Impressive SWEENEY TODD shashes its way into the emotions at Great Lakes Theater

The recent release of a list of the 100 greatest musicals of all times has brought about much controversy in the theatre community.  Though there has been conflict created by the plays on the list, there was no controversy over who was the best composer.  Stephen Sondheim was the only writer/lyricist/composer who had five selections in the top sixteen.  GYPSY placed number one, SWEENEY TODD 3rd, WEST SIDE STORY 8th, COMPANY 15^th and SUNDAY IN THE PARK WITH GEORGE was 16^th.

Stephen Sondheim, whose SWEENEY TODD is now on stage at the Great Lakes Theater, has been dubbed by many experts as “possibly the greatest lyricist ever.”

As a youth, Sondheim became friends with James Hammerstein, the son of Oscar Hammerstein, the co-author of such Broadway wonders as OKLAHOMA, CAROUSEL and THE KING AND I.  This surrogate father had a profound influence on Sondheim.  He also was exposed to Robert Barrow, a teacher and musicologist, who made him realize that “all my romantic views of art were nonsense.”  Sondheim’s musicals often reflect that disdain for the traditional emotional view of love by having love go wrong.

Sondheim’s scores are complex.  They often rely on counterpoint and angular harmonies, overlapping singing, and strong muscular musicality that make his works more akin to opera than traditional Broadway.  Sondheim’s music doesn’t mirror the beautiful and hummable melodic sounds of Rogers and Hammerstein, Lerner and Loewe (MY FAIR LADY) or Steven Schwartz (PIPPIN).

The winner of an Academy Award, eight Tony Awards (more than any other composer), eight Grammy Awards, and a Pulitzer Prize, Sondheim has been described as, “the greatest and perhaps best-known artist in the American musical theatre.”

Does this make him a universal favorite?  No. Far from it.  Broadway productions of his works sometimes lose money.  The average theatre-goer often complains that due to the complexity of the music, and the difficulty of singing his songs, the words often get lost, and that his stories are often too abstract.  Sondheim, himself, has described SWEENEY TODD as “a black operetta in which only about 20% of the show is spoken.” 

Other complaints are that his work is too dark.  SWEENEY TODD, for example, explores the psyche of a mad murderer, a social outcast, and is filled with killings, rape, judicial corruption and visual mayhem. 

The tale of the demon barber of Fleet Street takes place in London in 1846.  Anthony Hope, a young sailor, arrives on a ship accompanied by Sweeny Todd,  who he rescued during a storm at sea.  The aloof, embittered, uneasy Todd has a secret of a past life that will soon unfold.  The duo is confronted by a mad Beggar Woman who seems to recognize Todd who is returning to England after fifteen years of unjust incarceration in an Australian penal colony.  Todd has revenge in mind, for not only the unfair banishment, but for having lost his wife due to the machinations of a corrupt judge.  What follows is a series of bizarre events in which Todd returns to his former barber shop to be told by a pie-shop keeper that he has a daughter who is now the ward of the judge and that his wife is dead.  Through a series of plot twists, some funny, others appalling, revenge is extracted and some semblance of justice is reached.

SWEENEY TODD opened on Broadway in 1979.  It is based on a 1973 play by Christopher Bond.  An instant hit and Tony Award winner, it has been revised several times on Broadway, had a long run in the West End in London, and was made into a film. 

Great Lakes Theater’s production, under the focused direction of Victoria Bussert, is mesmerizing.  The staging is creative, the characterizations clearly etched, the intensity builds to a heart-thumping conclusion.  

Jeff Herrman’s scenic designs and Mary Jo Doninger’s lighting create the right dark and ominous feel.  Charlotte Yetman’s costumes are era correct.

The cast is universally excellent.  Though he seems to overly scowl, Tom Ford makes for an uneasy, hell-bent-on-revenge Sweeney Todd.  He has a strong singing voice that has the right menacing sound.  This is a tormented man, who exudes his angst.  His well nuanced The Barber and His Wife clearly develops the exposition for the tale. 

Sara Bruner is hilarious as Mrs. Lovett, the pie shop owner who has her romantic hooks set for Todd.  Her intent is absolutely consistent, she knows how to play for laughs, and that more than compensates for the fact that she is sometimes a little hard to understand.  Her musical versions of The Worst Pies in London and By The Seas delight.

Young Chris Cowan is pitch and performance perfect as Tobias, the shop clerk

of limited intelligence.  His Pirelli’s Miracle Elixir is delightful, and his rendition of Not While I’m Around is an emotional show stopper.

Zach Adkins creates Anthony into an appealing suitor for Todd’s daughter, Johanna.  His rendition of Johanna is poignant.  Clare Howes Eisentrout sings the role of Johanna well.

Darren Matthias is properly evil as Judge Turpin and M. A. Taylor builds a clear character as The Beadle. 

