La Turista (convergence-continuum)

'LA TURISTA' makes a strange visit at convergence-continuum

One of the area’s newest theatres, convergence-continuum was founded with the idea of “going against the grain” and doing “in-your-face style theatre.” It’s not theatre for everyone, but within a brief three years they have carved for themselves a slice of local audience that is fascinated by the avant garde and the plays that other local theatres won’t produce.

Yearly, they produce a Sam Shepard play. Shepard is considered by many to be a leader of the avant-garde in contemporary American theatre. He has been called the Eugene O'Neill of the Seventies. Others, including myself, disagree. They feel that he is much too willfully opaque, that he toys with viewers' minds and is a tease when it comes to meaning. I feel that he has never emerged from the era of the 60s in which “happenings” and plays that left meaning to the imagination of the viewers was in vogue, with morals and messages not a requisite for good theatre.

Shepard mixes fantastic settings and raw personal revelation with free-flowing language based on musical rock riffs and jazz improvisations. If his plays sound as if they were written at high speed and never revised, that's because they are. He is not big on rewriting. As he tells aspiring playwrights, “Writing is a journey of self discovery, but a good play is not an elaborate device to point our attention elsewhere. It exists in the world like anything else and must be confronted in all its three dimensional, multi-sensual, undeniable reality.”

In his plays, Shepard's characters shout a lot, and fight each other quite often. He admits that his work is violent because it is about America. "It's a tangible presence, you feel it every where in America. There's no need to be frightened of it. I find I can use it as a vehicle for other feelings." His plays set out to confront the audience with a view of America as a broken, fragmented, unhappy society...

‘LA TURISTA,’ this season’s convergence-continuum play, is an early Shepard work. Written when he was 23, it was Shepard's first foray into the two-act form. It opened March 4, 1967.

A surreal tragicomic ‘LA TURISTA’ finds Salem and Kent in Mexico. They are suffering from both sunburn and the famous “la turista” an intestinal malady of Americans who venture south of the border. In the first act, a native boy, a witch doctor and his son enter into their world. Whether this is delirium or reality is left to the imagination of the viewer. The second act finds the two back in America, but still ill. This time a “doctor” and his son are the “curers.” As the play progresses it becomes more and more surreal, more and more abstract.

The convergence-continuum production, under the directorship of Clyde Simon, is inconsistent. It often appears like the actors are not sure where the play is going, where they fit in, like they are saying lines, lines that have no meaning.

Geoffrey Hoffman, as Kent, does a herculean job. The first act, in which he appears clothed only in his tighty-whities, is dragged and thrown around like a rag doll. Most of the second act finds him climbing the small theatre’s ceiling pipes and bouncing along platforms above the heads of the audience. It’s an exhausting performance. As Salem, Jovana Batkovic doesn’t ever quite develop a consistent character. Brin Metzendorf is not very believable as the boy. His Mexican pronunciation is poor and he fails to clearly define himself. Cliff Bailey works hard as the Witch doctor and later the doctor. Brian Breth and Arthur Grothe who portray the son and Sonny expend much energy, but with little effect.

Sam Shepard has said, "I guess I'm always hoping for one play that will end my need to write plays. Sort of the definitive piece, but it never happens. There's always disappointment, something missing, some level that hasn't been touched, and the more you write the more you struggle, even if you are riding a wave of inspiration. And if the piece does touch something, you always know you haven't got to the depths of certain emotional territory. So you go out and try another one." His ideas well define ‘LA TURISTA.’ This is not his “one play that will end my need to write plays.”

CAPSULE JUDGEMENT: ‘LA TURISTA’ is not a play for everyone. If you are a Sam Shepard fan you might like it. If not, you probably will leave the theatre message frustrated and unfulfilled.

Stratford Festival of Canada--2004 Review

Stratford Festival okay, but not up to its usual excellence

Driving up to the Statford Festival is especially lovely in the fall. Depending on which routing you take, you either go up through Buffalo and pass through the Erie wine country or through Detroit/Windsor and meander through the Canadian countryside. If you want a stop along the way, both routes offer something special. The Buffalo route gets you into Niagara Falls where the attractions are not only the falling waters, but a new casino and excellent outlet malls. The Detroit Windsor overnight could include a visit to the revitalized Greektown area of the Motor City, where two casinos are situated, or the Windsor Casino. Visits in that area include the historically interesting Greenfield Village. Either route will take you about 5 1/2 hours from Cleveland to Stratford, Ontario, Canada.

Productions, many of which run to the end of the season (approximately November 7), 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.’

This season’s productions center on the theme: “It’s the idea of a world beneath: a secret, subconscious or even supernatural counterpart of what we experience on the surface of things. There’s more to life than meets the eye.”

Capsule judgments of the shows I saw:

‘NOISES OFF’ by Michael Frayn is a farcical play within a play. Everything that can go wrong, does go wrong. Chaos unfolds as we see the play both from the perspective of the audience and what goes on backstage. If properly done, the Canadians, with their abilities to do farce, should have been able to make this show a total hoot. Unfortunately, in spite of excellent performances, Brian Bedford’s directing is way too slow, causing more of a comic rather than a hysterical feel. This makes the play pleasant, not reaching its potential.

In Pierre Carlet de Chamblain de Marivaux’s ‘THE TRIUMPH OF LOVE,’ love defies logic. Princes Leonide of Sparta attempts to win the heart of Agist, the rightful heir to the throne Leonide now occupies. Agist has been taught to reject love as a source of human weakness. This is not, by any turn of imagination, a great play. The plot is contrived, the show is too long, but the well-staged and well-acted production does hold the audience’s attention. Claire Jullien and Lucy Peacock give fine performances.

‘GUYS AND DOLLS’ is a combination of the tales of Nathan Detroit, a small time gambler who runs the “oldest established floating crap-game in New York” and Adelaide, his doll; the high roller Sky Masterson’s gambit of winning a bet by talking the up-tight missionary doll, Sarah Brown, into going to Havana with him; and the multiple character studies of the likes of Harry the Horse, Nicely-Nicely, Benny Southstreet, and Big Julie. These are the people of Damon Runyon. For the musical to work, there should be a New York cadence, a New York sound. That is, for those aware of the sound, the cadence, and Runyon’s characters. Interestingly, most Canadians aren’t familiar with those elements, so that becomes a mute point in their appreciation of the show. From my perspective the show missed its point but from the Canadians I talked to this was not an issue.

