Othello

Interpretation of OTHELO at GLTF open to debate

OTHELLO, a version of which is now on stage at Great Lakes Theatre Festival, is considered by many literature scholars to be Shakespeare's greatest tragedy. Of all of the Bard's writings, it most shows what happens when love turns bad because of unfounded jealousy.

Shakespeare's use of tragedy in such plays as ANTONY AND CLEOPATRA, HAMLET , JULIUS CAESAR, KING LEAR, MACBETH, ROMEO AND JULIET differs from the traditional western world definition put forth by Aristotle. In the Aristotelian perception, the protagonist, the tragic hero, must be an admirable but flawed character, with whom the audience sympathizes. He is often guided by outside forces to follow a preset path. Think Oedipus, who we feel empathy for in spite of his misguided love for his mother, and his murder of his father. Shakespeare's tragic protagonists are capable of both good and evil because of the Bard's belief in the doctrine of free will, wherein people make decisions, not because the gods have willed they take prescribed actions, but make the decision which leads to their own doom.

When Othello, the only Blackman in the Venetian state and a superstar general, appoints the Florentine Michael Cassio to a prominent position, Iago his right hand man, in a fit of jealous rage, plots to undermine Othello. Thus, starts a series of events that leads to calamity. Iago manipulates all other characters by trapping them in an intricate net of lies. He achieves this by getting close to the people and playing on their weaknesses while portraying himself as "honest" Iago.

This is one of the Bard's character driven shows, centering on six individuals: Othello, a Moor who is a general in the Venetian army; his wife Desdemona; his lieutenant, Cassio; his trusted ensign Iago; Emilia, Iago's wife and Desdemona's maidservant; and, Roderigo, a fool who is in love with Desdemona. We clearly see the character of Othello choosing to believe his friend Iago, to reject his wife due to the lies told by Iago, and make foolish decisions that are his own doing, thus displaying the free will in which Shakespeare believed.

OTHELLO centers on such themes as love, jealousy and betrayal. And, because it also has overtones of racism and political intrigue, it has a modern feel. Director Risa Brainin has used these overtones to stage the show in modern dress and use General American pronunciation.

Besides the format and pronunciation, Brainin has made other decisions, some of which are problematic. The pace of the show is languid, often lulling the audience, before it explodes in the final several scenes. There is a strong question over what might be called the “soap opera” approach of some of the performers' acting styles and line interpretation.

In order for the audience to feel empathy for Othello, the tragic hero, we must accept him as a real person, with real feelings. David Alan Anderson's Othello, is not a real person, he is more a caricature, whose emotions are on the surface, who shows little real love connection for Desdemona, and who is often hard to understand because of slurring and often being inarticulate. He does not display the power of a man who leads armies and is envied by all about him.

David Antony Smith is a delightful Iago. But should Iago be getting laughs? He is the villain. He is the manipulator who must be so real, so innocent (he is usually played as a sweet natured young blue-eyed blond). As is, it is hard to believe that a wise and worldly Othello would fall prey to the obvious manipulations of Smith's Iago.

Kevin Crouch's Cassio is so young and played as being so naïve that why a great nation would eventually turn over it's military to him is a puzzlement.

On the other hand, Sara Bruner (Desdemona) and Laura Perrotta (Emilia) are right on target with their character development. We feel pity for Desdemona as she is unfairly accused and pays dearly for Iago's maniacal, self-centered manipulations. We clearly see what happens when Emilia sees her husband for what he is and takes a stand against him.

Russell Metheny's set design caused problems. Though building a cage around the characters, showing them trapped in their decisions, was effective, the vertical pillars often blocked the facial expressions of the actors as they moved around the stage and made for some strange blocking.

Throughout, the fight and death scenes were obviously choreographed to the degree that they looked unnatural. One of the deaths even got a laugh from the audience the night I saw the show, because of the lack of believability.

Written in five acts, productions vary in their format. GLTF has decided to divide, what turns out to be close to a three hour production, into two long segments.

CAPSULE JUDGEMENT: Whether audience members will like, dislike or tolerate GLTF's OTHELLO will depend on their view regarding how Shakespearean tragedy should be interpreted. I, personally, do not like my tragedies presented as soap operas.

Blue Men Group

BLUE MEN GROUP delights and teaches at the Palace

Is it possible to spend 90 minutes at the theatre, not hear a single word spoken, and be totally and absolutely delighted? When you go to see the touring production of BLUE MEN GROUP, and there is no doubt that you should go, at the end of the experience you'll be standing on your feet, applauding and shouting for joy.

BLUE MAN GROUP combines music, comedy and multimedia theatrics to produce a unique form of entertainment. This isn't a play. It isn't vaudeville. It isn't Cirque du Soleil. It is unique!

To make it even more exciting, not only is the audience entertained, but they also learn. Did you know the eyes see a color and the brain translates it into others? Do you know what 2 _ dimensional space is all about? Do you know “the rock concert moves?” On the other hand, do you know how funny Captain Crunch cereal can be? Do you know the hysteria that texting can create in a conversation between virtual texters?

Yes, through electronic gimmicks, flying colored paint, filling their mouths with marshmallows, eating Twinkies, audience participation, drumming (yes, it does get loud and the bass moves the theatre's floor under your feet), three on-stage performers, a band and some Blue Men hidden in the dark on-stage, teach and delight.

The youngest of the three “Kid Reviewers,” Ian, my 10-year old grandson, was totally delighted all evening. Sitting on the edge of his seat, jumping up to hit huge balloons and catch strings of fiber that wafted out over the audience, the boy was one big smile. He couldn't think of a single thing he didn't like. Yes, kids will love the goings on, as will adults and all those in between.

Be aware that this is a 140-minute show with no intermission. In spite of the warnings by the ushers, the pre-show speech, and visual clues on stage, as the show went on the aisles were bustling with people exiting and entering. Several times the performers gave anguished looks at the patrons. In one instance, a stage spotlighting was pointed at several women. What a bad message these people gave the cast about the manners of Clevelanders.

CAPSULE JUDGEMENT: BLUE MAN GROUP is a total delight. Go, go, go and have a unique theatrical experience!

Verb Ballets presents an evening of premieres at The Breen Center

Verb Ballets' Fall program, which was recently presented at the Breen Center, was an evening of premiers which were generally well danced and varied in visual illusions.

CLEVELAND FLATS SUITE, a sixteen-minute piece choreographed by Diane Gray, with music by Richard Rinehart, was a dual presentation. The dancers moved on stage, while a multi-media program, with graphics by Jay Horowitz, unreeled on the back wall. Both elements were effective on their own, but the combination was often distracting. It was hard to watch the dancers move in front of the visuals and pay attention to both. One often swallowed up the other.

The graphics flow took the viewer on a tour down the Cuyahoga River, under the many bridges, with shots of the various buildings, both those in use and those abandoned.

The dancers, whose moves generally fit the music, were well lighted by Trad Burns, but the lighting effects often worked in counter to the graphics. The corps movements were well executed.

REFLECTIONS, conceived by Artist-in-Residence Terence Greene, and danced by Greene and guest artist Michael Medcalf, portrayed an emotional male duet to a tender love song. Sensual energy permeated the powerfully danced number. This was the emotional highlight of the evening. It also showed what happens when strong male dancers control the stage. Too bad this duo are not regular members of the Verb company.

It's the month of Halloween and what author of the macabre better fits the season than Edgar Allan Poe. THE MYTH AND THE MADNESS OF EDGAR ALLAN POE is a tribute to the tortured life and mind who gave the world such writings as THE PIT AND THE PENDULUM, Cask Of The Amontillado, HOUSE OF USHER, and THE RAVEN,

The musical selections did not consistently carry the tension and psychological turmoil needed to truly create the confused horror pulsing through Poe's head. This was a man surrounded by death and impending doom. His alcoholism, deep depression and his haunting ghosts were physically present in the dance, but not emotionally stirred by the music., which was generally anything but haunting. In spite of this, Brian Murphy, with intense flashing eyes and strong physical moves, proficiently danced the role of Poe. Stephanie Krise as the Principal Raven, moved smoothly on point to interject torture into the writer's life. The hovering ravens were a constant reminder of “Nevermore.”

Capsule judgement: Verb Ballets' fall program was an interesting blend of dance messages and choreographic styles. It made a appealing evening, highlighted by REFLECTIONS and the dynamic performances of Terence Greene and Michael Medcalf.

Preview: Inlet Dance,, David Sedaris, Fairmount Center

PREVIEWS: INLET DANCE, DAVID SEDARIS, FAIRMOUNT CENTER

INLET DANCE

Inlet Dance Theatre and The Nehemiah Mission of Cleveland have partnered to offer Stone by Stone, a fundraiser at the Breen Center for the Performing Arts, on the campus of St. Ignatius High School on November 12 and 13, 2010 at 8:00 p.m.

