2009 Dance Preview

Area dance presentations: Merce Cunningham, Verb Ballets, Ballet Hispanico,

Arts patrons will be happy to know that dance returns to the area with two internationally recognized companies and the “reconstituted” Verb Ballets. Presentations include:

MERCE CUNNINGHAM DANCE

Returning to Cleveland after 23 years, the Merce Cunningham Dance Company takes the stage on Saturday, January 31, 2009 at 8 p.m. at the Ohio Theatre.

Considered “the world’s greatest living choreographer,” American modern dance icon Merce Cunningham shows his remarkable genius with every performance of his company. Included is the highly lauded 1970s work, Second Hand, which advanced his reputation for exploring the relationship between dance and music through collaborations with contemporary visual artists and musicians. This influential work features costumes by renowned visual artist Jasper Johns and a score by John Cage, Cunningham’s longtime collaborator and close artistic colleague.

Admission to the performance ranges from $25 to $60. For tickets call 216-241-6000 or go online to playhousesquare.org or DANCECleveland.org. To purchase tickets as part of a subscription package for VIVA & Gala Around Town, contact the Cleveland Museum of Art’s Box Office at 800-CMA-0033 or online at Clevelandart.org.


VERB BALLETS

On Saturday, February 7, 2009, Verb Ballets performs at Chagrin Falls High School, in the beautiful new Performing Arts Center. The family-friendly program includes Pamela Pribisco’s Peter and the Wolf; Ulysses Dove's Vespers; Hernando Cortez’s Darkwood; and two works by famed Ohio Ballet founder Heinz Poll: Duet, a romantic pas de deux, and the propulsive, captivating Bolero.

Verb Ballets’ company of dancers includes Danielle Brickman, Ashley Cohen, Katie Gnagy, Michael Medcalf, Catherine Meredith Lambert, Erin Conway Lewis, Brian Murphy, and Anna Roberts.

Tickets are $20 for adults and $5 for students, and are available by calling the Chagrin Valley Little Theatre box office at 440-247-8955 or by visiting www.chagrinfoundation.org.


BALLET HISPANICO

Acclaimed New York City-based Ballet Hispanico comes to the Ohio Theatre in PlayhouseSquare for performances on Feb. 20-21 as part of a 16-city national tour.

This dynamic company, whose diverse choreography is infused with traditional Latin and Spanish movements, will perform at 8 p.m. Friday evening and at a 2 p.m. Saturday matinee, co-presented by DANCECleveland and Cuyahoga Community College. Prior to the Saturday matinee performance, a family festival at 1 p.m. in the Ohio Theatre lobby will showcase Latin culture with dancing, drumming and family activities. Tri-C will also host a free Showtime at High Noon on Friday for students from noon-1 p.m.

A highlight of the Friday evening repertory will be Tito on Timbales, accompanied by the sizzling Latin Rhythm Percussion Ensemble performing live on stage with the company. Other dances on the program include: Club Havana, choreography by Pedro Ruiz; Tres Bailes by Jean Emile; and Ritmo y Ruido by Ann Reinking.

The Saturday matinee will celebrate Ballet Hispanico’s 39th anniversary under the leadership of Founder Tina Ramirez with the revival of Stages. The company will also dance Tito on Timbales and Ritmo y Ruido.

For tickets call 216-241-6000 or go online at playhousesquare.org. For group tickets and for information about the Saturday matinee family festival call DANCECleveland at 216-991-9000

I LOVE YOU BECAUSE

Bouncy, spirited, charming ‘I LOVE YOU BECAUSE’ delights on 14th Street

Most productions presented as part of the Key Bank Broadway Series are touring companies of Broadway shows. Not so with ‘I LOVE YOU BECAUSE,’ the present offering. This show is home grown. The cast, the musicians, the director, the choreographer are all Cleveland based.

The story concerns obsessive compulsive Austin, a conservative greeting card writer, who discovers his girlfriend is cheating on him. In an attempt to get Austin out of his funk, Jeff, his not overly bright brother, takes him on a double blind-date. Enter Marcy, a free-spirited photographer, Austin’s exact opposite. At the same time, Marcy's best friend, the uptight actuary Diana, who is probably the logical choice for Austin, begins an unlikely affair with Jeff. And….well…their isn’t much mystery as to what’s going to happen, in spite of the numerous pitfalls. Emotional love wins out over logical logic!
The whole premise is well developed through Ryan Cunningham’s creative lyrics. For example, the last song of the show states, “I love you because you’re not the person I dreamed of at all. I love you because you make me feel like a fool.” Not exactly the usual lyrics of a love song. And, that’s the beauty of the show. In spite of the obvious conclusion, the whole thing works because it is logically illogical.
The show, in which Cunningham’s lyrics are set to sprightly music by Joshua Salzman, was first performed off-Broadway in 2006. The Big Apple run was followed by a British production.

The Cleveland offering is directed by Victoria Bussert, with creative staging and choreography by Martin Céspedes. Bussert, director of nationally praised Music Theatre Program at Baldwin-Wallace, is a magician in taking small musicals and making them shine. Think of her stagings of ‘BROOKLYN, THE MUSICAL,’ ‘BAT BOY,’ ‘SIDE SHOW,’ and ‘TICK, TICK BOOM.’ Her recent collaborations with Céspedes, such as Great Lakes Theatre’s ‘INTO THE WOODS,’ have a special sheen.

The entire cast of ‘I LOVE YOU BECAUSE’ shines. Especially endearing is young Corey Mach, he of “deer caught in the headlights” sparkling blue eyes, flushing face, and fine acting ability, added to a nice singing voice. He is wonderful as the obsessive, fidgeting, confused Austin. His “Maybe We Just Made Love” is charming.

Matt Lillo, as the well-meaning, but air-headed Jeff, is delightful. His many malapropisms are delivered with such natural sincerity, that the audience convulses as he tries to get “all his ducks in a line.”

Attractive Jessica Cope has a fine singing voice and gives just the right flair to Marcy. Her rendition of the ballad, “Even Though,” was charming.

Jodi Dominick (Diana), is properly “up-tight,” and develops the right nuances.

Kyle Primous and Ursula Cataan are mighty fine in multiple roles.

Matthew Webb’s musical direction is on target. He wisely keeps the instrumental sounds down, so that they underscore, rather than drown out the vocals.

Stan Kozak’s contemporary glass brick set looks good, but the constant shuffling around of furniture to represent the various settings gets tiresome.

CAPSULE JUDGEMENT: ‘I LOVE YOU BECAUSE’ is a total delight, a perfect entertainment escape from the cold and depressing Cleveland winter. Go, enjoy, you’ll feel great, have a smile on your face, as you come out humming the songs.

Blackbird

Must see, compelling, disturbing ‘BLACKBIRD’ at Dobama

Participating in the life changing experiences of the characters in Dobama’s ‘BLACKBIRD,’ in the intimate Studio Theatre of the Cleveland Play House, is a compelling and disturbing occurrence.

‘’BLACKBIRD,’ according to author David Harrower, was inspired, in part, by the real life story of Toby Studebaker, a former U.S. Marine who abducted a 12-year-old British girl in 2003. Though Studebaker seduced the girl via the internet, Harrower, in his play, changes the incident to a man who had a sexual experience with his pre-teen neighbor.

Harrower’s meticulous writing often consists of fragmented sentences, wordiness which signifies rambling of emotions instead of coherent thoughts, combativeness, conflicting ideas in the same speech, a slowly developing story that has the characters revealing details by describing incidents they seemingly know about, but really don’t. If you appreciate David Mamet plays, you’ll like Harrower’s works.

The play takes place fifteen years after the series of sexual incidents. Ray, the perpetrator, was convicted and sent to prison for six years, changed his name, and moved to another area. Una finds a picture of Ray in a trade magazine and traces him to his workplace.

The well-crafted script intentionally raises more questions than it answers. Why does she seek him out? Does she want to castigate him? Does she want to rekindle their “love?” Does she want to know why he abandoned her? Is Una mentally unstable, irrevocably damaged? Is it possible that a twelve-year old girl and a forty-year old man could fall in love with the adult not being guilty of abuse of power? Is Ray remorseful or a very clever criminal? Is he, was he, a pedophile? Did he take advantage of her, or was she wise beyond her years?

As Una tells the story of how she had to stay in the community as an object of public ridicule, Ray tells what he suffered in prison with the harsh treatment meted out by other prisoners to sex offenders. There is anger and hurt flying around as years of resentment are released and long unasked questions are answered.

The setting is a strewn lunchroom. Is the rubbish symbolic of the chaos of their lives because of the unfulfilled relationship? Is the trash representative of their messy feelings? Is the debris the residue of unfinished business?

The Dobama production, under the thoughtful direction of Scott Plate, is compelling. Plate has done his homework and seemingly understands the hidden underbelly of the author’s thoughts.

Both Joel Hammer (Ray) and Alyssa Weldon (Una) give exemplary performances. They inhabit their roles. The aren’t acting Ray and Una, they ARE Ray and Una. Uta Hagen, who portrayed Martha in the Broadway production of ‘WHO’S AFRAID OF VIRGINIA WOOLF’ once said of portraying that role, “It’s like having a nervous breakdown every night.” The same must be true for Hammer and Weldon. They have to be psychologically and physically exhausted following each performance. These are portrayals that everyone should see.

‘BLACKBIRD’ is a dark and beguiling play which stays with you. I wish that Plate had let the audience sit in the dark, following the harrowing final scene, and think about what they had just experienced. The quick lights up and the curtain call broke the emotional involvement in the journey on which Harrower, Plate, Hammer and Weldon had taken us.

