Fascinating “How to End Poverty” @ Cleveland Public Theatre

One of the purposes of theater is to educate.  Another is to get the audience involved psychologically in the process.  The ultimate end of many theatrical experiences is for the attenders to leave with a new understanding of life and to carry that message out of the theatre.

“How to End Poverty in 90 Minutes (with 199 People You May or May Not Know),” which recently ended a four performance run at Cleveland Public Theatre, was educational theatre at its best.

The “End Poverty” production was created after a year of research and community-partner-building.  Its first presentation was in May 2013 at Northwestern University.   Productions have been presented around the country and over $40,000 has been given to community-specific poverty reduction programs.

As the program’s website states, “This is not a play; it is not a lecture; it is not an interactive workshop; it is not a physical theatre piece; it is not a public conversation.”

It goes on to say, “Most significantly, it’s an opportunity to challenge a different audience every show with the question: how do you attack the problem of poverty in America, with a lens specifically focused on your community? Over the course of 90 minutes, the audience will listen, explore and ultimately choose how to spend $1,000 cash from ticket sales sitting onstage at each performance. The show is an experiment in dialogue, in collective decision-making, in shared responsibility, and in the potential for art to help us make our world a better place. It is spectacularly eclectic in form, often delightful and occasionally uncomfortable.”

If you had the opportunity to give $1000 to an agency which satisfies the daily needs of its clients, works for system change, or is involved in the field of education, helps making new opportunities or gives direct financial aid, which would you chose.  That was the task of the 199 other people who I worked with had as its goal.

We spent an hour and a half, hearing from legislatures, community workers, those in need.  We observed short skits acting out the needs of people, heard statistics on where the needs were, listened to appeals, investigated which local areas were the hardest hit.  Then, after discussing our thoughts with our “team mates,” who included the county commissioner, the Artistic Director of the Cleveland Play House, the minister for religious services for the county jails, several college professors, local performers, lawyers, a newspaper reporter and some who identified themselves as “average citizens,” we made our individual decisions.

With our five dollars in hand, we told our group leader on which clothes line to hang our bills.  After all the money was attached by clothespins, the money was counted, and our night, Lutheran Metropolitan Ministry, which provides permanent supportive housing, transitional housing treatment, housing vouchers and apartment searching to homeless men, received that night’s money.

Our drive home was filled with a lively discussion about what we learned, how the experience had opened out eyes, how wonderful if sociology, community planning and civics classes could be taught with a method such as this theatrical experience a truly practical life-educational experience.

Capsule judgement: If Cleveland Public Theatre ever brings “How to End Poverty in 90 Minutes (with 199 People You May or May Not Know),” back, and they should, make every effort to participate in this theatrical extraordinary learning experience.

Next up at CPT:   You are invited into the live studio audience of the World Premiere of Leila Buck’s “American Dreams,” where you will decide which of three contestants will receive the ultimate prize: citizenship in “the greatest nation on earth.” Weaving playful audience engagement with up-to-the-moment questions about immigration and more, this participatory performance explores how we navigate between fear, security, and freedom; who and what we choose to believe—and how those choices come to shape who we are.  (February 08, 2018 - March 03, 2018 7:00pm, Thu/Fri/Sat/Mon, James Levin Theatre. Previews February 8 – 10 & 15--No show February 12).   For tickets call 216-631-2727 or go on line to www.cptonline.org.

CPH’s “Marie and Rosetta,” points the spotlight on future-inductee into the Rock and Roll Hall of Fame

When Sister Rosetta Tharpe’s name appeared on the Rock and Roll Hall of Fame Ballot, there were many who thought, Sister who?  Little did those not familiar with the history of the genre, know that “she was wailing on the guitar before Chuck Berry, shouting call and response before Little Richard, and swaying rhythmically to the music long before Elvis shook his hips.”  In fact, Elvis may have learned his slim hip swiveling from the Sister Rosetta’s pelvis thrusts.

For the uninformed, the swinging gospel music and fierce guitar playing Sister Rosetta was a 1930s and 40s veritable legend who sang gospel music in the morning and performed swing music for the white audiences at the famous Cotton Club in New York’s Harlem.  She justly deserved her selection to this year’s Rock and Roll Museum class as one of rock ‘n’ roll’s earliest icons.

Cleveland Heights’ award winning playwright, George Brant’s “Marie and Rosetta,” now on stage at Cleveland Play House, takes us to 1946 Mississippi where Sister Rosetta Tharpe (Miche Braden) has “plucked prim and proper Marie Knight (Chaz Hodges) from a small-time quartet to join her comeback tour.” 

In their first rehearsal together, which makes up the sum of the 90-minute without intermission show, we find that Marie isn’t as innocent as she looks—she is married, has two children and is older than her teenage image.  We also learn of Rosetta’s life stories and her failed marriages to men she refers to as “squirrels.” 

Why are they rehearsing in a Black-run funeral home surrounded by a number of caskets draped in Rosetta’s costumes, and the place they will sleep after the concert?  This is the segregated South, where Black performers, no matter their status in the music world, are not welcome in public accommodations.  As Sister states, “We step off stage and got to disappear.”  Yes, Whites will flock to their shows, but won’t treat them as equals.

Brant lets us in the on the secrets and life of a woman of firm faith, but who finds it acceptable to shake her abundant hips, spout earthy humor, and make fun of her chief rival, Mahalia Jackson.

She gradually brings the “holier than thou,” rule-bound Marie around to start whaling on the piano and let loose of her rigid body.

Rosetta entertains with “This Train,” a traditional African American gospel song, “I Looked Down the Line (and I Wondered),” another gospel song.”  Marie sings the spiritual, “Were You There (When They Crucified My Lord)? And Mahalia Jackson’s anthem, “Peace in the Valley.”  Their numerous duets include, “Rock Me,” “Lord, Search My Heart,” “Four or Five Times,” and “Strange Things Happening Every Day.”

Though interesting in content, and filled with humor, the script often bogs down in repeated themes, and lots of talk and limited action.  Part of this is the writing, part Neil Pepe’s static direction. 

Rosetta doesn’t work the audience and display her dynamic presence.  Since she doesn’t actually play the guitar (the sounds are masterfully produced backstage by KJ Denhert) Braden is angled on stage faking the guitar riffs, confining what would be her sexual and dynamic movements.

Chaz Hodges (Marie Knight) doesn’t play her instrument either (her alter-ego is Katreese Barnes, who is off-stage playing a mean piano), adding to the pseudo musical effect of really talented people portraying, rather than being the performers.  One must wonder why, with the vast number of talented performers available in this country, the casting directors couldn’t find two actresses who can fulfil the total requirements of the roles.

