Impressive INTO THE WOODS—GLT and Sondheim take on Grimm’s fairy tales!

INTO THE WOODS, yet another of Stephen Sondheim’s wonderous musicals, is now on stage at the Great Lakes Theater’s Hanna Theatre.
 
Sondheim, who is credited with reinventing the American musical with shows that tackle unexpected themes, with music and lyrics of such complexity and sophistication that they challenge performers and musicians who take Sondheim off the page and into the world of production.  
 
Sondheim, often ignored the genre’s traditional subjects, such as the complications of love and teen-angst, wrote instead of attempted killers (ASSASSINS), unmarried men (COMPANY), has-been performers (FOLLIES), revenge (SWEENEY TODD), artists (SUNDAY IN THE PARK WITH GEORGE), national isolationism (PACIFIC OVERTURES) and the foibles of fables (INTO THE WOODS).
 
With a book by James Lapine, INTO THE WOODS intertwines the plots of several Grimm fairy tales by exploring the consequences of the characters' wishes and desires. The main characters are taken from “Little Red Riding Hood,” “Jack and the Beanstalk,” and “Cinderella,” with guest performances by Snow White and Sleeping Beauty.  

The musical is tied together by a story involving a childless baker and his wife and their quest to have a child, which is actually the original beginning of “Rapunzel,” their confronting the witch who placed a curse on them, and their interaction with storybook characters during their journey searching for things a witch requires to withdraw a curse.

The joyous first act ends with the traditional “happily ever after” conclusion, while the dramatic second act illustrates that real life is not a fairy tale, but that there is a price to be paid for having wishes granted. 

The show’s themes include the angst of growing up, the relationship between parents and children, the difficulties of accepting responsibility, morality and, most importantly, wish fulfillment and its consequences.  
 
Some theatre experts have opined that, since the show was conceived in the 1980s at the height of the AIDS crisis, the show is a parable about the disease.  They perceive that “the Giant's Wife serves as a metaphor for HIV/AIDS, killing good and bad characters indiscriminately and forcing the survivors to band together to stop the threat and move on from the devastation.”   The modern-day parallel is the implications of the COVID crisis.

“Sondheim drew on parts of his troubled childhood when writing the show. In 1987, he told Time Magazine that the ‘father uncomfortable with babies [was] his father, and [the] mother who regrets having had children [was] his mother.”

INTO THE WOODS had a 1987-89 Broadway run of 765 performances and was nominated for ten Tony Awards, winning three.

The Great Lakes production is under the creative direction of Victoria Bussert, who will soon be joining the Oberlin College faculty as the director of its new musical theatre program.  She presented an all-student production at her present college home, Baldwin Wallace University, several years ago.  I wrote that that production was, “sprightly, fresh, well done, and a must see!”  The same, and a lot more, can be said of the Great Lakes Theater production.
 
Joe Wegner gives a unique slant to role of the Baker.  He creates a frustrated man, whose relationship with his father was stressing (much like Sondheim), but through a series of incidents realizes his role as husband and father.  “It Takes Two,” his duet with his wife, the perfectly cast, Jodi Dominick, is delightful.  Her “Moments in the Woods,” is a show highlight.

Lovely and talented RhonniRose Mantilla (Cinderella), one of the many Baldwin Wallace musical theatre grads, displays a wonderful comic-timing sense, especially in doing prat-falls.  Her “On the Steps of the Palace,” illustrates not only her strong singing voice but her music story-telling abilities.  She shines, as does Jodi Dominick, in “A Very Nice Prince.”

A vision of big-eyed wonder, Nic Scott Hermick (Jack) displays a keen child-sensitive quality and nativity, which is well-expressed in the plaintive “Giants in the Sky.”

“Agony” is a crowd-pleaser nicely sung by Cinderella’s studly overly-dramatic Prince (Dan Hoy) and Rapunzel’s dedicated Prince (Benjamin Michael Hall).

Jillian Kates, the witch, made “Children Will Listen” one of the greatest songs in the Broadway musical lexicon, a meaningful show closer.   

The rest of the leading players and chorus were excellent. 

Courtney O’Neill’s set design, cleverly created with multi-colored Lincoln Log-like poles, makes for a flexible playground for Bussert’s creative stage movements and Jaclyn Miller’s well-conceived choreography.  Tesia Dugan Benson’s costumes, David Gotwald’s sound design, and Trad A Burns lighting, all added to wonders of the production.

Capsule Judgment:  INTO THE WOOD is a well-conceived script, which gets a fine GLT production!  There has been, and will be many presentations of this musical, but few will match this one!  Go…enjoy musical theatre at its finest!

For tickets to INTO THE WOODS, which runs through November 10, 2024, go to www.greatlakestheater.orgor call 216-241-6000.
 
NEXT UP AT GLT:  A MIDSUMMER NIGHT’S DREAM, Shakespeare’s magical comic masterpiece from October 4-27.

LES MIZ! back again at the Palace Theatre is as good as ever!

 

LES MISÉRABLES, along with such block busters as PHANTOM OF THE OPERA, JESUS CHRIST SUPERSTAR, EVITA, STARLIGHT EXPRESS, and CATS are part of the movement in musical theatre known as The British Invasion.
 
These shows, in contrast to most American musicals, have no spoken dialogue.  It is more operatic in format.  All singing, no speaking.
 
The musical version of Victor Hugo’s epic novel “Les Miserable” was first a recording, then a Parisian stage spectacle.  British producer Cameron Mackintosh, revamped the script and added spectacular sets, complete with double revolving stages.  The reviews in London were not great, but word of the strong plot and the staging, and the publicity poster’s visual of the downtrodden little Cosette, in front of the French tri-color flag, caught the public’s fancy.  And, as the trite saying goes, “The rest is history.” 
 