CAPSULE JUDGEMENT: Dobama’s ‘BLACKBIRD’ is a must see production! That said, be aware that is not an easy play to sit through as the subject matter, the language, and the emotional closeness caused by the intimate acting area, makes the experience intense.

The Good Doctor

‘THE GOOD DOCTOR’: Simon meets Chekov at Ensemble

Neil Simon, the king of American theatre comedy, is referred to as “Doc” because he is often called in to “cure” (doctor), scripts that just don’t seem to be ready for public acceptance. Anton Chekov, the well-known modern Russian playwright, is also known as doctor. But, in his case, he actually has a medical degree.

‘THE GOOD DOCTOR,’ now being staged by Ensemble, has the distinction of having been written by both of the doctors. Chekov wrote the original skits and stories, Simon glued them together and adapted them for the American stage.

‘THE GOOD DOCTOR’ is set in Russia during the 19th century. It is composed of a series of scenes in which the connecting thread is The Writer, who is obviously Chekhov. Topics covered include a sneeze, two old people who question whether it is too late for life, a non-assertive governess, the greatest seducer of other men's wives, the drowner, the inexperienced dental assistant, the con-artist, a woman at an audition, and a father taking his son to a prostitute so he can “become a man.”

Simon writes as Chekov, using Russian references and the verbal style that has made the Russian so identifiable.

The play, which is not often produced, opened on Broadway in 1973 to mixed reviews. A television movie was made with Edward Asner, Richard Chamberlin and Marcia Mason, Simon’s second wife, who he met during the making of the TV show.

The Ensemble production, under Jacqi Loewy’s direction, is pleasant. There are some hysterical moments and some that don’t quite develop. The problem is not Loewy’s. It is a combination of some of the material not being as good as other segments and some weak acting.
John Busser is wonderful as The Writer. He has a mobile face, changes his tone and body posture for each person he portrays, and has fun when fun is needed, and a serious tone when that is paramount.

Both Bernard Canepari and Dorothy Canepari are generally excellent. The former is hysterical in a scene in the dentist’s office, while the latter is a sheer delight as “the defenseless creature” who is the queen of the con artists.

On the other hand, Jon Gellott doesn’t have the acting maturity to carry the multiple roles that have been cast at him and Eileen Canepari is inconsistent in her interpretations.

CAPSULE JUDGEMENT: ‘THE GOOD DOCTOR’ is a pleasant, but not captivating evening of theatre.

Frost/Nixon

‘FROST/NIXON’ COMPELS AT PALACE

David Frost’s 1977 interviews with Richard Nixon, following the Watergate scandal and the President’s humiliating resignation, drew the largest audience ever for a television interview. What led up to, and the interview itself, is the lynch-pin of ‘FROST/NIXON.’

Frost, a lightweight entertainer with a playboy reputation, had no obvious political convictions and no special interviewing skills. Could he could get Nixon to admit something that none of the “real” media journalists could elicit? Much to everyone’s surprise, he did!

What motivated British dramatist, Peter Morgan, to believe that two people sitting and talking would be compelling enough to hold an audience spell-bound? He obviously accomplished the impossible as evidenced by the play receiving an Olivier Award, a Tony Award and a Drama Desk nomination for Best Play.

The play premiered in London in August 2006, starring Michael Sheen as Frost and Frank Langella as Nixon. It opened in New York on April 22, 2007 and ran 137 performances. In the touring production award winning Stacy Keach, known to many for his portrayal of TV’s Mike Hammer, takes on the role of Nixon. He is joined by the talented Alan Cox as Frost. They beautifully display the determination, the conviction, and the cunning of the two men as they square off.

The entire cast is excellent. The staging is well-paced by the director Michael Grandage. Even though the audience knew how the interview concluded, the climax brought a verbal gasp. The effect was heightened as we watched a close-up picture of Nixon, shown on a huge screen, with a series of black squares imposed upon his now unsmirking face, his hands folded, not in their phony double “V” for victory pose. It was as if jail cell bars had been superimposed over the ex-President, the man who lied and broke laws but got away with it via a pardon by his successor, Gerald Ford.

One of the local questions that was asked was, could a small cast play with a script which encompasses little physical action, emotionally fill the vast Palace Theatre. The answer, surprisingly, is yes! Another question was, “Would Key Bank’s Broadway Series attendees, who flock to musicals, be appreciative of a drama? Again, the much deserved standing ovation signaled another resounding yes!

For those who lived through this era, the reliving of the experience should be engrossing. For those who were too young to have been around, this is a must see historical document that makes history live.

CAPSULE JUDGEMENT: ‘FROST/NIXON’ is a must see for those interested in a well-conceived script, which gets an excellent production.

Around the World in 80 Days

“AROUND THE WORLD’ well worth the trip at CPH; news from the CPH

Want to go around the world in eighty days? There are a couple of ways to do it. First, you could attend the Cleveland Play House’s production of the Jules Verne story. Or, you could go on-line to http://game.giveawayoftheday.com/around-the-world-in-80-days/ and play the free download of the game by the same name which takes you on the adventure. Or, you could attempt to accomplish the deed itself. Me? I'd prefer the real thing, but I'll more than happily settle for the CPH tour.

‘AROUND THE WORLD IN EIGHTY DAYS’ is a classic adventure novel which was first published in 1873. In Verne’s story, Phileas Fogg of London, and his newly employed French valet, Passepartout, attempt to circumnavigate the world in 80 days brought about by a £20,000 wager set up by Fogg’s scoundrel friends at London’s Reform Club.

You will actually take part in the circumnavigation, complete with trains chugging along on tracks, an elephant being ridden, and ships sailing and being caught in a hurricane. I kid you not!

Mark Brown’s creative adaptation, is filled with delight, delight brought about by Bart DeLorenzo understanding the format of farce. His directing efforts are ably supported by Jean Zarzour, who serves as his assistant.

Farce, is a light dramatic work in which highly improbable plot situations, exaggerated characters, and slapstick elements are used for humorous effect. And Brown and his talented cast pull out all the verbal and nonverbal slapstick elements, exaggerate the characters to the point of the ridiculous, and point up and pounce on all the humorous situations. The result is sheer delight.

My grandson Alex, one of the now famous Kid Reviewers, was engulfed in giggles and verbal “ohs” and “ahs” throughout. He gave the production an 8 1/2 on his scale of ten. He loved the sets, the acting, especially Brian Sills as Passepartout, and the special effects. He stated that a member of his class had given a report on the Verne story, and that had gotten him ready for the show, and wondered if those who didn’t know the story might be at a disadvantage. Thus he warned that the production might not be totally kid friendly. He thought the musical bridges, which were used as transitions between scenes, could have done a better job of pointing up changing moods. He loved the “flying” train scene sequence and all the slapstick.

Keythe Farley is a perfect Phileas Fogg, he of stern, obsessive/compulsive, no-nonsense thinking, who fired his previous man-servant for bringing him shaving water at 84 degrees Fahrenheit rather than the regular 86. His transition to a man in love is charmingly developed.

Brian Sills inhabits the role of Passepartout. He was not only Alex’s favorite, but obviously the audience’s, as his entrance during the curtain call was met with screams of delight.

Anna Khaja is lovely as Aouda, an Indian woman whose life Fogg saves. Michael Weber plays the perfect fool as Detective Fix. Joe Foust portrays over fifteen roles, with skill. BTW….there are only five actors portraying the many, many roles. It’s hard to conceive, but it works, and works well.

Takeshi Kata’s set design makes the whole staging meld. Ann Closs-Farely’s costumes and Lap Chi Chu’s lighting designs help create the proper moods. Much praise has to go to Candace Brown and Caitie Martin, the behind the scene’s dressers, who are magicians of the fast costume change.

CAPSULE JUDGMENT: CPH’s ‘AROUND THE WORLD IN 80 DAYS’ is a total delight! It may be cold outside, but you’ll feel warm, comfy and delighted while watching this production. Applause, applause!

Rent: The Broadway Tour

RENT: THE BROADWAY TOUR’ will do well on its journey

Three shows are the trail-blazers of the American musical theatre. ‘OKLAHOMA,’ the first book musical, ‘HAIR,’ the tribal rock musical, and ‘RENT,’ the picture of “America at the end of the Millennium.” Each moved the musical format ahead and fulfilled the concept that art is representative of the era from which it comes. This means that by looking at the artistic productions of any time period, you get a glimpse of what the attitudes, beliefs, political and social movements were in vogue at the time.

In 1943, with WWII raging, ‘OKLAHOMA” mirrored the need for reality rather than just the mindless escapism of early musical stagings. It represented the attitudes of a changing world and started a trend to use the musical as a vehicle to examine society.

‘HAIR’ was an anti-war, anti-establishment, break the rules snapshot. The production included nudity, long hair, and other “against-the traditional-grain-of-the-times” attitudes.

The turn of the century show-cased ‘RENT.’ It staked out areas that were in “vogue” about ten years ago, like the death sentence of AIDS, drug addiction, homosexuality, transexuality, the plight of the homeless, and the search for purpose. Though some of the issues are presently in a different state, such as the development of the medical cocktail to treat those with AIDS, thus cutting down the number who die from the disease, and a somewhat altered view of homosexuality, the impact of ‘RENT’ can still be felt.

‘RENT,’ inspired by the opera, ‘LA BOHEME, has been to Cleveland five times. But the present production, which was rehearsed here, has a new moniker…’RENT: THE BROADWAY TOUR,” because this version is going to tour.

The excitement about this production centers on three names: Adam Pascal, Anthony Rapp and Gwen Stewart. All three were in the original Broadway production, Pascal as Roger, Rapp as Mark and Stewart as the “Seasons soloist.”