In addition, though Miche Braden is a wonderful actress and singer, Miss Knight had some vocal issues on opening night, though she was believable in her acting.

Brandt pulls an abrupt plot switch near the end of the play, which brings the tale to a conclusion, but the transition into that ending was so rapid, it may have slipped past the awareness of the viewer and somewhat leaves the ending unnerving.  (No more here...it would be unfair to future viewers to reveal the conclusion.)

CAPSULE JUDGMENT: George Brant’s “Marie and Rosetta” exposes the personality and vast talent of Sister Rosetta Tharpe, which is a service to the woman and a public which may have been unaware of her effect on the music industry.  Though the play is interesting, and the music is dynamic, it is also a little static in language and staging. 
“Marie and Rosetta” runs through February 11, 2018 at the Allen Theatre in PlayhouseSquare.  For tickets call 216-241-6000 or go to http://www.clevelandplayhouse.com.

Next up at CPH: February 17-March 11, 2018.  Ayad Akhtar’s “The Invisible Hand,” a suspenseful narrative in which an American banker specializing in the Pakistani market is kidnapped by Islamic revolutionaries.

GRUPO CORPO leaves them standing at the Ohio Theatre; area dance previews

From the moment patrons entered the lobby of the Ohio Theatre, they knew they were in for a “different” evening of dance.  The Tri-C Jazz group was loudly playing as an invitation to GRUPO CORPO, the world respected Brazilian 
Body Group,” which has created its own theatrical language and choreography.

The dance company is noted for bridging nature and culture, highlighting “all facets of Brazil, past and future, erudite and popular, foreign influence and local color and the urban and the suburban into art.  Brazilian art.”

Founded in 1975 by Paulo Pederneiras, he became the driving force behind the company’s success.  A glance at the program shows the strong Pederneiras influence.  Paulo is Artistic Director, Rodrigo is the choreographer, Pedro is the technical director and Gabriel is the technical coordinator.

The Dance Cleveland/Cuyahoga Community College co-sponsored performance consisted of two pieces, the 32-minute “suíte branca” and the 42-minute “dançe sinfônica.”

Each program segment was made up of mini-units highlighting the company’s erudite repertoire and unique dance vocabulary, combining classical technique with a contemporary interpretation of Brazilian dance forms.

The over-arching concept of the company is clearly seen as each dancer’s physical shape and presence is unique.  In contrast to many dance companies, no body- type dominates, no race stands out, diversity reigns. Each individual form is an instrument to be played in its own way.

The synchronization of movements, body bends, high kicks, same and opposite gender partnering, waves, gymnastics, kips, rolling across the stage, enmeshing, stepping over other dancers, sensual hip movements, unusual lifts, and flailing hands are all incorporated into the moves which parallel the musical sounds.  Humor and high drama are present.
 

“suíte branca” found the company found the company dressed in all white, on a white floor and cyclorama.  “dançe sinfônica” was highlighted by the women in scarlet while the men were in black.  They danced before a wall of over a thousand informal photographic snapshots made into a backdrop panel, establishing the over-arching mood for the piece.

The effect of the choreography, dancing, setting and music was emotionally moving.  This is an exciting company with a clear mission to expand the world of Brazilian dancing to be more than the expected Samba, and to combine traditional story-telling and Brazilian history with contemporary moves. 
 
Capsule judgment: “Viva,” (hurray) “admirável,” (marvelous) and a “ovaçäo de pé” (standing ovation) to Grupo Corpo!   Dance Cleveland’s Pam Young chased after the company for ten years until she got them to come to Cleveland.  It was worth the effort.

Next up for Dance Cleveland and Tri-C is CHE MALAMBO, 14 powerful Argentine Gauchos stomping, drumming and dancing on March 17, 2018, 7:30 PM, Ohio Theatre.

DANCE OFFERINGS IN THE CLEVELAND AREA

Verb Ballets

“Celebrating Black History Month”
February 3, 2018—8 pm
Breen Center, 2008 W. 30th St., Cleveland
Tickets:  https://www.verbballets.org/blackhistory/

Danceworks 2018

Inlet Dance Theatre—April 10-12
Double-Edge Dance and Travesty Dance Group—April 17-19
Anateus Dance and Bones Performance Group-- April 24-26
Verb Ballet—May 1-3

Info:  http://www.cptonline.org/

Cleveland Ballet

“Alice in Wonderland”
May 11 (1 pm & 11 pm)
May 12 (11 am)
Ohio Theatre
Tickets:  https://cleveland-ballet-alice-in-wonderland.ticketsw.com/?lbl=bing-ex

Compelling “Grounded” @ Dobama

 

An unnamed woman (Anjanette Hall), in an Air Force jump suit, confidently stalks the stage telling us, with eyes flashing and intense verbalizations, the thrill she gets from being in the blue, flying missions over enemy territory, and getting together after her missions with the guys to “throw back a few.”  This is obviously a person who is excited about life, as she is living it.

Thus starts Cleveland Heights’ playwright George Brant’s award winning, one-woman show, “Grounded,” now in production at Dobama.   The script was previously given a local staged reading as part of Cleveland Play House’s Fringe Festival.

After the play’s opening exposition scene, we find that the woman falls in love with a man named Eric, gets pregnant, decides to keep the child in-spite of the Air Force rule that women pilots can’t fly while they are pregnant, moves with her family to Las Vegas where she has been reassigned to continue her career, not as a pilot of “real” planes, but of drones who hover over the enemy many miles away from the action. 

Yes, she has become a member of the “Chair Force, the Bermuda Triangle for fighter pilots, as no one ever comes back.”  A satirical, but fortuitous name.

Seated in a windowless trailer, isolated from almost everyone, she spends her time looking at a gray screen, occasionally finding a terrorist and blowing him up, many thousands of miles away. 

She is safe, no danger of crashing her plane or getting shot down, and comes home each night.  But, with the routine of long shifts, repeated similar family time, little personal contact with her former “comrades,” no “blue time,” and little self-fulfillment, our protagonist goes through serious personality changes.  Seemingly, her purpose for life is gone and she spirals out of control, with tragic results.

The play won the 2012 Smith Prize for works about American politics and asks questions about whether the advances in technology have positively or negatively affected the psychological well-being of our armed forces, whether the removal of being actively involved in the “purpose of war” has resulted in PTSD for some former combatants, whether there has to be a rethinking of who should be in the armed forces, and with the changed nature of war, are we more or less safe?

The pilot’s last speech is eerie and maybe scarily true, “You who watch me and think you are safe, know this, know that you are not safe.” 