The musical contains such delightful songs as “I’ll Know,” “My Time of Day,” “If I Were a Bell.” The show’s highlights are Adelaide’s “Bushel and a Peck,” “Adelaide’s Lament,” and “Take Back Your Mink.” Sheila McCarthy was delightful as Adelaide. “Sit Down, You’re Rockin’ the Boat,” a big production number, centers on the ability of the character Nicely-Nicely commanding the stage. Bruce Dow did exactly that! Most attenders will like this production

‘A MIDSUMMER NIGHT’S DREAM’ was my favorite of this season’s Stratford productions. The play about spellbound lovers who chase each other through the woods by night, is one of Shakespeare’s best comedies. Creatively directed, beautifully acted, the humor well keyed, and the play perfectly paced, this was a fine, fine production. Complete with creative costuming and trapeze acrobats bungy jumping over the heads of the audience, the production let totally loose in every aspect of its staging. Thom Marriott was wonderful as Nick Bottom. Michelle Gioroux as Helena, Nazneen Contractor as Hermia, Jeffrey Wetsch as Lysander, and Haysm Hadri as Demetrius all were special. This is a fine, fine staging of a fine play.

Alexander Dumas is known for writing swashbuckling novels. One of his favorites is ‘THE COUNT OF MONTE CRISTO.’ The story concerns treason, a dashing young sailor, imprisonment, a daring escape and a quest for vengeance. The show opens with a thunderstorm, intensified in effect by swelling music and a moving boat. The sword fights are exciting, the costumes lush. In the end, this, like any good melodramatic play, can’t be taken seriously, but it can be a good time, if you are willing to put aside your definition of what “good” theatre is all about.

The most problematic production of the Stratford season was ‘MACBETH.’ Overplayed in many segments, the production lacked a consistent voice. The script probably has more famous speeches than any other Shakespeare play. “Is this a dagger” was given an effective underplayed interpretation. On the other hand, “Out, out damned spot,” was totally overdone, making the meaning secondary to the staging. This was not a shining version of a script by the company’s signature author.

Besides the performances there are post-performance discussions, warehouse, backstage and garden tours. Check these out. They add a great deal to the Stratford experience.

Lodging? I’d opt for one of the many bed and breakfasts. Our favorite is The Jennie Forbes Cottage, Kathy and Don Spiers’ charming 1857 regency cottage within walking distance of all the theatres and downtown. (website: www.jennieforbescottagebb.com).

Though not as lovely a city as Niagara-on-the-Lake where the Shaw Festival operates, the shopping is better in Stratford. 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. Restaurants tend to be expensive, not always giving good value for the dollar. The exception is The Annex Room (38 Albert Street).

CAPSULE JUDGEMENT: The 2004 Stratford Festival of Canada is performing an adequate season. There is nothing in this season’s program to match last year’s perfect ‘THE KING AND I’ and the spectacular ‘THE ADVENTURES OF PERICLES.’ This is not to say that you shouldn’t attend. Several of the productions, including ‘A MIDSUMMER NIGHT’S DREAM’ are quite good, but the offerings, at least those I saw, aren’t up to Stratford’s usual excellence.

Shaw Festival--2004 review

Late summer/fall, a perfect time to visit Shaw Festival

One of the loveliest little cities in the world, Niagara-on-the Lake, the home of the Shaw Festival, is snuggled in the Niagara region of Canada, an easy 4 hour ride from Cleveland. The trip takes you through the wine region of New York and past the wondrous Niagara Falls.

Those who not only love theatre, but natural beauty are in for a treat whether just wandering around the area which includes the Welland Canal, visiting Fort Niagara, stopping at an early Loyalist settlement which was part of the Underground Railway or zooming into the whirlpool of the Niagara river on a jet boat. An added attraction is the new Niagara Fallsview Casino Resort which features 3,000 slot machines, 150 gaming tables and overlooks the thunderous cascading water.

But the reason for theatre buffs to visit the area is to attend the Shaw Festival. The Festival is the only theatre in the world that specializes exclusively in plays by Bernard Shaw and plays about the period of Shaw’s lifetime. It also embraces a full-range of American classics.

This is a special year at Shaw. Jackie Maxwell is in her second year as the company’s Artistic Director, actually the first in which she has had total control over the season. She states, “In 2004, we’ll discover rich and vibrant new worlds, with wonderful plays that our brilliant acting ensemble will enter, explore and present to you.” And what a season it is. Every single play I saw on a recent trip was worth attending! It’s hard to beat that for sheer theatrical joy.

It’s a rainy evening in London in the early years of the twentieth century. An opera at Covent Garden has just let out and people are crowded together for shelter from the rain. A cockney girl tires to sell flowers to passers-by. Someone warns her that a gentleman is eavesdropping and writing down her every word. The girl is Eliza, the man is Henry Higgins, and yes, we are about to be enthralled by G. B. Shaw’s ‘PYGMALION.’ Many who have loved the musical ‘MY FAIR LADY’ may not know that it was based on a Shaw play, and the nonmusical is in many ways superior to the Lerner and Loewe version. The Festival production is marvelous in every aspect. Tara Rosling makes a letter-perfect Eliza. She balances that fine line between being both strong and vulnerable. Jim Mezon is such an unfeeling bully as Henry Higgins that there are times when you’d like to slap him aside the head. But in reality, the interpretation keynotes his total devotion to his linguistic profession and his obtuse devotion to Eliza. Patricia Hamilton is wonderful as Henry’s mother and Simon Bradbury is a hoot as Eliza’s father. This is a must see production.

Eugene O’Neill is widely regarded as one of America’s greatest playwrights.
‘AH WILDERNESS’ is O’Neill’s only comedy, his only foray into heartwarming nostalgia. Many of his admirers think the play represents the youth O’Neill wished he had had, with an idyllic family that faces their problems with love and understanding. Flowing beneath the warmth of the words of the script is a revelation of deep longing. This is a near flawless production highlighted by the most absolutely hysterically funny father-son “birds and the bees” talk ever performed on a stage. The play centers on Richard, the very serious 17-year-old with the weight of the world on his skinny shoulders. Every one of Richard’s overblown emotions is finely honed by the very talented Jared Brown. His father, portrayed by Norman Browning, an Art Carney look and act-alike, could not have been better. The same is true of William Vickers, a Danny DeVito duplicate, as Richard’s spinster aunt’s alcoholic “special friend.” What a wonderful evening of theatre director Joseph Ziegler has created.

