Inbal Pinto and Avshalom Pollak Dance Company

Israeli dance troupe captivates audience

When Pam Young, the Executive Director of Dance Cleveland, went to Tel Aviv, Israel to attend the International Exposure in Dance, she had an ulterior motive. Young was looking for companies for future programs. There were 40 dance troupes from 30 countries present. Young was drawn to Inbal Pinto and Avshalom Pollak Dance Company, an Israeli group. She set her sights on bringing them to Cleveland. Young not only succeeded in getting them to come, but to open their 2012 United States tour at Playhouse Square’s Ohio Theatre.

Besides Dance Cleveland’s usual corporate sponsors, the logistics of bringing in the troupe was provided by the newly formed Cleveland Israel Arts Connection, Jewish Federation of Cleveland, Mandel Jewish Community Center of Cleveland, and the Maltz Museum of Jewish Heritage.

An Israeli dance troupe. That translates to Klemzer and cantorial music and Sephardic and Ashkenazi folk dances. Right? Wrong!

The Inbal Pinto and Avshalom Pollak Dance Company blew away the capacity audience with the one-act, hour-long production of OYSTER, an ingenious creation which gives the illusion of a circus-world of wandering street people whose intimate artistic vision speaks of truths.

The full-length work is filled with dreamlike qualities which reminds the viewer of the works of Fellini and Tim Burton. It is set to the music of Piazzola, Leoncavallo, Harry James, Yma Sumac and the Tuvan throat singers. The latter is a variant of overtone singing practiced by the Tuva people of southern Siberia. The effect is mesmerizing and lends itself to an almost mystic-like involvement.

The troupe has 13 dancers who range in age from very young to 75 years of age, and are of diverse nationalities and backgrounds.

OYSTER is a series of scenes which are done with amazing fluidity. The movements require great physical control. It is both dramatic and comedic. According to the choreographers, the presentation is constantly being updated through rehearsal, performance, polishing and cast changes.

It’s almost impossible to give a blow-by-blow description of OYSTER as it contains ballet, modern dance, gymnastics, mime, acrobatics, flying figures, illusion, dramatic lighting effects, shadow movements, and the unexpected, all blending into a fascinating whole.

The printed program contained a column entitled Dance Matters by former Plain Dealer dance critic Wilma Salisbury. It was an interesting discussion, not only of Pinto/Pollack, but of why dance is important.

Capsule judgement: It’s too bad that the Inbal Pinto and Avshalom Pollak Dance Company was only at the Allen for two performances. The positive word of mouth would have sold out many, many concerts. Let’s hope that Dance Cleveland brings the company back…sooner, rather than later.

Martin Céspedes: choreographer extraordinaire

Spotlight on Martin Céspedes: choreographer extraordinaire

And, the award for the Best Choreography for a Musical Theatre Production in the Cleveland area during 2011 goes to Martin Céspedes for his reinvention of the dancing and staging for JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT at Beck Center. This type of citation is not unusual for the
Westlake resident.

Céspedes has been the recipient of more than ten Times [newspapers] Theatre Tributes awards. He was nominated by Northern Ohio Live for their theater award in 2005, 2006 and 2009. He was named by Scene Magazine as Cleveland’s Best Choreographer of 2006. He was highlighted for his theatrical work by Bravo magazine. He was nominated for the award as Outstanding Cleveland Choreographer by Broadway World.com. (The results have not yet been announced.)



Born in New York, Céspedes is a first generation American. His mother, who was a professional singer, is Puerto Rican. His father is Spanish.



He started to gain his dance knowledge when, in fifth grade, he was selected to participate in the elite Jacques d’Amboise’s National Dance Institute in New York City’s PS 161 Program. He was active in that group until, after his parent’s divorce, he moved to Lorain, Ohio to be near his mother’s family.



During high school, he danced in and choreographed local shows and was selected to appear on Cleveland TV’s ‘DANCE FEVER’ and NBC’s ‘WEEKDAY FEVER.’ After graduation he continued his training as an apprentice at the Denver Dance Theatre. While studying there, he saw a casting call for a professional western area tour of ‘GUYS AND DOLLS.’ He tried out, was selected, dropped out of the Denver company, and his professional career was underway.



He went on to appear in the national tours of ‘MAN OF LA MANCHA’ with Jack Jones, ‘THE KING AND I’ with Hayley Mills, ‘SOUTH PACIFIC’ with Robert Goulet and ‘WEST SIDE STORY’ with Bebe Neuwirth. He danced in opening acts for “Earth, Wind and Fire” and the “Bee Gees.”



Céspedes worked as theatre impresario John Kenley’s assistant, running dance rehearsals during the legendary producer’s last several seasons in Akron. He served as associate choreographer and fight captain for the PBS production of ‘LE CID’ with Placido Domingo. He has also choreographed for Great Lakes Theatre Festival, Cleveland Opera, Cleveland State University, Baldwin Wallace College, and The University of Akron Opera Department.


Céspedes considers himself to be a “hybrid director-choreographer in the mode of Jerome Robbins, Michael Kidd, and Bob Fosse.” Many in the Cleveland area would agree with him.

What’s in the future? Coming up are BLOODY BLOODY ANDREW JACKSON and LEGALLY BLONDE, THE MUSICAL at Beck Center. Then, MY WAY, A MUSICAL TRIBUTE TO FRANK SINATRA and MAN OF LAMANCHA at True North Cultural Arts.

Having just been inducted into SSDC, the national union for directors and choreographers, Céspedes feels he is “at the point where I am ready to break out.” Does this mean he will leave Cleveland? Though locals may hope not, it is going to be hard to keep this talented man in the area if prestige venues call.



For more information about Céspedes go to www.martincespedes.com

Ten Chimneys

Cleveland Play House inaugurates Second Stage with TEN CHIMNEYS

Believe it or not, for much of the 20th century, Genesee Depot, Wisconsin, was considered the center of the U. S. theatrical world. The site houses Ten Chimneys, the home of Alfred Lunt and Lynn Fontanne, considered by many to be the king and queen of Broadway theatre. The likes of Helen Hayes, Laurence Olivier and Katharine Hepburn were guests. In 2003, Ten Chimneys was opened as a museum for theater, the arts and the art of living (www.tenchimneys.org).

The Cleveland Play House’s Michael Bloom directed, Jeffrey Hatcher written TEN CHIMNEYS attempts to introduce us to the life style, acting skills and personal relationship of Lunt and Fontaine.

The play had its world premiere last January at Tucson’s Arizona Theatre Company, which commissioned the piece. Since then, due to positive reviews, it has become a much sought-after vehicle.

TEN CHIMNEYS is not totally factual, but is based on Hatcher’s imagination and information he gleaned about the couple, their life style and choices. The author indicates that his interest in the project had three thrusts: he was in the Lunt-Fontanne Theater in New York the day Lunt died in 1977 and became curious about the man, his reading of Hagen’s book, RESPECT FOR ACTING, and a tour of Ten Chimneys.

The story is set in the late 1930s. Alfred Lunt and Lynn Fontanne have decided to perform Anton Chekhov's The Sea Gull. They plan and rehearse the play at Ten Chimneys, their legendary Wisconsin estate, surrounded by actors, Lunt’s mother, step-sister and step-brother. When a young actress named Uta Hagen arrives, a romantic triangle begins to mirror the events in Chekhov's play about passion and art.

Lunt, who was generally recognized as his era’s finest actor, was so confident of his abilities on stage that he made a point of playing at least one protracted sequence with his back to the audience, conveying his character's emotions with his voice and body rather than his face. (A technique Donald Carrier does as well in playing the role.)

Fontanne, born in Britain, was noted for her comic skills, but also possessed the ability to play great drama.

One issue that has fascinated theatre gossips for years was the couple’s sexual orientation. A book about them, DESIGN FOR LIVING, recounts that, “Their marriage was almost certainly sexless. Passion was what they enacted on the stage.” As Fontanne herself said: ''We were friends right away. . . . I loved him utterly. We were in the same profession. We were like twins.'' Hardly sounds like a recipe for romantic love or sexual passion.

The play hints at Lunt’s life issues: an enmeshed relationship with his mother; a series of love letters from Ray Weaver, a life long friend and roommate; and, his close friendship with Noel Coward, who was such a frequent visitor at 10 Chimneys that he had his own bedroom.

