Shaw Festival--2005 reviewed #1

SHAW FESTIVAL’S 2005 season reviewed!

Every trip to the Shaw Festival, located in Niagara-on-the-Lake, Ontario, Canada, convinces me that it is the premiere theatre venue in North America. The plays are generally excellent, the acting company superb, the show variety allows for something for everyone, and the settings and costumes are creatively and lavishly conceived.

The Shaw Festival is conducted in three theatres. The shows are performed Tuesday through Sunday. Each day has matinee, evenings and even some lunch time productions. For real theatre buffs that means a three-night/four-day stay can result in experiencing seven shows. The festival is an easy four-hour trip from Cleveland on roads which pass through the wine countries of Ohio, New York and Canada. Niagara on-the-Lake is a lovely city brimming with flowers, classical architecture and inviting shops. This is like going to theatre heaven.

Jackie Maxwell, Shaw’s Artistic Director, each year chooses a focus for the plays. This season its the family. It is carried out with a blend of comedies, musicals and dramas.


MAJOR BARBARA


George Bernard Shaw's ‘MAJOR BARBARA’ has been called the most controversial of Shaw's works. The play, which was first produced in 1905, is filled with Shaw's criticism of Christianity and society as a whole. The play was an instant success and has remained popular because of its compelling plot and strong philosophical statements. Theatre critics consider the script not only among Shaw's best but as one of the greatest plays in modern theatre.

The central conflict of the play is between the extremist ideas of Andrew Undershaft , an armaments dealer, and the thoughts of his aristocratic relatives, representing the ideals of society. Undershaft’s devilish power and wit make the outcome inevitable. By closing curtain the audience is well aware of Shaw’s view of the fusion of money with morality.

One of Shaw’s most powerful statements in ‘MAJOR BARBARA,’ is that “the greatest of our evils and the worst of our crimes is poverty.” Shaw is saying that the Church and the state should eliminate poverty as if it were a crime instead of praising it as a virtue (i.e., “blessed are the poor”).

‘MAJOR BARBARA’ illuminates Shaw’s statement that “I am and shall always be a revolutionary writer, because our laws make law impossible...”.

Don’t get the idea that this is an overly abstract and boring play. It definitely is not. This is a Shavian comedy. It is filled with irony, humor and plot twists. In the case of the Festival production, under the wondrous direction of Joseph Ziegler, it is engrossing. Shaw uses the play to entertain his audience, to make people laugh, while examining issues that are as important today as they were when the play was first written.

Ziegler has perfectly cast and interpreted the show. He carries the audience along willingly on his focused journey.

There is not a weak acting performance. Everyone from leads to supporting cast are emotionally and physically enmeshed in the happenings. Special praise must be given to Mary Haney, as Lady Britomart Undershaft representing the upper class British, Diana Donnelly as the well-intentioned Major Barbara, Evan Buliung as the bumbling Charles Lomax, and Benedict Campbell as the humanly demonic Andrew Undershaft.

CAPSULE JUDGEMENT: The production of ‘MISS BARBARA’ is flawless. Everything works. The sets, the costumes, the musical interludes and the acting are perfectly keyed. This is theatre at its best! If you have only one production to see at Shaw this season it is a flip-up between this and the equally superb ‘THE CONSTANT WIFE.’


THE CONSTANT WIFE


The ingenious and creative wordsmith, Somerset Maugham, gives great advice about love in his play ‘THE CONSTANT WIFE.’ He states, “How do you know if you are in love?” His answer, “If you are willing to share your toothbrush with the person.” Gee, and you thought love was complicated.

‘THE CONSTANT WIFE’ is set in a 1920s drawing room. As the play starts, Constance Middleton, Maugham's heroine, who is an attractive, intelligent, and remarkably level headed woman, is confronted by a friend who bursts into her drawing room and says, "I thought you might like to know that your husband is my wife's lover." Unfazed, Constance, who has known all along, states, “Of course, a good wife always pretends not to know the little things her husband wishes to keep hidden from her." And so, starts a delightful bonbon of theatrical delight.

Adultery has been a theme of comedy for as long as there has been theatre in the Western world. It remains funny because it generates secrets, which generate lies, and nothing is funnier than a stage full of people lying their heads off. And Maugham is a master at inventing lies, discoveries, and surprises. His writing style and his ability to play with words allows him to lead the audience to an obvious conclusion. Then, with a few well chosen utterances he surprisingly changes the course of action.

The success of the Shaw Festival production is not alone. ‘THE CONSTANT WIFE’ has been running on Broadway with Lynn Redgrave in the starring role. The production has been so triumphant that its run has just been extended. As much as I admire Miss Redgrave, I can’t believe that the Big Apple production can be better than that at Shaw.

Deftly directed by Neil Munro, the production proves that Maugham has not lost his power to amuse, while intriguing an audience and teaching them some valuable lessons.

Laura Paton is wonderful as Constance. She lights up a stage. Her long monologue concerning her husband’s affair is mesmerizing. Patrica Hamilton is delightful as Ms. Culver, Constance’s mother. Catherine McGregor is properly uppity as Catherine’s sister. Blair Williams, as John, Constance’s husband, bounces between cad and victim with delightful ease. Glynis Ranney makes for a perfect twit as John’s paramour.

William Schmuck’s gorgeous drawing room set and the elegant costumes enhance the production.

CAPSULE JUDGEMENT: ‘THE CONSTANT WIFE’ is a charming, light hearted satirical comedy, jam-packed with the wit for which Maugham’ is famous. It’s a must see at the Shaw Festival.


GYPSY


The word on the street in Niagara-on-the-Lake was that ‘GYPSY,’ the big, brash, bouncy musical was the “must see” of the season. It was, therefore, with great anticipation that I went to the production.

Though commonly referred to as ‘GYPSY,’ the true name of the show is ‘GYPSY: A MUSICAL FABLE’. It has music by Jule Styne, lyrics by Stephen Sondheim. and a book by Arthur Laurents. It is loosely based on the memoirs of Gypsy Rose Lee, the famous striptease artist.

The focal point of the show centers on Gypsy’s struggle with her mother, Mama Rose, whose name has become synonymous with "the ultimate show business parent." The musical has a wonderful score which contains such standards as "Small World," "Everything's Coming Up Roses," "You'll Never Get Away from Me," and "Let Me Entertain You."

The show originally opened on Broadway on May 21, 1959 and starred Ethel Merman. A 1962 film version starred Rosalind Russell. Few know that they were really listening to Lisa Kirk dubbing Russell’s voice. The musical has been revived three times on Broadway, running from 1974 to1975 with Angela Lansbury, from 1989 to1991 with Tyne Daly and in 2003 with Bernadette Peters. A television movie in 1993 starred Bette Midler as Rose.

In the pre-show discussion it was revealed that Nora McLellan, who normally plays Mamma Rose was ill and Kate Hennig, her understudy, would stand in. We were assured that Hennig had played the role before. In fact, due to the demanding vocal requirements of the part she is scheduled to perform more than twenty times during the season. The speaker’s conclusion, “Don’t worry, she is excellent.”

Nothing could have been further from the truth. Mamma Rose is the center piece of the play. Without a big, brassy, belter with chutzpa the show sinks. Hennig has none of those qualities. She has a pleasant but not belting voice and develops a character lacking in dynamism. She sings words, not meanings, so many of her songs lack clarity of purpose. She often speaks to the audience rather than the actors to whom the lines are directed. Her version of “Rose’s Turn” had none of the heart-wrenching self discovery that should bring the show to a climax. This is definitely not a stellar performance.

The rest of the cast is excellent. Julie Martell makes the transition from plane-Jane Louise to seductive Gypsy Rose Lee with style. She has a beautiful singing voice. Her duet “If Momma Was Married,” as sung with Trish Lindstrom (June), is a show highlight. Jeff Lillico (Tulsa) lights up the stage as he sings and dances “All I Need Is the Girl.” Ric Reid is a perfect nebbish as Herbie, Rose’s long suffering suitor. Gabrielle Jones, Patricia Vanstone and Cathy Current stop the show with their stripper antics in “You Gotta Get a Gimmick.”

The sets, costumes, orchestrations and the show’s technical aspects are excellent.

CAPSULE JUDGEMENT: ‘GYPSY’ could be a wonderful production. The version I saw wasn’t. My advice is: If you are scheduled to see a performance in which Ms. Hennig is going to be featured as Mamma Rose, or they announce that she is replacing Ms. McLellan, run, don’t walk to the box office and trade in your ticket!


MORE ON THE FESTIVAL


Besides the plays themselves, the Festival includes a reading series, Sunday coffee concerts, a Village Fair and Fete, seminars, backstage tours, pre-show chats, Tuesday Questions and Answers and Saturday Conversations.

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

In a forthcoming segment of my reactions to the 2005 Shaw season, I’ll discuss four more plays and make some recommendations on things to do and places to stay and eat.

The Sound of Music (Carousel)

‘THE SOUND OF MUSIC’ hits right notes at Carousel

‘THE SOUND OF MUSIC,’ which is now on stage at Carousel Dinner Theatre, is one of the most beloved and produced musicals of all time. The show, with music by Richard Rodgers, lyrics by Oscar Hammerstein II, and a book by Howard Lindsay and Russel Crouse, opened on Broadway on November 16, 1959, and starred Mary Martin as Maria and Theodore Bikel as Captain von Trapp.

Most theatre-goers are familiar with the story. In Salzburg, Austria, Maria, a young novice, is sent from her convent to be the governess of the seven children of Captain von Trapp, a widowed naval commander. The children, initially hostile and mischievous, come to like her, and she finds herself falling in love with the captain. He is to be married to a baroness but he marries Maria instead. The Nazis take power in Austria as part of the Anschluss, and want Captain von Trapp to serve in the Reich’s Navy. During a singing performance at a musical competition the whole family manages to flee and “climb every mountain” to Switzerland.