Think this.  With a quick mood-swinging ego-centric President, who some psychologists declare to be mentally unstable, having access to the red button that could release nuclear missiles that could start World War III or destroy the world, how “safe” are we?

Dobama’s production, under the focused direction of Alice Reagan and the superb tour-de-force performance of Baldwin Wallace professor, Anjanette Hall, is compelling.  No time, during the 85-minute show, does Hall allow the audience’s attention to waver.

Tesia Dugan Benson’s aesthetically pleasing set, though it does little to actually create a visual base for much of the script, is well used by Hall.  Marcus Dana’s light design and Megan Cully’s sound help underscore and enhance the moods and transitions. 

Capsule judgement: “Grounded” is the kind of script and staging on which Dobama fulfills its goal of presenting the best contemporary plays in a professional production of the high quality.  Don Bianchi, the theater’s founder, would have been proud of this must-see production.

“Grounded” runs through February 11, 2018 at Dobama, 2340 Lee Road, Cleveland Heights.  Call 216-932-3396 or http://www.dobama.org for tickets.

Next up: “The Effect” by Lucy Prebble.  The setting is a drugs-trial unit at Rauschen Pharmaceuticals, where volunteers are taking an experimental antidepressant called RLU37. A psychiatrist is tracking their behavior, but we in the audience are the ones really keeping watch and being watched.  March 2-25, 2018.

Pulitzer Prize winning “Angels in America, Part 1” is compelling at Ensemble

On February 23, the Broadway previews for Tony’s Kushner’s Pulitzer Prize-winning, “Angels in America:  A Gay Fantasia On National Themes,” which won 7 Tony Awards in its original production, will begin.  It will be directed by Marianne Elliott who was responsible for “The Curious Incident of the Dog in The Night-Time” and “War Horse,” and star Andrew Garfield and Nathan Lane. 

Lucky you.  It is unnecessary to go to New York to see a production of this epic.  It is now running at Ensemble Theatre as part of their “We The People” 2017-2018 season.  The first segment, subtitled “Angels in America, Part One:  Millennium Approaches,” is running until January 28.  In April, “Angels in America, Part Two:  Perestroika,” will be staged at the theatre.

The play is thought-provoking, character-driven, and complex. 

Centering on church and societal attitudes toward homosexuality, AIDS in America in the 1980s, psychological illness, relationships, political power and supernatural beings (angels and ghosts), it has metaphorical overtones while probing real issues, real people (e.g., Roy Cohen, the legal counsel for the McCarthy Un-American Activities committee) and unnerving ideas.

Set in New York City at the end of October, 1985, the story basically centers on a gay couple (Prior Walter and Louis Ironson) who seem to have a solid relationship until Prior is diagnosed with AIDS.  In panic, Louis abandons Prior. Also showcased are Mormons Joseph Pitt, a closeted homosexual and his wife Harper, who is paranoid and agoraphobic.   Joseph is encouraged by Roy Cohn, a political heavy-weight, to take a position in the Justice Department.  Cohn’s offer is not without purpose, as he expects Joseph to protect him from possible recriminations for bribery and legal manipulation. 

In a state of delusion, Prior begins to receive “visits” from a pair of ghosts who claim to be his own ancestors, and hears an angelic voice telling him to prepare for her arrival.  Meanwhile, Harper retreats into a drug-fueled escapist fantasy, including a dream where she and Prior meet, even though the two of them have never met in the real world.  Joe begins an affair with Louis.

Though he contends he is not gay, but does admits to having sex with men, Cohn is diagnosed with AIDS.  He says he is suffering from cancer, and uses his political connections to get a supply of the newly discovered, experimental drug AZT.  In his delirium he is confronted by the ghost of Ethel Rosenberg, who, along with her husband, were convicted of espionage when Cohn was the prosecutor at their trial.

The Ensemble production, under the adept direction of Celeste Cosentino, is excellent.  

Scott Esposito gives a sensitive portrayal as Prior Walter.  Esposito has the ability to play gay men (e.g., “The Normal Heart”) with sensitivity and no hint of making the character “fey” and false.  He is, he doesn’t act.

Broadwayworld.com and Cleveland Critics Circle acclaimed performer, Jeffrey Grover, creates a clear picture of the egotistical, nasty, manipulative Roy Cohn, as man who is easy to hate.

Craig Joseph’s Louis Ironson is a “schlemiel,” without a backbone or principals, who can’t cope when a situation becomes difficult.  Kelly Strand is properly pathetic as Harper Pitt and James Alexander Rankin, as Harper’s husband, Joe, nicely develops the character’s internal struggle to be true to his Mormon faith, while fighting his homosexuality.

Robert Hunter is excellent as Belize, Prior’s ex-lover and Cohn’s nurse. Inés Joris and Derdriu Ring are very effective in multiple roles.

Ian Hinz’s projection design helps give the visual emphasis needed to flesh out the story.  His set and light designs help create meaning, as do Hinz and Celeste Cosentino’s sound and music selections.

Capsule judgment:  Combine a brilliantly written play that has a compelling purpose, with an adept director, a well-conceived set, sound and lighting, and an excellent cast, and you have a first class theater experience.  Yes, it’s over three hours in length, but if you are interested in history, an exploration of social causes and fine staging, this is a must see!

“Angels in America, Part One, Millennium Approaches” runs January 5-January 28, 2018 on Thursdays through Sundays at Ensemble’s Theatre, housed in the former Coventry School, 2843 Washington Blvd, Cleveland Heights.  For tickets call 216-321-2930 or go online to http://www.ensemble-theatre.org

Ensemble’s next production is Charles Smith’s “Jelly Belly, “a story of a convict returning from a brief prison stay to resume his position as the neighborhood kingpin.  It offers an unremittingly bleak portrait of inner-city life and the enormous pressure on working-class black men to be gangsters.”

The Musical Theatre Project presents “The Gershwins in Hollywood”

George and Ira Gershwin penned some of the best popular songs of the 1900s and many film hits including the Academy Award winning, “They Can’t Take That Away from Me” and the classic, “Let’s Call the Whole Thing Off.”  Their Hollywood scores included the songs and underscoring for “Shall We Dance,” “A Damsel in Distress,” “The Goldwyn Follies” and “The Shocking Miss Pilgrim.”

Unfortunately, George Gershwin died of a brain tumor at age 38, leaving us to wonder what he might have composed. 

The Musical Theatre Project’s lecture-concert, “The Gershwins in Hollywood,” tells the story of George’s last years.