The script is filled with witty lines, sarcasm and snappy comebacks. For example, when Sidney Greenstreet, who was a stage actor before becoming a movie actor in such classics as THE MALTESE FALCON and CASABLANCA, cuts down his on-stage performing, Fontaine asks him "but don't you miss acting?" The run-ins between Fontanne and Hattie Sederholm, Lunt’s mother light up the stage. For example, when Lynn learns a package has arrived and breaks into a run to get it, her mother-in-law says, “only a full-length mirror could cause her to move so fast.”

Unfortunately, there are places where the writing lags in keeping the action moving.

CPH’s production is audience appealing and filled with humor, but seems overly long due to some languid pacing.

Donald Carrier makes for a wonderful Lunt. He plays off others well and creates a finely honed character. Kelli Ruttle is appealing as Uta Hagen (the multi-Tony award winning actress). She does an excellent transition from young ingénue at the start of the play to mature actress at the conclusion.

Emmy Award winning Mariette Hartley is spot on as Lunt’s drama queen mother. She has a great time with both the satirical and manipulative scenes. Gail Rastorfer suffers wonderfully as Lunt’s put upon step-sister. Jeremy Kendall as Lunt’s step-brother Carl, gets all he can from his limited role. Michael McCarty not only has the Greenstreet girth, but hints at the real life person without doing an imitation.

Jordan Baker never seems to totally grasp the underbelly of Lynn Fontanne. This is a hard role to portray. It requires being the passionate Fontanne of on-stage life, while being the dispassionate Fontanne of real life. In addition, there needs to be precise timing in order to get laughter from the sarcastic lines. Somehow, in spite of some excellent moments, Baker just doesn’t give complete texturing to the role.

Set changes, musical choices which are era correct, and lighting effects are all quite good.

The Second Stage is a completely flexible theatre. For this production, the configuration is theatre-in-the square, meaning the stage is completely surrounded by the audience. Only 6 rows deep, there are no bad sight line problems seats. Be warned, however, that if you are not steady on your feet, that requesting front or back row seats is advisable. You can get to the ground row via an elevator by requesting help of the house manager. You enter the theatre, which goes down from the entrance, so anyone can easily get to the top row. (Sounds confusing, but once you get into the theatre you’ll understand.) In addition, the 19 steps down to the seating rows are quite narrow, as are the spaces between rows, resulting in some people expressing fear of falling.

CAPSULE JUDGMENT: Even if it’s not of the same quality as the company’s first three shows in their new home, audiences should generally like CPH’s TEN CHIMNEYS. It’s very worth seeing.

Hair

No bombs greet this version of HAIR at Playhouse Square

Theatre is representative of the era from which it comes. Seeing a play that reflects a specific time period reveals the cultural attitudes of the people and society of that instance.

Seeing HAIR, “The American Tribal Love-Rock Musical,” gives a vivid film clip of the 1960s and early 70s in the U.S. It was the era of the anti-war movement, rebellion against traditional societal patterns. It was the time of sit-ins on college campuses, hippie communes, flower children, pot smoking, tie-dye wearing, long hair, swearing and public nudity. It was a period of rage against the military-industrial complex. It was the time of a clear generational divide. If the young people could find a way to upset their elders, it was the “in” thing to do.

Written by Gerome Ragni and James Rado, the show’s book was put to music by Galt MacDermot. Its slim story was based on the authors’ personal experiences. It centers on Claude, a member of the hippie community, who sells out and allows himself to be taken into the Army rather than burn his draft card or go to Canada. The play concludes with Claude laying in a death-like pose on an American flag.

When the show first opened, it engendered strong protest. In fact, on April 25, 1971, a bomb exploded in front of Cleveland’s Hanna Theatre during the Age of Aquarius show’s run at that venue.

HAIR broke all sorts of theatrical traditions. Members of the cast, known as the “tribe,” constantly jumped off the stage and interacted with members of the audience, invited patrons to dance with them, and they gave flowers and hugs to the unsuspecting. The U.S. flag was used as parts of costumes and burned. There was full-frontal nudity. Swearing, sexual acts, pot smoking, mocking of parents, a dance-in after the curtain call invited everyone to come forward and “be themselves.” There was an intentional ignoring of theater’s proverbial “fourth wall,” a separation of the stage actions from the audience.

This is not a well-written book musical. The plot meanders, the songs don’t fit into the story, often doing nothing to move the plot along. Again, a break from the traditional musical of the day. Though often referred to as the “grand daddy of the rock musicals,” its really a mélange of music and imagery. The music changes from rock to country to ballad to African American rhythms.

The show intends to incite strong reactions. How could a script which includes such lines as represented by signs carried during a protest which state “I saw god (note the small g) and she’s black,” “It’s a war that sends blacks to kill yellows for whites who stole their lands from the reds,” and “lay don’t slay,” not bring about reaction…especially in the 1960s?

The highlight of action centers on Claude’s hallucinatory drug trip in Act II where a series of horrifying visions, loaded with historical figures who are presented in the oddest contexts. It’s a microcosm of the whole show, which essentially unfolds like a tune-filled acid trip that gives HAIR its distinctive period edge.

So, how does the show wear over 50 years? The times they have changed. Reaction to swearing, smoking of pot, nudity, and protest are mundane by today’s standards. Many of the references are beyond the knowledge of the younger members of the audience. Unless you are an uptight conservative or an evangelical, who are not candidates to attend this show, the goings on won’t evoke much reaction. Only the wonder of “what was all the fuss about?”

Some of the music has lost its luster. Aquarius didn’t send me off onto a journey of effervescence. In fact, as sung by Phyre Hawkins, it wasn’t compelling. Hashish, in this age of rampant drug usage, is just a song. On the other hand, I Believe in Love, Easy to be Hard, and Good Morning Starshine, have held up. Of course, having the luminous Sara King singing them helped as did their themes which aren’t era bound. Other highlights were Manchester England, Black Boys/White Boys, Donna, and Where Do I Go?.

The cast is good. Handsome, charismatic Marshal Kennedy Carolan, who was substituting in the role of Claude on opening night, displayed a fine singing voice and made for a sympathetic character who gave in to the system, rather than standing with his “tribe.” Baldwin Wallace grad, Steel Burkhardt, was sensual, sexual and like a kid with ADD as he yelled, screamed and cavorted all over the stage and into the audience as he sang up a storm as Berger. Sara King mesmerized as Sheila. Will Blum was a stitch as a cross-dressing Margaret Mead. Ryan Link was effectively spaced-out as Woof.

The on-stage musicians, some of whom seemed bored after the long road tour, still produced an effective sound and underscored the singers, rather than playing a rock concert and drowning out the important words. The sound system made hearing words an easy task.

CAPSULE JUDGEMENT: HAIR is a classic musical, which entered the theatre into an era of reflection of the turbulent era of the 60s. For those who want to relive the era, or who want to discover what was going on during those times, it’s a good nostalgic trip. A little tired from a long road trip, this isn’t a great production, but it is entertaining.

A Song for Coretta

Ensemble’s A SONG FOR CORETTA points spotlight on the other civil rights King

The recent dedication of the Martin Luther King, Jr. memorial in Washington, DC, draws further attention to the person credited with being the father of the African American civil rights movement. Often, the effect of his wife, Coretta, seems to be ignored.

Coretta Scott King was a leader, author, and the founder and former president of the King Center. She was a recipient of the Congressional Gold Medal and the Gandhi Peace Prize. Many also know that Mrs. King was a trained singer who was preparing for a career as a vocalist when she met a young preacher, Martin Luther King in the 1950s. Together they helped change history.

Pearl Cleage, in her play A SONG FOR CORETTA, now in production at Ensemble Theatre, explores the impact Mrs. King had on the lives of black women, and the connections they can build with one another through honoring her memory and legacy.

It’s Atlanta, Georgia, on a rainy afternoon in 2006 in front of the Ebenezer Baptist Church, where the body of Coretta Scot King is lying in state. She has died at age 78 after battling ovarian cancer and the effects of a stroke.

