The Breakup Notebook: The Lesbian Musical

‘THE LESBIAN MUSICAL,’ fun, but…

For a show that has only been staged at three venues (Los Angles, New York and San Diego), the ‘THE BREAKUP NOTEBOOK: THE LESBIAN MUSICAL,’ which is now on stage at Beck Center, has engendered a lot of national press and attention.

The show, whose sold-out opening night audience included the author, Patricia Cotter, musical originator and lyricist, Lori Scarlett, and the creator of the show’s additional music, David Manning, received an enthusiastic welcome.

It’s the kind of show that should have strong cult appeal to a target audience…lesbian women. That’s not to say others wouldn’t appreciate the often fine music and some clever lines, but there is a definite identification with the lesbian dating scene and life style that will allow for a kinship to grow with the material that might not be bridged with those not in on the many “in-jokes” that populate the script.

The story centers on Helen Hill, a thirty-three year-old who has been dumped by her long time girl friend. Helen is heart-broken, bitter and obsessed. Moving on is difficult. With the help of her friends (a bevy of stereotype lesbians and her gay fey confidant Bob), she attempts to get back into the dating scene, with disastrous, oft-hysterical results. In her path toward happiness, she faces alcoholic line dancers, an S&M leather dyke, a commitment phobic biker, and a kooky lawyer. Even a “Ms. Perfect,” who turns out to be less then perfect.

The music is more endearing than the book. The mainly pop songs poke fun at lesbian life, the meaning of love, how dyads choose songs to represent their couplehood, and the difference between lesbians and gay men.

Beck’s production, under the direction of Victoria Bussert, is somewhat on target. One has to question the dichotomy between Russ Borski’s comic book set and the production. With walls covered with comic strip cells, many with clever bubbled speeches, the tone is bigger than life, thus putting the audience into a farcical mind set. The production starts the same way…over the top with the song, “Ghost of My Ex-Girlfriend.” Then, someplace during the first act, the show settles into a light comic tone, losing its outrageousness. By the second act, it’s more comic drama, then comic farce.

The cast is generally good. Though Jodi Dominick effectively develops the role of Helen, her voice is thin on the high notes and, even though she is miked, doesn’t have the necessary power. This is especially true when drummer Joey Scale lets loose like this is a rock concert, drowning out much of the vocals. Let’s hope, that as the play settles in, the band will tone down and allow the lyrics to shine through.

Tracee Patterson gives Frances, the “almost perfect girl-friend, but…,” the right look and edge. Her “What Do You Want From Me?/Your Way of Loving,” co-sung with Dominick, is one of the show’s musical highpoints.

Kayce Cummings, who, along with much of the ensemble, is dual-cast, is totally hot in “I’m on Fire.”

Eric Van Baars has such a good time, and is so natural in playing Bob, that he appears to be adlibbing rather than speaking memorized lines.

When Helen, after avoiding the issue for a long time, finally picks up a call from her mother, a side-splitting scene results. Alison Garrigan accurately portrays every lesbian’s worst nightmare, a mother who attempts to be “understanding” while being clueless to the reality of sexual orientation.

The rest of the cast does a nice job of developing their characterizations.

The show’s over all highlight is Martin Cespedes’s choreography. His creativity adds to the visual illusions of the script, and stresses the exaggerations with overstated poses and facial expressions that mirror the moods of the music being interpreted.

CAPSULE JUDGEMENT: Beck’s ‘THE BREAKUP NOTEBOOK: THE LESBIAN MUSICAL,’ is the kind of production that many will love, while others will like. Don’t be surprised if, in the future, the script gets an extended off-Broadway production.

Side comment: Congrats to Scott Spence and the staff at Beck for embracing scripts like ‘THE LESBIAN MUSICAL.’ They throw caution to the wind when they pick a script which may be outside their traditional audience and reach out to a broader community. Keep it up!

Two Rooms

Compelling, outstanding ‘TWO ROOMS’ at Charenton/CPT

‘TWO ROOMS,’ now in joint production by Charenton Theatre and Cleveland Public Theatre, is both a love story and a debate. Set in the turbulent 1980s, author Lee Blessing’s taut psychodrama was deservedly named by Time Magazine as "Best Play of the Year" in 1988.

The action switches between two stark rooms. One is the windowless cubicle in Beirut, Lebanon where hostage Michael Wells, a history professor at that city’s American University, lies blindfolded as a captive of an unknown militant Islamic group. The other room is Michael’s study in the United States. As months turn into years and her husband's fate hangs precariously, Mike's wife, Lanie, strips the room to the bare walls in order to feel closer to him and his plight. For her, a thin mat she has dragged into his office represents "all the corners of the room," and where she imagines she can speak with, and even touch, her missing husband.

In this staging, the same space serves for both rooms and is the locale for not only the imaginary conversations between the hostage and his wife, but also for the real talks between Lanie, a reporter and a State Department official.

Walker is the reporter. At the start he appears to be someone who hopes to develop the situation into a major personal accomplishment, maybe a journey to a Pulitzer Prize. Bby the end, we are not sure. Ellen is a coolly, efficient, dispassionate, State Department representative whose task is to keep Lanie off-balance and uninformed of the political machinations which include using her husband as a pawn.

Eventually, the wife speaks out against the government policy and in so doing triggers a series of events that brings the play to its unnerving conclusion.

The script is penetrating and powerful in examining the perspective of individuals , of the public, and of the government. In the end there are no winners, only losers, and the sense of futility and despair that comes when we realize that logic, compassion and fairness are meaningless when dealing with those who would commit barbarous acts with a totally different definition of what it means to be ethnical, and a government that apparently has no conscience or morals of its own.

Charenton’s production, under the keen directorial guidance of Jacqui Loewy, is outstanding. The deliberately slow pace makes the pain of not knowing excruciating. The cast is clear in their motivations, the messages of the story are well etched. Everything, from Michel Ostaszewski’s projections, to Nathan Tulenson’s sound effects, to the sparse set, works.

Jeffrey Grover is chilling in his controlled characterization of Michael. As the play progresses Grover’s eyes become deader and deader. By the end, when he matter-of-factly explains his fate, his eyes are hollow and lifeless.

Sarah Morton, as Lanie, holds her emotions in perfect check. The characterization develops clearly and her frustration and angst are well honed. In the hands of a lesser actress the believability level would have been destroyed as it would have been so easy to overact the role.

Mary Alice Beck is chilling as the State Department official who shows no emotion, is programmed to act like a robot, and is so loyal to the government that she almost appears to be brainwashed.

Though he is quite acceptable as Walker, Jason Markouc sometimes loses contact with the character. Some of his lines sound automatic, rather than meaningful.

The production is being staged in Cleveland Public Theatre’s newest performance space, the former bookstore next to CPT. Though the space is intimate and very appropriate for ‘TWO ROOMS,’ it also has several handicaps. The street noises come through the entrance doors, the applause and laughter from the adjoining theatres leak through, and the sound of patrons coming to and exiting from the second floor Levine Theatre is distracting.

Capsule judgement: Charenton/CPT’s two hour production of ‘TWO ROOMS’ is one of the local season’s highlights. The production deserves sold out houses. Because of the subject matter, don’t assume the show is depressing. It will stimulate the senses and reveal a great deal of the “real” world of politics and the present state of the world.

Gee's Bend

CPH’s ‘GEE’S BEND,’ production exceeds script

Gee’s Bend, Alabama, the physical setting for Elizabeth Gregory Wilder’s ‘GEE’S BEND,’ now on stage at the Cleveland Play House, is a real place. It came into prominence because of the discovery and museum displays of the quilts made by the women of the community. Those quilts are not only pieces of art, but they represent the very fabric of the community.

Wilder’s 90-minute intermissionless play basically tells the story of one of the quilting families. But, in reality, it opens the lens to the entire community.

According to Wilder, this is the first play she has written that isn’t solely born of her own imagination. She interviewed many of the quilting women and felt an obligation to tell about their miraculous journey of community.

Wilder's drama weaves the history of Gee’s Bend into the dialogue. We discover that following the Civil War there was an opportunity for the slaves to flee, but they didn’t leave as they had no place to go. In the 1930s, the Farm Administration gave the community the opportunity to own their own land, and they took advantage of the offer. In the 1960s, Gee’s Bend gained the attention of civil rights leaders because it was one of the few communities where all of the negroes owned their own land. Then, in 2002, came national attention when the quilts were discovered.

