Rat Pack Live At The Sands

‘RAT PACK’ imitation pleases the fans of the originals at the Palace

Walking into the Palace Theatre in Playhouse Square to see ‘THE RAT PACK LIVE AT THE SANDS,” was like being in a time warp back to the 1960s. The older crowd was dressed in the polyester style of the vintage Vegas. Yes, men in open collared colorful shirts, with crosses nestled in their chest hair and women with “big” hair and plunging necklines.

Why were they at the Palace? They came to see Frank Sinatra, Dean Martin and Sammy Davis, Jr., who, along with Peter Lawford and Joey Bishop, were the most popular entertainers from the mid-1950s to the 1960s in Vegas. Of course, these weren’t the “real” pack, but that mattered little.

An interesting fact, that few probably know, especially based on his late-in-life conservative leanings, is that Sinatra refused to perform in any establishments that would not give full service to African Americans. As a result Las Vegas properties were forced to abandon their segregation-based policies.

The friends faded from popularity with the rise of the counter culture of the 1960s. Well, they lost popularity with some, but their loyal fans, like those who were at the opening night of ‘THE RAT PACK LIVE AT THE SANDS,’ remained loyal. It didn’t matter that these weren’t the real thing, they represented the real thing, and that appeared to be enough as the audience sang along, laughed at the corny jokes, and were willing to accept this was the closest that they were going to get to their favorite entertainers of the past.

Do not go expect a story line, there is none. What you’ll see is a review that attempts to duplicate an authentic night with the Rat Pack at the Sands Hotel. A night full of Davis clowning and dancing, Dean playing the drunk, and Sinatra playing like Mafioso and singing his favorite songs.

Don’t expect to see duplicates of Sinatra, Davis and Martin. The performers, Stephen Triffitt (Sinatra), David Hayes (Sammy Davis Jr.), and Nigel Casey (Dean Martin) generally look and sound like the originals, but none of them has the dynamism to grab and hold an audience like the men they are portraying. Yes, portraying, not being!

The big band, under the direction of Andy Rumble is excellent. Their versions of “Luck Be a lady,” “The Lady is a Tramp,” “New York, New York,” “Volare,” “What Kind of Fool Am I?,” and “My Way” were excellent.

Capsule judgment: This isn’t a performance for everyone. If you are into the music of the 50s and 60s, and are fans of Sinatra, Davis and Martin, then you’ll enjoy ‘THE RAT PACK LIVE AT THE SANDS.” Otherwise, it might not be your thing.

Lunacy

WOW! Mesmerizing LUNACY presented by Dobama at CPH

Every once in a while a theatre-goer sees a play and a performance so stunning that the only word that describes it is mesmerizing. That is the case with Dobama Theatre’s world premiere production of Sandra Perlman’s ‘LUNACY.’

Perlman, a Cleveland playwright, who is a member of the Cleveland Play House’s Playwright’s Unit, and a professor of play writing at Case Western University, has penned a short one and a-half hour play (including a brief intermission), which grabs and holds the audience’s attention. This is a fine script!

Perlman is fortunate that director Mark Alan Gordon has a clear grasp of the necessary mood and pacing the script needs, and a cast that gives flawless performances. With a lesser production, the excellence of the script might not come through as strongly as it does.

‘LUNACY’ takes place in 1827, but its implications are timeless. As written, it concerns Edwin Forrest, a twenty-one year old rising star. His acting specialty is Shakespeare. As he is rehearsing ‘KING LEAR,’ Cornelia Lamb, a young Quaker woman, enters the theatre. As a result of her challenge, Forrest becomes wrapped up in the mystery of why Benjamin, Cornelia’s father, not only thinks he is, but is the perfect Lear.

Questions abound. What makes for a perfect performance of a fictional character? Who is crazy, the person who attempts to portray something he is not, or someone who believes and feels that he is the character? What can we learn about reality from those who are, in fact, lunatics? Is our role in life to seek out the perfect role and then live it until we complete the very last line of the character’s play?

Michael Regnier gives a career high performance as Benjamin Lamb. He doesn’t perform Benjamin, Regnier is Benjamin, and, therefore, the perfect Lear. This is a mind blowing enactment. Wow!!! I only wish I could experience Regnier doing a full-length production of ‘KING LEAR.’

Dan Hammond (Edwin) is Regnier’s near match as an actor. Edwin, early in the play, is trying to learn Lear’s lines. He fights to make the character both real and flawless. As the play develops, so does Edwin’s understanding of Lear. Hammond is wonderful while allowing us to experience his awakening to what a real character development is all about. Another Wow!

The third Wow! is Bernadette Clemens’ sensitive portrayal of Cornelia, Benjamin’s daughter. She gives nuance and texture to the role, thus creating a real person who experiences rather than acts feelings.

Director Mark Alan Gordon has created a near-perfect theatrical image. He is sensitive to the characters’ needs to underplay certain segments and rant in others. He has masterfully worked with the actors to key ideas, and correctly pace scenes.

CAPSULE JUDGEMENT: ‘LUNACY’ has to be ranked near the very top of shows in this area’s local season of fine productions (‘EQUUS’ at Beck, ‘FAT PIG’ at Bang and Clatter, ‘THE PRICE’ at Ensemble, ‘HAY FEVER’ at GLTF .) ‘LUNACY’ is a go see, a must see, an absolutely don’t miss!

West Side Story

Inconsistent ‘WEST SIDE STORY’ at Carousel

In the program for ‘WEST SIDE STORY,’ now on stage at Carousel Dinner Theatre, the show’s director, Marc Robin, states, “‘WEST SIDE STORY’ is one of the most remarkable shows in the musical theatre catalogue. It has everything: great story, challenging dance sequences, unforgettable music and characters and enough conflict to span five musicals.”

Robin is right on the mark. Often appearing on most musical theatre aficionado’s top five list of great shows, in a good production, the script is a sure-fire audience pleaser.

Carousel’s production has many strong elements, but fails to reach its potential because of an uninspired male corps, dancing which feigned intensity, and a shallow performance by one of the major cast members. The result was polite, if not prolonged applause at the curtain call.

‘WEST SIDE STORY’ uses Shakespeare’s ‘ROMEO AND JULIET’ as its base. In this version two opposing cultural groups conflict over the right to mark off their psychological and physical territory. Set in the west side of New York, the Jets, a gang composed of second generation “Americans” of various ethnicities, conflict with the Sharks, new immigrants from Puerto Rico. The ridiculousness of their warring comes to a head when Tony, a former member of the Jets, falls in love with Maria, whose brother is the leader of the Sharks. A series of killings spells disaster for all.

Set to Leonard Bernstein’s amazing music and Stephen Sondheim’s poignant lyrics, the perfectly integrated book by Arthur Laurents has the story unfold in emotional detail through not only song, but dance. The original choreography by Jerome Robins was some of the finest ever conceived for the theatre.

The show’s score includes such classics as “Something’s Comin,’” “Maria,” “America,” “One Hand, One Heart,” “I Feel Pretty” and “Somewhere.”

Carousel’s production is blessed with some strong performances. Stephanie Iannarino is glorious as Maria. She sings, acts and dances exceptionally well. She makes the play’s final scene compelling due to her well-crafted intensity.

Nathan Scherich starts slowly as Tony, but builds into the role. At times his voice is powerful, hitting the high notes with ease. At other times he goes into a falsetto to achieve the needed sound and at times sings words rather than meanings. His acting is quite believable.

Julie Kotarides (Anita) displays the right Latin temperament, sings well and dances powerfully. As her lover, David Villella creates a believable Bernardo. Jonelle Margallo’s solo in “Somewhere” was emotionally on-target. The female corps, especially those portraying Puerto Ricans, were excellent.

However, in a very pivotal role, Matthew Steffens (Riff) is extremely weak. His acting is shallow, his singing off-key and his character development lacking. Much the same can be said for many of the male chorus. From the opening number where the stalking out of territory lacked reality and emotional tension, to the gym dance, through the rumble, the acceptable choreography was ruined by the lack of spontaneity and dynamism on the part of the male corps. The only male ensemble highlight was the delightful “Gee, Officer Krupke.” It is surprising that a professional theatre of Carousel’s repute, couldn’t find male dancers and actors of higher quality, especially to play major roles.

CAPSULE JUDGEMENT: Carousel’s ‘WEST SIDE STORY,’ in spite of some strong performances, is less than it should be. The main problem lies in the hands of many of the male members of corps and a lack of fine honing by director Mark Robin.

Lincolnesque

Play House’s LINCOLNESQUE delights audience, especially those with blue state attitudes

With lines such as “Never was there a time when we needed Lincoln more than now,” John Strand’s play ‘LINCOLNESQUE,’ is both current and topical.

