Groundworks @ The Icehouse

GROUNDWORKS blends dance and music at Icehouse

Groundworks Dance is like the little engine that could. It is a small company which selects unusual places to perform its programs and succeeds in making each its psychological home. For nine seasons, since its inception, the company has performed in Akron’s Icehouse. The Icehouse was, as its name indicates, a storage site where blocks of ice from the river were brought and kept in the cavernous building. Later, when refrigeration was invented, ice was made and stored there. Now the facility is in the midst of an area which is becoming Akron’s arts center. It is an unusual place for a dance company with its pillars, high ceiling and dank atmosphere. But use it Groundworks does. And, they use it well.

For this year’s two weekend residence, David Shimotakahara, Groundworks’ Artisitic Director, decided to present a two dance and musical interlude program.

The first selection, ‘NANO,’ was in its Akron premiere. The piece was performed to a composition by Gustavo Aguilar, the company’s musical director, using only the sound of a snare drum. As is typical of Shimotakahara’s choreography, the moves perfectly fit the music. Though overly long, it showcased Aguilar’s skill in producing sounds from a single instrument. ‘NANO’ found the dancers creatively bumping into each other, pushing and lifting their own and other’s bodies, while gliding, turning, twisting and sliding. Arms were in constant motion. Amy Miller, the epitome of bodily control, did an audience-pleasing solo segment. A sector by Felise Bagley, Mark Otloski and Sarah Perrett was compelling. Dennis Dugan’s lighting helped highlight the dancing by casting moving shadows on the Icehouse’s dark and deeply scarred walls.

‘MUSIC INTERLUDE’ featured a trio of musical compositions created by John Luther Adams and performed by the Akros Percussion Collective. The musical sounds were supplemented by a dance segment performed with creative competence by Amy Miller and video images by Tug Video. The percussion music, using bells, marimba and gongs, was intriguing but overstayed its welcome. Each segment could have been shortened to heighten the overall effect.

‘ANNIE REDUX’ was a creatively devised piece by choreographer David Parker to the recorded music of Irving Berlin’s ‘ANNIE GET YOUR GUN.’ Interestingly, instead of using the well-known singing versions by Ethel Merman (Broadway’s first Annie Oakley) or that of Betty Hutton (who portrayed the sassy female wild west gunslinger in the film version), vocalizations by Judy Garland were used. Garland, who was originally cast in the film role, either dropped out or was fired, depending on which version you wish to believe. However, she had recorded the songs before departing from the filming. Like the recent Broadway hit, ‘MOVIN’ OUT,’ which was choreographed by Twyla Tharpe to the music of Billy Joel, the viewer needs to listen to the music, but accept that the words they hear are not going to develop the story of each song. Once that separation is accomplished, the piece becomes pleasurable. Consisting of some unusual lifts and captivating movements, the dancing parallels the sounds of the music. A wonderful simulated tap dancing without taps highlighted “There’s No Business Like Show Business.” In an interesting take, the role of Annie was danced by Miller, Bagley, Perett and David Shimotakahara. Bill was danced by Shimotakahara, Damien Highfield, Otloski and Perett. Each used his/her distinctive style to develop the character. All in all, this was a positive experience, especially for musical theatre buffs.

Capsule judgement: Shimotakahara is not afraid to take risks. His inclusion of a musical interlude sandwiched between dances was a different take on dance concerts. As always, the overall effect of the evening was positive, but several segments tested the theory that the mind can absorb what the seat can endure, and two of the segments definitely tested the audience’s endurance limits.

Reflections (Peggy Sings Leiber and Stoller)

Underwhelming REFLECTIONS at Beck

Frank Sinatra once said of Peggy Lee, who is the subject of ‘REFLECTIONS (Peggy Sings Leiber and Stoller)’, now on stage at Beck Center, that "Her wonderful talent should be studied by all vocalists; her regal presence is pure elegance and charm."

Norma Deloris Egstrom, better known to the world as Peggy Lee, was born in 1920. Her mother died when she was young. Her alcoholic father abandoned the family, leaving the children to be brought up by a verbally and physically abusive step mother. Eventually, Norma Deloris left home to pursue a musical career. Her march toward fame took off when she was offered a singing gig by band leader Benny Goodman. Lee, who is often recognized as one of the "classy" vocalists of the century, alongside Ella Fitzgerald, Billie Holiday and Sarah Vaughan, was noted for her soft, sensual and cool singing style.

She was not only a stage and night club singer, song writer and recording artist, but appeared in numerous films including ‘PETE KELLY’S BLUES’ for which she was nominated for an Academy Award. She contributed to the score and was heard in the soundtrack of Disney’s cartoon feature ‘LADY AND THE TRAMP.’

Lee’s life was not a bed of roses. Besides her miserable childhood, her marriage to guitarist Dave Barbour, the one man she really loved, ended in divorce, as did several other marriages. In an attempt to hide from her pent-up emotions she became a workaholic and in the 1950s the intense work load took its toll. She suffered a long period of illnesses. In spite of her poor health she continued to perform into the 1990s, often seated in a wheel chair. She died in 2002, at the age of 81, of complications of diabetes.

‘RELFLECTIONS’ is not the first play that has been written about her. In the early 1980’s she appeared in ‘PEG,’ which was a flop.

Over the years, Lee, noted for her perfectionism, repeatedly used the same songs over and over. This tended to make her shows predictable. Her laid-back sexuality and teasing neuroticism eventually became, in the opinion of one critic, “underwhelming.”

The Beck show is also “underwhelming.” In spite of a fine performance by Laura Theodore, who has perfected Lee’s vocal and oral sounds, there is a flatness to the evening. Much of the problem is the script which glosses over and underplays the trials of Lee’s life. Yes, Lee was self-contained, rolled with the punches, and that doesn’t necessarily make for good theatre. So, maybe Lee wasn’t the best choice about whom to develop a musical drama. Maybe a musical review highlighting her many hit songs would have been a better decision. As is, there is little in the way of drama, little to no comedy, and little to any action in ‘REFLECTIONS.’.

The exclusive use of Jerry Leiber and Mike Stoller’s music, is also problematic. Much of the music, at least in the arrangements used, tends to sound very much alike. The orchestrations, even to such songs as “I’m a Woman” and “Is That All There Is?” are understated.

The script, by Tom Fulton and Laura Theodore, is sometimes confusing and lacks texture and fails to create the needed emotional levels to engage an audience. There is a lack of emotional highs and lows, a lack of the needed creation of empathy. Time jumps back and forth. Conflicts are glossed over. Even death is understated.

The use of multi-media often distracts the flow of ideas. To add to the problems is that the quality of the videos is sometimes poor. The sync between the spoken word and the visual image is occasionally off. Our attention is unnecessarily drawn away from the stage by the inserted audio-visual.

The sound of Larry Goodpaster’s orchestra is outstanding. Martin Cespedes’s choreographed segments provide some of the few exciting segments of the production. Bravo to dancers Jose Ayala and Devon Shriver.

The cast is good. Given the weakness of the script, they do extremely well. Jeff Grover is fine as Dave Barbour. Erin Bunting is properly nasty as the stepmother. Tween-aged Lisandra Stebner makes for a believable young Peggy. Don Irven is a pathetic father.

CAPSULE JUDGEMENT: Beck should be praised for attempting to mount a world premiere production. Unfortunately, the script, or maybe it’s the subject matter, just doesn’t allow for the quality production that we have become used to at Beck. The experience isn’t bad, but one must ask, in the words of one of Ms. Lee’s signature songs, “Is That All There Is?”

The Magic Fire

THE MAGIC FIRE’ burns out at Ensemble

‘THE MAGIC FIRE,’ which is now in production at Ensemble Theatre, is a semi-autobiographical saga by actress and playwright Lillian Garrett-Groag. It centers on the life of her immigrant relatives (both the Italian and the assimilated Jews from Austria) who have moved to Argentina to escape the Nazi onslaught in Europe. The play itself takes place in Buenos Aires in June and July of 1952, during the reign of Juan and Eva Peron.

The family had perceived Argentina as a land of hope, freedom and unbridled entrepreneurship. Unfortunately, the rise of Peron, much like the rise to power of Hitler and Mussolini, destroyed that illusion.

The family tries to insulate itself from reality by turning to the arts. They discuss opera, classical music and drama. They listen constantly to the waltzes of Johann Strauss and soaring arias of Giuseppe Verdi. In spite of blocking out the sounds and sights around them, reality eventually hits home.

Beyond the family’s protective cocoon, Eva Perón, referred to by family members as “that woman,” lies dying, and police sirens disrupt the night and innocents are dragged away, never to be heard from again. The family is spared because of the protection of their neighbor, General Fortannes, who is a high-ranking member of the Peron regime.

The play, which examines family ties and the effect of politics on the individual, asks whether art and culture are necessarily opposed to political struggle? Eventually, we see that “art separated from life withers and dies, or enters the sterile service of the elite.”

The script is overlong and riddled with clichés and abstract musical illusions. Only in a fast-paced and well-envisioned creation will the audience be captivated. Unfortunately, the Ensemble production is plodding and poorly conceived by director Licia Colombi. It is almost painful to watch the quality actors in the cast struggle to keep their heads above water due to poor blocking, lack of clear character development and misplaced accents which come and go or are never there. No one seems to completely understand what’s going on. There’s a lot of emoting, with little underlying meaning coming through.

All is not lost. Lee Mackey, one of the dowager empresses of Cleveland theatre, is delightful as the old Italian grandmother who insists that she was kidnapped by her husband (spit, spit) and brought to this country where “even the cows are too big.” She keys many of the play’s laughs.

Tween-aged Sarah DeGirolamo, gives the right tone to Young Lise, whose acid tongue and incessant questions (e.g., “What’s a foreskin?”) is a perfect metaphor for youthful naïveté. (She alternates with Camille Rekhson in the role.)

Annie Kitral, as the frustrated old maid Paula, has some wonderful moments.

The rest of the cast tries hard, but never quite hits the right pace or allows the audience to feel the feelings of the people they are portraying.

Capsule judgement: ‘THE MAGIC FIRE’ is not an easy sit. Between the talkiness of the script and the lack of concept by the director, there is little to grab and hold attention. The magic is missing. The fire doesn’t burn.

