Amy's View (Dobama)

High quality acting in Dobama's ‘AMY’S VIEW’

It is somewhat ironic that the weekend before the vote on whether Cuyahoga County should fund the arts that Dobama Theatre opened ‘AMY’S VIEW.’ Much of the play is about the value of theatre, cultural changes, and the role and purpose of the arts.

‘AMY’S VIEW’ follows a mother-daughter relationship over a sixteen year period from 1979 to 1995. As is the general pattern with Hare’s writing, the play is built around what he calls, a “fragrant” woman. In this case, it’s Amy, who believes that “you have to give love unconditionally and that one day it will be rewarded.”

The play’s first half mainly revolves around the conflict between the assertive Esme, Amy’s mother, and Dominic, Amy’s future husband. When we meet them in 1979, she is a well-known stage actress, he a young nobody who despises the theatre as "irrelevant" and has impregnated Amy. Come 1985, Dominic is a big media success, while Esme is on the slide playing germs in ads for disinfectants. The play then jumps to the 1990s. Dominic is achieving world fame by making “action” movies and Esme is hugely in debt due to misguided investments and has succumbed to playing a doughty nurse in a TV soap. Without revealing the “startling incident” which changes the course of the play, Hare has Esme losing pretty well everything, but somehow ending up the gainer.

The play is well-crafted, but the ending is too contrived, unsatisfying. And, as often is the case with Hare, the male characters are too clearly the “bad” guys. Whether you agree with Dominic’s point of view or not, it is obvious from his first outburst that he is going to be the heavy in this story. In a sea of positive reviews regarding Judi Denche’s magnificent performance, one London critic stated of the play, “He’s a peculiar case is David Hare. Always, even in his best work, there are patches where you feel you’re having your ear bent by someone still compelled to score points in the manner of some cocky little snit and a voice inside you wants to scream, more at the dramatist than at the character speaking, “Oh, for God’s sake grow-up!” Another stated, “somewhere during a quarrel between Amy and Esme about the meaning of “talking control” of one’s life, it must be wondered if the play was getting too unfocused, too scattered.

Dobama’s production is well-directed by Sonya Robbins. It is well-acted by most of the cast, three of whom are former Times Theatre Tribute winners for their performance abilities.

Catherine Albers as Esme gives her usual flawless performance. Though there are times when Hare doesn’t give her a clear set of motivations, she invents them and develops a clear characterization.

Derdriu Ring, who always lights up a stage, glows brightly as Amy. The character’s goodness and anguish are both evidently clear.

Todd Krispinsky is given the difficult task of being Hare’s whipping boy. He does it well, though his last act transition was not well textured. Part of this is the script’s fault as Dominic isn’t given much character variance in the lines. The lack of makeup and wardrobe adjustments also didn’t assist Krispinsky.

Robert Hawkes gives a clear and consistent interpretation to the nebbish-like Frank, Esme’s next door neighbor, suitor and financial adviser. But as was the case with the character of Dominic, Hare didn’t give Frank the same dimensions as the female characters.

Tom Weaver is appealing as a neophyte actor. Only Ursula Korneitchouk fails to develop a real being as Evelyn, Esme’s aging mother-in-law. Her lines have a flat, memorized sound.

Michael Louis Grube’s aesthetically pleasing set design works well, except during a set change in which the back wall folds in order to allow it to fade backstage. For an instance it appeared that it was going to annihilate Evelyn, who is sitting in a wheel chair in front of the wall.

CAPSULE JUDGEMENT: ‘AMY’S VIEW’ gets a wonderful production at Dobama. In fact, the production qualities outshine the problematic script.

A Nigth With Dame Edna (Playhouse Square Center)

DAME EDNA DELIGHTS AT THE PALACE

Cleveland audiences are noted for giving standing ovations to theatrical presentations. Never, however, has the Palace Theatre been the setting for the standing “O” given for and orchestrated by Dame Edna Everage. Dame Edna Everage? The character is the creation of Australian, Barry Humphries, who calls herself, an icon and a megastar, among other things. One thing he/she is not is an impersonator. Barry Humphries IS Dame Edna, pure and simple, period! He’s been doing the character since the 70s and he has it down perfectly.

Dame Edna has been credited with being “one of the funniest characters to grace the stage.” She was the winner of the "Special 2000 Tony Award" for Best "Live Theatrical Event" and received the National Broadway Theatre Award for "Best Play" and for "Best Actor.”

During her nearly two-and-one-half hour show, she combines a few patter songs, with chatter in which she addresses the entire audience but singles out some for close scrutiny. She calls them by name, harasses them in a passive aggressive manner, which, according to Dame Edna is “delivered in a tasteful and loving way.” As she says, “I don’t pick on people. I empower them. It’s Australian tough love.”

Two late arrivers were asked their names and why they were tardy. As expected Dame Edna goes on a bit about it. Is she done with them? No! She returns to the latecomers over and over, to the delight of the audience. She addresses a “senior” in the third row, and before he knows it he ends up on stage in Dame Edna’s recreation of the Royal Family of England. She collects audience members’ shoes for a “reading” of their characters. She uses local references with ease. WEWS-TV’s Adam Shapiro, Rocky River, the West side Market vendors who buy tomatoes as Giant Eagle and spread them with manure to give the idea that they are selling organic products, Shaker Heights and Streetsboro all get their share of attention. They are skewered, as is the clothing of audience members, and their decorating skills. Two women end up dining on pasta on stage during the second act. A young couple who Dame Edna declares are having marital problems are dragged onto the stage and a long distance call is made to the woman’s Australian mother who is living in Maryland, so she can be told of their problems and invited to come live with them. No one and nothing is really safe as she talks to people in the boxes on each side of the theater and to the paupers in the balcony, does a monologue about prostrates, and the elderly who have been placed in the “home for the burdened.” Hysteria is the order of night.

In the hands of someone else it could come across as mean-spirited and crude but Dame Edna’s personality puts her audience at ease so even those who were the brunt of her jibes appeared to enjoy themselves.

CAPSULE JUDGEMENT: If you are in the right mood, and allow yourself to “let loose”“A NIGHT WITH DAME EDNA” is 2 1/2 hours of some of the funniest material on the planet. Obviously, some didn’t appreciate her double entendres and style of fun as there was a small exodus at intermission. It was their loss! From my perspective, it was one of the most enjoyable evenings of fun I’ve had in the theater.

Vincent in Brixton (Cleveland Play House)

‘VINCENT IN BRIXTON’ is a fine production at CPH

The legend of Vincent van Gogh lives on through his paintings, those swirling, thickly pigmented canvases filled with sunflowers, soulful faces and starry night skies. Rumors live on of his life, the famous cutting off of his own ear, his co-dependent relationship with his brother, his monumental fits of depression, and his penniless existence.

The painter has been depicted as a tortured genius, but in ‘VINCENT IN BRIXTON, Nicholas Wright’s award winning play now on stage at the Cleveland Play House, van Gogh takes on the image of a raw, naive, tactless and even comical character.

Van Gogh had three uncles who were art dealers. In 1873, at age 20, in order to train him for entrance into the family business, he was moved from his native Holland to work in the London office of an international art-dealing firm. It is at this point that author Wright starts his play. The script traces the transforming effects of love, sex and youthful adventure on van Gogh's still-unformed talent.

Vincent rented a room in the house of a widow named Ursula Loyer and her adult daughter Eugenie. Wright speculates that van Gogh fell in love with both women, but it was his affair with Mrs. Loyer that was a life-altering experience in a journey that ultimately ended with mental breakdown, death and immortality.

The “facts” of this story were taken from letters written by van Gogh to various family members. Wright has filled in the gaps where real information does not exist, thus creating a biodrama, not a histodrama.

The play, which won the Olivier Award for its London production, has been called "a fascinating, funny and sometimes deeply moving Portrait of the Artist as a Young Man," “Wright's best play," “an enthralling play,” and “fascinating, funny and moving.”

The CPH’s production, under the expert direction of Seth Gordon, is generally on target. As he did with last year’s ‘PROOF,’ Gordon again proves himself to be the most talented of CPH directors. He is the only director so far who has found a way to use the poorly designed Baxter Stage with any positive effect. It can only be hoped that with the reorganization of the theatre Gordon is not only encouraged to remain, but is given more responsibilities.,

Beth Dixon gives a fine performance as Ursula, van Gogh’s mature lover. Simon Kendall is perfect as Vincent. His frail body and delicate face give a vivid picture of the troubled van Gogh as a youth. His acting nuances, foretell the torture that the man will experience. Virginia Donohoe and Patrick Jones are excellent as the daughter and her lover/husband. Only Emily Frazier Klingensmith is weak in her performance. Complete with overdone accent, hers is not a believable portrayal of Vincent’s sister.

Kent Dorsey’s set is excellent, but one must wonder about the modern plumbing and running water in a London house in 1873.

CAPSULE JUDGEMENT: ‘VINCENT IN BRIXTON’ is excellent. It is the bringing together of a well-honed script and fine production values. This is what the Cleveland Play House should be doing on a regular basis.

