Groundworks 6/07

GROUNDWORKS continues to captivate in Cain Park performance

I took a friend, who had never seen Groundworks Dancetheatre to the company’s recent Cain Park concert. His reaction? “Wow, that was really something special!”

Yes, as has come to be expected from Groundworks, the choreography and dancing were something special!

The program opened with “U me U,’ choreographed by company member Amy Miller. Danced to music composed by and performed live by James Marron, there was perfect synchrony between the dancers and the guitarist. Miller’s creative choreography, a series of movements featuring interlocking bodies and flowing heads and arms, was enhanced by Dennis Dugan’s lighting, which created flowing shadows on the intimate Alma Theater’s back wall. Petite Felise Bagley and very tall Mark Otloski danced with disciplined control to create a sometimes sensual, sometimes joyous duet. This was a wonderful start to the program.

‘PROXIMAL,’ choreographed by KT Niehoff, was a crowd pleaser. The piece started out with a pounding sound coming from behind a steel garage door at the rear of the stage. One hand appeared underneath the door, then three more hands appeared as Amy Miller and Damien Highfield pried open the portal and crawled underneath to freedom. Giving each other verbal instructions regarding what moves they were going to perform, the duo, moving to no music, showed amazing athletic strength and abilities to manipulate each other’s bodies through lifts, drops and pushes. Their crawling back under the door at the conclusion of the piece was met with enthusiastic applause by the near sold-out house.

“JUXTA,’ Amy Miller’s choreographed offering introduced the audience to Sarah Perrett, the company’s newest member. Perrett fits well into Artistic Director David Shimotakahara’s dance philosophy. She displayed controlled movements, blending into the physical action and reaction of the choreography. She is an excellent addition to the Groundworks family. ‘JUXTA,’ which featured same and mixed sex couples working as a group, was danced to selections from Steve Reich’s “Electric Counterpoint.” As exemplified by Miller herself, the choreography was gymnastic, controlled, and well defined. It fit the tone and intent of the music.

The evening concluded with the creative ‘KABILA’ (Tribe), based on “African Voices Song of Life.” Shimotakahara used numerous African dance forms to create an audience pleasing number. It featured wonderful costumes by Janet Bolick and fabric artist Esther Montgomery, inspired by the Dark Continent. The many moods and illusions of Africa were showcased in the dancing of Bagley, Miller, Perrett, Highfield and Otloski.

Capsule judgement: Groundworks Dancetheatre has to be listed as a Cleveland artistic treasure. It’s ninth consecutive performance at Cain Park, was, once again, a showcase of what well-conceived and executed audience-pleasing dance is all about! BRAVO!

Oliver

When ‘OLIVER’ hits its stride it should be a crowd-pleaser at Cain Park

Fred Sternfeld, the director of ‘OLIVER’ which is now appearing at Cain Park’s Evans Theatre, is noted for his ability to take large casts and make them into cohesive units (think ‘BEAUTY AND THE BEAST” at Beck Center and ‘RAGTIME’ at Jewish Community Center). He pulls it off again with ‘OLIVER,’ though there were some rag tag moments on opening night, some questionable casting, and a languid pace.

I was fortunate enough to have seen the second night performance of the London production of ‘OLIVER.’ I clapped my hands sore during the numerous curtain calls. The show has continued to be one of my very favorites.

The script, with music, book and lyrics by Lionel Bart, is loosely based on Charles Dickens' ‘OLIVER TWIST.’ It is noted as being the first musical adaptation of a Dickens novel to become a successful stage hit. The New York version opened in 1963 with Ron Moody (Fagin) and Georgia Brown (Nancy) of the original London cast.

The story centers on Oliver, an orphan who runs away from the funeral parlor to which he has been sold for misbehaving at an orphanage. He hooks up with a group of boys trained to be pickpockets by the devious but good hearted Fagin. On his first outing, Oliver is wrongly accused of a theft. Through a serious of twists and turns, and some glorious songs, Oliver’s life takes a drastic turn and it appears that he winds up living happily ever after.