The show observes the machinations of the nations’ capital and its political inhabitants through the eyes of two brothers: Leo, a speech writer for a struggling, inept and boring congressional candidate; and Francis, an intelligent and passionate individual, who just happens to believe he's Abraham Lincoln. Well, maybe he believes he’s Lincoln and maybe he’s crafty at playing that he is Lincoln.

When Leo begins to use some of Lincoln’s historical words for inspiration, as supplied by Francis, the level of politics is raised to new ethical heights. There is actually a turn toward the truthful and the honest. Well, at least from the standpoint of the speeches being given. In the process, Strand’s pointed dagger digs deep into innuendos about the present inept leader in the White House and members of congress.

The term Lincolnesque is generally defined as “like or characteristic of Abraham Lincoln: a Lincolnesque compassion.” That’s the definition, but don’t get the idea that this is a play about the legacy of honest Abe. ‘LINCOLNESQUE’ is a comedy. It is a highly entertaining story of brothers who exasperate each other, adversaries who step on each other, and co-workers who spar—then sleep with—each other.

As delightful as many of the lines are, without superb casting and on-target directing, the play could fall flat. Fear not. CPH has a fine cast, and under the adept direction of Michael Bloom, the production is a pleasant exploration.

This is one of those rare productions where every actor seems well suited to and at ease in their roles. As a result, you have a chemistry between the players that allows for excellent comic timing. The result is that everyone, cast and audience, has a good time. (Of course if you are a member of those 70 or so percent who have no confidence in Bush and company, you’ll be totally delighted as the barbs pierce the facade of “compassion” and “honesty.”)

Donald Carrier, who plays Francis, doesn’t portray Lincoln, but is an obvious nut case who thinks he’s Lincoln. His fake beard and deadpan delivery are right on target.

Brian Carter, who looks and sounds like T. R. Knight of TV’S “GRAY’S ANATOMY,” perfectly creates the role of Leo, the insecure speech writer with enough self-esteem issues to make the word “neurotic” seem like an understatement in describing his psychological state.

Tracey Conyer Lee has the attitude edge that makes her a freight train, filled with blind ambition, who doesn’t have the slightest idea of what she is doing as a campaign manager. The play’s laugh highlight is her undressing the toady Leo as she seduces him.

Walter Charles is fine in the dual roles of Stanton, Francis’ indigent friend, and Daly, a brash political king maker.

Capsule judgement: ‘LINCOLNESQUE’ is well paced, well-conceived and well acted. It is a delightful way to start Fusionfest.

Special appreciation to Roe Green, the honorary producer of Fusionfest. Roe, who is a former student, does me proud each time she steps up to sponsor this and many other Cleveland area arts projects. Standing ovation to ROE!

Jolson & Company

Entertaining ‘JOLSON & COMPANY’ at JCC

Al Jolson, the subject of ‘JOLSON & COMPANY’ now being staged in a joint production of the Jewish Community Center and Cuyahoga Community College-East, was a very talented entertainer, who was also filled with rage and insecurities.

Asa Yoelson was born in Lithuania and came to the United States as a child. Under the name of Al Jolson he had a career that spanned from 1911 to 1940. Often referred to as “the world’s greatest entertainer,” he was known for his black-face makeup, exuberant gestures, operatic-style singing, whistling, and directly addressing his audience. His initial musical training was under the guidance of his father, a well-known New York Jewish cantor. The cantorial sound echoed through Jolson’s vocal chanting in many of his hits.

As youngsters Al and his brother were a minor hit on the vaudeville circuit. A personal rift between the brothers sent Jolie off on his own and resulted in a Broadway career which was unmatched for its length and popularity). One reviewer noted that Jolie had such an "electric" personality, along with the ability to make each member of the audience believe that he was singing only for them, that his audiences often literally “stopped the show” with prolonged applause.

Today, he is probably best remembered for his appearance in 1927 in the first successful movie “talkie", ‘THE JAZZ SINGER.’ In that movie Jolie performed the song "Mammy" in black face.

Jolson’s other hits included "You Made Me Love You (I Didn't Want to Do It)", "Rock-A Bye Your Baby With A Dixie Melody", "Swanee" (songwriter George Gershwin's first success), "April Showers", "Toot, Toot, Tootsie, Goodbye", "California, Here I Come", "When the Red, Red Robin Comes Bob-Bob-Bobbin' Along,” and "Sonny Boy."

He died at the age of 64 of a massive heart attack while playing cards. Appropriately, Jolson’s supposed last words, taken from one of his most famous songs, were "Boys, I'm going."

‘JOLSON & COMPANY’ is a scrapbook of Al Jolson’s life. It covers his youngest memories including the death of his mother, his career successes and failures, his marriages and divorces. It gives a glimpse of his talent, his egotism and his renowned temper.

The script, by Stephen Mo Hanan and Jay Berkow is problematic. The story telling centers on a radio show being narrated by Barry Gray (George Roth). Jolson steps in and out of the broadcast to sing and act out various phases of his personal life and career. The format is an obvious device which wears thin after a while and breaks the story line.

The transitions are weak and the writing often fails to create the needed emotional bridges. There are many pauses that result in a loss of audience attention. For example, when wife Ruby Keeler, who was supposed to perform at a charity event with Jolson, serves him with divorce papers and walks out, what should have been an emotional highlight, turns flat as Jolson takes an extended period of time to put on black face before he sings his signature, “Swanee.” The idea is good, but doesn’t work theatrically.

JCC’s production, under the direction of Fred Sternfeld, will entertain audiences, especially Jewish audiences. There are enough “Yiddish” allusions to capture the older members who attend JCC productions and know and love Jolson. On the other hand, cutting out some of the extraneous scenes and picking up the pace a little would make the well over 2-hour show, more compelling.

Don’t go to see ‘JOLSON AND COMPANY’ expecting to experience a reincarnation of Al Jolson. Mark Moritz, who plays Jolie, has a good singing voice, and tries hard to incorporate some of Jolson’s signature sounds and moves into his presentation, but he is much too static to become electrifying. He plants his feet, rather than bouncing around the stage. His face lacks the dynamic quality of Jolson’s unbridled stage presence. His sound is appealing, not mesmerizing. Mortiz makes for a very acceptable Jolson-light, but he is not Jolie!

Kristin Netzband, as the female member of the three-person cast, is appealing in multi roles. She is especially delightful as May West and on-target as Ruby Keeler. She sings extremely well and her dancing is excellent. JCC attendees will remember her as Evelyn Nesbit in the company’s production of ‘RAGTIME, THE MUSICAL.’

George Roth, as always, is on target in each of his characterizations. The Times Theatre Tribute Award winner changes voices and facial expressions and makes bodily adjustments to fit each of his nine characters.

Larry Goodpaster and his three piece “orchestra” efficiently back up the performance.

Capsule judgement: ‘JOLSON AND COMPANY’ will be a pleasant trip down memory lane for those who know and appreciate the musical sounds of Al Jolson.

Roulette

Under-rehearsed ‘ROULETTE’ not up to par for Bang and Clatter

Bang and Clatter, which is northeast Ohio’s new kitsch theatre, is staging Paul Weitz’s black comedy, ‘ROULETTE.’ Originally, another show was supposed to be staged. That play was withdrawn when the production’s two leads were cast in a major motion picture and had to leave the cast. Going by the motto, “the show must go on,” ‘ROULETTE’ was quickly staged with the opening date pushed back a week.

Unfortunately, the limited rehearsal time shows in the B&C production. The theatre’s usual precision and clarity is missing. Instead, there are muffed lines, lack of clear character development, and a general uncertainty in the staging. Actors tripped going up a makeshift stairway with which they seemed not to have rehearsed. There were times when actors seemed uncertain as to which stage exit to use. Long pauses between scenes did nothing but accentuate the show’s haggard pacing.

Paul Weitz, the author of ‘ROULETTE’ is best known for his raunchy ‘AMERICAN PIE’ movie. He is also the coauthor of the films "ANTZ" and "ABOUT A BOY." Don’t go to see ‘ROULETTE’ expecting gags about bodily fluids, band camp, talking ants or teen angst. This may be funny, but it concerns much more serious stuff.

At the very start of the show, anyone who had a vision Weitz’s writing will realize that this is something quite different. Jon, who we learn is the husband and father of a very dysfunctional suburban family, enters, sits at a table, opens a brief case, extracts a gun, places one bullet in the chamber, spins the chamber, puts the gun to his head and pulls the trigger. There is a click, but no explosion. He smiles, puts the gun back into his brief case and exits. Ah, but the clue is laid that we may see this scene repeated!

In the course of the next two acts, we meet Jon’s wife Enid, who is having an affair with their neighbor, Steve, who is married to Virginia, who thinks she might like to be a nun. We also are introduced to Jon and Enid’s sex-driven, drug-using teenage daughter, Jenny and son Jock, who has more muscles than brains.

Reviews of the show’s off-Broadway run were mixed. The general trend was, “‘ROULETTE’ squanders its opportunity to have something to say by focusing on cartoonish situations. Without the je ne sais quoi that makes an impact on your emotions, the laughs leave you with a hollow feeling.”

