Review of the Reviewer (Tom Kuby)

Thank you for your insightful reviews; I learned a lot about what I saw; very illuminating. Thank you.

Tom Kuby

Shaw Festival 2009/review #1

A BITTERSWEET VISIT TO CANADA’S THE SHAW FESTIVAL

The Shaw Festival is conducted in 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 little city in Canada. Lovely flowers, classical home architecture and inviting well-stocked shops and galleries make for an inviting experience.

I have contended for years that THE SHAW is the best venue in North America for seeing classical theatre. It is therefore, with frustration that I found some of what I saw this season, less than expected.

‘TONIGHT AT 8:30,’ is a cycle of 10 short plays written by Noel Coward to be performed across three evenings. As Coward explained his purpose for the format, “A short play, having a great advantage over a long one in that it can sustain a mood without technical creaking or over padding, deserves a better fate, and if, by careful writing, acting and producing I can do a little towards reinstating it in its rightful pride, I shall have achieved one of my more sentimental ambitions."

He wrote the series for Gertrude Lawrence and himself in which to star. The Shaw decided to do the entire series, thus using up about half of their performance times. Maybe seeing some of the productions might have been fine. Staging all of them was overkill and may be one of the reasons the Festival’s attendance is down ten percent this year.
Of the seven Cowards that I viewed, I was most pleased with ‘STAR CHAMBER’ and ‘BRIEF ENCOUNTERS.’

‘STAR CHAMBER’ was the last of the ‘TONIGHT AT 8:30’ series written by the author. It is the only one intended to be shown separately. It is being presented as a noon-time offering. The show is a hysterical look at a meeting of the management committee of a theatrical charity to benefit a retirement home for destitute actresses. The committee consists of egocentric actors, who drive the fund’s financial director to distraction through constant interruption of his report by telling stories, breaking into song, gossiping and paying attention to the president’s huge Great Dane. One of the highlights is a songfest of “Mad Dogs and Englishman.” The cast is universally excellent and the direction Kate Lynch is right on the mark. Quickly paced and stressing the humor, this must be one of the season’s highlights.

Of the other Coward’s, ‘BRIEF ENCOUNTERS’ was the most pleasing overall. All three plays, under the adept direction of Jackie Maxwell, were well paced, hit the emotional highlights and captured the right “Coward” balance of sarcasm, ridiculousness and purpose. ‘STILL LIFE’ allows us to view the unexpected love affair between Alex and Laura, who accidentally meet at a train station when he, a doctor, takes a spec of dust out of her eye. Both, obviously in less than satisfying marriages, meet at the station over a period of twelve months. Theirs is a serious affair contrasted with the teasing, flirtatious relationship of Myrtle and Albert, two of the station staff. The ending is filled with pathos. The cast is universally excellent and the setting extremely effective, as we see the trains pull in and out of the station, a parallel to the lives of the transient lovers.

When it opened in 1936, ‘WE WERE DANCING’ was heralded as "a witty little piece.” It is full of ridiculousness and was a perfect acting, singing, and dancing vehicle for Gertrude Lawrence and Coward. The Shaw production is delightful. Two stylish people, Karl and Louise (a married woman), fall in love at a country club dance. They spend the night planning their future. In the morning, when they are tired and hungry, they realize that their love has died, and they have nothing in common. It is so, so British! And, so, so well done.

The last of the ‘BRIEF ENCOUNTERS’ trio is ‘HANDS ACROSS THE SEA.’ Two people “drop in” on a British upper class couple. Who are these guests? Who knows? Who cares? Commander Peter Gilpin and his wife Lady Maureen ("Piggy") Gilpin, have invited so many people to their home on their travels that they can't entirely remember who they invited, so the guests are there, and, as is the custom, are included in the goings on. Among the arrivals, departures, telephone calls and free-flowing alcohol, confusions abound. Rumor has it that the play mirrored the life of Lord Mountbatten and his wife, friends of Coward. As with the two other shows on the bill, this production is delightful, well conceived and acted.

In future reviews I’ll cover some of the less successful Coward productions, several GB Shaw plays (one outstanding and the other frustratingly weak), and a fine Sondheim’s ‘SUNDAY IN THE PARK WITH GEORGE.’

A VIEW OF THE SHAW FESTIVAL AREA

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. Be aware that these are quite expensive, even with the favorable exchange rate.

Helpful hint: To satisfy border requirements carry your passport. Right now, some of the officers are checking them, others are not. But, to be safe, carry it or you might become a resident of Canada.

For information on the Festival and tickets call 1-800-511-SHAW or online, SHAWFEST.COM.

Annie Get Your Gun

‘ANNIE GET YOUR GUN’ off mark at Porthouse!

‘ANNIE GET YOUR GUN’ was the first musical I directed. I go to productions of the show with fond expectations. Unfortunately, Porthouse Theatre’s present production of Annie didn’t totally fulfill my needs.

‘ANNIE GET YOUR GUN’ is a musical with lyrics and music written by Irving Berlin. The book was developed by Herb Fields and his sister Dorothy, who conceived the piece for the legendary Ethel Merman, the show’s first Annie.

It is basically a fictionalized version of the professional life of Annie Oakley, a sharpshooter from Cincinnati, Ohio, and her husband, Frank Butler. Its score includes such wonderful songs as "Doin' What Comes Natur'lly", "You Can't Get a Man with a Gun", "They Say It’s Wonderful.” And, depending on which version you see ,"Colonel Buffalo Bill", "I'm A Bad, Bad Man" and "An Old-Fashioned Wedding" may or may not be included. Even characters come and go.

Same show, different songs, different characters? Yes. Each time there was a revival of the show, there were changes.

The show’s history is filled with Broadway gossip and legends. Originally, Jerome Kern wrote the music, but he died and was replaced by Irving Berlin. The production’s show stopper, "There's No Business Like Show Business," was almost left out because Berlin got the impression that one of the producers did not like it. Ethel Merman only agreed to the 1966 revival if more focus was placed on her. Singing sections by Annie’s brother and sisters were dropped, a sub-plot involving the romance between Winnie, the sister of Frank Butler's assistant and Tommy, her part-Native-American boyfriend were dropped, along with two the show’s most endearing songs. Other tidbits include that Nick Jonas (of the now famous Jonas Brothers) played Little Jake in the 2001 revival and besides Merman, Annie has been portrayed by the likes of Bernadette Peters, Betty Hutton, Susan Lucci, Reba McEntire, Marilou Henner and Mary Martin.

With all that said, what’s with the Porthouse production? I found the pacing too languid, the musical numbers often lacking dynamism, the humor level weak and some questionable casting.
That’s not to say the production is terrible. It’s not. It just isn’t everything it could have been, which is surprising, as this is the kind of material that director Terri Kent usually does so well.

Beautiful and vocally talented Kayce Cummings is just too much of a lady as Annie. Even with dirty clothes and a smudged face and a gallant try to sound back woodsy, Cummings is just too classy. Fabio Polanco has a great singing voice, but is missing the charisma, the matinee idol looks and dynamic personality to make Frank Butler live. The duo doesn’t ever interpersonally connect and convince that they are really in love. Though their “Old Fashioned Wedding” is well paced, “Anything You Can Do” lacked fun. It was well sung, but not as delightful as necessary.

Brian Duncan sang well, but lacked any depth of character as Tommy, while Alyssa Bruno sparkled as Winnie. Their “fun” song, “Who Do You Love, I Hope,” was too automatic, not filled with mirth.

The always dependable Maryann Black was properly air-headed as Dolly and Marc Moritz was fun as Charlie Davenport. Black, who also served as the show’s choreographer, did a nice job of creating some clever numbers, especially her kneeling kick-line in the show’s opening. Unfortunately, she was blessed with a group of male dancers who were less than up to the task. (Talking about Black, has consideration been given to starring her in a production of ‘HELLO DOLLY’?)

Why Little Jake was played by a girl, I’ll never understand. The part demands an impish, scene stealing little boy.

As was the case in Porthouse’s opening show, ‘A FUNNY THING HAPPENED ON THE WAY TO THE FORUM,’ Jonathan Swoboda’s musical direction left much to be desired. The pacing lagged and there were instrumental problems, especially with the brass.

The special effects in the shooting scenes were lacking in creativity and “wow.” I missed the omitted Sitting Bull adoption of Annie ceremony, which includes the delightful song, ”I’m An Indian Too.”

CAPSULE JUDGMENT: As demonstrated by the standing ovation at the conclusion of the second-night-of-the-run production, audiences will enjoy ‘ANNIE GET YOUR GUN.’ For me, on the way home I envisioned the production that I know Terri Kent was capable of placing on the Porthouse Stage. It was great!

‘ANNIE GET YOUR GUN’ runs until August 9 at Porthouse Theatre . For tickets call 330-672-3884 or go online to www.porthousetheatre.com.

Mary Poppins (Playhouse Square/State Theatre)

‘MARY POPPINS,’ almost perfect in every way, flies into the State Theatre

“Anything Can Happen,” ”Chim Chim Cher-ee,” and “Let’s Go Fly a Kite.” Honestly, did you read those song titles and not have the tunes and words flowing through your head? Yes, ‘MARY POPPINS’ has come to town. And the event is so significant that the segment of Euclid Avenue, directly in front of the theatre, has been renamed Cherry Tree Lane (where nanny Mary Poppins comes to live in the Banks’ home, the setting for the musical).

