The Exonerated (Dobama)

Dobama's 'THE EXONERATED' unnerving glimpse at reality

Punishment is supposed to fit the crime, but what if there is no crime, only punishment? This is the question at the center of ‘THE EXONERATED,’ now on stage at Dobama Theatre in its Cleveland debut.

This is no ”sit back and appreciate it” play. This is an in-your-face real life expose. We experience the tales of six real people who were placed on death row due to poor or corrupt police work, thoughtless defenses, and crooked judges and politicians.

The play was born when authors Jessica Blank and Erik Jensen attended an anti-death penalty conference and heard a phone call from someone on death row in Illinois who shouldn’t have been there. The duo decided that they would investigate the prevalence of the phenomenon and set off on a country-wide journey in search of the real-life "exonerated."

The authors indicate that "What we really have to say is, every time there’s a horrendous crime, the more likely it is that an innocent person will be convicted. In our six cases, every single jury member who voted to convict those people was 100 percent convinced they were putting away the right person." One of author’s goes on to state, "I don’t expect people to see the play and say, ‘Down with the death penalty.’ I expect people to see the play and say, ‘Oh, this is real. This is happening. We have to do something.’"

The question might be asked, “How common is the arrest and conviction of people who are then proven to be innocent?” The staff of the Center on Wrongful Convictions, which pioneered the investigation and litigation of wrongful convictions, estimates the numbers are massive. Their efforts, on behalf of nine Illinois death-row inmates, were a driving force behind both Governor George H. Ryan's decision to suspend executions in Illinois and the current nationwide movement to reform the criminal justice system.

The movement against false imprisonment has many believers, including a number of actors who have volunteered their time to portray the characters in ‘THE EXONERATED’ in various national theatres. Some of these stars include Marlo Thomas, Brian Dennehy, Richard Dreyfuss, Sara Gilbert, and Jill Clayburgh.

To pre-experience the play, just imagine everything you did between the years 1976 and 1992. Now remove all of it. Those 16 years were taken away from Sunny Jacobs, convicted and sentenced to death for a crime she did not commit. Her story, and the other five, are tales told in their own words. This is, in fact, a spoken-word collage. There is little real action, but the words are powerful and compelling enough to hold your attention throughout the long one-act presentation.

The Dobama production is well directed by Joel Hammer. The pace is right, the emotional feelings are right, even the humor is well-keyed. This is a unit piece and the cast is mostly believable in their portrayals.

Elizabeth Townsend, true to the character’s name, Sunny, smiles through her tears as she tells the tale of how she and her husband, who was electrocuted in a torturous manner, were framed by a killer who later repented. Jimmy Wood is right on as the black dread-locked Gary, who was manipulated into a “confession” and even after being released is denied his right to return to his previous profession as a surrey horse racer, but ironically is allowed to buy a gun.

Allan Byrne is properly pathetic as an innocent man whose conviction results in his brother’s total emotional demise and eventual murder. Jeff Grover plays many roles, all of them well. Darryl Lewis acts as our poet narrator. He sounds much like James Earl Jones and is generally effective, but often looks over the heads of the audience as he speaks, instead of directly at us. This is distracting. We need the consistent direct contact.

Kirk Brown fails to reap full emotional impact as a propertied murderer of his mother and father. His initial confusion, which worked well, doesn’t transfer well into the concluding scenes. Nate Cockerill does many of his multiple roles well, but has difficulty with some of the accent switches. Marnie Task and Sonia Bishop are effective in various roles.

The sparse set consists of nine chairs and a screen on which silhouetted scenes are acted. One might question the need for the silhouettes, as the words, rather than the visual images are the important elements and the acting out of certain actions pulls the viewer from the words to unnecessary images.

CAPSULE JUDGEMENT: ‘THE EXONERATED’ is a play you will not soon forget. The play was selected as one of the 10 best plays of 2002 in both the New York Times and Time magazine and deserves that recognition.

A Raisin in the Sun (Beck Center)

‘RAISIN IN THE SUN’ gets creditable production at Beck

What happens to a dream deferred?
Does it dry up Like a raisin in the sun?

This segment of the poem "A Dream Deferred" by Clevelander Langston Hughes is the underlying theme for Lorraine Hansberry’s ‘A RAISIN IN THE SUN,’ now on stage at the Beck Center for the Arts.

On March 11, 1959, ‘A RAISIN IN THE SUN’ opened on Broadway. The play had already negotiated a long and troubled road just to find its way to the opening and was filled with many firsts. It was the first major on-Broadway play by a Black female author. It thrust many of its rookie Broadway cast members into major entertainment roles including Cleveland-born Ruby Dee, and future superstars Sidney Poitier and Claudia McNeil.

No one could foresee that the play's imminent triumph would mirror the changing role of Blacks in this country and the role the play’s themes would play in African American culture in the years that followed.

The New York Drama Critics Circle named the Hansberry play the best American play of 1959 though this, probably the most important African American theatrical piece ever written, failed to receive either a Pulitzer Prize or a Tony for Best Play.

‘A RAISIN IN THE SUN’ relates the story of the Youngers, a Southside Chicago family trying to survive in cramped ghetto quarters. When Mama gets a $10,000 check from her husband's life insurance, they consider moving to a house in a white suburb. A suburb in which the residents warn that they don’t want a Black family as their neighbors.

A RAISIN IN THE SUN’ is clearly autobiographical. Chicago, where Hansberry was born in 1930, was self-segregated along racial lines at the time. As a child, Hansberry's family became one of the first to move into a white neighborhood. When their neighbors rebelled, both with threats of violence and legal action, the Hansberrys defended themselves. The case went all the way to the US Supreme Court.

Hansberry told her husband she wanted to write a social drama about Blacks that was good art. She succeeded. Instead of stereotyped characters that would bear no resemblance to actual people, she held up a mirror to the racial nature of this country.

The Beck Center’s production is fine, as far as it goes. The missing element is the extra quality that would make the experience, as Hansberry intended, “painfully realistic.” It may be that the play, itself, has lost some of its power due to the changes that have taken place, at least in some areas of this country. But, more importantly there is an inconsistency in the acting and pacing.

Having seen the original New York production, and being swept up by its power, I feel that some of the Margaret Ford Taylor directed production was diminished because of the production’s languid pace, its lack of consistent intensity. This takes away from the play’s mission.

As for the performances, Connie Blair is fine as Mama, the head of the household. At times, however, she loses her stiff back, her stubborn pride. Sonia Bishop is right on target as her daughter-in-law, Ruth. The scene in which she pleads for the family to move, to develop their dignity, was extremely effective.

Michael May as the son is strongest in his rage scenes, but not as effective in displaying his frustration. Evelyn Stewart lacked the consistent depth of conviction as Beneatha, the daughter who is in training to be a doctor.

Young Anthony Nickerson is appealing as Walter and Ruth’s son. John Polk is on target as the representative of the white homeowners who don’t want the Youngers as neighbors. Jason Samuel’s version of one of Beneatha’s suitors consists of a bad accent which oftten makes him impossible to understand and distracting facial expressions, while Jonathan Wray as George, the other suitor, feigns character development.

Don McBride’s scenic design adds to the era-correct feeling of the play.

CAPSULE JUDGEMENT: The strength of Beck’s ‘A RAISIN IN THE SUN’ is Hansberry’s finely written script. It reflects an important slice of American history. Though the performances and pacing don’t always develop the depth of the material, but the end result is a very acceptable production.

Venus (Cleveland Public Theatre)

‘VENUS’ fails to compel at CPT

During the second act of Suzan-Lori Parks’ ‘VENUS’ at Cleveland Public Theatre, I glanced down the row in which I was sitting. The man next to me was snoring and three of the remaining seven people were sleeping, or at least had their eyes closed. This does not bode well for a production. To be honest, I couldn’t blame them.

Parks play is loosely based on the story of Saartjie Baartman, an African woman with an enormous posterior, who was taken to London in the early 19th century. Dubbed The Venus Hottentot, she left her home not as a slave, but with a desire to make a lot of money. Once in England she became the star of a freak show. A debate began as to whether the exhibition constituted slavery, and a court heard a case to determine whether the exhibitioner should be sentenced under the country’s antislavery laws.

Based on Baartman’s story, Parks wrote a play which examines such issues as the objectification of people and cultures; the fascination with what is heathen, foreign, different, sensational; and how some people are influenced more often by appearances than substance. There is also the underlying commentary on how each of us, in our own way, is a freak.