It is difficult to evaluate the cast as they seemed so uncertain that it was impossible to ascertain who was throwing the wrong cues and who was dropping lines. None of the characterizations were truly on the mark.

The set was an impressive realistic kitchen. But due to a large table being placed at the very lip of the acting area, actors had difficulty maneuvering around the lower edge of the piece of furniture, making for some awkward movements.

Capsule judgment: ‘ROULETTE’ was not the quality production audiences have come to expect from The Bang and Clatter. It probably would have been wise to hold the opening even longer so the cast could have been better prepared.

Our Town

‘OUR TOWN’ gets a stylized rendition at CPT

I consider ‘OUR TOWN,’ which is now being produced at Cleveland Public Theatre, to be one of the three greatest symbolic American plays. It, along with ‘DEATH OF A SALESMAN’ and ‘LONG DAY’S JOURNEY INTO NIGHT,’ forces the viewer to think of his or her relationship with community and family while asking the question, “What is the best way to live?”

Thornton Wilder, the author of ‘OUR TOWN’ is the product of being raised much of his life in Asia by his missionary parents and his classical training, which includes a period of time at Oberlin College. His writing reflects the finite details of the Asian striving for order and balance. His use of the Greek chorus, often personified in one person, is a reflection of his classical understandings. He strongly illustrates a “powerful belief in the human spirit.”

Wilder has a very clear vision in ‘OUR TOWN.’ He wants to create a universal quality that transcends far beyond the New England setting of the play in the early 1900s. He is very specific in his descriptions. He tells the longitude and the latitude of Grovers Corners, the supposed setting of the story. He describes specifically where the drug store and the churches and Main Street are. Yet, probing an atlas indicates that his geographic markings are off. The designates are not in New Hampshire. And the drug store, churches and Main Street aren’t there...they are figments of our imagination.

‘OUR TOWN’ broke from the traditions of realism when it opened in 1938. Wilder said that he took the approach because of dissatisfaction with the theatre of his time: “I began to feel that the theatre was not only inadequate, it was evasive." He did away with real objects, specifically stating in the stage directions that pantomime, ladders, chairs and tables be used, with no scenery, per se. He did this because, "Our claim, our hope, our despair are in the mind—not in things, not in 'scenery.”

As for the story, ‘OUR TOWN’ centers on character development that details the interactions between citizens of an everyday town from 1901 through 1913. Though the play mainly centers on the lives of George Gibbs, a doctor's son, and Emily Webb, the daughter of a newspaper editor, it really is about the lives all of the folks of any place.

CPT has heralded Artistic Director Raymond Bobgan’s concept of ‘OUR TOWN’ to be kitschy, a new interpretation. And, in many ways it is. The stage manager, who is a one-man chorus, is replaced by the entire cast being the chorus. George, instead of being the traditional teenager, is portrayed by a grizzled senior citizen. Rebecca, his sister is also played by a mature adult. Much of the movement is choreographed, including the tossing of chairs and repositioning of ladders that draw attention to their presence.

The major question that must be asked in Bobgan’s interpretation is whether it aids in developing the meaning of the playwright or is just affect for affect’s sake. As much as I enjoy, even encourage creativity on the stage and breaking out of the traditional box, I didn’t find Bobgan’s innovations making much of a difference. In fact, I found some of the developmental and casting techniques distracting, taking me off message.

I cannot perceive why George was portrayed by such an old man. In the emotionally charged drug store scene, which I consider to be one of the most beautiful and touching in modern theatre, I found the age differences between the characters made much of George’s awkwardness and youthful realizations unreal. Several other things were distracting. In that same drug store scene, the characters moved from being seated across from each other in the drug store to sitting away from each other and then with their backs to each other. It broke the intimacy of the moment. Why was this done? And, near the end of the play, after a day of rain, a mention is made that, “it is clearing up.” At this moment one of the characters, pokes a long rod against ribbons of material hung from the ceiling and snow begins to fall. The meaning is unclear. Often characters’ physical movements looked like kabuki movements, contrasting with the lines they were thinking. Again, I must ask, for what purpose? At times the actors moved as if they were robots. Why?

Many parts of the production were excellent. Allison Garrigan’s traditional white and mauve costumes worked beautifully. Chris Seibert was effervescent as Emily. Her “Oh earth, you’re too wonderful” speech was compelling. Sheffia Randall Dooley (Mrs. Webb), Steven Hoffman (Dr. Gibbs), Brian McNally (Wally), Elizabeth R. Wood (Mrs. Gibbs), Dennis Sullivan (Mr. Webb) and Rhoda Rosen (Rebecca) were all excellent.

The addition of underscoring music added nicely to setting the right tone for various scenes.

Capsule judgment: Raymond Bobgan’s stylization of ‘OUR TOWN’ did little to enhance a beautifully written script and, at times, distracted from the over-all effect. Creativity has its place in the theatre, but, when used it must enhance, not distract. I still love ‘OUR TOWN.’ Anyone who has not seen a production of the play, should. If you’ve seen the play before, Bobgan’s concept should encourage much discussion.

Passion

Somewhat passionless ‘PASSION’ at BECK


Choosing to do a Stephen Sondheim musical, as Beck Center has done in their present selection of ‘PASSION,’ is often an invitation for frustration. Unlike his mentor, Oscar Hammerstein II (‘SOUND OF MUSIC,’ ‘OKLAHOMA,’ ‘THE KING AND I’), Sondheim doesn’t write easily singable music. Taking on Sondheim, means taking on complex polyharmonies, angular harmonies and intricate melodies. This means the show has to be cast with excellent voices and supported by a talented full orchestra.

Also, because Sondheim is meticulous in his character descriptions, both in dialogue and lyrics, and creates challenging dramatic roles, the director must also cast for acting talent and physical types.

‘PASSION,’ which is based on Ettore Scola's film ‘PASSIONE D'AMORE,’ is set in Italy in the mid-1800s. The story revolves around Fosca, a physically ugly and psychologically fragile woman, and her obsessive love for Giorgio, a handsome soldier. Giorgio, who loves and is bedding the married Clara, is initially repulsed by Fosca, but is kind to her. The kindness is misconstrued by Fosca, and her obsession becomes compulsive. The result is a play of passion, manipulation and physical and psychological illness.

According to Sondheim, ‘PASSION’ is about "how the force of somebody's feelings for you can crack you open, and how it is the life force in a deadened world."

The book is written by Mansfield, Ohio’s James Lapine. Much like other Sondheim Lapine collaborations (e.g., ‘SUNDAY IN THE PARK WITH GEORGE,’ “INTO THE WOODS’) dialogue is woven into the songs, thus creating an operetta-like vehicle.

‘PASSION’ opened on Broadway in 1994. Like many Sondheim shows, it was critically acclaimed, but failed to find popular appeal. The show ran only 280 performances, making it the shortest-running show ever to win the Tony Award for Best Musical.

Beck’s production is flawed. Victoria Bussert, the director of Beck’s ‘PASSION,’ has cast some excellent voices. But, unfortunately, some of her performers do not have the physical presence or acting skills to carry out the Sondheim burden. And, in spite of their playing effectively, Nancy Maier’s small orchestra doesn’t create the lush necessities of the music.

On the positive side, though she is much too physically attractive to portray the “ugly” Fosca, Sandra Simon has a glorious voice and acts the role with passion. She is believable in her obsession.

Jared Leal has an excellent singing voice but has neither the physical presence nor the acting skills to develop the complex Giorgio. This appears to be yet another of Bussert’s casting of former or present members of her Baldwin Wallace musical theatre program in non-school productions.

I greatly admire Ms. Bussert for the quality of her program, and the success of her students in the professional theatre world, but her casting of these young people in roles for which they may not be mature enough or suited for, has become a bane for some local theatres with which she has contact. There appears to be a mix-up between her professional and educational life. Leal, for example, played a role in a BW student production of ‘PASSION.’ Therefore, he plays a role when Bussert directs the show at Beck. Sorry, there are many local performers who better fit the role, but may not have been given the opportunity because of the BW pipeline.

Jodi Dominick, another BW graduate, has an excellent singing voice, but does not have the maturity nor the requisite beauty to portray Clara. Much of the supporting cast are also BW students or products.

Is this saying that Bussert should not use BW students and graduates in shows she produces off campus? That’s not what is intended. But, there is a line that should be drawn between the BW educational program and the outside world. They are not one in the same. If Ms. Bussert wants an outlet for her talented students maybe she should reinvent the Berea Summer Theatre and open an equity theatre that would allow her students, supported by local and imported professionals, to gain public exposure and professional experience in an appropriate setting. Many colleges have such summer theatre programs.

CAPSULE JUDGEMENT: ‘PASSION’ continues Beck’s recent reputation for undertaking challenging scripts. Sondheim is not easy to produce. The Beck production, though acceptable, is light on passion, and falls short of being a compelling evening of theatre.