Barbara Stuckey reviews the reviewer

Mr. Berko,

With great enjoyment I just read your review and insights from
interviewing Martin. Having performed with him in Le Cid and having seen some of his productions and rehearsals, I consider him a directorial genius. His interpretations always surprise or delight me; I go to his work, and to him as a person, knowing that "this" will be as powerful as the time before.

From you particularly the praise ranks very high. You know what
performers have to do: the work behind the curtain must produce the suspended moment for the audience. You not only hold the community to that demand, but you know it when you see it and say so. I admire your standards and abilities to articulate them and who achieves them. I'm so glad you have seen and said the magic Martin makes.

(Barbara Stuckey is a Washington DC dancer.)

Pump Boys and Dinettes

Tepid ‘PUMP BOYS AND DINETTES’ at Carousel

Sean Cercone, the Artistic Director of Carousel Dinner Theatre, and director of the venue’s present production, ‘PUMP BOYS AND DINETTES,’ states in the program that on one-hand, PBD is a “fun musical revue about a group of mechanics and waitresses with wonderful music abilities.” He also states that others will see the show as “a high energy concert with a variety of musical styles.”

To be honest, I don’t like the script because of its attempt to make a story out of songs that really don’t fit cohesively together. So, I think the best way to review the production is to examine it using Cercone’s explanations.

“With wonderful music abilities.” Yes, yes, yes, the Carousel cast play instruments with talent and zeal. On the other hand, the singing was not of the same quality. Many of the vocal blends were off and several songs were misinterpreted.

“Fun.” The Carousel production is short on the fun aspect. The pace is too slow. The jokes often don’t work. Attempts to engage the audience generally failed. Part of this is due to the size of the theatre, which discourages interaction unless the cast roams the aisles. In addition, Canton’s Pat McRoberts, who was so brilliant in Carousel’s ‘BUDDY: THE BUDDY HOLLY STORY,’ just doesn’t have the stand-up comedian style to pull off the adlibbing and high-jinks needed for the requisite fun. A great singer he is, but a comedian, he isn’t. Many of the other performers had the same lack of comic timing.

“A high energy concert.” High energy? Nope. Those who saw PBD at Porthouse earlier this season saw high energy, and by the way, also the fun aspect, but Carousel’s production, at least on opening night, was flat. The tepid applause at the curtain call was evidence to that. On the other hand, the encore segment was high energy and the audience responded to that segment with enthusiasm. Too bad the rest of the show wasn’t on a “Red Bull” high.

“A variety of musical styles.” Yes, the musical score covers rock, country, ballads and many more styles. The musicians did an excellent job of varying the sounds so that each mode became distinctive.

High points of the production included “Mamaw,” a plaintive song performed by Pat McRoberts, and ”Be Good or Be Gone” by Kate Margaret. A nice tap dancing interlude in “Drinkin’ Shoes’ brought sustained applause.

On the other hand, T.N.D.P.W.A.M. (“The Night That Dolly Parton Was Almost Mine”) lacked the necessary plaintive feeling of loss. The always amusing “Farmer Tan” failed to delight. Both of these songs were performed by Steven Ray Watkins. He plays a mean piano, but didn’t let loose in the songs meant to add “fun” to the show.

Kate Margaret wailed and commanded the stage in each of her presentations. Her voice was so strong that she drowned out the small vocal sounds of Sarah Nischwitz who lacked needed dynamism.

The impressive set by Robert Kovach was well conceived, but the massive size of the stage, with all the real gas pumps, cars and realistic diner, overwhelmed the small cast.

One of my favorite theatre professors, Kent State’s Bill Zucchero, once said, “You should not come out of a musical whistling sets and costumes.” Interestingly, as I was walking out of the theatre, the people who I exited with were talking about the set and not the quality of the staging or the music.

CAPSULE JUDGEMENT: Hopefully, as ‘PUMP BOYS AND DINETTES’ runs at Carousel, the pace will pick up, Pat McRoberts will play more with the audience in a comfortable and natural way, and Steven Ray Watkins will let loose and enjoy himself and make his songs more fun. If that happens, PBD will be a delightful experience.

Spotlight on Martin Cespedes

SPOTLIGHT ON MARTIN CESPEDES—CONSIDERED BY MANY TO BE THE BEST THEATRE CHOREOGRAPHER ON THE NORTH COAST

Who is the best theatre choreographer in the Greater Cleveland area? If awards and critical acclaim are the measuring stick, Westlake resident and Lorain Admiral King graduate Martin Cespedes could well be the correct answer.

The forty-six year old Cespedes is the recipient of nine Times Theatre Tributes Awards. He was nominated by Northern Ohio Live for their Theater Award in 2005, 2006 and again this year. He was named by Scene Magazine as Cleveland’s Best Choreographer of 2006. He was highlighted for his theatrical work by Bravo magazine.

Cespedes’s creativity has recently been seen in Cain Park’s ‘NINE’ and ‘OLIVER,’ and Beck Center’s ‘EQUUS’ and ‘JEKYLL AND HYDE.’ He directed and choreographed ‘SMOKEY JOE’S CAFE’ and ‘FIVE GUYS NAMED MOE’ at Beck and ‘AIN’T MISBEHAVIN’ and ‘MY WAY (the music of Frank Sinatra)’ at Weathervane Playhouse.

Born in New York, Cespedes is a first generation American. His mother, who was a professional singer, is Puerto Rican. His father is Spanish.

When did he become interested in theatrical dance? He says, “Though I lived in New York, as a child I never had seen a Broadway show. When I was 7, I saw the movie ‘WEST SIDE STORY’ on television and was hit by a lightening bolt. We were quite poor and lived in a building with a fire escape and I spent a lot of time out there reliving that musical.”

He started to gain his dance knowledge when, in fifth grade, he was selected to participate in the elite Jacques d’Amboise’s National Dance Institute in New York City’s PS 161 Program. He was active in that group until, after his parent’s divorce, he moved to Lorain to be near his mother’s family.

During his Admiral King days, he danced in and choreographed local shows and was selected to appear on Cleveland TV’s ‘DANCE FEVER’ and NBC’s ‘WEEKDAY FEVER.’ After graduation he continued his training as an apprentice at the Denver Dance Theatre. While studying there, he saw a casting call for a professional western area tour of ‘GUYS AND DOLLS.’ He tried out, was selected, dropped out of the Denver company, and his professional career was underway.

He went on to appear in the national tours of ‘MAN OF LA MANCHA’ with Jack Jones, ‘THE KING AND I’ with Hayley Mills, ‘SOUTH PACIFIC’ with Robert Goulet and ‘WEST SIDE STORY’ with Bebe Neuwirth. He danced in opening acts for “Earth, Wind and Fire” and the “Bee Gees.”

Cepedes worked as John Kenley’s assistant, and performed and ran dance rehearsals, during the legendary producer’s last several seasons in Akron. He recently served as associate choreographer and fight captain for the PBS production of ‘LE CID’ with Placido Domingo. He has also choreographed for Great Lakes Theatre Festival, Cleveland Opera and University of Akron Opera Department.

In addition to choreographing, Cespedes has taught dance for the School of the Cleveland Ballet and at Beck Center.

What is Cespedes’ choreographic style? He states, “Dancing original choreography of musical theatre classics has helped me forge my own craft and made me somewhat of a hybrid choreographer.”

His personal life? As he states, “I have none. Between touring and long rehearsal times I not only don’t have time for socialization, but I even miss important family events like weddings and holidays. Sometimes people in the shows I’m working on don’t understand why I don’t go to cast parties or out with them after rehearsals. They don’t understand that my personal privacy is very important to me and sometimes I just need to be alone.”

What’s in the future? Having just been inducted into SSDC, the national union for directors and choreographers, Cespedes feels he is “at the point where I am ready to break out.” Does this mean he will leave Cleveland? Though locals may hope not, it is going to be hard to keep this talented man in the area if Broadway or other prestige venues call.

Whatever happens in the future, the contributions Martin Cespedes has made to the local theatre scene will never be forgotten!

(The factual information for this article was supplied by Martin Cespedes.)

Theatre calender, Fall/2007

An overview of some local Fall ’07 theatre offerings

Around this time every year I’m asked, “What should I see this fall?” I can’t tell you what to see, at least not until I’ve seen the productions, but I can tell what’s scheduled at some of the local theatres and give a quickie preview of what each show is about.

PLAYHOUSE SQUARE CENTER

‘CHICAGO’
October 9-14
A razzle dazzle musical tale of sin and celebrity.

‘THE DROWSY CHAPERONE’
October 16-28
A musical comedy with tons of laughs and the most 2006 Tony Awards of any musical that opened last year on Broadway!

Hal Holbrook in ‘MARK TWAIN TONIGHT’
November 3
Samuel Clemens returns to the banks of the Cuyahoga River when Hal Holbrook comes to Playhouse Square.

DISNEY’S HIGH SCHOOL MUSICAL
November 13-18
Disney Theatrical Productions have created an exciting stage version of the phenomenal Disney’s High School Musical!

TWELVE ANGRY MEN
November 27 –December 9
What seems like an open-and-shut murder case becomes a twisted puzzle of prejudice and intrigue.

Tickets: 216-0241-6000 or 1-800-766-6048 or online at www.PlayhouseSquare.org


HANNA THEATRE

‘FORBIDDEN BROADWAY: SPECIAL VICTIMS UNIT’
September 12-December 2
The latest version of the inventive and scathing production that pays homage to Broadway’s biggest shows and brightest stars.
Performance times are Wednesday through Friday evenings at 7:30 pm, Saturday at 5:00 pm and 8:30 pm and Sunday at 2:00pm.

Tickets: 216-241-6000 or 1-800-766-6048 or online at www.PlayhouseSquare.org


DOBAMA

‘TAKE ME OUT’
August 17th - September 9th, 2007

A Tony-award winning play in which a major league baseball player announces that he is gay. Dobama’s impressive production explores character, friendship, and what it means to be a man. (Note: The show contains full-frontal male nudity) For a review of this show: www.royberko.info

Presented at Cleveland State Factory Theater, East 24th Street and Chester Avenue

For tickets call 216-932-3396 and leave a message. Tickets will be held for you at the performance. Or go on-line at www.ticketleap.com.