In 1987 the musical debuted on Broadway, following a successful London run.  After 6,680 performances spanning sixteen years, it closed in the Big White Way on May 18, 2003, making it one of the longest running Broadway shows.  Revivals, tours, and a movie followed.
 
For those who didn’t take French in school which often required translation of “The Bishop’s Candlesticks,” a simplified version of “LES MISÉRABLES,” an epic 1862 French tale by Victor Hugo, considered as one of the greatest novels of the nineteenth century, may not be aware that the basic story line centers on a period in the early nineteenth century, which culminated in the unsuccessful June Rebellion.  This is not the larger French Revolution of 1788 that overthrew the absolute monarchy of the Bourbons and the system of aristocratic privileges, as many assume when the word “revolution” is used in a French story. 
 
The plot revolves around Jean Valjean, who was arrested and imprisoned when he stole a loaf of bread to feed his starving nephew.  It is fiction broadly entwined within factual and historical events.
 
This is not the usual musical theatre material.  It is about greed, child abuse, revolution and cruelty.  It has physical beatings and numerous onstage deaths.  It lacks the typical happy ending.   But, there is no reason that serious subjects cannot be treated in the musical form.  LES MIZ proves that contention, as does NEXT TO NORMAL, RENT and DEAR EVAN HANSON.
 
There is also no reason that strong emotions about death cannot be visualized as “empty chairs at empty tables,” or hope cannot be expressed as, “there is life about to start, when tomorrow comes,” or, that infatuation cannot be explained as “a heart full of love,” or the future can’t be prophesized as, “I dreamed that love would never die,” or a powerful story can’t be summarized with the musical’s closing
 lyric, “To love another person is to see the face of God.”  
 
Yes, these are all lyrics conceived by Herbert Kretzmer and set to the emotionally charged music of Claude-Michel Schönberg.  These are the thoughts of a great musical.
  
The show has toured through 440/216/330 several times.  When the reconfigured LES MISERABLE was in CLE several years ago as part of the Key Bank Series I wrote: “It is still captivating and is a major piece of the musical theater tapestry which gets an excellent staging at the start of its newest national tour.  If you haven’t seen it before or need a refresher, get to Playhouse before “One Day More,” and get “A Heart Full of Love.”
 
In that review, I also wrote, “From the very first time I saw LES MISÉRABLES, shortly after its opening in London, to the New York production, and through the various touring shows, I have been a fan of the show.  Not just a fan, a fanatic fan!” 
 
My strong positive thoughts generally hold true for the performance now on the Connor Palace stage as part of the Huntington Featured Performance Series.

The present 5-day stay mirrors the 2018 production, which eliminated the original production’s two turntables, reframed the music, reinterpreted some of the songs, added electronic visuals, such as our experiencing Jean Valjean crawling through the sewers as he saves Marius and then Javert falling off a bridge into the raging river below.  
 
There is less vividness than the original.  The battle scene, minus much of the extreme pile of household goods isn’t as dramatic, the marching to the barricades isn’t as exciting.  The lighting is darker, much like the paintings of the period which tended to be painted with less vivid oils.  This darkness shades the entire production.
 
Some things are the same.  I still find the reference to “this one’s a Jew and that one’s gay,” to be unnecessary and offensive.  I never have been a lover of “Master of the House” and “Beggars at Feast,” which I know fulfills the musical theater formula of being “noisy numbers,” inserted mid-first and second acts to excite the audience and keep their attention.  Some of the farce doesn’t seem to smoothly fit, but probably was added to relieve the intense strong oppression of the story.
 
The changes, in the scheme of things, don’t change the overall power and effect of the show.  No one is going to argue with the conceivers and stagers of a show which has been seen by over 70 million people. 
 
Both the solos and choral work is outstanding. Thankfully the cast interpreted the meaning of the lyrics rather than just singing words. This was obvious, for example, in “One Day More,” the sure-thing show stopper, which was mesmerizing.  

 
Nick Cartell, who played the role of Jean Valjean in the last tour, is back again.  He has done this featured role over 1,200 times.  He still portrays the role with a full musical powerful voice and emotional compassion.   His “Who Am I” and “Bring Him Home” were compelling.
 
Haley Dortch (Fantine) grabs the emotions with the plaintive “I Dreamed a Dream.”  Mya Rena Hunter (Éponine) received an extended ovation for her well-nuanced “On My Own.” Jake David Smith gives an appealing earnest quality to Marius.  His “Empty Chairs at Empty Tables” was one of the show’s emotional highlights. 
 
Young Milo Maharika was captivating as the spunky Gavrache.  His middle finger salute to Javert after the over-zealous policeman is exposed as a traitor to the student rebels, brought cheers and laughter from the audience.
 
Preston Truman Boyd, who was here before in the role of Javert, has matured into the role.  He not only displays a strong singing voice, but clearly is obsessive in his maniacal search for Jean Valjean. 
 
We may be well into the historical place of color-blind casting, but having Little Cosette (Ava Buesing), a dark-haired Asian cutie, mature into a Caucasian blonde (Delaney Guyer), and blonde Azalea Wolfe (Young Éponine) become the dark-skinned Myra Rena Hunter (Éponine) was a little unrealistic and confusing.  
 
Matt Kinley’s set and image designs, which were inspired by the paintings of Victor Hugo, created captivating images.
 
CAPSULE JUDGEMENT:   LES MIZ!  It is still captivating and is a major piece of the musical theater tapestry which gets an excellent production.  If you haven’t seen it before or need a refresher, get to Playhouse Square and get “A Heart Full of Love.”
 
For tickets call 216-241-6000 or go to www.playhousesquare.org.  LES MIZ runs through October 22, 2024.

BECK stages Neil Simon’s comic THE SUNSHINE BOYS

 

Broadway Theatre, from the mid-1950s through almost the end of the 1960s, went through a period in which the values, morals and attitudes of the post-World War II population were examined.  
 