The feature piece will be Stone by Stone by Bill Wade which is inspired by the Biblical story of Nehemiah rebuilding Jerusalem. Other Inlet pieces in the concert include Ascension, In, Not Of, ImPaired, and The Door.

Reserved seating tickets are $30, with limited $60 VIP tickets that include a post-show reception with the Inlet dancers on Friday. Tickets are available by calling 216-961-6968 or online at www.nehemiahmission.org.


DAVID SEDARIS

David Sedaris, who will be speaking on Tuesday, October 12th at 8:00pm in the State Theatre at PlayhouseSquare, is the rock star of speakers. His sold-out engagements, highlight his funny and philosophical tales which he has published in plays, such SantaLand Diaries. His books, which display his sardonic wit and incisive social critique, including Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, and When You Are Engulfed in Flames, each of which became a bestseller.

Tickets, which are priced from $10.00 to $40.00, can be purchased at the PlayhouseSquare Ticket Office, playhousesquare.org or by calling 216-241-6000.

FAIRMOUNT CENTER


The encore production of 13, a new musical, features the return of the entire original Ohio premier cast. 13 follows the lives of thirteen 13 year olds as they navigate their way through friendships, love, popularity, honesty, and growing-up.

My review of last year's production was: “13 is a slight script, which will have strong appeal to tweens and teens. It is being performed by teenagers, not theatre professionals, and it does itself proud on its own level. Adults should will themselves back to the age of teen angst. Teens should revel in life as they know it. And they should go and enjoy a group of kids who are having a wonderful time, making their personal dreams of being “stars” come true.”

The show runs through October 10, 2010 at Mayfield Village Civic Center, 6622 Wilson Mills Road, Mayfield Village which is at the corner of Wilson Mills and SOM Center Roads.

EAT (IT'S NOT ABOUT FOOD)

After seeing last years' production of Eat, It's Not About Food, I wrote: “If you are a teenager, the parent of a teenager, or an educator of teens, 'EAT IT'S NOT ABUT FOOD' is required viewing. Shut off the tv, stop the texting, and go. If you are teen, it could save your life or, if you are a parent, it could save the life of your child.” Now the theatre is making the show available for schools, colleges, universities, community groups and organizations throughout the region from November of 2010 to May of 2011.

The show puts the spotlight on the world of eating disorders, society's obsession with food, weight and body image, as presented through the eyes of teens and adults struggling with this epidemic,

For tickets to 13, or information about booking EAT (IT'S NOT ABOUT FOOD),
go to http://fairmountcenter.tix.com/ or call 440-338-3171.

The Book of Grace

Thought provoking, well acted THE BOOK OF GRACE at CPT

Suzan-Lori Parks, whose THE BOOK OF GRACE is now on stage at Cleveland Public Theatre, is noted for her love of allegory and her sense that a play has to be about something other than what it seems.

On the surface Parks has constructed a family portrait which mirrors rage, revenge, power and betrayal. The play shows a young man returning home to South Texas to confront his father for the older man's misdeeds. As the drama proceeds it weaves the story of three people bound together, which erupts into a battle for personal survival.

Ms. Parks is seemingly looking at the American soul and dividing it into three compartments, represented by each of script's characters. The father, Vet, is the corrupt, defensive and cruelly oppressive patriarch. Grace, his young wife is the optimist who believes that all things can be worked out, by ignoring and not confronting the real issues. Buddy, the son, is the American rebel, the product of a troubled childhood and a misguided vision. At one point he identifies himself with terrorists like Timothy McVeigh, the Oklahoma City bomber.

It takes no stretch of the imagination to see the play on multiple levels. There is the father whose speeches echo the voices of scared white Christian males afraid of being disenfranchised because “their America” is being taken over by “aliens” (e.g., foreigners, homosexuals, women.) Vet states, “Sometimes the alien is right in your own home. And you've got to build a wall around it.” There are literal references to those who pass laws and man the fence meant to keep Mexican and other South and Central American “aliens” out of the US.

And, though the author, in a local radio interview stated that the play is not race-based, the casting of the local production opens up a different interpretation. Director Sheffia Randall Dooley cast a white father and a black son. Buddy often refers to his father as “The Man,” a term that was commonly used by negro slaves to refer to their white owners, and which has carried over into present day references. The history of master-slave relationships, when “bad things” are and were done to the oppressed minority, roll out in Parks' words.

Though a little long for a non-intermission sitting, Cleveland Public Theatre's production captivates. Dooley's directing is on-target, building the strong emotions when necessary. The cast is universally excellent. Young Rod Lawrence, a BW senior, who will soon leave the area for New York, appears to be Big Apple-ready. His bodily control and internal/external displays of angst were finely tuned. Charles Kartali is properly obnoxious as the maniacal Vet. He makes it easy for the audience to hate his character. Sally Groth correctly plays the Grace as a simple person, but not a simpleton. Her final scene is emotionally wrenching.

Trad Burns' scenic design, a three walled fence of wire and boards, encases the playing area resulting the necessary feeling of the inside versus the outside world. Unfortunately, his lighting design left dark spots on stage and in several scenes actually painted black lines on actors when they stood center stage.

Capsule judgement: CPT's THE BOOK OF GRACE is a thought provoking, well conceived production that challenges the audience and should encourage long discussions.

The 39 Steps

Farcical THE 39 STEPS delights at the Cleveland Play House

THE 39 STEPS, now on stage at the Cleveland Play House, is best known as a 1935 British film directed by Alfred Hitchcock, which was loosely based on a novel by John Buchan. Though the play closely follows the film, Patrick Barlow's stage adaptation, leaves the thriller aspects behind and stresses the fun of the piece. Fun spelled f-a-r-c-e.

Patrick Barlow is a believer in “self-reflexive thought theatre.” The concept recognizes that what is happening on the stage is taking place in a theatre, before an audience. The audience knows it. The actors know it. So, let's not hide the obvious, but use devices and exaggeration to have fun. His concept uses little to create a lot-a few set pieces, some props, and very few actors. In fact, in THE 39 STEPS, 4 actors play over 140 characters. Yep, 1-4-0.

Farce, in the form of double takes, things going deliberately wrong, actors coming out of character, exaggerations, visual images that are created by ladders and a fan turning into a airplane, people walking up and down stairs when no stairs are there, dives off a bridge that isn't there, into water that isn't there, costumes being torn off and others put on before our very eyes, and hats being switched at such a speed that even the actors can't keep track of them. Yes, this is fun stuff.

The stage version started in 1995 when the show toured small villages and tiny theatres in England, It was brought to London in 2005, opened in Boston in 2007, came to New York in 2008, won two Tony Awards, and is still running.

The story concerns Richard Hannay, a Canadian who has come back to England. He is bored, so he goes to a music hall. As he is watching a demonstration of the superlative powers of Mr. Memory, shots are fired. Into his box comes a mysterious woman who talks him into taking her back to his apartment. There, she tells him that she is a spy, being chased by assassins, and that she has uncovered a plot to steal vital British military secrets, masterminded by a man with the top joint missing from one of his fingers. She mentions the "thirty-nine steps." but does not explain its meaning. And so, we start on our madcap romp, complete with dramatic music each time the 39 steps are mentioned!

The Play House production, as directed by Peter Amster, gets it mostly right. Amster and his cast know how to create farce, and, except for some lag spots, they hit all the right tickle bones.

Rob Johansen and Joe Foust, as Clown 1 and 2, are amazing. Their quick changes in costumes, vocal sounds, accents and physicality are engrossing. Nick Sandys is character right as Richard Hannay, and Sarah Nealis plays all the women (except when one of the clowns is playing a woman) with panache.

Linda Buchanan's scenic, Michael Lincoln's lighting, Victoria Toy DeIorio's sound designs enhance the production.

Alex, my teen age grandson, who is known around town as “The Kid Reviewer” as he opens the window of how tweens and teens will react to shows, had very positive words of wisdom. He was “really” delighted. He agreed with grandpa about the lull segments-the end of act I, the hotel segment in the room, and the final scene. He found himself laughing with glee at the “shticks” and appreciated the talent needed to portray “all of those parts.” He thought kids and their parents “will really enjoy the show,” especially all the “really funny parts.” (He's a teenager who likes the word “really.”)

CAPSULE JUDGMENT: Seeing farce done well is a rarity. The Cleveland Play House, during the run of THE 39 STEPS, is an excellent place to experience farce done right! Go! Laugh! Enjoy!