A bench center stage is emblazoned with a sign stating, “A seat for those who walked in Montgomery in 1955.” The march that, along with the bus strike that brought Rosa Parks to fame, and the restaurant sit-ins, resulted in breaking the back of segregation in the U.S.

The play centers on five women who are in line to pay their respects to the woman who many think of as a saint of the black community.

Fifty-seven year old Helen, a pious, up-tight, and proud Negro woman, met Mrs. King several times when, as a child, her parents took her to civil rights activities. She rode on the Montgomery bus the day the transit company gave in and let Blacks sit wherever they wanted in the vehicles.

Helen knows her civil rights history and is concerned with the decline of young peoples' values and their lack of interest in the history of the struggle for equal rights. Her fears are confirmed when she meets Gwendolyn, a 17 year old, who has just left an abortion clinic where she had gone to void herself of her second pregnancy. Lil Bit, Gwendolyn’s nick name, knows the words to rap music, but is unaware of any civil rights songs or the purpose or impact of the movement.

Zora is a 22-year-old journalism student who hopes her interviews with people waiting in line will be aired on National Public Radio.

Mona Lisa, a 40-year-old artist who survived the destruction and human horror of Hurricane Katrina, lost almost everything, and lives in her car.

Gwen is a traumatized Iraq war veteran, who is questioning the purpose of the war and the folly of service to her country.

Their serendipitous meeting brings them together and helps each to gain some understanding of how their lives are intertwined and have been influenced by Coretta Scott King.

Taylor’s script is purposeful and filled with the educational material that makes it a good choice for Black History month. It consists mainly of dialogue, with little action. There is some humor mixed in with history lessons and drama.

Ensemble’s production, under the direction of Margaret Ford Taylor is quite acceptable, but sometimes lacks the proper pacing and character development to bring out the impact of the script. In general, the actors stay mainly on the surface, feigning emotion and meaning, though there were moments of depth of motivation. Generally, however, they present characterizations rather than becoming the people they portray. It’s sometimes hard to feel the pain each of these women feels because our emotions aren’t stimulated.

We needed more of the emotional involvement displayed by Sonia Bishop (Gwen), when she exposes us to the horrors she experienced in the middle east.

CAPSULE JUDGEMENT: A SONG FOR CORETTA sets its focus on CORETTA SCOTT KING. It’s worth seeing Ensemble’s production to gain the seldom exposed tale of this important American history icon.

Steel Burkhardt....Berger in Touring Company of HAIR

The Steelman of HAIR, a BW product!

He has a superman inked logo on his arm with flashes of fire shooting out around it. He devotes huge amounts of energy working out at the gym. He spends a lot of time in public with either no clothes on or clothed only in a loin cloth. Fans are drawn to his charisma. Is he a super hero? No, he’s Steel Burkhardt, who plays the role of Berger in the touring production of HAIR, which is going to be playing at the Palace Theatre in downtown Cleveland from January 17th through the 29th.

Burkhardt, whose nickname is Steelman, is from Union, New Jersey. His local claim to fame is his attendance and graduation from Baldwin Wallace College.

How did he get from the Garden State to tiny Berea, Ohio?

During a recent phone interview, Burkhardt indicated that when he started his search for the “right” college, he was drawn to BW because of it’s ranking in the top five college musical theatre programs. During his first visit he instantly fell in love with the beautiful campus with places to ride his bike, the curriculum’s emphasis on self-empowerment and self-growth, the supportive rather than competitive nature of the program, and the quality of instruction.

He praises such faculty members as voice professor, Timothy Mussard, one of America’s most distinguished Heldentenors; Janeice Kelley-Kiteley, the dynamic, now retired dance instructor; Dr. Ellen Posman, Associate Professor of Religion; and, of course, Victoria Bussert, the heart of the music theatre program.

Bussert returned the admiration when she said of Steel, “I loved having him as a student -- always fun, generous and grounded.”

Burkhardt found that the BW stress on a music background, classical training and a balanced program allowed him to soar. It allowed him to present himself to potential agents and casting directors when he performed in the 2007 Senior Showcase in New York. It was from this experience that he got his agent and eventually was cast in the Central Park production of HAIR, which was followed by his performance in the revival of the show on Broadway, the London production, and now, the lead role of Berger in the touring production.

Ironically, Brukhardt’s introduction to HAIR was when he appeared in the show at BW.

Answers to questions he’s asked about the touring production:
•Yes, the famous nude scene, which caused bomb threats and pickets during the NY and touring show, climaxed on April 25, 1971, when a bomb exploded in front of Cleveland’s Hanna Theatre during the Age of Aquarius show’s run. Cast members are encouraged but not required to take off their clothes.
•The long tresses he displays on stage are his own…no extensions or a wig. He washes his hair once a week and just shakes it out and he’s ready to go.
•The show is Claude’s journey through free love and is personified by his love affair with Burger, which is implied but never really acted out on stage.
•The dance party at the end of the show when the audience members are invited up on stage to rock away is always energizing and is a celebration of life which encourages audience members to be “who you are.”
•The tour ends, ironically, in Cleveland, and then Burkhardt is back to New York to try out for hopefully a major role in another show.

An online bio summarizes Steel Burkhardt and HAIR. “Once upon a time Steel graduated from a school called Baldwin Wallace. He was shy in a small concert, then got naked in Central Park, was nude on a Broadway stage, then bared it again on the West End. Now he is ready for America…then perhaps the World!”

Special note: For a enlightening backstage tour of HAIR conducted by Steel Burkhardt go to: http://www.broadway.com/shows/hair/buzz/157333/hair-star-steel-burkhardt-invites-you-on-an-exclusive-backstage-tour/

Review of Reviewer's reviews--Stuart and Joyce Wallace

Thank you for your continuous marvelous reviews.

Stuart and Joyce Wallace

Baldwin Wallace College/A source for Broadway Talent

Cleveland’s Baldwin Wallace Musical College a source for Broadway Talent

There are many music theatre programs in the country. One of the repudiated “top five” is tucked away in tiny Berea, Ohio, a southwest suburb of Cleveland.

Yes, Baldwin Wallace College is exploding with talent that it unleashes upon the professional theatre world. There are a double digit of BW grads performing in, or getting ready to open in Broadway shows. Numerous others are running theatre companies, appearing in various professional theatre productions around the country, appearing on London's West End, and are trodding the boards on cruise ships and theme parks.

It’s the goal of the BW Music Theatre program to prepare students to compete successfully, and to sustain careers, as performers on national and international stages. The program offers an Intensive Conservatory-style training in Music (theory, solo & ensemble voice, and instrumental performance), In addition, Acting (for the stage and on-camera), and Dance (ballet, jazz and tap) help comprise the core performance instruction. The program has a very competitive entrance procedure, a limited enrollment, and strong academic rigor. Besides the Music Theatre major there are dance and Arts Management tracks.

The BW program has partnered with Cleveland’s PlayhouseSquare in both performance and arts management, as well as with the Beck Center for the Arts in suburban Lakewood.

The 2011-12 theatre season has seen or will see these BW grads on stage: Steel Burkhardt - HAIR (starred last summer on Broadway and is currently the lead in the National Tour); Kyle Post – SPIDERMAN; Hillary Elk – MEMPHIS; Cassie Okenka -- BONNIE AND CLYDE; Corey Mach – GODSPELL; Libby Servais - WICKED and LYSISTRATA JONES; Kevin David Thomas --REBECCA (opening in February); David Cameron Anderson – REBECCA; Trista Moldovan - PHANTOM OF THE OPERA (took over as the primary Christine on Broadway, December 9, 2011); Jen Noble -- GHOST, JR Bruno--national tour of THE BOOK OF MORMON; and Jill Paice--DEATH TAKES A HOLIDAY.

Victoria Bussert serves as the Director of the Music Theatre program. She is also a Resident Director at Great Lakes Theatre, while Scott Plate is the Department Chair.

Times Theatre Tributes--2011

TIMES THEATRE TRIBUTES--2011

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 2011 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, equity or lack of union affiliation, or leading or supporting roles.