KALLIOPE STAGE

‘DEAR WORLD’
September 27 - October 21 2007

Music and Lyrics by Jerry Herman, Book by Jerome Lawrence and Robert E. Lee
Based on the play THE MADWOMAN OF CHAILLOT by Jean Giraudoux, it asks, “Who will save Paris from greedy oil tycoons determined to blow it up in search of black gold?” Enter a madcap rescue team of bohemians who believe poetry, love and idealism conquer all.

Box Office: 216.321.0870 or tickets@kalliopestage.com


KARAMU

‘PURLIE VICTORIOUS’ (Classic Comedy) by Ossie Davis
September 28 - October 21
Newly ordained preacher, Purlie Victorious Judson, returns to his family’s sharecropper cabin to reacquire the local church and ring the “Freedom Bell.”

‘BLACK NATIVITY’ (Gospel Musical) by Langston Hughes
December 7 -30
Black Nativity is focused on the religious and spiritual aspects of the Christmas story. It is performed with gospel music and colorful costuming within a dance context.


GREAT LAKES THEATER FESTIVAL

‘ARSENIC AND OLD LACE’ by Joseph Kesselring
A drama critic learns that his beloved maiden aunts are homicidal and that insanity runs in his family. Bodies in the window seat, murder as an act of kindness and Teddy Roosevelt leading a charge. Let the fun begin!

‘MEASURE FOR MEASURE’ by William Shakespeare
One of the Bard’s problem plays, often classified as a comedy, in which the Duke of Vienna leaves the government in the hands of a strict judge who is known to be a hard-liner on matters of sexual immorality. Let the conflicts begin!

‘ARSENIC AND OLD LACE’ and ‘MEASURE FOR MEASURE
‘ are presented in repertory from September 21-October 21

‘A CHRISTMAS CAROL’ by Charles Dickens
November 23-December 23
Tiny Tim, Scrooge, Bob Cratchit, the ghosts of Christmas past, present, and future. Let the holiday season begin!

Tickets” 216-664-6064 or www.greatlakestheater.org


BECK CENTER FOR THE ARTS

‘REFLECTIONS’ (PEGGY SINGS LEIBER AND STOLLER) by Jerry Leiber and Mike Stoller
September 14 – October 7
WORLD PREMIERE…A kaleidoscope of beautiful love songs, hilarious send-ups of Broadway, haunting tunes of days gone by, and reflections of the pure joy of living.

‘DISNEY’S BEAUTY AND THE BEAST’ by Linda Woolverton, Alan Menken, Howard Ashman and Tim Rice
November 30 – December 30
The Beck continues its holiday tradition with this third and final production of the classic Disney musical with many of the same cast. Fred Sternfeld again directs.

‘HOLY GHOSTS’ by Romulus Linney
September 28 – October 21
A tale of a Smokey Mountain sect blends both drama and dark comedy which builds to a startling climax.

‘ALL THE GREAT BOOKS (ABRIDGED)’ by Reed Martin and Austin Tichenor
November 16 – December 16
CLEVELAND PREMIERE…a wild evening concerning everything you didn't get around to reading in high school and college!

Tickets: 216-521-2540


THE BANG AND CLATTER

‘THE DEAD GUY’ by Eric Coble
September 21-October 21
You have one million dollars to spend in seven days. At the end of that time, the audience decides how you are going to die!

’BUG’ by Tracy Letts
November 2-December 2
Things are going well for a waitress with a fondness for cocaine and a soft spoken Gulf War drifter, until her abusive ex-husband is released from prison.

‘POUNDING NAILS IN THE FLOOR WITH MY FOREHEAD’ by Eric Bogosian
December 7-December 30
A one-man show that delivers searing commentary on topics from panhandlers to barbecue-crazed millionaires.

Tickets: 330-606-5317


NEAR WEST THEATRE

‘BEAUTY AND THE BEAST’
November 16 - December 2
Based on the Academy Award winning animated feature.
Plays performed at St. Patrick’s Club Building, 3606 Bridge Avenue,.

Tickets and information call 216-961-9750


THE CLEVELAND PLAYHOUSE, MAINSTAGE

‘MAN OF LA MANCHA’ by Dale Wasserman
Drury Theatre, September 14 – October 7
Winner of five Tony Awards, the “Dream the Impossible Dream” musical, is an adventure narrated by a prisoner who recounts a fable of righting all wrongs and winning the heart of one’s true love.


‘SHERLOCK HOLMES: THE FINAL ADVENTURE’ by Steven Dietz
A mystery featuring the world’s greatest detective, the King of Bohemia, a notorious photograph, a kidnapping, and of course, Holmes’ great nemesis, Professor Moriarty.

‘THE CHOSEN’ by Aaron Posner and Chaim Potok
Drury Theatre, November 2-25
Set amid the intellectual and religious turmoil of the 1940’s in America, the play dramatizes the universal challenges of coming of age and a heartfelt path to understanding and reconciliation.

‘A CHRISTMAS STORY,’ adapted by Philip Grecian
Bolton Theatre, November 29 – December 23
Based on the movie filmed in Cleveland in 1983, this classic holiday comedy is a funny and sweet tale of growing up in the 1940s. Suitable for ages 5 and up –back by popular demand!

Tickets: 216-795-7000

New at CPH: Sweetwater Restaurant Group, operated by Gary Lucarelli, will operate a public restaurant in the space formerly occupied by The Cleveland Play House Club. The new restaurant, Stages at The Cleveland Play House, opens in mid- September.

ACTORS’ SUMMIT

‘ROUNDING THIRD’ by Richard Dresser
September 13-30
The tumultuous journey of two Little League fathers, with different philosophies of life and winning, who co-coach a team to the climactic championship game.

‘MEDEA’ by Euripides, translated and adapted by Robinson Jeffers. October 18-November 4
Having saved her husband’s life, Medea is spurned by him when he re-marries for political power. She wreaks aweful and awful revenge on him.

‘A CHILD’S CHRISTMAS IN WALES’ adapted to the stage by Jeremy Brooks and Adrian Mitchell
November 29-December 23
Dylan Thomas’s boyhood memories of Wales.
Tickets: 330-342-0800. Mail orders can be sent to Actors' Summit, 86 Owen Brown Street, Hudson, OH 44236, and email orders may be sent to: info@actorssummit.org

CLEVELAND PUBLIC THEATRE

GORDON SQUARE THEATRE
Oct. 11- 27: ‘AT-TEN-TION SPAN: A FESTIVAL OF 10-MINUTE PLAYS.’ An evening of work by local and national writers.

Nov. 9 –11: ‘THE Y-HAVEN PROJECT’
An original work created and performed by the Men of Y-Haven based on their personal experiences.

Dec. 6 –22: ‘THE SANTALAND DIARIES’
David Sedaris' hilarious retelling of his days as a Macy’s elf.

JAMES LEVIN THEATRE

Oct. 18 – Nov. 3: ‘Osama the Hero” by Dennis Kelly. In this angry, explosive, controversial new work, garages are blowing up all over the neighborhood and vigilantes hunt down someone to shoulder the blame. Ohio and regional premiere

Nov. 8 –18: “LITTLE BOX’
A series of staged readings modeled after the successful Big Box series but on a smaller scale. Designed to foster works by local playwrights and producers at an earlier stage of development.

Nov. 29 – Dec. 22: ‘PULP’ by Patricia Kane, music by Amy Warren and Andre Pluess, lyrics by Patricia Kane.
A sexy and over-the top all female musical comedy takeoff of the lesbian pulp fiction of the 1930’s through the 1950’s. Ohio and Regional Premiere.

Tickets: 216.631.2727 or go to www.cptonline.org.

Michael May reviews the reviewer's review

Hi, Mr. Berko.

This is Michael May from the show "Take Me Out". I'm writing to thank you for your attendance and review of the show. I'm very glad that you enjoyed it. Thank you for recommending it to your readers.

Thank you, also, for your suggestions for the improvement of it. You were very fair and accurate in your comments. The importance of articulation was something that our director was consistently on us about. Particularly, because of the type of space we were performing in, we needed to be, and still need to be, mindful of that.

I don't have much else to say. I just wanted to say "Thank you", so "Thank you".

Best wishes to you,
Michael May

Seussical! The Musical

Entertaining ‘SEUSSICAL! THE MUSICAL’ at Mercury Summer Stock

Pierre-Jacques Brault, the founder and Artistic Director of Mercury Summer Theatre, which is now staging ‘SEUSSICAL! THE MUSICAL,’ has a difficult task. He is working with a company that has a shoe-string budget, performs in a Parma theatre with little stage space, and needs to locate performers and technicians who are willing to spend long rehearsal hours for little or no pay.

In spite of these drawbacks, Brault finds a way to stage audience-pleasing productions. The talented, enthusiastic and ever-smiling Brault, has accomplished this by building a group of loyal disciples who follow the person who, one of his advocates describes as, “The heart and soul of Mercury” and “who I’d do anything for.”

Now, make no grandiose assumptions. Mercury’s productions are not shows that compare with stagings by the area’s professional theatres, but that’s not the mission of Mercury. They want to “serve the community by entertaining, enlightening and celebrating the best of human spirit through art.” And, with all their limitations, they do a nice job.

Mercury’s final production of their 2007 season is ‘SEUSSICAL! THE MUSICAL.’
The show, which is based on the books of Theodor Seuss Geisel, better known as Dr. Seuss, had its debut on Broadway in 2000. During the Broadway run, such luminaries as Rosie O'Donnell and Cathy Rigby played the role of the show’s narrator, The Cat in the Hat.

The play's story is an amalgamation of many of Seuss' most famous books.
The lynch pin of the show is Horton, the sweet and naive elephant, who endeavors to protect the people of Who-ville while sitting on an abandoned bird’s egg.

Lynn Ahrens and Steven Flaherty’s music and lyrics include such delights as “Alone in the Universe,” “Oh, The Thinks You Can Think!” and “It’s Possible.”

Brault’s staging is generally cute and clever. His choreography fits the level of the dancers. The cast, as is the case with most community theatre amateur productions, is uneven.

Daniel Marshall switches personas easily as the Cat In The Hat. Though his singing quality is inconsistent, he is endearing. Dan Dicello, is appealing as the lovable Horton, though he is also erratic in his vocalizations.