On the surface, these topics should make for great theatre. The same concept worked well in the ‘ELEPHANT MAN.’ Unfortunately, this play misses the mark. It is pondersome, overly-long and fails to compel. This is somewhat surprising as Parks is the author of some impressive theatrical pieces including the Obie Award winning ‘IMPERCEPTIBLE MUTABILITIES IN THE THIRD KINGDOM.’

Parks’ approach to dialogues assumes that the audience is willing to dig and ponder meanings. She is noted for her dense language and use of metaphors. She repeats ideas and speeches. This writing style leads to a deliberately static plot evolvement, as is evidenced in ‘VENUS.’ There is little real interaction between the characters. Even the scene in which Saartjie and the Baron Docteur, who has purchased her as a “trophy” mistress, negotiate their relationship in bed, there is a lack of true connection between the characters.

Sometimes stagnant scripts can get a breath of life via a director. Unfortunately, Jyana S. Gregory doesn’t appear to be that kind of director. The production is static. Nothing sparks. There is little attempt made to compel the audience to watch, to listen, to understand.

The cast tries hard, but with little overall effect. Nina Domingue, a twice recognized “Times Tributes Theatre Award” winner in 2004, is unquestionably one of the area’s best actresses. Even she couldn’t save the production. She is given little to work with. Part of this is script, part is directorial decisions. She is thwarted by underplaying the character, not being allowed to use texturing of speech and action to make Saartjie live.

Robert J. Williams does a credible job as the Negro Resurrectionist, our guide to the goings-on. Again, he so underplays the role that his meanings are often lost. The chorus is often impossible to understand due to missed timing and not speaking in unison. David Loy, as the Baron Docteur, performs on the surface, not delving into the motivations of the character.

The highlight of the show is Sergio Villegas’s wonderful circus ring set. The program designs and poster art of Nikita Hunter are also wonderful.

CAPSULE JUDGEMENT: As my sleeping row-mates seemed to reveal, CPT’s ‘VENUS’ fails to compel attention or hold much interest.

Movin' Out - Playhouse Square Center

Fantastic 'MOVIN' OUT' rocks the Palace Theatre!

There is a love affair going on in Playhouse Square. From the opening note sung by Clevelander Michael Cavanaugh, until the final curtain call which found the nearly sold out house standing on its feet screaming "Cleveland Rocks," the audience at 'MOVIN' OUT,' the Twyla Tharp/ Billy Joel musical now on stage at the Palace Theatre, was wired. During the curtain call the cast was wildly applauding the audience for its enthusiastic reception of the show. Audience comments on the way out included, "That was fantastic," "Best show I've ever seen," "That's what good theatre is all about," and "I'm coming back for more!"

I saw the first night preview of 'MOVIN' OUT' in Chicago where it received its out of New York tryout. My immediate reaction was "this is no ordinary musical." There are no spoken lines, the singing doesn't integrate into the plot, per se. In fact it is more a rock concert and a contemporary ballet done simultaneously. The band, and in this case, a great band, is suspended over the stage with the lead singer center stage. In Chicago, and now in New York, it's local boy Cavanaugh who received a 2003 Tony Award nomination for his Broadway debut. Cavanaugh took a recess from the New York production to sing the role in his home town. And we are very glad he did.

Another reaction to the Chicago production was that the first act was weak, the second act dynamite. I heard shortly after the Windy City opening that Twyla Tharp totally had restaged the first act and Billy Joel had added a song. The second act remained basically in tact. The first act is still weaker than the second, but in a production this dynamic, that's not saying there is much wrong.

The story, in contrast to many dance concerts, is easy to follow, concerns an examination of a group of 60s teenagers who progress through high school, followed by the males going off to the Vietnam War which results in one of them losing his life in combat. After the conflict the others return home, broken from grief and hooked on dope. The boys, now men, finally reconnect and discover they have found their way back.

Don't try to match Billy Joel's words to the dancing. While not all the lyrics are relevant to the action, phrase snatches and the musical themes set the tone for Tharp's choreography.

Cavanaugh, who was found in Las Vegas doing a show in which he sang Billy Joel songs, started to perform professionally at age 12. He is not only known as a singer but does character voices for the Disney Channel and has recorded a solo CD entitled "Sounds a Lot Like Me." His performance in 'MOVIN' OUT' is outstanding. His voice is strong, his articulation clear, and his piano playing wonderful. He sings with feeling and creates meaning from the words, rather than just singing words.

Usually in dance performances the women outperform the men. Not so in this production of 'MOVIN' OUT.' The men, including the male corps, were all strong.

Corbin Popp, who played Tony, showed mastery of not only modern dance, but displayed fine balletic moves. He also displayed strong acting skills. His Broadway idol good looks and buffed body added to his strong stage presence. In "This Night" he showed excellent partnering skills, as was the case in "Big Shot." "Big Man on Mulberry Street" was a show stopper.

As Eddie, the distraught post-Vietnam burnout, Brendan King almost stole the show with his amazing gymnastics and dancing power. A segment entitled, Eddie Attains Grace, danced to "River of Dream," "Keeping the Faith" and "Only the Good Die Young" was amazing. It was one of the strongest dance performances I've seen in any musical.

Sean Maurice Kelly, who filled in for Matthew Dibble, didn't match the dancing polish or dynamics of Popp and King.

On the female side, Julieta Gros was wonderful as Judy. She captured the stage with her petite good looks and controlled dancing movements. Laurie Kanyok was inconsistent as Brenda. She was at her best when partnering with Corbin Popp.

"Goodnight Saigon," which displayed the horrors of war was superb, as was "Captain Jack."

The Movin' Out Band was note perfect. They not only played well, but were excellent in vocal backups.

Technically, the show was of Broadway quality. The lighting, costuming and scenic design all added to the overall positive effect.

Groundworks - Botanical Garden

GROUNDWORKS shines at Botanical Garden

The first time I saw David Shimotakahara dance with the Ohio Ballet I knew that I was watching a very talented performer. When I saw his first choreographed piece for the same ballet company, I was equally impressed. The work was creative, the dancers well-disciplined, the piece polished.

When Heinz Poll left his post as Artistic Director of OB, I was hoping that Shimotakahara would be appointed to continue the company's creative work. Unfortunately, the post went to someone else. Instead of giving up, Shimotakahara founded GroundWorks Dancetheater, which has become a leading modern and contemporary dance company in the area. He has developed a loyal following which supports his every effort. This was obvious at the sold out performance where viewers thoroughly enjoyed GroundWorks Landmark Series performance at the Cleveland Botanical Garden.

The Landarks Series places the company in various settings in the community. These are as diverse as churches and abandoned buildings. His purpose is to bring dance to the community. While in the venues, he often expands beyond the performances of production. For example, the company's Botanical Garden stay included exhibitions for Cleveland school students, for a group of seniors, and a fund raiser for the Garden.

The recent program included 'ALWAYS,' a piece centering on the vocals of Patsy Kline, which premiered in 2003. The piece is a collaborated invention of the original performers Amy Miller, Shimotakahara, Mark Otloski and Xotchiti Tejeda de Cerda (who has left the area). In this case the thoroughly enjoyable 'ALWAYS' was danced by Miller, Felise Bagley, Shimotakahara and Brain Murphy.

Murphy, a dancer with Ohio Ballet, was a replacement for Mark Otloski who in mid- January, injured his leg and will shortly be having surgery to correct the problem. Murphy, by far OB's best male dancer, stepped in with less than two weeks of rehearsal and added much to the performance. To add to the awe, Murphy continued to rehearse with Ohio Ballet which will perform in Cleveland (February 18 & 19) and Akron (February 25 & 26).

Murphy's presence aesthetically helped the balance of the dancers. The very talented Otloski is very tall and thin. He towers over the rest of the company. This works in many pieces, especially when he is dancing solo or with a petite female partner. However, his size often creates unbalanced visual lines. Murphy, who is parallel in size to the other dancers, physically fits into the many intertwining movements of Shimotakahara's choreography.

'ALWAYS' is a humorous, creative and delightful piece. Miller, a powerhouse of a dancer, has unbelievable physical control and makes every movement a total picture...beginning, middle and ending. Though the piece's movements don't develop the story of the words, the actions parallel well the mood of the music.

