Diane Papp reviews the reviewer

Hi Roy!

Let me first introduce myself. My name is Diane Papp, and I am the Costume Designer/Shop Supervisor since 1997 here at LCCC forA&H. Your old territory. I remember working with you briefly back in'83 or '84. I had an outside contract to costume the dance
ensemble back then; not affiliated with the drama dept., but remember having some wonderful conversations with you.
At any rate, your review of "Grease" will be a wonderful teaching
tool for our Theater students, who either don't OR won't do any
research on any time period of their productions. Here, it is sometimes left up to the Costumer, being myself, to inform them of the
surrounding "do's & don'ts" of the era. While some Directors are better
than others in stressing those details, time & focus to detail
often falls into the hands of the Technical Production Team. Again, I
loved your review and it only vindicates us here of what we try
to teach our students. The audience isn't as stupid as they would like
them to be!

Thanks,
Diane Papp
LCCC Costume Shop

Grease (Cain Park)

‘GREASE” greaseless at Cain Park

‘GREASE,’ the stage musical, opened in 1972. It was an instant hit with a 1950s rock n' roll score and a hokey story about greaser high school kids finding friendship ("rama lama lama") and romance ("ka dingy dee ding dong!"). The show ran 3,388 performances which set a new record as Broadway's longest running show. This distinction it held until ‘A CHORUS LINE’ surpassed it in the 1980s.

The 1978 screen version became the highest-grossing musical in Hollywood history. A 1994 Broadway revival ran for 1,503 performances. A favorite with community theatres and school groups, the show remains one of the most popular musicals of all time.

Interestingly, ‘GREASE’ was the only successful theatrical project by co-creators Jim Jacobs and Warren Casey.

So, what’s all the excitement about? Picture the scene...it’s 1959...the time of poodle skirts, pony tails, white t-shirts with the sleeves rolled up and a pack of cigarettes mounted inside, d-a haircuts, slicked-back hair, souped up cars with fuzzy dice hanging from the rear view mirrors and class rings with angora wrapped around the shanks. It’s the time when schools were populated by greasers, goody-two-shoes, jocks and nerds.

Unfortunately, the Cain Park production, under the direction of Eric van Baars misses much of the era. The costumes aren’t era correct, the hairstyles aren’t era correct, and the dance moves aren’t era correct. But the major problem is that the characterizations aren’t era correct.

In order for ‘GREASE’ to be the classical musical that represents the 50s, the cast must not be playing at being greasers, nerds and goodie-two-shoes, they must be greasers, nerds and goodie-two-shoes. Don’t blame the generally talented cast for their foibles. They are clean-scrubbed suburban 2004 kids. They needed to be told about the era so they could emulate it. That’s the responsibility of the director. And, obviously, van Baars didn’t help them out by being their guide to the past.

There are some good individual presentations. Kenny Lear sings the role of Roger well. Chris Thomas gives a polished singing performance as Teen Angel. His falsetto ending to the song brought down the house. Meg Cavanaugh sings the role of Rizzo effectively, but fails to develop the hard-edge needed for the school tramp. Paul Harris, portraying Doody, is a great dancer but only a mediocre singer.

In the major roles, Keith Faris, who has a nice singing voice, appears too old for the role of Danny. His nice-guy good looks don’t translate into the smoldering sensuality needed for the role. Michelle Scully makes a pretty Sandy, but, as with the rest of the cast, misses developing a clear characterization. Alex Puette and Khalida Sims display a lack of understanding of the pivotal roles of Eugene, the nerd and Patty Miss school spirit.

CAPSULE JUDGEMENT: ‘GREASE’ at Cain Park is a major disappointment. Don’t go expecting the excitement of the movie, or getting a true vision of the ‘50s. Too bad. Eric van Baars had the opportunity to create a fun and flashback evening, but didn’t achieve the task. On the other hand, if you just want to scream praise for a bunch of kids who try hard, you might like the production.

The Taming of the Shrew (Great Lakes Theatre Festival)

‘THE TAMING OF THE SHREW’ funny, but not for everyone

Great Lakes Theater Festival is in the midst of a rebirth. In fact, their new logo has the word “Shakespeare” superimposed over the word “Theater.” Historically, GLTF was GLSF. Staging their plays at Lakewood High School during summers, the group built a solid reputation. Then, there was the move to Playhouse Square, the attempt to become a big-time player with a Fall/Winter/Spring season.

Now, under the innovative direction of Producing Artistic Director Charles Fee, the company will play Summer and Fall and return to being a resident company. A company which, in the past, produced the likes of Tom Hanks. Two shows will be produced at the same time, alternating nights for a six-week run. The first set of offerings are ‘THE TAMING OF THE SHREW’ and ‘THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED).’’

Another new feature of the Festival’s season is a free, nightly, outdoor event on Euclid Avenue, just outside the Ohio theatre, called “The Queen’s Arrival” that will commence a half-hour before each GLTF performance. It parallels the “Green Show” tradition that has long been a popular part of summer Shakespeare Festivals across the country. It will feature the arrival of a very special guest in a horse-drawn carriage.

When a director decides on his or her philosophy for staging a play, the person’s background comes into play. From watching Great Lakes Theater Festival’s production of ‘THE TAMING OF THE SHREW’ it can be concluded that director Drew Barr has watched a heavy dose of Saturday morning cartoons and is a lover of The Three Stooges, The Marx Brothers and slap-stick humor. His staging leaves no prat-fall, no double-take, no pie-in-the-face opportunity unused. There is enough faux hitting, tripping, and mugging to make any 6-year old roll on the floor in hysterical pleasure.

The result of Barr’s take on the Bard? Judging by the opening night audience, you’ll either love it or hate it. In the former group will be those who love to laugh, no matter whether that laughter comes at the expense of the script. In the latter group, will be the “Humph, that’s not the way Shakespeare should be done” crowd.

‘THE TAMING OF THE SHREW’ is one of Shakespeare’s most popular works. Probably the most compelling reason for the audience’s love of the script is that instead of the Bard’s usual lyrical poetry and delicate humor, ‘THE TAMING OF THE SHREW’ is filled with coarse vivid puns. Interestingly, because of the language there are experts who strongly believe that Shakespeare was not the play's sole author, or not the author at all.

Another interesting factor about the play is its almost universal dislike by women activists. Though on one level Kate, the lusty main character, has become a model for the strong-willed woman, the fact that she seemingly becomes a coy, subservient woman controlled by her husband, bodes poorly for women as independent beings.

So, what’s the play all about? In Padua, an old Italian town, lives rich Baptista and his two daughters. The younger, Bianca, is an angel. The elder, Katherine, a scourge with a hot temper and a sizzling tongue. Katherine has no suitors, while Bianca has at least two, which poses a problem for their father since he will not allow Bianca to marry unless someone takes Katherine off his hands first. That conundrum becomes the center of the play...who will tame the shrew and finally agree to kiss Kate? Does that phrase sound familiar? Of course. The play was rewritten into the well-know musical comedy “KISS ME KATE.”

GLTF’s cast is excellent. Andrew May, as Kate’s suitor Petruchio, does what May does best...grimace, mumble, futz, strut, over-act...all to the very best effect. Barr’s directing and May’s talents are a match made in heaven. Laura Perrotta’s Katherina is a fine hellion, but fades too quickly into the “nice” Kate. For some strange reason Barr has Scott Plate play the role of Lucentio, who is in love with Bianca, as a twit. He prances, flails, feigns fay. He does it well, but why? How M. A. Taylor gets through the evening without broken bones is a wonder. He is used by everyone as their punching bag. Maybe he is saved by his flack jacket which protects him from the mayhem. Wayne Turney is wonderful as Bianca’s older suitor. Derdriu Ring is fine, but has little chance to shine in the role of Bianca.

Narelle Sisson’s set design is a disaster. The multi-leveled set, featuring a slanted center platform which resembles a railroad car divided into a series of small rooms, and ladders and a platform high above the audience’s heads, is extremely distracting. The actors are constantly climbing ladders and ducking behind surfaces and being hidden from the sight of the audience. But, considering that the director has actors continually slamming doors and falling up and down stairs and tripping on platforms, the design may have been his idea.

Kimn Krumm Sorenson’s costumes add nothing to the production. In fact, in most scenes it looks like the actors were let loose in the company’s costume storage area and told to put on anything they wanted.

CAPSULE JUDGEMENT: If you like farce, if you like slap-stick you’ll love GLTF’s ‘THE TAMING OF THE SHREW.’

Reefer Madness (Beck Center)

‘REEFER MADNESS’ fails to totally light up Beck Center

From 1936 until well into the 1970s, a movie named ‘REEFER MADNESS’ was shown in health classes in many schools. Originally financed by a small church group it was intended to scare the living bejeebers out of every youth and parent who viewed it regarding the use of maijuana.

Soon after the film was shot it was purchased by the notorious exploitation film maestro Dwain Esper who took the liberty of putting in salacious insert shots and distributed it to movie houses. After a brief run, the film lay forgotten for several decades.

Enter Keith Stroup, founder of NORML (Nation Organization for Reform of Marijuana Laws). In 1971, he bought a print of the movie for $297, cleaned it up and started showing it at pro-pot festivals. It was a gigantic hit. Today, the film is a cult phenomenon dwarfed only by ‘THE ROCKY HORROR PICTURE SHOW.’

In April, 1999 a musical theatre version opened. Written by Kevin Murphy and Dan Studney, the co-authors of ‘LITTLE SHOP OF HORRORS,’ the theatrical version fleshes out the “story’ with music and dance. The show was an instant hit in LA where it opened and moved to Broadway to rave reviews in October of 2001.

