The Comedy of Errors

‘THE COMEDY OF ERRORS’ played for laughs at GLTF

‘THE COMEDY OF ERRORS,’ now on stage in repertory at the Great Lakes Theatre Festival, is the only one of his plays to contain the word “comedy” in its title. And, that, in and of itself, makes it a perfect vehicle for GLTF to produce. First, Charles Fee, the Artistic Director of the company loves comedic farce and does it extremely well. Adding to that the company contains Andrew May, who has never encountered a funny face, a tortured moan, or an over the top scene, he hasn’t devoured.

The play, as far as is known, is one of William Shakespeare's earliest scripts. It is a show that invites slapstick, while playing on mistaken identity. It develops through puns and wordplay, which were aimed at the intelligence level of the groundlings, who stood around the base of the thrust stage during Elizabethan times and did everything,. including throwing spoiled fruit and oral barbs at the actors.

It was first printed in the First Folio in 1623, and the earliest known performance is recorded to have been at Gray's Inn, one of London's law schools, on December 28th, 1594.

Don’t go expecting a serious message or a moral. This isn’t that kind of Shakespearean script.

This play’s obvious plot concerns the separation, then reunion of Egeon and Emelia (husband and wife), their twin sons, and their twin servants. The family is separated at sea during a storm, 33 years before the play starts. When one of the grown twins arrives in Ephesus, which turns out to be the home of his twin, a series of mishaps leads to wrongful beatings, arrests, accusations of infidelity, theft, and chaotic madness.

The production is out-and-out fun, with Fee and May having a great time in staging and acting out the insanity.

May plays both of the twins Antipholus. The concept works well until the end, when both twins must appear on stage at the same time, and then the notion falls apart. The actor playing the other Antipholus is not nearly May’s physical double and the switch is very obvious. The same holds true of the attempt to have both Domio (the servants) played by Ian Gould. The duo tracking is obvious.

The other problem with Gould’s double role is that he doesn’t do either of the twins well. His attempt to use a lisp doesn’t help. That, along with poor articulation and errant vocal projection, makes many of Domio’s lines difficult to understand.

Lynn Allison, as Adriana, the wife of Antipholus of Ephesus, yells through the role, paying little attention to line meaning. On the other hand, Gisela Chipe is charming as her sister.

Fee, in his attempt to add humor onto humor, has David Anthony Smith, who plays a goldsmith, elongate all the numerous times he says, “chain.” It works the first four or five times, but after a while the whole shtick becomes annoying.

Besides May’s performance, the highlight of the show is Martin Céspedes’s inventive choreography. His use of latin movements, meticulous attention to movement detail, and creative set changes, are captivating. Without his inventiveness the overall cohesiveness of the show would have been lost.

Again, the new GLTF facility, with its electronic stage elevators and intimate seating, enhances the production as does Russell Metheny’s set design and Charlotte Yetman’s costumes.

‘CAPSULE JUDGEMENT: GLTF’s ‘THE COMEDY OF ERRORS’ is a delightful interpretation of the Shakespeare farce. It’s fun, fun, fun thanks to Charles Fee, Andrew May and Martin Céspedes.

Optimus for President

Fourth Wall’s ‘OPTIMUS PRIME FOR PRESIDENT’ a winner!

On the surface, ‘OPTIMUS PRIME FOR PRESIDENT,’ by Clevelander Margi Herwald Zitelli, appears to be an absurd comedy, maybe even a farce, about a group of people who are meeting in their favorite bar after a Cleveland Indians baseball game. They are co-joined season ticket holders who are “friends.” The quotes are important. They are friends who talk a lot, tease and taunt each other, but avoid sharing their real selves with each other. They can’t approach truth, they talk about fantasy. Fantasy, such as whether Optimus Prime would make the best President.

Optimus Prime, a cartoon character, is the commander of the Autobots, a faction of heroic Transformers from the planet Cybertron who wage their battles against the evil forces of the Decepticons for control of their home world, and by extension, peace in the universe. He is a heroic, brave and compassionate character who puts all his talent to use to improve the world around him. Sounds like a perfect candidate!

But why are these people talking about Optimus, baseball, Great Lakes beer, and smurfs, when there are real issues they face? One has a terminal illness, a fact she has failed to share with her “friends.” Another, a doctor, spends long hours at the hospital rather than going home to his wife. Another is about to marry a woman who he doesn’t love, but is marrying seemingly because he can’t think of what else to do with his life. And, so it goes. They share none of the realities with the people they have supposedly bonded to. They escape from authenticity by covering up with meaningless debates, sarcastic interactions, feigning macho fights, and living out the Peter Principle of not wanting to grow up and face the realities of life.

We find out about each of these individuals through the clever writing device of having each transition from the present day and fade into the spot light of elementary school where they read an essay about what they want to be when they grow up. Their future wish fantasies turn out to be not only revealing, but generally are no more realistic than their present day lives.

Herwald Zitelli has a knack for developing complete characters. We know what is motivating each, allowing the actors to give faithful portrayals. This is a very difficult task, but she does it well. She also has a good ear for realistic language.

The Fourth Wall cast (Joshua Brown, Aubrey-Krisen Fisher, Shawn Galligan, Stuart Hoffman, Sarah Kunchik and Nathan Miller), is excellent. There is not a weak link in the acting chain. They are well directed by Jenna Messina, who received the “2007 Best Actress” award in the Times Theatre Tributes listings. She is as good a director as an actress. The show is well paced, the laugh lines clearly keyed, and the emotional scenes kept in realistic control.

Considering that Fourth Wall performs in a space literally made of walls of black plastic sheets, and lights with only 5 spots, and works on a budget that would qualify them for food stamps, the production is amazing.

A suggestion: it would be nice if the program included such information as the setting, the time, the number of acts and would identify the technical people. Eliminating some of the excessive details in the extended personal bios, would also add to a more professional air to the goings-on.

Capsule judgement: Margi Herwald Zitelli’s fine script, ’OPTIMUS PRIME FOR PRESIDENT,’ gets an excellent production at Fourth Wall under the keen direction of Jenna Messina and a performance by a fine cast.

The Aperture

‘THE APERTURE’ doesn’t live up to its hype at CPT

Area theatres seem to be on a “let’s do plays by the same author” kick. Cleveland Public Theatre is now staging ‘THE APERTURE’ by Sean Christopher Lewis. Bang and Clatter recently staged Lewis’s ‘MILITANT LANGUAGE.’ A short time ago Nijnas staged ‘CRAVE’ by Sara Kane, who also was the author of Bang and Clatter’s ‘BLASTED.’ Both Lewis and Kane are from the list of contemporary writers. Both tend to use fragmented ideas and propose abstract messages. Though their topics are current, their missions aren’t always clear.

Sean Christopher Lewis’s ‘THE APERTURE’ was the winner of the inaugural Quest for Peace Playwriting Award. Lewis also has received the Rosa Parks Award for Social Justice in Playwriting from the Kennedy Center. Sounds impressive, right?

The script details the story of a boy who was a child soldier in his native Uganda. When he gets to the U.S., he is befriended by a female photographer who has him pose for pictures in the backwoods of Baltimore, Maryland, which imitate his warring past. When she begins to sell and advertise these photos as documentations from the real conflict, a clash regarding ethics and exploitation develops.

The script has had several staged readings, including a recent presentation at The Cleveland Public Library, which the playwright attended.

It would be nice to say that the CPT production lived up to its hype. Unfortunately, it didn’t. In spite of its intent to delve into the horrors of war and the effect on the child warrior, and the good intentions of the photographer to produce “art,” the acting out of each of the feelings and thoughts, just doesn’t work. As with ‘MILITANT LANGUAGE’ the writers lack of clarity of purpose led to audience frustration.

As a crisis counselor I am very aware of the fragmentation that takes place when an individual has a horrific experience. If the playwright had centered on that subject, and that subject alone, the play would have been focused. But also imposing the question of, “Can art provide a path away from our inherent violence without inflicting some amount of cruelty on its subject?,” just confused the focus.

Director Craig George has proven that he is an exceptional director. His 2006 production of ‘M4M’ at CPT, received the Times Theatre Tributes Best Production of the Year Award. But even George couldn’t save this show. A combination of abstract ideas which were poorly woven together, some technical decisions, and some questionable acting, sealed the production’s doom.

Young and handsome Isaiah Isaac, put in full-effort to create Okello John, the Ugandan boy solider. Unfortunately, he doesn’t have the acting depth to consistently produce the needed pronunciation, while keeping the character intact. He was often hard to understand and many of the lines lacked meaning.

Heather Anderson Boll tried vainly to make Alex, the photographer, into a real and textured person. The words she was given to speak, and the fragmented and abstract nature of the idea development, got in her way.

The audience was greeted while entering the theatre by high pitched screeching music. The purpose for this cacophony of sound was unclear. Was it intended to give the idea that we were about to experience an atonal play? Only the unidentified sound director might be able to answer that question.

C. Wesley Crump’s’ photographs, as displayed in Tom Kondilas’s projections, generally worked well.

Capsule judgement: If you like your theatre abstract, than Sean Christopher Lewis may be your type of playwright. As for me, I like plays with a clear message, or at least a message that I can glean from a good discussion. ‘THE APERTURE’ didn’t fulfill those needs! The CPT production doesn’t help much either.