In contrast to local Cleveland productions, where audience’s jump to their feet at the end of any production, good or bad, the theatre-wise Shaw audiences guard their praise. The standing ovation at the conclusion of ‘WAITING FOR THE PARADE’ was well earned and deserved. John Murrell’s play is a seldom performed piece. The story concerns the experiences of women left on the home front in wartime. The place is Calgary, Alberta, the episodes in the play cover most of the six-year period that Canada was involved in World War II. The five women in the play embody a cross-section of experiences and attitudes of the time. The production, under the watchful eye of director Linda Moore is both seamless and flawless. The ensemble cast of Donna Belleville, Kelli Fox, Laurie Paton, Helen Taylor and Jenny Wright are excellent. Each develops a clear and meaningful character. The play is well summarized by a quote from Shaw, “women know instinctively, even when they are echoing male glory stuff, that communities live not by slaughter and daring death, but by crating life and nursing it to its highest possibilities.” This is a unique theatre experience that if not seen in this venue, will probably be missed, and that would be a shame for this is a lesson worth learning.

The upper classes of Victorian England were taken aback by Oscar Wilde’s attacks on their frivolous way of life and meaningless existences. Since, as only Wilde could do, the plays were hysterically funny, he got away with it. Most critics agree that ‘THE IMPORTANCE OF BEING EARNEST’ is Wilde at his best. His tongue is sharp and his quills piercing as he attacks French drama, the British upper-class, honesty, education, relatives and fiction. The play centers on a suitcase, two men named Earnest, who aren’t named Earnest at all, a cigarette case, and an imaginary brother. Director Christopher Newton does a creditable job of creating the mirth, but fails to pace the production quickly enough or draw the characters as completely as possible. Though enjoyable, this was the weakest of the Shaw productions I saw. Now, don’t take that as a “don’t see.” This is probably a better production of Earnest than you’ll see in most venues, but it is not of the high quality level of the rest of the productions in this season’s Shaw offerings.

‘THE TINKER’S WEDDING’ is a short J. S. Synge exploration into Irish class warfare. It centers on Michael, a tinker, who is a traveling handyman and vagabond. He lives on the road with his mother Mary and his companion, Sarah Casey. The play centers on a revelation about a local priest and questions the value of marriage and the methods and motives of the Catholic Church. Synge, in contrast to other Irish writers who portray their people through sentimental spectacles, is a realist. Because of the directness of his plays, and the riots which greeted the opening of his ‘THE PLAYBOY OF THE WESTERN WORLD’ in Dublin, Tinker did not premiere until 1909, ten months after the playwright’s death. It was not performed again in Ireland until 1971. The Shaw production is excellent. The usual difficult to discern accents were held in check, allowing for clarity of message. The ensemble cast, consisting of David Leyshon, Trish Lindstrom, Nora McLellan and William Vickers were excellent.

Githa Sowerby’s ‘RUTHERFORD AND SON’ is a seldom done play. It takes place in an industrial town in the north of England a few years before World War I. Rutherford is a widower who lives with his spinster sister and three grown children, his son’s wife and their newborn baby. Rutherford is a tyrant. He dominates all. He is stubborn and won’t see the handwriting on the wall which will soon lead to financial doom for the family business and destroy his family unless he changes his ways of operation. When his son invents a method to increase production, Rutherford steals the idea and in the process destroys the son’s remaining emotional stability. He drives his daughter away after her life of frustration is relieved by an on-going affair with the firm’s employee. His other son flees. Only his daughter-in-law sees how to manipulate the old man to meet her needs. This is a full-frontal attack on a paternalistic society. As a 1912 reviewer stated, “No play has ever been written that in the truest, stronger sense was so really a ‘suffrage’ play, although the word is never uttered and the thought never enters the minds of the people portrayed. My favorite offering of the season, the performance values are excellent, the acting superb, the pacing perfect, the emotional twists and turns highly developed by director Jackie Maxwell.

Other offerings running from now to the end of the season are ‘THREE MEN ON A HORSE,’ ‘PAL JOEY,’ ‘MAN AND SUPERMAN,’ ‘NOTHING SACRED,’ ‘HARLEQUINADE,’ and ‘FLOYD COLLINS.’ The latter, is a small scale musical written by Richard Rodger’s grandson.

Places to eat and stay? My favorite restaurant is Inn on the Twenty, located in historic Jordan Village (www.innonthetwenty.com), about forty minutes from Niagara-on-the Lake. The service is always wonderful, the facility is beautiful, the gardens behind the facility lovely, and the food is outstanding! The Queenston Heights Restaurant, located in a park just over the Canadian line, is another favorite. The facility has a breathtaking view of the Niagara River gorge. We also had an excellent meal at Hillebrand Estates Winery.

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.

Make sure you get to the theatre in advance to spend time reading the company’s programs. The program notes get you in exactly the right mental place to appreciate every aspect of the show. Also don’t overlook attending the many noon time lectures, tours of the facilities and Festival special events.

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, tickets, spa escapes and golfing. 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.

The Complete Works of William Shakespeare (Abridged)--(Great Lakes Theatre Festival)

Funny ‘COMPLETE WORKS OF SHAKESPEARE’ at GLTF, but....

What do rush week at Ohio State, wardrobe malfunctions, Lebron James, Brad Pitt’s movie ‘TROY,’ Arnold Schwartzennager, the Olson Twins and Red Bull all have in common? They are topics, along with 37 of Shakespeare’s plays, well, pieces-parts of those plays, and a zillion poop, vomit and penis references in ‘THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED).’ The show is now on stage at the Great Lakes Theater (Shakespeare) Festival.

Think you’ve seen Shakespeare? NOT LIKE THIS!

To put the show into perspective, picture this: The Shakespeare’s 17 comedies, 10 histories, and 10 tragedies performed in only 90 minutes. The trio of actors (Lynn Robert Berg, Jeffrey C. Hawkins and M. A. Taylor) present ‘OTHELLO’ as a rap song, ‘TITUS ANDRONICUS’ as a cooking show and ‘MACBETH’ as a conflict between McDonalds and Burger King. They perform HAMLET with a puppet show and audience participation, then in double time, and then backwards. Why? Because, as the trio explains, “Life is short and the complete works of William Shakespeare are long.”

The three overgrown pranksters, who appear to fully enjoy their descent into adolescence, include in their antics lots of slapstick, innuendoes and mindless banter. Their unassuming manner allows them to interact with the audience with ease. You cannot help but like these guys even if you don’t appreciate what they are doing with the world’s greatest theatrical literature. But, that’s the point.

The actors wear Shakespearean-style costumes with high-topped sneakers. There is the obligatory fog, lightning, doom and gloom, the three door-set, but also a mustached, heavy-set actor, who plays all the women’s roles, prancing around in dresses and curly wigs, with a goofy, blushing grin on his face and feigning barfing on audience members. Note: If you are sitting in the first couple of rows, be prepared to be picked on and “volunteered” into being a member of the cast.

