A Steady Rain

Fine acting & powerful script make A STEADY RAIN a must see at Dobama

On the surface, Keith Huff's A STEADY RAIN tells the story of two lifelong friends, who, while serving as policemen, experience several harrowing days that forever change their lives, and the lives of those with whom they have contact. That description is only the tip of the depth and impact of the script and Dobama's riveting production.

The specifics regarding the emotionally wrenching tale concern a series of events which center on friendship, alcohol and drug use, family discord, abuse, mistaken decisions and what happens when two lives spin out of control. Part of the tale is loosely based on the events surrounding cannibalistic serial killer Jeffrey Dahmer and one of his victims.

The story rolls out in the unusual writing device of alternating monologues and present-moment dialogues. It allows the viewers to become intimately involved in the lives of Joey and Denny and to view the unpeeling of the story and the motivations of each man.

Joey is single and lonely. He has spent a life being abused and neglected and has retreated to alcohol as an escape. Desperate for friendship, he has turned himself over to Denny to set the course of his life. Joey has allowed Denny to physically and verbally abuse him. Abuse him until…. (you'll have to see the play to finish that sentence).

Denny is married with children. He is a hate-filled bigot, who, though stating over and over that he does what he does for the sake of his family, allows his misguided thinking and judgments to dictate his warped decision making. Abuse, stealing, drug use, having affairs and running roughshod over rules, are only part of his issues. The results are a gun assault on his home, the murders of a prostitute, a black youth and a pimp, the near death of his child, and a startling ending to the play which brought gasps from the audience.

The play has been called “a gritty, rich, thick, poetic and entirely gripping noir tale." The writing has engendered such evaluations as 'provides [the actors] with enough fiery, superbly rendered, often deeply poetic speeches, enough mood shifts, enough emotional cataclysms and action-packed storytelling to keep this hallucinatory roller-coaster ride in motion.”

The award winning play opened on Broadway in 2009 with a sold-out 12-week engagement which starred Hugh Jackman and Daniel Craig.

Dobama's production, under the focused direction of Joel Hammer, is mesmerizing. Filled with many thought-provoking scenes, actors Scott Plate and Jeremy Kendall wrench emotional fidelity from almost every scene. Different in approach, physicality and demeanor, both men develop clear characterizations.

Plate is introspective as the emotionally thwarted Joey. He gives us a man whose life has been filled with frustration and has learned to escape from his hell through alcohol, false love and loyalty. Except for some accent shifts and the need for a little more emotional texturing near the end of the play, this is an excellent portrayal.

Kendall, who has several monologues which are as close to nervous breakdowns as you'll see on stage, is relentless in his maniacal character development. It's worth attending A STEADY RAIN just to see this performance. You'll come out of the theatre both hating and feeling sorry for Denny.

Marcus Dana's lighting and Richard Ingraham's sound effects help build the tensions and take us on the journey.

CAPSULE JUDGEMENT: Fine acting, intriguing script…..'go….go…..go….see Dobama's A STEADY RAIN!

Jerry Springer the Opera

JERRY SPRINGER THE OPERA incites reaction at Beck

Operas are noted for making epics of slight stories, and are often staged with great bravado and enormous pomp. This fits what's going on at the Beck Center.

The award winning JERRY SPRINGER THE OPERA is on stage in the facility's Studio Theatre. Outside, on opening night, members of America Needs Fatima, an action-oriented Catholic group which protests against works it views as blasphemous, were trying to dissuade theatre-goers to forsake the show.

Why the picketing? As one of the protestors, who hadn't seen the play stated, “The show is profane.” It might be if anyone could agree on what the abstract word “profane” means. That minor point aside, the protest seems to have backfired. Instead of discouraging attendance, the publicity has insured a sold-out first three weeks and the strong possibility of the show's extension.

As Beck's Artistic Director, Scott Spence, summarized it, “We have the right to express ourselves. They have the right to picket.” And, he could have added, “Thanks, we couldn't have bought better or more publicity!”

So, what's all the shouting about? JERRY SPRINGER THE OPERA is a British musical written by Richard Thomas and Stewart Lee. It is a fictional depiction of Springer's TV show, which sensationalizes society's extremes and misfits. Such subjects as cheating lovers, overdone plastic surgery, adults wearing diapers, and cross dressing are displayed through such devices as wrestling women and a troupe of tap-dancing Ku Klux Klan members. Oh, and yes, there is an archangel, the devil, Adam and Eve, Jesus (oh, my!).

It's an opera because the story line is almost all sung and everything is bigger than life. Actually, it's bigger than bigger than life. This is a farce, it is a parody, and, for those with a sense of humor and who don't take life overly seriously, it can be fun.

The show ran for 609 performances in London and then toured the UK. It won four Laurence Olivier Awards including Best New Musical. And, yes, even in the UK there were pickets and protests! (Gee, there appear to be zealots around the world who think it is their duty to influence the way everyone should think and act.)

In the US, the show has been performed in Las Vegas and at Carnegie Hall in New York. And, yes, there were pickets there as well. It has now moved on to productions at small professional theatres, along with the expected “Honk for Jesus” sign wavers.

Beck's production doesn't light up the stage. As with any director of farcical satire, director Scott Spence had to make a vital decision…do the play as extreme exaggeration or make it so serious that it becomes outrageous on its own. He decided to take the middle ground, thus losing much of the ridiculousness, and resulting in a slowly paced, overly long show. There are some very funny parts, but, as a whole, much of the production is emotionally flat.

The cast, with a few exceptions, have excellent singing voices. Diana Farrell, a trained opera singer, hits all the high notes as the adorable Baby Jane. Darryl Lewis, in the dual role of the diaper-wearing Jesus and Montel, sings well, and generally hits the characterizations. Ryan Bergeron is a hoot as Tremont, a cross dresser whose tube top keeps falling down and the Archangel Gabriel (yes, he also appears). Gilgamesh Taggett is the devil incarnate as Satan (boo!). Lissy Gulick, who is creationing a career of playing eccentric old ladies, makes for a delightful purse swinging mother of a wanna-be pole dancer. Joanna May Hunkins has pitch problems as Shawntel and Eve. Mathew Wright's talent was basically wasted as Springer, who doesn't sing or dance in the show, mainly playing straight man to the drama queens.

Probably the funniest segment of the evening was Satan and Jesus's duet, F*** You Talk in which the only word, in what is about five minutes of constant singing, was the repetition of the F word.

Bryan Bird's orchestra sounded fine, supporting rather than drowning out the singers, but the vocal blendings were often off. Martin Céspedes' choreography was creative, but, unfortunately, due to the postage stamp-sized stage, tons of set pieces, and some uncoordinated cast members, didn't always work. The movement highlights were in the action curtain call.

Trad Bruns' scenic and lighting designs worked well, as did Jenniver Sparano's costumes and Jerry Sgro’s visual graphics.

CAPSULE JUDGEMENT: Beck's JERRY SPRINGER, THE OPERA, is a less than exciting production which will appeal to a nich audience. Hopefully, as the show runs, and it should have a long run due to the publicity garnered by the ill- focused pickets, the cast will let loose and have more fun, which will result in the anticipated gales of laughter.

Rent

RENT compels at Baldwin Wallace

Baldwin Wallace College is doing an American first. For the very first time in history, RENT and LA BOHEME are being performed in repertory.

RENT is Jonathan Larson's rock musical which is broadly based on Puccini's LA BOHÈME, but, is not a translation of that epic opera. It is a reimagining, a view of Larson's 1996 today. It puts the spotlight on the physical and psychological temperature of New York at that time.

The title was chosen because Larson was looking at how, from his viewpoint, traditional society was thwarting the hopes and dreams of the MTV generation. He chose the term rent, because it means tearing apart.

RENT takes place in New York's Lower East Side, before gentrification, when the old buildings and warehouses were home to the bohemian and drug worlds.

The story covers about a year in the life of roommates Mark and Roger, who live in a condemned building, and their friends. Roger, is HIV positive and is numb to life, trying to write a song which has only one musical line that he keeps repeating over and over on his electric guitar. Mark is trying to capture life on film, but may, in fact be using his camera as a tool to steal himself away from life itself. They are intertwined with an exotic dancer/drug addict, a cross dresser, an hiv+ philosophy professor, an ex-friend who has married for money, and Mark's ex-girlfriend and her lover. Together the group deals with love, loss, AIDS, and everyday existence.

The musical is somewhat autobiographical. Larson, who lived in the Big Apple for many years as a starving artist, sacrificed a life of stability for his art, and shared many of the same living conditions, hopes and fears as his characters.

The dynamic score includes the illuminating Light My Candle, the plaintive I Should Tell You and the stirring Seasons of Love.

Much like the storyline, the musical's very existence was met with problems. On January 25, 1996, the morning after the show's final dress rehearsal, coincidentally 100 years to the day of the debut of Puccini's opera, Larson died from an undiagnosed aortic aneurysm. The first preview was canceled and instead, friends and family gathered at the theater where the actors performed a sing-through in Larson's memory. He never knew that the show would be a smash hit and go on to win a Pulitzer Prize.

The BW production, with a few minor issues, is outstanding. I've seen the show on and off Broadway, and in several other venues and this version holds up well against the others. The staging by Victoria Bussert and choreography by Gregory Daniel are exciting and exacting.

The show is being done with two casts. I saw the “Mark” cast, so all my comments will center on those actors. Seeing the “Roger” cast might garner a different viewpoint.