'SEVERAL TRUTHS,' is a duet created by choreographer Gina Gibney, who often showcases her works with GroundWorks. Premiered in 2001 the piece uses sounds rather than music to convey various moods. An emotionally and physically exhausting dance it is dependent on the controlled intertwining of bodies, strong movements, powerful carries, and the execution of parallel precision. Dancers Amy Miller and David Shimotakahara were up to the task. The startling ending, with no sound accompaniment, was greeted with enthusiastic applause.

'BEFORE WITH AFTER,' choreographed by Shimotakahara to music by Bach, according to program notes "suggests life's encounters, steps and crossings but ultimately acknowledge what it means to be alone." This theme was carried out by use of solos, duets, triads, quartets and quads of dancers. As with the whole program, the piece was well-performed. Precise, strong and fast movements were at the center of the concept. Brian Murphy's solo and his duet with newcomer Jennifer Lott were among the highlights, as were duets by Shimotakahara and Miller and Miller and Felise Bagley. Lott, the newest member of the GroundWorks company is an attractive dancer. Her skills, especially her body control, are not yet up to the levels of the other GoundWorks dancers, but under the tutelage of perfectionist Shimotakahara she should develop into a good addition.

The Cleveland Botanical Garden space was a perfect setting for the company. Dancing on a raised stage against a wall of sheer shades, the performers were highlighted by natural as well as artificial light. The trees and even people walking in gardens behind the dancers added to the naturalness of the choreography. Having the audience within feet of the performers allows for an in-your-face experience. Hearing the shoes squeak, the floor lightly creak, and the breathing of the cast, as well as watching their muscles move and flex, makes for audience involvement in the entire process.

Capsule Judgment GroundWorks Dancetheater once again proved in its Cleveland Botanical Garden presentation that it is the area's premiere modern and contemporary dance company. Their next presentation will be as part of 'DANCE WORKS 05'--Cleveland Public Theatre which salutes their residence dance companies: Groundworks (March 31-April 03); Verb Ballet (April 7-10); Inlet Dance Theatre (April 14-17), and SAFMOD (April 21-24). Location: 6415 Detroit Road at W. 65th Street. Tickets: 216-631-2727.

New Classics Collection (Verb Ballet)

VERB’S the world in local ballet

At the conclusion of Verb Ballets’ ‘NEW CLASSICS COLLECTION,’ the company’s Artistic Director, Hernando Cortez, shouted to a sold-out audience, “Verb’s the word, verb’s the word.” And, how right he is. Verb is the word in Cleveland area ballet.

Ever since The Cleveland-San Jose Ballet packed up its debts and fled the city, Cleveland has lacked a premiere Cleveland-based premiere ballet company. That is not to say there are no local ballet companies. Karen Gabay and Raymond Rodriquez’s Point of Departure has been fine in its presentations and has developed a loyal following. Unfortunately, their presentations are few. Gabay and Rodriquez are still members of the San Jose Ballet family and have no permanent presence in the city. The Ohio Ballet, which many felt would be the logical successor to CSJB has not filled the void. Its attendance in both its Cleveland and Akron performances has been underwhelming. Under its present administration it has failed to build a solid audience base. Ohio Dance Theatre, Denise Gula’s Oberlin based group, does a nice job for a small company with limited resources. It has made quite a positive impact on the Lorain County area and in national outreach, but hasn’t been as successful in its Cleveland ventures.

Two years ago The Repertory Project was transformed. The wand was handed to Executive Director Dr. Margaret Carlson and Artistic Director Hernando Cortez. They made their three wishes and the pumpkin has blossomed into a full-fledged shimmering coach. Now known as Verb Ballet, they have developed a new repertory, repositioned the company’s publicity, signed on a group of enthusiastic board members, and formed a permanent Cleveland based company that offers its dancers on-going employment. It is in the process of amassing its new Classics, Contemporary Artists and Emerging Artists Collections to accompany the works of its Artistic Director.

As witnessed by the appreciative audience at the company’s recent Playhouse Square debut, this is a superb dance company. Besides the fine evening of dance one must be amazed by the fact that potential attenders had to be turned away due to a SRO crowd. A sold out audience to see a Cleveland ballet company? That hasn’t happened in a long, long time.

The program consisted of three pieces: ’APPALACHIAN SPRING,’ ‘ESPLANADE’ and ‘CARMINA BURANA.’

This version of ’APPALACHIAN SPRING’ was a reworking of that presented last summer at Cain Park. There was a new set and costumes (by Suzy Campbell and Robert Katkowsky) and an altered cast. The set worked well though it did not have the severe rustic feeling of the original. The costumes at times distracted. The severity of wilderness living was diminished by the colorful material used for the women’s dresses, especially those of Followers.

Mark Tomasic gave his usual strong masculine presence to the role of the Husbandman, though I thought he added more to the production as the Revivalist in the Cain Park rendition of the piece. Glynn Owens, who danced the Revivalist is slight and youthful. Though he dances well, he failed to convey the sternness and power needed for the role. His hop moves fringed on the comic rather than the serious. Tracy Vogt was wonderful as the Bride. This is one very, very talented dancer. Elizabeth Flynn was excellent as the Pioneering Woman. The Followers danced well, but one of the performers broke the solemnity of the occasion by smiling during segments of the performance.

‘ESPLANADE,’ danced to the music of Johann Sebastian Bach, was originally choreographed by Paul Taylor in 1975 and has been reconstructed by Hernando Cortez. This is a high-energy exhausting, audience pleasing piece that is divided into a series of short segments. The dancers were in a constant state of running, bouncing, writhing, leaping, rolling, twisting, and walking on and jumping over each other. The numerous combinations of line intertwining and single and duet dancing was compelling.

Carl Orff’s ‘CARMINA BURANA’ is one of the most popular 20th century choral works. It is based on a collection of medieval poems from the early 1800s. The topics range from the ever-changing fortune of humans to physical love. The illuminated pictures which accompanied the script which was found in the 1930s was the basis for many of the dance images framed by choreographer Hernando Cortez.

Joan Yellen Horvitz’s pumpkin-like designed backdrop was enhanced by Chaneault Spence’s lighting design which resulted in changed colors to fit the mood of each segment. Horvitz’s costumes were breathtaking and appropriate.

The choreography mirrored the music, and the dancers, who were well prepared by Cortez, continually changed mood to convey the textures of the music.

In its World Premiere, the piece, though overly long, was met with positive response by the audience. Cortez might consider cutting some of the segments in order to make the piece more audience friendly.

CAPSULE JUDGEMENT: Verb Ballet has the fortune of being headed by the dynamic Margaret Carlson and the talented Hernando Cortez. They have assembled a stable of generally very capable dancers. The females, as a whole, are excellent. The males are less consistent. Mark Tomasic is one of the area’s best male dancers. Robert Wesner is a fine but often overly affected solo dancer, but has trouble pulling back and becoming part of the ensemble. Newcomer Glynn Owens appears to have the makings of a solid performer though he needs to work on his posture. Hernando’s challenge will be to flesh out the company with dancers who can help carry the company from excellent to world class.

The Piano Lesson (Cleveland Play House)

'THE PIANO LESSON'--an examination of the African American adventure

Playwright August Wilson thinks that African Americans have not been fairly represented by White culture writers and historians. To counter this, Wilson has set out to create a series of works which examine the lives of Africans who were brought to this country, often against their will, and enslaved. He develops his messages by using cultural patterns such as story telling and music, with references to history, religion and superstition. ‘THE PIANO LESSON,’ now on stage at The Cleveland Play House, is the fourth in Wilson’s 20th century decade-by-decade chronicle.

The story centers around a piano that sits in the parlor of the Pittsburgh home of Doaker Charles and his niece, Berniece. The years is 1936, but the piano serves as a persistent reminder of the ancestral memory of the home’s inhabitants. Carved on the legs and front of the piano, as described in Wilson’s stage directions, are “mask-like figures resembling totems...in the manner of African sculpture...rendered with a grace and power of invention that lifts them out of realm of craftsmanship and into the realm of art.” These figures, created by Berniece’s great-grandfather, tell the history of the family through the long years from slavery to emancipation.

For Berniece, the piano evokes memories and emotions. Her mother used to make her play the piano every day, an obligation Berniece accepted because she was convinced its carved figures had the ability to come alive and walk around at night, to create ghosts and memories too fearful to confront. When her mother died, Berniece “shut the top of that piano...and ain’t never opened it again.” Out of respect for the generations of ancestors enshrined in its tableaux, she’d never dream of allowing the instrument to leave her parlor.

Berniece’s brother, Bob Willie, shares none of his sister’s attachment to the instrument. He views the piano as a commodity to be sold and the money used to purchase the land of the former owner of their slave ancestors. He believes that getting rid of the piano and claiming the land will purge the ghosts from the entire family.