Winter Repertory (Ohio Ballet)

Ohio Ballet presents full evening of well choreographed dancing

Dance is composed of four elements: choreography, movement, music and message. When the four come together it makes for an exciting evening. Ohio Ballet’s ‘WINTER REPERTORY PROGRAM’ had three of the elements consistently present...choreography, music and message. The movement, the dancing, was inconsistent.

The program opened with a light, sprightly, South American beat. “Bossa Nova,” consisting of four short pieces, was given its world premiere in this program. They were well choreographed by Leslie Cook. The very talented Amanda Cobb was wonderful as the lead dancer in all the segments. She was ably backed by Kristin Knapp, Alicia Pitts and Eva Trapp. Brian Murphy’s facial expressions, pelvic thrusts and quick feet picked up the beat and created a perfect feel. Unfortunately, the other males were often flat footed and appeared to be laboring rather than enjoying themselves.

“Wanders Night Song” was a classic ballet whose choreography was the weakest of the evening. Toby George was acceptable, if not spectacular as the soloist. He displayed nice leaps and good flow, but lacked the charisma needed to capture the audience.

“Etudes” was performed to ear jarring modern music. The choreography of Jean-Pierre Bonnefoux didn’t always fit Gyorgy Ligeti’s tonal intentions. In spite of this, the piece was superbly danced by Alicia Pitts, whose toe work was wonderful, Eva Trapp and Kristin Knapp.

Chung-Fu Chang’s “Traveling in the Frost”was danced to pianist David Fisher’s live piano accompaniment and the poetic messages of Wilhelm Muller and Peter Hartling. Chang challenged the five male dancers with interesting choreography, pushing the performers to their limits. Though some of the unit timing was off, the overall effect was generally positive. Especially effective was Dennis Dugan’s lighting in a segment in which the dancers’ shadows were projected onto the back curtain.

Bennefoux also choreographed “Chaconne” which was danced to violin soloist Amy Barlowe Bodman’s interpretation of composer Johann Sebastian Bach. The piece was very nicely performed by Amanda Cobb.

The world premiere of “Transformation!” by Ohio Ballet’s Artistic Director Jeffrey Graham Hughes was highlighted by the outstanding singing and musical sounds of the group Divine Hope. Damien Highfield, portraying Paul, stood out in the story taken from the “Bible,” Acts 6: 1 through 9:19. Eric Carvill was effective as Stephen. Though no great piece of ballet, the overall effect was positive.

CAPSULE JUDGEMENT: Ohio Ballet continues to draw small but appreciative audiences. The group needs to take steps to make people want to come through more innovative programming and improved presentation, especially by their male dancers.

Of Mice and Men (Beck Center)

Classic ‘OF MICE AND MEN’ gets fine production at Beck

John Steinbeck is one of America’s greatest writers. His works have received numerous awards, been translated into many languages and have been revised into films, plays and operas.

Steinbeck’s deep roots in the earth and understanding of the people of California’s Salinas Valley become vividly clear in each of his writings. His keen observations and powerful descriptions of the human condition suck the reader into his fictional worlds. Noted for his views on social values, he championed the forgotten and disenfranchised while affirming the strength of the human spirit.

Steinbeck was not only a writer for America, but a writer for the world, as exemplified by his winning the Nobel Prize for Literature in 1962. His impressive list of works include “Grapes of Wrath,” “East of Eden,” “Cannery Row,” and “The Pearl.”

Published in 1937, Steinbeck’s “Of Mice and Men” was made into movies in 1939 with Burgess Meredith as George and Lon Chaney, Jr. as Lennie , in 1981 with Robert Blake (George) and Randy Quaid (Lenny) and in 1992 with Gary Sinise (George) and John Malkovich (Lennie). It was transformed into an acclaimed opera by Carlisle Floyd.

The story is based on the 1785 poem “To A Mouse,” by Scottish poet Robert Burns which states that the best laid schemes of mice and men matter little, as no matter how hard or well we plan, something stops us from achieving our goals.

The story centers on lonely and alienated George and Lennie, drifters who dream of a place to call their own. After numerous incidents in which the kind hearted, but huge, hulking and simple-minded Lennie gets into trouble, the two find themselves, once again, working for meager wages on a ranch. As usual, problems arise and tragedy ensues.

The Beck Center’s production of ‘OF MICE AND MEN’ is a well conceived if slowly paced production. Director Fred Sternfeld’s pacing brings out the meaning of the lines, but makes the evening a little long. Not boring, just long.

The acting is generally excellent. Robert McCoy, as the simple Lenny gives a fine performance. He does not play the role as a retard, just as a slow-thinking, logically challenged childlike person. This portrayal is nicely nuanced, as is Greg Del Torto’s George. Nowhere in his performance does Del Torto give us the feeling, so often found in interpretations of this role, that George is using Lenny as his whipping boy. We see and feel real concern. Almost of love of father for child.

Glenn Colerider, as the old, one-handed laborer, is compelling. The rest of the cast interprets their roles well, with the exception of Brian Honohan whose Curley, the boss’s son, is basically unbelievable.

Richard Gould’s settings are astounding. The bunkhouse, barn and outside areas are works of art. Richard Ingraham has added some fine background sounds and fine underscoring musical interludes. Jeffrey Smart’s costumes are era perfect.

CAPSULE JUDGEMENT: Though slowly paced, ‘OF MICE AND MEN’ is an excellent production of a classic Steinbeck piece of literature. It is a fine opportunity for students and those interested in the classics to see a staged version of an important American tale.

UNCLE TOM'S CABIN--OR THE PRESERVATION OF FAVOURED RACES IN THE STRUGGLE FOR LIFE (Cleveland Public Theatre)

‘UNCLE TOM’S CABIN’ in provocative production at CPT

Many plays and books have evoked controversy and incited change. Probably no volume outside of ‘The Bible” has been more credited or damned for its influence than Harriet Beecher Stowe’s “Uncle Tom’s Cabin.” Abraham Lincoln indicated that the book and its author were among the most influential causes for the Civil War.

2004 marks the 152nd Anniversary of the writing of “Uncle Tom’s Cabin.” The volume still remains a controversial work of art. The play productions of the novel also incite strong reactions. In the 1852 “Boston Herald” review of the first production of “UNCLE TOM'S CABIN,” a critic claimed: "This play [is] nightly received at one of our most popular theatres with repeated rounds of applause. It is a sad blunder [that] our stage shall become the deliberate agent in the cause of abolitionism."

Harriet Beecher Stowe was raised as a Puritan. While a child living in Cincinnati, which was just across the river from the slave trade, Stowe observed firsthand incidents which inspired her to write the now-famous anti-slavery novel. Although many Northerners considered slavery a political institution for which they had no personal responsibility, the book become a sensation and raised the conscience of numerous Northerners while repulsing many Southerners

Cleveland Public Theatre, as part of its Black history month program, has decided to produce a “different” version of the play. The vehicle, “UNCLE TOM'S CABIN (OR THE PRESERVATION OF FAVOURED RACES IN THE STRUGGLE FOR LIFE),” created by Floraine Kay and Randolph Curtis Rand, breaks from the traditional storyline. It pushes every boundary and stereotype, probing the sensationalism and notoriety of the original script.

The production also breaks from traditional staging using nine actors to play nearly 40 roles. The staging pays no attention to sex or color, having the actors switch both their gender and their race as they act the roles in stylized performances.

The staging, itself, may confuse and confound some viewers, while exciting and pleasing others. Many will find the “plot” hard to follow. There is just so much happening on the stage that the viewer can easily get overwhelmed. Director Randolph Curtis Rand needed to ask whether his staging devices would help or hinder the audience’s receipt of the message. The constant shuffling of chairs, posing and extended acting devices often got in the way of clarity. Maybe a less chaotic approach would have been appropriate.

The performances in the CPT production range from excellent to shallow. Nina Domingue and George Roth make every one of their characters vivid and clear. These are very fine performances. On the other hand, Cornelius speaks words rather than meanings and is unconvincing in many of his portrayals. Betsy Hogg is often difficult to hear and understand.

CAPSULE JUDGEMENT: . CPT’s ‘UNCLE TOM’S CABIN: THE PRESERVATION OF FAVORED RACES IN THE STRUGGLE FOR LIFE’ will create a great deal of conversation regarding both the script and production values. It’s an important function of the arts to present various views. CPT gets high marks for challenging its audiences (and this critic) to think and react.

Saturday Night Fever--The Musical (Playhouse Square Center)

Uninspiring 'SATURDAY NIGHT FEVER' dances way into the Palace

What do the theatre musicals ‘FAME,’ ‘SEVEN BRIDES FOR SEVEN BROTHERS,’ ‘MEET ME IN ST. LOUIS,’ ‘GIGI’ and ‘BREAKFAST AT TIFFANYS’ have in common? They were all movies before they were transferred into stage shows. And, they ranged from being flops to moderate successes. The latest entrant onto that list is and ‘SATURDAY NIGHT FEVER—THE MUSICAL,’ which is now on its national tour.