Jon White is outstanding as Roger. He has an excellent voice, moves well, and developed a real and textured characterization. Chris McCarrell is spot on as Mark. He has just the right balance between geek and heartfelt persona. Kyra Kennedy as Joanne, the girlfriend of Mark's ex, has an excellent voice and develops a nice lesbo vibe. Andrea Leach is a total hoot as Maureen. Her performance piece, Over the Moon, was a show-stopper. Jason Samuel, as professor Tom Collins, left no eye unfilled with tears with his segment of the eulogy, Goodbye Love.

On the other hand, Jillian Kates Bumpas did not ignite the role of Mimi. She had upper range singing issues and failed to develop the sensuality of the role. Fortunately, her duet, Without You, sung with Jon White, left a positive impression. Antwaun Holley seemed uncomfortable playing the cross-dressing Angel. Since so much of the second act centers on the character, Holley's lack of dynamic warmth somewhat chilled the effect of his death on the story development. But, as someone near me said, “S/he sure does look good!”

The chorus was outstanding. Not only did they sing well, but they were in character throughout and created meaningful stage pictures. Highlight supporting vocals were performed by Jessica Waddle and Adrianna Cleveland in Seasons of Love.

Jeff Herrmann's scenic and light designs, Charlotte Yetman's costumes and DJ Jankura's sound designs all added to the production.

My grandson, Alex Berko, a gifted musician, who I often bring along to give a teenagers' view of a show and comment on the melodic aspects, was ecstatic, giving the show a near perfect score. He thought the leads' voices, with one exception, were excellent. He liked the staging, thought the choral work was outstanding, though he noted that there were a few instances when the band was out of sync with the singers, especially in Seasons of Love. He commented, and grandpa agreed, that the music, under the direction of Ryan Fielding Garrett, was well played, but, at times drowned out the words to songs making it difficult to understand the words.

CAPSULE JUDGEMENT: BW's RENT is a production well-worth seeing. It will probably be more appreciated by young adult audiences rather than the senior set, but everyone should be impressed by the talent of the students and the quality of the staging.

Becky's New Car

Birthday present makes for fun theatre at Actors' Summit

When his wife, who was approaching her 60th birthday, said she wanted something special for a present, what do you think Seattle's Charles Staadecker did? Buy her a large diamond? Make plans for an around the world cruise? Had Vera Wang design her an original ball gown? Nope. Staadecker commissioned prolific playwright Steven Dietz to write and dedicate a play in wife Benita's honor. Not a play about her, but a comedy. The results: BECKY'S NEW CAR, now in production at Actors' Summit.

The Staadeckers were in attendance at the opening night of the Actors' Summit production of their play. They revealed that they have seen the show around 60 times. As each theatre company, and there have been around 20 productions, opens its stagings, the Staadeckers traipse off to see it.

BECKY'S NEW CAR, is the story of Becky. Becky, who, picks up after her adult son, a grad student who is still living at home. She does her usual household chores and interacts with her kind, but boring husband. She goes off to work as an employee at a car agency. There she is forced to listen to a depressed salesman who has not gotten over the loss of his wife. She finds herself wishing for another life, a second chance. Well, as the old saying goes, be careful what you wish for.

Into Becky's life come a rich suitor who mistakenly believes she's a widow. That results in a story of twists and turns which finally ends with Becky's literally accelerating out of her control.

BECKY'S NEW CAR is funny and will offend no one. It's a script of irony, which is a little corny and gets close to the ridiculous in plot construction. At the obvious end of the show the audience applauded, waiting for the curtain call, and then there was an unnecessary final scene. Why Dietz decided to add a 30-second add-on scene is not clear.

Under the direction of Constance Thackaberry, the AS production generally works. Because it is too languidly paced, some of the tension and laugh lines are missed, but hopefully, as the cast melds together, the show will pick up speed.

There are lots of clever shticks. Becky talks to the audience, involves them in getting her chores done, allows theatre-goers to help make some decisions about the play's format, and even uses three of them to form a wall while she changes costumes.

Paula Kline-Messner is delightful as the first bored, then panic stricken Becky. Kline-Messner has a nice touch with comedy and her face is a roadmap of emotions.

Mark Leach as son Chris, does a great job of portraying the pscyh major who drives his parents crazy by constantly diagnosing them and everyone else with various disorders. Casey Novak is realistic as Chris's girlfriend with a surprising secret and Anne McEvoy effectively develops the role of an over-the-hill debutant who has recently lost her inheritance. Tony Zanoni is properly kvetchy as the car salesman, who simply can't get over his wife's death, until a magic incident occurs.

Both Bob Keefe as Becky's husband, and Rich Goodwin as Becky's wealthy suitor, have some good moments, but their characterizations come and go.

CAPSULE JUDGEMENT: Actors' Summit has transitioned nicely into its new home in the Greystone Hall in Akron. BECKY'S NEW CAR is a good choice for its target audiences and makes for a fun evening of theatre.

Free Man of Color

FREE MAN OF COLOR offers revelations at Ensemble

Why was Roderick J. McDavis, the president of Ohio University, sitting in the Notre Dame College's Performing Arts Center on a Thursday night? As he explained in his between-acts comments at FREE MAN OF COLOR, he was in attendance to pay tribute to OU professor Charles Smith, who wrote the award prize winning play. In addition, he wanted to recognize John Newton Templeton, the play's protagonist, who in 1828, 35 years before the end of slavery, became one of the first black men in the nation to graduate college.

FREE MAN OF COLOR is a two-act play which examines the life of Templeton, a freed slave, who developed a close and unique relationship with Reverend Robert Wilson, the third President of OU, and his wife, Jane. Wilson hand-picked Templeton to be the first leader of what was to become the country of Liberia, which was selected by a group of ministers to be the place where US freed slaves could return to Africa and live in freedom.

Although Templeton excels in most areas of study, he turns out to be quite different from what Wilson had wanted, needed, and expected. A great deal of his education takes place outside of the classroom in conversations with Jan Wilson, which covered such topics as the rights of women, what it really means to be free and being true to one's self.

Smith's play, which was a wise choice for Ensemble Theatre to stage during Black History month, probes how Reverend Wilson was forced to reevaluate his abolitionist views and Templeton is forced to examine the reasons he was chosen to be the "first," while asking whether a freed slave is really free? It reveals a complex human being struggling with competing moral obligations of gratitude and principle, with individual morality and collective responsibility.

Interestingly, when playwright Smith began hunting through Ohio University's archives for details of Templeton's life, he found only a few documents. It took a great deal of detective work to flesh out the details. As he states, "Templeton's story is a critical piece of history. I hope the audience will think about things in ways they had never thought about before." From this writer's standpoint, that hope is fully realized.

Ensemble's production is under the direction of Tony Sias. Though there is some distracting staging, such as characters not facing each other in interactions, and some distracting lighting effects, which make the actors look like they are playing hopscotch from one light spot to another, the author's intentions come across.

The acting is generally good, though the needed southern accents keep coming and going. Tall, willowy Antuane Rogers is excellent as the young John Newton Templeton. His strain and pain, including one scene where his tears flow freely, is clearly present.

Diane Mull, who, at times, becomes too shrill in displaying the frustrations of Jan Wilson, seemed to grow into the role. She develops a meaningful characterization in the second act, after a weak first stanza.

Jeffrey Grover (Robert Wilson) tries hard, but lacks nuance. At times he probes into the character, but much of his mood swings and realizations don't seem internally motivated. This is a character of zeal, of purpose, and, at the end, a man who is forced to face that he can't enslave Templeton and make him into a servant who acts based on Wilson's dictates. That dawning reality, which is vital to the play's dénouement, isn't clearly developed.

CAPSULE JUDGEMENT: FREE MAN OF COLOR is a play well worth seeing. It gets an acceptable production at Ensemble Theatre.

The Trip to Bountiful

TRIP TO BOUNTIFUL is a marvelous journey at CPH

Take a well crafted play by one of America's best down-home writers; produce it under the guidance of a masterful director who understands the script and its nuances; add a cast, each of whom adds a textured performance; and interject meaningful musical underscoring and lighting that sets the right mood in every scene. The results: THE TRIP TO BOUNTIFUL at the Cleveland Play House.

On the surface, BOUNTIFUL is the story of an elderly woman with a heart condition, who is determined to escape her son's cramped Houston home and return to the small town where she was born and raised. But, in reality, it is about the search for self, the meaning of roots, the importance of self-dignity, nostalgia, and the desire to be an independent person.

To understand the nuances of the play, it helps to be in touch with Horton Foote, Jr., the play's author and his style of writing. Pulitzer Prize winning Foote, who died several years ago, was born in the small Texas town of Wharton. His life experiences in that setting were the basis for many of his writings. He creates the well-made play which has a clear flow from beginning to end. There is a gentleness, a celebration of the quiet life of rural Americans in his plays' fictional small towns. Probably best known for his Academy Award-winning screenplay for the 1962 film TO KILL A MOCKINGBIRD, he is correctly cited as one of America's most beloved dramatists. He's not as well known to the general public as Williams, Miller, Inge, Albee or O'Neil, but he is a theatre icon to those in the theatrical know who appreciate his understated and focused style.