Dramas by such luminaries as Arthur Miller, who asked, What is the best way to live?” in his  DEATH OF A SALESMAN, THE CRUCIBLE and ALL MY SONS. Tennessee Williams probed, “What is it like to live in a society that doesn’t understand you and you don’t understand it? in STREETCAR NAMED DESIRE and GLASS MENAGERIE.  While, William Inge whose solitary protagonists were encumbered with strained sexual relations asked, “What are our hidden secrets?” in DARK AT THE TOP OF THE STAIRS, PICNIC and BUS STOP.
 
Neil Simon emerged as one of the most popular playwrights with his comedy scripts.
 
Simon was New York through-and-through.  He was born there (1927), lived his life and died (2018) in the area, and based most of his plays in Big Apple. 
 
His life was filled with conflict.  His parents fought a great deal and his own marriage was filled with angst.  In fact, he “blamed” his writing style on this.  He once said, “I think part of what made me a comedy writer is the blocking out of some of the really ugly, painful things in my childhood and covering it up with a humorous attitude ... do something to laugh at until I was able to forget why I was hurting.”
 
His productivity and success were unrivaled.  He wrote more than 30 plays and nearly the same number of movie screenplays.  He won a Pulitzer Prize, had 17 Tony nominations, four Tony Awards and a Golden Globe Award, as well as nominations for four Academy Awards and four Primetime Emmy Awards.   
 
In 1966, he had four successful productions running on Broadway at the same time and, in 1983, he became the only living playwright to have a New York theatre, the Neil Simon Theatre named in his honor. 
 
His play, The Sunshine Boys, now on stage at Beck Center, opened in 1972 and starred Jack Alberton and Sam Levine.  It was met with strong positive reviews.
 
The script’s protagonists, Al Lewis and Willie Clark (supposedly based on the real-life team of Gallagher and Shean), were once a major vaudeville comedy duo known as the Sunshine Boys. 
 
Their 43-year run was filled with conflict and when it ended, with Al retiring from show business, leaving Willie, bitter and frustrated.  The duo stopped speaking to each other.
 
It’s now eleven years later and we find Willie, struggling with memory loss living alone in the same apartment he had occupied most of his marriage-less life, being cared after by his nephew and “agent,” Ben.  
 
CBS wants the Lewis and Clark duo to recreate their famous “The Doctor Will See You” sketch as part of their history of comedy special.  This, of course, would require the cranky old men to speak to each other.  
 
When they reluctantly meet to rehearse, the reunion goes badly with the “boys” entering into heated arguments over the words they will use, the arrangement of the furniture, and the elimination of chest poking and spitted out words which started with a “t.”
 
The conflicts continue in the television studio.  
 
The ending--this is a comedy which requires that it have a happy ending--is endearing!
 
It is eye-opening that almost all of the famous comic vaudeville duos, such as Abbot and Costello, Gallagher and Sheen, Martin and Lewis, and Smith and Dale, all had tumultuous endings.

Beck’s production, under the direction of William Roudebush, works adequately well.  For this play to succeed requires that the audience warm up to the duo as, underneath their bluster, each is a teddy bear and that the comedy sketch be done with raucous abandonment, bridging on farce.

Doing Borscht Belt comedy is difficult, almost impossible for modern day actors.  It is not their fault.  It takes years to hone the skills of listening, reacting and recreating movements that bring the needed laughs.  That type of vaudeville is not something that someone who has not observed and practiced for years, can accomplish.

Rohn Thomas succeeds in making Al Lewis loveable, but Alan Safier’s Willie is sometimes so over-done that he becomes irritating and we lose our “love” for him.  

They try hard in the “The Doctor is In,” skit, but just don’t produce the perfection of farce comedy needed.  Not bad, (drum roll) but just not quite good enough.

Carolyn Demanelis is physically right for the role of the zaftig Vaudeville Nurse and Joyce Bell Linzy adds delight as the sarcastic Registered Nurse.

Capsule judgment:  It is enjoyable when a theatre reprises a Neal Simon comedy.  THE SUNSHINE BOYS, because of the requirement of enacting the classic comic routine is probably the most difficult Simon play to stage well.  The cast and crew give full effort, but don’t completely hit the bullseye!

THE SUNSHINE BOYS runs through October 6, 2024 at the Senney Theatre in the Beck Center of the Arts Complex.  For tickets call 216-521-2540 or go to beckcenter.org
 

Beautifully crafted script and production makes A VIEW FROM THE BRIDGE a must see!

 