Ghosts, both literally and figuratively, hover over the happenings. The works itself sits at the intersection of realism and metaphor. Are the ghosts real? Is the storm near the play’s conclusion the exorcism of the actual spirits or the end of the family’s obsession with the horrors of the past?

Is ‘THE PIANO LESSON’ a great script? In spite of its awards, reviewers generally agree that it is not a masterpiece. It is repetitious, imperfectly resolved, and as often is the case with Wilson, much too long. What it does have going for it are also Wilson’s trademarks: the rhythms of black speech, the essence of the culturally uprooted, the legacy of slavery, and the knowing message of what it is like to be at the bottom rung of the American way of life.

The CPH production, under the able direction of Chuck Patterson, develops Wilson’s intent. In spite of excellent performances, they cannot, however, completely overcome the excessive length, abstraction and talkiness of the script.

Wiley Moore (Doaker) stands proud as a Black man who has meet the system and taken it on as a hard working productive member of society. Moore adds just the right inner strength to the role. Albert Jones doesn’t consistently smolder as Boy Willie, though he has periods of brilliance. Marlon Morrison, as Willie’s naive country boy friend Lymon, is wonderful. He is simple, without being a simpleton. Linda Powell’s Berneice sometimes lacks the texturing necessary to make her character a totally real person. Sierra Heard as Berneice’s daughter, Kim Sullivan as the preacher, Doug Jewell as Doaker’s brother and Colleen Longshaw as the women who Boy Willie and Lymon hook up with, are all quite good in their performances.

Felix Cochren’s set is outstanding. It is not only era perfect and visually attractive, but gives the actors an efficient place in which to perform. Myrna Colley-Lee’s costume designs are wonderful. William H. Grant III adds much to the production through his lighting.

CAPSULE JUDGMENT: August Wilson is an important African American playwright. ‘THE PIANO LESSON’ is another of his plays that helps give a picture of the African American experience. Though a flawed script, the CPH production is worth seeing for no other reason than it is an important piece in the puzzle of defining an important racial component of the American story.

La Belle - Playhouse Square Center

'LA BELLE' IS A BALLET SPECTACLE

The opening notes of Pyotr Illyich Tchaikovsky's "The Sleeping Beauty" are dark and somber. Wait, "Sleeping Beauty" is the story of a beautiful princess who falls under the spell of a wicked witch, falls into a deep sleep, is eventually kissed by a handsome prince, and they ride off to live happily ever after. Well, at least that's the Walt Disney version.

In fact, the tale, as written by Charles Perrault, is a story of forceful carnal characters. The moral, which is drawn from the original story states, "But desire with its ardor aspires to conjugal faith."

Les Ballets De Monte Carlo's production of 'LA BELLE,' as conceived by Jean Christophe Maillot, was performed at the State Theatre of Cleveland's Playhouse Square from February 3-6. The production was given the Nijinsky Award for the Best Choreographic Production 2001 and the Danza & Danza Prize for the Best Show 2002.

Maillot's interpretation explores all aspects of human relationships. It eradicates the original classical ballet version staged by Marius Petipa, which had little to do with Perrault's initial 1697 tale in which the barbaric Queen Mother's jealous rages lead to not only her own dreadful death, but to emotional torture for her husband, son, Beauty and many others. Maillot wanted to create an emotional masterpiece which centered on the dark elements of the tale, while at the same time respecting the euphoric and timeless love story that it has become.

In this interpretation the first act brings to life the joyous past of the princess as recounted by the Lilac Fairy to the curious prince. The second act centers on her rape, the princess's long sleep (as represented by her dance inside a larger-than-life transparent crystal ball), the arrival of the prince, her ultimate awakening, the continued battle with the Queen Mother, the death of the Queen, and the couple's eventual freedom from the ill-influences.

Though I would love to say that I was enchanted by the presentation, I can't. I found much of the staging very gimmicky. The props, the setting, the lighting, the costumes often overrode the impact of the choreography. I also found some of the story line so convoluted that it was difficult to follow. This was not aided by the program notes which confused rather than enhanced. As one of the people behind me whispered, "What do the program notes have to do with what is going on on-stage?"

This is not to say that the performance was bad. It wasn't. The dancing, as a whole was superb.

Bernice Coppieters, who danced Beauty, was breathtaking. Her perfectly toned body was accented in a skin-tight sensual see-through lace unitard. Her movements were precise, her dance interpretations flawless. As the prince Chris Roelandt was fine, but seemed to tire near the end of the performance when his movements became less precise and he lost some of his passion. Their scene in which she arises from the deep slumber culminated in a sultry duet which was punctuated by an arousing kiss that lasted so long that the audience started to titter.

Gaetan Morlotti as the dual-sexed Queen Mother was excellent. In fact, his curtain call was met with "boos." These were not as a negative but as a positive reaction to his effectiveness as a truly wicked person.

The rest of the cast was effective, but the male corps de ballet was sometimes not in sync. The large orchestra was impressive, giving the dancers excellent musical accompaniment.

Johnnie Taylor is Gone - Karamu

Performances make 'JOHNNIE TAYLOR IS GONE' worth seeing

Each year Karamu holds the R. Joyce Whitley Festival of New Plays Arenafest. The last one was held in May of 2004. From the offerings, Gregory S. Carr's 'JOHNNIE TAYLOR IS GONE' was selected for inclusion in the theatre's regular 2005 season.

The play takes place in the Golden Zodiac Lounge, a bar in North St. Louis which appears to have outlived the high points of its existence. It is peopled by a group of "Old School" misfits. The music selected on the juke box centers on the "oldies" with special emphasis on Johnny Taylor who once stopped in at the lounge.

Who is Johnny Taylor? He was a real recording great. Despite Taylor's awesome run of hit records, he remains somewhat of an enigma, perhaps one of the most underrated recording artists of all time. His offerings embraced Gospel, Pop, Blues, Doo Wopp, Memphis Soul, and even Disco. His hits included: "Somewhere To Lay My Head," "I Had A Dream" and "I've Got To Love Somebody's Babe" and "What About My Love."

Every once in a while a theatrical offering overcomes a mediocre script with high production qualities. This is the case with 'JOHNNIE TAYLOR IS GONE.' This is not to say the script is bad, it just isn't the quality of works by such Black writers as Lorraine Hansberry, August Wilson or LeRoy Jones.

Lots of topics are covered: black men dating white women, baseball, the Ku Klux Klan, politicians, UPN (under paid negroes), riots, the St. Louis black community, retirement, rap music, Presidents Bush and Clinton, old versus new styles of music, and Chinese food. But, in the end, this is probably more a set of character studies rather than a well-constructed play. There are no intriguing mysteries or conflicts, though some soap-opera like problems regarding relationships, financial needs and philosophical ideals are present.

With that said, Director Caroline Jackson Smith and her cast should be proud of the final outcome. In general, the characterizations are well honed so the play's humor comes across well and the audience left in a jovial mood.

Cornell Calhoun, III is excellent as the bar's proprietor. The character's stubborn streak of pride and purpose are well developed. Eva Withers-Evans, as a single mom and the chief bar-keep, targets in well on the woman's determination. Marvin A. Hayes is character-perfect as a henpecked bar patron, instantly becoming the audience's favorite. Hayes keeps delivering laugh line after laugh line with perfect interpretation. Though he shouts too much for the small theatre space, James Seward is good as one of the long-time patrons and Kenny Johnson is on target as the beer delivery person.

Many Black community members have been brought up in an interactive story-telling society. In church services they are encouraged to participate vocally. The Karamu audience takes their participant role seriously. They make comments regarding the statements and actions of the actors. They express pleasure and displeasure as they see fit. This breaking down of the traditional staid reactions of audience members at many theatres adds greatly to this production.

The show is being performed in Karamu's intimate Arena theatre, which is a perfect setting for the show. Be aware that if you sit at one of the tables on the main floor, you will be treated like a bar patron and given snacks and even maybe a bottle of beer.

apsule Judgment Black history month is upon us. Many theatres will be doing shows highlighting the plights and delights of Blacks in US history. You won't get a great history lesson, won't see a perfect play, but if you want to go to an offering and have fun, put 'JOHNNIE TAYLOR IS GONE' on your see list.