THE TRIP TO BOUNTIFUL was originally a 1953 television show, which stared Lillian Gish, with appearances by Eileen Heckart and Bowling Green State University grad Eva Marie Saint. A movie version was delayed because Foote insisted that Gish play the lead role and those in Hollywood, who controlled the production rights, refused to cast her. The script also had a short run on Broadway with Gish. Finally, in 1985, a film was made with Geraldine Page in the lead.

The CPH production, under the masterful guidance of Timothy Douglas, is meticulous in detail and nuance. It was Douglas's idea to make a major alteration in the way the script has been performed in the past. Previous stagings have always had Caucasians in the major roles. Douglas, who has a great deal of respect for Lizan Mitchell, who plays the lead in this production, wanted to work on a project with the actress. Knowing that there were few roles for “women of a certain age” [mature], he started to look for a script. He suddenly realized that there was no reason that one of his favorite plays, THE TRIP TO BOUNTIFUL, had to have a white cast. The message is universal, the accents and sound of the play are small town Texas, which was populated by both white and black folk. He contacted Foote's daughter, who controls the rights to her father's plays. She immediately gave permission. The rest, as they say, is history….history which is now unfolding on the CPH stage.

We should be grateful to Douglas for his insight. The script works perfectly with no adjustments in dialogue. In fact, those who don't know that it was not written to be performed by blacks will be astounded to find out that this is not a script like those of Lorraine Hansberry (e.g., A RAISIN IN THE SUN), which are specifically written for black performers and there is no way to switch races.

Lizan Mitchell gives a bravo performance as Carrie Watts. This is a textured, deeply motivated, clearly conceived presentation. With a smile, a wink, a frown, or a scowl, she creates depth of characterization. Her face is like a road map to her feelings. She has several mesmerizing soliloquies that are acting lessons on how those speeches should be performed. She glistens, she shines, she makes the audience laugh and cry!

The rest of the cast is equally as impressive. There is not a weak link in the emotional chain. Chinai Hardy, is “bitch” incarnate as the insecure and self-centered Jessie Mae, Carrie's daughter-in-law. Howard Overshown, as Carrie's son, Ludie, shows all the signs of being psychologically whipped by his wife and made uncertain by his lack of self-confidence. When, as he does in the final scene, stands up to Jessie Mae, several members of the audience audibly cheered. Jessica Frances Dukes as Thelma a young woman who Carrie meets on a bus while trying to escape from her confining hell, is sweet and tender and convincing. Lawrence Redmond as the sheriff, and Doug Brown, in various roles, give credible performances.

Lighting designer Christopher Studley leads our visual senses through the moods of the play by masterfully developing the early scenes in dark tones, mimicking Carrie's frustrated frame of mind. When she finally returns to where she wants to be, the lights brighten, mimicking the clear burst of light that has come into her life.

The musical underscoring is right on pitch in creating the moods of the script.

CAPSULE JUDGMENT: TRIP TO BOUNTIFUL is a tender, moving and sometimes delightful script, which gets a wonderful production at the Cleveland Play House. It's a go to, must see, theatrical experience. Finally, a production that got a mandatory Cleveland standing ovation, and deserved it.

Assassins

Lakeland does a very credible job with Sondheim's ASSASSINS

What do Samuel Byck, Guiseppe Zangara, John Wilkes Booth, Charles Guiteau, Sara Jane Moore, Lynnette Fromme, John Hinkley, Leon Czolgosz, and Lee Harvey Oswald have in common? They are the main characters in Stephen Sondheim's ASSASSINS, a musical being performed by the Lakeland Civic Theatre. Why are they the subject of a musical drama? These are men and women who have attempted (successfully and not) to assassinate presidents of the United States.

The musical, which opens with the lyrics, "Everybody's got a right/To their dream” in this case, the dream of killing an American president, is not the stuff that musicals are usually made of. But this is not a traditional musical. First, it is a serious topic. There are laughs, many of them reactions of embarrassment, or outrage, of hearing ideas that to normal people make no sense. Secondly, as is true of Sondheim's works, very little of the music is memorable. In fact, though the show won numerous theatre awards, few of the songs are even recognizable to most people. When was the last time you hummed, Gun Song, How I Saved Roosevelt or The Ballad of Czolgosz? How about Unworthy of Your Love?

Sondheim conceived the musical while reading a play by Charles Gilbert who had submitted a script to a play writing contest about a fictional presidential assassin. Sondheim found the play itself problematic, but was fascinated by the material Gilbert had compiled of letters and anecdotes from actual people who plotted to kill US presidents. Those sources became the bones of ASSASSINS.

The musical opened Off-Broadway in 1990. In 2004 a Broadway production , which featured Neil Patrick Harris as The Balladeer and Lee Harvey Oswald, won five Tony Awards. Because of both its serious theme and lack of audience recognition, the musical is seldom staged.

The play reflects Sondheim's picture of “the decay and sickness lurking at the core of our society which causes fragile people to do desperate things.” For lost souls, Sondheim composes Another National Anthem, which reveals the nightmarish underside of the American dream.

The tale is extremely relevant in today's world. It concerns guns, broken promises, assumptions about entitlement, and the rethinking and restructuring of our values and behaviors, This is highlighted in the last scene when the assassins restate their motto, Everybody's Got the Right, and fire their guns at the audience.

As written, the opening scene takes place at a carnival shooting gallery where figures move by on a conveyor belt. One by one, a collection of misfits enter the stage, where the Proprietor of the game entices them to play, promising that their problems will be solved by taking shots at a President.

Director Martin Friedman, a Sondheim admirer, moves the setting onto a series of steps, looking much like the stairs in front of the Capitol Building, and uses the levels to create a series of tableaus that remind us of the paintings in the rotunda of that building. It works well.

With Friedman's clear direction, appropriate pacing, and some excellent voices and acting, attention does not wander.

The cast, which does not contain an equity member, is quite good. The acting develops some clear characterizations. Especially strong are Scott Esposito (John Wilkes Booth) and Brint Learned (Samuel Byck). Highlight scenes include Learned's soliloquy, as he stands dressed in a Santa Clause suit ranting about getting a plane to crash into the White House and kill Richard Nixon; the conversation between the eccentric Sara Jane Moore (portrayed well by Amiee Collier) and the Charles Manson inspired Lynette Squeaky Fromme (a nice performance by Neely Gevaart), who both made bumbling attempts to kill Gerald Ford; and the convincing of Lee Harvey Oswald (a believable Curt Arnold) to murder John F. Kennedy.

The vocal work, with the exception of Aaron Elersich (the Balladeer), was quite good.

Unless you are a history buff, get to the theatre early and read the excellent program notes concerning each of the assassins.

John Krols' musical direction, his excellent orchestra, and Trad Burns lighting all enhance the show.

Capsule judgement: Overall, Lakeland's ASSASSINS is a very good production, well worth seeing.

South Pacific

Disappointing, emotionally static SOUTH PACIFIC at Palace

When I heard that the Tony Award winning revival of SOUTH PACIFIC was part of Cleveland's Broadway Series, I was overjoyed. Unfortunately, the opening night production was a let down. It was uninspiring and emotionally flat.

Maybe it was the cold and icy weather outside, but it was probably more likely Director Bartlett Sher's emotionally controlled interpretation and some rigid acting. Now, don't get me wrong, the music, as played by the large well-tuned orchestra was glorious, the singing voices were full and well nuanced, and the mutli-leveled story line was there. Unfortunately, the interpretation didn't play on the dual level of serious problems (a war and prejudice) and the humorous underbelly, mainly stressing the former and forsaking the latter.

SOUTH PACIFIC is Rogers and Hammerstein's interpretation of James Michener's Pulitzer Prize winning book, TALES OF THE SOUTH PACIFIC. The musical, which opened in 1949, is considered by many to be one of the great American musicals. It was a box office hit, running nearly 2000 performances, and then went on to be a beloved film. The original Broadway cast included Mary Martin and Ezio Pinza. This, the Lincoln Center Theater production, is a reworking of the original script.

The story takes place on a South Pacific island during World War II and centers on Nellie, a young Navy nurse from Little Rock, Arkansas, who becomes romantically involved with Emile de Becque, a French plantation owner who has fathered two mixed-race children. Lieutenant Joe Cable arrives with the intent of conducting a dangerous spy mission which is crucial to the outcome of the war. He wants de Becque to accompany him to neighboring island which will allow for spying on the Japanese. A side plot develops when Cable falls in love with Liat, a young Polynesian girl. Unfortunately, both Nellie and Cable become the victims of their own prejudices. Cable and de Becque go off on their mission, and, as happens in musicals, there is a seemingly happy ending, at least for several of the characters.

A plot device of many musicals of the 1950-era was dual story lines. A serious one…think Billy and Julie in CAROUSEL; and a humorous duo…Carrie and Enoch Snow in the same show. In SOUTH PACIFIC we have Nellie and Emile as the main story line characters and Bloody Mary, a resident of Bali Ha'I, a near-by island, who plots to make money, and Luther Billis, a wheeler dealer Navy seabee, who goes through life joyously getting in trouble because of his many schemes, as the humorous duo.

As is the habit of Rogers and Hammerstein, there is an underlying social message, which is developed both in the storyline and a key song. In this case, prejudice and its cause, are explained in You Have to be Carefully Taught. Other highlight songs are the glorious Some Enchanted Evening, the beautiful Bali Ha'i. the lovely Younger Than Springtime, and the poignant That Nearly Was Mine all of which move the serious side of the plot along; while, There is Nothin' Like a Dame, Happy Talk and Honey Bun are intended to add humor.