As the play opens in 1936, THE LECTURER, a severe authority figure, informs the audience of the new drug menace, "Marijuana," which threatens the American way of life! His warnings are reinforced by the placard girl who throughout the play holds up large signs that clearly state the moral of what we've just seen, eg., “destroys will power,” “incites immorality,” and “causes insanity.” From his podium, The Lecturer warns that action must be taken immediately, before “the Good Ol' U.S.A. succumbs to the Demon Weed!” We then see the “true” story of two pure youths whose lives are ruined by the drug.

Critics on both coasts loved the productions. The Beck production is more to be liked than loved. The staging though acceptable, never reaches the fevered-pitch necessary to make the material so ludicrous that it becomes hysterically funny.

Most of the cast is good, if not exceptional. On the outstanding level is Matthew Wright, who was superb in Beck’s ‘FIX’ and again proves what a super talent he is. The Lecturer is a sweat-it out, change-into-lots-of-costumes and be-many-characters part, that demands a lot. Wright pulls it off with ease and polish. Betsy Kahl, a young Renee Zellweiger look-alike, is adorable as the innocent turned innocently-evil Mary. Her rendition of “Lonely Pew” is wonderful.

Michael Hezog portrays the giggling pot-headed, zombied-out Ralph in a perfect over the-top way. Josh Armstrong displays exceptional dancing abilities and abandonment as a member of the male ensemble.

Aimee Collier’s “The Stuff” was well sung, though her characterization of the put-upon gun-moll Mae, came and went. Geeky Enji Reid tries hard as Jimmy, the good-boy gone-bad, but doesn’t have the stage savvy to pull off the role. Curtis Young makes a great Jesus, but doesn’t menace enough as Jack, the drug dealer.

Many of the spoken and sung lines are drowned out by the over-zealous band. The usually dependable musical director, Larry Goodpaster, needed to keep in mind that if the audience doesn’t hear the words, they don’t know what’s going on. This is not a rock concert, the band is playing back-up.

The highlight of the show was the creative and well-conceived choreography of Martin Cespedes. Cespedes has a way of gauging the talent level of his cast and building doable numbers for them to perform. Especially effective were “Down at the Ol’ Five and-Dime” and “The Orgy.”

CAPSULE JUDGMENT: The musical ‘REEFER MADNESS,’ which will soon be made into a movie, is getting its local debut at The Beck Center. The production is fun in parts, but doesn’t let loose enough to make it the hysterically funny romp it could be. As a teenager sitting behind me said to a friend at the end of the show, “So what’s the big deal?” That’s not the response director Scott Spence wanted.

Godspell (Porthouse Theatre-KSU)

'GODSPELL' is "All for the Best" at Porthouse

‘GODSPELL’ is one of the biggest musical theatrical successes of all-time. Based on the “Gospel According to St. Matthew,” the musical tells the story of the last seven days of Christ's life. The parables have been contemporized, and Christ's followers are free spirits who sing the likes of "Day By Day", "All Good Gifts", and "Turn Back, O Man."

The show is perceived to be the creative child of Broadway super-author and composer Stephen Schwartz, the conceiver of such hits as ‘PIPPIN’ and ‘WICKED.’ ‘Taint so. Schwartz was a late-comer to the project.

The story goes that in 1970, while attending college in Pittsburgh, John-Michael Tebelak went to church on Easter Sunday. A theology student before he decided he wanted to be a theatrical director, he found the service to be devoid of feeling. Afterward the long-haired Tebelak was stopped by a policeman and searched for drugs. Tebelak confided that this experience provided him the inspiration for ‘GODSPELL.’ He produced the show as his senior project at Carnegie Mellon University.

The original score consisted of a song written by a cast member and old Episcopal Hymns, played by a rock band. To this point, Schwartz had nothing to do with the project.

John Michael left school without graduating. The show was eventually staged at the off-Broadway Cafe La Mama Theatre. A producer saw the production and said he would finance it if it had a new score. Enter Stephen Schwartz, who wrote all the songs in 5 weeks. (The only tune to remain from the original production is "By My Side"). The newly conceived show opened Off-Broadway on May 17, 1971. Tebelak was 22 years of age! ‘GODSPELL’ moved onto Broadway where it ran for 2,124 performances. Hundreds of professional and amateur productions of the show continue to be done.

Besides the Schwartz connection to the project, another fact that is generally overlooked is Tebelak’s Cleveland connection. He is a Berea product. As related by Bill Allman, the former producing director of Berea Summer Theatre, “John-Michael cut his theatrical teeth at BST where he acted, designed scenery and directed. In 1980 he returned to his roots when he directed a revival production of ‘GODSPELL’.”

The show’s other connection to the area is that in August of 1971, before it became a mega-hit, ‘GODSPELL’ was produced at Great Lakes Shakespeare Festival, the predecessor to Great Lakes Theatre Festival, which, at the time was housed in Lakewood High School’s auditorium. The show’s director was non-other than Tebelak, himself.

The show is not without controversy. It has been called blasphemous. Religious leaders have stated, “Surely no Christian who believes the Bible would approve of the perversion of ‘GODSPELL’.” The Wexford, Pennsylvania School Board banned a production of it after “complaints about its religious message.”

Any director of ‘GODSPELL’ has a number of choices to make. Should the production center on the religious message, forsaking the humor or take Tebelak to heart and make this a production of joy with the philosophy of Christ being carried though warmth and humor? Terri Kent, the Porthouse Theatre’s director, decided to go with the latter interpretation. It was a wise choice!

Given a great deal of leeway with a script that doesn’t prescribe visual or staging images, Kent left behind the show’s traditional notion of Jesus dressed in a Superman t-shirt and his followers clothed as clowns. She updated the language and nonverbal gestures, incorporating rap and contemporary musical sounds.

All in all this is a good production. It builds to an emotional conclusion without adding more preachiness than the script already has. It conveys the message to “be careful not to make a show of your religion before man.” It also invokes thought as to why some followers of Christ preach hatred against others instead of following the dictum, “Ye shall love thy neighbor as thyself.”

The cast is strong. Especially effective were Ryan Bergeron whose “All Good Gifts” was emotionally involving; Sandra Emerick whose big voice and seductive looks were well used in the delightful, “Turn Back, O Man;” and Andrew Crus whose “We Beseech Thee” was highlighted by some clever choreography and a let-loose attitude. W. James Koeth did a fine job of making Jesus a real character rather than a caricature. Coleen Longshaw built “Day by Day” to an emotional peak.

Though often delightful, Matt Lillo, as he has done in other productions, failed to pull back when necessary and sometimes upstaged other performers. Cute Emily Pote was often difficult to understand. Joshua Gordon failed to ignite the character of John the Baptist.

MaryAnn Black, who for some reason was given no bio space in the program, created some very clever and well executed choreography. Highlight numbers included “O, Bless the Lord, My Soul,” “All for the Best,” and “We Beseech Thee.”

Brian Laakso’s musical direction was excellent, playing backup rather than drowning out the singers. Steve Pauna’s constantly moving scaffold set worked well though it may have been overused at times.

CAPSULE JUDGEMENT: It’s been done time and again, but with a good production ‘GODSPELL’ can still be a fine theatrical experience, even if you aren’t into the religious message. Terri Kent has crafted a well-conceived and audience-involving production.

(Thanks to John Nolan, theatre buff extraordinare and a member of the 1980 BST “GODSPELL” cast for background material used in this review.)

The Diary of Anne Frank: The Opera (Cleveland Opera)

‘THE DIARY OF ANNE FRANK: THE OPERA’--music fails to move audience

The number of Holocaust survivors is dwindling daily. A small group of zealots, including the father of a famous Hollywood film maker and actor, are denying that the Holocaust even took place in spite of extensive documentation.

There are those who feel it is the obligation of the rational among us to make sure that the lessons of the murder of millions of innocents, including one-and-a-half million children, not be diminished or denied. Therefore, it is appropriate that since the famed Holocaust victim, Anne Frank, would have been 75 years of age on June 12, 2004 that a tribute in her honor and to the honor of all those who senselessly perished with her in the hands of the Nazis, be staged.

With this mission in mind, in his last official act as the General Director of Cleveland Opera, David Bamberger staged an evening entitled, ‘WE REMEMBER! A CELEBRATION OF THE HUMAN SPIRIT.’

The evening’s opening segment, “Come to Me in Dreams” was a one-act opera which combined Bamberger’s scenario and the songs of Lori Laitman. The songs were based on a series of Holocaust writings, such the emotionally moving children’s collection, “I Never Saw Another Butterfly.”

“Come to Me in Dreams” showcases a concentration camp survivor who recalls his lost wife and child while telling his story to his surviving child. Each character is represented not only by an actor, but by a musical instrument. This creative device would have been effective if there had been more differentiation between the musical tone and emotion of the instruments. As is, there was a lack of contrast between the “happy” times and the “sad” times. The music lacked texture, didn’t pull at the heart strings. This, not withstanding, the voices of the cast members were excellent.

The overall effect was less than could have been expected. The piece was met with polite applause.

The second act was the Ohio premiere of the Encompass New Opera Theatre’s production of “Diary of Anne Frank” by Grigori Frid. The script puts the well-known story of Anne and her diary, which was first printed in 1947, into a musical venue.

The production brings nothing new to the story. In fact, it does not totally build the same emotional levels as the diary itself, or the play version or the film rendition.

Part of the problem may have been the familiarization with the material. Part may have been that the solo performance eliminated the verbal interactions that helped flesh out the frustration and fears. Part may have been the overly long nature of the piece which started to get tedious near the end. The major problem, however, from my perspective was the music. The contemporary sound just doesn’t sit well in the ear. After a while there was almost a discordant tone, much like fingernails scratching on the blackboard.