The post-World War II-era centered on the changes of, among other factors, the application of psychological principles to examine the happenings of the day.   Arthur Miller, William Inge and Tennessee Williams are considered to be the leading playwrights of that, the modern American era of theater.     Miller, who is the author of A VIEW FROM THE BRIDGE, which is now in production at Cain Park’s Alma Theatre, is noted for asking, in his scripts, “Is this the best way to live?”   In the case of VIEW, Miller’s dramatic tale examines such matters as difficult relationships, family honor, fear of loss, personal pride, forbidden love, assimilation and how justice and law often collide.  In the end, Miller seems to conclude that Eddie, the story’s protagonist, meets his end, being killed by his own knife, as a metaphor for his self-inflicted personal moral and ethical fall.   In examining the play, the writer’s own life may be the real topic.  “Miller was called to testify in front of the House Un-American Activities Committee to name names of communist sympathizers in 1956, the height of the McCarthy Era. Miller refused to do so and was heralded by the arts community for his strength of conviction and loyalty.”   Miller, like Eddie Carbone, was faced with the problem of choosing how to live his life and affirm or reject his value system.   “Unlike Eddie Carbone, Miller chose to be loyal to his fellow artists, but like Carbone, Miller went against the cultural consensus at the time. Miller, in the play, chose to script a community that accepted and protected unlawful people. The consequences and eventual repercussions of naming names, for Eddie Carbone, are drastic.”    Miller used this play to strongly condemn the McCarthy trials and those who named the names of fellow artists.   This is not the only play in which Miller takes on the ethics of McCarthy and his committee.  In THE CRUCIBLE, which is being staged at Blank Canvas Theater, on Cleveland’s near west side, the topic of witch-hunting takes center stage, and much like A VIEW FROM THE BRIDGE, Miller points the accusing finger at the perpetuator of “evil” and comes to the conclusion that the action of the witch hunters and McCarthy, was and is not the best way to live. The story in A VIEW FROM THE BRIDGE is narrated by Alfieri, who was raised in Italy, but is now working as an American lawyer.  Acting as our guide and commentator, much like a Greek chorus, he represents the “bridge” between the Italian and cultures of that era. The plot centers around the Carbone family – Eddie, his wife Beatrice and their niece Catherine. The family is awaiting the arrival from Sicily of Beatrice’s cousins Marco and Rodolpho, who have entered the country illegally.    The cousins arrive. Catherine and Rodolpho are attracted to each other, which annoys Eddi, who has feelings for Catherine.   Jealous Eddie finds more and more things to dislike about Rodolpho as the young couple grow closer.  When the duo decides to get married, Eddie reports the cousins as illegal immigrants. This makes his family and all the neighbors hate Eddie.  Marco and Eddie fight. Marco uses Eddie’s knife to stab him. Eddie dies.   The Cain Park production, under the wise guidance of director Celeste Cosentino, is compelling.  It is well-staged, the concepts clear, and the acting generally top-notch.     Dan Zalevsky gives full life to the role of Eddie.  Eddie lives through Zalevsky’s clear character development and concentration on being, not acting.   Ursula Cataan creates a Beatrice who is both sensitive and aware of her limitations and her role as “wife” to Eddie.   Arianna Starkman matures as a character as Catherine faces the reality of becoming a woman, rather than a girl.   Abraham McNeil Adams well-portrays Alfieri, our guide and commentator.   Santino Montanez sizzles in the final scenes, as his role as family member and provider is spotlighted.   Be aware that the tented Alma theatre has no hard walls. The ambient sounds of street noise, wailing ambulances and revved-up motorcycles, the size of the stage which hinders actor projection to all parts of the small auditorium, plus the necessary Italian accents, all blend to wipe out some speeches.    Capsule judgment:  A VIEW FROM THE BRIDGE is a powerful and meaningful play that gets a fine production.  This is an absolutely must-see for any serious theater-aficionado.   A VIEW FROM THE BRIDGE runs through September 15th.  For tickets call 216-371-3000 or go online towww.cainpark.com

THE MUSICAL THEATER PROJECT starts its 26th season with GREAT 21ST CENTURY MUSICALS

 

On August 24th and 25th, The Musical Theater Project will open its 26th season with GREAT 21STCENTURY MUSICALS, a sampling and celebration brand-new musicals, with, according to co-host and author of the program, Sheri Gross, “a glance back at some new works from composers that have been covered before and fit into the timing.”   To be staged in the intimate Chagrin Valley Little Theatre, the summer concert is part of the “Song Is You!” concert and cabaret series.    On its blog, TMTP explains that their mission is to preserve and honor the 20th [and 21st]-century classic American musical (both stage and screen) in songs, stories and social history by guiding their participants to learn about the art form’s past. The organization’s goal “is to bring us all closer together in greater understanding of each other, and in joy, hope and love—these are meaningful and uplifting hallmarks of the classic American musical.” Under the creative guidance of Bill Rudman, nationally renowned educator, broadcaster, producer and founder of The Musical Theater Project, the organization “has created more than 100 concerts and cabarets that celebrate and share musical theater as a uniquely American art form.” Usually, the live concerts are written and narrated by Rudman, with musical direction and additional narration provided by Nancy Maier.   The summer concert is being written and narrated by Gross and Maier, with vocals performed by TMTP audience favorites Nicole Sumlin and Eric Fancher. In an interview with Gross, it was revealed that the shows to be highlighted and songs to be presented were picked by the duo from current shows and musicals that opened on Broadway in the 21st century, augmented by new works from songwriters that have been covered in concerts that fit the timing. Works to be examined will include the Tony Award-winning THE OUTSIDERS, along with WATER FOR ELEPHANTS, SUFFS, THE NOTEBOOK, and THE DAYS OF WINE AND ROSES.  Songs by Jason Robert Brown and music from MERRILY WE ROLL ALONG, COME FROM AWAY, THE PRODUCERS and WICKED will also be included.  (Side note:  both THE OUTSIDERS and WICKED were produced on Broadway by THE ARACA GROUP, whose partners are Matthew and Michael Rego and Hank Unger are native Clevelanders.) How was the program put together?  According to Gross, she and Maier examined shows that fit the theme, decided on what songs work for the singers, evened off the number of songs for cast, decided on how the songs flowed together, selected the opening and closing numbers and then wrote the text.    The program becomes a reality after the narrators and singers rehearse the show 4 or 5 times to make sure of the quality of the production and that it fits into the allotted time.   Experience GREAT 21ST CENTURY MUSICALS in-person on Saturday, August 24 @ 7:30 and Sunday, August 25 @ 2 at Chagrin Valley Little Theatre, 40 River Street, Chagrin Falls.   For tickets go to: https://musicaltheaterproject.org/buy-tickets/   For updates on Chagrin bridge construction, please visit: https://chagrin-falls.org/336/N-Main-Street-Bridge—Information-Porta Free valet parking is available!

