Groundworks--Cain Park 6/08

GROUNDWORKS adds a delightful dance to their repertoire and a new company member

Groundworks, David Shimotakahara’s innovative dance company, showcased its newest company member, Kelly Brunk, at their recent Cain Park performances. In addition, ‘LIGHTS UP,’ a creative humorous piece, was added to the group’s repertoire.

During the last two years Groundworks has gone through major changes in their composition. Damien Highfield and Sarah Perret joined the company last year. Kelly Brunk, who blended well with the rest of company, was impressive in his recent debut. Tall and thin, Brunk, who graduated with honors from New York University’s Tisch School of the Arts, has danced in Austria, Vietnam and San Francisco. He has choreographed as well as performed. He displayed the necessary proficiency and discipline to meld into Groundworks’ controlled dance form.

‘LIGHTS UP’, the third number in the recent program, is a welcome addition to the repertoire, which often tends to be very serious. This piece, performed to live music composed and played by Gustavo Aguilar, Nathan Douds and Howie Smith, was both humorous and creative. Shimotakahara’s choreography, which was a collaborative work created by the entire company, centers on interesting combinations of duets and trios. It was fresh, happy and joyful. It contained an excellent jazz segment performed by Sarah Perrett. As always, Amy Miller and Felise Bagley sparkled.

The program also included ‘ANNIE REDUX,’ choreographed by David Parker, which used music from Irving Berlin’s ‘ANNIE GET YOUR GUN.’ The songs were recorded for the 1950 MGM film adaptation of the Broadway show which was to star Judy Garland and Howard Keel. Before the movie was completed, Garland had to withdraw, but her vocal renditions had been recorded. Though it was exciting to hear Garland’s versions of the song, Parker’s choreography is lacking. As a friend, who had not seen the piece before commented, “The words and the movements didn’t match.” I had stated this the first time I reviewed the piece. The movements were creative, with the use of interesting angles, arm lifts, freezes and poses. The quality of the dancing was excellent. However, the lack of parallelism between meaning and actions was distracting.

‘MIGRATION,’ the program’s other dance number, was performed to live music composed by Gustavo Aguilar and performed by Aguilar and his wife Gaelyn. The plaintive sounds were pleasingly interpreted by the sarong clad duo of Amy Miller and Damien Highfield. About ‘things in flux, the motion of change, how far can we journey and still be connected to a place, to each other,” the overall effect was compelling. The dancers were physically disconnected, though emotionally connected, through most of the piece, moving in separate spheres. As is often the case with Aguilar’s compositions, the number was too long, causing connect exhaustion between the dancers and the audience.

Following the performance Shimotakahara announced that the company would be in New York in residence sometime during the 2008- 2009 season.

CAPSULE JUDGEMENT: GROUNDWORKS DANCETHEATER is one of the area’s shining cultural lights. Welcome to Kelly Brunk, who appears to be a fine talent addition to the company.

Jersey Boys

“Oh What a Night”—‘JERSEY BOYS’ at the State Theatre

There was a high-level buzz of excitement at the State Theatre before the opening curtain of ‘JERSEY BOYS.’ The audience was expecting something special. And, did they get it!!! At the end of the evening they were on their feet screaming for more and the elation spilled out onto the streets following the show. (In this instance, this was not an automatic Cleveland standing ovation given for anything from good to bad productions. This was a deserved standing O!)

Yes, as one of the show’s songs cries out, “Oh, What a Night.”

JERSEY BOYS is a story about Frankie Valli and The Four Seasons: Frankie Valli, Bob Gaudio, Tommy DeVito and Nick Massi. It supposedly is the story of how a group of blue-collar boys from the wrong side of the tracks became one of the biggest American pop music sensations of all time. They supposedly wrote their own songs. They invented their own sounds and sold 175 million records worldwide - all before they were thirty.

You’ll note in the last paragraph I said “it is supposedly the story” and they “supposedly wrote their own songs.” There is some controversy over how much the script’s writers, Marshal Brickman and Rick Elice, deviated from the real story. There is also some question abut whether Bob Gaudio really did write all of the songs. Be that as it may, there is no question over the entertainment value of the production. And, in the end, the audience really doesn’t care if the story is totally authentic. As one of the songs states, “Can’t Take My Eyes Off You.” You won’t be able to take your eyes off the stage and keep your feet still as the beat goes on and on and on.
The show opened in November of 2005 in New York. It won four 2006 Tony Awards including Best Musical and continues to break box office records on Broadway.

