Shaw Festival, 2010

THE SHAW FESTIVAL 2010…worth the ride!

The lovely village of Niagara-on-the-Lake is the home of The Shaw Festival. A generally excellent season of theatre, lovely flowers, classic home architecture and inviting well-stocked shops and galleries allow an inviting experience.

The Niagara area is dotted with wineries, many of which, besides offering wine tastings and sales, have fine dining restaurants.

There are some wonderful restaurants including Niagara Culinary Institute, 905-641-2252, ext. 4619 (www.niagaracollege.ca/dining), at which student chefs hone their skills. A new favorite is The Grill on King Street (905-468-7222, 233 King St.)

Because of the economy, there are more empty storefronts than in the past, but downtown still has an abundance of stores to satisfy shopping needs. Though the Canadian and US dollar are about on par, there are some good buys. I purchased a Corragio leather jacket for two-thirds off at Leonardo's (33 Queen Street). The Prospect, 92 Queen Street, has a vast collection of Crocks, not the ugly garden digger variety, but fashionable and comfortable ones for both men and women.

Our home away from home is the beautiful and well-placed Wellington House (www.wellington.house@sympatico.ca), directly across the street from The Festival Theatre. For information on other B&Bs go to www.niagaraonthelake.com/showbedandbreakfasts.

For theatre information, a brochure or tickets, call 800-511-7429 or go on-line to www.shawfest.com. Ask about packages that include lodging, meals and tickets. Also be aware that the festival offers day-of-the-show rush tickets and senior matinee prices.
To satisfy border requirements carry your passport.

REVIEWS OF SHAW 2010 productions:

HALF AN HOUR’—thirty-six minutes very well spent!
(Royal George Theatre through October 9)

Have 36 minutes to spare? If so, and you are in Niagara-on-the-Lake, go see J. M. Barrie’s ‘HALF AN HOUR.’

Barrie, who is known to many for his examination of boys who refuse to grow up and the women who are their caretakers, as expressed in his classic, PETER PAN, has a philosophical side as well.

In ‘HALF AN HOUR’ he illustrates how life can change in thirty minutes. Ironically, those precious few minutes are not only the subject of his play, but also approximately the play’s length, which is counted off to the audience.

The story concerns Lady Lilian Garson, described by the author as a “frozen flower,” who decides to escape from her confining husband. Is she successful? The plot includes a run for Egypt, a civil engineer, a left note, a wedding ring, a necklace, a taxi, and a case of hidden identity. It would ruin the experience to tell you the conclusion, but the route to the ending is compelling. But, as a hint to how this all turns out, remember the author’s words, "Those who risk all and lose have to face the consequences."

The cast is universally excellent. Michael Ball delights as the gentleman butler, Diana Donnelly is properly rigid and perplexed as the wife, Peter Krantz is excellent as the unflexible and controlling husband, and Peter Millard adds the correct confused and controlled characterization as Dr. Brodie.

Tyler Sainsbury’s set design is cleverly conceived.

CAPSULE JUDGEMENT: ‘HALF AN HOUR’ is a lovely pastiche that proves that a lot can be said in thirty six minutes, and in the hands of a creative director and a talented cast, it doesn’t take a lot of time to entertain.

‘JOHN BULL’S OTHER ISLAND’ examines British and Irish relations
(Court House Theatre, until October 9)

George Bernard Shaw is noted for his caustic humor and strong political views. Being an Irishman, he had strong opinions about the Irish, the Brits, the church, socialism, the role of women and businessmen. His 1904 play, ‘JOHN BULL’S OTHER ISLAND,’ is a comedy centering on Larry Doyle, who was originally from Ireland, who has moved to England, become a successful civil engineer and has returned to his home town in order to obtain land and build a golf course and other facilities.

Doyle, who has forsaken an Irish lass, brings Tom Broadbent, his English partner with him. Broadbent is taken in by the romance of the place and soon is displaying the Irish ability to talk-the-talk. He becomes a candidate for Parliament , and steals away Nora Reilly, who has been pining many years for Doyle. Peter Keegan, a defrocked priest, is Shaw’s moral voice in the script.

The term John Bull is the name of a character in British satire, Law Is a Bottomless Pit. He is represented as a stout Englishman wearing a top hat, waistcoat, knickers and high boots and has become the symbol of the British empire. In the case of this play, he is the stereotype of the Brit who thinks it is his duty to take care of and guide the Irish for “their own good.”
This play played an important role in Shaw becoming a major theatrical writer. The story goes that a command performance was given for King Edward VII. He laughed so hard he broke his chair. This incident was widely reported, the play became a “must see.” and Shaw’s reputation was set.

The Shaw’s production, under the adept direction of Christopher Newton, consistently develops the plays intent and purpose. Though a little long, it grabs and holds attention.
The cast is very strong. Especially effective are Jim Mezon as Keegan, Graeme Somerville as Doyle and Benedict Campbell as Broadbent.

William Schmuck’s stage design is excellent, considering that the numerous scenes are done on a three-quarter round stage which, due to sight-line requirements, restricts the placement of set pieces so that all the audience can see.

CAPSULE JUDGEMENT: While not being one of Shaw’s great plays, ‘JOHN BULL’S OTHER ISLAND’ is filled with laughs and makes its well-conceived points. It is well worth attending and is a must-see for Shavians as the script is seldom staged.

‘THE WOMEN’—poorly directed and acted!
(Festival Theatre through October 9)

Clare Boothe Luce’s ‘THE WOMEN’ became a cult hit when it was made into a 1939 film starring Joan Crawford, Rosalind Russell, Paulette Goddard and Joan Fontaine. The author’s acidic wit and overdone caustic realism featured catfights never seen before on screen.

The story concerns the pampered lives and power struggles of wealthy Manhattan socialites and the backstabbing chitchat that propels and damages their relationships. In both the play and the film, Luce probes into the role of the modern woman, marriage and divorce, female friendship, the power of gossip, beauty standards and socio-economic class.

The original Broadway production opened on December 26, 1936 and ran for 666 performances, making it a major box office hit.

For a production of ‘THE WOMEN’ to be successful takes unbridled realistic exaggeration. It must show the nasty underbelly of dialogue that has been described as “sparkling” and “glittering.” Unfortunately, the Shaw production has none of that.

Director Alisa Palmer does not seem to understand Luce, the New York society women who are present, or the necessity of using correct accents to stress the language that Luce writes.

The actresses don’t seem to get it either. Maybe they should have watched the 1939 film to see how US Americans took on these roles. The problem may well be that Canadians are too nice, they don’t understand and can’t duplicate the likes of caustic New Yorkers.

The results of all these missteps is a disastrous production which is too slowly paced, misses the pointed wit, and seems dated.

Though they seemingly try hard, none of the cast is character correct.

CAPSULE JUDGEMENT: While walking down the street, I overheard a discussion between two women who had just left ‘THE WOMEN.’ One said to other, “That was probably the worst production I’ve ever seen!” I wouldn’t go that far, but from my perspective, she wasn’t far from wrong.

‘DOCTOR’S DILEMMA’ makes effective house call
(Festival Theatre through October 30)

George Bernard Shaw was a social critic. His prime targets were the church, the political establishment, the lack of women’s rights and the British class system.

In ‘THE DOCTOR’S DILEMMA’ he chooses to skewer the medical establishment. Of course, this wouldn’t be a Shaw play without some socialist and anti-vivisectionist viewpoints as they relate to the topic.

Unfortunately, his 1906 complaints are still present today. Less so in England and Canada, who have universal health care, but still a major issue in the United States. Shaw’s antipathy for doctors may have been caused, in part, because as a young man he had a bout of smallpox which left him scarred on his right cheek, leading him to grow his signature beard to cover the mark.

The theme of the play centers on what treatments should be used, how doctors decide on treatments, and who should pay for medical care. It is thought that the passage of the British National Health Service Act of 1946 was passed, in part, because of Shaw’s strong stance for the service.

The story’s core centers on a doctor who has developed a cure for tuberculosis, but has only enough serum for one patient. Should he chose a poor medical colleague who treats the needy for very little personal gain, or an extremely gifted but very unpleasant young artist whose attractive wife the doctor wants for his own?

In spite of some extra-long monologues and excessive pontification on the part of the author, the Shaw production works well. Director Morris Panych points the actors in the right direction, paces the show well, and creates clarity of purpose.

The cast is excellent. Patrick Galligan is believable as Ridgeon, the doctor who developed the tuberculosis treatment. Jonathan Gould is excellent as the self-centered conniving artist, Thom Marriott (Bonington) and Michael Ball (Cullen) play the doctors more interested in individual profit and ego-satisfying than cure, with the right amount of humor and guile.

Ken MacDonald’s set designs and Charlotte Dean’s costumes aid in the plays development.

CAPSULE JUDGEMENT: ‘THE DOCTOR’S DILMEMMA’ gets a strong production at The Shaw. It is a production well worth seeing, especially in regard to recent conflicts over health care in the U.S.

‘ONE TOUCH OF VENUS’—dated show without much of a storyline
(Royal George Theatre through October 10)

It wasn’t until 1943, when Rogers and Hammerstein penned ‘OKLAHOMA,’ that the American musical began to stress the story line and integrated the songs and dances into the script. Before that, almost every musical had no story line or a thread of a plot. Songs and dances could be added and dropped without changing the impact of the show. A classic example of that non-integrated musical is Kurt Weill, Ogden Nash and S. J. Perelman’s ‘ONE TOUCH OF VENUS.’

Loosely based on Thomas Gutherie’s novella The Tinted Venus, the show satirizes newly emerging American suburban values, artistic fads and romantic and sexual mores.

The original 1943 Broadway production, which starred Mary Martin, ran 567 performances. It is most noted for the featured choreography of Agnes de Mille.

The story concerns a long-lost, priceless statue of the goddess, Venus, which is found and placed on display in an art museum in New York. The sculpture comes to life. Complications ensue when human males fall in love with the now “real” Venus. As in all good light fairy tales, all’s well that ends well, and Venus is returned to her natural state and the now real Venus moves to the suburbs and lives happily ever after.

Though it gets a nice production, as directed by Eda Holmes, with choreography by Michael Lichtefeld, the show goes basically no place and there is little to hold the viewers’ attention. The music, which is basically bland, is not-memorable. The show has only one well-known tune, “Speak Low,” and it is so irrelevant to the plot that it is sung three times, all in different contexts.