Mary arrived accompanied by impressive sets, exciting special effects and very high expectations. Opening night found a packed theatre of adults and kids in the State Theatre to see one of the area’s most anticipated theatrical events of the year.

‘MARY POPPINS, is a musical based on a series of children's books by P. L. Travers and a 1964 Disney film. The stage version features the film's music and lyrics by the Academy Award winning Sherman Brothers, along with additional tunes by George Stiles and Anthony Drewe.

As Ian (9), one of the Kid Reviewers, who I bring along to give the youngster’s view of child friendly productions, stated, “This isn’t exactly like the movie.” He’s right, songs have been added, special effects like statues that come to life have been created, and some scenes have been dropped.

The amazing visual image--Mary flying over the heads of the audience up to the level of the balcony; Bert dancing vertically up the side of the proscenium arch, hanging upside down as he moved across the bottom side of the arch, then down the other side; a lark being set free by Mary to fly over the heads of the audience, and the chimney sweeps dancing on the roofs of houses, all add to the awe-factor. It’s those special moments that make this, the live version, superior and more involving than the movie.

Don’t go expecting to see an enduring musical. As Alex (13) the other Kid Reviewer said, “The plot isn’t great, but the music and the lyrics and the production qualities, are.” Without the gimmicks, the script doesn’t hold well. The first act drags a little. The second act is the fun of a giant amusement park ride!

The Cleveland presentation, which is the first stop on the show’s national tour, is well done. The cast includes the two lead actors from the Broadway version.

Ashley Brown, who Clevelanders saw in the world premiere of the national tour of ‘ON THE RECORD,’ is wonderful as Mary. Brown has a lovely voice and much stage presence. Some may be surprised because she is not the warm and fuzzy nanny that some imagine. As written in the books, she is a very structured woman, who has the whimsy and creativity to let a spoon full of sugar make the medicine go down. Mary Poppins is explained in the song “Practically Perfect” and that’s the character Brown presents.

Gavin Lee, a Brit who plays Bert, is delightful. He lights up the stage each time he smiles. His dancing and singing are high quality. His “Step in Time,” was one of the many show stoppers. Other crowd pleasers were, “Jolly Holiday” and “Supercalifragilisticexpialidocious,” which turned into a sing-along with the words written on a front curtain.

“Feed the Birds,” was tenderly delivered by Mary VanArsdel.

The boys gave the show an 8 out of 10, making it pretty high on their “like” list. They both agreed that “girls will probably like it better than boys, but boys will like all the fly and theatrics.”

CAPSULE JUDGEMENT: Go see ‘MARY POPPINS’ for the sheer joy of the music, the production shticks and the feel good quality. You’ll leave smiling and knowing that you have seen a show that was staged with audience pleasure in mind.

The Shadow Box

‘’THE SHADOW BOX’ emotionally draining at CSU

“This lifetime doesn’t take forever.” “Every life has to make sense on its own terms.” With these two sentences ringing in my ears, and emotions welling, I left Cleveland State University’s 2009 Summer Stages production of ‘THE SHADOW BOX.’

Michael Cristofer’s ‘THE SHADOW BOX came to Broadway on March 31, 1977, with a cast that included, Mandy Patinkin and Geraldine Fitzgerald. It went on to win a Tony Award for Best Play and a Pulitzer Prize for Drama. The script was made into a television movie in 1980, which was directed by Paul Newman.

In the act of shadow boxing, a person fights with an imaginary opponent, often while encased in a psychological container, which holds his/her thoughts and may allow others to look inside. Since in Cristofer’s play we get to “eavesdrop” into the lives of three terminally ill patients as they live the last weeks of their lives in hospice cottages on the grounds of a hospital, the title is quite appropriate.

Adding to the shadow box effect is the writer’s device of having the characters sitting on an isolated stool and being asked questions about the dying process by a voice which represents the audience’s thoughts. And, there is also the fight each is having, boxing with the illusion of their upcoming death.

It helps in viewing the play to be aware of Elizabeth Kubler-Ross’s theory of the five stages which a person, and those in relationships with them, often go through when diagnosed with a terminal illness. These stages are: denial (“This can’t be happening”), anger (“It’s not fair”), bargaining (“I’ll do anything not to die”), depression (“There is no point of treatment”) and acceptance (“I accept that my life is over”). As we watch ‘THE SHADOW BOX,’ we see the participants in or transition into these stages.

Joe, a middle-aged, blue-collar family, man has accepted his fate, but his wife Maggie is in denial. She refuses to even step into the hospice cottage as this action will take her into acceptance.

Brian, a bisexual English professor is being cared for by his lover, Mark. Each appears to be in acceptance, yet Brian is escaping into a world of illusion by submerging himself into nonsensical writing. And, when forced to face reality during a visit by Brian’s ex-wife, Mark shows that he is actually in depression. His reality climaxes in a brilliantly written monologue which, in part says, “We are dying here, lady. That's what it's about. Brian looks at me and I can see it in his eyes. One stone slab smack in the face, the rug is coming out from under, the light is going out. It's sick and putrid and soft and rotten and it is killing me.”

And then there is Felicity, a crusty old woman who has been living a life of delusion, a delusion that is keeping her alive.

CSU’s production, under the direction of Everett Quinton, hits most of the right notes. The pacing is good, the emotional levels held in proper check, the intensity is well defined. The staging, in which we see all three families working in the same set, at the same time, yet in isolation, is extremely creative. The weakness is the lack of balance in the level of acting between the Equity cast members and the student performers.

Greg Violand (Brian) walks his character’s fine line between reality and escapism. He is totally believable as the intellect who attempts to fool both himself and all about him, that he has accepted his fate.

Tom Woodward (Joe), looking gaunt and gray, is totally natural in his characterization. The emotional strain between Joe and his wife Maggie is like viewing a tightly pulled rubber band, ready to snap, with each actor on an opposite end. Ursula Cataan is totally on target as the denying wife.

Story Comeaux, as Beverly, Brian’s flighty ex-wife, who keeps her emotional distance from the death issue, has some excellent scenes. Lydia Chanenka, (Felicity), the strongest of the non-professional cast members, is appropriately pathetic as the old lady.

The rest of the cast is acceptable, but not outstanding. Justin Steck, does fine as the unseen narrator, but is on the acting surface when he appears before our eyes. Randy Muchowski as Mark, is fine in most of his scenes, but doesn’t have the acting depth to plumb out what should have been the play’s most emotionally wrenching monologue. (Oh, to have seen the then young Mandy Pantinkin wring pathos out of that speech.) Denise Astorino as Agnes, Felicity’s daughter, gives a properly emotional portrayal. Charles Hargrave has little to do as Joe and Maggie’s son.

Don McBride’s set design works beautifully, Dennis Dugan’s lighting was spotty. In some scenes there were light spillages that allowed for the wrong actors to be highlighted, and, at times, light shone into the eyes of audience members. Alison Garrigan’s costumes hit the 1970s well. It would have been helpful if the program had indicated the date of the play so that Garrigan’s clothing didn’t have to carry the whole burden.

The selection of “Don’t Sit Under the Apple Tree” as the play’s final music, was era and emotionally wrong. It is a 1942 song (incidentally, written by Clevelander Sam Stept), which came on loud and sprightly after the play’s serious emotional ending, jarring the audience’s senses.

CAPSULE JUDGEMENT: ‘THE SHADOW BOX’ is a very well written, purposeful, and emotion-laden script. It gets a very serviceable production at CSU, that is worth seeing.

RETURN TO THE FORBIDDEN PLANET

‘RETURN TO THE FORBIDDEN PLANET” a silly delight at CSU

The theatre people at Cleveland State University are trying to tell us their 2009 Summer Stages’ ‘RETURN TO THE FORBIDDEN PLANET,’ is a musical version of Shakespeare’s ‘THE TEMPEST.’ Well, don’t believe them. What it is, is a zany blend of faux Shakespeare (think of it as Fakespeare), mixed with science fiction, a whole canon of quips and puns, all highlighted with rock-and-roll hits. This is a zany hoot!

Don’t attend with any idea that you are going to take the goings on seriously. Go expecting to get beach balls thrown at you. Balls which will continue to be tossed about by the audience, while you are holding your hands on your head, doing squats, and trying to stop from laughing at the ridiculousness.

The hardest thing to believe about the whole experience is that this bizarre show won the 1990 Olivier Award (the British Tony Award) for Best Musical, beating out ‘MISS SAIGON.’

This is the kind of script and production that cult shows are made of. Think ‘THE ROCKY HORROR SHOW,’ ‘EVIL DEAD’ and ‘SPAMALOT.’

This is the “tale of the future.” Well, actually the past of the 1950s when the atomic bomb had everyone scared, Mad Scientists ran amok, and fear was in the air. Fear of fear of science, fear of sex, fear of the Russians, fear of ourselves, and the fear of rock and roll! It was a time when the most innocent lab experiments could result in giant monster bugs and mutated humans.

Specifically, we participate as the crew of a routine spaceship flight is drawn mysteriously to the planet D'Illyria where mad scientist Doctor Prospero and his lovely daughter Miranda are marooned. (Sounds like a 1950 black and white television show, huh?)