Molly Richards is absolutely delightful as Gertrude McFuzz. Her “The One Feather Tail of Miss Gertrude McFuzz” is a show stopper. Kelvette Beacham wailed as Sour Kangaroo.

Noah Weinstein and Annie Hickey were right on as Thing One and Thing Two while Miles Sternfeld had some nice moments as Jojo. Brian Marshall and Danielle Renard were wonderful as the Mayor of Who and the Mayor’s wife.

As is the case when a play is child-appealing, I took a member of my “kid’s reviewing squad” to ‘SEUSSICAL!.’ Eleven year-old Alex Berko gave the show an 8 1/2 on a scale of ten. He loved the comedy elements, but thought the singing was “not as good as it should have been.” He thought the Cat, who was one of his favorites, made every joke work. He loved Gertrude McFuzz and thought Jojo was “really good.” He felt the show started slowly, but said, “I guess they had to tell the audience who everyone was, because not everyone has read the Seuss books, but it did slow things down.” As a musician (he’s a talented pianist), he thought the orchestra sounded a “little tinny.” The show’s messages? “A person’s a person no matter how small” and “we all need someone to believe in.”

CAPSULE JUDGEMENT: Mercury’s ‘SEUSSICAL! THE MUSICAL,’ is a pleasant theatrical experience. Smaller kids may have a little trouble sitting through it as the story doesn’t follow each Seuss tale in order or detail. But, in general, they should do fine and adults will enjoy themselves as well.

Take Me Out

Dobama hits a home run with ‘TAKE ME OUT’

Homophobia, racism, the meaning of masculinity, and the search for identity are at the very core of ‘TAKE ME OUT,’ Richard Greenberg’s drama with comic overtones, now being performed by Dobama .

‘TAKE ME OUT,’ which opened off-Broadway in 2003, became an instant success and was transferred on-Broadway later that same year. It ran for 355 performances and garnered the Tony Award for Best Play.

Professional sports is a world unto itself. There are written and unwritten rules, not only on how to play the game, but how to protect the “men’s club” that has been perpetuated in the world of athletics. For example, to date, no male major league baseball, football or basketball player has openly declared his homosexuality while being an active participant. The closest was Glenn Burke, the creator of the “high five” gesture, who played with the Los Angeles Dodgers and Oakland Athletics from 1976 to 1979. He was out to his teammates and team owners, but not to the general public.

In ‘TAKE ME OUT,’ Greenberg uses the precedence to ask the question,’ “What would happen if an active major league player did come out?”

Darren Lemming, a mixed-race star for the Empires (a Yankee-like team) is at the top of his career. He has a spotless reputation. For some unexplained reason he decides to "out" himself during a press conference. The result is a series of incidents which exposes how his relationships with teammates, media and fans changes.

While Lemming is the central character in the play, Greenberg uses another player, Kippy Sunderstrom, as the narrator to describe the action. As he leads us, we watch games unfold, locker room interactions, behind the scenes problems develop. We see how Lemming’s admission affects the team and individual relationships.

The situation reaches its climax when Shane Mungitt, a southern, uneducated, unworldly, new “phoneme” relief pitcher is asked a question at a press conference. Not knowing the “rules,” he goes off about “spics, gooks, niggers” and even the “faggot” he has to shower with after the game. In reality, his answer is not unlike that given by John Rocker, a former Atlanta Braves and Cleveland Indian’s relief pitcher, who caused a ruckus with is description of New York City in a Sports Illustrated article in January 2000. He said, "Imagine having to take the 7 Train to the ballpark, looking like you're riding through Beirut, next to some kid with purple hair, next to some queer with AIDS, right next to some dude who just got out of jail for the fourth time, right next to some 20-year-old mom with four kids.” The result, much like that in the play, was a public outcry and Rocker’s eventual suspension.

Dobama’s production, under the wise direction of Scott Plate, is outstanding. The acting is consistent, the pacing is generally excellent. The exception was the startling ending of the second act which was rushed and did not allow the audience to truly experience the extent of the havoc which they have just seen. A slow fade and holding the lights out at the end of the scene would have added to the tension. But, considering everything, that’s a minor issue.

Michael May evoked the necessary positive personal self-confidence and slightly below the surface vulnerability to make Lemming a real person.

Phil Carroll was attitude-perfect. He made it easy to understand why the intellectual and personable Kippy was the team’s leader, soul and conscience.

Caleb Sekeres was nothing short of astounding as Mason Marzac, a physically slight, nebbish-like gay financial planner, who was thrust upon Lemming after the star came out and the “big financial guns” didn’t want to be tainted by dealing with the now tarnished player. Sekeres not only falls in love with Lemming, but the game of baseball. His monologue when he exclaims, “Baseball is better than democracy--at least democracy as practiced in this country,” was a show highlight. It’s worth going just to experience Sekeres’s performance.

Fred Maurer, complete with ticks, spitting, confused look and verbal slurring, makes Shane Mungitt so very, very real. It’s a hard part to develop as Mungitt must be made to be sympathetic while being despicable. Maureer succeeds. Again, one of those special performances!

A combination of general poor articulation and disproportionate screaming in a key scene, made David Lemoyne (Davey Battle) often difficult to understand. He could have shown the same emotions without the excessive theatrics and yelling.

The rest of the cast was very proficient with each developing a consistent characterization. Adding to all of the usual character development issues was the need to feel comfortable while nude in several locker and shower scenes. There was no apparent discomfort on the part of the audience because the actors appeared at ease with their nudity and Plate had directed the scenes as a natural part of the entire locker room experience.

‘TAKE ME OUT’ is an intimate play. Jeff Herrmann’s set and Jeff Lockshine’s lighting helped establish the proper mood. Though the theatre in the square configuration sometimes led to not being able to hear some lines, depending on where the audience member was sitting, this was generally not a major problem. Aimee Kleiuber’s costumes were excellent. The mood of each scene was well set by sound designer Richard Ingraham’s selection of the different versions of “Take Me Out to the Ball Game” as they play progressed.

CAPSULE JUDGEMENT: ‘TAKE ME OUT’ is another of those outstanding productions that has become the hallmark of Dobama. It is a must see for anyone interested in baseball, social issues or just good theatre!

Some Girl(s)

‘SOME GIRL(S),’ another Neil LaBute play at BANG AND CLATTER

Bang and Clatter, North Coast’s creative little theatre, is now staging Neil LaBute’s ‘SOME GIRL(S). LaBute is the red-hot playwright who penned such gems as ‘IN THE COMPANY OF MEN,’ which became a hit movie; ‘THE MERCY SEAT,’ which was one of the first major theatrical responses to the September 11, 2001 attacks; and ‘FAT PIG,’ which was given a compelling staging earlier this year by B&C.

LaBute, who is noted for writing “revenge plays,” in which women get even with a man who has wronged them, again skewers a man in ‘SOME GIRL(S).’

The story centers on Guy. We watch, well, kind of eavesdrop on him in various hotel rooms, as he revisits five major ex-girlfriends—as well as several others we don't see—prior to his forthcoming marriage. According to Guy, his motive for the visits is to apologize and make up for the breakups. In reality, he is acting out a much deeper psychological problem...his obsessive love ‘em/leave ‘em/feel no regrets way of life.

As the plot develops we start asking about Guy’s real intentions. Is he a “good guy” trying to make amends, or, is he a “bad guy” looking for new material for a tell-all story like the one he recently published, and with which some of the girls were not thrilled.

As is true of LaBute’s writing, each woman we meet has a highly individual language and personality. Eventually, true to LaBute’s theme, each repays Guy in her own way as reconciliation turns into retaliation, one with a slap, another through seduction, a third via guilt, a fourth via humiliation, and the fifth walking out when he expresses deep love for her.

The play opened for a professional run in 2005 in London with David Schwimmer of TV’s ‘FRIENDS’ playing the lead. When the show was transferred to NY in 2006, Schwimmer had another commitment so he was replaced by Eric McCormack of ‘WILL AND GRACE’ notoriety. The off-Broadway cast also included Fran Drescher (“THE NANNY’), Judy Reyes (‘SCRUBS’) and Maura Tierney (‘ER’). The play, in both productions, was a smash hit.

The Bang and Clatter production is quite acceptable, but not sterling. Its pace is too languid in many scenes, in fact most of the first act. Some of the tensions and laugh lines are lost due to the lack of keying of lines. The audience was forced to work too hard to grasp LaBute’s message and keep involved in the action.

Daniel McElhaney, though he tries hard, as can be witnessed by the cascades of sweat pouring down his face, isn’t totally up to the role of Guy. He does not have the charisma or physical appeal of Schwimmer nor the good looks or quirkiness of McCormick. It is rather difficult to believe that McElhaney was able to attract and bed all of these women. To be a “chick magnet” he needs to have some deep appeal, charisma and warmth. What is McElhaney’s? As for his acting, many of his lines, especially in the important ending of the play, seem undeveloped, without a concept of understanding nor clarity of meaning.

Sam (Margaret Morris), was Guy’s high school sweetheart whom he left with no explanation. She is now in an unfulfilling marriage and saddled with multiple children. Morris conveys an attitude of being properly angry, but much of her angst is displayed with contorted facial expressions that detract.

Tyler (Rachel Roberts) is a free spirit, nonintellectual and promiscuous. She and Guy enjoyed some kinky sex, and their breakup apparently suited her just as much as him, but she, too, makes him pay! Roberts physically fits the role of the beautiful Tyler, but seems a little uncomfortable with the demands of the part. This is the most talky scene, which seems to drag on and on.

Reggie (Lisa Siciliano) was twelve when eighteen year-old Guy kissed and inappropriately touched his best friend’s young sister. She was both confused and enthralled by the action. Johnson shows all the signs of someone in deep conflict, conveying the mood swings that are the results of the conflict between desire and guilt.

In Boston, where Guy was a college instructor, he had a clandestine adulterous affair with Lindsay (Laurel Johnson), an older colleague who was married to another academic. When their carryings-on were discovered, Guy fled and left her to face the humiliation alone. Johnson is excellent as the wronged Lindsay. She embodies the role and seems to have the clearest understanding of the whys of the revenge she plots.