It’s interesting that the overall effect of the CPH production exceeds the quality of the play. The script, in many instances, is quite sophomoric in its structure and language. For example, the play ends several times. The audience broke out into strong applause at one point, thinking the show was over, only to be surprised when another scene, supposedly needed to wrap up the story, started. Due to the added “everything turns out wonderful” ending, the final applause was not as strong as the original outburst.

The cast is generally strong, though Shirley Jo Finey’s directing often makes the consistent development of characterizations inconsistent. For example, Shanesia Davis, who portrays the unmarried sister, is wonderful in early scenes, but when she becomes older, she does a shuffle like a character in the old-time minstrel shows and her voice makes her sound retarded rather than old.

Erika LaVonn, does an excellent job of creating a real person as Sadie, the “intelligent” sister who marries young and lives in an abusive relationship until she gains the courage to break out. The money she makes from selling her quilts allows her to become an independent woman.

Wanda Christine is moderately successful doing double duty as the mother and Sadie’s daughter.

Wendell B. Franklin, as Sadie’s husband Macon, gives a creditable performance.

The play works well in the reconfigured Baxter Stage’s 3-sided stage. The new layout makes the space less confined.

CAPSULE JUDGMENT: ‘GEE’S BEND’ tells a nice story, but it is far from a well written script. In spite of the weakness of the writing, the message of the play, and the tenacity of the women of Gee’s Bend, comes through.

Monsieur Chopin

Hershey Felder & Fryderyk Chopin hit the right notes at CPH

For the last several weeks, a visit to the Cleveland Play House would have allowed you to meet George Gershwin in performance. This weekend, it’s Fryderyk Chopin. Well, actually, it’s not Gershwin or Chopin, its Hershey Felder, portraying each. No, not portraying, inhabiting the theatrical body and piano talents of both men.

Felder, who is a classically trained pianist with an interest in musical composers, has delved not only into the music of various composers, but into their personal lives. As a result he has developed a three-movement theatrical series, ‘THE COMPOSER SONATA.’ It consists of ‘BEETHOVEN,’ the dramatic, architectural, deeply thoughtful and emotional first movement; ’MONSIEUR CHOPIN,’ the lush and beautiful expression of soul, the second movement; and, ‘GEORGE GERSHWIN ALONE,’ the dance-like, extroverted, and joyous third movement.

In ‘MONSIEUR CHOPIN,’ Felder exposes personal information of the bi-polar Polish composer, who reached his height of popularity in Paris after departing his beloved country because of political unrest. Musically, Chopin is noted for his compositions for the piano, an instrument which was newly perfected during his life time. As for his private life, the major event was that for ten years he was in an often tumultuous relationship with writer George Sand. He died at the age of 39. Interestingly, though his body is buried in Paris cemetary, his heart was taken to Poland where it is enshrined in a church crypt.

For the production, Felder takes on the role of Chopin as he was in life, a teacher and composer. He speaks to the audience in a subtle accent which often comes and goes. He introduces us to Chopin’s love, classical music, with a Polish tilt, including the Polonaise and Mazurka. He continues to remind us that “you make beautiful music because you are an artist, not to please someone else.”

Felder, who showed good piano abilities in his Gershwin piece, really shines in the Chopin exercise. He is a much better performer of classics than modern tunes.

Through the first part of the program, the scripted segment is quite interesting and a good lesson in music history. It is in the second, the ad-libbed segment, in which Felder shines. He takes questions from the audience and responds as if he were Chopin. The results were both funny and impressive. He really knows the ins-and-outs of Chopin’s life and music.

As with ‘GEORGE GERSWIN ALONE,’ Scenic Designer Yael Pardess has created a beautiful and appropriate setting and Michael Gilliam’s mood lighting creates the right atmosphere, heightened by pictures and illusions.

CAPSULE JUDGMENT: ‘MONSIEUR CHOPIN,’ as was ‘GEORGE GERSHWIN ALONE, was both an educational and artistic success. Hershey Felder has the ability to teach music appreciation in such a way that one could only hope that professors could do as well. If you missed either show, you missed a wonderful experience.

Wicked

Wonderful ‘WICKED’ wows but is almost drowned out by orchestra


‘WICKED,’ that wonderful, often wacky Broadway smash hit is back at the State Theatre. The touring company went through town in June of 2006 and played to sold out audiences. This version should also pack the place.

One of the fears of seeing a retreaded tour is that it will be a wattered down version. Do not be concerned. This is a full-blown, Broadway level production with impressive sets and a professional cast that wowed the audience. Wowed, in spite of the fact that during the first act on opening night, the orchestra drowned out composer Steven Schwartz’s oft-clever words. The sound techie must have been on the rebound from a rock concert and didn’t realize that, in theatre musicals, the words of the performers must be heard. Someone must have gotten to him during intermission, because the second act was under decibel control.

The show has everything to make for a hit! Great music and lyrics, creative staging, and a delightful yet philosophical story line with a message which includes comments which could be applied to the Bush administration’s diminishing of personal rights, and what happens when a small group of zealots determines what is “best for everyone,” and tells lies to get their way.

‘WICKED,’ is the “behind the story” tale of two young women, Glinda and Elphaba, in the ‘WIZARD OF OZ’ story. You know them better as the good and the wicked witches.

The script also reveals “truths” about Oz. Do you know how Dorothy got the red slippers? Are you aware of how the tin woodsman, the cowardly lion or the scarecrow came to be? Think that the wicked witch really was melted by a bucket of water? All of these questions are answered in the Stephen Schwartz, Winnie Holzman musical which is based on a novel by Gregory Maguire.

The sets are amazing. They include a dragon whose wingspan is the same as a Cessna 172. There is enough electrical current on stage, according to the show’s press release, to supply twelve houses with power. Monkeys fly, Glenda appears and disappears in a magical bubble, large gears grind, bubble machines spray rainbows and 175,000 pounds of scenery cover the stage.

Carmen Cusack, slathered in green makeup, gives a lustrous performance as Elphaba, generally known as the “Bad Witch.” Bad, as we find out, she isn’t.

Katie Rose Clarke as Glinda, the blond, air-headed “Good Witch,” is also wonderful. She glows on stage. Cliffton Hall, he of pumped up body and an Elvis-hairdo, has a nice singing voice and effectively develops the role of Fiyero, the playboy whose goodness shines through.

Canton’s Lee Wilkof disappoints as the Wizard. He just doesn’t have the pixie-yet-evil quality of Clevelander Joel Gray, who was in the Broadway production. Alma Cuervo starts fine, but loses her characterization as the evil Madame Morrible, the brains behind the evil goings on (think Dick Chaney in drag).

The show has a strong Cleveland connection. Matthew Rego, Michael Rego and Hank Unger are the ARACA Group, one of the shows producers.

CAPSULE JUDGEMENT: ‘WICKED’ is wonderful and worth seeing. If you missed it the first time around, go! If you saw it before, go!

4ISH

'4ISH' disappoints

On the way out of the Saturday morning production of ‘4-ISH,’ Alex Berko (12), the oldest of the “Kid Reviewers” who accompany me to child-friendly productions said, “I’d give them a 7 out of 10, but they could have been much better.” He went on to explain that he thought “the dancing was great” and the “inline skating fun,” but there was “a lack of cohesion to the program.” He also thought the “humor was over-the-heads of the younger kids in the audience.” His brother Ian (8) chimed in that he “liked a lot of it, but he thought there were too many pauses and that lost his attention.” As a karate kid he liked the kung fu.

From my perspective, the boys were right on!

‘4-ISH,” is advertised as a pulse-racing show which fuses extreme sports with hip-hop dance that creates a new breed of entertainment. The group, which is from Amsterdam, does perform spectacular feats on the two giant quarter pipes. This added to kung fu action and dancing roller skaters with electrified wheels, which create a whirling light show on a pitch black stage, opens the possibility for a spectacular show. However, there appears to be a disconnect between all the action and how it is formatted into a program.

On Friday night the performance was attended by high school students and some twenty-somethings. Following the concert there was a get-together for the attenders where the cast taught break-dancing and interacted with the party-goers. It was probably a better fit between performers and audience than the mostly very young kids and their parents and grandparents who attended the Saturday morning show.

In past years, 4ISH has been in a teaching residence at Play House Square, but this is the first time that they have been featured as performers. Since there was no printed program, I don’t know who is responsible for the development of the presentation, but whoever it is, should probably ask what he wants the audience to take away from the show. It would also be wise for the host agency to make sure that young children are not brought to performances.