AUTOBAHN

'AUTOBAHN' an interesting trip at CWRU MFA

Neil LaBute, the author of ‘AUTOBAHN,’ which is now being staged by Case Western Reserve’s MFA Acting Program, is a wordsmith. He once said, "I can sit and watch two people talk forever as long as the talk is good," Talking good, in this case, is talking about what words mean and how people do and do not understand them.

LaBute, a minimalist, tends to use few physical settings in order to concentrate all of the attention on the actors and what they are saying. ‘AUTOBAHN’ is a perfect case in point. The author places the short play cycle, in which the seven segments are unrelated, in the front seat of a car, while each of the scenes centers on the pondering of a word or a few words and their usage.

The format allows us a voyeuristic peek into the intimate lives of those who are under LaBute’s boring drill. He probes deeply, as is his style, to try and discover relationships and life.

"Funny," shows a mother bringing her troubled daughter back from yet another rehab facility. The mother does not speak throughout the scene, but her facial expressions nonverbally give a vivid picture of frustration and defeat. The key word in this piece is “relapse."

“Long Division," is a humorous and pathetic look at a male friend trying to console his buddy after a break-up.

"Merge" finds us eavesdropping on a woman supposedly telling her husband of a “true” but bizarre incident that happened to her while she was out-of-town at a convention and woke up “feeling sore down there.” Did the incident really happened as related?

“All Apologies” delves into relationships by using the humor of “inappropriate” words to show emotions and how the lack of an expansive vocabulary can thwart effective communication.

With all the media attention given to improper relationships between teachers and students, “Road Trip” hits many raw nerves and is the most upsetting of the selections. It is an intense look into the manipulative mind of a psycho driver's education teacher, who entices one of his young female students to go to his family’s cabin in a secluded site.

"Bench Seat," exposes us to a fragile woman who has been “dumped” by her previous boyfriend and finds herself at the same lover’s lane where the rejection took place. Her present relationship seems heading in the same direction, and her paranoia is evident as the duo wavers between making out and serious and potentially dangerous talk.

The final scene is "Autobahn," which shows a couple driving home from returning their foster child to the adoption agency because of the boy's bad behavior. The boy has accused the foster father of sexual abuse. The woman babbles on trying to justify their actions. Her husband speaks not a sound. The key word in this playlet is “Autobahn,” the German road where each person is in his/her own bubble, setting the rules of road, and allowing themselves to be sheltered from life in their own way. As the mother says, people in cars are "too quick to stop, too fast to care."

The production, under the adept directing of Alan Rosenberg, is good theatre. Though some of the pieces are a little too long, especially ‘Bench Seat” and “Autobahn,” the over-all experience is positive.

Highlight performances are put in by Tom White and Leigh Williams. White is the man in “All Apologies” who manically babbles on trying to find a way to apologize with a limited arsenal in his vocabulary. Williams, as the foster mother in ‘AUTOBAHN’ who refuses to face reality, is appropriately paethic. After using excessive words to prove their points, they both go on to prove that silence is a powerful stage tool. Williams as the silent mother in “Funny” and White as the emotionally destroyed foster father in “Autobahn,” display tortured blank faces that are palates of meaning.

CAPSULE JUDGMENT: ‘AUTOBAHN’ is an engrossing evening of theatre, given a fine production by the CWRU MFA Acting Program cast. (Side though: Can’t the institution come up with a more user-friendly name for the program?)

The Receptionist & H.R

Two appealing theatre experiences for the price of one at Dobama

When Dobama Theatre decided to produce Adam Bock’s short script ‘THE RECEPTIONIST,’ they agreed that a “matching” piece might be of interest and complete the evening. They commissioned local playwright Eric Coble to create the material. The result? ‘H.R.’

The match works wonderfully. Both showings have humor. One has a 2010 twist, the other harks back to the paranoid days of Bush and Chaney’s searching for the “bad” guys.

‘THE RECEPTIONIST,’ which is set in a unknown office. On the wall is a large seal that kind of looks like the CIA, or it could be the FBI, or Homeland Security. Hmmm! Chit chat between the receptionist and a female employee centers on dating and family issues. Mr. Raymond, the boss hasn’t shown up yet. What’s he the boss of? Hmmm! When he arrives he looks flustered and rattles on about broken fingers and wire in eyes. Hmmm! Someone from the Central Office shows up and takes Mr. Raymond away. Why? Hmmm!

I’m not going to tell you any more other than that except that when the lights went out at the end of ‘THE RECEPTIONIST,’ in a too real sense I thought I might never feel safe again. I also appreciated that the present President’s name is Obama and not Bush.

My feelings weren’t echoed by at least one attendee who, at the conclusion, loudly stated, “What’s with the end? Did the playwright just run out of words? Nope, he just wanted you to think about what went on in our all too recent past, when there were ever present years of seeking out the hidden enemy by the likes of Cheney and Rumsfeld.

The well directed production, under the watchful eye of Joel Hammer, was appropriately under-paced. It lolled the audience into humorous complacency until the bombshell went off. And, even that bombshell was wisely underplayed! All of the actors, Jennifer Kika, Michael Regnier, Tom Woodward and Lissy Gulick, who are the same cast who appeared in ‘H.R.’ developed their roles well in both ends of the twin bill.

‘H.R.’ is as modern as today. In this age of downsizing and firings, the fear of the unknown invades any office when H.R. (Human Resources) says its coming to talk to the staff.

Writing in the style of true farce, Coble penned a hysterically funny script, full of overblown characters, each one with a secret to hide, which are revealed through slips of the tongue and acting double-takes. This is one fun piece of theatre.

Director Joe Verciglio has nicely paced the goings-on so that all the overblown farce comes out clearly. The character developments are on target and each actor has a nice image of who s/he is.

Michael Roech’s office set, which is used for both plays, was so realistic that before the opening night performance, a member of the audience wandered into the thrust stage area and took a drink from the water cooler, while another took some candy out of a bowl on a secretary’s desk. Talk about realism.

CAPSULE JUDGEMENT: ‘THE RECEPTIONIST’ plus ‘H.R.’ deserved the positive reaction given to them by the opening night sold out audience. This is a good evening of theatre which contains both laughter and intrigue.

The Farnsworth Invention

‘FARNSWORTH INVENTION’ is fascinating “history” lesson at Beck

If you believe ‘THE FARNSWORTH INVENTION,’ now being staged at Beck, some historical “facts,” aren’t facts at all. The Wright Brothers didn’t invent the first airplane, Thomas Edison didn’t create the first light bulb, and though he had the first U.S. patent for a television receiver, Vladrmi Zworkin didn’t develop the first working television in this country. According to the script, the latter credit, was based on the machinations of RCA’s David Sarnoff, who wanted to control the potentially prosperous video industry. The recognition should have gone to a Utah farm boy genius named Philo Farnsworth.

In reality, the play is not historically accurate. It shows Farnsworth being defeated legally by Sarnoff, and then spending his life in obscurity and in an alcoholic stupor. In fact, Farnsworth won the lawsuit, received a $1 million payment from RCA for the purchase of his TV patents, and went on to have an illustrious career in technological research. In respect to the man, there is a statue of Farnsworth in the U.S. Capitol Building.

The play, written by Emmy Award winner Aaron Sorkin (TV’s ‘THE WEST WING’), opened on Broadway in December of 2007 and ran for four months in spite of very mixed reviews.

Irrespective of the lack of validity, the play makes for good theatre. There is intrigue, evil versus good, and a “hero” you can cheer for and feel bad for in his defeat.

Director Scott Spence has staged the play well. He keeps the action focused and the tension high. Unfortunately, on opening night some of the cast was having trouble remembering their lines and the pacing was slightly off, but this should improve as the very talented cast, which includes three Actor’s Equity performers, start feeling their stage legs and get it right.

Sebastian Hawkes Orr, as the older Philo Farnsworth, has the right Utah hayseed demeanor and gate. He is believable, though at times he spoke so softly that he was hard to hear. Jesse Markowitz was right on character as the young Farnsworth, garnering many laughs as he outsmarted his junior high science teacher.

The usual dependable Paul Floriano flubbed lines, but should recover as the production continues. His David Sarnoff had the right “bad guy” undertone.

Dana Hart effectively changed his voice and presence to effectively interpret several characters, and Jeffrey Grover did a nice job of characterizing Vladmir Zworykin. The rest of the huge cast were quite believable.

Trad Burns’ scenic and lighting designs helped create the right illusions and Richard Ingraham’s ever present sounds were a good idea, but sometimes got in the way of clearly allowing the oft-under projecting cast’s words to carry into the audience without listening clutter.

CAPSULE JUDGEMENT: ‘THE FARNSWORTH INVENTION’ is an interesting piece of theatre that is well worth seeing. Hopefully as the cast settles in some of the opening night issues of line stumbles and the need for appropriate vocal projection will be resolved.

REVIEW OF THE REVIEWER'S REVIEWS (Cathy Hartenstein)

Dear Roy,

I just wanted to thank you so much for the workshop you gave to our Play House College students. They really enjoyed it. It was wonderful for them to learn about how to critique a performance and to hear them talk so intelligently about the plays they have seen. Thank you for providing this invaluable opportunity for them.