My Fair Lady

Audience pleasing 'MY FAIR LADY' at Beck

The musical MY FAIR LADY, which is now on stage at Beck, is based rather literally on George Bernard Shaw's PYGMALION. Though it is considered by many critics to be the “perfect musical,” it almost never got to the stage. At first, Shaw refused permission for his play to be made into a musical fearing that his messages relating to his disdain of the English class system, the poor educational opportunities afforded the lower classes, the treatment of women by men, and his strong belief in voting rights for women, would get lost in the tendencies of the musicals of his day to be purely entertainment.

After Shaw's death, many attempts were made to transform the play into a musical, with little success. Even Rogers and Hammerstein failed. Finally, a script written by Alan Jay Lerner, with music by Frederick Loewe, was successful. The duo's key centered on basically inserting songs into the original dialogue, even using the dialogue as song lyrics.

The story concerns Eliza Doolittle, a Cockney flower girl who is cajoled into taking speech lessons from professor Henry Higgins, a phoneticist, so she can pass as a “proper lady.” Complications, of course set in, including Higgins' falling in love/like with Eliza, her father's flirtation with being sober and becoming a “gentleman,” and her successful transformation.

The story follows the format of Lerner and Loewe's general theme of the perfect place, time, and love story. Think BRIGADOON and CAMELOT.

The Broadway production, staged by Moss Hart, opened on March 15 1956 with Rex Harrison as Henry Higgins, Julie Andrews as Eliza Doolittle and Stanley Holloway as Alfred P. Doolittle. The show ran for 2,717 performances making it the longest running musical up to that time. It has received several Big Apple revivals. The show won every major theatrical award including The New York Drama Critics Circle Award, The Outer Critics Circle Award, and Tony Award for best musical.

The 1964 hit movie, which was directed by George Cukor, starred Rex Harrison and Audrey Hepburn (vocals dubbed by Marni Nixon), with Stanley Holloway reviving his role as Doolittle.

The show's glorious score includes: “Why Can't the English,” “With a Little Bit of Luck,” “Rain in Spain,” “I Could Have Danced All Night,” “Without You,” and “I've Grown Accustomed to Her Face.”

Beck's production, under the direction of Paul Gurgol, is pleasant, but not compelling. The entire production needed a faster pace and some song and characterization adjustments. The show, however, has many fine features.

George Roth is a total delight as Alfred P. Doolittle. He is a charming rogue with a twinkle in his eye and a bit of larceny in his soul. “Get Me to the Church on Time” is one of the show's visual highlights. Dana Hart makes for a believable Colonel Pickering, Higgins' sidekick with a heart. He nicely textured his performance.

Valerie Reaper makes the difficult transition from being Liza, the uneducated flower girl, to Eliza, the lady, with believability. She has an excellent singing voice, which was well displayed in “Just You Wait” and “Wouldn't It Be Loverly.” The chorus, though limited in numbers, sang well, but didn't have the people power to fill the theatre. Hester Lewellen was an appealing Mrs. Pearce. The Cockney Quartet had a nice sound.

Benjamin Czarnota (Freddy Eynsford-Hill) has a wonderful singing voice, but sings words rather than meanings, thus losing the impact of “Street Where You Live.” Bob Russell's take on Henry Higgins is somewhat problematic. Higgins must be egocentric, but must also have a vulnerable underbelly. Russell displayed the former, but when it came to the latter, he fell to melodrama. The back of a hand to the forehead, much like those used in silent films, was used to feign vulnerability. He also missed some of the charm needed to make us have a love/hate relationship with him as he dealt with Eliza. His talk-singing, ala Rex Harrison, was quite good.

As has become his custom, Larry Goodpaster, assembled an excellent group of musicians and backed up rather than drowning out the singers. A faster musical rate might have helped the languid pace of the show.

CAPSULE JUDGEMENT: As evidenced by the Sunday afternoon assemblage, Beck's MY FAIR LADY is a potential audience pleaser. Hopefully the languid pace and some characterization issues will be settled as the show goes through its run.

Meet the perfect boyfriend…the son of Satan, at convergence continuum

We've all heard the old joke about someone going on a date with a person who turns out to be the son of Satan. Well, in Roberto Aguirre-Sacasa's play, ‘SAY YOU LOVE SATAN,’ now in production at congruency-continuum, the premise is taken to the “reality” level. Well, reality, if you buy the premise. And, in the author's imagination, the devil is, "Evil incarnate, has a six-pack, shoulders this wide and zero percent body fat."

The script has been bannered as, “…a smart, hip comedy, and “up-to-the-millennium commentary on the all-too-human impulse to dabble on the dark side.” It's also been stated, “Aguirre-Sacasa doesn't quite know where he wants to take us. First, we're charmed with a satirically clever, gay romantic romp replete with campy characters. Then he flirts with a few serious scenes before falling back into comedy.” He just gives up at the end and stops the action without it making much sense other than that the nice cute guys get back to being boyfriends.

The story concerns Andrew, a graduate student hiding out at the laundromat rather than facing his saintly boyfriend, Jerrod, who is just too nice for Andrew, who is full of insecurities. Between the rinse and spin cycles, Andrew meets Jack, he of the perfect physique and mystical charm. Now Jack has a"666" mark hidden on his forehead (oh ho!), and a limp that starts when the sun comes up (more oh ho!), but those signs sneak right past our naïve Andrew. You know, some people always fall for the bad boy.

This is the kind of script that cc's artistic director Clyde Simon loves. It's full of sexual innuendos, allows for almost all the male cast to cavort in nearly no clothing, and appeals to a cult audience, in this case a mainly gay audience. It also has fun lines such as, '"Are you a Satanist?" Andrew asks Jack. "No," he replies sheepishly. "But my father…he's the Devil."

Scott Gorback is properly geeky as the naïve Andrew. Lauren Smith (Bernadette), she of purple hair, serves well as the fag-hag. Stuart Hoffman (Jerrod) is very, very sweet as the good boyfriend. Zac Hudak inhabits the flaming gay bad boyfriend role.
Tyson Rand guards the gay night club as the pot-bellied bear of a bouncer. Tony Thai appears in various roles, including being a male stripper.

Then there is handsome Lukas Roberts, evil incarnate, with a sculpted body, who spends much of the play in nothing except various colored very brief form fitting tighty-whities. (That sentence alone ought to guarantee cc sold out houses of gay males.)

What's Aguirre-Sacasa trying to say? Beats me. How about, don't get mixed up with the devil? Or, carry a canister of salt in case your date starts acting weird and grows horns? How about, you're judged by the friends you keep? Or, is the message, “I know how to get a bunch of gay guys into the theatre…put hunky Lukas Roberts in tiny briefs that leave nothing to the imagination."

Capsule Judgement: Go to see SAY YOU LOVE SATAN with the right attitude. This is not a great script. The production is not great. But, you can have a good time if you aren't expecting to see a play that says much and teaches less.

The Walworth Farce

A challenging THE WALWORTH FARCE at Dobama

Humans are storytellers. We use stories to pass information about cultures, persons and families. We use stories to create our reality. The Great Lie Theory purports that if we tell a story over and over we can convince ourselves that our fantasies are our realities. THE WALWORTH FARCE, now in production at Dobama Theatre, is a showcase for the power of stories as a protective and manipulative tool.

Enda Walsh is a writer from the contemporary Irish theatre school. He emphasizes characters and situations to showcase the “new” Ireland. He uses words, in story form, to allow characters to articulate their lives.

Don't go to see The WALWORTH FARCE expecting a hysterically funny play full of prat falls, hidden identities and funny incidents. Yes, there is some cross-dressing and exaggerated humor, but this is more a modern tragedy than a farce. Dinny, the father, is more Willy Loman of DEATH OF A SALESMAN, than Buster Keaton. He is a misguided soul trying desperately to create a rewrite of his frustrating story.

The play concerns a play within a play in which three men perform a skit with a complicated plot that involves a dead mother, an inheritance, a brain surgeon and his wife, a younger brother, two sons and money. Reality mixes freely with the fantasy. Sometimes it's hard to tell which is which. And, that's the challenge for the audience and the power of the writing.

A New York review stated, “For the first few minutes of this ripping, warped family portrait, you're apt to feel that you've walked in on a Hibernian Three Stooges routine.” You need to let the whole process sink in. It may not hit you until the second act of how powerful the story is.

Questions abound as the show evolves. Why the wigs, the dresses, the bellowing, the rage over the chicken being replaced by a sausage, the mock coffins, the Monopoly money? Why are the boys confined to their environment on the 12th floor of an elevatorless London building on Walworth Avenue? At the end, in the midst of the horror, the whole bloody thing makes sense.