The production is well developed by Michael Greif. It is tight, well conceived and nicely paced. Tim Weil, the music supervisor and Steve Skinner, who did the arrangements, wisely toned down the loud and pounding music. The first two times I saw the production in New York I couldn’t understand a word because the music drowned out the lyrics. In this production, fortunately, the music backs up the singers and the words are crystal clear!

The only flaw in this production is Lexi Lawson who portrays Mimi. She is beautiful and has a great singing voice. Unfortunately, she presently lacks the dynamism to grab and hold the role. Hopefully this will improve as she further plays the character.

Besides the three original Broadway cast members, others who stand out are Justin Johnston as Angel, Michael McElroy as Tom Collins and Nicolette Hart as Maureen.

Capsule judgment: The mostly young audience gave the show a standing ovation. They screamed with delight at such songs as “Without You,” “LaVie Boheme/I Should Tell You,” “Will I?,” and one of my favorite songs from any musical, “Seasons of Love.” Whether you like this musical may well be a generational thing, but, that is one of the points of the script.

REVIEW OF THE REVIEWER'S REVIEWS (Brian Zoldessy)

Dear Roy

I want to thank you for the awards; they really mean a
great deal to the Cleveland theatre community and we all appreciate your
hard work, covering as many productions as you do.

Thanks again and all the best,

bz (Brian Zoldessy)

Times Theatre Tributes--2008

TIMES THEATRE TRIBUTES--2008

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 2008 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 “2008 Reviews” or click on the name of the producing theatre and scroll through their performances. Reviews from previous years may also be accessed.

Please excuse any errors in name spelling. If there is a mistake please let me know (royberko@yahoo.com) and I will correct it in the blog announcement and your certificate.

Certificates will be mailed to the sponsoring theatre by the end of January with a request to forward to the individual recognized recipients.

Thanks to the following for making the 2008 theatre scene in the Cleveland area stimulating and memorable:

PRODUCTIONS
ALICE (Porthouse)
ANYTHING GOES (Porthouse)
BROOKLYN BOY (JCC/CCC)
BROOKLYN, THE MUSICAL (BW/PHS)
CAROLINE, OR CHANGE (Karamu/Dobama)
COLDER THAN HERE (Dobama)
DOUBT: A PARABLE (CPH)
GOLDA’S BALCONY (Actors’ Summit)
GOLDSTAR, OHIO (CPT)
HAROLD AND MAUDE (Cain Park)
I HAVE BEFORE ME A REMARKABLE DOCUMENT GIVEN TO ME BY A
YOUNG LADY FROM RWANDA (Dobama)
IN THE CONTINUUM (CPT)
INTO THE WOODS (GLTF)
MACBETH (GLTF)
ORANGE FLOWER WATER (Bang and Clatter)
PRIDE AND PREJUDICE (CPH)
PROOF (ACTORS’ SUMMIT)
RAISIN IN THE SUN (CPH)
TALKING HEADS 2 (BECK)
THE CARPETBAGGER’S CHILDREN (Ensemble)
THE CRUCIBLE (GLTF)
THE HISTORY BOYS (Beck)
TWO ROOMS (Charenton/CPT)
URINETOWN: THE MUSICAL (Beck)

DIRECTORS
Amster, Peter PRIDE AND PREJUDICE (CPH)
Barr, Drew, THE CRUCIBLE (GLTF)
Bellamy, Lou, RAINSIN IN THE SUN (CPH)
Bobgan, Raymond, THE OTHER SIDE (CPT)
Bussert, Victoria, BOOKLYN, THE MUSICAL (BW/PHS)
Bussert, Victoria, INTO THE WOODS (GLTF)
Bussert, Victoria, HAROLD AND MAUDE (CAIN PARK)
Colombi, Lucia, THE CARPETBAGGER’S CHILDREN (Ensemble)
Earnest, Matthew, ALICE (Porthouse)
Fee, Charles, MACBETH (GLTF)
Gordon, Seth, DOUBT, A PARABLE (CPH)
Hammer, Joel, COLDER THAN HERE (Dobama)
Kent, Terri, ANYTHING GOES (Porthouse)
Loewy, Jacqui, TWO ROOMS (Charenton/CPT)
May, Sarah, CAROLINE, OR CHANGE (Karamu/Dobama)
May, Sarah, THE HISTORY BOYS (Beck)
McConaha, Sean, ORANGE FLOWER WATER (Bang and Clatter)
Paris, Andy, GOLDSTAR, OHIO (CPT)
Sias, Tony, IN THE CONTINUUM (CPT)
Silver, Reuben & Thackaberry, Neil, GOLDA’S BALCONY (Actors’ Summit)
Spence, Scott, URINETOWN: THE MUSICAL (BECK CENTER)
Turney, Wayne, PROOF (Actors’ Summit)
Zoldessy, Brain, BROOKLYN BOY (JCC/CCC)
Zoldessy, Brian, I HAVE BEFORE ME A REMARKABLE DOCUMENT GIVEN
TO ME BY A YOUNG LADY FROM RWANDA (Dobama)

PERFORMERS
Andres, Barbara (Doubt, A Parable)—CPH
Besler, Andrea (I Have Before Me…Rwanda)—Dobama
Black, MaryAnn (Anything Goes)—Porthouse
Boll, Heather Lea Anderson (Colder Than Here)—Dobama
Budin, Noah (Brooklyn Boy)—JCC/CCC
Clarke, Gerald (The Wiz)—Cain Park
Cope, Jessica L. (Into the Woods)—GLTF
Cross, Chaon (Pride and Prejudice)—CPH
Culler, Kathleen (Main-Travelled Roads)—Actors’ Summit
Davies, Aled (All’s Well That Ends Well)—GLTF
Davies, Aled (The Crucible)—GLFT
DiBlasi, Stephen (Brooklyn, the Musical)—BW/PHS
Dooley, Sheffia, Randall (Caroline, or Change)—Karamu/Dobama
Dorn, Franchelle Stewart (Raisin in the Sun)—CPH
Elliott, Kelly (Boom)—CPT
Emerick, Sandra (Anything Goes)—Porthouse
Felder, Hershey (George Gershwin Alone)—Cleveland Play House
Flaherty, Christian (Caroline, or Change)—Karamu/Dobama
Folino, Dan (The History Boys)—Beck
Ford, Tom (Into the Woods)—GLTF
Frederic, Michael (Doubt, A Parable)—CPH
Grover, Jeffrey (TWO ROOMS—Charenton/CPT
Gulick, Lissy (Carpetbagger’s Children)—Ensemble
Hart, Dana (The History Boys)—Beck
Hawkes, Robert (Talking Heads 2)—Beck
Joyce, Daniel Damon (Glass Menagarie)—CPH
Kahl, Betsy (Urinetown: the Musical)—Beck Center
Kartali, Charles (The Christmas Story)--CPH
Kartali, Charles, (Brooklyn Boy)—JCC/CCC
Kimberly Brown (In the Continuum)—CPT
Klika, Jen (ORANGE FLOWER WATER—Bang and Clatter
Kusak, Doug (This Is How It Goes)—Bang and Clatter
LaVonn, Erika (Raising in the Sun)—CPH
Lewellen, Hester (Carpetbagger’s Children)—Ensemble
Mach, Corey (Harold and Maude)—Cain Park
Matthew Wright (Urinetown: the Musical)—Beck Center
May, Andrew (The Crucible)—GLTF
McElhaney, Daniel (ORANGE FLOWER WATER—Bang and Clatter
McEvoy, Anne (Between Life and Death)—CPT
McEvoy, Anne (Colder Than Here)—Dobama
Miller, Scott (I Have Before Me…Rwanda)—Dobama
Morton, Sarah (TWO ROOMS—Charenton/CPT
Nagel, Maryann (Harold and Maude)—Cain Park
Nottage, Mary Jane (Carpetbagger’s Children)—Ensemble
Patterson, Tracee ((The Breakup Notebook: The Lesbian Musical)—Beck Center
Petty, Malika (Brooklyn, the Musical)—BW/PHS
Petty, Malika (The Wiz)—Cain Park
Pote, Emily (Alice)—Porthouse
Riddle, John (Altar Boyz)—Beck Center
Roth, George (The Fantastics)—Ensemble
Silver, Dorothy (Golda’s Balcony)—Actors’ Summit
Silver, Dorothy (Talking Heads 2)—Beck
Snow, Charene (Doubt, A Parable)—CPH
Stefanko, Joey (The Christmas Story)—CPH
Thackaberry, Constance (Proof)—Actors’ Summit
Thomas, Matthew Martin (The History Boys)—Beck
VanBaars, Eric (The Breakup Notebook: The Lesbian Musical)—Beck Center
Violand, Greg (Urinetown: the Musical)—Beck Center
Wells, Ker, (Living Tall)—Cleveland Public Theatre
Wright, Mathew (My Favorite Year)—Beck Center
Wyse, Alex, (Honk)—Mercury Summer Theatre

COMPOSITE CASTS
Colder Than Here (Dobama)
Doubt, A Parable (CPH)
Goldstar, Ohio (CPT)
Into the Woods (GLTF)
Orange Flower Water (Bang and Clatter)
Proof (Actors’ Summit)
Talking Heads 2 (Beck)
The Carpetbagger’s Children (Ensemble)
The History Boys (Beck)