Based on the 1977 film of the same name, it features the songs from the soundtrack by the Bee Gees and tells the story of a streetwise Brooklyn kid with a desire to make it big in NY. The film was the vehicle which capitulated John Travolta toward stardom. The score, which was backup music in the movie, has come front and center for the show. The songs are sung by the cast rather than being put forth by the Bee Gees. The score includes “Stayin’ Alive,” “How Deep Is Your Love?,’ and “Jive Talkin.”

From start to finish this is a dance show. The cast dances well, they are filled with youthful enthusiasm. Unfortunately, director/choreographer Arlene Phillips’ dance plan gets repetitious. She uses the same movements over and over. The hip thrusts, ceiling pointing, crotch grabs, and head rolls eventually become boring.

The cast, most of whom are in their first professional show, try hard, often too hard. It becomes very clear that Phillips selected the cast according to their dancing abilities, secondly for their singing and lastly, for their acting.
Emotional levels seem fake because shouting is substituted for strong emotions and the meaning of lines often gets lost. Phillips also has tried too hard to get sexual implication induced laughs rather than letting the lines develop on their own. This façade is aided by Suzy Benzinger’s costume designs which uses skin tight polyester and then more form fitting polyester.

The production stars Mentor native Tony Gonzalez as Tony. Gonzalez has a nice singing voice, but his forte is dancing. And dance he does! Gonzalez does not possess Travolta’s natural sexuality or acting abilities. The final effect is an acceptable if unspectacular portrayal. Heidi Suhr, who portrays Annette, who is in love with Tony, has a nice singing voice, but has difficulty developing a believable character. Kristin Piro, as Tony’s contest partner, is a fine dancer, but displays shallow acting abilities. Brandon Nix has a fine singing voice, but his character development is weak. You get the point!

The show’s music has a heavy disco sound. It is well played by the orchestra, though their volume often drowns out the words of the songs.

The show’s highlight is a background drop which illustrates the Verrazano Narrow Bridge complete with moving headlights of passing cars which appears in several scenes.

The curtain call, a no holds barred dancethon, had the audience on its feet clapping and moving.

CAPSULE JUDGEMENT: ‘SATURDAY NIGHT FEVER—THE MUSICAL’ is a contrived musical that gets a barely acceptable production at the Palace Theatre. It’s pretty sad to say of a supposedly professional show that the highlight is a gimmicky piece of scenery. ‘Nuff said!

The Dinner Party (Cleveland Play House)

Script and directing miss mark in 'THE DINNER PARTY' at CPH

Neil Simon is the undisputed master of modern American theatrical comedy. His thirty-one plays have covered a dysfunctional duo living together (‘THE ODD COUPLE’), the plight of newlyweds (‘BAREFOOT IN THE PARK’) and lots of self examination plays including ‘BRIGHTON BEACH MEMOIRS’ ‘BILOXI BLUES,’ ‘BROADWAY BOUND,’ and ‘LOST IN YONKERS.’

Simon is at his best when he adds up a bunch of funny one-liners into a delightful set of plausible circumstances. Think ‘THE STAR-SPANGLED GIRL,’ ‘PLAZA SUITE,’ and ‘LAST OF THE RED HOT LOVERS.’ He’s at his worst when he attempts to philosophize. Think ‘GOD'S FAVORITE,’ ‘JAKE'S WOMEN’ AND ‘PROPOSALS.’ (You’ve probably never heard of the plays as they were generally panned by the critics and avoided by audiences.)

Unfortunately, ‘THE DINNER PARTY,’ now on stage at the Cleveland Play House, falls into Simon’s “message plays” list. Simon should be given credit for trying to break his traditional mode and write a play very different from anything he had done before. Simon has achieved his goal, but it doesn’t translate into success. The script is not a farce, a broad comedy, or a drama with a few laughs. What it actually is is anyone’s guess. What it emphatically is not is a total entertaining evening at the theatre.

The show opened to negative reviews in New York. It ran because of a strong presale based on Simon’s reputation plus a cast that included Henry Winkler and the late-John Ritter.

The plot of ‘THE DINNER PARTY"’is as simple as some of its lines. Gabrielle invites Andre, her ex-husband, with whom she's still in love, and two other couples who used to be married to each other, to a dinner party at a posh Parisian restaurant. Several funny things happen on the way to discovering why she planned the party and how her Machiavellian plan is meant to affect the others. The premise is broad, the effect is shallow.

Adding to the script’s problems is Peter Hackett’s laborious directing, which adds at least half-an-hour to the intermissionless play.

Hacket, who will soon be leaving his position as Artistic Director of CPH, seems to have no clue as how to balance the comedy aspects with the dramatic message. The pacing of the show is torturous. The characters generally display little real emotional passion, laugh lines aren’t keyed, the actors often seem lost. As someone sitting behind me said, “When is this thing going to end?” Unfortunately, this same message must be placed on Hackett’s well-meaning, but misdirected tenure at the CPH. It can only be hoped that his strong academic talents will fit much better into a university setting where his questionable play selections and administative decisions won’t be a factor. He is wished much good luck in what hopefully will be a better setting for his abilities.

The cast of the production at times seems as clueless as the script. Kevin Hogan, as a frustrated writer, walks through his part, often saying funny lines that become unfunny. He seems some place else, not involved in the action. Mary Gen Fjelstad, his stage wife, doesn’t delve into her character and presents flat lines with little emotional variance. David Brummel, as the aloof Andre, and Cynthia Darlow as the evening’s plotter, seem to be feigning feelings. On the other hand Steve McCue, as a nerdy artist in a rented tux and Derdriu Ring, his ex-wife, milk their roles to high levels of humor and pathos. Too bad the whole production didn’t reach McCue and Ring’s level.

The highlight of the evening is scenic designer Vicki Smith’s magnificent high-ceilinged formal French restaurant dining room.

CAPSULE JUDGEMENT: With a weak script, inept directing and generally shallow acting, ‘THE DINNER PARTY’ is a long sit not worth the effort.

Private Lives (Great Lakes Theatre Festival)

‘PRIVATE LIVES’ delights at Great Lakes

Playwright Noel Coward is the crown prince of Restoration comedy, in which the battle of the sexes is subjected to amusing scrutiny in order not merely to entertain but to reveal the human compromises, treacheries, and incapacities that lie beneath the mannered sophistication of its protagonists. In a good production, the audience is both entertained and enlightened.

Coward’s ‘PRIVATE LIVES,’ now in production by the Great lakes Theatre Festival, clearly illustrates what happens when a blending of a well written play, a brilliant cast, a talented technical team, and a director who both understands the play and has the creativity to wrench everything from the script, come together. And, as intended, it leaves the audience entertained and enlightened.

It is the 1920’s and divorcees Elyot and Amanda are honeymooning in the same French hotel with their new spouses Sibyl and Victor. Inevitably they meet—they are, after all, staying in rooms with adjoining balconies. Realizing that they are made for each other, Elyot and Amanda abandon their new husband and wife without a backward glance and run away to Paris. There they discover their original true love and then rediscover just why they were unable to live together in the first place, and then discover their original true love, and (you get the point). Sound like a comedy of errors? It is! A delightful comedy of slapstick, double entendres, and hysterically funny lines and deeds.

In order for the play to work we must fall in love with Elyot and Amanda and root for them to find true love, or at least not kill each other with love. We must realize that Elyot really doesn’t believe that “some women should be struck regularly-like gongs” and that love really isn’t “best when it is wise, kind and undramatic.” We must endorse Amanda’s words, “I think very few people are completely normal, really, deep down in their private lies.”

Under Victoria Bussert’s finely tuned directing, we get everything we need to make the play work…empathy, humor, perfect comedy timing, the right degree of stylization blended with drama, and farce blending well with melodrama. Her staging of the fight scenes and a hysterical dance sequence, all show a keen awareness of what it takes to delight an audience while sticking to the intent and purpose of the author.

While the Cleveland Play House traverses the country in search of actors with mediocre results, GLTF plucked its perfect cast from the local talent pool. And, what a cast it is!

Noel Coward may not have know an Andrew May would come along, but he seemingly wrote the part of Elyot for May. May is a laugh riot as the pompous, ill-tempered, “do-and-later-think-of-what-you just-did” lout. May covers the world of comic devices. With eyes bulging, voice reaching ear-splitting pitches, body quivering, mumphering articulation, and mid-sentence stuttering, charging around the sage like a bull in the proverbial China shop, May develops an endearing character.

As Amanda, Eloyt’s emotional foil, Laura Perotta is wonderful. She uses her body as a comic tool. In the scene where she realizes that Elyot is on an adjoining balcony Perotta becomes like a lizard on a wall, scaling and shrinking in order to see and not be seen. In the delightful fight scenes with May, Perotta lets totally lose, giving life and limb for the comedy effects. Her Amanda is a combination of loving, hateful, shallow, caring, manipulative and emotional vulnerability. This is a career highlight performance.

Kelly Sullivan and Scott Plate, as the cast-off partners are also wonderful. They both develop clear and delightful characters. Their play-closing scene is a masterpiece of hysteria. In her brief appearances on stage, Adina Bloom, as the maid Louise, milks laughs with ease.