Capsule judgement: ‘4-ISH’ had the potential to excite and delight an audience. As is, it was entertaining, but not up to its potential.

Mark Morris Dance Group

Sold-out Mark Morris Dance Group’s performance excites!

The Mark Morris Dance Group proved in their recent Play House Square performance why they are one of the world’s most prolific dance companies. Not only does Mark Morris have over 100 works in its repertory, and is the only modern dance company with its own permanent music group, but the company has a unique and identifiable style.

Morris, who is meticulous in his choreography, takes a piece of music and creates a movement for each note of the composition. These moves center on swinging arms, powerful jumps, flowing physicality, unexpected movements, interesting body angles and contorted fingers.

Morris centers on music interpretation, not storytelling. He shows no favor for harmonic style. This program included contemporary, modern, classical and atonal compositions. The live music, whether solos or combinations of cello, piano, violin and piano, was all well performed.

The company’s dancers, seasoned professionals, are excellent. No stars here. This is a company that dances as a unit with interchangeable parts.

Capsule judgement: Dance Cleveland and Cuyahoga County College should be congratulated for their selection of the Mark Morris Dance Group for inclusion in their modern dance program. The sold-out audience responded with a joyous outburst of appreciation at the conclusion of the program.

All Things Being Equal

Sholiton play at Notre Dame College

Cleveland playwright Faye Sholiton’s newest script, ‘ALL THINGS BEING EQUAL,” is in production at Notre Dame College’s Tolerance Resource Center. The student-faculty project, which was directed by Peter Manos, addresses the tension of a “reverse discrimination” lawsuit in which a suburban Cleveland school board is confronted with having to lay off a social science teacher due to budgetary cuts. The teachers, one white and the other black, were hired the same day, so the first in-first out union rule does not hold. The script adroitly probes into prejudices, how one’s history forms who a person is, and the legal aspects of discrimination.

The play, which won a 2007 Ohio Arts Council grant, and several honors in national competitions, is presented as a staged reading and lasts about 90 minutes.

CAPSULE JUDGEMENT: This is a well-written, thought-provoking script. The performance is followed by a question-and-answer session with the writer and cast.

The production, which is free of charge, will be presented on Saturday, February 9 at 7:30 PM and Sunday February 10 at 2 PM in the Little Theatre at Notre Dame College, 4545 College Drive, South Euclid. No reservations are necessary. For further information go to: http://bodwin_theatre.tripod.com

‘WALK, DON’T RIDE’ at Cleveland Play House

Also of interest from the Tolerance Center of Notre Dame is ‘WALK, DON’T RIDE,’ which will be presented at the Cleveland Play House on February 12 at 7 PM, immediately preceding CPH’s ‘GEE’S BEND.’

Written and directed by Peter Manos, Artistic Director of Bodwin Theatre Company, the production recalls seminal moments in our nation’s history when heroes endured brutality and injustice for the radical idea that race does not determine the worth of a human being.
For information go to: http://bodwin_theatre.tripod.com

Review of the reviewer (Claire Biel)

Hi Roy,

We saw this remarkable production [‘I HAVE BEFORE ME A REMARKABLE DOCUMENT GIVEN TO ME BY A YOUNG LADY FROM RWANDA'], last night at Maltz. It was an incredible theatrical experience. As I reread your words, I realized how on target you were with the rave review. Thanks for calling it to our attention.

Claire [Biel]

Groundworks and Verb Ballets (1/25, 1/26)

Area’s premiere dance companies perform same dates, next to each other

For a period of time our area’s dance aficionados felt lost when The Cleveland-San Jose Ballet ditched us for the west coast. C-SJB’s place was taken by some small companies, several of whom have matured to the point of gaining recognition by local and national dance critics for excellence.

Interestingly, the two premiere companies, Verb Ballets and Groundworks, performed this past weekend on Playhouse Square, each to near sold out audiences. Groundworks performed in the Idea Center, Verb in the Ohio. Both gave their followers, many of whom saw Groundworks on Friday and then Verb on Saturday, fine evenings of entertainment.

GROUNDWORKS (seen 1/25)
The Idea Center at Playhouse Square is a perfect venue for David Shimotakahra’s up-close and personal philosophy of dance.

The program opened with yet another staging of ‘ALWAYS’ as choreographed by Gina Gibney. The piece has became a staple in Groundworks performances. Well danced by Amy Miller, Sarah Perrett, Mark Otloski and Damien Highfield, it uses the music of Patsy Cline to create a country music meets contemporary dance mélange. Clever transitions between dance segments, interesting lifts, creative hand movements, creative carries and touches led to a pleasant program opener.

‘KNOW,’ choreographed by Shimotakahara, was performed to the music of Leonard Bernstein played live by the talented Solaris Woodwind Quintet. Originally conceived for two men—Michael Medcalf and Shimotakahara, it has recently been danced by Amy Miller and Felise Bagley. Though different when performed by two women than by two men, the visual effect is very positive. Strong and powerful Miller is balanced nicely by the cool and delicate Bagley. The two create a mood in which music and movements blend together to create a very appealing action-reaction cohesive piece of dance.

A musical interlude, “The Golden Cannon,” performed by the Solaris Woodwind Quintet, was met with very appreciative reaction by the audience.

‘DELAYED,’ a world premiere, was choreographed by Israeli choreographer, Zvi Gotheiner, who has been in residence and was present at the performance. The piece, which was too long, was performed to the abstract atonal music of Terry Riley. The sound, after a while, becomes unnerving. The bodily movements interpreted well Gotheiner’s concept of established and lost connections, opportunities not fulfilled and interactions never resolved. The company danced effectively, but the music and the choreography did not always grab and hold attention. The audience’s response was polite applause.

VERB BALLETS (seen 1/26)
Verb opened its program with Heinz Poll’s sensual, precise, mesmerizing ‘BOLERO,’ danced to the music of Ravel. The choreography, which was restaged by Amy Miller, ironically of Groundworks, ended with the audience screaming appreciation. Strong dancing by Catherine Meredith was supported by an inspired corps.

‘DUET,’ another Poll piece, was beautifully danced by the lovely Danielle Brickman and Brian Murphy, who seems to have emerged from the shadow of the now departed Mark Tomasic, to become the powerhouse performer among local male dancers. The duo’s partnering was point perfect. Their control and flow, as they moved to the music of Johann Sebastian Bach’s “Adagio for Organ,’” which was played with artistic perfection by David Fisher at the piano and cellist Greg Fiocca, was wonderful to watch.

‘SONGS,’ originally created by the company’s artistic director Hernando Cortez in 2007, has been reworked. The German vocalization of Gustav Mahler’s heavy Symphony just doesn’t help the audience understand the tone-poem’s message. Though well performed, the piece became ponderous after a while. Highlights included solo performances by Robert Wesner, Brian Murphy and Sydney Ignacio.

The final piece of the evening, ‘FRONTROW,’ was in its world premiere. Also choreographed by Cortez, it was a compelling visual creation. Trad Burns’ iridescent Mylar columns and creative lighting made the stage shimmer. Brittney and Gina Dudek’s brief Mylar costumes added to the visual excitement. The well conceived and danced piece left both the audience and the dancers happily exhausted. This is a fine addition to the Verb repertoire.

The Very Hungry Caterprillar

Children’s theatre—a wonderful opportunity to educate the young

Taking a child to a theatrical production especially geared at youth is a wonderful way to introduce future theatre audience members to the wonder s of live entertainment.

Recently, Playhouse Square Center brought to the Ohio Theatre the Mermain Theatre of Nova Scotia to perform three one-act plays based on the stories of Eric Carle. The presentation was part of the Rainbow Babies and Children’s Hospital Discovery Theatre Series. The plays included the ‘LITTLE CLOUD,’ ‘MIXED-UP CAMELEON’ and ‘THE VERY HUNGRY CATERPILLAR.’

The company uses black lights, puppetry, and a policy of “no shushing” as they want children to yell out and interact and explore the stories as the production proceeds. The stagings allowed the viewers to see the hungry caterpillar munch his way to becoming a beautiful butterfly, the little cloud change shapes before their eyes, and the mixed-up chameleon teach the importance of being true to oneself. In the process, the kids learned numbers, counting, colors and the names of various beings.