For music, conceiver Bob Carlton uses many rock and roll oldies, which are dropped in between lines, often for no reason. Songs include “Great Balls of Fire,” “Shake, Rattle and Roll,” “Don't Let Me Be Misunderstood,” “Good Vibrations,” and “Only the Lonely.” I defy you to stop your bouncing legs and swaying bodies as musical director/keyboardist John Kroll, and the “ship” musicians, wail.

The CSU production, under the creative direction of Michael Mauldin, is well staged and has all the right ridiculousness needed to make this a fun production. Lynn Deering’s fine choreography adds to the hilarity.

The cast is universally excellent. Handsome Lew Wallace plays the Ken doll-like thick-headed, emotion absent, captain of our ship, with the right degree of seriousness. He has a fine singing voice and dances well. Greg Violand, he of great singing voice, whose career has seen him transition from ingénue to nasty old man, is properly fake-evil as scientist Prospero, who gives his life to “save us.” John Paul Soto sparkles as a endearing roller-skating robot. Tracee Patterson sings and mugs her way through the role of the bad/good Gloria. Her limp rag doll segment is nothing short of hysterical. The rest of the cast is up to the task of creating the right degree of the faux seriousness. This is a difficult undertaking, because there is often a temptation in this type of show to over- do the action. This would have brought about a less comic result.

Don McBride’s set (with the exception of a door design flaw which caused problems on opening night), Alison Garrigan’s costumes and properly horrific wigs, Dennis Dugan’s lighting and Jim Swonger’s sound designs all enhance the production.

CAPSULE JUDGEMENT: ‘RETURN TO THE FORBIDDEN PLANET’ is a laugh delight at CSU’s 2009 Summer Stages. This is a must go-see for summer entertainment!

Goodspell

Updated GODSPELL appealing at Mercury Summer Stock

‘GODSPELL,’ now on stage at Mercury Summer Theatre, has a strong Cleveland connection. This is often overlooked in the stories about the rock musical which is based on the Gospel According to St. Matthew, and supposedly tells the story of the last seven days of Christ's life..
Playwright John-Michael Tebelak was a 1966 graduate of Berea High School. At age 22, while a student at Carnegie Mellon University, he wrote the script as his masters thesis project.

As legend goes, Tebelak, who had thoughts of becoming an Episcopal minister before he decided to become a theatre director, had attended an Easter service in Pittsburgh and was struck by the lack of joy and celebration in the service, as well as by the personal hostility he felt from some of the older churchgoers because of his clothing and long hair. To put this in perspective, remember, this was the height of the Vietnam War, the hippie/peace movement, and the open clash between generations.

He dropped out of college, completed the musical, eventually hooking up with musical composer Stephan Schwartz (who would eventually go on to write ‘PIPPIN,’ ‘WICKED,’ and “CHILDREN OF EDEN’). The rest is theatre history. Working with Schwartz they retained the song "By My Side" from the original version, and wrote the rest of the score during preparations and rehearsals for the off-Broadway production.

The show opened Off-Broadway on May 17, 1971. Ironically, in August of that year, Tebelak directed a production of the script at the Great Lakes Theatre Festival, which was then housed in the Lakewood High School Auditorium.

John-Michael returned to Berea to direct the 10th Anniversary production of ‘GODSPELL’ at Berea Summer Theater in the summer of 1980. He subsequently directed ‘CABARET’ there in the summer 1981. He was named an Outstanding Ohioan by then-Governor John J. Gilligan.
The musical is noted for its score, which is a mixture of rock, folk, pop and Broadway and includes “Day by Day,” “Learn Your Lessons Well,” ”Light of the World,” and “By My Side.” Some of the lyrics are original, with others taken from either the BIBLE or the 1940 EPISCOPAL HYMNAL.

As conceived by Tebelak, in his attempt to add joyousness to the proceedings, the cast is traditionally dresses in clown-like costumes, or tie-dye materials which were popular during the “hippie” era. The Christ figure often has a Superman logo on his chest.

Since Director Pierre-Jacques Brault has added all sorts of references to today’s world, to modernize the parables, his cast is dressed in 2009 casual clothing. The likes of American Idol, Bernie Madoff, Kevin Bacon, Donald Trump and Sarah Palin get referenced. The setting is a school library, which allows for some creative, if overused, use of tables to create visual levels and walkways on the stage. Brault has some cast members seated within the audience and singing so that there is a feeling that the “congregation” is participating in the action.

Brault’s staging and choreography are sprightly and well-conceived.

The cast, mostly made up of young college students, creates many good vocal blends, though individual voices are not always good. Standouts include Sara Masterson who has a pretty voice and makes for an adorable disciple, and Jen Myor who also sings well. The musical renditions and staging of “All for the Best,” “We Beseech Thee,’ and “All Good Gifts” are excellent.

Since the main story is displayed in the subtext, the way the players interact with their leader and come together to create a loving community, the Christ figure must have a special charisma. Unfortunately, though he tries hard and has some appealing qualities, Zach DeNardi neither has the emotional presence or the voice to pull off the role. It was obvious that he, and Brian Marshall, who has both the fine singing talent and the required charisma, should have reversed roles.

Eddie Carney’s musical direction and his pit orchestra were excellent. Zach DeNardi’s set design, with library wall’s covered with philosophical phrases was engaging and appropriate.
The use of visuals to create a worldly meaning to the death of Christ at the end of the show were more distracting than appealing.

CAPSULE JUDGEMENT: Though John MichaelTebelak died on April 2, 1985, at age 35, he will long be remembered for giving the world of theatre a major work that can be staged by and for groups of all ages. I think he would have approved of the updates and staging at Mercury. Yes, it’s all for the best!

The Odd Couple

‘ODD COUPLE’ delights at Porthouse!

Neil Simon, author of ‘THE ODD COUPLE,’ which is now on stage at Porthouse Theatre, is known as the Crown Prince of Broadway Comedies. He authored 33 shows that appeared on the Great White way, with the first, ‘COME BLOW YOUR HORN,’ opening in 1961. Since then, he has garnered seventeen Tony nominations and won three. He won the Pulitzer Prize for ‘LOST IN YONKERS.’

Historically, Simon set a record in 1966 when he had four shows running on Broadway at the same time: ‘SWEET CHARITY,’ ‘THE STAR-SPANGLED GIRL,’ ‘THE ODD COUPLE,’ and ‘BAREFOOT IN THE PARK.’

‘THE ODD COUPLE’ was not only a Broadway hit, but became a successful film, television series, and animated cartoon. There was also a female version of the script.
The plot concerns two mismatched adult male roommates, one neat and uptight (Felix), the other more easygoing but slovenly (Oscar).

The original show, directed by Mike Nichols, ran for 966 performances and won several Tony Awards, including Best Play.

Well known stars who have been seen in the various versions include Tony Randall, Jack Klugman, Walter Matthau, Jack Lemon, Martin Short, Matthew Broderick, Nathan Lane, Art Carney, Sally Struthers and Rita Moreno.

The success of the play is also one of the weaknesses of putting it on a theatre’s production schedule. Because of its popularity, it has been done extensively by summer stock, community theatres and educational institutions. It’s been staged to death. In the last several months, for example, it’s been performed at least three times in the Cleveland area.
So are audience’s tired of the show? From the reaction of the opening night assemblage at Porthouse, the answer must be no. Well, it may be yes, but the Porthouse production, under the adept direction of Rohn Thomas, and a stellar cast, could make a staged reading of the telephone book appealing.

Thomas pulls out all the stops. He combines the comedy lines with farce shticks, making the production hilarious. There are the Keystone cops, Abbott and Costello, and the Marx Brothers rolled into one. Think of the speed and exaggeration of British farce complete with door slamming, a chaotic race through multiple swinging doors, a plate of spaghetti (excuse me, linguini) splattering on a wall, and over done angst, and you have a picture of the goings on.
This is one of the best productions of the script I’ve ever seen, and believe me, I’ve seen a lot of them.

Eric van Baars is nothing short of hysterical as Felix, the up-tight, hypochondriacal, drama queen. It’s not only fun to watch him in action, but since he is on the theatre faculty at Kent State, and many of his students were present on opening night, it was a hoot to see his cherubs, watching their mentor appropriately making a total fool of himself.

John Woodson gives his own take to the role of slovenly Oscar. He doesn’t overdo it the way that others have. His underplay makes van Baars’ out-of-control Felix even funnier.

Elizabeth Ann Townsend and Katherine Burke are delightful as the Pigeon sisters, the odd couple’s British neighbors. Their squealing, laughing and feigning were right on target.
The rest of the cast, Paul Floriano (Speed), Chuck Richie (Murray), Tony Zanoni (Roy), and Arthur Wise (Vinnie) are all character right. Richie displays wonderful comic timing.
Things went so well on opening night that even the set changing crew got applause on their exits.

CAPSULE JUDGMENT: ‘THE ODD COUPLE’ has been performed and performed, but few, if any of those productions, compares to the wonderful version appearing on the Porthouse stage. If you want to laugh and laugh a summer evening away, get thee to the theatre on the grounds of Blossom.