There is a tradition in the theatre that kids and animals can be disasters on stage. In this production, even the dog (who is not identified in the program) performs with gleeful perfection.

John Ezell’s gorgeous sets, Charlotte Yetman’s costumes, Mary Jo Dondlinger’s lighting, Stan Kozak’s sound effects are all totally on target.

CAPUSLE JUDGEMENT; Great Lakes Theatre Festival’s ‘PRIVATE LIVES’ is a must-see theatrical treat. It’s too bad it is only scheduled to run to weeks. If this were an open ended run, it would be a sure fire hit that would play to happily full houses for a long, long, long time!

Stacy Burris reviews the reviewer

I really respect your write ups, love to read them, and I know the whole place would be thrilled to have you come.

Stacy Burris
President GLTG

Raised in Captivity (Dobama)

'RAISED IN CAPTIVITY' disappoints at Dobama

I was among the original group of local thespians who left Euclid Little Theatre and followed Don Bianchi, Barry Silverman, and Mark Silverberg and into a new theatrical adventure to become known as DOBAMA. The name has no mysterious meaning. It was simply the first two letters of the guys first names (DOn, BArry, and MArk).

Therefore, it is painful to watch a production at this theatre that is poorly directed, and is generally poorly acted. Unfortunately, Nicky Silver’s ‘RAISED IN CAPTIVITY’ fulfills these negative criteria. It is also painful because Dobama has become the shining light of the off-Broadway-like professional theatres on the North Coast.

The play starts with a brother and a sister reuniting at their mother’s funeral, after several years of not seeing each other. It follows the problems of the siblings, which includes a ghost from the past that reveals some secrets, a psychologist who blinds herself out of guilt, a husband who runs off with the psychologist upon the urging of his wife, a several month old baby who walks, and new level of understanding between the siblings.

The play, according to its author is about "guilt, redemption and self-punishment.” Yes, there is guilt and sorrow, but who cares. The characters don’t earn our empathy.

Our lack of feeling is somewhat strange since The New York Times said that Silver’s dialogue “skillfully juxtaposes the banal and the outlandishly whimsical. New York Magazine referred to the NY production as "....funny, original, imaginative and possessed of a furious energy that makes it spin like a top....full of wittily prickly lines and riotous exchanges, and it uses the stage in splashily irreverent ways that can be exhilarating."

So, what’s the problem here? It lies purely on the shoulders of director Russ Borski who appears to lack any insight into what the play is all about. It is the responsibility of the director to set the tone for the production and guide the actors in achieving the playwright’s intent. On this count, Borski fails. No one in the cast seemed to know how to develop their character. In spite of this, there were some funny moments, but far, far too few and any meaning that might have been present evaporated in a pile of confusion and lethargy.

Not only was the cast lost, so was the audience on opening night. They didn’t seem to understand or want to understand the goings on either as shown by the number who left the theatre at intermission.

Credit has to be given to the cast consisting of Tyson Postma, Tyler Postma, Sean Derry, Juliete Regnier and Jeff Staron. They really tried to pull it off. The odds were just too stacked against them.

CAPSULE JUDEMENT: Every theatre has some good productions and some weaker ones. It hurts to say it, but ‘RAISED IN CAPTIVITY’ must go on the list of one of Dobama’s weakest moments.

Urinetown the Musical (Playhouse Square Center)

Tony Award winning 'URINETOWN THE MUSICAL' at Palace

When it opened on-Broadway ‘URINETOWN THE MUSICAL’ was billed as a “simple story of two kids who fall in love in a city during a water shortage.” The question most often asked about the production was, “what’s with the title?” That title, plus a wonderful cast, a no-holds barred production, and some wonderful word-of-mouth, propelled the show into becoming Broadway's most unexpected phenomenon, and the winner of the 2002 Tony Awards for Best Direction, Best Book, and Best Music and Lyrics.

This musical-comedy tale of greed, corruption, love and revolution in a city where water is worth its weight in gold has been hailed by Entertainment Weekly as "fresh, exuberant and even moving-somewhere beyond the sublime and
beyond the ridiculous."

The idea for the show came to author Greg Kotis when he visited Luxenbourg and was confronted with having to use the city's pay-per-use toilets. He, along with his friend Mark Hollmann, developed the show. Theatrical producers took one look at the title and subject matter and wouldn’t take on the project. Luckily, they happened upon three of Cleveland’s own, who were fledgling New York want-to-be stage legends. Matt and Mark Rego and Hank Unger had already produced ‘VAGINA MONOLOGUES’ and were ripe for another hit. They optioned the script, mounted an off-Broadway production, and, against the odds, they became the Big Apple’s new “wunderkinds.”

The First National Tour of ‘URINETOWN: THE MUSICAL’ is now running at Playhouse Square Center's Palace Theatre. The response to the show was very different here than in New York.

Part of the difference is that times have changed. When the show opened, the world was at relative peace. Seeing only the escapist message was all right. Since then the show’s messages have begun to ring clear. Messages such as what happens when big business is given the right to control our lives. Think of the pharmaceutical and medical companies and their stranglehold over our health. What happens when the citizens have their human rights taken away from them? Think Patriot Act and prisoners being held in jail without being officially charged with a crime? What is it like to be lied to continually in an attempt to push a political and economic agenda? Think of the missiles of mass destruction hoax, resulting in the Iraqi war, and the amount of money being made by the oil and military-industrial complex and influential public officials. Think of the rape of the environment caused by loosening of the clean air act. The fantasy of the situation described in ‘URINETOWN: THE MUSICAL’ has become near reality.

The second factor for the difference in reaction to the show is a combination of a weaker cast and a the sometimes less-than dynamic presentation. While the Broadway production literally jumped off the stage, the touring show is more subdued. Does this mean there aren’t any laughs? Oh, believe me, there are. Does this mean that the show isn’t fun? Parts are a hoot.

The touring cast includes Tom Hewitt as Officer Lockstock, the show’s narrator. Hewitt has perfect comic timing, a wonderful ironic-sounding voice, and just the right presence for the role. Meghan Strange is wonderful as his foil, Little Sally. Whether roller skating, singing, or whining her lines, she is fine. Charlie Pollock, who played the lead role of Bobby Strong on Broadway, doesn’t quite win us over as a romantic hero, though he sings extremely well. Christine Noll is not affectionate r vulnerable enough as Hope, the daughter of the tyrant who controls the local urinals and Bobby’s love interest. The rest of cast is fine, but not wonderful.

Special production numbers are “What Is Urinetown?,” “Snuff That Girl” and the minstrel show inspired “Run Freedom Run.” “Follow Your Heart” is a lovely ballad.

CAPSULE JUDGEMENT: Having loved the Broadway production of ‘URINETOWN: THE MUSICAL,’ I wanted to love this production. I didn’t love it, I liked it. Should you go see it? Absolutely, just reserve a little of your expectations.

Times Tributes--2003

TIMES THEATRE TRIBUTES--2003

Greater Cleveland is blessed with a vital theatre scene. It is the purpose of the TIMES THEATRE TRIBUTES to recognize theatrical experiences that, in the mind of this reviewer, were excellent.

No attempt is made to name the best in each classification. Actors were not separated by gender or leading or supporting roles. It is also recognized that I did not see all of the productions in the area, so only shows performed in 2003 that I reviewed were considered. Selections are limited to locally produced performances, so none of the professional touring shows are recognized, though actors, directors and technicians who were imported by local theatres were considered.

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

PRODUCTIONS
‘ARMS AND THE MAN’--Great Lakes Theatre Festival
‘BAT BOY’--Cain Park
‘BOY GETS GIRL’---Beck
‘CHERRY DOCS’--Halle/JCC
‘DIRTY BLONDE’--Cleveland Play House
‘FIDDLER ON THE ROOF’--Cain Park
‘FRANKIE AND JOHNNY IN THE CLAIR DE LUNE’--Ensemble
‘IN THE BLOOD’--Dobama
‘THE CHOSEN’--Halle/JCC
‘THE DOMINO HEART’----Dobama
‘THE FIX’---Beck

DIRECTING
Victoria Bussert--ANYTHING GOES--Great Lakes Theatre Festival
Victoria Bussert--BAT BOY--Cain Park
Joyce Casey--THE DOMINO HEART--Dobama
Licia Colombi--‘FRANKIE AND JOHNNY IN THE CLAIR DE LUNE’--Ensemble
Charles Fee--ARMS AND THE MAN--Great Lakes Theatre Festival
Seth Gordon--PROOF--Cleveland Play House
Peter Hackett--DIRTY BLONDE--Cleveland Play House
Sarah May--BOY GETS GIRL--Beck
Sonya Robbins--IN THE BLOOD--Dobama
Dorothy Silver---THE CHOSEN--Halle/JCC
Reuben Silver--CHERRY DOCS--Halle/JCC
Clyde Simon--SINCERELY YOURS--convergence-continuum
Scott Spence--THE FIX--Beck
Fred Sternfeld--FIDDLER ON THE ROOF--Cain Park