As has been my custom with children’s theatre, or plays which are child friendly, I took Ian, my youngest grandson, who has recently joined the ranks of “The Kid Reviewers” to be my child’s eyes and ears regarding the show. Ian, at the mature age of 8 (or, as he reminded me, he was actually 7 and 364/365ths), said he had read the stories when he was “little” but was still engrossed by the puppetry techniques and black light effects. He rejoiced in figuring out the technique used by the puppeteers to allow the caterpillar to “eat” its way through apples and oranges. He was very interested when, during the question-and-answer session which followed the performance, the puppeteers explained how they made and manipulated the animated creatures. He discussed what he had learned all the way home.

Capsule judgment: Taking children to live theatre is a wonderful way of aiding young ones to realize the excitement of live theatre. Thanks to all of the theatres in the area who make these opportunities possible.

2 Man Kidnapping Rule

Disappointing opening at Fourth Wall Productions’ new venue

After giving Fourth Wall Productions’ ‘MALICIOUS BUNNY’ several Times Theatre Tributes last season, including one for Outstanding Play, I was looking forward to seeing ‘2 MAN KIDNAPPING RULE,’ the theatre’s first production of its second season.

Unfortunately, my positive expectations were dashed.

Joseph Gallo’s ‘2 MAN KIDNAPPING RULE’ is a sophomoric script, obsessed with redundant sexual commentary, sexual innuendos and excessive references to body parts, for no obvious reason. In a well-developed piece of writing such references have a purpose in moving the plot forward. In ‘2 MAN KIDNAPPING RULE’ they appear to be included for titillation and the author implying “I’m young and hip and can say whatever I want, and young hip members of the audience will love it.”

My view of the script may be a minority evaluation. According to the program, Gallo’s play had a reading at the Soho Think Tank in New York and was “really well-received.” (I have no idea who received it “well” as that wasn’t explained.)

Even if the script had been sterling, the level of directing, and much of the acting, left much to be desired.

The director, in his self-proclaimed directorial debut, did little to help the audience gain the intent and purpose of the writer. (Maybe he, like me, couldn’t figure out what Gallo was trying to tell the viewer.) The pacing was inconsistent, there was little action, some of the acting sounded like unexpressive statements of memorized lines, and the casting was confusing. Two of the three men were supposed to have been former college football players. One was a winner of the Heisman Trophy as the best collegiate player in the country, the other received a tryout with a pro team. Unfortunately, the Heisman winner looked like an undersized college freshman and the pro player more like a cross-country runner. Moral: if a show requires certain physical types, and you don’t have them available, don’t do the show. You can’t fake required physical descriptions.

Of the three actors, only Nate Bigger had the acting chops to make his character’s lines consistently believable.

Capsule judgement: If Fourth Wall is going to be taken seriously as a viable theatre it has to chose scripts that deserve production and stage them in a way that makes audiences want to return. They need to do more ‘MALICIOUS BUNNY’-type productions. They’ve proven they are capable of that level of excellence. Let’s hope in the future they return to that level.

‘2 MAN KIDNAPPING RULE’ is being staged by Fourth Wall Productions at their new home, Suite 221, the Enterprise Center of Glenville, through January 27. For tickets call 330-283-2442 or visit www.fourthwallproductions.com.

Orange Flower Water

Bang & Clatter’s ‘ORANGE FLOWER WATER, theatre at its best

Craig Wright, the author of ‘ORANGE FLOWER WATER,’ now being performed by The Bang and The Clatter, writes plays about people in families, people who question the course of their lives. He is a very talented writer. His ‘THE PAVILION’ was nominated for a Pulitzer Prize. His HBO series, “Six Feet Under,” was critically acclaimed.

In “ORANGE FLOWER WATER,’ he delves into the lives of two couples who, for many years, have each given the illusion of being happy. Unfortunately, the facade is a fraud. The charade comes to a head when one member of each couple unite in an adulterous affair. Through a series of scenes which take place around and in a single bed, which represents various beds, we watch as four lives unravel. Questions arise. What will happen to the children? Was the affair a mistake or a necessary intrusion to bring about needed changes? Was the action the pursuit of selfishness or a search for personal happiness? Will the results be like the fragrance of orange flower water, sweet but overpowering?

This is a raw, painful and graphic tale. It is a challenging play which forces us to ask, “In the end, is a happy ending worth the pain?

B&G’s production, under the well defined direction of Sean McConaha, is compelling. The pacing is appropriately precise, the acting performances well-honed and the idea development clear.

Jean Klika (Beth) is excellent as the wife of a controlling, abusive husband. The actress has several monologues in which the character comes close to nervous breakdowns. Each is done with realism and elicits compassion.

Daniel McElhaney (Brad) is properly vile as Beth’s controlling husband. He paces the stage like a caged tiger, about to attack. He transforms himself into a character whom the audience comes to hate.

Teresa McDonough, as the uptight Kathy, draws sympathy as the perfectly organized mother and wife who is put upon by a husband who cannot accept her version of life and love. Her librarian glasses, coifed hair and prim clothing create the perfect visual image for her ice lady emotions.

Mark Mayo creates a completely etched character as David, the pharmacist who wants to escape his present life, but has an unrealistic view of the consequences that will be wrought by his pursing a married woman.

Written with assurance and constructed with drama and humor, the play is emotionally wrenching. The tribute to both the script and the production was the reverent silence at the play’s conclusion. There was nary an audible sound after the lights went off signally the end. When, after an appropriate pause, the lights came on, the audience was brought back to the reality of being in the theatre, and gave the performers a hearty ovation.

Capsule judgment: Bravo B&G! ‘ORANGE FLOWER WATER’ is a not-to-be-missed production. It should stimulate long discussions and encourage a replay in the viewer’s mind, long after the final bows. (Be aware that the play contains nudity and a sex scene.)

George Gershwin Alone

Hershey Felder & George Gershwin hit the right notes at CPH

Hershey Felder has done extensive research about George Gershwin, who many consider the greatest of American popular music composers. He has used that information to create an evening of song and narration entitled ‘GEORGE GERSHWIN ALONE,’ which is now on stage at the Cleveland Play House.

How biographically accurate is the script? Who knows. Gershwin died at age 38 of a brain tumor before he had reached a high enough level of fame for historians to document every phase of his life. So, we have to trust Felder as he gives us a picture of a person who felt passionately about his work. A character filled with pathos and humor and, as with many artists, self-centered.

In his brief lifetime Gershwin gave the world such songs as “The Man I Love,” “Someone to Watch Over Me,” "Embraceable You," "Fascinating Rhythm," "I Got Rhythm," and "They Can’t Take That Away from Me." And, then there is “Summertime,” which many musical critics consider to be the most perfect song ever written. He also created the musicals ‘AN AMERICAN IN PARIS’ and ‘PORGY AND BESS.’

Though the show, which is filled with nostalgia and humor, is billed as centering purely on the story of George Gershwin, Felder, an accomplished classical pianist with a decent singing voice, abandons the Gershwin persona about two-thirds of the way through the performance, has the lights come up in the theatre, and proceeds to ask for Gershwin requests from the audience. He then plays and sings those requests, and encourages theatre-goers to participate. He goes as far as selecting audience members to sing solos.

Scenic Designer Yael Pardess has created a beautiful and appropriate setting and Michael Gilliam’s mood lighting creates the right atmosphere.

CAPSULE JUDGMENT: Before he switches to the audience-centered segment of the show, Felder concludes the historical Gershwin exposition playing “Rhapsody in Blue.” It was a perfect conclusion to an evening of musical education, entertainment and recognition of a great composer. Anyone who loves music and good theatre will thoroughly enjoy ‘GEORGE GERSHWIN ALONE.’

Avner the Eccentric in Exceptions to Gravity

‘AVNER THE ECCENTRIC IN EXCEPTIONS OF GRAVITY’ convulses audience

If you were not one of the fortunate theatre-goers who witnessed the performance of ‘AVNER THE ECCENTRIC in EXCEPTIONS TO GRAVITY,’ you missed one fun time. If you didn’t take your children or grandchildren to see Avner, you deprived them of an experience they would not quickly have forgotten.

As is the case with shows that are “child-friendly,” I took my grandsons (Alex—12, Noah—10 and Ian—7), who have picked up the tag-name “The Kid Reviewers,” to see the show presented by the Jewish Community Center and Playhouse Square Center. Their evaluation? A perfect 10 out of 10 from each of them. Noah wanted to know if he could give Avner a 12, but rules are rules, so 10 it is!