All Shook Up

‘ALL SHOOK UP’ delights some and shakes up others at the Palace

At the conclusion of ‘ALL SHOOK UP,’ now on stage at the Palace Theatre, half of the audience was standing and cheering. The rest were sitting, looking at the standees as if they were out of their minds. One well-known local theatre performer commented, “That was charming.” Another said, “What in heck (word change to protect the conservative readers) were the producers thinking...that was awful!”

‘ALL SHOOK UP’ is writer Joe DiPietro’s attempt to bridge together a story set in 1955 and the songs of Elvis Presley. The story line is trite, the characters are caricatures, the dancing is stylized (often done as if the cast was in an emotional time warp), the songs are blended into the dialogue with a shoe-horn, and the total effect is kitsch.

Into a small midwestern town rides Chad! He’s on a motorcycle, wears skin tight jeans, clinging t-shirt, has a twitching and thrusting pelvis, sings like a mediocre Elvis, makes women faint and scream, and causes general hyper-testosterone chaos. Before he leaves, he falls in love with a sexy female museum director (Miss Sandra), who rejects him, and then with a guy (Ed), who is actually a girl (Natalie). Ms. Sandra falls for the guy (Ed) who is really a girl (Natalie), but then switches allegiances to Dennis, a nerdy future dentist, who is in love with the girl (Natalie) but not her alter-ego, the guy (Ed). Natalie’s father is in hot pursuit of Miss Sandra, but winds up with Sylvia, the Black owner of a bar whose daughter (Lorraine) is in love with Dean, the daughter of the town’s up tight, racist mayor, Matilda. Matilda, in turn is in love with.....okay, this could go on and on, but you get the idea. ‘WEST SIDE STORY’ this is not. It doesn’t even reach the literary level of the “other” Elvis musical, ‘BYE, BYE BIRDIE.’ But it is so ditzy, that it’s funny and lends itself to moaning over the idiocy.

Wedged into the plot are numerous rock ‘n roll mega hits, including “Jailhouse Rock (where the rocker finds himself because he lead the local town boys astray),” “Heartbreak Hotel” (in this case referring to the graveyard at the end of the road) and “One Night With You” (sung in all sorts of coupling situations). At one time or another almost the entire cast wears and warbles about their “Blue Suede Shoes.”

The touring company covers the extremes of talent and background. Susan Anton, a long time Broadway star, sings up a storm as Miss Sylvia, though her acting is paper thin. Her “There’s Always Me” stopped the show. She brought down the house with her one-liner describing the parochial nature of the play’ setting: “This town makes me miss Parma.”

Professional newcomer Joe Manddragona, who plays rocker Chad, is shorter than would be expected for the macho male lead. All the females tower over him (which may have been another of those unintentionally intentional deeds of the director). He makes up for his height with smoldering good looks, a mobile pelvis and a fairly good voice. His dancing is so down pat he almost looks like a robot and some of his lines are on the same emotional level.

Dennis Moench as nerdy Dennis, has the best voice in the cast and wins over the audience with a well-defined characterization (think Eugene in ‘GREASE’ and Hugo in ‘BYE BYE BIRDIE’). His “It Hurts Me” is poignantly tender.

Jannie Jones whales as Sylvia, the bar owner, though she goes off-key in spots. Tracee Beazer is perky and sings well as Sylvia’s daughter. Jenny Fellner is undistinguished in the roles of Natalie/Ed.

The ‘ALL SHOOK UP’ band rocks, sometimes too loudly, but that only enhances the over-all effect.

Director Christopher Ashley knows what he’s doing. Taking this material seriously would have highlighted the weaknesses of the script. By playing for exaggeration, creating caricatures and making the whole experience bigger than life he creates a living comic book. The results? The audience laughs through their moans and bewilderment.

Capsule judgment: ‘ALL SHOOK UP’ is the kind of show that audiences will love or hate. It’s going to depend on your mood and expectations. If you go in knowing there is a very slight story line (and even referring to it as a story line is an exaggeration), that is both unrealistic and obvious, and just let yourself get carried away by the over-the top performances, obvious choreography and transparent means used to hook the Elvis Presley fueled songs together, you’ll have a blast. If not, you’ll leave at intermission. “C’mon Everybody” “Don’t Be Cruel,” “Let Yourself Go,” and you “Can’t Help Falling in Love” with ‘ALL SHOOK UP.’

Review of the Reviewer's Reviews..Lorry Szabo

Your fan club is growing by leaps and bounds.

I do enjoy your reviews. The background information
you add is always so interesting and enlightening.

Best,

Lorry Szabo

The Tempest

Farce over substance: ‘THE TEMPEST’ at Great Lakes Theater Festival

“We are such stuff as dreams are made of.”

“THE TEMPEST,’ now being staged at Great Lakes Theatre Festival, is sometimes billed as Shakespeare’s last play. In fact, ‘HENRY VII’ and ‘TWO NOBLE KINSMEN’ were written later. Another misconception about the play is that it is a comedy. Modern editors have relabelled it as either a romance or a fantasy. To add to the interesting background of the script, when it was written it was basically ignored as a minor work. Today, however, critics and scholars consider it to be one of the Bard’s greatest works.

In contrast to many of Shakespeare’s plays, which make for excellent reading, ‘THE TEMPEST’ requires staging to develop its full effect. It is inherently theatrical since it contains invisible beings that the audience can see but the characters cannot and lends itself to farcical interludes that can’t be created on the page. It is multi-sensory theatre which includes storms, music, and sounds which are required to create its imagery.

Shakespeare, in his major plays, often asked, “What is a human being?” This is the theme of ‘THE TEMPEST.’

The play begins with a tempestuous storm at sea. Twelve years previously Prospero, the Duke of Milan, was usurped by his brother Antonio with the support of Alonso, King of Naples, and the king’s brother, Sebastian. But for the help of Alonso’s advisor, Gonzalo, he would have been killed with his only daughter Miranda. Gonzalo furnished them with the means to survive, including Prospero’s precious books, and cast them into the sea. They eventually landed on a remote island, once ruled by the witch Sycorax, but now inhabited by her only son, the malformed Caliban.

Upon his arrival Prospero released Ariel, a powerful spirit who had been enslaved by Sycorax. It is through the help of the “invisible” Ariel that Prospero, aware that a passing ship contains his brother and the co-conspirators, causes a storm and shipwrecks the vessel. As the play unfolds, love, plotting, drunkenness, a test of faith, new awarnesses and physical and psychological discovery take place. With a good production, it is Shakespeare at his finest.

Any director of ‘THE TEMPEST’ must make several decisions: How far is s/he going to go to take the fantasy? Is farce or comedy going to reign? Andrew May, directing his first play for GLFT, has decided to let loose all the effects, play for laughs, thus overshadowing the text.

As for the cast, Sara Bruner is delightful as Ariel, the airy Spirit. She moves well and develops a consistent character. Handsome David Gregory is on target as the naive love-controlled Ferdinand.

On the other hand, Aled Davies disappoints as Prospero. He displays two moods...quiet or yelling. He doesn’t build a compelling character. When we hear Prospero recite the epilogue, after laying down his wand, we should feel that all in the world is well. Unfortunately, that was not the case.

David Anthony Smith (Sebastian) yells almost every line. Dougfred Miller (Antonio) is often difficult to hear as he doesn’t project. Though they delighted the audience with their overdone actions, Jeffrey Hawkins and Lynn Robert Berg, are over the top as two drunken shipmates, substituting slapstick for concept. Pretty Laura Welsh screeches her way through the role of Miranda, daughter to Prospero.

CAPSULE JUDGEMENT: If you like farce carried to its max, startling special effects, and stress on visual effects over substance then you’ll like this production of ‘THE TEMPEST.’ It’s not a bad production, just one with a debatable interpretation and some questionable acting.

Groundworks 3/07

GROUNDWORKS dances and Shimotakahara gets award

David Shimotakahara, artistic director of GroundWorks Dancetheater, is this year’s recipient of OhioDance’s award for outstanding contribution to the advancement of the art form. According to the executive director of Ohio Dance, a statewide service organization, “David was chosen to receive the award because of his innovative choreography, his many years of dedicated work in dance and dance art and his knowledge, experience and creativity.”

Those who have been attending GroundWorks’ performances, are aware of the reach for excellence that Shimotakahara inspires in his dancers and the creativity of his choreography.

This demand for perfection is both a boon and a bane to the company. The dancers, who have worked so long and so well together, tend to respond best to Shimotakahara’s precise choreography. With few exceptions, when turned over to others, though they are still excellent, they generally are not as proficient. This, in part, was the case at the company’s latest performance as part of Cleveland Public Theatre’s Danceworks ‘07.