TECHNICIANS
Borski, Russ, costume design (The Wiz)—Cain Park
Borski, Russ, set design ((The Breakup Notebook: The Lesbian Musical)—Beck
Brassard, Gail, costume design, (Pride and Prejudice)—CPH
Burns, Trad, lighting and set design (Goldstar, Ohio)—CPT
Burns, Trad, lighting design (Altar Boyz)—Beck Center
Burns, Trad, set and light design (The History Boys)—Beck
Center
Coates, Norman, lighting design (Into the Woods)—GLTF
Davis, John, sword fight sequences (My Favorite Year)—Beck Center
DiBernardo, Dale, costumes (Damn Yankees)—Carousel
DiBernardo, Dale, set design (The King and I)—Carousel
Gilliam, Michael, lighting design (George Gershwin Alone)—CPH
Herman, Jeff, scenic design (Into the Woods)—GLTF
Ingraham, Richard, sound design (I Have Before Me…Rwanda)—Dobama
Johnson, Pat, costume design (Alice)—Porthouse
Koharchik, Robert, set design (Pride and Prejudice)—CPH
Kovach, Robert, set design (The King and I)—Carousel
Kozak, Stan, sound design (Into the Woods)—GLTF
Leonard, Joy James, set design (Noises Off)—CPH
Lincoln, Michael, lighting design (Glass Menagerie)—CPH
Moxley, Star, costume design (Macbeth)—GLTF
Needham, Ben, set design (Brooklyn Boy)—JCC/CCC
Needham, Ben, set design (Peter Pan)—Beck Center
Ostaszewski, Michel, projections (Two Rooms)—Charenton/CPT
Pardess, Yael, scenic design (George Gershwin Alone)—CPH
Parkman, Russell, set design (Doubt: A Parable)—CPH
Patton, Fritz, original music and sound design (The Crucible)—GLTF
Pauna, Steve, set design (Alice)—Porthouse
Smith, Vicki, set design (Raisin in the Sun)—CPH
Thackaberry, Neil, visual effects(Golda’s Balcony)—Actors’ Summit
Tulenson, Nathan, sound design (Two Rooms)—Charenton/CPT
Williams, Gage, scenic design (Macbeth)—GLTF
Yetman, Charlotte, costume design (Into the Woods)—GLTF

MUSICAL DIRECTION
Andersen Wolfgang, Nancy (Anything Goes), Porthouse
Espino, John Jay, (Into the Woods)—GLTF
Maier, Nancy (Brooklyn, the Musical), BW/PHS
Morris, Evie (Main-Travelled Rloads), Actors’ Summit
Ricci, Jodie (Harold and Maude), Cain Park
Ridley, Ed (Caroline, or Change,) Karamu/Dobama

CHOREOGRAPHY

Black, MaryAnn (Anything Goes)—Porthouse
Cespedes, Martin (Into the Woods)--GLTF
Cespedes, Martin ((Urinetown: the Musical)—Beck Center
Cespedes, Martin (The Breakup Notebook: The Lesbian Musical)—Beck Center
Cortez, Hernando (Altar Boyz)—Beck Center
Merckx, Ken, (Macbeth)—GLTF (fight choreography)
Pesce, Vince, (The King and I)—Carousel

SPECIAL RECOGNITION
Joyce Casey, for her continued dedication to making Dobama a high quality entity.

Sean Derry and Sean McConaha of The Bang and Clatter for having the “chutpsa” to open a new theatre in downtown Cleveland with no parking!

Gina Vernaci and Victoria Bussert for their new collaboration between Playhouse Square and Baldwin-Wallace College.

Gina Vernaci for her continued excellent coordination and program development for Playhouse Square Foundation.

Great Lakes Theatre Festival for the creation of a superb new theatre space in the reburbished Hanna Theatre.



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:

2008 BEST OF THE BEST DRAMAS:
Golda’s Balcony (Actors’ Summit)
I Have Before Me a Remarkable Document Given to Me by a Young Lady from
Rwanda (Dobama)
The History Boys (Beck)
Two Rooms (Charenton/CPT)

2008 BEST OF THE BEST MUSICALS:
Brooklyn (BW/Playhouse Square)
Caroline, or Change (Karamu/Dobama)
Into the Woods (GLTF)

2008 BEST PERFORMANCES:
Andrea Belser (I Have Before Me a Remarkable Document Given to Me by a
Young Lady from Rwanda (Dobama)
Dorothy Silver (Golda’s Balcony)—Actors’ Summit
Dorothy Silver (Talking Heads 2)—Beck Center
Mathew Wright (Urinetown: the Musical)—Beck Center
Sheffia Dooley (Caroline, or Change)—Karamu/Dobama

A Christmas Story

Nostalgic ‘A CHRISTMAS STORY’ delights at Play House

Many Clevelanders think that ‘A CHRISTMAS STORY,’ whose stage version is now being produced by the Cleveland Play House, is set in Cleveland, and is written about life in the Forest City during the 1940s. In actuality, Jean Shepherd, whose books and stories the movie, and subsequently the play, was based on, sets the story in the fictional northern Indiana town of Hulman.

So what’s the Cleveland connection? As legend reveals, Cleveland was chosen as the site to shoot the film because the producers needed snow and a MidAmerican setting. Everything went well in the early shooting, except it didn’t snow. In fact, the famous Christmas parade scene in front of Higbee’s Department Store and the house and streets covered with snow, were an illusion. Fake snow was sprayed around to create the illusion of the real stuff. Finally, the production team packed up and left, going to Canada, where it was snowing, to finish the flick. But, all that withstanding, “A Christmas Story” is a Cleveland institution.

Today, at 3159 W 11th Street, on Cleveland’s near west side, stands the house that was used for the exterior shots. Its inside has been reconstructed to resemble the movie’s rooms which, in actuality, were built in a Canadian warehouse, and it is open for daily tours. A museum and gift store across the street sell the legendary leg lamps, Lifebuoy soap and action figures of Ralphie.

I have fond recollections of that film. I actually was an extra, who was cast in a serendipitous way. I was working for a television company and was dispatched to do an interview with Ralphie (Peter Billingsley). Peter and his mother had never been to Cleveland and I offered to take them around when he wasn’t shooting. So, the three of us, plus Scott Schwartz who was playing Flick, explored Cleveland. I was asked to appear in the film. Most of my footage wound up on the cutting room floor, but it was a fun experience.

The play centers on 9-year-old Ralphie Parker, who wants only one thing for Christmas – "an official Red Ryder carbine-action 200-shot range model air rifle (BB Gun) with a compass in the stock, and this thing which tells time." Between run-ins with his younger brother Randy and having to handle school bully, Scut Farkus, Ralphie does not know how he will ever survive long enough to get the BB gun.

But, as in all good comedies, the ending is happy as Ralphie overcomes seemingly insurmountable obstacles to get the instrument which all of the adults of his life remind him, “you will shoot your eye out.” And, in the end, he almost does!

The CPH production, under the direction of Seth Gordon, is quite good. Of course, whenever you use child actors, there is going to be some variance from the requirements of professional theatre’s desire for concentration and discipline. In the main, except for difficulty in his articulation and speed in delivering lines which caused slurring, Kolin Morgenstern makes for a fine Ralphie. The super star of the kids, however, is Joey Stefanko, whose Flick, is delightful. His getting his tongue stuck on the light post and being bully Scut Farkas’s punching bag, were sheer fun.

Wilbur Edwin Henry, who looks remarkably like what you would perceive Ralphie looking like as a grown up, makes for a convincing Ralph, who serves as the narrator and reminds us of the nostalgia of growing up. Carole Monferdini is dead on as the uptight elementary teacher who demands “correct margins.”

In the roles they’ve played for the past four years, Charles Kartali as the Old Man (Ralphie’s father) and Elizabeth Ann Townsend (mother) are wonderful.

Michael Ganio’s set designs work well, as does David Kay Mickelsen’s costumes and Richard Winkler’s lighting.

CAPSULE JUDGMENT: CPH has found a cash cow in ‘A CHRISTMAS STORY.’ Even on a Thursday night of a school week, almost every seat in the Bolton Theatre was filled with adults and children. I’m not sure locals will ever get tired of seeing this wonderful piece of nostalgia. Thanks CPH for giving us a shot of remembering how good the simple life of the past was in days before the spoiling of imagination and making kids grow up too soon.

(P.S--I went home and went through my junk box which contains some of the “relevant” mementos of my past and “gosh darn it” I couldn’t find my Orphan Annie decoder ring! Maybe I can borrow Ralphie’s.)

David's Redhaired Death

Bang & Clatter’s ‘DAVID’S REDHAIRED DEATH’ leaves little after-effect

Every once in a while I leave a theatre and could care less about a show I’ve just seen. Unfortunately, that was my reaction as I wandered around the parking garage searching for my car, after seeing Bang & Clatter’s newest Cleveland theatre’s DAVID’S REDHAIRED DEATH.’

The lack of emotional or cerebral involvement wasn’t totally the fault of director Sean McConaha or the acting company. It was mainly the vehicle itself. Author Sherry Kramer, just doesn’t create characters who I cared about, who I could empathize with, or had lives or issues that made me want to care.

That opinion of Kramer’s writing is not shared by other critics. In its Washington, DC production reviewers stated, “All the scenes are interspersed foreshadowing of things to come, so there is a coiled, spiraled tension instead of the suspense of an ordinary linear plot and, ‘DAVID'S REDHAIRED DEATH’ is a stirring, annoying and difficult piece of work.”

Being married to a redhead, yes, a real redhead, I was expecting to get some insights into the personality of these unusual creatures. It was sure alluded to enough. Nope, nothing here turned me onto any real secrets of redheads, so I guess I’ll just have to continue to search for the key to my wife’s unique personality.

The tale is of a man named David's sudden and violent suicide. David, who we never meet, is etched for us by his sister Jean and her lover Marilyn’s words. And though David is supposed to be the center of the action, it is really the tale two people dealing with death and their struggle to form new relationships in the aftermath of a tragedy, that is in the forefront.
Told in a unique mixture of nonlinear monologues, and abstract dialogue, we are supposed to see how the two deal with the death from different perspectives. Supposed is the key word here, for I couldn’t get involved enough to perceive those reactions.