Take a creative elder statesman, add a broom, a sweater, an alarm clock, a hat, popcorn, paper cups, a ladder, a newspaper, toilet paper and napkins and you have all you need for a show of magic, illusion and audience pleasure.

Avner Eisenberg has the knack of knowing how to “play an audience.” He jumps off the stage, has the light person bring the illumination up and down to introduce his coming down into the audience, plays around with those in the front rows, and then sets the mood for his on-stage shticks. He “scolded” the late comers. He took a paper away from a man in the second row, proceed to rip it up, balance the pieces on his nose, and then put it back together. He made people change seats. He grabbed a purse from one woman and proceeded to pull out a roll of toilet paper, much to her embarrassment. He had some female in the first row kiss his “boo-boo” every time he did a prat-fall.

Avner balanced a 20-foot aluminum ladder on his forehead, ate 15 napkins, divided the audience into sections and had one group stomp on the floor while another moaned and yet another screamed louder and softer as he conducted his “human orchestra.” It was all totally delightful. And, he did the whole 90-minute show without saying one word!!!

Ian had difficulty staying in his seat. He wanted to be part of the action. His brothers had to grab him a couple of times as he vaulted toward the stage. Alex was laughing so hard at one point, he slipped off the chair. Even “cool and controlled” Noah was hysterical.

Capsule judgment: Avner the Eccentric was Avner the delightful in his recent Ohio Theatre performance. If you missed it, you missed a show that the Kid Reviewers called “great,” “terrific,” “funny,” “hysterical” and “my favorite play, ever!”

Avenue Q

‘AVENUE Q’ delights at the Palace

According to one of the songs in ‘AVENUE Q,’ which is now being staged as part of the Broadway series at the Palace Theatre, “life sucks on Avenue Q.” Don’t tell that to the near capacity audience who attended the opening night performance of the touring show. They loved life on ‘AVENUE Q’!!!

Known as the “porn puppet musical,” ‘AVENUE Q’ won the 2004 Tony Award for Best Musical.

The show, which was conceived by Robert Lopez and Jeff Marx, opened off –Broadway in 2002, was transferred on-Broadway in 2003 and went to Las Vegas in 2005 instead of doing the usual touring production routine of major musicals. The Vegas run is why it has taken so long to get here.

The script is largely inspired by ‘SESAME STREET.’ Most of the characters in the show are puppets. In contrast to the tv show, the actors who operate the puppets are clearly seen. It’s delightful to watch the human facial expressions and body actions paralleled by the puppets. The set depicts several tenements on a rundown street known as Avenue Q, in New York City. Many of the characters are pure parodies of Sesame Street. The major difference is that the “Q” characters are young adults facing adult problems who sometimes use profanity.

The story is about a bright-eyed college graduate named Princeton who finds himself in a search for purpose. When Princeton moves onto Avenue Q, he encounters a group of delightful misfits including Kate Monster, a lovelorn kindergarten assistant, who falls in love with Princeton; Nicky, a good-hearted slacker who lives with Rod; Rod, a closeted gay Republican investment banker; Brian, an out-of-work comedian, engaged to Christmas Eve, a Japanese psycho-therapist; Gary Coleman, yes, the former child actor; Trekkie Monster, think a porn obsessed Cookie Monster; and, Lucy T. Slut – a slutty night club singer.

The songs are delightful. They include "What Do You Do with a B.A. in English?,” "It Sucks to Be Me, " "Purpose," "Everyone's a Little Bit Racist," and "I'm Not Wearing Underwear Today."

Many of the topics and song lyrics brought sustained laughter because of their connection to the audience. For instance, during the song “For Now,” which lists things that are only going to be around for a short time, the name “George Bush” was sung. The audience broke out in prolonged applause and cheering.

What about the advertised porno inclusions? Yes, there is some swearing and the use of “those” words. And, yes, there are puppet sex acts. However, except for those with severe red state attitudes, the viewers will find the going-ons fun, not perverse.

The touring production is excellent. The cast is strong and the staging and special effects are well conceived.

Audience favorites included Robert McClure, who performed the roles of Princeton and Rod. This is a talented young man, who was in the Broadway production of the show, has an excellent singing voice, great acting skills and a compelling stage presence. Kelli Sawyer (Nicky, Trekkie Monster) has a strong singing voice and interacted well with McClure. Angela AI was delightful as Christmas Eve and Carla Renata made for a great Gary Coleman.

Capsule judgment: ‘AVENUE Q’ is a total delight. Go, you’ll have a great time!

Proof (Actors' Summit)

‘PROOF’ adds up at ACTORS’ SUMMIT

Is there a thin line between genius and mental illness? Can a person “burn out” when s/he gets near the age of 40, no longer able to muster up the deep thoughts that appeared so easily in their early twenties? Can a woman be a mathematical genius? These are only three of the questions broached by playwright David Auburn in his prize winning play ‘PROOF.’

‘PROOF’ centers on Catherine, a young woman who has spent years caring for her father, Robert, who was a brilliant mathematician in his younger years. As he passed forty, he lost his acuity. He wrote continually, but the material was irrational. After he dies, Hal, a former student, probes into his ramblings with the hope of finding something worth publishing, thus pushing ahead Hal’s stalled career. With Catherine’s help, Hal discovers a paradigm-shifting proof about prime numbers in Robert's office. He assumes it was Robert’s work. Catherine claims the proof was conceived by her. Hal questions this conclusion, doubting that a woman with little in-depth knowledge of mathematics could create such brilliance. His reaction not only ends their relationship, but brings front-and-center Catherine's fear of following in her father's footsteps--mathematical genius and mentally ill.

‘PROOF’ was awarded the 2001 Pulitzer Prize for Drama and the Tony Award for Best Play.

What’s interesting to many is that Auburn attended the University of Chicago where he studied political philosophy, not mathematics. In reality, it matters little as there is no actual inclusion mathematical concepts. This should relieve those who fear the show because it might be too abstract and technical.

Actors’ Summit’s production, under the guidance of Wayne Turney, is excellent. It is well paced and each of the actors develops a clear character.

Constance Thackaberry gives the right edge to her performance as Catherine. Is she a clone of her father…brilliant and on the way to insanity? Or, is she the product of her sister Claire’s attempt to control her out of guilt for the failure to provide aid to their father as she plotted her own life track? You’ll leave the theatre appropriately asking those questions.

A. Neil Thackaberry gives a meaningful performance as Robert. He walks the line between insanity and brilliance with surety.

Alicia Kahn is properly up-tight as Catherine’s sister, Claire. Her pronunciation, body language, clothing, hair style and attitude are character perfect.

Keith Stevens is on-target as Harold Dobbs, Robert’s former student.

CAPSULE JUDGEMENT: Actors’ Summit’s ‘PROOF’ is a well conceived production of an excellent script. There isn’t a weak link in the production chain.

REVIEW OF THE REVIEWER'S REVIEWS (Blanche Valancy)

Thank you, Roy. Jack & I just got to see the production ['I HAVE BEFORE ME A REMARKABLE DOCUMENT GIVEN TO ME BY A YOUNG LADY FROM RWANDA'] last night & were similarly impressed & effected.

Best regards,
Blanche Valancy

I Have Before Me a Remarkable Document Given to Me by a Young Lady from Rwanda

Dobama does it again: fine script, well performed and directed

Dobama’s ‘I HAVE BEFORE ME A REMARKABLE DOCUMENT GIVEN TO ME BY A YOUNG LADY FROM RWANDA,’ is typical Dobama. As it has done over and over, Dobama is showcasing yet another theatrical gem. The lightly financed theatre with no home, just keeps coming up with the right script, the right cast and the right director as it wanders the Cleveland landscape.

‘I HAVE BEFORE ME...’ is a touching, humorous, meaningful story of the emotional and intellectual relationship between Juliette, a young woman who was a survivor of the 1994 Rwanda massacres, and Simon, a British poet who tries to help her write her personal story. In the process, he finds his literary voice and psychological substance, and she finds a meaningful life.

The play has been called “A remarkable achievement…a stirring tale of human bravery in the face of adversity.” And, “an important, timely piece of theatre that manages to explore political issues and express moral outrage without ever once lapsing into moralizing and political rhetoric.”

Sonja Linden, the play’s author based the material on an experience she had while working at the Medical Foundation for the Care of Victims of Torture. She met a young woman from Rwanda, whose impulse to write had started in a refugee camp shortly after the murder of her entire family. What began as a testimonial act became a journey of healing, which resulted in her feeling once again 'clean.'