This national tour includes Erik Bates as Tommy DeVito, the founder and sleazy member of the group. His wild way of living, his spending and gambling, caused the quartet problems and eventually was the cause of its breaking up. Bates is appropriately ego-centered in the role. He sings and moves well.

Miles Aubrey is Nick, Tommy’s older brother, who was basically along for the ride. Aubrey, as is the rest of the cast, fits well his part and sings effectively.

Andrew Rannells, who not only looks like the real Bob Gaudio, but has the same boyish charm, is excellent. Portraying the “intellect” of the group, Rannells wraps himself in the role and is completely believable.

The star of the evening is Joseph Leon Bwarie as Frankie Valli. Though there is conjecture that he is getting support via backstage singers for hitting the necessary falsetto high notes, again, who cares. It works. Be aware that Zachary Prince performs the Valli role at some performances. Having not seen him in the role, I have no way of advising whether his performance will meet the high level of Bwarie’s.

Everything about this production is professional. The sets, the orchestrations and the costumes all work.

A sign in the lobby of the State indicates, “Authentic, profane, Jersey vocabulary are special effects used in this production.” Yes, there is an “in-ya"-face Jersey attitude. On the night I saw the show it carried over into a shouting match in the audience which developed into a fist fight at the start of intermission. Supposedly some guy defied the theatre rules and the people around him by keeping his cell phone on, and, the rumor states, using it during the show. How Jersey! (BTW—because of the language used, the show is not recommended for anyone under 12.)

CAPSULE JUDGEMENT: I saw ‘JERSEY BOYS’ in Chicago. I loved it then, I loved it in this staging, which I think is a better production. Go, go, go see ‘JERSEY BOYS.’ You will have one hell of a time and be in a “Trance” as you “Walk Like a Man” [or Woman] out of the theatre, feeling like a “Big Man [or Woman] in Town.”

Question for the Reviewer: A Question About Ridiculous Standing Ovations

Dear Mr. Berko,

I was wondering if you could help me to understand the behavior of the local theater audiences.

I grew up in Cleveland and after graduating from Kent State spent most of my adult life in Los Angeles. I moved back to Northeast Ohio to raise my kids nearly four years ago.

In Los Angeles if an audience gave a performance a standing ovation it was because they were compelled to leap from their seats and applaud at the end of the show. Since I have been back I have been to several community productions and at the end of each show the audience staggers to their feet. I imagine this is started by a few friends and family but it seems common practice.

Now I do not get out to the theater much. I teach on-camera acting so it's movies and motherhood for me. I thought after seeing your review of "The Wiz," which I took my family to last night, that you may have some insight with all of your years of experience. I am sure they gave it a standing ovation Thursday as they did last night for a less than compelling performance. What bothered me the most is the lack of character development and arc. The show had no heart. I will applaud song and dance but you have to "move" me to get me out of my seat.

Well if you have gotten this far, I thank you for reading. If you take the time to respond, and I appreciate and value time, I will sincerely be grateful.

Thank you always for your years of insight.

Very Kindly,
Maureen Dempsey

Honk

Mercury’s ‘HONK,’ pleasant, but could have so much more

‘HONK,’ which is now being staged by Mercury Summer Stock, is one of those charming little shows which should enchant and regale audiences. It is a retelling of Hans Christian Anderson’s ‘THE UGLY DUCKLING,’ complete with a theme of tolerance.

It has a gentle and pleasant score by George Stiles and Anthony Drewe which does not come close to the wonderful music that Frank Loesser wrote for the film, ‘HANS CHRISTIAN ANDERSON, which starred Danny Kaye, and included a segment on the ugly duckling. It is, however, a quite serviceable score.

The stage version opened in 1993 in England and was originally called ‘THE AESTHETICALLY CHALLENGED FARMYARD FOWL.’ In 1997, when the script was revised, the title changed to ‘HONK!”. It went on to win the 2000 Olivier Award, the British equivalent of the U.S. Tony Award, beating ‘THE LION KING’ for the honor.