The program features Bill Rudman and Paul Ferguson, the Cleveland Jazz Orchestra, the Joe Hunter Trio, Vince Mastro and Treva Offutt.

Paul Ferguson, who is the Artistic Director of The Cleveland Jazz Orchestra, is a graduate of the University of Akron and Eastman School of Music.  He is a well-known trombonist who toured with Glenn Miller’s and Tommy Dorsey’s orchestras, playing classic swing arrangements from the 1930s and 40s.

Presently, Ferguson is the director of Jazz Studies at Case Western Reserve University, a position he has held since 1988.  He is an active composer and often plays in the pit when Broadway musicals come to Cleveland.

He has collaborated with The Musical Theatre Project for the past four years, including last year’s Cy Coleman tribute. 

He looks forward to doing the Gershwin program as he thinks that George, though not a jazz composer, “had jazz sensibilities.” 

The concert will also feature Vince Mastro, referred to as the “Dean of Cleveland vocalists” and singer, songwriter, actress, dancer, teacher, musical theater director and visual artist, Treva Offutt.

Performance and ticket information:
Playhouse Square, Hanna Theatre
Saturday, January 27, 2018 | 8:00 PM
Tickets available through Playhouse Square
Call:  216-241-6000
For more information or to purchase  tickets:  http://www.playhousesquare.org/
​

Temple-Tifereth Israel
Sunday, January 28, 2018 | 3:00 PM
Tickets available 24 hours a day through Brown Paper Tickets
To purchase tickets by phone:  1-800-838-3006
To purchase online, visit http://www.musicaltheaterproject.org/

THEATER AND DANCE PREVIEW—January 2018—Cleveland

Roy Berko

January in Cleveland is cold!  There are usually a limited number of theatre and dance events.  Right?  Cold, yes.  But, you may be surprised by the number of venues which have events.  Go!  Enjoy!

Rx
Sunday, Jan. 28 at 2 p.m.
Maltz Museum of Jewish Heritage
2929 Richmond Road, Beachwood
Kate Fodor’s PHARMACOLOGY: THE NEXT FRONTIER! Testing a new drug that will make us happy to go to work. What could possibly go wrong?
(Designed to accompany the current museum exhibition Beyond Chicken Soup: Jews & Medicine in America.)

Tickets: 216 593-0575 or at www.maltzmuseum.org
(Your museum admission ($12.00 non-members) includes your ticket to the reading. Members are asked for a $6 donation.)
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Grupo Corpo
January 20 (7:30 p.m.) and January 21 (3 p.m.)
Ohio Theatre/Playhouse Square

DANCECleveland and Tri-C present the Brazilian sensational dance group, known for their “fizzy, high-voltage dance,” will perform “Suite Branca” and Dança Sinfônica.

Tickets:  Starting at $25, call 216-241-6000 or visit http://www.playhousesquare.org/
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MARIE AND ROSETTA
January 20-February11
Cleveland Play House
Check schedule for curtain times

Sister Rosetta Tharpe, "The Godmother of Rock n' Roll" who influenced performers from Elvis to Hendrix, plucks prim and proper Marie Knight from a rival gospel show, and the two challenge one another on music, life, and the Almighty.

Tickets:  216-241-6000 or go to http://www.playhousesquare.org
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HOW TO END POVERTY IN 90 MINUTES
January 24-28 (7:30)
Cleveland Public Theatre

Over the course of 90 minutes, audiences list, explore and ultimately decide how to spend $1,000 from that evening’s box office sales.

Tickets:  216-631-2727 or go on line to http://www.cptonline.org/
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GROUNDED
January 19-30
Dobama

Cleveland writer George Brant’s award winning poetic monologue about a hotshot fighter pilot sidelined by pregnancy and reassigned to manage drone strikes.

Tickets:  216-932-3396 or http://www.dobama.org
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ANGELS IN AMERICA PART ONE:  MILLENNIUM APPROACHES
January 5-25
Ensemble Theatre

Tony Kushner’s Pulitzer Prize winning play--Set in 1980's New York City, a gay man is abandoned by his lover when he contracts the AIDS virus, and a closeted Mormon lawyer's marriage to his pill-popping wife stalls.  New Yorkers grapple with life and death, love and sex, heaven and hell.

Tickets:  216-321-2930 or http://www.ensemble-theatre/
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LOVE NEVER DIES
January 9-29
State Theatre/PlayhouseSquare

Andrew Lloyd Webber’s sequel to THE PHANTOM OF THE OPERA, picks up the tale 10 years after the Phantom’s disappearance from the Paris Opera House and has escaped to New York where he lives in Coney Island.  Christine, who is now a famous opera singer, is lured to America by the Phantom in a last attempt to win her love.

Tickets:  216-241-6000 or go to www.playhousesquare.org
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The Musical Theatre Project presents--THE GERSHWINS IN HOLLYWOOD
January 27—Hanna Theatre, 28—Temple Tifereth Israel

George and Ira penned some of the best popular songs of the decade. This is the story of George’s last years, capped by the brothers’ iconic “Love Is Here to Stay.”  Featuring Bill Rudman and Paul Ferguson, Cleveland Jazz Orchestra, the Joe Hunter Trio, Vince Mastro and Treva Offutt.

Tickets:  http://www.MusicalTheaterProject.org or 216-529-9411

Entertaining “Champions of Magic” at Connor Palace

Say the words “magician” or “illusionist” and the names usually conjured are David Copperfield, Harry Houdini, Uri Geller, Doug Henning, David Blaine, and The Amazing Johnathan.  These are entertainers noted for tricks and actions shrouded in secrecy and mystery.

“The secrets of the world's greatest magic tricks are known by few, revered by many, and shared by almost no one.”  The major goal of a proficient magician is to encourage the audience to ask, "how'd they do that?"

“Champions of Magic,” which is now on stage at the Connor Palace, is a troop of four Brits and an American (a woman), who are world class illusionists.  Their acts consist of mind reading, small scale illusions, disappearances, teleportation, spectacular lighting effects, pyrotechnics, exploding confetti and the on-going joke about red and green flashing lights.

No, they don’t make airplanes disappear, bend spoons through mental manipulation or escape from chains while submerged in water.  They do the usual stuff--saw a lovely lady in half, conjure up information, do card tricks, use audience members as willing subjects, and tell stories and jokes to entertain.

“Champions of Magic” appeared for the first time in October, 2013, and has since completed 5 UK tours and an extended run in London.  This fall they started a North American tour.  The show has been seen by over 250,000 people and received generally positive reviews.

The production features mostly original magic that was created or devised by the performers and production designers. The show is known for its production qualities including original music, a large lighting rig and pyrotechnic effects.