Cain Park’s production is blessed with George Roth portraying Fagin. He has a delightful singing voice and gives the role the right tone. His “ Reviewing the Situation” was wonderful, as was “Pick A Pocket or Two.” He walks the line between bad guy and curmudgeon with finesse.

Lincoln Sandham (Oliver), though a little too old to be playing the role, has the requisite blonde hair and innocent wide-eyed look. He has a nice pure singing voice. His “Where is Love” was right in tonality and meaning.

One of my favorite musical theatre songs is, “As Long as He Needs Me.” Each time I see the production I sit in fear that the song will be ruined. No fear in this production. Patty Lohr sings beautifully, stressing meaning over mere words, and she also acts the role with assurance.

As has come to be expected, Martin Cespedes’ choreography is creative. He has honed the youngsters in the cast into a cohesive unit that is delightful in “Food, Glorious Food.” His staging of “I’d Do Anything” is a show stopper.

Musical Director Jodie Ricci, Scenic Designer Jeff Hermann, and Costumer Aimee Kluiber all should be proud of their contributions.

On the other hand, Kris Hebble fails to develop any meaningful character as Mr. Bumble. Surprisingly Juliette Regnier is emotionally flat as Widow Corney and Bob Adelman speaks lines without much meaning as Mr. Sowerberry. Because of this, the second and fourth scenes in the first act drag. Even “I Shall Scream” lacks the humor inherent in the song. Chris McCarrell lacks the enthusiasm and a twinkle-in-the-eye playfulness needed for portraying the Artful Dodger. Bob Russell could be more consistently verbally and physically menacing as Bill Sykes. His "My Name" lacked the necessary shudder-factor.

CAPSULE JUDGEMENT: “OLIVER,’ with its wonderful score and slight but engaging story line is one of musical theatre’s better scripts. The Cain Park production has the potential to be very good, thanks to some strong performances and wonderful choreography. It can only be hoped that as the production runs the weaker cast members will truly develop their characters and the pace of the show will pick up.

Big River, The Adventures of Huckleberry Finn

Mercury Summer Stock’s ‘BIG RIVER’ gets a 7 out of 10 from my side-kick kid reviewers

Remember the scenes in the Judy Garland-Mickey Rooney movies when they get a group of kids together to do a play? The results, because of their enthusiasm and dedication, were fun, amateur productions. That’s the feeling one gets from Mercury Summer Stock, which is now performing ‘BIG RIVER, THE ADVENTURES OF HUCKLEBERRY FINN.’

Mercury has as its goal “providing local performers opportunities to work on and off stage during the summer season.” Though they are listed as a “professional based” theatre, in their present production only one equity member is listed. It matters not. If you go in expecting to see young performers who really love the theatre, putting out full-effort, the evening is fulfilling.

Based on Mark Twain's classic 1884 novel, ‘THE ADVENTURES OF HUCKLEBERRY FINN,’ the show features music in bluegrass and country styles, in keeping with the setting and era of the novel. The Broadway production, which won a Tony for Best Musical, ran for over 1,000 performances.

The Broadway production opened on April 25, 1985 and ran for 1,005 performances. A revival opened in the Big Apple in 2003. It was staged by the Roundabout Theatre Company and Deaf West Theatre, and about half the characters, including the leading role of Huck, were played by deaf or hard-of hearing performers. Having seen the production, I can assure you it was both entertaining and enlightening.

The story follows Huck Finn as he helps Jim, a slave, escape to the north to gain his freedom. Along the way, they encounter a fake duke and king, slave hunters, and are participants in a stolen money scheme, a plot to free Jim after he is captured, and Huck’s first love affair. All in all, the script and music (“Muddy Water,” “River in the Rain,” “Worlds Apart,” and “Free at Last”) are both moving and of high quality.

Mercury’s production is under the deft direction of Pierre-Jacques Brault, a 2001 graduate of Baldwin-Wallace College's Music Theatre Department. His directing credentials are impressive for one so young. His youthful enthusiasm has been infused into the cast, who appears to be having a great time on stage.

