Rabbit Hole (Cleveland Play House)

Realistic ‘RABBIT HOLE’ opens the season at CPH

‘RABBIT HOLE,’ which is now in production at the Cleveland Play House, is, as one reviewer of the New York production stated, “almost unbearable to watch at times due to its insistence on presenting a tragedy and its consequences with utter candor, and without sentimentality.” This comment is a tribute to the play. In addition, it is generally true of the CPH production.

The story involves a 4-year-old boy whom we never meet, and a car that swerves in the wrong direction at the wrong time. What we share is the fall out.

David Lindsay-Abaire has created an emotional play. But, unlike many plays broaching the topic of death, he does it with humor, pathos and a strong psychological understanding of the situation. It isn’t a morbid play. It is a realistic look at how not only the family, but the teenager who was driving the car are affected by a momentary incident.

I must admit, I had difficult sitting comfortably in my seat during the production. Having lost a grandson, my mind keep shooting off-stage to my life and that of our family and our reactions then and the legacy the experience has left. Though the incident was not the same, the same raw emotions are. In addition, I counsel people who are survivors of trauma. So be aware that I can’t be unbiased in my thoughts and feelings about the play.

Becca and Howie Corbett have everything a family could want. The accidental death of their son turns their world upside down. They are left adrift in their feelings and thoughts, floating further and further away from each other as one turns to a support group and the other turns inward. Each finds that their method of coping doesn’t work.

I found the CPH production, under the guidance of Artistic Director Michael Bloom, to be basically on target. This is a difficult play to stage. With the wrong approach it could be a maudlin experience, or if overdone, a melodrama. Neither of these outcomes is the intent of the author. Bloom and his cast stay true to the script’s intent by allowing the humor to come through, the pathos to be present, and the melodrama nonexistent.

As Becca, the woman who gave up her career to become a mother, only to suffer a catastrophic loss, Angela Reed nicely walks the thin line between emotional control and hysteria. Her contained emotion parallels many trauma sufferers, who believe that “being strong” entails having no feelings. And, finally, when her body screams loudly enough so that she cannot hold the emotional angst in any longer, her primal scream is heard and felt by her and the audience. This is a fine performance.

Danton Stone is not quite as successful as Becca’s husband, Howie. At times, especially at the beginning of the production, he acts rather than reacts to the lines and their intent and comes across as disingenuous. He seemed to grow into the part as the evening progressed.

Troy Deutsch is right on target as the teenage driver of the death car. His nervous inappropriate giggle on his first entrance, his awkward stance and facial expressions, his halting speech were typical of being over-stressed and confused as he attempts to state the feelings and thoughts which can’t be said with clarity.

Much of the comic relief in the play comes from Becca's encounters with her less than perfect mother and sister, who keep dropping by to keep her company. Both sense her unspoken disapproval of them, but they love her too much to let that get in the way of being there. These parts, which wavered between being overly self-absorbed and empathetic, were well played by Kat Skinner (Nat) and Genevieve Elam (Izzy)

CAPSULE JUDGMENT: I found the ‘RABBIT HOLE’ experience absorbing, at times humorous, but, most importantly, realistic. It is a snapshot of our family and all the other people who have gone through similar experiences. It’s a production worth seeing.

A Funny Thing Happened On the Way to the Forum (Great Lakes Theatre Festival)

‘FUNNY THING’ is a very funny thing at GLTF

The program for Great Lakes Theatre Festival’s ‘A FUNNY THING HAPPENED ON THE WAY TO THE FORUM’ asks the question, “What is funny?” The answer, at least in Cleveland for the next five weeks is, ‘A FUNNY THING HAPPENED ON THE WAY TO THE FORUM.”

‘FORUM’ is a musical based on two plays by Titus Marrius Plautus, who is considered to be the father of comedy in the Western world. It was Plautus who invented the devices of theatrical comedy which have lasted to this very day. Most of his techniques, such as prat falls, cross-gendered misidentities, visual double takes, having characters who are bigger than life, makes the audience laugh at them and their actions rather than with them. It’s the kind of stuff that made Buster Keaton, Charlie Chaplin and the Three Stooges funny.

The story follows Plautus’ standard structure. While the Master and Mistress are away, sons and slaves will play. In this case, Pseudolus, a slave who wants to be free, decides to help Hero, the son of Senex and Domina to elope with Philia, a virgin who has been sold to the nation’s greatest warrior. Chaos ensues via comical misadventures, coverups and plot twists.

The book was written by Burt Shevelove and Larry Gelbert, while the music and lyrics are by Stephen Sondheim. In spite of such wonderful songs as "Free," "Lovely," "Pretty Little Picture," and "Everybody Ought to Have a Maid,’ Sondheim’s score was cooly received by critics when the show opened on Broadway in 1962. However, the production’s run of 966 performances is Sondheim’s longest running Big Apple show. The original production starred the
irrepressible Zero Mostel, who was also the lead in a moderately successful 1966 film version.

The script was revived on Broadway in 1972 with Phil Silvers, and again in 1996 with Nathan Lane as Pseudolus. Lane was replaced during the run by Whoopi Goldberg.

Great Lakes Theatre Festival’s production, under the adept directing of Victoria Bussert, is nothing short of hysterical. Bussert and her wonderful cast pull out all the stops. Every shtick and gimmick possible has been incorporated into the happenings. To add to the doings is the fine musical direction of John Jay Espino, the creative choreography of Janet Louer, Jeff Herman’s traditional scenic design and Nicole Frachiseur’s era correct creative costumes.

Usually, the role of Pseudolus is the key role in this play. However, as good as Tom Ford is in that role in this production, he is overshadowed by Jeffrey C. Hawkins whose Hysterium is hysterical! It’s worth the price of admission to see Hawkins in action.

Also adding to the laugh-fest is Dudley Swetland as Erronius, a doddering old man; Laura Perrotta as Domina, an overbearing wife and a woman with implants gone bad; Aled Davies, Hero’s father and sex-obsessed husband of Domina; and Scott Plate as Miles Gloriosis,
a pompous warrior. As the star-crossed lovers, Matt Lillo and Kate Rockwell are fine. Their “Lovely” was a smile inducer. Credit also must be given to Wilson Bridges, Dougfred Miller and M. A. Taylor, the omnipresent clowns whose roles vary from eunuchs to soldiers.

Highlights include the opening number, “Comedy Tonight,” the show-stopping ”Everybody Ought to Have a Maid” and the delightful “Lovely Reprise.”

CAPSULE JUDGEMENT: GLTF’s “A FUNNY THING HAPPENED ON THE WAY TO THE FORUM,” is a laugh delight. It’s the kind of production that audience members will totally
enjoy. Congrats to Victoria Bussert and her cast and crew for a wonderful production.

The Wild Party (Kalliope Stage)

There is a 'WILD PARTY' going on at KALLIOPE

A friend who had seen Kalliope's 'THE WILD PARTY'related a story that an elderly man, about halfway through the second act of the show, got up from his seat, said, "I've had enough of this depravity," and stumbled toward the exit. Hey, man, you hit on one of the play's central cores...the depravity of some relationships and the depravity of much of society. Moral...if you are like the offended man, are easily put off by nudity, a simulated orgy, and raunchy words, you might want to avoid the corner of Lee and Cedar for a while. If, on the other hand, you are interested in seeing passions out of control and investigate moral decadence, 'THE WILD PARTY' is your thing.

Andrew Lippa, who wrote the book, music and lyrics for 'THE WILD PARTY,' is one of the new breed of musical theatre creators. He's in the mold of Jonathan Larson, the conceiver of 'RENT' and Jason Robert Brownwho developed 'SONGS FOR A NEW WORLD.' They see lifeand place it on the stage with all its realties, flaws and warts.'

THE WILD PARTY' won the Outer Critics Circle Awardfor best Off-Broadway musical of 2000. It was nominated for 13 Drama Desk Awards including best new musicalAdapted from a book-length poem by Joseph Moncure March, the story takes place in the Roaring Twenties.

It tells of one wild night in the Manhattan apartment shared by Queenie and Burrs, a vaudeville dancer and a vaudeville clown. In a relationship marked by abuse, which mirrors the prohibition and gangster-controlled era in which they live, the duo throws a party to "end all parties." The event is attended by uninhibited guests including Black, a handsome and smooth operator and Kate, who has a "thing" for Burrs. Queenie and Burrs set out to make each other jealous. After a long night of no-holds-barred, Burrs' jealousy erupts and he is killed by Black. Queenie steals out, leaving in her wake the passed out revelers and a former life.

The music is a combination of jazz-era sounds, coupled with contemporary tones. Though none of the songs will be remembered for long, the overall effect of the music is excellent.

The Kalliope Stage production, under the direction of Paul Gurgol fulfills the authors intentions. The realistic, yet stylized staging works well. The script needed some cutting, however. After a while it felt that we were being overwhelmed with filth--enough is enough. Make the point and get on with it.

'WILD PARTY' contains some of the very best dancing and choreography seen on local stages. Michael Medcalf, the founder and leader of Cleveland Contemporary Dance Theatre, pulls out all the stops in his creative concepts. This is dancing and choreographic staging at its best!

The beautiful and talented Melody Moore is excellent as Queenie. Her "Maybe I Like It This Way" and her duet "What Is It About Her," which was sung with Tommy Foster (Burrs), were compelling. Moore is matched by Kalliope favorite Jodi Brinkman (Kate). Both as an actress and a singer, Brinkman continues to impress every time she appears on the theatre's stage. Her version of "Life of the Party"was a highlight.

Medcalf stops the show with his dancing in "Jackie's Last Dance." He absolutely lights up the stage whenever he moves. He reeks sexuality.

Kyle Wrentz is physically, vocally and performance right as Black. His version of "I'll Be Here" was well sung and interpreted. Madelaine True added to the decadence as the overboard lesbian. Her "An Old Fashioned Love Story" was well performed.

Tommy Foster, though looking overly made up (e.g., pencil lines on the forehead for feigning age), is generally believable at Burrs, though his singing varied from good to slightly off-key. The dancers were fine.

Showing special talents were Dezare Foster, Cedric Hall and the very talented Kathleen J. Turner.Musical director Michael P. Hamilton's sounds were well conceived and played. Lance Switzer's lighting design and Kim Brown's era-right costumes added much to the production.

