The Bank Guards

Fourth Wall’s ‘THE BANK GUARDS’ less than hoped for

Fourth Wall Productions, which is now staging the world premiere of Mathew Sprosty’s ‘THE BANK GUARDS,’ is one of those new small theatre companies whose dreams often exceed their results.

Sprosty, a promising playwright, is the author of one of last year’s top local plays, ‘MALICIOUS BUNNY.’ I recognized the author and the play with a Times Theatre Award. He has a “hip” way of writing, a new wave attitude, and comes up with clever plot twists. The hip, the new wave and the plot twists are present in his newest work, ‘THE BANK GUARDS;’ but, they don’t work as well this time.

The play is filled with too many improbables and the staging leaves much to be desired.

The story centers on a group of bank guards who plot to hold up their own bank. They, of course, have no, or at best, a vague plan. A teenager, who has pulled off a series of bank robberies, finds out about the plot and tries to weasel in on the heist. There is in-fighting and counter-plotting. And, a “surprise” ending.

Sounds like an interesting premise. It is, kind of. The problem is that there are just too many improbables. Why are the guards, who say several times that they are not allowed to thwart robberies in the bank, wearing guns while off-duty? Since this takes place in Cleveland, which has a law against carrying unconcealed weapons, why would these guys be walking around with exposed, holstered guns? Why are the guards so concerned about wiping fingerprints off door knobs after “the” murder (I don’t want to give too much of the plot away here), but are oblivious to the blood in the middle of the floor? (By the way, even though the blood is referred to, we never see it.) How does the teenager find out where the “meeting” is being held? Are these guys really that stupid that they would go into this plot without a plot? The over use of calling one character “old” and another “kid” becomes tedious after a while. I could go on, but hopefully you get the point.

The production, under the directorship of Rebacca Cole, is as uneven as the play. Several of the performances, however, are quite good. Michael Riffle (Ben), as the Iraq vet, has some nice moments, especially after he loses his faked attitude and becomes the real Ben. Ric Barr, as the “old” man is believable in his portrayal. The rest of the cast is inconsistent in character development, going in and out of character…alternating feigning anger and control and angst and more control. I didn’t believe any of them was a real person with real motives. It may be the writing, it may be the directing. The over-lapping of spoken lines, the mumbling, the use of obscenity for no purpose than to sound “hip,” all add up to a lack of smooth ebb and flow of ideas and reality.

CAPSULE JUDGEMENT: I really want Fourth Wall Productions to succeed. It is dedicated to doing shows that appeal to and should draw in younger audiences, which local theatre desperately needs. However, their productions are so inconsistent that it will be hard to build a loyal audience. In addition, their location, on E. 105th Street in Cleveland, though there is a lighted parking lot, may turn off the less secure from attending.

Two Plays by Gao Xingjian

CPT: ‘TWO PLAY BY GAO XINGJIAN,’ well staged, but not for everyone

Anyone seeing ‘TWO PLAYS BY GAO XINGJIAN,’ which is now on stage at Cleveland Public Theatre, will immediately be drawn into a strange world, a world of abstract, almost absurdist dimensions, which echoes the works of Bertolt Brecht, Samuel Beckett and Eugène Ionesco. Yes, this is not theatre for anyone looking for clear messages, traditional staging, or scripts that allow you to leave the theatre feeling good.

The author, Gao Xingjian was born in 1940. He is a Chinese writer and artist. He was the first of his countrymen to win the Nobel Prize for literature. In contrast to most winners who become national heroes, the 2000 victor was denounced and his plays banned in China.

In 1966, during the Cultural Revolution, Gao was one of many Chinese artists and intellectuals who were sent to “reeducation” camps to perform manual labor. During this time he was compelled to burn a suitcase of his writings. When the Revolution ended in 1976, Gao gradually started to produce his plays which combine experimental forms with traditional Chinese styles. Though his stagings were popular, they drew the condemnation of Chinese government ministers, who shut productions as part of their campaign against “intellectual pollution.” Harassed by the government, he left the country and settled in France.

Gao’s plays combine Zen philosophy and a modern worldview, stressing the gritty realities of life, death, sex, loneliness, and exile. As Gao says, his plays are “manifestations of the idea of the tripartite actor, a process by which the actor neutralizes himself and achieves a disinterested observation of his self in performance.” Abstract? Yes, and that’s exactly what his plays are. Interpretation is left to the individual, which is part of an absurdist’s goal.

Both plays are about journeying onward, much like China and Gao have both done.

‘BETWEEN LIFE AND DEATH’ is basically a one-woman monologue which concerns the space between life and death, between reality and imagination. It appears to examine the journey of China as it was and is being transformed. In the words of the script, is that “history,” “story,” “fable,” “joke,” riddle” or “empty words?” Is it all an illusion? “The me you see is not me.”

The show is well directed by Holly Holsinger. Anne McEvoy is brilliant as The Woman. She is well assisted by Mark Cipra and Melissa Crum in non-speaking roles. The use of video (designed by Neil Sapienza and Dred Geib) is enveloping. The use of authentic Chinese string and flute music helps create the proper moods.

‘THE OTHER SIDE’ showcases director Raymond Bobgan’s ability to creatively stage dramatic pieces. He has a knack for involving the audience’s imagination through clever visual images. In this case he used blue ropes, paper, candles and choreographed movements to generate vivid visuals.

The play asks the question, “Why do we want go to the other shore?” It seems to examine the killing of China, the China before the Communists took over, in order to get to the new place. It echoes the need of the Communists to create a unity of “all in it together.” Creating a “common language,” a “wisdom” and a “vision.”

The large cast molds together well. Nick Koesters, as the narrator and center focus, is excellent.

Capsule judgement: ‘TWO PLAYS BY GAO XINGJIAN’ is not for everyone. It is an unnerving and abstract evening of theatre which will be appreciate by those who like absurdist and mind-bending drama, but may be of little interest to others.

The Cleveland Plays: Part I, Migration

Dobama has nice idea, but script by committee doesn’t work

Cleveland is in the doldrums. The Cavs didn’t win the championship; the Indians can’t hit; foreclosures keep piling up; schools are in chaos; flight from the “Best Location in the Nation” continues, the on-again, off convention center/medical mart seems to be on hold.” My oh my, how can we perk the place up? I know, let’s put on a show!

And, that’s what Dobama decided to do, put on a show to build some pride in the city. Not one show, but a series is planned with the encompassing title of, ‘THE CLEVELAND PLAYS.’ They are now presenting ‘PART I: MIGRATION.’ Good idea. Unfortunately, like a lot of things in Cleveland town, the dreams worked better than the execution.

The script goes in too many directions and lacks a unified voice. Eric Coble, Nina Domingue and Eric Schmiedl are award winning playwrights. They know this city well. All of them have the best intentions, but never developed a thread to wind its way through the concept. Note, I did not use the word story, because there really isn’t a story.

There are a lot of local places mentioned: Solon, Slavic Village, Cleveland Heights, Mt Pleasant, Lakewood, Rocky River, Hough, Beachwood, Buckeye, East Cleveland, Euclid. There are Cleveland landmarks noted like Malley’s and Shaker Square. Even people’s names are thrown in, such as Manny Barenholtz, the developer of Walden in Aurora. There is a good general overview of how we got here, thanks to the confused Moses Cleaveland, who comes back to “lead us out of here” and complains because we misspelled his name.

Wait, why is Clevealand, who lead us into this area, leading us out? That’s never made clear. Also not made clear is why Lenny (George Roth) is spray painting the city. And, why is pregnant Nisha (Nina Domingue) so intent on photographing people and places in the area, with no means of support, refusing to move to Columbus, where her husband has been offered a job?

There are some good performances. Courtney Schloss takes on many roles with great success. George Roth looks and acts totally confused (is this great acting or the lack of coherent lines?), Nina Domingue is the usually competent Nina. On the other hand, Robert Williams (as Domingue’s husband) presents flat lines and Michael Regnier keeps changing accents and doesn’t really develop a clear characterization as Moses Cleaveland.

Steve Schultz’s projection design gives us some interesting views of the city and a lot of porches to observe.

CAPSULE JUDGEMENT: Nice idea Dobama. Good attempt to get us out of our doldrums. Too bad it didn’t work…the Cavs still lost, the Indians still can’t hit, and the mortgage crunch continues. Maybe Part II will be better.

My Favorite Year

‘MY FAVORITE YEAR’—dated script is misdirected

I can’t fathom why Beck Center, which has been on a positive role for picking good scripts and staging strong productions, decided to stage the very dated and poorly written ‘MY FAVORITE YEAR.’ I also can’t grasp how William Roudebush, who last year directed the outstanding ‘EQUUS’ got so off course with his interpretation of this musical.

‘MY FAVORITE YEAR,’ with a book by Joseph Dougherty, music by Stephen Flaherty, and lyrics by Lynn Ahrens, centers on the experiences of Benjy Stone, a young comedy writer who works on “The King Kaiser Show,” a program much like the classic “Show of Shows” which starred Sid Caesar and Imogene Coca.

When Alan Swann, an Errol Flynn-like movie star is signed to make a guest appearance on the King Kaiser Show, all hell breaks lose. Swann is an alcoholic, in a state of depression over his failed role as a father, and a womanizer. It becomes Benjy’s duty to “baby sit” the star and make sure he stays sober until show time. Of course, many stumbling blocks must be jumped over.