The production’s accomplishments are even more impressive when one realizes that they are performing on a tiny stage, with no fly gallery or wing space, and a very limited budget. This causes all sorts of complications of a show that requires a number of sets, set changes and extensive costumes.

The production is uneven, but that’s to be expected with such a young cast. Brian Marshall, the theatre’s Managing Artistic Director, makes for a fine Huck. Though appearing a little too old for the role, he has a nice voice and a good grasp of the nuances of the part.

Charles Walker (Jim) has fine vocal and acting abilities. His rendition of “Free At Last” was powerful. Daniel Marshall (Duke), the only listed union performer, is delightful as the overblown Shakespearean actor, as is Arthur Wise (King) as his scheming sidekick. Corey Joseph Mach is Tom Sawyer personified. Some of the singing and dancing by those in minor roles was a little ragged, but the vocal blends, especially of the boys chorus, were excellent.

As is the case when a show has youth attendance potential, I took my grandsons Alex (11) and Noah Berko (10) to see the production. On their grading scale, they gave the production a 7 out of 10. Alex summarized, “It was a good play, but I didn’t understand all of the jokes, but lots of it was funny. (Sidenote: as a fifth grader he hasn’t quite been exposed to Shakespeare and southern folk humor.) The singing was really good and I liked Charles Walker who played Jim, the African American slave. I don’t think people should own slaves, it’s dumb!” Noah agreed. He also expressed concern because the set wasn’t realistic enough to portray the raft moving down the river. They both liked Huck and Tom. Alex added, “They used the “N” word a lot and they swore 26 times.” Noah stated, “That might offend some people.”

CAPSULE JUDGEMENT: BIG RIVER is a well-conceived script. In the hands of Pierre Brault and his Mercury youthful, enthusiastic cast, it gets an uneven but pleasing production. It’s worth a “go see.”

Chris Blisset reviews the reviewer

Chris Blisset here. I am playing Jim in Porthouse Theatre's Pump Boys and Dinettes. I just thought I'd drop you a note and thank you for your review. I read it (and some others), and I like your review style. You are fair but honest, so I am taking your praise to heart. The review was lucid and professional, which is nice to see.

Pump Boys and Dinettes

‘PUMP BOYS AND DINETTES’--a perfect summertime escape at Porthouse

In 1982 ‘PUMP BOYS AND DINETTES,’ a version of which is now appearing on stage at Porthouse Theatre on the grounds of Blossom Center, was a Tony Award nominee for “Best New Musical.” It ran for 573 performances on the Big White Way.

If you go to see the production at Porthouse, don’t expect to see a story line show. The script is tale-light, though this version is talent heavy. The story, at least the general “plot” outline, centers on the goings on of 4 males (the pump boys) and 2 females (the dinettes) who work at a gas station/dinette somewhere between Frog Level and Smyrna, North Carolina.

The music, which is mostly from country/hillybilly rock/pop music genres, including some “pump rock”, is mostly unknown. None of the songs went on to any great fame, but they all “kind a’” sound familiar. Titles include, “Fisherman’s Prayer,” “Vacation,” “”No Holds Barred,” and “Serve Yourself.”

The Porthouse cast is excellent. The talented musicians, who play everything from piano to harmonica to guitar to electric bass to accordion, are wonderful. The singing is also mighty fine.

Since many of the lines are ad libbed, right from getting a volunteer out of the audience to play Uncle Bob, to handing out fresh baked apple pie, to having a raffle for a “real honest to goodness” car air-freshener, the performers have to be up on their quick thinking game. They pass the test with flying colors, especially Chris Blisset, the guitarist and chief trouble maker. Besides his fine joking around, his version of “Mamaw” was a vocal highlight.

Ian Lowe not only plays a “mean pie-ana,” but has a charming presentational style. His “T.N.D.P.W.A.M (The Night That Dolly Parton Was Almost Mine)” was one of the evening’s delights.

Laura Cook, could have used more animation and playfulness, but her “The Best Man” was presented with a nice country sound.

Gary Thobaben, he of the wild black Mohawk wig and no facial expression, made quite a presence, though he only had a single line.