PERFORMANCE
MaryAnn Black--OKLAHOMA--Porthouse
Adina Bloom--BAT BOY--Cain Park
Sean Booker--SIX DEGREES OF SEPARATION--Charenton Theatre
Lucy Bredeson-Smith--PICNIC--Actors’ Summit
Sherri Britton--THE CREDEAUX CANVAS--Ensemble
Toni Cervino--INTO THE WOODS--Lakeland College
Meg Chamberlain--MRS. BOB CRATCHIT’S WILD CHRISTMAS BINGE--Cleveland Public Theatre
Glenn Colerider--THE DOMINO HEART--Dobama
Rosario Costanzo--OKLAHOMA--Porthouse
Nina Domingue--SINCERELY YOURS--convergence-continuum
Cody Dove--Second City-Cleveland
Carla Dunlavey--THE DOMINO HEART--Dobama
Sean Fitzgerald--KIMBERLY AKIMBO--Dobama
Paul Floriano--THE FIX--Beck
Dan Folino--THE FIX--Beck
Margaret Ford-Taylor--FOREST CITY--Cleveland Play House
Tom Frey--DIRTY BLONDE--Cleveland Play House
Tom Fulton----TARTUFFE--Actors’ Summit
Tom Fulton--FIDDLER ON THE ROOF--Cain Park
Paul Kaiser--BOY GETS GIRL--Beck
Charles Kartali--FRANKIE AND JOHNNY IN THE CLAIR DE LUNE--Ensemble
Julia Kolibab--‘FRANKIE AND JOHNNY IN THE CLAIR DE LUNE--Ensemble
Kayce L. Cummings--OKLAHOMA--Porthouse
Andrew May--TARTUFFE--Great Lakes Theatre Festival
Rasheryl McCreary--IN THE BLOOD--Dobama
Elizabeth Meadows Rouse--DIRTY BLONDE--Cleveland Play House
Lara Mielcarek--EACH DAY DIES WITH SLEEP--convergence-continuum
Mitch McCarrel--BAT BOY--Cain Park
Laura Perrotta--ARMS AND THE MAN--Great Lakes Theatre Festival
Scott Plate--CHERRY DOCS--Halle/JCC
Derdriu Ring--PROOF--Cleveland Play House
Trinidad Rosado--RAGTIME--Cassidy Theatre
Rhoda Rosen--V-E DAY--Dobama
Steve Routman--ANYTHING GOES--Great Lakes Theatre Festival
Geoffrey Short--RAGTIME--Cassidy
Reuben Silver--THE CHOSEN--Halle/JCC
Sean Szaller--THE CHOSEN--Halle/JCC
Kristopher Thompson-Bolden--A CHORUS LINE--Porthouse
Elizabeth Ann Townsend--BOY GETS GIRL--Beck
Wayne Turney--HAMLET--Great Lakes Theatre Festival
Eric van Baars--OKLAHOMA--Porthouse
Greg Violand--1776--Beck
Greg Violand--LA CAGES AUX FOILES--Beck
Gary Walker--A CHORUS LINE--Porthouse
Gary Walker--BAT BOY--Cain Park
Ensemble performance--Rasheryl McCreary, Victor Dickerson, Anthony Elfonzia, Renee Matthews-Jackson, Kevin Brewer and Cassandra Vincent--IN THE BLOOD--Dobama
Ensemble Performance--Gary Walker, Adina Bloom, Scott Plate, Emily Krieger, Patrick Janson, Phillip Carroll, Alana Simone Purvis, Hannah Laird, Fabio Polanco and Mitch McCarrell--BAT BOY--Cain Park

TECHNICAL
Michael Ganio--scenic design--PROOF--Cleveland Play House
Larry Gorjup--sound design--THE CHOSEN--Halle/JCC
Corby Grubb’s sound design--FRANKIE AND JOHNNY IN THE CLAIR DE LUNE-- Ensemble
Jeff Herrmann--lighting design--FIDDLER ON THE ROOF--Cain Park
Jeff Herrmann--scenic design--FIDDLER ON THE ROOF--Cain Park
Jeff Herrmann--scenic design--THE TALE OF THE ALLERGIST’S WIFE --Dobama
Andrew Kaletta--lighting design--IN THE BLOOD--Dobama
Tony Kovacic-- scenic design--CHERRY DOCS--Halle/JCC
Todd Krispinsky--scenic design--IN THE BLOOD-Dobama
Don McBride--scenic design--BOY GETS GIRL--Beck
Don McBride--scenic design--THE FIX--Beck
Vincent Polowy--lighting design--THE CREDEAUX CANVAS--Ensemble

MUSICAL DIRECTION
Leonard DiCosimo--musical direction--BAT BOY--Cain Park
Larry Goodpaster--musical direction--THE FIX--Beck
Steven Gross--musical direction--ANYTHING GOES--Great Lakes Theatre Festival
Larry Hartzell--musical direction--FIDDLER ON THE ROOF--Cain Park

CHOREOGRAPHER
MaryAnn Black--choreography--A CHORUS LINE--Porthouse
Martin Cepedes--choreography--JOSEPH--Beck
John R. Crawford--choreography--OKLAHOMA--Porthouse
Janiece Kelley-Kiteley--choreography--BAT BOY--Cain Park
Janet Watson--choreography--ANYTHING GOES--Great Lakes Theatre Festival
Eric van Baars--choreography--FIDDLER ON THE ROOF--Cain Park

OTHER
Wayne S. Turney--Script adaptation--TARTUFFE--Actors’ Summit
Beck Center--outstanding variety of productions
Cleveland Public Theatre--Black Box Theatre--creative use of performance space
Bill Ransom--original music--IN THE BLOOD--Dobama

Rhoda Rosen reviews the reviewer

Dear Roy,

I am truly honored to have been listed in the TIMES THEATRE TRIBUTES--2003! Your review of VE Day had already been laminated and placed in my Memory Book...Mah Nishtanah; but now to read that you have listed me among those whose work I've so admired, I am really 'fahklempt'!
Thank you for your support through the years. It is much appreciated.

Sincerely,
Rhoda Rosen

Tom Fulton reviews the reviewer

Roy,

Once again, thank you for your kind attention and for recognizing so many talented people in Northeast Ohio. Of course I appreciate your mention of my work - but mostly I am glad to see the inclusion of such fine actors,director, designers... I have always felt that an awards program can do much to bring the theatre community together - It's not about winning awards, but rather acknowledging that there is a vibrant creative life in Cleveland.

Many of us don't get a chance to see each other's work - and most of us are so busy we don't take a moment to pause and reflect on the cultural impact the work may be making. Thanks for taking that moment to do it for us...

Happy New Year,

Thomas Q. Fulton, Jr.

Why for art though Cleveland Play House?--Revisited

Why for art though Cleveland Play House?--Revisited!

A short time ago I wrote a commentary entitled, “Why for art thou Cleveland Play House?” I indicated that though the Cleveland Play House advertises itself as America’s oldest professional theatre, I thought there were areas of concern about the operation of the organization.

Among other things, I questioned the use of the facilities, the plays selected, the lack of use of local actors, and the viability of the facility if it continues on its present track. The response to my views was long and loud. Almost everyone who sent e-mails and spoke to me inperson agreed with much of what was put forth. Of course, that is not unexpected as individuals who react to commentaries do so because of strong beliefs, positive or negative.

Shortly after the publication and my comments on “Action Talent Live,” the WERE-AM radio show on which I appear regularly, I was contacted by CPH’s Artistic Director Peter Hackett requesting a meeting. He wanted to discuss my comments. The meeting was very amicable. He presented his views. I listened, asked questions and requested some additional information. With that background, I’d like to both explain Hackett’s view and reexamine my stand.

Hackett believes that “the Play House is a nationally recognized theatre company.” He backs up his claims by the reviews of ‘LOST HIGHWAY’, the Hank Williams inspired musical, which appeared at CPH and has received positive reviews in New York. CPH is in the show’s program for its role in the development of the production. He also alludes to the success of ‘LOVE JANIS’ in the Big Apple and its forthcoming national tour. He further states, that the CPH developed ‘SMELL OF THE KILL’ which is “on the rosters for theatres across America.”

Julie Fogel, the Public Relations Manager of CPH, was kind enough to supply information regarding matters about which I needed more information. For example, a Baxter Stage survey , which was based on audience feedback forms placed in the programs of the 2001-2002 season opener, ‘FRANK LANGELLA’S CYRANO’, were returned by about 36% of those who attended. As she indicated, the nature of the survey did not allow for a reaction of pleasure or displeasure with the facility, but based on the information received Fogel states, “we added floor mics to amplify the actors; we also re-recorded the pre-curtain announcement to indicate the theatre’s two fire exits. We improved the appearance of the entryway to the Baxter, as well as added rope lights to increase visibility and better illuminate the walkway into the theatre.”

As for the number of local actors/designers/directors hired by CPH she states, “During the 2001-2002 season, we had 60 Equity roles and 7 non-Equity roles available for a total of 67 roles. Overall, 27 local actors were contracted last season--i.e. 40% of available roles went to local actors. Furthermore, 20 of the Equity roles went to local actors, i.e., 33% ; all non-Equity roles were filled by local actors, i.e., 100%.” She went on to say, “Of the 2001-2002’s 8-show season, local directors were used to stage 6 shows (75%). Of the 32 design positions available during the 2001-2002 season 8 were Cleveland-based. (25%).” She explained “Cleveland-based refers to those who call Cleveland home/consider Cleveland their main residence for more than one year.”