CAPSULE JUDGEMENT: Shaw’s ‘ONE TOUCH OF VENUS’ is not bad, it’s just that unless you are interested in musical theatre history, there isn’t much of a reason to see the production. The final curtain was met with politic applause and the audience left the theatre without reacting much to what they had just seen.

Wilde’s ‘AN IDEAL HUSBAND’ is ideal!
(Festival Theatre through October 31)

A gifted poet, playwright, and wit, Oscar Wilde was a phenomenon in 19th century England. He was noted for preaching the importance of a grand style in life and art, and of attacking Victorian narrow mindedness. Probably his most famous play was ‘THE IMPORTANCE OF BEING EARNEST.’ Also of note was his only novel, ‘THE PICTURE OF DORIAN GRAY’ which caused controversy as the book attacked the hypocrisy of England and its aristocracy.

Oscar Wilde, who was married, had an affair with Lord Alfred Douglas, whose father did not approve of the gay relationship and accused Wilde of sodomy. Wilde, unwisely, tried to sue the Marquess. His case was dropped when his homosexuality, which was outlawed in England, was exposed. Wilde was sentenced to two years hard labor in prison. When released, he was penniless and died shortly thereafter at the age of 46.

Wilde’s ‘AN IDEAL HUSBAND’ has a close tie to his trial and imprisonment. The play opened on January 3, 1895. In April of that year, Wilde was arrested for 'gross indecency' and his name was taken off the play. When the manuscript was published in 1899, Wilde was not listed as the author.

‘AN IDEAL HUSBAND’ is a comic-farce that tells the story of two women who want their husbands to be perfect. Through wit and pointed humor, exposing blackmail and political corruption, and examining private honor, Wilde exposes the difficulty of living according to limited perspectives.

Wilde said of the play’s purpose, "Sooner or later, we shall all have to pay for what we do." To which it can be added, as the play states, “Truth is a complex thing.”

Shaw’s production, under the meticulous direction of Jackie Maxwell, is superb. From the creative set changes, to the sure pacing, to the stylized character interpretation, the play sizzles with humor.

Steven Sutcliffe fully inhabits the role of Viscount Goring, who is the flamboyant Oscar Wilde, thinly veiled. Wendy Thatcher is delightful as the uptight gossip, Lady Markby. The rest of the cast is equally of high quality.

Judith Bowden’s design, Kevin Lamotte’s lighting and John Gzowski’s original music, all add to the quality of the production.

Capsule Judgement: ‘AN IDEAL HUSBAND’ gets a wonderful production under the masterful guidance of director Jackie Maxwell. It is one of the highlights of this season at The Shaw.

HARVEY
(Royal Geroge Theatre through October 31)

I did not see ‘HARVEY,’ but friends whose opinion I trust raved about the production.

The Producers

‘THE PRODUCERS’ produces laughs at Beck

Mel Brooks, who co-authored the script for the musical, ‘THE PRODUCERS,’ is noted as an off-the-wall, hysterically funny film director, screenwriter, composer, lyricist, comedian, actor, and producer. He is one of the few artists who has received an Oscar, Emmy, Tony, and Grammy. Among his zany works is The 2000 Year Old Man in the Year 2000 with Carl Reiner. He was a comedy writer for Your Show of Shows, The Dick Van Dyke Show, and The Steve Allen Show. His list of movie, TV and stage shows is endless. This is one talented man.

Brook’s first feature film was the satire, The Producers, a dark comedy. Because the major production number was entitled "Springtime for Hitler," studios wouldn't touch it. He finally found an independent company which released it as an art film. It went on to win an Oscar for Best Original Screenplay and became a cult hit. Brooks later turned the script into a musical, which became hugely successful on Broadway, receiving twelve Tony awards. It is this script which is now being presented at the Beck Center for the Arts.

‘THE PRODUCERS’ centers on a theatrical producer (Max Bialystock), noted for his many flops who, along with a nebbish accountant (Leo Bloom), schemes to collect an enormous amount of money, produce a flop, steal the money and fly off to Rio. Unfortunately, their ‘SPRINGTIME FOR HITLER’ becomes a hit and they wind up in trouble with the law. This is not before Bloom falls in love with the curvaceous Ulla, a group of old ladies perform a dance using walkers, a coop of pigeons do the “sieg heil,” and ridiculous accents, caricatures of homosexuals and Nazis are presented.

The musical takes much of its format and humor from the film, but deviates enough so that it becomes its own entity. It is much more upbeat and doesn’t have the flick’s darker side.

The original production opened on Broadway on April 19, 2001, starring Nathan Lane and Matthew Broderick, and ran for 2,502 performances.

Judging from the reaction of the nearly sold out Sunday matinee audience I attended, the Beck production, under the directorship of Scott Spence, delights. This, in spite of the fact, that some of the characterizations were slightly off and laugh lines were lost due to timing and nuance issues.

Mark Heffernan physically fits the role of Bialystock. He has a fine singing voice but lacks the comic timing and development of the shtick that is needed to fully flesh out the conniving producer. His “Betrayed” was well done, but “The King of Old Broadway” was emotionally flat. Brandon Isner, as Bloom, has a well-tuned singing voice but could have been more neurotic at the start so that we see a more drastic change as he “matures.” His “I Wanna Be a Producer” needed a harder sell, a more exciting presence. Both men need to grow into their roles, be more spontaneous and react, rather than act. They feign rather than are.

Betsy Kahl has the physical attributes for Ulla, but her accent keeps coming and going, especially when she is singing. Her “When You’ve Got It, Flaunt It” lacked the necessary overdone sexiness.

Kevin Joseph Kelly displays a big voice and personality as Roger DeBris, the fey director. His “Keep It Gay” was cleverly conceived and well done. Gilgamesh Taggett was properly overboard as Franz, the pro-Nazi. His “In Old Bavaria” was well done.

“Springtime for Hitler” should be a hysterical show stopper. As is, it was entertaining, but could have been so, so much more outlandish and fun.

The show moves quickly along, aided by well-timed set changes and May Ann Black’s nicely conceived choreography as performed by the huge but sometime laboring cast. Larry Goodpaster’s peppy orchestra does a nice job of playing and not overshadowing and drowning out the singers.

CAPSULE JUDGEMENT: Beck’s ‘THE PRODUCERS’ gets lots of laughs, though it misses some others. This show should be a total romp. When the cast settles in and stops begging for laughs and lets Brook’s natural humor and ridiculousness come through, the show should be even more pleasing.

Li'l Abner

‘LI’L ABNER’ cute but lacking at Mercury Summerstock

This month the U. S. Postal Service issued it’s “funnies” series. The stamps honor the likes of Archie, Dennis the Menace, and Calvin and Hobbes. Unfortunately, missing from the list are two comic strips that led to Broadway musicals: Little Orphan Annie and Li’l Abner. A version of the latter is now on stage at Mercury Summer Theatre.

‘LI'L ABNER,’ with book by Norman Panama and Melvin Frank, music by Gene De Paul, and lyrics by Johnny Mercer is a satirical look at the inhabitants of Dogpatch, USA (Kentucky). The comic strip, written and drawn by Al Capp, ran from August 13, 1934 through November 13, 1977. The Broadway production, directed and choreographed by Michael Kidd opened on November 15, 1956 and ran for 693 performances.

The somewhat dated musical is a spoof of hillbillies but also points zingers at the incompetent federal government, corrupt politicians, and perceptions of masculinity.

Just before the traditional Sadie Hawkins Day race when Daisy Mae is again “yurnin’ to ketch” the handsome, muscle bound, emotionally void Li’l Abner, Dogpatch is declared the "most unnecessary town" in the U.S. and is set to be turned into a nuclear testing site. The only thing that will save it is to locate something that makes the area a national treasure. Of course, in the end, as is true of all musical spoofs, things “turns out fer the best.”

Besides Li’l Abner, whose family name, “Yokum,” cartoonist Al Capp conjured up by combining “yokel” with “hokum,” and Daisy Mae, she who gave the signature name to short-shorts, all the well known comic strip’s characters are present including Mammy and Pappy Yokum, Marryin’ Sam, Earthquake McGoon, Evil Eye Fleagle, General Bullmoose, Stupefyin’ Jones and Senator Phogbound.

The original Broadway cast starred Peter Palmer in the title role, Edie Adams as Daisy Mae, and the marvelous Stubby Kaye as Marryin' Sam. A film based on the stage musical was released in 1959, with most of the Broadway cast reprising their roles.

The clever words and the catchy music include “A Typical Day,” “If I Had My Druthers,” “The Country’s in the Very Best of Hands,” and the cute ballad, “Namely You.”

The Mercury production, under the direction of Pierre-Jacques Brault, has many creative moments and some right-on performances. However, to make this show work, the staging and attitude must be one of comic strip level farce and attitude. No tongue and cheek here. Out-and-out comic mayhem must let loose, as was the case with the Broadway production. Unfortunately, though the performers try, the Mercury cast just doesn’t make the show explode.

When I saw the show in the Big Apple, my feet were constantly tapping and I had a feeling of total glee. In the Mercury production I smiled and appreciated the many creative moments conceived by Brault, but I wanted more. I wanted more of what Brian Marshall created with his over-the-top Pappy Yokum. Though they gave good performances, I still wanted even more exaggeration from Kelvette Beachman as Mammy Yokum and Dan DiCello as Marryin’ Sam. We needed a more stupefying Stupefyin’ Jones and more macho braggart Earthquake McGoon. Why did Evil Eye Fleagle, whose quirky actions were well developed by Ryan Thompson, have a Russian accent? Capp said of the character, “The zoot suit-clad Fleagle was a native of Brooklyn, and his burlesque New York accent was unmistakable.”

Jason Leupold has the face, hair, height and the singing voice for Abner, but he lacked the physique and vulnerable manhood. Leupold gave us sweet boyhood. Annie Hickey had the Daisy Mae look, except for the ill coifed wig. Her voice was a little shallow but she developed a charming rendition of “I’m Past My Prime,” with Marryin’ Sam. The male chorus sang and danced well, but didn’t fit the part of super studs when they were supposedly transformed into Abner-duplicates by Mammy’s potion.

Fun numbers were “Jubilation T. Cornpone” and “Progress Is the Root of All Evil.” On the other hand, “The Sadie Hawkins Day Ballet” went on and on and on, wearing out the cast and the audience.

As usual, Musical Director Eddie Carney did a great job of keeping his well-tuned orchestra under control so they backed up, rather than drowned out the singers.