The cast is universally good, but not as hysterically funny as Adam Long, Daniel Singer and Jess Winfield, the Reduced Shakespeare Company, who conceived and performed the work for many years. And, though the script “localizing” and “updates” is often clever, it is also sometimes inane. Without intending to sound prudish, there are an awful lot of poop and penis jokes that appear to be unnecessary to achieve the intent of the piece.

‘THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED),’ is an irreverent romp through the Bard's plays. The show, which is in a very long run in London, and has been done in many US venues, has been praised as "wildly funny" and "the funniest show you are likely to see in your entire lifetime." The GLTF doesn’t exactly live up to that level of praise.

Capsule judgement: If you are willing to put aside your thoughts of what Shakespeare should be, and will yourself (pardon the pun) to be part of an assault on Shakespeare and lots of other topics, you will enjoy yourself. If you have no sense of humor, don’t like slapstick, and are a Shakespeare purist, stay home!

tick, tick...Boom! (Cain Park)

‘‘tick, tick...BOOM!’ ’ is tick, tick terrific at Cain Park

In the history of theatre, specific productions are responsible for defining
a historical period of time or introducing a new movement into the art form. The musical ‘OKLAHOMA’ introduced the public to a new form of musical theatre. It was story based and all parts of the production were integrated into a seamless flow. ‘HAIR,’ was Broadway’s first successful rock musical aimed at unsettling the uptight community of musical theatre. It allowed middle-class audiences to watch America’s revolutionary sixties complete with hippies, flower children, nudity and drugs. ‘RENT’ was the seminal musical of the 90’s, mirroring the AIDS epidemic, the “I” generation and ear-piecing music.

The intriguing aspect of ‘RENT’ was that Jonathan Larson, it’s conceiver, after many years of struggling to “make it,” never saw a dream accomplished. Larson died just before the first preview of ‘RENT,” making the show his first and only hit.

Following Larson’s death, friends and other theatre people tried to conceive a way to continue his legend. Larson had several other scripts he had been working on, including ‘30/90’ a one-man show that he had performed to make financial ends meet and showcase his talent. They convinced David Auburn, the 2001 Pulitzer Prize winner for the play ‘PROOF’ to take on the project. Auburn took Larson’s musical monologue and turned it into a play for three actors. He added a song from Larson’s never produced ‘SUPERBIA,’ and developed a musical now entitled, ‘tick, tick...BOOM!’

The show tells the story of a young composer on the brink of turning 30 and falling into oblivion. His girlfriend wants to get married; his best friend is gainfully employed, and our hero is waiting tables trying to write the great American musical. Should the young writer continue his dreams or take an escape route? As we all now know, the young writer named Jonathan (obviously, Larson) did not give up, but kept plugging along and went on to posthumous fame.

It is ironic that a from ‘tick, tick...BOOM!’ was a prophecy of what was to come. Jonathan shouts, “I can’t do it. I’ll explode.” And explode he did, from an aortic aneurysm. Larson died at age 35.

Those who didn’t like ‘RENT’ because of the ear-piercing music, which caused problems in understanding song lyrics, and that it was difficult to feel empathy for people who seemed destined to self-destruct in their quest for doing their own thing, will find ‘tick, tick...BOOM!’ to be a different experience. Mixed in with the heavy rock sound are some beautiful ballads and even a twangy country-like piece. The characters are much more accessible and real.

Cain Park’s production of ‘tick, tick...BOOM!,’ under the adept direction of Victoria Bussert is excellent. All three of the actors can sing and act with great proficiency. The music, except in a few numbers where musical director Nancy Gantose-Maier cranks up the sound and forgets that the audience needs to hear the lyrics, is excellent. Jeff Herrmann’s multi-level set design works well and Cassandra Goldbach’s lighting sets the proper moods.

Bussert, Cain Park’s Theatre Artistic Director, has a knack for finding small shows that fit perfectly into the Alma Theatre venue. Once she locates them, she latches on and produces wonders. Think ‘BAT BOY: THE MUSICAL,’ ‘AVENUE X’ and ‘SIDE SHOW.’

Patrick Janson makes Jonathan a real person with whom we can empathize. He has a powerful singing voice and uses it effectively to interpret song lyrics.

Emily Krieger lights up the stage as Jonathan’s girl friend. Her voice is strong and her acting abilities are excellent.

Fabio Polanco, as Jonathan’s life-long friend, conveys a clear characterization and sings well.

Highlight numbers included “Johnny Can’t Decide,” a philosophical ballad; “Therapy,” a clever take-off on pop psychology; “Sugar,” an audience favorite about the need for sugar highs including sneaking Twinkies; “Come to Your Senses,” a pretty ballad that gets a wonderful rendition by Krieger; and “Why,” beautifully sung by Janson.

CAPSULE JUDGEMENT: Cain Park’s ‘tick, tick...BOOM!’ is a wonderful evening of musical theatre. Combining excellent music, a palatable story, and high level production qualities, it is one of the area’s summer highlights. Go see ‘tick, tick...BOOM!’

Oliver (Playhouse Square Center)

‘OLIVER!’ is a major disappointment at the Palace

On my very first visit to London in 1960 I was told by the booker, from whom I ordered theatre tickets, that one of the shows I was supposed to see had been canceled. If it was all right, she stated, she could give me a free ticket to a musical based on a Charles Dicken’s novel that was opening that night.

Yes, I saw the world premiere of ‘OLIVER!,’ based on ‘OLIVER TWIST’ with book, music and lyrics by Lionel Bart. The amazing cast included Ron Moody as Fagin and Georgia Brown as Nancy. Moody was a delightful rogue and Brown’s “As Long As He Needs Me” was the most emotionally engaging song I had ever heard. After 18 curtain calls I left the theatre entranced.

I went to New York to see the show again after it transferred across the Atlantic, this time to see Clive Revill infuse the show with his wonderful version of Faigan, Georgia Brown revive her role of Nancy, and Davie Jones, who gained notoriety as a member of The Monkees, delight as The Artful Dodger.

I was not alone in my love of the show. A review of the New York production stated, “Oliver! came singing, bouncing and bubbling its way into the Imperial theatre last night, and if ever there was a musical to please everybody, that is it. Overflowing with singable tunes and a solid singing cast, it is a good clean joy of a show.” Another reviewer called it, “One of the smasheroo hits of recent seasons.”

As good as the London, Broadway and many local productions of the show, including a wonderful staging by Elyria Summer Theatre some seasons back, is as bad as the present staging of ‘OLIVER!’ at the Palace Theatre. To make the matter all the worse, this show is part of the Broadway Series. Believe me, Broadway quality this isn’t!

The present production is miscast and misdirected. The choreography is static and stale. The show is paced too slowly. The music is tinny sounding due to the tiny size of the touring orchestra and the cadence of the music is way too slow. The sets don’t work well. It’s hard to find anything right about the show. To go on with details would be worthless.