One thing is for sure, “if there were a prize for creating the most dysfunctional family ever presented on stage Enda Walsh would undoubtedly win it.”

The Dobama production, under the direction of Mark Moritz, is well paced and finely acted. There are questions however, as to whether the cross dressing, absurdist early actions should have been broader, so that when reality sets in there would have been a clear separation of the play within a play and the play itself. Though the overall effect of the acting is excellent, there is also questions of whether texturing the performance of Bob Goddard (Dinny, the father), so that he didn't start out yelling, might eliminate any doubt of his being maniacally driven, rather than having mood swings of reality versus self-imposed fiction. Is Blake (the younger brother) dull-witted or just scared of life? Daniel McElhaney's character development though dynamic, never clearly lets us know.

On the other hand, Andrew Cruise, who has quickly proven that he is one of the finest actors in the area, was nothing short of brilliant as Sean, the only family member with any semblance of reality. The bodily ticks, stuttering speech, and panicked glances, all are right on target. This is an exceptional performance, as is that of Carly Germany, as the grocery clerk who gets sucked into the gory tale. Her terror is deep in her body, not on the surface. She totally inhabits the character.

The entire cast is consistent in their Irish accents.

Ron Newell's set develops the appropriate visual elements.

CAPSULE JUDGEMENT: THE WALWORTH FARCE is not an easy sit, but it is worth the effort if you are interested in storytelling, culture, and good acting.

Joffrrey Ballet/Cleveland Orchestra 9/10

Orchestra shines, but disappointing Joffrey Ballet at Blossom

Last year my review of the Joffrey Ballet/Cleveland Orchestra program read: “Combine the world-class Joffrey Ballet, with the world-renowned Cleveland Orchestra, and place them in the lush Blossom Center on a crisp August evening. The results? A very special experience.” Not so this year. The dancers seemed distracted, lacking in precision and vitality, and, in spite of several highlight moments, generally were disappointing. The orchestra, on the other hand, was marvelous.

How can dancers, when accompanied by the finely tuned sounds of the world famous Cleveland Orchestra, be so flat and lax?

A man who I talked to at intermission said, “I don't know anything about ballet but when the dancers are in lines, aren't the lines supposed to be straight; and, in group movements, aren't the arms supposed to be moving together; and, aren't the dancers supposed to jump and land in tandem?” Yes, he was right on all counts. This is a world-class company. What we saw, at least on opening night, was not world-class dancing.

The evening opened with 'REFLECTIONS,' danced to the “Variations on a Rococo Theme' by Piotr Tchaikovsky, featuring the thrilling sounds of Cleveland Orchestra cellist Mark Kosower. It is neoclassical in the Arpino style, consisting of high lifts, a fast pace and traditional balletic beauty. Though the dancers seemed uninspired, with weak synchronization of corps movements, the piece was adequately interpreted.

'AGE OF INNOCENCE,' performed to the music of Philip Glass and Thomas Newman, which was more tonal than most of Glass's works, told a story of societal repression. Again, the corps timing was off with crooked lines and out of sync movements, especially by the male dancers. Compelling Christine Rocas and athletic Mauro Villanueva were excellent in the “First Dialogue” segment, while Victoria Jainai and Fabrice Calmels were convincing and dynamic in “Obey Thee.”

'TARANETLLA,' a sprightly southern Italian folk dance characterized by a fast upbeat tempo, was adequately, but not spectacularly danced by Yumelia Garcia and Derrick Agnoletti. There are so many occasions for the dancers, especially the male dancer to shine, but there was little enthusiasm or showcased talent expressed by Agnoletti.

The highlight number of the evening was the “PAS DE DEUX FROM LE CORSIARE.' Set to music by Adolphe Adam, with new music by Riccardo Drigo, the number is loosely based on Lord Byron's poem, “Corsair.” It featured lovely music, well played by the Cleveland Orchestra, and was nicely danced by Victoria Jaiani and Miguel Angel Blanco, who displayed good partnering, with fine toe work and excellent circle jumps. Finally, the audience saw what the entire evening should have been!

'PRETTY BALLET' was set to “Symphony No. 2” by Bohuslav Martinu. The highlight was Movement II in which Valerie Robin and Fabrice Calmels flowed as one to create a cohesive piece. Again, when the full cast was present in Movement IV, the sync was off.

The tell-tale clue to the audience's reaction was that the usual “mandatory” Cleveland standing ovation was missing at the end of the performance and many left well before the evening was concluded.

Capsule judgement: Joffrey Ballet's latest trip to Blossom paled by comparison to last year's performance and other showings that I have seen. It was almost like the powers that be sent in a secondary set of dancers who were seemingly neither prepped for, nor enthused about, this appearance. We deserved more from this world-class company!

Groundworks Dancetheater at The Akron Ice House

GROUNDWORKS says goodbye to Amy Miller in strong Ice House program


In 1998, Amy Miller was the first dancer asked to join Groundworks, David Shimotakahara's fledgling dance company. She also served the company as its Artistic Associate. She and Shimotakahara have been the backbone of the company since. Unfortunately, for the company, and the audiences who have come back again and again to see the ensemble, Miller is moving to New York City. She will continue to have creative ties with Groundworks, probably in the form of choreography, but her physical presence will be missing and missed.

Nothing could more exemplify Shimotakahara and Miller's bond, than the last 30 seconds of 'DnA,' which received its world premiere at the company's latest concert at Akron's Ice House. The duo piece, co-choreographed by Amy and David to music by Mark Hollis and Marc Mellits, was a tribute to the strength and depth of relationships. Obviously a reference to the choreographers' strong bond, it highlighted how “connections are tested over time and recognizes the miracle of finding friendship.” The piece ended with the duo facing each other, looking intently into each other's faces, sharing years of joint ventures and what appears to be a lasting emotional relationship. It was a tribute to the connection that comes from two very talented individuals who melded into a powerful artistic force to give joy to both each other and audiences. Bravo!

Groundworks is noted for placing dance in unexpected places. Their venues are churches, parks, museums and the Akron Ice House. For eleven years the company has used the former site where blocks of ice were stored, starting in 1870, for use by the residents of the Tire City. This is not an ideal place to present dance. The lack of a raised dance floor, poor sight lines and lack of raked seating, cause problems. The venue became even more cramped when an overflow of people appeared for the Friday night performance. Fifty chairs had to be crammed in between the already seated audience and the stage, causing sight blockage. In spite of this, the appreciative assemblage got what it came for...a fine evening of dance.

The opening number, the world premiere of choreographer Jill Sigman's 'SPLIT STITCH,' was set to original music by Gustavo Aguilar. Dressed in white fragments of material created by costumer Kristin Davies, the dancers, displaying fine body control, effectively interpreted Sigman's desire to display the “splits and tensions within ourselves, our culture and our country.”

Each of the four-part movements, found the dancers displaying a different set of emotions. Coordinated and segmented moves, interaction, lack of interaction, lyrical and static bodily actions, all highlighted by Dennis Dugan's lighting which cast shadows and moved in coordination and discordance with the dancers, created a series of illusions. The last segment, which found Felice Bagley, standing mid-stage, repeating the same movement over and over as she mumbled incoherent phrases, climaxed a thought provoking piece.

The final piece, 'JUST YESTERDAY,' in its Akron premiere, was a recreation of a Dianne McIntyre choreographed number, that the company has performed before. It is a series of vignettes, based on stories being told by the dancers, which are recreated in movement. Nostalgia, joy, sadness, personal traditions as they related to food, hijinks, fads, movies, family, and people who touched the dancers' lives, flowed forth. Though sometimes hard to hear because of the poor acoustics, the over all effect was strong. The piece is highlighted by the live guitar presence of Phillip Smith and Dan Wilson who are choreographed into the movement. All in all, this is a fascinating selection, which got a wonderful performance

Capsule judgement: With the loss of Amy Miller, Groundworks moves to a new challenge, of continuing its high level of dance performances without its Associate Artistic Director. The company said goodbye to Miller with a fine evening of dance at The Akron Ice House.

Fall 2010 Dance and Theatre Calendar

And….more theatre and dance previews for Fall 2010

Earlier this week I produced a list of some of the Fall theatre offerings in the Greater Cleveland area (www.royberko.info.) There is even more dance and theatre than were listed. So, don't overlook…………..

VERB BALLETS

IngenuityFest
Sept 24 - 26
Performance times to be announced
Sneak Preview of the Cleveland Flats Symphony, in collaboration with Pearlwinds Energy. Free admission.