The script has a troubled past. After 45 previews in which there were constant rewrites, the show opened on December 10, 1992 and ran only 36 performances, in spite of a cast that included Tim Curry, Josh Mostel and Lainie Kazan. It generally got negative reviews, including one that called it a “barren Broadway musical.” Many of the references are dated, only understood by those around in the early days of television. The show was rewritten in 2007 with an eye to a Broadway opening.

If the Beck production is anything of what the future holds, the Big Apple isn’t going to like this version any better than the last one.

Maybe Beck chose the script because of their successes with ‘A MAN OF NO IMPORTANCE’ and ‘RAGTIME,’ which had music by Stephen Flaherty and lyrics by Lynn Ahrens. Maybe they chose it because no other theatre in the area has staged it. Whatever, it was a big mistake. The script is bad and the music unmemorable.

Roudebush misdirected the show. It is a farce! It needed lots of shtick. It needed fast pacing. It needed a Sid Caesar, bigger-than-life attitude. It had none of these.

And, then there was the set. Richard Gould went over the top. There were so many massive set pieces that the cast spent more time schlepping and pushing set pieces than they did singing, dancing and acting. Roudebush seemingly spent more time figuring out how to get the sets on stage than in directing the cast.

Several of the leading actors were quite good. Shawn Galligan (Benjy), has a nice Mathew Broderick look and quality, and he sings better than Broderick. Unfortunately, he proved in the dance numbers, that he is not a hoofer.

Matthew Wright was right-on as Alan Swann. Wright, as usual, is a delight to watch on stage. The guy can act, sing, dance and carry on a great sword fight. (Thanks to John Davis the fight director!) It’s almost worth going to see the rest of this train wreck just to see Wright.

Jean Zarzour was fun as Benjy’s mother, but even she couldn’t get out from under Roudebush’s heavy hand. This lady is funny…let her loose to do her thing! The same goes for Rachel Spence (who played Alice Miller, aka Imogene Coca). She has the right look, but was way too restrained.

John Polk was either miscast or misdirected as King Kaiser. He was absolutely not funny. Funny was a requirement for the role.

Choreographer Martin Cespedes tried valiantly to produce some creative dance numbers, but was hindered by a cast which appeared not to have a single accomplished dancer. He also had to figure out how to work around all those set pieces which came rolling in and out. I’m surprised no one has gotten maimed from all that stuff.

I took my grandsons—Alex (12) and Noah Berko (11)—the kid reviewers--to see the show as I had expected it to be a farcical laugh riot. They were basically bored. They liked the sword fighting scenes. Noah kept getting confused with who was who because “the same people were playing lots of parts.” Alex, a talented musician, thought the band was too loud at the start but settled in and Shawn Galligan had a nice singing voice though he flatted in several songs.

CAPSULE JUDGEMENT: In spite of a wonderful performance by Matthew Wright, ‘MY FAVORITE YEAR’ was a major disappointment. With a weak script and a poor directing vision, the show just never took off!

Leine Roebana (Dutch Dance Company)

LEINE ROEBANA, a brilliant offering by DanceCleveland

LEINE ROEBANA, which was recently presented at the Ohio Theatre in Playhouse Square by DanceCleveland, has a unique style that defies a traditional description. The Dutch company gets its creativity from not being bound by the traditional dance language of Loie Fuller and Isadora Duncan, the conceivers of contemporary/modern dance. Its dance style is not contemporary nor modern. It does not tell stories or have themes. It is purely a company which interprets music through bodily movement.

This Dutch dance form has no long history. It is a movement that developed following World War II. It is not bound by tradition. It repelled German dance concepts because of the strong hatred of all things German after the war and was little influenced by the long flourishing movement in the United States. It struck out on its own.

The results? It is totally kinesic, based on bodies forming connections with each other. It is organic in nature. Maybe it should be dubbed, Organic Dance. The choreographers, like composers, take the music, the sounds, the moods and create visual energy and synchrony. They “dissect the body into its constituent parts, put it back together and invite it to dance.”

The dancers sometimes move in unity, though almost never touching each other. There are no lifts, no carries, just melding of bodies together in space. The short pieces are blended together by the next set of dancers moving into the preceding piece and then being left on the stage as the original dancers leave. There is little time for audience applause between segments as the sections blend together. There are no mid-performance curtain calls as there are no “lead” dancers, no stars, no specialty numbers. The flow is organic, with music, light or sound transitions.

The dance is symbolic of the Dutch people. In contrast to the US, in which much of the arts is considered high brow and is attended by only the intellectual elite, “In the Netherlands, participation in the arts and culture is considered a basic right of citizens along with housing, education and health care. The Dutch government, through its culture funds and agencies, channels this support to ensure that everyone in the Netherlands, no matter their age, ethnicity or education can enjoy this right.” Quite a difference from this country, where federal funds are almost invisible and the only local government support is through taxing smokers and arts organizations are left to beg for corporate money.

Several program specifics stood out. The lighting was so incorporated into the dance that the spots became additional performers. The simple setting, with a large panel of woven cloth hung mid-center of the back wall, changed colors to enhance the musical moods. The music, specifically composed for the company, and its execution by two violists and a pianist, was encompassing. A counter tenor added a surreal atmosphere to the proceedings. The special sound effects added to the emotional level and tied to the modernism of the company by adding the dimension of the mediated world.

CAPSULE JUDGEMENT: BRAVO! Dance Cleveland plays a vital role in exposing Clevelanders to unique dance experiences. Thanks to Pamela Young, the Executive Director of DanceCleveland, for bringing LEINE ROEBANA to the area. Also praise to her for insisting the live musicians accompany the group as most of this company’s performances use recorded music.

‘THE 25TH ANNUAL PUTNAN COUNTY SPELLING BEE

How do you spell fun? SPELLING BEE at Palace Theatre

‘THE 25TH ANNUAL PUTNAN COUNTY SPELLING BEE,’ which for the rest of this column will be referred to as THE BEE, is presently on-stage at the Palace Theatre. It is one of those cute, fun pieces of theatre. Though there is a little attempt to make the whole thing present a message about kindness and understanding, it is, at least the first two-thirds of it, a delightful romp where we laugh both with and at the contestants.

THE BEE is a one-act musical which centers on six quirky teens competing for the title of “Spelling Champion.” They are overseen by grown-ups who have barely managed to escape childhood themselves. In the process we all supposedly learn that “winning isn’t everything and that losing doesn’t necessarily make you a loser.” Yeah, sure!

The script is based upon ‘C-R-E-P-U-S-C-U-L-E,’ an original play created by Rebecca Feldman. It was originally an improv piece and it still retains some of that same energy and creativity, especially when members of the audience are placed on stage as spellers and they don’t necessarily follow the cues they’ve been given. On opening night, a tween named Jack Michaels threw a monkey wrench into the proceedings when he correctly spelled a very difficult word, causing the announcer to madly ad lib and find a word to get rid of the kid so the “scripted” show could continue.

After a successful off-Broadway run, THE BEE opened on-Broadway to good reviews and box-office success. It was nominated for six Tony Awards, winning two, including Best Book.

The touring production is true to the show I saw in New York. In fact,
several of the cast are transfers from the recently closed Broadway production.

Each role in the production is well-performed. From the audience reactions the favorites included Cleveland native Eric Roediger, a former local theatre youth director, who plays the over-weight, nut-allergic, allergy prone William Barfee who spells words by use of a unique foot-sketching method. His song, “Magic Feet” was delightful.

Leaf Coneybear, who makes his own clothes, wears a helmet as he keeps falling down and bumping into things, and has been convinced by his family that he is not exactly a whiz kid, enchants the audience with “I’m Not That Smart.” Andrew Keenan-Bolger’s portrayal is so endearing that when he finally spelled out, his exit was met with a series of moans from the audience.

Dana Steingold as Logainne Schwartzandgrubenierre (she has two dads and uses both of their last names connected by an “and), who is the President of her elementary school’s Gay, Lesbian Transgender and Questioning Organization, is a total delight.

As is the case with shows that I perceive as being kid-friendly, I took my 12 year-old grandson, Alex with me.. He gave the show an 8 out of 10. He stated, “I thought lots of it was funny, but some it was not exactly for youngsters.” (He was slouched down in his seat and giggled through the “My Unfortunate Erection,” which was well sung by Justin Keyes; but, I’m not sure sitting next to grandpa during that number was totally relaxing, even if he has had “the sex talk with Daddy.”) He thought the first part of the show was “really funny,” but thought the last half “dragged a little.” Being a talented pianist, he did question some of the vocal blendings. His favorite character was Barfee (the foot speller). His final comment? “I’d like to have gone up on stage and been a contestant, like that kid.”

CAPSULE JUDGEMENT: ‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE” is a fun show. Since it is rather intimate, I’m not sure how well it played to the back of the front floor or in the balcony. I’d not recommend it for anyone less than in their mid-teens.

A HANDSOME WOMAN RETREATS

‘A HANDSOME WOMAN RETREATS’

Kim Wyans’ one woman dramedy, ‘A HANDSOME WOMAN RETREATS,’ is a biographical story of a panic-plagued woman who attends a ten-day silent meditation retreat to root out the sources of her crisis-centered life. It is an emotional, yet funny investigation.