The first act contains lots of small illusions, lots of talking, and leaves the audience wanting more.  The second act, when they try to make their act bigger and more spectacular so they can appear in Las Vegas, hold most of the intriguing actions.

Worry not where you are seated.  A large television screen shows close-ups of the slight-of-hand and intricate illusions.

Capsule judgement:  Though “Champions of Magic” is billed as “a perfect show for the whole family,” it may not appeal to the younger ones.  A five-year old seated next to me several times said to her mother, “When is there going to be fun?” The older kids and adults seemed to be well-entertained and enthusiastic, but not ecstatic.

Due to ticket demand, the run of “Champions of Magic” has been extended to include a New Year’s Eve 7:30 pm and a Saturday, January 6, 3:00 pm show.
Tickets can be ordered by calling 216-241-6000 or going to www.playhousesquare.org.

BWW-CLE Professional Theater Tributes--2017

Roy Berko
(Member, American Theatre Critics Association, Cleveland Critics Circle)

Greater Cleveland is blessed with a vital theater scene.  It the purpose of BROADWAY WORLD.COM-CLEVELAND PROFESSIONAL THEATER TRIBUTES (BWW-CLE Theater Tributes), to recognize theatrical experiences that, in the subjective view of this reviewer, were excellent and deserve recognition.

Only shows performed in 2017 which I reviewed were considered.  With the exception of Outstanding National Touring Production, selections were limited to local professional presentations though actors, directors and technicians who were imported by local theatres for their productions were considered.  Actors are separated by gender, but not equity or lack of union affiliation, or leading or supporting roles. 

Designees are listed in alphabetical, not in rank order.
   
OUTSTANDING NON-MUSICAL PRODUCTIONS
EQUUS, Blank Canvas Theatre
HANDS TO GOD, Dobama Theatre
HOW I LEARNED TO DRIVE, Cleveland Play House
HOW TO BE A RESPECTABLE JUNKIE, Dobama Theatre
MARJORIE PRIME, Dobama Theatre
SALVAGE, none-too-fragile
THE FLICK, Dobama Theatre
WELL, Ensemble Theatre

OUTSTANDING MUSICAL THEATER PRODUCTIONS
FLOYD COLLINS, Blank Canvas Theatre
THE HUNCHBACK OF NOTRE DAME, Great Lakes Theater
NEWSIES, Porthouse Theatre
ROCK OF AGES, Cain Park Theatre
THE BRIDGES OF MADISON COUNTY, Lakeland Civic Theatre

OUTSTANDING DIRECTORS OF A NON-MUSICAL
Celeste Cosentino, WELL, Ensemble Theatre
Laura Kepley, HOW I LEARNED TO DRIVE, Cleveland Play House
Mathew Wright, HAND TO GOD, Dobama Theatre
Nathan Motta, THE FLICK, Dobama Theatre
Pat Ciamacco, EQUUS, Blank Canvas Theatre
Sean Derry, SALVAGE, none-too-fragile
Shannon Sindelar, MARJORIE PRIME, Dobama Theatre

OUTSTANDING DIRECTORS OF A MUSICAL
Joanne May Hunkins, ROCK OF AGES, Cain Park Theater
Martin Friedman, THE BRIDGES OF MADISON COUNTY, Lakeland Civic
    Theatre
Pat Ciamacco, FLOYD COLLINS, Blank Canvas Theatre
Terri Kent, NEWSIES, Porthouse Theatre
Victoria Bussert, THE HUNCHBACK OF NOTRE DAME, Great Lakes Theater

OUTSTANDING CHOREOGRAPHY IN A THEATER PRODUCTION
Kevin D. Marr II, ROCK OF AGES, Cain Park Theater
Martin Céspedes (with Mary Sheridan), BRING IT ON:  THE MUSICAL, Beck
 Center/Baldwin Wallace University
MaryAnn Black, NEWSIES, Porthouse Theatre

OUTSTANDING PERFORMANCES BY A MALE IN A NON-MUSICAL
Abraham Adams, OCCUPATION DAD, Ensemble Theatre
Antonio DeJesus, EQUUS, Blank Canvas Theatre
Christopher M. Bohan, HOW TO BE A RESPECTABLE JUNKIE, Dobama
    Theatre
David Lenahan, IN THE CLOSET, convergence-continuum
David Peacock, A SKULL IN CONNEMARA, none-too-fragile
Gordon Hinchen, THE FLICK, Dobama Theatre
Luke Wehner, HANDS TO GOD, Dobama Theatre

OUTSTANDING PERFORMANCE BY A FEMALE IN A NON-MUSICAL
Derdriu Ring, SALVAGE, none-too-fragile
Dorothy Silver, MARJORIE PRIME, Dobama Theatre
Kelly Strand, SALVAGE, none-too-fragile
Laura Starnick, WELL, Ensemble Theatre
Lisa Louise Langford, brownsville song (b-side for tray), Dobama Theatre
Madeline Lambert, HOW I LEARNED TO DRIVE, Cleveland Play House

OUTSTANDING PERFORMANCE BY A MALE IN A MUSICAL
Alex Syiek, THE HUNCHBACK OF NOTRE DAME, Great Lakes Theater
Corey Moch, THE HUNCHBACK OF NOTRE DAME, Great Lakes Theater
Douglas F. Bailey, ROCK OF AGES, Cain Park Theatre
Michael Snider, FLOYD COLLINS, Blank Canvas Theatre
Shane Patrick O’Neill, THE BRIDGES OF MADISON COUNTY, Lakeland Civic
    Theatre

RISING STAR (PROMISING NEWCOMER)
Antonio DeJesus, EQUUS, Blank Canvas Theatre
Colin Frothingham, SHERLOCK HOLMES:  THE BAKER STREET
        IRREGULARS, Dobama Theatre
Jabri Little, brownsville song (b-side for tray), Dobama Theatre

OUTSTANDING PERFORMANCES BY A FEMALE IN A MUSICAL
Katelyn Cassidy, NEWSIES, Porthouse Theatre
Keri Rene Fuller, THE HUNCHBACK OF NOTRE DAME, Great Lakes Theater
Trinidad Snider, THE BRIDGES OF MADISON COUNTY, Lakeland Civic
    Theatre

OUTSTANDING SCENIC DESIGN OF NON-MUSICALS or MUSICALS
Collette Pollard, HOW I LEARNED TO DRIVE, Cleveland Play House
Cory Molner, IN THE CLOSET, convergence-continuum
Laura Carlson Tarantowski, brownsville song (b-side for tray), Dobama Theatre
Trad A Burns, THE BRIDGES OF MADISON COUNTY, Lakeland Civic Theatre
Wilson Chin, BETWEEN RIVERSIDE AND CRAZY, Cleveland Play House