Laura Beth Wells was a hoot as the sexy come-hither waitress. She teased with the audience, and rocked through “Be Good or Be Gone.” W. James Koeth was dynamic in “Mona.”

Director Eric van Baars paced the show well and kept the tone well-focused.

CAPSULE JUDGEMENT: ‘PUMP BOYS AND DINETTES’ is perfect summer time escapist entertainment. If you just want to sit outdoors amidst the chirping of the birds and insects, and hear some “good-ol’” music encased in “down home talkin’,” then this is your “thang.” You’ll find yourself “Taking It Slow,” until “Closing Time” and then taking “Highway 57” (or Route 8) home.

Dirty Rotten Scoundrels

Farcical ‘DIRTY ROTTEN SCOUNDRELS’ pleases some at the Palace, but...

‘DIRTY ROTTEN SCOUNDRELS,’ which is now on stage at the Palace Theatre, is a musical farce. Farces aim to entertain the audience by means of unlikely and extravagant situations, disguises and mistaken identities. They contain broad physical humor and verbal comedy of varying degrees of sophistication, which often includes puns and sexual innuendo. To be effective the material must sizzle and the performance must be right on target. (Think Great Lakes Theatre Festival’s ‘FUNNY THING HAPPENED ON THE WAY TO THE FORUM’ and ‘HAY FEVER.’) Unfortunately for local audiences, ‘DIRTY ROTTEN SCOUNDRELS’ is shallow in both book and staging.

First conceived as a movie in 1988, the film, which starred Steve Martin and Michael Caine, is considered by many cinema aficionados as one of the 50 most humorous American films.

In 2005, the movie was adapted into a Broadway musical following the same plot line. It starred John Lithgow and Norbert Leo Butz, and in spite of mixed reviews, it was nominated for several Tony Awards, including Best Musical.

The story concerns Freddy Benson, who lives off women by conning them with stories about his fake persona. One day, he meets Lawrence Jamieson, who shares the same passion. Lawrence, however, has neither the charm nor the maturity to pull off high level cons. He relies on his youth and made-up family tales. As there is no way two con men can work the small French town, Lawrence and Freddy agree that the first one to extract $50,000 from a young female target stays, and the other leaves town. What they fail to realize is that a con man can also be conned!

The touring production does not have the appeal of the Broadway production or the film. Tom Hewitt is fine, but not outstanding, as Lawrence. D. B. Bonds has some good moments as Freddy, but isn’t in the same league as Norbert Leo Butz, who won a Tony for the role. Laura Marie Duncan, who has a nice voice, doesn’t ring true as Christine Colgate, who eventually cons the con artists. Only Hollis Resnik stands out as one of the ladies taken advantage of by Lawrence.

Songs like “Great Big Stuff” and “Love Is My Legs” were audience pleasers. However, “All About Ruprecht” and “Ruffhousin’ Mit Shuffhausen” were just too ridiculous to entertain anyone with at least a normal IQ.

The dancing was often too automatic and uncreative and the pace seemed to be that of a show which has been on the road too long.

Capsule judgment: The opening night audience gave its usual Cleveland standing ovation to a production which was basically mediocre. This is the kind of show that some will love, while others, like the four ladies sitting behind me, who are self appointed critics, were debating during intermission whether they were going to give the show a C- or a D+. Whichever grade they picked was just about right.

Walkin' Talkin' Bill Hawkins...In Search of My Father

Performance better than material at Dobama

Bill Hawkins, the subject of William Allen Taylor’s play ‘WALKIN’ TALKIN’ BILL HAWKINS...IN SEARCH OF MY FATHER,’ was supposedly Cleveland’s first black disc jockey. Supposedly, since there are no known tapes of Hawkins’ broadcasts, and few of his life facts exist, other than some references in the city’s African American CALL AND POST newspaper.

Word-say indicates that Hawkins was noted for his jiving, rhyming style of patter. He went on the air in 1948 on WSRS-AM, broadcasting from his record store at Cedar Road and East 105th Street. There are pictures, some of which are displayed during the Dobama production, illustrating the crowds outside the store window during the shows.