CAPSULE JUDGEMENT: Mercury’s ‘LI’L ABNER’ is a pleasant evening of diversion, but could have been so much more fun if it had been played even broader and the cast had really let loose.

The Foreigner

Blossom fireworks enhance laughter at Porthouse’s ‘THE FOREIGNER’

Just at the moment when a plot-changing explosion took place during Porthouse Theatre’s production of ‘THE FOREIGNER’ on opening night, a giant explosion of fireworks let loose following the conclusion of the “1812 Overture” at the Blossom Center Pavilion, which shares the grounds with Kent State’s Summer Theatre. The Porthouse audience broke out in thunderous and prolonged applause and laughter at the coincidence. How the cast held straight faces is a wonder, but they did, and continued on as if it was a planned occurrence.

The incident was a fitting conclusion to a hilarious evening of theatre!

Larry Shue’s ‘THE FOREIGNER’ is a comedy. In spite of a common belief that comedy is easy to do, it is one of the most difficult types of theatre to stage and perform. There is a tendency for directors and actors to overdo and milk laughs by overacting and adding much farcical goings on. This usually detracts rather than adds to the hilarity. Good comedy, based on clever lines which are presented in well-timed and delivered performances, leads to much more delight than overdone mannerisms. And, believe me, director Rohn Thomas and his well primed and talented cast, gets every deserved laugh out of Shue’s script!

‘THE FOREIGNER’ finds the pathologically shy Englishman, Charlie Baker, being brought to a resort-style fishing lodge in rural Georgia by Staff Sergeant Froggy LeSueur. In order to protect Charlie, Froggy concocts a story that Charlie is a resident of a “foreign” country and does not understand a word of English. Before long, Charlie finds himself privy to assorted secrets and scandals freely discussed in front of him by the other visitors, including knowledge of a pregnancy and an attempt by the Ku Klux Klan to get the lodge as their meeting hall. Besides the English duo, the characters include a spoiled but introspective heiress, her dim-wit Forest Gump-like brother, her preacher fiancé who has a dark underside, a racist county property inspector, and the lodge’s owner.

Though the script will not challenge the quality of Shakespeare’s comedies, or even the writing of Neil Simon, it did win several Obie Awards and two Outer Critics Circle Awards. Unfortunately, the author, Larry Shue , who incidentally acted in the show’s original production, died in a plane crash a year after the show opened, not living to see the lasting popularity of his oft-performed script.

Eric van Baars, who has a wonderful ability to play comedy, is right on target as Charlie. His timing was impeccable. Tony Zanoni, as the dim-witted Ellard, is nothing short of brilliant. Paula Duesing is fun as the lodge’s owner and Robert Ellis is properly obnoxious as the hate mongering Owen. Though Amy Pawlukiewicz could have been a little more belle-like in order to enhance her transition into a “real” person, John Kolibab could have screamed a little less as Froggy, and Darren Nash could have developed a more realistic Reverend, the over-all effect is just out and out fun.

Ben Needham’s set design, Thomas Kouyeas Jr.’s lighting design, and Jason Potts’ sound design all enhance Thomas’s fine directing.

CAPSULE JUDGMENT: Porthouse’s ‘THE FOREIGNER’ is just out and out fun. Though other audiences won’t get the thrill of hearing the extra added fireworks explosions from Porthouse, there is more than enough verbal excitement and glee going on to assure patrons of a perfect night of summer-time hysterical escapism.

Review of the Reviewer's Reviews: Tom Kuby

Always have praise and appreciation for your thoughtful, cogent reviews; they always influence whether we go or not. I join the many others - vocal or not - thanking you.

Tom Kuby

Romance

Hysterical, compelling ‘ROMANCE’ at None Too Fragile theatre company

David Mamet, the author of ‘ROMANCE,’ which is now being staged by None Too Fragile Theatre, is an American author, essayist, playwright, screenwriter, and film director. He is known for his clever, terse, sometimes vulgar dialogue and exploration of masculinity.

Though ‘ROMANCE’ is billed as a comedy, and believe me it is funny, it is also an exploration of the American judicial system, and the world’s lack of ability to live in peace. It showcases the underlying hatred of people, even well-meaning ones, which comes out in times of high stress.

Though the audience is unaware of it, Mamet's style of writing dialogue gives clear messages to the director and actors of his scripts, on exactly how to interpret the lines. He illustrates his often edgy language with italics and quotation marks to highlight particular words. His style often finds characters interrupting each other and leaving ideas unfinished. Mamet has criticized writers, including himself, for “writing pretty at the expense of sound and logical plots.” He is the recipient of a Pulitzer Prize and several Tony nominations.

‘ROMANCE’ takes place in a courtroom. Present are a Jewish chiropractor, a Catholic defense lawyer, a fey prosecutor, a pill-popping judge, and a black bailiff. As a Middle-east Peace Conference convenes nearby, an ambiguous court case is side-tracked by domestic squabbles, ethnic slurs, and a hallucinating adjudicator. Chaos reigns as Mamet asks, “Why can't we all just get along?”

We are challenged to consider whether “Shakespeare was Jewish”, “Christ was a fag,” and whether “picking a gentile lawyer is like going to a straight hairdresser.”

The None Too Fragile Theatre, which is an outgrowth of the now defunct Bang and Clatter, presents another top-notch production. Director Sean Derry has selected a talented cast and has formed them into a cohesive whole. The cast, as well as the audience, leaves the play exhausted from the super-speed speaking and the physicality of the staging.

Jim Viront is hysterical as the pill-popping sexually perverted judge. The uptight prosecuting attorney, who is a closeted gay man living with a flamboyant boyfriend, is perfectly developed by Richard Worswick. Ryan McMullen is delightful as Bunny, the prosecuting attorney’s “wronged” lover who flounces around in bikini underwear and high-heeled shoes. Gabe Riazi , is on target as the Jewish defendant who, after concocting a ploy which his gentile lawyer won’t buy, states, “Why did you go to law school if you don’t want to lie?” Robert Samuel Grant III is fun as the light-fingered bailiff who plies the judge with drugs. Dane Lee is not quite believable as the defense attorney and Eric Wagner makes little of his cameo appearance as a doctor.

The 90-minute play, done without intermission, is hysterically funny, but also broaches many thought provoking topics.

CAPSULE JUDGEMENT: Mamet’s ‘ROMANCE’ gets a great production at None Too Fragile Theatre. It’s worth the drive to Cuyahoga Falls to view this production.
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Joseph And The Amazing Technicolor Dreamcoat

Creative ‘JOSEPH’ at Mercury Summerstock

“Way way back, many centuries ago, not long after the Bible began,” Joseph, Jacob’s favorite son, is sold into slavery by his jealous brothers, becomes he pride-and-joy of the Pharaoh, and is reunited with his siblings when they come to Egypt for food during a famine. This is how the tale of ‘JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT’ develops. The script is filled with all sorts of musical treats ranging from western to calypso, to laments, to ballads, and includes such great songs as “Any Dream Will Do,” “Poor, Poor Joseph,” “Close Every Door,” and “You Are What You Feel.”

A version of the Joseph legend is now on stage at the Brooks Theatre of the Cleveland Play House, under the sponsorship of Mercury SummerStock, Cleveland’s summertime theatre, that much like the Jews of old, keeps wandering in the desert (urban desert, that is) in search of a home. Their latest camping site, Parma Little Theatre, was lost due to budgetary cuts in the city’s schools. So, for a short time, Mercury is making a sojourn into the oasis called, Cleveland Play House, before it goes off looking for its promised land.

The script for ‘JOSEPH’ has an unusual history. It was originally conceived by Tim Rice and Andrew Lloyd Webber to be a short school skit. It eventually grew into a series of songs that were sung as a concert. It was never intended to be a staged musical. In fact, there is no actual script, just a series of songs. There are no spoken lines and the authors have given no directions for the staging. Because of this, every production of the play has a personality all its own.

Mercury’s Artistic Director, Pierre-Jacques Brault’s vision is a black-and-white early Hollywood movie. As Brault explains it, “Set on an MGM soundstage in the Golden Age of cinema, Cecil B. Demille’s latest epic ‘Joseph,’ is fixed to star the iconic characters that made headlines through the 1920’s and 1930’s. Rudolph Valentino, W. C. Fields, Mae West, The Little Rascals, Charlie Chaplin and the Marx Brothers are all on hand to playfully spin the Old Testament tale.”

And, in general, that’s what we see on the Brooks’ stage. The costumes are almost all black and white, the old time stars are generally recognizable, and most of the machinations fit into the songs. But the rub is that Brault doesn’t always pay attention to the words which the musically gifted cast is singing.

We are told Joseph’s coat is composed of over 30 different colors. Well, Joseph’s cutaway is basically black with a few other colors, but definitely not “azure, and lemon and russet and gray.” Nor, does it ever get “ripped up.” In “Those Canaan Days” we see a delightful Charley Chaplin depiction of his balloon “shtick” (nicely done by Brian Marshall). Cute, yes, but the song is about the brothers being so hungry that “no one comes to dinner now, we’d only eat them anyhow.” Hmm? Okay, so Joseph and his brothers finally reunite, supposedly after Joseph “hands them sacks of food” (oops, those are orange crates which easily reveal that he has “planted a cup in Young Benjamin’s sack.” And, then there’s the big climax when “Joseph went to meet him [Abraham] in his chariot of gold.’ (Nope, Abraham walks over to Joseph.) Am I being picky? Probably, but words to songs are written for a purpose and must be adhered to, especially in a show that is totally depended on the meanings of the words of the songs.

So, do these deviancies from the author’s intentions ruin the production? Not really. The show is generally audience pleasing, which was evidenced by the screaming ovation at the end of the show the night I saw it. But, were they listening to the words?

The cast is filled with excellent voices and some good actors. Brault’s dividing up the role of the narrator gives each of the cast members solos. Nice idea to show off their individual talents.

Going against type, Jonathan Ramos portrays Joseph. The part is usually portrayed by a singer with a big voice and stud body. The slightly built Ramos has a pleasant sound, with a limited range. He adds a cute vulnerability to the role, which may not be what we want in a Biblical hero, but it works in its own way.

The cast has some difficulty carrying out Brault’s creative choreography because there are just too many people for the postage stamp-sized stage. Less bodies in the dance, or using the aisles might have helped the dancers from bumping into each other and allowing Brault’s choreography to be clearly displayed.