As the daughter of refugees from Nazi Germany, Linden felt compelled to draw attention to the appalling situation in Rwanda so that holocausts like this “would never happen again.”

Dobama’s production is outstanding. Director Brian Zoldessy grasps the concept and has brought all the correct nuances into play. The production moves smoothly, accenting the humor and pathos in just the right ways.

Scott Miller develops Simon perfectly as the angst-filled and frustrated British poet. At the start we realize that Simon has lost his productive voice. As the play proceeds we experience his getting in touch with the emotions he needs to return to be his creative self. Miller does an excellent job of nonverbally transition from emotionally frozen to emotionally euphoric.

Andrea Belser makes Juliette live, she inhabits the role. We feel her terror, we experience her losses, we silently cheer for her to achieve her goal, we revel in her reattachment with a family member, we are driven to understand the horror of horror.

Richard Ingraham’s sound design adds great depth and. The sounds of Rwanda underscore the beauty of the country and the misery of yet another senseless destruction of precious human life.

CAPSULE JUDGEMENT: What a way to start a new theatrical season!!! ‘I HAVE BEFORE ME A REMARKABLE DOCUMENT GIVEN TO ME BY A YOUNG LADY FROM RWANDA’ is a MUST SEE production. Bravo Dobama!

Times Theatre Tributes--2007

TIMES THEATRE TRIBUTES--2007

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

Only shows performed in 2007 which I reviewed were considered. Selections were limited to locally produced stagings, so none of the professional touring shows are recognized, though actors, directors and technicians who were imported by local theatres were considered. Actors are not separated by gender or leading or supporting roles.

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 “2007 Reviews” or click on the name of the producing theatre and scroll through their performances. Reviews from previous years may also be accessed.

Thanks to the following for making the 2007 theatre scene in the Cleveland area stimulating and memorable:

PLAY
DEATH OF A SALESMAN (Actors’ Summit)
EQUUS (Beck Center)
FAT PIG (The Bang and Clatter)
HAY FEVER (GLTF)
JEKYLL & HYDE (Beck Center)
LINCOLNESQUE (CPH)
LUNACY (Dobama)
MALICIOUS BUNNY (Fourth Wall Productions)
MEASURE FOR MEASURE (GLTF)
NINE (Cain Park)
PHANTOM OF THE OPERA (BW)
QED (Actors’ Summit)
ROUNDING THIRD (Actors’ Summit)
TAKE ME OUT (Dobama)
THE CHOSEN (CPH)
THE PRICE (Ensemble Theatre)
TWO HEADED (Titlewave)

DIRECTOR
Charles Fee, HAY FEVER (GLTF)
Constance Thackaberry, ROUNDING THIRD (Actors’ Summit)
Dorothy Silver, THE PRICE (Ensemble Theatre)
Greg Vovos, TWO HEADED (Titlewave)
Mark Alan Gordon, LUNACY (Dobama)
Michael Bloom, LINCOLNESQUE (CPH)
Risa Brainin, MEASURE FOR MEASURE (GLTF)
Scott Plate, TAKE ME OUT (Dobama)
Scott Spence, JEKYLL & HYDE (Beck Center)
Sean McConaha, FAT PIG (The Bang and The Clatter)
Seth Gordon, THE CHOSEN (CPH)
Vicki Bussert, NINE (Cain Park)
Vicki Bussert, THE PHANTOM OF THE OPERA (BW)
Wayne Turney, QED (Actor’s Summit)
William Roudebush, EQUUS (Beck Center)

PERFORMER
A. Neil Thackaberry, QED (Actors’ Summit)
Amiee Collier, JEKYLL & HYDE (Beck Center)
Andrew May, ARSENIC AND OLD LACE (GLTF)
Andrew May, MEASURE FOR MEASURE (GLTF)
Andrew Pastides, THE CHOSEN (Cleveland Play House)
Aric Generette Floyd, NINE (Cain Park)
Bernadette Clemens, LUNACY (Dobama)
Brian Marshall, FORBIDDEN BROADWAY (Hanna/Playhouse Square)
Caleb Sekeres, TAKE ME OUT (Dobama)
Carmen Keels, FORBIDDEN BROADWAY (Hanna/Playhouse Square)
Charles Kartali, THE PRICE (Ensemble)
Chris Seibert, OUR TOWN (CPT)
Chris Seibert, TWO HEADED (Titlewave)
Dan Folino, EQUUS (Beck)
Dan Folino, JEKYLL & HYDE (Beck)
Dan Hammond, LUNACY (Dobama)
David Anthony Smith, ARSENIC AND OLD LACE (GLTF)
David Anthony Smith, MEASURE FOR MEASURE (GLTF)
Dedriu Ring, FROZEN (Beck)
Donald Carrier, LINCOLESQUE (CPH)
Emily Leonard, THE PHANTOM OF THE OPERA (BW)
Emily Pote, PETER PAN (Porthouse)
Eric van Beers, SWEET CHARITY (Porthouse Theatre)
Fabio Poanco, NINE (Cain Park)
Fred Maurer, TAKE ME OUT (Dobama)
George Roth, OLIVER (Cain Park)
George Roth, THE CHOSEN (GLTF)
Greg Violand, FORBIDDEN BROADWAY (Hanna/Playhouse Square)
Jason Markouc, FROZEN, (Beck)
Jason Markouc, A LOSS OF ROSES (Ensemble)
Jean Zarzour, CHRISOPHER COLUMBUS, Cesear’s Forum
Jeffrey Evan Thomas, OF MICE AND MEN (CPH)
Jenna Messina, FAT PIG (THE BANG AND THE CLATTER)
Jeremy Rishe, THE CHOSEN (GLTF)
John Kolibab, CHRISTOPHER COLUMBUS, Cesear’s Forum
Juliette Regnier, DEAR WORLD (Kalliope Stage)
Keith Stevens, ROUNDING THIRD (Actors’ Summit)
Kristin Netzband, JOLSON & FRIENDS (JCC)
Laura Theodore, REFLECTIONS (Beck Center)
Laurel Johnson, SOME GIRL(S) (The Bang and Clatter)
Lynn Allison, ARSENIC AND OLD LACE (GLTF)
Mark Tomasick, SONG AND DANCE (Beck Center)
Marla Berg, DEAR WORLD (Kalliope Stage)
MaryAnn Black, SWEET CHARITY (Porthouse Theatre)
Matthew Wright, EQUUS (Beck)
Michael Reginer, LUNACY (Dobama)
Nate Bigger, MALICIOUS BUNNY (Fourth Wall Productions)
Nick Koesters, DEATH OF A SALESMAN (Actors’ Summit)
Patty Lohr, OLIVER (Cain Park)
Philip Hernandez, MAN OF LA MANCHA (CPH)
Rachel Warren, MAN OF LA MANCHA (CPH)
Reuben Silver, THE PRICE (Ensemble)
Richard Klautsch, MEASURE FOR MEASURE (GLTF)
Sandra Simon, PASSION (Beck Center)
Sara Bruner, THE TEMPEST (GLTF)
Scott Plate, THOM PAINE--based on Nothing (Dobama)
Sean Derry, FAT PIG (THE BANG AND THE CLATTER)
Sean Derry, POUNDING NAILS IND THE FLOOR WITH MY HEAD (B&C)
Stephanie Iannarino, WEST SIDE STORY (Carousel Dinner Theatre)
Tina Fabrique, ELLA (Cleveland Play House)
Tracee Patterson, SONG AND DANCE (Beck Center)
Tricia Bestic, FORBIDDEN BROADWAY (Hanna/Playhouse Square)

Laurel Johnson(Composite cast
EQUUS (Beck)
FORBIDDEN BROADWAY (Hanna/Playhouse Square)
HAY FEVER (GLTF)
LUNACY (Dobama)
NINE (Cain Park)
TAKE ME OUT (Dobama)
THE PRICE (Ensemble)