The story is set in the countryside and features an “ugly duckling,” who somehow is hatched by a hen, who discovers his inner beauty as he becomes a swan. In the process of his journey from odd to beautiful, he is taunted, runs away from home with a cat who wants him for his dinner, meets a wisecracking bullfrog and a lovely female swan. In the process he, and members of the ensemble, sing such songs as "A Poultry Tale," "Warts and All," "Look at Him," "You Can Play With Your Food," "Now I've Seen You," and the charming "Different."

This is a deceptive script. On the surface it appears to be an easy show to stage. It isn’t. There is a strong message, there are creative vaudeville-like actions which require that it become a comic strip in action. It is very British in its base which mandates an understanding of broad British humor.

The Mercury production, under the direction of Pierre-Jacques Brault with production staging by Joanna May Hunkins, is pleasant, but could have been so much more. Mercury prides itself on being able to stage a show in two weeks. In this case, with Brault also working on ‘THE WIZ’ at Cain Park, the short preparation time causes the staging to suffer. Brault’s usual creativity isn’t completely present. That’s not to say the show is bad. It isn’t. It just isn’t all that it could have been with a little more time, insight and focus.

Alex Wyse, one of my favorite local actors, plays The Ugly Duckling. (He was awarded a Times Theatre Tribute for his outstanding performance in Kalliope’s ‘SUMMER OF ’42’ several years go.) Wyse has the correct happy, yet forlorn face, to portray the many moods of the gleeful yet questioning duck who transforms into a gracious swan. He has a nice singing voice and creates a clear character. Danielle Renard as Ida, Ugly’s mother, also has a nice singing voice, but lacks the depth to create a complete character.

Brian Marshall as Drake, Ugly’s dad, kind of walks through the role, losing his accent along the way. Shane O’Neil’s cat just isn’t cunning enough, and his French accent comes and goes, along with a consistent characterization. Sara Hymes is charming as Penny, the lovely swan who gives Ugly insight into himself. Brian Marshall has some excellent moments as Bullfrog, but there was a lot more humor that could have been developed. The rest of the cast varies from good to okay.

As is my custom when there is a child-friendly show, I took the “Kid Reviewers,” my grandsons Alex (12) and Noah (11) to see and comment on the show. The boys liked the show, giving it an 8.5 on a scale of 10. They really liked Wyse, though Alex thought he could have projected more during his solos. Noah indicated that the sets could have been better. “Every place they went still had the barnyard behind them.” They both thought that there was some good humor, but “lots of the funny lines were not stressed” and wondered whether the “little” kids would get some of the adult jokes. They both thought the morals, “It’s more important what you are on the inside than on the outside and don’t pick on others because they are different” were clear.

Capsule judgement: ‘HONK!’ is a clever script, appropriate for everyone from about 4 on up. The Mercury production was “pleasant,” but could have been so much more with a more concentrated effort to develop the multi-facets of the script.

The Wiz

Cain Park’s ‘THE WIZ’ entertains, but……..

It is rumored that ‘THE WIZ,’ will be the last fully-conceived musical on the large Evans Stage at Cain Park. If so, it could only be hoped that the facility would go out with a bang. The script of ‘THE WIZ’ is a bang; unfortunately, the production, in spite of a fine cast and production team, is a whimper of what it could have been.

‘THE WIZ,’ a contemporary take on ‘THE WIZARD OF OZ,’ has an underbelly of African American slang, movements and musical sounds. If you are over 30, don’t go expecting it to be Judy Garland’s Oz. Think “Ease on Down the Road” instead of “”Follow the Yellow Brick Road;” “Slide Some Oil to Me,” instead of “If I Only Had a Brain; and the Wiz wailing, “Y’all Got It!”

The show, which opened on Broadway in 1975, features music and lyrics by Charlie Smalls. It ran in the Big Apple for 1,672 performances. Surprisingly, a movie version, which modified the story, added some songs, and starred Diana Ross, Michael Jackson and Nipsey Russell, was a critical and box office flop.