David Pittsinger (Emile) has a glorious voice. On the other hand, he is rigid as an actor, often glowering, making it hard to believe that he has any real emotional attachment to Nellie. In their duo scenes there is a void of connection. Carmen Cusack, who sings beautifully, lacks the cockeyed optimist attitude that is supposed to be Nellie. She misses the fun and naivety that is used to describe the character in song and spoken words. She is severe in facial expression, hair style, body movement and mannerisms.

Anderson Davis (Cable), sings well. It's too bad that he couldn't show some textured feelings. The closest either Davis and Cusack come to being natural is in their duet, My Girl Back Home, which was not in the original Broadway production, but was added to the score for the movie and added to the revival script.

Jodi Kimura delights as Bloody Mary, Sumie Maeda is a lovely Liat, Timothy Gulan tries to be Billis, but he just doesn't have enough fun with the role. For example, his Honey Bun didn't have the needed joyousness.

Much of the stage movement and choreography almost seemed like move-by-numbers. Like robots, the cast knew where to go, moved there automatically, did their thing, and moved on to their next stage position. There was a feigning of, not real spontaneity, especially in There is Nothing Like a Dame and I'm Gonna Wash That Man Right Out of My Hair.

The audience's reaction probably best describes the production. The mandatory Cleveland standing ovation lacked enthusiasm. People stood haltingly, applauded politely, and didn't shout the usual bravos that bring closure to almost every Broadway series offering, whether deserved or not.

CAPSULE JUDGEMENT: Unfortunately, the touring production of SOUTH PACIFIC didn't live up to its advance building. It's a shame. In the midst of this terrible winter, and the collapse of our professional athletic teams, we needed something to cheer and get excited about.

Review of the Reviewer's Reviews: Tom Kuby

You capture the evening performance [ LES BALLETS TROCKADERO de MONTE CARLO], succinctly, cogently, colorfully and so in synch with my feelings and interpretation AFTER reading your prose. Thanks for sayng how I would like to describe what I saw, heard and felt!

Tom Kuby

Les Ballets Trockadero de Monte Carlo

Trocks: Men en pointe delight audience at Ohio Theatre

A sold out, standing room only audience displayed abandoned delight, complete with “bravos” and much applause, at the January 29 performance of LES BALLETS TROCKADERO de MONTE CARLO, lovingly called by their many admirers, The Trocks. The program was sponosored by DANCECleveland and Cuyahoga County Community College.

What was all the shouting about? On the surface, men were dancing in tutus, en pointe, many portraying roles such as the Swan in SWAN LAKE, traditionally reserved for women. Sound like a device to get people into the theatre? It is. But these are not guys who just spoof and do pratfalls. This is an international troupe of well trained ballet dancers who have added to the usual male role in ballet of being partners who carry the females around, are given a few minutes of solo circle leaps and a few bravado movements. They are ballet dancers who have wonderful senses of comic timing and an ingenious choreographer. This is the company that the New York Times dance reviewer terms, “Partly Goofy, Part Glorious, All Man.” I might add, “Totally audience pleasing.”

Les Ballets Trockadero de Monte Carlo is an all-male ballet corps which parodies the conventions and clichés of romantic and classical ballet. It has been around since 1974 and has toured the world to great accolades.

The troupe, which last appeared in the area around fifteen years ago, opened their program with SWAN LAKE, ACT II, danced to the music of Tchaikovsky. This, their signature piece, tells the story of a beautiful princess, turned into a swan by an evil sorcerer, who is saved by the love of a prince. It's probably the world's best known ballet. But, if you haven't seen the Trocks version, you haven't seen SWAN LAKE. Consisting of beautiful toe work, fine partnering, glorious costumes, a princess with facial stubble, pratfalls and comic interactions between the dancers, the audience transitioned between “bravos” and hysterics.

PATTERNS IN SPACE was a “post modern dance movement essay” in which three mismatched dancers tried their best to hold the audience's attention with creative movements, while competing for attention with two nerdy “musicians” who played the underscoring with paper bags, kazoos, bubble wrap, and pots and pans. It was Spike Jones meets classic dance, with Jones, in the form of “musicians” Lariska Dumbchenko and Yuri Smirnov winning. (All of the dancers have “Russian” as well as their traditional names. The Soviet designators are all plays on words, such as Legupski, Paranova, Thickenthighya, Enimenimynimova and Ida Nevasayneva.)

LE GRAND PAS DE QUATRE found four dancers in constant competition to upstage each other. Danced completely en pointe, the ability of dancers was only eclipsed by their ability to get outlandish attention.

A quick version of THE DYING SWAN, complete with a molting bird who kept losing its feathers while displaying the pangs of death, made the death more fun than tragic. Those who have seen the Academy Award nominated movie THE BLACK SWAN, could only shake their heads and realize what a beautiful piece this could be when danced correctly. Beautiful, but not as much fun.

RAYMONDA'S WEDDING was a “traditionally confusing divertissement in two scenes,” highlighted by a plot which “loses something in translation.” Danced in classic ballet form, though the uneven story line “has baffled audiences since its premiere in 1898,” it was visually attractive and, as most of the program, filled with wonderful laugh sequences. The “women” were all taller than their partners, causing visual illusions of tiny men lifting gigantic women. (Many of the “females” were well over 6 and a half feet tall in their pointe shoes.)

Capsule judgement: “This was the whole package,” “What fun,” “My goodness, they are really good dancers,” and “I hope we don't have to wait another fifteen years to get them back!” These were comments made by the delighted dance concert-goers after the performance of LES BALLETS TROCKADERO DE MONTE CARLO. I definitely agree!

Beyond Belief An Intimate Evening of Psychological Illusion

Must see BEYOND BELIEF at Kennedys-Down-Under

Intriguing, fascinating, fun, confounding, involving and surprising are just some of the words I heard from the audience after the opening night performance of BEYOND BELIEF, award winning Joshua Seth's display of illusion at Playhouse Square's Kennedy's-Down-Under performance. (The theatre is located below the Ohio Theatre's lobby.)

Psychological Illusionist, voice-over artist, hypnotist and mystery entertainer are all names that have been used to describe Kent native Joshua Seth. He's “one of the busiest illusionists touring the globe today.” Seth, who lives in Bath, and was brought up in Akron, recently returned from yet another cruise. This time he was performing on a ship going around the Hawaiian Islands. Immediately after his opening night performance here, he was jumping on a plane to fly to Baltimore, where he was to perform before over 3000 midshipmen at the Annapolis Naval Academy.

Seth, whose father was a hypnotherapist, fell in love with illusion when taken to see a Blackstone the Magician show when he was eight. He started to delve into the field. His present show grew out of the concept of mentalism, which allows him to work with the audience to influence people's thoughts and create illusion.

During the performance, Seth proved that his reputation as presenting “A high Energy, One-of-A-Kind Show” was true. He also displayed why he won First Place at the Academy of Magical Arts' “Magic Castle Olympics” for his mentalist act.

It's pretty hard to describe the 90-minute show without giving away all the intrigue. Plus, the show varies from night to night depending on the audience and the performer's mood. It's probably enough to say the fascination and excitement centered on illusions which included muscle tensing, emails, dreams, rings, blink responses, cards, head and hand shaking, $100 prizes, lottery tickets, and audience participation.


The Kennedy space is a perfect venue because it is intimate and allows for immediate interaction with the spectators. Due to the small venue, everyone gets into the act. (Yes, he even got a Times newspaper theatre critic on stage.) Seth conjured up people's numbers, names, hobbies, pets' names and travel desires. It's fun, it's astounding, it's a delight for everyone.

The “kid reviewers,” my grandson's, Alex (15), Noah (13) and Ian (11), who often go to shows to give the viewpoint of younger audiences, were perched on their front row seats, laughing, cheering, guessing how Seth did the illusions, and left full of excitement and delight. Yes, it's a show for everyone, young and old alike. (I'd recommend that the kids be 10 or over.)

Capsule judgement: Beyond Belief: An Intimate Evening of Psychological Illusion is a one of a kind experience that is a must see! Call for tickets immediately, as the show, in its present run, will only be offered three more dates (February 3, March 3 and 24), and the 80 seats will go fast as the word gets out. Fun, delight, full of intrigue, a MUST SEE!

Winter 2011 Dance and Calendar

DANCE PREVIEWS: LES BALLETS TROCKADERO, GROUNDWORKS, INLET, VERB BALLETS, OHIO DANCE, DANCING WHEELS

LES BALLETS TROCKADERO DE MONTE CARLO

Presented by DANCECLEVELAND AND TRI-C, this all male company is an international dance phenomenon. They perform a full range of ballet and modern styles by combining dance skills and comedy. And, yes, men can, indeed, dance en pointe without falling flat on their faces. Note: No children under 2 are admitted. For tickets to the concert, which will be presented on January 29 at 8 p.m. in the Ohio Theatre, call 216-214-6000 or go to www.playhousesquare.org


GROUNDWORKS

David Shimotakahara's company performs on February 4 and 5 at the Breen Center, 2008 West 30th Street, across from St. Ignatius High School at 8 PM. The program includes two world premieres, one choreographed by Shimotakahara,
the other by David Parker. Also on the program is BoomBoom, a tribute to American Blues legends. Tickets: 216-961-2560

INLET DANCE

Inlet Dance presents a family friendly concert as part of the Chagrin Arts' Performance Series at Chagrin Falls Performing Arts Center, 400 E. Washington Street, at 3 pm on Sunday, February 27. For information go to: http://inletdance.org

VERB BALLETS
On Friday, February 11, at 8 pm at the Breen Center, 2008 West 30th Street, Cleveland, Verb Ballets, Cleveland's National Repertory Dance Company, presents its Valentine of Dance which includes the world premiere of Breath from Artist-in-Residence Terence Greene; Noumenon Mobilus by choreographer Alwin Nikolais; Ambiguous; Drives by Tommie-Waheed Evans, and Shapiro and Smith's To Have and To Hold. For tickets go to verballets.org or call 216-397-3757.