Honky Tonk Angels - Carousel Dinner Theater

'HONKY TONK ANGELS' at Carousel a country music fan's "thang"

Okay, I have to be honest. I am not a lover of review-type musicals, and I don't favor country music. With that said, for me to pronounce that 'THE HONKY TONK ANGELS,' now on stage at the Carousel Dinner Theatre is an "okay" evening, is taking a long step.

I have never figured out why reviews are called theatre. They are a series of songs, much like that presented in a cabaret or night club. Sometimes the songs are connected with some trite kind of plot. But, in general, that, in my opinion, is a concert, not musical theatre.

As for country music, after a while all the wallowing in self-pity, death, wife-beating and cheating husbands, and the near-same twanging sounds, just gets to me. (Okay, country music lovers, before you fill up my e-mail box, you have the right to listen and love anything you want. I'm sure that if I was brought up on The Grand Old Opera, Loretta Lynn and Dolly Parton I'd probably be on your side, but I wasn't. I'm just not a fan.)

With that said....The slight plot unfolds with three woman from varying backgrounds developing a friendship on a Greyhound bus on their way to Nashville, the country music capital. As the "story" goes on we see their performances and how they handle the changes in their lives. In the process they sing some of the most recognized country-western songs, including "Harper Valley PTA," "Stand By Your Man," "Angels Among Us," "I Will Always Love You," and "Coal Miner's Daughter."

The three characters are Darlene (Elizabeth Stanley) who moved to the Mississippi delta before heading for Nashville. We are led to believe that she has been kind of stuck between being a child and an adult for a long time. The show is her journey into adulthood.

Angela (Trudi Posey) is a Texas housewife. Between her truck driving husband, repetitive daily life, and out-of-control kids, she needs to take a break, to try something different for a while.

Sue Ellen (Barbara Helms) is a native Texan, living in Los Angeles, who realizes that life is not turning out the way she wants it to.

'HONKY TONK ANGELS,' written by Ted Swindley, who also created 'ALWAYS PATSY CLINE,' gives each of the actresses a chance to shine in several solos as well as a number of medleys.

The show has a much stronger first than second act. The first segment is filled with some humor and allows the performers to show their acting as well as their singing abilities. The second act is a concert which often turns sappy and centers on how angels affect our lives (Angles Among Us," "The Circle is Unbroken," and "I'll Fly Away." (Don't blame me, I didn't write the so-called script!) A segment dedicated to the County Music "Hall of Fame" is pathetic.

All three of the Carousel performers are quite good. They are obviously soloists, for their individual efforts far outshine their blendings.

Of the three, Elizabeth Stanley stands out. She has a nice stage presence, interprets her spoken lines well, sings meanings rather than words to her songs, and has a nice voice. Her versions of "Fancy" and "I Believe in Music" were exceptionally fine.

Barbara Helms displays nice comic timing and has a fine voice, though her version of "These Boots Are Made For Walking" was given a poor vocal interpretation. She does a fun version of "Cornell Crawford" while gliding across the stage on roller skates.

After a while, Trudi Posey's speaking voice just becomes too raspy, too loud, too hard to listen too. She needs to tone down the screech. Her "Stand By Your Man" was nicely humorous and "The Pill" was fun.

While the show's costumes are wonderful, the wigs are awful. Many scenes found the wearers having to hold on the obviously fake pieces, which were often poorly coiffed.

Capsule Judgment If you love or even like country music and aren't put off by a flimsy plot, you'll be find Carousel's "HONKY TONK ANGELS a "Paradise Road" and have a "Fancy" for the goings-on. If not, "These Boots are Made for Walking" in another direction.

The Children's House (Beck Center)

‘THE CHILDREN’S HOUR’ receives fine production at Beck

Some might claim that Lillian Helman’s ‘THE CHILDREN’S HOUR,’ now on stage at the Beck Center, is outdated, at least regarding its sexual identity content. The argument goes that this is an age of enlightenment and such a subject as lesbianism is not that shocking. There is a cable series dedicated to the “L” word. Two women can get married in Massachusetts, most of Canada and much of Europe. What’s the big deal?

Well, only the naive believe that times have really changed. There is still a major movement against same-sex relationships as was witnessed just last November when 11 states passed anti-gay marriage acts and elected a president who is proposing a Constitutional amendment against same-sex marriage. The right wing religionists are still pushing their agenda to make the rest of the US culture follow their beliefs. Add to this the other major topics of the play: gossip, lying, blackmail, the power of the rich, and you’ve got even a broader basis for saying that in spite of its stilted melodramatic mold and language, the play is present-day relevant.

The plot concerns two female friends who run a school for girls. Enter the sociopathic student Mary Tilford whose purpose in life is to get what she wants, when she wants it, and damn the costs. Mary has a strong weapon...her influential grandmother..who is in the social position to control the community and the fate of the school. Mary makes up a lie, expands on the truth, blackmails a fellow student to back up her tale, and grandma spreads the rumor to the other parents, who then remove their children from the school. The end result is the closing of the school, the disintegration of one of the women’s engagements and eventual total tragedy. As in all good melodramas the truth comes out at the end, but it is too late.

When ‘THE CHILDREN'S HOUR’ opened on Broadway in 1934, it was well-received by critics. However, it was banned in Chicago, Boston, and London. The Pulitzer Prize committee refused to consider the play for its reward due to the “shocking” subject matter.

An early movie of the play changed the relationship into an implied ménage-a-trois between the teachers and one of their fiances. Though many were upset with the forced changes in the story, Hellman, in her autobiographical work, said she was happy with the film because the subject of false accusation and gossip were the central issue of the story rather than the nature of the gossip.

In 1952, Lillian Hellman was called before the House Un-American Activities Committee. She was so upset by the McCarthy witch-hunting that the same year she personally financed a revival of ‘THE CHILDREN’S HOUR.’ The themes of secrets and lies and malice and persecution struck a high chord and led to additional praise for the work.

1962 saw the release of a more faithful film version of ‘THE CHILDREN'S HOUR’ starring Audrey Hepburn and Shirley MacLaine. Due to the controversial subject matter, the film was a direct challenge to the Hays Code, and, eventually, brought about a revision of the code to permit "tasteful treatments of homosexual themes."

The Beck production, under the able direction of Sarah May is good. The adults in the cast are extremely proficient. Kristie Lang and Jennifer Clifford are outstanding in their portrayal of the teachers. They weave their roles with the right amounts of spirit and frustration. Nicholas Koesters, as the fiancé, perfectly walks the difficult tight rope between emotional control and compassion. Mary Jane Nottage gives a wonderful portrayal of the air-headed, needy, self-involved aunt. Rhoda Rosen is marvelous as Mary’s manipulated grandmother.

The roles of the young girls are difficult to portray. The character of Mary Tilford, the manipulator, is extremely challenging. 15-year old Mary Tilford does a very creditable job as Helen, though she sometimes fails to add the necessary texturing to the role. This results in a rather one-key characterization. Several of the other girls lose concentration when they are not speaking lines, but, as a whole, the young actresses are more than acceptable.

Don McBride’s creatively designed set works well, in spite of some shoddy workmanship. May has included some cleverly choreographed set changes to add to the production qualities. Jeff Smart’s costumes are period and aesthetically correct.

CAPSULE JUDGEMENT: ‘THE CHILDREN’S HOUR’ is a historically important play. Though somewhat dated in language, it is a play that conveys strong messages. The Beck production deserves to be seen.

The Producers (Playhouse Square Center)

‘THE PRODUCERS’ produces laughs once again!

Britain’s Prince Harry has been getting bad press for his wearing a Nazi swastika arm band to a costume party. Ironically, comedian and writer Mel Brooks has received raves for his displaying swastikas in his musical ‘THE PRODUCERS,’ THE NEW MEL BROOKS MUSICAL.’ The difference? Harry was oblivious to the reaction his unthoughtful act would evoke. Brooks, on the other hand, knew that by mocking Hitler and about every other group including gays, Jews, Swedes, old ladies, World War II vets, hillbillies, blacks, and the Irish, he’d start a riot. In his case, a laugh riot.

‘THE PRODUCERS THE NEW MEL BROOKS MUSICAL’ is the most awarded show in Broadway history. It won a record 12 Tony Awards and 11 Drama Desk Awards, and is still playing to sold out houses in The Big Apple. Clevelanders loved the show when it played in Play House Square in 2002. It is back for an abbreviated visit (January 18-23) before this professional touring company calls it quits.

From exit comments it became apparent that the audience on opening night loved the production. What is not to like? There are a chorus line of old ladies dancing with walkers, flapping pigeons singing backup, and a chorus line of convicts. This is funny stuff concocted in the mind of a genius comedic madman.