CAPSULE JUDGEMENT: 'THE WILD PARTY' is definitely not for everyone. For those who are willing to be challenged and view the unscrubbed version of how some lead their lives, and want to see a well-staged and generally well performed but unnecessarily long play, Kalliope is one place to party.

Porgy and Bess (Beck)

Challenging ‘PORGY AND BESS’ being performed at BECK

‘PORGY AND BESS,’ now on stage at The Beck Center, has a fascinating history. In 1926 George Gershwin read ‘PORGY’ by DuBose Heyward. He wrote the author suggesting that they collaborate on a folk opera basedon the novel. Heyward was enthusiastic, but it
wasn’t until almost a decade later that Ira Gershwin joined Heyward to write the script which had been germinating in his brother George's imagination.

Termed an operetta, it was assumed that it would be staged in an opera hall; however, Gershwin chose to have it performed in a traditional Broadway theatre. The Alvin Theatre production lasted only 124 performances, losing much of its backers’ investments.

Following the Broadway showing, though the script was not produced much in this country, many of the songs achieved popularity through recordings, and the musical was performed extensively in Europe where it was considered a true American opera. It wasn’t until 1970, when the Houston Grand Opera performed an uncut version of the script that the show received itsdeserved US attention. There is a local connectionto the show’s history. In 1976 Lorin Mazel and the Cleveland Orchestra made the first complete recording of the score.

The story is set in Charleston, South Carolina, at the turn of the century, in a small black enclave called Catfish Row. It tells about Porgy, a crippled beggar who falls in love with Bess, a woman of uncertain reputation who is under the domination of the villainous Crown. Crown kills a Catfish Row inhabitant during a craps game and flees. When he returns for Bess he is killed in a fight with Porgy. Porgy goes to jail, and Bess is enticed to New York by Sportin'
Life, a scheming gambler. At the show's end, Porgy, who has been released from jail, heads to New York in search of “his” Bess.

The show’s score includes such songs as “Bess, You Is My Woman,” “I Loves You Porgy,” “I Want My Bess,” and “Lawd, I’m On My Way.”

Now generally classified as a folk opera--a folk tale in which people would naturally sing folk music--the show receives few productions due to its difficult casting, singing and acting requirements. It is this challenge which has been undertaken by Scott Spence, Beck’s Artistic Director, the cast and the technical crew.

Having seen a dress rehearsal, I can only do some supposition of what will happen as the cast settles into their roles and gets comfortable with the material.

From what I perceived, it’s worth seeing the show if, for no other reason, to be enthralled by the singing and acting of William Clarence Marshall as Porgy. He has a powerful and emotion-laden voice. He interprets songs effectively, which is so important in this operatic format. His acting is completely believable. Wow!

Also strong are Shellie Wyatt, whose rendition of “Summertime” opened the show on a positive note. Her reprise of that song was one of the show’s emotional highlights. Brian Keith Johnson is properly snarly as Crown. He has strong vocal abilities. His “Red-Headed Woman” was well rendered. Karen Clark-Green (Serena) interpreted warmly the emotional “My Man’s Gone Now.” The chorus generally sings well.

Unfortunately, though she has a fine singing voice, Dione Parker Bennett, did not have the physical attributes or the acting skills to effectively develop the role of Bess. It was difficult to believe that she was the sultry and beauteous woman that men would
fight over. Devon Settles was also hard to accept as Sportin’ Life. He needed to be more snake-like. His version of “It Ain’t Necessarily So” failed to develop the proper under belly meaning of the song. He didn’t move or dance in a manner that fit the role.

Trad Burns lighting, especially during the storm scene, was impressive. At times, Stuart Raleigh’s overly enthusiastic orchestra drowned out the vocalists. This is very problematic in a show that requires the audience to hear the words of the songs.

CAPSULE JUDGEMENT: ‘PORGY AND BESS’ is an awesome undertaking. Beck Center should be praised for bringing this important American theatre classic to the stage. When the cast settles into their roles, it should result in a very positive experience. As is, it’s worth attending just to see and hear the wondrous William Clarence Marshall.

Respect (Hanna Theatre)

‘RESPECT’ leaves ‘em screaming and dancing at the Hanna

Over the last century, the lives of women, have gone through a major transformation. This topic has been the subject of a number of musical and straight plays. ‘RESPECT: A MUSICAL JOURNEY OF WOMEN,’ now on stage at the Hanna Theatre, is another in the series. Judging from the opening night audience, this journey is going to have a lot of travelers on board.

Dorothy Marcic, the show’s author, based the script on her book, ‘RESPECT, WOMEN AND POPULAR MUSIC.’ That manuscript analyzed the top-40 female song lyrics since 1900. She conceived the show in a chronological sequence, mainly centering on the experiences of one woman, her female relatives and the individuals with who they came in contact, or were the movers and shakers during the 60-some year journey.

The author states, “ For more than the first half of the last century, the voices of women in Top-40 popular music has been one of neediness and dependency. I'll do anything for you; just be my baby, even if you're no good and treat me bad; just LOVE me and I'll stand by my man. By the end of the century, things were quite different. Popular music had come far enough so that women looked for the hero within themselves, were urged to get on their feet and make it happen, ready to stand on her own with or without a man.”

The conclusion that Marcic reaches is "I am woman-hear me roar," and "I will survive." Thus, women should find and follow their own dreams. Where this leaves men is another topic, one not dealt with in this script.

The script generally flows well with logical verbal and vocal transitions. Though a little long, a 90 minute one-act, rather than a two-act production would be preferable. Some songs could be easily dropped such as, “How Much Is That Doggie in the Window,” the television tunes segment, and “Video” even though it was cleverly choreographed.

The Hanna show is well directed by David Arisco, with strong music supervision by Phil Hinton and musical direction by Gary Rusnak. Russ Borski’s scenic design, Jean Tessier’s lighting design and Mary Lynn Izzo’s creative costumes add to the quality of the production. Though no choreographer is listed, the dance sequences were cleverly conceived.

The stars of the show, besides the songs, are the cast members. Working their way through the likes of “Bird In a Gilded Cage,” “Someone to Watch Over Me,” “I Enjoy Being a Girl,” “You Don’t Own Me,” and “R-E-S-P-E-C-T,” the four woman cast generally acted, danced and sang with purpose. They accomplished the goal of clearly interpreting the songs and using verbal transitions to further the author’s purpose.

Tina D. Stump, who is pure soul, wailed her way through “I Will Survive” and ripped her way through “Hard Hearted Hannah.” The woman controls the stage and every song she warbles.

Tricia Bestic is a dynamic and endearing performer. Her version of “As Long As He Needs Me” was electrifying. “I Wanna Be Loved By You” was a smile highlight as was “These Boots Are Made for Walking.”

Melissa Barber was generally fine, but, at times, she displayed some inconsistency in her vocalizations and song interpretations.

Paula Kline-Messner was excellent as the narrator. She was totally believable in the spoken segments and sang well.

Capsule judgment: ‘MENOPAUSE’ ran and ran and ran at the 14th Street Theatre in Playhouse Square. Judging by the opening night audience’s reactions, the same production group has another hit with RESPECT.

‘URINETOWN’ is okay, but not great at Carousel

Last year, when Beck Center, produced URINETOWN, THE MUSICAL! I stated, “Beck’s’ production is outstanding! The cast is excellent...not a weak link in the chain.” I’d love to say the same thing about the Carousel Dinner Theatre production, but I can’t. That’s not to say the production was bad, it just didn’t live up to my previous experiences with the show.

The show is fun, in fact, a total delight, but it also has a serious underbelly. This is a tale of greed, corruption, love and revolution in a city where water is worth its weight in gold. Messages pervade, such as what happens when big business is given the right to control our lives. Think of the pharmaceutical and medical companies and their stranglehold over our health. What is it like to be lied to continually in an attempt to push a political and economic agenda? Think of the amount of money being made by the oil and military-industrial complex and influential public officials. Think of the rape of the environment caused by loosening the clean air act. The fantasy of the situation described in ‘URINETOWN: THE MUSICAL’ has become near reality.

The first act of the Carousel show, as directed by Jennifer Cody dragged. The cleverness was missing. The cast seemed to be moon walking through their roles, often not connecting with the audience. The second act, however, sparkled. The pacing intensified and a feeling of abandonment set in. The transition centered on Brian Loeffler’s excellently choreographed act two opener, “What is Urinetown.” This, “Cop Song” and “Run, Freedom, Run” were the show’s highlights.

Chris Murrah has a good singing voice and developed a clear character as Bobby. Karen Katz was a delightful scene stealer as Little Sally. She and Murrah were absolutely consistent in their high quality level.

Al Bundonis was not playful enough as Officer Lockstock. Much of the success of the production centers on his characterization. Unfortunately, he never quite hit the right stride. Patrick Carroll was totally ineffective as Senator Flipp. Robert Stoeckle was not slimy enough as the bad guy, Caldwell B. Cladwell. Without the audience hating him, much of the play’s core erodes. Also adding to the problems was the tinny sound of the overly keyboarded orchestra.

Carousel deserves kudos for taking a severe bend in their usual safe production road by producing this controversially titled and subject-mattered script. Hopefully, they will continue to challenge their audiences.

CAPSULE JUDGEMENT: ‘URINETOWN THE MUSICAL’ can be a delightful and meaningful experience. The Carousel production comes close, but has too many weaknesses to be a stellar production.

Verb Ballets (Nature Center)

VERB BALLETS, a treat at the Nature Center

On the way out of opening night of Verb Ballets’ ‘NATURE MOVES 2,’ which was staged at the Cleveland Museum of Natural History’s auditorium, a woman who
attends almost every dance program in the area gushed, “They are absolutely consistent. What a treat.”

Yes, she is right. Verb is consistent and they are a treat. Artistic Director Hernando Cortez has molded his company into a very effectively operating dance machine. The dancers are well-trained and perform with purpose and focus.

‘NATURE MOVES 2’ consisted of four pieces. The opening offering, danced in well designed black and white costumes by Suzy Campbell, was “Shadow of Nes-min.” It was based on The Book of the Dead, a collection of prayers and spells believed to provide
aid for the spirit of the deceased. The live piano music, excellently played by Michael Schneider, was proficiently interpreted by the dancers. Consisting of a number of dramatic poses and intricate body moves, the segment was danced well by the company. It is not a show stopper, but served as a good curtain raiser to show the skills of the company.

‘KU’U HOME,’ a company premiere, was pleasantly danced by newcomer Sydney Ignacio. He is a proficient dancer who, under the guidance of Cortez, should develop
well. He needs to learn to exude confidence and solidly stick his landings on leaps.

