazine called Rebecca Gilman’s ‘BOY GETS GIRL’…gripping and important—the finest, most disturbing American play in years!" The review was right on.

Beck’s production is absorbing. Director Sarah May has honed in on the intent and purpose of the play and has given her cast a clear course, though there was some audience confusion at the end of the play when they were unaware that the experience was over until the cast came out for the curtain call. Except for that, everything works...Don McBride’s set, Casey Jones’ sound design, Jeff Lockshine’s lighting, and Jenniver Sparano’s costumes, all enhance the performances.

Elizabeth Ann Townsend, known locally and nationally for her acting excellence, doesn’t play Theresa, she IS Theresa. She textures the role with physical and vocal scoring that makes us suffer with her.

How the audience didn’t boo loudly when Paul Kaiser, who plays Tony, came out for his curtain call, I’ll never know. Kaiser was so despicable that it was impossible to not believe that he was the “sicky” that he was portraying. Boo, Tony! Hurray Paul!

Robert Hawkes as Theresa’s boss, James Savage, Jr. as a young reporter, Besty Kahl as the ditzy secretary, Rose A. Leininger, as the policewoman assigned to Theresa’s case, and Donald Krosin, as a sleazy X-rated film producer, are excellent.

As you walk into the lobby of Beck Center for the Arts on the way to see ‘BOY GETS GIRL,’ you will be confronted by a series of t-shirts. These clothing items are not for sale. They are part of The Clothesline Project, a visual display of T-shirt that bear witness to violence against women--stalking, rape, incest, battery, withheld love. These are memorials and memories of clients and their families as accumulated by the Lorain County Rape Crisis Center.

READ EACH AND EVERY ONE OF THE INSCRIBED PIECES BEFORE GOING IN TO SEE ‘BOY MEETS GIRL.’ It will make an intensely important play even more vivid.

CAPSULE JUDGEMENT: Sarah May has crafted an involving production of Rebecca Gilman’s emotional revealing play. If you have space on your calendar fill in ‘BOY MEETS GIRL’ in the spot. You won’t be disappointed.

The Domino Heart (Dobama)

Dobama's 'THE DOMINO HEART' is a must see!

Dobama Theatre’s production of Matthew Edison’s ‘THE DOMINO HEART’ is everything good theatre should be. The play is well written and carries a potent message. The acting is superb. Joyce Casey’s directing is concept perfect.

Interestingly, the script is everything that they teach a scribe never to do in playwriting classes. The script is made up completely of monologues. The actors never appear on stage at the same time and never directly interact with each other. To add to the unusual concept, there is no action, little humor, and no great dramatic scenes. It is a quiet play.

In an interview about the script, which he wrote in 10 days, Matthew Edison indicated that he sees “the monologues not as undramatic declarations but as the sort of inner dialogue we all experience when trying to work out an emotional problem.” He went on to say, "I used to be quite surprised how close you can come just using imagination and common sense." Because of the way the play unfolded in the writing process, Edison, whose original intention was to make this a traditional interactive script, fortunately never rewrote it.

The ‘DOMINO HEART’ consists of three characters connected to each other by one transplanted heart. There's a grieving and conflicted woman whose husband has been killed in a car accident, a well intentioned reverend awaiting the heart salvaged from the crash, and a souless, almost heartless ad executive who gets the vital instrument through the domino process in which, if the original transplant doesn’t work, the organ is passed along to another patient.

The play's central symbol offers plenty of opportunity to deal with emotions, love and other matters of the heart. In one particularly effective section, the reverend describes a volunteer program to help babies born with drug addictions. They're soothed by strangers who hold them close to their hearts.

A review of the play’s first performance, which took place in March of 2003 states, “You know you're watching something special when 90 coughless, fidgetless minutes go by as quickly -- to borrow an image reworked in Matthew Edison's luminous first play -- as a heartbeat.” The same can be said of Dobama’s U. S premiere production. It appears effortless. It flows, you become involved, the actors aren’t acting, they are speaking to you. You get entrapped in the experience.

Edison's words are performed by a trio of actors who couldn't be better. Carla Dunlavey, as the wife who is emotionally ripped apart by her role in the events leading up to her husband's death, presents a perfectly textured performance. We feel with her, we mourn with her, we wish things could be different. She has total control of the character.

The veteran Glenn Colerider, who is noted for his fine acting, outdoes himself as the Reverend.

Fabio Polanco as the self-destructive ad exec horrifies us with his dead-eyed, seen-it-all smugness that hides his real fear. As he writhes on the floor in emotional and physical pain we don’t know whether to rush up and help him, or hate him for receiving a heart that could have gone to someone who deserves it, would value it, would give it purpose.

CAPSULE JUDGEMENT: Dobama’s production, under the deft guidance of Joyce Casey, is quiet but powerful. It will stay with you long after you leave the theatre. Put this play and production on your must see list!

Hamlet (Great Lakes Theatre Festival)

'HAMLET' somewhat unfulfilling at GLTF

Since it was first performed in 1603, ‘THE TRAGEDY OF HAMLET, THE PRINCE OF DENMARK’ has been credited as being the best English-language play ever written. Due to its complex themes and multi-layered text it has received a great deal of analysis. Some of that analysis, however, doesn’t agree with your high school English teacher’s view of the play’s greatness.

As T. S. Elliot once wrote, “So far from being Shakespeare's masterpiece, the play is most certainly an artistic failure. In several ways the play is puzzling, and disquieting as is none of his others. Of all his plays it is the longest and is possibly the one on which Shakespeare spent most pains; and, yet, he has left in it superfluous and inconsistent scenes which even hasty revisions should have noticed.”

Besides the play itself, the character of Hamlet is considered one of the most compelling ever written. The part has also been subjected to numerous interpretations and studies, his thoughts analyzed and reanalyzed. As with the play, there are arguments concerning the quality of the way the character is conceived. Most of Shakespeare’s major characters are clearly crafted, their motives clear...think Macbeth, Lady Macbeth, Iago. This is not the case with Hamlet.

The Great Lakes Theatre Festival has decided to undertake ‘HAMLET’ as the opening show in their “new/old” schematic. GLTF has reestablished itself as a repertory company after abandoning the pattern 18 years ago. Repertory centers on hiring a company of actors who perform different plays in tandem with the performers playing different roles from night to night. For example, the same actors will appear in ‘TARTUFFE’ which opens October 18. Andrew May, who is the Ghost in ‘HAMLET’ is Orgon in ‘TARTUFFE.”

This concept is exciting for Clevelanders as Charles Fee, GLTF’s Producing Artisitc Director, has employed many local artists who have sporadically been employed since the Cleveland Play House abandoned its company of actors. It’s nice to see names like Scott Plate, Laura Perrota, Wayne Turney and Paula Duesing in the cast.