Little Shop of Horrors

‘LITTLE SHOP OF HORRORS’ okay but not 'EVIL DEAD THE MUSICAL’

Several weeks ago ‘EVIL DEAD THE MUSICAL’ opened at Beck Center. My capsule judgement of the show stated: “If you want to go to the theatre and have a great old time and escape from reality, see ‘EVIL DEAD THE MUSICAL.”
My view wasn’t alone…the show has become a cult hit with viewers returning again and again. Its run has been extended once again. (For ticket info and dates call 216-521-2540.)

I wish I could have the same enthusiasm for Beck’s present production, ‘LITTLE SHOP OF HORRORS,’ but I can’t. First, in spite of the show having won several awards, I don’t like the script. It just isn’t as far-out as it could be considering the creative concept. Second, the music, though at times delightful, is not of consistent quality. The history of the show proves this. The original cast album omits the songs "Call Back in the Morning", and "Somewhere That's Green" (reprise), and only had abridged versions of "Now (It's Just the Gas)," "Mushnik and Son," and "The Meek Shall Inherit." “Call Back” isn’t even in Beck’s production. This tinkering with a show, after it has opened, doesn’t happen in a well scored show.
‘LITTLE SHOP OF HORRORS’ is a rock doo-wop musical by composer Alan Menken and writer Howard Ashman, about a hapless and geeky florist shop worker who raises a plant that feeds on human blood. As the plant demands (yes, it talks) more and more blood, the plot thickens.
The musical, which is based on the low-budget 1960 black comedy film of the same title, premiered on May 6, 1982 in an off-Broadway theatre, and never moved uptown. It closed on November 1, 1987, after 2,209 performances, making it one of the longest running off-Broadway shows.
I saw the show in its off-Broadway run and wasn’t overly impressed. Four or five additional viewings in various venues still hasn’t made me a fan.
My evaluation of the Beck production must be tempered by the fact that I saw a dress rehearsal and not a full-fledged production. What I saw was pleasant enough, with a promise for improvement when the cast settles in and has audience reaction experiences.
Director William Roudebush has appropriately pushed for farce. Again, as the cast gets comfortable with the material, I assume they will totally let loose and just play for fun, which is what the concept requires.
Tim Allen plays Seymour, the “conceiver” of Audrey II, the blood devouring plant. As he admits in the program, he is a natural nerd and a socially inept romantic. He, of very skinny body, awkward gait, and thin voice, is perfect for the role. Meg Maley, who plays Audrey, the stereotypical dumb blond, looks the role, but was often difficult to hear in her vocals and the screeching speaking wears on the nerves at times. Her walk is “Judy Holliday” perfect. Connor O’Brien, Audrey’s dentist boyfriend, is not snarly enough as a sadistic abuser. The Urchins, a doo-wop vocal trio consisting of Katrice Monee Headd, Tonya Broach and Taresa Willingham, are talented and fun. Their versions of the “Prologue/Little Shop of Horrors” set a nice opening tone. I would have liked a more commanding playfulness from Darryl Lewis, the voice of Audrey II.
Larry Goodpaster’s musical direction and Michael Metcalf’s choreography were fine. After the show runs for a while maybe the set moving crew will master the intricacies of Don McBride’s scenery. During the preview, they had a lot of trouble getting the pieces moved in time for the next scene. No credit was given for who created Audrey II, but whoever did deserves a special round of applause.
Is it youth friendly? My 13 year-old grandson Alex, the “Kid Reviewer,” was not overly enthusiastic. He didn’t think there was enough fun to hold a tween’s attention, but did recognize that things could improve as, “we only saw a rehearsal and you can’t expect it to be perfect.” His remarks concluded with, “This was not my favorite show.”

CAPSULE JUDGEMENT: ‘LITTLE SHOP OF HORRORS’ is not a great script. From my preview viewing perspective, it is getting an acceptable production at Beck.

Groundworks 6/09

Groundworks great at Cain Park!

Groundworks has, since its inception 11 years ago, continued to prove that it is Cleveland’s premiere small troupe dance company. Their programs continue to be focused, challenging and well-performed. If possible, they outdid themselves in their recent Cain Park three-peat performance.

The Cain Park program consisted of three top notch works. ‘Allow,” choreographed by Artistic Associate Amy Miller, which, like Miller, was strong, purposeful and powerful. Initially performed with little physical interaction and touch , the dancers used static and gymnastic moves to eventually blend together, effectively executing lifts, and flying bodies to create an exhausting gymnastic number that well paralleled the atonal sounds of Dennis Dugan.

Choreographed by Alex Ketley, to the music of Bon Iver and Phillip Jeck, “For You,” was a flowing, interactive, audience pleasing creation. Really two dances of different style and purpose, the first segment was high powered, the latter a emotional section which was tenderly danced by Miller and Kelly Brunk. The ending was met with a screaming reaction of approval from those in attendance.

Shimotakahara’s “Boom Boom,’”in its world premiere, is a wonderful new addition to Groundworks’ repertoire. Danced to eight different musical pieces, each developed a unique perspective of jazz sounds and interactions between people. Highlight segments found Shimotakahara vertically dancing on the side of a wall in “Black Mattie.” Sarah Perrett and Damien Highfield climbed on, over and beneath each other while interpreting “Sitting on Top of the World.“ In “Today I Sing the Blues,” Felice Bagley and Brunk performed the entire piece without losing contact with the theatre’s back wall…quite a dance accomplishment.

When it has been necessary to “restock” his company, Artistic David Shimotakahara has an eye for picking new performers that fit the perfectionist mold of the troupe. His latest find is Kelly Brunk. Tall and handsome, with a sparkling personality that lights up the stage, the lanky blonde is in control of his body at all times. His lifts, gymnastic moves, gestures and eye contact, are well performed and purposeful. He’s a wonderful addition to Groundworks, as was Sarah Perrett, a short time ago.

Capsule judgement: Danceworks’ Cain Park 2009 performance was a total delight. What a treat! It was dancing and choreography at its best! Bravo!

Pangs of the Messiah

Sadness and frustration greet final curtain at JCC’s ‘PANGS OF THE MESSIAH’

As the stage went dark at the Brooks Theatre following JCC’s production of ‘PANGS OF THE MESSIAH,’ I was struck with a feeling of sadness. Having been an active member of the Jewish Community Center’s theatre program, both acting and directing plays on the stage of the Halle Theatre, and it’s predecessor, the storefront on Lee Road, I was struck with the realization that the days of “Jewish” theatre in Cleveland was probably coming to an end.

When the Mandell JCC was built without a theatre, and the Mayfield JCC was destroyed by the wrecking ball, and the staff members of the theatre program were let go, the end was in sight. Now, unless there is an unexpected about face, the end is here. How sad that the voice of Jewish oriented plays has been snuffed out.

My other feeling after PANGS ended was frustration. Watching a play about a peace potential in Israel, and the prospective consequences of following the paths available, and realizing that all of the hopes and dreams of those who desire a true peaceful homeland for the Jewish people, may potentially be leading to another holocaust, is not a pleasant thought. On the way to our car, my wife and I talked about the play and what may well be a hopeless situation. As we drove home, we fell into a pall of silence as we were consumed by what appears to be a problem with no ideal solution or maybe not even a hopeful solution.

‘PANGS OF THE MESSIAH,’ a play by Israeli playwright, Motti Lerner, was originally written in 1986 and performed in Tel Aviv. Its English translation premiered at Theatre J in Washington, in 2007. It had a staged reading in Cleveland.

Set in 2012 amidst the signing of a peace treaty between Israel and the Palestinians, the script is an apocalyptic yet human drama which centers on a group of religious West Bank Jewish settlers pitted against an Israeli leadership they feel betrayed by. The family not only finds itself torn between fighting to stay in their settlement, but obeying their government’s decision to dismantle it. In addition, they are caught between realism versus philosophy.
Lerner doesn’t attempt to provide answers to the unanswerable. This may frustrate some, but it is reality. He avoids the temptation to demonize, leaving us with frustration and a sorrowful meditation on how it might all end. “Questions are over,” Shmuel (the rabbinical leader of the community) says early on. “Maybe there’ll be some answers.” Yes, maybe, but we come to the conclusion that the answers may not be the ones that those who are interested in the welfare of the Jews of Israel, and the state itself as a homeland for the Jewish people, want. The play is not for those wanting escapist theater. This is reality. It is scary and provocative.

The JCC production, under the direction of Scott Plate, is generally well done. It is apparent that the time the production team spent with the playwright, rabbis and Jewish consultants, has helped in using the correct rituals and understanding the plight of those living on the West Bank. What makes this most impressive is that many members of the cast are not Jewish.

Laura Carlson Tarantowski’s scenic design and Amber Michalak’s painting of the background sets a correct mood. Stan Kozak’s sound effects, especially the sound of the barking dog and the Kol Nidrah chanting at the conclusion, enhances the effect.

One might ask why several characters use accents since it seems apparent that everyone is speaking in Hebrew, though we hear them in English. This stage effect becomes even more frustrating as the accents come and go.