Finally, in Los Angeles, there is Bobbi (Alanna Romansky), another who was loved and left. She may have been Guy’s real love, but he was unable to rid himself of his love ‘em but leave ‘em past. Romansky develops her role well and is generally believable.

Sean Derry’s set design and the set changes by the female members of the cast are quite clever. As Guy stays in hotels of the same chain, the rooms in which the encounters take place are marked by the same furniture, but through slight shifts of the scenery, they become superficial like Guy.

Capsule judgement: ‘SOME GIRL(S)’ is a thought provoking play with an interesting premise. Though acceptable, the production needed a leading man who more fit the physical and personality needs of the role, and who also understood the underlying motivations of the character. As is, it’s a show worth seeing, but is far from what it should be.

Lion King

Spectacular ‘LION KING’ roars into State Theatre

When it was proposed that the film ‘THE LION KING’ be transformed into a stage musical, there were many nay-sayers. How could animated animals be successfully portrayed by real people? How could the stage include such vast and sweeping elements as the rolling African savannah and the plot-necessary wildebeest stampede?

Enter Julie Taymor. She not only conceived the concept for the production, but directed the show, devised the costumes, co-designed the masks and puppets, and wrote additional lyrics to supplement those used in the Disney movie. The result of her creative genius is a spectacular visual and artistic production.

The stage version opened in New York October 1997. It was an instant success, going on to win Tonys for Best Musical, Best Scenic Design, Best Costume Design, Best Lighting Design, Best Choreography (Garth Fagan) and Best Direction of a Musical (Julie Taymor).

The story line centers on the animal kingdom of the African veldt. Simba, a young lion prince avenges his father's murder by his treacherous uncle. In the process he ventures into the jungle, discovers new and eccentric friends, finds his true love, and discovers his destiny. The message? “You can run from your past, or learn from it.”

One of the concerns of attending a touring show, especially of a production that has already been around in its original traveling version, is that there will be a watering down of theatrical elements. Fear not. The production appearing on the State Theatre stage is every bit as vibrant as the Broadway production. The sets, the costumes, the masks, the special effects, the musical sounds, the acting talent---they are all on our local stage.

Appearing on that stage are over 200 puppets; 25 kinds of animals, birds, fish and insects; 12 bird kites; 18-foot giraffes; 39 hyenas; 52 wildebeests and a 13 -foot elephant. It takes two 48-foot semi-trailers to transport the production’s puppets from city to city. There are 143 people directly involved in each production, including 53 cast members, 21 musicians, 17 wardrobe people, 5 hair/makeup artists, 3 puppet craftsmen, 13 carpenters, 10 electricians and 3 sound people.

Right from the parade of the animals at the beginning of the show when the human/puppets traverse down the aisles, it is apparent that this is an audience pleasing epic. The applause and “ohs” and “ahs” started immediately and continued throughout the show, climaxing in a screaming ovation as the curtain fell.

Those familiar with the movie version, which has music and lyrics by Elton John and Tim Rice, will be reacquainted with such songs as: “The Circle of Life,” “Can You Feel the Love Tonight” and “Hakuna Matata.” Added are pieces from “The Rhythm of the Pride Lands,” a recording inspired by the film, which sets a sound and mood of South Africa.

There are no well known names in the cast, but each performer is excellent. No second rate, “making their acting debut” performers here, which is often the case in some touring shows.

Since my “kid’s point of view” assistants, grandsons Alex and Noah Berko, are at sleep away camp, I was curious about how children were reacting to the show. Between the dark moments, the scary hyenas, the death of the lion king and the explosions, I was wondering how little ones were affected. Most parents of those four and above indicated the kids were thrilled, except for the fact that “it wasn’t like the movie.” Cries of terror during certain scenes indicated that some of the littler ones weren’t faring as well. Anyone planning on taking young children should be aware that the show is long and that there are some scary parts. Watching an animated character die on television is not the same as seeing a real person expire or get attacked so it is essential to evaluate the emotional sensitivities of your child.

Capsule judgment: If you are going to see ‘THE LION KING’ in its full glory, you need to get to the State Theatre and see this, the final official touring production. Though local theatres may attempt to stage the script, it will be nearly impossible to reproduce the spectacle elements!

Nine

‘NINE’ is the right number at Cain Park

‘NINE, THE MUSICAL,’ which is now on stage at the Alma Theatre at Cain Park, is a challenging undertaking. The script requires a director who not only understands the personality and idiosyncracies of Federico Fellini, the famous film director upon whom the story is based, but also has a fine command of stage techniques. There is a demand for an extraordinary choreographer, a cast of 14 very talented women, a male lead who has to control the stage, and a young boy who carries a great deal of the play’s meaning on his tiny shoulders.

Local theatre-goers need not worry. The Cain Park production is not only up to the task, but far exceeds expectations. The show is in the competent hands of director Vicki Bussert, choreographer Martin Cespedes and musical director Nancy Gantose-Maier. It stars Fabio Polanco, who is surrounded by a remarkable set of talented performers.

‘NINE, THE MUSICAL’ has a book by Arthur Kopit. Kopit, is probably best known for his 1960 play, ‘OH DAD, POOR DAD, MAMA'S HUNG YOU IN THE CLOSET AND I'M FEELING' SO SAD.’ An avant-garde writer, his style has been dubbed “pseudoclassical tragifarce.” He was a perfect choice to write about Federico Fellini, whose life was much like an absurdist comedy/drama. Fellini was a genius who ad libbed his way through many of his often abstract, but critically acclaimed films. He was also a man who seemingly had little understanding of long term personal or professional commitments. As Guido Contini (Fellini’s name in the play) sings, “I wouldn’t be lonely if I could be only with you…and you…and you.”

It’s early 1960. Contini (Fellini) is facing his fortieth birthday and is in the midst of a midlife crisis which is blocking his creative impulses. In addition, he is entangled in a web of difficulties involving his wife, a producer, his mistress, a protege, and his deceased mother.

Through a series of daydream sequences, often interrupted by Guido's waking thoughts, the audience gets a look into the mind and creative process of a man who many consider to be not only a genius, but a troubled soul. As deadlines and relationship problems fill his thoughts, Guido retreats deeper into his reflections until the past and present become a single blend of love, hurt, comedy, and drama.

The Broadway production, directed by Tommy Tune and starring Raúl Juliá, opened in 1982 and ran for 729 performances. It won five Tony awards, including best musical. A 2003 revival ran for 283 performances, won two Tony awards, including that for best revival of a musical. The cast included Antonio Banderas, Mary Stuart Masterson, Chita Rivera and Jane Krakowski.

Vicki Bussert has a talent for making the “small” play into a great piece of theatre. Such past Cain Park productions as ‘BAT BOY,’ ‘tick, tick...Boom!’ and ‘SIDE SHOW’ were all examples of fine, fine theatre. She knows how to use intimate spaces like the Alma Theatre to get the audience totally involved in the goings on. She makes ‘NINE’ a must see production.

Bussert is aided by Martin Cespedes, the premiere choreographer on the Cleveland theatre scene. The winner of numerous Times Theatre Awards, Cespedes has a talent for seeing choreographic possibilities that fit both the dancers, no matter their level of talent, while fulfilling the needs of the script. His staging of “Folies Bergeres” is nothing short of spectacular. It’s worth going to see the show to experience this one number.

Musical director Nancy Gantose-Maier and her orchestra were in fine tune. Ross Borski’s scenic and lighting designs were excellent and Terry Pieritz’s black and white costumes set a perfect tone.

And, then there was the cast. Even though the show has clear leading roles, it is, in reality, an ensemble vehicle which requires every performer to be of top quality. This cast is of top quality!

Fabio Polanco was properly obsessively driven as Contini. He has a strong singing voice and acting skills to match. He does not portray the Fellini character, he occupies it.

Maryann Nagel, the grande dame of Cleveland musical theatre, was her usual excellent self as Lilliane LaFleur, Contini’s producer. She was the soul of the spectacular “Folies Bergeres” number, walking down the runway of life with confidence and a flair.

Tracee Patterson, another local acting celeb, was compelling as Luisa, Contini’s long suffering wife. Her “Be On Your Own,” was emotionally wrenching, while “My Husband Makes Movies,” was well interpreted.

Trista Moldovan (Carla) gave a fine sensual rendition of “A Call From The Vatican;” Cassandra Goldbach (Sarraghina) sang a powerful “Ti Voglio Bene/Be Italian;” and, though she often feigned Claudia by posing and posturing rather than experiencing the feelings and thoughts of the character, Joan Ellison effectively sang “A Man Like You.”

Aric Generette Floyd almost stole the show with his performance as the young Guido. Aric has a mobile face, stayed in character throughout the production, and performed his lines with meaning and clarity. This is one talented young man.

Only “The Grand Canal Film” sequence was questionable. The film, which was produced by Kasumi, was overly long. Though it attempted to duplicate the choppy, segmented feel of Fellini, it failed to do so. It was overly repetitive and missed it’s mark by being more comic than absurd.

CAPSULE JUDGEMENT: Cain Park’s “NINE, THE MUSICAL’ is a must see for anyone wanting to experience thoughtful musical theatre at its finest. Those wanting pure entertainment would be better guided to Play House Square’s ‘LION KING.’ For the rest...’NINE’S the right number!

Verb Ballet--July 29, 2007

Verb Ballets says goodbye to its premiere male dancer, Mark Tomasic

Verb Ballets, in its recent Cain Park concert, again proved why it is heralded as Cleveland’s National Repertory Dance Company. Presenting a program consisting of three company favorites and a world premiere, the corps generally danced with their usual proficiency. Everything was basically positive except for an awareness that this was the last paid concert appearance of Mark Tomasic, the company’s premiere male dancer.

Tomasic will retire and move to San Francisco shortly after Verb’s free concerts on Friday and Saturday, August 24 and 25, at 8 pm, Lincoln Park in Tremont, at Starkweather and West 14th St. (Rain date Sunday, August 26). His presence will be greatly missed since much of Verb’s repertoire centers around his strong dancing. The company now has the unenviable task of trying to replace Tomasic.

The Tremont program, which will include most of the Cain Park offerings include: ‘PLANET SOUP,’ ‘BOLERO,’ and ‘POLKA MADNESS.’