Cathy Hartenstein
Education Director
The Cleveland Play House

Militant Language

‘MILITANT LANGUAGE’—a script which asks more questions than it answers

‘MILITANT LANGUAGE: A PLAY IN THE SAND,’ is in a unique production cycle. The script is simultaneously being world premiered at Cleveland’s Bang and Clatter, Theatre of Cincinnati, Available Light [Theatre] of Columbus, Halcyon Theatre in Chicago and Next Stage in Seattle.

Set in modern day Iraq, the story unfolds from an opening scene in which a pair of American soldiers return from a routine surveillance detail filled with angst. What happened? As that unanswered question becomes an underlying issue, a Captain fights to control his troops as they find themselves involved in a secret homosexual affair, the sexual abuse of a female soldier, a search for a missing Iraqi boy, and a baby found in the desert, ala Moses.

The script is filled with visions and illusions of violence begetting violence, lies resulting in more lies, and questions of whether truth can be born from honesty. It wraps up with the question, “Does war make no more sense than sand raining from the heavens?”

The setting is an unspecified building site. What’s going on? What’s really going on? A question that the script doesn’t really answer. Sean Christopher Lewis, the play’s author says that ‘MILITANT LANGUAGE’ is "a play about responsibility in a world that doesn't make sense anymore." And, one can only wonder if the unidentified site is a metaphor for the damage of war, when things aren’t built but rather are destroyed. And, whether the U.S. foray into Iraq was a flight of Bush ego, which has resulted in the destruction of not only that country but the economy and self-pride of the US.

We see Pfc. Marcus Goop conflicted about a violent act in which he was a participant. Pfc. Emma Beed is placed in degrading female roles, including being raped. Sensitive and gay Pfc. Andrew Wallace mostly wants to sing Country songs, but he soon gets swept up in the turbulence. Pfc. Damian Jacks is obsessed with being a macho man-boy soldier. And Capt. Davis Crain is faced with spinning chaos seemingly beyond his control.

Sounds like an interesting concept and set of characters. If the play was more focused on a clarity of purpose, and the characters fully fleshed out, it would have been a better evening of theatre. But, even with the script’s weaknesses, director Daniel Taylor should have been able to mold the production into a more cohesive unit. The combination of some misguided directing, including slow pacing, awkward blocking and unfocused characterizaions, made the 90-minutes seem like twice that long. Taylor needed to help some of his actors develop clear personas by working with them to understand each individual as a real person.

Michael May is excellent as Marcus Goop. He is consistent in his textured performance. Scott Thomas is properly tender and naïve as Wallace.

Raina Semivan (Beed) has some good moments and Jocelyn Roueiheb is acceptable, as Huda, an Iraqi in search of the lost boy. However, both were on the surface and could have developed deeper characterizations.

Rick Bowling yells his lines, many of which lacked idea clarity due to his shouting words rather than stressing the meanings of his words. And Joshua Davis seems to have no clue of the underpinnings of the role of Damian. He’s like a verbal Ken doll, dressed in red, white and blue boxers, which are definitely not Army issue.

Capsule judgment: Bang and Clatter’s MILITANT LANGUAGE misses the mark on two counts…the script is of questionable construction and the production qualities are often weak. It’s going to be interesting to read the reviews of other productions to see what, if anything, B&G audiences may have missed out on.

Crime and Punishment

‘CRIME AND PUNISHMENT,’ deep, dark and impressive at CPH

It’s a pretty mind-blowing task to perceive that Fydor Dostoevsky’s ‘CRIME AND PUNISHMENT,’ a long and complex 1864 novel, could be made into a 90-minute play, yet alone, be successful. Marilyn Campbell and Curt Columbus, undertook the task, and their successful proof is now on stage at the Cleveland Play House.

The novel, which was originally published in 12 monthly installments in a Russian literary journal, focuses on the mental anguish of Rodion Romanovich Raskolnikov, an impoverished St. Petersburg law school dropout, who kills an unscrupulous pawnbroker seemingly for her money, thereby solving his financial problems. In the process of his angst he meets Sonia, a prostitute full of Christian virtue, driven into the profession by the habits of her father. (Remember this is a typical nineteenth century Russian novel which carries the tradition of overblown melodramatic stories, lots of complex characters, and flowing prose.)

For those who read the epic, don’t go into the CPH experience expecting fidelity to the novel. One of the major differences is the dropping of the Epilogue in which Raskolnivok, after he confesses, is sent to Siberia. Sonya follows, and the tale ends with a moralistic message of hope and redemption.

Unfortunately, cutting some background, may leave the audience unaware of the moralistic motivation for the murders (there is an additional person killed besides the pawnbroker), other than Raskolnivok’s need for money. That’s not his motive, as he gives away, not only this money, but all money he gets to others. Raskolnikov believes that the murder is permissible in pursuit of a higher purpose, since he has rid the world of an evil parasite. Another issue may be the question of why our protagonist gives himself up when there is no evidence leading to him as the slayer.

Despite its seemingly obvious title, the script does not so much deal with the crime and its formal punishment, as with the protagonist’s internal struggle which shows that his penalty results more from his conscience than from the law.

Note that Dostoevsky’s writing preceded the time of Freud, so much of the author’s astute underlying psychological concepts were way ahead of the thinking of the time.

The CPH production, under the adept directing of Anders Cato, is compelling. The staging is aided by Lee Savage’s dark and cramped setting with the Christ figure hanging above the action, as well as Jeff Davis’s lighting. Olivera Gajic’s costuming incites a question. Why is Raskolnikov dressed in white garments rather than sac-cloth clothing, the sign of both having no money and being a self-conceived martyr?

Paul Anthony Stewart is a fascinating Raskolnikov. He is intense, almost maniacal at times, while reclusive and internally torn at others. This is a very effective textured performance.

Patrick Husted, not only plays Porfiry, the detective, but all of the other male parts. Though he is quite good as the detective, a portrayal more in the format of TV’s Columbo might have been more appropriate. As portrayed by Husted, we are never sure whether he is setting up Raskolnikov or really doesn’t know he is the murderer. Using the Columbo approach would have allowed the audience to be aware of the subtle trickery he was performing.

The characterization of Sonia, due to a lack of exposition in the script, and the cutting of the Prologue, does not give Lethia Nall much latitude in developing the role. There is not enough emotional texturing for us to get a clear picture of Sonia’s role in aiding Raskolnikov make a major life decision nor her later effect on him.

CAPSULE JUDGMENT: CPH’s ‘CRIME AND PUNISHMENT’ is a dark and compelling production. Even for those who don’t like their theatre heavy and talky, viewing this production is well worth the effort. Put this offering on your “must see” list.

Spring Awakening

Explosive, compelling ‘SPRING AWAKENING’ rocks The Palace

‘SPRING AWAKENING,’ which is now appearing on the Palace Theatre stage as part of the Broadway series, isn’t a traditional musical. It isn’t filled with the usual romanticism so often found on Broadway. Instead, it explores the tortured inner lives of adolescents in 19th century Germany. And, in spite of the setting, it’s as modern as today! The problems are the same, the issues are the same, the angst is the same.

The eight-time Tony winner, visually and emotionally probes into the coming of age, the shattering transformation that takes place as children become physical adults and have to face a world of mixed messages.

It explores messages such as sex is not something to be discussed, adults rule the world and make decisions which can be destructive, God’s spokespersons interpret what is right and wrong, often with horrible results, and parents sometimes share misinformation with teens, if they share any information at all. Life is full of potholes, many of which are not of the teen’s doing.

The musical is based on an 1891 play by Frank Wedekind that was so controversial that it was not produced for almost 15 years after its publication. It may never have seen the light of day if not for the early 20th century writings of psychologist Sigmund Freud, especially his ‘INTERPRETATION OF DREAMS.’

The alt-rock (folk-infused rock score) by Duncan Sheik is forceful, exciting and revealing. Steven Sater’s lyrics paint vivid pictures. The combination fits a play which has masturbation, sex acts, abortion, rape and suicide visible on stage. These images and actions are absolutely necessary to make the ideas clear.

There will be some in the audience who are put off by the musical’s vividness. Some will not come when they hear of the sights. Too bad. These are probably the people the script and lyrics are speaking to and about.

Michael Mayer’s creative directing makes the entire production shimmer with emotion. The characters speak directly to the audience to express their motivations and desires. Using the concept of alienation, the staging, which is done on a setless stage, with light fixtures in full view, is right in the face of the viewer…no hiding behind sets and façade here. To add to the intimacy, some of the audience were seated in bleachers on stage, adding voyeur effect.

The touring cast is excellent. Especially exciting is Blake Bashoff, portraying the conflicted Moritz, a part he performed on Broadway. His “The Bitch of Living” stopped the show. Perry Sherman, who played Melchior, the intellectual challenger of traditional belief systems, performed the role on opening night. His “Totally Fucked” was the dynamic highpoint of the production. The duo’s rendition of “Those You Know,” which was sung with Christy Altomare, was tender and beautifully performed. The rest of the cast was equally impressive.

Watching Clevelander Jared Stein, who conducted the on-stage band, was an experience in and of itself. He is an integral and exciting part of the staging and the band rocked!

CAPSULE JUDGEMENT: ‘SPRING AWAKENING’ celebrates the journey from youth to adulthood with a power, a poignancy and a passion you will not soon forget. The touring production will hold your attention, challenge your values, and keep you entranced! This is a MUST see!