Jodi Dominick makes for a believable Beggar Woman, Todd’s wife, who has been shocked into insanity.

Unfortunately, musical director Matthew Webb doesn’t keep the orchestra under control and often their sounds drown out the singers.  Since the lyrics are so important to the understanding of the plot, and some of the songs, such as A Little Priest are so clever, it’s a shame that they can’t easily be heard.  Some listeners may also have a little trouble cutting through the necessary Brit accents.  In spite of these hiccups, the story line is easy to follow.

Capsule judgement:  Great Lakes Theater’s SWEENEY TODD is a spell binding production of a Stephen Sondheim masterpiece.  Those turned off by violence, or who aren’t Sondheim aficionados, may not appreciate the show, but anyone interested in hearing complex music, well sung, encased in a well-honed script that is finely performed, will be turned on by this must see production.

SWEENEY TODD runs through November 2, 2013.  For tickets: 216-664-6064 or www.greatlakestheater.org

SO YOU THINK YOU CAN DANCE to perform at State Theatre during national tour

Since its premiere in 2005, SO YOU THINK YOU CAN DANCE, has been a television sensation.  Created by Simon Fuller and Nigel Lythgoe, the show, which is an eleven-time Primetime Emmy Award winner, has sparked the nation’s interest in dance and produced some top-ranked performers.  Many have gone on to professional careers, including a number presently appearing in Broadway’s NEWSIES.

A panel, in a process similar to AMERICAN IDOL, selects 20 dancers to appear in a competition.   Judges do the initial selections, and then whittle the number down to a final 10.  The jurists, plus votes by viewers, then select a male and a female winner.

The performers, who come from a variety of  dance styles, including classical, contemporary, ballroom, hip-hop, street, jazz, tap and musical theatre are forced to perform all the genres on their march toward stardom.

The 10th season winners were a duo of 19-year olds, Amy Yakima of Northville, Michigan and Du-Shaunt “Fik-Shun” Stegall of Las Vegas, Nevada, who each danced off with $125,000 and a magazine cover photo.  Jasmine Harper and Aaron Turner were the runners-up.

The quartet will appear with the other top 10 finalists at the State Theatre in Cleveland on October 15 at 8:00 p.m..
 
The tour started in East Lansing, Michigan on October 1.   The morning of that show I interviewed 25-year old Turner, whose specialty is tap.  Ironically, he was not selected to be in the top 10, but due to an injury to a finalist, he was given a reprieve.

Turner, who is a dance instructor at the Bunker Dance Center and performer in Las Vegas, was encouraged to try out for SO YOU THINK YOU CAN DANCE by his father, a Vegas performer, others in the family and his students.  He is a University of Nevada-Las Vegas graduate in Business/Music Management. 

He started to dance at age 8, and like all young male dancers put up with teasing because the activity is considered a girl’s world.   Undeterred, he kept up his lessons and performances.

The most difficult challenge for Turner was having to dance outside of his tap-dance-centered comfort zone.  Tapping is not one of the genres in which the SYTYCD perform, so tappers never get a chance to spotlight their strongest moves. In addition, he was learning the dance routines in only seven hours, which put additional pressure on him. 

During the evolution of the show the judges often commented on how Turner was capable of going beyond what tappers usually do.

Turner admitted to be surprised by his success.  “Maybe,” he admitted, “it was an advantage that he wasn’t originally picked, as I was perceived as an underdog.”

According to Turner, the dancers form a family.  “You get close to the people you live and work with daily, and it is hard when your friends are eliminated.”

How are the dancers matched into the couples which form the basis for much of the competition?  The requirements center on the partners not having the same dance style or training and their height.  “We have choice in the selections.”

Turner’s future?  He wants to “reach out and look for opportunities.”  His goals are to act, dance, sing and be involved in the arts.  He anticipates record deals where the songs he writes and sings will be performed.

His advice to aspiring dancers is, “don’t give up, and be you, don’t put on a face or an act.”

To get tickets to see Turner and the rest of the 2013 SO YOU THINK YOU CAN DANCE top ten, go to: 216-241-6000 or http://www.playhousesquare.org

Brilliantly conceived and performed SLEEPING BEAUTY @ Palace Theatre

When the list of productions for the 2013-2014 Key Bank Broadway series was announced, many predicted that the number of season tickets holders would drop.  There was no new blockbuster, no WAR HORSE or BOOK OF MORMON, even a couple of shows that have previously had their Cleveland runs, and a ballet.  Just like the predictions of the demise of Cleveland Play House due to its move to the Allen complex on Playhouse Square, the doomsayers were wrong. 

Gina Vernaci, Senior Vice President of Theater Operations, once again seems to have selected an offering of shows that is aimed to please.  Last year’s record for season ticket sales has been exceeded.  As of opening night of this season’s first show, SLEEPING BEAUTY, 27,600 patrons have bought the series, making it one of the largest group of advance purchasers in the country.  (And, by the way, Cleveland Play House is doing a booming business.)