2011 BEST DRAMATIC PRODUCTIONS:
THE TRIP TO BOUNTIFUL (CPH)
INSOMNIA THE WAKING OF HERSELVES (CPT)
HUCK AND HOLDEN (Ensemble)
RACE (Beck)
THE LIFE OF GALILEO (CPH)

2011 BEST MUSICAL THEATRE PRODUCTIONS:
A LITTLE NIGHT MUSIC (FPAC)
CHICAGO (Porthouse)

2011 BEST CHOREOGRAPHY IN A MUSICAL THEATRE PRODUCTION:
Céspedes, Martin , JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (Beck)

2011 BEST PERFORMANCES IN A THEATRICAL PRODUCTION:
Mitchell, Lizan, THE TRIP TO BOUNTIFUL (CPH)
Kendall, Jeremy, A STEADY RAIN (Dobama)
Caraballo, Daniel, HUCK AND HOLDEN (Ensemble)
Hart, Dana, ST. NICHOLAS (Ensemble)

SPECIAL RECOGNITION:
Roe Green for her major contribution and underwriting of the Fusion Festival at the Cleveland Play House.

The staff, Board of Directors and management of the Cleveland Play House for their farsighted move to Playhousesquare.

Gina Vernaci, in working with New York’s Dodger Productions, to bring the developmental project, THE FAT CAMP to the Hanna Theatre.

Cleveland Play House, PlayhouseSquare Center, Cleveland State University for the re-creation of the Allen Theatre.

Jeremy Paul, Theatre Ninjas, for continued creativity in development of new and creative theatrical presentations.

Celeste Cosentino for giving new life to Ensemble Theatre.

Thanks to the following for making the 2011 theatre scene in the Cleveland area stimulating and memorable:

PLAY/MUSICAL
A LITTLE NIGHT MUSIC (FPAC)
A STEADY RAIN (Dobama)
CHICAGO (Porthouse)
COMPANY (Fairmount PAC)
DARWINII (CPT)
DADDY LONG LEGS (CPH)
HUCK AND HOLDEN (Ensemble)
INSOMNIA THE WAKING OF HERSELVES (CPT)
JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (Beck)
MY NAME IS ASHER LEV (CPH)
PASSING STRANGE (BW/PHSQ)
RACE (Beck)
RENT (BW)
THE LIFE OF GALILEO (CPH)
THE MIRACLE AT NAPLES (congruence-continuum)
THE TRIP TO BOUNTIFUL (CPH)
TRYING (Cesear’s Forum)
WOODY GUTHRIE’S AMERICAN SONG (Actors’ Summit)

DIRECTOR
Bobgan, Raymond, INSOMNIA THE WAKING OF HERSELVES (CPT)
Bussert, Victoria, PASSING STRANGE (BW/PHSQ)
Bussert, Victoria, RENT (BW)
Caird, John, DADDY LONG LEGS (CPH)
Cesear, Greg, TRYING (Cesear’s Forum)
Céspedes, Martin and Spence Scott, JOSEPH AND THE AMAZING TECHNICOLOR
DREAMCOAT (Beck)
Cosentino, Celeste, HUCK AND HOLDEN (Ensemble)
Douglas, Timothy, THE TRIP TO BOUNTIFUL (CPH)
Edwards, Michael Donald, THE LIFE OF GALILEO (CPH)
Hammer, Joel, A STEADY RAIN (Dobama)
Hoffman, Geoffrey, MIRACLE AT NAPLES (congruence-continuum)
Kent, Terri, CHICAGO (Porthouse)
Kepley, Laura, MY NAME IS ASHER LEV (CPH)
May, Sarah, RACE (Beck)
Paul, Jeremy, MY BARKING DOG (Cleveland Public Theatre)
Paul, Jeremy, THE EXCAVATION (Theatre Ninjas)
Sternfeld, Fred, A LITTLE NIGHT MUSIC (FPAC)
Sternfeld, Fred, COMPANY (Fairmount PAC)
Thackaberry, Neil, WOODY GUTHRIE’S AMERICAN SONG (Actors’ Summit)

PERFORMER
Anderson Boll, Heather, MY BARKING DOG (Cleveland Public Theatre)
Arnold, Curt, VALPARAISO (convergence-continuum)
Bergeron, Ryan, JERRY SPRINGER THE OPERA (Beck)
Bestic, Tricia, TRYING (Cesear’s Forum)
Black, Maryann, CHICAGO (Porthouse)
Brault, Pierre-Jacques, DR. DOOLITTLE (Mercury Summerstock)
Bredeson-Smith, Lucy, VALPARAISO (convergence-continuum)
Bruner, Sara, THE TAMING OF THE SHREW (GLT)
Caraballo, Daniel, HUCK AND HOLDEN (Ensemble)
Carthens, Kyle, HUCK AND HOLDEN (Ensemble)
Cataan, Ursula, COMPANY (FPAC)
Cleveland, Adrianna, DREAMGIRLS (Cain Park)
Colerider, Glenn, TRYING (Cesear’s Forum)
Culver, Tim, CHICAGO (Porthouse)
Domingue, Nina, YA MAMA! (CPT)
Eckstrom, Brittany, HAIRSPRAY (Beck)
Emeka, Justin, RACE (Beck)
Emerick, Sandra, CHICAGO (Porthouse)
Esposito, Scott, ASSASSINS (Lakeland)
Farrell, Diana, JERRY SPRINGER THE OPERA (Beck)
Floyd, Aric Generette, THE LIFE OF GALILEO (CPH)
Gehlert, Rachel, TIGERS BE STILL (Dobama)
Gorell, Andrew, PRESENT LAUGHTER (CWRU/CPH AC)
Grandillo, Sean, big, THE MUSICAL (FPAC)
Hammer, Joel, THE SEAFARER (Dobama)
Hancock, Robert Adelman, DADDY LONG LEGS (CPH)
Hart, Dana, ST. NICHOLAS (Ensemble)
Holsinger, Holly, INSOMNIA THE WAKING OF HERSELVES (CPT)
Hudak, Zac, FIVE BIRDS (convergence continuum)
Hudak, Zac, THE MIRACLE AT NAPLES (convergence continuum)
Kelly, Kevin Joseph, HAIRSPRAY (Beck)
Kendall, Jeremy, A STEADY RAIN (Dobama)
Keyster, Brett, DARWINII (CPT)
Kline-Messner, Paula, BECKY’S NEW CAR (Actors’ Summit)
Koesters, Nick, MY BARKING DOG (Cleveland Public Theatre)
Lawrence, Rod, PASSING STRANGE (BW/PHSQ)
Leach, Andrea, RENT (BW)
Learned, Brint, ASSASSINS (Lakeland)
Lee, Heather, BACKWARD IN HIGH HEELS (CPH)
Little, Kristi, HUCK AND HOLDEN (Ensemble)
Mackay, Donald Sage, SOMETHINGS AFOOT (CPH)
McEvoy, Anne, INSOMNIA THE WAKING OF HERSELVES (CPT)
McGinnis, Meg, DADDY LONG LEGS (CPH)
Mitchell, Lian, THE TRIP TO BOUNTIFUL (CPH)
Morgan-Moyer, Cerris, LEGACY OF LIGHT (CPH)
Nehring, Larry, THE SEAFARER (Dobama)
Patterson, Tracee A LITTLE NIGHT MUSIC (FPAC)
Patterson, Tracee, COMPANY (Fairmount PAC)
Pedlow, Amelia, LEGACY OF LIGHT (CPH)
Perrotta, Laura, CABARET (GLT)
Plate, Scott, A STEADY RAIN (Dobama)
Ratell, Dylan, CHICAGO (Porthouse)
Scerbak, Erin , GRIZZLY MAMA (Dobama)
Sage, Donald Mackay, THE GAMES AFOOT (CPH)
Scott, Aungelique, RACE (Beck)
Seibert, Chris, INSOMNIA THE WAKING OF HERSELVES (CPT)
Simon, Clyde, THE BOYS IN THE BAND (convergence continuum)
Stump, Tina, HAIRSPRAY (Beck)
Taylor, Myra Lucertia, THE LIFE OF GALILEO (CPH)
Thompson, Matthew Ryan, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
(Beck)
van Baars, Eric, HELLO DOLLY (Porthouse)
Violand, Greg, THE UNDERPANTS (Beck)
White, Jon, RENT (BW)
Whitworth, Paul, THE LIFE OF GALILEO (CPH)
Woodson, John, CABARET (GLT)
Woodward, Tom, RACE (Beck)