Strong performances are put in by Charles Kartali as Shmuel, Jean Zarzour as his wife, Karon Sabo as his daughter-in-law, Amy Pawlukiewicz as his daughter, and Ryan Jagru, as Shmuel’s conflicted son-in-law. Ethan Rosenfeld is outstanding as Nadav the autistic son whose simplistic obsessive mannerisms mirror the narrowness of the situation, yet mirror the breath and frustration of the conflict. On the other hand, Neal Poole is a overly whinny as Benny’s father and Mark Mayo’s characterization of Avner (Shumuel’s oldest son) comes and goes.

CAPSULE JUDGMENT: And, so, it appears we say goodbye to the Jewish Community Center’s long running theatre program. At least it will be remembered for closing with a thought-provoking well conceivedproduction.

(Thanks to Roe Green for her continued generous support for the JCC arts program.)

A Funny Thing Happened on the Way to the Forum

A fun, “A FUNNY THING’ lights up Porthouse Stage!

From the time I saw ‘A FUNNY THING HAPPENED ON THE WAY TO THE FORUM,’ several days after its 1962 opening, it’s been my “feel good” musical. Whenever I need a happy fix, I put on the cd. Just hearing Steven Sondheim’s music and lyrics to “Comedy Tonight,” “Free,” “Lovely,” and “Pretty Little Picture,” makes even the most overcast day glow.

‘A FUNNY THING’ is now on stage at the Porthouse Theatre. Though not a perfect production, nothing that director Terri Kent and her cast do, diminishes my love of the show.

Inspired by the farces of ancient Roman playwrights, its a bawdy story of a slave named Pseudolus and his attempts to win his freedom by helping his young master woo the girl next door. In this case, the girl next door isn’t a sweet innocent, but a virgin prostitute (go figure). The show contains all the elements of farce. Yes, there are lots of double sexual entendres, slamming of doors, mistaken identities, unrealistic plot twists, and the freedom for actors to just let loose and do vaudeville shticks.

The Broadway production won several Tony Awards, including Best Musical and Best Book. It ran nearly 1000 performances and has had many revivals and evolved into a successful movie.

Broadway legends about the show include that the show's creators originally wanted Phil Silvers in the lead role, but he turned them down, allegedly because he would have to perform onstage without his glasses, and his vision was so poor that he feared tripping into the orchestra pit. Milton Berle also nixed the project. Then, along came Zero Mostel, who not only was the show’s star, but became a Broadway legend for not only this show, but for his Tevya in ‘FIDDLER ON THE ROOF.’

This was Sondheim’s first Broadway attempt at writing both words and music and opened the doors for another star to emerge.

Porthouse’s production is delightful. Nick Koesters makes the role of Pseudolus his. This is not a Mostel imitation. He plays with the words, the lyrics, the audience.

Eric van Baars’ creative choreography helps with the quick pace, visual hysteria and general fun mood as did Rayna Middleton’s costume designs.

Koesters is well supported by J. P Makowski as Hysterium, who lives up to his hysterical character name, and Marc Moritz as Senex, a hen-pecked husband. Sarah Roussos, she of beautiful face and glorious voice, as Philia, the virgin, adds the right touch of fun with her wide-eyed stupidity. The male dancers were great, as was Mark Monday, as the old man in search of his lost children. He got cheers for doing nothing more than stumbling across the stage and counting the number of times he “walked around the city.”

On the other hand, though he has a great voice, Brian Keith Johnson, didn’t totally sell his uber-machoness as Miles Gloriosus, the Roman general. Melissa Owens wasn’t shrewy enough as Domina and Brian Duncan, who has a very pleasing voice, wasn’t beguiling enough as Hero, giving a surface level performance. Jonathan Swoboda’s musical direction was highlighted by some squealing brass, especially in the overture.

In spite of the minor flaws, the results are so fun-making that a woman behind me moaned, between howls, “I think I just wet my pants from laughing.” My 13 year old grandson was grinning from ear to ear as he watched the hysterics.

CAPSULE JUDGMENT: ‘A FUNNY THING HAPPENED ON THE WAY TO THE FORUM’ is a great summer entertainment and the production calls out for going to the theatre and having a good time! It’s worth attending for no other reason than seeing Nick Koesters, do his “thing.”

Cinderella

Creative ‘CINDERELLA’ at Mercury Summer Stock

Mercury Summer Stock, which is now staging Rogers and Hammerstein’s ‘CINDERELLA,’ lists itself as “a professionally based, not-for-profit, and community-supported theatre. Located in Parma, it basically serves the west side communities by offering low-cost plays, which are usually family friendly.

Recently, MSS added a “My First Musical Program” to its program. It is intended to make the theatrical experience open to children who, because of financial and other issues, would not normally be exposed to live stagings. As evidenced by the young lady, who, at a special Wednesday early evening performance, spent most of the second act of ‘CINDERELLA’ hanging onto the edge of the stage and who immediately followed Cinderella and Prince Charming down the aisle at the close of the show as they exited to the lobby to spend time interacting with the audience, the concept worked!

‘CINDERELLA’ is the only Rodgers and Hammerstein musical written for television. It was originally broadcast on March 31, 1957 as a vehicle for Julie Andrews, who played the title role. It is based upon the fairy tale of the same name, which concerns a young woman forced into a life of servitude by her cruel stepmother. With the help of her Fairy Godmother, Cinderella is transformed into a Princess and finds her Prince. The stage musical contains all the elements that make for a dream-like fantasy, including a prince, a pumpkin which becomes a carriage, a glass slipper, and a fairy god mother. And, of course, there is the must have “happily ever after” ending.

The melodic score includes: “The Sweetest Sounds,” “In My Own Little Corner,” “Impossible; It’s Possible,” “Do I Love You Because You’re Beautiful,” and “A Lovely Night.”

The Mercury Summer Stock production, under the direction of Pierre-Jacques Brault, with musical direction by Eddie Carney (who accompanies the singers on the piano), is quite creative. Brault has a nice flair for the bizarre and uses the piano, which is set center stage, as the stage coach, uses puppets for the mice who become the coach’s horses, adds ingenious costumes, and incorporates extensive physical and verbal farce.

I saw the show during a special staging aimed at children. This affected the performance. For example, Rob Gibb, who plays the cross-dressing wicked step mother, and Brian Marshall, who portrayed the Herald (court jester) were quite tame during the performance. This, according to Brault, was intentional as he was afraid the children wouldn’t get the extended farce. In reality, I thought the duo should have over done what they normally did in performance, as the kids giggled with delight when something was over-exaggerated, such as the actions of the wicked step sisters.

As is my pattern, since this show was child friendly, I took the “Kid Reviewers,” my grandsons Alex (13) and Noah (12), to see the production. They liked the farce, thought that the singing voices were generally okay, but that almost all of the performers needed to project more. (We were in the third row and often couldn’t hear the words.) “Maybe,” said Alex, an accomplished pianist and member of the Cleveland Orchestra’s Children’s Chorus, “the pianist should have played more softly, but it’s really the responsibility of the cast to sing loud enough.” Both boys thought that in the movie version, the special effects helped make the production more visually appealing, but realized that the special effects couldn’t be done on stage. They both would have liked the stepmother and the Herald to “play around more.” Noah, in particular, thought the choreography was excellent. They liked the step sisters “a lot.” Alex gave the show a 7 on a scale of 10, Noah a 6, with the recommendation that the story was mainly aimed at those 8 and under, and was of interest “mainly to girls.” From my perspective the boys were right on.

Nicholas Varricchio has the right physical attributes to be Prince Charming. He has a nice singing voice, but was often difficult to hear. Emily Grodzik was generally charming as Cinderella, but had vocal projection problems. Kelvette Beacham and Jennifer Myor were delightful as the bickering stepsisters. Their plastic wigs in the ballroom scene, were a hoot and their ‘Stepsister’s Lament” duo was fun.

CAPSULE JUDGEMENT: Mercury’s ‘CINDERELLA’ is a very pleasant evening of summer theatre, well tailored to children. Be sure to read both the adult and children’s versions of the program. The latter is delightful. Who knew that Brault was an ‘ALICE IN WONDERLAND’ expert, Prince Charming wants to be a Dalmatian when he grows up, and the Herald wants to grow up to be a French fry.

Summer Previews--2009

Summer is coming and there’s gonna be a lot of dancing and acting going on!

In spite of the downturn in the economy, there’s a lot of local theatre and dance that’s going to take place. Here are some of the offerings:

CAIN PARK

New Play Festival—presentations of scripts by Cleveland playwrites
Fri June 19 – ‘DROWNING THE FLAME’ by Michael Oatman. Rival Hip Hop artists struggle to win the affection of a successful Hollywood actress.
Sat June 20 –‘ BEING EARNEST’ by Deborah Magid. Bacharach meets the Beatles and Algernon takes center stage in this witty, playful modern-day musical homage to Oscar Wilde.
Sun June 21 – ‘BON VOYAGE,’ NATE by Steve Maistro. Surprising feelings emerge when a well meaning but lousy grief counselor leads a workplace session in this dark comedy.

‘Stars Of Cain Park,’ past and present stars of Cain Park perform on Tuesday, August 4, 2009 at 7pm

GroundWorks Dancetheater
Friday-Sunday, June 26-28, 2009. Alma Theater. Friday & Saturday 7pm, Sunday 2pm.