For those interested in classical ballet, Cortez incorporated ‘ANDANTE SOSTENUTO’ into the program. Choreographed originally by Heinz Poll, it is an
interpretation of Felix Mendelssohn’s “Second Movement Piano Concerto #2 in D minor. Anna Roberts, who never looked completely comfortable, danced the female role in this pas de deux. She displayed some nice toe work. Brian Murphy very competently partnered. It would have been nice to see Murphy given more of an opportunity to display his strong balletic skills.

‘WOLFGANG STRATEGIES,’ is a sprightly piece, set to several musical compositions of Wolfgang Mozart. A modern ballet with classical overtones, the world premiere, was an audience pleaser. Danced with flowing hands and high jumps, a feeling of abandon and glee was present as the dancers and audience alike smiled throughout. As in all the pieces in the program, Trad Burns lighting helped set the mood and visually guide the audience.

Burns’ and Cortez’s accomplishments in being able to create excellence is amazing as the Nature Museum’s space is a lecture hall, with a long narrow stage and none of the lighting instruments usually found in auditoriums. Bravo!

As I have stated in the past, Cortez needs to figure out where he is going next regarding the company’s personnel. He took a major step forward in putting Brian Murphy under contract. He has also added Sydney Ignacio to his corps of dancers. Ignacio is a work in progress. The women of the company continue to be excellent. Cortez has a major task. Competent male dancers are hard to find and the fact that Verb is a core rather than a star-centered company makes finding males even more difficult.

CAPSULE JUDGEMENT: Verb Ballets continues to impress in its climb to its position as the area’s best and most consistent mid-sized dance company!

Let Freedom Ring (Ensemble)

‘LET FREEDOM RING’ an audinece pleaser at Ensemble

The arts are representative of the era from which they come. They reflect the activities, the attitudes and the people of a particular time period. ‘LET FREEDOM RING,’ Bill Rudman and Eric Coble’s musical review, stresses the concept of era representation built around the theme of social conscience as reflected in the American musical.

Composed of 40-some songs from 75 years of American musical theatre, they echo lyricist Sheldon’ Harnicks’ belief that the songs are social documents. “They tell us who we were and who we are--as individuals, as members of a community, as citizens of a nation.” They are most-often the writings of those lyricists who had a social conscience and spoke their beliefs in the words to the songs included in musicals.

Rudman believes that Yip Harburg was the most politically committed lyricist. Others might argue that Oscar Hammerstein, who built his shows with Richard Rodgers around a social theme expressed in each show’s major song, eg., “You Have to Be Carefully Taught” in ‘SOUTH PACIFIC’ and “It’s a Puzzlement” in ‘THE KING AND I.’ That, not withstanding, Rudman and his co-conceiver, the prolific playwright Eric Coble, have constructed a generally well-integrated review.

Integration, blending the songs into a unified theme with clear transitions, is a major problem with many reviews. With the exception of the passage from their love segment (“Who Cares,” “I Only Have Eyes for You” and “What Good Is Love?”) into the work segment (“Song of the Sewing Machine” and “Millwork”) and the first act finale “The Silent Spring” transition to “Joe Worker,” the verbal, dance and spoken bridges work well. One might also question, however, the choice of “Joe Worker” which seems to fit better into the work segment, as an act finale. Usually, the last song of an act leaves the audience with unfinished business which they must come back to solve or is a dynamic presentation which leaves the audience buzzing.. “Joe Worker” didn’t succeed on either of those levels.

The Ensemble production, under the apt direction of Eric Schmiedl, is very entertaining. David Shimotakahara’s and Pandora Robertson’s choreography is outstanding. In fact, it is the show’s strongest element.

High point numbers are “Status Quo,” “It’s the Right Time to Be Rich,” “Everybody Says Don’t” and “A Wonderful Way to Die.”

Nancy Maier does an excellent job of piano accompaniment. Todd Krispinksy’s scenic design is attractive and functional. Steven Schultz’s projections are purposeful and often include creative whimsy.

The cast is effective, but uneven. Placing Mick Houlahan, a consummate professional singer and actor on stage with a group of still learning college kids made for a startling contrast. Houlahan is confident, knows how to sing meanings instead of just words, and can control an audience with a smile or a twinkle of the eye. Though the kids try, they just look and sound like they are close to being ready for prime time, but not quite there. This production, with the likes of Dan Folino, Tracee Patterson, Monica Olejko and Kyle Primous, would have been astounding.

This is not to say that Hannah DelMonte, Erin Childs, Javar Parker and Michael Russo are bad, they aren’t. They were just outclassed by Houlahan and the requirements of the material.

The strongest of the youth quartet is DelMonte. She has a pleasant but not outstanding voice, a compelling presence and lights up the stage when she speaks. Childs has an affable voice in the lower registers, but has trouble projecting in the higher range. Some of her acting is shallow.

Parker was inconsistent. Some of his vocals (e.g, “Just Don’t Make No Sense”) were excellent, while at other times he sang without much meaning. Russo has a pleasant voice, but little stage presence. He never appears completely relaxed, especially in songs like “The Locker Room” in which he seems to be uncomfortable with the material. Often he makes distracting facial configurations, singing out of the sides of his mouth.

CAPSULE JUDGEMENT: ‘LET FREEDOM RING!’ is a sure-fire audience pleaser. With a more experienced cast and a few adjustments in the script, this could have been a complete winner.

A Murder of Crows (convergence-continuum)

Another Wellman script at convergence-continuum

Convergence-continuum is up to its old tricks. Since it was founded the venue has produced out-of-the-loop, out-of-the-norm, outside-the-mainstream-audience productions. Many of them have been written by language trickster Mac Wellman, a friend of Clyde Simon, the theatre’s artistic director.

The theatre’s latest Wellman play is ‘A MURDER OF CROWS,’ an environmental tragic comedy that centers on a teenager who is waiting for a major calamity to occur. She is surrounded by a dysfunctional family (what else can you expect, this is a Wellman play). Her mother is an emotionally drained skeleton; her brother, who suffers from post-traumatic stress syndrome, is a golden monument in the front yard; an aunt and uncle secretly transport shopping bags full of money; and a father who returns from a gruesome death in which he was buried headfirst in a sludge pit. (Honestly, I’m not making this up.)

The group lives in an unspecified heartland area, downwind of what appears to be a toxic waste dump. It’s an area that Wellman has written about so much that his fans call it “Macland.”

Also populating the area is a murder of crows. Murder of crows, that ‘s a group of them, like a pride of lions, tower of giraffes, or gaggle of geese. These crows sing and act like a Greek chorus and comment on the goings on. (Again, I’m not making any of this up.)

The convergence production is under the usual adept directing guidance of Clyde Simon who does double duty as Raymond, the father.

Lucy Bredeson-Smith, who is one of the most consistently excellent actresses in the area, is mesmerizing as Nella, the mother. Geoffrey Hoffman is excellent as the gold coated son. Denise Astorino misses some of the right notes as the girl obsessed by the impending doom. Lauri Hammer is appropriately obnoxious as the bigoted aunt. Wes Shofner gives his usual excellent performance as the father. The crows aren’t much as singers, though they must have been watching the movements of our feathered black friends, as they do everything except fly around the theatre in their attempts to imitate the birds.

CAPSULE JUDGEMENT: Wellman is definitely an acquired taste. I still haven’t learned to savor his concoctions. That doesn’t mean you won’t. If you like abstract concepts, in a well-packaged production, you’ll enjoy ‘A MURDER OF CROWS.’ If not, more traditional offerings are opening at other local theatres.

Nat King Cole (Actors' Summit)

Audience likes Nat King Cole tribute at Actors’ Summit

What do the songs "Pretend," "Route 66," "Chestnuts Roasting on an Open Fire," "Rambling Rose,” “It’s Only a Paper Moon,” “Nature Boy,” “Mona Lisa” and “Too Young” all have in common? They are all hit songs recorded by Nathaniel Adams Cole, better known as Nat King Cole whose life is showcased in Actors’ Studio’s ‘NAT “KING” COLE’ by Kent LeMar & A. Neil Thackberry. Most think of Cole as a singer, but he was actually trained to be a classical pianist and never considered himself to be a singer, but as a jazz musician.

In 1943, Cole recorded "Straighten Up and Fly Right," which was based on one of his preacher father's sermons. It became a smash hit and changed his musical life.

Cole had many firsts. He was the first black jazz musician to have his own weekly radio show and the first black to have a weekly network television show.

A heavy smoker, he died of lung cancer in 1965, but his music lives on.

Based on audience reactions, and the need to extend the show several times due to positive reviews and comments, ‘NAT “KING” COLE’ is a hit. It is indeed a very pleasant evening of musical reminiscences for those brought up during the 50s and 60s.

Do not go, however, expecting to see or hear Cole. What LeMar does is give a Cole impression, not a recreation. Though he has a nice voice, LeMar isn’t a Cole duplicate. We’ve seen duplicates on the Actors’ Summit stage. In past seasons Thackaberry transformed himself into Clarence Darrow and Wayne Turney morphed into Harry Truman.

LeMar feigns Cole facial expressions, attempts to articulate the Cole speaking sound and give the deep jazz based sounds of the great singer. He is inconsistent in those attempts. Cole prided himself on his diction. He held his consonants and breathed life into his words. LeMar, though he tries, just doesn’t give us the sound that allows us to close our eyes and hear Cole. His most Cole-esque interpretations were: “A Nightingale Sang In Berkeley Square, “ “Sweet Embraceable You,” “Christmas Song” and “When I Fall In Love.”

The script, though it does fill us with details of Cole’s life, isn’t well structured. Many of the songs are dropped in, they don’t help develop the story as in a well integrated reviews. “Let There Be Love,” “Too Young,” “When I Fall in Love,” “Wild Root Cream Oil” and “Smile” fit in. Most of the other songs don’t. The script is being rewritten and it can only be hoped that more effort will be made to integrate the songs into the story.

Because Cole was noted for sitting at the piano and singing, the fact that pianist David Williams plays most of the music, is off-setting. Williams is wonderful , but if this is supposed to be the real Cole performing for us, then Williams’ presence doesn’t make sense. This aspect is confusing as LeMar is an excellent pianist.