GLTF’s three-hour production lacks texturing and effective pacing. Director Fee has decided to make sure that the audience grasps each word. To achieve this he has slowed down the speech and actions which makes the production flat. It lacks excitement. This will be great for the school groups who attend as they will have no difficulty in grasping the words, but it doesn’t make for compelling theatre.

Though the audience hears the words, it is nearly impossible to feel much toward the characters, and this is a play that is character driven. Is Hamlet crazed, crazy, demented, deranged? Is he motivated to get revenge for his father’s murder or obsessed by his need for attention? What are his real feelings toward his mother? Toward Ophelia? Steve Tague, in the lead role, looking demonic with his goatee, mustache and shaggy black hair, lacks the fire to give us the needed clues. Even the famous “to be or not to be” speech lacks clarity....what’s the motivation for those words?

Wayne Turney is delightful as Polonius, the Councillor of State and later as the gravedigger. Sara Bruner’s Ophelia is beautifully vulnerable. Her underplayed crazed scene, caused by the murder of her father and rejection by Hamlet, is one of the play’s highlights. Scott Plate plays Horatio, Hamlet’s friend with compassion.

Aled Davies is not evil enough as Claudius, Hamlet’s uncle and killer of his father. We need to hate him, he gives us no reason to react to him in a negative way.

Fee’s use of music to highlight scenes and the creative use of scenic staging devices are excellent. Rick Martin’s lighting and Gage Williams sets enhance the mood of the production.

CAPSULE JUDGEMENT: ‘THE TRAGEDY OF HAMLET, PRINCE OF DENMARK’ at GLTF lacks the excitement, pacing and clarity needed to make this a major classic production.

7 BL*WJ*BS (convergence-continuum)

Convergence-continuum presents another Wellman play

I’ve always believed that the value of any of the arts was in the mind of the beholder. While one person might think of Jackson Pollack’s paintings as random purposeless blots of paint, others will wax eloquently about Pollack’s creativity. Phillip Glass’s atnonal music is like the scratching of fingernails on the blackboard to some and engrossing to others. The same is true of theatrical scripts and productions. Not everyone agrees on what is great theatre.

Convergence-continuum is in a run of Mac Wellman’s ‘7 BL*WJ*BS.’ The theatre’s Artistic Director Clyde Simon is an admirer of Wellman’s works. He loves the writers“unconventional material and characters.” I, on the other hand, am not a fan of Wellman’s creations.

Last spring I revealed in a review of the theatre’s production of ‘SINCERITY FOREVER’ that Wellman 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.” I stated, “The production of ‘SINCERELY YOURS’ is outstanding. It far surpasses the quality of the wordy play.”

My reaction to ‘7 BL*WJ*BS’ is exactly the same...good production of a script that is of questionable value. I don’t think Wellman said anything that hasn’t been said before, often better. And, I also think that Simon’s directing was right on target.

Audience members were also of mixed mind. At intermission, some of the audience disappeared. During the production some laughed hysterically, many others, myself included, were more restrained. At the curtain call while some screamed and applauded, others clapped politely.

I’m not the only theatre critic who responds negatively to Wellman’s work. One states, “Mac Wellman's ‘7 BL*WJ*BS’ attempts to poke fun at right-wing prudes but its thin, repetitive script doesn't stand up for the play's entire two-act length.” Further comments include, “Unfortunately, the play doesn't rise to the promise of its initial concept.” Another intones, “The play's badly overworked main joke is stretched from the two minutes it's worth to two acts.”

That said, what’s the play about? The plot centers on what happens when a right-wing senator's office receives a package of seven indecent pictures. Gawking disapprovingly at the scandalous pictures, the senator's staff are later joined by the senator and a religious leader who continue to discuss the pictures. We are exposed to the scandals, religious influences on decision making, corruption in government, and pseudo attitudes of both conservatives and liberals in our government.

The cast is quite good, especially given what they have to work with. Especially strong are Chuck Richi as the Senator, Cliff Bailey as Reverend Tom, and Brian Breth and Lauri Hammer as two of the staff members.

CAPSULE JUDGEMENT: If you like Wellman’s writing style you will have yet another chance to experience it when convergence-continuum presents his script, ‘CLEVELAND’ in December. I’ll go because I really think Simon has a knack for directing Wellman’s work, but if the “plot” and the story development aren’t anything more than ‘SINCERELY FOREVER’ and ‘7 BL*WJ*BS,” I’ll again wind up applauding the actors and the production, but not the play.

Les Miserables (Playhouse Square Center)

'Les Miserables' visits Cleveland, and wows the audience, once again

I have to admit it, I’m a sucker for ‘LES MISERABLES.’ It remains one of my very favorite musical theatre scripts, along with the likes of ‘FIDDLER ON THE ROOF,’ ‘WEST SIDE STORY,’ ‘CAROUSEL,’ ‘MY FAIR LADY,’ ‘PIPPIN,’ ‘THE KING AND I,’ ‘MAN OF LAMANCHA,’ ‘CHORUS LINE,’ AND ‘RAGTIME.’

It was, therefore, a little disappointing, that during the first act of the opening night performance of the present production, I found myself getting very antsy. All the elements were there...the full Broadway set with its awe-inspiring turntables and huge barricade and cityscapes, the marvelous costumes, a lush orchestra, fine vocal sounds, and the good singing voices of the lead characters. So, what was missing. I often found that the actors were singing words, not meanings of the words, some of the timing was off, such as in the usually raucous “Master of the House.” Fortunately, by the second act, the cast settled in, the pacing of the show picked up, and the audience got swept away. Whew!!

The musical is based on Victor Hugo’s epic and classic pre-French revolutionary war novel. It foreshadows what will soon happen in France. It asks, “What is the moral way to act?,” and how much do we have to pay for our small or large transgressions. Think of the television series and the movie, ‘THE FUGITIVE’ with music.

The story centers on Jean Valjean, who, at the start, is released on parole after 19 years in prison for stealing a loaf of bread to fee his ailing nephew. He finds that the yellow ticket-of-leave he must, by law, display condemns him to be an outcast. Only the saintly Bishop of Digne treats him kindly and Valjean, embittered by years of hardship, repays him by stealing some silver. Valjean is caught and brought back by police, and is astonished when the Bishop lies to the police to save him, also giving him two precious candlesticks. Valjean decides to start his life anew. The rest of the musical follows him through the rest of the his life.

Songs include the compelling, “Soliloquy,” the gorgeous, “I Dream a Dream,” the social commentary, “Who Am I?,” the enthralling, “Do You Hear the People Sing?,” the heart rending, “On My Own,” and the haunting, “Bring Him Home.”