In ‘HURRICANE HEART,’ a world premiere choreographed by Kelly Garfield, the dancers were not up to their usual level of physical control. However, the body positions often were not easily held and sometimes did not meld well from move to move. The units which made up the story, which was supposedly a hero’s journey that is never certain but not without hope, failed to cohesively develop the theme. A creative use of a rope to represent doorways and binding a person or people, was quite inventive. Overall, the piece lacked the company’s usual precision and clarity.

‘NANO,’ a David Shimotakahara choreographed world premiere, was more to the company’s image. Each movement perfectly fit Gustavo Aguilar’s music. Aguilar became part of the dance ensemble as he flowed from a snare drum center stage, to a stage right snare, to stage left drum and then back to the original instrument. Though overly long, it was fascinating to watch Aguilar use various implements to create the sounds and see how Shimotakahara had melded the music and the movements into a single concept to parallel each of the drummer’s textures and qualities.

‘THROUGH THE LENS’ has rightly been incorporated into the company’s repertoire. Art Bridgman and Myran Packer’s piece, which premiered at Trinity Cathedral late last year, is a break-through concept. As I stated the first time I reviewed it, “Almost defying description, the piece was performed in front of and behind a massive red opaque curtain. The dancers dove and rolled under the material, danced behind the screen, displaying configurations in varying degrees of large and small shadows, as well as realistically appearing before the curtain.” I ended that review with “This was a ‘WOW’ presentation.” If anything, the piece was even better this time as a second screen, this time blue, was added to further enhance the visual images and effects.

Groundworks says goodbye to dancer Jennifer Lott and her husband Ryan as they depart for London. Ryan is a creative modern composer whose music has been used by not only Groundworks, but other local dance companies. Good luck in their adventure.

Capsule judgement: Groundworks remains one of the top dance companies in the area and deserves the adulation it is receiving.

Ella

Enjoyable ‘ELLA,’ but without Ella

One of the problems in doing a show like ‘ELLA,’ which is now on stage at the Cleveland Play House, is that anyone who knows what Ella Fitzgerald looked like, sounded like, and acted like, expects the actor portraying the living legend to be that person.

Hal Holbrook is Mark Twain in his portrayal of the great writer in ‘MARK TWAIN TONIGHT.’ Several years ago, Wayne Turney appeared as Harry Truman in ‘GIVE ‘EM HELL HARRY,’ at Actors’ Summit. He didn’t just portray Truman, he was Truman.

Unfortunately, as good a singer and actress as Tina Fabrique is, she does not personify Ella Fitzgerald. She doesn’t look like, have the mannerisms or the voice of “The First Lady of Song.” That’s not to say she is bad, she is excellent. She just isn’t Ella.

Fitzgerald was the most popular female jazz singer in the United States for more than half a century. In her lifetime, she won 13 Grammy awards and sold over 40 million albums. What made Ella great was the wide-range of her voice, her accurate ability to give meanings to the words she sang, and her amazing ability to scat (sing meanings using sounds rather than words). Her voice was a musical instrument.

Born in 1917, she was early orphaned. She made her first foray into entertainment in 1934 when she won an amateur night contest at New York’s Apollo Theatre. Because of her unattractive looks she was denied the promised follow-up paid performances, but through sheer determination and a keen manager she rose to fame. By the 1990s, Ella had recorded over 200 albums and by 1991 when she gave her final performance there, she had performed 26 times at the famed Carnegie Hall.

Fitzgerald’s personal life was not happy. Her marriages didn’t last. Her relationship with her son (actually a child conceived by her sister and brother-in-law who she adopted) was filled with angst. Poor health plagued her through much of her career. She experienced heart problems and as a result of diabetes was forced to have both of her legs amputated below the knees. She died on June 15, 1996.

‘ELLA,’ with book by Jeffrey Hatcher and conception by Rob Ruggiero and Dyke Garrison, chronologically follows part of the life of this great singer. It contains many of Ella’s hits including, “How High the Moon,” “It Don’t Mean a Thing,” “You’ll Have to Swing It (Mr. Pagannini),” “They Can’t Take That Away From Me,” “Our Love is Here to Stay,” ”That Old Black Magic” and her signature piece, “A-Tisket, A-Tasket.”

Though at times the dialogue gets a little sappy, it bridges the songs together and generally tells Ella’s story.

Ms. Fabrique is a fine singer in her own right. She grabs and holds an audience. Her acting is also excellent. She is ably assisted by George Roth, as Fitzgerald’s manager, Norman Granz. The orchestra is fantastic. Brian Sledge is wonderful on the trumpet and George Caldwell (piano/conductor), Rodney Harper (drums) and Clifton Kellem (bass) are all fine musicians.

Capsule judgement: If you go to see ‘ELLA’ expecting to see and hear a personification of Ella Fitzgerald you’ll be disappointed. Instead, go to hear Tina Fabrique sing Ella’s songs and give yourself a taste of the life of the queen of scat. With that mindset, you’ll enjoy yourself!

Shaw Festival preview-2007

SHAW FESTIVAL’S 2007 SEASON PREVIEWED!

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

The Shaw Festival is conducted in three theatres. This season starts on April 4 and runs through October 28, Tuesday through Sunday. Each day has matinee, evening and even some lunch time productions. For real theatre buffs that means a three night/four-day stay can result in experiencing seven shows. The festival is an easy four-hour trip from Cleveland on roads which pass through the wine countries of Ohio, New York and Canada. Niagara-on-the-Lake is a lovely city brimming with flowers, classical architecture and inviting shops. This is like going to theatre heaven.

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

This season’s plays include Bernard Shaw’s drama ‘SAINT JOAN;’ Michael Stewart and Jerry Herman’s musical ‘MACK AND MABEL;’ Georges Feydeau’s farce ‘HOTEL PECCADILLO;’ Somerset Maugham’s drama ‘THE CIRCLE;’ ‘THE PHILANDERER,’ a Shaw comedy; Tennessee Williams’ drama, ‘SUMMER AND SMOKE;’ Brian Friel’s humorous drama ‘A MONTH IN THE COUNTRY;’ the comedy ‘THE CASSILIS ENGAGEMENT’ by St. John Hankin;’ ‘TRISTAN,’ a musical with book, music and lyrics by Paul Sportelli and Jay Turvey; and Lady Augusta Gregory’s ‘THE KILTARTAN COMEDIES,’ a duet of Irish plays.

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

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

For recommendations on bed-and-breakfasts, restaurants and other events, go to www.royberko.info and click on one of the Shaw listings.

Review of the reviewer (Bill Wade, Inlet Dance)

Thank you so much for your kind words! I was very proud of the dancers last night and hope they continue to improve with each performance this weekend. I'm going to FWD your review on to the dancers and my Board of Trustees; they will, no doubt, be encouraged and affirmed.

Thanks again for all you do.

Respectfully,
Bill Wade
Artistic Director/Founder
Inlet Dance Theatre
www.inletdance.org

Inlet Dance 3/07

Inlet wows audience at DanceWorks 07

Bill Wade, the Artistic Director of Inlet Dance Theatre, which is performing as part of Cleveland Public Theatre’s DanceWorks 07, is first and foremost a teacher. His long list of educational assignments centers on “impacting the lives of young people through educational programs.” He works with public school kids, often from school districts with limited financial means. This philosophy carries over into his dance company is composed of only four members. There also are three apprentices and eight trainees. Again, a stress on education.

Don’t get the idea that there is a lack of professionalism. The screaming, standing ovation that the company received in their Danceworks opening night performances, and the continued notes in my program which say, “wow,” “creative,” and “dynamic,” attest to the excitement and excellence of the program.

The evening opened with ‘SNOW,’ danced to the flowing and powerful music of Ryan Lott, the wunderkindt of local composers who creates for both Inlet and Groundworks Dancetheatre. As is the signature of Wade’s choreography, a strong gymnastic tone underlies the dancer’s movements. Beautifully costumed in unitards painted with nature scenes by Kristin Wade, the piece featured six dancers transforming their bodies into a series of snowflakes. Displaying strength, the flowing and powerful piece effectively paralleled movements to the music.

‘WINGED OPPOSITION’ was choreographed to surreal music and featured effective mechanical movements which were repeated over and over. Somewhat overlong, the format gave the illusion of choppiness, with the parts not always blending together.

‘A CLOSE SHAVE’ was totally delightful. Danced with muscular power by apprentice Joshua Brown and trainee Justin Stentz, Wade’s sense of humor flowed forth. It examines the concept of “a close call” which spanned the interaction between the dancers from mirroring each other as they shaved, to putting themselves into various risk areas intended to “clean up one’s image.” Brown and Wade were nothing short of amazing. The piece ended to screaming applause.

Stentz, who is exciting to watch on stage, and has to be ranked with the best male dancers in the area, used his gym-ripped muscular body to work with the equally proficient and powerful Leila Pelhan in ‘imPAIRed’ to create visual body intertwinings that were fascinating to watch. The dance is performed with both dancers blindfolded. It is the result of the company conducting residencies for visually impaired and blind students at the Cleveland Sight Center. It highlights sensitivity, caring and trust. This was a “WOW!’ experience.