The Cain Park production, under the direction of Pierre-Jacques Brault, lacks many of the dynamics that the play engenders. This is rock and gospel musical which contains a tornado, munchkins, good and bad witches and wonderful characters who are bigger than life. I needed to be bouncing in my seat and awed by the goings-on. As it is, I was lightly entertained.

Usually, when one sees community theatre, and that is what Cain Park is, a community, not an equity theatre, one expects something less than a professional staging. However, Brault has proven his directing worth and had an outstanding cast and a creative production team, so much was expected. Now, to be fair, I did see the preview performance, but the flaws aren’t such that can be fixed without some major restaging and an infusion of passion.

Even the usual dynamic choreography of Martin Cespedes was subdued and sometimes unfocused. Many of the dances were “nice.” Cespedes usually creates “great.” For instance, in the tornado scene, the stage didn’t explode with energy. A handful of dancers with ribbons attempted to create the storm. The set pieces didn’t “fly-off” stage, and even the band wasn’t frenetic enough.

On the positive side, Malika Petty has a wonderful voice and made a “cute-as-a-button” Dorothy. There was a joyousness in her performance. Unfortunately, at times her speaking voice went into a high-pitch screaming level which was like fingernails scratching on the blackboard. Several of the other actors also had this problem.

Christopher Weible (Scarecrow) has a good singing voice. His “I Was Born on the Day Before Yesterday,” was excellent.

My favorite characterization was put in by Gerald Clarke as Toto….that guy can dance and grabs and holds the stage.

Kyle Primus (the Wiz) did a wonderful rendition of “Believe in Yourself,” which carries the play’s moral. It’s a shame that Primus, who is a wonderful dancer, didn’t get to show more of that talent. Colleen Longshaw’s “A Rested Body is a Rested Mind” and “Believe in Yourself” were vocal highlights.

The man in drag playing a large woman has been done to death. Why Brault, who is extremely creative, decided to pull out that tired gimmick is questionable. However, if it was to be used it had to be done well. Unfortunately, Dan Call, who portrayed Addaperie, one of the good witches, didn’t do it well. His “He’s the Wiz,” instead of being a show stopper, fell flat. He needed to let loose and be over-the-top, not just look ridiculous in a bad fitting wig and ruffles.

Darryl Lewis is one of my favorite local performers, but he let me down as the Lion. He was basically one-dimensional. The role needed more texturing, More ‘big bad Lion” who is really a “scardy little cat.”

The strongest dancing was performed by the crows (Lawrence Farmer, Michael Medcalf and Terrell Richardson, Jr.).

Russ Borski’s costumes were wonderful. Richard Gould’s set, though impressive, sometimes got in the way of the actors. Some of the pieces were awkward to move, dominated the stage, and were being schlepped on and off during scenes.

Musical Director Matthew Webb did the production a major disservice by not controlling the volume of his orchestra. They drowned out many of the musical numbers. There is no sense in singing words if the audience can’t hear them. Some of the blame must also go to Stan Kozak, for failing to work on the proper sound balances.

CAPSULE JUDGEMENT: Most of those who attend ‘THE WIZ,’ and I hope there will be lots of them, will probably like the show. They will see a very adequate production. With this cast, and the talent of the director and the choreographer, they should be seeing a superb production. Pity!

Carepetbagger's Children

Charming ‘CARPETBAGGER’S CHILDREN’ at Ensemble

Horton Foote, the author of ‘THE CARPETBAGER’S CHILDREN, now in production at Ensemble Theatre, is an American treasure. At age 92, he is still writing stories, plays and film scripts that are rich in imagery and examine the intertwining effect that individual family members have on each other. He is a two-time Academy Award winner who also has been recognized with a Pulitzer Prize, and an Emmy and Tony Award.

Foote, who authored such film scripts as ‘TO KILL A MOCKINGBIRD‘ and ‘THE TRIP TO BOUNTIFUL,’ has been called “the American Chekhov.” And, he well deserves the title as evidenced in ‘THE CARPETBAGER’S CHILDREN.’ This is a well written script in which Foote’s language and creation of illusion, allows us to clearly understand the motivations of a southern family unit interwoven with hidden layers of paternalism, half-truths, and stubborn righteousness.