CAPSULE JUDGEMENT: ‘NAT “KING” COLE’ is an audience pleaser. Due to its appeal, the show will be reprised on September 7 and run until the 24th on Friday and Saturday evenings and Sunday matinees, with some rewriting, including the addition of more musicians to emulate The King Cole Trio

Pointe of Departure (Cain Park)

Is Pointe of Departure the answer to the area’s ballet void?

With the apparent demise of Ohio Ballet, the Cleveland area is left without a major ballet company. Yes, there is Ohio Ballet Theatre, Denise Gula’s Oberlin based group, but it mainly performs in Lorain County, though it is expanding into the Cuyahoga County area, and has only a small company of dancers.

A void exists. Can that void be filled by Pointe of Departure?

Pointe of Departure, which originated in 1998 as a collaboration between Lev Polyakin, Karen Gabay and Raymond Rodriguez, recently performed at Cain Park to a fair-sized house. The program notes state, “The future of the company is to expand the length of the season and to offer more performances throughout the year.” It can only be hoped that this is true.

Gabay and Rodriguez are best known as the wunderkinds of the now-departed Cleveland-San Jose Ballet. For years, their local performances were met with critical and public adulation The duo still performs with the company which now makes San Jose its home. They are getting rather old to continue to dance full time, and their emotional fan base is in the Cleveland area, so it is an obvious place for the duo to put down their choreographic and teaching roots.

Making the company into a permanent resident company will take lots of money. With corporations abandoning the local area, some of the financial fund raising base is gone. However, if the county commissioners’ proposed cigarette tax is enacted, and some local donors, who gave heavily to the previous professional company, can be convinced that this group will not lavishly over spend, like the previous artistic director did, then the purse strings may loosen.

Pointe of Departure, as it is presently constituted, is not a world class, nor even a high-level dance company. Since it performs only sporadically, the dancers have little time to meld together. This was obvious in their Cain Park performance, where uneven timing of corps movements was the general case. In addition, the professional dance level of the performers is also questionable. Yes, Gabay and Rodriguez were superb, especially in their pas-de-deux ‘MOON REFLECTION OVER CRYSTAL SPRING,’ which got a spontaneous and well-deserved screaming standing ovation, but there was weakness among the others.

The women, especially lovely and sprightly Jim Zhang, DeAnn Petrushke and Erena Ishii, were quite good; but the males were generally weak. Travis Walker, though rather stone-faced, was the most consistent of the gentlemen. He performed some fine jumps, did a good job of partnering and had an air of confidence. Jurijs Safanovs performed a competent Zorba-inspired segment, but was awkward in other roles. Peter Kozak seems comfortable with the contemporary moves, but was lacking in the classical segments. Maximo Califano was all affect, feigning hand movements and facial expressions and doing a great deal of posing, but was short on partnering skills and dance style.

Karen Gabay has good choreographic instincts. Her ‘HOORAY FOR HOLLYWOOD,’ though a little long, had many highlight segments. Rodriguez and Gabay’s ‘NAPOLI’ staging was innovative.

With strong modern and contemporary companies, such as Verb Ballets, Groundworks and Inlet Dance that segment of the local dance scene seems well covered. It will be interesting to see what develops on the classical dance scene. Hopefully, Pointe of Departure, or some similar group, will come along and fill the void. It would be a shame that an area with such a strong arts reputation should be lacking in this performance area.

Sunday in the Park With George (Lakeland Theatre)

A pleasant ‘SUNDAY IN THE PARK WITH GEORGE’ at Lakeland

Painter Georges Seurat and musical theatre composer and lyricist Stephen Sondheim have much in common. Though noted as being successful in their fields, both
had personal and career highs and lows.

Seurat, who is the subject of Sondheim’s ‘SUNDAY IN THE PARK WITH GEORGE,’ like Sondheim was revered and disliked because of his penchant for breaking out of the lines.

Seurat broke from traditional realism and embraced a style of painting based on dabs, rather than brush strokes. Using his scientific knowledge, he placed the dots in such proximity to each other that they created light, shadow and color. The technique, entitled “pointillism,” was disliked by traditional painters of his time. Seurat was considered an
outcast and was refused participation in the major art shows of his day. Seurat, it is rumored, did not sell a single major painting while he was alive.

Sondheim is also controversial. With few exceptions his works are intellectual, not intended only to entertain, but also to enlighten. Often they contain a negative-toned woman, who, like Sondheim’s own mother, is all-controlling. Think Mamma Rose in ‘GYPSY’ and the Wicked Witch in ‘INTO THE WOODS.’

Sondheim also doesn’t write songs that can be easily removed from the script and be placed on the top hits lists. He writes songs for his characters to sing that fit completely into the dialogue, reveal something about the person, or helps develop the plot. Though popular among theatre performers, the vast amount of his work is unknown to the general public.

Though Sondheim, like Seurat, is assumed to be a total success (‘GYPSY,’ ‘SWEENEY TODD,’ ‘COMPANY,’ ‘WEST SIDE STORY,’ ‘FUNNY THING HAPPENED ON THE WAY TO THE FORUM”), this assumption is not true. He had
minor successes such as ‘ANYONE CAN WHISTLE’ and ‘PACIFIC OVERTURES, ‘and outright flops like ‘SATURDAY NIGHT’ and ‘MERRILY WE ROLL ALONG.’ After ‘MERRILY’ Sondheim quit the theatre. He was, however, lured back by James Lapine, with the idea of writing a musical based on the life of Seurat and his painting, “A Sunday Afternoon on the Island of La Grande Jatte.” Though the musical never achieved greatness, it did run for almost a year and a half and has some wonderful songs.

In ‘SUNDAY IN THE PARK’ Sondheim wrote music in the artistic style of Seurat. As one critic put it, "Sondheim’s work has such reach, there is so much emotional resonance, that many observers take it personally and become as fascinated with the artist as with the art.”

He won the Pulitzer Prize in Drama for ‘SUNDAY IN THE PARK,’ though Jerry Herman's ‘LA CAGE AUX FOLLES,’ a traditionally formatted show, was selected by the Tony Awards for Best Musical and Best Score.

The first act takes place in nineteenth-century France. Georges struggles with his art and his personal life. He is completely engrossed in his artwork and not with his pregnant girlfriend/model, Dot. She leaves him to find a more supportive man. The act introduces the audience to many of the subjects in the painting (a fisherman, nurse, old
lady, American tourists, teenage girls and Dot).

Act Two, is set in New York and Paris in 1984. Georges' great-grandson, George, is struggling to find inspiration in his artwork. He is helped when the spirit of Dot returns with some wise words as he visits La Grade Jatte.

The first act is stronger than the second. In fact, the final act was finished only days before the show opened on Broadway and failed to receive the polishing needed.

The musical is a difficult undertaking for any theatre. Considering that Lakeland’s production has only one equity performer (young Emma Wahl), and she does not have a major role, the production is impressive. Much credit goes to Martin Freedman, the show’s director and Sondheim devotee.

Amiee Collier is excellent as Dot and later as George’s grandmother. She has a strong singing voice and interprets meanings, rather than just singing words. This is imperative in a Sondheim show. She also develops clear characterizations. Mary Jane Nottage is endearing as the “old lady.”

Andrew Tarr puts out a yeoman’s effort into developing the roles of Georges and George but he does not have the acting or the vocal prowess to pull off the roles. One only had to have seen Mandy Patinkin in the Broadway production or listen to his vocalizations on the CD of the show to hear the complexity of the music and of the character.

Keith Nagy’s sets and lighting designs add much to the production as does the musical direction of Larry Goodpaster. Unfortunately, the theatre’s poor sound system caused vocal distortions.

CAPSULE JUDGEMENT: Seurat contended that a painting is composed of design, order, composition, light and harmony. The same can be said of a musical. Lakeland
should be proud of its artistic composition.

Shaw Festival, a review

SHAW FESTIVAL brims with superb offerings

The Shaw Festival, located in Niagara-on-the-Lake, Ontario, Canada is the only theatre in the world that specializes in plays by G. B. Shaw and his contemporaries. The plays of that era are often excellent and challenging. Fortunately, for this year’s audiences, this is a stellar year for the Shaw. With few exceptions, play after play is exceptional.

‘THE CRUCIBLE’ gets a brilliant production

Arthur Miller, one of America’s greatest modern playwrights, penned ‘THE CRUCIBLE’ as a protest against Joseph McCarthy’s witch-hunt for Communists in the government and entertainment industry during the early 1950s. The country was in hysteria for fear of Russia and its emergence as a major power. McCarthy fed on that hysteria, much like the religious fanatics of Massachusetts colony set upon so-called witches because of the hard times facing the people of the late 17th century.

This play is relevant today as the Bush administration, using the hysteria of 9-11, has conducted witch hunts and taken away citizen civil rights. Much of this philosophy centers on a line right out of Miller’s play, “You are either with us or against us.” The play also reflects attitudes of the present day religious right, who, much like the Salem religious fanatics, hunt out those not agreeing with their interpretation of what is right and wrong. They attack homosexuals, those who believe in abortion, and those who champion stem cell research, for “poisoning” the “good” folk.

The story concerns an accusation against Goode Proctor by a teenaged girl who, after having a sexual affair with Proctor’s husband, John, accuses Goode Proctor and others of being witches. The chief magistrate, much like Joseph McCarthy, or today’s right wing judges, closes his eyes to facts and is swayed by his own agenda. In the process, the question of one’s reputation comes center stage. Proctor, after standing up for those who are being killed in the name of “righteousness,” cries out, after refusing to sign a document in which he would falsely agree that he has seen the devil, “My name, I must have my name.”

The Shaw production is brilliant. This is the finest staging of ‘THE CRUCIBLE’ that I have ever seen. It is flawless. The acting, the pacing, the staging, the tension are all perfectly honed.

Director Tadeusz Bradecki has created a scary, yet true illusion. Peter Hartwell’s set design enhances the visual and emotional imagery.

Benedict Campbell is brilliant as John Proctor, as is Kelli Fox (sister of Michael J. Fox) as Elizabeth. Jim Mezon is scary as the closed minded “holier than thou” Deputy Governor. Charlotte Gowdy, as Abigail Williams, the lying teenager, is so real, she is spooky with her total disregard for the truth. The rest of the cast is equally superb.

The audience sat in shocked silence at the conclusion of the play...a perfect tribute to as perfect a theatrical experience as one might ever experience.