We watch as Kim introduces many of the unique characters of her life, including her parents and her siblings (The Wyans Brothers of “In Living Color” fame).

Wyans is a better actress than writer. The script is choppy. The situations are not always well developed. Her written comedy is stronger than her dramatic words.

The most emotional highlight centers on a failed birthday of her childhood, when none of her friends show up for her “Hawaiian-themed” party.

CAPSULE JUDGEMENT: ‘A HANDSOME WOMAN RETREATS’ was a pleasant, if uneven production. The quality of the performance far exceeded the effectiveness of the script.

Runt of the Litter

‘RUNT OF THE LITTER’

Bo Eason, the author and sole performer of ‘RUNT OF THE LITTER,’ spent five years as a professional football player with the Houston Oilers.

‘RUNT OF THE LITTER,’ which is supposedly semi-autobiographical, looks at what happens to two brothers in their life paths. One is expected to be a super-star. He does so with supposedly little real effort. The other, the younger and smaller of the duo, is inspired to succeed in spite of his physical and talent limitations and becomes almost maniacal in his quest to play in the Super Bowl as a defensive safety.

As we find out, though Jack Henry (the named used by Bo in the play) thrived on the excitement and financial rewards, he often wondered -- even while standing in a huddle -- "What am I doing out here?" Especially when he compared himself, and others compared him to his brother (in reality, former New England Patriot’s superstar quarterback, Tony Eason).

‘RUNT OF THE LITTER’ is set in a locker room just before the “big game,” where Eason is psyching himself to play against a team that includes his brother. The script examines his struggle to be the best, and the sacrifices, victories, and tragedies that surround achieving the ultimate goal in sports.

Eason is an excellent performer. He appears to be at ease with the audience, seemingly at ease with himself. He exhausts both himself and us with his passion.

CAPSULE JUDGEMENT: ‘RUNT OF THE LITTER’ was an intense experience. It was an eye-opener which allowed the audience to get an inside look at what it takes to be a success in competitive sports, especially when the odds are against that success.

Damn Yankees

Carousel lets Indians win pennant in ‘DAMN YANKEES’

Knowing the disdain that locals have for the New York Yankees baseball team, the staff at Carousel Dinner, which is now producing ‘DAMN YANKEES,’ adapted the script to ensure that our beloved Cleveland Indians beat their dreaded rivals for the American League pennant.

“DAMN YANKEES,’ a musical comedy with a book by George Abbott and Douglass Wallop, and music and lyrics by Richard Adler and Jerry Ross, is a modern retelling of the Faust legend, with a baseball twist. It is based on Wallop's novel, The Year The Yankees Lost The Pennant.

The story centers on Joe Boyd, a middle-aged baseball fanatic who sells his soul to the devil (Mr. Applegate) for a chance to lead the Cleveland Indians, his favorite team, to a pennant. Reinvented as Joe Hardy, Boyd transforms the hopeless Indians into a super team. In the process, with the help of Lola, Applegate’s assistant, he outsmarts the devil.

‘DAMN YANKEES, which opened in 1955 with a cast that included Gwenn Verdon and Ray Walston, won the Tony Award for best musical of the year. It ran over one thousand productions, was made into a movie staring Tab Hunter, and has had many revivals. It was choreographer Bob Fosse’s first Broadway hit.

The basically unspectacular score does include “Whatever Lola Wants,” and “Heart.”

It should be noted that I saw a preview production of the show, so much may have changed as the cast settles into their roles.

Jerry Coyle (Joe Boyd) and Jan Leigh Herndon (Meg, his wife) have nice singing voices and developed clear characters. Nathaniel Shaw (Joe Hardy) both physically and vocally fits the role of the reluctant star baseball player.

Ashlee Fife, she of long legs and high kicks, dances the role of Lola with the finesse and movements of a former Radio City Rockette. Unfortunately, that doesn’t translate into seductive, which the role requires. Her “Whatever Lola Wants” lacked the necessary sizzle.

It’s pretty hard to evaluate Mark Kaplan, who portrayed the devil, as he was a last minute replacement in the role, after an injury to Jim Corti who was scheduled to portray Mr. Applegate. As is, he just wasn’t as smarmy or manipulative as the role requires.

Buddy Reeder, the dance captain, stood out among the male dancers who were not always in sync. (The timing should improve with practice.)

“Shoeless Joe from Hannibal, Mo” and “Two Lost Souls” were well choreographed.

A wonderful backdrop of the old Cleveland Stadium and a portrait gallery of former Indians players was well received.

Costumer Dale DiBernardo hit a homer with his Indians’ uniforms. During the era of the show, the Tribe home uniforms were white pinstripes, had the numbers on the back with no names and the caps had an odd shaped “C” instead of the script “I” or Chief Yahoo head of the present day. DiBernardo got all that right! He even had the Larry Doby-like character in his famous number 14!

The musical sound was rather tinny. The two keyboards and percussionist didn’t produce the big brassy sound that the music required.

CAPSULE JUDGEMENT: ‘DAMN YANKEES’ is not a great script and it doesn’t have a great score. It is one of those 1950s “nice” shows. Carousel’s production, under the direction of Marc Robin, is not memorable, doesn’t hit a homer, but it doesn’t strike out either.

Brooklyn, The Musical

Audience pleasing BROOKLYN, THE MUSICAL

Combine a wonderful score, a terrific cast, creative staging, on-target musical direction and the result is the audience pleasing ‘BROOKLYN, THE MUSICAL,’ a production of the Playhouse Square in collaboration with the Baldwin-Wallace Conservatory of Music.

‘BROOKLYN, THE MUSCIAL,’ with its infectious pop and soul music, has the feel of a combination of ‘RENT,’ ‘HAIR,’ and ‘GODSPELL.’

The less than plausible story concerns a band of five ragtag soulful street-corner singers and storytellers, known as the City Weeds, who relate a sidewalk fairytale about a girl searching for the father she never knew. The quest goes on in spite of her having just one clue. She knows he lives in the city that bears her name, Brooklyn.

The play within the play, is about a Parisian singer who was orphaned when her depressed mother hangs herself over the despair of being abandoned by the man she loved. The girl is sent to a convent where she discovers her vocal talents, becomes a star, performs at Carnegie Hall, sets out in search of her father (who she discovers is a drug-addicted Vietnam War vet), and engages in a competition with a diva at Madison Square Garden. (I told you the story was improbable, but it’s a fairy tale, so we have to give it some latitude.)

With a book, lyrics, and music by Mark Schoenfeld and Barri McPherson, the show opened in October, 2004 in New York, where it ran for 284 performances. A 2006 national tour starred American Idol finalist Diana DeGarmo and Melba Moore.

In a coup for Victoria Bussert, the nationally acclaimed leader of BW’s musical theatre program, the college was granted the rights to put on the show’s first regional production.

The local staging has an advantage over both the New York and touring shows. Playhouse Square’s 14th Street Theatre is an intimate venue. The closeness of the audience to performers allows for an electric current to leap from the stage to the viewers and ignite strong emotional responses.

The PHS/BW production is excellent. This is a perfect script for Bussert, who is a master at staging the quirky, small cast, emotional laden production. Think of her mountings of ‘BAT BOY,’ ‘SONGS FOR A NEW WORLD’ and ‘NINE’ at Cain Park. This is also an excellent script choice for students, especially the quality of students that are in BW’s musical theatre program. The show is populated by characters of the right demographics….young, dynamic and searching.

There were numerous vocal show stoppers. Especially strong were “Once Upon a Time,” “Superlover,” “Raven,” and Love Me Where I Live.”

Since the show is double cast, I can only comment on the student performers I saw. That cast was generally on target.

Stephen DiBlasi who plays the narrator (StreetSinger), captured the stage each time he sang. He also displayed an excellent sense of comic timing. Malika Petty, was perfectly cast as the sassy, up-from-the ghetto, on to stardom, Paradice. This young lady can wail and “cop-attitude” with the best of them.

Though her characterization wavered at times, Cassie Okenka, sang the role of Brooklyn well. Mike Russo, who has a nice singing voice, was quite acceptable as Taylor, the father Brooklyn never knew. Beautiful Cathy Prince displayed a nice singing range and gave fidelity to the role of Faith, Brooklyn’s mother. The pit singers, Jillian Bumpas, Paige Shlosky and Kyle Szen added a special dimension to the show with both their singing and active physical involvement, even when not vocalizing.

Nancy Maier and her band were excellent, from the pre-show jam session to generally underscoring rather than drowning out the singers. This is a difficult task when playing rock songs in such a small space.

Janiece Kelley-Kiteley’s choreography, Jeff Herrmann’s set design which found the entire theatre being painted serving as a palate for graffiti and Charlotte Yetman’s thrift story costumes all enhanced the performance.

CAPSULE JUDGEMENT: It’s too bad that there are only eight performances of ‘BROOKLYN, THE MUSICAL.’ It is the kind of script and production, that could be successful in an open-ended run at the 14th Street Theatre. It’s the stuff from which cult followings are made.