Composite cast
A STEADY RAIN (Dobama)
DADDY LONG LEGS (CPH)
HUCK AND HOLDEN (Ensemble)
INSOMNIA THE WAKING OF HERSELVES (CPT)
MONSTER PLAY (Theatre Ninjas)
MY BARKING DOG (CPT)
MY NAME IS ASHER LEV (CPH)
THE MARVELOUS WONDERETTES (Beck)
THE MIRACLE AT NAPLES (convergence continuum)
THE GAME’S AFOOT (CPH)
THE TRIP TO BOUNTIFUL (CPH)
WOODY GUTHRIE’S AMERICAN SONG (Actor’s Summit)

TECHNICIANS
Borski, Russ, costume design, DREAMGIRLS (Cain Park)
Burns, Trad, lighting design, JERRY SPRINGER, THE OPERA (Beck)
Burns, Trad, lighting design, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
(Beck)
Burns, Trad, set design, A LITTLE NIGHT MUSIC (FPAC)
Conway, Daniel, scenic design, THE GAMES AFOOT (CPH)
Gantose, Benjamin, light design, MONSTER PLAY (Theatre Ninjas)
Gould, Richard, set design, RACE (Beck)
Horvitz, Joan, set design, INSOMNIA THE WAKING OF HERSELVES (CPT)
Ingraham, Richard, MY BARKING DOG (Cleveland Public Theatre)
Metheny, Russell, set design, TWO GENTLEMEN OF VERONA (GLTF)
Mitchell, Joseph, set design, HUCK AND HOLDEN (Ensemble)
Needham, Ben, scenic design, THE MARVELOUS WONDERETTES (Beck)
Richards, Matthew, light design, LEGACY OF LIGHT (CPH)
Studley, Christopher, lighting design, THE TRIP TO BOUNTIFUL (CPH)
Tucker, Craig, costume design, A LITTLE NIGHT MUSIC (FPAC)

MUSICAL DIRECTION
Anderson, Michael, WOODY GUTHRIE’S AMERICAN SONG (Actors’ Summit)
Garret, Ryan Fielding, PASSING STRANGE (BW/PHSQ)
Goodpaster, Larry, THE MARVELOUS WONDERETTES (Beck)
Krol, John, ASSASSINS (Lakeland)
Swoboda, Jonathan, CHICAGO (Porthouse)
Swoboda, Jonathan, COMPANY (Fairmount PAC)
Swoboda, Jonathan, HELLO DOLLY! (Porthouse)
Webb, Matthew, TWO GENTLEMEN OF VERONA (GLTF)
Williams, David, A LITTLE NIGHT MUSIC (FPAC)

CHOREOGRAPHY
Black, Maryann, CHICAGO (Porthouse)
Céspedes, Martin, HAIRSPRAY (Beck)
Céspedes, Martin, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT (Beck)
Crawford, John, HELLO DOLLY! (Porthouse)
Daniel, Gregory, RENT (BW)
Daniels Greg, DREAMGIRLS (Cain Park)
Reilly, Caitlin Elizabeth, THE MARVELOUS WONDERETTES (Beck)
Robertson, Pandora, THE LIFE OF GALILEO (CPH)
Weinberg-Katz, Bebe, COMPANY (FPAC)

If any names are spelled incorrectly or there are errors in identifications 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 “2011 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!

Review of Reviewer's reviews--Claire and Mort Beal

Special tribute to you, Roy, for your perceptive and "right on the button" reviews. We rely on you to get us to the best theater "on time!" My all time favorite in many years was "Trying." If not for you, we'd have missed it as would have many of our friends to whom we recommended it. Wish it would have a rerun. I'd see it again!

Claire and Mort

Winter Theatre Offerings--2012

Cleveland, Ohio theatre--a list of early winter theatre offerings--2112

It’s 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
216-795-7000 or go to www.clevelandplayhouse.com.

January 13-February 5
Presented in CPH’s new Second Stage Theatre, Allen Theatre complex
TEN CHIMNEYS, a heart-warming backstage comedy

February 10-March 4, Allen Theatre
RADIO GOLF, the final chapter in August Wilson’s 10-play cycle chronicling African-American life in the 20th century

DOBAMA
216-932-3396 or dobama.org

February 24-March 18
MIDDLETOWN, Will Eno’s new comedy exploring the universe of a small American town

PLAYHOUSESQUARE
216-241-6000 or go to www.playhousesquare.org.

January 6, 7, 27, 28
14th Street Theatre
JOSHUA SETH’S BEYOND BELIEF: AN INTIMATE EVENING OF PSYCHOLOIGCAL ILLUSION, mindreading, magic and hypnosis.

January 6, 7, 13, 14, 20, 21, 27, 28
Kennedy’s down under
FLANAGAN’S WAKE, an interactive Irish wake which takes the audience to Ireland for an evening of tales, singings and mourning.

January 17-29
Palace Theatre
HAIR, revival of the peace and love era musical, featuring Aquarius, Starshine, nudity and adult subject matter.

January 28-29
INBAL PINTO & AVSHALOM POLLAK DANCE COMPANY, conceived by Israeli choreographer Inbal Pinto, includes circus-world wandering street acrobats and oddly beautiful creatures.

Beck Center
216-521-2540

February 3-March 4
SPRING AWAKENING, winner of 8 Tony Awards, is a rock musical adaptation of the controversial 19th century German play that explores with poignancy and passion the turbulent journey from adolescence to adulthood. (Produced in cooperation with BW College’s Music Theatre Program.

Actor’s Summit
330-374-7568 or go to www.actorssummit.org.

January 19-February 5
BULLY, one actor portrays the life of Teddy Roosevelt!

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

January 5 - February 18
Big Box '12, provides local artists with the opportunity to create and produce new work. includes eleven world premiere workshop showings of theatre, dance, music and genre-defying performances.

January 19 - February 4
At-TEN-tion Span, the 10-minute play series returns, exploring different themes of politics, love and personal struggle in innovative ways.

February 23-March 10
ANTEBELLUM, a provocative play that resonates with the entwining realities of Nazi cruelty and Hollywood dreams.

KARAMU THEATRE
216-795-7070

February 3-26
The Bluest Eye, Nobel Prize-Winning Toni Morrison’s story about the tragic life of a young black girl in 1940’s Ohio. (This production contains adult language and themes.)

LAKELAND THEATRE
Lakeland Community College
440-525-7526

ANYONE CAN WHISTLE, a Steven Sondheim musical about a fight to save a fictional bankrupt town.

ENSEMBLE THEATRE
216-321-2930

January 12-29
SONG FOR CORETTA, examines five fictional African American women who find laughter and hope while waiting in the rain to pay tribute to the recently deceased Coretta King.

February 2-9
LOWER NINTH, a play of exploration of faith, survival and mutual redemption which finds two men and a corpse stranded on a roof after Katrina.

Playwriting in Cleveland

Original Plays Have a Home in Cleveland

Theatres in the Cleveland area are producing local, regional and national premieres. Included are the recent productions of Ken Ludwig’s THE GAME’S AFOOT at Cleveland Playhouse (world premiere), Conor McPherson’s THE SEAFARER at Dobama Theatre(regional premiere), and Joanna McClelland Glass’s TRYING at Caeser’s Forum(local premiere).

An additional trend is presenting works in development such as Randy Blair, Timothy Michael Drucker and Matthew roi Berger’s FAT CAMP at Playhouse Square and newly minted plays like Jeremy Paul’s MONSTER PLAY at Cleveland Public Theatre.

The two most prominent of the local writing groups are the Cleveland Play House Playwright’s Unit and Ensemble Theatre’s Stagewrights. In addition Cleveland Public Theatre creates new and original works in a less organized manner.

A look at one of these units showcases the new development and play process.

The Playwrights’ Unit is a group of experienced, accomplished playwrights from the Cleveland area who receive creative and administrative support from Cleveland Play House. The Unit meets regularly with Associate Artistic Director Laura Kepley to read their works-in-progress and provide each other feedback.

As early as 1918 local writers developed works for and within CPH. Starting in 1927, the theatre started to feature readings from what became known as the Playwrights’ Workshop.