Inlet Dance Theatre
Thursday, July 30, 2009. Evans Amphitheater, 8pm. Inlet Dance Theatre returns for another summer of free community performances. Kids’ Matinee concert on Wednesday, July 29, 1-2pm.

Pointe of Departure
Friday, July 31, 2009. Evans Amphitheater, 8pm.
Karen Gabay and Raymond Rodriguez, return to Cleveland!

Verb Ballets
Friday, August 7, 2009. Evans Amphitheater, 8pm.

Dancing Wheels
Thursday, August 20, 2009. Evans Amphitheater, 8pm.

For tickets: Ticket Office, located outside east gate to Evans Amphitheater (No convenience fee); by phone: 216-371-3000 (as of June 6), $2 convenience fee per ticket. On-line @ www.Ticketmaster.com, service charge applied on every ticket.
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JOFFREY BALLET AT BLOSSOM

The Blossom Festival will present ballet performances, for the first time since the 1988 season, on August 22 and 23 when The Joffrey Ballet performs four signature works. Blossom Music Center, 1145 W Steels Corners Rd., Cuyahoga Falls, OH 44223. For tickets: (330) 920-8040 or www.ticketmaster.com.

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MERCURY SUMMER STOCK

‘CINDERELLA, ’June 12, 13, 17, 18, 19, 20, 24, 25, 26, & 27
‘GODSPELL, ’July 10, 11, 15, 16, 17, 18, 22, 23, 24 & 25
‘ME AND MY GIRL,’ August 7, 8, 12, 13, 14, 15, 19, 20, 21 & 22
TICKETS: Adults: $15.00. Seniors/Students: $12.00
Venue: Parma Little Theatre (adjacent to Parma High School), 6285 W. 54th Street, Parma, OH 44129
For tickets: 216-71-5862 or mercuryss@mac.com
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BECK CENTER

My capsule judgement of Evil Dead: The Musical at Beck Center was: “If you want to go to the theatre and have a great old time and escape from reality, see ‘EVIL DEAD THE MUSICAL.’ Great that is, if you have a strong stomach, a good sense of humor, and aren’t the up-tight type.” I wasn’t alone in my praise. The show has been extended until Sunday, July 5. Show times are 8 p.m. Fridays and Saturdays and 7 p.m. Sundays. A special 11 p.m. performance will replace the 8 p.m. performance on Friday, June 19.
For tickets, call 216.521.2540 x10 or visit www.beckcenter.org.
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ACTORS SUMMIT

‘AMERICAN MIRRORS, REFLECTIONS ON THE AMERICAN EXPERIENCE’
59 performances of 4 plays in two spaces
June 19 - July 26

‘UNFORGETTABLE’
The life and times of Nat “King” Cole

‘DON'T HUG ME’
A musical with book & lyrics by Phil Olson

‘MARK TWAIN, Semi-literate Lecturer, Liar & Loafer’

‘CLARENCE DARROW FOR THE DEFENSE’
Starring Neil Thackaberry

Actors’ Summit – EVENINGS, 8:00 PM. Hudson Library – 7:30 PM. MATINEES: 2:00 PM at both venues

For details and information: (330) 342-0800 or visit actorssummit.org
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PORTHOUSE THEATRE
Blossom Grounds, W Steels Corners Rd., Cuyahoga Falls, OH

‘A FUNNY THINGS HAPPENED ON THE WAY TO THE FORUM,’ June 11-27. Steven Sondheim’s delightful musical.

‘THE ODD COUPLE,’ July 2-18. Neil Simon’s classic comedy.

‘ANNIE GET YOUR GUN,’ July 23-August 9. Irving Berlin’s Annie Oakley musical.

For tickets: 330-929-4416 or 800-304-2363 or go on-line to www.tix.com.

DREAM/HOME

‘DREAM/HOME,’ must see engaging, thought-provoking powerhouse at Dobama

Hook up the focused directing of Sonya Robbins, a compelling script by Sarah Morton, add a high quality cast, place them in Todd Krispinsky’s creative set and the result is one heck of a great evening of theatre. An evening that not only holds your attention, but makes real life and theatre one and the same!

Cleveland is in the midst of a major crisis. In the past decade the city has lost about one-third of its population. Many homes are boarded up and abandoned. The same fate is attacking many of the rim suburbs and the filthy hands of predatory lenders, aided by a weak economy, are making the march of recession/depression spread further east, south and west. Over 60,000 foreclosures have taken place. The county has an estimated 35,000 vacant homes. Beautiful and family friendly streets have given way to drug houses, sites for the stealing of aluminum siding and copper pipes for profit, and danger and fear.

A school teacher, wanting the security of home ownership and safety for her family, goes to a bank to get a loan. Even though educated, she is naïve about finance matters and is talked into a predatory ARM loan by a sleazy agent only interested in his personal financial gain. Not only does this spell disaster for her, but for many others and the community as a whole. Such is the story which unravels in Sarah Morton’s meticulously written ‘DREAM/HOME.’

Director Robbins wrings every emotion out of the script. Under her watchful eye, we meet the teacher, her daughter, a banker, the loan officer, two neighbors, a realtor, and the wife of a policeman. All are people who are either catalysts or victims of the problem.

The production is added to by a talk back following many of the stagings. The night I attended, Jim Rokakis, Cuyahoga County Treasurer, shared his observations of how the entire collapse of the housing market in the county happened and pointed fingers at who helped in the march down hill. He focused on The Plain Dealer for not alerting the community to the problem, abd the role of the Taft administration and his Attorney General in allowing and encouraging bad legislative actions. He pointed a finger at National City Bank as a major culprit in inner city green lining. He also held out hope, the hope of the success of the Land Bank, which he helped persuaded the Ohio Legislature to authorize. It will lead to the destruction of many empty and abandoned houses, leaving them as green spaces or open to new types of use, thus eliminating settings for drug houses and making neighboring homes worthless. There is hope that the Obama administration’s plan to help those who were caught in the march of greed and false dreams, might be able to see some sunlight.

Morton has pulled no stops. She engages us in a series of solo pieces, which she has woven together to give a multi-dimensional view of what happened and is still going on. Wow!

The cast, George Roth, Fabio Polanco, Alexis Floyd, Anne McEvoy, Tom White, Rodney Freeman, Kristi Little, Cathy Albers and Lisa Langford are all top notch. There is not a weak link in the acting chain. Wow!

CAPSULE JUDGEMENT: ‘DREAM/HOME’ is MUST SEE production for everyone who wants to understand, to realize the horrible outcomes of financial and personal greed that has attacked our city, our county, our country and our lives. Wow!

Alvin Ailey American Dance Theatre, Ohio Dance Theatre, Antaeus Dance

Dance reviews: ALVIN AILEY, OHIO DANCE THEATRE, ANTAEUS DANCE

ALVIN AILEY amazes!

Imagine the nerve of a Black dancer/choreographer who, in the 1950s, at the height of segregation in this country, deciding to start a company whose purpose was to tell the story of African Americans. The person? Alvin Ailey. The results? A company that in 2009 is celebrating its 50th anniversary and is on an upward curve, while other arts organizations are withering on the vine.

The works of Alvin Ailey American Dance Theatre range from classical ballet, to jazz, to native American dance. Though Ailey died in 1989 at the age of 58, his hand-selected successor, Judith Jamison, took over the company and has helped it thrive.

Ask any of those who gave screaming curtain call after curtain call to the company in their recent State Theatre production, co-presented by Playhouse Square and Dance Cleveland, with sponsorship by Huntington Bank, and they’ll tell you that they had just experienced a presentation of dance wonderment!

In the company’s sixth Cleveland appearance, the program included ‘REVELATIONS,’ considered by many to be the best-known and most often seen modern dance piece. The program also included excerpts from ‘BLUES SUITE,’ one of Ailey’s earliest works. Also showcased in the fourteen selection program, were a powerful rendition of ‘STREAMS,’ the engrossing ‘MARY LOU’S MASS,’ the beautifully performed, ‘HIDDEN RITES,’ the finely honed ‘NIGHT CREATURE,’ and the sensual ‘PHRASES.’

The curtain call, the stirring ‘ROCKS THE SOLE,’ was a perfect ending to an outstanding evening dance which, on opening night of the three performance stand, was thoroughly enjoyed by the near sold-out audience.

CAPSULE JUDGEMENT: It is going to be interesting to see what happens as the Alvin Ailey American Dance Theatre confronts the future with the retirement of Jamison and a new, yet unannounced leader. Let’s hope that whoever is selected has the insight and creativity of the two preceding bright lights of dance.

OHIO DANCE THEATRE presents multi-leveled program

Denise Gula, the founder and artistic director of the Oberlin based Ohio Dance Theatre, is both a choreographer and a theatre person. As such, much of her dance repertoire has a dramatic, story-telling base.

In the company’s recent residency at Cleveland Public Theatre, as part of ‘DANCEWORKS 09, they presented a three-segment program. The opening piece, ‘WHEN I FALL,’ featured the talents of Janet Strukley and Brain Murphy in a well danced, dramatic piece which found the dancers in perfect harmony with the oft-changing musical sounds of Nat King Cole, James Edward Davis and Young and Heyman.