It is a shame and a blessing that a play like ‘THE CRUCIBLE’ has to exist. However, as witch-hunts continue, the theatre must have a voice like Miller’s to protest the taking away of rights. And, if such messages must be given a life, then they should be presented as brilliantly as the Shaw production!


‘THE HEIRESS’ gets as perfect a theatrical production as one will experience The year is 1850. The setting is a well-appointed parlor in New York’s very fashionable Washington Square. We are introduced to the Sloper family--an embittered doctor who lost his wife in childbirth, his widowed sister, and his extraordinarily shy daughter (Catherine). This is a family in which civility, a lack of feelings, and frustrations are ever-present. Into this setting comes a handsome young bachelor (Morris), a potential suitor for Catherine. Is the penniless man a fortune-hunter after Catherine’s money or does he really love her? Only the startling conclusion reveals the answer.

Director Joseph Ziegler has created a well-thought out production. The play is well paced, clearly builds the tensions, is perfectly acted, and leads the audience to a collective verbal gasp at the conclusion.

The sets and costumes are elegant.

The drama and humor are perfectly keyed. Michael Ball creates a totally believable embittered Dr. Slopes. Tara Roisling is flawless in her portrayal of the tortured Catherine. Her transition in the closing scene of the play is an acting tour-de-force. Mike Shara is such a cad as Catherine’s suitor that several audience members booed as he came out for his curtain call, unable to separate the actor from the role. As in ‘THE CRUCIBLE,’ the supporting cast is superb.

Shaw’s ‘THE HEIRESS” is as perfect a theatrical piece as one will experience.

Hysterical ‘LOVE AMONG THE RUSSIANS’
The words “Anton Chekhov” and “funny” are not usually found in the same sentence. Chekhov, the theatrical voice that predicted major changes in Russia in the early 1900s, is credited with being the foremost arts commentator on the cracks in the veneer of the aristocracy of the pre-Soviet Union. As one of the fathers of the realistic movement in the theatre, his writing is often philosophical and is dramatic with occasional humorous overtones. What many people don’t know is that Chekhov was a popular faceur. Interspersed between his “THREE SISTERS’ and ‘THE CHERRY ORCHARD’ there were short plays with hilarious glimpses of love and courtship, and about peoples’ foibles beyond political and social lessons.

Two of Chekhov’s Russia-lite pieces are ‘THE BEAR’ and ‘THE PROPOSAL,’ which have been coupled by the Shaw Festival into a 50-minute noon-time delight entitled, ‘LOVE AMONG THE RUSSIANS.’

Plot lines are really irrelevant here. The important matter is that Director Eda Holmes has created two hysterically funny, audience-loving, enjoyable tidbits. Only a person totally devoid of humor could leave the tiny Court House theatre after seeing ‘LOVE AMONG THE RUSSIANS’ and not have had a wonderful time. As a woman behind me said to her friend as we exited, “I laughed so hard, I think I wet my panties.” Her friend responded, “I don’t have to think about it, I know I did!” What better commentary can I give to this delightful production?

‘ARMS AND THE MAN’ done as a delightful farce
A director of George Bernard Shaw’s ‘ARMS AND THE MAN’ has a decision to make. Should the play be staged s a comedy or as an outright no-holds barred farce? The former approach allows Shaw’s lines to carry the humor and create the message. The latter requires that the audience be primed to laugh at what is happening on stage, in other words, to laugh at the outlandishness of the actors, the setting, and even the costumes. The message then sneaks in.

Jackie Maxwell, the Shaw’s Artistic Director, has decided to present ‘ARMS AND THE MAN’ as a no-holds-barred farce.

The characters are so much bigger than life that they are totally unbelievable. The lines are so broadly presented that everything short of holding up “laugh now” signs are present.

Even the costumes are overdone and outlandish. The flamboyant military uniforms are brilliant red and decorated with numerous metals and braid. The brightly colored female costumes are harem dancer-influenced, though the play takes place in Bulgaria.

The sets are also overdone. A huge library, supposedly the only library in the country, contains less than ten carefully placed books. Even the set changes are overdone.

This is a production played for laughs, which highlight Shaw’s usual messages including women’s rights (“People don’t live up to their ideals.”), the ridiculousness of the upper classes (“Everything I think is mocked by everything I do.”), the stupidity of war (“War is a sham, like love.”), and the absurdity of existence (“Life’s a farce.”).

The story, into which the messages are encased, concerns Raina, the wealthy young daughter of a rich nobleman and her relationships with a pompous weak-minded yet extremely handsome military bumbler as well as the “Chocolate Soldier,” an intelligent, charming mercenary who is befriended when he sneaks into her bed chamber in order to avoid being killed by her countrymen. Through a series of unbelievable and silly incidents, which is what farce is all about, everyone and everything turns out exactly as it should.

The production is a laugh-loaded delight. Don’t go in looking for the message, arrive ready to have a good time and you’ll enjoy the goings-on. If you don’t like the outlandish, the over-the-top plea for laughs, and slapstick comedy, you’ll be utterly frustrated. If you trust Maxwell and her cast and you’ll have fun and might accidentally learn something.

‘DESIGN FOR LIVING’ is Noel Coward at his best

Noel Coward is the crown prince of sophisticated comedies.

As a life-long friend of Alfred Lunt and his wife Lynn Fontainne, often considered the most famous acting couple in the English-speaking theatre, ‘DESIGN FOR LIVING’ has a somewhat historical glow of the menage-de-trois bisexual relationship between the trio.

The play opened at the Hanna Theatre in Cleveland on January 2, 1932 to rave reviews before going to Broadway, where the reaction was not quite as positive.

The show is a laugh delight as the trio trades partners, insults and generally causes havoc in the society and art worlds of New York, Paris and London.

The sets and costumes are wonderful. The production qualities are of equal excellence. The cast is well-balanced, play well off each other, and create a grand-old-time for the audience.

‘HIGH SOCIETY’ misses the production mark
‘HIGH SOCIETY’ is the musical version of Philip Barry’s play and George Cukor’s movie ‘THE PHILADELPHIA STORY.’ A romantic love story, which uses cleverness to hide darkness and underlying pain, concerns a wealthy family’s attempts to find happiness in all sorts of configurations. Don’t get the idea that this is a great script. It’s not. It fails to live up to its birth sources.

Cole Porter is the crown prince of clever musical theatre lyrics. He writes outrageously fascinating rhyme schemes. In a unique twist, this musical’s score wasn’t really written for this script. In 1997, long after Porter’s death, Arthur Kopit, who wrote the book, was given permission by the Porter estate to draw freely from the composer’s songbook in his quest to develop the story. If necessary, words were allowed to be adapted to help the song-script union. This unusual composing development permits songs to be dropped in, rather than integrated into the story. The musical sounds often don’t fit seamlessly into some of the scenes into which they have been transplanted. The result is a very choppy show.

The Shaw’s production is not bad, it just isn’t great. The show has a Canadian form of aloofness which is not the same as New England sophistication. (Think Katharine Hepburn as an illusion of what the lead character should be.) This is a play of polite cleverness rather than out-and-out US American bite and edge.

The singing voices are good, the visual illusions are fine. There is a degree of slapstick that doesn’t fit the Porter, Barry or Cukor concept which bother my sensibility, but probably won’t get in the way of many enjoying the production.

Melissa Peters steals the show as a youngster, wise beyond her years, who manipulates the adults like a master puppeteer.

‘THE INVISIBLE MAN’ suffers from special effect lite

H. G. Wells perceived the future through a set of eyes that saw images of what was going to be. Many much of his scientific and sociological visions have come true in one form or another. In his book ‘THE INVISIBLE MAN,’ Wells created a situation in which a man could take a drug and become invisible. Though this hasn’t been achieved yet, per se, such devices as x-rays, MRIs have been developed to allow us to see into the interior of humans.

The Shaw production gets waylaid by a series of happenings. Special effects in movies and on-stage have become so vivid and real that anything less than real and spectacular leave much to be desired. Staging the show in such an intimate theatre also makes faking the needed illusionary effects impossible. In addition, Michael O’Brien’s script is not well conceived. The actions and ideas often don’t flow clearly. Adding to the problem is the size of the Royal George Theatre’s tiny stage. Everything seems cramped and actors have to dodge around each other, creating awkward stage pictures.

Of all the plays I saw at Shaw this season, ‘THE INVISIBLE MAN’ was the weakest script and production and the one which received the least applause from the audience.

CAPSULE JUDGEMENT: Shaw soars this season! Of the plays I saw, I’d strongly recommend ‘THE CRUCIBLE,’ ‘THE HEIRESS,’ ‘LOVE AMONG THE RUSSIANS, ‘ARMS AND THE MAN’ and ‘DESIGN FOR LIVING.’

Side note: Be aware that the days of low cost due to the high value of the American dollar against the Canadian dollar, are over. The exchange rate is almost equal, dollar for dollar. (If you are interested in info about the whole theatrical season, which runs well into November, and where to stay, what to do and where to eat, go to www.royberko.info and search in the 2006 review summaries for the Shaw listings.)

Our Town (Porthouse Theatre/KSU)

‘OUR TOWN’ is effectively and uniquely staged at Porthouse

I consider ‘OUR TOWN,’ which is now being performed at Porthouse Theatre, on the grounds of the Blossom Center, to be one of the greatest plays of the 20th century. It not only won the Pulitzer Prize in 1938, has become one of the most performed and studied plays in the English language.

On the surface the play appears to be a rendition of the daily activities found in small town America in the first third of the twentieth century. In reality, it is a tribute to basic humanistic views of life. Each time I see, direct, teach or have appeared in the play I bask in the after-glow and find myself a better person.

Playwright Thornton Wilder, who was brought up in Hong Kong and China, was imbued with an Asian perfectionist attitude. His education at Oberlin and Yale centered on the classics. These influences are deeply imbedded into the ‘OUR TOWN’ script. The stage manager represents the classical Greek chorus and the guide in Asian theatrical forms. The direct speeches to the audience create a theatricalism that stops the viewers from transferring their thoughts to the play’s characters and focuses their thoughts on themselves. He is exact in his descriptions of the sun rising and setting and where stores and houses are placed on the stage, yet these places only exist in our minds.

Interestingly, the exactness is misleading. Wilder states that Grover’s Corners, New Hampshire, where the play takes place, is located at 42 degrees, 40 minutes latitude and 70 degrees, 37 minutes. Exact? Hardly. That would not place the town anywhere near New Hampshire. In another scene, Mrs. Webb and Mrs. Gibbs are stringing beans. Sorry, but beans don’t grow in New Hampshire in May. Why does Wilder do this? He wants the play to carry a universal message. This is not about the existence of those in Grover’s Corners, it is about all of us, all of our lives.