Faye Hargate’s Jean is well etched. She is a good actress who develops a clear character. On the other hand, Katelyn Cornelius plays at being seductive and coltish. I never believed she was Marilyn. She stayed on the surface most of the time, never digging into and living Marilyn. The interaction between them was not really interaction, as I felt little real connection between the actors. Even the kissing scenes lacked linkage.

Capsule judgment: Bang and Clatter’s ‘DAVID’S REDHAIRED DEATH’ just didn’t move or enlighten me. It didn’t pull me in. I like plays that have a clarity of message and are linear in development rather than truncated. On the other hand, that may be your thing. (For those who are smoke sensitive: Be aware that there is great deal of smoking onstage which drifts into the seating area.

Peter Pan

Uninspired ‘PETER PAN’ at Beck, but the Kid Reviewers liked it!

You can often get the unexpected from director Fred Sternfeld! He did not disappoint in his production of ‘PETER PAN’ at Beck Center.

Though the script centers on a little boy, the part of Peter is usually played by a female. The likes of Mary Martin (Peter in the 1954 Broadway premiere of the modern version of the show), Sandy Duncan and Cathy Ribgy are noted for portraying the role. Only one male, Jack Noseworthy, played Peter on Broadway, and he was an understudy. In the Beck production, Sternfeld selected John Paul Sato, a mature male, to play the role. In many ways, it was a wise choice.

The story of Peter becoming the subject of a musical has an interesting history. A short-lived 1905 musical version appeared on a New York stage. In 1924 Jerome Kern tried his hand at an adaptation with little success. In 1950 Leonard Bernstein wrote five songs for a stage version which starred Boris Karloff and Jean Arthur, but it wasn’t audience pleasing material. It wasn’t until 1945 that a hit was born due to the creativity of director Jerome Robbins, music by Mark Charlap and Jule Styne, and lyrics by Carolyn Leigh, Betty Comden and Adolph Green. It was a hit despite mixed reviews. The final push toward immortality for Peter was a television production of that Broadway staging which brought the Peter Pan story into many homes. And, of course, then there was the Disney film.

The musical is based on J.M. Barrie's 1904 tale of Peter Pan, a boy who didn't want to grow up and spent his life in Neverland. The tale recounts how he brings the Darling children (Wendy, John and Michael) to Neverland with him, the machinations of the Indians and the Lost Boys to confront pirates, and how Peter defeats his foe, Captain Hook, with the help of a crocodile.

The Beck production, in spite of having basically a good cast, fails to light up the stage. The show drags. Much of the humor doesn’t work. The fight scenes, which were poorly developed by John Davis, are flat and fake. The cast doesn’t seem to be enjoying themselves and so the audience doesn’t either. Even the music lacks the necessary exciting tempo needed to envelop the many youngsters in the audience and give service to the score.

For those who are used to seeing and hearing a sprightly and slight body and voice in the role, it takes a little bit of getting used to to accept Sato’s deep voice and muscular form in the green-tighted role. He wins us over with his animated face, though he sometimes overdoes the smirks and smiles. He has a good singing voice and “flies” comfortably. His “I Got to Crow” is delightful.

Kelly Smith is charming as Wendy. She has a very nice voice, the right attitude, and a good English accent. Lincoln Sandham (John) and Stephen Sandham (Michael) are quite acceptable in their roles, though their spoken lines were sometimes hard to hear.

Michael Mauldin was not believable as Mr. Darling and was never evil nor snarly nor funny enough as Captain Hook. In fact, much of the problem with the production centered on his performance as “meanest pirate of them all.” The same lack of characterization could be aimed at the pirates who are often the center of amusement in Pan productions. Bob Abelman came close to the right image, but the others were flat.

On the other hand, the Lost Boys were excellent. Each maintained his characterization well and their singing and dancing were quite good. The same could be said for the Indians.

Aimee Kliuber’s costumes were disappointing, especially the badly designed dog suit for Nana. Instead of cuddly and cute, the animal looked flea-bagged and molting. This left little visual room for Gregory White to create a delightful dog/nursemaid.

As I have done in the past with kid-friendly shows, I took the “Kid Reviewers,” my grandsons Alex (13) and Noah (11 1/2) to the production. They liked it a lot more than grandpa, giving the production thumbs ups of 7 and 8 out of ten.

Noah liked Ben Needham’s sets (grandpa totally agreed), the way the story developed (yep!) and the dancing (grandpa wasn’t totally enamored with some of the movements, especially “Mysterious Lady” and the dreadful “The Battle”).

Alex liked most of the singing, thought the music was well played, and believed that Peter was very good.

CAPSULE JUDGEMENT: I expect much from a musical directed by Fred Sternfeld and choreographed by Martin Cespedes. I was disappointed in their version of ‘PETER PAN.’ It wasn’t terrible, but it just wasn’t everything that it could and should have been.

Boom

CPT’s ‘BOOM’--not your usual holiday fare

The stated mission of Cleveland Public Theatre, which is now staging Peter Sinn Nachtrieb’s ‘BOOM,’ is to “develop new work and support emerging artists.” The company “seeks plays that challenge audiences and offer unique theatrical experiences.”

‘BOOM’ fulfills CPT’s mission well.

The play, according to its author, is about "this gay marine biologist who posts a Craigslist ad for what seems like casual sex, and what happens when a female journalism student answers the ad." What appears to be a casual date evolves into something far more momentous which includes Pampers, a baster, a broken leg, fish, Tampons, drums and chains.

The concept of Nachtrieb writing a play about this subject comes naturally. He had the unusual double-major of biology and drama. And the subject is real. As the writer says, "The scientist character is based on experiences I had off the coast of Panama, as a research assistant to a marine biologist. "We were on this spit of sand in an archipelago that's one of the least-populated places in the world. We just watched fish spawn for four months."

The format of the play is unusual. The audience finds themselves in a “museum” observing the acting out of a “play.” Barbara, the “stage manager,” who manipulates the entire experience, makes some changes in the format and the goings-on thrust out of a normal pattern. The question arises as to the reality or lack of reality, the truth or fiction of what we are viewing.
There is an almost science fiction feel. And, after the Bush/Chaney administration which appeared to be centered on leading the nation to doom, maybe the “do we have any control over our lives” is more real than we’d like to believe.

Reviews of the New York and Washington, DC productions used such phrases as, “grandly whacked-out apocalypse fantasy;” “literate, coarse, thoughtful, sweet, inappropriate;” and “wracked by existential anxiety.” One reviewer called it "essentially a dark-themed, light-toned allegory of survival and change."

The CPT production, under the direction of Beth Wood is as good as possible. The cast is excellent and the pacing is right, though the 90-minute intermissionless presentation seems much longer due to the talky script.

Kelly Elliott, she of mobile face and great vocal variety, is delightful as Barbara, She has a wonderful way of being both confused and “in charge” at the same time. Skinny and gawky Doug Snyder, is a born nerd! His Jules is pure scientist who doesn’t have the social graces to realize he is totally off-key to the rest of the world. Laurel Johnson, though often shrill, carries off the role of the Jo, the female reporter trapped in the play’s fantasy, with realism.

Capsule judgement: In spite of the critical raves of previous productions, this is not a play for everyone. The script contains too many words and too little action. It is abstract and leaves one asking, “What is this all about?” If you like Theater of the Absurd , this is for you! If not, go see David Sedaris’ ‘The Santaland Diaries’ which is being staged in CPT’s other theatre.

Theatre calender, Fall/2008

Exciting theatre season in the Cleveland area

This is the time of year when shopping, party-going and entertainment is at its peak. The local theatres are filling their auditoriums with many holiday goodies.

Cleveland Play House
‘A CHRISTMAS STORY’
November 28 - December 21, 2008
A Cleveland Play House tradition in its 4th year! Based on the movie filmed in Cleveland in 1983, this classic holiday comedy is a funny and sweet tale of growing up in the 1940s suitable for ages 5 and up!
Tickets: 216-795-7000

Cleveland Public Theatre
‘THE SANTALAND DIARIES’ by David Sedaris
November 28 - December 20
The elf is back by popular demand! ‘THE SANTALAND DIARIES’ is told from the perspective of a 33-year-old slacker who takes a job as Crumpet, a Macy's Christmas elf.

‘BOOM’ by Peter Sinn Nachtrieb
November 28 - December 20
In this hilarious new work, a female journalism student finds herself surrounded by bourbon, fish tanks and a bunch of scary levers. It's the end of the world as we know it and this is the date to end all dates!

‘CRUMBLE (LAY ME DOWN, JUSTIN TIMBERLAKE)’ by Sheila Callaghan
December 4 - December 20
A quirky new comedy about an old house and Janice, a 12-year old girl with an unusual Christmas list.

Tickets for all CPT shows: 216-631-2727, x501

State Theatre, Playhouse Square

‘RADIO CITY CHRISTMAS SPECTACULAR’
December 4-28, 2008
Features the Rockettes with their signature high kicks and precision choreography in multiple show-topping numbers including the legendary "Parade of the Wooden Soldiers" and "New York at Christmas."
Tickets: 216-241-6000 or go on line to www.playhousesquare.com.

Beck Center
‘PETER PAN’
December 5, 2008 – January 4, 2009.
Based on J.M. Barrie's tale, this is a high flying musical story of Peter Pan, Wendy, John, and Michael and their adventures in Neverland. Good for audiences of all ages.
Tickets: 216-521-2540.