Breen Center for the Performing Arts, St. Ignatius High School
Oct 1 & 2
Cleveland Flats Symphony, composed by Cleveland composer Richard Rinehart
Myth and the Madness of Edgar Allen Poe, an abstract re-telling of the life of Edgar Allen Poe by choreographer Christopher Fleming.
Tickets: 216.961.2560, or ignatius.edu/breencenter

GROUNDWORKS DANCETHEATER

Akron's Historic ICE HOUSE
Sept 3-4, 8 pm and Sept 5, 2 pm
Tickets: 216-691-3180, ext. 2
Split Stitch by Jill Sigman with original score by Gustavo Aguilar
DnA by David Shimotakahara and Amy Miller
Akron Premiere of Just Yesterday by Dianne McIntyre, set to an original score by Olu Dara

DANCE CLEVELAND

DANCECleveland and The Cleveland Orchestra present
Joffrey Ballet
Blossom Music Center
Sept 4-5, 8:30
Tickets: 216-231-1111

DANCECleveland, EJ Thomas Hall and The U of Akron Dance Program present
Keigwin+Company
EJ Thomas Hall
Saturday, Oct 2, 8:00 pm
Tickets: 330-972-7570

DANCECleveland and Tri-C present
Hubbard Street Dance Chicago
Ohio Theatre
Nov 6, 8 pm
Tickets: 216-241-6000 or www.playhousesquare.org

DANCECleveland and Oberlin College present
Fly: Five First Ladies of Dance
Dec 3-4, 8 pm
Hall Auditorium, Oberlin College

PLAYHOUSESQUARE
Dance Showcase
Palace Theatre
Sept 10, 7 pm
Free, no tickets required
Celebration of dance featuring The Dancing Wheels Company, Dance/Theater Collective, Inlet Dance Theatre, MorrisonDance, Ohio Dance Theatre, Shri Kalaa Mandir, Travesty Dance Group, Verb Ballets Sara Whale and a sneak peek dance performance from Billy Elliot the Musical.

TRUENORTH THEATRE
French Creek Nature Center
430 Colorado Ave., Sheffield Village
Tickets: 440-949-5200 or 1-800-LCM-PARK
Friday, Saturday and Sunday the first weekend and Thursdays the following two weekends.
Altar Boyz!
Sept 17-Oct 3
A musical comedy about a fictitious Christian Boy Band on the last night of their national “Raise the Praise” tour.

Little Shop of Horrors
Oct 22-Nov 7
A rock musical about a nerdish florist that finds his chance for success and romance with the help of a giant man-eating plant who demands to be fed!

Steel Magnolias
Nov 26-Dec 12
A comedy-drama about the bond among a group of Southern women in northwest Louisiana who believe that they are as delicate as magnolias, but tough as steel.

ENSEMBLE THEATRE
Brooks Theatre of the Cleveland Play House
For Tickets: call 216-321-2930 or email info@ensemble-theatre.org
Dividing the Estate
Nov 19th - Dec 12th
A touching and timely portrait of a Southern family wrangling over the future of the family home during an economic downturn.

NEAR WEST THEATRE_
St. Patrick's Club Building, West 38th Street and Bridge Avenue in Ohio City.
Tickets: _(216) 961-9750 or _www.nearwesttheatre.org
Willy Wonka
Nov 19 - Dec 5
The story of the world-famous candy man and his quest to find an heir.

Fall 2010 Theatre Calendar

THE FALL THEATRE SEASON BECKONS

Fall is coming and the theatres of Northeastern Ohio are about to raise their curtains on what should be an exciting season. Support the arts!

ACTORS' SUMMIT THEATRE
Greystone Hall, 103 S. High Street, Akron (note the theatre's new venue)
TICKETS: 330-374-7568, info: actorssumit.org

A MURDER, A MYSTERY & A MARRIAGE
October 14-Nov 7
A Mark Twain inspired folk musical.

A CHRISTMAS CAROL
Nov 26-Dec 29
A touring troupe of players uses mime, imagination and storytelling to bring Dickens's famous holiday tale to life.

BECK CENTER
17801 Detroit Avenue, Lakewood
Tickets: 216-521-2540 or www.beckcenter.org

MY FAIR LADY
Sept 17-Oct 17
Lerner and Loewe's award winning musical based on George Bernard Shaw's PYGMALION.

WINGS
Oct 8-Nov 7
Dorothy Silver, Cleveland's grande dame of theatre, stars in Arthur Kopit's play about a woman who has a life-shattering stroke.

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
Dec 3-Jan 2
The rock/western/country musical that retells the biblical story of Joseph.

CESEAR'S FORUM
Kennedy's Down Under-Playhouse Square
Tickets: 216-241-6000 or www.playhousesquare.org

ALL THAT FALL
Sept 10-Oct 16
Samuel Beckett's psychological and physical one-day journey of an elderly man which takes place in a radio studio enhancing the aural technical requirements of storytelling.

CLEVELAND PUBLIC THEATRE
6415 Detroit Avenue, Cleveland
Tickets: 216-631-2727

PANDEMONIUM 10: The Wild Side
Saturday, Sept 11, 7pm
Tickets: $125
Cleveland Public Theatre's annual fundraising extravaganza! Features dozens of the areas' theatre, dance, and visual performers, along with fabulous food and drink.

THE BOOK OF GRACE-Levin Theatre
Sept 30-Oct 16
Suzan-Lori Park's multi-layered tale of terrorism, borders, families and the consequences of history.

DON'T CALL ME FAT-Gordon Square Theatre
Oct 7-30
A world premiere penned by artist-in-residence Ozen Yulai, an internationally acclaimed Turkish writer, which follows one man from obesity to celebrity.

KILL WILL-Storefront Studio Theatre
Oct 14-30
Back by popular demand! Murder, Revenge, Suicide, Cannibalism

OPERA PER TUTTI PRESENTS: IL TABARRO-James Levine Theatre
Oct 22-24
A one-act operatic drama by master composer Giacomo Puccini tells the story of love, desperation and violence.

CONNI'S AVANT GARDE RESTAURANT
Dec 2-19
Hailed as 'dinner theatre of the absurd” it mixes the ingredients of fine food, wine and a send-up of avant-garde pomposity.

CLEVELAND PLAY HOUSE
8500 Euclid Avenue, Cleveland
Tickets: 216-795-7000 or www.clevelandplayhouse.com

THE 39 STEPS
Sept 17 - OCT 10-Drury Theatre
A quick-witted and acrobatic cast of four creates over 150 characters in this one part Hitchcock masterpiece, one part juicy spy novel, and a bit of Monty Python comedy.

F.D.R.
Sept. 25
Ed Asner (Lew Grant on “The Mary Tyler Moore Show”) stars in a one-man show as the 32nd U.S. president. Tickets for the CPH fund-raiser are $95 (including premium seating and a reception with Asner) and $50 for only the performance.

THE KITE RUNNER
Oct 15-Nov 7-Bolton Theatre
Based on the acclaimed novel, the play goes inside an Afghanistan few of us know, and shows the human face beneath the headlines with a tale of friendship, family and redemption.

THIS WONDERFUL LIFE
Nov 26-Dec 19-Drury Theatre
James Leaming stars in a one-man adaptation of Frank Capra's beloved classical film.

CONVERGENCE-CONTINUUM
The Liminis 2438 Scranton Road, Tremont
Tickets: 216-687-0074

SAY YOU LOVE SATAN
Sept 3-25
A comic tale of temptation by Roberto Aguirre-Sacasa.

BRAIN PEOPLE
Oct 15-Nov 13
Jose Rivera's drama in which a lonely heiress invites two strangers to a strange feast commemorating the death of her parents.
DOBAMA THEATRE
2340 Lee Road, Cleveland Heights
Tickets: 216-932-3396

THE WALWORTH FARCE
Sept 9-Oct 3
A tender insight into what happens when we become stuck in the stories we tell about our lives.

DEAD MAN'S CELL PHONE
Oct 29-Nov 21
A new play by award-winning Sarah Ruhl which traces one woman's accidental quest to make a few people feel just a little bit better about themselves.

EDGES
Nov 22
A staged reading by Baldwin Wallace College students at Dobama.

THE NEW CENTURY
December 10-January 9, New Year's Eve Bash on December 31
A Paul Rudnick comedy, which raises questions not easily answered.

GREAT LAKES THEATER FESTIVAL
Hanna Theatre
Tickets: 216-241-6000 or www.greatlakestheater.org

OTHELLO
Sept 24-Oct 31
Shakespeare's supreme villain meets literature's most tragic hero in one of the greatest classic tragedies.

AN IDEAL HUSBAND
Oct 1-30
Oscar Wilde's romantic, convoluted comedy of manners, which examines the crossroads where money, power and ethics collide.

A CHRISTMAS CAROL-Ohio Theatre
Dec 3-23
Charles Dickens'classic tale of one man's redemption.