Grey Gardens

Quirky ‘GREY GARDENS’ makes for interesting viewing at Beck


Don’t go to ‘GREY GARDENS’ at Beck Center thinking that you are going to see a traditional musical. The script, the music and the concept are anything but usual. There is a lot of Sondheim in the Doug Wright, Scott Frankel, Michael Korie musical. This is not music you’ll go out of the show whistling. There is not a “break into dance” production number in this show. The off-the-cuff story and complex compositions will envelope some and put off others.

‘GREY GARDENS’ centers on the eccentric aunt (Edith Bouvier Beale) and cousin (“Little” Edie Beale) of Jacqueline Kennedy Onassis. It explores the plight of these women, two of the brightest names in the pre-Camelot social register, who transition into East Hampton notorious recluses.

The first act of the musical, which is based on the 1975 documentary of the same title, is set in 1941 when the estate was in its prime and the likes of Joe Kennedy, Jr., the older brother of JFK, was a suitor for the hand of “Little” Edie Beale. The second act, set in 1973 displays the residence reduced to squalor and the participants hopelessly delusional.

These are two dysfunctional women who are bound to each other by need and misguided values. They can’t be in a healthy relationship with each other, but they can’t live without each other.

The original off-Broadway production opened to mixed reviews. Revisions were made and the show opened on Broadway on November 2, 2006 and ran 307 performances after receiving enthusiastic press. It won three Tony Awards. A 2007 documentary, ‘GREY GARDENS: FROM EAST HAMPTON TO BROADWAY,’ has developed a cult following, as has the show.

The Beck production, under the adept direction of Victoria Bussert, is audience involving. She is blessed with an excellent cast and a fine technical staff.

The staging takes a little getting used to. In the first act, “Little” Edie is 24 and Edie is 47; in the second act “Little Edie” is 56 and Edie is 79. The same actress who plays Edie in the first act, plays “Little Edie” in the second act. As soon as that imagery gets clear, the story and intrigue takes over.

Maryann Nagel, as has come to be expected of this fine actress, is compelling in both her roles. Her final scene, in which she seemingly is going to break the unhealthy bond and flee Grey Gardens, is emotionally wrenching. She textures both roles with the right amount of personality and her alteration of accents is remarkable.

Lenne Snively, as the self-imposed bed-bound Edith, is so excellent, that she almost compels someone in the audience to come and drag her out of bed and make her face reality.

Jillian Kates Bumpas, as “Little Edie” in Act I, is quite good, but sometime appears to be staying on the surface, rather than digging beneath the surface of the character. She has a nice singing voice

Patrick Janson developed well the role of George Strong, the put-upon homosexual liaison of Edith. His singing, and piano and saxophone playing were excellent.

Kennedy family look-alike Jonathan Walker White, whose accent was inconsistent, was overly stiff as Joseph Kennedy, Jr., but was fine as Jerry, a young vagrant who hung around Grey Gardens in the lean times.

Annie Kostel, who portrayed a young Jacqueline Bouvier, looks very much like Jackie O as a tween. Both she and Natalie Welch (Lee Bouvier) maintained their characters throughout.

George Roth was properly angry and frustrated as “Major” Bouvier.

Russ Borski’s set and costume designs were excellent and Jodie Ricci’s musical direction was on lyrically target. Unfortunately, at times the music got so loud that it drowned out the singers. In this show, where the lyrics are not familiar and are absolutely integral to understanding the characters and the story line, this was a major distraction. The minimal amount of dancing was well choreographed by Martin Céspedes.

Side note: During an after-production discussion lead by Maryann Nagle, an inquiry by a group of my students who attended the Sunday matinee production, centered on how truthful the narrative was. Nagel indicated that according to the research she and the director did, though the story line is compressed, the events were accurate.

CAPSULE JUDGEMENT: ‘GRAY GARDENS,’ both because it has a glimmer of the Jackie O mystique, and the interesting nature of the story, makes for a fine evening of theatre. The Beck production is further enhanced by the focused directing and fine performances.

Cleveland Heights

JCC’s ‘CLEVELAND HEIGHTS’ off the mark!

At intermission, and following the opening night performance of the Jewish Community Center’s ‘CLEVELAND HEIGHTS,’ the major topic of conversation was the lack of “Yiddisha” [Jewish] Cleveland in the shallow and obvious script. Except for half-a-dozen references, which had almost nothing to do with the plot, the play could have been set in Pittsburg, Indianapolis or any other city that has a couple of Jewish families and has gone through economic changes.

In a brave move to insure that the Cleveland Jewish story be told and archived, JCC commissioned playwright and actor Keith Reddin to write the script. Supposedly, Reddin did a year of research before writing play. In spite of his moderate success as a playwright, Reddin, who is a Chicago fixture, doesn’t appear to be the person to have undertaken the job.

The script didn’t highlight the transition of the Jewish population and their institutions from inner city to the eastern suburbs, and the problems and joys this caused. It didn’t highlight the terminology that went with these moves and conflicts, phrases like “Heights Mockies” and “Kinsman Cowboys.” Yes, there were a few reference to The Temple and Rabbi Silver and Camp Wise, but they were throw-ins, not integral to the plot. The story included many deaths, with that of the father being integral to the story. What’s a Cleveland Jew’s death without referencing the ceremony at Berkowitz’s? Where was the shiva food from Sherwins, Ungers and Corky and Lenny’s, depending on the era? The transition of Jewish students from Glenville to Shaker Heights and Cleveland Heights High Schools was part of the era that Reddin chose to write about, but there was none of this in his script. No, these names shouldn’t have been just dropped in, but in developing the story, twists and turns that centered on those places and events should have been a paramount plot guideline. (Think Les Roberts’ writing about Slovenians and their role in the Cleveland landscape.)

The play takes place in a Cleveland Heights home. The 1940s was when much of the Jewish population shifted from East 105th, and from Kinsman, to the heights areas. Why couldn’t the author have the family moving into their new home and discussing where they came from and why they moved? Why during the discussion of failing businesses in the 1970s didn’t he give references the demise of the Cleveland clothing manufacturing by referencing be the likes of Richman Brothers and Kaufman Kock (Joseph & Feiss). As is, the real” tam” [taste] of what made Jewish life in this unique city was missing.

Reddin uses trite stock characters to develop the obvious plot. The hard working Jewish business man who puts business ahead of family, the understanding wife, the sibling rivalry which caused the two brothers to go through less-than desired lives, intermarriage in which the non-Jewish wife becomes the “good” Jew, the nebbish family friend, the “ferbissinah’ [embittered] aunt, the rebellious daughter. Oy, couldn’t he have invented some new personas for these characters? Couldn’t he have created some tensions and unusual twists into the story line?

Director Brian Zoldessy, in spite of being saddled with this weak and unfulfilling script, managed to wring a few laughs and mild pathos thanks to some excellent acting. Charles Kartali, as the wanna be lawyer-son, Maryann Elder, double cast as the “shiksa” [non-Jewish] wife and the embittered aunt, Elizabeth Townsend as the rebel marijuana smoking daughter, Scott Miller s the put-upon brother, and Sharmon Sollitto as the hand-wringing mother were very good. The acting highlight was Zoldessy, himself. No one does hand-wringing hyper hysterical nerds like Zoldessy.

Ben Needham’s massive set made the cast appear to be guppies swimming in a large aquarium. It’s not his fault. The Cuyahoga Community College’s massive stage just doesn’t lend itself to intimate plays. Maybe the little theatre would have been a better place to stage the play.

CAPSULE JUDGMENT: JCC did not get its money’s worth from their investment in commissioning Keith Reddin, an outsider with little intimate history of the Cleveland Jewish community, to write the definitive story about Jewish Cleveland. What they got was a trite, non-memorable script that probably, and wisely, will never see the light of day again. Too bad, yes, too bad, for the idea for such a story was right, especially in light of this probably being the last season for theatre at the J.

Crave

‘CRAVE’ a mind stretching experience at Theatre Ninjas

Sara Kane, the author of ‘CRAVE,’ now being staged by Theater Ninjas, was a very troubled woman. Even though she was hailed as a talented playwright by the press, she committed suicide at the age of 28. Her plays, from a psychological viewpoint, were cries for personal help from the demons who were at war in her mind.

‘CRAVE,’ which is having its Ohio premiere, was her fourth play. It was first performed in 1998 in Scotland. It features four characters (or possibly four elements of the human mind), each of whom is only identified by a single letter. The script has no stage directions and no indication of the intent of the writer.

It examines the trauma of rape, infidelity, loneliness, familial rejection, childlessness, death, sex, loneliness, relationships, suicide and child molestation. The characters appear to be dismayed by an existence over which they have no control.

In contrast to a traditional script, ‘CRAVE’ is a series of fragmented sentences, phrases, poetic stories, monologues and dialogues. They are not connected to each other to create clear concepts. Ideas flow through phrases such as: “I am not what I am; I am what I do.” “It talks about the definitive role of the centre in the geometry of the circle where there is no chicken and egg dilemma as to who came first as it was the centre that came first and then the circle was formed.” “I had to fake orgasms before but now I have to fake not having an orgasm.”