Musical Director Eddie Carney goes a great job of keeping his well-tuned orchestra under control so they back up, rather than drown out the singers.

Margaret Ruble’s black and white costumes are creative and lend credence to the old movie theme.

CAPSULE JUDGEMENT: Mercury’s ‘JOSEPH’ is audience pleasing, in spite of some lapses in words versus image issues. Most people attending will enjoy it, and it’s a good production for the whole family to see. So, “Go, Go Joseph.”

Fiddler on the Roof

Harvey Fierstein fashions his unique take as Tevya in ‘FIDDLER’ at the Palace

‘FIDDLER ON THE ROOF’ is unique and generally considered a classic in the musical theatre genre. Harvey Fierstein, who stars as Tevya in the production which is now on stage at the Palace Theatre as part of the Broadway Series, is also unique, and is likewise considered a classic. The duo meet head on in this production, billed as 'FIDDLER ON THE ROOF': THE FAREWELL TOUR.’

‘FIDDLER,’ a Tony award winning musical, is based on the stories of Yiddish writer Sholom Aleichem, which were published in 1894. With music by Jerry Bock, lyrics by Sheldon Harnick, and book by Joseph Stein, its memorable score includes such rousing and emotionally laden songs as, "Tradition," "Matchmaker, Matchmaker," "If I Were A Rich Man" and "Sunrise, Sunset."

It is Tsarist Russia in 1905. Tevye, the father of five daughters, attempts to maintain traditions while outside influences encroach upon century-long patterns. His three older daughters each make life changing decisions, which moves them further from customs of their faith, and an edict from the Tsar, that evicts the Jews from their village, further destroys life as Tevye has known it. This is a tale of humor and pathos that can have universal identification.

The original Broadway production of the show, which opened in 1964, was the first run of a musical to surpass the 3,000 performance mark. In spite of original doubts that it would only be of interest to Jewish audiences, the show has been extraordinarily financially profitable and well received. Critically, the original production was nominated for ten Tony Awards, winning nine, spawned four Broadway revivals, a 1971 film adaptation, and countless international, community and school productions.

The show’s title stems from the painting "The Fiddler" by Marc Chagall, one of many surreal paintings he created of Eastern European Jewish life. The fiddler, which is often found in Chagall’s works, is a metaphor for survival, through tradition and joyfulness, in a life of uncertainty and imbalance. Chagall’s art was also the inspiration for the original sets for the show.

Zero Mostel was the first Broadway Tevye. Others nootables who have played the pivotal role in one of the shows many productions show are Herschel Bernardi, Theodore Bikel, Leonard Nimoy, Paul Lipson and Chaim Topol. Topol opened the 'FIDDLER ON THE ROOF': THE FAREWELL TOUR’ in January of last year. He left the tour in November due to torn muscles in his arms. Enter Harvey Fierstein, who had played Tevya in the 2005 Broadway revival of the show.

Fierstein is noted as the writer and lead actor in the Tony Award winning ‘TORCH SONG TRILOGY.’ He also wrote the book for ‘LA CAGE AUX FOLLES,’ which won the Tony Award in 1983 and was again recognized at the recent Tony ceremony. Fierstein won an acting Tony Award for the role of Edna Turnblad in the original Broadway production of ‘HAIRSPRAY.’

Your reaction to Fierstein’s portrayal of Tevya will depend on your perception of the script and how much you like Fierstein and his techniques. One thing is for sure, he does not do an imitation of Mostel. His gravely voice, which often sounds like he has both laryngitis and is in the midst of teenage puberty vocal change, adds a humorous texture to Tevye which serves well in the comic sense, but doesn’t help set up the pathos scenes. Fierstein has a great sense of comedy which he develops by the use of extended pauses, eye rolls and sighs. To some it may appear he is begging for laughs, to others, it is part of his comedic charm.

Genius Jerome Robbins laid the foundation for ‘FIDDLER’ through his faithfulness to Jewish traditions (having actors kissing the mezuzah on door frames, adherence to Hebrew pronunciation in prayers, and using the cantorial sounds of the music as the basis for his choreography). Though the present touring production holds to the original choreography, some of Robbins’ touches have been modified. Not so that ‘FIDDLER’ newbies will notice, but apparent to those who saw the original or reenactments of the dancing.

There is a cadence to the way Yiddish is spoken. It is not an accent, but a rhythm. Much of that is void in this production. Yenta (the matchmaker) and Golda (Tevya's wife), for example, sound like they are from modern day New York, rather than the shtetl of Anateva. Accents need not be used, but the cadence is necessary to help create the “tam,” the taste of the script.

Matthew Marks (Fyedka), Jamie Davis (Hodel) and the chorus are excellent vocally. Zal Owen is delightful as Motel, the tailor. The dancing is strong. Highlight numbers include “Tradition,” which sets the mood of the show, “Sabbath Prayer,” and “Do You Love Me?”

The use of the fiddler in this production adds an interesting dimension to the goings on. His presence, as the center of the traditions, and his dismissal as the traditions are broken, adds to the story development.

CAPSULE JUDGEMENT: 'FIDDLER ON THE ROOF': THE FAREWELL TOUR,’ doesn’t carry all of the emotional impact of many productions of the show, but there is an extended humor level that many will enjoy. If you delight in Harvey Fierstein, you’ll love this production.

Sweeney Todd

Music drowns out well conceived SWEENEY TODD at Cain Park!

‘SWEENEY TODD,’ the 1979 Tony Award winning musical, that has music and lyrics by Stephen Sondheim and a book by Hugh Wheeler (‘A LITTLE NIGHT MUSIC,’ ‘CANDIDE.’ ‘PACIFIC OVERTURES,’ ‘MEET ME IN ST. LOUIS’), is now on stage in Cain Park’s intimate Alma Theatre. It is based on Christopher Bonds’ 1973 play of the same name.

It tells the story of Benjamin Barker, aka Sweeney Todd, who returns to London from Australia after spending fifteen years in prison on false charges. When he learns from his former landlady, Mrs. Lovett, that his wife poisoned herself after being raped by the Judge who wrongly imprisoned him and who took Barker’s daughter to be his ward, Barker, as Todd, vows revenge. The plot, full of twists, turns, gore and more gore, is not the stuff from which musicals are usually crafted.

The score, which contains some of Sondheim’s most memorable music, includes “Johanna,” “Pretty Woman,” the repulsively hysterical “A Little Priest,” and the brilliant, “Not While I’m Around.”

Cain Park’s small Alma Theatre creates problems for staging the play. ‘SWEENEY TODD’ is not an intimate play. It is bigger, much bigger than life itself. Many special effects are needed to make the visual images real. It also is not an easy space for a musical. Since it is basically open aired, the vocal sounds often float out into trees and open spaces and the sounds of the street sometimes invade the performance space. The speaker system is far above the heads of the audience, making hollow spaces in the first half dozen rows, even though the cast wears microphones. The humidity also absorbs the sounds.

In such a setting, a musical director must be careful to tone down the orchestra. Unfortunately, Jodie Ricci does not take into consideration that her orchestra is not the center of the universe, the words to the songs are, and her having the instruments playing at full blast drowns out the voices. Since Sondheim’s vocals carry the meaning of the play, this leaves the audience frustrated in trying to grasp the ideas.

Ricci’s lack of control of the musical sounds basically ruins a focused directing job by Paul Gurgol and mars the strong singing abilities of the cast.

Since the play’s style is based on the French Grand Guiginol melodramatic structure , which centers on a violent plot and terrifying stage effects, consistent melodrama is needed. If this is done, the visual horror of the play subsides and almost a humorous reaction results from the violence. Unfortunately, there is some inconsistency on the cast’s part in whether the play is realistic or melodramatic.

Benjamin Czarnota is properly brooding as the bloodthirsty-for-revenge Sweeney Todd. He has an excellent singing voice. He often makes distracting facial expressions and, like many in the cast, seems so concerned about his British accent, that some of his lines are unintelligible.

Valerie Reaper sings well and physically fits the role of Johanna, Todd’s long lost daughter. Chris McCarrell also sings well, but does not have the physical presence needed as Anthony Hope, Johanna’s suitor and savior.

Nick Koesters’ is lecher-right as Judge Turpin, the deviant official who sentenced Todd to exile and has taken Joanna to be his ward. He is evil incarnate.

Patty Lohr lacks the underlying humor often present in Mrs. Lovett, who lusts after Todd, but she is consistent in her characterization.

Bob Russell does a good job developing The Beadle, a pompous public official. Max Joseph adequately develops the role of Tobias, a waif who is taken in by Mrs. Lovett and Todd. Unfortunately, his version of the beautiful and haunting “Not While I’m Around” lacks concept. He sings words, not meanings.

Aimee Collier clearly develops the pathetic Beggar Woman.

Strong points of the production include the opening number, “Pretty Woman,” “Epiphany, and “The Letter.” “Pirelli’s Miracle Elixir” and “A Little Priest” needed to be much more fun.

Russ Borski’s set and lighting designs are excellent.

CAPSULE JUDGEMENT: If an effort is made to tone down the orchestra so that the words to the numerous songs could be clearly heard, Cain Park’s ‘SWEENEY TODD’ could be a positive experience. As is, unless you already know the score, you won’t grasp much of the meaning in spite of some good acting and singing.

The 25th Annual Putnam County Spelling Bee

Porthouse’s SPELLING BEE is “f-u-n”

At the start of opening night of Porthouse Theatre’s ‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE,’ four members of the audience were called onto the stage. As the production proceeded, they were asked to spell words such as “astrobleme,” “Hasenpfeffer,” “origami, “Weltanschauung” and “Cenacle.” For the privilege of being a spelling bee failure, these people were singled out because of their relationship to Porthouse personnel (for example, Charles Kent, director Terri Kent’s father) or gave a $100 donation. Upcoming spellers include arts patron Roe Green and “kid reviewer” Alex Berko.

SPELLING BEE, which is based on ‘C-R-E-P-U-S-C-U-L-E,’ an original improvisational play created by Rebecca Feldman, is one of those fun musicals, with some underlying messages, including tolerance, teen angst, and parenting styles. But, most of all, it’s just plain out and out joy.

The show has music and lyrics by William Finn and book by Rachel Sheinkin. It centers around a fictional spelling bee set in the Putnam Valley Middle School gym. Six quirky adolescents and three adults, who are as much children as the contestants, compose the cast.