This is a true story, right? Well, not exactly. Some details of the von Trapp tale were altered for the play and the film. The real Maria was sent to be a nurse for one of the children, not to be a governess to all of them. The Captain's eldest child was a boy, not a girl, and the names of the children were changed to avoid confusion, as the Captain's eldest daughter was also named Maria. Also, the von Trapps spent some years in Austria after Maria and the Captain married in 1927. They did not have to flee right away. And when they did leave they fled to Italy, not Switzerland.

The film version, which was released in 1965, was named Best Picture of the Year. Hammerstein died before the movie was made, and the two songs that were added to the film’s score ("I Have Confidence" and "Something Good") were written solely by Rodgers.

How did the show come to be? In 1956 Vincent Donahue, a well known director, saw a German film called "The Trapp Family Singers." He proposed to Mary Martin’s husband that a stage musical with the score to consist of von Trapp songs star Martin. Rogers and Hammerstein, who were hired to write only one new song, eventually proposed an entirely fresh score. In March, 1959 Rodgers and Hammerstein laid out the placement of the songs using a book prepared by Lindsay and Crouse. One of the difficulties faced by Richard Rodgers, who was Jewish, was that of writing Catholic ecclesiastical music. To add to the problems, while working on the lyrics Hammerstein was diagnosed with stomach cancer. In spite of the difficulties, on the 14th October 1959 the show opened in Boston. During that tryout the musical duo felt the show needed a signature number. So, one song was added--”Edelweiss.” (No, “Edelweiss” is not the Austrian national anthem. It was created specifically for ‘THE SOUND OF MUSIC. Austrians never heard the song before the musical was produced there.) It was the last song ever written by the most prolific of musical theatre teams.

On November 16th the show opened on Broadway. The reviews were mixed, mainly praising the score and criticizing the sentimentality of the play. In spite of the reviews the show lasted over three-and-a-half years on the Great White Way, thus becoming the second longest running Broadway musical of the fifties.

The Carousel production, under the direction of Mitzi Hamilton, will generally please audiences in spite of the fact that it is stilted and drops some of the material’s emotional triggers. Part of this is due to some of the performers, but it is mainly due to Hamilton’s heavy handed interpretation. For example, the van Trapp children, who were noted for driving away nanny’s with their mischievous tricks, show no negative reaction to Maria when she first arrives. Therefore, there is none of the winning over which makes the Maria role so endearing and pivotal. The foreshadowing of the eventual break up of the Captain and his fiance is lost because Niclole Haimos’s Elsa isn’t aloof enough. Also, some of the cast seems on automatic pilot, moving and responding with stilted smiles, robot-like movements and a lack of spontaneity.

Cristin Mortenson is effervescent as Maria. Whenever she comes on stage she shines like a moonbeam! Her characterization is right on target and her voice is glorious. The same can be said for Sharon Alexander, The Mother Abbess. Her version of “Climb Ev’ry Mountain” is worth the price of admission and, fortunately you get to hear it twice--at the end of each act.

The nuns are glorious. Their vocal sounds are pure beauty. The children are all acceptable, but often too preprogrammed to stand and smile and look childlike...they lack the needed impishness. The usual delightful “So Long, Farewell” lacks playfulness and charm.

Ray Luetters is unbelievable as Captain von Trapp. He seems uncomfortable, his acting is on the surface and his singing voice is not up to the requirements of the role. Adam Crawford is physically right for Rolf, the oldest van Trapp daughter’s suitor, but moves too automatically, especially in what should be the enchanting, “Sixteen Going on Seventeen.”

The sets and costumes are excellent, as are the orchestrations.

CAPSULE JUDGEMENT: Carousel’s ‘THE SOUND OF MUSIC’ will please most audience members. It’s a shame that director Mitzi Hamilton found it necessary to stilt some of the enthusiasm and delight of the show.

Martin Cespedes reviews the reviewer

Well Roy..for AIDA I looked at heiroglyphics, temple drawings and how people placed weight in those drawings. I remembered African classes as well as middle eastern dance…the classes you would never think you would use…surprise! You’re the only person that picked up on that. I’m glad someone noticed. Your awards mean alot to me as much as the picture of me and Atticus Finch…they share the same wall.

Peace...

Martin Cespedes (choreographer)

Aida (Beck Center)

Elton John and Tim Rice's 'AIDA' worth seeing at Beck

Disney productions is best known for escapist entertainment. Elton John is known as a pop singer and writer of emotional and schmaltzy songs. Tim Rice is noted for his straightforward lyrics...no word-games here. The trio came together for the blockbuster ‘THE LION KING’ which resulted in not only an award winning film and then a stage musical, but the best-selling recording of 1994. Sir Elton received his first Oscar for that score.

The trio came together again in 2000 for the musical, ‘ELTON JOHN AND TIM RICE’S AIDA: THE TIMELESS LOVE STORY,’ better known as ‘AIDA.’ ‘AIDA’--sound familiar? Yes, there is a Verdi opera by the same name. And the Broadway version, now on stage at Beck Center, is the same story, with a slightly cotton-candied ending, but entirely new music...pop music!

The story of ‘AIDA’ is a love triangle of loyalty and betrayal. Radames, an Egyptian captain, captures a group of Nubian women while on a scouting expedition into that country. Among the women is Aida, the daughter of the King of Nubia. Radames finds himself enamored with her and in order to spare her from a life of hard labor, he gives his new slave to his future bride, the Egyptian princess Amneris. Eventually, Aida finds herself torn between her duty to her countrymen, her impossible love for Radames, and her growing friendship with Amneris.

As Sir Elton says of the tale, "It's a beautiful, complex love story, where bigotry and hatred are swept out the window, and love, compassion, forgiveness, and understanding triumph. In this day and age, I'm a great believer in the human spirit triumphing over evil in any way."

The Broadway show opened on March 23, 2000 and closed on September 5, 2004, running for 1852 performance.

Those who think of opera as a scary proposition need not worry about this pop version of the classic tale. The show is neither deep nor profound. Its a light, soap-opera. The show’s strength and appeal rests on the Elton John-Tim Rice score. There is country music, a little Rock and Roll, some Caribbean beat sounds, and lush and lovely ballads.

Beck’s production, under the capable direction of Scott Spence, starts slowly, but builds effectively. Working with a huge cast, he has paced the show well. The voices are fine, the visual elements are excellent and the choreography creative.

Colleen Longshaw, the cast’s only equity performer, acts and sings the role of Aida proficiently. She doesn’t have the charisma for holding an audience mesmerized, but in this cast of mostly high school and college students, she stands out.

Ian Atwood, who was so outstanding last year in Beck’s production of ‘MISS SAIGON’ again displays a strong and well-keyed voice as Radames. He doesn’t have the desirable “bigger than life” image, but he carries off the role more than adequately.

Carlos Cruz, as the Nubian slave Mereb, sings well and displays excellent stage presence and acting skills. Laurel Held-Posey, as Amneris, needed a little sharper initial attack, but grew nicely as the production progressed. She has a fine singing voice.

The choral sounds were excellent and the orchestra, under Larry Goodpaster’s direction, not only played well, but wisely backed up rather than drowning out the performers.

The production’s musical highlights included: “How I Know You,” “Elaborate Lives,” and “A Step Too Far.” The “Dance of the Robe” was a production high point.

The multi-Times Tribute’s Theatre Award winning choreographer, Martin Cespedes, was his usual creative self. Working with few real dancers, he was able to invent routines that allowed for a lot of walking and movement in time to music. He incorporated into the choreography traditional Egyptian motions and poses that appear on the country’s ancient pottery.

Don McBride’s set design was extremely functional and creative. His use of triangle and pyramid shapes carried out the proper visual images. Unfortunately, the same cannot be said for the costuming. For some unexplainable reason the costumes had no central theme. Modern dress mixed with Asian, Egyptian and African styles and fabrics. A fashion show which was intended to show off Aida’s sewing skills was a mock modern day runway show with hats and styles that often had no bearing on the script’s themes. The inconsistency was highlighted by the clothing used for the climactic dual death scene when Aida is sent to her demise in a contemporary black sheath while Radames is wearing a Nehru styled suit. Why?

The light design and execution was also problematic. Lead singers were often in the shadows due to uneven flooding and the trouble of the spotlight operators following and setting the images.

CAPSULE JUDGEMENT: Though not a perfect production, Beck’s AIDA is yet another of the Center’s continued level of raising the bar for local theatre musical productions. It is worth seeing.

Bill Allman Remembered

Reflections on Bill Allman: A Friend Remembers

Bill Allman was a very special person in my life. He was not only a personal friend, but a professional colleague. He was not only responsible for my becoming involved in Berea Summer Theatre and the BW Theatre program, but furthered my son’s theatrical career by casting him as Younger Patrick in ‘MAME.’ Bill’s passing leaves a hole not only in my heart, but in the very essence of the theatre community.

John Nolan, who was a performer at Berea Summer Theatre, Bill’s student at BW and the last Managing Director of the BST before it was closed under questionable conditions by the college, represented Bill’s many friends at the memorial service held on Sunday, July 31. Here is a brief segment of his speech:

William Shakespeare wrote in ‘AS YOU LIKE IT’: “All the world’s a stage, and all the men and women merely players. They have their exits and their entrances, and one man in his time plays many parts.”

Our beloved Billy did play many parts. He was a much-loved son, brother, father, father-in-law, grandfather, neighbor, teacher, director, colleague, showman, and mentor.

And within-and above -all of those roles, Bill Allman was that most treasured of all gifts -- a true friend.

Although there are many different stories about Bill, they all have common elements. Bill was a warm, kind man, with a broad, inviting smile and an infectious laugh, who never met a person he couldn’t talk with (and, parenthetically, probably did talk with). He was generous to a fault, with a heart as big as all outdoors, and our world is a much richer place for his having been a part of it.

Bill was a remarkably humble man, too. In an interview he gave in 1996, Bill said : “I’d like to think that somewhere along the line in my teaching and working with plays, that maybe one moment I’ve had just a little bit of effect on somebody, and then that person goes out and there’s a little bit of me there.”