CHILDREN OF EDEN brings “The Bible” to life at Western Reserve Playhouse

 

CHILDREN OF EDEN, has music and lyrics by Stephen Schwartz.  He is the creator of such hit shows as WICKED, PIPPEN and GODSPELL.  Unlike those shows, EDEN had no Broadway or off-Broadway productions.   In fact, it had very little success until it was realized that it leaned itself to be performed by community, regional and educational theatres as it can be performed with a large or small cast, little or no sets, a small or large musical band, and had the universal themes of family and love.    It is now so successful that the show's publisher, Music Theatre International, reports that it is “one of its top 20 most frequently licensed properties.”   The original cast production of CHILDREN OF EDEN was developed as a Royal Shakespeare Company workshop in the 1990s. Subsequently, it was reworked and edited, with songs and scenes being added and cut. In 1997, a major production was mounted at the Paper Mill Playhouse in Millburn, New Jersey.   This revised version, commonly known as the "American version" is what is on stage at Western Reserve Playhouse.   The musical is based on the “Book of Genesis,” with Act I telling the story of Adam and Eve, and Cain and Abel, while Act II spotlights Noah and the flood. “The universe is born out of darkness. Father, with the help of the Storytellers, brings the universe and life into existence, including Father's new children, Adam and Eve.  It follows the ancient tale of Eve finding.  Though her life is seemingly perfect, Eve still hungers for something more: knowledge, adventure, and to see what lies beyond the garden.  Eve meets a snake who tempts her with apples from the forbidden tree and the possibilities that would open up for her if she eats it.  And, thus, we are taken on an adventure of doom, murder and such heinous things that Father decides that he needs to clear the earth of what has been created by having a flood whip out everything.   He informs Noah of the impending doom, as Noah's family remain the only ones who are untainted by Cain's lineage, and commands him to build an ark for refuge. Noah begs Father to reconsider, but Father leaves him with the command and that the ark must be large enough for both his family and two of every animal!” The Western Reserve production, under the direction of Braelin Andrzejewski, is staged in their charming Barn.  It is a very commendable amateur production, with many creative highlights.  The cast, as is the case with many community productions, is uneven.  While some performs “act,” rather than being natural, others soar.  Strong performances are given by Kelly Pikenroth (Eve/Mama Noah), Nate Zadzilka (Abel/Japeth), Roman Novosel (Cain/Ponair) and Emily Sedmak (Storyteller/Aysha).   Future Suggestion:  Putting the song list in the program would allow for identification of the material, as well as who is performing it.   Capsule judgment:  THE CHILDREN OF EDEN is a show that lends itself to the space and talent of Western Reserve Playhouse.  It gets a solid performance that allowed for a multi-level of talent to perform, to the delight of the large and appreciative audience. THE CHILDREN OF EDEN continues at Western Reserve Playhouse, 3326 Everett Road, Bath through August 17, 2024.  For tickets call 330-620-7314

SPEECH AND DEBATE examines contemporary teen angst at congruence-continuum

 

It is entirely appropriate that convergence-continuum, with its tendency of challenging conventional notions by choosing plays because they contain controversial topics, stage Stephen Karam’s SPEECH AND DEBATE, which examines teenage angst as it relates to love, self-acceptance and what happens when three teens are forced to confront the real world in which they live.
 
The teenage misfits, Solomon, Diwata and Howie, who go to the same school, have different gripes with life, but soon realize that three voices are stronger than one. 
 
Meet the dynamic trio:
 
There is Solomon, a nerdy kid with ambitions of being a journalist.  As his/their latest cause-celeb, he/they wants to investigate homophobic closeted men in positions of power.  He/they gets a chance when the conservative Republican mayor of Salem, Oregon, is caught in a sex scandal involving underage boys.  Solomon writes the story.  It, along with an essay on abortion, are rejected for publication by the school’s newspaper advisor because of her fear that there will be community backlash.
 
Then there is Howie, an out, gay high school senior, who has transferred from a liberal Portland school. He is disgusted by the Puritan culture of Salem, in which he can’t get a Gay-Straight Alliance sponsored at school, but can make a gay “sex” date on-line with a school faculty member.
 
The trio also contains Diwata, a black female diva, who has a grudge against the school’s drama teacher because he refuses to cast her in a major part and won’t stage her musical version of Arthur Miller’s THE CRUCIBLE, a play about witchcraft in Salem, Massachusetts.  She goes into the boy’s bathroom, one day, because the girl’s facility is over-crowded.  While seated in a stall, she witnesses what she thinks is an illicit encounter between a student and the drama teacher. 
 
When the three students realize that they each have a piece of the same scandalous puzzle, secrets are bartered, and ultimately, and in spite of their differences, an alliance is formed. 
 
They realize that since their school has no speech and debate squad, if they form one, and present their “evidence,” maybe this is their chance to be heard at last—by the school and even the world. 
 
The play has been bannered as, “A triumph…hilarious, cliché-free, and immensely entertaining, “…[A] savvy comedy…bristling with vitality, wicked humor, terrific dialogue and a direct pipeline into the zeitgeist of contemporary youth.”  Other reviewers stated, “Karam has a keen ear for how teens talk, move and think, how they view each other and the adult world … and uses both the advantages and perils of cyberspace to make amusing, original point,” and “This play is a f–ing blast.”
 
Con-con’s staging, thanks to solid directing by Léo Fex, in spite of some over tinkering with the various set pieces, which slowed down the production, was effective, holding the attention throughout.  
 
 In most productions of the script, the role of Solomon is played by a male.  Fex, who identifies as “they,” decided to have Keniel Kenney, who also identifies as “they,” play the role.  They are dressed in a shirt whose buttons follow the male buttoning configuration and has a “boyish” haircut.  This interpretation gives a gender/sex fluid, non-differentiated identity, to Solomon.  Whether intentional or not, this casting changes the meaning of some of the author’s lines.  
 
Keeney is “geek” strong in the role.
 
Zoë Frager is drama queen perfect as the obsessed actress/playwright-wanna be.
 
Brandon Alexander Smith nails the role of Howie.
 
Carolyn Demanelis handles both the role of teacher and reporter effectively.
 