Suffice to say my love affair with the show will live on in spite of the bad taste in my eyes and ears from this embarrassing production. I’ll just pretend that I never saw this production and, as I’m doing as I write this review, just listen to the original Broadway cast recording.

CAPSULE JUDGEMENT: Playhouse Square Foundation should be ashamed of itself to be charging Broadway rates for this amateur, misconceived production of ‘OLIVER!’.

Kathleen Kennedy reviews of the reviewer

I wanted to thank you for your reviews of the Ohio Ballet performances. I was fortunate enough to catch Ohio Ballet's performance of “Rite of Spring.” It totally knocked me out in every possible way. Unfortunately, the Cleveland and Akron reviews and audiences apparently did not agree. In my opinion, they were either so uncomfortable with the theme that they couldn't grasp the performance, or they were unable to objectively view the performance because of personal prejudices.

You, on the other hand, understood the level of performance. Yours was the only review that captured the essence of what happened that night. Yours was the only review that understood that the choreography and the performance must live up to the music.

I wanted to take a few minutes to thank you for your objectivity, your professionalism, and your high level of knowledge and understanding.

Sincerely,

Kathleen Kennedy
Tucson, Arizona

Nine (Cassidy Theatre)

Challenging 'NINE' performed at Cassidy

Cassidy Theatre, known for years as Greenbrier Theatre, is tucked away in Parma Heights. The city not only encourages the theatre, but gives it financial backing. In the Greater Cleveland area, where public subsidization of the arts is almost nil, this governmental support is a wonderment. Soon, the Cassidy theatrical family will be moving into its new home at Claire’s Folly, a state of the art facility, with a forty-foot fly gallery and state of the art sound and lighting systems. There are many laughs at the sake of this white socks, polyester wearing blue-collar community, but they sure are more into backing of its local theatre than almost any other of its more affluent suburban neighbors. Maybe there is a lesson to be learned here!

In many ways Cassidy is like the little engine that could. It keeps taking on challenges that are beyond its capabilities. It was the first theatre in the area to stage ‘PARADE’ and it now is the first to undertake the challenge of doing the musical ‘NINE’ since its recent Broadway rebirth.

‘NINE,’ made its original debut in 1982. The production won five Tony Awards. It had a very successful revival in 2002.

The show’s book was written by Arthur Kopit, known for his aloof, often abstract plays. The music and lyrics is by Maury Yeston who also penned the less than memorable score for the musical ‘TITANIC.’

The story, which was inspired by the 1963 Federico Fellini film ‘8 1⁄2’, revolves around Guido Contini, a film director in the Fellini mold. The plot is slight enough to easily boil down to: Guido is stalemated in his personal and professional life, unable to commit fully to a relationship or summon the creative energy to make his next movie. This leads to disorienting fantasies (including suicide) from which he's rescued by his nine-year-old alter ego.

In spite of its moderate success, neither the original version nor the revival of ‘NINE’ went critically unscathed. A good deal of negative was pointed at Kopit's failure to create a book that was emotionally satisfying and was too moody and lacking in warmth.

Yeston's unmemorable score is a mix of musical genres -- solo ballads ("My Husband") and duets ("Unusual Way") as well as a whole comic opera sequence ( "Grand Canal "). This is not the kind of music you go out of the theatre humming.

What made the Broadway shows run were the casts. In the 1982 version, the multi-talented Raul Julia played Guido Contini, the film director. In the revival, as one Big Apple critic put it, “The revival of ‘NINE’ owed much of its almost instant hit status to Antonio Banderas whose acting and singing talent plus good looks made for an ideal, matinee idol.

Before examining Cassidy’s production, let’s examine Cassidy Theatre. This is an amateur theatre, no equity contacts, no paid performers. These are performers who perform for the love of performing. Any evaluation of their productions must take that into consideration. The yardstick for measurement can’t be the same as that used for a Broadway touring production, or even the likes of Great Lakes Theatre Festival or the Cleveland Play House. This is theatre right out of the Andy Hardy movies: “Hey kids, here’s a performance space, let’s put on a play.”

With that said, The Cassidy production of ‘NINE’ is credible. This is a compliment considering the difficulty of the vehicle they chose to confront. The show requires a charismatic, sensual, fine singing, superlative actor to play the lead. It requires one talented eight-year old boy and thirteen actresses who can sing and act. Few, if any theatres could pull that off with aplomb.

Director Lester Currie has done a fine job of staging the play. He uses his performers like chess pawns, moving them to the most advantageous places to accent ideas. He is also the costume designer of some of the finest and most appropriate clothing seen on a local stage.

Bob Stroesser, who portrays Guido is definitely no Raul Julia or Antonio Banderas. He lacks their sensuality. He often feigns emotions, overacting and making distracting facial expressions to express feelings. His inconsistent accent sometimes makes understanding him difficult and may be the cause of his acting difficulties. He has a fine singing voice which he uses well in interpreting songs.

The women, who are like an ever-present modern Greek chorus who step in and out of Guido’s life, are generally acceptable. Their acting and singing varies, as is often the case in amateur theatre. On the high end is Megan Grimes as Guido’s wife, Beth Cubbison as his mother and Linda Kindsvatter as one of the women in Guido’s life.

David Dettloff’s orchestra did a nice job of backing up the singers rather than drowning them out, which is often the case in local theatrical productions where the musical director sometimes forgets that this is not a concert, but the purpose of the music is to aid the performers.

CAPSULE JUDGEMENT: ‘NINE’ is a very difficult theatrical undertaking. The Cassidy production was well-received by the sold-out house, and that, when you get down to it, is what theatrical entertainment is all about.

Lysa Balmer reviews the reviewer

Dear Mr. Berko,

I am not one to write letters. Especially to theater critics. I have been a working actor, choreographer, technician, etc. in the Cleveland area for a long time - and have lived through most of the self-serving critics that Cleveland had to offer, and, as a rule - have not taken much stock in what they had to say.

I would just like to say THANK YOU for your review of NINE. The Cassidy (and will it have a third name in it's new space? I'm still having a hard time not calling it the Greenbrier....) is a community theater, and you reviewed it as such. WOW. You identified it as to what it was, and gave a review that reflected that. How refreshing to have a critic respect the effort, and not use the same banal criteria that the other reviewers use for every production, regardless of the environment it is presented in.