Billy, Billy, Bill. This room is full of people, and the many others whose schedules did not allow them to be with us today, stand as an absolute testament to the fact that you did have a profoundly powerful effect on many of us, and that we are proud to carry you with us, in our hearts, wherever we go.

No reflection on the life of Bill Allman would be complete without some mention of Berea Summer Theatre. In fact, the two were nearly synonymous in the minds of decades of loyal theatregoers who remember Bill welcoming them at every performance.

Bill’s life was one long, loving, entertaining show. So, in the words of the master himself, please join me in completing Bill’s most quoted line: “If you enjoy the show,
please tell your friends!”

Merry Wives of Windsor - Great Lakes Theater

At GLTF, ‘MERRY WIVES’ are merry, but....

When the name Shakespeare is invoked, most Americans, having been exposed mainly to his tragedies, such as ‘HAMLET’ and ‘MACBETH’ think of such terms as “abstract,” “difficult to understand” and “academic.”
That image of Shakespeare and his works is basically wrong. Shakespeare was, or so it is recounted, a rebel for his time. He was a playwright for the common people. Many of his plays are bawdy and filled with sexual innuendoes. His comedies have a great deal of farcical undertones and lend themselves to broad interpretation. ‘THE MERRY WIVES OF WINDSOR,’ now in production at the Great Lakes Theatre
(Shakespeare) Festival, is a case in point.

Upon entering the Ohio Theatre, you will quickly realize that this is not your traditional Shakespearean production. The audience is confronted with an orange and teal Howard Johnson motel. As the play, under Sari Ketter’s direction proceeds, we are hit with more “non-Shakespearean” effects and doings. Pop music from the 50s is used for transitions as the sets are changed by a crew of Howard Johnson waitstaff. Costumes are from the same era. One of the lead characters, resembles Elvis Presley complete with DA haircut, jeans with rolled cuffs, and white t-shirt with a pack of cigarettes rolled into the sleeve. Another is a Marilyn Monroe knock-off complete with white dress and halter top which is ready to fly over her head if she passes over an air-shaft. It doesn’t take long to realize that thisis going to be a no-holds barred, over-the-top farcical attack on the Bard of Avon’s work.

‘THE MERRY WIVES OF WINDSOR’ is often termed a bourgeois comedy. Many critics consider it to be one of Shakespeare's weaker plays, mainly because he has taken Falstaff, the superbly developed character of the two Henry IV plays, and made him as a lesser character. In addition, the writing is more visual image than the usual Shakespearean language-centered plays. It is also theorized that the play was quickly written when the Bard was commissioned to scribe a piece in early April of 1597 for The Garter Festival in honor of Queen Elizabeth I, which was staged the third week of April. Interestingly, the plot may have been prescribed by Queen Elizabeth, a great theatre goer, who wanted to see Falstaff in love.

The play’s story line places Sir John Falstaff, a conniving lecher, in Windsor with the intent of improving his financial lot by courting Mistresses Ford and Page, two wealthy married women, . These "merry wives" are not interested in the aging, overweight Falstaff as a suitor, but for the sake of their own amusement pretend to respond to his proposals. At one point, Falstaff is forced to hide in a laundry basket which is then thrown into the river.
In another instance, he is forced to dress in women’s clothing to avoid being caught in his scheme. As in all of Shakespeare’s comedies, all’s well that ends well. Falstaff is exposed as the fool he is, young love wins out and the merry wives are destined to live happily ever after.

As has been the case since Charles Fee became the Artistic Director at GLFT, comedy means exaggerated farce. Fee loves to hear audiences laughing. He obviously has a partner in Sari Ketter, who directs with a manic intensity that would make the Marx Brothers and the Three Stooges happy. Many of the gimmicks work, others do not. After a while some of the shticks become tedious, such as the overly choreographed set changes. On the other hand, the audience does have a good time. Whether it has anything to do with the script’s intent or not is obviously irrelevant. As evidenced by the preteens sitting in our row who were hysterical, children will love the slapstick so this production might be a good way to introduce them to the joys of Shakespeare.

The cast is right in sync with Ketter. No one mumphers, phumphers and makes frog like eye pops like Andrew May. He is given many opportunities to be the Andrew we know-and-love as Master Ford, the jealous husband. Kathryn Cherasaro and Lynn Allison are wonderful as Mistresses Ford and Page. Skinny and gangling Jeff Cribbs makes for the perfect geek as Master Slender, a reluctant wooer of Anne Page. Tom Weaver is his equal as his spindly-legged companion. Gum chewing Nina Domingue, complete with “New Yawk” squealing accent, is delightful as the nosey housekeeper.

In this production that knows no boundaries, Paul Kiernban’s underplaying of Falstaff was off-setting. His belly and clothing were funny, but his characterization often goes astray. Nicholas Koesters as Master Fenton, who is the final victor in the wooing of Anne Page, has difficulty maintaining his Elvis/cool guy sound and mannerisms. Marc Moritz overdoes the accent of Dr. Caius to the extent that he is often impossible to understand.

Capsule Judgment Director Sari Ketter’s interpretation of ‘THE MERRY WIVES OF WINDSOR’ is not for everyone. If you are willing to put aside your thoughts of what Shakespeare should be, and will yourself (pardon the pun) to just sit back and accept that this isn’t the traditional format, or that many of the shticks and gimmicks don’t completely work, you’ll enjoy yourself. If you don’t like slapstick, and are a Shakespeare purist, stay home.

The Boys Next Door (Porthouse Theatre-KSU)

A touching ‘THE BOYS NEXT DOOR’ at Porthouse

Tom Griffin's ‘THE BOYS NEXT DOOR,’ now on stage at Porthouse Theatre, is the kind of play that in the wrong hands could become an emotional disaster. The story of four developmentally disabled men living in a communal apartment, under the supervision of a social worker, walks the fine line between drama and comedy. If it is presented as a farce, a potentially rewarding experience becomes a mockery.

In the play we meet the men who are living under the supervision of an earnest, but increasingly "burned out" young social worker named Jack. Norman, who works in a doughnut shop and is unable to resist the lure of the sweet pastries, takes great pride in the huge bundle of keys which dangles from his waist; Lucien P. Smith has the mind of a 5-year-old, but imagines that he is able to read and comprehend the weighty books he lugs about; Arnold is the hyperactive ringleader and compulsive chatterer, who suffers from deep-seated insecurities and a persecution complex; while Barry, a schizophrenic who is devastated by the rejection of his brutal father, fantasizes that he is a golf pro. These four, as is true of all of us, want only to love and laugh and find some meaning and purpose in life.

When it opened off-Broadway the production received positive reviews. Written commentaries stated that the play "hits squarely on the truth of life,” that it was “the most unusual and one of the most rewarding plays in Town” and that it was “a sensitive play that can be funny and touching at the same time." In spite of this, the show didn’t garner the crowds it should have. It was felt the reason was that many were nervous about laughing at the mentally challenged or couldn’t believe that someone could write a play about these people which didn’t mock them. I was not among the doubters and found the show then and now to be both a delightful and rewarding experience.

"Boys" is particularly challenging for the performers and director as they work to present the characters as human beings rather than as stereotypes. There is a fine line between laughing with and laughing at that must never be crossed. Even more, there are moments of loving tenderness juxtaposed with just plain silliness that test the actors’ and director’s adaptability and concentration.

Porthouse Theatre’s fine production, under the direction of John Woodson, is right on course. Under his guidance the excellent cast has found a way to walk the tight-rope that allows for empathy without ridiculing the plight of the intellectually and psychologically impaired.

The ensemble cast is superb. Brian Zoldessy develops a high-tensed Arnold that we can laugh with, not at. The character’s hyper-hysteria is made endearing with a consistent and creative character development.

Hollis Hayden, Jr.’s Lucien P. Smith becomes an adult-child whose very essence makes for heart-ripping reality. This is a finely tuned performance. I defy anyone not to be touched by the character’s presentation before a Senate committee that is attempting to force him into being something he is not.

Church Richie gives an award winning performance as the donut desiring Norman. Richie’s scenes with the wonderful Megan Elk, portraying Sheila, the love of Norman’s life, are amusing, believable and tender.

Andrew Cruse so well portrays Barry one wonders early in the play why he is in the group home. It is only after we are exposed to the rejection by his feared, yet revered father’s visit that we truly gain understanding. The father-son scene is emotionally wrenching.

Michael Anderson has the difficult role of being the rational character in the play. Rational from the standpoint of being mentally and psychologically normal, but in reality searching for who he really is after suffering a marital tragedy. Anderson is excellent, especially in the final scene when the effects of leaving his irritating yet lovable “guys” becomes a reality.

Ben Needham’s set design sometimes leads to place confusion as areas flow together but that is aided by Paul Denayer’s lighting which often helps clarify. Chaela Schmidt’s costumes help enhance the characterizations.

CAPSULE JUDGEMENT: As Jack and his boys face the ups and downs of daily life, we all discover the magic of laughter and the power of love in Porthouse Theatre’s fine production of ‘THE BOYS NEXT DOOR.”

The Lost Formicans (convergence-continuum)

Aliens invade convergence-continuum

No matter your reaction to the plays they produce, you have to give credit to Artistic Director Clyde Simon and Executive Director Brian Breth--they never pick plays that are ordinary. The dynamic duo seems to search out scripts that create an itch that is hard to scratch and incite intellectual chaos in viewers. They have done it again with Constance Congdon’s ‘TALES OF THE LOST FORMICANS.’

Cogan is a Guggenheim Fellow who has received several playwriting awards. She has been described as “a genuine pioneer,” “a truly original writer,” a “kind of post modernist who desires to explore the collective nervous breakdown of American society.” She is noted for departing from the tradition of narrative dramatic realism and creating a theatricality of theatre. This is much in the vein of the early twentieth century dramatists and directors who intentionally made audiences aware that they were not seeing reality by using fragmented settings and devices to make the audience realize that they were watching a play.. She supposedly was one of the leaders in making theatre into a “kinetic event.”