OUTSTANDING MUSICAL DIRECTION
Jonathan Swoboda, NEWSIES, Porthouse Theatre
Jordan Cooper, ROCK OF AGES, Cain Park Theatre
Jordan Cooper, THE BRIDGES OF MADISON COUNTY, Lakeland Civic Theatre

OUTSTANDING SOUND DESIGN IN A NON-MUSICAL OR MUSICAL
Cyrus O. Taylor, brownsville song (b-side for tray), Dobama Theatre
Cyrus O. Taylor, HOW TO BE A RESPECTABLE JUNKIE, Dobama Theatre
Daniel Perelstein, THE DIARY OF ANNE FRANK, Cleveland Play House
Erick T. Lawson, MARJORIE PRIME, Dobama Theatre
Victoria Deiorio, BASKERVILLE, Cleveland Play House

OUTSTANDING COSTUME DESIGN IN A NON-MUSICAL OR MUSICAL
Aimee Kluiber, CITY OF ANGELS, Beck Center
Kim Krumm Sorenson, HAMLET, Great Lakes Theater
Lex Liang, BASKERVILLE, Cleveland Play House
Lex Liang, SHAKESPEARE IN LOVE, Cleveland Play House

OUTSTANDING LIGHTING DESIGN IN A NON-MUSICAL OR MUSICAL
Bryanna Bauman, WELL, Ensemble Theatre
Marcus Dana, brownsville song (b-side for tray), Dobama Theatre
Marcus Dana, HOW TO BE A RESPECTABLE JUNKIE, Dobama Theatre
Peter Maradudin, BASKERVILLE, Cleveland Play House
Rick Martin, HAMLET, Great Lakes Theater

OUTSTANDING ELECTRONIC MEDIA IN A NON-MUSICAL OR MUSICAL
Caite Hevner, HOW I LEARNED TO DRIVE, Cleveland Play House
Pat Ciamacco, FLOYD COLLINS, Blank Canvas Theatre
T. Paul Lowry, brownsville song (b-side for tray), Dobama Theatre
T. Paul Lowry, THINGS AS THEY ARE, Playwrights Local

OUTSTANDING NATIONAL TOURING PRODUCTION
ON YOUR FEET, Playhouse Square
SOMETHING ROTTEN, Playhouse Square

LIFE TIME ACHIEVEMENT AWARD
Dorothy Silver for her years of leadership service to the Jewish Community Center and Karamu and many impressive performances in Cleveland area theatres and national films.

SPECIAL RECOGNITION

•Bill Rudman, Musical Theater Project, for bringing musical theater exposure and knowledge to a variety of audiences who might otherwise not become theater patrons.

•Faye Sholiton for stoking and keeping the ember of Jewish theater alive in the Cleveland area.

•Gina Vernaci for her persistence and creativity in making Play House Square a major national center for touring theater.

•Patrick Ciamacco (Blank Canvas), Sean Derry and Ilana Alanna Romansky (none –too-fragile), Clyde Simon (convergence-continuum), Greg Caeser (Caeser’s Forum) and Celeste Cosentino (Ensemble)--for being the financial and energy sources of “mom and pop” professional theater in Northeastern Ohio.

If any names are spelled incorrectly, or there are errors in identifications, please let me know so I can change the permanent record on www.royberko.info.

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 “2017 Reviews” or click on the name of the producing theatre and scroll through their performances. Reviews from previous years may also be accessed.

The LOUSH SISTERS are boozing and sexing it up again @ Cleveland Public Theatre

Yes, Holly (Beth Wood) and Jolly (Liz Conway) are back again.  This time in Cleveland Public Theatre’s world premiere of” The Loush Sisters Get Hard for the Holidays.” 

Having consumed only some mulled apple cider made me one of the few sober people among the massive crowd of “Yippie-Kai-Yay Mother-Loushers” who obviously arrived early and had consumed a fair amount of wine and beer (no hard liquor is sold) before the show started. 

They continued to imbibe as the girls told smutty stories, sang songs with lots of double-entendres, bragged about their sexual conquests, made comments about theirs and everyone else’s genitalia, and went on an adventure to counter the deeds of Krampus and Karla, the evil villains of this year’s Christmas tale. 

As the program reminds, the duo has been around since 2003.  They are poster children for what it’s like to look at life under a haze of alcohol.  Yes, they have substance abuse problems.  And yes, they are not politically correct.  What they are is very, very funny, especially when they are singing their songs, telling their jokes and reminiscing about their past experiences while reminding us that they are “just tramps from the Near West Side of CLE.”

They make references to present day goings on including choice comments about Matt Lauer, Donald Trump, and Louie K, encouraging “lock them up, lock them up, lock them up!”.

They sing pop songs, not always with the words we all know and love, including “Wing and A Prayer,” “Moving on Up,” “Our Way,” “Jingle Bells,” “We Need a Little Christmas,” “Forget Your Troubles,” “Happy Days,” “Clang, Clang, Clang Goes the Trolley” and their theme song, “That’s Why the Woman is a Tramp.”

The girls are less humorous when they are acting out the plot of a meaningless “story” line, supposedly a take-off on the ‘80s film, “Die Hard.”   No sense in writing a recap of the tale…no one is there for the plot…they are there to laugh at the not-for-prime-time material, often yelling comments to and about the girls.  (Depends on the night as to how raucous it gets.)

Multi-comments are made about Ambiance, “the Store for Lovers,” one of the show’s sponsors, who are “The home of Santa’s Naughty Sack” and appear to supply costumes and props for the show.

Sheffia Randall Dooley (sister, Butter Rum Loush) brings down the house as she gospel rocks her way through “Santa Baby” and other ditties. 


The Minions (Ryan Edlinger, Brian O. Jackson, Colleen McCaughey and Hillary Wheelock), are excellent.  Pianist Buck McDaniel provides not only the music, but some great ad libs from his hiding place behind the high-backed piano.  Brian Pedaci and Jennifer Woda try valiantly to create humor as Krampus and Karla, but the mood and script are against them.

The show runs two hours, with intermission.

Capsule judgement:  The Loush Sisters encourage the audience to “celebrate the love for friends and family, to sit back, relax and have an adult beverage and enjoy the crazy ride.”  Don’t go to this holiday show expecting great theater or a religious experience.  Go, enjoy the uninhibited rantings of two boozed-up broads who are having a hell of good time.  The drunker you are, the better you’ll appreciate what’s going on.  (Be sure to book the Uber in advance.)