With new admiration,
Lysa Balmer

Guys and Dolls (Porthouse Theatre-KSU)

Maryann Black makes 'GUYS AND DOLLS' worth seeing at Porthouse

‘GUYS AND DOLLS’ is a problematic musical. It is one of the few modern musicals in which the score was completed long before the book for the show was written. Frank Loesser, so the story goes, wanted to do a musical based on the short stories of Damon Runyon’s mythical New York City, the Big Apple, a city filled with vivid characters. Loesser finished the score and no less than a dozen writers attempted to craft the book. Finally, humorist Abe Burrows and his side-kick Jo Swerling wrapped a quasi-story around the music. As such it is really a serikes of vignettes featuring various caricatures of characters, blended into a unified kind-of plot. This lack of clarity causes difficulty for directors, actors and choreographers.

The nature of the caricatures is the second challenge. This is New York...the frenetic, “Nu Yawk,” the loud and brash and unreal-peopled Gotham. The characters have to be bigger than life, yet believable. The actors have to understand the sound, the walk, the need be over-exaggerate the honest motives of the people they portray. Actors can’t feign being these characters, they have to be the personalities.

In the main, ‘GUYS AND DOLLS’ is the combination of the tales of Nathan Detroit, a small time gambler who runs the “oldest established floating crap-game in New York” and Adelaide, his doll; the high roller Sky Masterson’s gambit of winning a bet by talking the up-tight missionary doll, Sarah Brown, into going to Havana with him; and, the multiple character studies of the likes of Harry the Horse, Nicely-Nicely, Benny Southstreet, Big Julie.

The wonderful score includes such classics as “I’ll Know,” “If I Were a Bell,” “My Time of Day,” “I’ve Never Been in Love Before” and “Marry the Man Today.”

The Porthouse production has many things going for it including MaryAnn Black, Timothy M. R. Culver, MaryAnn Black, Bil Pfuderer, MaryAnn Black. And, did I mention, MaryAnn Black? Get the idea that MaryAnn Black carries the show? You are right. Without her right-on portrayal of Adelaide, the production would be a bust. Her “A Bushel and a Peck,” “Take Back Your Mink” and “Adelaide’s Lament” are all show stoppers.

Culver adds dimension by developing a perfect Nicely-Nicely. He is one of the few on stage who appears to be in total control of his character’s soul and has a good singing voice to top it all off. Bil Pfuderer as Arvide Abernathy, the head of the Save A Soul Mission, has a wonderful brogue and his version of “More I Cannot Wish You” was wonderfully touching.

Jim Weaver and Yolanda Christine Davis as Sky and Sarah, lack any charismatic connection. It is hard to believe them as a couple. They never look, kiss or touch as if they meant anything to one-another.

Weaver’s youth and gentleness make it hard to believe that he is THE Sky Masterson, gambler extraordinaire. But. he has a beautiful pop singing voice and is consistent in his interpretation of the role.

Davis appears miscast as Sarah. She has a beautiful singing voice, but it does not fit the show’s songs. She sings words, not meanings, and her shallow acting makes the character unbelievable.

Rohn Thomas comes close to the Nathan role, but misses the mark. He just doesn’t have the underlying New Yorkese needed for the role.

Terri Kent, the director, appears stuck between a rock and a hard place. She, because of the nature of the youthful casting resources available at Porthouse, has clean scrubbed suburban youth playing New York mobsters and cabaret dancers. In the main, they feign facial expressions, lack the sounds and the attitude needed, thus are unbelievable.

Kent is also not aided much by John Crawford, her choreographer, who has failed, with two exceptions, to create exciting movements. It may have been that he realized the limited hoofing abilities of his cast and low-keyed it, but the music encourages so much more. Dance highlights were the tap number by Black and the female chorus and Culver’s delightful “Sit Down, you’re Rockin’ the Boat.”

CAPSULE JUDGEMENT: It’s worth seeing ‘GUYS AND DOLLS’ just to see MaryAnn Black in action. As she proved in Porthouse’s ‘OKLAHOMA,’ and again in ‘GUYS AND DOLLS,’ she’s a local superstar!

Constance Thackaberry reviews the reviewer

Dear Mr. Berko:

It was most interesting to read your review of GLTF's most recent production. I follow the Cleveland theater scene by reading reviews.

I just wanted to let you know that I found your review most witty and was laughing out loud as I read it. As a bit of a Shakespeare traditionalist myself, I fear for the future of Shakespeare at GLTF!

I hope you are well and I look forward to reading more of you reviews.

Yours,

Constance Thackaberry

Miss Saigon (Beck Center)

'Miss Saigon" triumphs at Beck Center

In the last couple of years The Beck Center has been establishing itself as a major production house in the Cleveland area. This march continues as the theatre has undertaken to stage the very difficult ‘MISS SAIGON’ as its summer production. It is a difficult show to stage because it requires superb singing voices, a charismatic connection between the lead performers, complicated set changes, and the need for a great number of male actors. The Beck production succeeds on most of these levels.

Set in 1975 during the final days leading up to the American evacuation of Saigon, the multi-award winning show is from the hands of Alain Boublil and Claude-Michel Schönberg who also wrote ‘LES MISÉRABLES.’‘

It is the story of two young lovers torn apart by the fortunes of destiny and held together by passion and the fate of a small child. As one of the authors said, “We have an epic tale still to tell, but we also hope that when we focus on the passionate longing of a woman for her lover, and her unconquerable love for her son; when the Saigon pimp hurls himself demonically into action; when we are with real people: spurned lover, helpless children, the ones who matter - then the surroundings are put into perspective.”

The score contains "The Heat is On in Saigon," "The Movie in My Mind," "Why God Why?," "Sun and Moon," "The Last Night of the World,""I Still Believe," "Bui-Doi," and "The American Dream."

The Beck production, under the able direction of Scott Spence is impressive. The show moves quickly, builds in all the right emotional levels, and leaves the audience fulfilled.

The most important elements in the production are the astoundingly good singing voices of the cast. Everyone from the leads to the male chorus is impressive. Especially talented are Robin Lee Gallo as Kim, the Vietnam girl who falls in love with Chris, an American GI. She is matched in her vocal abilities by Connor O’Brien, whose singing of “Why God, Why?” was among the show’s highlights. Gallo and O’Brien are totally believable and convey an interpersonal charisma that is captivating. Their renditions of “Sun & Moon” and “Last Night of the World” were wonderful.

Also vocally strong are Ian Atwood, as Chris’s friend John and Maggie Stahl-Wirfel as Chris’s wife Ellen and Paul Floriano who is quiet good as the sleezy Engineer.

Choreographer Martin Cespedes does his usual excellent job and musical director Larry Goodpaster’s orchestra not only played well, but backed up the singers rather than drowning them out.