In 1988 a Lab Company was developed to expand the number of plays created. In 1990-91 a collaboration with Ohio University MFA acting students added to the literary department. Plays were produced under the title: CPH NEXT STAGE NEW PLAY FESTIVAL.

By 1966 the membership in the group altered with new members added. Again in 2008 new members replaced some of the retiring writers.

Numerous writers from the group have had their works staged locally and by regional, national and international amateur theatres. The success of the venture can be illustrated by examining long time member Eric Coble’s success. His BRIGHT IDEAS received a CPH main stage production, was moved to off-Broadway, and won the AT&T Onstage Award. In 2010-2011 Coble saw over 60 shows receive national and international productions. Several of his new works will be staged by area theatres during the upcoming year. He has been commissioned to write a new main stage holiday show for CPH for next year’s season.

In addition, Eric Schmiedl’s FRANKENSTEIN has been commissioned for adaptation by the Denver Center Theatre. His MY HEMISPHERE AND YOUR HEMISPHERE LIVE ACROSS THE STREET was developed with an Aurand Harris Fellowship from the Children's Theatre Foundation of America 2010. Schmiedl has been commissioned by CPH to create a new show.

Deborah Magid’s THE WEDDING NIGHT was announced as the winner of the 6 Women Playwriting Festival in 2009, produced by Louisa Performing Arts Center, in Colorado Springs, and staged by the Santa Fe Playhouse Benchwarmers.

The excitement of local writers emerging to have their works presented on area, national and international stages continues. It’s just another aspect of what makes the Cleveland area a hub for the creative arts.

The Seafarer

THE SEAFARER, an Irish saga at Dobama

The Irish are noted for, among other things, being hearty drinkers, tellers of tall tales, participants in physical conflict, and believers in fantasy, redemption, fate, Catholicism, and escapes from reality.

THE SEAFARER by Conor McPherson, one of the newer Irish playwrights, is now in production at Dobama Theatre. McPherson has proven with his naturalistic style of writing, that he can follow in the paths of Shaw, Singe, Joyce and Beckett in creating a story that fits true Irish traditions.

In THE SEAFARER, McPherson writes a dark Christmas fable which reflects despair and a descent into oceanic depths of drunkenness. It concerns characters who spend their lives in alcoholic hazes, dependent upon each other to get through life. These are men who find it necessary to use booze as an anesthetic to protect themselves from reality.

It’s Christmas evening in Baldoyle, a coastal settlement north of Dublin. The setting is the run-down, unkempt home of Richard Harkin and his brother Sharky. The duo has a long history of sibling rivalry. Sharkey has recently returned home after being sacked from his chauffeuring job for being involved with his employer’s wife. The tale reaches its apex when a drunken quartet of men, and a mysterious stranger, play a game of poker with more than money at stake.

As we observe, many of the characters are rudderless and blind. In the case of Richard, his blindness is real. On Halloween he fell in a dumpster causing the physical damage. His younger brother, Sharky is blinded by living life transitioning from one drunken rage to another. Ivan, a constant presence in the house, feels his way through life, hiding constantly from reality. Ivan has lost his glasses and can’t see clearly. This lack of clarity causes a major plot turn. Nicky, who is spending time with Sharky’s ex, acts and dresses flamboyantly, is a constant bane for Sharky, and seems blind to reality.

Who is the mysterious Mr. Lockhart, a man of refined appearance, with a stiff exterior. He has a secret, that centers on an action which transpired 25 years ago while Sharkey was in prison for killing a vagrant.

Dobama’s production, under the direction of Scott Miller, is on one hand compelling, on the other, inconsistent. Miller fails to aid some of the actors in texturing their performances. Several yell throughout with little inner motivation. There is also some inconsistency in pacing and consistent accents. On the other hand, the quality of writing, the plot development and several fine performances keep the long play interesting.

Joel Hammer makes the rage-filled Sharky, totally his. The underlying and expressive rage are well developed and textured. This is an excellent portrayal.

Larry Nehring is compelling as the pathetic Ivan. He clearly portrays the husband, father and drunk, who has difficulty with the realities of life.

Bernard Canepari’s Richard is properly frustrated, but the actor fails to vary his performance. He yells and yells and yells. There is also the problem of his stumbling over the lines.

Tom Woodward makes for an acceptable Nicky, but doesn’t create a crystal clear character. Who Nicky really is doesn’t come out.

Charles Kartali feigns as Mr. Lockhart. He looks stern and unyielding, presents his lines with fidelity, but misses the needed underlying devilish quality. There are times when he sounds more east coast U.S than Irish.

David Tilk’s set design works well as does Marcus Dana’s lighting.

Capsule judgement: THE SEAFARER is an Irish play which gives a vivid picture of the frustrations of life on the Emerald Isles. Dobama’s production has some fine performances. Though it is very well worth seeing, some may find it overlong and lacking in clarity.

Santaland Diaries

THE SANTALAND DIARIES and LOUSH SISTERS at 14th Street Theatre

Author and entertainer David Sedaris has a knack of finding what’s funny and ironic about life. He’s at his best when he takes on the mundane and less dramatic incidents of existence.

Christmas is one of those times that brings out the best and the worst in people. This is very evident in THE SANTLAND DIARIES, a rendition of which is now on stage at the 14th Street Theatre in PlayhouseSquare, which is cosponsoring the production with Cleveland Public Theatre.

The playlet concerns Sedaris, experiencing life as a struggling writer in New York, who seeks out and secures a job as an elf at Macy’s flagship department store. He’s 33-years old and takes on the role of Crumpet, dressed in red and white stripped stockings, green tights, tasseled cap, and an oh so gay holiday tunic.

The show illuminates Sedaris’s dark comic observations on human life including the threats of parents when their kids aren’t thrilled about sitting on Santa’s lap, the drunk Santas, the kids who urinate in the fake snow, the fellow elf who can’t figure out why she can’t have the job on an all year basis, and what happens when the “real” Santa appears.

There are various ways of interpreting the role of Crumpet. Kevin Joseph Kelly, this season’s elf, with the help of director Elizabeth Wood, decides sarcasm is the right route.

Now, it has to be understood that KJK is at his best when he is cross-dressing. He’s made a career of putting his size 14 feet into high heels, adding some padding to a bra, and stuffing his ample body into a dress. He’s been Albin, the drag queen in LA CAGES AUX FOLLES. He’s portrayed Edna, an over-sized woman played by a man, in HAIRSPRAY. And he makes an appearance in a spangling dress in THE LOUSH SISTERS, the second act of this SANTALAND DIARIES. He’s at his best in drag. Hmm, wonder what would have happened if he and Wood had decided to take a different approach and let Kelly do his drag thing? That’s something to ponder for future presentations.

But the duo stuck to the traditional, so we have Kelly, as a sarcastic Crumpet, a Paul Lynde with too tight tighty-whities. That approach doesn’t get all the laughs that are inherent in the script. It’s not that Kelly is bad, he’s quite okay. It’s just that the play tends to work better with a more adorable or curmudgeonly approach. As the lady sharing the table with me said, “I thought this was going to be cute and funny.”

The second act is Liz Conway and Sheffia Randall Dooley as the Loush sisters. The mixed race “sisters” put out full effort, do a nice job of singing a blend of various holiday and non-Yuletide songs, get some laughs, and do some cute shticks. The highlight was Kelly’s appearance as the sisters’ sequins dressed full-figured mama and his version of Rose’s Turn from GYPSY.

The act is one of those segments of entertainment that when it ends, is quickly forgotten. That’s not a slam, just a comment on what was…okay, but no brass ring.

CAPSULE JUDGEMENT: THE SANTA CLAUS DIARIES is an evening of looking at life through the eyes of life commentator David Sedaris, which gets an acceptable presentation.

Nutcracker

ROYAL WINNIPEG BALLET’S NUTCRACKER disappoints

It might come as a shock to some to know that NUTCRACKER, whose performances have become a world wide Christmas tradition, was dismissed as “completely insipid,” “corpulent,” and “pudgy” when the ballet was first performed in St. Petersburg, Russia, in 1892. Obviously, views have changed!