“The Loush Sisters Get Hard for the Holidays” runs through December 23 at Cleveland Public Theatre.  For tickets call 216-631-2727 or go on line to www.cptonline.org.

An interesting history lesson unfolds at convergence continuum

Early this year U. S. Attorney General Jeff Sessions, with the backing of President Trump, rescinded the mandate of the “National Commission of Forensic Sciences.”   It was the purpose of this group to “enhance the practice and improve the reliability of forensic science,” and “to promote scientific validity, reduce fragmentation, and improve federal coordination of forensic science.”

Why, in this day of ever-expanding scientific discoveries and the perilous state of the world, would the federal government do away with an independent agency responsible for promoting scientific validity?

To understand the situation, one must thinking of the duo who pushed the issue.  Both Sessions and Trump do not believe in global warming, they don’t believe in scientific proof.  They are among the group of intellectual “light-weights” who make observations, reach conclusions with little thought, are not concerned with separating fact from “intuition.”  In other words, why spend time and money in finding out “facts,” when facts don’t make money and are a waste of time.

Facts, according to that dynamic duo, are “false news.”  Or, put another way, building hotels and golf courses are of more value to society than scientific discovery.

For many years, scientific discovery was the result of companies investing in research (e.g., General Electric and Westinghouse in electricity, Ford in automobiles, Goodyear and Goodrich in rubber and polymer), or individuals using personal wealth or getting “backers” to finance their ideas to probe the unknown.

Nikola Tesla, a Serbian-American, was an inventor, engineer, physicist and futurist who laid the foundations for modern alternating current and the electrical supply system. 

“The Chaste Genius and His DeathRay Gun,” now on stage at congruence continuum, tells the tale of an obsessive, germ phobic genius who lived most of his life trying to get financial backing from the likes of JP Morgan, to develop his ideas. 

Many of his concepts went no-place, but some eventually allowed others to develop printers that don’t have to be connected to a computer, or headphones without the annoying chord connecting them to an I-phone, or the I-phone, itself.

No, his “Death Ray Gun,” which some in the military community predicted would shorten wars by allowing lasers or particle beams to destroy the enemy, didn’t work out, but it did lay the foundation for J. J. Thompson to discover the electron, which has been important in the fields of electricity, magnetism, chemistry, thermal conductivity, and atomic energy.   

Often thought of as the archetypal “mad scientist,” Tesla died penniless in New York City. 

He did not go unrecognized.  An American Rock band, electric car, intellectual society, song, airport, museum, power plant, 128 streets, moon crater, minor planet, and a STEM high school are named for him.

Playwright Christopher Johnson thought Tesla was interesting enough to center “The Chaste Genius and his Death Ray Gun” on the scientist’s life.  It is now in its world premiere at convergence continuum.

The production, under the direction of Geoffrey Hoffman, is not thrilling theatre.  The script is mostly talk, with interludes of some gimmickry in which some of Tesla’s inventions are supposedly demonstrated.  Unfortunately, though the effort is grand, the theatre-on-a-shoe-string doesn’t have the money and techies to produce the devices to create replicas of Tesla’s creations, so they often come off as magic tricks rather than scientific wonders.

The strength of the show is the acting.  Robert Hawkes as Tesla, and Robert Branch, Val Kozlenko and Nicole McLaughlin-Lublin, playing multi-roles (e.g., Mark Twain, J. P. Morgan and Teddy Roosevelt) are quite effective.

Capsule Judgement:  Though it’s more history lecture than theatrical production, “The Chaste Genius and his Death Ray Gun,” teaches an important lesson about the need for eccentric, out of the box thinkers, who need encouragement and the financial means to create theories, inventions and formulas that can have the capacity to change the world.  It’s worth the long, sometimes lifeless sit, to gain that understanding.


“The Chaste Genius and his Death Ray Gun” runs through December 16, 2017, at 8 pm on Thursdays, Fridays and Saturdays at convergence-continuum’s artistic home, The Liminis, at 2438 Scranton Rd. in Cleveland’s Tremont neighborhood.  For information and reservations call 216-687-0074 or go to http://www.convergence-continuum.org

Next up at con-con:  THE NEOMFA (Northeast Ohio Maser of Fine Arts in Creative Writing at Cleveland State University) PLAYWRIGHTS FESTIVAL (February 8-18, 2018), followed by Paula Vogel’s “The Oldest Profession,” from March 23-April 14, 2018.

“On Your Feet!” leaves audience on their feet and dancing at Connor Palace

Last year, within a short time after getting off the plane in Havana, it became apparent that the Cuban people adore art, music, bright colors, personal style and family unity.  And, after long periods of dictatorships, revolution, communism, deprivation of food and other necessities of life, they have also developed survivor and “can do” attitudes.  

The Cubans who escaped from the island after the Castro regime gained control left their wealth, jobs and families behind, but carried with them their appreciations and outlooks.

These cultural displays can be examined by looking at the Cuban-American enclaves in Florida, where “Española Cubano” is thriving.  Going to the Versailles Restaurant in Miami’s “Little Cuba” is like eating in Havana (with an understanding that the American restaurant has food and seasoning supplies that are not available on “the island.”)

“The Cuban-way” is on display in the story, dance and music-centric “On Your Feet,” the tale of island born Emile Estefan, and wife, Gloria, who went on to create a new music sound and win 26-Grammy awards as ex-pats.

One of the trends in Broadway shows is the jukebox musical, scripts which are created by shoe-horning pre-written songs into a story.

As is the case with most jukebox bio-musicals (e.g., “Buddy—The Buddy Holly Story,” “Jersey Boys,” “All Shook Up,)” some liberties have been taken by adding drama and romantic sequences that may or may not be accurate.  This appears true in “On Your Feet.” 

With a book written by Alexander Dinelaris and music either written by or made famous by Gloria Estefan, “On Your Feet” sizzles with dynamic testosterone-driven Cuban-fusion pop melodies and beats as it tells the story of the couple’s meeting, Gloria Fajardo’s family opposition to her relationship with the older band leader Emilio, the changes she made in dropping out of college and touring with the band, the duo’s marriage, her career conflicts and an accident which almost ended her life.

On the journey, we are introduced to Gloria’s mother (Nancy Ticotin) “a could-have-been” Hollywood star who envies her daughter for doing what she didn’t have the nerve to do, Consuelo (Alma Cuervo), Gloria’s supportive “abuela” (grandmother), her adored father (Jason Martinez), and the others who had an influence on her life and career.

The core of the show is the music…the ballads, dynamic Cuban and Cuban-fusion sounds, and the resulting singing and dancing.