The memory play echoes with the aftermath of the Civil War, the “War of Northern Aggression,” in which southern families lost dignity and pride and tradition as well as much of the land that they loved.

Interestingly, the family we observe is not a true southern family. It is one created when a Northerner, a carpetbagger, who came to Texas following the war, obtained a position through politician patronage, and became wealthy by buying up masses of land from the destitute plantation owners.

Set in mythical Harrison, Texas, the story is told by three sisters. In alternating monologues, Cornelia, Grace Ann and Sissy give us their history, a history filled with ambitions, estrangements, jealousies, resentments, loves, births, deaths, embezzlements, stabbings, shootings, bankruptcies, abandonment, legal actions, funerals, senility and happy optimism. All this is done with charm and southern civility.

Foote, asks, “in the end, what is truly important in our lives, what are those lingering questions and regrets that will haunt us, and what is it that remains when we are gone?”

This is not an easy script to develop. It is all talk, no action. With a lesser cast and a less clear image, it could be a bore. The Ensemble production is not a bore. Under the watchful eye of Lucia Colombi, the production is charming. It is well paced and well nuanced.

Hester Lewellen, as Cornelia, the oldest sister, is wonderful. She gives a focused characterization and gives the clear illusion of a rock-like woman, who remains a pillar in spite of the strife and stresses going on around her.

Lissy Gulick is Grace Anne, the middle sister, who defies the family to strike out on her own and follow her heart into a questionable marriage, showing another side of quiet rebellion. This is also a fine performance.

Mary Jane Nottage, as Sissy, the youngest sister, displays the right level of air-headedness, the little voice, and the wide-eyed wonder to fully develop her role. Unfortunately, in Martin Cosentino’s set design, she is stuck in the lower corner of the thrust set, and is constantly forced to swivel her head in order to be exposed to the entire audience, causing some distracting movements.


CAPSULE JUDGEMENT: Ensemble’s production of ‘THE CARPETBAGGER’S CHILDREN’ is a go see. It is a charming and well-developed presentation of a play by one of America’s best modern writers.

Late Night Catechism 2

‘LATE NITE CATECHISM 2,’ is fun, but not as much as the first one

At the opening night performance of ‘LATE NITE CATECHISM 2, SOMETIMES WE FEEL GULTY BECAUSE WE ARE GUILTY,’ which is now on stage at the Brooks Theatre of the Cleveland Play House, you could tell the audience members who had attended Catholic school. Each time they answered a question, were called upon, or harassed, they obediently answered, “Yes Sister.”

This script is a continuation of Catechism 1, complete with the same concept. The audience is an assemblage of students who are a classroom in which a fully-habited nun is taking the place of the “regular “ instructor, a priest who is away on a golfing retreat.

Having seen “1” with Maripat Donovan, the play’s co-author and original “Sister,” I have to admit that this is presentation pales by comparison.

The punishment isn’t as “severe” and Sister’s tongue is not as sharp. Even when Sister (Lisa Buscani) reprimands the “harlot” in the second row for wearing a plunging neckline, and makes her fill in the gap with Kleenex, or tells the “Jewish guy” in the third row to get his hand off the back of the chair of the woman sitting next to him, the audience doesn’t anticipate that the ceiling will separate and lighting will strike the sinners.

This sister has a calm voice, a twinkle in her eye and isn’t walking around slapping the ruler on the desk, let alone on the knuckles of her “victims.” And, that might be the reason of why this is a pleasant, but not a hilarious evening.

I did learn a great deal about the history and “philosophy” of the Catholic church. I learned that the Notre Dame nuns are “ a tough crowd.” (Being a faculty member at Notre Dame College, I can attest to that.) Also, that canonization is the Catholic Church’s “Good House Keeping Seal of Approval;” that Catholics don’t judge, “that’s the job of the Baptists;” Episcopalians are Catholics with cash; and Catholics were forbidden to eat fish on Friday because a Pope from Portugal made the declaration in order to increase his country’s profits from fishing. (That’s the truth, and I know so because I was told it by “Sister.”)

I also learned that besides traditional sins, there are new ones including road rage, excessive inking and body piercing, wearing underwear as clothing, dining at Hooters and driving a car with a dashboard bobble head doll of any of the holy trinity. Yep, that’s what Sister said.