With this said, you can understand why seeing ‘TALES OF THE LOST FORMICANS’ is not your every-day theatrical experience. And that’s exactly what convergence continuum is all about. The theatre has been able to survive by cultivating an audience of like-minded people who don’t want to see “every day theatre.”

The ‘TALES OF THE LOST FORMICANS’ could be termed a tragic comedy which is part dream play and part sci-fi. It is formed around the premise that space aliens are observing and interpreting suburban life though the lens of their own culture.

The play follows the story of Cathy and her dysfunctional family. After her husband impregnates one of his students, she leaves him and moves from New York City to her childhood home in a midwestern suburb to care for her father who is battling Alzheimer's disease. Her rebellious son, overbearing mother, self-destructive best friend and spaced-out neighbor complete the real-life characters. In addition, a group of alien narrators observe.

The aliens dub the humans “Formicans”--users of Formica. The goings on are caught on film which the extraterrestrials “rewind” several times when they realize that things are in the wrong place as they make pronouncements about their subjects’ behavior. Such statements as “they reproduce with difficulty” and “they are grouped in loosely structured units called families” resound with objective certainty. Others, however, suggest that the alien researchers are having difficulty deciphering the “complex but strangely intangible” culture they unearth and the numerous artifacts they find. For example, they carefully examine a kitchen chair, upholstered in plastic with chrome legs. Admitting that they do not know “the significance of the hole in the backrest,” they speculate that it may have been “a breathing hole for the spirit of the sitter, or even the ever-present eye of God.”

As is usually the case at convergence-continuum, the play is well directed and acted. Clyde Simon has paced the show well; wisely plays it as comedy instead of farce; has incorporated many appropriate multi-media devices into the staging; and has assembled an excellent cast.

Wes Shofner is right on target as the Alzheimer infected father. Multi-recipient Times Tribute Award winner Lucy Bredeson-Smith develops the role effectively as his wife and mother of Cathy. Though much too young for the role, Amy Bistok is generally believable as Cathy, but needed a more mature approach to the role. Robert Walker is full of the proper teenage angst as Cathy’s son Eric. Geoffrey Hoffman effectively develops the character of the neighbor who believes in conspiracies and aliens. Christine McBurney is generally unbelievable as Cathy’s friend Judy. Her lines often sound memorized and lacking in meaning. Arthur Grothe has watched enough sci-fi movies to duplicate the expected sound and moves of the visitor from outer space.

Adding somewhat to the confusion was the use of the same actors to play aliens and humans. Were we to believe they were one in the same, had invaded human bodies or that they were, in fact, different beings? Hmmm......

CAPSULE JUDGEMENT: To some, ‘TALES OF THE LOST FORMICANS’ will be a funny, deeply moving, and insightfully revealing play. To others it will confound and confuse. Whatever, the convergence-continuum production is generally well performed and fulfills the avowed mission of the theatre to present plays not normally produced by other local venues.

Stratford Festival 2005, Part 2 (Stratford Festival of Canada)

A further glimpse at the Stratford Festival of Canada, 2005

Several weeks ago I reviewed the Stratford Festival of Canada’s ‘AS YOU LIKE IT,’ ‘THE TEMPEST and ’HELLO DOLLY.’ In addition I recommended places to stay, eat and shop while enjoying the area. If you missed these and want a copy of the reviews contact me by clicking on my website: www.royberko.info.

Now, let’s look at three other Stratford Festival of Canada productions--‘THE BROTHERS KARAMAZOV,’ ‘INTO THE WOODS’ and ‘WINGFIELD’S INFERNO.’

‘THE BROTHERS KARAMAZOV’

Adaptations of literature are a common basis for theatrical scripts. Some transposing is easy as the length of the novel and the language development of the original work lends itself to easy transition. However, the thought of making a one-thousand-plus page book, and a Russian novel at that, into a reasonable length stage play appears to be a task beyond comprehension. Russian writers are noted for their extended story telling. They state, restate, go off on literary tangents, and use multi-names and diminutives of names for their characters. It doesn’t make for an easy read. Trying to convert a book such as Dostoyevsky’s ‘THE BROTHERS KARAMAZOV’ is a daunting task.

Jason Sherman is one of Canada’s leading playwrights. His adaptation of ‘THE BROTHERS KARAMAZOV’ was penned specifically for the Stratford Festival and runs there through September 24.

Written in 1880, ‘THE BROTHERS KARAMAZOV’ is a novel about murder, ethics and religion. Some of Dostoyevsky’s personal life is reflected in the play. His youngest son, Alyosha, died at the age of three, of epilepsy, a disease inherited from him. After the boy's death, Dostoyevsky went to the Oiptina Monastery to consult a famous spiritual director, Father Ambrose. Father Ambrose is the model for Father Zossima in ‘THE BROTHERS KARAMAZOV.’

‘THE BROTHERS KARAMAZOV’ is the story of a parricide. Dmitri, Ivan, Alyosha, and their half-brother, the epileptic valet Smerdyakov, are the children of Fyodor Pavlovich Karamazov who is fringing on senility, is mean, and obsessed with sex. All his children, except Alyosha, hate Fyodor, but for different reasons. Dmitri is in love with the same woman as his father; Ivan hates his father because he so nearly resembles him; Smerdyakov loathes him for corrupting his mother and for keeping him a serf. All three want the old man's money. When he is mysteriously murdered, all are filled with guilt, although it is Smerdyakov who has actually committed the crime.

Much to my surprise, having struggled though the complexity of many Russian novels, I found Sherman’s script easy to follow and I was intrigued by the stage goings-on. This is a tribute to Sherman’s translation and the brilliant directing of Richard Rose. He has the entire cast stay on or on the fringes of the stage throughout the production. This makes for smooth transitions and forces the audience to become part of the action as we find ourselves part of the action.

The entire cast is excellent. Jonathan Goad is mesmerizing as Dmitry, the “bad” son. As Fyodor, the oppressive father, Scott Wentworth was so effective that audience members did much to control themselves and not boo when he made his curtain call. Ron Kennell was excellent as Pavel, the bastard son.

Charlotte Dean’s drab costume designs heightened the oppression of Fyodor.

CAPSULE JUDGEMENT: Though not a perfect play, I’d strongly recommend seeing Stratford’s ‘THE BROTHERS KARAMAZOV.’ It may be your only opportunity as the complexity of the show will probably dissuade other theatres from staging this literary epic.


‘INTO THE WOODS’

Stephen Sondheim is the reigning king of American musical theatre writers. Since he charged onto the scene with ‘WEST SIDE STORY,’ he has written hit after hit. His ‘INTO THE WOODS,’ which opened on Broadway in 1987 and ran 764 performances was recently reprised on the Great White Way. The winner of 3 Tony awards, it is a popular selection for community theatres.

Inspired by Bruno Bettelheim's book, ‘THE USES OF ENCHANTMENT,’ the musical intertwines a collection of Grimm Fairy tales in an unusual format which uses a Baker and his Wife's quest to begin a family together with the stories of Little Red Ridinghood, Jack of Jack and the Beanstalk, Rapunzel, and Cinderella. Also thrown in are a wolf, Jack’s mother, a giant and his wife, and a couple of princes.

Act I opens with a wish, a witch, and a curse. Each separate tale interacts with the others throughout. As the first act proceeds we become aware that each of the characters and their conflicts are motivated by selfish wishes.

Act II explores what happens after "happily ever after," when these wishes to have, to be and to get, have come true.

The script explores the consequences of the actions taken in the quest for getting our wishes granted, and the need for community in order to survive in "the Woods"--our world.

Songs in the musical include "Into the Woods", "Hello, Little Girl", "Giants in the Sky", "Agony", "Moments in the Woods", "No More", "No One Is Alone", and the haunting "Children Will Listen".

In an unusual method of writing language, Sondheim makes heavy use of syncopated speech. The characters' lines are delivered with a fixed beat that follows natural speech rhythms, but is also purposefully composed in rhythms to create spoken songs.

The Stratford production is excellent. The voices are good, the show is nicely paced by director Peter Hinton and, for the most part, the acting is on target.

Kyle Blair (Jack) is superb. Bruce Dow (the Baker), Mary Ellen Mahoney (the Baker’s wife) and Jennifer Waiser (Little Red Ridinghood) are wonderful. On the other hand, Susan Gilmour’s screeching as the Witch becomes tiresome and ear shattering after a while and Thom Allison as Cinderella’s Prince seems bored with the role and is less than princely.

CAPSULE JUDGEMENT: ‘INTO THE WOODS’ is a pleasant production of one of Stephen Sondheim’s lesser shows.


‘WINGFIELD’S INFERNO’

The passing down of tales from generation to generation are important for carrying on the values, mores and morals of a culture. Some people are master storytellers. Think Mark Twain, David Sedaris and Bill Cosby. Often, it is necessary to be a member of a cultural group to totally appreciate the tales.

Walt Wingfield, the central character in a series of Canadian-based stories, is the creation of playwright Dan Needles. Wingfield has been performed by actor Rod Beattie for many years. Their latest collaboration, ‘WINGFIELD’S INFERNO’ centers on an elaborate ruse to fulfill the requirements of a restoration grant for a community hall that has been destroyed by a fire by pretending that the fire never took place.

Beatty portrays an entire countryside of characters with ease and clarity. Using few props and many voices and facial expressions, Beatty is excellent.

Unfortunately, for US Americans attending this production, many of the jokes and innuendos are beyond us. Comments regarding insurance, fire departments, horse plowing, wild turkeys, building committees, unicorn hunts, perception versus reality, and weather forecasting, which convulsed the Canadians in the audience, zoomed in and out of my Yankee ears.

CAPSULE JUDGEMENT: Yes, it does help to be Canadian to truly appreciate the goings-on in ‘WINGFIELD’S INFERNO.’