The Theater Ninjas production of ‘CRAVE’ is creatively staged by Jeremy Paul. He uses the space in the Asterisk Gallery to intensify the chaotic arrangement of the lines. The four actors run, jump, roll, crawl, chase each other and move in programmed chaos around the gallery’s display panels.

The members of the cast, Lucy Bredeson-Smith, Terence Cranendonk, Val Kozlenko and Layla Schwartz are each compelling. It is not only a wonder how they not only learned the massive number of lines but also the intricate blocking.

Capsule judgement: The 50-minute play is a mental challenge. There are constant questions of “what does this all mean?” Discussing the happenings after the production is as intriguing as watching the abstract experience itself. If that’s your “thing” then you’ll enjoy the production. But, if you’re into clear messages in happy encasements, forget seeing ‘CRAVE.’

REVIEW OF THE REVIEWER'S REVIEWS (Annie McEvoy)

Hello, Roy...

Sorry this is a little overdue, but I just wanted to thank you for recognizing my work
in Between Life and Death and for honoring me along with so many
talented Cleveland theatre artists with a Times Newspaper's Theatre Tribute certificate.
Collaborating with Holly Holsinger was an honor and inspiration, as was being associated
with Raymond's The Other Shore which I never tired of watching.

Please know I sincerely appreciate the time, effort, and care you take
to promote theatre in this area, for all the tickets you've helped to sell,
for all the seats you've helped to fill, for your ongoing passion for theatre.

Wishing you well, with much thanks...
Anne McEvoy

Ballet Hispanico, Merce Cunningham Dance Companies

BALLET HISPANICO, MERCE CUNNINGHAM

One of the problems in having touring dance companies come into the Cleveland area is that they perform only one of two days. Reviews mean little for locals as the companies may not return for years, or ever again. But, for the record, it’s interesting to give picture snap-shots of the various companies’ performances.

BALLET HISPANICO

Dancing before three sold-out performance audiences, BALLET HISPANICO, whose appearance was co-sponsored by DanceCleveland and Cuyahoga Community College, presented a mixed-bag program. Pieces varied from traditional Hispanic dance, including the mambo, cha cha cha, bolero, rhumba and conga, to modern and contemporary pieces.

Those coming to the programs expecting folkloric presentations of dancers in traditional costumes were probably disappointed. Those knowing the reputation of this world class company got what they expected, a combination of Hispanic sounds and movements blended with balletic and contemporary moves.

The highlight of the program was the closing piece, ‘RITMO Y RUIDO,’ a contemporary number choreographed by Ann Reinking, a protégé of Broadway choreographer Bob Fosse. Known for her appearances in ‘PIPPIN,’ ‘CHORUS LINE’ and the movie ‘ALL THAT JAZZ,’ Reinking is as dynamic a conceiver of dance as she was a performer. Many of her moves are patented Fosse. Quick hand and head movements, pelvic thrusts, gymnastic moves were combined in ‘RITO Y RUIDO,’ with traditional Hispanic steps and body positions, to create an exciting and audience-pleasing dance.

The rest of the program was not as successful as the Reinking piece. Though generally well danced, there were lapses in synchronized movements and the pieces often were not dynamic enough to hold the audience’s attention.

CAPSULE JUDGEMENT: Those who left the Ballet Hispanico program after the first two-thirds of the program, and, unfortunately, there were quite a few at the Friday night offering, missed out on ‘RITMO Y RUIDO,’ the highlight of the evening.

MERCE CUNNINGHAM DANCE COMPANY

Merce Cunningham is a dance legend. His choreography and dance programs are either revered or hated by both critics and audiences alike.

Very contemporary in intent, the pieces are often danced to atonal sounds which defy the description of “music.’ Many audience members were seen at the company’s late January Cleveland performance, with fingers firmly thrust into their ears during much of the program. In fact, for the last number, ‘SOUNDANCE,’ Dance Cleveland, the show’s sponsor, provided foam ear plugs for the attendees.

Cunningham’s choreography features precision combined with randomness. They are static, non-story pieces, with posing, slow and controlled movements, and the melding of bodies. After a while, the whole experience results in tediousness, at least in their local program.

To really appreciate Cunningham, it is necessary to let loose of traditional understanding of the movements of dance and literally “tune out” and let what happens happen. He proclaims to be an inducer of meditation. But, but how does one meditate when the ears are being accosted by a combined cacophony of screeching sounds of lawnmowers melded with motorcycle engines being amplified to piercing ear shattering tones?

CAPSULE JUDGEMENT: I found myself, during the MERCE CUNNINGHAM COMPANY dance concert, thinking like the patron of an art show looking at a palate of a black on black painting, and asking myself “what is the positive shouting all about?” I need to feel some pleasure during an artistic experience, not thinking that I need to get an appointment to have my audiologist daughter check my hearing for potential injury due to the sounds of the program.

Sweeney Todd The Demon Barber of Fleet Street

Folino and Garrigan make SWEENEY TODD an audience pleaser

Martin Friedman, Lakeland Civic Theater’s director of ‘SWEENEY TODD THE DEMON BARBER OF FLEET STREET,’ is a self-professed Stephen Sondheim fanatic. As he states in the play’s program, he has been “delighted, enchanted and challenged by Sondheim.”

Friedman has always wanted to direct ‘SWEENEY TODD,’ considered by many to be one of the master’s most difficult shows to stage due to the love or hate relationship it often engenders with audiences. His path to the production was thwarted when, while staging the show last year, a heart condition slammed on the breaks to opening. Now feeling fine, he has completed his quest.

‘SWEENEY TODD,’ the 1979 Tony Award winning musical, has music and lyrics by Sondheim and a book by Hugh Wheeler (‘A LITTLE NIGHT MUSIC,’ ‘CANDIDE.’ ‘PACIFIC OVERTURES,’ ‘MEET ME IN ST. LOUIS’). It is based Christopher Bonds’ 1973 play of the same name.

It tells the story of Benjamin Barker, aka Sweeney Todd, who returns to London from Australia after spending fifteen years in prison on false charges. When he learns from his former landlady, Mrs. Lovett, that his wife poisoned herself after being raped by the Judge who wrongly imprisoned him and who took Barker’s daughter to be his ward, Barker, as Todd, vows revenge. The plot, full of twists, turns, gore and more gore, is not the stuff from which musicals are usually crafted. Nor is using the French Grand Guiginol melodramatic structure of a play (violent plot and terrifying stage effects), which can lend itself to farcical over-staging.

The score, which contains some of Sondheim’s most memorable music, includes “Johanna,” “Pretty Woman,” the repulsively hysterical “A Little Priest,” and the brilliant, “Not While I’m Around.”

Friedman has reinvented the setting, placing it in a courtroom in which the members of the cast are basically on stage during the entire production, and the audience also sits in judgment of Todd and his actions. These alterations made the staging easier as it eliminated many of the technical difficulties of the script. However, it also created problems. Friedman has cast member wandering in and out of their seats, which causes constant distractions because their movements upstage some of the play’s most emotional scenes and songs.

Trad Burns’ multi-level set also causes problems as actors are constantly climbing up and down a ladder placed in the center of the back wall, often with no intended purpose. On the other hand, Burns’ light design adds much intensity to the staging.

Dan Folino, one of the area’s best actors and singers, is superb as Todd. His full voice, depth of acting ability and total immersion into the schizophrenic role, make Todd live. At the start of the play, his dead eyes reflect pain and angst. As the play progresses, his eyes become demon-like as he gets more and more obsessed in his murderous mission.

Alison Garrigan adds a sensual dimension to the role that Angela Lansberry, the original Mrs. Lovett, did not engender. Garrigan, portraying Lovett, the cheery and chatty but wholly amoral maker of meat pies, seems to evoke glee in her character’s idea to get rid of the victims of Todd’s murderous ways by grinding them up and baking them into edible treats. This is undoubtedly one of Garrigan’s highlight theatrical performances.

Brian Altman gives a nice vulnerability to the role of Tobias, a seemingly retarded lad, who becomes Mrs. Lovett’s assistant. His puppy dog loyalty to his mistress is tenderly developed in “Not While I’m Around.”

The rest of the cast doesn’t fare as well. But, it must be remembered that Lakeland Civic Theatre is an amateur theatre, so the mostly non-Equity cast should not be expected to perform at a professional level.

Lindsey Sandham has a finely trained voice, but her words often got lost in the higher register, so she was sometimes difficult to understand. She also tends to be overly melodramatic in her character development, making Johanna less than real. She shows little emotional connection with Anthony (Connor O’Brien), her love interest. O’Brien has an excellent singing voice and often nails his character, but sometimes loses focus. Nicole Groah (Begger Woman) is not convincing in her portrayal. Douglas Collier (Judge Turpin) and Thomas love (Beadle Bamford) both have nice singing voices.

Musical Director Larry Goodpaster has honed his instrumentalists well, but often allows them to get overly loud, drowning out the singers. He also needed to get better blending of vocal sounds from the chorus.

CAPSULE JUDGMENT: Lakeland’s ‘SWEENEY TODD THE DEMON BARBER OF FLEET STREET’ is an audience pleasing production, in spite of some staging and performance issues. It is well worth seeing! Also, besides seeing a rarely produced script, it may be your only chance to experience an audience hysterically laughing while throats are being cut and blood is squirting!