The musical is based on Brooks’ Academy Award winning 1968 film, THE PRODUCERS. It centers on the fortunes of Max Bialystock, an unsuccessful theatrical producer, and Leo Bloom, a nebbish accountant. They dream-up a scheme to raise money, produce the world’s worst musical staged by the world’s worst director, close the show quickly, and run off with the profits. The problem? Their choice, "Springtime for Hitler" turns out to be a smash hit and they wind up going to jail. "Springtime for Hitler?" That title’s offensive! Well, the entire production can be offensive if you don’t have a sense of humor.

After having been sold amateur productions as being professional (e.g., the recent embarrassing ‘OLIVER’), some people in the area are suspicious of Play House Square offerings. Be assured, this was not a "second rate" tour. Lewis Stadlen was a delight in the role created by Nathan Lane in New York. Hunter Foster, who recently joined the cast, is not the quality of Mathew Broederick (who will play the role in the forthcoming film version along with Lane) or Don Stephenson who played the part in the former Cleveland showing, but he was adequate as Leo Bloom, the nebbish who wants to “be a producer.” The rest of the cast is excellent.

CAPSULE JUDGEMENT: ‘THE PRODUCERS,’ THE NEW MEL BROOKS MUSICAL’ is fun. There won’t be another first-line professional tour so if you want to see a legit production, and aren’t planning on going to New York, this is it!

Momix - Playhouse Square

Momiz Dance Theatre mesmerizes in spite of box offic snafu

It was an exciting night for dance in downtown Cleveland. Dance Cleveland and the Cuyahoga County Community College Center for Arts and Culture combined to bring Momix Dance Theatre to the State Theatre. This, combined with pre and post program parties sponsored by the coolcleveland.com website, produced an announced audience of 2500.

Under the creative direction of Moses Pendleton, Momix is noted for displaying its dancer/illusionists via a unique mix of breathtaking images, creative humor and eclectic music. "OPUS CACTUS,' the program presented in their Cleveland appearance, a botanically-inspired creation, is a series of hallucinatory visions of the great American desert landscape.

What style of dance is MOMIX? Don't think ballet or modern dance or gymnastics. Think all of those combined. This is anything other than the usual. Artistic Director/Choreographer Moses Pendleton, who calls his performers "dancer illusionists," requires them to blend dance, gymnastics and circus acrobatics into mesmerizing performances.

The program contained dancers in silhouette against varied color-lit backdrops, a performer who did her entire number without leaving a hammock, a gila monster made up of four intertwined bodies, skateboards used for body surfing, and a metal geometric sculpture employed as a rolling jungle gym, huge fans acting as skirts for the female dancers, a giant puppet, performers balanced on swings suspended from the fly gallery, florescent human balls which roll and bounce, a human totem pole, a dance conceived totally around the use of vaulting poles. Flowers bloom, bugs crawl, storms are created, stars twinkle, tumbleweeds tumble, lizards leap and rattlesnakes slither.

As one reviewer stated, "Pendleton has conjured 19 desert scenes, and devised such stunning imagery (set to New Age and traditional music) that you may never think of the desert in the same way again."

The exciting evening was not without its problems. The performance started over thirty minutes late due to a snafu at the box office. Long lines snaked out onto Euclid Avenue as people attempted to buy tickets and pick up prepaid orders. The situation resolved itself when a wise decision by the house manager allowed everyone in to the theatre to find an available seat. The Playhouse Square box office needs to investigate what went wrong so that this situation does not happen again.

Tuesday's With Morrie (Cleveland Play House)

‘TUESDAYS WITH MORRIE’--a good visit at the Cleveland Play House

Several months ago I heard Mitch Albom speak about his beliefs, attitudes and books Tuesday With Morrie and The Five People You Meet in Heaven. He talked about how his reconnection with his former Brandeis University sociology professor, Morrie Schwartz, and how it made him reexamine who he was and how he was proceeding through life.

If you have read Albom’s books, you know that he is a writer who combines pop psychology and emotional triggers to get his points across. He writes of topics, such as death, which could be daunting and scary, in words that are easily digested and thought-provoking.

‘TUESDAYS WITH MORRIE,’ now on stage at the Cleveland Play House, is the play version of the book. It tells the story of how Albom, now a well-known sports reporter, discovers Schwartz is dying of Lou Gehrig's disease. Albom, whether out of guilt or need, agrees to meet with Schwartz every Tuesday and, in doing so, learns lessons about love and understanding. He discovers that something is missing from his success-driven life.

The play, as the book, is based on many of Morrie's pronouncements including: "Love is the only rational act," and "There's two big F words in the English language and one of them is forgive." Other gems that the audience gets to consider are: “Are you at peace with yourself? Are you trying to be as human as you can?” and “Once you learn how to die, you learn how to live.” Albom caps off his mentor’s ideas with the haunting, “the kind of things you say to someone at the end are the things you should say everyday.” These may sound pop-psych and hokey, but they are the reason that the book held its place on the New York Times best seller list for four years.

In its off-Broadway production the play was greeted with such reviewer comments as: “No matter how well you know the story, the play makes it more vivid, more shattering, more humorous.” "I was unprepared for how moving and powerful it turned out to be.” And, “A love song to a wise old professor who taught a young man how to feel."

The CPH production is well-conceived by director Seth Gordon. It is nicely paced, doesn’t become too sappy and plays all the right musical notes....literally and figuratively. Charles Kartali displays the right level of guilt and angst as Albom. The last scene, when he finally allows himself to feel emotion, is finely honed. Bernie Passeltiner is the perfect curmudgeon to portray Morrie. His eyes twinkle, he nags with delight, he stands on his philosophical soap box with gentle power, he dies with dignity. The only flaw in his performance was during the last scene in which he was supposedly totally paralyzed but gestured with his hands which distracted from the illusion of this brilliant man trapped inside a frozen body.

CAPSULE JUDGEMENT: The fine CPH cast does its job of bringing Albom’s message to life. Whether you like ‘TUESDAYS WITH MORRIE’ is going to be based on your tolerance for the tender but preachy concept.

Clarence Darrow - Actors' Summit

‘CLARENCE DARROW’ wins at Actors' Summit

Clarence Darrow was probably the most celebrated American lawyer of the 20th century. Though he died in 1938, his fame continues. He is often quoted in matters of evolution, religion, unionism and freedom of expression.

Darrow’s life has been put on the stage in several formats. In the 1970s a one-man production, ‘CLARENCE DARROW: A ONE MAN PLAY,’ starred Henry Fonda.
“COMPULSION’ centered on Darrow’s defense of murderers Leopold and Loeb. ‘INHERIT THE WIND,” by Cleveland and Elyria’s Jerome Lawrence and Robert E. Lee, illuminated Darrow’s defense of the evolution teaching science instructor John Scopes. And David W. Rintels wrote the play ‘CLARENCE DARROW,’ which is now being staged by Actors’ Summit, Hudson’s professional theatre.

Darrow has deep Ohio roots. He was born in1857, near Kinsman, Ohio. He lived all of his youth and young adulthood in that small community which helped set his life-belief patterns. He was admitted to the Ohio bar
in 1878 at the age of 21.

He later moved to Chicago where he established himself as a proficient lawyer and a powerful speaker. He gained a national reputation as a labor and criminal lawyer thanks to his 1895 defense of Eugene V. Debs, president of the American Railway Union, who had been arrested on a federal charge of contempt of court over difficulties arising out of the Pullman strike of
1894.

Darrow did not shy away from controversy. He took on cases and causes which he felt would advance human rights and protect against human indignity. His two most famous trials were the Leopold-Loeb murder case
of 1924 and the 1925 trial of John T. Scopes. He
saved Nathan Leopold and Richard Loeb from execution--but not from prison--for the murder of
14-year-old Robert Franks. The Scopes trial
concerned the teaching of evolution, which was against Tennessee law. The prosecuting attorney in this famous "monkey trial" was William Jennings Bryan.


Darrow had strong convictions on many subjects, especially religion. Once, when asked his attitude toward that subject, Darrow replied: "I am an Agnostic because I am not afraid to think. I am not afraid of any god in the universe who would send me or any other man or woman to hell. If there were such a being, he would not be a god; he would be a devil."