Randal Keith, who was one of the many who played Jean Valjean on Broadway was outstanding. He has a big voice and clear grasp of the character. James Clow, portraying the policeman Javert who dedicated his life to finding and punishing Valjean, did not have the evil-edge needed for the role, though his singing voice was glorious. Amanda Huddelston, portraying Cosette, an orphan who Valjean adopts to be his daughter, has a fine voice but failed to get full worth out of her songs. She often overlooked the implications of the words she sang. Josh Young was appealing as Marius, Cosette’s lover and idealistic student. Ma-Anne Dionisio was voice and performance perfect as a street walker who loved Marius. Michael Kostroff got laughs as the innkeeper, but was far inferior to most who have played the roll. The children in the cast were weak in both singing and acting.

Capsule judgement: Missed “Les Miz” this time around? Don’t worry, if the past is prologue, it will tour through town again.

Romeo and Juliet, the ballet (Ohio Ballet)

Pleasing ‘ROMEO AND JULIET’ by Ohio Ballet

Shakespeare’s ‘ROMEO AND JULIET’ is the classic love story. It contains unrequited love, passion, conflict and pathos. It has been translated into many forms. Plays, films, even a musical (‘WEST SIDE STORY’) have told and retold the story. It has also been done in various dance forms, including a ballet with lush music by Segei Prokofiev. The latter was recently performed by the Ohio Ballet at the Ohio Theatre as the company’s season opener. The performance will be repeated on October 10 and 11 at E. J. Thomas Performing Arts Hall in Akron (Friday and Saturday at 8:00 p.m. and Saturday at 2:00 p.m.).

Though the OBT production can never be compared to that performed by the Bolshoi or other world class companies, it is a very pleasing, enjoyable and nicely created piece.

Choreographer Bengt Jorgen, artistic director of Ballet Jorgen Canada, decided to do a traditionally costumed, but modern balletic interpretation of the piece. Thus, the story seems more accessible and easier to follow than more classical versions. Jorgen’s gymnastic, interactive, often tense, often humorous choreography allows the performers latitude to create characters, thus forcing the performers to be actors as well as dancers. Some of the corps is capable of the necessary stretch, others are not so adept.

Alicia Pitts is glorious as Juliet. She is young, childlike without being childish, and dances with style and ease. She appears to float as she moves across the stage on toe. She partners well with her Romeo. Most impressive is her acting ability. She goes from glee to being forlorn, from indifference to love, with ease. This is impressive, very impressive!

Young Eric Carvill is more than adequate as Romeo. Last year, in a review of the OBT, I indicated that Carvill had grown in his short tenure with the troop. I never dreamed that he was ready to play the lead in a full-length story-line production. In a world class company, he wouldn’t have had the opportunity. At OBT, where except for Brian Murphy, who is too old to play Romeo, there is no stellar male dancer, he was the right choice. Carvill danced well, was properly youthful, partnered superbly. His major problem was his lack of character development. He showed few mood changes. His face was generally static. Smiles appeared not to be part of his acting repertory. His was a case where an acting coach, to supplement the dancing direction, was needed.

Toby George, a newcomer to the OBT corps, danced Mercutio with style. He was especially proficient in the comic scenes. He is a welcome addition to the troop and it can only be hoped that with more experience he will control his tendency to react in stylized movements and reactions and expand his dance proficiency.

Ashley Bowman as the nurse, Amanda Cobb as Lady Capulet, and Damien Highfield as Tybalt were all excellent.

The sword fight choreography was outstanding. On the other hand, the physical confrontations were marred by Jorgen’s annoying tactic of using and reusing two handed pushing as his major conflict vehicle. It often made the performers look like pre-schoolers on the playground.

The final dual-death scene is compelling. Romeo dances with the “dead” Juliet in his arms, then the format reverses as Juliet is revived from her coma-like state and caresses her lover. It is a fine, fine visual illusion.

Glenn Davidson’s set design is beautiful. It is made functional by choreographing set changes so that the staging flows smoothly. Unfortunately, his lighting design is not as successful. There are many dark spots on stage and, at times, lights seem to go on and off at whim, causing some confusing moments. Gary Dahm’s sumptuous costumes are era-correct and add greatly to the visual illusion of the ballet.

CAPSULE JUDGEMENT: ‘ROMEO AND JULIET’ was one of OBT’s better productions since the ascension of Jeffrey Graham Hughes to the role of artistic director.

Wait! (TITLEWave Theatre)

Acting in ‘WAIT!’ exceeds script

It seems ironic in this era when some local theatres are disbanding or cutting their seasons due to the financial crunch that a new performance arts company would blossom forth. Believing that Cleveland has a strong theatre tradition and had a need to enhance local offerings by prvoiding a place for new, untested plays to be produced, TITLEWave Theatre, the brain child of Gregory and Jean Marie Vovos, has emerged.

Having been the co-producer, along with Wayne Turney, of Lorain County Community College’s “New Ohio Play Festival,” I am aware of the difficulties of not only getting a new project off the ground, but of sustaining it. It can only be hoped that the Vovos’s adventure sails forth on a tidal wave of success.

They have chosen to mount Julie Jensen’s ‘WAIT’ as their first venture. Ms. Jensen has a Ph.D. in theatre and has taught playwriting at various universities including heading the graduate playwriting program at the University of Nevada, Las Vegas. It is there that Greg Vovos met her and decided to produce and direct one of her shows.

In spite of her credentials, if ‘WAIT!’ is typical Jensen, then there is much to be desired in her style. The play rambles, leaving the audience wondering what it is all about. Yes, the central character, Wendy Burger (yep, that’s her name), has a coming of age experience, but so what? If this is intended to be a play of character studies, only Wendy seems to be a complete character. All of the others are prototypes, paper cut outs of people. Do we really care about any of them? Carrying about, identifying with, feeling empathy toward the characters is the central building block of good theatre. This is almost missing in ‘WAIT!.’

In spite of the play, the production is worth seeing for the performances and Vovos’s directing skills. He gets everything he can from the script, plus some. He is aided by a very talented cast.

Jennifer Clifford is charming, sensitive, and endearing as Wendy, a shy young woman adrift, but focused on a career in the theatre. Randy Rollison transfers between three different characters with ease.

As Wendy’s loutish, hard drinking dad, he is Archie Bunker at his verbal worst. As Lu, a flamboyant gay theatre director, he is a mincing delight. As Hazar, a nasty, almost comatose foreigner, he is compelling. This is a fine performance.

Meg Chamberlin plays two roles with complete separation. Her Floating Pinata Head is a Kathryn Hepburn-type theatre diva on her worst day and her meat cutter Modesto is properly tramp-like.

Marni Task is endearing as the cheerleader/actress O Vixen My Vixen. She does, however, lose some of her appeal in the closing scenes of the play as she has trouble making the transitions between the air-headed teenager and the resigned-to-the realities-of-life woman.