‘PLANET SOUP’ is a flowing, joyous, fast paced piece which is performed to the music of Afro Celt Sound System and Dead Can Dance. It contains a number of movement styles including Indian traditional, Irish reels and African rituals. Artistic Director Hernando Cortez has choreographed the dance to parallel to the ever-changing music. The high point of the program was the segment in which Jason Ignacio did fast paced tinkling, which is an authentic Filipino folk dance in which Ignacio steps between clapping poles.

When Heinz Poll decided to retire from Ohio Ballet, he gave rights to many of his choreographic portfolio to various organizations and dancers. ‘BOLERO,’ one of his most exciting pieces, was given to Xochitl Tejeda de Cerda. Many of those who hold the rights to the pieces grant permission to perform the choreography to various companies. The rights to ‘BOLERO’ have been granted to Verb Ballets. Their production, with restaging by Amy Miller of Groundworks Dance, is a sensual work, consisting of controlled movements, precise turns and flowing hand and arm actions. In one segment, using red capes, the dancers used the material to create a visual image much like a Chinese ribbon dance. The movement of the flowing material created an almost hypnotic effect. The conclusion of the piece was met with hushed silence and then a well deserved tremendous burst of applause.

‘WINGS AND AIRES,’ a duet also choreographed by Heinz Poll, and restaged by Jane Startzman, was presented by permission of Paul Ghiselin. A lovely flowing traditional ballet with modern movements, the number was beautifully danced by Catherine Meredith and Mark Tomasic.

Cleveland is known as the polka capital of America. Cortez choreographed a piece of dance to the live strains of the Johnny Koenig Orchestra based on music written by polka king Frankie Yankovic. The number, which may be forever identified as a “polka ballet,” was more of a nice diversion than a memorable dance. In spite of the fact that the dancing was not as polished as the usual Verb presentations, both the dancers and the audience seemed to have a good time.

SWEET CHARITY

MaryAnn Black and Eric van Baars delight in ‘SWEET CHARITY’ at Porthouse

‘SWEET CHARITY, now on stage at Porthouse Theatre, is noted as a dancer’s show. In order for a production to be successful it must have a star who is not only a prima dancer, but can sing well, act proficiently, and has a personality that sparkles.

There seems to be no question that the venue’s Artistic Director, Terri Kent, who also serves as director of the show, chose the script because she had the very talented MaryAnn Black available. Black, who has become the darling of Porthouse patrons, is the quintessential Charity. She is in the mold of Gwen Verdon, who starred in the original 1966 production, Shirley MacLaine who was in the 1969 movie, and Debbie Allen who was in the show’s 1986 Broadway revival.

‘SWEET CHARITY,’ based on Federico Fellini's screenplay for “NIGHTS OF CABRIA,” has music by Cy Coleman, lyrics by Dorothy Fields, and book by Neil Simon.

The plot centers on Charity Hope Valentine, a dance hall hostess. She longs to settle down, but the men in her life simply love her, use her and leave her. One steals her purse and throws her in a lake; another, a movie star who is trying to get back at his girlfriend, takes Charity to his apartment, but shoves her under a bed when his girlfriend appears. Finally, she is trapped in an elevator with Oscar, a neurotic who eventually seems to be the man she has waited for. But... (Okay, the plot isn’t great, but I’m not going to ruin it by telling you how the whole thing turns out.)

The show’s excellent score includes “You Should See Yourself,” “There’s Gotta Be Something Better Than This,” “The Rhythm of Life,” and “Where Am I Going?”

The Porthouse production is very entertaining. Though the script is dated, many of the cast are way too young and lack the necessary sleezy edge to be playing their roles, and the orchestra on opening night kept hitting musical clinkers, Black and Eric van Baars, as Oscar, Charity’s obsessive boy friend, make the negatives fade away.

Though she has matured to the place where doing all that singing and dancing can be draining, Black comes through once again. She lights up the stage. “I’m a Brass Band” and “If My Friends Could See Me Now” are definite show stoppers. The segment in which she gets caught in an elevator with van Baars has to be one of the most delightful scenes seen on a local stage. It’s worth going to the show just to see this ten minute interlude.

van Baars is excellent. He sings and acts well and shows comedic talent that is endearing.

Jim Weaver does a fine vocal job on “Too Many Tomorrows,” and Sandra Emerick and Nicole Perrone add some nice bits as two of Charity’s fellow hostesses.

An added attraction is a cameo appearance by my former student, Roe Green, the patron saint of many of this area’s theatres. This is her first ever on-stage appearance. The casting is type perfect! (You’ll have to see the show in order to understand this reference.)

Some of the show is too slowly paced. “Big Spender,’ usually a dynamic music number dragged. “The Rhythm of Life” was rather blah.

John Crawford’s choreography is generally creative (no, not of the level of Bob Fosse’s original stagings). Unfortunately Crawford was blessed with a dance corps, with the exception of Black, which shows little real dancing talent. This blunts the overall effect.

CAPSULE JUDGEMENT: ‘SWEET CHARITY’ is the kind of show that, with a good production, is an audience pleaser. From the reaction of the opening night crowd, audiences will enjoy the Porthouse production.

Inlet Dance 7/07

Inlet delights audience at Cain Park

Bill Wade, founder and artistic director of the six year-old Inlet Dance Theatre must have been a happy man after the company’s recent (July 26) Cain Park performance. In spite of a rainy night, the Evans Theatre was packed.

Contrary to many local dance concerts, the enthusiastic audience was mostly young and racially integrated. They were treated to an eclectic program which featured not only Inlet’s company, apprentices and trainees, but students from the Summer Dance Intensive.

Inlet’s mission is “to create and perform innovative dance and movement theatre at a high level of artistry, speak creatively about human life issues, and bring about personal development in the lives of individuals through training and mentoring.”

Wade, a master teacher and motivator, believes that dance is a “vehicle for personal transformation.” With this in mind, he brings in 12 to 20 year-old students from all over the country to study with the company. They learn release work (The Erick Hawkins technique which is the basis for Inlet’s choreography), nontraditional partnering, the collaborative creative process (invented by Pilobolus Dance theatre), hip-hop and improvisation. The six-and-a-half week program culminates in the yearly Cain Park free program.

As has been the case in the past, both the students and the Inlet “regulars” displayed creativity, discipline and enthusiasm.

Though every section was interesting, highlights of the ten-segment program were: “For Margaret and Dan,” “RubeWreck,” “Performance Improvisation,” “A Close Shave,” and “BALListic.”

“For Margaret and Dan,” a duet piece, with music by Lifehouse, was performed as part of company member Margaret Ludlow’s wedding ceremony a week before the Cain Park concert, as a present from the company. The public debut was beautifully danced by Mikaela Clark and Justin Stentz (who I consider to be the area’s best young male dancer).

‘RubeWreck,” which was danced to music by Animusic and the Beastie Boys, featured the twelve males of the dance intensive and the company. A total delight, it portrayed a young video gamer, creating a vision complete with human Rube Goldberg contraption-like machines which morphed into the concept of the new film “Transformers.” The action brought many laughs from the audience.

“Performance Improvisation” demonstrated the ability of the dance intensive students to ad lib to music they had not previously heard. As a starting point, the corps was given two distinct gestures to use throughout the piece. The ability of the youngsters to stay in character while creating various stories and images was impressive.

A company staple, “A Close Shave, inspired by Patrick Morley’s “Man in the Mirror” featuring Joshua Brown and Justin Stentz, “centers on a man confronting and wrestling with the proverbial man staring back at him every morning when he shaves.” Brown and Stentz displayed both superb strength and consistency while performing the audience pleasing gymnastic piece.

“BALListic,” another staple in Inlet’s repertory, uses 1960’s pop art to probe into what happens when a group of dancers are given a number of huge red physio balls and let loose. With contemporary music by the very talented Ryan Lott (who has written for many local dance companies), the dancers slid over, cavorted under, and bounced around the stage with precision and energy. The Pilobolus-like piece was a fitting closing number for a well performed and creatively programmed evening of dance.

Capsule judgement: Bill Wade and his Inlet Dance Theatre are a unique company. They go outside the square by incorporating previously uninitiated dancers into company performances with positive results for both students and audience.
Side note: The company raises one-quarter of its funding from individual donor support. It deserves our support. Send a tax-deductible contribution to Inlet Dance Theatre, 3921 Mayfield Road, Suite 6, Cleveland Heights, OH 44121 so they can continue to be a community asset!

Spotlight on Matthew Sprosty

Matthew Sprosty, Westlake resident and successful playwright

Matthew Sprosty is a class of 2000 graduate of Westlake High School. Matthew Sprosty is a successful playwright. His play, ‘MALICIOUS BUNNY,’ is now being staged by Fourth Wall Productions.

Sprosty, who is the son of Lucille Parsell and Allan Sprosty, both of Westlake, graduated from Ohio University in 2004. He was active in the OU Playwriting Program, one of the few curriculums in the state centering on theatre script preparation.

In speaking of his high school days, Matthew credits Mr. Hoty, his television teacher for getting him interested in the media and Mrs. Sptizer for getting him involved in theatre.

Matthew wrote eight plays he wrote while in college. He also penned nine screen plays. Since college he has written three more. ‘MALICIOUS BUNNY, which was started in August of ’06, had a workshop in Columbus and has been written and rewritten based on input of friends and the workshop audience. By last count, this version is the ninth draft.

Sprosty states, “In my writing I try and figure out things I don’t understand.” In the case of ‘MALICIOUS BUNNY,’ he probes into the world of divorce. His own parents divorced when he was five. In preparing the script he spent a lot of time discussing her perceptions of the divorce with his sister Jaki, who is four years older than Matthew. He said, “Some of her revelations were chilling.” Though not about his parent’s divorce, he incorporated Jaki’s voice into the play.

Any one who gets the opportunity to view the production will quickly discover that Sprosty has a weird and ironic sense of humor. The play is a dark comedy/mystery. He got the idea for Bunny from experiences he had with his previous girlfriend, his relationship with her parents (“they hated me”), and the hidden desires he felt about her and them.

Fourth Wall Productions is just completing its first year of activity. Made up mainly of Ohio University theatre graduates, the company members, who are mainly from the Cleveland area, thought that there was a need on the North Coast for a company which performed new works by new writers. They are interested in attracting a non theatre-going crowd. This would be a younger and “hipper” audience than those who attend traditional theatres. They may have something as their surveying so far indicates that over 5% of Fourth Wall attendees have never before seen a play.