All Hail Hurricane Gordo

'GORDO,’ fun--not the usual CPH fare

‘ALL HAIL HURRICANE GORDO,’ Carly Mensch’s comedy with a message, which is now on stage at The Cleveland Play House, is the kind of play that you might expect at Cleveland Public Theatre or The Bang and Clatter. It’s an off-the-wall script that needs an outlandish production and the right kind of audience to gain its bizarre level of full effect.

Not surprisingly, many of the patrons at the production I saw, seemed unmoved by the exceedingly good production they were observing. From the nerf ball basketball game that started before the play actually began, to one of the characters literally bouncing off the walls, dressed in a football helmet, knee pads and gym shorts, to the hopeful ending, audience members were either laughing hysterically or stoically sitting in silence.

The story concerns two adult brothers living on their own. As the story unfolds we find out that the duo were abandoned in a parking lot by a mother, who found herself overwhelmed by life. In order to make sure that Children’s Services does not separate them, the older brother Chaz, hides Gordo, his emotionally challenged brother, by returning the duo to their family home. Working enough to pay for basic necessities, selling off the family possessions, and living in squalor, the duo basically live as recluses. In an attempt to raise some money, Chaz decides to rent out a room. Along comes India, a teenager who has run away from her affluent family. Through her bizarre actions, she quickly brings the duo’s problems to the surface and helps bring about some semblance of resolution.

In Yiddish, the word mensch (the author’s last name) means a person of high integrity and compassion. The author imbues Chaz with those qualities. Yet, though one admires Chaz’s commitment to his brother, one can only wonder why he was willing to give up a promising tennis career and college scholarship to care-take the psychologically fragile Gordo.

The play abounds with questions. Is it possible to be your brother's keeper and have a life too? What is really behind Chaz’s obsessive letter writing? Why does Gordo have outbursts where he slams his head into the wall? Are his outbreaks an illness or a device to keep his brother bound to him?

Carly Mensch is a promising playwright. This script, which received rave reviews at the Humana Festival of New American Plays in Louisville, puts her in the class of Craig Wright (‘ORANGE FLOWER WATER’ which received an amazing staging at Akron’s Bang and Clatter earlier this year) and Neil LaBute, whose ‘THIS IS HOW IT GOES,’ is presently on stage at Cleveland’s newest theatre, Bang and Clatter.

Mensch has a wonderful way with words and visual images. In ‘GORDO,’ she weaves a play about family responsibility and dependency, with an uncomplicated format that evokes laughs about a subject which, on the surface, is not funny. However, if she had made this into a drama, it could have been emotionally overwhelming. Being able to laugh at the painful is often the best way to approach certain subjects. It’s the same device LaBute used in his enthralling ‘FAT PIG.’

The play encourages audience members to think about our responsibilities to our loved ones and how they may conflict with our responsibilities to ourselves.

The CPH production, under the adept direction of Sean Daniels, is excellent. The cast is uniformly fine. As Gordo, Patrick James Lynch is a perfect boy/man. He develops a character that carefully balances his being sympathetic, yet infuriating.

Matthew Dellapina, who has the physical air of the stereotypical nerd, capably makes Chaz a caretaker and enabler who has given his life for his brother.

Tracee Chimo nicely develops India, the potential housemate, into a spoiled teenager, who is both wise and unwise.

William McNulty’s Oscar, India’s father, clearly displays the frustration of being the father of a teenage girl.

CAPSULE JUDGMENT: ‘ALL HAIL HURRICANE GORDO’ is the kind of play that audience members will either love or question why they attended. I loved it. It was a departure from the usual Play House script and I appreciate their going out on a limb to expand their offerings. Maybe picking scripts like this will encourage a younger audience to attend.

Verb Ballet ("to hope")

‘VERB’ good, but needs to step up their game

I consider Verb Ballets to be one of the best dance companies in the area. I have watched in pleasant joy as the company matured. Unfortunately, in the last year, I’ve seen what I consider a stagnation setting in. They haven’t upped their game.

The females in the company are outstanding. They consistently are up to the task of interpreting the works of Artistic Director Hernando Cortez and guest choreographers.

Early this year Verb lost two of its male dancers. Neither has been replaced. This leaves the company with three male dancers. The very proficient Brian Murphy; Robert Wesner, who is a fine solo dancer but doesn’t always pull back and blend when he is dancing in corps, and Sydney Ignacio, who does excellent leaps, but does not fit in with Cortez’s disciplined style.

Yes, it is difficult to find strong male dancers, but if Verb is to continue to grow and not atrophy, it needs to find two or at least one very strong male dancer. The missing link was evident in their recent ‘to hope’ program at Fusion Fest ’08.

‘APPALACHIAN SPRING,’ is subtitled “Ballet for Martha” because of its strong ties to choreographer Martha Graham, who created the dance in 1944. Verb has performed this piece many times. In spite of strong performances by Murphy, Catherine Meredith and Katie Gnagy, this was the company’s weakest rendition of the Graham classic. Sydney Ignacia simply does not have the stage presence and power to portray the fanatic Revivalist whose followers quake at his every command and blindly follow his lead. In addition, The Followers often reverted to a pounding on the ground pattern, that evoked laughter from some of the audience. This is the not the intended purpose of that choreography.

In Cortez’s ‘TWO HOURS THAT SHOOK THE WORLD,’ another revival, Wesner did what he does best, shine as a soloist. Though Cortez contends that he did not set out to create a 9/11 tribute, the piece does have much of a disaster-centered theme. The chaos, panic and strong movements project an emotional core. Edward Hille’s video background helps create the mood, though watching a video of dancers paralleling the movements on stage could confuse some. Why not just accept that this is a 9/11 piece and have the video show the destructive holocaust of the fall of the Twin Towers. The ending seemed to catch the audience by surprise, not realizing that the piece was over they sat quietly sitting, waiting. Waiting for whatever.

‘THE YELLOW RIVER,’ in its world premiere, was an agreeable piece that used ballet movements to interpret Asian music (Jian Zhong-Wang’s “The Yellow River Concerto”) and the classical “The Mermaid Ballet Suite: Waterweed.” Though the dancers were not always in sync, the overall effect was generally positive. The piece allowed an opportunity for the company’s interns to perform. The lovely female costumes were designed by Suzy Campbell.

Capsule judgement: Verb's latest dance concert was good, but they need to step up and be great!

This Is How It Goes

Bang & Clatter: new venue opens with well produced play

The Bang and Clatter Theatre Company, which moved into its new home in Cleveland, chose to produce a Neil LaBute play as its premiere piece. LaBute and B&G have a lot in common. They are both entities that do not fade away from the “in your face” kind of theatre.

B&G, was founded by two modern day Don Quixotes…Sean Derry and Sean McConaha, who in 2005 “dreamed the impossible dream.” They started a theatre with $4000 in Akron! Sound like a sure highway ride to road kill? In spite of the odds, the unconventional dynamic duo envisioned a venue for the production of “innovative, challenging works of exceptional quality and imagination with a particular emphasis on modern American plays never have been seen in Ohio.” And, have they succeeded! The plays have generally been impressive, gaining many critical bravos. (Including almost a dozen Times Tribute Outstanding Theatre Awards last year alone.)

The many Cuyahoga County residents, along with a few Akronites, who have trekked out to the Rubber City to attend B&G shows is impressive. Last year their production season operated on about a quarter of a million dollars. They sold over 500 season tickets and charge only $15 per ticket. And, if you can’t afford that, you pay what you can.

Their new Cleveland home is the old Cole’s Shoe Store, next to the vacant May Company Building on Euclid. MRN Ltd, the developers of the East 4th Street walking street, downtown’s new entertainment mecca, with such restaurants as Lola’s and Saigon and entertainment venues, including The House of Blues and Pickwick and Frolic, had such faith in the Seans, that they have given them the space rent-free for five years. Real estate developer Cliff Hershman, the George Gund Foundation and the City of Cleveland also are strongly backing the project.

Their opening show, ‘THIS IS HOW IT GOES,’ is a typical B&G script selection.
The Sean’s, who are fans of LaBute, produced an amazing production of ‘FAT PIG’ last season.

LaBute is noted for his realistic language, edgy topics and unsettling portrayals of human relationships. It is impossible to be an impassive viewer of his plays. He sweeps you in, often with his vivid language, his clear character developments, with his blatant use of words (the “N” word has great prominence in this script), and always with his subject matter.

‘THIS IS HOW IT GOES,’ on the surface, is a play about a love triangle between a white male and an interracial couple. The seed for the plot evolved from a damning letter LaBute received after directing the film, ‘NURSE BETTY,’ in which there is a kiss between a white woman and a black man. Yes, racial hated is alive and well in this country, in spite of all the strides that have been made to eradicate it.

The play confronts race, morality, and American ethos through the use of humor, drama, intrigue, and a clever plot twist. Using the theatrical device of alienation, in which the audience is constantly made aware they are in a theatre, LaBute includes multi-locations with all set changes being made in clear view, and a narrator who not only guides the journey but steps into the action, playing one of the lead characters. He does this because, as he states, “Theater only needs someone to stand up and say: ‘Listen to this.’”