The musical treats the audience as if they were at the bee. Cast members single out attendees and, in some cases, talk directly to the assemblage, sometimes with hysterical results. For example, last year’s “winner,” Chip Tolentino (Eric Tsuchiyama), who is in the throes of testosterone-gone-wild, is distracted by an attractive female audience member, resulting in a physical reaction and a misspelling. (Yes, though older kids will like this show, be aware that there are a few sexual overtones. My 14, 13 and 10 year old grandsons saw the recent Beck Center production, and loved it.)

Originally conceived as a one-act, 90 minute production, the Porthouse version has a break in the middle. Having seen the show in a single sitting in New York, I think the local production’s format works better.

Do any of the non-actors turned spellers do well? Usually they make it through one or two rounds, but when Katharine Close, the 2006 winner of the Scripps National Spelling Bee, was invited to be a guest speller, she survived 14 rounds.

The Porthouse production, under the direction of Terri Kent, is fun. Some of the characterizations could have been broader, but that should come as the cast starts reacting to and playing more with the audience and each other.

Highlight performers included Danny Lindeberger, as the eccentric Leaf Coneybear. His rendition of “I’m Not That Smart,” was tender and delightful. Maren Ritter as Olive, whose mother is on a world quest to “find herself” has a fine voice and her “The I Love You Song,” was well done. Though he still could make the character broader, Dane Castle gives a nice shine to the “foot speller,” William Barfee. “Magic Foot” is a show highlight. Sandra Emerick, as the former spelling bee winner and “mother superior” of the contest, sings well and developed a believable characterization. Marc Moiritz (Vice Principal Panch), Rumi Oyama (Marcy), Casie Rea (Logainne), and Jason Samuel (Mitch) all do their part to add to the fun.

Happily, Eric van Baars’ choreography is pleasant and Jonathan Swoboda keeps his musicians under control so that the singers’ words can be heard.

CAPSULE JUDGMENT: If you want to smile and have a good time, and see some talented young people sing and dance, pack a picnic basket, go early, sit at one of the many tables with multi-colored umbrellas on the theatre’s lawn, and see Porthouse’s ‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE.’ It is a pleasant evening of summertime theatre.

Dark Ride

A ‘DARK RIDE’ at convergence continuum

You don’t go to convergence-continuum to see traditional theatre fare. You go to see what off-the-wall script Artistic Director Clyde Simon has pulled out of his theatrical hat. Simon’s motto seems to be, “The weirder, the better.” And, if that’s what draws you to con-con, you’ll be thrilled with his most recent find, ‘DARK RIDE.’

A dark ride or ghost train is the British term for an indoor amusement ride where the participants are guided through specially lit scenes that typically contain animation, sound, music, and special effects. The effect is surreal. This concept is the basis for Len Jenkin’s ‘DARK RIDE,’ in which peculiar actions increasingly create “convoluted disquisitions on the nature of coincidence.”

As one past reviewer of a production of the script stated, "’DARK RIDE’ offers quirky entertainment for an audience that is not terribly concerned about making sense of what is going on.” To which I say, “Right on!”

The cast of characters includes a book reading young woman whose boyfriend has disappeared, the boyfriend (a thief), a couple who from time to time appear to run a carnival, a would-be translator of what is possibly a fake third-century-B.C. Chinese document, a blustering soldier of fortune, a waitress, and a woman who is an expert on coincidence, and assures us that “Jonah was in the belly of the whale for three days and Jesus was entombed for three days. What a coincidence!”

Jenkin weaves the mélange together into a whole that he assumes the viewer will, somehow, be able to merge. But like a fun house ride, he also allows for the fact that the whole doesn’t have to blend together. By the end, as the young man sitting next to me stated, “I’m not interested in philosophy, just tell me how it ended and why.”

Geoffrey Hoffman has the task of directing the play. Despite that on opening night there were numerous line flubs, all in all, he does a nice job. There were many laughs from the sold out opening night audience, some because of the plot’s ridiculousness, some from actually funny lines.

Lucy Bredeson-Smith, she of tall angular body and “creative make-up,” fills the role of the laughing lady of coincidence at the amusement park, with her usual bizarre sense of humor and high quality acting. The rest of the cast fulfills their roles in blending together the ride, with various levels of success.

Capsule Judgement: ‘DARK RIDE’ isn’t for everyone. It takes a special person, with a strange sense of the ironic and flexible logic, to enjoy the machinations of Len Jenkin’s mind. If you are one of those, you’ll appreciate con-con’s latest offering.

Summer, 2010 theatre dance calendar

A list of Summer theatre and dance offerings

According to local weather forecasters, warm weather may be approaching, so it’s time to examine what’s going on this summer in theatre and dance. Here’s a partial list of what’s on the boards:

PORTHOUSE
The 25th Annual Putnam County Spelling Bee running June 10 – 26. This hilarious musical chronicles the experience of six adolescents vying for the spelling championship. Some audience members are picked to display their prowess as spellers.
The Foreigner by Larry Shue is a story about Charlie, a painfully shy Englishman, who, while on a vacation, concocts a plan to avoid speaking to others by posing as a mysterious foreigner who speaks no English. Running July 1 – 17.
Bye Bye Birdie, the Elvis goes to the army musical, with book by Michael Stewart, lyrics by Lee Adams and music by Charles Strouse. Running July 22 – August 7.
Curtain times are 8 PM Tuesdays through Saturdays and 2 PM Sundays.
Box Office--330-929-4416 or 800-304-2363.

SUMMER STAGES, CSU
The Elephant Man, July 8 – August 5. The true story of John Merrick, a man hideously deformed at birth, which questions the ideas of perception and what it means to be beautiful.
Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feeling so Sad by Arthur Kopit, July 9 – August 6. Madame Rosepettle is fabulously wealthy. She travels around the world according to her fancy, dragging along her neurotic son, an endless pile of luggage, and the body of her deceased husband.
Curtains, July 10 – August 8. A musical of murder mystery plots. Can a police detective who moonlights as a musical theater fan save the show, solve the case, and maybe even find love before the show opens, without getting killed himself?
All shows run Thursdays, Fridays and Saturdays at 8:00 pm and Sundays at 2:00.

CONVERGENCE CONTINUUM
Dark Ride (May 21-June 19) Cross the threshold into a phantasmagoric carnival.
Hunter Gatherers (Jul 16 – Aug 14) Cross the threshold into a primal universe.
Say You Love Satan (Sep 3 - 25) Cross the threshold into a dating hell.

To make reservations: 216-687-0074 or go on-line to https://www.ticketleap.com

PLAYHOUSESQUARE
The Phantom Of The Opera
Andrew Lloyd Webber’s International Award-Winning Musical returns to PlayhouseSquare in Cleveland in its FINAL Ohio Engagement, July 28 – August 22
Tickets: 216-241-6000 or www.playhousesquare.

THE CLEVELAND SHAKESPEARE FESTIVAL
The Cleveland Shakespeare Festival, Cleveland’s only for free outdoor Shakespearean theater, presents Titus Andronicus and The Merry Wives of Windsor in repertory on Saturdays and Sundays at various outdoor locations throughout Northeast Ohio. Audience members are encouraged to bring lawn chairs or blankets and seat themselves prior to each outdoor performance.

For more information on The Cleveland Shakespeare Festival go to www.cleveshakes.org.

INGENUITY FESTIVAL
Ingenuity is hosting Speakeasy 2.0 on Friday, July 23rd in the West Side subway tunnels and catacomb spaces of the Detroit-Superior Bridge.

This fundraiser begins at 6 PM with cabaret performances, classic cocktails, food, and drinks. Tickets for this portion of the evening will be $100. At 9 PM there’s a more casual party with DJs, drinks and dancing. Guests can enter for this part of the evening for $20, which includes two drink tickets. Details and ticket information at www.ingenuitycleveland.com/speakeasy or by calling 216-589-9444.

CAIN PARK
Theatre and dance offerings at Cain Park are:

Sweeney Todd: The Demon Barber of Fleet Street, Alma Theatre, June 10-27, Thursday through Saturday, 7 pm, Sat and Sunday, 2 pm. The award winning Sondheim musical tells the story of exiled Sweeney Todd, who returns to London to find his wife and daughter in the hands of evil Judge Turpin. Due to the subject matter no one under the age of 13 will be admitted without an adult.

Famous Son, Alma Theatre, June 22 @ 7 pm. A concert reading of a show with book and lyrics by John Paul Boukis which centers on John Quincy Adams’ quandary between defending his family’s place in history or taking another path. Free admission.

Groundworks Dancetheater, July 16 and 17 at 7 pm, Sunday at 2 pm, Alma Theater. Led by artistic director David Shimotakahara, the program includes a world premiere, a dramatic restaging and a mysterious and striking new collaboration.

Neos Dance Theatre, July 22, Evans Amphitheater @ 8 pm, and a children’s matinee on July 21 at 1 pm, the eclectic company performs ballet and contemporary movement and tap dance under the artistic direction of Robert Wesner.

Inlet Dance Theatre, July 29, 8 pm and a children’s matinee on July 28 at 1 pm, features a repertoire of original works alongside collaborative pieces from nationally recognized choreographers that address social issues and the human condition. Free admission.

Verb Ballets, August 6, 8 pm, Evans Amphitheater. Cleveland’s premiere dance repertory company celebrates the contributions of Jewish artists including Danial Shapiro, Woody Guthrie, and excerpts from other new works.

After June 5, tickets for all Cain Park offerings: 216-371-3000, or now at Ticketmaster outlets or by calling 800-745-3000.

MERCURY SUMMER STOCK
Joseph And His Amazing Technicolor Dreamcoat (June 11-26)
Li’l Abner (July 9-24)
The Scarlet Pimpernel (August 6-21)
New location: The Brooks Theatre in The Cleveland Play House. For reservations and more information call (216) 771-5862 or go to www.mercurysummerstock.com

SUMMER THEATRE AT NOTRE DAME
The first season of Summer Theatre At Notre Dame will present:
Titus Andronicus directed by Allan Byrne, Friday and Saturday, June 18, 19 @ 7pm
The Merry Wives of Windsor directed by Tyson Rand, Friday and Saturday, June 25, 26 @7pm
Location: NDC Steps of the Administration Building, bring lawnchairs & a picnic! Rain space available. Free admission
The Fantasticks directed by Elizabeth Presley, Fridays and Saturdays, July 9, 10, 16, 17 @ 7pm
Location: NDC Performing Arts Center. Donations accepted, no charge

Wanderlust: A History of Walking

Thought-provoking WANDERLUST: A HISTORY OF WALKING at CPT

‘WANDERLUST: A HISTORY OF WALKING,’ which is getting its world premiere at Cleveland Public Theatre, is both a fascinating history of walking and a challenging piece of theatre.