KARAMU
2355 East 89th Street
Tickets: 216-795-7077 or www.karamuhouse.org

FORECLOSURE
Sept 17-Oct 10-Jelliffe Theatre
A performance piece which combines poetry and photography to examine the local foreclosure crisis.

Oct 29-Nov 21-Arena Theatre
FROM BREAST CANCER TO BROADWAY
A musical consisting of eleven stories of cancer survivors.

BLACK NATIVITY
Dec 10-Dec 30
Clevelander and Karamu alumni Langston Hughes' gospel musical, told with dancing and verse.

PLAYHOUSESQUARE CENTER
Downtown Cleveland
Tickets: www.playhousesquare.org or 216-241-6000
DIXIE'S TUPPERWARE PARTY
Sept 29-Oct 31--14th Street Theatre
Dixie Longate returns to throw good ol' fashioned Tupperware parties filled with outrageous tales, giveaways and audience participation.

BLUE MAN GROUP
Oct 5-17-Palace Theatre
Escape the ordinary and surround yourself in an explosion of comedy, music, and technology with this high-octane theatrical experience. (Part of the Key Bank Broadway series.)

THE SCREWTAPE LETTERS
Oct 16-Ohio Theatre
A wickedly witty adaptation of the C.S. Lewis novel about spiritual warfare from a demon's point of view.

LEGALLY BLONDE
Oct 22-24-Palace Theatre
A musical based on the hilarious MGM film which centers on Elle Woods, and why it's not a good idea to underestimate the mind of a “dumb blonde.”

CELEBRITY AUTOBIOGRAPHY
Nov 4-21--14th Street Theatre
Features a comedic ensemble acting out the actual memoirs of a wide range of celebrities, in the celebs own words.

BILLY ELLIOT THE MUSICAL
Nov 19-Dec 12-=-State Theatre
The winner of 10 Tony Awards, including Best Musical, this_ is a joyous celebration of one young boy's journey to make his dreams come true. (Part of the Key Bank Broadway series.)

THE SANTA LAND DIARIES
Nov 26 - Dec 19-- 14th Street Theatre
Cleveland Public Theatre presents David Sedaris' comedy about a 33-year-old slacker who takes a job as a Macy's Christmas elf and uses his position to teach parents and children the realities of holiday cheer.

MY MOTHER'S ITALIAN, MY FATHER'S JEWISH, AND I'M HOME FOR THE HOLIDAYS
Dec 9-11-- Hanna Theatre
Comedian Steve Solomon arrives home to celebrate the holidays, and is thrown together with all of his dysfunctional relatives in a riotous celebration.

Gilligan's Island, the Musical

See the musical GILLIGAN'S ISLAND and make a contribution to a good cause

Are you a 'GILLIGAN'S ISLAND' fan? If so, you will definitely want to see the hilarious musical based on that iconic television show. And, even if you aren't a devote of Gilligan, the Skipper, Ginger and the Professor, you'll be contributing to a good cause when you attend one of two local special fundraising showings.
In a spirit of helping the community, Cleveland's actors will be presenting their ninth annual event to raise money for the Community Aids Network and the AIDS Taskforce of Greater Cleveland.

"GILLIGAN'S ISLAND: THE MUSICAL" which was written by Sherwood and Lloyd J. Schwartz, has music by Hope and Laurence Juber. The plot involves the discovery of some hieroglyphics on the island, describing a visit from "creatures from the sky." While the castaways are working to build a rocket to launch an SOS message to civilization, one of the creatures -- a silver space alien -- makes a return trip to the island to observe the inhabitants. (Hey, what can you expect, this is the goofy fun cult Gilligan's Island stuff?)

The show begins with the theme song, which has been selected the #1 TV theme song of all time. Remember, ““Five passengers set sail that day/For a three hour tour….a three hour tour….” I defy you to sit there and not sing along. In fact, singing along at the performance is encouraged. Other songs are “Goodbye Island,” “The Professor's Lament,” “It's Good To Be Rich” and “Though Winds May Blow.”

The musical has received some very positive press. Katie Couric stated, “You've got to love it... Timeless."_ CBS MORNING NEWS stated, “, "A great time... Fabulous!" and PEOPLE MAGAZINE probably summarized it best when it stated, "Love and lust among the coconuts."

The local cast includes Nick Koesters as Gilligan, Kevin Joseph Kelly as The Skipper, Greg Violand as Thurston Howell III, Maryann Nagel as Lovey Howell, Tricia Bestic as Ginger Grant, Brian Bowers as The Professor, Eileen Burns as Mary Ann and Patrick Ciamacco as The Alien. The epic is directed by Curt Arnold with choreography by Allison Butler. The musicians are Gregory Cross, Tim Keo, Karen Langenwalter, and Phil Miller, under the leadership of musical director Butch Marshall. All performers and technicians are donating their time, services and materials, so that 100% of the ticket price is a donation.

Side bar: I have an iconic connection to Gilligan's Island. Years ago, while I was the public relations director at the Cherry County Playhouse, in Traverse City, Michigan, Natalie Shaefer, who portrayed Lovey Howell on the television show, came to star in a production. As a gimmick, I found there was an island, just off the city's shores, which was unnamed. I got a boat, which of course we named the Minnow, took out a TV crew, and with the permission of the state department of the interior, Shaefer officially dedicated and named the slip of land, “Gilligan's Island.” To this day, the maritime map of Grand Traverse Bay designates the area with its anointed moniker. Hey, maybe we can find an unnamed island in Lake Erie and do the same thing here. What a tourist attraction that would make.

The Scarlet Pimpernel

‘SCARLET PIMPERNELL, a pleasant surprise at Mercury Summerstock

What happens when a small budget summer stock theatre, with one professional actor in its company, which performs on a postage stamp-sized stage, decides to produce a grand musical requiring numerous period correct costumes, a large male chorus that can sing, dance and act proficiently, a score that requires a grand orchestra sound, leads with very strong near opera quality singing voices, quality farce characterizations, French and English accents, and lots of scene changes? In the case of Mercury Summerstock, you get a very creditable production.

‘THE SCARLET PIMPERNEL,’ with music by Frank Wildhorn (‘JEKYLL & HYDE’ and ‘THE CIVIL WAR’) and lyrics and book by Nan Knighton (‘SATURDAY NIGHT FEVER’), is based on the novel of the same name by Baroness Orczy. The show is set in England and France during the Reign of Terror of the French Revolution. It concerns an audacious hero and his followers who use "tricks and games" against the cruel “citizen leaders.” They leave in their wake their calling card, the red, star-shaped wildflower known as the scarlet pimpernel.

The musical has a strange history. It originally opened in 1997. The production developed a cult following and, in June, shortly before the Tony Awards were announced, the show was slated to close. The show's fans known as "The League" decided it should have another try. So, new producers, rewriting, a new theatre, and two new leads (Rex Smith and Rachel York), stretched out the run until May 30, 1999.

The Mercury production, directed by Pierre-Jacque Brault, generally pleases. It moves along at a good pace. The singing, especially the male chorus, is excellent. The characterizations are appropriately broad, developing the right swash-buckling and farce feeling. The massive number of costumes are period correct, thanks to the designer Margaret Ruble. The orchestra plays well, backing up rather than enveloping the singers. The choreography is excellent and generally well done, especially considering the minute size of the stage and the required number of performers.

Creative use of chairs to set up stage divisions and new settings is employed. Accents waver, but all in all it’s a good show, especially taking into account that this is mainly an amateur cast who put the show together in ten rehearsals.

Jennifer Myor as Marguerite, the female lead, has a fine singing voice and develops her character well. Brian Marshall, the only Equity member in the cast, had some vocal problems at the start, but warmed up well as the show continued. His characterization was enjoyably funny. Shane Patrick O’Neill, who possesses an excellent singing voice, was properly villainous in the role of Chauvelin. Ryan Bergeron, as Elton, one of the merry band of Pimpernel henchmen, who play affected dandies to cover their real identities, is delightful, as are most of the rest of the male chorus.

Show highlights included: “Into the Fire,” “When I Look at You,” “Where’s The Girl?,” “The Creation of Man,” “The Scarlet Pimpernel,” and “She Was There.”

CAPSULE JUDGEMENT: Mercury Summerstock’s ‘THE SCARLET PIMPERNEL, while not perfect, is an excellent production of a very difficult show that should please most theatre-goers. You won’t confuse this with the touring production of ‘PHANTOM OF THE OPERA’ now at the Allen Theatre, but at one-fifth the cost per ticket, “The Pimp” is well worth attending.