Fogel indicates that the number of subscription seats sold has dropped from 62,508 in 1995/96 to 44, 739 in 2001/2002. But, according to Fogel, the seating usage has increased from 66% in 1997/1998 to 78% in 2001/2002.

CPH has increased its use of performance space by inviting Ohio Dance Theatre to be a resident company and the Lyric Opera Cleveland to use some of the facilities in the summer.

I commend Peter Hackett and Julie Fogel for their openness in discussing the matters, subjecting themselves to my questions, and supplying answers to my questions.

With this said, though some of my views have changed for the better, I still contend that CPH’s productions are not of the high quality that local audiences deserve. So far, of the regular season’s productions, I have found only ‘PROOF’ to attain what should be the script and production quality.

I still find the Baxter Theatre a problematic performance space. Does the configuration cause concerns for safety, whether perceived or real? Is the lack of ease of access for those with walkers and wheelchairs, the lack of intimacy for those who are sitting in the upper rows of the center section, and the elimination of the use of a theatre while the Baxter is in use, equate to the expenditure of sparse dollars? Was it worth the money to get a less than desirable facility? Has it allowed CPH to chose scripts that it ordinarily couldn’t produce? Has it equated to an increase of audience size becauseot is a facility that demands attendance?

I still think more of the space could be used on an on-going basis. However, applause for decisions regarding Ohio Dance Theatre and Lyric Opera Cleveland. Another excellent use of space is the “Next Stage Festival” which has given birth to some thought-provoking and fine play scripts. It could only be hoped that additional performances of these productions could be added. Now, before the word can get out, the stagings and educational opportunities are gone.

I can only wish that the Cleveland Play House will find ways to add to its audience base, attract younger attenders, reach out even more to Hispanic and African American audiences, fill its space with exciting and quality scripts and productions, and bring to Cleveland the fame and glory of The Cleveland Orchestra and The Cleveland Museum of Art.

Starlight Express (Playhouse Square Center)

‘STARLIGHT EXPRESS’ falls of its tracks at the State

As I approached a friend at intermission of ‘STARLIGHT EXPRESS’ he said, “So what’s the big deal?” His wife said, “I really don’t like this.” Their comments seemed to be echoing all around the lobby. The flow toward the exit doors was considerable. Okay, I thought, it will get better in the second act. Nope!

The local reaction to ‘STARLIGHT EXPRESS’ isn’t universal. Second only to ‘CATS’ as the longest running musical in British theatre history, the London production of the show ran over 6000 performances. The Broadway production ran for 761 performances. Part of the attraction to the show was its sheer marvel. In London, a theatre was totally redone to accommodate the show. The hi-tech spectacle on roller skates featured a 5.5 ton steel suspension bridge and a gigantic set constructed of 6 miles of timber, 2.5 acres of sheetwood and 60 tons of steel. The cast encircled the stage and the audience as they skated and raced. The show cost 2.25 million British pounds when originally mounted in London. This was not the set or the show seen in Cleveland.

The spectacular flying leaps and gravity game excitement was not present on the State theatre’s single center stage ramp. Substituted were a series of films in which the audience was instructed to wear their safety goggles. In reality, they were 3-D glasses handed out with the programs. The first race scene might have been fun with this gimmick. By the time we got to the third viewing, it was a tired gimmick.

Because of the set and the small stage size, the spectacular effect of dancing and moving quickly on skates was lost. Not lost was the use of smoke, pyrotechnics, laser lights, the over 1400 colored lights, and a few very spectacular high-flying skating flips.

‘STARLIGHT EXPRESS’ was originally conceived by Andrew Lloyd Webber in 1973 as an animated television series loosely based on the children’s story “The Little Engine That Could.” The story revolves around a battered steam engine named Rusty who is encouraged to race a flashy diesel locomotive. In the story the little engine wins against all odds and encourages children to set high goals, no matter their perceived weakness and be to steady to the task.

The present production was supposedly a “new” version with additional songs by Webber and Tony Award winner John Napier, his new lyricist. The additional songs added little. The score itself lacks any great music, though there is good variety. Rock, do-wop, ballads, blues, rap, country, and gospel are all present. The strong song is the theme music, “Starlight Sequence,” commonly called “Only You.”

CAPSULE JUDGEMENT: ‘STARLIGHT EXPRESS’ is a disappointing part of the McDonald Financial Group’s Broadway Series at Playhouse Square Center.

Joseph and his amazing Technicolor Dreamcoat (Beck Center)

‘JOSEPH’ pleases audience at Beck

Way, way back, many years ago, Beck Center did a production of ‘JOSEPH AND HIS AMAZING TECHNICOLOR DREAMCOAT’ starring Rob Gibb. The production was one of the script’s first amateur mountings. It was outstanding. Since then I’ve seen many, many productions of the show, and the Gibb as Joseph version is still one of the very best.

If you have been in lunar orbit and haven’t seen or heard about the musical, it is a light version of the biblical story of Jacob and his sons “many centuries ago.” Joseph, Jacob’s favorite, is sold into slavery by his jealous brothers, becomes the pride-and-joy of the Pharaoh, and is reunited with his brothers when they come to Egypt during a famine. It is filled with all sorts of musical treats ranging from western to calypso, to laments, to ballads and includes such great songs as “Any Dream Will Do,” “Poor, Poor Joseph,” “Close Every Door,” and “Go Go Joseph.”

The script for ‘Joseph’ has an unusual history. It was originally conceived by Tim Rice and Andrew Lloyd Webber to be a short school skit. Eventually it grew into a series of songs that were sung as a concert. It was never intended to be a staged musical. In fact, there is no actual script, just a series of songs. There are no spoken lines and the authors have given no directions for its staging. Because of this, every staging of the play has a personality all its own.

About every five years Beck Center, knowing that the show will draw new and return audiences stages ‘JOSEPH.’ The last two productions have been directed by Kevin Joseph Kelly. Beck’s present production, lacks some of the interpretative creativity found in other stagings. Kelly’s concept for the show centers on a school group’s tour of a museum in which a tableau of the Joseph story comes to life. It was a clever way of incorporating lots of young children into the cast. Unfortunately, the words sung by the narrator at the start of the show don’t really parallel to this interpretation. The same problem appears almost throughout the show. Kelly doesn’t always pay careful attention to studying song lyrics. For instance, in one segment there are lyrics which relate that when the Pharaoh told a joke the listeners chortled for days. There is no one on stage to mime this concept. This seems like a minor issue, but over and over McLaughlin missed opportunities for delightful reactions. Creative staging of Joseph’s trek to Israel, getting auctioned off, and even Jacob buying Joseph’s magnificent coat are all overlooked. Kelly also never gets us back into the museum concept at the end.

Does this mean this is a bad show? No. The audience reaction was extremely positive. And Kelley had a secret weapon going for him in the person of Martin Cespedes, the choreographer. Cespedes’ work was wonderful. He created a coherent ensemble out of a cast ranging from those aged 5 on up. Many of the cast were obviously not dancers, but under Cespedes’ creative touch, they moved with youthful enthusiasm and carried it off well. Using hand movements and repetitive dance steps, Cespedes was able to create what looked like complicated variations to fit the mood of each change in musical style. Very impressive!!!

The cast was good. Sandra Emerick as the narrator displayed a big voice. Pierre-Jacques Brault, though he lacked the youthful boyishness of Joseph, has strong stage presence and a good singing voice. When Max Kantor as the Young Joseph opened his mouth to sing, many were surprised by the youth’s fine deep and resonant voice. Curtis L. Young did a wonderful Elvis interpretation, though he really milked the encore to “Song of the King.” The brothers varied in their abilities. Outstanding was Sean Szaller, who belted out a mean version of “Benjamin Calypso.”

Don’t get up to leave when you think the show is over and the curtain call starts. The strongest part of the production, besides the choreography was in the “Super Finale.” The audience was on its feet clapping and dancing.

CAPSULE JUDGEMENT: Beck Center’s ‘JOSEPH’ will delight audiences of all ages. This is a chance to take young kids to see a wholesome show filled with wonderful singing and dancing. By the way, when THE LION KING was in town I had my grandsons, Alex (8) and Noah (6 1/2) review it. The reactions were so positive that they will be doing a review of ‘JOSEPH’ later this month.

‘JOSEPH’ runs through January 4 at the Beck Center for the Arts. For tickets, call 216-521-2540 or go on line to www.beckcenter.org.

Journey: The Story of Umoja (Ohio Dance Theatre)

'JOURNEY' a good lesson in African-American History

Ohio Dance Theatre, under the able guidance of Artistic Director Denise Gula, is noted for its
dancing. That’s what they do best. The company decided to broaden its mission and develop a
presentation that would serve as a staged educational experience. Gula, who has a strong background as a theatrical director and actress as well as choreographer, chose the topic of the plight of the African American. Appropriately, JOURNEY: THE STORY OF UMOJA is being presented in area venues during Black history month.