Workshop Players
44820 Middle Ridge Road
Amherst
‘CHRISTMAS BELLES”
Now through December 14.
A church Christmas program spins out of control in this farce about squabbling sisters, a surly Santa, a vengeful sheep and a reluctant Elvis impersonator.
Tickets: 440-988-5613

Huntington Playhouse
28601 Lake Road
Bay Village, Ohio
‘MIRACLE ON 34TH STREET’
November 28-Decemberber 21.
Hired by Macy's for the holidays, Kris Kringle believes he is Santa Claus. As events unfold, a small girl's belief in Santa and the magic of the season are at stake.
Tickets: 440-871-8333

Great Lakes Theatre Festival
‘A CHRISTMAS CAROL’
November 28 through December 23.
Dickens’ classic tale of Scrooge and Tiny Tim performed at the Ohio Theatre.
Tickets: 216-241-6000 or www.greatlakestheater.org

Karamu Theatre
2355 East 89th Street, Cleveland (free enclosed parking)
‘BLACK NATIVITY’
December 5 through December 28.
Langston Hughes’ gospel musical is Cleveland’s oldest theatrical holiday tradition.

Actors’ Summit
‘SANDERS’ FAMILY CHRISTMAS’
December 4, 2008 through December 21, 2008.
A heartwarming old-time country musical for the holiday season.
Tickets: 330-342-0800 or www.actorssummit.org.

Talking Heads 2

Masterful acting highlights ‘TALKING HEADS 2’ at Beck

Dorothy Silver, who is appearing in ‘TALKING HEADS 2’ at Beck Center, is the reigning grande dame of Cleveland Theatre. Robert Hawks, who is also appearing in the show, is a competent actor. The duo are superb in this production.

Alan Bennett, the author of the Tony Award winning ‘THE HISTORY BOYS,’ which recently had a successful production at Beck, is also the author of ‘TALKING HEADS,’ a series of dramatic monologues written for the BBC. It has also been adopted for live theatre.

‘PLAYING SANDWICHES’ centers on Wilfred, a reformed pedophile living under a false identity and working as a much-praised maintenance man in a public park. However, as a superior begins to pressure him for bureaucratic historical information to include in his personnel file, the pressure causes Wilfred to resume his old ways with horrifying results. Incarcerated, he contemplates his condition, remarking, “It's the one part of my life that feels right... and that's the bit that's wrong.”

Robert Hawkes, who stars in ‘PLAYING SANDWICHES,’ is well directed by Curt Arnold. Hawkes sucks us in as we watch him fight against his tendencies, making us believe and even hope that he will be able to control his desires. As his resolve breaks down, however, we watch as Hawkes’ face and body virtually collapse. This is an excellent performance.

In ‘WAITING FOR A TELEGRAM,’ Violet, an elderly woman in a nursing home has been told she will soon be receiving a telegram from the Queen in honor of her one hundredth birthday. This news triggers in Violet a memory of a telegram which brought news of death on a battlefield, the death of her young lover. Violet gets even more confused when she finds out that her favorite nurse, a gay man has recently died of AIDS. Violet’s present is bleak, her future is bleaker.

Under the adept direction of Reuben Silver, Dorothy Silver completely captivates. This, and her performance earlier this year as Golda Meir in Actors’ Summit’s ‘GOLDA’S BALCONY,’ are two of the finest local female acting gigs of the year. Silver doesn’t act Violet, she is Violet. She brushes wisps of gray hair off her face, displays obstinacy as the world around her becomes frustrating, holds imaginary hands with her male nurse, pounds on the radiator with a spoon when she becomes confused. This is a superb performance.

CAPSULE JUDGEMENT: ‘TALKING HEADS 2’ is one of those special evenings of theatre. In 90 minutes, including intermission, Hawkes and Silver give a lesson on what good acting is all about! This is a must see!

Legally Blonde

Cutesy ‘LEGALLY BLONDE, THE MUSICAL’ entertains at Palace

Some shows are just meant to be entertaining…no great message, no deep thoughts, nothing but joyous fluff. ‘LEGALLY BLONDE, THE MUSICAL,’ is such a script.

The musical, like the movie on which it is based, centers on Elle Woods, a blonde, seemingly ditsy California wealthy sorority girl whose fashion sense far exceeds her common sense. Well, that’s the illusion she gives off. When Warner, her boyfriend, dumps her for someone who is ‘serious,” Elle goes into action, and gets admitted to Harvard Law School (that’s where Warner is enrolled). Her eventual success, both in the classroom and the court room, are foregone conclusions. The lightweight plot takes us on her journey from blonde bimbo to blonde valedictorian.

Okay, maybe there is an underlying belly to the show…be true to yourself, stand up for your rights, and just because you are blonde doesn’t mean you are dumb.

The show was nominated for seven 2007 Tony Award nominations.

The touring production is directed and choreographed by Tony award-winning Jerry Mitchell (‘HAIRSPRAY’). The composer and lyricist are Laurence O'Keefe (‘BATBOY’) and Nell Benjamin (‘SARAH, PLAIN AND TALL’). The book was written by Heather Hach (‘FREAKY FRIDAY’).
The score, which includes “Ohmigod You Guys,” “Chip On My Shoulder,” and “Find My Way,” is catchy. Sprinkled in are some authentic show-stoppers including “The Harvard Variations” and “Bend And Snap.”

In an unusual move, while the show was running on Broadway, and before it went on tour, an MTV version of a taped live production from the Palace Theatre in New York was aired. The show reached more than 12.5 million viewers in its debut weekend. Carrying the connect with MTV further, a talent competition was held to find a replacement for Elle on Broadway. Several of the contestants are in this touring production.

The show has strong Cleveland connections in that Gina Vernaci, the Vice President of Theatricals for Playhouse Square, was involved in the evolution of the production. In addition, a group of ten local women partnered together to invest in ‘LEGALLY BLONDE, THE MUSICAL.’ They attended the Broadway opening of the show.

The touring production is nicely paced. The choreography is good. The sets and costumes are fine.

Becky Gulsvig, who plays Elle, and was the understudy on Broadway, is good, but the part requires more….more sparkle, a fuller voice, a more compelling presence. She isn’t bad, but not up to the level of controlling the show. Jeff McLean has the right pompous attitude as Warner and sings well. Natalie Joy Johnson is delightful as Paulette, the manicurist turned Elle’s friend. D. B. Bonds is top-notch as Emmett, who helps Elle succeed and eventually wins her love. Ken Land, who portrays Professor Callahan, isn’t swarmy enough as the lecherous instructor.

The real stars of the show, at least based on the amount of applause they received, are Frankie (Chihuahua) and China (bulldog), two dogs that were rescued from shelters. (BTW…each of the pooches has an understudy!)

The orchestra often gets carried away and drowns out the singers. That’s a shame as the words to the songs are well crafted.

CAPSULE JUDGEMENT: If you like light-hearted musicals with excellent music and some good singing and dancing, you’ll be pleased with this touring production of ‘LEGALLY BLONDE, THE MUSICAL.’

Raisin in the Sun

Outstanding ‘A RAISIN IN THE SUN’ at Play House

It seems ironic that the week that this country elected its first African American President, the Cleveland Play House opened ‘A RAISIN IN THE SUN, considered by many to be America’s number one Black-themed play.

What happens to a dream deferred? Does it dry up Like a raisin in the sun?
This segment of the poem A Dream Deferred by Clevelander Langston Hughes is the underlying theme for Lorraine Hansberry’s ‘A RAISIN IN THE SUN.’

On March 11, 1959, ‘A RAISIN IN THE SUN’ opened on Broadway. The play had already negotiated a long and troubled road just to find its way to the opening. It was the first major on-Broadway play by a Black female author. It thrust many of its rookie Broadway cast members into major entertainment roles including Cleveland-born Ruby Dee, and future superstars Sidney Poitier and Claudia McNeil.

No one could foresee that the play's imminent triumph would mirror the changing role of Blacks in this country and the role the play’s themes would play in African American culture in the years that followed. Though the restrictive covenants have been eliminated, even with Obama’s election, the hatred in the voices and words of some at the McCain-Palin rallies, still warns of racial hatred.

The New York Drama Critics Circle named the Hansberry play the best American play of 1959. Ironically, the play failed to receive either a Pulitzer Prize or a Tony for Best Play.

‘A RAISIN IN THE SUN’ relates the story of the Youngers, a Southside Chicago family trying to survive in cramped ghetto quarters. When Mama gets a $10,000 check from her husband's life insurance, they consider moving to a house in a white suburb. A suburb in which the residents warn that they don’t want a Black family as their neighbors.

A RAISIN IN THE SUN’ is somewhat autobiographical. Chicago, where Hansberry was born in 1930, was self-segregated along racial lines at the time. As a child, Hansberry's family became one of the first blacks to move into a white neighborhood. When their neighbors rebelled, both with threats of violence and legal action, the family defended themselves. The case went all the way to the US Supreme Court where the Hansberrys prevailed, thus changing segregation in housing laws.

The Cleveland Play House’s production, under the watchful eye of director Lou Bellamy is superb. He delves into each deep corner, carefully guiding his cast to not over-play their roles. The production hits all the right notes. The humor and the pathos run in parallel lines. The mood is right…serious, but not depressing.

Franchelle Stewart Dorn is wonderful as mamma. She walks the fine line between family matriarch and mother figure with precision. Erika LaVonn is totally believable as Ruth. Young Aric Generette Floyd, who has recently given some excellent performances, continues to impress! This is one very, very talented kid! David Alan Anderson has the difficult task of playing Walter Lee. This is a part that can so easily be over-done. Anderson keeps his emoting in check. His drunk scene is masterfully done. Bakesta King gives a realistic quality to Beneatha. The rest of the cast is equally impressive. The only negative were some problems with projection and slurring, which caused some speeches to be unintelligible.