Matthew Earnest has adapted Rebecca Solnit’s book into a play about bipedalists. It examines almost every aspect of walking -- from pilgrimages to modern protest marches, from the back-to-nature movement to street-walking, as well as the mentality of putting one foot in front of the other. The adaptation basically holds true to Solnit’s intellectual rigor and poet’s voice, while accepting her premise that 21st-century Americans are missing out by our obsessive reliance on the automobile.

At the start of ‘WANDERLUST,’ we are confronted with a large playbox filled with sand and a back wall consisting of large black panels. A Cleveland team of paleoanthropologists examines the bones of a recently discovered 3.2 million year-old hominid they have named Lucy. This unfolds into a series of vignettes which include a Greek modern tourist lecture while walking the Acropolis, a sequence on mountaineering, Martin Luther King's civil rights marches, an AIDS Walk and ultimately, to Solnit's symbol of a post-Walking America, Las Vegas. Sin City, the site which allows Americans to “walk” around the nation and the world, seeing the Eiffel Tower, New York, Venice and numerous other famous sights while driving around in an automobile. (This scene is absolutely hysterical and the show’s highlight.)

The challenge to Earnest, who is a very creative director, is how to stage what is basically a collection of instances, into a cohesive unit that will hold the audience’s attention. He succeeds on a high level.

Earnest choreographs much of the action. One very clever bit was having the cast reenact Lucy’s movements by manipulating the bones, while the “real” Lucy walks. He also helps the audience follow the actions by having the cast chalk the settings on the black back wall. It might have been helpful to put them in the order in which they were performed as, after a while, the markings overlapped and became confusing.

The 100-minute intermissionless piece is a little too long for a comfortable sit, but the well prepared cast is excellent. Nicole Perrone, Kevin Charnas, Trae Hicks, Jonathan Ramos, Pandora Robertson, and Adam Thatcher are all excellent. Alexis Generette Floyd stands out as the reincarnation of Lucy, walking and dancing with ease, and playing the violin with great proficiency.

I don’t know who dragged that ton of sand up to the second floor of CPT, but he, she, or they must not be looking forward to the end of the run when they have to drag it down all those stairs.

Capsule judgement: ‘WANDERLUST: A HISTORY OF WALKING’ is an interesting theatre piece, which may be too talky for some, but will be a fascinating theatrical experience for others. Whatever, if you see it, you’ll never take a step without thinking of the ease of your gait, while understanding the evolution of the act.

Open Mind Firmament

Compelling staging is highlight of ‘OPEN MIND FIRMAMENT’ at CPT

Raymond Bobgan, the artistic director at Cleveland Public Theatre, is at his best when he is confronted with material that requires innovative staging. Several seasons ago, his ‘BLUE SKY TRANSMISSION: A TIBETAN BOOK,’ was nothing short of brilliant.

For his banner offering this year, Bobgan has chosen to take an esoteric theatrical piece, ‘OPEN MIND FIRMAMENT,’ in which he stages a series of William Butler Yeats, “unstageable plays,” and creates a visually compelling piece of theatricality, poetry, singing, and dance. As someone said on the way out of the performance, “I didn’t understand much of what was going on, but I sure liked what I saw.” How’s that for parallel opposites?

Most people know Yeats as one of the greatest English-language poets of the 20th century, but he also wrote prose, plays and was a politician. He received the Nobel Prize for Literature in 1923. He was one of the founders of the Irish National Theatre Society and in the early 1900s, worked as the theatre’s director, writing several plays which were staged there.

Several clues for understanding ‘OPEN MIND FIRMAMENT’ include an awareness that Yeats did not appreciate European realism of the prose, poetry and theatre of the late 19th and early 20th century. He wrote plays and poetry like impressionists and cubists painted…illuminating feelings with an eye for underlying thoughts and images, not reality. He had a strong interest in mysticism, which also rears its head in FIRMAMENT.

Yeats wrote a series of six plays about the Irish Heroic Age. At the center of the plays was Cuchulain, an Irish folk hero who had great strength, a raging temper and strong sexual urges. The style of the scripts centered on the Japanese Noh theatre, which encases much symbolism, rich poetry and stylized body movement. In writing these plays Yeats enhanced the Cuchulain stories by weaving in his own life experiences.
In ‘OPEN MIND FIRMAMENT,’ Barton Friedman, Yeats scholar and former faculty member at Cleveland State University, took the poet’s concept and refined it. Bobgan, in staging the script, further adapted it.

Viewing the production, which is dedicated to Friedman, is a fascinating experience. Bobgan’s imagination runs wild. He takes a complex story and makes it a visual cacophony of sounds, movements and sights. Ladders magically stand without support, and are used to weave actors and ideas through a flow of precarious movements. Water flies freely to anoint. Chants set moods. Every part of the theatre, which has been transformed into a series of platforms, levels and ramps, is used.
Actors sing and emote above the audience’s heads, besides them, and even verbally confronted the attendees. The story is told by a scholar (maybe Friedman, himself), the poet (Yeats) speaks, and Cuchulain’s life (and that of Yeats) is acted out.

Though the audience, most of whom probably do not know the Chuchulain legends, may be confounded by the avalanche of names, poetic illusions and immense amounts of material being presented, the general ideas do come forth and the staging is so fascinating that even without grasping the total meaning, the whole experience enfolds the participant in the journey.

This is a cast show. Though some individuals have more lines, the entire cast works as a unit. They are all an integral part of the complex movements and sounds. Bobgan has molded them into a cohesive one.

It is difficult to point fingers at any of the performers, but special recognition must be given to Rett Keyser who is mesmerizing as Poet (Yeats), Raymond McNiece who populates the personage of Cuchulain and John Stuehr who leads us on the journey as the Scholar.

Trad Burns’ lighting aids us on our journey. His set design, a massive undertaking which transformed the theatre from a proscenium to a theatre-in-the-square, is impressive and adds to the entire experience. Richard Ingraham’s sound design leads us through many scences.

Capsule judgement: ‘OPEN MIND FIRMAMENT, AN EVENING OF W. B. YEATS’ is a fascinating experience. Don’t’ be put off by what might appear to be an abstract creation. Clear and single-minded understanding was not Yeats purpose. Go and be swept up by Raymond Bogan’s fertile imagination which paints his expressionistic images of the conception of Nobel Prize winning W. B. Yeats and scholar Barton Friedman.

Review of the Reviewer's Reviews: Monica Olejko

Roy-

I cannot express the way I felt when I read your review. For the first time in a long time, it was nice to be known as something other than "Dan Folino's mom". I am of course the proudest mother in the world of The Boy, but this means the world to me. A nice note on which to take my final bow. I thank you for your gracious review. I am so glad you made it.

Overwhelmed-

-mo [Monica Olejko]

Gypsy

Brecksville’s ‘GYPSY’ exceeds expectations

‘GYPSY’ by Jule Styne, Stephen Sondheim, and Arthur Laurents, is a musical theatre classic. It is based on Gypsy the memoirs of Gypsy Rose Lee, the famous striptease artist and her relationship with her mother, Rose, the aggressive show business mother, who appears to be using her daughters to achieve what she never could. In spite of, or maybe because of Rose, Gypsy became a star, and sister June Havoc also achieved acting fame.

I normally don’t review community theatre shows, but I made an exception when I found out that Monica Olejko was coming out of a self-imposed retirement to star as Mama Rose in Brecksville Theatre on the Square’s ‘GYPSY. ‘

I was not disappointed. In fact, the production turned out to be much better than I anticipated. Olejko controls a stage. When she’s on, all eyes are on her. It’s not that she is a scene stealer, it’s just that she is so talented that almost all her moves are right on point. Her versions of “Some People,” “Mr. Goldstone” and “Everything’s Comin’ Up Roses,” were all excellent. Her verbal and physical attack of “Rose’s Turn,” often called Rose’s Lament, was strong and clearly developed the message of Rose’s understanding of why she pushed her daughters to be what she couldn’t be. Wow!

Robb Gibb was excellent as Herbie. “You’ll Never Get Away From Me,” his duet
With Rose, was delightful.

Bridget Chebo was exceptional as Louise. She has an excellent voice and much stage presence.

A strong performance was turned in by Shane Joseph Siniscalchi as Tulsa.

Heather Hersh, Jeanette Stack Luli, Kimberly Bush, and the audience, had a wonderful time during the trio’s bump and grind routine, “You Gotta Get A Gimmick.”

Musical director Georgiann Bodle did an excellent job of making sure her musicians backed up, rather than overpowered the singers.

Director Geoffrey Short kept the show well paced. It would have been nice if he could have worked with some of the support cast to develop clearer and consistent characterizations, but this is community theatre, and that means the quality of the talent can’t be expected to be consistently top drawer.

CAPSULE JUDGEMENT: Thanks to Monica Olejko, Rob Gibb and Bridget Chebo , Brecksville Theatre on the Square’s ‘GYPSY’ was better than most community theatre productions of this show. Nice job!

Grease

‘GREASE’ ends its tour at the Palace

‘GREASE,’ a version of which is now playing at the Palace Theatre, is the consummate 1950s rock and roll story.

It’s 1959, and at Rydell High School (loosely based on Chicago’s inner city William Howard Taft School), it’s time for a new year for the T-Birds and their Pink Ladies. Though often perceived as a slight musical, "GREASE" actually probes into the issues of the era. It confronts teenage pregnancy, gang violence, love, friendship, teenage rebellion, sexual exploration, and class consciousness/class conflict.

‘GREASE,’ the creation of Jim Jacobs and Warren Casey, opened in 1971. It follows the adventures of the 1950s United States working-class youth subculture known as the greasers. The score re-creates the sounds of early rock and roll.

When it opened on Broadway, much in the tradition of such shows to follow as ‘HAIR’ and ‘RENT,’ it was regarded as a raunchy, raw, aggressive, and vulgar show. Oh, times have changed, and the Cleveland opening night audience was healthily populated by children, tweens and teens, as well as adults.