TECHNICIANS
Aimee Kluiber, costume design, OLIVER (Cain Park)
Allison Garrigan, costumes, OUR TOWN (CPT)
Andromache Chalfant, set design, THE CLEAN HOUSE (CPT)
Charlotte Yetman, costume design, THE PHANTOM OF THE OPERA (BW)
Don McBride, set design, FROZEN (Beck)
Don McBride, set design, JEKYLL & HYDE (Beck)
Don McBride, theatre reconception, EQUUS (Beck)
Gage Williams set design, HAY FEVER (GLTF)
James Swonger, sound design, THE CHOSEN (CPH)
Jeff Hermann, set design, OLIVER (Cain Park)
Jeff Herrmann, set design, TAKE ME OUT (Dobama)
Jeff Lockshine, lighting design, TAKE ME OUT (Dobama)
Jeff Merrmann, scenic and light designs, THE PHANTOM OF THE OPERA (BW)
Jenniver Sparano, costume design, FROZEN (Beck)
John Konopka, set design, PERMANENT COLLECTION (Karamu)
Lydia Chanenka, set design TWO HEADED (Titlewave)
Michael Klaers, light design, MEASURE FOR MEASURE (GLTF)
Michael Lincoln, light design, THE CHOSEN (CPH)
Michael Raiford, scenic design, THE CHOSEN (CPH)
Molly Richard, costume design, SEUSSICAL! THE MUSICAL (Mercury Summer
Theatre)
Richard B. Ingraham, sound design, EQUUS (Beck)
Ron Newell, set decoration, THE PRICE (Ensemble)
Ross Borski, scenic and lighting design, NINE (Cain Park)
Russell Metheny, set design, MEASURE FOR MEASURE (GLTF)
Russsell Metheny, set design, ARSENIC AND OLD LACY (GLTF)
Sean Derry, set design, FAT PIG (THE BANG AND THE CLATTER)
Terry Pieritz, costume design, NINE (Cain Park)
Todd Rosenthal, scenic design, LINCOLNESQUE (CPH)
Trad A. Burns, lighting design, EQUUS (Beck)
Trad Burns, lighting design, JEKYLL & HYDE (Beck)
Trad Burns, lighting design, JOLSON & FRIENDS (JCC)

MUSICAL DIRECTION
George Caldwell, ELLA (Cleveland Play House)
Jodie Ricci, OLIVER (Cain Park)
Larry Goodpaster, JEKYLL & HYDE (Beck Center)
Larry Goodpaster, REFLECTIONS (Beck Center)
Larry Goodpaster, SONG AND DANCE (Beck Center)
Marge Adler, FORBIDDEN BROADWAY (Hanna/Playhouse Square)
Nancy Gantose-Maier, NINE (Cain Park)
Stuart Raleigh, THE PHANTOM OF THE OPERA (BW)

CHOREOGRAPHY
Martin Cespedes, EQUUS (Beck)
Martin Cespedes, OLIVER (Cain Park)
Martin Cespedes, JEKYLL & HYDE (Beck Center)
Martin Cespedes, NINE (Cain Park)

SPECIAL RECOGNITION
Maryann Elder Goldstein for her authorship of BOTH SIDES OF THE FAMILY, an original play

Roe Green, financial and leadership support for the arts, including Fusionfest, Kent State University, Porthouse and the JCC theatre

Sandra Perlman, for her authorship of LUNACY, an original play

Matthew Sprosty, for his authorship of MALICIOUS BUNNY, an original play

Conceptual development of PETER PAN (Matthew Earnest), Porthouse

The mesmerizing “horses” of EQUUS (Beck): Franklyn Singley, Jose Ayala III, Bill DePetro, E. Ray Goodwin, Jr., Ryan Lahetta and Vincent Martinez

THE BEST OF THE BEST

I have been asked why I don’t select my “best of the best” for each season. So, to satisfy those requests, I present my selections:

2007 BEST OF THE BEST DRAMAS:
EQUUS (Beck Center)
LUNACY (Dobama)
FAT PIG (B&C)
THE CHOSEN (CPH)

2007 BEST OF THE BEST MUSICALS:
JEKYLL & HYDE (Beck Center)
NINE (Cain Park)

2007 BEST PERFORMANCES:
Bernadette Clemens, LUNACY (Dobama)
Dan Folino, JEKYLL & HYDE (Beck)
Dan Folino, EQUUS (Beck)
Dedriu Ring, FROZEN (Beck)
Jenna Messina, FAT PIG (B&C)
Michael Regnier, LUNACY (Dobama)
Sean Derry, POUNDING NAILS IND THE FLOOR WITH MY HEAD (B&C)

Red{the orchestra}

RED {AN ORCHESTRA}

Several weeks ago, Red {an orchestra} performed ‘A RED SOLSTICE.’ A classical orchestra with a twist, Red’s mission is to redefine, redesign and rediscover classical music. It offers a perfect venue to get those young and old, seasoned classical music lovers and neophytes who know nothing about the classics, to experience the sounds of the masters, emerging and emerged. All this with musical proficiency.

Johathan Sheffer, the artistic director and conductor, packages programs that excite and entice. Their solstice program featured the amazing veteran violin soloist, early-teenaged Caroline Goulding, not only playing Vivaldi’s “Concerto No. 4 in F minor,” but also a fast paced Irish fiddling tune. Also featured was 20 year-old Andrew Lipian, he of astounding countertenor voice, and soprano Jung Euh Oh in Heinrich Schultz’s “The Christmas Story.”

Pounding Nails in the Floor with My Forehead

Sean Derry gives tour-de-force acting performance at BANG AND CLATTER

As Sean Derry was literally pounding his head on the floor at the conclusion of ‘POUNDING NAILS IN THE FLOOR WITH MY FOREHEAD,’ now in production at The Bang and Clatter Theatre, I totally empathized.

For two acts I, and members of the audience, had been subjected to and immersed in a series of attacks and tirades using language that was vulgar, angry and outrageous. Almost all things political, social, moral and ethical had come under attack. Almost every foul word and image had been used to assault our senses.

Throughout I could not help but wonder what it felt like for Derry to go through a nervous breakdown nightly. Not only did he have hundreds and hundreds of words to memorize and spit out each night, but the emotional level of the one-person show allows for little time to relax. Almost every line is explosive, there is no calm within the storm.

Eric Bogosian’s ‘POUNDING NAILS IN THE FLOOR WITH MY FOREHEAD’ is a series of character studies, concentrating on men who range from the seriously troubled to those positively repugnant. The monologues were originally portrayed by Bogosian, himself. Since then, a number of actors have taken up the role. I doubt if any one them did a better job than Derry, Bang and Clatter’s co-artistic and managing director.

Bogosian is the writer of ‘TALK RADIO,’ a Pulitzer Prize finalist. He also authored ‘subUrbia,’ ‘GRILLER’ and ‘SEX, DRUGS, ROCK & ROLL.’

The opening segment, “Molecules,” finds a bum in a subway talking in detail about the molecules that infect others from his bodily excretions. It verbally slaps the audience into an awareness of Bogosian’s hateful reaction to the ills of this nation.

Other characters include a guilt-ridden suburbanite, a doctor prescribing the worst medicine in the world, and a “recovering male” who confesses his shame to fashion models in magazines because of the fantasies he harbors about them.

As a reviewer of a previous production stated, “Bogosian has deep-seated anger, and the author’s anguish swings between the longing for numbness and the desire to feel something. Monotony is never a problem in this show.”

Capsule judgment: The show is not for gentlefolk, definitely not for redstaters. It is, however, for anyone who wants to see an amazing performance, probably one of the best performances on local stages this year, and have their mental and physical senses assaulted.

Santa Land Diaries

‘SANTALAND DIARIES’ a pleasant holiday escape at CPT

David Sedaris, author of ‘THE SANTALAND DIARIES, which is getting its umpteenth local production, this time at Cleveland Public Theatre, credits his fame to the attention he got when he read his “SantaLand” essay on National Public Radio.

In 2001, Sedaris was selected to receive the Thurber Prize for American Humor and was named by Time magazine as “Humorist of the Year.” He is the author of the best selling ‘NAKED’ and ‘ME TALK PRETTY ONE DAY,’ both collections of his personal life experiences.

‘THE SANTALAND DIARIES’ is a one-man show which is supposedly a true account of Sedaris’ stint as an elf at Macy’s department store in New York. First read as an on-air essay on December 23, 1992, the material was reworked into a play in 1996 by Joe Mantello. It has since become a staple of the holiday season on both professional and amateur stages.

Under the direction of B. D. Bethune, Cleveland Public Theatre’s production, which stars Doug Kusak, is a pleasant evening of theatre.