The play is set in a small Midwestern town. Cody, who is African American, was once the star of the high school track team. He has become a successful businessman. His white wife Belinda, a former cheerleader, stays at home with the baby. When a high school acquaintance returns to town and rents the room over their garage, he upsets the delicate balance of their relationship, raising questions about who they want to be, who they are, and what made them that way.

From the audience’s standpoint, the question becomes, “Which of the tales we are watching is real, truthful, authentic?” Who is fooling who? Is it only the characters who are playing with each other, or is LaBute playing with us, the viewers?

B&B’s production, under the adept direction of Fred Sternfeld, is on track. Though a long sit at a little over two hours with no intermission, the pacing is appropriate and there is little time for the mind to wander.

The cast is excellent. Doug Kulak, who has a wonderful way of playing with words and the mobile face to amaze and amuse, is tremendous as Man, the high school acquaintance. The role was played by Ben Stiller in the New York production, and it is difficult to believe that he was any better than Kusak.

Michael May, who was outstanding in Dobama’s production of ‘TAKE ME OUT,’ again hits a homer as Cody, a man driven by early-life demons.

Leighann Niles DeLorenzo, though she sometimes seems to lose concentration, is believable as Belinda.

Rachel Zake moves the set pieces and highlights Cody’s insecurities as the Waitress.

Capsule judgment: Walking into the Cole Shoe Store, where I had my very first job as a high schooler, and seeing it transformed into an attractive and functioning theatre space, was a surreal experience. Seeing a quality production of the show by the B&G family was not surreal. Clevelanders should open their arms and pocketbooks wide to welcome Bang and Clatter to the area. Good luck Seans!!!!!

In the Continuum

‘IN THE CONTINUUM’ emotionally moves and educates audience at CPT

‘IN THE CONTIUUM’ the two-woman play which is now being staged at Cleveland Public Theatre, began as a graduate school acting project.

When Danai Gurira and Nikkole Salter were students in New York University's graduate program, they discovered that each was working on a play about AIDS and its effect on black women. Gurira set her story in her home country of Zimbabwe. Salter’s script was set in her native Los Angeles. The two decided to combine their two scripts into one. Obviously, the idea was good as the resulting work, ‘IN THE CONTINUUM,’ went on to be named one of the ten best plays of the year.

The play centers on Abigail and Nia, the play's protagonists, who appear to have nothing in common other than being black and pregnant. Abigail is a newscaster in Zimbabwe, married to an accountant and pregnant with their second child. Nia is an outspoken unmarried pregnant teenager living in LA. Interestingly, when Abigail speaks of her dreams she sounds more American than African. Nia, in her unschooled ways, sounds more like a resident of a Third World country. Then we find out that Abigail's husband cheats on her, and Nia has no hope of marrying the father of her child, a highly recruited high school basketball player. And they both have HIV, given to them by their philandering sex partners.

The script, which is not preachy, is mesmerizing. Though the concept sounds depressing, it isn’t. The play is creatively developed, often filled with laughs, and makes it points without lecturing.

It was interesting sitting in an audience on opening night that was composed of many African Americans. As is the oral tradition of many American blacks, based on the oral tradition of church preachers and political speakers, there was much talk back to the cast. Agreement as to the statements being made and disagreement with some of the decisions the characters make were accented by audience vocal reactions. It made the experience encompassing and added to the realism of the authors’ words.

The CPT production, under the wise direction of Tony Sias, is well paced, of high intensity, and filled with the proper humor. Kimberly Brown as Nia and Bianca Sams as Abigail are excellent. Their talent goes beyond playing the two women, as each also portrays numerous other characters. They are believable throughout.

Capsule judgement: ‘IN THE CONTINUUM’ is an excellent script, that receives a stellar performance at Cleveland Public Theatre. This is a play that says much about world conditions and the international AIDS crisis, in a real and compelling way. It is a must see!

All's Well That Ends Well

‘Alls’ not well at Great Lakes Theatre Festival

‘ALLS WELL THAT END’S WELL,’ which is now in production at the
Great Lakes Theatre Festival, is one of Shakespeare’s lesser known plays. Besides its lack of compelling plot, the script has a reputation for being an “unlucky play.” In one of its first productions, the actor playing the female lead fainted and had to be replaced, mid-show. Then the actor playing the king fainted and subsequently died. Other productions have also met with strange happenings.

As far as I know, GLTF's production hasn’t met with any tragedies, but the staging isn’t exactly filled with life and vim. In fact, it is plodding, uninspired and generally flat.

‘ALL'S WELL THAT ENDS WELL,’ is classified as a comedy, though it is probably a Bard problem play….neither tragedy nor comedy. It is also one of Shakespeare’s least produced plays. It simply does not have the power of such work’s as ‘HAMLET, and ‘MACBETH’ nor the delight of ‘MIDSUMMER NIGHT’S DREAM.’

The story concerns Helena, the orphan daughter of a famous physician, who is the ward of the Countess of Rousillon. She is hopelessly in love with Count Bertram, the Countess’ son. When the handsome and charismatic Bertram is sent to the court of the King of France, Helena is crestfallen. Despite her beauty and goodness, Helena has no hope of attracting him since she is of low birth and he is a nobleman. However, when word comes that the King is ill, she goes to Paris and, using her father's medicines, she cures the malady. In return, she is given the hand of any man in the realm. Of course, she chooses Bertram. Her new husband is appalled at the match, and after their unconsummated marriage flees France. And, as the convoluted plot develops, we know in advance that everything will be all right, as all’s well that ends well.

‘ALL’S WELL,’ which is directed by GLTF’s artistic director Charles Fee, is a disappointment. Fee, who is noted for his over the top attitude when it comes to overblown farce, fails to turn on the jets in this production. The farce isn’t farcical, the comedy isn’t comedic, the drama isn’t dramatic. The one saving grace is that the languid pace does allow the audience to clearly hear each word.

The cast is generally weak. Markus Potter doesn’t seem to have the dramatic chops for bringing life to Bertram who is supposed to be charismatic, imbued with leadership talents and is a dominating physical figure. None of these characteristics were present in Potter’s performance.

Sara Brunner has some good moments as Helena, but is several steps away from developing a special young woman who inspires our desires for her to succeed in her quest. Much of the performance was on the surface.

Though amusing, David Anthony Smith, who I must admit is one of my favorite GLTF players, didn’t have fun with Parolles, the over-exaggerating liar and buffoon. The same with Jeffrey Hawkins, who has become the company’s “player of clowns.” He threw away lines that should have been funny and feigned prat falls.

Countess Rossillion, is one of the few good roles for an older actress in the Shakespeare canon. Modern productions have starred the likes of Judi Dench and Peggy Ashcroft. Laura Perrotta is perfectly acceptable in the role, but captivating, she isn’t.

The one bright shining performance is that of Aled Davies, as the King. He is character right!

And then there is the set. Gage Williams’ has loaded the smallish stage with a massive fortress that pushes the action so forward that the actors have limited space to move. The large pillars so dominate that those of sitting on the sides of the theatre cant see much of the action mid to rear center stage. Then there is the large box that pops up at various times from the stage floor for no apparent reason other than to shout, “special effect.” What was Williams’ thinking?

CAPSULE JUDGEMENT: It is fairly common for GLTF’s opening night audiences to jump to their feet at the final curtain, yelling “bravos.” During the curtain call of ‘ALL’S WELL THAT ENDS WELL,’ there was polite applause, no standing ovation and people left the theatre talking about the rainy weather and yet another loss by the Indians, who had just finished their game at Progressive Field. Those actions sum up the production. Want a great theatre experience ? See GLTF’s mesmerizing THE CRUCIBLE!

Inlet Dance 4/08

INLET DANCE continues to impress and adds yet another mission

Inlet Dance Theatre, which recently performed as part of Cleveland Public Theatre’s DanceWorks program, is noted for their dedication to personal and regional growth and outreach. As announced by Bill Wade, the group’s Artistic Director during a concert interlude, the company added “global” to their mission. Their global outreach was clearly in evidence at the CPT program.

The dance concert consisted of six movement segments and a mini-lecture about Easter Island.
The first dance, ‘TIDES AND SOLITUDE,’ was choreographer Sally Wallace’s vision of the solitude, peace and harmony that takes place when breaking the traditional mold allows for the creation of joy. Using long poles and dressed in gauze costumes that took on the air of sails, the dancers catalapulted across the stage to Brian Eno and Robert Fripp’s flowing music. There was a soothing quality to the entire blend of sound and movements which was artistically performed by the corps.

‘OFFAXIS,’ in its premiere, was strongly danced by Joshua Brown, who collaborated with Wade on the choreography. Costumed in plumage, Brown broke outside the traditional box by allowing himself to not only look different, but move in creative and challenging ways.

‘AGE OF ISOLATION,’ a cleverly conceived Inlet premiere, danced to the atonal music of Philip Glass, found the cast starting a traditional dance sequence. But, soon, the performers found a computer, cell phones, ipods and electronic games pulling at their attention. Finally, each become so isolated in his or her own technological world, that the dance itself became non-existent. This was a definite audience pleaser.

‘DANCES FROM RAPA NUI’ were a series of Rapa Nui dances. Rapa Nui is the the native name for what westerners call Easter Island. The performers, dressed in traditional Island clothing and emblazoned with tribal makeup, used traditional native music to give the audience a glimpse of the island’s culture.