INFORMATION ABOUT THE FESTIVAL

Founded in 1953 as the Stratford Shakespearean Festival, the company is the largest classical repertory theater in North America. Until November 6, it will stage 14 shows in a rotating repertory in its four theaters. The Festival takes place in Stratford, Ontario, Canada. about six hours from Cleveland.

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

West Side Story (Porthouse Theatre/KSU)

Porthouse's 'WEST SIDE STORY' oky, but lacks the needed edginess

In September of 1957 I made my first of what was to become many visits to New York City to see Broadway productions. One of the shows I saw on that trip was the newly opened ‘WEST SIDE STORY.’ I fell in love with musical theatre that night when I viewed the dynamic, edgy and compelling show. That production stared Carol Lawrence as Maria, Larry Kert as Tony and Chita Rivera as Anita. I have seen many productions of that musical since then. A few were superb, some bad and most, like that now being presented at Porthouse Theatre, are okay, but not mesmerizing.

‘WEST SIDE STORY’ transfers Shakespeare's ‘ROMEO AND JULIET’ to modern-day New York. The love story of Romeo and Juliet becomes that of Maria and Tony. The feud between the houses of the Capulets and the Montagues is re-created in one involving two teen-age gangs, the Jets and the Sharks. The famous balcony scene of the Shakespeare drama transpires on a fire-escape of a New York tenement. And, as in the original, the star-crossed love affair ends in doom.

As in all well-conceived musicals the elements in ‘WEST SIDE STORY’ combine to make a seamless work. Leonard Bernstein’s music is passionate as well as memorable. Jerome Robbins' original choreography conveyed the tension and violence of city life. Arthur Laurents' dialogue and Stephen Sondheim's lyrics skillfully draw the audience into the story.

‘WEST SIDE STORY’ took Broadway by storm. Four years later it was made into a film, which won an Academy Award as the best film of 1961. Unfortunately, the movie contained much sham. Instead of using the mutli-talented Lawrence and Kert, the powers that be cast non-singers Natalie Wood as Maria and Richard Beymer as Tony. (A little-known fact is that Elvis Presley was originally considered for the role of Tony.) The former child star Jimmy Bryant was Beymer’s musical voice and Marni Nixon’s singing was dubbed for Natalie Wood. Even the great Rita Moreno, who played Anita, had her voice enhanced by Betty Wand.

‘WEST SIDE STORY’ is a difficult play for amateurs to do well. First, there is Bernstein’s music which is both difficult to sing and play. Then, there is the necessity for superb dancing which is so integral to the plot. In addition, there is the requirement for the cast to understand and duplicate the frustration of the ghetto, the immigrant desire for territory and assimilation, and the basis for the cultural clashes.

Porthouse’s orchestra, under the able musical direction of Melissa Fucci, was excellent. The musical interpretation incorporated the proper urgency, the impending conflict, the underscoring of what was happening and what was to come.

The singing, on the other hand, was not always well accomplished. Kayce Cummings (Maria) has a wonderful voice. She interprets song lyrics well. Stephen Brockway (Tony) has a pleasant voice, but not the full sound needed for such powerful songs as “Maria” and “Something’s Coming.” In fact, in their duets Cumming’s voice so overshadowed Brockway’s that when the two were singing together in “One Hand, One Heart” it was more Maria’s solo than a duet. Sandra Emerick (Anita) has a wonderful voice. Too bad her dancing abilities didn’t parallel her vocals and fiery acting.

Choreographer John Crawford wisely did not attempt to duplicate Jerome Robbins extremely difficult movements. What he did use was often, with few exceptions, beyond the abilities of the dancers. This was especially true with the males. David Gregory and Andrew Mills held their own, but you could almost see some of the others counting their movement beats. Well conceived and performed was the sprightly “America.” On the other hand, due to poor physical movements and some questionable line interpretations, the usually hysterical “Gee, Officer Krupke” was pleasant, at best.

The major place the show stumbled was in attitude. The edge simply wasn’t there. These were, for the most part, clean scrubbed suburban teenagers pretending to be tough. The tension and violence of city ghetto life was just too far removed from their experiences for them to feel it, to create reality. The show has to be dynamic, compelling, engrossing, real. The Porthouse production was pleasant, well-intentioned and nice. That’s okay for lots of musicals, but not for “WEST SIDE STORY.”

Nolan Dell’s scenic design was excellent. T. C. Kouyeas Jr.’s lighting was generally good, but the climax of the rumble at the end of Act 1 was diminished by the lack of incessant flashing police lights and the lazy movement of the spotlights. The lack of compelling vividness failed to give the needed emotional spark.

CAPSULE JUDGEMENT: Porthouse’s ‘WEST SIDE STORY’ is a perfectly acceptable summer theatre production. Unfortunately, it lacked the edge, the needed compelling quality to make it a special experience.

The Thing About Men (Actors' Summit)

‘THE THING ABOUT MEN’ delights at Actors' Summit

‘The Thing About Men’ is written by Joe DiPietro and Jimmy Roberts, authors of the long running Off-Broadway hit ‘I Love You, You're Perfect, Now Change’ which had very successful local runs at both Actors Summit and The Hanna Theatre.

The play is loosely based on the 1985 movie ‘Men.’ The story concerns a womanizing advertising executive, upon discovering that his wife is having an affair, manages to become the roommate of the hickey-bestowing artist with whom the neglected lady has been sleeping. The hubby, thinking only to spy on his competition, discovers that he likes the other guy and schemes, once he's given up on winning his spouse back, to help his new pal win wifey's hand in marriage. Unfortunately, he rids the artist of his charms, makes him as boring as himself and winds up messing up the reason for the wife’s attraction.

DiPietro has a facility for the well-turned remark and the comic set-up, both in his book scenes and his lyrics. Roberts has a knack for tossing off easy tunes. The result is an entertaining and escapist script.

This is not intended to be a message musical, even though the title seems to hint at that. This is meant to be a sit and laugh and forget the real world. And, it works by use of sexual innuendoes and a little of bit of off-color language.

When it opened off-Broadway in New York, VARIETY’s review stated: “The thing about ‘The Thing About Men’ is that ‘thing’ is just the word for it. No more descriptive noun seems appropriate for this bland and insipid new Off-Broadway musical about that most generic of subjects, marital infidelity.” That may have been the word in the Big Apple, but it surely isn’t the reaction the show is getting at Actors’ Summit Theatre. Audience comments included, “That was cute.”, “I loved it!” and “I loved the way it was staged.”

Okay, so it does come off sounding more like a concocted pilot for a TV sitcom with lots of logical weaknesses, but there is enough charm to make the production work, especially in the creative hands of director A. Neil Thackaberry and a talented cast.

Sandra Emerick, a past Times Tribute Theatre winner, is delightful in the role of Lucy, Tom’s wife and Sebastian’s lover. She belts out her songs in a strong voice and makes the words meaningful.

Scott Boulware is wonderful as Tom. He bounces between outraged and vindictive and pussy cat with ease. He has a mobile face, a nice way of turning a line and a very good voice.

W. Jamie Koeth, though he doesn’t have the sensual elements that might have helped flesh out the part, builds nicely in the role of Sebastian. One could only wish that his wig might have been a better quality as the one he wears makes him look like he’s wearing something left over from Halloween. As with all the members of the cast, he has a nice singing voice.

Kent LeMar plays his many roles with hysterical accents, delightful facial and body expressions, and a wonderful sense of comic timing. Ditto for Tricia Bestic in her multi roles.

Pianist Michael Flohr performs well, though a fuller musical sound would have added to the festivities.

The only real flaw in the production were the costumes which were often ill-fitting and not well-styled.

CAPSULE JUDGEMENT: Actors Summit’s ‘The Thing About Men’ is a delightful pastiche, perfect for a hot summer evening get away.

Groundworks - Cain Park

GROUNDWORKS again displays perfection at Cain Park

Humans are storytellers. The narratives they tell perpetuate the values, morals and history of their culture. David Shimotakahara, the Artistic Director of GroundWorks Dancetheater, has taken this theme and built it into the company’s Cain Park program.

The small Alma Theatre is a perfect venue for GroundWorks whose selections tend to work best when the audience is up-front and personal.

The program opened with choreographer Beth Corning’s ‘At Once There Was a House.’ The piece, which is a series of vignettes, has become part of the company’s continuing repertoire with good reason. It lets the cast members not only dance but narrate. It also allows for some lightness and humor. Danced in solos, duets, trios and quartets the piece, which includes music by Tom Waits, Kathleen Brennan, Lou Harrison and others, spans the blues, Asian, operatic and classical sounds. Using almost every modern dance technique, the variety of movements in the performance catch and hold the audience’s attention. Highlights were a section in which each dancer holds a freeze and exchanges positions with another company member; Shimotakahara coupling with a stuffed puppet; Felice Bagley exploring a fence and its role in life’s passages; Mark Otloski dancing around, on and beside a chair; Amy Miller exploring a house; and the entire company in oversized shoes going out into and interacting with the audience.

‘Ephemeral,’ choreographed by Shimotakahara, was conceived to the music of Gustavo Aguilar, who often supplies the sounds for the company. Combining primitive and plaintive music, the high energy piece was perfectly executed. Enhanced by the lighting of Dennis Dugan Felise Bagley and Mark Otloski created the image of being attracted to the lighting shadows while attempting to escape their hold, much like moths to a flame. The duo’s unit of moves was visually compelling.

The world premiere of Shimotakahara’s ‘Kabila (The Tribe),’ was magical. Janet Bolick and fabric artist Esther Montgomery’s isometric costumes added much visual excitement to the performance. Danced to sounds of African voices, the choreography recreated traditional dark continent movements into modern dance action, following the musical changes from chants to heavy drum beats. Again, the theme of narratives was showcased with various tales told through bodily movements.