Verb Ballets--8/10

Verb Ballets hits highs and lows at Cain Park

The night was warm with little humidity, the crowd was large, the setting perfect for an encompassing evening of dance. Verb Ballets presented its annual Cain Park program on August 6. The evening, which was populated by several world premieres and some reprisals of audience favorites, showcased both the strengths and weaknesses of Cleveland’s National Repertory Dance Company.

Program highlights included ‘TO HAVE AND TO HOLD,’ a 1989 piece, which was getting its 2010-2011 season company premiere. It was choreographed by Daniel Shapiro and Joanie Smith to the music of Scott Killian. The gymnastic piece, which was performed with the dancers moving on, over, beneath and beside a series of benches, included the entwining of bodies in vertical and horizontal interactions. The visual impact was excitement and wonder at the agility and daring of the dancers who often risked life and limb while performing the complicated moves.

Another audience pleaser was the well performed and conceived ‘AMBIGUOUS DRIVES’ in its world premiere. Choreographed creatively by Tommie-Waheed Evans, to the music of Greg Smith, the whirling dervish of movements fit the erratic sounds. The production was highlighted by outstanding performances by Katie Gnagy and Erin Conway Lewis.

‘THE FIDDLER,’ well performed to the Klemzer music of Samuel Matlowski, is a short piece based on stories by Sholem Aleichem, the Jewish Mark Twain, who mirrored his creations on life in the shettels (villages) of Eastern Europe. As is often pictured in the paintings of painter Marc Chagall, the fiddler represents Jewish tradition. Brian Murphy competently enacted the fiddler, who like the Jews in the Diaspora, are bent, but don’t break. Katie Gnagy as the mother and Erin Conway Lewis, as the daughter, were also excellent.

‘TARENTELLA,’ another season company premiere, was in need of dynamics. The Tarantella, a joyous Italian folk dance need to be exciting, filled with joy. Stephanie Krise sparkled, but Gary Lenington tromped around, unsmiling, creating the wrong visual and aesthetic illusion.

‘WINGS AND AIRES,’ the opening number, featured eye catching red costumes and many ill timed movements. The male corps was consistently out of step with each other. The highlight of the number was the second movement, nicely danced by Erin Conway Lewis and Brian Murphy.

‘CLICKS Crew,’ choreographed by Annalee Traylor, was an opportunity to showcase Verb’s Creative Liaisons Inspiring Cleveland’s Kids, a summer training program to engage teenagers interested in pursuing a career in dance. A combination of break dancing, modern movements and traditional ballet, it served its purpose of giving the kids a chance to show their skills.

The Cain Park program proved what has been known for some time. Verbs has a strong female corps, but is in desperate need of new male dancers. Except for Brian Murphy, none of the present group of male dancers is up to the task of dancing major roles or, in some cases, of displaying the concentration and skills needed to create sync in group movements. Though, at times Antwon Duncan, as he displayed in ‘TO HAVE AND TO HOLD’ can dance solo, he was consistently out of step when forced to coordinate movements with others. Lloyd Boyd Amir III just doesn’t have the training and control to be in a major company. Gary Lenington appears to be past his prime, often dancing flat footed. Why doesn’t Verb go on a search to find quality males? They are out there, they just have to be sought out.

Capsule judgement: VERB BALLETS’ Cain Park program had many highlights, but desperately needs to shore up its male dance corps.

Broadway Swings

BROADWAY SWINGS’—a special evening of show tunes at Blossom

What happens when you combine the talents of the Cleveland Orchestra, the amazing singing abilities of Ann Hampton Callaway, the theatre knowledge and conducting skills of Jack Everly and an absolutely gorgeous evening of weather at the Blossom Center? You get a marvelous evening of music and knowledge.

Ann Hampton Callaway, a Tony award nominee for her performance in ‘SWING!,’ is a song stylist, composer, and pianist. She scats, uses her voice as a musical instrument, has a charming personality, and that special quality to mesmerize an audience.

Everly explained the backgrounds of many of the Broadway selections and conducted the orchestra with skill and verve.

CAPSULE JUDGMENT: ‘BROADWAY SWINGS’ on August 1 was a special evening at Blossom.

The Elephant Man & Curtains

'ELEPHANT MAN' and 'CURTAINS' at CSU

‘THE ELEPHANT MAN’ gets acceptable production at 2010 Summer Stages

‘THE ELEPHANT MAN’ is a 1977 play by Bernard Pomerance. It centers on John Merrick, an Englishman with severe deformities who was exhibited as a human curiosity. Because of his thick and lumpy skin, enlarged lips, and heavy legs, he was nicknamed The Elephant Man.

Merrick became well known in London society after he went to live at the London Hospital after being removed from a freak show.

The play opened on Broadway in 1979 after being produced in London.

One of the staging difficulties of the script is Pomerance’s insistence that no prosthetic makeup be used on the actor portraying Merrick. The actor must, before the eyes of the audience, transform himself into a twisted grotesque being with malformed face and body.

The CSU 2010 Summer Stages production, under the direction of Everett Quinton, is acceptable. This is a difficult show to stage. Not only must the lead actor transform himself, but he must keep in physical character throughout. Because the play does not contain much physical action, concentrated pacing and clear characterizations need to be developed. In addition, the setting is England, so consistent British accents must be maintained throughout. As is, the pacing dragged in parts and the cello interludes, which were effective at the start became tedious after a while. The accents came and went.

Eric Perusek did a nice transition into the ill-formed Merrick and generally held it through out the play. The changeover to his being “normal” would have been helped by his being difficult to understand at the beginning and then improving. Ursula Cataan was excellent as Mrs. Kendall, who became Merrick’s friend and tutor, and Geoff Knox did a nice job as Frederick, Merrick’s doctor.

CAPSULE JUDGEMENT: ‘THE ELEPHANT MAN’ got an acceptable production, but would have been improved by a faster pace and some attention to the development of clearer characterizations by some of the cast.

Misselected, Misdirected ‘CURTAINS’ at CSU’s 2010 Summer Stages

‘CURTAINS,' the musical that CSU’s 2010 Summer Stages chose to present, was probably DOA (dead on arrival) at the Factory Theatre. Peter Stone, who wrote the original book, died just before the play opened leaving it unfinished. Fred Ebb, who wrote the lyrics, also died before the musical was completed. So, is it a coincidence that the ridiculous piece was a disaster?

New York reviews stated, “’CURTAINS' lies on the stage like a promisingly gaudy string of firecrackers, waiting in vain for that vital, necessary spark to set it off," "It's not so much a whodunit as a whydoit" and “A somewhat clunky, piece of entertainment."

Well, not quite a total disaster. David Hyde Pierce, who played the major role did get the Tony for his leading actor performance.

The story centers on a detective who is called in when the untalented leading actress is killed on the opening night of ‘ROBBIN' HOOD OF THE OLD WEST.’ The play within the play is a western musical. The detective, who is an amateur actor “saves the show” with some “spiffy” suggestions, falls in love, and catches the killer. The entire production is filled with unmemorable music including, “In the Same Boat 1,” “In the Same Boat 2,”“In the Same Boat Completed,” “Coffee Shop Nights,” “Kansasland,” and “The Woman’s Dead.”

Under the direction of Michael Mauldin, CSU’s production stumbles along. It is poorly paced, few songs are well interpreted, the acting is generally flat, actors stand in straight lines often having to duck out behind other performers in order to say their lines. Even Martin Céspedes, the crown prince of local choreographers, couldn’t save this debacle. He tried hard, but the cast wasn’t up to carrying out the movements.

Jessica Duer as Nicki, who adorably looks like she is right out of a 1920s musical, and Jean Kauffman as the comedic producer, do themselves proud. Most of the rest of the cast have problems with inconsistent accents, weak singing, and weak character development.

CAPSULE JUDGEMENT: ‘CURTAINS’ misses on almost every count….weak script choice, poor directing, undistinguished performances. ‘nuf said!

The Phantom of the Opera

Phenomenal Phantom at Allen Theatre

By the time the farewell national touring production of ‘PHANTOM OF THE OPERA’ leaves Cleveland on August 22, around 600,000 audience members will have experienced the show since its first local performance in 1993.

Not only is the production a local success, but, the show, which is credited with starting the mega musical trend, is still running on Broadway. It became the longest-running show in Broadway history in 2006. In 2007, it became the first show in on-Broadway history to celebrate 20 uninterrupted years in production.

The mega musical designation comes from the cost and number of sets, costumes and special effects which create the illusions of the opulent show. For instance, the replica of the Paris Opera house chandelier features 6,000 beads, and weighs over a ton. The show takes 125 cast, crew, orchestra members and house personnel to create a single showing. Originally costing a record $8 million to mount, it would take about $13 million in 2010 dollars to reproduce the show. It took over 20 tractor-trailers to bring the sets, costumes and sound equipment to town for this staging.