This segment was developed as part of an international artist exchange in which the Inlet dancers were taught Rapa Nui movements by Easter Island residents Akahanga Rapu Tudi and Joanna Pako. The next phase of the outreach will take place later this month when eight company members travel to Easter Island for a two-week residency where they will not only learn more about the Rapa Nui culture, but expose the residents to their first dose of modern dance.

‘DREAM OF SLEEPING,’ which was based on research provided by the National Sleep Foundation, was mostly danced with closed eyes. It found the dancers gyrating on the floor as they attempted to fall asleep, then sleep and then react to their restlessness, dreams and nightmares. Though a little long, it was another creative piece by Wade set to the music of former Clevelander, Ryan Lott.

The program ended with “OUT OF NOWHERE,’ performed to singer Ada Sari’s operatic solos, as well as segments of spoken words and some hip-hop. The lighthearted piece, centered, as most of the evening did, on how culture influences each of us. Choreographed by Stephen Wynne, the dance asks, “Are relationships and values always determined to change?”

Capsule judgement: Bill Wade and his Inlet Dance Theatre are a unique company. They go outside the box looking beyond traditional roles of performers and use the medium to teach and enlighten. Their DanceWorks program was yet another well performed, creatively conceived and entertaining evening of dance.

Golda's Balcony

Dorothy Silver is mesmerizing on ‘GOLDA’S BALCONY’ at ACTORS’ SUMMIT

Dorothy Silver is the first lady of Cleveland theatre. Golda Meir was the first lady of Israeli politics. The two grand dames are gloriously coming together on the Actors’ Summit stage in ‘GOLDA’S BALCONY.’

‘GOLDA'S BALCONY,’ the one-woman show which was written by William Gibson, ran for play 493 performances on Broadway.

It is an album of a seemingly fearless woman who was Israel’s first female Prime Minister. She was in office when Egyptian troops stormed across the Suez Canal and Syria’s army drove down from the Golan Heights into Israel on Yom Kipper Day, October 6, 1973. The action overwhelmed the Israeli army. Much of the success of the Israelis during that conflict is credited to the almost superhuman efforts of Meir. Her perseverance saved the Israelis from being “driven into the sea.”

From the play’s first line, “I am at the end of my stories,” until the last line when she actually is at the end of her stories, we are immersed in Zionist history and Meir’s personal life and observations. We experience a failed marriage because of her need to be a leader rather than a wife and mother. We observe her struggles and frustrations with the Israeli generals. We want to get up, grab the phone out of her hand and plead with Henry Kissinger, the US Secretary of State, and then-President Richard Nixon, to send help to Israel. Send help or be responsible for the destruction of the country.

Not all is serious. Meir’s sense of humor and ability to laugh at herself lighten up the tale. When Kissinger tells her that he is “first an American, second, the Secretary of State, and third, Jewish,” Meir responds, “That’s fine. We [the Israelis] read from right to left.”

Several years ago Valerie Harper came to Cleveland in a tour production of the play to portray Golda. I commented that Ms. Harper lacked the “tam” (the rich taste, the touch, the soul) of Meir. She acted the role, she didn’t experience the person. This is absolutely not the case with Dorothy Silver.


Silver is mesmerizing. She does not imitate Meir. There is no prosthetic nose, no cigarette smoking, no attempt to recreate Meir’s manly voice. Silver takes the words, makes them her own, and gives a clear picture of the “grandma” of Israel, with all her foibles. And, she does it all masterfully. Her Golda is always focused and riveting--a characterization totally complete.

The use of real pictures of Meir and the people and places that populate her life have been painstakingly culled by co-director A. Neil Thackaberry. The production was supposed to be directed by Reuben Silver, Dorothy’s talented husband. When Reuben became ill, he and Thackaberry become joint directors. Reuben worked with Dorothy at home, Neil with her at the theatre. The outcome is totally satisfying.

CAPSULE JUDGEMENT: ‘GOLDA’S BALCONY’ is an absolutely must see production. The show has no intermission and is 95 minutes. Plan to stay for the fascinating talk back with Silver and Thackaberry following each performance.

The Crucible

‘CRUCIBLE’ disturbs, illuminates and impresses at Great Lakes Theater Festival

A number of years ago, the faculty of the college at which I was teaching, decided to do a sit-in due to what we perceived to be an improper “witch hunt” aimed at the faculty leadership. I decided to spend my class time reading aloud from ‘THE CRUCIBLE’, a play now being produced by the Great Lakes Theatre Festival. I did so because I thought it was a perfect lesson for young minds to hear the brilliant words of Arthur Miller regarding misguided attempts to manipulate and control people.

Miller, one of America’s greatest modern playwrights, used the theatrical concept of historification as his writing device for ‘THE CRUCIBLE.’ The technique is to write a play based on true or near true actions of a different era to represent a present day set of circumstances.

Miller’s script was penned in 1953 as a protest against Joseph McCarthy’s witch-hunt for Communists in the government and entertainment industry during the early 1950s. The country was in hysteria for fear of Russia and its emergence as a major power. McCarthy fed on that hysteria, much like the religious fanatics of Massachusetts colony set upon so-called witches because of the hard times facing the people of the late 17th century. Miller was questioned by the House of Representatives’ Committee on Un-American Activities and held strong feelings against the witch hunting being done and how it had ruined many lives.

The play is relevant today as the Bush administration, using the hysteria of 9-11, has conducted witch hunts and taken away citizen civil rights. Much of this was based on a parallel to the play’s line, “You are either with us or against us.” You are a “good American” as defined by this administration, or you are a traitor.

The play also reflects attitudes of the present day religious right, who, much like the Salem religious fanatics, hunt out those not agreeing with their interpretation of what is “right and wrong.” They attack homosexuals, those who believe in abortion, and those who champion stem cell research, for “poisoning” the “good” folk.

The story concerns an accusation against Goode Proctor by a teenaged girl who, after having a sexual affair with Proctor’s husband, John, accuses Goode Proctor and others of being witches. The chief magistrate, much like Joseph McCarthy, closes his eyes to facts and is swayed by his own agenda. In the process, the question of one’s reputation comes center stage. Proctor cries out, after refusing to sign a document in which he would falsely agree that he has seen the devil, “Because it is my name. Because I cannot have another in my life.”

Great Lakes Theatre Festival director Drew Barr not only understands the underbelly of the play, but has the ability to develop the script’s emotional and logical meaning.

From Narelle Sissons’ stark and disturbing bare plank-wood set, to Rick Martin’s overly bright lighting, to Fitz Patton’s sometimes unnerving music, the entire production screams, “extreme!” I was uncomfortable from the start of the play. In this case, uncomfortable is positive. It made me aware of each of the emotionally tearing lines and each underscore of man’s inhumanity to his fellow man.

Andrew May is excellent as John Procter. His last set of speeches, the emotional fulcrum of the play, were stirring. He was, in fact, a man caught between his need to be a good father and husband, and live a life of purpose and self-respect. We saw his self-respect soar, as his resolve came forth.

Aled Davies, as the Deputy Governor, was scary in his reflection of what could well-be some of the present day Supreme Court judges, closed to all but narrow views of what it means to be just.

Jeffrey Hawkins transitioned well as the strongly opinionated John Hale, the reverend who eventually sees the light and realizes the harm caused by being stiff-necked.

As was needed, I hated Abigail Williams, the master manipulator, as portrayed be Sara Bruner. David Anthony Smith was also appropriately obnoxious as the self-centered Reverend Parris.

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

Pride and Prejudice

Charming ‘PRIDE AND PREJUDICE’ at Play House

An interesting side-bit about Jane Austen, the author of the book which has been interpreted into a play, which is presently in production at The Cleveland Play House, is that her tombstone does not include any information about her being a playwright. In fact, her books didn’t even include her name as the writer. They are credited to someone named, “The Author.” But, in spite of those slights, Austin was undoubted the greatest woman author of the early 1800s. And her ‘PRIDE AND PREJUICE,’ first published in 1813, is considered to have been one of the first “romantic comedies” in the history of the modern novel.

Austin’s books and plays may seem like soap-operas by present day standards, but put in context, she mirrored the society about which she was writing. This was a period of pretense, class distinctions and proper marriages.

The book starts with the line, "It is truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife." It is this want that pushes forth the script’s plot, a plot which centers on independent-minded Elizabeth Bennet and the efforts made by her mother to find husbands for Elizabeth and her sisters. When Elizabeth meets the handsome but enigmatic Mr. Darcy, the play becomes a contest between strong wills, pride and prejudices.

The Cleveland Play House production, under the wise and purposeful direction of Peter Amster is plush, focused and charming. In spite of its length, three acts and two intermissions, the movement flows effectively.

Amster develops a mood that is era correct. He is aided by Robert Koharchik, who has created an absolutely gorgeous and functional set and Gail Brassard’s equally glorious costumes. CPH has let loose the budget on this production and it shows!

Americans often have trouble creating the right sound and feel for British drama and comedy. No problem here. Dialect coach Don Wadsworth has the cast using the right accents, with sounds that are easy to understand and are consistent. Andre Hopson’s musical interludes and underscores highlight the moods and transition the set changes.