‘IN, NOT OF,’ a company premiere, danced to another Lott piece, featured the company as well as the apprentices and trainees. The choreography is the result of Wade’s visit, as part of his participation in an international artist exchange program, to Easter Island. He used the island’s culture, images and philosophies to create a narrative work. The disciplined, flowing cast members used the company’s signature gymnastic movements to create an appealing piece.

Capsule judgement: Bill Wade is a fine choreographer who proficiently teaches his dancers his gymnastic and creative style of movements. The overall effect was a very enjoyable evening of dance.

Photo by Jim Ruthrauff (inmotion-photo.com)

Legends

‘LEGENDS’: legends trying to play legends

The late James Kirkwood, author of ‘LEGENDS,’ which is now on stage at the Palace Theatre, is a former resident of Elyria. In fact, the moorish house in which his mother, movie star Lila Lee lived on Washington Avenue, was supposedly the setting for his book ‘THERE MUST BE A PONY.’ He is also the co-author of the much awarded ‘CHORUS LINE.’ But, it’s not the Kirkwood name that is bringing in patrons to the Palace Theatre, it’s the monikers of Joan Collins and Linda Evans.

Joan Collins and Linda Evans are best known as the duo who starred as rivals in ‘DYNASTY,’ the 1980’s late evening soap opera. In the play, as in the TV show, they play characters who hate each other.

This is not ‘LEGENDS’ first showing in Cleveland. In the late 1980s a production starring Carol Channing and Mary Martin appeared here. The show had negative reviews for both the script and the performances and closed before the run of the tour was completed. Part of the reason for the closing was real-life conflicts between Channing and Martin. The friction is recounted in Kirkwood’s book ‘DIARY OF A MAD PLAYWRIGHT.’

As with the previous version, the producers intend to bring the show to Broadway after it finishes its tour.

‘LEGENDS’ centers on two desperate movie stars who are courted by an unscrupulous young producer to star in a Broadway show. He convinces them to be in the play because it would star Paul Newman. He also knows that both are financially destitute. Collins is Sylvia Glenn, the acerbic star originally played by Channing. Evans takes on Martin's part, the seemingly sweet Leatrice Monsee.

The script is not great. Parts of it are funny, but, in the main, the ideas are forced and predictable. Of the two stars, Collins is the more capable. She keys most of her laugh lines and seems to be having a great time. On the other hand, Evans is emotionally flat. She appears uncomfortable on stage. Her soft voice and underplayed personality worked on television, but the stage requires more. She’s like a wind-up Barbee doll with a mechanical voice.

The high points of the production center on three of the supporting characters. Tonye Patano is hilarious as Aretha, the caustic maid.

Joe Farrell is extremely funny as Martin, the producer. The scene, which follows his eating some hashish-laced brownies, is one of the funniest that you will ever see. There was spontaneous and prolonged applause following this segment.

Will Holman as Boom-Boom, a stripper hired to entertain at a bachelorette party, who errantly shows up during the negotiation between Sylvia and Leatrice, is dynamic. A scene in which he makes his well-developed exposed pecs dance brought extended laughter . At one point he wears only a small red heart on each buttock and a high hat covering his privates. The audience loved it.

Capsule judgment: Don’t go to see ‘LEGENDS’ expecting a well written and performed play. But don’t let that stop you. You will laugh, you will probably enjoy yourself, and that’s what many theatre-goers want. The chances of this production making it on Broadway? Nil!!

Rose Tattoo (Ensemble Theatre)

Rose fades at Ensemble!

Many theatres like to stretch themselves by selecting plays that challenge their directors, casts and audiences. Unfortunately, in some cases, the choices are unwise as the venue just isn’t up to the task. This is definitely the case with Ensemble and their present production, ‘THE ROSE TATTOO.’

The Tennessee Williams’ play which, as with many of his epics, is set in the South, opened in New York in 1951 to generally favorable reviews.

The plot, which spans a period of three years, tells the story of an Italian American widow in Louisiana who has allowed herself to withdraw from the world after her husband's death.

The script, not considered to be the quality of Williams’ ‘STREETCAR NAMED DESIRE’ or ‘GLASS MENAGERIE,’ continues his theme of women who find themselves in societies that they don’t understand and which don’t understand them. The writing follows the Greek concept of virility, as exemplified by the God Dionysus, who is also the god of worship. Both of these themes are significant threads in the story line.

This is a difficult script to stage. It requires a high level of acting skill and directing knowledge to make it meaningful and truthful.

Ensemble’s production, under the direction of Licia Colombi fails on all levels. The concept is weak, the stage movements chaotic, the acting shallow, the accents inconsistent, the costumes poor (how difficult is it to find a real sailor suit and shoes?), the set poorly conceived, and many of the props unrealistic.

CAPSULE JUDGEMENT: Ensemble has to realize its limits. ‘THE ROSE TATTOO’ is a script well beyond their directing, performance and technical abilities.

HAY FEVER (Great Lakes Theater Festival)

Delightful ‘HAY FEVER’ at Great Lakes Theater Festival

Charles Fee, producing artistic director of the Great Lakes Theater Festival, loves farce, he relishes double-takes, over exaggeration and bigger than life situations. Noel Coward’s ‘HAY FEVER, now on stage at GLTF, was seemingly written for Fee to direct! It’s a script with no end of hysterics, directed by a man who breathes life into every possible hysterical moment.

‘HAY FEVER’ has been described as a comedy of bad manners. And that’s exactly what it is. The Blisses, who live in the English country side, give new meaning to the words, “dysfunctional family,” and all who come within their wild world get swept into the catacomb of zaniness. This group lives a life that is anything but bliss.

Noel Coward’s plays epitomize the sophisticated wit of the era between the two world wars. ‘HAY FEVER’ epitomizes the witty style and forked tongue of the English master of farce. Its 1925 opening was met with raves and established Coward as a major playwright. A 2006 revival of the show in London starred recent Academy Award nominee Dame Judith Dench and was met with similar raves.

The Bliss contingency consist of Judith Bliss, a recently retired stage actress obsessed about her age, her looks, and desire to be continuously indulged. Her husband David is a self-observed best selling author of bad books. Their adult children, Sorel and Simon, having been brought up in chaos, lack any sense of reality. Being overly dramatic is the norm. Into this eccentricity come a group of house guests. Unfortunately, as is the case with most of their lives, none of the Blisses know that each has invited a weekend visitor. The results are comedic chaos.

Coward once stated that the play has ‘‘no plot at all and remarkably little action. Its general effectiveness therefore depends on expert technique from each and every member of the cast [and the director’s creativity].’’ Fortunately for GLTF, their director and cast are up to the task. In the hands of a lesser company, ‘HAY FEVER’ could be a torturous experience. This is definitely not the case at GLTF.

Fee masterminds the fun. The pace is fast, the characters clearly etched, the laugh lines are all keyed, and the overall effect is wonderful.

Kathleen Pirkl Tague is correctly over-the-top as Judith. She creates THE drama queen of drama queens. This is one show in which over acting is needed, and Tague can over act! She is rivaled by Sara Bruner as Sorel. Bruner creates a character whose lack of reality is so normal and natural that it makes her believable. Jeffrey C. Hawkins flits around the stage like Tinker Bell. Hawkins so overdoes the roll that he makes us easily believe that his lack of reality is a norm. Aled Davies’s David perfectly characterizes the emotionally absent father who has disdain for the family and everyone else. The rest of the cast, Laura Perrotta, David Anthony Smith, Laura Welsh, Lynn Robert Berg and Elizabeth Ann Townsend are all wonderful.

Gage Williams’ set, Nicole Frachiseur’s costumes and Peter John Still’s sounds, all add to the goings-on.

CAPSULE JUDGEMENT: ‘HAY FEVER’ is a laugh riot. This production is a must see for anyone who loves to have a good time in the theatre and care not about the worries of the world.

Song and Dance (Beck Center)

BECK’s ‘SONG AND DANCE’ a solid winner in spite of the concept

Sometimes a theatre-goer sees a production and realizes that the end is better than the means. This is the case with ‘SONG AND DANCE,’ now on stage at the Beck Center. Beck’s production, co-directed by the theatre’s artistic director Scott Spence and Verb Ballets’ artistic director Hernando Cortez is an audience pleaser in spite of the problems created by the format of Andrew Lloyd Webber’s script.

The song part of ‘SONG AND DANCE’ (Act 1) tells the tale of a young English woman (Emma) who arrives in New York, ready to find love and happiness in the Big Apple. But through a string of unsuccessful relationships, she finds something more important: self-awareness. The second act (Dance) concerns one of her lovers (Joe) and his attempt to find himself, his awareness of his love for Emma, and her ultimate rejection. Well, that’s kind of what the second act is about.