OHIO DANCE THEATRE

Denise Gula's Oberlin-based company will premiere's guest choreographer Marie Zvosec's Jane and Cassandra are Sisters at 7:30 on Friday, February 25 at The Breen Center, 1911 West 30th Street. The ballet is based on the story by Jane Austen. Also on the program is From Petipa to Broadway choreographed by Gula, which is a sampling of classical variations, Broadway, Swing and audience favorite, Tabula Rasa. Tickets are available at 440-774-6077. Additional information is available at www.ohiodancetheatre.org.

DANCING WHEELS

On March 5, 2011 The Dancing Wheels Studios invites the community to join them for their second annual Night at the Races fundraising event! Location: Dancing Wheels' Studios, doors open at 6:30; first Race begins at 7:15. Admission: $15/person or $125/table of 10, which includes pizza and non-alcoholic refreshments (B.Y.O.B. and your own snack food!). Tickets can be purchased by calling 216-432-0306. Last year's event sold out. All proceeds from the event help to support Dancing Wheels' educational and outreach programming.

Altar Boyz

Second coming of ALTAR BOYZ not as uplifting as possible

“The Altar Boyz” are in the house.” A countdown leading up to the “final” appearance of the religious rock group started about fifteen minutes before the five male “Catholic” singers made their appearance at the Hanna Theatre. Finally, with flashing lights and a loud musical hosanna, our heroes appeared.

Here's the deal. ALTAR BOYZ, with music and lyrics by Gary Adler and Michael Patrick Walker, and book by Kevin Del Aguila, is a “rock concert” by a “Catholic” group which satirizes boy bands and the popularity of Christian-themed contemporary music. Supposedly, we are attending their last performance. The group is breaking up, for some unexplained reason, well, unexplained until the corny last ten minutes when the “mystery” is revealed. The show includes all sorts of songs you've never heard, but will find enjoyable, including, “The Calling,” “The Miracle Song,” “Everybody Fits,” and “Number 918.”

The five-member group sings, has some lines that bridge the songs together, dance, and try to get the audience to repent. Their level of success is measured on a “sinner's meter” which keeps track of those in the audience who are still on their way to hell. Finally, we are down to four hold-outs. And, no surprise, they are members of the Altar Boyz. All the group except the Jewish kid. Yep, one of the Catholic Altar Boyz is Jewish. Why? I'm certain that the script's writer figured he could use the yarmulke-wearing kid for some laughs and use him as the only one who doesn't “sell out.” Hmmm..is there a religious message here?

Does all this sound familiar? For local theatre-goers it should. Beck Center for the Arts staged the show during the summer of 2008. Because of its great box office success, it is being reborn on the Hanna stage by the same production team and four of the original cast members.

If my musically gifted grandson, Alex, one of the “kid reviewers” is right, the show should attract lots of teen and college people. He gave the proceedings an 8 out of 10 (higher than my score). He liked the rock music, some of the acting and the general staging. He found the vocal blending sometimes off. He “really liked” the singing of Connor O'Brien (Abraham) and Matthew Ryan Thompson. He found Thompson's character interpretation of the gay, fey, bleached blond, curly haired Mark, to be delightful, and his song “Epiphany” fun and well performed. (Thompson is the new member of the cast.)

Alex and grandpa were disappointed in the performance of Josh Rhett Noble. Noble, a New York-based performer, has appeared in over 50 professional shows. He has a trained singing voice and is the only Equity member of the cast. Unfortunately, whether he was ill or just on auto-pilot, his sweat soaked performance was vocally shallow and his acting flat.

On the other hand, Dan Grgic as the “chemically aided” Luke, had nice moments, though some of his speaking lines were swallowed, and Ryan Jagru was appealing as the Hispanic Juan, begging for laughs with a Ricky Ricardo overdone accent.

Scott Spence's direction was basically on course, but there were times when there needed to be more life, more enthusiasm, and more consistency in the performances.

Hernando Cortez's choreography was purposeful. Unfortunately, the dancers were often lacking in corps unity.

Larry Goodpaster needed to quiet down the well-performing band. They often overpowered the performers.

Besides Matthew Ryan Thompson, the highlight of the evening was Trad Burns' lighting design. Shadows danced on the walls, the lighting intensity followed the flow of the music, each performer had his own color hue, the emotional levels were raised and lowered as the lights played. Luminosities at their finest!

CAPSULE JUDGEMENT: The music and the rock concert tone of ALTAR BOYZ will appeal mainly to a younger theatre crowd. That's good…it opens new doors for them to get familiar with live theatre. Too bad the production wasn't as polished as it should have been.

Backwards in High Heels

BACKWARDS IN HIGH HEELS…entertaining, but…

In the Golden Age of Hollywood, Ginger Rogers, who is the subject of the musical BACKWARDS IN HIGH HEELS: THE GINGER MUSICAL, was unique. Lots of starlets were beautiful, but few had Rogers' gall and chutzpa. She was a feminist who, when she found out her dance partner, Fred Astaire, was making more money than she, supposedly demanded equal pay because she did everything that he did but backwards and in high heels. She was a Christian Scientist who did not drink or smoke and demanded that objectionable words and ideas be censored from her scripts.

BACKWARDS IN HIGH HEELS examines Roger's life, including the role of her overly-protective mother, her rise through the vaudeville ranks, entrance into the Hollywood scene, the many husbands, and her near myth-like glamour.

Rogers filmed numerous musicals with Fred Astaire, starting with the 1933 Flying Down to Rio. The duo is credited with changing the Hollywood musical. In 1940 she broke from her singing/dancing past, and playing against type, won the Best Actress Academy Award for the dramatic saga Kitty Foyle.

The intimate musical, written by Lynnette Barkley and Christopher McGovern, is more review with some story thrown in, than a well-made musical. It contains almost twenty songs, not all of which related specifically to Rogers, and are shoe-horned in between spoken dialogue to create the story. This fragmented blend of music and story pieces causes a lack of idea flow and makes it difficult to get emotionally wrapped up in the story.

Highlight musical segments include Fascinating Rhythm, I Got Rhythm, and But…When?. The tap dance numbers seemed to wow the audience.

The production, under the direction of Scott Schwartz, though it contains some creative staging, often lacks dynamism and cohesion. The entire production could have used faster pacing.

Part of the problem is the casting. Ann Aimee White is marvelous as Ginger. She sings, acts and dances well. Unfortunately, there is an emotional disconnect between White and Matthew Labanca who attempts to portray Fred Astaire. Labanca lacks Astaire's charisma and smoothness, both in speech and dancing. In addition, the three male dancers don't always sync well in their dance movements.

On the other hand, Christinne Tisdale, who plays numerous roles, is delightful. Her Ethel Merman take-off in I Got Rhythm is the smile delight of the show. Heather Lee is character-right as Ginger's mother. Hers is a stellar performance.

The CPH staging is being coproduced with the San Jose Repertory Theatre (San Jose, California), Asolo Repertory Theatre (Sarasota, Florida) and Arizona Theatre Company (Tucson/Phoenix, Arizona).

CAPSULE JUDGMENT: BACKWARDS IN HIGH HEELS: THE GINGER MUSICAL, is an entertaining evening of theatre, which would have been aided by a stronger script, faster pacing and some better casting.

Personality profile: Joshua Seth

Joshua Seth…from Kent to Hollywood to PlayhouseSquare

Psychological Illusionist, voice-over artist, hypnotist and mystery entertainer are all names to describe Kent native Joshua Seth, whose Beyond Belief: An Intimate Evening of Psychological Illusion will be showcased at Kennedy's, located in the lower level of The Ohio Theatre in Playhouse Square on January 27, February 3, March 3 and March 24.

Seth, who is billed as “one of the busiest illusionists touring the globe today,” will present a show that is a combination of psychology, intuition and hypnotic influence. TV Japan calls him “The #1 American Hypnotist,” American Entertainment Magazine says “he's amazingly captivating,” and Campus Activities Magazine declared, “He's the Rock Star of Hypnosis” and has “A high Energy, One-of-A-Kind Show.” In 2003, he won First Place at the Academy of Magical Arts' “Magic Castle Olympics” for his mentalist act.

It's been a long road from Kent to his present status. Seth, whose name back then was Joshua Freedman, graduated from Kent Roosevelt High School in 1987. While a tween and teen he appeared on stage at Carousel Dinner Theatre and Kenley Players. He received a BFA from New York University's Tisch School of the Arts in 1991. After being signed by a Hollywood agent, it was off to Tinseltown where he became a stellar voice-over personality, appearing in over 60 cartoons and movies, including many Disneyland radio commercials and Digimon, All Grown Up, Batman, Duel Masters, Gorgeous, Honeybee Hutch, Last Exile, Nightwalker, The SpongeBob Square Pants Movie, Wolf's Rain and Akira.