There was never any question of the quality of Pyotr Ilyich Tchaikovsky’s music, but the story was deemed to be incoherent and hard to follow.

Canada’s Royal Winnipeg Ballet is back in Cleveland to present its version of the fantasy story of Clara, a young Canadian girl in this version, and her love affair with a nutcracker prince.

As the fine orchestra played the overture, which highlights the themes of the great score, an outdoor hockey game, snowball fight and the arrival of guests, is portrayed.

Yes, it’s the night before Christmas and everything and everyone is stirring, including guests, mice, a giant stuffed bear, a dream of a sugar plum fairy, dancing snowflakes, angels, waltzing flowers, and a nutcracker prince.

The Canadian company puts out full effort, but they fall short on fantasy. All the elements are there, just the dance quality and creative choreography are missing. The usual squeals of delight of the children in the audience, especially, the young girls, were not present. The usual Cleveland standing ovation was not garnered. No “bravos” were shouted after the showcase Grand Pas de Deux. This was a rather slow moving, unspectacular, if adequately danced program.

The first act was especially slow moving. There was a lot of walking around and posing. Drosselmeier lost his magic touch and was nothing more than a master of ceremonies. The much anticipated Christmas tree was there, but it was not eye popping and its usually visually entrancing growth was rather unspectacular. The battle between the Nutcracker prince and his soldiers, and the Mouse King and his henchmen, was boring. Even the cannons didn’t create much of a boom. The highlight was the Dance of the Snowflakes, which was nicely performed and the presence of 50 child locals portraying various parts.

The second act picked up a little with some fine performances by the Pas deQuatre and the Arabian duo. The Sugar Plum Fairy danced adequately well, but did not mesmerize and many of the other specialty dances did not compel attention.

As I sat watching this performance, my mind scrolled back to the days of the Cleveland-San Jose Ballet and Dennis Nahat’s glorious version of the NUTCRACKER which was often performed on the same State Theatre stage. It often starred the luminous Karen Gabay and Raymond Rodriquez, her real life prince. Those were the presentations which elicited the “ohs,” “ahs,” and “bravos.”

Canada’s Royal Winnipeg Ballet is an adequate company, but did not display the quality of dancing and creative choreography to make it a world class troupe. The women dancers often didn’t stick point, and sometimes stood at odd angles as they attempted to hold poses. The lead dancers were adequate, but not of the quality that should be expected.

Capsule judgement: Canada’s Royal Winnipeg Ballet lacked the necessary excitement, fantasy and fine dancing to make its’ NUTCRACKER a compelling evening of dance.

Joseph and the Amazing Technicolor Dreamcoat

Céspedes’ choreography makes Beck’s JOSEPH special

The format for JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, a version of which is now on stage at Beck Center, makes the show unique. In contrast to almost all musicals, the show has no script. There is music by Andrew Lloyd Webber and lyrics by Tim Rice, but no spoken format for dialogue, no hints on how to stage the piece. Therefore, each production is dependent upon the creativity of the show’s stagers.

Usually, since the show is so filled with potential great dance opportunities, the burden falls on the choreographer. And, in most cases, the dance conceivers take their cues from the sounds of the music and produce appropriate moves. Every once in a while a show is blessed with a super creative and talented choreographer and the production explodes into a cacophony of visual moving bodies in dynamic movements. This is the case with Beck’s JOSEPH.

Beck’s JOSEPH is better than almost any production I’ve seen. Why is this production special? MARTIN CÉSPEDES! Yes, Céspedes, one of the area’s best choreographers, has outdone himself in this show. He threw out all of his previous visions and created new ones. The young kids of the chorus, explode with precision and glee. The older teens and adults have a ball doing synchronized and dynamic moves. There’s calypso, rock ‘n roll, western, serpent dance, the dip, and the twist. Even the action curtain call rocks!

They are helped by bright, ever changing lighting effects created by Trad Burns, who has also envisioned a pleasing set.

Musical Director Larry Goodpaster has reinterpreted some of the music to make the sounds fresh. Allison Garrigan’s costumes work well, especially the visually beautiful coat of many colors.

The sound is problematic. Squealing mikes and levels which are set so high that the voices are over-amplified, squelching words. The lack of balance makes for uncomfortable moments. This is not a rock concert, it is a musical in which the words to the songs must be heard.

Matthew Ryan Thompson is “Joseph right!” His rock ‘n roll voice adds an up-to-date sound to songs, his phrasing patterns create meaning to the words. He’s a floppy haired bleached blonde charmer. His rendition of Close Every Door had a beautiful plaintive sound.

Josh Rhett Noble, he of swiveling hips and the Elvis smirk and snarl, is point on as the Pharaoh, stopping the show with his Song of the King.

Tricia Tanguy has a big and trained singing voice. Unfortunately, there are times when she sings words rather than meanings. She needs to go over the words and figure out what they are saying and adjust her interpretations accordingly.

The show has proved to be a holiday success for the theatre. Audiences have flocked to Lakewood every time the show is reprised. And, it has been reprised there a great number of times, since their production “way, way back many centuries ago” when Rob Gibb lit up the stage as the lead in the show.

CAPSULE JUDGEMENT: Beck’s JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT is a delight. Go, Go Joseph!

Conni's Avant Garde Restaurant

CONNI’S AVANT GARDE RESTAURANT, back by audience demand, at CPT

It’s dinner and theatre, but not traditional dinner theatre. It’s a play, but not a play. It’s avant garde, but not avant garde. There is male nude streaking and lots of references to various body parts, but it isn’t raunchy or lewd. It’s ad-libbed, but scripted. What is it? It’s one hell of a good time! It’s CONNIE’S AVANT GARDE RESTAURANT, now being performed at Cleveland Public Theatre.

The inspiration for this evening of bizarre, delightful, and a little thought provoking theatricality, was supposedly brought about by the accidental sighting by the cast of a touring Shakespeare company with a sign over an abandoned diner in a small town where they were performing. It read, “Conni’s Restaurant.” The group, bored, and in a creative mood, started to fantasize about what it would be like if they owned and operated such an establishment. Voilá, the inspiration for the mayhem that presently fills the flexible CPT main theatre.

As you walk into the lobby, you are met by a number of “nurses” who take your coat (don’t worry, you’ll get it back), costumed performers, hors d’oeuvres and wine. You get to chose your name for the night. You can be “Not so Tiny Tim,” “The Abdominal Snowman,” “Sweet Child of Wine,” or something as mundane as “Nice.” That’s your i. d. for the rest of the evening.

During the cocktail party you are entertained by the performing troop, who sing, emote and serve. A minor incident requires a doctor, who is whisked away into the bowels of the theatre. You are tempted by performance tidbits of what is to come and exposed to who is going to present it.

You are ushered into a banquet hall decorated with chandeliers made of plastic champagne glasses and utensils. Tables of 8 are set with “fine” plastic dishes and silverware. There is an operating kitchen, where much of your “gourmet” dinner will be prepared by a “chef.” (The quote marks are very relevant!) You self-seat, meet your table mates.

Then all hell breaks loose. The “doctor” charges through the audience, sans clothing. During the next four hours there is continuous eating (of surprisingly tasty food), entertainment and mayhem. The cast continues to remind you, through a series of elaborate vignettes and songs, that the evening is devoted to “the ongoing celebration of the work of Conni Convergence, the beloved (fictional) icon of stage and screen."

As the evening proceeds, members of the audience are involved in contests, interactions with the performers, viewing of a baby being transferred from the insides of one woman to another (I kid you not!). There’s a ballet interlude by a pregnant ballerina interpreting The Black Swan. There’s the shooting of a deer, which then is transformed before your very eyes into a salad (well, not really). You are entertained by the company’s interpretation of Hans Christian Anderson’s THE LITTLE MATCH GIRL. You’ll learn the secrets of the rhythm method of acting. Then there’s the “Dance of the Kitchen Utensils” and the making of an erotic fruit salad.

I could go on, but why ruin the experience for those who are going to partake?

Capsule judgement: For the non-up tight, those willing to let lose and go with the chaotic and often hysterical flow, CONNI’S AVANT-GARDE RESTAURANT is a hoot. This is not your traditional theatre production. It is one evening of unbridled fun and mayhem.