Wilder writes exact stage directions in the script. No scenery, the lines say, but some suggestions are made. Usually two trellises, two ladders, and chairs and tables are used. The New England dialect is another specific device. The “ay yehs” and other area sounds are on the printed page. It is here that you must be warned about the ‘OUR TOWN’ at Porthouse. Matthew Earnest, the show’s director, has thrown much of the traditional Wilder devices to the wind. No ladders, no trellises, no New England accents. He has given the show a whole new feel. Instead of slowly paced, the actors and scene people charge around the stage, the stage manager is a theatre stage manager, not a town spokesman, per se. He plays for laughs, but doesn’t lose the pathos.

If you are a Wilder traditionalist, it’s going to take you a while to adjust to Earnest’s concept. I wiggled through much of the first act as the barefoot actors ran hither and yon. But then I found myself fascinated by how the interpretation, instead of ruining my experience, heightened it. I finally concluded that this production worked, and worked well!

Wilder divided the play into three segments, each with a clear title: Act I: Daily Life, Act II: Love and Marriage, and Act III: Death. Earnest has highlighted the differences by pacing them to fit the specific actions of the act. Again, very creative.

The cast is excellent. Monica Bell and Elizabeth Ann Townsend are superlative as Mrs. Gibbs and Mrs. Webb. Rohn Thomas has the right touch for Doc Gibbs. His father-son talk with his son George (Ryan Stutz) was a delight as was the scene between George and his father-in-law (Christopher Seiler). Lenne Snively was endearing as Mrs. Soames, the town busy-body.

John Woodson gave a whole new interpretation to the role of the Stage Manager. He did it effectively with creativity and confidence.

Emily Pote was physically picture-perfect as Emily and did a creditable job, though I would have preferred a less cocky attitude. Her “goodbye to life” speech in the third act was a little fast, not getting the emotional feel out of the scene. This is one of the most plaintive scenes in American theatre. How can anyone not be touched by her plaintiff question, “Do people ever really appreciate life when they’re living it?” Or, the answer, “Some, saints and poets, maybe.”

Stutz was very good as George, though he didn’t fit Wilder’s description of a “great gangling thing;” but, his acting was right on and his boyish innocence worked nicely.

Harlowe R. Hoyt, in his review of a production of ‘OUR TOWN’ at the Jewish Community Center, stated in the April 25, 1958 Plain Dealer, “The burgeoning of love at the soda fountain between Ilene Latter and Roy Berko is one of the most delightful scenes of the play.” About the Pote and Stutz enactment of the same scene I say, “ditto!”

I was disappointed in the lighting by well known designer Severn Clay. There were dark spots on stage and actors sometimes were in the dark or partly in the dark for no theatrical reason. This was very apparent in Act III.

S. Q. Campbells’s costumes were era correct, though all the white was sometimes distracting.

CAPSULE JUDGEMENT: If you’ve ever seen a traditional production of ‘OUR TOWN,’ you are going to have to leave your pre-conceptions at the theatre’s entrance or you’ll fight with the interpretation. Just sit back, take director Matthew Earnest’s concept as a legitimate alternative, and you’ll enjoy it. If you haven’t seen the play before, and need a good shot of appreciation for life, go see the Porthouse production.

Buddy (Carousel Dinner Theatre)

‘BUDDY’ rocks the Carousel

If I didn’t know better, I’d assume Buddy Holly was presently performing at Carousel Dinner Theatre...but more about that later.

The musical, ‘BUDDY: THE BUDDY HOLLY STORY,’ which is basically a rock concert overlaid with a biographic story line, tells of the rise and tragic death of rock-and-roll superstar Buddy Holly. It was written by Alan Janes and Rob Bettinson.

Holly was born Charles Holley in Lubbock, Texas. He had a love for music and was a local bluegrass entertainer until 1955 when, after seeing Elvis Presley sing, he turned to rock-and-roll. After an appearance on the same bill as Bill Haley & His Comets, Holly was offered a contract with Decca Records, who not only changed the spelling of his name to “Holly” but tried to get him to return to his bluegrass roots. The young man, who once said, “Buddy Holly does things his way,” refused and was dropped by the record label.

Shortly afterwards, Holly, drummer Jerry Allison, and bass player Joe Mauldin formed the band “The Crickets.” They cut a record at a small studio in Clovis, New Mexico, entitled, “That’ll Be the Day,” and the rest is history. Songs such as “Peggy Sue,” “Everyday,” “Not Fade Away,” ”Oh Boy,” “Raining in My Heart,” “Rave On” and “Johnny B Good” followed.

Holly's musical sounds and lyrics were quite sophisticated for their day and led to his being a primary force in the evolution of rock-and-roll. He bridged the gap between white and black rockers. Paul McCartney cited Holly as a primary influence on the Beattles. Even the band's name was later chosen partly in homage to Holly's Crickets. The Rolling Stones also fell under the influence of Holly’s style.

In 1959, Holly split from the Crickets and began a solo tour with other notable performers, including Ritchie Valens and J.P. Richardson ("The Big Bopper").
Following the February 2 performance in Clear Lake, Iowa, Buddy Holly chartered a small airplane to transport Valens, Richardson and himself to their next gig. The plane crashed shortly after take-off, ending Holly’s short but meteoric career.

The Carousel production, under the able direction of Victoria Bussert, though a little long, is right on target. The show is generally well cast. Steve Parsons’ musical direction is tone right. Paul Black’s lighting and Russ Borski’s set all work to enhance the production.

John Rochette, as drummer Jerry Allison, is a terrific musician as is base player Tobia D’Amore (Joe Mauldin). Michael Busillo lights up the stage as the hip wiggling Ritchie Valens and Ryan Dunkin does a great enactment of the Big Bopper. The musical backups and character actors are all excellent.

The success of this production, however, depends entirely on the believability of the actor playing Holly. And, fortunately, Canton born Pat McRoberts doesn’t portray Holly, he lives Holly, he sings Holly, he dances Holly and he musically is Holly. McRoberts is Holly in every nuance. This is an amazing performance! Repeat....THIS IS AN AMAZING PERFORMANCE!

CAPSULE JUDGEMENT: Are you a rock-and-roll fan? Do you appreciate the music of Buddy Holly? Do you like a well put-together production? If so, you’ll love ‘BUDDY: THE BUDDY HOLLY STORY’ now on stage at Carousel. Even if you don’t love rock-and-roll, I defy you not to wind up dancing in the aisles during the curtain call.

Verbs Ballets (Cain Park)

Verb Ballets presents another sold-out concert

No, it wasn’t a rock group or a nationally known entertainer at Cain Park. It was Verb Ballets presenting a dance concert. As has become the pattern at the company’s presentations, it was sold out.

Featuring the well-conceived choreography of Hernando Cortez, and the well disciplined dancing of his company, Verb has established itself as the “in” large dance company of Cleveland.

The Cain Park program, which had no overall title, was composed of four selections. The evening opened with ‘PRELUDE AND SIX EASY PIECES’ danced to the music of Jonathan Sheffer as recorded by pianist Michael Schneider. A quiet and lovely piece, the modern moves to the classical sounds was more soothing than compelling. The highlight segment was the “Prelude” duet by blonde and statuesque DeAnn Petruschke and powerful Mark Tomasic. “Prelude after Chopin” received a lovely interpretation by Catherine Meredith and Anna Roberts.

“SPEED (The Icarus Project)” is a delightful crowd pleaser based on the ‘SPEED RACER’ kid’s television show. It features Tomasic as Speed/Icarus and Danielle Brickman, Catherine Meredith and Anna Roberts as Wings/Trixie. The audience thoroughly enjoyed the piece.

‘BOLERO,” danced to the music of Ravel, and choreographed by the late Heinz Poll was created in 1996. The version presented was restaged by Amy Miller of the Groundworks company. The precise movements, done with closed eyes, found the performers dancing basically in place as their bodies moved to the sensual music. It was a brilliant presentation whose conclusion was met with a screaming response from the audience.

The first time I viewed ‘TWO HOURS THAT SHOOK THE WORLD,’ Cortez’s tribute to 9/11, I thought it failed to fully get the desired impact. Again, this time around, I found my mind wandering as the piece failed to command my full attention. My views appeared not to be personal as the audience’s response was polite applause.

In spite of its reputation, Verb Ballets may be at a crossroad. Their female company is excellent, but, their male corps is lacking. Except for Mark Tomasic, who it is rumored may soon be retiring, the company has no strong male dancers. Jason Ignacio is a good dancer, but because of his short stature, he is limited in the roles he can undertake. In the recent program, Christopher Morgan was brought in. Morgan does not fit well with the company’s style. He lacks the power and precision for Cortez’s choreography. It can only be hoped that Cortez will seek out some excellent male dancers. With the apparent demise of Ohio Ballet, there may be some of their corps, in particular the excellent Brian Murphy, who could fill the void.

Groundworks (Cain Park)

GROUNDWORKS expands repertoire at Cain Park

David Shimotakahara is unique among dance company artistic directors. He is not only a perfectionist when it comes to developing precise dance numbers, and is a superb dancer, but he is also willing to take risks. He schedules his company into various venues...churches, public buildings, parks, traditional theatres and botanical gardens with an eye for reaching out to various publics. He also stretches his company by inviting new works by other choreographers, and has a stable of exciting musicians whose creations become new dance pieces.

The company’s recent performances at Cain Park’s Alma Theatre, which is a perfect venue for a company whose work invites close proximity, was a fine evening of entertainment.

‘IRON LUNG,‘ the opening piece, was the least crowd appealing. Choreographed by Kelly Garfield whose work has been described as “crazy smart, poetically subversive and brutally fun,” ‘IRON LUNG’ examines loss and recovery. It was not unified, often failing to flow together. The movements did not parallel the words of the music by Aqualung. It also failed to play to the company’s strengths...the ability to have controlled and meaningful movements. This was definitely not the same quality as Shimotakahara’s conceptions. Though well-danced, the company did not display its usual emotional involvement.

‘ELEVENELEVEN ,’ a world premiere dance choreographed by Artistic Associate and company member Amy Miller, with music by wonderkindt Ryan Lott, saw bodies flowing in parallel to the creative music. Exploring connectedness, there was a nice feeling created by the dancers working as one. The powerful ending brought a positive reaction from the audience. Like Miller herself, the piece was powerful and was greatly aided by Dennis Dugan’s well designed lighting.