Though historical, Rintels’ play is very contemporary.
Several comments about the corruption of politicians, especially in the wake of the recent Bush administration’s brushes with honesty, brought huge laughs and even applause from the audience. The teaching of evolution is in the forefront of the news with the push by religionists to force the teaching of the pseudo-science, “intelligent design,” in public school science classrooms. The questions over the
death penalty are still with us. Darrow’s view on
these topics is clear....politicians have to be monitored and questioned; evolution is science, creationism is not; and “I’m proud of the fact that
102 of my clients faced the death penalty and none were hanged!” As one openong-night attendee stated during the reception following the performance, “Where is Darrow when we need him?”

A. Neil Thackaberry is Darrow. His task is daunting.
The number of lines to memorize is awesome...35 or so pages...all are his speeches! Thackaberry is excellent! His performance is relaxed and offhanded.
He wisely doesn’t fake an orator’s voice. He invites
us into his thoughts and memories as if they are completely spontaneous. He adds vocalized pauses and
thought spaces to create total naturalism. He
clearly separates casual conversation from appeals to the jury by not only changing his physical demeanor,
but by putting on or taking off his jacket. His is a
well-thought out performance which has been well-honed by director Alex Cikra.

MaryJo Alexander has done a stellar job with props and the single costume. The stage is littered with age-perfect “things.” Things like an old upright typewriter, an old fashioned lamp, weathered books, and a worn leather chair. Darrow, who was noted as often looking like he slept in his clothes, which he often did, was perfectly dressed in an ill-fitting wrinkled suit, crinkled shirt and scuffed shoes.

Capsule Judgment One-man shows are hard to stage
as it is difficult to grab and hold an audience with little action and no interaction. Actors’ Summit seems to have a way of pulling it off. Last yer Wayne Turney won acting raves (including a Times Tribute Award) for his performance as Harry Truman, and now Thackaberry pulls off this fine portrayal as Darrow. Go see this production! You will not only get a fine history lesson, but see a wonderful performance.

Times Tributes--2004

TIMES TRIBUTES--2004

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

I did not see all of the productions in the area, so only shows performed in 2005 that I reviewed were considered. Selections are limited to locally produced performances, so none of the professional touring shows are recognized, though actors, directors and technicians who were imported by local theatres were considered. Actors were not separated by gender or leading or supporting roles.

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

Production
“By Jeeves,” Beck Center
‘Copenhagen,” Actors’ Summit
“Hot N Throbbing,” convergence-continuum
“Julius Caesar,” GLTF
“Leading Ladies,” CPH
‘Miss Saigon,” Beck Center
“Nickel And Dimed,” GLTF & CPT
“Our Town,” Ensemble
“Private Lives,” GLTF
“Confessions of Punch and Judy,” CPT
“Ragtime, The Musical,” JCC
“Summer of ‘42,” Kalliope
“Vincent in Brixton,” CPH
“Agnes of God,” Beck Center
“Five Guys Named Moe,” Beck Center

Director
Michael Rogaliner, “By Jeeves,” Beck Center
Gregory Vovos, “Charge,” TITLEWave THEATRE
Wayne Turney, “Lend Me A Tenor,” Actors’ Summit
A. Neil Thackberry, “Copenhagen,” Actors’ Summit
Clyde Simon. “Hot and Throbbin,” convergence-continuum
Ray Roderick, “I Love You, You’re Perfect, Now Change,” Playhouse Square
Risa Brainin, “Julius Caeser,” GLTF
Ken Ludwig, “Leading Ladies,” CPH
Seth Gordon, “Lobby Hero,” Beck Center
Scott Spence, “Miss Saigon,” Beck Center
Melissa Kievman, “Nickle and Dimed,” CPT & GLTF
Lester Currie, “Nine,” Cassidy Theatre
Victoria Bussert, “Private Lives,” GLTF
Raymond Bobgan, “Confessions of Punch and Judy,” CPT
Fred Sternfeld, “Ragtime, The Musical,” JCC
Paul Gurgol. “Summer of ‘42,” Kalliope
Seth Gordon, “Vincent in Brixton,” CPH
Victoria Bussert, “tick, tick...Boom!,” Cain Park
Seth Gordon, “Agnes of God,” Beck Center
Martin Cespedes, “Five Guys Named Moe,” Beck Center

Performance
Tracee Patterson, “Bright Room Called Day,” CPT
Charles F. Kartali, “Bright Room Called Day,”CPT
Larry Nehring, “By Jeeves,” Beck Center
Nina Domingue, “For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf,” Karamu
Christopher Bohan,, “Lend Me A Tenor,” Actors’ Summit
Tina Stump, “Menopause the Musical,” Playhouse Square
June Lange, “Menopause the Musical,” Playhouse Square
Maryann Nagel, ,“Menopause the Musical,” Playhouse Square
Wayne Turney, “Copenhagen,” Actors’ Summit
A. Neil Thackaberry, “Copenhagen,” Actors’ Summit
Lucy Bredeson-Smith,“Copenhagen,” Actors’ Summit
Lavonda Elam, “Crowns,” Cleveland Play House
Angela Gillespie Winborn, “Crowns,” Cleveland Play House
Joel Hammer, “Ears on a Beatle,” Dobama
Wayne Turney, “Give “Em Hell Harry,” Actors Summit
MaryAnn Black, “Guys and Dolls, Porthouse
M. R. Culver, “Guys and Dolls,” Porthouse
Paul Floriano, “Highway Ulysses,” Dobama
Lucy Bredeson-Smith, “Hot and Throbbin,” convergence-continuum
John Regan, “Hot and Throbbin,” convergence-continuum
Tricia Bestic, Julie Hogan, Nicholas Koesters and Larry Nehring (the ensemble cast), “I Love You, You’re Perfect, Now Change,” Playhouse Square
Douglas Frederick, “Importance of Being Earnest,” GLTF
Richard Klautsch, “Julius Caeser,” GLTF
Geoffrey Hoffman, “‘La Turista” convergence-continuum
Brent Barrett, “Leading Ladies,” CPH
Christopher Duva, “Leading Ladies,” CPH
Matthew Joslyn, “Lobby Heros,” Beck Center
Robin Lee Gallo, “Miss Saigon,” Beck Center
Scott Plate, “The Last Five Years,” Dobama
Nan Wray, Sheffia W. Randall, Nina Domingue, George Roth, Tracee Patterson, Jill Levin (the ensemble cast), “Nickle and Dimed,” GLTF & CPT
Robert McCoy, “Of Mice and Men,” Beck Center
Greg DeTorto, “Of Mice and Men,” Beck Center
Andrew May, “Private Lives,” GLTF
Laura Perotta, “Private Lives,” GLTF
Tannis Kowalchuk, “Confessions of Punch and Judy,” CPT
Ker Wells, “Confessions of Punch and Judy,” CPT
Kyle Primous, “Ragtime, The Musical,” JCC
Maggie Stahl Wirfel, “Ragtime, The Musical,” JCC
Sean Szaller, “Ragtime, The Musical,” JCC
Sandra Emeric, Joseph and His Amazing Technicolor Dreamcoat,” Beck Center
Tracee Patterson, “Seussical, The Musical,” Beck Center
Andrew May, “Taming of the Shrew,” GLFT
Laura Perrotta, “Taming of the Shrew,” GLFT
Alex Wyse, “Summer of ‘42,” Kalliope
Jodi Brinkman, “Summer of ‘42,” Kalliope
Nina Dominque, “Uncle Tom’s Cabin,” CPT
George Roth, “Uncle Tom’s Cabin,” CPT
Simon Kendall, “Vincent in Brixton,” CPH
Patrick Janson, ‘tick, tick...Boom!,” Cain Park
Emily Keieger, ‘tick, tick...Boom!,” Cain Park
Lucy Bredeson-Smith, “Tone Clusters,” convergence-continuum
Clyde Simon, “Tone Clusters,” convergence-continuum
Renee Matthewws-Jackson, “Bee-Luterh-Hatchee,” Karamu Theatre
Sherri Briton, “Agnes of God,” Beck Center
Alicia Kahn, “Agnes of God,“ Beck Center
Kyle Primous, “Five Guys Named Mo,” Beck Center