GroundWorks has the best complete dance company in the area. Each dancer has total control over his/her movements. Honed by Shimotakahara’s perfectionistic philosophy of choreography and dance there appears never to be a stumble or error or unnecessary movement. It is amazing to watch Amy Miller, Felise Bagley, Mark Otloski and Shimotakahara display complete understanding of the need to make and the ability to create each movement into a complete set of beginning, middle and finality. Trainee Jennifer Lott has improved greatly since she has come under the guidance of Shimotakahara which is taking her on the journey to become a dancer of the quality of the rest of the company. It was also pleasing to see that Otloski has completely recovered from an injury which kept him out of the company’s last several concerts.

Capsule Judgment GroundWorks Dancetheater’s latest concert at Cain Park was slam dunk. As has come to be expected from this fine company, the evening was one of excitement and enjoyment!

Secret Garden (Cain Park)

‘SECRET GARDEN’ fails to enchant at Cain Park

Most young girls have read Frances Hodgson Burnett’s ‘THE SECRET GARDEN,’ which tells the story of Mary Lennox, a lonely little English girl who is sent to live with her Uncle Archibald after being orphaned by a cholera epidemic in India. Still grieving over the loss of his beloved wife Lily, who died ten years earlier during childbirth, and distraught over the physical condition of his bedridden son, Archibald casts a dark shadow over the manor and its inhabitants until Mary discovers a secret garden that had once belonged to Lily. By nursing this garden back to full bloom, Mary restores life to her grieving uncle and his son.

‘THE SECRET GARDEN’ was first published as a novel in 1910 and became an instant best selling children’s book. In 1937 a statue of its heroine was dedicated in New York’s Conservatory Gardens located in Central Park. The art piece has become a tourist attraction, not only because of the popularity of the book, but for some inexplicable reason Mary is practically naked.

In 1949 the book was turned into a movie starring Margaret O'Brien and Dean Stockwell. Later it was transposed into a musical with Marsha Norman serving as playwright and lyricist and is scored by Lucy Simon . The stage version, which won Norman a Tony Award for “Best Book of a Musical,” opened in 1991 and ran for 706 performances. At that year’s Tony Awards ceremony, Daisy Eagan became the youngest actress ever to win a Tony for her portrayal of Mary.

Cain Park’s production, though quite acceptable, misses its emotional mark due to the one-tone directing of Meryl Friedman. The staging lacks texturing. There are no emotional highs and lows so it lacks the necessary realistic emotional depth to carry the true meaning of the book.

The vocal elements of the play are excellent. The singing voices highlight the lush music. The acting of the cast, with few exceptions, is good.

The children, Sara Masterson (Mary) and Lincoln Sandham (Colin) are quite acceptable though neither has the singing or acting depth to expect them to be on their way to Broadway as has been the case recently with several local Cleveland kids. Patrick Janson sings and acts the role of the tortured Archibald effectively, though at times he goes over the edge in his display of angst. Sandra Simon, as the dead wife, has a big and pure voice, but is difficult to understand in the opening number. Part of this may have been due to the excessive volume of the orchestra.

Russ Borski’s representative sets don’t work well with the realistic story. When the dead garden comes to life there is little on stage to excite the audience, to show the marvelous effect that Mary has had on everything and everyone she touches.

As I’ve done in the past with shows that have been aimed at children, I took my grandsons Alex (9 1/2), Noah (8) and Ian (5) to see ‘THE SECRET GARDEN.’ Alex’s summary, “I liked the singing.” Noah, “I liked the scene with the thunder.” Ian didn’t contribute a summary as he fell asleep early in the second act. Those are not exactly ringing endorsements.

CAPSULE JUDGEMENT: ‘THE SECRET GARDEN’ was advertised as a show appropriate for children. I think not. There just isn’t enough fantasy to hold their attention. This was evidenced when, at the performance I attended, many children and their parents left at intermission. This is not to say the production is bad, it’s just not all it could be.

Baby (Kalliope Stage)

Kalliope Stage delivers a fine "Baby"!

Lyricist-librettist Richard Maltby and composer David Shire's musical ‘BABY,’ which opened in New York in 1983 and ran for 276 performances, is considered by many theatre buffs to be one of the most underrated concept musicals ever written. It is now being performed at Kallliope Stage.

This is a musical not about babies but about the life-altering challenges of having a baby. It takes place at an unnamed American college, where three couples face pregnancies. They are a pair of unmarried juniors, a set of married 20 something athletic coaches, and a 40-something couple that has just sent their kids off to college. We follow them through nine months that lead to lots of laughs, some truthful awareness and some eye-welling moments.

I wouldn’t go so far as a reviewer who stated that “‘BABY’ is a masterpiece and Sybille Pearson's book is one of the strongest original libretti ever written for Broadway,” but I would say that when I first saw the musical at Berea Summer Theatre many years ago, I was enthralled. I wouldn’t classify this with ‘WEST SIDE STORY’ or ‘CHORUS LINE,’ but it has so much charm, pathos and wonderful songs, that it holds its own against many musicals.

So, why is ‘BABY’ underrated? The Broadway show, which opened on December 4, 1983, probably suffered from an accident of timing. Debuting in the same season as ‘SUNDAY IN THE PARK WITH GEORGE,’ ‘THE RINK’ and ‘LA CAGE AUX FOLLES,’ it was never able to win the attention -- or the Tonys -- it deserved. This, in spite of excellent reviews.

Another reason is that this is a small theatre musical. Kalliope Stage is a perfect venue for the show. It, like intimate musicals such as ‘I DO, I DO’ and “THEY’RE PLAYING OUR SONG,’ need the audience to be up-close so the ideas speak directly to the audience. The Broadway house in which it played was anything but intimate.

The Kalliope production is adeptly directed by Paul F. Gurgol. He has perfectly paced the show, creatively staged it, and gets wonderful performances out of his talented cast.

Andrew Smith and Carrie Hall play the college students. Smith is an all around performer. He develops a clear character, sings well, has a fine sense of timing and dances with ease. This is a very talented young man. Hall has a big and well-pitched voice. She lacks the physical looks probably needed for the role, but makes up for it with her singing. The duo’s “What Could Be Better” was cute and well sung. There did, however, appear to be a lack of emotional connection between them throughout the show...kisses weren’t real, the handholding was tentative, there was a lack of direct connection when they spoke and sang.

Scott Posey (Nick) and Kris Comer (Pam) were right on as the athletic coaches who have trouble conceiving. They both have strong singing voices and keen acting talent. Their “With You” was so tender that there was an emotional pause on the part of the audience following it’s conclusion followed by appreciative applause.

The always engaging Adina Bloom (Arlene) and the excellent John Jensen (Alan) were surperb as the older couple faced with the decision of whether they wanted to start their lives all over as “older” new parents. Their voices soared and their scene development was perfectly keyed. They played off each other as the performance pros they are. Their version of “And What If We Had Loved Like That” was an emotional show-stopper.

Kimberly Koljat and Rita Linger added their fine vocal talents in supporting roles.

Show highlights included the trio of Hall, Comer and Bloom belting out “I Want It All” and the male quartet of Smith, Posey, Jensen and John Paul Boukis presenting a cleverly staged “Fatherhood Blues.” Another show highlight was a very funny scene in which Boukis, portraying a doctor with new contact lenses, explains why one of the couples was having difficulty conceiving. Normally this wouldn’t be perceived as a funny scene, but Boukis took the concept and worked it to perfection.

The only flaw in the show was the poor costume choices. The play takes place in 1983, but many of the costumes were inappropriate for the era and often were ill-fitting.

CAPSULE JUDGEMENT: If you don't know the musical ‘BABY,’ it is high time you made its acquaintance. If you’ve seen it before, you won’t see a better production than that at Kalliope Stage!

Spitfire Grill (Porthouse/KSU)

‘SPITFIRE GRILL ‘ a well crafted crowd pleaser at Porthouse

In 1997 Lee David Zlotoff’s film version of ‘THE SPITFIRE GRILL’ received the Audience Award at the Sundance Film Festival. When writers James Valcq and Fred Alley transformed the screenplay into a musical for the stage, the off-Broadway production won the Richard Rogers Production Award. As attenders at the opening night of Porthouse Theatre’s 2005 season discovered, the production is everything it is trumpeted to be.

As the play starts, Percy, an ex-convict, is getting off a bus. She has decided to start a new life in Gilead, Wisconsin, a location she selected because of a picture she found in an old travel book. The authors’ choice of the city’s name is not accidental. In the Old Testament a reference is made to a salve noted for healing--the balm of Gilead (Jeremiah 46:11). This allusion supports the play’s themes of healing and hope.

Sheriff Joe Sutter takes Percy to the Spitfire Grill, since it has the only guest room in town. Here, Percy meets Hannah, a seemingly hardened woman, who reluctantly takes her in, but eventually gives her a job.

Effy, the town postmistress and busybody, is immediately suspicious of Percy, as is Caleb, Hannah’s nephew. They make it known that a jailbird isn’t welcome in their midst. It is the shy Shelby, Caleb’s wife, who is the only one willing to suspend judgment. Hannah accidentally falls and injures her leg, Percy gets her medical help, Effy spreads the story that Percy pushed Hannah down a flight of stairs, Hannah puts Percy in charge of the grill, Percy’s cooking proves to be nearly lethal, Shelby helps out, Percy also takes over Hannah’s unexplained ritual of leaving a loaf of bread next to a stump behind the grill. Hannah has been trying to sell the grill for years with no luck. Percy and Shelby, come up with a scheme for an essay contest with an entry fee of $100 and award the restaurant to the writer of the best “Why I Want the Spitfire Grill” essay. And so, the pieces are all set in place for an obvious, but audience pleasing climax.

One of the keymarks of a well-crafted book musical is that each of the songs focuses on the development of the story line. “THE SPITFIRE GRILL’ fulfills that definition as throughout, there is a perfect flow of lyrics and script that carry the story along.

Why did such a wonderful little musical not get its deserved attention? In reality, theatre audiences never really got the opportunity to experience the production because the show opened only three days before the 9/11 tragedy. The calamity closed down much of New York theatre. The show lasted only four weeks, but has increased in popularity as it is done by some of the country’s leading community and regional theatres.