CAPSULE JUDGEMENT: TITLEWave Theatre has undertaken an important task...to share with audiences new, untried plays. It is to be expected that they will experience highs and lows as they bring these untested works to the stage. If the production qualities of ‘WAIT!’ continue, audiences can look forward to high quality on-stage work in spite of potential script weaknesses.

Blue Sky Transmission: A Tibetan Book of the Dead

'BLUE SKY TRANSMISSION: A TIBETAN BOOK OF THE DEAD' fascinating at CPT

Every once in a while a very special event takes place in a theatre. It usually entails a theatre undertaking a subject or a script that takes the audience on a mythical journey into thought and introspection. It also requires that the production live up to the performance levels demanded by the script. Such an experience will be encountered by those lucky enough to get tickets to 'BLUE SKY TRANSMISSION: A TIBETAN BOOK OF THE DEAD' at Cleveland Public Theatre

Don’t let the title throw you. You don’t need to know about Tibetan Buddhist death processes. You just need to be open to see another view of life and death. You need to recognize that each process of dealing with death and understanding death is neither right nor wrong, it’s just different.

This is an intelligent probing into a sacred text that leads us to understand a soul seeking enlightenment. Don’t get the idea that you will understand everything. You won’t, but it will matter little. The whole is more important than the parts. As the script states, “Do not judge, do not try to understand.” It goes on to say, “Everything lies in the journey so don’t grasp at the destination.”

Raymond Bobgan, the director, who also served as the primary playwright, has honed a 90-minute intermissionless engaging experience. He has created a seamless production. He blended his cast, Lisa Black, Tracy Broyles, Kishiko Hasegawa, Holly Holsinger, Brett Keyser, Amy Kristina, Karin Randoja, Sophia Skiles, Rebecca Spencer, and Chi-wang Yang, into a coherent unit.

The entire production is supported by Hamlim El-Dabh’s music. Michael Guy-James has created a flower-like canopy that covers the stage which is surrounded on four sides by seats that stretch to four rows. The configuration allows each viewer to become part of the experience.

Capsule judgement: Near the end of the play several lines summarize the thought-invoking effect of the production. These include: “Do not waste the life to come” and “You are so lucky your pain is so much less than the world’s.”
Following its run in Cleveland the show will move to New York’s La Mama Theatre, ETC. for a four-week run. This is significant as CPT’s Executive Director James Levin began his theatrical career at La Mama and has modeled the local theatre after La Mama’s dedication to social justice issues and innovative live performances.

Stomp (Playhouse Square Center)

'STOMP' stomps the audience

What else can be said of an all-engrossing show that has won the Olivier Award for Best Choreography, the Obie Award, the Drama Desk Award for Unique Theatre Experience?

What else can be said about a show that has been playing to sold-out crowds for over nine seasons and continues to pack them in world-wide?

What else can be said about a show which is the longest-running show in Off-Broadway history and has been called “a sensory delight,” “amazing,” “a romp” and “a sure fire crowd pleaser.”?

‘STOMP’ which recently appeared on the stage of the Palace Theatre in Playhouse Square for eight performances, uses trashcans, plastic bags, plungers, hubcaps, brooms, water, poles, sand, mop heads, hatchet handles, and hammers, among others, to make sounds that inspire dancing feet, clapping hands, and an audience that scream for more.

Capsule judgement: If you missed the show in its latest return to the area, you missed a fun, exciting and amazing evening. Too bad...it was well worth your being there! Hopefully it will return again.

No Shirt, No Shoes, No Weapons of Mass Destruction (Second City)

The Second City matures well!!

The first show presented by Cleveland’s The Second City several years ago was an acceptable, if not totally satisfying production of improvisation and scripted humor. Their latest show, ‘NO SHIRT, NO SHOES, NO WEAPONS OF MASS DESTRUCTION, is much, much, much better.

The title may indicate that you’ll be hearing a lot of anti federal administration put downs. And, though that group in DC deserves it, they only get a small bashing. Most of the humor is aimed at Cleveland, but not the local politicians, with the exception of our own presidential candidate Dennis Kucinich. Too bad the cast wasn’t in tune with local goings-on like the convention center fiasco; Queen Jane’s do-nothing reign; the three stooges, otherwise know as the county commissioners; the pitiful Indians; the score-nothing Browns and the pre-LeBaronCavs. TV newsman Ted Henry did get his due, however.

What is presented is mainly funny stuff. Highlights included the group getting stuck on the elevator during the blackout, Giant Eagles push for getting people to sign up for bonus cards, being fixed-up on a date by one’s ever-present mother, life with a windup girl friend, the birth of a baby and his desire to return to the womb, the chat room date, the metrosexual, and an all guys weekend at a cabin minus the much needed beer.

Several weak segments slowed down the proceedings including a lame skit about a personal trainer, a totally misguided piece centering on a pool noodle which continued to surface in an attempt to get some laughs from the bad idea, a portion about an accountant, and a misguided smoking segment.

Only one of the original Cleveland cast remains. And, that one, Cody Dove, is still the strongest member of the ensemble. He frowns, grimaces, and looks spaced-out in the best of comedic ways. He delivers lines with the right punch. Don’t be surprised if you see him appear on “Saturday Night Live” where such Second City alumni as Dan Aykroyd, John Belushi, Gilda Radner, John Candy, Rick Morani and Martin Short eventually emerged. Yes, he’s that good. Lauren Dowden is also excellent. She adjusts well both physically and verbally to the goings-on. The rest of the local cast (Kiff Vanden Heuvel, Katie Caussin, Randall Harr, Nathan Cockerill) is fine, a long step up from most of the original local neophytes.

The first two acts of semi-scripted material is normally followed by an audience participation unit. It was disappointing that on opening night, that latter, popular and potentially funny segment, was omitted. This is where the viewers really find out, who is a quick thinker, who can hold his or her own in the midst of potential disaster. It can only be hoped that at future productions the improv segments are returned.

CAPSULE JUDGEMENT: If you were disappointed by previous productions, it is now time to return to THE SECOND CITY CLEVELAND and see the new, better version. If you liked past shows, you’ll love this one!

And The World Goes Round (Actors' Summit)

Actors' Summit presents pleasureable, but unpolished review

What do ‘THE HAPPY TIME,’ ‘ZORBA,’ ’‘CHICAGO,’ ‘THE RINK,’ ‘KISS OF THE SPIDER WOMAN,’ and ‘CABARET’ all have in common? Didn’t know the answer? Well, that’s not surprising. They are all musicals written by the team of John Kander and Fred Ebb, the best known musical writing team that you’ve probably never heard of. John Kander and Fred Ebb not only are one of the greatest songwriting teams on Broadway, but they presently are the longest-running music-and-lyrics partnership in Broadway musical history. Unfortunately, their names do not trip off the tongue like Rogers and Hammerstein, Sondheim, and Lerner and Loewe.