‘SPENDTHRIFT,’ which explored the beauty and power of the ocean’s water as it blows, creates foam, and swirls at the base of the shoreline, found five female dancers using their arms and bodies to move through space. A strong solo by Juliana Freude was a highlight of the classic piece which was set to Vivaldi’s Four Seasons.

The highlight of the program was ‘SILENT WITNESS,’ a tribute to women who are the victims of abuse. The number was inspired by an exhibit presented by Genesis House, which Gula witnessed. She states, “I found myself stunned and moved by the starkness and simplicity of the images. I wanted to make a ballet that would honor these women and help bring awareness to this disturbing social issue.”

In the main, Gula succeeds. There was live dancing by a solo performer, while simultaneously a video showed her falling in love, and the unfolding tumult and brutal relationship which had strong visual and emotional overtones. The music, the illusions of woman, man, children in conflict, and the pain was clearly depicted in the dance and movements of Janet Strukley and Kyle Primous.

Unfortunately, the piece become overly long and redundant by the addition of a music video which was seemingly tacked onto the ending. The dance, sans music video, ended on high emotion. No more was needed. The video, which introduced new people and another media, was overkill and weakened the overall effect.

The lack of a curtain call was a creative touch as it left the audience fidgeting uncomfortably in the strong emotions of the piece, encouraged to exit at their own pace, with the images lingering in their minds.

CAPSULE JUDGEMENT: Ohio Dance Theatre’s DANCEWORKS O9’ performance was well received. Gula’s ability to combine dance and theatre, gives the company a hands-up over other groups who often fail in telling stories which require more than dance proficiency.

ANTAEUS DANCE’S MOLT, molts

‘MOLT,’ Antaeus Dance’s offering at the recent Cleveland Public Theatre’s ‘DANCEWORKS 09, failed to ignite the audience. This selection, which was overly long, was often repetitious. How many ways and times can dancers arrange and rearranged a pile of straw? Yes, the company proposes to have “a sense of connecting to earth,” but what about this piece, beyond the straw, was earth connecting?

Choreographer Joan Meggitt states in the program that, “The group [those not dancing] acts as a mirror to the soloist’s interior life, with the soloist reflecting upon what the group, in turn, reflects back to her.” Oh, if only that were true. That may have been her intent, but it wasn’t what was visually presented.

The dancers, though they tried, were not always in sync. They needed much more work, and a honing of their skills by a purposeful choreographer.

CAPSULE JUDGEMENT: Joan Meggitt and the Antaeus Dance Company disappointed in their ‘DANCEWORKS ‘09’ presentation. Abstract descriptions and the lack of a clear mission do no a good dance program make!

Dee Hoty

Dee Hoty, local celeb makes it BIG and pays back

What does Lakewood, Ohio, ‘MAMA MIA,’ Tony Award nominations, The Great Lakes Theatre Festival, Richard Oberlin, B. Neil Davis, Higbees, Clinique and the Cleveland Play House’s Annual Gala all have in common? The answer? Dee Hoty.

Dee Hoty, a native of Lakewood, who graduated from the local high school in 1970, is a major Broadway star. In a recent telephone interview, Hoty credited then Lakewood drama director B. Neil Davis and choral director Ulah Gilmore with infecting her with the theatre bug. She also shared that being the youngest child in her family inspired her to be an out-going, get attention type of kid. Her local roots are still present as her mother lives in Rocky River. Her dad, who is deceased, will be remembered for operating J.D. Hoty’s, a well known steak house on West 6th and Superior.

Hoty attended and graduated from Otterbein College in 1974. Shortly afterwards, she was hired by Great Lakes Theatre Festival, which at that time was housed at Lakewood High School, to appear in ‘MEASURE FOR MEASURE.’ She was seen there by Richard Oberlin of the Cleveland Play House and was retained as an acting apprentice.

How did she get to be a star? In her spare time from GLTF Dee sold Clinique products at Higbee’s Department Store, She asked for a transfer to the Big Apple, was trained at Lord and Taylor, bounced back and forth between Cleveland and New York in an attempt to get her Actors’ Equity card, and within two years she got her big break. First, a part in ‘BARNUM starring Stacey Keach,’ next ‘FORBIDDEN BROADWAY,’ then ‘PERSONALS,’ and she was on her way.

Dee went on to star in ‘MAMA MIA,’ both in NY and on tour. She was nominated for a Tony for her starring roles in ‘FOOTLOOSE,’ ‘THE BEST LITTLE WHOREHOUSE GOES PUBLIC,’ and ‘THE WILL ROGERS FOLLIES.’ Other Broadway shows included ‘CITY OF ANGELS,’ ‘ME AND MY GIRL,’ ‘BIG RIVER,’ ‘THE FIVE O’CLOCK GIRL,’ and ‘SHAKESPEARE’S CABARET.’ She recently toured with Tommy Tune in ‘DOCTOR DOOLITTLE,’ which had a Cleveland run.

She has also been seen in film and television productions including, ‘AS THE WORLD TURNS,’ ‘GUIDING LIGHT,’ ‘ST. ELSEWHERE,’ ‘RYAN’S HOPE,’ ‘CRIMINAL INTENT,’ and ‘SPENSER: FOR HIRE.’

What advice does she have for the star-struck? “Go to college!” “Find out what you really want!” “You need to be grounded in more than just acting.” (This grounding is why she recommends college rather than the conservatory route.)

What’s in the future? She is in rehearsal for a production of ‘42nd STREET’ in St. Louis and, “there’s something in the works, but I’m not allowed to talk about it, yet.”

Hoty will be the featured entertainer at the Cleveland Play House’s annual benefit on June 6, performing in a one-woman entitled, ‘DE-LIGHTFUL, DE-LOVELY, DEE HOTY!’ Why the return to the area? “It’s my way of paying back CPH for the boost the organization gave me in the past.” For details about the benefit call 216-795-7000, extension 226.

Evil Dead The Musical

‘EVIL DEAD THE MUSICAL’ is a bloody hoot at Beck

To really appreciate ‘EVIL DEAD THE MUSICAL,’ now in production at Beck Center, you should probably be perverse, have a warped sense of humor, enjoy getting squirted with blood and are willing to see body parts being separated from the human body. Yep, that’s what ‘EVIL DEAD’ is all about.

Plot? Oh, come on. Hummable music? Be serious. This is about gore! Oh, did I mention, this is one perverse musical? And, did I also state, “It is a hoot!”

‘EVIL DEAD’ is the kind of production, which is a cult builder. In fact, in its short run here, there are people who already have come back to see every performance. There have been, it is rumored, a couple of guys who drove down from Toronto, where the show just closed, to continue their viewing pleasure.

People fight to sit in stage right seats A 9 & 10 so they can get full streams of blood squirted on their “EVIL DEAD’ t-shirts (which are available for sale in the lobby). And those who don’t get enough of the red stuff, roll on the sopping wet red covered floor after the performance to make sure that they are properly blood soaked!

Created by the Canadian team of George Reinblatt, Christopher Bond, Frank Cipolla and Melissa Morris, each of whom must be walking a psychologically ill tightrope, the show had a weird path to success. After a workshop in Toronto in 2004, an off-Broadway production ran over a year. Then the show reopened in Toronto on May 1, 2007 and kept getting extended and extended. Now there are productions all over the globe.

If you are still reading this review…here’s what the whole thing is about.
Several college students spend the weekend in an abandoned cabin in the woods, accidentally unleashing an evil terror. Characters and demons sing and dance to such ditties as “Blew the Bitch Away,” “Bit Part Demon,” “What The ??? Was That?,” “All the Men in My Life Keep Getting Killed by Canadarian Demons.” If you are saying, “You are making up those titles.” Come on, could I make up such sickness?

The Beck production, under the warped direction of Scott Spence, is fun. The creative choreography by Martin Céspedes increases the hysteria. Add Don McBide’s funky set, Larry Goopaster’s over the top music, and Jenniver Sparano’s perverted costumes, and you have the full warped package.

The very talented Dan Folino plays Ash, the handsome “hero” who tries to insure us in his song, “I’m Not a Killer,” that he is a good guy. Yeah, sure! Folino is also responsible for the perverse special effects (along with P. J. Toomey). Yep, the severed hand, the squirting blood, the singing moose that gets shot, the female breast that gets severed, the head that somehow “accidentally” no longer is connected to a body. I could go on, but all this has to be seen to be realized.

The rest of the cast waivers from good to okay, but the quality of the acting and singing matters little, it’s the overall effect that is important. And the Beck production is long on effect.

CAPSULE JUDGEMENT: If you want to go to the theatre and have a great old time and escape from reality, see ‘EVIL DEAD THE MUSICAL.” Great that is, if you have a strong stomach, a good sense of humor, and aren’t the up-tight type. Oh, you might want to buy a white t-shirt in the lobby before you go in so you can have a “bloody good” souvenir. And, don’t wear good clothes as they might get very red!

Heaven's My Destination

Thought-proving ‘HEAVEN’S MY DESTINATION at CPH, but…

At the start of intermission of ‘HEAVEN’S MY DESTINATION,’ which is getting its world premiere at the Cleveland Play House, the woman sitting next to me leaned over to her companion and loudly whispered, “This is pretty weird, huh?” I think she was echoing the thoughts of many in the audience, especially those who disappeared before the second act.