Verb Ballets-2/09

Verb Ballets back on pointe! Coming dance attractions.

During most of the past seven years, Verb Ballets was one of the most exciting dance venues in the area. Then, about a year and-a-half ago, they seemed to lose their focus. The programs seemed disorganized and the dancers seemed to be going through the motions. They lost company members and did not replace them.

A change in artistic management took place, dancers were added and deleted, and it has done a world of good. The company’s recent program, presented as part of the Chagrin Arts 2009 Winter Series and performed at Chagrin Falls High School’s beautiful Performing Arts Center, was a return to the shining days of the past. The company’s pieces ranged from traditional ballet, to contemporary and modern dance, to a youth-centered offering, to the late Heinz Poll’s ‘BOLERO.’ All were well performed. There was precision and a renewed positive attitude.

The opening piece, ‘VESPERS,’ choreographed by Ulysses Dove, with restaging by Dawn Carter, was a disciplined work, centering around a series of chairs, which were sat on, jumped on and over, straddled, and balanced upon. Based on the passions and the spirituality of women who have faith, it was danced to the music of Mikel Rouse.

Brian Murphy, one of the best male dancers in the area, was splendid as the solo performer in David Dearling’s ‘DARK WOOD.’ He displayed complete body control as he moved with assurance and power . This was a tour de force.

‘PETER AND THE WOLF’ was danced to the vocal narration of the late Leonard Bernstein and the recorded music of Sergei Prokofiev’s “Peter and the Wolf,” which uses a musical instrument to represent each of the animals and the people in the piece. For example, the flute represented the bird; the oboe, the duck; the clarinet, the cat; and grandfather was showcased by the bassoon. The delightful interpretation by Pamela Pribisco was well costumed by Gino Ventura. Though the pacing of the piece was a little languid, the children in the audience seemed delighted through out.

Jennifer Moll Safonovs and Brian Murphy, added grace and beauty to the program, dancing Heinz Poll’s ‘classically conceived ANDANTE SOSTENUTO.’ The pas de deux, set to Mendelssohn’s Piano Concerto No. 2, was a visual delight as the duo performed floating lifts, alert partnering, and smooth classic movements with ease and assurance.

The program ended with the spirited ‘BOLERO,’ complete with the waving cloaks of the bull fight. The conclusion was met with an enthusiastic and well deserved standing ovation from the sizeable crowd.
Capsule judgement: Welcome back Verb Ballets!

Mahalia: A Gospel Musical

CPH’S ‘MAHALIA’ not only entertaining, but an important history lesson

‘’MAHALIA: A GOSPEL MUSICAL,’ which is now in production at the Cleveland Play House, fulfills all the requirements for a Black History month offerings. It tells a history of a black icon, who not only played an important role in both establishing a major Black arts contribution, but also affected African American history.

“MAHALIA,” a dynamic gospel epic by Tom Stolz, is a thinly veiled history lesson that takes a nostalgic glance back at the Civil Rights Movement through the vocals of Mahalia Jackson, who was a friend and confident of Martin Luther King.

Halie, as Jackson was often called, was a humble, deeply religious woman whose expressive, full throated voice carried her from a three-room shanty in New Orleans to appearances before presidents (she sang at John F. Kennedy’s inauguration) and royalty).

The Queen of Gospel’s music career stretched from the 1920’s-1940’s. During that time she produced many classic recordings, including “Precious Lord,” “Trouble of the World,” “Down By the Riverside,” and “Move On Up a Little Higher.”
The script, which is a series of songs connected by dialogue, is well crafted. By the time the journey is over, the audience has a clear picture of this important Black icon’s life, but also of the struggle of a cultural group’s moving from “coloreds” to “African Americans.” Segregation, bus boycotts, freedom marches, important speeches and legislation, and the path to integration are all showcased.

The Cleveland Play House’s production, under the adept direction of Kent Gash, is excellent. Much of the success of the show centers on Natasha Yvette Williams, who peoples the role of Mahalia. She is Mahalia, she is not an imitation of the great woman. She has a terrific voice and interprets the Jackson songs with verve, meaning and dimension. Her version of “Deep River” was riveting.

Terry Burrell, who portrays several parts, is at her best as Mildred, Jackson’s pianist and friend. Her hyperemotional response to traveling to the segregated South, was the production’s laugh highlight.

The only disappointing part of the show was C. E. Smith’s performance as Martin Luther King, Jr. If King had presented his “I Have a Dream” speech as blandly as Smith intoned it, one of the greatest speeches in the English language, would never would have become the beacon light of the civil right’s movement.

CAPSULE JUDGMENT: ‘MAHALIA: A GOSPEL MUSICAL,’ which is both an important and entertaining piece of theatre, should be required viewing by every student in the Greater Cleveland area. In the period of two acts, they would get a clear understanding of the plight of the “coloreds” as they marched toward integration. And, because of its entertainment value, would have enjoyed themselves.

Hairspray

'HAIRSPRAY’ STILL FUN AT PALACE

One of the fears of seeing a touring show of a production which is being showcased again after a couple of previous visits, is that it will have a “not ready for prime time cast,” few of the original theatrical effects, inferior settings and poor musical quality.

After the first ten minutes of ‘HAIRSPRAY,’ which is at the Palace Theatre for a short run, my grandson, Alex (13), who I brought along to be the eyes and ears of the many tweens and teens in the audience, whispered, “This isn’t very good.” Yep, he was right on. The opening scenes dragged, the music was way too loud, drowning out the singers, and it looked like a high school production. Then, like someone had thrown the, “okay, it’s time to have a good time and show your talent switch,” the show caught fire. From there on, it was a good time at the theatre.

‘HAIRSPRAY’ is the musical version of the John Walters’ movie of the same name. It centers on Tracy, a plus-sized teenager who longs for three things: being a regular dancer on the “Corny Collins Show (think Dick Clark’s “Bandstand”); having Link Larkin, the show’s super stud, fall in love with her; and having every day “negro day” on the show so that the blacks could display their dancing talents along with the white cast. To understand the latter aspect, you have to understand that Baltimore, where the show is set, is really a southern city, which clung to it’s segregated past with a fury and was torn with strife in the 60s.

The multi-award winning show was a smash on Broadway and in its first touring productions. The score, which includes “The Nicest Kids in Town,” “Mama, I’m a Big Girl Now,” “I Can Hear the Bells,” and “(You’re) Timeless to Me,” is upbeat and is sure to inspire attendees to leave the theatre humming.

Alex, after standing and dancing and yelling with the rest of the audience during the curtain call, summarized the experience as a “9 on a scale of ten.” He loved Motormouth Maybelle (Lisa Linette), a black record store operator, and her son, Seaweed (John Edwards). Linette brought down the house while wailing, “I Know Where I’ve Been.” Edwards, besides having a great voice, is a dancing fool!

Alex also thought Amber Rees, portraying Seaweed’s white girlfriend, was a “hoot.” He complained that the orchestra was too loud at the start, drowning out the singers, but got into the groove later and settled down to play their proper back-up role. Though he liked the sets, we both agree that they were a little “tacky” for a Broadway touring show. He contended that Brooklynn Pulver, who played Tracy, sang and acted well, but wasn’t much of a dancer, and he was disappointed with Matthew Ragas, who played Link, because in many scenes he was unbelievable. He liked Jerry O’Boyle, who played Edna, Tracy’s mother. In spite of the flaws, he loved the over-all effect. Grandpa liked it, but I’ve seen the show five times and have a basis for comparison.

The show, which played to a large opening night crowd, only runs through Sunday, the 8th.

CAPSULE JUDGEMENT: ‘HAIRSPRAY,’ the 1960s fun show with a message, is just out and out fun. It’s latest touring incarnation was a good, but not a great production.

Shaw Festival preview-2009

THE SHAW FESTIVAL…GREAT THEATRE, GREAT SETTING, GREAT GET-AWAY

Spring is almost here. Summer will eventually come. The dollar exchange rate again favors US citizens. It’s time to think SHAW FESTIVAL.

The Shaw Festival is conducted in three theatres in Niagara-on-the-Lake, Ontario, Canada, an easy four-hour trip from Cleveland. Once you arrive, you will be entranced by the most beautiful city in Canada. Lovely flowers, classical home architecture and inviting well-stocked shops and galleries make for an inviting experience.

This season’s theatre offerings are: ‘BRIEF ENCOUNTERS,’ Noel Coward; ‘BORN YESTERDAY,’ Garson Kanin; ‘THE DEVIL’S DISCIPLE,’ George Bernard Shaw; ‘THE ENTERTAINER,’ John Osborne; ‘WAYS OF THE HEART,’ Noel Coward; ‘A MOON FOR THE MISBEGOTTEN,’ Eugene O’Neill; ‘ALBERTINE IN FIVE TIMES,’ Michel Tremblay; ‘PLAY, ORCHESTRA, PLAY, Noel Coward; SUNDAY IN THE PARK WITH GEORGE,’ music and lyrics by Stephen Sondheim, book by James Lapine; ‘IN GOOD KING CHARLES’S GOLDEN DAYS,’ George Bernard Shaw; ‘STAR CHAMBER,’ Noel Coward.