The music of ‘THE SPITFIRE GRILL’ is appropriately rife with the sounds of banjos, guitars, fiddles, and the other instruments closely associated with American folk music.

Terri Kent’s directing is right on target. The pacing is crisp, with just enough stress on pathos and comedy to make the show pleasing without being maudlin or trite.

The cast ranges from outstanding to adequate. As she did in her Times Tributes performance as Lauri in Porthouse’s ‘OKLAHOMA,’ Kayce Cummings lights up the stage with her wonderful singing voice and fine acting skills as Shelby. Her “When Hope Goes’ was not only well sung, but well-interpreted.

Lenne Snively makes Hannah a real person with her textured acting. Her singing versions of “Come Alive’ and “Forgotten Lullaby’ were perfectly interpreted.

Another Times Tribute Award winner, MaryAnn Black, is delightful as Effy, the town gossip. Everything from her prissy walk to her controlled over-the-top characterization works.

As the sheriff, Steel Kurkhardt displayed a nice singing voice, but demonstrated some character-development shallowness. Lisa Marie Schueller seemed miscast in the role of Shelby. She had difficulty with the singing requirements and stayed on the acting surface. There was little visual and oral transition as she traveled from the hardened released criminal to the town savior. Eric van Baars’ singing showed some raggedness which was countered by his fine character development as Caleb.

Melissa Fucci and her orchestra were excellent, Steve Pauna’ set design worked well, and Cynthia Stillings lighting aided in proper mood development.

CAPSULE JUDGEMENT: ‘THE SPITFIRE GRILL’ offers some mystery, a little romance, lots of nice music, some views of friendship and familial love mingled with themes of starting over, unconditional love, and life in small-town America. In the hands of Terri Kent and her wonderful cast, Porthouse’s version is a must see production!

Hairspray - Playhouse Square Center

TOURING COMPANY’S ‘HAIRSPRAY’ FUN, BUT....

During the curtain call on opening of night of ‘HAIRSPRAY,’ at the State Theatre in Playhouse Square, the audience was on its feet, clapping in harmony and moving in time to the music. They obviously had enjoyed this touring production of the multi Tony Award winning musical.

Now, don’t get the idea that ‘HAIRSPRAY’ is a great musical. It’s not. It will never be ranked with the likes of ‘A CHORUS LINE,’ ‘WEST SIDE STORY,’ or ‘CAROUSEL.’ What it is, as reviewers of the Broadway production stated, is “an audience pleaser,” “bubble gum-flavored confection,” “tons of fun,” and sweetly subversive.” It’s more in the realm of ‘THE PRODUCERS’ ‘FOOTLOOSE’ and ‘SEUSSICAL, THE MUSICAL.’

Based on the 1988 movie penned by John Waters, the musical, like the film, takes place in segregated Baltimore in the '50s. Change is in the air and Tracy Turnblad, a big girl with big hair and an even bigger heart, has only one passion--to dance on "The Corny Collins Show." Through a series of quirks she is transformed from outsider to irrepressible teen celebrity who might even get her second and third wishes, winning the love of heart throb, Link Larkin, and integrating the television show while not denting her 'do’?

Walters grew up in Baltimore in the 50s. With his weird counter-culture friends he started making films that outraged the traditionalists and entranced underground audiences. By the early 70s he was regularly making films like ‘PINK FLAMINGOS,’ a deliberate exercise in ultra-bad taste. It was his crossover film ‘HAIRSPRAY,’ which reflected Walters playfulness and his life-long obsessions, including integration and the need for social change, that brought Walters to national prominence.

Songs from the show include, “Good Morning Baltimore,” the delightful opening number, the pretty ballad “Timeless to Me,” and the compelling “I Know Where I’ve Been.”

The musical, which is appearing in Cleveland as part of the Broadway Series, does not have the sparkle, the life or the spirit of the original New York production. Missing most are Marissa Jaret Winokur as Tracy Turnblad and Harvey Fierstein as her irresistible stage mother (played in drag).

Keala Settle’s Tracy is quite endearing. She sings and dances well, but doesn’t light up the stage like Winokur. J. P. Dougherty feigns being outrageous, a quality that comes so easy for Fierstein, but Dougherty can’t quite pull it off. He is funny, but the role requires being outrageous.

Chandra Lee Schwartz is wonderful as the mousey Penny, Tracy’s best friend. Charlotte Crossley wails as Motormouth Maybelle. Alan Mingo, Jr., sings and dances up a storm as Seaweed, Penny’s boyfriend. Serge Kushnier is quite adequate as Link, but lacks that special 50s stud luster needed for the role. Stephen DeRosa is fine as Tracy’s eccentric father.

A major issue is the sound. The orchestra is so loud that it often drowns out the performers. Since much of the charm of the show is Scott Wittman and Marc Shaiman’s clever lyrics, some of the sheen is taken off the production by this technical glitch.

Jerry Mitchell’s choreography is fun and perfectly fits the 50s era. The sets, the lighting, the special effects all work well.

Capsule Judgment ‘HAIRSPRAY’ is a fun show. The Broadway series production will be enjoyed by the audience, though it is not of the same quality as the original show.

Stratford Festival of Canada--2005, Part 1

A glimpse at the Stratford Festival of Canada

When most people think of the Stratford Festival of Canada, they think Shakespeare. In the 2005 season, that thinking is right on. The two finest productions I saw on my recent reviewing trip were ‘AS YOU LIKE IT’ and ‘THE TEMPEST.’

‘AS YOU LIKE IT’

‘AS YOU LIKE IT’ is one of Shakespeare’s greatest romantic comedies. It was written just before he moved on to his major tragedies. It is not an original concept as it is based on Thomas Lodge's extremely popular prose romance ‘ROSALYNDE,’ though Shakespeare changed a great deal of the details.

The play follows the pastoral tradition of writing in which a story involves exiles from the court going into the countryside. While in the rural area, they would hold singing contests and philosophically discuss the various merits of each forms of lifestyle. Shakespeare used the same concept in ‘A Midsummer Night's Dream.’

The story begins with the ousting of the Duke, father of Rosalind, from the throne by his own brother. With some loyal servants, he hides in the Forest of Arden, while back in the court Rosalind falls in love with the orphan Orlando and is subsequently also expelled. Rosalind disguises herself as a man, a common Shakespearean device. (‘TWELFTH NIGHT’ for example has gender-bending antics). She brings along her friend Celia and Touchstone, the court jester. As always in Shakespeare's comedies, following unmasking and resolution the couples sort themselves out appropriately and all is happy.

The play is notable for having the most songs of any of Shakespeare's plays and for being largely amusement rather than plot based. Besides fine acting and very effective directing by Antoni Cimolino, the musical aspect is enhanced in the Stratford Festival’s production with wonderful new songs composed by Steven Page and produced by the group, Barenaked Ladies. Dan Chameroy did an excellent job as lead singer.

The entire cast is fine with special credit going to Dion Johnstone as Orlando, Sophie Goulet as Celia, and Sara Topham as Rosalind. Graham Abbey (Jaques) presents a compelling underplaying of the play’s most famous soliloquy, “All the world’s a stage.” Stephen Ouimette comes close to stealing the show with his delightful performance as Touchstone.

Technically the show was perfect. Santo Loquasto’s set design, in which he created a forest made of hanging opened umbrellas with ladders for tree trunks was wonderfully creative. The costumes and the lighting greatly enhanced the production.

‘THE TEMPEST’

There are several reasons to see the Stratford Festival’s ‘THE TEMPEST.’ The main on is the presence of William Hutt. On October 28 of this year, the day that the show closes, Hutt will be retiring. His Stratford record spans 128 roles as an actor or director in 40 seasons. In this production he will again play the pivotal role of Prospero. In 1962 he was the Festival’s first Prospero. The second reason is that the production is excellent. Under the clear direction of Richard Monette, the pacing is appropriate, the characterizations clear and the total effect is Shakespeare at his finest.

‘THE TEMPEST’ opens in the midst of a storm, as a ship, containing the king of Naples and his party, struggles to stay afloat. On land, Prospero and his daughter, Miranda, watch the storm envelop the ship. Prospero has created the storm with magic, and he explains that his enemies are on board the ship.

Prospero relates that he is the rightful Duke of Milan and that his younger brother betrayed him, seizing his title and property. Twelve years earlier, Prospero and Miranda were put out to sea in little more than a raft. Miraculously, they both survived and arrived safely on this island, where Prospero learned to control the magic that he now uses to manipulate everyone on the island. Upon his arrival, Prospero rescued a sprite, Ariel, who had been imprisoned by the witch Sycorax.

And, so, as is the pattern in Shakespeare’s plays, the plot weaves in and out until in a final speech, Prospero tells the audience that only with their applause will he be able to leave the island with the rest of the party. And, as can be expected, Prospero, in the person of the wonderful William Hutt, leaves the stage to the audience's thunderous applause.

Besides Hutt, Adrienne Gould is wonderful as Miranda, Jean-Michael LeGai is properly love struck as Ferdinand, Bernard Hopkins is purposeful as Sebastian. Jack James as Ariel, the spirit, is much too human-like and not enchanting enough.

The technical aspects of the show are very effective. The storm, the magic effects, the costuming, the lighting are all well designed. The dancing was excellent.

HELLO DOLLY

U. S. Americans don’t tend to do British farce and comedy well. Canadians don’t always to do U.S. musicals as effectively as they do other theatrical forms. This is especially true with shows that require some understanding of U.S. regions of the country.

Dolly Levi, the lead character in the Tony Award winning musical HELLO DOLLY, is a lower-east side New Yorker. There is needed cadence to her speech, an exaggeration of her purpose and a determination in her walk. Unfortunately, the miscast Lucy Peacock had none of these. Peacock, who was so wonderful in the company’s production of THE KING AND I, just doesn’t have the right personality or the vocal qualities to pull off Dolly. She sounded like an off-key sophisticate. And, to add to the production’s problems was Peter Donaldson, who also was miscast as Horace Vandergelder, the man Dolly plots to marry.