Shimotakahara’s newest work, ‘LATITUDE,’ was a total audience pleaser. The ending was met with screaming praise and a standing ovation that continued well after most displays of appreciation. The movements, which fit the creative music of Hal Walker, were perfectly executed. Walker, who was on stage during the performance, and was even incorporated into the dancing itself, searches out and uses varying non-traditional instruments. He alternately and sometimes even simultaneously played the concertina, harmonica, Jews harp, and several instruments which defied definition. This was a delightful piece which found the dancers adding to the musical sounds by hand/thigh slapping. The company would be well-advised to have Walker conceive more music for them to develop into dances to add to their repertoire.

Damien Highfield added his talent to the company’s four unbelievably competent dancers: Felise Bagley, Amy Miller, Mark Otloski and David Shimotakahara. He fits well into the controlled meld of the others. Also dancing was Jennifer Lott, who has been with the company in recent performances. Lott, though she has developed under Shimotakahara’s coaching, still does not have the power of Miller or the grace of Bagley. Her style needs more honing to match the other company members.

CAPSULE JUDGEMENT: GroundWorks Dancetheater once again proved, in its Cain Park presentation, that it is the area’s premiere small modern and contemporary dance company.

Lies and Legends: The Music of Harry Chapin (Beck Center)

Lies and Legends: The Music of Harry Chapin is another gem at Beck

Beck Center is on a roll! Right on the heels of the outstanding ‘A MAN OF NO IMPORTANCE,’ which ran to sold out audiences, the theatre has another surefire hit on its hands: ‘‘LIES AND LEGENDS: THE MUSIC OF HARRY CHAPIN.’

Harry Chapin told stories through song, and his music has been an integral part of American culture for decades. Creations like “Cats in the Cradle,” “Circle,” and “Tax” are classics that tell stories. These are not just songs, each writing is a tale in-and-of itself.

Born into a wealthy family, Chapin, like fellow born-with-a-silver-spoon-in-the-mouth John F. Kennedy, understood the plight of the American lower and middle classes. He had a keenly developed social conscience. He helped establish the Hungerthon and threw much of his energy into helping the poor and dispossessed. He had an eye and an ear for the lonely and disappointed. He expressed awareness as regret and anxiety in his compositions.

Chapin was killed in an auto accident in July of 1981 at the age of 38. An obituary in Rolling Stone stated that Chapin often described himself as a third-rate folk singer. “Yet Harry Chapin was something more than that. For many who knew him, he was a legitimate hero, not so much for his music as for his consistent and conscientious willingness to fight the right battles, to stand up for a just cause, no matter how hopeless.”

‘Lies and Legends’ is not a musical written by Chapin. It is a review of some of his compositions that was developed after his death. The show opened in New York in April, 1985, ran 79 performances, and has had numerous performances around the country.

Beck Center presented the show 15 years ago. It was directed by William Roudebush, as his first production as Beck’s Artistic Director. The cast consisted of Paul Allesandro, Mickey Houlahan, Monica Olejko, Tracee Patterson and Kent Benz. It was present-day Artistic Director Scott Spence who decided to revive the production. Fortunately, Roudebush and all of the original cast, with the exception of Kent Benz, who died in 1994 at the age of 37, were available, though all but Patterson and Olejko have left the area. Benz’s songs were assigned to Beck Center favorite Dan Folino (who, incidentally is the son of cast member Monica Olejko).

The production is as close to flawless as you will see. Roudebush keeps the scenes moving right along, the stage pictures are ever-changing and interesting, Olejko’s choreography is meaningful and well executed, Nancy Maiers musical direction is note perfect. Don McBride’s multi-level set and Trad Burns lighting enhance the production. The cast’s singing, song interpretation and movement are superlative. Highlights abound.

Monica and Mickey sing dual stories in “Mr. Tanner,” with such precision that both tales can be clearly understood. Tracee’s “Old College Avenue” is poignant. Monica and the boys do a do-op version of “Winter Song,” which is a show stopper. Paul and Monica’s rendition of “Get on With It” is charming. “Dance Band on the Titanic” is a hoot. Dan’s “Odd Job Man” is just out-and-out fun, as is Mickey’s “Six String Orchestra.” I could go on and on and mention every song in the show as a highlight, but you get the point.

CAPSULE JUDGEMENT: The Beck Center’s ‘LIES AND LEGENDS: THE MUSIC OF HARRY CHAPIN’ is a gem. If you love Chapin’s stories and music, if you love good singing, if you love creative staging....GET YOURSELF TO BECK....NOW!!!!!!

Kiss Me Kate (Cain Park)

‘KISS ME KATE’ off-mark at Cain Park

Cole Porter, who wrote the music and lyrics for ‘KISS ME KATE,’ now on stage at Cain Park, is noted for his witty, sophisticated and barbed words. He takes ordinary language and makes it extra-ordinary.

His shows contain hit song after hit song. For example, his musical ‘OUT OF THIS WORLD’ included "From This Moment On" and "I Am Loved." ‘CAN-CAN’ rendered, "I Am In Love" and "I Love Paris." The score of ‘SILK STOCKINGS’ included ’"All Of You" and "Paris Loves Lovers."

The score for ‘KISS ME, KATE’ includes such standards as, "Another Openin’, Another Show", "Brush Up Your Shakespeare", "I Hate Men", "So In Love" and "Too Darn Hot."

The show, which opened in 1948, ran for 1,077 performances on Broadway, and was made into a popular 1953 MGM film.

It tells the tale of two once-married, now-divorced musical theater actors who are performing opposite each other in a Broadway-bound musical version of William Shakespeare's ‘THE TAMING OF THE SHREW.’ The duo develops an emotional war mid-performance. The only thing keeping the show together are threats from a pair of gangsters who are intent on collecting a debt which is to be paid for by box office receipts. In classic escapist musical comedy fashion, madness ensues, and the lovers ultimately reconcile.

To be successful, a production of ‘KISS ME KATE’ must be able to create the intense zaniness of the characters, stress Porter’s wonderfully witty lyrics, make the characters so real that they become bigger than life, and create a visual illusion that sparkles. Unfortunately, the Cain Park production generally fails on all of these levels.

The very young cast simply doesn’t look or sound right. Characters, such as a military general, can’t be portrayed by an early twenty year-old. Especially one who attempts a General Douglas MacArthur imitation without the slightest sense of who the General was other than a stereotype of his visual appearance.

The staging must create appealing and realistic stage pictures. Standing in straight lines, singing directly to the audience (ignoring that love songs are sung by the lovers to each other, not directed at the audience) does not create the right setting for Porter.

The most surprising thing about the production is that it is directed by the very talented Carol Dunne. Last season Dunne directed Cain Park’s smash hit, ‘SONGS FOR A NEW WORLD,’ which I thought was one of the very best musicals in the local area. Somehow Dunne seems to have gotten side-tracked. Maybe it was the use of such a young cast, but that was her casting choice. In productions of such shows as ‘HAIR,’ ‘GREASE’ or ‘RENT’ the age of cast members might not have been a problem, but in KISS ME KATE it is. The age of the characters is basically written into the script. They can’t be fudged.

As usual, Martin Cespedes’s choreography was excellent, but the execution was left wanting. Part of the problem was Russ Borski’s set which pushed the entire set close to the apron of the stage, giving the dancers little space to move. This created a cramped look which led to visual chaos as performers were squashed together, sometimes even running into each other.

In the lead roles, Steel Burkhardt (Fred Graham/Petruchio) displayed a nice singing voice, but like his counterpart Emily Krieger (Lilli Vanessi/Katharine Minola) there were places where they off-key. They both, as did most of the cast, sang words, ignoring the meanings behind the words.

Burkhardt’s other problem was his surface level character development. He just was not believable in the role. It may have been the difficulty in portraying someone of the character’s age or it may have been a lack of understanding of the nuances of the role.

Krieger fared better in her acting, though her characterization lacked the consistency of the necessary real and feigned shrewness. The duo did have a wonderful moment during the scene where Petruchio tames Katherine.

Katie Greiner (Lois Lane/Bianca) and Cornelius Bethea (Bill Calhoun/Lucentio) never developed clear characterizations. Ms. Greiner’s “Always True to You in My Fashion,” usually one of the show’s highlights, illustrated little understanding of Porter’s rhythm and rhyme pattern. Bethea did not have the vocal or personality dynamics needed for the razzle-dazzle cad.

The highlights of the show were Paul Floriano (one of the few adults in the show) and Andrew Schmidt’s delightful “Brush Up Your Shakespeare” and the creative “Tom, Dick, or Harry.”

Musical Director Larry Hartzell did an excellent job with the orchestra, but not so well with the chorus numbers which sometimes found the singers out of sync.

CAPSULE JUDGEMENT: Cain Park’s ‘KISS ME KATE’ was less than a satisfying theatrical experience. The youthful cast tried hard, but was not able to create the proper mood or meaning for this Cole Porter gem.

Canadian Shakespeare Festival--2003

The highlights and lowlights of this season's Canadian Shakespeare Festival

‘KING AND I’ SUMPTUOUS

I have seen many productions of Rogers and Hammerstein’s ‘THE KING AND I’. I have never seen a more sumptuous, gorgeous, effective version than that being presented this summer at the Statford Festival of Canada.

Rogers and Hammerstein laid the foundation for what is now dubbed “the book musical.” Starting in the 1950s they transformed what had been basically songs surrounded by meaningless dialogue into a concept of adding music to a story in order to develop the plot. Based on a true story, ‘THE KING AND I’ shows the clash between East and West and what happens when traditions are questioned and destroyed. This is a delightful musical with a definite purpose.

In all of their scripts the duo had a key song which highlighted their play’s message. In ‘THE KING AND I,’ “A Puzzlement” illustrates the frustration caused by the conflict between culture biases and the realities of a changing world.

The score includes such classics as, “Whistle a Happy Tune,” “Hello Young Lovers,” and “Something Wonderful.” This production showcases the enchanting “Shall We Dance?,” the powerful, “I Have Dreamed,” and the charming “Getting to Know You.” “The Small House of Uncle Thomas” is very creatively and effectively staged.