Hawkins’ popularity grew and over the next decade he was heard on up to four different stations on the same day. Some feel Hawkins laid the foundation for broadcaster Alan Fried, who coined the term “rock and roll.”

What wasn’t generally known was that Hawkins had a son. And, that his son, William Allen Taylor, didn’t find out Hawkins was his father until the boy graduated from college. The two actually met, but Taylor, then a teenager, was unaware that during an interview for a job, the interviewer was his dad. Hawkins died in 2004, before his son ever got to know him.

W. Allen Taylor is an excellent actor. Unfortunately, his writing skills don’t match his performance abilities. The script is choppy, often unfocused, filled with characters who do little to push along the plot. There are holes where costume and set changes break the flow. Often it is difficult to distinguish who is who among the numerous characters.

Since Taylor fails to flesh out any traumatic consequences of not having an a father in his life, the plot has nothing to texture it. In the main, the story is lacking in drama, suspense and humor.

It was fun being at the invitational preview performance. Many audience members were relatives and friends of Hawkins and his son. They responded well to “in jokes” and references to local places and incidents they shared. I’m not sure what’s going to transpire when a “regular” audience views the work.

CAPSULE JUDGEMENT: ‘WALKIN’ TALKIN’ BILL HAWKINS..IN SEARCH OF MY FATHER,’ is like a lazy river which just flows, carrying us along for a pleasant, but not memorable journey. It’s a nice look at by-gone Cleveland, but not much more after the novelty of being exposed to the area’s first black dj transpires.

TWO HEADED

Insightful, effective ‘TWO HEADED’ at TITLEWave

September 11 will long be noted as a day that changed America and its attitude toward “foreigners.” No, this isn’t the 9/11 of 2001, this is the September day in 1857 when 127 California bound men, women and children from Arkansas and Missouri were killed by a group of zealous Mormons.

The Mormons, who practiced polygamy, were reacting not only to the “gentiles” crossing their territory, but to the fact that in 1844 Mormon prophet Joseph Smith and his son were killed in a Carthage, Missouri jail. The mass killing was a way to “revenge the death of the Mormon prophets and punish non-believers.”

Until the 1995 Oklahoma City bombing, and then the World Trade Center attack, the Mountain Meadows Massacre was the largest civilian atrocity of non-Native Americans, on US soil. Only one man, John Doyle Lee, was ever put on trial for the massacre. After two trials he was executed some 20 years after the event.

Though Julie Jensen’s play, ‘TWO HEADED,’ concerns the massacre, it is only one of many topics dealt with. The play, in five scenes, each spanning 10 years, examines the lives of two Mormon women, Lavinia and Hettie, from the time of the massacre. Jensen showcases the impact on the choices the women make and those made for them in the male-controlled culture.

As one reviewer states, “The perspective forces the audience to imagine what it was like to be a Mormon woman in the nineteenth century and thus understand how we all circumvent speaking freely about a lot of things. It transforms docudrama into the saga of a friendship pieced together like one of the women's painstakingly sewn quilts threatening to fray, but invariably patched together again.”

In this era of a serious bid for the US presidency by Mitt Romney, a devote Mormon, it is a perspective that may help some to understand the concepts of his religion, even in this era when the views toward pluralistic marriage have altered.

It should be noted that the author has a “deep, abiding hatred of the Church of Jesus Christ of the Latter Day Saints” and her ‘TWO-HEADED’ is considered by believers to be a ferocious attack upon the church. Jensen sees Brigham Young’s creation as an “edifice for the sexual gratification of lecherous men.” This concept is clearly showcased in the play’s final moments when Hettie asks Lavinia about the two-headed calf that supposedly was hidden in a cellar. Lavinia states that it was a lie which she made up. It is clearly author Jensen’s analogy for the Mormon church and its hidden rituals.

Jensen's straightforward writing embraces humor as well as sadness. Each of the five scenes carries us further into an elliptical story of the machinations of each of the women, with comments about the church. Each segment is bridged by a religious or philosophical song.