The Game's Afoot (Or Holmes for the Holidays)

THE GAME’S AFOOT delights at CPH

How often does a theatre extend the run of a show before it even opens? Well, since pre-sales were so strong, the Cleveland Play House has added a week of stagings for their world premiere of Ken Ludwig’s THE GAME’S AFOOT (or Holmes For the Holidays).

It appears that the doomsayers, who said that the move to downtown would bring about the demise of CPH, were very wrong! So far, the opening season has been an artistic and financial success, and the company’s next show, TEN CHIMNEYS, will inaugurate a new theatre, The Second Stage. It will the first CPH show that has ever been presented in the round.

Ludwig is a well known playwright whose musical, CRAZY FOR YOU, ran over four years on Broadway and in London. In addition, he wrote the oft produced LEND ME A TENOR. He’s also the scribe of MOON OVER BUFFALO, TWENTIETH CENTURY and THE ADVENTURES OF TOM SAWYER.

Ludwig’s THE GAME’S AFOOT is billed as a comedy thriller in which we meet famed stage actor William Gillette at his Connecticut home, recovering from an attempt on his life during the curtain call of his renowned play, SHERLOCK HOLMES. Several weeks later he invites the members of the cast and a reporter/critic who is doing a story about him, to spend the holidays in the elaborate home occupied by Gillette and his mother. The castle-like structure is filled with electronic gadgets and hidden rooms. It’s a perfect place for an Agatha Christie-type mystery.
Of course there is a murder and the fun real begins.

More farce than comedy, there are enough early hints of “who did it” so that the revelation of the killer isn’t a great mystery, but the fun is so sharply developed through prat falls, exaggerated situations, and over done shticks, that the whole darn thing works well.

William Hooker Gillette was, in fact, a famous actor in the late nineteenth and early twentieth centuries who is best remembered for his enactments of Sherlock Holmes. He was a proponent of grand stage designs and added many special sound and lighting effects into his productions. His wearing of a deerstalker cap and the smoking of a large curved pipe, became the visual pattern for all who were to play Holmes in other plays, movies and on television. A life-long resident of Connecticut, he actually built a grand castle-like home in that state that is still open for tours.

CPH’s production, under the direction of Aaron Posner, is a delight.

The cast is wonderful. The well-paced timing keys the laughs. Daniel Conway’s set is so impressive that spontaneous applause broke out when it was first revealed. Thom Weaver’s lighting effects, especially the falling snow and quick blackouts, and James Swonger’s sound effects, all added to the wonderment, though one might wonder, besides trying to create a spooky effect, why there was booming thunder during a snow storm. But, that matters little. This is a farce more concerned with affect then effect.

Donald Sage Mackay is Holmes. His tall, lanky physique, pointed nose, and Holmesian attitude are all spot on. Patricia Kilgarriff is a hoot as his curmudgeon mother, who almost kills their dog in her attempt to punish Daria Chase (Erika Rolfsrud) the bad, bad lady theatre critic.

(Why is it that at present there are two shows running in the area which damn theatre critics…this production and Ensemble’s AT NICHOLAS? We are kind hearted people who even give positive reviews to plays that damn us!)

Back to the cast. Rolfsrud makes for a great villain. She even got some complimentary boos during the curtain call. It’s amazing she isn’t all black and blue from the slamming down and around that happens to her.

Sarah Day is delightful as mannish Inspector, Harriet Gorin. She’s Miss Marple (The Agatha Christie character) and Jessica Fletcher (MURDER, SHE WROTE) all rolled into one.

Rob McClure is boyish ingénue-right as Simon Bright. Though she physically fits the role of the blonde innocent, Aggie Wheeler, Mattie Hawkinson’s high pitched voice becomes grating after a while.

Lise Bruneau (Madge Geisel) and Eric Hissom (Felix Geisel) are fine as a bickering couple.

Capsule judgement: THE GAME’S AFOOT is a perfect holiday treat that will delight audiences. It’s a go-see fun evening of theatre.

Cleveland's Groundworks and Inlet Dance

Cleveland’s GROUNDWORKS and INLET DANCE

When, eleven years ago, Cleveland San Jose Ballet, due to poor artistic and financial management, snuck out of town to become the San Jose Ballet, the doomsayers predicted that that was the end of dance as a Cleveland area art form. Nothing was further from the truth.

No, the area has no large ballet company, but that void was replaced by some small, vibrant modern and contemporary dance groups. Included in the list are Verb Ballets, Dancing Wheels, GroundWorks Dance Theater, Ohio Dance Theatre, Greene + Medcalf Movement Project, and Inlet Dance. The latter two just had very different, but outstanding programs, so, not to slight any of the others who will get future coverage, here is a quick view of Groundworks and Inlet.

GROUNDWORKS DANCETHEATER

Founded in 1998, GROUNDWORKS DANCETHEATER is the creative child of David Shimotakahara, who serves as the company’s Artistic Director. The excellent five person company (Felise Bagley Damien Highfield, Gary Lenington, Sarah Perrett and Kathryn Taylor), along with Artistic Associate Amy Miller and Music Director Gustavo Aguilar, have made it their goal to not only create creative and proficient programs, but make the entire Northeastern Ohio area their home.

GROUNDWORKS has no home of its own, but performs in various venues, going to the people, rather than having the people, per se, come to them. Performances have been held at Trinity Cathedral, dancing on a stage erected between the gothic spires, The Akron Ice House, performing in the vast vertical space that once served as an ice block and storage site, Cleveland Public Theatre, in a black box space, and the Cleveland Botanical Gardens.

Under the banner, Imagination you can see, the company enters its second decade, having been called “one of Cleveland’s cultural gems,” “one of the country’s leading contemporary dance companies,” “one of the year’s 25 to watch in the dance world,” and, “a company that is setting the standard for small dance ensembles in Northeastern Ohio.”

Beyond performances, the company does education outreach to the Cleveland Metropolitan School District, connecting to over 1000 students each year. Outreach and Educational Coordinator Mark Otloski was recognized with the Yaneo 2010 Sunshine Award in recognition of his commitment to arts education in the community.

The company’s next public presentation will be Groundworks at Breen Center on February 3 and 4. The program will include the world premiere of a commissioned work by Ronen Koresh, and Hindsight, Lynne Taylor-Corbett’s homage to Chrissie Hynde of the Pretenders. Breen Center is located at 208 West 30th Street in Cleveland.

INLET DANCE THEATRE

Founded in 2001, Bill Wade’s INLET DANCE THEATRE, operates under the goal of “creating life affirming new work, often pulling our topic based choreography from the communities we serve.” They are also a company without a permanent home, reaching out to the community by performing in schools, parks and dance festivals.

The company works with such community organizations as The Nehemiah Mission, which, based on the biblical Nehemiah who rebuilt Jerusalem, has the purpose of rebuilding the lives and homes of the physically and fiscally challenged of Cleveland by bringing in over 1000 volunteers per year to complete around 100 projects in private homes and churches.

Wade’s company, which has two of the area’s best male dancers (Joshua Brown and Justin Steintz) has fine female company members, Makenzie Clevenger and Elizabeth Pollert, an apprentice, Dominic Moore-Dunson, and six trainees.

Several years ago the company did a dance exchange with the residents of Easter Island (a commonwealth of Chile), one of the most remote islands of the world. The Inlet company traveled to Chile to learn dances and customs of the Rap Anui people and several members of that culture travelled to Cleveland. The local company created a series of dances, which were performed to authentic music and costumes designed to imitate the cultural pattern of the island residents.

Wade’s philosophy embodies a longstanding belief that “dance viewing, training and performing experiences serve as tools to bring about personal growth and development.”

Inlet’s education programming includes teaching dance at The Music Settlement, an annual Summer Dance Intensive, which attracts students from as far away as Central America, and residencies throughout Ohio as part of the Ohio Arts Council’s Artist in Residence Program.

Inlet’s next performance will be at 7 pm on Friday, February 24. Entitled An Intimate Evening with Inlet Dance Theatre, it is a fundraiser to be performed in the third floor ballroom of a South Park Boulevard landmark home. Attendance is limited to 40. For information go to info@shakerartscouncil.org

Yes, dance is alive and well in the Cleveland area.