Dunja Perchstein as the solo participant, was generally effective as Anne. Often, especially near the end of the piece, her voice was difficult to hear. Fortunately, due to the visual bulletin boards above the stage, the words were available to read. She also failed to emotionally dredge heartfelt feeling from the audience.

CAPSULE JUDGEMENT: Cleveland Opera should be commended for staging an evening of music intended to keep the horror of the Holocaust present in the minds and hearts of the audience. No matter the artistic effectiveness of the evening, the overall message was clear.

Bodies of Work (Anateus Dance)

Anateus Dance, Beth Salemi shines, but....

Last spring, when reviewing Antaeus Dance Company, I commented, in regard to Joan Meggitt’s choreography that, ‘A shortened piece would have made the evening much more satisfying.” Unfortunately, I must again repeat those sentiments regarding both “The Wanting Seed” and “The Usual Suspects,” which were presented recently as part of the company’s ‘BODIES OF WORK.’

“The Wanting Seed” is billed as a “deeply spiritual piece that examines individual sacrifice and how it affects all of us.” In spite of a creative interpretation of the Arvo Part’s music the performance outlasted its effect.

“The Usual Suspects,” is a piece inspired by silent films of the 1920s and 30s. Meggitt uses Mozart’s classical music as the basis for a contemporary piece which she claims contains “inherent physicality and humor”. After making her point in the first scene, Meggitt keeps adding more and more, with less and less effect.

In both of Meggitt’s choreographed pieces the individual dancers were excellent, especially Beth Salemi. However, the corps segments displayed some unmirrored segments, when the dancers’ timing was not parallel.

The highlight of the evening was “Bounder,” choreographed and danced by Beth Salemi. Wearing a modified hoop skirt, which she used expertly, Salemi displayed both a sense of humor and dancing skill. This was an audience pleasing and clever creation.

CAPSULE JUDGEMENT: Joan Meggitt is a talented choreographer who might consider reexamining her philosophy and ask whether after accomplishing her message she needs to restate and restate the idea.

Steel Magnolias (Beck Center)

'STEEL MAGNOLIAS' doesn't hit all the right notes at Beck

There are few plays which allow the audience to laugh through their tears. STEEL MAGNOLIAS, Robert Harling’s well-crafted script, is one of the few, and, possibly the best.

The story, set in Chicapenn Parish, Louisiana examines the lives of six women. They are unique females whose social and emotional lives center around the local beauty shop where “anyone who’s anybody gets their hair done.” The women share gossip, laughter, tears and friendship, while buoying each other through pain and sorrow, while celebrating the wonders of life.

Truvy, a woman with big blond poofed hair, owns the beauty shop, once a car port attached to her house. Annelle is her new employee, a born-again Christian with a secret. Clairee is the wife of the former mayor and the wealthiest woman in town. M’Lynn is a social worker and mother of Shelby, whose life and death is the centerpin of the play. Ouiser is a pseudo-miserable woman who is all bark and little bite.

The play is chock full of delightful lines: “We went skinny dipping and did things that frightened the fish.” “I should have known my son had problems when his imaginary playmate wouldn’t play with him.” “The sanctuary looks like it was hosed down with Pepto Bismol.” On and on they go, and most pleasantly, they aren’t just one liners...they fit into the script and carry meaning and help develop both the characters and plot.

Beck Center’s production, unfortunately, doesn’t live up to the script. Sara May’s directing is usually right on target. In this production, however, she seems to have slowed the whole production down. Characters were not consistently developed and the line between comedy and pathos was often blurred. Dialect Coach Chuck Richie needed to hone the actresses’ Louisiana rhythm, cadence and articulation.

The cast is generally talented, but fails to jell. Maybe, as the show runs, the blending will take place. Melinda Hughes, as the diabetes-inflicted Shelby, comes the closest to a true-Louisiana sound. A tone which is absolutely necessary to illustrate that these are Southern women, born and bred. Hughes also sets up the pathos by being both vulnerable and appealing. Rhoda Rosen as Ouiser has some wonderful moments. Bernice Bolek as Clairee also displays some grasp of her role’s motivations. Julie Ketterer as M’Lynn, needed more resolve, Amy Pawlukiewicz as Annelle needed more character depth and Maria Corell as Truvy who is the pivotal character of the script, needed to let lose and develop a broader characterization.

Casey Jones’ sound design, especially the musical interludes between scenes, helped develop the correct mood for each scene.

CAPSULE JUDGEMENT: Beck’s ‘STEEL MAGNOLIAS’ is an acceptable, if not totally fulfilling production.

Point of Departure --6/1/2004

POINTE OF DEPARTURE makes a positive point!

The Cleveland area has many fine dance companies such as Groundworks and Verb. What is missing, since the departure of Cleveland/San Jose Ballet is a fine ballet company. But, some might respond, there are the Ohio Ballet and Ohio Dance Theatre. Unfortunately, Ohio Ballet has proven to be inconsistent and there does not appear to be much hope that in the near future there will be much change in that status. Ohio Dance Theatre, Denise Gula’s Oberlin based group, does a nice job for a small company with limited resources, but, it doesn’t produce world class productions.

Fortunately for the area, each summer former CSJB wunderkinds Karen Gabay and Raymond Rodriguez return to the area to give a limited number of performances by their Point of Departure company. This year the local season is limited to three outings, the just completed two performances at the Cleveland Play House and an August 5 night at Cain Park’s outdoor theatre.

As it again proved in its Play House programs, it’s really a shame the company can’t be in residence here all year long. The program was excellent!

Pointe of Departure has four things going for it. First and foremost, is the wonderfully creative choreography and fine-tuned directing of Karen Gabay. Second is the dancing of Rodriguez. Third is the dancing of Gabay. And fourth is the female corps de ballet.

Gabay’s choreography, much like the person, is full of energy, a sense of delight and an eye on precision. Her dancers are almost always in sync. The movements fit the musical tones and textures. Her story ideas are clear. Her dancers tend to know what to do and how to achieve the end result.

Though Rodriguez is getting a little long-in-the-tooth by dancer’s criteria, and his once razor thin body has thickened up a bit, he hasn’t lost a bit of his talent. He out-danced every male on the stage in the recent performances, some of whom were half his age. His secret is not only his dancing, but his attitude and understanding that emotions must be felt, not acted. It is a lesson that someone like Maximo Califano could well learn. Califano is tall, dark and handsome. He danced the lead in several numbers. He seems to have good dancing instincts, but his execution is sloppy, he feigns feelings, and lacks body control. His leaps often end with him off-balance. His hands flop around never completing a movement with finality. His eyes never show intensity or glee, as is fitting certain segments of dance. He feigns feelings rather than feeling them.

Gabay still moves like a feather and shows total glee in being before an audience.

The female corps are all fine. It’s hard to pick out one to highlight as they all performed well. Special nods go to Christine Schwaner for her performance in “Abrazo” and “A Vision in White,” and Catharine Grow in “Blues.”

On the other hand, the males are inconsistent. Jekyns Pelaez does an excellent job in his leaps, but is inconsistent in his timing. Demetrius King is a strong dancer and conveys the correct attitudes, but is also inconsistent in his dance interpretations. Ramon Moreno dances well in “Trabada,” he failed to convey to appropriate sensuality need.

“Gare Du Midi” centers on riders waiting for a train in a station. Leonard Bernstein’s music, “Divertimento for Orchestra” contains a melange of musical sounds including the waltz, samba, turkey trot, blues and march. The choreography perfectly matched the musical sounds. Highlight segments included “Sphinxes,” “Mazurka,” and “Turkey Trot.”

“Pas de Deux from Swan Lake, Act II featured Alexsandra Meijer as Odette, the Swan Queen and Maximo Califano as the Prince. Meijer dances well, but she failed to compel the audience to watch her. Much of the problem centered on her stoic attitude which lacked the necessary vulnerability and enchantment of the character.

“2-2 Tango” was again Gabay at her choreographic best. She took the audience through ten different emotional levels, all based on tango music. Highlight segments included “Sentado” which again proved that as dancers and partners Gabay and Rodriguez still have it! Their “Mordida” was another highlight segment. Gabay, along with Patricia Perez and Christine Schwaner performed excellent toe-work in “Cordia.”

The delightful jazz induced “The Other Side of the Road” completed the evening. Again Rodriguez sparkled. Every segment of the Gabay choreographed piece was unique and well executed.

The final curtain was greeted by a deserved standing ovation by the near capacity audience. Interestingly, there were no sets, the music was recorded and the costumes minimal but fine. As Pointe of Departure proved, it doesn’t take gimmicks to produce wonderful dance.

It would be wonderful if Pointe Of Departure could become a year long community fixture. With the right benefactor or series of benefactors that could become a reality.

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. If you have a check to write, big or small, or a suggestion of who might be 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.

The Sweepers (Ensemble Theatre)

‘THE SWEEPERS’ leaves much under the rug at Ensemble

It is both ironic and appropriate that on the weekend that the memorial dedicated to those who gave their lives in World War II, Ensemble Theatre opened their run of the Cleveland premiere of ‘THE SWEEPERS.’ The play centers on the final weeks of World War II.

John Picardi’s script is the first in a proposed series of ten plays focusing on the Italian American experience in the USA. He plans to write one for each of the decades in the 20th century.

In ‘THE SWEEPERS’ Picardi examines the problems created by the war and the effect on three life-long Boston Italian-American friends. Each of the ladies must face not only the trio’s relational issues and upholding the “Italian way,” but her own troubles. Dotty (Tracey Field) must deal with a husband in a mental hospital and her son at war. Mary (Meg Kelly Schroeder) must adjust to living life alone while her husband and son fight on the front lines in the Pacific. Bella (Jean Zarzour) fights her battles at home, dealing with her half-Irish lawyer son (James Savage Jr.) and the upper-crust Italian young woman (Jennifer Clifford) he has chosen to marry.