Tiring of the Hollywood scene, he decided to use his talent to see the world. He has and still appears as a headline act on Princess cruises.

Seth, whose father was a hypnotherapist, fell in love with illusion when taken to see a Blackstone the Magician show when he was eight. He started to delve into the field. His present show grew out of the concept of mentalism, which allows him to work with the audience to influence people's thoughts and create illusion. The Kennedy space is a perfect venue because it is intimate and allows for immediate interaction with the spectators.

He has taken his knowledge of people and hypnosis and written the book The Weight Loss Hypnosis Solution: Discover How to Lose Weight Without Diets or Willpower.

Seth has many fond memories of his Ohio years including Vince Cardinal, the theatre director at Kent Roosevelt and being surrounded by a large and supportive family. In fact, the family roots, his belief that the Cleveland area has such nice people, and the area has “lots going for it” caused Seth and his wife, who is expecting their first child, to move back to the Buckeye state and settle in Bath.

If Beyond Belief: An Intimate Evening of Psychological Illusion develops a local cult following like the show did when performed at The Magic Castle in Los Angeles, Seth plans to revive it on a regular basis at Kennedys.

Times Theatre Tributes - 2010

TIMES THEATRE TRIBUTES--2010

Greater Cleveland is blessed with a vital theatre scene. It is the purpose of the TIMES THEATRE TRIBUTES to recognize theatrical experiences that, in the mind of this reviewer, were excellent and deserve recognition.

Only shows performed in 2010 which I reviewed were considered. Selections were limited to locally produced stagings, so none of the professional touring shows are recognized, though actors, directors and technicians who were imported by local theatres were considered. Actors are not separated by gender or leading or supporting roles.

2010 BEST DRAMATIC PRODUCTIONS:
A SOLDIERS TALE with CATCH AND RELEASE, CPH
OPEN MIND FIRMAMENT, CPT
THE KITE RUNNER, CPH
WINGS , Beck

2010 BEST MUSICAL THEATRE PRODUCTIONS:
BABY, True North Cultural Arts
JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, Beck

2010 BEST CHOREOGRAPHY IN A MUSICAL THEATRE PRODUCTION:
Céspedes, Martin, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, Beck

2010 BEST PERFORMANCES IN A THEATRICAL PRODUCTION:
Cruise, Andrew, THE WALWORTH FARCE, Dobama
Koesters, Nick, INOCULATIONS, Theatre Ninjas
Nagel, Maryann, HUMBLE BOY, Dobama
Pascua, Matt, THE KITE RUNNER, CPH
Silver, Dorothy, WINGS, Beck

SPECIAL RECOGNITION

oFred Sternfeld, for his producing of EAT IT'S NOT ABOUT FOOD, and the
Cleveland Center for Eating Disorders for their sponsorship of the production.

oKaramu Theatre for their development and presentation of FROM BREAST CANCER TO BROADWAY, which has the potential to save numerous lives of African American women.

oMichael Bloom, Cleveland Play House for his adaptation of EMMA.

oRoe Green for her major financial and personal contributions to the construction of Kent State University's new drama and dance center.

oSeth Gordon for his many contributions to excellence during his tenure at the Cleveland Play House.

oTerri Kent on the anniversary of her 10th season as the Artistic Director of Porthouse Theatre.

oTito Muñoz, David Shimotakahara, Seth Gordon, for their collaboration on A SOLDIERS TALE with CATCH AND RELEASE, CPH.

Thanks to the following for making the 2010 theatre scene in the Cleveland area stimulating and memorable:

PLAY/MUSICAL
AN IDEAL HUSBAND, GLTF
ANNA bella EEMA, Theatre Ninjas
BLUE DOOR, Dobama
CLOUD NINE, CWRU/CPH
EMMA, Cleveland Play House
HOW I LEARNED TO DRIVE, None Too Fragile
HUMBLE BOY, Dobama
LOST IN YONKERS, CPH
ROMANCE, None Too Fragile
SCARLET PIMPERNEL, Mercury
THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, Beck Center
THE 39 STEPS, CPH
THE BOOK OF GRACE, CPT
THE FOREIGNER, Porthouse
THE WALWORTH FARCE, Dobama
WANDERLUST, CPT

DIRECTOR
Alexander, MaryJo, A MURDER A MYSTERY & A MARRIAGE, Actors' Summit
Amster, Peter, EMMA, CPH
Bloom, Michael, LOST IN YONKERS, CPH
Bogan, Raymond, OPEN MIND FIRMAMENT, CPT
Brault, Pierre-Jacques, SCARLET PIMPERNEL, Mercury
Derry, Sean, HOW I LEARNED TO DRIVE, None Too Fragile
Derry, Sean, ROMANCE, None Too Fragile
Dooley, Sheffia Randall, THE BOOK OF GRACE, CPT
Earnest, Matthew, WANDERLUST, A HISTORY OF WALKING, CPT
Gordon, Seth, SOLDIERS TALE with CATCH AND RELEASE, CPH
Hammer, Joel, HUMBLE BOY, Dobama
Ketter, Sari, AN IDEAL HUSBAND, GLTF
Masterson, Mac, THE KITE RUNNER, CPH
May, Sarah, WINGS, Beck
Moritz, Marc, THE WALWORTH FARCE, Dobama
Paul, Jeremy, ANNA bella EEMA, Theatre Ninjas
Paul, Jeremy, INOCULATIONS, Theatre Ninjas
Platte, Scott, BLUE DOOR, Dobama
Spence, Scott/Martin Cespedes, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, Beck
Spence, Scott, THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, Beck
Sternfeld, Fred, BABY, True North Cultural Arts
Thomas, Rohn, THE FOREIGNER, Porthouse
Wilson, Ron, CLOUD NINE, CWRU/CPH

PERFORMER
Allen, Timothy, THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, Beck
Apple, Dani, 13, Fairmount Conservatory
Beer, Maxell, LOST IN YONKERS, CPH
Bergeron, Ryan, SCARLET PIMPERNEL, Mercury
Bolek, Bernice, DIVIDING THE ESTATE, Ensemble
Brown, Jordan, 13, Fairmount Conservatory
Chebo, Bridget, GYPSY, Brecksville Theatre on the Square
Ciamacco, Patrick, THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, Beck
Cipra, Mark, DEATH OF A SALESMAN, Lakeland
Clear, Patrick, EMMA, CPH
Crouch, Kevin, A MIDSUMMER NIGHT'S DREAM, GLTF
Crowe, Timothy, BILL W. AND DR. BOB, CPH
Cruse Andrew, HUMBLE BOY, Dobama
Dempsey, Michael, BABY, True North Cultural Arts
Flores, Jose Peru, THE KITE RUNNER, CPH
Floyd, Alexis Generette, WANDERLUST, THE HISTORY OF WALKING, CPT
Foust, Joe, THE 39 STEPS, CPH
Germany Carly, THE WALWORTH FARCE, Dobama
Gorbach, Scott, KIMBERLY AKIMBO, convergence-continuum
Gorell, Andrew, CLOUD NINE, CWRU/CPH
Green, Natalie, BABY, True North Cultural Arts
Gulick, Lissy,, BYE BYE BIRDIE, Porthouse
Hisey, Bernadette, BABY, True North Cultural Arts
Johansen, Rob, THE 39 STEPS, CPH
Kartali, Charles, BILL W. AND DR. BOB, CPH
Kartalli,, Charles, THE BOOK OF GRACE, CPT
Kauffman, Jean, CURTAINS, CSU/2010 Summer Stages
Kelly, Kevin Joseph, THE PRODUCERS, Beck
Keyser, Rett, OPEN MIND FIRMAMENT, CPT
Koesters, Nick, IS HE DEAD YET?, Beck Center
Lawrence, Rod, BLUE DOOR, Dobama
Lawrence, Rod, THE BOOK OF GRACE, CPT
Leaming, James, THIS WONDERFUL LIFE, CPH
Lindenberger, Danny, 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, Porthouse
Marshall, Brian, LI'L ABNER, Mercury
McCarrell, Mitch, BAT BOY, GLTF
McGinis, Molly, THE NEW CENTURY, Dobama
McMullen, Ryan, ROMANCE, None Too Fragile
Meadows, Joyce, FROM BREAST CANCER TO BROADWAY, Karamu
Montgomery, Mark, EMMA, CPH
Moritz, Mark, BYE BYE BIRDIE, Porthouse
Myor, Jennifer, SCARLET PIMPERNEL, Mercury
Nealis, Sarah, EMMA, CPH
O'Brien, Connor, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, Beck
O'Neill, Shane Patrick, SCARLET PIMPERNEL, Mercury
Olejko, Monica, GYPSY, Brecksville Theatre on the Square
Patterson, Tracee, DEAD MAN'S CELL PHONE, Dobama
Perrotta, Laura, AN IDEAL HUSBAND, GLTF
Prinz, Rosemary, LOST IN YONKERS, CPH
Robeano, David, BABY, True North Cultural Arts
Roberts, Lukas, SAY YOU LOVE SATAN, convergence continuum
Romansky, Alanna, HOW I LEARNED TO DRIVE, None Too Fragile
Roth, George, MY FAIR LADY, Beck
Roth, George, NOBODY DON'T LIKE YOGI, Actors' Summit
Ruttle, Kelli, CLOUD NINE, CWRU/CPH
Siniscalchi, Shane Joseph, BABY, True North Cultural Arts
Smith, David Anthony, A MIDSUMMER NIGHT'S DREAM, GLTF
Smith, David Anthony, AN IDEAL HUSBAND, GLTF
Smith, Hilare, CHESS, BW/PHSQ
Stahl,-Floriano, Maggie, BABY, True North Cultural Arts
Starnik, Laura, HUMBLE BOY, Dobama
Taggett. Gilgamesh, THE PRODUCERS, Beck
Tatum, Justin, A SOLDIERS TALE with CATCH AND RELEASE, CPH
Valerie Reaper, MY FAIR LADY, Beck
van Baars, Eric, THE FOREIGNER, Porthouse
Violand, Greg, HUMBLE BOY, Dobama
Viramontes, Jos, THE KITE RUNNER, CPH
Viront, Jim, ROMANCE, None Too Fragile
White, Dylan, EAT IT'S NOT ABOUT FOOD, FPAC
White, Gregory, DIVIDING THE ESTATE, Ensemble
Wood, Elizabeth R., ANNA bella EEMA,, CPT
Wyse, Alex, LOST IN YONKERS, CPH
Zanoni, Tony, THE FOREIGNER, Porthouse