Vicki Smith’s scenic design adds to the era-correct feeling of the play. On the other hand, Mathew LeFebvre’s costumes are much too numerous and grand for a family living on the border of poverty.

CAPSULE JUDGEMENT: Combine Hansberry’s superb script with a well thought out production, and the result is an impressive evening of theatre. If you haven’t seen ‘RAISIN IN THE SUN’ before, this is THE production to see. If you have, a return visit is well worth your time. Go! (Be aware that the production is close to three hours in length.)

Lar Lubovitch Dance, Verb Ballets (11/1/08)

Lar Lubovitch Dance captivates, Verb Ballets needs to ask itself some questions

Within the last several weeks, Cleveland’s dance enthusiasts were given several opportunities to see major dance companies. Lar Lubovitch Dance is one of America’s most highly acclaimed dance companies. Verb Ballets is recognized as a leading local company. They both danced at the Ohio Theatre a week apart.

Lar Lubovitch, the founder of the company which bears his name, is generally recognized as a staging super star. He has choreographed more than 100 dances for his New York based company, as well as directing Broadway shows. His background as a painter carries over into his choreography. He uses the bodies of the dancers to paint fascinating pictures. He also directs the costume designers and lighting technicians to enhance his visual images. The overall effect is captivating.

The program, sponsored by Tri-C Performing Arts and DANCECleveland, was performed to a near sold-out house. Their enthusiastic applause and verbal responses attested to their delight with the evenings’ offerings which included a mélange of ballet, modern, contemporary and ethnic dance.

“Allegro,” the opening segment of “Concerto Six Twenty-Two,” was a composition of flowing bodies costumed in white which incorporated lines and circles with a gymnastic center and humorous inserts. “Adagio,” which examined friendship, was totally charismatic. It featured the powerful lifts and intertwining of the bodies of Jay Franke and George Smallwood. “Rondo” had a wonderful “aw shucks” attitude.

“Jangle” was a brilliant interpretation of four Hungarian dances complete with hand slaps, bottle dance-like movements and other ethnic moves. There was a perfect parallel between the musical sounds and the movements.

“Dvorák Serenade” was a balletic interpretation of the music of Antonin Dvorák. Consisting of four segments, it captivated the audience with flowing movements and the creation of attractive visual images. Strong dancing by Mucuy Bolles and Scott Rink, a long-time company member, made the piece captivating.

Capsule judgement: Lar Lubovitch presented a wonderful evening of dance. This is a world class company. It can only be hoped that Tri-C and DANCECleveland will bring back this exciting ensemble.

As exciting as Lar Lubovitch was, that’s almost how disappointing Verb Ballets has been in their recent concerts. Verb has been one of my favorite local companies. In the past I’ve raved about the creative direction of the company. Unfortunately, in the last year or so, I’ve seen a deterioration of energy and creativity. There are seemingly multiple causes. The loss of two strong male dancers who were not replaced has led to the lack of a strong male presence. Company members seem distracted, not displaying enthusiasm, not excited by what they are dancing. The corps has traditionally danced in sync. There was a precision to the movements. This, too, has not been maintained.

“Verb Ballets All Stars!” was an interesting concept. The combining of three Ohio dance companies. The results was a pleasant, but not captivating evening of dance.

The opening piece, danced to Leonard Bernstein’s “Chichester Psalms,” was staged by Hernando Cortez, Verb’s artistic director. A strong solo by Brian Murphy, one of the company’s strengths, was the highlight of the piece. The flowing movements, accented by flowing hands and tilted bodies, centered on the religious use of body positions which created illusions of the cross.

‘UNRESOLVED’ was a short piece by the Dayton Contemporary Dance Company, which examined conflicted lovers. The piece, which had a strong emotional center, was well received by the audience.

“RUBIES, originally choreographed by George Balanchine, was performed by the Cincinnati Ballet. It was a pleasant piece whose movements did not always parallel the music.

“AFTERIMAGE,” was choreographed by Verb’s Hernando Cortez. It was an investigation of being human and was performed by combination of Verbs Ballets and the Dayton Contemporary Dance Company members. The first segment, “Afterimage,” was adequately danced by Sydney Ignacio, but lacked dynamism and precision. Brian Murphy gave a strong and controlled performance in “Dark Wood.” Hershel Deandre Horner III of the Dayton Company, was very effective in “A Moment More.”

The final segment, 'VESPERS, was performed by Verb Ballets and choreographed by Ulyssses Dove and restaged by Dawn Carter. It was danced to the music of Mikel Rouse. The physically exhausting piece, was generally well danced. The fast movements from chair to chair paralleled the passions and spirtuality of women who have a faith and belief in God that allows them to race physically and emotionally from place to place, life problem to life problem. The only weakness was the consistent breakdown of timing from the middle of the straight lines. One of the dancers was always too early or too late in her movements, thus causing a lack of visual unity.

Capsule judgement: The idea of bringing three major Ohio dance companies together was an excellent scheme. It would be a good idea to duplicate this effort in the future. As for Verb Ballets...it appears that the company’s leadership needs to ask itself how it can regain its past path, because lately the magic is gone.

Nixon's Nixon

‘NIXON’S NIXON’— a probe into the past at ACTORS’ SUMMIT

Russell Lees' ‘NIXON’S NIXON,’ now on stage at Actors’ Summit, is a historical docudrama which imagines the conversation that might have taken place when then-President Richard Nixon summoned Secretary of State Henry Kissinger to the White House on August 7, 1974. This was the night before Nixon resigned from the Presidency due to the Watergate scandal. Though no one, except the two men knows the content of their conversation, Lees imagines that the duo relived past glories, conjured up their political legacies, and wrestled with their personal insecurities.

The ninety-minute play, performed without an intermission, is at times compelling, while at other times gets a little tedious. At times it is humorous, at times humorless.

We see a Nixon who alternates between being desperate, shrewd, paranoid, but, most important, utterly baffled by the situation in which he finds himself. How could his “friends” be demanding his resignation? How could his loyal public not come to his side, like Napoleon’s former warriors did when he returned from exile? This is a man who is on the brink of a total psychological melt-down. No sooner does one thought come into his head than another arrives before he has fully articulated the first. His language is obscene. His always inept smile, his inability to see reality, is present.
Kissinger, who starts off as a statesman who sees reality, but soon falls prey to his ego and desire to continue to be at the hub of the US foreign policy, starts conceiving illogical plots to save the duo. His fertile imagination includes various "Dr. Strangelove"-like possibilities including starting a war on the Russian-Chinese border.

Unfortunately, Lees fails to build all the needed tension of the high-stakes poker game he’s set up. The script often meanders.

Though both A. Neil Thackaberry (Nixon) and George Roth (Kissinger) are generally excellent, there are times when the portrayals need some polishing and a reality check. For example, Roth continually hides his head in his hands looking very child like. This would work if his actions following this departure from his usual logical control, were more keyed. His accent comes and goes. Thackaberry often misses the maniacal look that Nixon had, foreshadowing one of his deceptive actions. His body, complete with the traditional almost cartoon like gestures, sometimes loses the image. The “tricky Dickey” is only there part time.

The production yells for a keen eye to detail and the needed frenetic pacing to highlight Nixon’s closeness to being totally out of touch with reality and Kissinger’s near desperation, the qualities that garnered critical claim in its New York run.

Things are not helped by director Constance Thackaberry’s direction. Part of the problem may be the director’s youth. As she indicates in the program, the era and the characters were a historical discovery for her. Maybe someone who had lived through the Nixon days might have had a clearer awareness of the almost bipolar swings of the man and the tension of the era. And, her lack of directing background may also come into play here as the eye for detail is often missing.

CAPSULE JUDGEMENT: “NIXON’S NIXON’ is a good exposé of the Nixon era. The production, though sometimes slow, is interesting, if not compelling, and is worth a go-to for those interested in historical events and political intrigue.

Goldstar, Ohio

Emotionally draining ‘GOLDSTAR, OHIO’ at CPT

Being in the audience opening night at the world premiere of ‘GOLDSTAR, OHIO’ at Cleveland Public Theatre was a surreal experience. Many of those in the sold out crowd were wearing pictures or badges with the facial images of members of the 325th Marine unit who were killed in the Iraq war during the first week of August, 2005.

‘GOLDSTAR, OHIO’ is a play based on interviews conducted with the families of the fallen marines. Four families continued to speak to Michael Tisdale, the interviewer and author of the play for two-and-a-half years after the original in-take of information. They are the center of the script. The result is an in-time and personal revelation which, at times, becomes emotionally draining.

The first act lays the foundation of what happened. The second act, reveals reactions to and experiences following the killed Marines bodies arriving home.

Unfortunately, the play is at least forty-five minutes too long. It’s too bad that most of the excess is in the second act. But, it is also there that the words of families twist the heart. Jill Levin speaks words which rip into George W. Bush and his failed policy of taking the country into a senseless war which has resulted in over 4000 American deaths and multiple mental and physical injuries. I can’t perceive anyone sitting through that speech and not be repulsed by the actions of this administration and all those who support and supported the Iraq war. As the script states, “The casualties and fatalities of war will affect our communities for years to come.”

The cast, who play numerous roles, is universally excellent. This is a unit cast performing as a unified team. Applause to Jill Levin, Anne McEvoy, Dana Hart, Justin Tatum, Sarah Marcus, Bob Goddard, Casey Spindler, and Chuck Tisdale for a job well done.

Some might fear that the play may be too graphic. Be aware that there are no events that show the actual deaths. In addition, there is comedy that relieves the stress.

Kudos to Director Andy Paris, who, in his initial directing experience, did a masterful job. His stage pictures were involving. The creative use of the set was symbolically strong. Bows to Trad Burns for both the set and lighting design.