Though the program does not give credit for whomever is responsible for the design and execution of the electronic graphics, it should be noted that they strongly enhance the show.
 
Capsule judgment:  SPEECH AND DEBATE is a well-conceived and written play that gets a very creditable production at con-con.
 
For tickets for the show, which runs through August 24 go to www.convergence-continuum.org

Next up at con-con:  THE PITCHFORKS (October 4-October 26).

THE PROM, a musical with a contemporary social message @ CVLT

 
In 2010 a gay Mississippi high school student was banned from going to her senior prom by the school’s Board of Education because she wanted to bring her girlfriend as her date.  She challenged the ruling, which resulted in the cancellation of the prom.  The student and the ACLU sued the district.  The federal court found the school district guilty of violating the student’s first amendment rights and said the prom must be held.  

The board reinstated the prom, but local parents organized an alternative event to be held on the same night, but kept the event and its location a secret so the gay student and the media would not know.  
  
That event was the impetuous for Jack Viertel’s concept musical, THE PROM, which is now on stage at Chagrin Valley Little Theatre.
 
The stage version builds on the real story and expands it to center on four frustrated Broadway actors, at a failure crossroad in their careers, who contrive a way to get attention by traveling to the very conservative town of Edgewater, Indiana, to help Emma, a lesbian student banned from bringing her girlfriend to the high school prom.
 
The Broadway production was critically greeted with such comments as, "such a joyful hoot,” “with its kinetic dancing, broad mugging and belting anthems, it makes you believe in musical comedy again," and “with a tuneful score, a playful book, and performances that remind you what Broadway heart and chutzpah are all about." 
 
The story, though possessing the quality of a TV sitcom tale, has a meaningful purpose, is tightly written and keeps attention throughout.  
 
It is the purpose of community and little theaters, such as Clague Playhouse, Greenbrier Theatre, Brecksville Little Theater and Chagrin Valley Little Theatre, which has been producing shows for 94 seasons, to give local audiences exposure to theater and give non-professional actors and community members a chance to create and perform.  Audiences should not attend expecting the shows to be “better than Broadway.”  That’s the purpose of the Broadway touring shows and the local professional theaters. 
 
THE PROM is a perfect community theatre show. It has a message, a well-written script, good music (especially “Dance With You” and “Jazz”), can be done with less than professional actors, has a fairly easy set to build, and lots of parts for performers of all ages and talents.
 
The show’s song, “We Look to You” banners the good theatre does for performers with its declaration, “We need a place to run when everything goes wrong, when the answer to each problem is to burst into a song, and standard rules of logic just don’t simply apply, when people dance in unison and no one wonders why.”
 
The same song tells why people come to the theatre, stating, “We look to you in good times and bad—the worlds you create make the real ones seem less sad.  The curtain goes up, and every now and then, it feels as if we’re coming home again.”
 
The CVLT show has some good performances including that by Brooke Hamilton who has a nice singing voice and good acting chops as the lesbian, Emma, who is thrust on the national scene as a role-model when all she wants to do is dance at the prom with her girlfriend, Alyssa, who is well-acted and sung by Maela Mazzone. 
 
Jessie Pollak (Kaylee) and Kelly Scott (Shelby) were appropriately nasty as the mean girls and Eric Oswald, as Principal Hawkins, who did a great rendition of “We Look to You.”
 
Nina Takacs (Dee Dee Allen) and Dan Knepper (Barry Glickman) belted out “It’s Not About Me,” and over-acted to the delight of the audience who roared at the over-exaggerations, while accepting the predictable and often awkwardly presented choreography. 
 
David W. Coxe’s orchestra was excellent as were the electronic media insertions.
 
CAPSULE JUDGMENT:  THE PROM is an old-fashioned musical which tells a contemporary tale with a moral and gets a good community theatre staging at CVLT, It is worth seeing.
 
THE PROM continues on the Chagrin Valley Little Theater stage through August 10, 2024.  For tickets, call 440-247-8955 or go to CVLT.org