The cast is wonderful. The petite, lovely and perky Chaon Cross makes Elizabeth live. Though he seems a bit disengaged at first, handsome Jason Bradley grows into the role of Darcy so that at the end, he is totally on target. Bill McGough, is a delight in his underplaying Mr. Bennet, Elizabeth’s father.

Judith Day, as Mrs. Bennet, has the difficult task of playing a role that demands to be over-the-top, serve as comedy central, and yet not look like she is begging for laughs. She does the balancing act effectively.

The rest of the cast is up to the demands of clearly written characters and each makes their character distinct.

CAPSULE JUDGMENT: If you are a fan of British escapist literature, you can do no better than seeing the CPH’s fine production of ‘PRIDE AND PREJUDICE.” Applause, applause to Peter Amster, his fine cast and technical crew.

Groundworks (Danceworks Festival 2008)

GROUNDWORKS sparkles at Danceworks Festival

Groundworks Dance Theater, which is presently performing as part of Cleveland Public Theatre’s Danceworks Festival, is David Shimotakahara’s sparkling modern dance company. It is about to enter its tenth year of existence. It looks like it will be a year of excitement and possible change for the company.

Next spring they will be performing in New York, allowing the Big Apple folk to find out what North Coasters have known for a long time….this is a very special and talented company with a talented and special Artistic Director.

There are questions, however. Company member Mark Otloski, who is presently injured, will fade permanently from the dance floor and spend full time on the company’s outreach program. That leaves only Shimotakahara and Damien Highfield as the ensemble’s male dancers. As good as they both are, they are of the age when it starts to get difficult to continue the hectic and physical pace required by modern dance. For example, both of them performed in three pieces in the present program. That would be a challenge for twenty year-olds.

So, the question must be raised, “Wither goest thou Groundworks?” New company members? Cutting down on the length and number of productions? A change in company philosophy? Only the next year will tell.

Their present program consisted of four highly entertaining pieces. ‘FOR THE LIFE OF ME,’ a world premiere choreographed by Artistic Associate Amy Miller, combined six pieces of music which had no apparent theme and used a blend of contemporary bumps, lifts, flowing arms, and fast moves to create a cheerful collage. Maybe with a view of self-revelation, the choreographer used Amy Borkowsky’s comedy routine parody, “Where’s Amila?,” based on her mother’s over-possessiveness, as the highlight segment.

‘SWEET,’ a Cleveland premiere choreographed by Shimotakahara, used Gospel music as the center for sensual exploration. Felise Bagley and Damien Highfield skillfully intertwined bodies and melded together to create a wonderfully danced and interpreted number.

‘SEVERAL TRUTHS DUET, choreographed by Gina Gibney, who has done a number of creations for Groundworks, used pansonic and micizoscopic music to create a powerful piece which displayed unusual lifts, static interactions and compelling leaps and turns. Miller and Shimotakahara, two movement perfectionists, interpreted the concept with skill. Ironically, just before the dance came to its climax, a dark piece of gel floated out of a light above the stage and gently floated down in perfect time to the music. It was a wonderful addition to the composition. Too bad that accident of theatricality can’t be added on a regular basis.

The program ended with one of my favorites, ‘LATITUDE.’ Developed to the music of Hal Walker, who plays a series of instruments in his live accompaniment, the piece takes on different attitudes according to Walker’s musical instrument and style. County music, twanging sounds, hand slapping, Eastern European folk songs, clinking balls and mouth organ reverberations, all were interpreted into appropriate movements which examined people in transition and the soul’s search for a place and the need for connection.

Capsule judgement: Groundworks is a gem of a company. If you haven’t seen them in performance you should! Yes, you definitely should!

The Color Purple

‘THE COLOR PURPLE’ slightly off hue at The Palace

When ‘THE COLOR PURPLE,’ which is now being presented at The Palace Theatre in Playhouse Square, opened on Broadway, it was greeted with mixed reviews. Comments included ‘the first act was quite good, but the second act slowly subsides into a mess of molasses,” “it is often moving,” and, “The disheartening lack of quality in the material dilutes the quality of feeling and makes the meanings behind it look questionable as well."

In spite of the less than stellar evaluations, the show, which opened in 2005 ran until 2008, clocking up a respectable 910 performances.Playhouse Square Center,

How did this happen? Two strong concepts seemed to push the box office. First was that one of the show’s producers was Oprah Winfrey who continued to plug the show on her syndicated show. The second was the positive vibe of the 1986 Steven Spielberg film that earned eleven Oscar nomination for the adaptation of Alice Walker’s novel.

Set in Georgia, the family saga spans the era from 1910 to the 1940s. It relates the story of a Black woman who, through sheer will, carves out her unique place in the world. The victim of incest and spousal abuse, the put-upon Celie stumbles upon role models who expose her to other ways to live and help convince the shy and appeasing woman to take a stand, and blossom into a self-confident person.

The music and lyrics, written by Brenda Russell, Allee Willis and Stephen Bray, are not memorable. In contrast to many Broadway shows, none of the songs has become well known. That doesn’t mean the score is bad, it just doesn’t have any outstanding numbers. You will not go out whistling or humming any of the tunes.

The touring company does an acceptable job of working with the script. However, the pacing was lackadaisical. Since the production has been on the road for a while, the cast may have just gotten into a groove and is operating on automatic pilot or maybe they just hadn’t adjusted to the scourge of touring shows, rushing from one city to another with no time to settle in.

The general topic of conversation at intermission was the difficulty people were having hearing and understanding the spoken and sung words. As happened with the recently closed ‘WICKED,’ the sound system simply was not well tuned. There were buzzes, sometimes performers spoke and their microphones weren’t on, and the general balance levels were poor. There were also some problem in the timing of the lighting effects.

Though the choreography often lacked creativity, there were several staging highlights, including “Hell No!,” which examines the roles of husbands and wives; “Push Da Button,” and “Any Little Thing.”

The cast was generally good. Jeannette Bayardelle, who portrayed Celie, has a strong voice. Her “I’m Here” was the show’s musical highlight. Through vacant looking eyes, she well developed the put-upon young lady. Her physical transformation into a confident woman later in the show was masterfully done.

The audience favorite was Felicia Fields as the take-no-prisoners, outspoken, domineering Sofia. The Church Ladies, who often over-acted, brought gales of laughter. Shaker Heights native Rufus Bonds, Jr., was appropriately obnoxious as Mister, Celie’s despicable husband.

It was interesting to observe the differences between the African American and Euro American audience members. Used to the answer-back style of oratory, in which audience members shout out agreement with a speaker or preacher, many of the Black members of the audience responded verbally to the play’s lines and reacted to the treatment of various characters. In contrast, white audience members often seemed startled by the audience participation and some even attempted to “shush” those who were verbally reacting.

CAPSULE JUDGEMENT: Don’t go to ‘THE COLOR PURPLE’ expecting to experience a classic musical theatre production. This is definitely not ‘WEST SIDE STORY,’ ‘CHORUS LINE,’ or even ‘WICKED.’ But, go to experience a culture-specific story, somewhat adequately developed and performed.

Not Exactly DanceWorks

‘NOT EXACTLY DANCEWORKS’ delights audience

‘NOT EXACTLY DANCEWORKS,’ which recently completed its run as part of Cleveland Public Theatres’ ‘DANCEWORKS’ program, was not your typical dance concert. No tights, tutus, high lifts, classical music or choreographed movements here. Instead, knives, lighted juggling balls, fire, devil sticks, hats, a whip and jokes prevailed.

Yes, it was definitely, not exactly, danceworks! It was, instead a tribute, a tribute to Zoe Schultz. Schultz, who recently died of cancer, was the guiding force behind SAFMOD, a performance group which combined many forms of movement into creative concerts.

SAFMOD was supposed to be part of Cleveland Public Theatre’s ‘DANCEWORKS’ series. To cancel the troupe’s performance was not an option according to its members, so Aaron Bonk and Sora Sol stepped forward. Bonk is a premier juggler/stiltist/fire dancer/guitarist/singer/comedian. Sol’s specialty is trapeze and aerial silk/fabric/tissue performance (think Cirque d’Soleil).

The duo totally entertained the enthusiastic audience who were eager vocal and physical participants in Bon’s antics which included bull-whipping the head off a rose being held in the teeth of the theatre’s policeman, making choreographed audible sounds as Bon juggled all sorts of objects, and being foils for his jokes. Sol’s outstanding aerial feats were also well received.

Capsule judgement: Thanks to Aaron Bonk and Sora Sol for making sure that the legacy of Zoe Schultz was not let down. She may not have been there physically, but her presence and spirit were definitely in the house for “NOT EXACTLY DANCEWORKS.’

The Fantasticks

‘THE FANTASTICKS’ pleases at Ensemble, but is that its total purpose?

‘THE FANTASTICKS,’ which is now being staged at Ensemble Theatre, has the honor of being the longest running show in musical theatre history. It opened off-Broadway in 1960 and ran until 2002, 17,162 performances. Not bad for a show that opened to generally blah reviews. Its investors received a 19,465% return on their original $16,500 investment.

Written by Harvey Schmidt and Tom Jones, the show features such classics as "Try to Remember," “They Were You,” and "Soon It's Gonna Rain."