‘HEAVEN’S MY DESTINATION’ was Thornton Wilder’s first novel set in America. It introduces the audience to George Marvin Brush. Brush, a traveling textbook salesman, is a fervent religious convert who, like his hero Ghandi, wants the world to be a better place and the people in it to lead better lives. “Better” in this case means no smoking, no drinking, everyone being nice to each other and living lives of financial abstinence. Much like Don Quixote, he travels around spreading his version of what it takes to “live the impossible dream.” Of course, he is misunderstood, ostracized, beaten up, ignored, laughed at, arrested, and shunned.

What is not clear in Lee Blessings adaptation of the novel is whether the material is meant to be taken seriously or as a tongue in cheek concept.

Wilder, who spent much of his childhood in Hong Kong and Shanghai was a strict Congregationalist who was brought up on the classics and attended such colleges as Oberlin and Yale. His brother was a New Testament scholar.

The Pulitzer Prize winning author of such plays as ‘OUR TOWN,’ ‘THE SKIN OF OUR TEETH,’ and ‘THE MATCHMAKER,’ he wrote with Asian precision. His preciseness is what makes this play confusing. In Wilders other works, his intentions are clear. We know when to laugh, when to be overcome with nostalgia or emotion. Not so with ‘HEAVEN’S MY DESTINATION.’

The Play House production, under the adept directing of Michael Bloom, is well staged, the acting fine, and the production qualities creative. What’s missing is the message and that’s not Bloom or the cast’s fault. The script is never clear on what Wilder/Blessing was/is trying to say. Is Heaven each person’s destination? Is it impossible to lead the “good” life? Are those who preach goodness bound to be outcasts? Can idealism be converted into realism? These suggestions just touch on the possibilities.

Michael Halling, who starred on Broadway in ‘A TALE OF TWO CITIES,’ ‘IN MY LIFE,’ and ‘THE PAJAMA GAME is believable and gives a textured performance as George Brush. Besides having a depth of acting skills, he has a beautiful singing voice which he uses well tointerpret Josh Schmidt’s musical compositions.

The rest of cast, John Woodson, Diane Dorsey, Christian Kohn, Katie Barrett, Justin Tatum, Kailey Bell and Coutney Anne Nelson are all excellent in multi-roles.

Russell Parkman has created an impressive set, but it is not always clear to what the large pile of antiques which are mounted on a movable turntable, is exposing us. As with the script, it is interesting, but not always clear in purpose.
CAPSULE JUDGMENT: ‘HEAVEN’S MY DESTINATION’ receives a well honed production at CPH. In fact, the production outshines the script.

An Evening with Patti LuPone and Mandy Patinkin

PATTI LUPONE and MANDY PATINKIN…A CLASS ACT AT PALACE

‘AN EVENING WITH PATTI LUPONE AND MANDY PATINKIN,’ is a dream concert for those in the “theatre”-know. It is a match up of two of Broadway’s superstars. Put the dynamic duo on the stage with a piano and a bass, add some ghost lights, allow them to probe the Broadway song book, and the result is a wonderful evening of entertainment.

Mandy Patinkin is an American actor of stage and screen and a tenor vocalist. He is noted for his ability to stylize songs by reverting to falsetto and rephrasing the original scoring of a song. Though well known for his roles in television’s ‘CHICAGO HOPE’ and ‘CRIMINAL MINDS,’ and the films ‘YENTEL’ and ‘RAGTIME,’ he is renowned for his musical stage performances. His initial success came when he played Che in ‘EVITA’ in 1979. It was here that he and LuPone, who played the title role, made professional contact. Patinkin went on to win that year's Tony Award for Best Featured Actor in a Musical. He returned to Broadway in 1984 to star in ‘SUNDAY IN THE PARK WITH GEORGE,’ which saw him earn another Tony Award nomination. He also appeared in ‘THE SECRET GARDEN,‘ ‘FALSETTOS,’ ’THE WILD PARTY,’ and ‘SAVAGES.’ He sings in Yiddish, often in concert, and on his album, ‘MAMALOSHEN.’

Patti LuPone swept the 2008 theatre awards winning the Tony, Drama Desk and Outer Critics Circle Awards for Best Actress for her performance as Mama Rose in ‘GYPSY.’ Other smash appearances include ‘ SWEENEY TODD,’ ‘CAN-CAN,’’ ‘CANDIDE,’ ‘NOISES OFF,’ ‘PAL JOEY,’ ‘ANYTHING GOES,’ ‘OLIVER!,’ ‘THE ROBBER BRIDEGROOM,’ and ‘LES MISÉRABLES.’ In 1995, she appeared on the Great White Way in a one-woman show, ‘PATTI LUPONE ON BROADWAY.’

With that history, the major problem in putting together their evening, was the selection of songs. Though the program was varied, many of the songs were not from the shows in which they appeared. These included segments from ‘SOUTH PACIFIC,’ ‘MERRILY WE ROLL ALONG, and ‘CAROUSEL.’ Though entertaining, the program wasn’t what many of those who came to see and hear the duo yearned for. The response to LaPone’s “Don’t Cry for Me Argentina” (‘EVITA’) and “Everything’s Coming Up Roses” (‘GYPSY’), in which the audience erupted in applause during the first several notes of each, illustrated the desire. Unfortunately, Patinkin didn’t feature any of the songs from his major shows.

This is not to say the evening was disappointing, it wasn’t. However, I left a little empty for not hearing more of the musical theatre history of the duo.

Highlights included “Another Hundred People” (‘COMPANY’), “Everybody Says Don’t” (‘ANYONE CAN WHISTLE’), “April in Fairbanks” (‘NEW FACES OF 1956’), “The God-Why-Don’t You-Love-Me Blues” (‘FOLLIES’), and “You’re Just in Love” (‘CALL ME MADAM’).

CAPSULE JUDGEMENT: ‘AN EVENING WITH PATTI LUPONE AND MANDY PATINKIN’ will be of great joy to anyone who loves musical theatre. That’s not to say others will not like the offerings, but there is a special place in the hearts and minds of “theatre-people” for this near queen and king of musicals.

Verb Ballet 5/09

VERB makes quick recovery….they are back on top of their game!

Last April my headline for Verb Ballet’s dance concert read, “‘VERB good, but needs to step up their game.” I went on to say that “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.”

Little did I know that Dr. Margaret Carlson, the company’s Chief Executive Officer and the Board were looking for a solution to situation which one Board member called, “stopping the careening train by pulling the emergency cord.” In contrast to such organizations as the Ohio Ballet and Cleveland Ballet, which went belly up because of poor management, this group was on top of the issue and took swift action. From the looks of the company’s recent showing at Fusion Fest, they identified the problem and provided a solution. They replaced the artistic director, have gone out to find new male corps members, and changed the course of the company. Congrats to all who brought about this transition.

Their Fusion Fest program consisted of two acts. The first, a mélange of short pieces, included ‘VESPERS,’ a company staple, which examines the passion and the spirituality of women with faith. The piece, as choreographed by Ulysses Dove, has been restaged by Dawn Carter. It is one of the offerings that I panned last year for lacking discipline. The precision of this year’s version attests to the change of attitude and the improved focus of the company. The crisp and swift movements as six female dancers moved between two sets of chairs, sitting on, moving under, jumping astride and flowing around the seating devices, was intense and impressive.

‘ONE,’ as choreographed by one of the company’s newest additions, Michael Medcalf, the former artistic director of Cleveland Contemporary Dance Theatre, was outstanding. Medcalf and Brian Murphy, one of the area’s top male dancers, displayed strong muscularity in developing a contemporary ballet vision, to Samuel Barber’s “Adagio for Strings.” The dancers flowed as they moved together and apart to create beautiful stage pictures.

‘THE NATURE OF THINGS: BROWNIAN MOVEMENT,’ was also choreographed by Medcalf to music by J. Swinscoe and J. Ellis. Starting slow, the dancing evolved into a joyous free dance echoing the musical sound. The costumes, women in softly flowing white and aqua material, and the men, bare-chested in white leotards, helped create appealing visual allusions, which were highlighted by Trad Burns’ lighting. The choreography clearly reflected botanist Robert Brown’s theory of the random movement of tiny particles mingling in a multitude of ways. The dancers’ facial expressions displayed a joy of freedom of movement and positive attitude.

The evening’s highlight was an original piece conceived by Dianne McIntyre. ‘IN THE GROOVE AND OVER THE TOP,’ is a conversation of music and dance. It combines the fine jazz offerings of a trio consisting of piano, bass and drums (Drene Ivy, Glenn Holmes and Robert Hubbard, Jr.), with vocal offerings (Mariama Whyte) and dancers (Michael Medcalf, Erin Conway Lewis, Catherine Meredith Lambert, Antwon Duncan, and Telly Fowler) to create what appeared to be an improvisational blending of sound and movement. In reality, the improvisation was finely developed and rehearsed. The results were involving and sensational. The number consisted of a series of different blendings. First just jazz music, then music and full company dance, then singing and dancing, then drum and dance, piano and dance, vocal scatting and dance, music alone, then a capella dance, and finally the blending of all elements. Wow!

Capsule judgement: Verb Ballet is back to its former level of excellence in a big way! Congrats to Margaret Carlson and the company’s visionary board who made changes when changes were needed!