The reason for the disparity between the acts centers on the very way in which the show was conceived. The final product is a combination of two Webber pieces. The first, his ‘VARIATIONS ON PAGANINI'S CAPRICE IN A MINOR,’ which was developed in 1978 and the second, ‘TELL ME ON A SUNDAY,’ a song cycle written in 1980, which is based on “A Minor Caprice No. 24 by Paganini.” The latter was conceived by Webber for his cellist brother Julian, and was not intended to be a theatrical presentation. When listening to the second act, if the music sounds familiar, it is if you’ve seen ‘CATS.’ The score was also incorporated into that Webber musical.

Variations and ‘TELL ME ON A Sunday’ were wed when producer Cameron Mackintosh proposed they be combined under the umbrella title, ‘SONG AND DANCE,’ thus explaining the different acts of the show. The results may well confuse the audience which is probably looking for some clear hook between the two acts, which is hinted at, but isn’t really there.

The show, which originally premiered in London, was greatly altered before it opened on Broadway in 1985. The ending was changed from a situation in which the separated lovers realize their errors and reunite (London) to: he wants to reunite, but she realizes that she was looking for love in all the wrong places (Broadway), so they go their separate ways. In spite of very mixed Big Apple reviews, the show ran 474 performances. Many feel that the only reason the production lasted as long as it did was the star power of Bernadette Peters, who gained the Tony Best Actress award for the role.

The first act is a solo piece. Except for the scene changers and a non-speaking cameo by one of Emma’s lovers, the actress sings eighteen songs, including the beautiful “Tell Me On a Sunday,” and “Unexpected Song.” And the compelling, “Come Back With the Same Look in Your Eyes.”

Tracee Patterson is wonderful as Emma. Though her voice is a little shallow in the upper registers, she is such a strong actress that all is forgiven as she sings meanings not words to make each song a clear tale in itself. Her smiles, her tears, her emotional torment all shine clearly through. This is a very difficult role and Patterson carries it off with panache.

The second act is more problematic. It is beautifully danced by members of Verb Ballets. It features Mark Tomasic, one of the very best of the local male dancers, who is ably supported by the female members of the corps. The only weakness in the dance troupe is Sydney Ignacio, who does great gymnastics, but falls short when appearing on stage with such strong dancing talents as Tomasic and Brian Murphy.

Tomasic, who is not only a proficient dancer, but an accomplished actor, is excellent. It would be interesting to see him cast in a theatrical production in a role such as Curly in ‘OKLAHOMA,’ where he could not only sing and act the role, but dance the Dream Ballet as well.

One can only wonder why Cortez, who is a very creative and inventive choreographer, didn’t just create a second act which more clearly tells the story of Joe (Tomasic) so that it parallels the search that Emma goes through in the first act. This is hinted at, but never becomes the total focus. A clear story line would have made the dance, balance the song.

Larry Goodpaster’s orchestra is excellent. Ismael Kabar’s cello solos in the second act are finely crafted.

CAPSULE JUDGEMENT: Beck’s ‘SONG AND DANCE’ is well worth seeing. It is another feather in the crown of the production center which has become the best over all theatre in the area...taking on musicals, dramas and comedies--and doing them extremely well.

'10!' (MorrisonDance)

Morrison Dance uninspiring as part of DanceWorks 07

After each of the pieces of ‘10!,’ Morrison Dance Company’s program of short pieces, which they are presenting as part of DanceWorks 07, there was polite applause. This, in spite of the fact that it was opening night and many of the audience members were friends or family of choreographer Sarah Morrison, or her dancers. The tepid response was right on target.

Though Morrison is a very proficient dancer, her choreography lacks dynamism. It lacks vitality. Most of what goes on during her staging is static. At no time is there a “wow” factor.

Even her signature piece, SKETCHES OF RODIN,’ lacked the imagery of Rodin’s sculptures, which supposedly inspired the piece. Rodin’s works are strong, command attention, make themselves stand out. Morrison’s piece, which consisted mainly of Kalindi Stockton rolling around the floor moving a piece of “marble,” was understated and anything but breathtaking.

The highlight of the evening were the masks created by Scott Radke, Morrison’s husband and artistic collaborator. Too bad the choreography wasn’t up to the visual impact of the artwork.

Capsule judgment: If Morrison Dance is ever to develop a strong following like Groundworks, Inlet and Verb Ballets, Sarah Morrison is going to have to expand her repertoire by either letting lose with her own creative juices or supplement her work with some other choreographers who are capable of taking the dancers to a new level.

THE CLEAN HOUSE (Cleveland Public Theatre)

Quirky ‘THE CLEAN HOUSE’ at CPH

‘THE CLEAN HOUSE,’ Sarah Ruhl’s award winning play, which is now in production at the Cleveland Play House, is the kind of show audiences will either love or hate. The overheard comments by exiting patrons at the conclusion ranged all over the place regarding their thoughts of the production.

The play was a finalist for the 2005 Pulitzer Prize and won the Susan Smith Blackburn Prize for best play written in English by a female playwright in 2004. Yet, reviews of the show’s productions in New York and elsewhere were very mixed. It was added to and taken off several theatre’s production schedules due to questions over audience appeal.

Ruhl indicates that the germ for the play came from real life. According to the author, the opening monologue, “I didn’t go to medical school to clean my own house,” came from a comment she overheard at a cocktail party. Ruhl took this statement and rolled out a play which explores relationships and our need for purpose, while examining the Great American class divide. Isn’t it interesting that the upper and middle classes who want clean homes, hire the lower middle and lower classes to do the work!

One of the most fascinating aspects of the play is that the author look at the rituals of cleaning and death as parallel processes. According to Ruhl, “the byproducts of life are waste and chaos, every time we clean we try to keep chaos at bay.” She parallels that to the role of the doctor, the occupation of her lead character, who spends her days helping her patients fight the byproducts of their diseases, but won’t apply the same principles to her life and her home.

Don’t get the idea that ‘THE CLEAN HOUSE’ is a tragedy. It has very serious undertones, but it is also about jokes and ice cream and apples. In fact, the most important writing element of the script is the attempt to create the perfect joke. Our heroine finally conceives it, but, like life itself, we never quite hear it, we never really “get” it.

With that philosophical exposition, what’s the play about? Lane, a successful and exacting American doctor, believes her home should be spotless but wants nothing to do with the cleaning of it. Mathilde, the Brazilian maid hired to clean Lane’s house, is completely uninterested in housecleaning – her parents were the funniest people in their village and she is obsessively focused on her search for the perfect joke. Virginia, Lane’s sister, has a cleaning fetish and believes it immoral not to clean one’s home. Lane’s surgeon husband has fallen deeply in love with one of his patients, a dying woman who has a unique view of life and death. All this combines to make for a potentially thought-provoking experience.

The Cleveland Play House production has an excellent cast, is well paced by director Davis McCallum and has a startling attractive set by Andromache Chalfant. The use of projections to interpret the Portugese spoken lines is creative.

Ursula Cataan, who has a Salma Hayek personality and resemblance, is delightful as Matilda. Patricia Hodges is properly uptight as Lane. Beth Dixon gives a practical base to Virginia, Lane’s sister. Janis Dardaris shines as the dying Ana. Only Terry Layman disappoints as Lane’s husband. He never seems real. Part of this may be due to the unrealistic lines he is given by the playwright and the equally non-believable situation of trekking in Alaska with the goal of finding a tree which supposedly will cure Ana’s cancer. (Would a doctor do that?)

CAPSULE JUDGMENT: Seldom do I leave a theatre with a feeling of ambivalence. This was not the case with ‘THE CLEAN HOUSE.’ I didn’t love it, I didn’t hate it, I can’t recommend not seeing it, but I can’t say, “go.” I guess I’ll just have to go clean my house and delve into the psychology of the activity.

Shorn

Juliette Regnier showcases talents in ‘SHORN’ at Dobama

Juliette Regnier readily admitted during the after-show discussion of ‘SHORN,’ now being performed at Dobama Theatre, that she is an actress, not a playwright. In spite of this, Regnier has penned what, for lack of a better description, is a performance piece entitled ‘SHORN.’

‘SHORN’ brings to life the stories of three French women, who had sex with Nazis during World War II. Much like Hester Prynne in Nathaniel Hawthorne’s ‘THE SCARLET LETTER,’ who was branded with wearing the scarlet “A” to identify her as an adulterer, these “collaborators” had their heads shaved and were marched through the streets as models of shame.

It mattered little that one was truly in love with the young German, another needed food and the third plied her trade as a prostitute and it would not have mattered what nationality her sex partner was.

‘SHORN,’ according to Regnier “looks at women as ‘collateral damage’ during war time through the lens of French women accused of being ‘complicit’ with the Nazis. She has obviously achieved this, at least in the eyes of the women who responded during the play’s after discussion.