‘THE SWEEPERS’ is not a great play. Its plot twists are predictable, its characters too formulaic, and the writing leaves the viewer out of the loop...never sucking us into the action. In spite of this Picardi does give a glimpse into Italian American traditions and the binding relationships brought about by life-long friendships.

In its Off-Broadway run the play received favorable reviews. The plaudits were for the performances more than for the vehicle. Unfortunately, the Ensemble production misses the strong acting aspects.

Director Lucia Colombi doesn’t get her cast beyond surface level performances. The characters are not real. They need to be real. They need to be true Italian Americans, true people living a series of experiences. Emotions were feigned, not experienced. We need to feel with them and for them. Not so!

This is one play that requires each of the performers to have a clear verbal sound. These are people who have a deep connection with Boston and the Italian culture. There is a sound cadence that is required to create the reality. Not one member of the cast consistently had it.

On paper this was an ideal cast. Three of the actresses are members of Equity, the professional actor’s union. The others have extensive experience. It can only be assumed with proper directing they should have been able to make this, in spite of the script, a compelling evening of theatre.

Applause to Ray Beach and Stephen Vasse-Hansell for their excellent set design and Melanie Guzman on her period correct costumes.

CAPSULE JUDGEMENT: It’s a shame that Ms. Columbi couldn’t pull off the play with more professionalism. She’ll get another chance next year when Ensemble does the second of Picardi’s plays. Let’s hope the results are better.

Menopause (14th Street Theatre)

Clevelands have a better 'MENOPAUSE' than the Big Apple

“Seeking -- Iowa Housewife: mezzo, must be able to sing D below middle C to a high A. General information: Women should be over 42 and size 12-plus. Choreography is not difficult but they need women who can move well.” That definitely is not the traditional casting call for a Broadway musical. But, ‘MENOPAUSE, THE MUSICAL” is not a traditional show. There are no chorus cuties. There are no prancing guys. There is just a lot of fun, good singing, and an audience who knows from experience what it’s all about.

I’ve gone through menopause three times. In my home where my wife kept turning on the air conditioning during the winter and shedding clothing quicker than Gypsy Rose Lee. I also experienced it in New York with the original cast of the musical. But, sorry dear, undoubtedly, my best encounter with the “change” was at Cleveland Playhouse Square’s new venue, the 14th Street Theatre.

‘MENOPAUSE THE MUSICAL’ is a musical parody about the meeting of four women at a lingerie sale at Bloomingdale's. The four are a power professional, an aging soap opera star, an Iowa housewife, and a lost-in-the-sixties ex-hippie.

The quartet sings twenty-eight "re-lyricked" songs from the '60s and '70s which comprise the score, including "I Heard It Through the Grapevine, You'll No Longer See 39" and "Stayin' Awake, Stayin; Awake."

According to the show’s author Jeanie Linders she was inspired by "a hot flash and a bottle of wine." She contends the show is a celebration of a passage that launches women into an exciting new phase of their lives. "Most women know intuitively that every other woman is experiencing memory loss, night sweats or hot flashes," states Linders. "But when they are in a theater of 400 women – not just a few friends who are sympathetic by nature – and all 400 are laughing and shouting ‘That’s me!’ then they KNOW that what they are experiencing is normal. They aren’t crazy. It becomes a ‘sisterhood.’"

The Cleveland cast is wonderful. They work together well, obviously a labor of love. As the power woman, Tina Stump wails and shakes her “bootie” to the screams of the audience. June Lange, as the Earthmother (you’ll remember her as the widowed mother in the long running ‘TONY & TINA’S WEDDING)’ quickly became the audience favorite. The lovely and talented Maryann Nagel portrays the Soap Star with her usual dramatic flair and powerful voice. Dyan Beder doesn’t quite reach the heights of the others, but is so full of charm and enthusiasm that she blends in well.

The 90-minute show, which is performed without an intermission, contains take-offs filled with double entendres of such hits as ‘Chain of Fools,” “The Lion Sleeps Tonight,” “Puff, the Magic Dragon” (which becomes “Puff, My God, I’m Drag ‘in”), “Lookin’ For Love in All the Wrong Places” and “Stayin’ Alive.”

The show climaxes (excuse the pun) with the audience being invited on stage to share the “experience.” Many of them do!

According to the producers, the show’s few glitches are being taken care of. The band is being toned down. At times it was impossible to hear the clever words over the overly loud pounding beat of the musicians. The miking and speakers are being adjusted. And the order of the song titles in the program are being relisted as audience members were complaining that they wanted to know what song was being sung and the random title arrangement didn’t help.

CAPSULE JUDGEMENT: It’s a “Sign of the Times” that I developed a “New Attitude,” while getting “Good Vibrations“ from the wonderful cast. Pick up your fans, pop your pills, grab a bunch of your friends (even men will do) and strut your way downtown to see this hysterically funny, well done show. The production is in an open run and deserves to be held over and over and over!

Cookin' at the Cookery (Cleveland Play House)

'COOKIN’ AT THE COOKERY' pleasant evening at CPH

Billie Holiday, Ella Fitzgerald, Etta James, Janis Joplin, Lena Horne, Alberta Hunter. You probably have heard of the first five, but who was Alberta Hunter? Interestingly, before any of the other divas on the list, there was Alberta Hunter.

Hunter was a super star! So, why haven’t you heard of her? Once a star of Broadway, the Casino de Paris, and the London Palladium, Hunter gave it all up at the age of 60 to become a nurse. She surprised everyone when, at the age of 82, she made a comeback in 1977 at Greenwich Village's THE COOKERY. Thus, the title of the show.

Now, more than a decade after her death, Hunter has made yet another comeback, this time as the subject of an award-winning Broadway play ‘COOKIN' AT THE COOKERY.’ The musical is told "in the key of the blues" by two actresses and four musicians performing soul-shaking renditions of Hunters' classic blues and jazz tunes including "Rough and Ready Man," "I'm Having a Good Time," "Down Hearted Blues" and "The Love I Have for You."

The show is a demanding vehicle for the two actors in the show. The duo playsnumerous characters from the singer, to her mother, to Hunter as a young girl, to Barney Josephson (the owner of the Cookery), and the legendary Louie Armstrong.

Gail Nelson, who sings and acts the lead role, and Carla Woods who plays the majority of the character roles, both have good voices and develop believable characterizations.

CAPSULE JUDGEMENT: ‘COOKIN’ AT THE COOKERY’ is a pleasant evening of theatre. There is not enough drama to make this a great play, not enough challenge to make it outstanding theatre, but the singing is nice and the story is pleasant enough.

Nickel and Dimed (Cleveland Public Theatre & Great Lakes Theatre Festival)

'NICKEL AND DIMED' pays big dividends for CPT & GLTF

Randy Rollison, Artistic Director of Cleveland Public Theatre and Charles Fee, the Producing Artistic Director of the Great Lakes Theatre Festival, stood center stage in the Gordon Square Theatre, welcoming the opening night full house to their jointly produced ‘NICKEL AND DIMED.’ Thus ushered in yet another exciting recent Cleveland innovation...a joint production between two local theatre companies.

There have been others, but this one is unique. In these times of tight dollars, to blend subscribing audiences, to run a jointly-produced show for a run that will last a month, is a gutsy move. It is the kind of creativity that has been the hallmark of Cleveland Public Theatre since the team of Rollison and Executive Director James Levin teamed up.

It has also been the practice of Fee, since coming to the area a short time ago, to look for alternative ways of doing theatre. In yet another of Fee’s moves, GLTF will revert back to its roots this year and produce a summer season of shows in rotating repertory, to be followed by a fall repertory and a holiday program. This is exciting stuff!

As to the show itself...millions of Americans work full-time, year-round, for poverty level wages. In 1998, Barbara Ehrenreich decided to join their forces. She set out to find out how anyone can survive, let alone prosper, on the minimum wage, on six to seven dollars an hour.

Moving from Florida to Maine to Minnesota, Ehrenreich worked as a waitress, a hotel maid, a cleaning woman, a nursing home aide, and a Wal-Mart sales clerk. She discovered that every job required exhausting mental and muscular effort. She also learned that one job is not enough; you need at least two if you intend to live indoors.

The theatres’ joint production of Barbara Ehrenreich’s ‘NICKEL AND DIMED’ is superlative. In spite of some opening night stumbles, the production, the acting, the setting all work perfectly. It far surpasses the script, which lectures a little too much and makes the director, technicians and actors work too hard to get the message across. The cast, under the creative direction of Melissa Kievman is flawless. Each character is clearly developed. There is never a moment when the audience’s attention isn’t anywhere but on the stage.

Nan Wray, Sheffia W. Randall, Nina Domingue, George Roth, Tracee Patterson each play a multitude of parts, with a multitude of accents, and a multitude of costumes and props. Jill Levin portrays Barbara. This is an ensemble piece that defies separating out the performers. One weak link and the entire chain fractures. There is no weak link. Applause, applause!

Todd Krispinsky has created a series of set piece which wheel on and off the stage with precision and ease. The running crew deserves a special curtain call. Trad Burns light, Alison Hernan’s costumes and Peter John Still’s sound design all work to perfection.

CAPSULE JUDGEMENT: After seeing “NICKEL AND DIMED,’ you will never see a motel bathroom or a eat a restaurant meal in quite the same way again. You’ll think twice before you shop at Wal-Mart. You’ll think twice before stiffing a waitress. ‘NICKLE AND DIMED’ is not just a theatrical experience, it is a life altering experience. This production isn’t just a see...IT’S A MUST SEE!!!