Much like Martin Duberman’s play IN WHITE AMERICA, JOURNEY exposes the audience to a trip from slavery to the civil rights movement and beyond. This is done through words, dance and song. Unfortunately, the singing and dancing are much to brief and often the words are much too much. There are several long periods where only words are present. Normally, this
would not be a bad thing, but the dancing and singing were so well done, so powerful, that when words were used alone, the production slowed down.

As is, students who see the production, and there are many who will see the show at both the Cleveland Play House and Lorain County Community College’s Stocker Center, will gain an insight into the plight of African Americans, and be exposed to the thrill of live theatrics. It’s too bad that Gula was not able to incorporate dancing throughout, even when the speeches of such historical figures as Martin Luther King, Barbara Jordan. and Medgar Evers were being presented. It would have made the experience even more powerful.

Capsule judgement: The cast is excellent. The visual images are generally engrossing. The study guide that accompanies the performances should help teachers and students learn history in an interesting manner.

Stone in His Pockets (Playhouse Square Foundation_

'STONES IN HIS POCKETS' disappoints at Palace

In London, STONES IN HIS POCKETS was called "'a comic masterpiece." It received three Tony Award Nominations. It was the winner of London’s Olivier Award for Best Comedy.

The play is partly based on Marie Jones' experiences of acting in films shot in Ireland. It relates what happens when a major Hollywood film studio descends on a village in County Kerry. The story is told from the viewpoint of Charlie and Jake, two locally hired extras employed to look downtrodden and oppressed on demand. The quirk is that two actors not only play Charlie and Jake, but 15 different male and female roles, including a spoiled starlet, the harassed director and a host of local characters. All this is done without costume changes.

The show has been hyped as hyperkinetic, hysterical, and satirical. Unfortunately, the touring show, starring Bronson Pinchot, best know for his role in TV’s PERFECT STRANGERS, and Tim Ruddy, an Irish actor who has a solid list of credentials, doesn’t fulfill the hype. The exit of a great number of audience members at intermission, and the mild applause at the curtain call, attests to the lack of viewer pleasure.

With all the positives, why didn’t the show work at the Palace Theatre?

First, this is an intimate play. It gets lost in the cavernous space of Playhouse Square’s Palace Theatre. Attenders who sat beyond the middle of the main floor complained that they could not hear nor see some of the subtle characterization changes.

Second, Pinchot and Ruddy simply didn’t let loose. The hysterical humor that might have emanated from the lines was often lost due to a lack of dynamic, playful presentation. Part of this may have been caused because of Pinchot’s reported recent illness.

Third, the advertisements for the show got the audience ready for hysteria. This, at least as
presented is not a hysterical show. This is another of those Irish bleak tales of Gallic woe and
self-hatred.

Capsule judgement: Are there funny moments? Absolutely. Are there some delightful characters? Yes. But, a hysterical play? I think not. That is, unless in the hands of a more adept set of actors it might have been given a different slant. That’s what I’ve been told was the case from those who saw the show in New York and London. But this is the Cleveland production, and it was disappointing.

Mrs. Bob Cratchit's Wild Christmas Binge (Cleveland Public Theatre)

'MRS. BOB CRATCHIT'S WILD CHRISTMAS BINGE' could delight you at CPT

On stage there is Scrooge, Tiny Tim, Bob Cratchit, Ghost of Christmas Past, Ghost of Christmas Present, Ghost of Christmas Future. It’s obvious that you’re seeing Dicken’s ‘CHRISTMAS CAROL.’ Wait, there are scenes from ‘OLIVER TWIST,’ ‘IT'S A WONDERFUL LIFE’ AND ‘THE OLD CURIOSITY SHOP.’ Throw in references to ‘PETER PAN’ and ‘MY FRIEND FLICKA.’ No, this is definitely not ‘CHRISTMAS CAROL.’

Let’s look at this a little closer. The ghost who visits Scrooge just can’t get things right. Mrs. Bob Cratchit (did you know her name was Gladys?) is unhappy with everyone and everything in her life. Her breaking point comes when Bob arrives with their 21st foundling. She wants to go to a bar, down a few Tequila Surprises and jump off the London Bridge. Imagine her relief to find that she is simply placed in the wrong time period and is Scrooge's soul mate. In playwright Christopher Durang’s hands, Scrooge’s famous line “Bah Humbug” isn’t just a casual dismissal of Christmas joy, it’s seasonal Tourette’s Syndrome. Eventually everything is eventually rectified by the Ghost of all three Christmases.

The CPT production, under the direction of Randy Rollison, is often funny, often hilarious, but also misses some of the laughs due to poor line interpretation. The singing also covers the broad realm of possibilities...some of the voices are wonderful, others are off-key.

Meg Chamberlain is outstanding as Gladys Cratchit. Dan Kilbane is a delightful 6-foot Tiny Tim who trips and falls with ease while looking like a grinning idiot who is in an advertisement for laser tooth polishing. David Hansen is properly clueless as Bob Cratchit. Nina Dominque is inconsistent as The Ghosts. Her singing voice lacks polish and her line interpretation varies from excellent to unbelievable. The children in the cast needed more directoral assistance to aid them to stay in character.

CAPSULE JUDGMENT: If you aren’t in the right mood...silly; aren’t willing to set aside some amateur production qualities; and think that Christmas is a sincere holiday, then you’ll be turned off by ‘MRS. BOB CRATCHIT’S WILD CHRISTMAS BINGE.’ On the other hand, if you've seen one too many productions of ‘A CHRISTMAS CAROL’ and, upon hearing Tiny Tim optimistically proclaim "God bless us every one!’" you wish someone would expose him for the attention-grabbing urchin he is, get in your sleigh and go see the Cleveland Public Theatre’s production of ‘MRS. BOB CRATCHIT’S WILD CHRISTMAS BINGE.’

The Nutcracker--Pennsylvania Ballet (Playhouse Square Center)

Pennsylvania Ballet's ‘THE NUTCRACKER’ disappoints

When the Cleveland-San Jose Ballet fled the North Coast for the warmer climes of California, it took with it their version of ‘THE NUTCRACKER,’ one of the area’s long time holiday traditions. Playhouse Square Center, in need of a holiday offering, for several seasons brought in the delightful Radio City Rockettes and their holiday program. This year, as part of their Rainbow Babies and Children’s Hospital Ballet Season 2003-2004, the decision was made to bring in the highly touted Pennsylvania Ballet with their ‘NUTCRACKER.’

No one who saw the CSJB version will ever mistake what the Pennsylvania Ballet presented as its equal. Yes, the sets, the costumes and the music were wonderful, but there was a lack of magic on stage.

This production, with a cast mainly made up of children and youth, lacked the delight and the compelling charm necessary to truly bring to life George Balanchine’s wonderful choreography. Because of the abilities of the youth, there was a lot of walking and little real dancing.

Rather than having the likes of Raymond Rodriquez and Karen Gabay dancing the Little Prince and Princess, we had two pre-teens walking around the stage. In the second act, in place of the Little Prince’s wonderful dance solo we had a young boy standing in the middle of the stage pantomiming the story that enfolded in the first act. As the little girl seated next to me asked aloud, “What’s he doing?”

The fight sequences between the mice and the wooden soldiers, which usually brings squeals of delight from the children in the audience, lacked creativity. The children who played wooden soldiers walked, they didn’t march or dance and the huge mice were less than entertaining.

Even the adult dancers were no more than competent. The Snowflake sequence lacked enchantment, even though the lighting and the falling snow cast the right spell.

There is a wonderful dance sequence near the end of the ballet in which we see the Sugarplum Fair and her Cavalier cavort. Dede Barfield and Alexei Borovik showed no emotional connection. Borovik’s flying leaps, which, if properly done usually bring gasps of joy from an audience were met with mild applause. He failed to get much lift or execute the movements parallel to the speed of the music. Barfield’s toe-work, especially in the sequence when she was pulled across the stage by her partner to imitate an ice-skating effect was fine, but there was a lack of fire in her moves.

CAPSULE JUDGEMENT: Pennsylvania Ballet’s ‘THE NUTCRACKER’ lacked magic. Kids are cute, but ballet requires dancers, proficient dancers. As the ballet ended, I glanced over at the velvet dressed young lady next to me, now fast asleep in her father’s arms. All I could think was, “Dennis Nahat and the Cleveland San Jose Ballet, where are you now that we need you?”

Cricket on the Hearth (Actors' Summit)

World premiere production at Actors' Summit

It’s that time of year when theatres try to pull holiday entertainment out of the bag. Ensemble is running ‘THE GIFT OF THE MAGI,’ The Cleveland Play House has shipped in ‘PLAID TIDINGS,’ Great Lakes Theatre Festival has once again resurrected ‘THE CHRISTMAS CAROL,’ and Cleveland Public Theatre is featuring the farcical ‘MRS. BOB CRATCHET’S WILD CHRISTMAS BINGE.’ Actors’ Summit, rather than do the tried and true, has ventured off into trying to create its own holiday gift to give and give again in the form of Wayne Turney’s attempt to adapt Charles Dickens’ ‘CRICKET ON THE HEARTH’ into a musical.