Why has he remained in Cleveland, while the “hot” theatre scenes are elsewhere? “I love Cleveland. I love the theatre here. I hate when I go to Chicago, or New York, that my friends laugh, and ask, ‘Why Cleveland?’” Matthew’s answer, “It’s because I believe Cleveland has huge potential. We raise great talent. We have the most welcoming situations for emerging artists. We just have to find a way to keep them here.” He thinks that Fourth Wall, through bridges they can build with other theatres in and out of the city, will help in his crusade. Fourth Wall has already built bridges with the Cleveland Play House, Bang and Clatter and Kalliope, with hopes for more.

As they enter their fourth year, Fourth Wall Productions is looking forward to expanding their repertoire and building a bigger audience base. Their season next year will include another Sprosty script.

As for Sprosty, who is not only the company’s resident playwright, but also serves on the Board of Directors and as Treasurer of the company, has been approached by other theatres to produce his plays. He continues to write and he’s hopping that he doesn’t get any evil thoughts about his present girl friend and her family that will be the basis for a future play. But, on the other hand . . ..

(To read a review of ‘MALICIOUS BUNNY’ go on-line to: www.royberko.info)

Review of the reviewer (Fourth Wall Productions)

A New York theatre company read your review and asked to read Malicious Bunny by Matthew A. Sprosty.

Thanks for your help in Fourth Wall's crusade in turning eyes to Cleveland.

Sincerely,
Fourth Wall Productions

MALICIOUS BUNNY

Delightful black comedy/mystery at Fourth Wall Productions

On the way out of Kalliope Theatre, where Fourth Wall Productions is staging their newest offering, ‘MALICIOUS BUNNY,’ I said to the script’s author, Matthew Sprosty, “You have a twisted mind! A brilliant, but twisted mind!” He responded with an innocent grin which split his cherubic blushing face.

Fourth Wall Productions is just completing its first year of activity. Made up mainly of Ohio University theatre graduates, the company, who are mainly from the Cleveland area, thought that there was a need on the North Coast for a company which performed new works by new writers. They are mainly looking at scripts from OU’s Playwriting Program. If ‘MALICIOUS BUNNY’ is any example of the quality of the scripts and production values that we will be seeing in the future, Fourth Wall is a welcome addition to the Cleveland scene.

Sprosty has a wonderful way of leading his audience down one path, doing a quick detour, allowing the viewers to find themselves guessing at what will happen next. In ‘MALICIOUS BUNNY’ he has given us a black comedy/mystery that is cleverly conceived.

The author contends that the play is not autobiographical, but did germinate from experiences with his last girl friend and her parents. He emphatically insists, and states in the program that it was his LAST girl friend, not this one. (Okay, Matthew, now that it’s officially in public print, hopefully this saves you from your present main squeeze’s parents not dragging her out of the theatre and forbidding her from seeing you when they attend next Saturday’s performance.)

The plot? A couple of twenty-four year olds have hit the one-and-a-half year point in their marriage. She (Angela) is an artist, who is on a sabbatical from creating. He is an engineering graduate who is working as a janitor because she wants to live in Cleveland, near her parents, and he can’t find a job in his field on the north coast. She is bored and manipulates her somewhat naive husband (Jonathon) to do her beckoning. She may be named Angela, but she is no angel! Her list? Kill her parents, get a million dollars, and buy the penthouse condo in their building. To go any further with the plot would blow the whole premise. It’s enough to say there are enough twists and turns to make the surprise ending a head shaker and allow you to leave with a smile on your face!

Director Rebecca Cole has paced the play well. She is aided by a cast that understands the plot and their characters. (Having the playwright on-hand to work with during the production and explain his concepts obviously turned out to be a great aid in the staging process.)

Nate Bigger, a blond with the look of total innocence and a voice to match, is wonderful as Jonathon. He gets totally wrapped in the role and takes us right along. Though Stephanie Ford’s Angela could have sounded a little more vocally manipulative, she is quite believable as the spoiled little rich girl who gets everything she wants (or, so it seems). Dash Combs is both properly delightful and menacing as Jonathon’s buddy, Greg. Steven Hoffman and Kat Gallagher do well as Angela’s parents, but are much better as the detectives. (Hmm....and why are there detectives? I’m not going to tell!)

Capsule judgement: It’s been a while since I’ve had such a good time at a theatre production. The twists, turns and “oh my goodness moments” in ‘MALICIOUS BUNNY’ keep the audience laughing and thinking of what’s going to happen next. Bravo!

A SPAWN OF PETROLSEXUALS

‘SPAWN OF THE PETROLSEXUALS’ is not a pleasant experience for this reviewer

Christopher Johnston, the playwright of ‘A SPAWN OF PETROLSEXUALS,’ which is now being staged at convergence-continuum theatre, states in the playbill, “I won’t try to articulate my anger and frustration over an America I no longer know, nor our unconscionable lack of concern for consequences.”

Yes, Johnston is angry and frustrated. So am I.

Both Johnston and I are angry that America has lost its course under the corrupt Bush administration and the business overlords as well as the the over-consumption of resources and the breakdown of ethical values. Yes, unless there are some drastic changes we are on a sliding board to becoming a second-rate nation.

Beyond that, my frustration centers on the playwright and convergence’s artistic director.

I believe that theatre should be purposeful and meaningful. The author has an obligation to the audience to present a message in a way that they can reasonably understand the author’s intent. In my opinion, Johnston does not write a play that clearly states the problem or shows a way out of the void. Instead, he writes a script filled with unnecessary abstract imagery, abstract situations, and the use of profanity for the sake of using profanity. He creates abstraction for affect, rather than effect. He also creates happenings that gross out the audience for no reason (eg., one cast member realistically urinating into the mouths of two others in order to “rehydrate” them). During this scene, the person sitting next to me moaned, “That’s disgusting.” It was! Gross can be an effective tool, but what was the act’s real purpose other to gross out the viewer and show how avant garde the author was?

The question that Artistic Director Clyde Simon has to answer is, “why did you choose to stage this script?” Yes, you wanted to do an original play, and the author wrote this specifically for your theatre, but that does not mean you have to do a script of questionable quality. On the way into the theatre, one of the patrons said to Simon, “Am I going to understand this one?” Obvioulsy, the patron has been to convergence in the past and been confounded by Simon’s “unique” selection of scripts. I didn’t get a chance to ask the man after the production about his understanding, but the odds are he was as lost as most of us.

Part way through the first act a character in ‘A SPAWN OF PETROLSEXUALS’ says, “Who’s listening to this crap?” I almost yelled out, “Not me...I turned off the whole proceedings long ago,” and from observing those around me, most of the audience had joined me. The “crap” statement was followed by another of the author’s lines, “I thought and I thought and there is nothing worth saying.” My first reaction upon hearing the line was, “So, Mr. Johnson, why did you write the script?” And, the second was, “Why am I sitting here enduring this?” So, for only the second time in all my theatrical experiences, I left at intermission.

CAPSULE JUDGEMENT: I have sat through many, many theatrical productions. I would have to rank seeing ‘A SPAN OF PETROLSEXUALS’ at convergence as one of the most uncomfortable experiences of them all.
Side note on this review: I don’t like writing critiques that discourage people from attending the theatre, but I would be disingenuous to my readers if I was less than honest about this script and production.

Shaw Festival--2007 review #3

AND STILL MORE ON THE SHAW FESTIVAL--play reviews and places to stay, eat and tour

Considered by many theatre experts as the best repertory company in North America, the G. B. Shaw Festival, located in Niagara-on-the-Lake, Canada, a short distance from Niagara Falls, offers an excellent season of productions. In addition there are some excellent restaurants and sites to visit.

In my other columns in this series I reviewed ‘SUMMER AND SMOKE, ’‘HOTEL PECCADILLO,’ ‘MACK AND MABEL,’ ‘THE PHILANDERER,’ ‘LILLIES’ and ‘THE CIRCLE.’ If you missed those reviews go online to www.royberko.info.

The two other plays I saw were: ‘THE CASSILIS ENGAGEMENT’ and ‘THE KILTARTAN COMEDIES.’

THE CASSILIS ENGAGEMENT

Sr. John Hankin, one of the most admired comic writers of the Edwardian era, is generally unknown to present day theatre-goers in spite of the fact that his good friend, G. B. Shaw, once referred to him as “the Mephistopheles of the new comedy.”

Part of the reason for Hankins’ anonymity was his suicide at age 40, as an escape from a life of ill health. It is ironic that his life came to its final curtain, as his plays often do, without a happy ending.

His two major plays were ‘THE RETURN OF THE PRODIGAL’, subtitled “A Comedy for Fathers’ and ‘THE CASSILIS ENGAGEMENT,’ referred to as “A Comedy for Mothers,” which is now in production at the Shaw.

Hankins’ plays, though they are all comedies, are governed by “aesthetics of negativity.” The plots lead toward the dissolution of familial ties and love relationships, toward closure marked by disharmony.

The plot of ‘THE CASSILIS ENGAGEMENT’ centers on three uniquely different mothers. Though the story appears to be a conventional comedy of manners, it proves to be nothing of the kind. The wealthy Mrs. Cassilis dotes on Geoffrey, her unmarried son. The very uptight Countess of Remenham has always assumed that Geoffrey was going to marry her daughter. Foiling the plans, Geoffrey has become engaged to Ethel, a cockney, lower class and crass city girl. Ethel and her mother, Mrs. Borridge, are invited to visit Mrs. Cassilis’s house. What plays out are a series of events which move the plot through one hilarious conflict after another, and toward an obvious ending.

The Shaw production, under the direction of Christopher Newton, turns out to be out and-out fun. Much of this centers on the hysterical performance by Mary Haney as the uneducated and blunt Mrs. Borridge. Her exact opposite, Mrs. Cassilis, played by Goldie Semple, is cool, collected and bright. Semple builds a clear character who manipulates all around her in a passive aggressive manner. David Leyshon (Geoffrey) plays the perfect pawn, caught between mother and fiancee. Donna Belleville so perfectly portrays the uptight Countess of Remenham that, after-a-while, the audience started to groan each time she opened her mouth to speak.