When the show closed its initial run in 1980, its 3,388-performance run was the longest yet in Broadway history. It was surpassed a of couple years later by ‘A CHORUS LINE.’ It presently holds the thirteenth position for lengthiest run. It went on to be a hugely successful film, a popular 1994 Broadway revival, and a staple of regional theatre, summer stock, community theatre, and high schools.

The present touring production, which ends its run here in Cleveland, highlights American Idol winner Taylor Hicks portraying Teen Angel. He makes a cameo appearance singing one song. Co-author Jacobs says of Hicks’ portrayal, “He's hilarious, because he's not an actor, he's a singer. He does all the stuff like a basic, beginning actor would do, which means he really overplays it and hams it up. But for that character, it's gold." Despite his corny performance, the audience cheered loudly at Hicks’ entrance and loved the post-curtain call rendition of his newest single.

The touring production is acceptable. Maybe the cast has been on the road too long, or they are looking forward to their last paycheck in a couple of weeks when the show drops its curtain in Cleveland, and they return to New York to join the ranks of the 90 or so percent of the members of Actors’ Equity who are unemployed. Whatever, it lacked the necessary spirit to make the show work well. They go through all the motions, but there is a less than real enthusiastic prime time spirit.

The age of the cast members is off-setting. These are definitely not high school students, edging more to the upper twenties and thirties.

Highlight performances include that of the amusing Will Blum, who plays the chubby Roger, otherwise known as “Rump” because of his signature habit of mooning. Bridie Carroll gives a fun performance as Jan, Will’s girlfriend. Their “Mooning,” is delightful. Lauren Ashley Zakrin makes for a sweet Sandy. Her “Hopelessly Devoted to You” is well done. Josh Franklin’s Danny is too suburban clean. He lacks the conceited greaser quality, but his version of “Sandy” was spot on. Kate Morgan Chadwick adds an interesting touch to Frenchy, making her very vulnerable. Both David Ruffin’s Kenickie and Laura D’Andre’s Rizzo lack the underlying hard-edge attitude necessary to develop those parts.

Kathleen Marshall’s choreography was excellent. Highlights were “Shakin’ at the High School Hop,” “Greased Lightnin’,” and “We Go Together.”

The sets for the show, rather than being Broadway level, are rather tired, even somewhat tacky.

Alex, one of the “kid” reviewers who I take to hear a teen’s version of the goings on, gave the show an 8 1/2 out of 10. He thought Will Green (Roger) was “great,” that Lauren Zakrin (Sandy) “had a really good singing voice,” that “there needed to be more greaser attitude by the cast, especially the members of the T-birds.” Of course he loved Bridie Carroll, with whom he had his picture taken after she gave a backstage tour to him and a friend. He also is “definitely going to steal some of the moves of Josh Franklin (Danny),” when he sings “Sandy” in his Solon Junior High School choir’s Spring concert.

CAPSULE JUDGEMENT: The touring production of ‘GREASE’ is an acceptable, but not extremely high quality version of the show. The audience sensed this as was displayed by the fact that the ever-present Cleveland screaming standing ovation, was muted. If you haven’t previously seen ‘GREASE,’ or if you are a ‘GREASE’ fanatic, seeing the show should be a treat.

Corbian--A Glow in the Dark Adventure

CORBIAN, A GLOW IN THE DARK ADVENTURE’

‘CORBAN, A GLOW IN THE DARK ADVENTURE’ was presented as part of Playhouse Square’s International Children’s Festival. Corban is an hour of fantasy. It is a play without words in which 30 different characters are enacted by five live actors who are dressed in black clothing on which high-tech electroluminescent paint has been adhered. The results are glow-in-the-dark crayon-like creatures who perform on a lightless stage. Dinosaurs, flowers, frogs, turtles, and a human all invade the world of fantasy.

I took Ian, the youngest of the “kid reviewers,” and a friend of his to see the show on order to get a kid’s view of the goings on. The boys, both 10, gave the show an 8 out of 10 for audience interest, creativity and “fun.” Their favorite part, of course, was “the fight between the bad red dinosaur and the good white creature, complete with luminous swords. When asked what the story was about, they both admitted not knowing. But, to be truthful, based on my conversation with a woman sitting behind me, neither did the adults. It mattered little. The kids all seemed to love the goings on, even the 4 and 6 year olds sitting behind me who yelled directions and responses at the characters as the show progressed.

Humble Boy

Must see production of ‘HUMBLE BOY’ at Dobama

What happens when you combine a well-written script, a superb cast and an excellent director? In this instance you get ‘HUMBLE BOY’ at Dobama Theatre.

From the moment you enter Dobama’s curtainless theatre, and see the Ron Newell’s beautifully designed set of flagstone, flowers English garden, and Tudor home, you know that you are in for a “so” English play.

And, English it is. ‘HUMBLE BOY’ opened in London’s Royal National Theatre and won the 2001 Critics' Circle Theatre Award for Best New Play. On the surface it’s a comedy which blends astrophysics, bumblebees, and shadings of Hamlet. If this sounds like heavy material, the opposite is in fact true as there is much to laugh about.
It is a character based, rather than a plot based play. As the writer states, “All my characters have a journey. I am obsessed with character, and that's where I begin every play."

The story centers on a mother (Flora) and son (Felix) who have a love-hate relationship. The plot unfolds as Felix Humble returns to his family home after his father’s sudden death. Felix, a high strung young man who develops a stutter when around his domineering mother, discovers that she has gotten rid of all of her husband’s belongings, including the bees which he kept. He also becomes aware that his mother has been having a long term affair with and intends to marry George Pye, a man who is a complete opposite of her intellectual husband and son. Throughout the summer, the distance between Flora and Felix grows, with a final dénouement taking place at a backyard picnic in which more hidden truths are revealed.

The Hamlet-plot concept centers on Jones’ use of The “Freytag Pyramid,” a writing device in which a state of equilibrium becomes destroyed by an inciting incident that disturbs the balance. The main character confronts an issue and struggles with it. When the conflict is resolved, it sends the play off on a new direction and a state of equilibrium is restored. This is the device that Shakespeare often used in his tragedies and history plays, including ‘HAMLET.’

The play is rich in metaphor. There is a symbolic likeness of the characters to a society of bees. Flora is the Queen Bee. When she first appears with huge sunglasses she looks like a large eyed insect and throughout, she is the focus of the action. The other characters fall into drones or worker bee roles.


Dobama’s production is nearly flawless. Director Joel Hammer has paced the show with the British attitude of movements. accents and postures. He is blessed with a very talented cast.

Maryann Nagel (Flora) develops a character that is the perfect aloof and snobbish Brit whose world centers on her physical beauty, perfect flowers and obedience to her views. Nagel’s flawless portrayal is amazing considering that her mother died during the play’s technical rehearsal, and, in spite of a week of burial and mourning, she did not miss a rehearsal and doesn’t miss being the “proper” queen bee.

Andrew Cruse (Felix), complete with fat suit, develops a consistent characterization. He walks the fine line between being pathetic and appealing, with ease. His slouched posture, hair pulling and stutter all flesh out the emotions that give life to the character.

Greg Violand is correctly obnoxious as George. He is so believable, that one can only ask why Flora would be attracted to this loud mouthed uncouth lout.

Brian Zoldessy, as Jim, the “gardener”—the quote marks will be significant to those who see the show--gives just the right illusion to the characterization.

Laura Starnik is properly pathetic as Flora’s hanger-on acquaintance. Her second-act speech, when she finally accepts that she is being emotionally abused and manipulated by Flora, received scene-stopping applause from the opening night audience.

Laurel Johnson nicely portrays George’s daughter and Felix’s former lover.

All of the technical aspects of the show are well conceived.

CAPSULE JUDGEMENT: Dobama’s ‘HUMBLE BOY’ is one of this season’s theatrical highlights. Go….go…..go….see ‘HUMBLE BOY!’

BRIDIE CARROLL stars in 'GREASE'

Hudson’s BRIDIE CARROLL stars in ‘GREASE’


Bridie Carroll, who is playing the role of Jan in the touring company of the Broadway hit, ‘GREASE,’ has been hailed by reviewers as “especially amusing,” “near perfection,” “having obvious chemistry with Will Blum (Roger) her stage love interest,” and “giving a hilarious performance as the awkward and slightly overweight Jan.” Not bad for a 2000 Hudson High School grad in her first Broadway touched performance.

Bridie, whose parents still live in Hudson, attended the Hudson schools from 7th through 12th grades. She was President of the High School’s Choir and performed locally with Weathervane Playhouse and Hudson Players and attended the Coventry Performing Arts Academy. She went on to the Boston Conservatory and received a BFA in Musical Theatre. Next step was appearing in such shows as ‘DISNEY’S HIGH SCHOOL MUSICAL’ and ‘HAIRSPRAY’ at North Shore Music Theatre. She also trod the boards at Arundel Barn Playhouse and New London Barn Playhouse.

She credits much of her success to her parents. Maryann Black, with whom she studied dance, Amy Foulk, the choir teacher at Hudson High, and Basil Kochan, who was head of the Coventry Conservatory program, helped hone her skills.

Her breakout role was playing Tracy in ‘HAIRSPRAY.’ After being cast it was decided that she wasn’t heavy enough to portray the “zaftig” Baltimore teen, so it was decided, with a “fat suit,” she was right for the role. Bridie recounts that when she put on the suit, shortly before the show opened, she felt like she was waddling around. But the waddling obviously worked as she was given the Irne Award (The Independent Reviewers of New England Award) as best actress in a musical.

‘GREASE,’ set in 1959 at fictional Rydell High School, follows ten working-class kids as they navigate the complexities of love, cars, being “cool” and drive-ins. It opened on Broadway in 1971. By the time it closed in 1980, its 3,388 performances made it the longest running show in Broadway history at that time.

A Broadway revival, directed and choreographed by Kathleen Marshall, opened in 2007 with leads chosen via viewer votes cast during the run of the NBC reality series Grease: You're the One that I Want!. The rewrite is a mixture of the songs from the original musical and the movie. It ran until 2009. It is this version which is touring

The First Broadway National Tour of ‘GREASE,’ which features American Idol winner Taylor Hicks as Teen Angel, opens locally on May 11, at the Palace Theatre in Playhouse Square. Bridie is pleased that “we’ve made it ours.” She states, “Sometimes when you take a show on the road you have to maintain all original blocking, etc... and we were very fortunate that we were able to find out what worked for us!”