Transforming the novel ‘CRICKET ON THE HEARTH’ into a play is not a new task. It’s been attempted before. In most instances, the transformation hasn’t worked. Though Turney, musical creator Sebastian Anthony Birch and director MaryJo Alexander give it their all, the show’s world premiere doesn’t quite work either.

The book itself presents complexities not easily overcome. It has an obvious conclusion and lacks the multi-level texturing that has made Dickens’ ‘OLIVER TWIST’ work as the musical ‘OLIVER.’ It lacks humor or great drama.

Alexander has paced the show well, creates attractive stage pictures, and has the cast basically on target in their portrayals. The problem isn’t hers.

The problem is not Turney’s either. Rather than create new conceptual songs, Turney has relied on an operatic technique for the lyrics. He uses dialogue set to music. This allows the plot’s ideas to flow along, but doesn’t give the audience the sound it is used to hearing in musicals. Most modern musicals have songs which have verses followed by a chorus. This allows for familiarity with the repeated sounds and words. Think “Food, Glorious Food” from the musical ‘OLIVER’ based on Dickens’ “OLIVER TWIST.” In addition, the show’s songs don’t allow for ease of listening. Birch’s music is also sometimes hard to warm up to. Much of the music is atonal, and the singers often appear to be singing one tune while the musical accompaniment sounds like it is playing a different melody. A repeated bell sound, a musical thread running through most of the music fits the time of the year, but becomes piercing after hearing it over and over again.

The cast is generally acceptable. The characterizations were clear. Especially effective were Greg Violand as the older love-struck husband, Wayne Turney as Dickens, who narrates the show; Neil Thackaberry, as the mean Tackleton who eventually, as does Scrooge in ‘CHRISTMAS CAROL,’ softens into a nice guy. The singing voices aren’t all strong. This is especially obvious in the choral segments. Several of the cast had trouble in the higher ranges.

CAPSULE JUDGMENT: ‘CRICKET ON THE HEARTH’ is a work-in-progress. Whether it will ever turn into a holiday favorite is questionable, but Actors’ Summit deserves credit for trying something new rather than giving us one more repeat of tired traditional holiday material.

Each Day Dies With Sleep (convergence-continuum)

The question at convergence-continuum: What's this all about?

As the patrons filed into the lobby during the intermission at convergence-continuum Theatre’s production of Jose Rivera’s ‘EACH DAY DIES WITH SLEEP’ a male voice boomed out, “Does anyone know what this is all about?” A woman said, “Beats me.” Another said, “It’s about I, I, I, want, want, want.” Most people just shook their heads. A group of four, who were contemplating leaving, were stopped by one of their number who said, “The actors are working hard, we owe it to them to go back in.”

Rivera, the play’s author, was born in Puerto Rico . He recounts that when he was a boy, he loved to sit on his mother's knee and listen to stories of his Puerto Rican ancestors. There were chronicles of inflamed passions and family betrayals, of lovers crossed and disasters scarcely averted. He once said, "The stories were just outrageous. There were elements of the fantastical, of the dream, and these things become interchangeable."

This lack of a divide between the real world and the realm of dreams and nightmares, fantasy and folklore are at the heart of his plays. Its been called “mad realism."

‘EACH DAY DIES WITH SLEEP’ was written in 1990...its subject is supposedly the primitive human struggle between animal instincts and civilized order. A London reviewer capsulized the play by stating, “its conception of the human condition as a psychic battleground--lively, funny, erotic, tragic--has a rare force." That may well be, but judging by the audience who saw the convergence-continuum production, the intent and purpose of the playwright was not clear.

The production is generally well performed. Lara Mielcarek is outstanding as Nelly, the psychologically deprived daughter. She matures from animal to a productive woman before our eyes. Hers is a focused portrayal, but the script doesn’t tell us how she develops the abilities to mature in the way she does. Does just getting away from her monster of a father bring miraculous healing? In the world of fantasy, maybe, but psychologist would say, “no.”

As the role requires, Geoff Hoffman is attractive, and but he fails to give texture to Johnny, Nelly’s ego-centered husband. At times his lines are flat and sometimes his motivations are unclear. This could have been the fault of the script which rarely gives him the motivations for the build-up needed.

Clyde Simon is properly offensive as the father. But, again, the impetus for his character’s actions are not clear. Why is he the person he is? He says to his daughter, “There is no escaping my house. It is always with you.” He is right, but why was the house the way it was? The author gives us no real clues. Animal instincts? Really?

Director Joshua Spencer frustrates at least part of the audience by placing the father’s wheel chair in the corner of the L-shaped stage. This placement blocks the view of at least one-third of the viewers from seeing the action. He also needed to temper the sound effects which often drowned out the dialogue.

There are a group of theatre-goers who like to attend mind-bending theatrical productions. Though a trend in the late 60s and 70s, that audience segment has waned. If their play selections to date are any indication, Clyde Simon, convergence continuum’s Artistic Director and Brian Breth, its Executive Director, have decided to appeal to that audience. Theirs is a brave task. They are providing the type of theatre for that fringe group, but they must realize that plays like ‘EACH DAY DIES WITH SLEEP’ may not get the positive word of mouth needed to financially sustain their venue. Should they do the likes of Neil Simon. Absolutely not, but there are plays that will appeal to a broader audience and still advance the art form.

CAPSULE JUDGEMENT: Rivera may be a word master, but he has created in ‘EACH DAY DIES WITH SLEEP’ characters we care little about. He enfolds them in a story with no focus. His words lack clarity and focus. Therefore, we care little about the play.

V-E Day (Dobama)

‘V-E DAY’ IN WORLD PREMIERE AT DOBAMA

In 1992 a box of newsletters written during the Second World War were dropped off at The Cleveland Jewish News. Fortunately, the material found its way to Faye Sholitan, one of the paper’s writers. ‘Hello Again,” the monthly publication was circulated to Cleveland GIs as a morale booster. It contained hometown gossip centering on those who had attended Glenville High School, ate at Mawby’s on Lee Road, danced their nights away at the Statler Bar, were tended to in Mount Sinai Hospital, and attended Silver’s Temple on Ansel Road and East 105th Street. It noted the happy events in life back home.

Besides being a reporter, Sholitan is a playwright. As such, she was moved by the voices whom she later knew as her parents’ friends. ‘V-E DAY’ is her salute to the people who wrote and whose lives were noted in “Hello Again.” The original publications can be found at the Western Reserve Historical Society. Copies are at the Beachwood Branch of the Cuyahoga County Public Library.

‘V-E DAY’ was recently awarded first prize in the Arlene R. and William P. Lewis Playwriting Contest sponosred by Brigham Young University which honors women writers.

‘V-E DAY’ tells the tale of the now 79-year old Evelyn Bergfeld, who appears to have spent her happiest years during World War II. It reveals how she won and lost Bernard Cohen, the real love of her life. It relates how she went on to marry another man. How she traversed through that marriage and motherhood with little joy. How she literally and figuratively buries her life. How, in her later years, she submerges into depression, unable to find happiness in anything except buying unneeded goods on the Home Shopping Network and harassing her daughter and caretakers. Depressed until....(let’s stop there, no sense in giving away the whole plot). Let’s just say, it’s amazing what happens when the potential for happiness, no matter what age, becomes a possibility.

Sholiton presents the material through a series of present day happenings and simultatenous flashbacks. We meet all the major characters in their present as well as their early selves. Several times the cross fades between this and the past worlds get blurred due either to lighting errors or a lack of verbal or physical transitional qualities, but the writing device generally works well. The ending of the play confused the audience. After what appeared to be an ending line and a blackout, and hardy applause, the lights came up on yet another scene which didn’t add much to the play’s purpose.

Director Jacqi Loewy honed the performance well. She kept the action crisp and left little unclear and aided her actors to develop realistic characters.

Set designer Mark Kobak created a workable and well-detailed set. The only confusion came with an imaginary entrance door. The first arrival through the invisible entry gave the illusion that the character might be a figment of Evelyn’s confuision or imagination rather than a real person. Since all other aspects of the set were so realistic, a real entrance space was needed.

The cast was outstanding. As Evelyn, Rhoda Rosen walked the tight-rope between depression and senility with clarity. She was absolutely believable in what could have been a caricature performance. Talent, talent, talent!!!! It was easy to grasp Mitch Field’s years of longing to have spent his life with Evelyn. Jennifer Clifford, Michael John Sestli, and Holly Humes were totally believable as the young Evie and Bernie and Bernie’s sister Lil. Juliette Regnier was alternately frustrated and empathic as Evelyn’s daughter Aimee. Jennifer Salkin was fine as Young Aimee.

CAPSULE JUDGEMENT: ‘V-E DAY’ is a lovely little play filled with humor and pathos. Its life expectancy might be limited with all the Cleveland references. Local people who lived through the WWII era will “qvell” over reliving that time. Others will be intrigued by this slice of historical life.