The sounds are infectious.  Listening to “1-2-3,” “Cuba Libra” “Everlasting Love,” “Party Time” “Rhythm Is Gonna Get You” “Turn Up the Beat,” and “Oye,” and not leaping out of your seat and dancing in the aisles, is a major effort.

 “On Your Feet!” opened on Broadway in late 2015 and closed last August after 746 performances. 

The touring production, under the direction of 2-time Tony Winner, Jerry Mitchell of “Kinky Boots” fame, and choreographer Sergio Trujillo literally and figuratively explodes off the stage. 

The stars, Christie Prades (Gloria) and Mauricio Martinez (Emilo) are so good that there is no time when the audience could perceive that they were not the actual couple, but a pair of actors portraying them.  The singing, the connective interactions are those of reality, not fantasy.

The supporting cast is also totally involved.  This is a highly skilled, mostly Hispanic/Latino assemblage.

The singing, the dancing, the energy, all make this a special evening of theatre.

CAPSULE JUDGEMENT:  The Cuban-American success story is everything that Trump and his alt-right cronies say doesn’t and shouldn’t happen.  Long live immigrants and their success stories!  “On Your Feet” is a joyous must see journey, with an infectious musical beat!  I dare you not to be standing, clapping and singing during the curtain call.

Tickets for “On Your Feet”, which runs through December 23, 2017 at the Connor Palace Theatre, can be ordered by calling 216-241-6000 or going to www.playhousesquare.org.

URINETOWN, bad title, fun show, flushed with success @ Blank Canvas

 “Urinetown:  The Musical” opened on Broadway in 2001, but its path from lyricist Greg Kotis traveling Europe, encountering a pay toilet, getting an idea for a story, joining with Mark Hollman, writing the lyrics together, Hollman writing the music, previewing the show at the New York’s Fringe Festival, and getting it on Broadway, was filled with pitfalls.  Mainly, producers were turned off by the title. 

Eventually, the Bertolt Brecht-style musical, filled with parodies of Broadway shows, that satirizes capitalism, social irresponsibility, the legal system and populism, found The Araca Group. 

Araca, a New York company is composed of three young men from the west-side of Cleveland.  Brothers Matthew and Michael Rego met Hank Unger during a community theater production of the “Music Man” in 1985, which I directed.  And, in spite of my advice, have gone on to be theatrical wunderkinds.

The trio formed a production company, named it after the Italian town from which “grandpa” Rego (remember Rini-Rego Supermarkets?) came.  The trio had produced “Vagina Monologues” and were looking for their next show.  “Urinetown was it.  They have since produced such Broadway hits as “Wicked,” “’night Mother,” “The 25th Annual Putnam County Spelling Bee,” “Rock of Ages,” and the newly opened hit, “SpongeBob Square Pants.”

The musical opened off-Broadway, then moved on to the Great White Way in September, 2001, to strong positive reviews, gained back the initial investment in a record-breaking six weeks, and closed in early 2004, after 26 previews and 965 performances.  National tours and local performances have followed.

The tale centers on the idea that “In the not-so-distant future, a terrible water shortage and 20-year drought has led to a government ban on private toilets and a proliferation of paid public toilets, owned and operated by a single megalomaniac company: The Urine Good Company.  If the poor don’t obey the strict laws prohibiting free urination, they get sent to the dreaded and mysterious ‘Urinetown.’

After too long under the heel of the malevolent Caldwell B. Cladwell, the poor people stage a revolt led by a brave young hero [Bobby Strong].  They fight for the freedom to pee “wherever you like, whenever you like, for as long as you like, and with whomever you like.”


Sound preposterous?  Were you aware that every November 19, the United Nations sponsors “World Toilet Day,” a day set to raise awareness that 2.4 billion people do not have a toilet to use?  The reasons?  Draught, poverty, and government and business control over the flow of water.

“Urinetown:  The Musical” is fun, but it is more than escapism and catchy tunes.  This is a tale of greed, corruption, love and revolution in a city where water is worth its weight in gold. 

Messages pervade, such as what happens when big business is given the right to control our lives.  Think of the pharmaceutical and medical companies and their stranglehold over our health.  What happens when citizens have their rights taken?  What is it like to be lied to continually in an attempt to push a political and economic agenda?  Think Trump and his motley crew!

Think of the rape of the environment caused by loosening the clean air act, elimination of national monuments, and the attitude of “drill,” “drill” “drill” and “dig, dig, dig,” damn the environment. 

Patrick Ciamacco, Blank Canvas’s Artistic Director, loves farce.  He revels in scripts that are out of the norm.  Give him fake blood, sexual titillation, and social deviance, and he’s all in.  This becomes obvious when you consider that he has produced “Debbie Does Dallas” (incidentally, another Araca show), “The Rocky Horror Show,” “Silence! The Musical,” “Wild Party,” “Reefer Madness,” “Bat Boy,” and “Triassic Parq the Musical.” 

Ciamacco and his staff, as evidenced by the screaming, clapping, raucous opening night audience, have created another winner with “Urinetown.” 

It never ceases to amaze of can be created on the theatre’s postage stamp-sized stage.  How choreographer Katie Zarecki squeezes all those bodies on the platform, yet has them dance in a semblance of order, is a wonder.  

Not only did Ciamacco get the cast in character, make sense of the lines, and get lots of laughs, but he designed the lights and sound and built the sets.  Talk about being “all in.”

He is ably supported by musical director and keyboardist, Matthew Dolan, and his well-tuned band (Aaron T. Phillips, Jason Stebelton, Keith Turner and Marcus Greene).

The cast is strong.  Rob Albrecht as Office Lockstock, the narrator, has a wonderful voice filled with irony and satirical overtones.  Dayshawnda Ash comes close to stealing the show as Little Sally.  Stephanie Harden is believable as Hope Caldwell, the evil Caldwell B. Cladwell’s daughter and girl- friend of our hero, Bobby Strong.  Daryl Kelley could be a little more “boy next door”/ “awe shucks” as Bobby, but he does nicely with his solos.  

The chorus sings and dances with vigor.

CAPSULE JUDGEMENT: “Urinetown:  The Musical” is flushed with success and audiences will enjoy themselves, while gaining some insight into political and economic corruption.  Get tickets early as the Blank Canvas theatre is small and this show should be a big box office success!

“Urinetown:  The Musical” runs through December 16 in the company’s west side theatre, 1305 West 78th Street, Suite 211, Cleveland.   For tickets and directions go to www.blankcanvasthetre.com

2018 Winter/Spring CLE-area Theater Calendar

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