Their works have been blended together into the musical review, ‘AND THE WORLD GOES ROUND,’ now on stage at Actors’ Summit. This is a difficult review to get right. Kander and Ebb write complicated music. Many of their songs don’t do well out of their original plot-driven context and don’t seemlessly fit into the review context. Often their songs are long and strain the musical abilities of the singers. And their songs often require gimmickry, such as singing, dancing and acting while on roller skates, the hallmark of their ‘THE RINK.’

Actors Summit, the professional theatre located in Hudson, has put together an acceptable if unpolished production. Most of the cast just isn’t strong enough to carry the vocal requirements of the songs. Singers need full-ranges to sing the likes of “Colored Lights,”“Maybe This Time,” and “Kiss of the Spider Woman.” There is a vocal and physical sizzle that needs to be present in “All that Jazz.” “Marry Me” needs a special appealing approach. Unfortunately, these elements weren’t present. There was a need for masterful vocal blendings for ensemble numbers. Musical Director Michelle Makhlouf needed to spend more time working on vocal sounds and timing.

On the other hand, some things worked well. The songs “Coffee In A cardboard Cup,” and “The Grass is Always Greener” were delightful. Mary Jo Alexander’s set is beautiful.

Sasha Thackaberry, the show’s choreographer, wisely used mostly cross-over steps and wandering, with a limited kick-line thrown in. The attempts for more complicated and stylized movements were thwarted by the limited dancing abilities of the cast. The highlight of the movements was a rollerskating sequence from “The Rink.”

Director Neil Thackaberry has incorporated some clever staging gimmicks into the production. He also has added many set and props changes which slow down the flow of the show.

Tricia Bestic displayed a nice Liza Minelli-style voice and mannerisms. Her “And the World Goes Round” was very well done, as was “Isn’t this Better?.” Dana Hart won the audience with his rendition of “Mr. Cellophane” which was properly pathetic and endearing. Thomas R. Cummings and the audience had a ball chomping on “Sara Lee.”

CAPSULE JUDGEMENT: If you attend ‘AND THE WORLD GOES ROUND’ at Actors’ Summit expecting a polished, well-sung, well-danced review, you’ll be disappointed. If you go to just listen to some of the best music that has come from Broadway, you will have a pleasant time.

The Fix (Beck Center)

Astounding ‘FIX’ at Beck Center!

Several years ago I saw the Washington, D.C. Signture Theatre production of John Dempsey and Dana Rowe’s political musical, ‘THE FIX.’ The production won 10 Helen Hayes Awards, the DC area Tonys. I thought the production was very good, the script somewhat wanting.

Beck Center is presently staging ‘THE FIX.’ THE BECK PRODUCTION IS BETTER THAN THE DC STAGING!

In ‘THE FIX,’ the pillars of democracy are ready to collapse. These columns literally teeter as politicians, strategists, and mafioso scramble to win at any cost.

‘THE FIX’ follows the Chandler family, whose members seem to be a composite of the Kennedy dynasty and the Clinton clan. Before the musical has time to get past its first few notes, Reed Chandler, a front-runner for the White House, dies--while in the throws of having sex with his mistress.

We follow Chandler’s wife and brother as they plot to place Chanlder’s son, the wayward, pot-smoking son Cal, in his place. Cal surprises few by continuing to be the baddy, but gets away with it because of charm and “honesty.” The ending is right out of “The Sopranos.” The musical’s seriousness and the overblown premise doomed the musical when it was done last year in London.

The score could be called contemporary eclectic, drawing its inspiration from a variety of sources. There’s rock, pop, gospel, country and show-biz flash. Many of the songs are excellent.

Director Scott Spence has pulled out all the stops to make this a polished production that overshadows the quality of the writing. He is blessed with an astounding cast with singing voices that far exceed what is heard in local productions. There is not a bad voice in the ensemble.

Dan Folino, who found local fame, and won a Times Tribute Award as the lead character in ‘HEDWIG AND THE ANGRY INCH’ at Cleveland Public Theatre, is amazing as the son, Cal. This young man is everything you’d expect of a star...a phenomenal singing voice, acting finesse, good looks, and a sparkling personality. His may well be THE local musical theatre performance of the year!

The rest of the cast are also splendid. Paul Floriano as Cal’s crippled uncle is totally compelling. Watch for the name Matthew Wright in future local performances. This area newcomer plays Cal’s father. He has a powerful singing voice and acting ability to match. Jessica Cope has a dynamic voice and is completely believable as Tina, Cal’s mistress. Tracee Patterson is properly loathsome as Cal’s Lady Macbeth-like mother.

Don McBride’s excellent set design helps develop the plot. One can feel the pillars about to tumble around us.

The newsreel inserts which feature the likes of local newsman Adam Shapiro, added greatly to the realism of the show. Alison Hernan’s costumes aided in creating just the right visual images.

Larry Goodpaster has done a wonderful job as musical director. The vocal blends are excellent and the orchestra plays well and does not drown out the singing.

Unfortunately the lighting and sound didn’t work as well as the rest of the show’s elements. There were many dark spots on stage and the follow spot work was inconsistent. There were distracting audible thuds and fading in and out while lines were sung and spoken.

CAPSULE JUDGEMENT: ‘THE FIX’ is an outstanding production of a less than perfect script. Go see it to hear the wonderful voices, see the fine acting, and experience a wondrous performance by Dan Folino.

Frankie and Johnny (Ensemble)

'FRANKIE AND JOHNNY' an outstanding, must see at Ensemble

Last year one of the biggest Broadway hits was a revival of Terrance McNally’s ‘FRANKIE & JOHNNY IN THE CLAIR DE LUNE’. It was produced by the wunderkinds of producers, Cleveland’s Hank Unger, Matt Rego and Mark Rego. The show starred Edie Falco (of “The Sopranos”) and Stanley Tucci. The original 1987 off-Broadway production featured Kathy Bates and Bruce Weitz in the title roles. A 1991 film adaptation called ‘FRANKIE AND JOHNNY’ starred Michelle Pfeiffer and Al Pacino. None of these stars has anything on Charles Kartali and Julia Kolibab, who are portraying the roles in Ensemble Theatre’s production.

‘FRANKIE AND JOHNNY IN THE CLAIR DE LUNE’ is a simple show about simple people in complicated times. In this age of bigger than life plays, movies which center on explosions, car chases, space shots and super heroes, this story of “little” people with real problems, is a totally different entertainment experience.

This is the story of a short-order cook and a waitress who purge their loneliness with a night of casual sex. When the sexual act is over, Frankie just wants to eat a cold meatloaf sandwich and go to sleep alone. However, Johnny would rather "bask in the afterglow" and spends the wee hours of the morning trying to convince Frankie that they have something special together. The resulting conflict contains laughs as well as dialogue that allows the audience to examine their own perceptions of loneliness, sex, love and what it means for people to connect.