The cast is wonderful. Victor Talmade makes the role of the King his own. This is not a Yul Brenner caricature. Lucy Peacock has a strong singing voice and her Anna is visually correct and a flawless character. Helen Yu is ethnic perfect and sings powerfully as Lady Thiang. Anne Marie Ramos has a radiant voice and her Tuptim matches impeccably with Charles Zulay as Lun Tha. There is not a shallow performance in the entire cast. Even the little children have been honed to believability.

Few theatrical productions fall into the range of perfect. “THE KING AND I” at the Stratford Festival is as perfect as a theatrical production can be! Costume Designer Roger Kirk and Set Designer Debra Hanson have gone all out to assist Director Susan Schulman and choreographer Michael Lichtefeld to put together this rendition of the classic story. Their sets and costumes far outshine even the Broadway production. The show features fine acting, beautiful voices and a clear development of the authors’ theme with visually startling aesthetics. What more could any theatre-attender ask for?

‘GIGI’ IS AUDIENCE PLEASING BUT MISDIRECTED

Alan Jay Lerner and Frederick Loewe are two of the world’s most well-known musical theatre writers. Their central theme was to illuminate the perfect time, the perfect place and the perfect love story. Think ‘MY FAIR LADY’, ‘BRIGADON’ and ’ CAMELOT.’ Or, as did the Stratford Festival of Canada, think ‘GIGI.’

‘GIGI’ was developed in a different pattern than most musicals. It was born as a movie in 1958 and later became a staged show. The film went on to be named Best Picture of the Year, as well as being awarded eight other Academy Awards. The stage version opened on Broadway in 1973. It played only four months after mediocre reviews.

The story-line was adopted from a 1944 novella by Colette. It is a charming story set during the Belle Epoque period in France that follows the adventures of Gigi, a girl woman, her doting grandmother, and her plotting aunt. As with Eliza in ‘MY FAIR LADY’ Gigi is shaped into an idealized image for male approval. Each finds herself winning over a man who doesn’t want to be won over, but who falls under her spell.

Unlike most Lerner and Loewe scripts, few restagings of “GIGI” are done. Why it is not is a mystery. The show has an engaging story and contains wonderful music such as “Thank Heaven for Little Girls,” “It’s a Bore,” “I Remember it Well,” and “I’m Glad I’m Not Young Anymore.”

The production seemed to delight most of the audience. Unfortunately, much of the delight came due to misdirecting by Richard Monette. He took a charming story and made it into a farce. He lost the warmth because of all the gimmicks. Rather than letting the natural flow of the music and story prevail, he resorted to prat falls, over acting and affectations. A lovely pastiche became an over-layered cake. It was good to look at, but the true flavor was missing.

Highlights of the production were “The Night They Invented Champagne” and the winsome “I Remember It Well.” These, along with the wonderful costumes, visually appealing sets and fine orchestrations, aided the overall effect.

Jennifer Gould was a charming Gigi. Dan Chameroy has a very nice voice, but was directed into a one-dimensional interpretation of Gaston, Gigi’s eventual suitor. Patricia Collins was overly effected as Aunt Alicia, who teaches Gigi how to trap the right man. Domini Blythe was wonderful as Mamita, Gigi’s grandmother. James Blendick did a veneer version of Honore, the part played so stylishly by Maurice Chevalier in the movie. He displayed no true emotional involvement. What should have been charm turned out to be surface show.

Statford’s version of ‘GIGI’ will please many, even if it misses the original intent of the authors.

EXCITING, ENRAPTURING ‘THE ADVENTURES OF PERICLES’

Critics have argued for years whether Shakespeare actually wrote ‘THE ADVENTURES OF PERICLES.’ It appears, because of the style and problematic text that Shakespeare probably had a collaborator on the project.

Whoever the author, the Stratford Festival of Canada does the scribe proud. This is a meticulous, visually glorious presentation. Every aspect of the complex play is purposeful. The supernatural visions, the arcane ceremonies, the use of a chorus are all there.

The story concerns the travels of Pericles, Prince of Tyre, as he seeks a bride, finds trouble, flees, becomes shipwrecked, marries the daughter of a king, has a child, attempts to return to Tyre, is caught in a storm, “loses”his wife, entrusts his baby daughter to a devious duo, wanders the seas, and finally finds total happiness.

Jonathan Goad is Pericles incarnate. His is a superb performance. Thom Marriott, as Gower, the narrator and chorus, captures the stage whenever he is present. Michael Therriault is delightful as the Boult. Karen Anceta is lovely as Thaisa, Pericles’s wife. Nazneen Contractor enraptures as Marian, daughter to Pericles and Thaisa.

As the program states, “Pericles challenges not only the creativity of directors and actors, but also the openness and imagination of contemporary audiences.” Leon Rubin, the director, succeeded admirably. The actors are consistently superb. Designer John Pennoyer has given the production a visual grandeur seen on few stages. The Stratford Festival of Canada version of ‘THE ADVENTURES OF PERICLES,, is an absolute, must see production!

‘ANTONY AND CLEOPATRA’ FAILS TO EXCITE

Shakespeare’s ‘ANTONY AND CLEOPATRA’ has been dubbed by some scholars as “probably the greatest play in the English language...the most comprehensive and universal of Shakespeare’s tragedies.” It may well be, but the production at the Stratford Festival of Canada was anything but great.

This is not an easy play to stage. It contains 42 scenes shifting to numerous settings, from Italy to Egypt, from land to sea. The play’s sprawling structure places a burden on the director and cast, causing the focus to be entirely on the performances to keep us on course. Director Martha Henry keeps us on course. The play is not difficult to follow. Unfortunately, she has failed to texture the performances. The pace is too slow, the separation of characters not clear, and the full-bodiedness of the play lost. The dramatic action, instead of being grand, grinds along.

The story concerns a period in history following the assassination of Julius Caesar when Rome was ruled by a triumvirate consisting of Octavius Caesar, Lepidus and Mark Antony. Conflict ensues when Mark Antony takes up with Cleopatra, the voluptuous queen of Egypt. A truce, followed by betrayal, battles, and subterfuge leads to the ultimate destruction of both Mark Antony and Cleopatra.

The acting is uneven. Peter Donaldson, as Mark Antony, lacks the needed charisma. He shouts and pouts, but fails to convince of his great leadership. Diana D’Aquila’s Cleopatra is less than a grand and powerful woman. Paul Dunn’s Caesar is a whining, non-heroic wimp. Wayne Best is right on character as Enobarbus. Tim Askew delighted in the small role as the messenger, who becomes Cleopatra’s foil when he reports Antony’s marriage of convenience to Octavius Caesar’s sister.

The production of ‘ANTONY AND CLEOPATRA’ is less than entrancing. Audience members were overheard using phrases like, “dull” and “boring” to describe their experience.

‘THE HUNCHBACK OF NOTRE DAME’ RINGS WRONG BELLS

‘THE HUNCHBACK OF NOTRE DAME’ is a play about outcasts. Quasimodo was abandoned as an infant on the steps of Notre Dame. He is hideously deformed but saved from drowning and then raised by Archdeacon Frollo, himself a depraved man. Quasimodo becomes the cathedral’s bell ringer and is made deaf by his constant contact with the loud pealing. Esmeralda is beautiful, but a member of a despised group of gypsies. Gringoire is a misguided.poet. Their paths all cross when Frollo tries to act upon his lust for Esmeralda. She is saved by Gringoire, who falls in love with her. She is later accused of killing him, but is again saved, this time by Quasimodo. A surprising revelation and tragedy mark the conclusion of this tale of misguided love and the lack of compassion for the outsiders of the world.

Victor Hugo’s ‘HUNCHBACK OF NOTRE DAME’ is a sprawling novel. It was made into a moderately successful animated film. Unfortunately, it doesn’t translate to stage very well, at least not in its production at the Statford Festival of Canada. Whether it is playwright Rick Whelan’s inability to write a smoothly transitioned play with a meaningful flow of lines and action, or director Dennis Garnhum’s uninspired and static directing, the production just doesn’t work. Even scenic designer Alexander Dodge’s set doesn’t help. It is visually ponderous and cumbersome.

None of the performers fared completely well. Peter van Gestel, standing in for Nicolas Van Burek, who normally plays Quasimodo, was basically fine, but lacked the physical grotesque disformaty needed to bring about the revulsion feigned by the acting company at the sight of the hunchback. Stephen Russell’s Frollo, lacked the needed depth of villainy. Dan Chameroy made an acceptable Gringoire, but did not truly convince of his undying love for Esmeralda. Jennifer Gould looks the role of Esmeralda but, at times, loses the characterization.

Word on the streets of Stratford is that the play has been universally ill-received. It’s too bad, for there is a fine tale here to tell.

DELIGHTFUL SHREW TOTALLY TAMED

One of the problems facing any director of Shakespeare’s ‘THE TAMING OF THE SHREW’ is how to handle the ending of the play. If interpreted one way, it pleases the women’s liberation viewers. Played the other, it could bring feminist wrath. As director Miles Potter states in his program notes, “I trust Shakesepare. I no longer feel the need to filter what he is doing at the end of the play.”

What’s the fuss? The story-line of Shrew centers on the loves and wills of two women of Padua. Biancha is demure and popular. Kate is sharp-tongued and ill-tempered. We observe as each is wooed and wed. In the traditional version Kate is tamed and becomes obedient to her husband. Some modern interpretations have Kate saying the closing lines with satirical undercurrent, thus allowing the audience to believe that she has not changed and, in truth, has tamed her man.

Whatever your political views, it will be hard not to fall in love with this production. Almost everything works. The setting, which has been transformed from ancient Italy to the American west, enhances the understanding. The added music, the wonderful costumes, the fun sets, and the enhanced character interpretations all work!

Seana McKenna sparkles as Kate, the hellcat who is transformed into a tamed tiger. Deborah Hay’s Bianca is cute though a little overacted. At times her voice becames shrieking and grating. Graham Abbey is wonderful, wonderful, wonderful as Kate’s husband Petruchio. His is a purposeful and well-developed character. Though sometimes hard to understand, Wayne Best’s Grumio, Petruchio’s sidekick, becomes a delightful Gabby Hayes sound-and-look-alike.

Director Potter has woven a wonderful tale. This is one of the season’s highlight shows.

SUMMARY JUDGEMENT OF THE SEASON, SO FAR: In general, so far, this is an excellent season for the Stratford Festival of Canada. Four out of the six productions reviewed were positive, three of those rated raves. That’s better odds than that of most production companies.