Composite cast
A MURDER A MYSTERY & A MARRIAGE, Actors' Summit
A SOLDIERS TALE with CATCH AND RELEASE, CPH
AN IDEAL HUSBAND, GLTF
ANNA BELLA EEMA, Theatre Ninjas
BABY, True North Cultural Arts
CLOUD NINE, CWRU/CPH
DEAD MAN'S CELL PHONE, Dobama
HOW I LEARNED TO DRIVE, None Too Fragile
HUMBLE BOY, Dobama
OPEN MIND FIRMAMENT, CPT
THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, Beck
THE 39 STEPS, CPH
THE BOOK OF GRACE, CPT
THE KITE RUNNER, THE KITE RUNNER, CPH
THE WALLWORTH FARCE, Dobama
WANDERLUST: A HISTORY OF WALKING, CPT
WINGS, Beck

TECHNICIANS
Borksi, Russ, set design, METAMORPHOSES, Cleveland State University
Broski, Russ, set and lighting designs, SWEENEY TODD, Cain Park
Burns, Trad, lighting design, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, Beck
Burns, Trad, lighting design, OPEN MIND FIRMAMENT, CPT
Burns, Trad, lighting design, WINGS, Beck
Burns, Trad, set design, OPEN MIND FIRMAMENT, CPT
Callahan, Matt, sound design, THE KITE RUNNER, CPH
Davis, Jill, set design, CLOUD NINE, CWRU/CPH
Dugan, Dennis, lighting design, A SOLDIERS TALE with CATCH AND RELEASE, CPH
Garrigan, Alison, costume design, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, Beck
Herrmann, Jeff, set design, BLUE DOOR, Dobama
Ingraham, Richard, sound design, BLUE DOOR, Dobama
Ingraham, Richard, sound design, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, Beck
Ingraham, Richard, sound design, WINGS, Beck
Jenks, Mark, set design, DEAD MAN'S CELL PHONE, Dobama
Kasumi, Video Artist, A SOLDIERS TALE with CATCH AND RELEASE, CPH
Kearney, Kristine, costume design, EMMA, CPH
Kouyeas Jr., Thomas, lighting design, THE FOREIGNER, Porthouse
Lincoln, Michael, lighting design, CPH
McBride, Don, scenic design, WINGS, Beck
Meloro, Nick, properties design, THE NEW CENTURY, Dobama
Mickelsen, David, costumes, LOST IN YONKERS, CPH
Miller, Paul, lighting, LOST IN YONKERS, CPH
Morgan, Robert Mark, set design, EMMA, CPH
Needham, Ben, set design, THE FOREIGNER, Porthouse
Newell, Ron, set design, HUMBLE BOY, Dobama
Paul, Jeremy & Kilbane, Dan, lighting design and execution, INOCULATIONS, Theatre Ninjas
Potts, Jason, sound design, THE FOREIGNER, Porthouse
Raiford, Michael, set design, THE KITE RUNNER, CPH
Resler, Jason Lee, costume design, AN IDEAL HUSBAND, GLTF
Ruble, Margaret, costume design, SCARLET PIMPERNEL, Mercury
Sanderson, Sanderson, costume design, AIN'T MISBEHAVIN', CPH
Schweikhardt, Michael, set design, LOST IN YONKERS, CPH
Simon, Clyde and Valore, Jim, set design, KIMBERLY AKIMBO, convergence- continuum
Van Curtis, Jeffrey, costume design, AN ORCHARD, CWRU/CPH
Venberg, Lorraine, costume design, THE KITE RUNNER, CPH
Young, Curtis, set design, ANNA bella EEMA, Theatre Ninjas
Young, Curtis, set design, Things of Dry Hours, CPT
Zernechel, Terrii, lighting design, HUNTER GATHERERS, convergence- continuum

MUSICAL DIRECTION
Bodle, Georgiann, GYPSY, Brecksville Theatre on the Square
Carney Eddie, SCARLET PIMPERNEL, MercurySummer
Carney, Eddie, JOSEPH…DREAMCOAT, Mercury Summer
Fortney, Rick, BABY, True North Cultural Arts
Goodpaster, Larry, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, Beck
Goodpaster, Larry, MY FAIR LADY, Beck
Goodpaster, Larry, THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, Beck
Goodpaster, Larry, THE PRODUCERS, Beck
Muñoz, Tito, SOLDIERS TALE with CATCH AND RELEASE, CPH

CHOREOGRAPHY
Céspedes, Martin, BAT BOY, GLTF
Crawford, John, BYE BYE BIRDIE, Porthouse
D'Antonio, Anna Maria & Céspedes, Martin, CHESS, BW/PHSQ
Shimotakahara, David, A SOLDIERS TALE with CATCH AND RELEASE, CHP

If any names are spelled wrong please let me know so I can change the permanent record on my blog.

If you would like to read any of my reviews for the year, please go to www.royberko.info, enter the blog and click on “2010 Reviews” or click on the name of the producing theatre and scroll through their performances. Reviews from previous years may also be accessed.

NOTE: THOSE WHO WOULD LIKE A CERTIFICATE ATTESTING TO THEIR RECOGNITION SHOULD E-MAIL ME @ royberko@yahoo.com. PLEASE INCLUDE THE ADDRESS TO WHICH THE CERTIFICATE(S) SHOULD BE MAILED!

Winter 201 Theatre Calendar

Go to the theatre--a list of winter theatre offerings

You know Cleveland…it's going to be cold and snowy in the coming months. It's a perfect time to go to live theatre and escape from all the stress. Here's a partial list of what's on the boards:

CLEVELAND PLAYHOUSE
Tickets: 216-795-7000 or go to www.clevelandplayhouse.com.

BACKWARDS IN HIGH HEELS
Jan 7-30 o Bolton Theatre
A toe-tapping musical about the public and private life of Ginger Rogers.

THE TRIP TO BOUNTIFUL
Feb 4-27 o Drury Theatre
The tale of an elderly woman who wishes to escape from the confines of her over-bearing daughter-in-law and son. Performed by an African-American cast.

MY NAME IS ASHER LEV
Mar 4-27 o Baxter Stage
An adaptation of Chaim Potok's coming-of-age story of a Hasidic Jew who tries to balance his artistic genius with the demands of his observant family.

DOBAMA
Tickets: 216-932-3396

A STEADY RAIN
Feb 25-Mar 20
A mystery in which the audience becomes the jury.

PLAYHOUSESQUARE
Tickets: 216-241-6000 or going to www.playhousesquare.org.

ALTAR BOYS
Jan 13-30 o Hanna Theatre
A pop-music parody that tells the story of five small-town boys trying to save the world one screaming fan at a time. Produced by The Beck Center.

LAST CALL CLEVELAND
January 14, 15, 28, 29 o 14th Street Theatre
A "sketch comedy troupe with a terrible name” brings their unique mix of sketches, songs and audience interaction to PlayhouseSquare.

CATS
_January 21-23, 2011 o Palace Theatre
Andrew Lloyd Webber's longest running show in Broadway history is filled with timeless melodies, including "Memory."

JOSHUA SETH'S BEYOND BELIEF
January 27, February 3, March 3 and March 24 o Kennedy's Theatre
Mystery entertainer Joshua Seth's one man show, which combines psychology, intuition, and hypnosis. (_No children under 12.)

GOLDA'S BALCONY
January 29, 2011 o Palace Theatre
A portrait of Golda Meir, Stars four-time Tony and two-time Emmy Award-nominated Tovah Feldshuh.

SOUTH PACIFIC
Feb 1-13 o Palace Theatre
The revival musical which won seven 2008 Tony Awards, features a cast of 34 and a full orchestra of 26 members. (Part of the KeyBank Broadway Series.)

CELEBRITY AUTOBIOGRAPHY
Feb 3-6 (Other performances through March 13.)
_14th Street Theatre
Features a comedic ensemble performing from the actual memoirs of a wide range of celebrities in the celebrities' own words.

SHREK THE MUSICAL
March 1-13 o Palace Theatre
Based on the Oscar-winning film, the musical brings the story of everyone's favorite ogre to life. (Part of the KeyBank Broadway Series.)