Kusak has a mobile face, a good sense of comic timing, nicely underplays the role and is generally delightful as Crumpet, the elf in green velvet smock and red and white stockings. He interacts well with the audience, without making anyone uncomfortable. His highlights are a Billie Holliday interpretation of “Away in the Manger,” and his compassionate final speech when he relates a tale of what may be his working with the “real” Santa Claus.

CAPSULE JUDGEMENT: If you are in the holiday mood, and can put up with another jolt of festive cheer, Cleveland Public Theatre’s ‘SANTA LAND DIARIES’ will entertain you.

A CHRISTMAS STORY

‘A CHRISTMAS STORY’ delights audience

The gentleman sitting behind me at opening night of ‘A CHRISTMAS STORY’ at the Cleveland Play House, seemed to be an “expert” on all things “A CHRISTMAS STORY.’ Unfortunately, almost everything he was telling his companions in a very loud voice, was mainly incorrect.

According to the self-anointed expert the play “was written by a Clevelander” and “that’s why it is set in Cleveland.” Fact: The story on which the movie and play were both based was written by Jean Shephard who was a Chicago native. The play was written by Philip Grecian, a native of Topeka, Kansas. The play is not set in this area. It is located in the fictional town of Hohman, Indiana.

The “font of knowledge” went on to recount how the movie was made in Cleveland. Well, he was almost right on that one. Some of the scenes were shot in Cleveland, but due to a lack of big snows during January through March of 1983, when the movie was being shot, most of the filming was done in Canada. Yes, it was at 3159 West 11th Street in Tremont, where The Christmas Story Museum is now located, that some of the exterior hourse shots took place. (The interiors were filmed in a studio in Toronto.) And, yes, the parade scene was in front of the now closed Higbee’s Department Store in downtown Cleveland. The film makers had to make fake snow for those scenes.

He also said that the majority of the cast of the film were Clevelanders. Again, nope. The leads were Hollywood professionals, including Darren McGavin who played the Old Man, Melinda Dillon as the mother and Scott Schwartz as Flick. His information on the role of Ralphie was also off-base. He stated that Tom Hanks played Ralphie. No, Peter Billingsley played the role. Hanks did appear on stage in Cleveland as a member of Great Lakes Shakespeare Festival, but he was not in the movie of ‘A CHRISTMAS STORY.’ I guess if you count all the extras in the parade scene (including yours truly) and other street scenes (which also included this reviewer) he might be right on the number of Clevelanders in the film.

And then there was his final pronouncement: “The Chinese restaurant the Parkers went to for Christmas dinner is still in business here.” Wrong, again. The restaurant scene was shot in Toronto. (Some locals have dubbed the C&Y Chinese Restaurant on St. Clair as the present day stand-in for the play’s Bo Ling’s Chop Suey Palace).

With that out of the way, what’s the play about? It relates a delightful, warm and fuzzy 1950s tale, about a mom who knows best; a dad who is a lovable boob; young Ralphie, who wants "an official Red Ryder, carbine action, two-hundred shot range model air rifle, with a compass in the stock and 'this thing' which tells time"; and the adventures of Ralphie and his friends.

There are subplots concerning the major prize the Old Man wins, how Flick is “triple dog dared” into sticking his tongue to a freezing metal pole, Ralphie’s disappointed reactions to his “Little Orphan Annie Secret Society decoder pin,” how Ralphie finally stands up to the bully Scut Farkas, and the next door neighbors' hound dogs who create a worldly hell for the Old Man.

The CPH production, under the direction of Seth Gordon, is generally delightful. It is nicely paced and visually creates the right moods.

Charles Kartali, playing The Old Man for the third time in this venue, populates the role. His tirades, his over-reactions, his anti-Father Knows Best persona is one of lynch pins of the show. Local favorite, Elizabeth Ann Townsend is properly compassionate as Ralphie’s mom. Kolin Morgenstern is delightful as Flick. (He probably should have been cast as Ralphie.) Lily Richards as Esther Jane, the girl who has a crush on Ralphie and Naomi Hill as Helen, the class brainiac, are fine. Christopher McHale, in his third appearance as Ralph (Ralphie all grown up) is full of youthful spirit as the narrator.

It is always dangerous to critique the performances of children. But, since CPH is a professional theatre, which can draw its cast from the entire country’s theatre community, the level of expectations has to be maintained, no matter the age of the performers. So, here goes. Though Billy Lawrence was generally acceptable as Ralphie, he is a little long in tooth to be playing the role. He is more a teenager than a child in size and mannerisms. Some of his performance was robotic, making the audience aware that he was acting, not living the role. Justin Montgomery Peck (Schwartz) had some nice moments, but his poor articulation made it almost impossible to understand his lines. Cameron McKendry (Scut Farkas) was not menacing enough to be playing the bully. He showed good acting presence and would have been better cast in another role.

Capsule judgement: ‘A CHRISTMAS STORY’ is the perfect holiday production to which to bring children and introduce them to the world of live theatre. Unless you’re a theatre critic, the few flaws with the show should not bother you, and all should leave with a warm feeling of life in the “good old days” before Iraq wars, Fox news and the concern over terrorist attacks. Oh, for the street cars on Euclid Avenue and downtown with shopping at Higbee’s and May Company, and being able to have lunch at Mills Cafeteria.

Pulp

‘PULP,’ a reliving of lesbian fiction of the 1950s, gets a good production at CPT

‘PULP,’ now making its Ohio and regional debut at Cleveland Public Theatre, is a parody of lurid lesbian fiction of the 1950s which centered on the “love that dare not speak its name.” The script, which was written by Patricia Kane, concentrates on the themes of many of those fictions novels: the outsider, the tough broad, the siren and the hyper-sexuality of a renegade sub-society, all of which take place in a gritty urban setting.

The play’s outsider is Terry Logan, a butch woman from Texas, just discharged from the Women's Army Corps. On a train bound for Chicago during a hot summer in 1956, she meets Pepper who figures out that Terry is a kindred spirit and invites her to The Well, a Chicago (gritty urban setting) lesbian nightclub where she works. The club, which features drag performances (women dressing as men) is owned by Ms. Warren, the ice princess (the siren). Terry lets her libido draw her initially to Eva (the hypersexual). As a plot developing device, several other characters have hidden or misguided loves, but by the time the lights go out after 90-minutes of sexual innuendos, sexual explicity, and sexual trysts, three couples have been formed and, if fairy tale endings are your thing, you’ll accept that they will live happily ever after.

An original score of period-sounding songs, with music by Andre Pluess and Warren, are performed with various degrees of proficiency as nightclub numbers. The score sounds familiar, but careful listening will reveal, like pulp novels, that the songs contain strong, overly ripe lyrics. Lyrics like, "Lips that taste of tears lose their taste for kissing."

The script, which is a combination of melodrama, farce and musical review, lends itself to an over-the-top production. How can a play which repeats and repeats and repeats the line, "I'm a lesbian plain and simple. I don't make any bones about it," be done seriously?

Fortunately, for those who will venture to CPT, director Scott Plate uses asides, over-exaggeration and physical underscoring to accomplish the generally well-done production.

Plate keeps the goings centered. The laughs come from the overdrawn characters and the way they are over-played. The cast, with the exception of Maggie Arndt (Terry), are excellent. Arndt is not macho enough, not sure enough, not cocky enough to make us believers. She has an underbelly of vulnerability that is off-setting. Her singing also leaves much to be desired.

Sheffia Randall Dooley, the only Equity member of the cast, and purely the audience favorite, overdoes the role of Eva/Bing, with appealing certainty. She effectively wails her musical vocals.

Allison Garrigan as bar owner Viviane, develops a clear and convincing character as the rigid appearing ice princess. Her opening musical number sets the right mood for what’s to come.

Kimberly Lauren Koljat is consummately sweet as the bartender who befriends Terry. Her crush on Sarge/Winny, one of the drag entertainers who is also an excellent marksman (hey, what did you expect, this is a lesbian-centered script), is tenderly developed. Elizabeth Wood is convincing as Sarge/Winny.

Butch Marshall, the Music Director, plays one mean piano to back up the cross-dressing devas.

CAPSULE JUDGEMENT: CPT’S ‘PULP’ takes an appropriately contrived script, and makes it into a well planned over-the-top production that generally works well, in spite of a weakly portrayed linchpin character. Will non-lesbian audience members enjoy the show? The very conservative will not. They will probably be uncomfortable with all the same-sex kissing and touching and sexual innuendos. Those of the more liberal ilk probably will appreciate the cleverness for what they see and hear.