This is a dialogue show, not one of action. In order for a production to work both characters have to be played with strength, control, correct timing and clarity. The director must have a complete understanding of the plays’ nuances. All of these are present in the Ensemble Theatre production.

Kolibab and Kartali are so comfortable and charming in their portrayals that audience members cannot help but empathize with them, feeling their pain and joy.

Kartali (Johnny)is absolutely endearing as he verbally and physically leaps from emotion to emotion, ever babbling, ever cajoling. He is totally natural, totally believable. This is a flawless performance.

Kolibab (Frankie) is his match. You feel her hurt, you feel her joy, you understand her motives. She adds a vulnerable reality to a performance that makes her and the character one.

Licia Colombi’s direction is probably the finest she has done. She understands the script, and her actors, and weaves the fine line between comedy and drama. The show is perfectly paced and the script well interpreted.

The set, as designed by Stephen Vasee, is totally functional, though the television set in the center of the stage did block some audience members view of the bed, on which much of the action takes place. Corby Grubb’s sound design is well conceived and helps develop a very necessary segment of the production.

Capsule judgement: Ensemble’s production of ‘FRANKIE & JOHNNY IN THE CLAIR DE LUNE’ is one of those special nights of theatre that makes us know what theatre should be all about. It is one of the finest productions seen at a local theatre. It should be noted that this show contains sexual situations, adult language and nudity by both actors.

Cleveland Repertory Project/Verb Ballets (Cain Park)

Cleveland Repertory Project (a.k.a. Verb Ballet) wonderful at Cain Park

One of the problems with viewing dance at venues such as Cain Park is that the presentations are for one night only. They are here, they are good, the word needs to get out as to the excitement of attending such productions, and they are gone before the support can build. This has been the case with all three of the local dance companies reviewed this summer at Cain Park. Groundworks Dance, Pointe of Departure, and most recently, Cleveland Repertory Project. All received standing ovations, positive commentaries, and left their audiences wanting more.

The positive side is that the Cleveland area, even in the midst of the financial famine, has been able to nurture such companies, though barely. They all hang on by a financial thread and the donations of local dance aficionados. Another positive is that with the hole left by the demise of Cleveland San Jose Ballet Company, and the less than thrilling productions by Ohio Ballet, there is still good dance to attend.

Cleveland Repertory Project is in its sixteenth season. It is considered one of the premiere modern dance groups in the area. It has been blessed with a wonderful new Artistic Director in the person of Hernando Cortez. His works and programming show creativity, precision and exciting variations.

“Planet Soup,” the opening number, featured an enchanting melange of dances to world music. Filipino folk dances, Irish reels, African ritual dances and Indian traditional forms were all displayed. Beautifully costumed by Edward Sylvia, the bare-chested, tie dyed skirted males and sarong draped females created exotic images. The dancers, who obviously were enjoying themselves as much as the audience, spun, partnered, flowed and performed with exhausting and cohesive movements. The highlight of the piece was Jason Ignacio’s blind-folded step-dancing between clapping poles.

For long-time local dance attenders it was like a shift back into time with the presentation of the second number, 'Laura’s Women.” The contemporary ballet was choreographed in 1975 by the late Ian Horvath, who was a co-founder of Cleveland Ballet. Danced to the music of Laura Nyro, with copies of the original costumes by Ginger Shane and using the original lighting design of Jennifer Tipton, the piece flowed beautifully. Kallie Marie Bokal, Elizabeth Flynn and Shannon Mulchay made the composition their own.

"Speed" (2003) was Cortez’s humorous approach to a comic-strip-in-dance. A smile piece from beginning to end, tiny Jason Ignacio was the exact image of the TV character Speedracer. Along with his living “wings,” composed of three female dancers, he flew threw the number taking the audience on a delightful journey. This is no great number, but it is fun to watch normally staid dancers let loose and do it so well.

Aaron Copland’s “Appalachian Spring” is a beautiful and haunting piece of music. It lends itself well to dance interpretation. Originally choreographed and costumed by the renowned Martha Graham, the piece was reconstructed by Diana Gray and Gary Galbraith for local presentation. The story-ballet centers on a celebration by a man and a woman who build a house in the wilderness with joy, love and prayer. They are helped on their journey by a revivalist and his followers and a pioneering woman who dreams of the Promised Land. The piece was given a meticulous production. Every character was clearly developed. Tall and powerful Mark Tomasic was properly stern as the Revivalist. Catherine Meredith was enchanting as the bride. Gary Galbraith, who was part of the revival team, effectively danced the Husbandman. Elizabeth Flynn was strong as the Pioneering Woman. This was a wonderful reincarnation of a very important piece of modern dance.

CAPSULE JUDGEMENT: Call 216-397-3757 and request a schedule of Cleveland Repertory Project’s season brochure and attend one or more of their presentations. You won’t be disappointed. They will be repeating “Appalachian Spring” in their November program.

Kimberly Akimbo (Dobama)

Dobama's ‘KIMBERLY AKIMBO’ is funny but misdirected

Progeria is a rare genetic condition characterized by an appearance of accelerated aging in children. About one in 8 million newborns are born with the disease. Since it was described in 1886 about 100 cases have been identified in the world. The child, who quickly races into adulthood at about the rate of seven aging years per single real year. It affects both sexes equally and all races. Characteristics include dwarfism, baldness, a pinched nose, small face and jaw relative to head size, delayed tooth formation, aged looking skin, stiffness of joints, and cardiovascular problems.

Dobama Theatre has chosen to open its 44th season with David Lindsay-Abaire’s play ‘KIMBERLY AKIMBO’ which investigates a girl/woman going through life rapidly with Progeria. This is, you might surmise, an afternoon special, illness of the week, weepy play. Wrong! This is a comedy! Now, you are probably saying, “How can a play be funny when we see the sixteen-year-old victim near death?” Well, in the hands of Lindsay-Abaire it is possible.

The play exposes us to Kimberly Levaco and her dysfunctional family who flee one New Jersey city for another under dubious circumstances. We watch as Kimberly evaluates her life while contending with a hypochondriac mother, a rarely sober father, a scam-artist aunt, her own mortality and the possibility of first love.

On opening night the audience was convulsed in laughter for much of the play. Unfortunately, don’t confuse that with the production being well developed and performed. Part of this is an issue with director Walter Eugene Grodzik’s take on how the play should be interpreted, part is the fault of the play itself.

Grodzik seems to confuse the words “comedy” and “farce.” Rather than let the many, many funny lines develop on their own, he has directed his cast to go over the top. The constant yelling, over-acting, double-takes, and almost begging the audience to laugh, takes away from the true wit of the play. In spite of the hyper-hysterical pace and acting, some of the performers shine. Sean Fitzgerald is wonderful as the nerdy Jeff. One can only imagine how wonderful he would have been if he had been allowed to use his natural sense of timing, instead of imitating a windmill with arms flailing, and a super high-pitched voice. Paula Duesing walks the fine line between teenager and aged adult with precision. John Kolibab has a wonderful scene at the start of the second act in which his desperate, short-lived sobriety comes ringing clear. Unfortunately, in most of the play he over does it. The rest of the cast is over the edge. We laugh at the actors, not with the characters.