With a few exceptions, director Susan Schulman missed the musical theatre boat on this production. The exceptions were the wonderful choreography, Lawrence Haegert’s interpretation of Barnaby Tucker, Amy Walsh’s Minnie Fay and the production numbers: “Before the Parade Passes By,” “Put On Your Sunday Clothes” and “Waiters Galop.”

As was the case with every major production, the technical aspects of the show were terrific. The costumes, set design and lighting were all top rate.

As one U. S. American said as she left the production at intermission, “This is the most misinterpreted production of this show I’ve ever seen.”

In my next column I’ll review: ‘THE BROTHERS KARAMAZOV,’ ‘INTO THE WOODS,’ and ‘WINFIELD’S INFERNO.’

THE STORY OF THE FESTIVAL

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

Hotels, motels and bed and breakfasts abound to fit any wallet. My favorite B&B is “The Jennie Forbes Cottage,” a charming regency cottage erected in 1857 (www.jennieforbescottagebb.com). Owners Don and Kathy Spiers are wonderful hosts.

As for shopping, I recommend Davis Canadian Arts (106 Ontario Street). This is an art gallery that offers well-crafted 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.

For moderate cost and high quality food, try The Annex Room (38 Albert Street) and The Keystone Alley Cafe (34 Brunswick Street). For inexpensive food try Demetre’s Family Eatery (1100 Ontario Street). We had a disastrous experience at “38,” a new restaurant in town. No air-conditioning on a hot and humid evening, an uninformed waiter and a lack of ability to honor any requests for deviating from their very limited menu, caused us to leave without eating.

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

Nature Moves (Verb Ballets)

Verb Ballets and Natural History Museum in perfect sync

How important is it for a performing art company to have a dynamic and creative artistic director and executive director. One only has to look as far as Cleveland’s Verb Ballets to find out. It’s only taken a couple of years for Executive Director Dr. Margaret Carlson and Artistic Director Hernando Cortez to transform the little recognized Repertory Project into an audience-centered, community-responsive, dynamic entity.

The excitement the company generates was again demonstrated at ‘NATURE MOVES!’ a program presented in collaboration with the Cleveland Museum of Natural History in the museum’s attractive Murch Auditorium. This is a follow-up to the company’s sold out Playhouse Square performance earlier this year, and Cleveland Public Theatre’s capacity presentations.

It was exciting to see that the audience of over 300 who attended the opening night of ‘NATURE MOVES!’ was composed of multi-age and multi-ethnic groups. In contrast to many of the arts companies who are hurting for audiences since their base is made up of mature arts patrons who, unfortunately are dying off and not being replaced, Verb has been able to attract young people through creative advertising, partnering and thoughtful programming.

The segments of the program were chosen to fit the museum setting. “The Man and the Echo,” choreographed by Cortez to the beautiful “Holdberg Suite” by Edvard Grieg is a contemporary lyric ballet inspired by the words of William Butler Yeats. His poem explains how humans need their intellect and sight to grow before they “sink at last into the night.” Clothed in flowing costumes created by Edward Sylvia, the company danced in shadows created by the effective lighting design of Trad Burn. The company, many of them dancing barefoot, flowed through the piece with precise discipline. The highlight was Mark Tomasic’s leaping free fall into the arms of the other dancers, as he floated as an “Echo: into the night.”

“Jia Gu Sui Xiang: Inscriptions on Oracle Bones from the Shang Dynasty,” which featured a solo performance by Huang Dou Dou, was self-choreographed. Danced to music played by Tibetan monks on ancient temple bronze bells from 500 BC, the piece can best be summarized by the phrase “Oh, my God!,” uttered by a woman sitting behind me as Dou Dou performed a series of movements which extended the body beyond its normal limits. Barechested, and adorned with a tall slender feathered head dress, the dancer totally mesmerized the audience which rose to its feet enmasse and screamed their appreciation at the end of the number. This was a virtuoso performance!

The Feathered Dinosaur exhibit is presently on display at the museum. As you enter the gallery a large animated version of an ostrich confronts you. It was appropriate, therefore, that the programming include some reference to that exhibit. Cortez picked the gem, “Awassa Astrige/Ostrich.” The short but effective piece showcased solo dancer G. D. Harris, whose feathered costume, and ostrich-like moves gave a clear image of the elegance of what many consider to be a strange bird best known for putting his head in the sand when danger approaches.

Every company needs its “special” piece, one that elicits an immediate reaction from the audience. Verb has theirs. It’s entitled “The Envelope.” As described in the program notes, this is “A farcical and hysterical romp where the dancers are pitted against a renegade piece of stationery.” Dressed in dark glasses and black, body covering loose fitting costumes, the selection centers on passing an envelope from dancer to dancer as the company hops, tickles each other, jumps, grabs, twists, shimmies and does incredible body bends. Originally choreographed by David Parsons, Verb has made it its own through a restaging by Katarzyna Skarpetowska. It was a perfect piece to balance the more serious nature of the rest of the program.

“Nero’s Fiddle,” in its world premiere, was choreographed by Hernando Cortez to “Speed,” the music of Matthew Hindson. It featured Huang Dou Dou. The dancer had requested that he be given the chance to do a contemporary western piece rather than his usual Chinese routines. Though the dancer was wonderful, the piece did not have the depth needed to show off his extraordinary talents. Since he is often called the young Mikhail Barishnikov, it would have been exciting to see him totally let loose with the turns and monumental leaps that he is so well known for.

The program concluded with the Cortez-choreographed “Planet Soup.” This is a dancer and audience exhausting experience which incorporates African ritual, Filipino folk and Irish reel dancing, Wayang Golek puppets from Indonesia, Indian traditional movements and pole jumping. The cross-cultural fusion, with contemporary dance dynamics, is high energy. The dancers, clothed at first in sarongs and then in loin cloths, showed great understanding of the need to vary their dance styles and body movements to fit the music and the choreography. Highlights included a strong gymnastics segment danced by Bobby Wesner, Glynn Owens and Jason Ignacio. Ignacio ignited the audience with his blindfolded pole dance. The piece ended with an emotionally charged segment in which the dancers, using large white square pieces of cloth, performed what might be called the Chinese ribbon dance meets marching band flag twirling.

CAPSULE JUDGEMENT: Verb Ballets did it again with its wonderful performances in ‘NATURE MOVES.’ It is so exciting to be able to look forward to every performance of this wonderful group.

Stone Cold Dead Serious (TITLEwave Theatre)

Befuddeling 'STONE COLD DEAD SERIOUS' at TITLEwave Theatre

Adam Rapp is one of the new breed of young American playwrights. He uses modern day situations, surreal ideas and often implausible plot twists and turns to create an illusion of a society under the microscope.

Rapp has been called a cross between writers Christopher Durang and Sam Shepard. But, as one critic states, “This writer of young adult sci-fi novels has neither the ingenuity of the former or the searing honesty of the latter.” Another observer states that ‘STONE COLD DEAD SERIOUS,’ the play TITLEWave Theatre is now co-producing with Cleveland Public Theatre, illustrates “one dilemma when producing new works. . .cultural ephemera quickly become clichés. Problems worsen when bizarre characters combine with a stale sci-fi theme.”

This view is counter-balanced by critics, who, after seeing the same production stated, “If you’re interested in playwriting talent and want to see it muscling toward maturity, you’ll find no more fascinating example than ‘STONE COLD DEAD SERIOUS.’ Another stated, ‘STONE COLD DEAD SERIOUS’ is a gritty, funny, surreal journey through extreme psychic landscapes.”

So, what’s all the fuss about? The Ledbetters are, what has been termed in self-help psychology, as a dysfunctional family. They are definitely a group who should appear on Jerry Springer as freaks or as candidates for serious help by Dr. Phil.

Husband and father Clifford is on worker's comp, a semi-zombie skidding along on pain pills and beer. Wife Linda works overtime as a waitress, obsesses about saints and vainly tries to retain a sense of family. Daughter Shaylee has bailed out, and now lives on the street as a drug-addicted whore. The only one who has a floating glimpse of reality is brother Wynne, a computer whiz, who has managed to offset a sense of duty to this sick group with his own obsession: a Samurai-themed computer game at which he is so good he finds himself as one of three finalists invited to come to New York for a live reenactment/contest in which the winner will get $1 million. He ventures forth stopping along the way to pick up one of the other competitors, a mute girl named Sharice, with whom he has fallen in love online. What follows are some scenes which could have been left out (a hitchhiking sidetrack in which he earns $100 participating in a sex act and a visit from Snake Lady, a colorful East Village denizen who occupies the room next door). After a brutal and bloody competition there is an unclear resolution.

I found the script riddled with detours, and in the end the writer seems at a loss as to how to wrap up the whole thing.

I’m still trying to figure out what message I was supposed to carry from the play. But that may be my issue...I like plays that when they set out to teach me something, make that message clear. I’m willing to think, but not to dig and create meaning as that is the job of the playwright.

The good news for this production is that there's a lot worthwhile to see. Young Stephen Dale gives an outstanding performance as Wynne. He gets the very most out of a character which is often given lines that are both unrealistic and not well written.

Meg Kelly Schroeder, as the mother and the Snake Lady, Robert Ellis as the father and the auto driver, and Magdalyn Donnelly as the sister and girlfriend, all are quite good.

Director Gregory Vovos has paced the play well and has pointed the cast in the right direction.

‘STONE COLD DEAD SERIOUS’ is not a play for everyone. If you like pseudo/contemporary plays you’ll probably like this one. If you are a traditionalist, you will probably leave the theatre upset that you paid money to see the play. No matter, be aware that the show contains blunt language, simulated decapitation and sexual situations. Again, these are a turn-on for some and a turn-off for others.

CAPSULE JUDGEMENT: I pass on recommending or not recommending. (Gee, does that make me like the playwright, unable to come to a clear ending?)