The show is normally observed as a coming-of-age story featuring a starry-eyed teen female (Luisa) whose view of life has been honed by reading romance and swashbuckling novels and her equally naïve but self-proclaimed “worldly” boyfriend (Matt) who believes his college experiences have taught him all there is to know. Throw in two matchmaking fathers who scheme to get their children together, a suave rogue (El Gallo), a has-been Shakespearean actor and his “Indian” sidekick, a mute who plays a wall, and a prop person, and the play appears to be a slight bit of fluff, whose purpose is solely to delight audiences. Well, ‘taint so!

Yes, the first act is fluff…delightful fluff. And, in the Ensemble production, that segment, under the adept direction of Pierre-Jacques Brault, is delightful. Brault leaves out no shtick in order to please the audience.

The second act, however, is a totally different matter. As reality of love and life set in, the girl’s fantasies are challenged. The disillusioned boy goes out to find the “real” world. The fathers argue. The question arises: as we each go round and round in the world, what is reality? Can we cover our eyes and escape from the truth of life simply by putting on a mask?

It is in the second act that the Ensemble production stumbles. When El Gallo, the mature worldly-wise swashbuckler, assumes the role of mentor and takes Luisa out of her walled-in world to see the real world, with all its faults, we need to truly gain an understanding of Schmidt and Jones’s existential message. The effect of the show basically centers on the staging and musical interpretation of the song “Round and Round.” We must see Matt, who has gone on his adventure, stumble and fall and come to a realization of life as it really is. We must share with Luisa her angst of not being totally able to put on her mask to hide the realities of existence….wars, famine, torture, cruelty.

In this production, the staging of “Round and Round” is one dimensional. Matt hangs as the Christ figure on the cross, never acting out the illusions of the song. The vocal and visual interpretation fail to stress the meaning of the words. The music fails to build to climax, thus avoiding the heightening of the needed tension. We never see Luisa gain awareness.

As the young lovers, Paul Rawlings (Matt) and Emma Ruck (Luisa) are basically charming. Rawlings often swallows the endings of words when he sings in the lower registers and Ruck sometimes gets a little shrill, but, in general, they both do a nice job. (BTW…at one point in the show’s long run off-Broadway, local actor and BW graduate Rex Nockingust played Matt.)

Mark Cipra (the boy’s father) acts well, but his voice is a shallow. Dan Call has strong vocal qualities, but sometimes forgets that he needs to blend, not dominate in duets.

The star of the show is George Roth as the Old Actor. He glows, dominating the stage in every entrance. His performance is luminous. He is ably supported by Dustin Jesberger as the non-Indian Indian who specializes in dying. Jon Gellott does everything he needs to do as the Mute.

Unfortunately, though he tries hard, Joe Monaghan is miscast as El Gallo. He needs to be suave, sensual and have worldly maturity. Monaghan just doesn’t control the stage as, for example, Jerry Orbach did in the original production. He also doesn’t have the vocal chops to belt out “Round and Round” and to create emotional illusions in “Try to Remember.”

I understand that Brault’s original concept for the show was to cast two males in the leading romantic roles. The idea was, I’ve been told, vetoed. Too bad, it would have been appropriate to the theme of the play, to see their “real” world through the eyes of gay lovers.

CAPSULE JUDGEMENT: Ensemble’s ‘THE FANTASTICKS’ should delight most audience members. However, if they are interested in gaining the message of the Schmidt and Jones musical, they won’t get it from this production.

The History Boys

‘HISTORY BOYS’ gets an A at Beck

Snow wiped out the first two performances of ‘THE HISTORY BOYS’ at Beck Center, but when the curtain finally went up for Alan Bennett’s six-time Tony Award winning play, the audience quickly knew that it was worth slogging through the snow.

As one British reviewer stated about the play in its initial performance, “If I had to single out the season's most intelligent, exhilarating evening of theater, Alan Bennett's idea and humor rich play would win hands down.” I tend to agree with him.

The setting, a grammar school in England during the 1980s. Grammar schools in Britain are the equivalent of U.S. public high schools. The students, like American seniors are concerned about getting into a prestigious university. The question arises, at what cost?

The story follows a group of male students who are being prepared for their Oxford entrance exams by three teachers, each with contrasting styles. Irwin, a young hotshot, teaches the essay style of generalities flavored with some facts and quotes. He basically believes the truth is irrelevant. It parallels the way the author, himself, learned to prepare. Hector, a senior member of the faculty, teaches knowledge with a bent toward English Literature with an eye on on a well-rounded education. Exams are the enemy of all that he stands for. Mrs. Lintott has taught the boys the basics of history and is unconcerned about the approach of their writing, only that they know history.

The play blends both comedy and tragedy, with multiple layers and themes, including the subtleties of growing up, the purposes of education, teaching philosophies, homosexuality, and the English education system.

The play opened in London in 2004 in a limited engagement and played to sold out audiences. It reopened in 2005, again to packed houses. It came to Broadway in 2006 and swept the Tony Awards. The script was transformed into a movie which featured the original stage cast.

Just as American scripts are often hard for the English to produce, British material is difficult for American actors and directors. Not only are the accents daunting, but the tone and pacing of the material is often hard to develop.

Director Sarah May grasps the underbelly of the play and has worked with the actors to develop clear and consistent characters. Whether they are speaking, being “other” students in the classroom, or interacting with each other, the boys uniformly develop individual personalities. The pacing is appropriate, the conflicts well pitched, the humor nicely developed.

Dana Hart (Hector) and Dan Folino (Irwin) are excellent as the teachers with conflicting views of the world of education. As with the students, they develop clear and consistent characterizations. Dede Klein (Mrs. Lintott) is excellent as the fulcrum between the opposing forces of her fellow faculty members. Michael Regnier perfectly portrays Felix Armstrong, as the up-tight Headmaster.

All of the students deserve hurrahs. Matthew Martin Thomas is impressive as Posner, who is undersized, Jewish and gay and in search of self-identity. Stuart Hoffman (Rudge) continually looks like he is appropriately in a state of confusion as the “dumb” jock. Adam Day Howard effectively develops Scripps, the pianist and religious moralist. Eric Fancher is totally believable as Dakin, the charismatic, sexual mastermind of the group, who uses his powers to overwhelm his classmates, the young female school secretary, as well as the occasional teacher.

There is an excellent attention to detail in the production that is reflected not only in the performances but in Trad A. Burns’ set and lighting.

CAPSULE JUDGEMENT: Beck’s ‘THE HISTORY BOYS’ is one of those productions that must be seen. Do so before it becomes history on March 30.

Doubt: A Parable

Compelling ‘DOUBT’ is at Cleveland Play House

John Patrick Shanley’s ‘DOUBT: A PARABLE,’ now in production at the Cleveland Play House, won the 2005 Pulitzer Prize for Drama and the Tony for Best Drama, as well as the New York Drama Critics' Circle Award for Best Play of the season.

There is much anticipation concerning the movie version, starring Meryl Streep and Philip Seymour Hoffman, which is presently in production.

Not only is the script well crafted, with the right direction and casting, the results can be compelling theatre. Fortunately for Play House patrons, Seth Gordon, who directed the show, proves once again he is a master at his craft. The show is well-paced and hits all the emotional chords. Both the laughs and the dramatic tensions are highlighted. This is professional theatre as its best!

On Broadway, all four members of the cast were nominated for Tony Awards. I saw the show shortly after it premiered and that ensemble had nothing on the CPH group.

The 90-minute play runs without intermission. This is a wise choice, because any break in the constantly building tension would ruin the over-all effect.

The story is housed in a Catholic elementary school presided over by Sister Aloysius, a traditional no-nonsense nun who wears her habit as armor against modernism and change. She is in a battle for the hearts and minds of her pupils with a young priest who believes the clergy should be accessible to the parish and be thought of "as members of their family." These divergent thoughts are accented by the Sister’s “feelings” and “instincts” that the priest is molesting the schools’ only black student. Aloysius confronts Flynn with her suspicions.

To give away any more of the plot would eliminate the doubt of the conclusion and thwart the “second act,” which probably takes place as theatre-goers travel homeward, discussing their doubts about the priest’s innocence or guilt.

Barbara Andres is appropriately unbending and scary as Sister Aloysius. The women sitting next to me, a product of Catholic schools, moaned, “Oh my God, she’s my old principal, every Catholic school kid’s nightmare!” Early-on Andres wisely underplays the vocal aspects of the role so that when she needs her verbal power, it becomes even more emphatic than if she had over-projected through out.

Michael Frederic is convincing as the Priest. He makes us want to believe him. But, are we intentionally led by his charm and demeanor to make us assume his innocence, or are we being tricked by a master manipulator?

Jennifer Ruffner, noted for her performances on local stages, hits all the emotional right notes as Sister James, a dynamic but naïve young teacher who is caught between the opposing forces of the Sister and the Priest.

Cherene Snow, who received extended applause as she made her exit after a tense but pivotal scene, is compelling as the mother of the Black student who understands the realities of life as they relate to her son.

Russell Parkman’s set and Trad Burns’ lighting enhance the production.

CAPSULE JUDGMENT: Seth Gordon and his CPH cast deserve accolades for their compelling production of ‘DOUBT: A PARABLE.” If you don’t see this production you will miss one of the highlights of the local theatrical season!