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

The area itself is filled with activities ranging from a golf course within the city limits; an art park (www.artpark.net), The Good Earth Cooking School (www.goodearthcooking.com), the Jordan Village, a diverse blend of fine shopping, dining, and antique treasures (www.jordanvillage.com), an international chamber music festival (www.niagramusicfest.com), learning vacations at Niagara College (www.niagaralearning vacations.com), bike paths, Mystery on the Lake, a new interactive theatre (www.motl.ca), and a Niagara river jet boat trip.

The Niagara area is dotted with wineries, many of which, besides offering wine tastings and sales, have fine dining restaurants. My favorite is Hillebrand Estates Winery. Friends love Peller Estates.

There are some wonderful restaurants including my favorite, Queenston Heights Restaurant (www.queenstonheights.com). The latter is located in a park just over the US-Canadian border and has a breathtaking view of the Niagara River gorge. (Make a reservation and ask for a window table.) Lunch often finds me at The Epicurian, next to the Court House theatre. A real find was the restaurant at the Niagara Culinary Institute (www.niagaracollege.ca/dining), at which the student chefs hone their skills.

Greaves Jams and Marmalades is famous for its products since 1927. A Niagara tradition is the Maple Leaf Fudge store. Also, don’t miss out on the several stores that sell frozen yogurt which is blended before your eyes with Niagara fruits.

The area has many excellent hotels and bed-and-breakfasts. Our home away from home is the beautiful and well-placed Wellington House (www.wellington.house@sympatico.ca), directly across the street from The Festival Theatre. For information on other B&Bs go to www.niagaraonthelake.com/showbedandbreakfasts.

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

Tired of waiting for a casino in Cleveland? For those so-inclined, Niagara Falls, a half-hour ride from Niagara-on-the-Lake, has several casinos. There is also a large outlet store complex for the bargain shopper. If you are taking kids be aware that a huge indoor water park has been constructed which connects to several hotels. And, of course, not to be overlooked are the attractions connected to the magnificent falls.

Helpful hint: To satisfy border requirements carry some official form of identification (preferred: passport, or driver’s license with a picture).
Go to the Shaw Festival! Find out what lovely hosts Canadians are, and see some great theatre!

Blasted

Bang & Clatter’s ‘BLASTED’ not for everyone!

Bang & Clatter, Cleveland’s Public Square Theatre, is noted for going outside the box in choosing their scripts. More often than not, their bold choices pay off by producing plays that other venues wouldn’t produce, and challenging audiences to think. Their latest choice, ‘BLASTED,” Sarah Kane’s antiwar/anti-life play is a case in point.

‘BLASTED’ was the first of the British author’s five plays. The initial performance was fiercely attacked by most newspaper critics, many of whom regarded it as a rather immature attempt to shock the audience.
(Note: I don’t normally give the step-by-step plot details in reviewing a play, but anyone planning on seeing this production needs to know exactly what they’re is in for. So…)

The play is set in an expensive hotel room in Leeds, England. Ian, a foul-mouthed middle-aged tabloid journalist has brought Cate, a young woman, to the room for the night. Cate is much younger than Ian, and emotionally fragile. They appear to have a past history together, but the playwright fails to fill in those details. Throughout Scene 1, Ian tries to seduce Cate, but she resists. The scene is populated by Ian’s statements about misogyny, racism and homophobia.

Scene 2 begins the next morning. Ian has raped Cate during the night. She goes to “take a shower,” and escapes out of the bathroom window. Unexpectedly, a soldier enters the hotel room. The hotel is struck by bomb. But, because the playwright fails to give us any idea of what war is being raged, and why, we are again at a loss.

In Scene 3, the hotel room is in ruins. The soldier and Ian begin to talk,. The soldier tells Ian about appalling atrocities that he has witnessed and taken part in, involving rape, torture and genocide, and says he has done everything as an act of revenge for the murder of his girlfriend. He then rapes Ian and sucks out his eyes. (Yes, that’s what happens. Would I make something like this up?) Why this happens I do not know as the motivation for those actions are not made clear.

In Scene 4, Ian lies blinded, next to the soldier who has committed suicide. Cate returns, describing the city being overrun by soldiers, and bringing with her a baby that she has rescued. However, the baby dies.

Scene 5 consists of a series of brief images, showing Ian crying and even hugging the dead soldier for comfort as he starves in the ruined room. Eventually, he crawls into the hole in the mattress in which the dead baby has been placed by Cate, and proceeds to eat it. Cate returns, bringing some food. Because her legs and vaginal area are covered with blood, we can only assume she has sold her body or has been raped. She eats and feeds the rest of her food to Ian, who says: "Thank you." Curtain!

After sitting through the 90-minute intermissionless play, I tend to agree with the London critics about the limited quality of the play. I’m not a prude, but the brutal show which contains masturbation, male sodomy, rape, urinating on stage and cannibalism was even a bit much for my sensibilities. And I left wondering what Kane was trying to share with me.

Sarah Kane committed suicide at age 28. I can only assume, based on ‘BLAST’ that she was a very troubled woman. As a counselor, I can possibly analyze that her play, from a psychological view point, was a cry for personal help from the demons who were at war within her mind.

Bang and Clatter’s production brings forth all the brutality of the script. It was well directed by Sean McConaha. Nick Koesters gives an amazing performance as the demonized Ian. This is an exhausting endeavor. Faye Hargate is nearly his equal as Cate. Allen Branstein is not quite as effective as the Soldier as he fails to clearly add the confused nature of the character. In the original script, to add to the emotional level of the play, the soldier is of color. Such casting would have heightened Nick’s horror from being raped by a member of a group he finds so abhorrent.

Capsule judgment: ‘BLASTED’ is an excruciating experience. For those who like their theatre raw, this is their thing. For the rest of us, maybe something a little less graphic with a more meaningful message, might be in order.

Ma Rainey's Black Bottom

‘MA RAINEY’S BLACK BOTTOM’ doesn’t hit all the right notes at Beck

A woman sitting next to me at the opening night of Beck Center’s ‘MA RAINEY’S BLACK BOTTOM,’ by August Wilson, turned to me at intermission and said, “When’s the music going to start? Isn’t this a musical? The answer: Don’t go to see ‘MA RAINEY’ with the assumption that it is a musical. It is a drama with some music.

The play centers on a recording session in which Gertrude Malissa Nix Pridgett Rainey, better known as Ma Rainey, the “Mother of the Blues,” is recording a “new” edition of her music.

Though the title of the play makes one believe the central character is Rainey, in fact, the main character is Levee, a trumpet player. He is determined to make a name for himself in the world of music and intent on altering Rainey’s never-changing “jug band” style. When Levee finally gives his compositions to the white studio owner, he is given a pittance for them. This lack of respect by a white man for a black man, sets a series of events into action which brings the play to a shocking ending.

Wilson, who became famous after ‘MA RAINEY’ was awarded the 1985 New York Drama Critics’ Circle Award for Best American Play, was noted for writing “black dialogue” as Blacks actually speak it, complete with using language in which the “coloreds” called each other the “N” word and are often pictured as prejudiced against each other as whites are. He continued in his plays to illustrate that “Racism was no joke.”

Whether the story is true or not is open to conjecture. Rainey was a private woman who only gave one recorded interview. It is known that she was married to vaudeville singer, William "Pa" Rainey, had an unknown number of children, and was openly bisexual.

The Beck production, under the direction of Sarah May, is well staged, but on opening night did not appear to be ready for “prime time.” Many lines were dropped, cues were not picked up, the pacing was languid, and most performers did not have clearly developed characterizations. Many of the ideas were sometimes hard to understand due to a combination of poor articulation and lack of projection.

The musical aspects of the play were lacking. The attempt by cast members to “fake” the playing of the band instruments, which was obviously being performed off-stage, was not successful, adding to the lack of believability of the performances.

Though Angela Gillespie-Winborn has a nice voice, she did not display the intensity and style that captivates audiences like the real Ma Rainey was capable of doing. She often feigned characterization by using set gestures to play with her hair, making faces rather than experiencing emotions, and lost concentration when she was not speaking, thus lessening her believability.

On the other hand, Michael May was focused and showed the proper intensity as the trumpet playing Levee. His speech telling the story of the rape of his mother and the hanging of his father was riveting. And Anthony Elfonzia Nickerson-El was effectively consistent in his character development as the intellectual, piano-playing Toledo.

Richard Gould’s multi-room set was well conceived and executed.

CAPSULE JUDGEMENT: Sarah May is one of the best area’s best directors. Unfortunately, she didn’t work her magic on ‘MA RAINEY’S BLACK BOTTOM.’ Maybe, as the show runs, and the actors get comfortable in their roles and learn their lines, the production will meld. On opening night, there was just too much wrong to get positively excited about.

2009 Dance Preview

Area dance presentations: Merce Cunningham, Verb Ballets, Ballet Hispanico,

Arts patrons will be happy to know that dance returns to the area with two internationally recognized companies and the “reconstituted” Verb Ballets. Presentations include:

MERCE CUNNINGHAM DANCE

Returning to Cleveland after 23 years, the Merce Cunningham Dance Company takes the stage on Saturday, January 31, 2009 at 8 p.m. at the Ohio Theatre.