The Last Five Years (Dobama)

'THE LAST FIVE YEARS'--Dobama finds musical that fits its mission

When it opened Off-Broadway in March of 2002, Jason Robert Brown’s ‘THE LAST FIVE YEARS’ was met with superlative reviews. It was termed “compulsively enjoyable. ”The lyrics were called “accomplished, clever, tender, and arching in feeling.” Mr. Brown was lauded as “a leading member of a new generation of composers who embody high hopes for the American musical.”

Brown is the author of superlative musical drama, ‘THE ‘PARADE,’ the well-received ‘SONGS FOR A NEW WORLD,” and the critically panned “URBAN COWBOY.’ His music is not easily categorized, as is say, the writing of Andrew Lloyd Weber, where everything, after a while, all sounds the same. He writes in the mold of Steven Sondheim. His music is dramatic, often witty, always intellectual, yet with shades of wit and sincerity.

‘THE LAST FIVE YEARS’ chronicles a young couple's romance in an interesting way. Her story starts at the end of their relationship; his begins on the day they met. The show captures the heartbreaking and universally felt moments of modern romance.

Dobama is noted as “Cleveland’s Contemporary Stage.” Very seldom will you find a musical in the theatre’s offerings. However, every once in a while the artistic director finds the right fit of theatre and musical. ‘THE LAST FIVE YEARS’ is a wise choice. It has a contemporary message to tell and it tells it well.

The strength and the weakness of Dobama’s production is the cast. As with Sondheim, it takes special performers to get Brown’s work “right.” The two-person cast must not only be superlative singers, but superlative actors to get the numerous textures from the lyrics, and sing what are often difficult musical arrangements.

The Off-Broadway cast was lauded for “making beautiful music together.” Unfortunately, this is not consistently the case at Dobama.

On one hand, Scott Plate is wonderful. He is a superb actor and has developed into quite a singing talent. He commands the stage when he is present. He understands that Brown’s lyrics need interpretation and texturing. He pulls it all off with a well honed performance.

Unfortunately, Emily Krieger did not fare as well in her role as Cathy. Miss Krieger has neither the real life nor stage experience to undertake a role that fits the likes of Audra McDonald. She is a good college level performer, but didn’t quite have the whole package to pull off the quality of performance needed.

Vickie Bussert creatively directed the production which moved smoothly along and was visually interesting. If she knew that Krieger was going to assume the role of Cathy, she needed to work more on polishing her acting skills and working with her on character development.

The show’s musicians Nancy Maier, Morgan Scagliotti and Saeunn Thorsteinsdottir were excellent in both playing proficiently and backing up rather than drowning out the singers.

CAPSULE JUDGEMENT: ‘THE LAST FIVE YEARS’ is a well-conceived musical. The Dobama production, at least the one I saw, does not live up to the level of the script, score and lyrics. Not having seen Sandy Simon I can’t say whether the production would have worked better with the equity actress in the role, but based on her ‘SIDE SHOW’ and ‘MUSIC MAN’ performances at Cain Park, I could assume that she does a fine job and that would have made a major difference.

Cinderella by Houston Ballet (Playhouse Square Center)

Charming ‘CINDERELLA’ by Houston Ballet

The Houston Ballet is recognized as one of the premiere companies in the U.S. Their recent production of ‘CINDERELLA,’ which was the closing show of the University Hospital’s Health System’s Ballet Series at Playhouse Square Center, clearly illustrated the showmanship. The sumptuous costumes, well conceived scenery, the full-orchestra, and generally fine dancing made for a charming evening of dance.

The opening night cast featured the lovely and talented Mireille Hassenboehler as Cinderella. Her strong toe-work, fine dramatic interpretation of the role, and radiant smile made her truly a fairy-tale princess. Her Prince Charming was Andrew Murphy. Though he displayed strong partnering skills, his dancing showed some weaknesses, especially in his leaps. Illya Kozadayev captured the audience with his athletic split jumps and effervesence as the Jester. Julie Gumbinner was fine as the Fairy Godmother, as were the fairies. Audience favorites were Dominic Walsh and Phillip Broomhead, playing the stepsisters in drag. Their exaggerations and facial maneuvers brought gales of laughs from the many children in the audience.

CAPSULE JUDGEMENT: ‘CINDERELLA’ was a perfect way to end what turned out to be an inconsistent season of ballet in the Playhouse Square Center. Without a company of its own, the area has to turn to outside sources for major dance entertainment. When the American Ballet Theatre or the Houston Ballet are the choice, the evening is fine. On the other hand, the performance of The Pennsylvania Ballet left much to be desired.

Long Day's Journey Into Night (Ensemble Theatre)

‘LONG DAY’S JOURNEY INTO NIGHT’ gets good performance at Ensemble

On July 22, 1941, on the 12th anniversary of his marriage, Eugene O’Neill wrote this letter to his wife: “Dearest: I give you the original script of this play of old sorrow, written in tears and blood. A sadly inappropriate gift, it would seem, for a day celebrating happiness. But you will understand. I mean it as a tribute to your love and tenderness which gave me the faith in love that enabled me to face my dead at last and write this play.”

The play he was referring to was ‘A LONG DAY’S JOURNEY INTO NIGHT,’ now on stage at Ensemble Theatre.

The history of the script is fascinating. In the summer of 1939, at the age of 50, O'Neill began work on an autobiographical masterpiece that confronted the truth about his own family. He completed the work in 1941, but said the play was not to be produced until 25 years after his death.

His wife, however, knowing of the power of the work, released it for production in 1956, three years after O'Neill's death. It won a Pulitzer Prize and has often been hailed as O'Neill's greatest play, even being called the greatest American play of all time.

Though the names have been changed, O'Neill gives an account of his explosive home life. James Tyrone is an aging actor and a miserly skinflint. His wife, Mary, has been a morphine addict since the birth of their youngest son, Edmund. Their eldest son, Jamie is an alcoholic, unable an unwilling to find work on his own. Edmund, (Eugene O’Neill himself) who has been away as a sailor has returned home sick and awaits the doctor's diagnosis. Each of them is so self-centered, and self-pitying, that they cannot help one-another as they sink further and further into despair.

During his sanitorium confinement for consumption O'Neill studied voraciously. He devoted special attention to the playwrights Ibsen and Strindberg. His plays reflect these authors’ stark realistic styles.

The 1920 Broadway production of ‘BEYOND THE HORIZON’ marked the start of O'Neill's ascent to fame. He won the Nobel Prize in 1936, the first American playwright to receive the honor. O’Neill’s classics include ‘THE ICEMAN COMETH,’ ‘THE EMPEROR JONES,’‘ANNA CHRISTIE,’ ‘THE HAIRY APE,’‘DESIRE UNDER THE ELMS,’ ‘AH WILDERNESS,’ and ‘A MOON FOR THE MISBEGOTTEN.’

An award winning 1962 film version of ‘LONG DAY’S JOURNEY INTO NIGHT’ starred Dean Stockwell , Jason Robards, Ralph Richardson, and Katharine Hepburn.

‘LONG DAY’S JOURNEY INTO NIGHT’ is a very hard play to perform. It is very long, talky and depressing. Ensemble’s production, under the direction of Licia Colombi, is a very creditable staging.

The handsome and slight Andrew Curse is a perfect Edmund. His body wracks with deep-lung coughs, he perfectly portrays O’Neill’s valiant fight for sanity in an addictively dysfunctional family.

In portraying O’Neill’s mother, Annie Kitral takes on one of the great women’s stage roles. As with actresses who portray Blanche in ‘STREETCAR NAMED DESIRE,’ Amanda in ‘THE GLASS MENAGERIE,’ and Martha in ‘WHO’S AFRAID OF VIRGINIA WOOLF,’ she confronts a major challenge. And, she wins the battle. This is a finely honed performance. She clearly carries us deeper and deeper into her depression as she attempts to escape from reality through drugs.

Robert Hawkes gives a good performance as the drunken and misguided father. He might have textured the role more to give a clearer picture of the character’s mood swings as his frustration with life builds and we see that, as with most alcoholics, he goes from drug induced rage to depression.

John Kolibab has some fine moments near the play’s ending when he purports both his love and hate for his younger brother while wallowing in a drunken haze. He, as with Hawkes, needed more clearly defined moments of rationality and psychological clashes.

CAPSULE JUDGEMENT: A classic nine word review of the play once stated, “ ‘A LONG DAY’S JOURNEY INTO NIGHT’--yes, it was!” Fortunately for local audiences Colombi has cut almost an hour off the overly-long script and has molded her cast into an effective unit. Ensemble’s production is a fine way to experience the power of O’Neill.

The Merry Wives of Windsor (Actors' Summit)

The Silvers have a Merry Time at Actors' Summit

William Shakespeare was the most influential writer in all of English literature and certainly the most important playwright of the English Renaissance. Born in 1564 in the town of Stratford-upon-Avon in Warwickshire, England he died in 1616 at the age of fifty-two. His legacy is a stable of comedies, farces tragedies, historical plays and poetry that are produced and reproduced by theatres the world over.

One of his most farcical scripts is ‘THE MERRY WIVES OF WINDSOR. The play's comic intrigues create a jovial tone. But, as with many of his plays, ‘THE MERRY WIVES OF WINDSOR’ carries a social message The title of the play declares the primacy of the women's roles: the play is literally the story of the two merry wives and, against the thoughts of his day, how they manipulate the men in their lives.

The plot surrounds the playful but virtuous behavior of the title characters, Mistress Page and Mistress Ford, who are married to two prosperous men of Windsor. The wives set out to dupe the sexually predatory Falstaff while curing Ford of his jealousy. Meanwhile, the Pages' daughter, Anne Page, wooed by Fenton, a man of higher birth but less money. This creates Shakespeare’s other message: romantic love as a kind of social assimilator, transcending class and enabling individuals to create new and inclusive social categories around their romantic relationships.