Capsule judgement: “GOLDSTAR, OHIO,’ in spite of its excessive length, is a compelling and meaningful presentation. It’s a go see!

A CHORUS LINE

‘A CHORUS LINE’: NOT WHAT IT SHOULD BE!

So there is no question about the basis of this review: I am ‘A CHORUS LINE’ fanatic. I love the show! This affection carries with it a problem...I go into productions of the show with the fear that the director/choreographer/actors are going to give me visual and emotional mind-burn.

Unfortunately, the touring production of ‘A CHORUS LINE,’ now on stage at the Palace Theatre, is a major disappointment! It lacks energy. It lacks the quality of acting, dancing and singing that makes the show a theatrical feast.

The results are very surprising considering that the tour has only been on the road since the beginning of May, so there is no reason for the general look of exhaustion from the cast. It is directed by Bob Avian, who was the co-choreographer of the original show which opened on-Broadway in 1975, won nine Tony Awards and ran for nearly 15 years, and closed in 1990 after 6,137 performances. This can’t be the show that opened in a Big Apple revival to rave reviews in 2006 and was billed as “exhilarating,” “endearing,” and “a masterpiece.”

‘A CHORUS LINE’ was originally conceived, directed, and choreographed by Michael Bennett, the recognized genius of theatre choreographers. It has music by Marvin Hamlisch and lyrics by Edward Kleban. The book was assembled by Elyria native James Kirkwood and Nicholas Dante.

The script was not written by the traditional means of a writer conceiving a plot. ‘A CHORUS LINE’ began as a workshop "share" session. A group of dancers met after rehearsals for other shows to talk about their personal and professional lives. The sessions were tape recorded, written down, and a libretto was pieced together. Their combined work, guided closely by Bennett, resulted in a staging scheme that filled the songs and book with overlapping layers.

The final result was a story set in a Broadway theater. Young hopefuls are auditioning for a job in the chorus line of a musical. As each speaks, sings and dances, we learn about their hopes, insecurities and dreams. And eventually, their individuality becomes blurred as they become part of the chorus line, blending together into a unit of one…a chorus line.

What has always stood out in the show was Michael Bennett’s amazing choreography. Unfortunately, in the touring production Baayork Lee, who restaged the moves, didn’t demand Bennett’s perfectionism, the use of what he called “cinematic staging.” The Bennett signatures of slanted bodies, tilted heads, precise hand and arm movements, the flick of the wrist that turns the hats, aren’t there in total harmony.

Bennett used a constant "jump-cutting" so the audience's attention is shifted from one figure to another. This draws focus to the character by placing the visual spotlight on that person. Bennett also used a series of mirrors to spotlight performers and make them stand out bigger than life in the eyes of the audience. This production lost many of those qualities.

The cast is uneven. Gabrielle Ruiz’s (Diana) “Nothing” was well interpreted, but her “What I Did for Love” ” failed to capture the mood and meaning of the song. Hollie Howard (Maggie) has a great voice, Derek Hanson (Don) has the Bennett dance attitude and moves, and Emily Fletcher has the right attitude as Sheila. Kevin Santos hits Paul’s emotional self-revealing monologue right on, not only bringing tears to his eyes but to the eyes of many in the audience.

On the other hand, Nikki Snelson doesn’t display the dancing, acting or singing skills to pull off the pivotal role of Cassie. Elise Hall (Val) fails to get the necessary humor from “Dance; Ten; Looks: Three). She doesn’t compare with Elyria’s Crissy Wilzak, who played the role during part of the original Broadway run.

CAPSULE JUDGEMENT: The touring production of ‘A CHORUS LINE’ misses the mark of being a “singular sensation,” which it should have been. It’s not, as a line from the show says, “nothing,” but it should have been so much more!

Noises Off

‘NOISES OFF’ at Cleveland Play House is entertaining, but…

‘NOISES OFF,’ now on stage at the Cleveland Play House, is a farce. In fact, it is considered to be one of the best written of the modern farces.

A farce, as the CPH program states, is “a comic dramatic work using buffoonery and horseplay, typically including crude characterizations and ludicrously improbably situations.” As anyone who has ever attempted to direct or act in a farce knows, it is hard work. It is probably the most difficult of theatrical formats to do well.

Though they try hard, the cast and director of ‘NOISES OFF’ just don’t get it totally right. Not that the production is bad, it’s not, it is quite entertaining. But it is not of the quality, for example, of the great production I saw in London of this show.

Maybe seeing a British play requires the British to do it. The accents, the natural over-exaggeration, the bigger than life characters, need that special Anglo touch.

The original staging opened in 1982 in London to rave reviews. A version of it opened in New York in 1983, starring Dorothy Loudon. It had moderate success, running 553 performances. A film version was made with Carol Burnett, Michael Caine, Christopher Reeve and John Ritter. Good cast, bad flick. A well respected critic wrote that the film was "one of the worst ever made."

The plot to ‘NOISES OFF’ centers on a play within a play. The fictional ‘NOTHING ON’ is a sex comedy which finds the cast often running around in their underwear, running in and out of doors, with no real purpose.

The ‘NOISES OFF’ segment finds us viewing three acts. The first, a rehearsal the night before opening with the cast still fumbling with entrances and exits, missed cues, misspoken lines, and bothersome props, most notably several plates of sardines.

Act Two portrays a performance one month later which reveals the deteriorating personal relationships among the cast that have led to offstage shenanigans and onstage bedlam.

In Act Three, we see a performance near the end of the ten-week run, when personal friction has continued to increase and everyone is bored and anxious to be done with the play. It contains one of the most delightful death-defying down-the-stairs falls you’ll ever see.

Much of the comedy should emerge from prat falls and general on and off-stage chaos. There should be a sharp contrast between players' on-stage and off-stage personalities.

The CPH version, under that direction of David Bell, tries hard for the slapstick. But, because of inconsistent pacing, some of it doesn’t work as well as possible. As for the on-stage/off-stage personalities, the cast generally fails. The personalities generally blend into one.

The play’s success depends, to a great degree on the set. Here, the CPH production shines as James Leonard Joy has created the perfect setting. In fact, the set is so effective that the audience universally sat in their seats at the set change between the second and third act. Unfortunately, after giving the viewers a taste of how the set would be altered, the curtain was dropped and the rest of the change hidden from view. Bad choice. The audience moaned and there were actually a couple of boos when the curtain closed. They wanted to see the stage hands do their thing.

Standouts in the cast are Christopher Kelly who is quite good as the mumphering Garry/Roger and Linda Kimbrough as Dotty/Mrs. Clackett, the maid.

CAPSULE JUDGMENT: The CPH production of ‘NOISES OFF’ is quite entertaining, but doesn’t reach the level of farce needed to really get the audience into a hysterical mood. As the play runs, maybe the cast will pick up the pace and separate the on-stage from the off-stage characterizations.

Into the Woods

'INTO THE WOODS' delights at Great Lakes Theater Festival

Have you ever asked yourself what happens following the “and they lived happily ever after” at the conclusion of most fairy tales? Do you think everything is rosy for the prince and his beloved, or for Jack and his mother after they get the hen that lays the golden eggs? Well, after watching ‘INTO THE WOODS’ at Great Lakes Theatre Festival, you might change your mind.

Stephen Sondheim and James Lapine’s musical, which was inspired by Bruno Bettelheim's THE USES OF ENCHANTMENT, intertwines the plots of several Brothers Grimm fairy tales in the first act and then explores the consequences of the characters' wishes and quests in the second act. The main characters are taken from “Little Red Riding Hood,” “Jack and the Beanstalk,” “Rapunzel,” and “Cinderella,” tied together by a story involving a Baker and his wife and their quest for a family.

‘INTO THE WOODS’ premiered on Broadway in 1987. Bernadette Peters' portrayed the Witch, and Joanna Gleason was the Baker's Wife. It won Tony Awards for Best Score, and Best Book in a year dominated by ‘THE PHANTOM OF THE OPERA.’

This is one of Sondheim’s most beautiful and accessible scores. It includes the poignant “No More,” “No One is Alone,’ and “Children Will Listen.” The music lingers in your mind long after the production.

As proven by Great Lakes Theatre Festival’s ‘MACBETH,’ which opened last week and now ‘INTO THE WOODS,’ GLTF is on a roll. It might be their new refurbished home in the beautiful Hanna Theatre, or it may be a change in attitude; but, whatever it is…audiences are in for a treat.

Director Victoria Bussert and choreographer Martin Cespedes create ever-involving stage pictures, which are framed by Scenic Designer Jeff Herman’s creative set. (Be sure to look for the faces and figures cleverly interwoven into the trees, which overlook the happenings.) Charlotte Yetman’s costumes, Norman Coates lighting and Stan Kozak’s sound design help complete the illusion.

Musical Director John Jay Espino and his well-tuned orchestra generally do a good job of backing up rather than drowning out the singers.

The cast is uniformly excellent. Jodi Dominick sings well and creates the right empathy as the Baker’s wife. Tom Ford, he of sad and mobile face, is excellent as the Baker. Jessica L. Cope has a compelling singing voice and creates a Witch who is delightfully witchy. Derrick Cobey makes for a great wolf, but overacts and postures too much as Cinderella’s Prince. Maryann Nagel is a fine fuss-budget as Jack’s mother. Tim Try is perfectly nerdy as Jack. Mark Moritz does a nice job of transitioning between being the Narrator and the Mysterious Man. Emily Krieger creates the right image as Cinderella, but is often difficult to hear during her songs.

CAPSULE JUDGEMENT: GLTF’s ‘INTO THE WOODS’ is a delightful production which entertains completely. It’s a go see!