Considered “the world’s greatest living choreographer,” American modern dance icon Merce Cunningham shows his remarkable genius with every performance of his company. Included is the highly lauded 1970s work, Second Hand, which advanced his reputation for exploring the relationship between dance and music through collaborations with contemporary visual artists and musicians. This influential work features costumes by renowned visual artist Jasper Johns and a score by John Cage, Cunningham’s longtime collaborator and close artistic colleague.

Admission to the performance ranges from $25 to $60. For tickets call 216-241-6000 or go online to playhousesquare.org or DANCECleveland.org. To purchase tickets as part of a subscription package for VIVA & Gala Around Town, contact the Cleveland Museum of Art’s Box Office at 800-CMA-0033 or online at Clevelandart.org.


VERB BALLETS

On Saturday, February 7, 2009, Verb Ballets performs at Chagrin Falls High School, in the beautiful new Performing Arts Center. The family-friendly program includes Pamela Pribisco’s Peter and the Wolf; Ulysses Dove's Vespers; Hernando Cortez’s Darkwood; and two works by famed Ohio Ballet founder Heinz Poll: Duet, a romantic pas de deux, and the propulsive, captivating Bolero.

Verb Ballets’ company of dancers includes Danielle Brickman, Ashley Cohen, Katie Gnagy, Michael Medcalf, Catherine Meredith Lambert, Erin Conway Lewis, Brian Murphy, and Anna Roberts.

Tickets are $20 for adults and $5 for students, and are available by calling the Chagrin Valley Little Theatre box office at 440-247-8955 or by visiting www.chagrinfoundation.org.


BALLET HISPANICO

Acclaimed New York City-based Ballet Hispanico comes to the Ohio Theatre in PlayhouseSquare for performances on Feb. 20-21 as part of a 16-city national tour.

This dynamic company, whose diverse choreography is infused with traditional Latin and Spanish movements, will perform at 8 p.m. Friday evening and at a 2 p.m. Saturday matinee, co-presented by DANCECleveland and Cuyahoga Community College. Prior to the Saturday matinee performance, a family festival at 1 p.m. in the Ohio Theatre lobby will showcase Latin culture with dancing, drumming and family activities. Tri-C will also host a free Showtime at High Noon on Friday for students from noon-1 p.m.

A highlight of the Friday evening repertory will be Tito on Timbales, accompanied by the sizzling Latin Rhythm Percussion Ensemble performing live on stage with the company. Other dances on the program include: Club Havana, choreography by Pedro Ruiz; Tres Bailes by Jean Emile; and Ritmo y Ruido by Ann Reinking.

The Saturday matinee will celebrate Ballet Hispanico’s 39th anniversary under the leadership of Founder Tina Ramirez with the revival of Stages. The company will also dance Tito on Timbales and Ritmo y Ruido.

For tickets call 216-241-6000 or go online at playhousesquare.org. For group tickets and for information about the Saturday matinee family festival call DANCECleveland at 216-991-9000

I LOVE YOU BECAUSE

Bouncy, spirited, charming ‘I LOVE YOU BECAUSE’ delights on 14th Street

Most productions presented as part of the Key Bank Broadway Series are touring companies of Broadway shows. Not so with ‘I LOVE YOU BECAUSE,’ the present offering. This show is home grown. The cast, the musicians, the director, the choreographer are all Cleveland based.

The story concerns obsessive compulsive Austin, a conservative greeting card writer, who discovers his girlfriend is cheating on him. In an attempt to get Austin out of his funk, Jeff, his not overly bright brother, takes him on a double blind-date. Enter Marcy, a free-spirited photographer, Austin’s exact opposite. At the same time, Marcy's best friend, the uptight actuary Diana, who is probably the logical choice for Austin, begins an unlikely affair with Jeff. And….well…their isn’t much mystery as to what’s going to happen, in spite of the numerous pitfalls. Emotional love wins out over logical logic!
The whole premise is well developed through Ryan Cunningham’s creative lyrics. For example, the last song of the show states, “I love you because you’re not the person I dreamed of at all. I love you because you make me feel like a fool.” Not exactly the usual lyrics of a love song. And, that’s the beauty of the show. In spite of the obvious conclusion, the whole thing works because it is logically illogical.
The show, in which Cunningham’s lyrics are set to sprightly music by Joshua Salzman, was first performed off-Broadway in 2006. The Big Apple run was followed by a British production.

The Cleveland offering is directed by Victoria Bussert, with creative staging and choreography by Martin Céspedes. Bussert, director of nationally praised Music Theatre Program at Baldwin-Wallace, is a magician in taking small musicals and making them shine. Think of her stagings of ‘BROOKLYN, THE MUSICAL,’ ‘BAT BOY,’ ‘SIDE SHOW,’ and ‘TICK, TICK BOOM.’ Her recent collaborations with Céspedes, such as Great Lakes Theatre’s ‘INTO THE WOODS,’ have a special sheen.

The entire cast of ‘I LOVE YOU BECAUSE’ shines. Especially endearing is young Corey Mach, he of “deer caught in the headlights” sparkling blue eyes, flushing face, and fine acting ability, added to a nice singing voice. He is wonderful as the obsessive, fidgeting, confused Austin. His “Maybe We Just Made Love” is charming.

Matt Lillo, as the well-meaning, but air-headed Jeff, is delightful. His many malapropisms are delivered with such natural sincerity, that the audience convulses as he tries to get “all his ducks in a line.”

Attractive Jessica Cope has a fine singing voice and gives just the right flair to Marcy. Her rendition of the ballad, “Even Though,” was charming.

Jodi Dominick (Diana), is properly “up-tight,” and develops the right nuances.

Kyle Primous and Ursula Cataan are mighty fine in multiple roles.

Matthew Webb’s musical direction is on target. He wisely keeps the instrumental sounds down, so that they underscore, rather than drown out the vocals.

Stan Kozak’s contemporary glass brick set looks good, but the constant shuffling around of furniture to represent the various settings gets tiresome.

CAPSULE JUDGEMENT: ‘I LOVE YOU BECAUSE’ is a total delight, a perfect entertainment escape from the cold and depressing Cleveland winter. Go, enjoy, you’ll feel great, have a smile on your face, as you come out humming the songs.

Blackbird

Must see, compelling, disturbing ‘BLACKBIRD’ at Dobama

Participating in the life changing experiences of the characters in Dobama’s ‘BLACKBIRD,’ in the intimate Studio Theatre of the Cleveland Play House, is a compelling and disturbing occurrence.

‘’BLACKBIRD,’ according to author David Harrower, was inspired, in part, by the real life story of Toby Studebaker, a former U.S. Marine who abducted a 12-year-old British girl in 2003. Though Studebaker seduced the girl via the internet, Harrower, in his play, changes the incident to a man who had a sexual experience with his pre-teen neighbor.

Harrower’s meticulous writing often consists of fragmented sentences, wordiness which signifies rambling of emotions instead of coherent thoughts, combativeness, conflicting ideas in the same speech, a slowly developing story that has the characters revealing details by describing incidents they seemingly know about, but really don’t. If you appreciate David Mamet plays, you’ll like Harrower’s works.

The play takes place fifteen years after the series of sexual incidents. Ray, the perpetrator, was convicted and sent to prison for six years, changed his name, and moved to another area. Una finds a picture of Ray in a trade magazine and traces him to his workplace.

The well-crafted script intentionally raises more questions than it answers. Why does she seek him out? Does she want to castigate him? Does she want to rekindle their “love?” Does she want to know why he abandoned her? Is Una mentally unstable, irrevocably damaged? Is it possible that a twelve-year old girl and a forty-year old man could fall in love with the adult not being guilty of abuse of power? Is Ray remorseful or a very clever criminal? Is he, was he, a pedophile? Did he take advantage of her, or was she wise beyond her years?

As Una tells the story of how she had to stay in the community as an object of public ridicule, Ray tells what he suffered in prison with the harsh treatment meted out by other prisoners to sex offenders. There is anger and hurt flying around as years of resentment are released and long unasked questions are answered.

The setting is a strewn lunchroom. Is the rubbish symbolic of the chaos of their lives because of the unfulfilled relationship? Is the trash representative of their messy feelings? Is the debris the residue of unfinished business?

The Dobama production, under the thoughtful direction of Scott Plate, is compelling. Plate has done his homework and seemingly understands the hidden underbelly of the author’s thoughts.

Both Joel Hammer (Ray) and Alyssa Weldon (Una) give exemplary performances. They inhabit their roles. The aren’t acting Ray and Una, they ARE Ray and Una. Uta Hagen, who portrayed Martha in the Broadway production of ‘WHO’S AFRAID OF VIRGINIA WOOLF’ once said of portraying that role, “It’s like having a nervous breakdown every night.” The same must be true for Hammer and Weldon. They have to be psychologically and physically exhausted following each performance. These are portrayals that everyone should see.

‘BLACKBIRD’ is a dark and beguiling play which stays with you. I wish that Plate had let the audience sit in the dark, following the harrowing final scene, and think about what they had just experienced. The quick lights up and the curtain call broke the emotional involvement in the journey on which Harrower, Plate, Hammer and Weldon had taken us.

CAPSULE JUDGEMENT: Dobama’s ‘BLACKBIRD’ is a must see production! That said, be aware that is not an easy play to sit through as the subject matter, the language, and the emotional closeness caused by the intimate acting area, makes the experience intense.