In Lindsay-Abaire’s defense is the fact that the author has not given the director a totally good script with which to work. Reviews of previous productions state: “The play doesn’t entirely come together as a play” and ‘KIMBERLY AKIMBO ‘is somewhat problematic and unpolished, and “The characters are broadly painted, and maybe three-quarters defined, as if Lindsay-Abaire had to cram a lot of quirkiness and exposition into the already svelte running time of 105 minutes.”

CAPSULE JUDGEMENT: Many audience members will find ‘KIMBERLY AKIMBO ‘ to be an evening of laughs and appreciate the fact that a severely depressing subject can be dealt with in a humorous manner without mocking the disease. On the other hand, the play and the production are not wonderful theatre.

Pointe of Departure needs your help...a commentary

Wonderful dance company, Point of Departure, needs your help!

With the demise of The Cleveland-San Jose Ballet several years ago, the area was left without a major ballet company. This is a major missing link in the arts chain of excellent in Greater Cleveland. The Cleveland Symphony and Cleveland Museum of Art symphony have international reputations. The Playhouse Square area is renowned for its theatres. The Cleveland Play House is the oldest theatre of its type in the country. The Great Lakes Theatre Festival is in the midst of a wondrous rebirth. The Cleveland Opera and many smaller theatres such as Dobama and Cleveland Public Theatre have given the area a solid performance reputation. Without a ballet company, however, Cleveland can’t be considered a complete arts center.

The two wonders of the CSJB, dancers Karen Gabay and Raymond Rodriguez, Clevelanders by choice, want to do something about filling the void. There is a love affair between Gabay, Rodriguez and Cleveland ballet audiences. We have seen them grow from wunderkindts to mature dancers and Gabay into a creative choreographer. This was clearly seen at their recent appearance at Cain Park. The applause was great. In the talk-back following the program, accolades from the audience pored forth.

Point of Departure is what the area needs. So, what’s the problem? The answer: $$$$$$. Without money the company can’t exist.

Point of Departure been living on a subsistence since it was conceived. Dancers are jobbed-in. They want to come here and run a complete season. The area has a fine reputation and Gabay and Rodriguez reek from talent, drive and dedication. Why can’t the company get the likes of $45,000 to stage shows like that done at Cain Park? They aren’t extravagant. They don’t throw money around like the CSJB did. They perform without sets and a culled-down production staff, yet the productions are glorious.

Where have the CSJB donors gone? Why aren’t local businesses giving the needed funds? Why has no local production venue offered their home to Point of Departure? Yes, there is a recession going on. Yes, companies have left the area. Yes, all of the arts organizations need funds as was displayed by the number of theatres last year who had to cut their seasons short and the disappearance altogether of the Berea Summer Theatre and the Halle Theatre at the Jewish Community Center. But, there are still very wealthy people around and very productive companies. Average folks can help by giving small donations, but that’s not enough.

The window of opportunity for Pointe of Departure is closing fast. Gabay and Rodriguez are near the end of the their dance careers. They will move on to other activities if the local area doesn’t come through. This is not a threat, it’s real. They each want to settle down someplace and produce their art. If it is not here, and they get funding elsewhere, they will go elsewhere and do their thing. It will be this area’s lose.

Some person or persons or group needs to step forward and fund this fledgling organization. No one better deserves this support than Karen Gabay and Raymond Rodriguez, the co-artistic directors of Point of Departure. If you have a check to write, a suggestion of who might be the angel to give the area its ballet company, contact Point of Departure at 216-881-0353 or write Gabrod, Inc. at P.O. Box 719, Lakewood, OH 44107 or go on-line to www.pointeofdeparture,com.

Stratford Festival of Canada: General Information--2003

The Stratford Festival of Canada: A Fall Wrap-up

The Stratford Festival of Canada takes place in Stratford, Ontario, Canada. The ride to Stratford from Cleveland is about six hours through Buffalo. Go on-line to the festival to get directions. (I found the directions offered by both the AAA and Yahoo maps to be confusing and miles longer.)

Productions run through November 9. Fall offerings include: ‘THE TAMING OF THE SHREW,’ ‘THE KING AND I,’ ‘PERICLES,’ ‘LOVE’S LABOUR’S LOST,’ ‘GIGI,’ ‘THE HUNCHBACK OF NOTRE DAME,’ ‘PRESENT LAUGHTER.’ The headlines of my previous reviews were: ‘KING AND I’ SUMPTUOUS; ‘GIGI’ IS AUDIENCE PLEASING BUT MISDIRECTED; ‘PERICLES’ TRIUMPHS!; ‘THE HUNCHBACK OF NOTRE DAME’ RINGS WRONG BELLS. Shows carrying over only in September are: ‘ANTONY AND CLEOPATRA,’ ‘THE BIRDS,’ ‘’TROILUS AND CRESSIDA,’ ‘QUIET IN THE LAND,’ and ‘AGAMEMNON.’ Of these, on my late June visit I only saw ‘ANTONY AND CLEOPATRA’ which I found boring.

What’s the lodging like? I stayed at The Victorian Inn, which bills itself as “a place to rejuvenate your family and revel in the richness desired.” I found it little more than an older Holiday Inn. By the way, don’t spend the extra money to get a room with a view. Our additional investment garnered a view of the parking lot. I’d opt for one of the many bed and breakfasts. Sorry, I can’t recommend a specific choice as it’s been years since we stayed at one.

As for shopping, I strongly recommend Davis Canadian Arts (106 Ontario Street). This is a wonderful art gallery that offers Canadian traditional and contemporary sculptures, ceramics and paintings. For women’s quality clothing make sure to stop at The Touchmark Shop (137 Ontario Street). The establishment offers unique and one-of-a kind products at excellent prices.

Hungry? For moderate cost, high quality, try The Annex Room (38 Albert Street). For a slightly higher priced meal Bentley’s, a sister to The Annex, is good. I had a very negative dining experience at Carters on Downie. My expensive halibut main course consisted of a fish stick-sized piece of fish and four asparagus spears. It’s lunch portions at upscale dinner prices. And, unlike most Canadian restaurants, the service was poor. For a relaxed and fairly inexpensive breakfast treat try Demetre’s Family Eatery (1100 Ontario Street)..

Stratford Escapes, a division of Niagara Falls Tours, is an efficient way to make reservations. For information call 877-356-6385 or go on line to www.niagarafallstours.com. For individual tickets call 800-567-1600 or go on-line to www.stratfordfestival.ca.