STOMP
March 18 - 20 o Palace Theatre
A unique dance show which features matchboxes, wooden poles, brooms, garbage cans, Zippo lighters, hubcaps-to create music.

THE COLOR PURPLE
March 25-26 o Palace Theatre
The Tony Award winning musical based on the classic Pulitzer Prize-winning novel and film about a black woman who finds her unique voice in the world.

GREAT LAKES THEATER FESTIVAL

216-241-6000 or visit www.greatlakestheater.org
THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED)
March 11-27 o Hanna Theatre
Three actors, armed with an outrageous assortment of outerwear and props, cram the Bard's entire canon of plays into two hours of Elizabethan-esque.

BECK CENTER
216-521-2540.

JERRY SPRINGER: THE OPERA
FEB 18-MARCH 27
A regional premiere. See what happens when Springer's show ends up in Satan's world. (Leave the kids at home!)

ACTOR’S SUMMIT
330-374-7568 or go to www.actorssummit.org. Actors' Summit is now located on the 6th floor in Greystone Hall at 103 South High Street in Akron.

ROMANTIC FOOLS
Jan 13-30
A comedy which looks at all humans as romantic fools.

BECKY'S NEW CAR
Feb. 10-27
A farce about what happens when two lives collide!

LADIES MAN
March 17-April 3
A French bedroom farce complete with slamming doors and mistaken identities.

CLEVELAND PUBLIC THEATRE
216-631-2727 or go on line to www.cptonline.org

DARWIN II: THE COMEUPPANCE OF MAN
March 3-19
The new Broadway musical which asks, “Cristobal has stolen the original Charles Darwin manuscripts from rare book libraries around the world. Why?”

KARAMU THEATRE
2355 East 89th Street, Cleveland
216-795-7070

AND HER HAIR WENT WITH HER
Jan 28-Feb 20
The story of a beauty parlor operator's interchanges with her parade of patrons.

GOD'S TROMBONES: SEVEN NEGRO SERMONS IN VERSE
March 18-April 10
James Weldon Johnson's poetic classic presented in a hand clapping, foot stomping, uplifting spiritual celebration.

LAKELAND THEATRE
Lakeland Community College
440-525-7526

ASSASSINS
February 4-20
Sondheim's musical examines power and celebrity in American by exploring hundreds of years of assassinations. (For mature audiences).

ENSEMBLE THEATRE
216-321-2930

FREE MAN OF COLOR
February 10-27 (presented at Notre Dame College, S. Green Road, South Euclid)
Examines the life of a man who must choose between making a life in the US or finding a new home for his people in Africa.

Joseph and the Amazing Technicolor Dreamcoat

JOSEPH-new, JOSEPH-joyous at Beck

When I heard that Beck Center was doing yet another production of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, I thought, “Why? Its been done by almost every community theatre and high school in the area. What can they do that's different?”

Well, I was wrong. The Beck production is JOSEPH-new. JOSEPH-joyous. The show features Martin Céspedes's creative choreography, glorious voices, Céspedes's dynamic choreography, artistic lighting, Céspedes's engrossing choreography, inventive music arrangements, Céspedes's imaginative choreograph, attractive and usable sets, a fun and well trained children's chorus, and terrific leads. Oh, did I mention Céspedes's ingenious choreography?

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT was written by Andrew Lloyd Webber and Tim Rice in their teen years. The story line is based on the story of Joseph from the Hebrew BIBLE's Book of Genesis, It was never planned to be a full scale production. In 1968 it was presented as a 15-minute pop cantata at Colet Court School in London. It eventually was developed into a full-blown creation. The show has an infectious score, highlighted by “Joseph's Dreams,” ”Joseph's Coat,” “Jacob and Sons,” and “Go Go Go Joseph.”

It is ironic that the show has no script. There are no spoken lines, no pre-conceived concept, it's a song-after-song show which has been done by more than 20,000 schools and amateur theatre groups, making it one of the most produced shows in the musical theatre genre. Each production is unique, though there are some concepts which most shows follow. Beck's production breaks the “usual” mold.

One of Beck's keys to success is the over-the-top concept developed by director Scott Spence, Céspedes's choreography, and musical director Larry Goodpaster's creative take on the score. Songs sound fresh and different and the visual elements are exciting. Trad Burns' lighting seems choreographed as it emphasizes the music and changes colors and intensities to fit the moods. The children's chorus, instead of sitting around and doing little other than “look cute,” are completely integrated into the action.
Céspedes has incorporated mass movements which includes gymnastics, the swim, calypso, break dancing, Rondeau, the twist, the cowboy two-step and the hoedown to fit the music and create well-designed stage images.

Alison Garrigan's costumes, including the technicolor coat which explodes to allow the children's chorus to make Joseph the center of a maypole dance, are visually engrossing.

The cast is universally strong. Connor O'Brien displays a powerful voice in the role of Joseph. Though he could have been more emotionally engaging, he more than makes up for it through his singing. His “Close Every Door” was one of the show's highlights. Tricia Tanguy creates a fine Narrator persona and has a strong and melodic singing voice. O'Brien and Tanguy's “Any Dream Will Do” clearly set the tone of the production. Josh Rhett Noble is Elvis-right as The Pharaoh. His “Song of the King” delighted the audience. The chorus showcases excellent blending.

Show highlights included the fanciful, “Those Canaan Days” and 'Benjamin Calypso.”
The appreciative audience greeted the ending with strong applause and were treated to a dynamic “Mega Mix” curtain call.

CAPSULE JUDGEMENT: You may have seen JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT before, but you've never seen it in the format of the Beck's MUST SEE production. Take the whole family and enjoy!

The New Century

THE NEW CENTURY at Dobama, funny, but…

The question asked by Paul Rudnick's play, THE NEW CENTURY, probably is, “Where is the new century heading?” And, even though it was written by Rudnick, the creative and 'in” author of such gems as I HATE HAMLET, JEFFREY, and THE MOST FABULOUS STORY EVER TOLD, the script and the Dobama production don't seem to garner an answer.

Rudnick, who is openly gay, loads the script with one-liners which shoot out of the characters as if they were using verbal machine guns. The fun is generally there, at least through the first three monologues and, then, a trite last act, tries to give us some obtuse message.

This is not a politically correct play and the illusions and visual images will not be of interest to those of the political right persuasion or the uptight. Such topics as sexual bondage, multi-nationalism, transgenderism, lesbian marriage, scatology, Nellie queens, terrorism, AIDS, bad aesthetic taste, Chinese Siamese twins, and last, but not least, full frontal male nudity, are presented.

The monologues include a diatribe by Jean Kauffman, as the well meaning Jewish Helene Nadler from Massapequa, Long Island, who states that “we are each special.” Especially special, and the source of her being 'the most loving mother of all time,” are her three children. One is a co-habiting lesbian, another is transgendered, and the third is gay. The role was played by the irrepressible Linda Lavin in the New York production. Kauffman is good, though she plays the role more as a caricature than a character, thus losing some of the needed reality. Even so, she is amusing.

We next meet Mr. Charles (Greg Violand), currently of Palm Beach. He was living in New York,, but was “run out of town by those younger gays who thought he was too flamboyant, and a fey relic of the old gay culture.” So, now he is the star of “Too Gay,” a public access television program which airs in the early, early morning to a very limited audience. His “boy toy” is named Shane (Steven West) who “lives to dance” and prances around in short shorts, skin tight shirts and, in one scene, nothing at all. Well, that's not totally true. He does have a bouquet of roses which cover his private parts. But, temptation finally wins and the audience is exposed to all of Shane. Mr. Charles's goal in life is to eradicate bad taste, though he, himself, is a visual image of garish styles and colors. He attempts to influence the new born baby of Joann Milderry (Caitlin Lewins) to be gay and stylish.

Violand, who is one of my favorite local actors, seems uncomfortable with the total flamboyance of the role. It is a part which needs the late Paul Lynde at his limp-wristed best. Violand gets laughs, but misses some because he is trying too hard to be what he is not.

The third monologue is entitled “Crafty.” As the title indicates, the segment centers on Barbara Ellen Diggs (Molly McGinnis), a crafts person from Decatur, Illinois who shows off her wares as she tells the story of her son, a gay man who died of AIDS. Her wares include a crocheted tuxedo cover for her toaster , knit toilet paper covers, and sock puppets to cheer up kids in the hospital (she hangs them on their IV stands). Much credit for this segment's success must go to Nick Meloro, the properties designer, who must have searched every junk shop in the area to find all the doodads needed.

McGinnis is wonderful in the role. Her description of the AIDS quilt is a beautiful tribute to those who have been lost to the disease's epidemic.
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The final segment, “The New Century,” is a contrived device to get all of the characters together for a play's dénouement. They all appear in the maternity ward of a NY hospital, for no apparent reason, other than to give Rudnick a device to bring his tale to a close. It doesn't work. The whole segment is forced and actually sucks the joy out of the first three acts.

After reading rave reviews of the New York production, it appears that the Dobama staging, under the direction of Scott Plate, though it is fine in parts, simply isn't up to Big Apple presentation. Kauffman and Violand try too hard, Steven West, though he has the physical assets, doesn't appear to have the acting chops to carry the complex role of Shane. Caitlin Lewins is fine in a brief role. Only Molly McGinnis is totally character correct.

CAPSULE JUDGEMENT: THE NEW CENTURY gets an acceptable, if not triumphant production at Dobama. There are many laughs, but Rudnick's message, if there is one, does not come through.