There are a few problems with the show. Don McBride’s sets didn’t work well. He usually has a clear concept. This time the set was a series of disjointed platforms the vital helicopter effect was missing. No, we don’t have to actually see the machine hovering above the stage but we must hear it, we must know of its presence. The few flashing lights didn’t work. As one of the authors states, “The helicopter, which plucks Chris away from Kim as it pulls the last Americans from Vietnam, stands as a symbol for all those irresistible forces that rend nations apart and split one individual from another. Our musical asks you to consider the countless small tragedies which have been imposed on millions of ordinary people by governments whom we like to think we control, but who seem locked into a constant spiral of hostility. The story ends tragically, but I hope what will endure after the curtain falls are the things that matter: love, honesty, determination, self-confrontation, courage, energy, life.”

CAPSULE JUDGEMENT: In spite of some minor flaws, The Beck production of ‘MISS SAIGON’ is powerful staging with a strong emotional effect. This is not light, escapist theatre. It is a meaningful and important story that is well told, well, sung and well acted. It deserved the standing ovation it received.

Pete 'n' Keely (Kalliope Stage)

‘PETE 'N' KEELY’ closes Kallliope's season

When an artistic director of a theatre picks a play to be presented there is a reason. Sometimes it fits the theatre’s avowed purpose. Think Great Lakes Shakespeare Festival choosing to do ‘HAMLET’. Often it’s because the script has something important to say such as ‘DEATH OF A SALESMAN’ and ‘DARK AT THE TOP OF THE STAIRS. Maybe it’s because the show’s writer insures great audience attendance. Neil Simon or Steven Sondheim come to mind. It could be that the theatre has the personnel who fit the script or a special star is available. Think Bernadette Peters as the lead in ‘ANNIE GET YOUR GUN’ or Bette Midler as Mamma Rose in ‘GYPSY.’ On occasion, the play fits the theatre’s space well. Whatever the reason, there usually is a rationale behind the selection.

Paul Gurgol, the Artistic Director of Kalliope Stage, Cleveland’s only venue completely dedicated to doing musicals, chose ‘PETE ‘N’ KEELY’ to close the theatre’s first season. Yes, it does fit two criteria, it is a musical and the two person cast fit well the intimate confines of the 50-seat Cleveland Heights theatre. Besides that, it’s difficult to figure out why Gurgol made the choice.

Now, don’t get me wrong, the production isn’t terrible. It just begs the question, “Why spend time, effort, talent and money on such an endeavor?”

Okay, let’s examine the story. The plot centers on a reunion between a former husband and wife as stars of a “bring ‘em back together” TV show. (Kind of the Sonny and Cher reunion.) The music is a hodge-podge of mostly pop songs from the ‘60s with a few weakly conceived new works thrown in. Musical numbers include “Lover,” “Besame Mucho,” “This Could Be the Start of Something Big” and “Too Fat to Fit.”

The script is by James Hindman with original music by Patrick Brady and lyrics by Mark Waldrop. Hindman, who is a fairly well-know New York actor is making his virgin attempt at writing a play. It includes many lame lines including the likes of “age is a number and mine is unlisted.” The writing tries too hard to be witty and suave but fails to grab and hold the audience’s attention. (Ask the woman in the front row who slept through both the first and the second act.)

The Kalliope production is blessed with Kathryn Kendall who has a strong voice and good stage presence. Christopher Vettel also has a nice singing voice, but has some upper range flatness and a distracting habit of singing out of the side of his mouth, which contorts his face and creates a humorous look during some serious songs. Unfortunately, as well as they sing, there appears to be no on stage charisma between the performers and their vocal blends are not always aesthically pleasing.

Gurgol, who directs the production, has incorporated some clever visual and choreographic moments. “The Cross Country Tour” is a wonderful musical collage, “That’s All” is presented in a nice “scat” style and “”Have You Got A Lot To Learn” was very creatively staged.

The musical accompaniment is excellent, keeping in mind that the musicians are back-ups to the singers and their purpose is not to drown out the lyrics of the songs.

Capsule Judgement: If you like review type shows in an intimate setting, want to support a new local theatre, and enjoy songs of the 50s, ‘PETE ‘N’ KEELY’ might be to your liking.

Anything Goes (Carousel Dinner Theatre)

‘ANYTHING GOES’ sails merrily into Carousel Dinner Theatre

If your illusion of a dinner theatre is an old clapboard building, greasy food in steamer trays and a poorly produced musical, then you haven’t been to the Carousel under new Artistic Director Sean Cercone. Cercone has many fine plans for the theatre, and many have already been put into effect.

The theatre itself looks like a sumptuous Las Vegas show room. Beautifully decorated in red, with linen coverings and candles on every table, the tiers of tables and booths allow for good stage sight lines. The servers are young, polite and cooperative. In fact, we were so delighted with Chris Hendricks, our waitperson, that we changed her title in the program from Assistant Head Front Server to CHIEF Head Server.

The menu has 9 appetizers, 18 entrees and 10 desserts and a full offering of wines, alcoholic and nonalcoholic drinks. Favorable comments were overheard about the quality of the food.

And, now to the show, itself. ‘ANYTHING GOES’ is a classic 1930s musical. The story is silly and predictable and the music doesn’t always fit into the plot. You will never mix this up this with ‘CHORUS LINE,’ ‘FIDDLER ON THE ROOF’ or ‘WEST SIDE STORY.’ But, who cares. If you are in the right mood for farce and good dancing and ready to hear clever and wonderful lyrics to songs, you’ll probably go out singing, “I Get a Kick Out of You.” And, as one of the songs states, it is “Easy to Love.” The music and lyrics are by the wonderfully gifted Cole Porter and includes “All Through the Night,” “It’s DeLovely,” and “Goodbye Little Dream.”

The Carousel production has three strong elements going for it. First and foremost, Kirsti Carnahan, playing Reno, is the consummate Broadway star. She is beautiful, is a powerful singer, sparkles in every scene she is in, and has a wonderful sense of comic timing. If you go see the show for no other reason than to see Carnahan, it’s worth the price of admission.

Second, Rob Donohoe is a delight as Moonface Martin, Public Enemy #12. “Friendship” a duet by Donohoe and Carnahan was absolutely delightful.

And, Janiece Kelley-Kiteley’s choreography sparkles. The tap routines in “Anything Goes” and the show stopping “Blow, Gabriel Blow” are gems.

The plot, if that’s what you’d like to call it, centers on the premise that boy falls in love with girl, girl’s mother arranges for a marriage to an older man on a cruise ship, boy stows away on the ship, boy wins girl after many twists and turns in the story.