Played in three-quarter round in the intimate Court House Theatre, the production is well-paced and draws a healthy round of laughs.

CAPSULE JUDGEMENT: ‘THE CASSILIS ENGAGEMENT’ is a fun walk along the path of humor. You won’t learn anything much, but you will have a good time watching a master of language and plot development weave his web.
‘THE KILTARTAN COMEDIES’

Lady Augusta Gregory was an Anglo-Irish dramatist and folklorist. She dedicated much of her life to collecting Gaelic folklore and keeping the Irish language viable. She published a series of books related to Kiltartan history. She also wrote plays of questionable value. As a fellow Irish writer stated, “"the presentation of her plays nearly ruined the Abbey [the national Irish theatre venue]".

Shaw has chosen to present two of Lady Gregory’s short writings. The first part of the program is ‘THE RISING OF THE MOON.’ It is based on a ballad of the same name by famous Irish balladeer John Keegan. The song remains popular and the tune widely recognized in Ireland today as a protest song against British control.

The ballad-opera tells the tale of a rogue who tries to escape from a town after committing some crimes, but is caught by a policeman. Through Irish charm and guile, he talks his way to freedom. Gregory intended the message as an attack on England in Ireland’s fight for freedom, though this is not overly evident in the play’s actions, but a careful listen to the words of the song reveal her purposes.

‘SPREADING THE NEWS’ is a delightful bit of fluff which illustrates how rumors are created and spread. This is relevant in spotlighting the Irish as great story tellers and exaggerators. What starts as an act of kindness, the return of a pitch fork that has been left behind, is manipulated into a story of death, infidelity and a potential immigration to America. Mary Haney is riotous as an apple saleswoman who is the hub of the wheel of the rumor. This is fun, fun fun!

CAPSULE JUDGEMENT: The hour-long production of ‘THE KILTARTAN COMEDIES’ is worth going to just to see Mary Haney in ‘SPREADING THE NEWS’ and relive your own experience with how rumors are spread. The first show, ‘THE RISING OF THE MOON,’ will probably be of less interest.

SHAW AREA ATTRACTIONS

Besides the plays themselves, the Festival includes a reading series, coffee concerts, seminars, backstage tours and pre-show chats.

The city has a golf course, speed boat rides and carriages that travel the streets. Just wandering the small town and looking at the beautiful flowers and gardens can be a wonderful experience.

There are some excellent places to eat including my favorite, The Queenston Heights Restaurant (www.queenstonheights.com). It is located in a park just over the US Canadian border. The facility has a breathtaking view of the Niagara River gorge. A new addition to my favorites list is the Restaurant at the Niagara Culinary Institute, located about twenty minutes away from the theatres. Here, student chefs and restaurant management majors hone their skills. The food is excellent and the venue attractive. Remember, these are students, professional wanna’ be’s, and the service may be a little erratic.

Tired of waiting for a casino in Cleveland? For those so-inclined, Niagara Falls, which is near Niagara-on-the-Lake, has two casino resorts. There is also a large outlet store complex for the bargain shopper. And, of course, not to be overlooked are the attractions connected to the magnificent falls.

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. Be aware that the festival offers day-of-the-show rush tickets and senior matinee prices.

Shaw Festival 2007/review #2

‘More on the 2007 Shaw Festival--’THE PHILANDERER,’ ‘LILLIES’ and ‘THE CIRCLE’

Each year The Shaw Festival season runs from April through October. A visit to Niagara-on-the-Lake, Canada, about four hours by car from Cleveland, allows those living on the north coast to see up to ten productions, plus noon-time offerings and special events.

In my previous column I reviewed ‘SUMMER AND SMOKE, ’‘HOTEL PECCADILLO’ and ‘MACK AND MABEL.’ If you missed those reviews go online to www.royberko.info.


THE PHILANDERER

In the late 1800s, the liberal Norwegian, Henrik Ibsen began to pen plays about the “new woman,” an independent female, who did not view the man-woman relationship structure as the man being in charge with the female subservient. G. B. Shaw took up the same cry, and along with his commentaries on religion, morality, the educational system and politics, pushed the women’s liberation cause beyond that of Ibsen.

Shaw’s ‘THE PHILANDERER’ is a typical Shavian comedy. It is long on laughs and has many social messages. It centers on the concept of what it means to be a man or a woman. Because the battle between the sexes continues to this very day, the play remains relevant.

‘THE PHILANDERER,’ which was written in 1893, was only Shaw’s second play. Years later, the more mature Shaw decided that the play needed a more complete ending, and added a fourth act. The Festival is presenting both the three and the four-act versions this season. Having only viewed the three-act presentation I cannot comment on the fourth segment. A friend who saw the quad production commented that the last act was more in what we now consider the Shaw later-years style and more completely wrapped up his message.

The play takes us into the Ibsen Club where supposedly modern men and women strive to live social lives of equality, or at least pretend to do so. The action centers on Leonard Charteris, a man committed to remaining unattached. He is a philanderer who believes that only conventional people marry. He believes in "charming friendships." But, when he meets Julia Craven, a self-described "new woman" who belongs only to herself and is the property of no man, he finds he may have met his match, and maybe his mate.

In one of the play’s most delightful scenes, which skewers the medical profession, Peter Krantz, as the aptly named Dr. Paramour, becomes depressed when he learns that a new liver disease he thinks he's discovered doesn't exist. Never mind that the news means his patient is perfectly healthy. It is just one of those Shaw inspired moments inserted to zap a group or cause whose actions he finds ridiculous.

The festival’s production is on target. Ben Carlson is a delightful cad as philandering Charteris. Nicole Underhay (Julia Craven) effectively develops the womanly-woman. Nicola Correia-Damuge (Sylvia Craven) is clearly the manly-woman, who foreshadows the women who will come forth in the next generation’s liberation movement.

Director Alisa Palmer has paced the show well and pointed the comedy lines. Judith Bowden’s set is beautiful and practically designed.

CAPSULE JUDGEMENT: The Shaw Festival does Shaw like no other acting company. Their production of ‘THE PHILANDERER’ is a delight while making the author’s points with fine acting and technical finesse. This is a “sure see.” I’m sorry I didn’t experience the longer version as it would have elongated the wonderful experience.

LILLIES

In 1990, Jackie Maxwell, the Shaw’s Artistic Director, staged the first reading of a new translation of ‘LILLIES,’ a play originally written in French by Michel Marc Bouchard. The script went on to be produced across Canada and in Europe. Maxwell, decided to include ‘LILLIES’ in the 2007 Shaw season.

‘LILLIES’ is a mystery of hidden desires, the living out of fantasies, and the consequences of forbidden love. Set at a Catholic boys school in a small town in Canada, a secret love affair between two of the male students, a closeted jealous student, a gay drama teacher who pushes against school’s homophobic regulations, and a murder, are all part of the action.

The staged reading, directed by Maxwell, was cast with all males, though three of the characters are women. The single gender casting adds an interesting dimension to the proceedings.

The presentation was highlighted by fine performances by Kawa Ada as one participant in the love triangle, Blair Williams as his mother, Guy Bannerman as a priest and Ric Reid as an adult who, as a youth, was a member of the love triangle.

CAPSULE JUDGEMENT: Unfortunately for festival-goers, if they didn’t see the performance on July 13 they will not be able to see it. That’s really sad, as I found ‘LILLIES’ to be the most interesting scripts of this season and even in a staged reading format, for which the cast only had three rehearsals, the tension and idea development was excellent. It can only be hoped that Maxwell considers producing a staged version at a future Festival. (On a local note, I would encourage one of our more adventurous theatres to consider a staged presentation of the script.)


THE CIRCLE

Somerset Maugham, the author of ‘THE CIRCLE,’ is noted for writing plays concerning the British upper-classes and marriage. He believed that, “in order to understand a society one should study its marriage laws and the arrangements between the sexes.” Like Shaw, Maugham used humor and witticism to develop his philosophical points of view.

Maugham questions the 1920 ‘s belief that “men rule the world, wield the political and social instruments of power, and that their women are bred to keep their place while being quietly loving and supportive and provide the country’s great houses with future heirs.”

‘THE CIRCLE,’ which is considered by dramatists as Maugham’s finest play, has an interesting structure which centers on two love triangles, one relationship in the past, one in the present. The writer is a master at conversational style and the turning of a word to make an effect. His abilities are displayed well in this witty script.

Interestingly, the final curtain of 1920’s productions of the play were generally met with hisses and boos as the audience was both shocked and repelled by the unexpected conclusion. Modern day audiences, considering the high rate of infidelity and divorce, are less likely to respond negatively.

The story centers on the three-year marriage of Arnold and Elizabeth. He is a wealthy member of the British parliament. Arnold’s father and mother were divorced when he was young. The mother ran off with the father’s best friend, who, if not for the scandal, might have been elected Prime Minister. Elizabeth invites her lover (Edward Lutton), Arnold’s mother, the mother’s current husband, and a female family friend for a visit. Of course, the reason for the visit is to create havoc. The results, as can be assumed, turn out to be a showcase for questioning the need for marriage, what is the basis for love, and challenges whether love is an important ingredient in a successful marriage.

Director Neil Munro had a clear concept, and accomplished it with proper pacing and imbuing his cast with the necessary attitudes and character development. He has even incorporated clever set and props changes as part of the production.

The cast is excellent. David Jansen is properly uptight as Arnold. Beautiful and talented Moya O’Connell is delightful as conflicted Elizabeth. Gray Powell’s Edward Lutton is appropriately frustrated by Elizabeth’s decisions and the alteration of her choices regarding him. Wendy Thatcher is a hoot as Arnold’s estranged mother. Michael Ball is wonderful as the curmudgeon/puffed-up second husband of Lady Kitty. David Shurmann is attitude perfect as Arnold’s father.

The production is performed in a beautifully appointed drawing room set, in the intimate Royal George Theatre.

CAPSULE JUDGEMENT: By today’s standards, ‘THE CIRCLE’ is a piece of fluff. In the 20s, when it was first staged, Maugham’s script confronted real issues and gave a flash of what was going to happen during the era of women’s liberation. The fine production is worth seeing, if for no other reason than to get a glimpse of early 20th century attitudes about men, women and marriage.