Bridie plays Jan, who is funny, loud, overweight, and awkward. A member of the Pink Ladies, she sings the character’s signature, “It’s Raining on Prom Night.” Though the song has been presented in different ways in various productions, in this version of the show she wins a singing contest and gets to sing on the radio at the dance.

One aspect of the show Bridie really enjoys is that she is playing opposite her best friend, Will Blum.

What advice does she have for star-struck high school kids? She urges them to “get involved in every phase of the theatre, wherever they can. Audition for everything. You need to taste what its like. It is a vulnerable job and the best way to feel strong and confident is to be as prepared as possible. Focus on training yourself in every aspect of the theater and honing your skills. Remember, 97% of Equity actors are generally out of work at any one time.”

What’s in her future? After the 'GREASE' drops its last curtain, ironically, in Cleveland, she is going “home to Hudson” for a while. Then back to New York to find a new apartment. She did a workshop of ‘PURE COUNTRY,’ a musical about a country superstar who finds that fame and fortune aren’t enough, and has a contract with the show which is seemingly headed for a Broadway opening. As she says, ”So no matter what, if it goes [has a Broadway run] I will be going with it.”

She summarized our interview with the thought, “I guess my future is to just get back to NYC and audition hoping to continue to be blessed to work doing what I love.”

Locals will, of course, be watching for Bridie Carroll’s name on marquees on the Great White Way.

CHESS

Game of ‘CHESS’ played out by BW students at 14th Street Theatre

For the last several years Baldwin Wallace College and Playhouse Square have combined to give us such shows as ‘BROOKLYN THE MUSICAL’ and ‘title of show.’ This year they showcased ‘CHESS, the London Stage Version.’ The staging, which ran just three productions in the 14th Street Theatre was, in the tradition of this series, excellent. It’s a shame that it wasn’t scheduled for a longer run, as it would have provided a chance for more people to see the show.

The BW/PHSquare collaboration gives the music theatre students an opportunity to showcase their talents in a professional theatre, and the arts management majors an opportunity to hone their skills while working with the PHSquare staff. It also provides audiences with a chance to gain an appreciation of the performance skills of a group from one of the most respected musical theatre programs in the country.

‘CHESS,’ with lyrics by Tim Rice, and music by Björn Ulvaeus and Benny Andersson, formerly of ABBA, concerns a series of matches between American and Russian chess champions. The matches mirror the Reagan-era Cold War struggle between the US and the Soviet Union, the major military powers of the time. Although the protagonists in the story were not supposedly representing any specific individuals, the character of the American seems loosely based on chess grandmaster Bobby Fischer, while elements of the story may have been inspired by the chess careers of several Russian grandmasters.
The first theatrical production of ‘CHESS’ opened in London's West End in 1986 and played for three years. A much-altered US version premièred on Broadway in 1988, but survived only two months. Recently, a concert form was staged in London, which is the basis for the recent local production.

This is not a musical in the format of ‘MY FAIR LADY’ or ‘WEST SIDE STORY.’ There are no show stoppers and the visual elements are restricted. As reviews from the show’s short lived Broadway production stated, “It is far too long" and "it is a shallow, improbable story masquerading as a serious musical."

In spite of those observations, ‘CHESS,’ at least in the BW production, was well worth the sit time.

In watching this, and previous BW 14th Street productions, one always has to be amazed at the talent and presence of these barely twenty year olds. They are amateurs who, in many cases, perform as professionals.

The staging by director Victoria Bussert is functional. It is the dance and movement, as conceived by Anna Maria D’Antonio and Martin Céspedes ,that provides visual impact. Working on a postage-sized stage, with a fairly large cast, the duo has developed chess moves into dance steps that help make this more than a staged concert.

The show was dual-cast. I saw the “American” cast, so my comments will be limited to those performers.

Hilare C. Smith gave a strong Russian presence to her well sung and acted performance of Svetlana, the wife of Anatoly, the Russian champion. Theresa Kloos displayed excellent vocal prowess as Florence, who was romantically connected to both players. Some of her character development needed honing. Corey Mach’s Anatoly was sincere and sensitive. Mach has a fine singing voice and good stage presence. Danny Henning, he of impish face, dynamic personality and nice singing voice, may have been a little too playful as Freddie. There was more Pippin here than American grandmaster.

Arthur Wise was strong as Molokov, the prototype Russian wheeler-dealer, but why was he the only one with an accent?

Maggie Roach, as the American Chess Queen and Natalia Lepore Hagan, as the Russian Queen, both displayed some nice dance techniques.

The musicians played their instruments well. However, why, oh why, can’t musicians realize that when they play as support, note the word support for a musical, they are not the center of attention. This is not a rock concert. If, as happened in ‘CHESS,’ the musical director, in this case Ryan Garrett, doesn’t reign in the drums and guitars, the audience can’t hear the singers. Small space, hard surfaces, singers needing to be heard! “Cool it!”

Capsule judgement: ‘CHESS The London Stage Version’ was an excellent experience, both for the audience and the performers. Maybe the next time around BW and PHSq will extend the run of the show so that more people can get an opportunity to experience the talents of these students!

Crimes of the Heart

‘CRIMES OF THE HEART’--southern angst on display at Actors’ Summit

‘CRIMES OF THE HEART,’ Beth Henley’s play which is now in production at Actors’ Summit, can be classified, along with the works of such writers as Eudora Welty and Flannery O’Connor, as "Southern Gothic.'' Writers from this genre look compassionately at “good ole’ southern country folk” whose lives have gone off course. Some might classify the writing as “chick flick- southern,” plays that contain excessive piles of tragedy and turn on the sympathy taps of women viewers.
At the core of Henley’s 1981 Pulitzer Prize winner for Drama are the three Magrath sisters. Meg, Babe, and Lenny reunite at Old Granddaddy's home in Hazlehurst, Mississippi after Babe shoots her husband. Obviously the products of a dysfunctional family in which the mother committed suicide, there is a great deal of acting out. As often is the case in stories of this sort, each sister is eventually forced to face the consequences of the "crimes of the heart" that she has committed.

There is lots of angst. Grandaddy is near death in the hospital, Lenny’s horse died after being hit by lightning, Babe’s abusive husband is in the hospital as result of her shooting him because “she didn’t like the way he looks,” the family cat was hung when mamma committed suicide, the lawyer hired to defend Babe has a personal vendetta against her husband, Babe is having an affair, and Meg’s old boyfriend still appears to have the hots for her. And, it goes on and on. Yep, Southern Gothic.

The script was named co-winner of the Great American Play Contest at the Actors Theatre of Louisville in 1979. In 1981, the show opened on Broadway and ran for 535 performances. A 1986 film adaptation starred Diane Keaton, Jessica Lange, Sissy Spacek and Sam Shepard.
The time is 1974, this is the South, where social standing in the community is paramount, family gossip runs rampant, prejudice is at its peak and the conflict between actions and reality are not always the same. The Magrath sisters are perfect examples of the women of that era and area. They are isolated from one another and, even when they are well meaning, are incapable of constructive action. This is enforced by their overbearing cousin Chick, who sticks her smug attitudes constantly into the sisters’ lives, causing as much additional conflict as possible.

Actors’ Summit’s production, under the direction of MaryJo Alexander, is quite acceptable. The characterizations, in general, are not probed deeply, but deeply enough to make each person credible. Accents come and go. Overacting emerges and wanes. As evidenced by the appreciative sold-out house on the first Sunday performance of opening week, there is enough fidelity to Henley’s intent to please the mostly older attendees who frequent the theatre for this type of production.

CAPSULE JUDGEMENT: ‘CRIMES OF THE HEART’ will appeal to those who like a southern tragedy, in its most angst-filled form. And, depending on your point of view, it will provoke laughter, sighs or rolling eyes.

A Midsummer Night's Dream

A Beetles infused ‘A MIDSUMMER NIGHT’S DREAM’ at GLTF

‘A MIDSUMMER NIGHT'S DREAM,’ a comedy by William Shakespeare, is one of the Bard’s most popular works and one of the English language’s most performed scripts. It concerns the adventures of four young Athenian lovers, a group of amateur actors, some fairies, and Greek gods.

Though a comedy, it is widely believed that the play develops at least two themes: the dark side of love and the blurring of fantasy and reality. As for love, Shakespeare makes light of love by having Puck, the forest’s fairy-in-resident, mistakenly mismatch various couples, including a goddess with an ass.

The plot also makes the fairies such an integral part of the plot that we accept the fantastic reality of the fairy world, and its magical happenings, as natural.

As locals who attend Great Lakes Theatre Festival are aware, Charlie Fee, the theatre’s Artistic Director, has never failed to grasp any and all farcical opportunities. In his vision of ‘A MIDSUMMER NIGHT’S DREAM,’ his dervish mind flows overboard. This version is set not in Greek times, but in London in the 1960s. And, much like the 1590s, the time of Shakespeare’s life and writing, it’s the time of a flowering youth movement. The Bard used the slang of the day to reflect the times just as Fee uses the voice of youth represented by the music of The Beatles.

Fee has dressed the cast in 1960s clothing, updated Shakespeare’s language and, as he explains in the program, his image included “Lysander and Demetrius as Paul and John, and the Mechanicals (Bottom, Flute, Quince and Company) as Sergeant Pepper’s Lonely Hearts Club Band. You have to give Fee credit. His imagination runs deep.

Since MIDSUMMER is a comedy, without real depth of message, why not play around with the concept, as long as the audience has fun and the cast and director bring the audience a fun filled evening? Remember, that was Shakespeare’s purpose in his comedies.

The first act is draggy, but all heck lets loose in the second act, especially the scenes of mistaken identity, the romps through the fields, and the play within the play.

Aled Davies is fun as Theseus, Gisela Chipe is cute as Hermia, Kevin Crouch is delightful as Lysander, David Anthony Smith is a hoot as Bottom and the Donkey, and Lina Chambers is charming as the lovesick Helena. On the other hand, Eduardo Placer feigns Puck…practically begging for laughs with his surface level portrayal and Dane Agostinis is not on track as Demetrius.

Choreographer Martin Céspedes makes classical actors move like they actually don’t have two left feet. He has a nice touch with the movements of the 70s and inserts hand, feet and body actions that well fit the mood of The Beatle’s sound.

CAPSULE JUDGEMENT: If you are a Shakespearean purist, you’ll run for the exits as soon as the lights go up, you see the costumes and hear the first Beatle song inserted into the script. For the rest of us, we’ll just let Fee have fun and take us along as we rock to Shakespeare.