In spite of what I consider to be a very compelling bit of acting, I have some problems with Regnier’s piece of work.

The first is the piece’s format. ‘SHORN’ starts and stops with several interludes. The pieces don’t really flow together. The use of a mime/clown to make bridges isn’t clearly defined. Most of the time the clown appears to be exactly what it is, a theatrical bridging device to loosely hold the parts together. If Regnier is going to go further with this piece, she needs to more completely develop why a clown was chosen and what the purpose of that figure is. As is, it’s just gimmick for the sake of gimmick.

In addition, it would seem to serve Regnier’s message better if she stressed her self inscribed purpose of, “And suddenly I was faced with the non-judgmental question of just how would a woman/I respond during the war?” Maybe her “clown” might challenge the audience with that question, thus developing the theme.

And, I did not find the woman clearly etched. Each should be more clearly fleshed out so that their underlying motives and their reasoning for their actions would clearer.

Capsule judgment: ‘SHORN,’ which is getting its world premiere at Dobama is an interesting evening of theatre, one that is thought provoking. Yet, because of its flawed script, ‘SHORN’ leaves one wishing for a more complete experience.

Thoroughly Modern Millie

‘THOROUGHLY MODERN MILLIE’ lights up at Carousel

There is an old adage in the theatre, “The show must go on!” There are lots of legends about performers going on stage in the midst of tragedies and illnesses. Carousel Dinner Theatre has a reality tale to add to the list. On Saturday, Hollie Howard, who plays the title role of Millie in Carousel’s THOROUGHLY MODERN MILLIE,’ fell off the stage during the afternoon preview performance of the show. That evening was opening night!

What to do?

In the make believe world of theatre, as exemplified in such shows as ‘42ND STREET’ the understudy goes on, does a smash-up job and becomes a star. Well, that’s not what happened at Carousel. They mount their shows in a week, so the understudy doesn’t really get to learn her/his part until the show is running.

Howard, complete with taped ankle, went on after some adjustments to the choreography. Ironically, this was not the first injury for this production. Director Marc Robin, early in rehearsals, tripped over a piece of scenery, and hurt himself. Opening night was his first night off crutches.

Howard’s being hobbled hurt no one. In fact, if the announcement hadn’t been made before the show, the audience wouldn’t have known the difference. Howard danced well, sang even better, and portrayed the role to perfection.

In contrast to many musicals which are turned into films, ‘THOROUGHLY MODERN MILLIE’ was first a movie. It opened in 1967 and stared Julie Andrews, Mary Tyler Moore, John Gavin and Carol Channing.

In the early 2000s, the movie was adapted for the stage. It maintained the basic story line of the movie but, in an effort to be politically correct, it toned down the stereotypical traits of the Asian characters in the film. (Some will still find those stereotypes offensive.)

The plot revolves around Millie Dillmount, who, in 1922 comes to the Big Apple from Kansas determined to marry her wealthy boss. She sheds her country girl image and becomes a “modern” flapper in order to hook her man. On her first day in NY, she accidentally trips Jimmy Smith, an apparently ne'er-do-well paper clip salesman. Yep, you guessed it. He isn’t a ne’er do well, and in the tradition of trite musicals, after a few obvious plot twists, they go off into the sunset. Well, into the bright lights of Broadway, to live happily ever after.

The show, which is filled with lots of upbeat songs and many dance numbers, including some great tap dance routines, is dynamic, thanks to Robin’s setting a lightening quick pace, clearly developing the characters, and adding some fun gimmicks (such as having the Chinese lines projected in English on screens on the sides and above the stage). But most of all, he explodes the stage with creative choreography.

The cast is excellent. Howard brings Millie to musical and dramatic life. Brian Ogilvie is properly wholesome as Jimmy Smith. He dances and sings well. Donna Ryan is so bad as the scheming Ms. Meers, that she is good. Christin Mortenson effectively lets loose her big voice in “Only in New York.” Lindsey Clayton is fun as Miss Flannery, an uptight boss who turns into a goodie. Jim Sorenson is Broadway handsome and effectively develops the over-bloated Trevor Graydon, the richie on whom Millie has her sights set. Even the male dancers, who are often the weak link in many musical productions, are excellent.

The music, the sets, the costumes all work.

CAPSULE JUDGEMENT: Carousel’s ‘THOROUGHLY MODERN MILLIE’ is everything that makes for good dinner theatre...a sprightly production, featuring a well chosen cast, guided by excellent direction. If you like theatre-light and don’t want to think a lot, but have a good time, you’ll dance happily out of ‘THOROUGHLY MODERN MILLIE.’

Red Light Winter

Disturbing, unnerving ‘RED LIGHT WINTER’ at Bang and Clatter

Akron’s off-off Broadway theatre, THE BANG AND THE CLATTER, is presenting Adam Rapp’s controversial play, ‘RED LIGHT WINTER.’ This show is not for the feint of heart. It’s not for those who can’t tolerate full-frontal nudity, gross language, depiction of graphic sex, or don’t like to have their senses assaulted.

To be honest, I don't like the script, but I can't and won't deny that the raw smells, tastes and visions got into my senses and won’t get out. I don’t like the people. I don’t like what they represent. I don’t like that they can’t and or won’t save themselves from their destructive paths. Yet, I can’t get them out of my mind.

The name Adam Rapp may sound familiar, even if you aren’t a theatre person. A novelist, film maker and playwright, his book ‘THE BUFFALO TREE’ was brought to national attention when it was censored by the Muhlenberg School Board in Reading, Pennsylvania for its language and subject matter.

Rapp uses graphic language, sexual content and themes that are repulsive to some. Personally, I’m not shocked or turned off by his language or subject matter. But I am turned off by his style. I just think he writes speeches which don’t sound like they would be spoken by a normal person, writes characters that are overdrawn, and puts shock before substance. I find that he throws in gimmicks to move along the plot that often make no sense.

‘RED LIGHT WINTER’ begins in a small bedroom in a hostel in Amsterdam, where nerdy, unsuccessful playwright Matt attempts to kill himself. Right after his half hearted attempt fails, his traveling mate Davis turns up. The two are friends from college and are vacationing together in Europe. Davis has a present for Matt—a prostitute named Christina.

Christina appears to be French but, as Matt deduces, is actually an American. She undresses Matt, takes him to bed, then she exits, leaving behind a tape recorder and the fancy red dress she changed into just before bedding the somewhat shy and inexperienced young man.

Act Two takes place in New York, in Matt's apartment. If any more of the plot is revealed the effect of the evening will be ruined, so I’m stopping here with just the comment that the play has no curtain call and that is one of the dramatic highlights of the evening.

Okay, here are my issues with Rapp and his script. Yes, opposites may attract and people turn to those who are unlike themselves in order to get some thrills. But, that obsessive-compulsive insecure Matt would be friends with Davis, who has no redeeming qualities, is questionable. As written, Davis wouldn’t be an actual friend to anyone, least of all Matt, whose girl friend Davis stole some years back. As for Christina, she's something of an enigma throughout. At first I thought that it was the fault of Laurel Johnson, who plays the role. She has a bad French accent, is a weak singer, and her lines often lack unity of thought. Nope, it’s not Laurel’s fault. The character is poorly and manipulatively drawn by Rapp. Her language and lines don’t ring true. Questions abound: Why the false French accent? Why does she leave her dress and the tape recorder behind? Of all the people in the world, why does she seek out a scumbag like Davis when she comes to New York? The answer is that these are all plot development devices.

What is surprising is that ‘RED LIGHT WINTER’ was one of the finalist for last year’s Pulitzer Prize. With the quality of this script, no wonder no award was given.

As they are apt to do, the Bang and Clatter gives the play a good production. In fact, the production, outclasses the material, though trimming the first act (one hour and thirty minutes was way too long) and picking up the pace in the second act, would have helped.

Doug Kusak is generally on target as Matt. He probably has the clearest of the characters to interpret, even with the question of his loyalty to Davis. I found his interpretation of the closing scene a little unclear, but otherwise, it was a good acting exercise.

Mark Mayo knows no boundaries as Davis. He is way, way over-the-top. It can only be assumed that Director Sean McConaha really, really wanted us to hate Davis. He succeeded. I wonder what would have happened if Mayo had pulled back the character a little. If he had not screamed almost every line, over-acted ever gross action and syllable that spewed forth from his mouth.

The second act confrontation scene between Davis and Christina was so finely tuned it was pure emotional agony. It was almost unwatchable because of the uncompromising reality of the performers.

Gorgeous Laurel Johnson does what she can with the poorly written role of Christina/Christine/ Annie. Her physical change between the first and second acts is amazing. She perfectly transforms into a Keene painting of a hollow-eyed child looking at finality.

Capsule judgement: ‘RED LIGHT WINTER’ has to be one of the, if not the most disturbing productions I’ve ever seen. I’m writing this 24 hours after having seen the show and I’m still in a state of shock!