Shakespeare is noted for his clever use of words and rhyming patterns. Interestingly, this play makes use of far more prose than any other of his plays. It is filled with proverbs and clichés.

For a production of ‘MERRY WIVES’ to be successful, at lease six major characters have to be excellent…the two wives, their husbands, Falstaff and Miss Quickly. Fortunately, in the Actors’ Summit production all of these roles are adeptly acted, thus insuring a happy theatrical experience.

As Mistresses Ford and Page, Sally Groth and Rebecca Knab are delightful. They scheme and the plot and are completely believable. Tom Stephan as Master Page and Andrew Narten as Master Ford are fine. Narten is especially fine in the scenes where he becomes hyper-hysterical when he thinks his wife is having an affair with a gentleman caller.

Reuben Silver, as Falstaff, the lecherous curmudgeon, is character perfect. He delights! Dorothy Silver, the other half of Cleveland’s first acting family, is obviously having a ball playing the interfering Miss Quickly.

Unfortunately, some of the other cast members don’t do as well. In the role of the suitors for the hand of Anne Page, Jeff Nichols as the Frenchman Doctor Caius, overdoes his accent and is entirely too fey and Aaron Coleman, as Slender looks the part, but never quite develops a believable characterization.

Director Neil Thackaberry has wisely chosen to put aside English accents, and has the cast speaking clear General American English.

CAPSULE JUDGEMENT: Shakespeare is difficult to perform, especially for Americans who often can’t identify with either his message or intricate language. The Actors’ Summit production of ‘THE MERRY WIVES OF WINDSOR,’ while it does not have the polish of a professional production, is quite creditable and worth seeing.

Agnes of God (Beck Center)

Thought provoking ‘AGNES OF GOD’ illuminates Beck

Agnes, a 21-year old cloistered nun, gives birth in a convent. The baby is found strangled and disposed of in a wastepaper basket. Agnes remembers nothing about the conception, pregnancy, birth or the murder. The court has assigned Dr. Livingstone, a psychiatrist to investigate. A battle explodes between the protective Mother Superior and Livingstone as they each try to ''save'' the disturbed nun. This is the premise of John Pielmeier’s dramatic mystery, ‘AGNES OF GOD’ being staged at The Beck Center for The Arts.

The play invokes questions of sanity, innocence and spirituality. It asks hard questions about faith and gives no easy answers. The author has stated that he ''offers a story of salvation and hope, [and] through philosophical debate dangles in front of the audience and characters the possibility of miracles.” But, in reality, what does Pielmeir offer the audience? Dissecting the play still leads to head-scratching among actors, directors, theologians, psychologists and theatergoers years after its first production.

From where did the concept for the play emerge? The author states, “Shortly after I moved to New York City in 1977, I saw a headline that said “Nun Kills Baby.” I didn’t buy the paper, and I didn’t read that article, but it gave me the answer to a question that I had been asking for a long time. I had wanted to write a play that dealt with, or that asked questions about spirituality, about sanctity. I wanted to write a play that explored the question: “Would a person who was considered a saint in the 15th century be considered a saint today? Or would he or she be locked up in an institution?”

The play, due to its subject matter, has not been without controversy. As a whole, the Catholic Church never has made any sort of stand against it. However, when the national tour was going through Pennsylvania, the Archbishop of Scranton said, “No, I don’t want this play in the city.” Other Catholics might feel the same way. This is not a settling tale and for some, may put the church and the actions of the seminary in a bad light.

For the play to be successful there must be the melding of a director who understand the intent of the script and a superb cast. The Beck production is fortunate to have Seth Gordon as its conceiver. The production is well paced, is visually effective, and uses sound and lighting well.


The intriguing three-woman cast features Sherri Britton as Mother Miriam, equity member Elizabeth Ann Townsend as Martha Livingstone and Alicia Kahn as Agnes.

Britton is outstanding. She is not only totally believable in her portrayal, but she keys important ideas so they become readily apparent. For example, she states, “What we’ve gained in logic, we’ve lost in faith” with such conviction that the listener’s mind slams on its brakes and ponders the profound concept.

Townsend is a fine actress. Unfortunately, her first act performance was hindered by the necessity to deal with a constantly lit cigarette. The use of the cigarettes caused the timing and emphasis of some of her lines, and her natural body movements, to be compromised. In the second act, when she was sans cigarettes she was brilliant!

Kahn’s performance is moving and entrancing. She didn’t portray Agnes, she was Agnes. Her enactment of the birth and death of her baby was captivating as was her entire ethereal presence.

CAPSULE JUDGEMENT: Beck’s ‘AGNES OF GOD’ is one of this season’s local theatre scenes’ highlight productions! Applause, applause, applause!

Shaw and Stratford Festivals Preview--2004

Shaw and Shakespeare Festivals beckon you!

It’s that time of year again. The weather is turning nice, the orange barrels signaling road repairs are going up, it’s vacation time. And, if you are at all interested in theatre, the “in” place to go for a mega-sized offering of good productions is Canada for the Shaw and Stratford festivals. And, to make it even more tempting, the Canadian dollar is still a good buy against the US buck.

THE STRATFORD FESTIVAL OF CANADA

The Stratford Festival of Canada takes place in Stratford, Ontario, Canada. The ride from Cleveland is about six hours through Buffalo. Go on-line to the festival to get directions. The web address is www.stratfordfestival.ca.

Productions, which started May 4 run through October 31. Spring and summer offerings include: ‘A MIDSUMMER NIGHT’S DREAM,’ ‘GUYS AND DOLLS,’ ‘MACBETH’, ‘KING HENRY VII (ALL IS TRUE),’ ‘THE COUNT OF MONTE CRISTO,’ ‘ANYTHING GOES,’ ‘NOISES OFF,’ ‘TIMON OF ATHENS,’ ‘CYMBELINE,’ KING JOHN,’ THE TRIUMPH OF LOVE,’ ‘THE SWANNE: QUEEN VICTORIA,’ ‘THE ELEPHANT SONG/THE HUMAN VOICE.’

Besides the performances there are post-performance discussions, costume and prop warehouse tours, backstage tours and garden tours.

What’s the lodging like? I’d opt for one of the many bed and breakfasts. Sorry, I can’t recommend a specific choice. We are trying one this summer instead of staying in a hotel. I’ll report on it when I do my reviews later this season.

Last season I made some recommendations for shopping and eating. I’ve been requested to repeat those ideas. 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).

I’ll be visiting the theatres in June and will be giving my suggestions for what shows to see.

Call Stratford Escapes, a division of Niagara Falls Tours for reservations. For information call 877-356-6385 or go on line to www.niagarafallstours.com. For individual tickets or a festival brochure call 800-567-1600 or go on-line to www.stratfordfestival.ca.

THE SHAW FESTIVAL

The Shaw Festival is perfromed 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. It’s worth the ride, even if you don’t go to the theatre, to visit the lovely little city. And, if you are a gambler or want some interesting side-trips, Niagara Falls is less than half-an-hour away as is the Welland Canal. Toronto is a short drive away.

Productions run from April 2 through December 4. This season’s productions include ‘PYGMALION,’ ‘THE IMPORTANCE OF BEING EARNEST,’ ‘THREE MEN ON A HORSE,’ ‘PAL JOEY,’ ‘AH, WILDERNESS!,’ ‘RUTHERFORD AND SON,’ ‘WAITING FOR THE PARADE,’ ‘THE TINKER’S WEDDING,’ ‘MAN AND SUPERMAN,’ ‘NOTHING SACRED,’ ‘HARLEQUINADE,’ and ‘FLOYD COLLINS.’

Again, I’ve been asked to repeat my comments on the Niagara area restaurants, shopping and places to stay. The 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. It 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.

Fans Court Chinese Restaurant (135 Queen Street) is a good buy. It has a very pleasant outdoor patio and the food is fine. 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 frozen 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. Splurge places include The Prince of Wales Hotel, Queen’s Landing Inn and The White Oaks conference Resort and Spa.

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, meals and tickets. Also be aware that the festival offers Sunday night specials, rush tickets and senior matinee prices.

Friendly people, good value and wonderful theatre awaits you hosted by our neighbors to the north.

Free Will (convergence-continuum)

'FREE WILL' confronts wanton lust at convergence-continuum

Clyde Simon, convergence-continuum’s Artistic Director and Brian Breth, its Executive Director remind us in the program notes for their season opening production of ‘FREE WILL & WANTON LUST’ that the theatre was founded with the idea of “going against the grain” and doing “in-your-face style theatre.”

Nicky Silver is a hot, hip, now playwright who has much to say. Much in the tradition of Edward Albee and Arthur Kopit, Silver writes of the absurdities of life. His works and the play selection preferences of convergence-continuum are a perfect match.

‘FREE WILL & WANTON LUST’ is about Claire, a wealthy, self-absorbed 40-something married woman who takes lovers half her age to allow herself to feel young, beautiful and fulfilled. Her current playmate is Tony, a studly artist who hopes Claire’s connections will help further his career. Claire’s children are Amy, a 15-year-old who is bitter, intoxicated and possibly pregnant, and 20-year-old son, Philip, who is in search for self. It’s a play which discusses loneliness and the nature of humans.

Silver, is less concerned with structure than with words. Unfortunately, a little more structure and less verbiage would have helped. The first act is hysterically funny, exposes us to the characters and sets the stage for a lesson to be taught in Act II. The second act unfortunately fails to satisfy. It features several very, very long monologues which go well beyond making their point regarding metaphors centering on spitting and the sexual nature of men.

Clyde Simon’s directing is basically competent though the pacing and character development could have been enhanced. After a while the play got very draggy and the line between believability and the bizarre was often unnecessarily crossed. Part of this is the writing, especially of the less than satisfying second act.