Technical
Trad Burns, set design, “Bright Room Called Day,” CPT
Zach Humes, sound design, “Charge,” TITLEWave THEATRE
Richard Morris, Jr., light and stage design, “For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf, ” Karamu
Tony Straiges, scenic design, “Enchanted April,” CPH
Alejo Vietti, costume design, “Enchanged April,” CPH
Gage Williams set design, “Importance to Being Earnest,” GLTF
Kim Krumm Sorenson, costume design, “Importance to Being Earnest,” GLTF
Todd Krispinsky, set design“Nickle and Dimed,” GLTF & CPT
John Ezell, sets design, “Private Lives,” GLTF
Charlotte Yetman, costumes, “Private Lives,” GLTF
Richard Gould, set design, “Ragtime, The Musical,” JCC
Dana Romeo, costume design, “Ragtime, The Musical, JCC
Russ Borski. scenic design, “Summer of ‘42,” Kalliope
Kim Brown, costume design, “Summer of ‘42,” Kalliope
Richard Morris, ”Bee-Luther-Hatchee,” Karamu Theatre

Choregraphy
MaryAnn Black, “Godspell,” Porthouse
Martin Cespedes, “Miss Saigon,” Beck Center
Janiece Kelley-Kiteley, “Anything Goes,” Carousel Dinner Theatre
Martin Cepedes, “Ragtime, The Musical,” JCC
Martin Cespedes, “Seussical, The Musical,” Beck Center

Musical Direction
Larry Goodpaster, “By Jeeves,” Beck Center
Brian Laakso, “Godspell,” Porthouse
Josh Senick, “Highway Ulysses,” Dobama
Larry Goodpaster, “Miss Saigon,” Beck Center
David Dettloff, “Nine,” Cassidy Theatre
David Williams, “Five Guys Named Mo,” Beck Center

Miss Saigon (Playhouse Square Center)

‘MISS SAIGON’ proves the show must go on

There is a motto in the theatre that the show must go on. In the opening night performance of the road show production of ‘MISS SAIGON,’ which has a short December 14-19 run at the Allen Theatre in Playhouse Square, reality confronted the myth. It seemed obvious as the first act proceeded that Jennifer Paz, who was portraying the leading female role of Kim, was losing her voice. After an extended intermission an announcement was made that in the second act the role would be played by Laurie Cadevida. Cadevida plays the role at matinee performances so this was not a case of someone unfamiliar with the part taking over, but it was a first in my many years of acting, directing and reviewing theatrical productions in which a switch took place mid-show. Yes, the show did go on!

‘MISS SAIGON’ is set in 1975 during the final days leading up to the American evacuation of Saigon. The multi-award winning play 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 demoniacally 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."

One of the problems confronting theatre organizations such as Playhouse Square is that some of the road shows touring the country are non-union groups which travel with minimal orchestras and performers who haven’t quite cut their teeth on professional stages. This means that audiences are paying to see mid-professional level shows. The shows are often peopled by recent college grads who are willing to take on the hard task of performing for a couple of days in one city and then packing up and dragging their weary bodies off to another short stopover. It’s wonderful experience for the cast, but not always such a wonderful experience for the audiences, who often think they are going to see experienced professionals.

‘MISS SAIGON’ is a case-in-point. The show is quite acceptable. In fact, in places it is very good, but it is not equal to earlier professional productions. In fact, the script has been released for local production and Beck Center staged a production this past summer. It was excellent and, in some cases, superior to the non-union show that is performing at the Allen Theatre.

The cast is quite uneven. Both of the women who played Kim were effective. Both had fine singing voices.

A pivotal character, The Engineer is supposed to be a slimy guy who will do anything to make a buck and reach his goal to become part of the American dream. Johann Michael Camat is much too young to play the role and lacked the necessary sleaze factor. His singing voice was excellent. His rendition of “The American Dream” was a show stopper.

Alan Gillespie, who portrayed Kim’s lover Chris, has a nice singing voice but has not developed the acting skills to pull off the role. His face showed a constant grimace rather than emotional texturing and there was a shallowness in his character development. D. J. Oliver, as John, who both makes arrangements for Chris to meet Kim and then reconnect with the son he fathered, lacks the charisma necessary to make”Bui-doi” the potent song that it should be. Tadeo is not menacing enough as Thuy the man to whom Kim has been promised in marriage and whom she kills when he searches her out and attempts to hurt her son.

Highlights of the show were the beautifully sung “Sun and Moon” by Paz and Gillespie, the powerful “You Will Not Touch Him” as rendered by Paz , and “Now That I’ve Seen Her” as performed by Rachel Kopf, who portrayed Chris’s American wife. The chorus was excellent and the choreography quite effective.

This production has a stripped down set which makes for some awkward staging. The famous helicopter flight is done with projections. Actually, the effect is quite good as are the pictures used during the emotionally heart-effecting song “Bui-Doi” in which pictures are shown of orphaned children born to Vietnamese mothers and U.S. GIs.

Much of the musical accompaniment was produced by a sinfonia, an electronic musical instrument which substitutes for many of the instruments used in a complete orchestra. This saves on costs but also produces less than a full orchestra sound as only ten musical instruments are actually playing in the orchestra pit.

CAPSULE JUDGEMENT: Though this production of ‘MISS SAIGON’ is quite acceptable, it is a non-union show which should be advertised as such. It is unfair to lead potential audience members to believe that they are seeing a Broadway-level production when that is not the case.

NEOS Dance Theatre

NEOS Dance Theatre a pleasant surprise

One of the problems with many dance productions in the Cleveland area is that they usually run for one performance or no more than a weekend so if a company comes along which is outstanding, it is impossible to get the word out in time for them to build an audience.

This was definitely the case with the recent performance by NEOS DANCE THEATRE at the Cleveland Public Theatre. NEOS is a company who have only recently left their confines in Ashland, Ohio to venture into the Cleveland market.

The company’s goal is to make dance accessible through outreach programs that are both lectures and performances, as well as doing traditional dance concerts.

The company is led by Robert Wesner, who serves as the artistic director and lead male dancer. The rest of the company consists of Sarah Cyders, Kari Nikolaus, Justin O’Donnell, Gabrielle Smith and Brooke Wesner (the wife of the artistic director). The individual dancers are well versed in traditional ballet as well as eclectic movements including tap and modern dance.

The CPT program opened with “Rondo Capriccioso,” in which the young and talented dancers worked with choreography by Robert Wesner that was perfectly timed to the mood and beat of the music. Using creative body movements and excellent control, the black-clad dancers combined classic and modern movements effectively. There was a wondrous whimsical quality to the staging that fit the recorded sounds of the Saint-Saens music.

“Missing Person” was meant to expose the different emotional states that one goes through when considering, committing to, and dealing with an abortion. Appropriate facial expressions and controlled and expressive bodily movements allowed for clarity of Wesner’s choreographic mission.

“Trilogy,” the third selection, was a combination of sprightly and then serious movements. Effective lighting helped create the proper moods as the music made its transitions. Using interesting body angles to form geometric shapes, intricate lifts, appropriate facial expressions and body intensity, the piece was well received by what unfortunately was a sparse audience.

“Song of Solomon,’ danced to the music of George Gershwin, was elegantly performed by Brooke and Robert Wesner. Dressed in formal wear, the duo performed a modern ballet piece with classical overtones. Brooke was on toe for much of the selection. The pair displayed fine partnering skills.

“Draw Back” was a tap number staged with no music. Choreographed by Justin O’Donnell, it was performed by O’Donnell and Wesner. Unfortunately, the duo was not well matched. Wesner’s dancing ability far outstripped his younger partner, making for some disjointed timing and dynamics. O’Donnell looked like he was laboring throughout, displaying almost no facial expression except for occasional grimaces.

“Norm and Cleo” was danced to an organ rendition of JS Bach’s “Toccatta and Fugue in D Minor.” A bench served as a staging platform for examining a trying time in the lives of Pastor Norman Johnson and his wife. Though well done, the piece became laborious with its heavy religious overtones.

The final program segment was “Flash Forward” a very creative piece staged by Wesner. Using flashlights, smoke, spotlights and special lighting effects, the piece accurately developed Paul Ruskay’s chanted music. The dancing combined balancing of bodies, gymnastic movements and unusual carries. This was a well executed and fascinating piece.

Excellent dance perfomances were consistently given by Robert Wesner, Sara Cyders, Gabrielle Smith and Brooke Wesner.

Capsule judgement: Robert Wesner proved in NEOS DANCE THEATRE’s recent short residency at Cleveland Public Theatre that he is a very gifted choreographer and dancer. His company is well-trained and disciplined. He does have to make a decision regarding his thematic selections. The program presented at CPT contained several religious-based pieces. If he wants NEOS to be a Christian-based company, then he has to advertise it as such. It is a production decision he is going to have to make as he moves his group from a local to a regional or national company.