"Miraculous" ANNIE wraps up the season at Porthouse Theatre

Terri Kent, the Artistic Director of Porthouse Theatre, Kent State University’s summer home on the grounds of Blossom Center, states in her program notes for ANNIE, “I believe the arts have the power to transform lives and I believe in miracles.”   Kent, therefore, chose to end the venue’s “Miracles! Season” with the tale of an orphan named Annie, who, through guts, gall and cuteness charms herself, in miracle-like fashion, into the life of Oliver Warbucks, the mid-depression billionaire, and, in the process outsmarts the conniving orphanage matron Miss Hannigan, and her dastardly brother, Rooster.   ANNIE, the musical, is loosely based on “Little Orphan Annie,” which was a daily comic strip created by Harold Gray.  “The strip took its name from the 1885 poem "Little Orphant Annie" by James Whitcomb Riley, and it made its debut on August 5, 1924, in the New York Daily News.” With its commentary on politics, American life and depression angst, the strip, in contrast to many of the escapist writings and illustrations of the comics genre, attracted adult readers, rather than children.   If you were a reader of the comics version of the story, don’t go expecting any strip you’ve read in the newspapers, as Meehan used only the characters of Annie, Oliver Warbucks, and Sandy in his plot, and wrote an original story, with new personae. The Meehan tale is set in New York during the downbeat Great Depression. The author stated that he saw “the character of Annie as a 20th-century American female version of the titular orphan characters created by Charles Dickens in works such as Oliver Twist and David Copperfield, with the mystery of Annie's abandonment and unknown parenthood as consistent with a strand of mysteries in Dickens' tales.” It's “1933 in New York City, eleven-year-old Annie is housed in an orphanage. When six-year-old Molly wakes up from a bad dream, Annie comforts her by singing about her own parents; even though they abandoned her at the orphanage as a baby, she holds on to the hope that they will come back for her.” Annie decides to escape to search for her parents, but is caught by Miss Hannigan, the alcoholic, nasty matron of the institution.   Annie finally does sneak out of the orphanage, wanders the streets, finds a dog which she names Sandy, is caught and brought back to Miss Hannigan, is chosen by Grace, Mr. Warbucks’s aid, to be a guest at Warbucks’s home as a guest-orphan for the Christmas holidays.  And, as we all know will happen, she charms the man, his staff, President Roosevelt, and the audience, is adopted and becomes a non-orphan.  “Leapin’ lizards!” Ah, to live in the world of comics and miracles! ANNIE opened on Broadway in 1977, won seven Tony Awards, including for Best Musical and ran for nearly six years.  It spawned a national tour, international productions and numerous community and little theater productions. The musical's songs "Tomorrow" and "It's the Hard Knock Life" are among the most popular tunes of Broadway. THE Porthouse production, under the focused direction of Terri Kent, with Artistic Collaboration and choreography by Martin Céspedes, gets a warm and comfortable staging.  The negative thoughts of the script are minimized and the positive is stressed.  Even Miss Hannigan’s obnoxious ways are down-played.  This approach minimized some of the humor, but left the “miracle” aspects present. First and foremost, the role of Sandy, the stray dog is played by Bean Kent (Kent?  Oh, yes, the director’s own sandy colored poodle, who had its own director—AB Dog Training). Bean’s entrance was deservedly met with appropriate “uhhs and ahhs!” The obedient animal was well-behaved and seemed to relish the attention! Parker Towns, who is double cast with Ava Kimble, made for an adorable and winsome Annie, the day I saw the production.  (Ava Kimble plays the role when Kimble plays July.)  She has a strong singing voice and developed a consistent characterization.  (But, where were the head of ringlets and signature Annie dress?) Dante J.L. Murray, who recently lit up the Porthouse stage as Pontius Pilate in “JESUS CHRIST SUPERSTAR,” has a big voice and was convincing as Daddy Warbucks. Courtney Elizabeth Brown was charming as Grace Farrell.   Amy Fritsche was properly obnoxious as Miss Hannigan, as was Matthew Gittins as her brother Rooster, though I would have liked for each to have played the roles with more exaggerated farce. The orphans were delightful.  Martin Cespedes’s choreography, a little more subdued than his usual work, was filled with his signature creativity.  Capsule judgment:  There is no “Maybe” about it, since “You’re Never Fully Dressed Without Smile,” get down to Porthouse theatre, today, not “Tomorrow” to see the “Little Girls” [and the rest of cast] of ANNIE, do their thing! ANNIE runs through August 4, 2024 at Porthouse Theatre on the grounds of Blossom Center.  For tickets go to http://www.porthousetheatre.com or call 330-929-4416 or 330-672-3884.

 

Sensational MJ explodes with amazing dancing, rockin’ music and powerful visuals at Key Bank State Theatre!

 

Confession:  I am not a big fan of Juke Box musicals, the now popular Broadway vehicle which is a genre of American Musical Theatre in which pre-written songs are woven, mostly with no real reason, into an often soap-opera-like story.   Reality:  MJ, now on stage at the Key Bank State Theatre as part of the Broadway series, is a Juke Box musical. Confession:  I am not an avid fan of disco/hip-hop!   Reality: MJ mostly is disco/hip hop with some pop. Confession:  Though I have heard his music, and know some things about his life story, I am not a Michael Jackson fan and have never attended any of his concerts.   Reality:  MJ is a tale based on some of Jackson’s life told through his songs and a so-called series of interviews and observations while Jackson and his cast members were preparing for his Dangerous World Tour.  The revelations include the discovery of his profound singing and dancing talents, the sadistic and often physical and emotional abuse by his father, which thwarted his rise to manhood and aided in his often child-like vocal and lack of reality-views of the world, and his personal physical and psychological issues.  Final reality:  I was totally blown-away with the dynamism, creativity and showmanship of MJ, and was on my feet, along with the rest of the screaming stomping and clapping audience at the conclusion of this sumptuous show!  (Make sure you stay for the ear-shattering, visually over-load of a curtain call!   In contrast to most Juke Box musicals which are written by the subject of the show or someone who doesn’t know much about theatre, MJ is blessed with a book by two-time Pulitzer winner Lynn Nottage, who undertook the daunting task of delving into the man-boy who did few interviews, was very private, and was often referred to as the “man behind the mirror.”  (A constant device used in the staging and choreography.)   Yes, his volatile relationship with his demanding often fearsome father, his use of pills to escape reality, his hypochondriac-like illnesses, his face-bleaching and surgeries to change his appearance, are all there, but, as it should have been, most of the spotlight was on his singing and dancing! “Many things have been said about Michael Jackson, both during his famed life and after his untimely death. Some have been substantiated, some not — but two things are undeniable. Jackson’s music was groundbreaking, tying ’60s Motown to ’70s disco, hip-hop, and of course, pop, of which he was labeled the King. His popularity forced the music industry to integrate, breaking down barriers for Mariah Carey, Beyoncé, and a slew of rap performers. It wasn’t just his sound. Jackson’s choreography — executing sexually suggestive moves with innocent abandon — thrilled audiences.”   And, all that is on-stage in MJ: The Musical. “Over a four-decade career, his contributions to music, dance, and fashion, along with his publicized personal life, made him a global figure in popular culture. Jackson influenced artists across many music genres. Through stage and video performances, he popularized street dance moves such as the moonwalk, which he named, and the robot.” MJ, opened on Broadway in February 1, 2022.  It is still playing. and is running at about 91% of audience capacity.  It has earned over 200 million dollars, making it one of the highest grossing musical theatre productions of all time.   These totals are surprising since the show opened to divided critical reviews.  While Nottage’s book was noted by one reviewer as having “bland, exposition-heavy and often trite dialogue,” another noted that he “left the theater entertained, but not convinced I had seen the man in the smoke and mirrors."  To counter these negatives, a critic stated that the show was "visually and sonically ravishing," while another claimed that the show was "beautiful to experience throughout, which one almost never can say about jukebox musicals."    I am, with a few caveats, on the side of the latter! The show received 10 Tony nominations, winning four, including a well-deserved one for director/choreographer Christopher Wheeldon.  The choreography is outstanding.  It’s a blinding blend of Wheeldon, Bob Fosse and a mélange of other hoofers and dance creators.  Wow! Locals should be interested in knowing that the Broadway cast contains three grads of Baldwin Wallace’s famed Musical Theatre program and the touring company also has a BW representative. The touring cast is strong.  Roman Banks creates a believable Jackson.  Unfortunately, he sometimes, in his attempt to duplicate the soft-spoken MJ, fails to project, so some of his speeches can’t be clearly heard. The same is not true of his singing, which is loud and clear, nor his dancing, which is compelling. Jackson’s other selves, Brandon Lee Harris and Bane Griffith (the night I saw the show) are excellent, displaying solid singing and dancing skills.  Devin Bowles is nastiness incarnate as Joseph Jackson, Michael’s self-absorbed, abusive father. The singing and dancing chorus are superb.  They must be totally exhausted after each performance as they are on-stage constantly moving!  Bravo! CAPSULE JUDGMENT:  MJ, the Juke Box musical, puts a spotlight on a segment of mega star Michael Jackson’s career and conflicted life.  The show gets a powerful production featuring exciting electronic graphics, dynamic musical arrangements, superb choreography, some strong performances and exciting choral work and dancing, encased in an acceptable story. MJ runs at the KeyBank State Theatre in Cleveland’s Playhouse Square until August 11, 2024 as part of the Key Bank Broadway Series.  For tickets call 216-241-6000 or go to playhousesquare.org