Lauri Hammer handled the difficult characterization of Claire quite well. The character is written to be shallow, vain and self-centered, which makes it difficult to believe she has anything important to say. This, plus some surface level acting, caused a problem for her Act II monologue in which Hammer manages to keep our attention even if she fails to gain our interest in her fate.

Lisa Bradley tries vainly to give us a creditable Amy. However, she misses the delicate balance needed to imbue her character with the depth and desperation of the swings between teenage brat and the confused moral center of the play.

Geoffrey Hoffman as the young lover, doesn’t fulfill the physical requirements needed for the body builder-stud role. His acting however developed the cockiness of the character well, but missed the shadings necessary to illustrate in Tony’s true nature.

As Philip, the son, Steve Needham was excellent in the shorter scenes. He, as did Hammer, had difficulty in commanding attention for his very long monologue. The depravity of the mother-son relationship was wonderfully captured in his emotional collapse at the play’s curtain as he was rocked in his mother’s incestuous arms.

Allyson Rosen, as the disturbed Vivian, came on stage like a Nazi storm trooper and created a character that was more laughable than believable. This overdone characterization overshadowed the fine scene when she explained the history that caused her to be so emotionally detached.

Capsule Judgement: The dark comedy, "FREE WILL AND WANTON LUST," turns heads with its title alone. It is an interesting play that needed a more riveting and textured production. If for no other reason, it’s worth seeing to appreciate what has made Nicky Silver the new “infant terrible” of modern playwrights.

Danceworks '04 (Groundworks)

Groundworks again captivates audience with Danceworks '04

David Shimotakahara, the artistic director of GroundWorks Dancetheater has a reputation for inspiring his audience’s to think. He also illustrates for them what it means to have a disciplined dance corps.

The evening, presented as part of Cleveland Public Theatre’s ‘DANCWORKS 04,’ consisted of two equal length pieces, “The Book of Water” and “At Once There Was A House.”

“The Book of Water,” as explained by Shimotakahara, the piece’s choreographer, continues his interest in connectivity. He challenges the audience to experience, as the company did, the questions: “Is life a series of isolated pools through which we pass alone in our encounters? Is memory held in separate cups, secret and contained? Or are we connected in our course?

The choreographer answers his own questions, as he leads the viewer through a seamless connection of each of the vehicle’s segments. Each unit, danced to a unique piece of music, had a feeling all its own, but with the unmistakable unity of flow and movement. Slashing hands, flying bodies danced to a heavy drum beat; bodies moving across the floor in controlled moves set to heavy organ music; slow controlled moves of arching bodies, swimming, moving like water birds to plaintive piano music. Whatever the music, whatever the movements, the parts all melded into a single unit. Even the ending, which found Shimotakahara bathed in a pool of blue light, bare-chested and breathing heavily, was a perfect fit.

Felise Bagley, Amy Miller, Mark Otloski, and Shimotakahara are all fine dancers. Bagley and Miller make the most difficult of moves look easy. They display total body control. Shimotakahara has always been a dance machine, well-oiled and in perfect sync. It has been especially interesting to watch Otloski, who was a principal dancer with the Cleveland/San Jose Ballet, mature under the tutelage of Shimotakahara into a more disciplined dancer.

“At Once There Was A House,” a Cleveland premiere choreographed by Beth Corning, and danced to the music of such composers as Tom Waits, Kathleen Brennan and Lou Harrison, was a much more complex piece.

Most interesting was listening to the audience’s conversation following the performance about what meaning the piece held for each of them. Comments were made of children playing dress-up, child abuse, the experiences of growing up and looking back at childhood, and childhood delight. One thing appeared certain. The meaning of piece remained abstract, but the concept purported by psychologists is that each of us creates our reality through our stories, narratives, and questions of life.

Dressed at the start in oversized adult shoes and children’s clothing, the company interacted with the audience with childish delight. Later segments found Felise Bagley partnering with a white picket fence that folded and bent as she created illusions of life’s experiences? Another segment was danced accapello, consisted of changing partners, searching other others and freezing in place. Often the words and the movements were not in parallel to each other causing discordant thoughts. Another portion found the dancers moving across the stage in parallel lines, never intersecting, never touching. fifth One unit found Otloski illustrating high school experiences in both movement and words. In another part Shimotakahara, with a large soft sculpture door attached to his body, danced to discordant music. Yet another unit exposed a balancing act of dancer and a chair. The finale repeated the opening in costume and theme.

The piece, a departure from the usual serious mood of Danceworks numbers, was thought-provoking for the audience and physically challenging for the dancers.

For those who have not experienced the offerings of this wonderful company, Danceworks will be performing on July 2 and 3 at Cain Park Theatre in Cleveland Heights. There will be Talk back sessions following each of those performances. For information call 216-932-0222.

A tribute to Marji Dodril

Every once in a while we meet a very special person. My life has been made better by having known Marji Dodril. Marji was a woman of beauty, charm, kindness, talent and class. Marji died on March 17. A memorial will be held at 6 p.m. April 4 at Dobama Theatre, 1846 Coventry Road, Cleveland Heights.

It is only fitting that Marji should be memorialized at Dobama. That theatre was a major part of her life. It, ironically, was also where I met Marji.

Dobama’s second play was Benjamin Levy’s ‘RAPE OF THE BELT.’ Dobama had no permanent home, so they borrowed the performing space at Chagrin Falls Little Theatre. I was the public relations director for Dobama at the time, and I loved to just hang around and watch Marji, her husband to-be, Ev Dodrill, and Mary Jane Nottage cavort. She was wonderful in that play and in everything else in which she performed.

Whenever I saw her, I could count on a smile and a hug. Even when cancer was raging in her body she was radiant. Her last performance, was a commercial in support of Issue 31, a proposed arts tax which was recently on the ballot. She had little strength, but she needed to do what she could for a cause for which she had great enthusiasm. That was Marji.

Marji may have made her last entrance and exit in this life, but she will long be remembered by those of us who loved and respected her. Applause! Bravo! Curtain down!

Five Guys Named Moe (Beck Center)

Cespedes pulls off another coup with 'FIVE GUYS NAMED MOE'

Musical reviews are hard to make into good theatre. They are a bunch of songs usually held together by a thread of a script. It takes real creativity to do something other than have the singers stand around singing and maybe dancing around a little. Well, fortunately for The Beck Center, they have that creative director/choreographer. His name is Martin Cespedes.

Those who saw Beck’s ‘SMOKEY JOE’S CAFÉ’ which won a Times Tribute Award last year for both the production and it’s director/choreographer, know what a wonder that production was. Well, Cespedes has done it again with his production of ‘FIVE GUYS NAMED MOE,” He lets out all the stops as he takes on a musical journey based on the music of Louis Jordan. He does it so well that at the curtain call on Sunday afternoon, which was filled with “mature” citizens, the audience was on their feet screaming for more.

In the hands of a lesser director/choreographer, cast, and musical ensemble, this could have been a long and lethal experience. The story is trite, some of the musical sounds repetitive, but it matters little, you won’t even think about it.

It’s not even worth relating the so-called story. It’s more important that you know the show contains such songs as “Messy Bessy,” “I Know What I’ve Got,” “Caledonia,” and “Is You Is.” The music covers the spectrum of sound. There’s a little jazz, a little rock, a little Calypso, a ballad or two, and great harmony songs. You’ll be delighted by “I Like Them Fat Like That!” and “Saturday Night Fish Fry.”

The cast is uniformly excellent. Lester Currie, Devon Settles, Geoffrey Short, Aric Calhoun and Lawrence Maurice all have a great time, sing well, and move to some creative dance steps. Kyle Primous, as No Max, the participant supposedly not a member of the Moe singing quartet, is phenomenal. He dances, he sings, he acts, he mimes—all extremely well.

As an audience member you just won’t sit and watch. You may find yourself on stage getting sung to by members of the cast. You might “volunteer” to join a Congo line that snakes through the theatre. (Okay, here’s one flaw…that segment was way too long!)

Cespedes ignites the stage with creative and disciplined choreography. David Anthony Williams, the musical director, has these guys wailing. His orchestra doesn’t hit a sour note. Don McBride’s scenic design, consisting of floating radio dials, makes a perfect setting for the goings on. Sharon Stark’s costumes are a hoot! Erik Seidel’s lighting and Casey Jones’ sound design add a strong positive dimension to the show.

Hurrah Martin! Hurrah cast! Hurrah crew!

CAPSULE JUDGEMENT: If you miss ‘FIVE GUYS NAMED JOE’ you’ll be very, very sorry as it’s one of this theatre year’s highlights!

A Grand Night For Singing (Kalliope Stage)

Kalliope Stage, the North Coast's new musical theatre

It’s always a dangerous undertaking to start a new theatre. It is even more tenuous in these times of economic wariness. In spite of the odds, the Cleveland area has seen the birth of several new theatrical enterprises in the last year or so. The newest is Kalliope Stage which has settled into a space at the corner of Lee and Cedar Roads, diagonally across from the Cedar Lee movie theatre. Kalliope has a unique role in the area…it is the only venue dedicated exclusively to the American musical.

The American musical, for all practical purposes is the child of Richard Rodgers and Oscar Hammerstein. They conceived ‘OKLAHAMA!’ the first true book musical, in which the music, the lyrics and the storyline all melded into one. In contrast to previous musicals, the dancing, the singing, the spoken lines of ‘OKLAHOMA’ were all integral to the story, which cannot be told if any of the elements is missing. The Rodgers and Hammerstein scheme gave birth to works by Lerner and Loewe (e.g., ‘MY FAIR LADY’), Steven Sondheim (‘FOLLIES’), Stephen Schwartz (‘PIPPIN’), Leonard Bernstein (‘WEST SIDE STORY’) and a number of others.