TITLEWave’s production, under the steady direction of Greg Vovos, gets everything possible out of the script. The characterizations are clearly etched, the underlying concepts revealed.

The strong-willed, often maniacal Lavinia is well-portrayed by Holly Holsinger. At the start it is a little difficult to believe that she is 10-years old, but once the idea sets in, the ideas flow. The character’s strong personality and her obvious lesbian love for the never seen Jane, receive a strong and textured development.

Chris Seibert, as the sensitive, trusting and naive Hettie is believable from the start. She gives the role a child-like presence throughout, even as a mature woman. It is easy to accept that she is a willing participant in her fate.

Lydia Chanenka’s set design, mainly consisting of a gnarled tree from which the massacre is viewed by Lavinia, remains, like Jensen’s view of the Morman church, strong, but misshapen. The backdrop of burning red colors symbolically remains throughout the presentation to remind us of the overlying effect of the massacre.

Capsule judgment: ‘TWO HEADED’ is a vivid play which holds our attention for its hour-and-a-half intermissionless presentation through fine acting and a consistent concept.

Frozen

‘FROZEN’ at BECK is thought provoking, though talky

In recent years the Beck Center has become known for its quality productions and thought provoking script selections. ‘FROZEN’ by Bryony Lavery is another one of those stagings.

As with the company’s recent ‘EQUUS” and ‘PASSION,’ ‘FROZEN’ explores a psychological theme. In this case, the play asks, “Is it possible to forgive that which seems unforgivable -- the abduction, presumed sexual assault, and murder of one's child? And if so, what effect could that forgiveness have on the mother as well as the killer?”

Lavery explores the subject through a series of meetings which take place 25 years after the crime between the mother, the pedophilic killer, and a psychiatrist.

'’FROZEN’ was a hit in London and then New York, though the Big Apple production only played 128 regular productions. And, despite its difficult subject matter, it's the fourth-most-produced play in the country in the 2005-06 season.

Swoozie Kurtz, who played the role of the mother in the off-Broadway and Broadway productions states of the script, "When I first read this play last summer, it knocked the wind out of me. I can't imagine what it is to watch it. I've never been in a play that people say the kind of things they say about this one. It gets inside people's hearts and won't let go. I mean, this woman has survived 20 years of darkness and grief, navigating her way past the land mines.”

The play, besides the subject matter, is not without controversy. Bryony Lavery, the script’s author, has been accused of plagiarism by criminal psychiatrist, Dr. Dorothy Otnow Lewis and writer, Malcolm Gladwell who said that they have found at least "a dozen instances of word-for-word plagiarism in the play, as well as thematic and biographical similarities to a 1997 New Yorker profile of Dr. Lewis and a 1998 book by Dr. Lewis.” To date, there has been no resolution to the case.

Beck’s production, under the wise direction of Sarah May, has an excellent cast. Derdriu Ring as the mother (Nancy) wisely walks a tight rope of despair and depression. She does so with controlled emotions, psychiatric nonverbal reactions and total involvement in the character. This is a tour-de-force performance.

Jason Markouc is obsessive as Ralph, the pedophile. He is down-right scary in his complete emersion into the role. It is impossible to separate Markouc from Ralph.

Liz Conway does not fare as well as Ring and Markouc. Her psychiatrist is often unbelievable. Her opening scene, when she has a panic attack, is overacted and unrealistic (side note: as a crisis counselor, I know about panic attacks). She often shouts or goes into speeches with no transitions. It is hard to accept her as a credible psychiatrist.

Don McBride’s glacier/tundra setting is chilling. It develops the script’s theme of being psychologically frozen, often below our level of awareness, in subtle, yet obvious ways.

Jenniver Sparano’s costume choices are right on. This is especially true of Ring’s frumpy English up-tight early dresses, which morph into brighter colors as the character reaches outside her traditional self.

Audiences should be aware that there is harsh language and the subject matter will upset some.

CAPSULE JUDGEMENT: Though a little talky, and sometimes feeling overly long, ‘FROZEN’ is a thought-provoking script which is given an intelligent production at Beck.

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)