CAPSULE JUDGMENT: “LATE NIGHT CATECHISM 2’ is a pleasantly funny theatrical experience. Not hysterically funny, but pleasant. It makes for a nice summer evening of entertainment.

ANYTHING GOES

Porthouse’s ‘ANYTHING GOES’ is summer theatre at its best! Go! Go! Go!

Cole Porter’s ‘ANYTHING GOES,’ now on stage in a delightful production at Porthouse Theatre, is one of those shows that shouldn’t be, but is. And, it shouldn’t be as much fun as it is at Porthouse, but it also, is!

The original producer, Vinton Freedley, who lived on a boat, decided to make a musical based on his experiences. He hired a star, Ethel Merman, and had the musical ‘HARD TO GET’ written. The title changed numerous times, finally becoming ‘ANYTHING GOES.’

Just before the show opened, a fire destroyed the passenger ship SS Morro Castle. As a result of the deaths of 137, most of the original script was trashed and a new version written. This creation was called “a hopeless mess” by one theatre historian. So, more versions were attempted during the preview performances, with songs, characters and plots coming and going.

Legend has it that things were so bad that the night before the show opened the script was incomplete. A member of the production team supposedly said, “And just how in the hell are we going to end the first act?" The producer, being more helpful than he realized, said "anything goes!" Porter went into action, and, one of the great musical theatre production numbers was born. (The number is nothing short of astounding in the Porthouse production under the chorographic genius of MaryAnn Black).

‘ANYTHING GOES’ opened in New York in 1934 at the height of the depression and it ran 420 performances, becoming the fourth longest-running musical of the 1930s. This, despite the impact of the Great Depression.

A 1936 movie starring Ethel Merman and Bing Crosby, a television version staring Merman and Frank Sinatra, and numerous revivals have followed.

This is not a great musical. The story line is trite, songs have been added and deleted with no real reason, which is an indication that this is not a well-made musical in which the songs and the story are so intertwined that one supports the other. For example, “Easy To Love” one of the present show’s hits, was not in the original nor the 1962 production, but was written for a 1987 revival. “Friendship” also was not in the original. In fact it written for ‘DUBARRY WAS A LADY,’ but it, too, was put into the 1987 production.

To add an issue…Porter, a wordsmith, wrote very clever lyrics, but they contain 1930’s references, unknown to many present day audience. Worry not, it makes little difference.

The story is set aboard a luxury liner bound for London and concerns Billy Crocker's comic pursuit of socialite Hope Harcourt as he hides aboard the ship on which she is traveling with her English fiancé. The plot is enlivened with nightclub evangelist Reno Sweeney and the real and supposed public enemies sought by the captain to spice up the voyage.

The Porthouse production, under the very adept direction of Terri Kent, makes for a perfect summer evening entertainment. Besides wonderful singing voices, this is one dance-talented cast. They hoof and tap with enthusiasm, they have fun, and so does the audience.

Sandra Emerick captivates as Reno Sweeney, the Vegas-style evangelist. She sings, acts and dances with enthusiastic excellence. Eric van Baars makes a perfect foil as the up-tight Lord Evelyn. Justin Gentry, he of good singing voice and stage presence, gives the role of Billy a nice vulnerable quality. Rohn Thomas is good as Moonface Martin, but he could have been more comically dynamic (think Bert Lahr).

Though not listed as one the show’s lead role, Maryann Black grabs and holds the audience as the air-headed Erma. Black is amazing. She dances circles around the “kids” on stage who are probably one-third her age. Her high kicks and tap-dancing wizardry stopped the show on at least two occasions.

Nancy Andersen Wolfgang’s musical direction, Robert Wolin’s set design, Sarah Russell’s costumes, Cynthia Stillings’ lighting design and Jason Potts sound design, all work well.

CAPSULE JUDGEMENT: Porthouse’s ‘ANYTHING GOES’ is a total delight. Sail away to an evening of fun by floating down to Porthouse. It’s worth the outlay of gas money to get to this production. BRAVO!!!!!!