It is only fitting that Kalliope Stage open its doors with a tribute to the fathers of the American musical. Their production of ‘A GRAND NIGHT FOR SINGING’ is a review which blends together songs from such hit shows as ‘CAROUSEL,’ ‘THE KING AND I,’ ‘SOUTH PACIFIC,’ and ‘THE SOUND OF MUSIC.’ The title comes from the song “It’s a Grand Night For Singing, written for ‘STATE FAIR’ the only movie musical the duo wrote.

Kalliope’s theatre is a spanking brand new, intimate space, consisting of about 50 comfortable seats, placed in three rows. The audience is right up front and there isn’t a bad seat in the house. The box office personnel, ticket taker, ushers and theatre staff are warm and welcoming. They even hand out chunks of home made chocolate “thingies” to every patron.

It would be wonderful to say that Kalliope Stage’s opening production was superlative. Unfortunately, it wasn’t, but it was entertaining. It was extremely well sung. The music was well played. The production is filled with some very fine moments. But, there are also some problems.

On the plus side, all five cast members individually sing extremely well. Unfortunately, because they are all essentially soloists, the choral sounds were not as blended as they could have been.

The women, both in their acting and singing, were fine. Lisa Spinelli was a total delight flashing her sparkling eyes and playing perfectly the fallen innocent in “I Cain’t Say No.” She captures the stage as soon as she makes an entrance.

Joan Ellison’s “Something Wonderful” was wonderful. She does a nice job of altering her presentational style to fit the mood and ideas of each song.

Allison Hedges has a beautiful voice but needed more glee in “A Wonderful Guy” and more passion in “If I Loved You.” Joan and Allison did a delightful version of “Stepsisters’ Lament” from ‘CINDERELLA.”

Robert Burian has a full and powerful voice. Unfortunately, has not learned to visualize images of the things he is singing about. When he sings a love song, he has to feel the love, we have to see it in his eyes and observe it in the way he looks at and touches his partner. Often he sings off in space, eyes blank, his gestures automatic, not powered by emotion. It’s too bad because he has a gorgeous voice. His ‘We Kiss In A Shadow” for example, had a wonderful vocal sound.

Though he doesn’t have Burian’s vocal abilities, John Paul Boukis does have a pleasant voice. Unfortunately, as with Burian, he seldom makes emotional contact with the person with whom he is singing. His finest moments were during “All At Once You Love Her” and “Maria.”

Reviews often get bogged down in song after song with little variation. Paul Gurgol, the show’s director, made sure this didn’t happen by adding some very creative moments to the show. Having males sing traditional female songs and vise versa was a nice touch. “Kansas City” was delightfully staged as was “It’s Me.” Unfortunately, some of the “schticks” were over-the-top. The twister game in “Don’t Marry Me” put singers in positions where singing was nearly impossible. The constant moving of the hay wagon/table was distracting. In fear of falling into the “bogged down trap,” he over directed, trying to make too much of songs that may have done with less trappings.

Technically, the lights and set were nicely conceived. Especially effective were the trees, with trunks in the form of human bodies and branch like arms reaching out to enfold the audience. On the other hand, Kim Brown’s costume designs detracted rather than added. The costumes often drew attention to the clothing rather than assisting the performer to develop his or her character.

CAPSULE JUDGEMENT: Kalliope Stage is a welcome addition to the Cleveland theatre scene. It takes guts and determination to give birth to a new theatre. The theatre’s directors, John Paul Boukis and Paul F. Gurgol, can only be wished the very best. Their ‘A GRAND NIGHT FOR SINGING’ was a pleasant way to start the season.

Verb Ballet, Inlet Dance, Antaeus Dance, American Ballet Theatre--March, 2004

QUICK COMINGS AND GOINGS: VERB BALLET, INLET DANCE, ANTAEUS DANCE, ABT

One of the problems with short run productions is that before the word can get out, they are gone. This is especially true with many of the performances of local dance companies, which usually run one weekend. A case in point is the Cleveland Public Theatre’s “Dance Works ’04.” Some of the area’s finest choreographers are being showcased. Unfortunately, each group gets a one weekend three-performance slot. Since you can’t get to see what has been, maybe you can get ready for what’s going to be. If you see that these companies are presenting, go before they are gone once again.

Cleveland is blessed with some wonderful choreographers and company artistic directors. Three of the very best are being showcased in the “Danceworks ‘04” series. Two have already had their works presented: Hernando Cortez of Verb Ballets, and Bill Wade of Inlet Dance. Here are mini-reviews of what was presented.

VERB BALLET

The company’s ‘CONTEMPORARY ARTISTS COLLECTION 04’ was a wonderful and creative evening of dance. The dancers worked with assurance and displayed a complete understanding of each the choreographer’s works. Mark Tomasic and Tracy Vogt were superb in “In Passing.”

Dancing on boxes, in ballet shoes on toe, “The Last Sun” showcased wonderful dancing by Meghan Haas and DeAnn Petruschke. Unfortunately, Robert Wesner’s affected movements and lack of body control were distracting.

“The Envelope” was an absolutely delightful piece centering on the passing of an envelope from dancer to dancer. The melodramatic music and quick short moves delighted the audience.

“A Twist of Fate” was brilliant! It was a powerful, unsettling piece, accomplished with wonderful shadows projected onto the back scrim by lighting designer Cheanult Spence.

“Mozart Piano Trio in C Major” was danced to the fine live accompaniment of Eric Ziolek and Sara and Jeffrey Schimpelfenig. The classical music and contemporary stylized movements blended to give a sprightly conclusion to a wonderful evening of dance.

All in all, this was an entertaining, eclectic evening of dance. As a patron said as he walked out, “I could see that again.” I agree!! For information about Verb Ballets and their next performances call 216-397-3757.

INLET DANCE

Inlet Dance is at its very best when the company is performing to the ingenious choreography of Bill Wade. This was well-illustrated in their “Dance Works ‘04” program. Every one of Wade’s staged pieces was compelling. The works of the other choreographers left much to be desired.

Wade’s “B’roke,” danced to a Vivaldi violin concerto, was beautifully presented. He created involving stage pictures through the inter-twining of bodies. Each physical move perfectly fit the musical underscoring. Jennifer Lott lit up the stage. Marget Ludlow, M. Leila Pelhan and Devon Schlegelmilch were outstanding in this and each piece in which they performed.

“Doppleganger” was the evening’s highlight. Featuring 16-year old African American twins, Bryan and Ryan Peoples, who helped develop the choreography, the dancers displayed amazing physical strength and body control and blended into a co-joined tandem of gymnastic dance movements. Wow!!

“ImPAIRED” saw Leila Pelhand and Christopher Whitney impressively performing the entire piece blindfolded. The slow gymnastic movements were beautifully executed. This was a powerful piece, well conceived and well executed.
Less effective were “Tides and Solitude” which Sally Wallace choreographed using long poles which were used by the dancers to propel themselves across the stage. The effect worked for a while but the extended music and repeated movements became tedious and the piece called for cutting.

Jennifer Lott danced her own choreographed piece, “Duet” competently. The single dancer partnered with a square of light. The choreography failed to captivate.

“Dante’s First Night,” staged by Leilani Barrett, failed to coordinate the tone of the music with the dance movements. The repetitious music and lack of group unity hurt the piece. Interestingly, it was the performance of the choreographer that was most responsible for the lack of precision.

Steve Rooks’ “You Are Now Connected” missed the mark. The dancers, though they valiantly tried, were not capable of interpreting the rap music’s intent.

For information about Inlet Dance call 216-382-0201 or email inletdancetheatre@sbcglobal.net.

ANTAEUS DANCE COMPANY

Starting with a series of bangs and cymbal clashes, choreographers Dough Lodge and Joan Meggitt’s “Moments of Repose” had an impressive beginning. But, as the piece went on and on, repeating and repeating the same musical tones and movements, the audience lost interest. It was too much of the same. Supposedly inspired by Frank Gehry’s Peter B. Lewis Building on the campus of Case-Western Reserve, the piece should have, like the building, flowed, flashed, attracted emotional attention, brought about strong emotional reaction. It didn’t. After a while more attention was paid to Greg D’Allessio’s solo manipulation of the musical instruments than to the dancers. The female dancers—Jenita McGowan, Sherri Mills, Latifa Sage, Beth Salemi and Shanna Sheline--were all very proficient.

A shortened piece, programmed with something of a different feeling, would have made the evening much more satisfying.

For information about Antaeus Dance Company call 216-486-2874.


AMERICAN BALLET THEATRE

Performing as part of the Ballet Series at Playhouse Square Center, American Ballet Theatre proved why it is a world class company. The program, danced to a full orchestra, opened with “Raymonda,” a classical piece with folkloric overtones. Well staged, it featured Irina Dvorovenko and Maxim Beloserkovsky in lead roles. Maxim and Carlos Lopez’s high scissors leaps and the precision dancing and toe work of Erica Cornejo were the piece’s highlights.

“Pillars of Fire,” was a somber, beautifully danced piece which combined traditional movements with modern staging. The result was a moving choreographic concept in which the moods of the dance and the music became one.

“Within You Without You: A Tribute to George Harrison” was the lesser segment of the evening. Though it was interesting to see the former Beattle’s music set to dance, there was a lack of consistency in interpreting many of Harrison’s lyrics to the movements. This was especially true in “Something.” “I Dig Love,” with its interesting lift patterns and inter-weavings of bodies, was more on target as was “While My Guitar Gently Weeps” which featured powerful gymnastic movements. “Isn’t It a Pity” consisted of a series of countermoves created by having the dancers work in lines. “Within You Without You” evoked little emotional feeling, while “My Sweet Lord” was a high spirited gleeful dance.

All in all, if you missed ABT, you missed a dance season highlight. They will undoubtedly be returning to the area. Make sure to see them.