THE SHAW FESTIVAL

The Shaw Festival is conducted in three lovely theatres in Niagara on the Lake, Ontario, Canada, an easy four-hour trip from Cleveland. You travel through the wine countries of Ohio, New York and Canada enroute.

Productions run through November 30. September through the end of season productions include: ‘THE ROYAL FAMILY,’ ‘THE CORONATION VOYAGE’, THE PLOUGH AND THE STARS,’ ‘BLOOD RELATIONS,’ ‘AFTERPLAY,’ ‘MISALLIANCE,’ ‘DIANA OF DOBSON’S,’ ‘HAPPY END,’ ‘WIDOWERS’ HOUSES,’ and ‘ON THE TWENTIETH CENTURY.’ Of those that I saw, I’d strongly recommend ‘THE CORONATION VOYAGE,’ ‘AFTERPLAY,’ ‘DIANA OF DOBSON’S,’ and ‘WIDOWERS’ HOUSE.’

The Niagara area is dotted with wineries, many of which, besides offering wine tastings and sales, have restaurants . I have, in general, been disappointed in the winery restaurants with the exception of Inn on the Twenty, located in historic Jordan Village (www.innonthetwenty.com), about forty minutes from Niagara-on-the-Lake.. This ranks as one of my favorite restaurants in the world. The service is always wonderful, the facility is beautiful, the gardens behind the facility lovely, and the food is outstanding! This is a “must go-to.”

Also on the must do list is eating at The Queenston Heights Restaurant. Located in a park just over the Canadian line, the facility has a breathtaking view of the Niagara River gorge. I’ve been there a dozen times and never had a meal that was anything less than outstanding. Try and get seated at one of Christine’s tables. She’s a total delight and a wonderful server.

Disappointing for dinner was Epicurean, which is excellent for lunch. Service was poor and the dollar for value quotient weak. Fans Court Chinese Restaurant (135 Queen Street) is a much better buy. It has a very pleasant outdoor patio and the food is nice. Try the fruit chicken dish for a different taste treat.

Greaves Jams and Marmalades is famous for its products since 1927. A Niagara tradition is the Maple Leaf Fudge store. Also, don’t miss out on the several stores that sell yogurt which is blended before your eyes with Niagara fresh fruits.

The area has many excellent hotels and bed-and-breakfasts. We have found Abbotsford House Bed and Breakfast to be our home-away-from-home. Owner Margaret Currie is a total delight. Her breakfasts are scrumptious, she gives a new meaning to the word “clean,” and the antiques and decorations are impeccable. Return guests are the rule here. For reservations and/or information call 905-468-4646 or e mail AbbotsfordBandB.com.

For theatre information, lodging suggestions or tickets call 800-511-7429 or go on-line to www.shawfest.com. Ask about packages that include lodging, meal and tickets. Also be aware that the festival offers Sunday night specials, rush tickets and senior matinee prices.

For those so-inclined, Niagara Falls has an excellent gambling casino and there is a very large outlet store complex besides being able to take in the attractions connected to the magnificent falls.

This is a wonderful time of year to travel to our neighbor to the north. Friendly people, good value and wonderful theatre awaits you.

Midsummer Night's Dream, The Ballet (Ohio Dance Theatre)

Ohio Dance Theatre presents 'Midsummer Night's Dream: The Ballet'

Ohio Dance Theatre, which is housed in Oberlin, recently completed its inaugural summer series at the Cleveland Play House. Normally the company performs at Lorain County Community College and has developed a very large following there. According to Artistic Director Denise Gula the company attracted a new base while in residence at the nation’s oldest professional theatre. As always happens with groups new to an area it takes a while for the word to get out, so audience size was generally smaller than the company is used to getting in its “real” home. Cleveland’s economic woes, which have strongly affected other arts organizations, did not help the situation.

Founded in 1992 by Gula, the company’s mission is to “enhance the quality of life throughout the northeastern Ohio area by offering quality dance performances and educational programs.”

Due to Gula’s strong drama background as an actress and director, the company is one of the few in the country which incorporates theatricality into their program. For example, their recent production of ‘MIDSUMMER NIGHT’S DREAM’ consisted of a blend of dance and spoken dialogue.

A theatrical production in two acts, ODT’S ‘MIDSUMMER NIGHT’S DREAM’ uses as its theme the Shakespeare play of the same name. It is danced to the music of Felix Mendelssohn. Blending spoken dialogue with dance, it makes for an interesting evening of entertainment.

Allen Schissler and Jody Skye danced well as Oberon and Tatania, the king and queen of the fairies. Their closing duet was outstanding. Though he could have displayed a little more pixie quality, Alfiero Supan made a nice Puck. The Fairies formed a beautiful corps, with good point movement and excellent timing of the group movements.

Capsule judgement: Ohio Ballet Theatre is a small dance company which seems to be headed for a bright future.

Goodbye to Halle Theatre (Jewish Community Center)

HOPEFULLY, THIS IS NOT GOOD BYE TO “MY” HALLE THEATRE

I made my local community theatre debut at the Jewish Community Center’s theatre. It was located in a store front on Lee Road and was headed by the noted former New York theatrical actor and director, Mark Feder. I was featured in ‘OUR TOWN’ and ‘COLD WIND AND THE WARM’ in that inviting setting. Later, after the theatre moved to the “brand new” JCC on Mayfield Road, I continued my theatrical career there. Joseph Buloff, of TV’s “The Untouchables” and Broadway fame, came to Cleveland to direct ‘THE FIFTH SEASON ‘ which playwright Betty Fields had written for him to star in on Broadway. A year later he returned and I had a major role in the first not-on-Broadway production of ‘THE WALL,‘ the story of Warsaw Ghetto uprising. It was a privilege to work with this great man. I learned much of my directing skills from him. Skills which I later shared with students at several local junior and senior high schools, Lorain County Community College, and casts at numerous community theatres.

It was, therefore, with much sadness that I learned that JCC’s Halle Theatre was going on sabbatical. The announced plan is to revive the program next year. The skepticism in the theatrical and lay community is running high. Activities put on hold often stay on hold forever. It will be a genuine shame if this community permanently loses the JCC theatre program. It is the only venue for plays specifically written about or by Jews.

With the great amount of funds donated by Jewish philanthropists in this town, it is a shame that someone has not stepped forward to save this treasure. Yes, lots of “little” guys have offered donations. It will, however, take some big giver to provide the needed funds to underwrite the program. Arts programs, in general, can’t be supported by ticket sales and small contributors. It takes major donors, whether it be a person, a city, a corporation, or a non-profit organization to float the funds to support the project.

I can only trust that Enid Baum Rosenberg, one of my former Beachwood students who benefitted from my JCC training, will lead the Board of JCC to find some way to breathe life back into this needed theatre program.