‘PHANTOM’ is a musical by Andrew Lloyd Webber, based on the French novel Le Fantôme de l'Opéra by Gaston Leroux. It opened in London’s West End in 1986, and then on Broadway in 1988. The music was composed by Lloyd Webber, with lyrics by Charles Hart and additional lyrics by Richard Stilgoe.

The plot revolves around Christine Daaé, who becomes the obsession of a mysterious, disfigured musical genius known as The Phantom of the Opera. Mostly an opera within an opera, the story centers on the Phantom’s lusting for Christine, while she covets Raoul. The score contains such classics as “Think of Me,” “The Music of the Night,” “I Remember,” and “Wishing You Were Here.”

Both the London and Broadway productions originally starred Michael Crawford as the Phantom and Sarah Brightman as Christine.

The touring production is every bit as visually stunning as the original. Yes, the famous chandelier suspends above the audience and crashes to the stage, the sets are numerous, the costumes are beautiful, the musical sounds created by the orchestra is exciting, and the sound system is crisp allowing for easy hearing of the libretto.

Though he does not have Michael Crawford’s mesmerizing vocal sound, Tim Martin Gleason is excellent as the Phantom. He adds his own twist to the role, creating a characterization which is well textured and allows the audience to experience the character’s emotional torment.

Brunswick native, Trista Moldovan (Christine), a 2002 musical theater graduate from Baldwin-Wallace College, is beautiful and has a stunning soprano voice. In contrast to Brightman’s maturity, Moldovan has a youthful vulnerability which works perfectly in her creation of the role. It’s exciting to see a local talent make good!

Handsome Sean MacLaughlin has a fine voice and the right attitude to portray Raoul, Christine’s love interest.

The choreography, vocal sounds, chorus actions and technical aspects of the show are all excellent.

CAPSULE JUDGEMENT: The touring company of ‘PHANTOM’ lives up to all its hype and is a must see, especially if you have never seen the show. No local theatre will be able to reproduce it at this level of extravagance.

Bye Bye Birdie

‘BYE BYE BIRDIE,’ dated, but still fun at Porthouse

The original Broadway production of ’BYE, BYE BIRDIE,” which is now being staged at Porthouse Theatre, ran 607 performances and won the Tony for best musical of 1960. It starred Dick Van Dyke, Chita Rivera and Paul Lynde. The script’s popular 1963 film featured Van Dyke , Maureen Stapleton, Janet Leigh and Lynde.

The Michael Stewart (book), Charles Strouse (music), Lee Adams (lyrics) traces the adventures and misdeeds of what happens when a theatrical agent (Albert Peterson) arranges for his client, rock star (Conrad Birdie), who has been drafted into the army, to come to Sweetwater, Ohio, to give one last kiss to the president of his local fan club (Kim McAfee) before he leaves for the service. Complications set in when Kim's frustrated father ,and her beau (Hugo), place stumbling blocks in the way of the public relations gimmick. Peterson’s possessive mother and his longtime girl friend (Rosie), who are in a constant battle for Peterson’s affection, add to the delight.

Notable songs in the score, which is credited with being the first Broadway musical to recognize the rock ‘n roll craze, are: “Put on a Happy Face,” “A Lot of Livin' to Do,” Talk to Me,” and ”Kids.”

The original production was credited with being “filled with a kind of affectionate freshness,” and “clever cultural references.” Not any longer. As I left the theatre two tweens, who had come to the production with their parents, were overhead saying, “I didn’t understand a lot of things.” No wonder. The times have changed, the media has changed, attitudes have changed and what might have been fresh in the 1960s is stale today.

When ‘BYE BYE BIRDIE’ opened on Broadway, Ed Sullivan’s variety show was the king of Sunday night TV, Elvis Presley had been drafted into the army, getting pinned was the “in” high school relational activity, Mussolini was still known as the former leader of Italy, and “The Shadow” was on the radio.

In spite of the datedness of the script, the Porthouse production was fun filled. Director Terri Kent paced the show well. John Crawford’s choreography was not only clever, but he had talented and enthusiastic dancers who could do the many synchronized moves with ease and flair. Though, at times, the music dragged a little, the words could be clearly heard over the muted orchestra. A wonderful blended quartet was one of the musical highlights.

The cast, with one major exception was excellent. Though she started the show screaming, Sandra Emerick, settled down and was delightful as Rose Alvarez. Her song interpretations were excellent and her “Spanish” fire burned brightly. Nick Koesters, who is noted as one of the area’s best actors, has developed a wonderful singing voice and style, and though at times he could have hammed it up a little more, he made an excellent Albert. His “Put on a Happy Face” was delightful. Cassie Rea, who has a younger Ann Margaret look, has a fine singing voice and was a sweet Kim. Marc Moritz, was hysterically funny as Mr. MacAfee. Danny Lindenberger, he of slight body and high pitched voice, was character right as Hugo. Lissy Gulick was obviously the crowd favorite as the passive aggressive Mae Peterson.

Unfortunately, Dan Grgic was miscast as Conrad. He didn’t have the attitude, the body, the steely look, the hip movements, the compelling voice or the sensuality for the role. Not that he didn’t try, but his Conrad didn’t engender the needed quality to make girls swoon. He was not helped by wearing poorly fitting and designed costumes that didn’t’ help the characterization.

CAPSULE JUDGMENT: Porthouse’s ‘BYE BYE BIRDIE,’ though dated, is still fun. With slightly different casting it could have been even more endearing. And so, the 42nd season of KSU summer theatre comes to a close.

Hunter Gatherers

‘HUNTER GATHERERS’ absurdity in action at convergence continuum

Within the first five minutes of Peter Sinn Nachtrieb’s ‘HUNTER GATHERERS,’ now on stage at convergence-continuum, you are aware that this is not going to be a traditional play. A live lamb is in a cardboard box. As you watch, Geoffrey Hoffman, portraying the alpha-male Richard, chops the animal into morsel-sized pieces ready for cooking. Sound ghastly? In the hands of the actors, under the direction of Clyde Simon, what is repulsive turns out to be bizarrely humorous. That is, if you aren’t a member of PETA or a similar animals rights group.

‘HUNTER GATHERERS,’ the winner of both the 2007 ATCA/Steinberg New Play Award and the Will Glickman Award, is obviously not a play for everyone. Few scripts produced by con con are. There is a select audience which has tuned into Clyde Simon’s weird sense of humor and curiosity, who have become cult followers of the theatre. ‘HUNTER GATHERERS’ will satisfy their tastes (no pun intended).

Pam and Richard are hosting their best friends, Wendy and Tom, for a monthly dinner get-together. The animal sacrifice is followed by sex, violence, deception, wrestling, more sex, and dancing. This is an evening where the line between civilized and primal man is blurred, and where not everyone will survive long enough to enjoy the brownies for dessert. In fact, the ending makes Macbeth seem like a lark.

Nachtrieb has been compared to a modern Edward Albee. He examines repression and hypocrisy by dissecting motives and actions. For him, as for Albee, no taboo is beyond violation. But, in contrast to Albee, Nachtrieb uses excess outrageousness to make his absurdist point. He uses flipped out characters and extreme sexuality to examine the fine line between civilized behavior and animalistic actions.

Neanderthal Richard, intent on spreading his “man seed,” self-centered Wendy who wants a baby and relishes Richard’s sperm, Wendy’s geeky and suppressed homosexual husband Tom, and Richard’s mild-mannered wife, Pam, are the participants in this game of desperation. A game which has dire consequences.

The con con’s production is vivid, but unevenly paced. The deep intensity needed to really give the true absurdist message is on the surface, not in the fiber of the acting. The characters are caricatures, not real people, so identifying with them is difficult.

Though Geoffrey Hoffman is on the verge of maniacal, there is too much surface emotion, and a lack of alpha male consistency. Whether this is the fault of the script or the actor is debatable. The same goes for Laurel Johnson. She needs more earthy sensuality. This is a woman who wants a baby at all costs. Tom Kondilas is on target as the nerdy Tom who finally, in the midst of having sex with Pam, seems to accept who he is, but as it turns out, too late. Laurel Johnson’s naivety and sweetness were fine until she needed to do a stronger character twist to make the ending truly her personal denouement. Simon arranges for the participants to keep their clothes on, at least most of the time.

Jim Valore’s set design works well and Terrii Zernechel’s lighting is extremely effective.

Capsule Judgement: ‘HUNTER GATHERERS,’ as with many convergence shows, isn’t for everyone. It is worth the time for those who are interested in contemporary theatre, the messages of new authors, and aren’t offended by overt sexuality.