Audience-pleasing BEAUTIFUL, THE CAROLE KING MUSICAL, lights up Beck Center stage!

 

 
BEAUTIFUL, now on stage at Beck Center for the Arts, is a Juke Box musical loosely based on the life of Carol King (aka Carol Joan Klein), one of America’s most prolific songs writers, arrangers and entertainers.
 
As with all musicals of that classification (e.g., MAMMA MIA!, JERSEY BOYS, MJ THE MUSICAL), the songs, which were not written specifically for the show, are shoe-horned into a script.  The music doesn’t always fit smoothly, but the importance is not the literary development of the tale, but the fact that the character, performer or person, who is the center-piece of story, has connection to the songs.  
 
BEAUTIFUL, shows the development of King, a young Jewish Brooklyn girl, with a dominating divorced mother, who has little self-confidence, but a strong drive to write music and succeed in the stressful business, growing from a modest song scribe to a popular and confident writer and performer of songs.  It spotlights a conflicted person within the reluctant star, who emerged as a leader in her field and also in politics and the women’s movement.
 
The audience is taken on a journey of her relationship with her husband, and song-writing partner Gerry Goffin, to her career’s development, divorce and close friendship and playful rivalry with fellow song-writing duo Barry Mann and Cynthia Weil.
 
The musical opened on Broadway on January 12, 2014 and ran through October 27, 2019.  The 60 previews and 2,418 performances made it, at that time, the 27th longest-running musical in Broadway history.
 
One of the highlights of the run was that King attended the April 3, 2014 performance and appeared on stage at the curtain call, singing "You've Got a Friend" with the cast. 

As is often the case with Juke Box musicals, when the show opened on Broadway, it was criticized for the weakness of the book.  As one reviewer stated, the musical does not have the "dramatic coherence of book bio-musicals.”  Another stated, while the musical "doesn't hang its songs on the greatest or most suspenseful story ever told, it has enough bounce and Broadway show glitz to keep you in your seat."

The near sold-out Beck audience, however, wasn’t in their seats.   At the conclusion, they leapt to their feet, clapping and yelling their appreciation. 

BEAUTIFUL is a difficult musical to produce.  Not only do you have the “Carole King” sound that is familiar to many, but there are also the groups, The Shirelles, Drifters, Righteous Brothers, each of whom has a recognizable sound and movements.  To do the script service means for the director, choreographer, music director and cast to be familiar with all of these elements, or the authenticity of the show is lost.

In the main, the Beck production, which is the local premiere of the piece, is on track.  While some of the acting was superficial, most of the material was well-conceived. 

Reese Henrick (as Cynthia Well) and Jordan Potter (as Barry Mann) were delightful.  They had a wonderful physical and emotional connection, displaying a keen sense of comic timing.  Her “Happy Days” and their duet “He Sure the Boy I Love,” were show highlights.

Elsie Carlisle displayed a fine singing voice and an understanding of Carole King, while Mikhail Roberts was appropriately tortured as Gerry Goffin.

There are well-known synchronized movements identified with each boy or girl group.  In some, in this staging, the choreographic timing was off.   It was especially obvious in “On Broadway,” the song made famous by the Drifters.   More time was need for each of the quartets to watch videos and getting the styles down pat, with fine tuning by choreographer Lauren Tidmore Marousek.

Chris Richards, he of dead-pan comic face, developed a fine Donny Kirshner.

Cheri Proguh Devol’s juke box set was ingenious.  Inda Blatch Geib effectively used yards and yards of fabric to create the era-correct costumes.

Capsule judgment:  BEAUTIFUL, THE CAROLE KING MUSICAL, though there were some acting and choreographic stumbles, and the script is more soap-opera than quality musical theater writing, gets an audience pleasing production at Beck.  The music is wonderful. The cast sings with gusto. There is lots of dancing. It is well-worth a look-see!

BEAUTIFUL runs through August 11 at Beck Center’s Senney Theater.  For tickets call 216-521-2540 or go to beckcenter.org.