Pangs of Messiah

POTENTIALLY INCENDIARY PIECE READ BY AND IS GOING TO BE STAGED BY JCC

The Jewish Community Center of Cleveland presented a staged reading of award-winning contemporary Israeli playwright Motti Lerner’s script, ‘PANGS OF THE MESSIAH.’ This was a preview of the play which will be fully staged next season.

The reading, directed by Cleveland Play House’s Seth Gordon, featured an excellent cast.

The play, as was obvious during the after-reading talk session, is going to incite much discussion within the community. It is a probing script which is filled with words, not on-stage actions. And the words are incendiary.

The interactions center on what may happen, in the near future, when a peace treaty with the Palestinians, is about to be enacted. What will happen to those “settlers,” mostly ultra-religious Jews who live in Samaria, basically the northern part of the West Bank of the Jordan River. How will they respond? Will they be willing to give up what they think is the very heart of religious Israel for peace?

Capsule judgement: Look for the staged version next year!

Matt & Ben

Mildly entertaining ‘MATT & BEN’ at Cleveland Public Theatre

I like a good comedy. I like a good comedy that has a message. I like a comedy that once I leave the theatre doesn’t evaporate from my memory before I get to the car. I don’t think ‘MATT & BEN,’ which is now on stage at Cleveland Public Theatre, fits those criteria.

It isn’t a bad play. It isn’t a bad production. I just don’t think it’s worth the time and effort that it takes to stage a script to get the results of this show.

With that said, let’s examine what ‘MATT AND BEN’ is all about. Yes, it concerns best friends Matt Damon and Ben Affleck. They, according to the plot, have just finished filming ‘SCHOOL TIES,’ a coming of age teenage flick. They are sitting in Ben’s living room, trying to adapt ‘CATCHER IN THE RYE’ into a movie. (No, it hasn’t been done as a movie because J. D. Salinger won’t give permission for filming.) All of a sudden a manuscript named ‘GOOD WILL HUNTING’ falls from the ceiling with their names on it as the authors. We spend the next 75 minutes as the boys work through whether they will claim it as their own. (Hint: they won the Academy Award for best screenplay for “GOOD WILL HUNTING.)

Written by Mindy Kaling and Brenda Withers, the script has some cute, some dumb, and a few very funny scenes.

Oh, by the way, Matt and Ben are played by two females. Yep, two women!
Why? I’m not sure, but Kaling says, "I think it helps the play come off as more affectionate than just mean and jealous." (I guess men are mean and jealous and women are affectionate.)

In the off-Broadway production Kaling and Withers played the roles. The reason? Kaling states, "We're not competing with them for roles, so there's no underlying bitterness or meanness towards them. It's also just funny to have Brenda and I playing them, because we obviously look completely different." Okay, if that’s what she thinks. As for me….I don’t get the real reason.

There is some gossipy stuff…mainly about Gwyneth Paltrow, Ben’s brother Casey and David Schwimmer. Not People magazine quality, but maybe mildly amusing.

The play suggests Affleck is kind of stupid (well, he didn’t get into Harvard as Damon did), but creative. Matt is the brighter, the more accomplished, and the better actor. (Reality seems to be bearing out the better actor part as he consistently appears in top flight flicks, while Ben, in general, is doing B-level gigs.

‘MATT AND BEN’ won Best Overall Production honors at the 2002 New York International Fringe Festival. I’m not sure why.

The CPT production, under the direction of Dan Kilbane, works as well as the script will let it. He has paced the show well.

Though I don’t necessarily agree with the character interpretations, they were consistent. Nicol Perrone (Matt) and Elizabeth Wood (Ben) don’t look, or sound, or have the charisma of the real guys; but, I guess that’s not the point. (I won’t even get into the subject of the lack of Boston accents, which the dynamic duo is famous for using.) The actresses both seemed to be having a good time. So, seemingly did much of the audience. As for me…I was mildly entertained.

Capsule judgement: ‘MATT AND BEN’ is one of those plays that many will enjoy. If you are looking for something other than light escapism, you may not be overjoyed. I just think that CPT is of a higher level than this script. If they are going to do comedies, “THE CONFESSIONS OF PUNCH AND JUDY,’ is a lot more CPT!

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!