Director Victoria Bussert has added just the right level of farce to the staging to insure that the laughs are present and the production moves right along. Her only stumble was the casting of Dominic Roberts as the show’s hero Billy Crocker. Roberts failed to develop a believable character, flatted in many of his songs and lacked the polish to appear opposite the likes of Carnahan and Donohoe. Others in the cast, however, are quite good. Jenn Goodson, a Marilyn Monroe look alike, sings and dances up a storm in “Buddy, Beware.” Brian Ogilivie is a standout dancer and Katherine Wilfong has a nice singing voice as does Marc Moritz.

The musical sounds and the technical aspects of the show were excellent.

CAPSULE JUDGEMENT: If ‘ANYTHING GOES’ is any indication of what’s to come, going to Carousel Dinner Theatre will give you a complete entertainment package...good food, in a wonderful setting, with an above average production.

Mama Mia (Playhouse Square Center)

'MAMA MIA' leaves 'em dancing and clapping in return visit

Saw ‘MAMMA MIA’ last time it was in Cleveland or in New York or Toronto and think you don’t want to see it again, because you don’t want to wipe out that great experience? Forget it! The touring production of ‘MAMMA MIA,’ which hit the State Theatre for a 2-week limited engagement, is every bit as good as any production you’ve seen before.

Haven’t seen the show? Well, you’d better get your dancing feet down to Playhouse Square because when this show hits the amateur circuit it isn’t going to be nearly as good. It’s just too difficult a show for lesser talents to undertake. The casting requires three middle-aged women who can sing, dance, act and do ‘60s girl group moves, and 3 dancing, singing and acting middle-aged men and a strong male dance chorus. ‘Taint easy to find that in community theatres.

If you’ve been living under a rock somewhere and don’t know what the ‘MAMMA MIA” mania is about you need a modern history music lesson. Here it is:

The place: Brighton, an English coastal town. The date: Saturday, April 6, 1974.

The event: The Eurovision Song Contest. The results: A Swedish group named ABBA was declared the winner.

ABBA, named after the first initial of the group’s member Agnetha Faltskog, Benny Andersson, Bjorn Ulvaeus and Anni-Frid Lyndstad, has sold over 350 million records worldwide. Songs such as “Dancing Queen,” “Take A Chance On Me,” and “The Winner Takes It All” have become number one on top-ten lists.

Then, ABBA entered a new phase...the professional musical theatre. Playwright Catherine Johnson created a play consisting of three love stories: a young girl about to be married, her mother who has to confront her past, and an audience about to jump out of their seats with joy. The ideas came from the lyrics of ABBA’s songs. The musical incorporates 20 of ABBA’s best known songs including “SOS,” “Knowing Me, Knowing You,” “The Name of the Game,” “Money, Money, Money,” “Gimme Gimme Gimme,” and, of course, “Mamma Mia.”

This is not the first major hit to follow the “songs first, story line later” format. Lyricist Frank Loeser wrote the music for ‘GUYS AND DOLLS’ and then a dozen or more books writers attempted to put a story around it until Jo Swerling and Abe Burrows finally succeeded.

On April 6, 1999 MAMA MIA! opened at the Prince Edward Theatre in London. At the curtain call the audience rose and began singing and dancing in the aisles. The same thing happens nightly, even in staid Cleveland, Ohio.

The touring cast is wonderful. Lauren Mufson plays the lead role of Donna with talent, vitality and a powerful voice. Her side-kicks are hysterically and professionally portrayed by Lori Haley Fox and E. Faye Butler. The men in Donna’s life are all strongly portrayed by Michel Butler Murray, Bill Austin and Sam Carmichael, who has a wonderful singing voice. Though Sara Kramer, as Donna’s daughter has a pretty voice, it is thin in the higher registers and fades at times. Jared Zeus is adequate as her boyfriend. Gerard Salvador, as one of the islanders lights up the stage with his fantastic dancing.

CAPSULE JUDGEMENT: If they’d let me come to all 16 performances of the present Cleveland run of ‘MAMA MIA’ I’d be there singing and dancing and clapping in the aisles during the curtain call! As the show says, “THANK YOU FOR THE MUSIC.”

Hot N Throbbing (convergence-continuum)

Convergence-continuum stays its course with 'HOT N THROBBING'

Convergence-continuum theatre has built its reputation by doing controversial, thought-provoking plays that most other theatres in this area wouldn’t touch. And, they tend to do them very well, especially when Clyde Simon is at the directing helm. Their newest staging, Paula Voegel’s ‘HOT N THROBBING’ is exactly this theatre’s cup of tea. It is somewhat abstract, appeals to a certain nitch audience, and fits well into its 50-seat venue.

‘Hot N Throbbing’ tells the story of a dysfunctional family fighting its way to destruction. Charlene, who writes women's erotica to support her 16-year-old daughter and 14-year-old son, is both attracted to and repelled by her ex-husband Clyde, who can't seem to leave her alone despite a restraining order. The play also offers two other voices: a woman whose dialogue represents Charlene's inner thoughts and a man who represents a variety of characters, including the male part of Charlene and the fears that Clyde has instilled in her.

But the play’s purpose is more than what appears on the surface. In reality, the script delves into the connections between sex, power and domestic abuse. As the director of a recent production in Washington, DC comments, "This is a dangerous and exciting play that is both screamingly funny and deeply devastating.”

Even the title evokes comments. The DC director stated, "I think that the title is a comment on the relationship between sex and violence and how we are very mixed up about those two topics in our society. We love to be titillated, but we chastise those who titillate us. We have one of the biggest, if not THE biggest, sex industries in the world, and the highest level of violence. I think that Paula Vogel wants us to go through that twist, to hear the title and get kind of excited, giggly, and then to realize that it is a play about domestic violence."

Vogel has been accused of being a cerebral and inaccessable writer. ‘HOT N THROBBIN’ is that. But, it does give one a chance to think, and that’s a purpose that most theatrical pieces don’t do.

The convergence-continuum has a strong cast who clearly understand their roles. Times Tribute Award winner Lucy Bredeson-Smith, who doesn’t know how to be ineffective on a stage, has the right tone and and gives a multi-textured performance as Charlene. John Regan’s Clyde is just too slimy for words. He is appropriately unkempt, pathetic and obnoxious. Geoffrey Hoffman’s slouching, slumping, geeky peformance is right on key. Though Jovanna Batkovic isn’t always believable, she pulls off the part of the teenage rebellious Leslie Ann. Sheila O’Toole, especially when she is acting out scenes from Charlene’s writing, is excellent. Cliff Baily is inconsistent as the male voice.

CAPSULE JUDGEMENT: The question that winds its way through every scene in ‘HOT N THROBBING’ seems to be, “What happened to the human elements of tenderness, affection and a shared experience?” You won’t get the answers in the convergence-continuum production, but you will continue to think about possible answers long after you’ve left the theatre.

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.