Matthew Bourne’s SLEEPING BEAUTY A Gothic Romance, is a ballet.  Yes, a show with all dancing, no singing, no lines.  But it’s like no ballet you’ve ever seen or might see.  There isn’t a tutu, leotard or toe shoe in sight.

What there is, is an exciting, well conceived, brilliantly performed story filled with laughter, intrigue, gothic overtones, and wonderful costumes, which flows from Edwardian to modern times in a swirl of breathtaking visual wonder.

Matthew Bourne is a choreographic genius.  Since 1992 when he staged THE NUTCRACKER, to SWAN LAKE, his 1995 international hit, the name Bourne and sold out audiences have become synonymous.

Bourne is fearless.  He refashioned SWAN LAKE, a story about a serious search for love and what people are willing to do for it, into a humor-filled modern ballet with a flocks of swans, who are usually portrayed by delicate females, into a corps of bare-chested men in feathery breeches.  All this to the delight of audiences and critics.

Who says ballet has to be high-brow?  Bourne stresses the original once upon a time story, reinventing it where necessary, adding humor and intrigue and arranges the dance movements to be real and not affected.  For example, an  infant, which is usually a motionless doll, is portrayed by a stick manipulated puppet, similar to the horses in WAR HORSE.  The results were, “ohs,” “ahs,” and titters of glee from the audience.

Instead of a prince, with no connection to the princess, who he kisses and brings out of her long sleep, the girl’s childhood commoner boy friend turns out to have the secret weapon lips. 

Add gothic vampires, flying monkeys, a poisoned black rose, and a treadmill that carries dancers across the stage so they appear to be floating without leaving the ground, and you have a fascinating evening.

SLEEPING BEAUTY is the story of Aurora, a young princess, cursed because of an agreement gone bad between her parents, who were unable to conceive, and the dark fairy.  When the dark fairy is scorned, Aurora is cursed. The original story was turned into a ballet in 1800 by Marius Petipa and staged to the gorgeous music of Pyotr Ilyich Tchaikovsky. 

Bourne’s places his story in the fin-de-Siècle period when fairies, vampires and affluence created a gothic image.  He adds the intrigue of Caradoc, the secret son of the dark fairy, who desires to seek revenge via a poisoned black rose.

Following the very specific time line laid out in the original tale, the story jumps ahead from Aurora’s christening (1890), to 1911, when we find Aurora, now living in the uptight Edwardian era.  Not only has the child grown into a young woman, and the clothing styles changed, but the choreographer leaves behind the old style of dancing, and creates movement which echoes the dance crazes of the new era.  Through the machinations of Caradoc, the princess pricks her finger on the poisoned black rose and falls into a deep permanent sleep. 

We are transformed to 2011.  Costumes (contemporary jeans), scenery (a disco with mod neo lights), and attitudes have changed.  So does Bourne’s choreographic style, with modern body and hand moves, many echoing contemporary choreographers’ styles.  There’s a little Bob Fosse, a little Michael Kidd, and a lot of current Michael Bourne!

Don’t worry about following the storyline.  The tale is explained with a series of lettered graphics projected onto the front curtain during the overture, and at each time change.  If you are really interested in understanding all the subtleties, get to the Palace early and read Bourne’s excellent notes in the program.

Petite Hannah Vassallo is glorious as Aurora.  She moves like her feet aren’t  touching the floor, her face and body project every mood, her footwork is meticulous, her leaps are incredible.  This is one very, very talented dancer and actress.

Dominic North is charming as Leo, Aurora’s boyhood friend and eventual “prince charming.”  He moves with confidence and ability, displays the right balance between boyhood and manhood, and is totally convincing.  His lifts, carries and catches are precise.

Adam Maskell is evil incarnate as both Carabosse, the dark fairy and Caradoc, her son.  The Adam Lambert (of AMERICAN IDOL fame) look-alike, captures the stage with his powerful and convincing movements.

The rest of cast is impressive.  These are well trained, effectively choreographed dancers. 

Lez Brotherston’s costumes, Paule Constable’s lighting, and Paul Groothuis’s sound designs all enhance the production.

Cleveland is the last stop on the company’s short American tour, before it moves to New York City Center for a late October staging. 

CAPSULE JUDGEMENT:   Matthew Bourne’s SLEEPING BEAUTY: Gothic fairy tale, is a ballet not only for the ballet aficionado, but for the person who knows nothing about the dance form, but wants to see a well told tale, marvelously performed, as one will probably never see it again.  As a male acquaintance, who only went because he had subscriber’s tickets said to me the day after the performance, “I never thought that I’d go to a ballet, but would say that it was one of the best things I’ve ever seen on stage.”  Yes, this is an absolute MUST SEE!

Tickets for Matthew Bourne’s SLEEPING BEUATY A GOTHIC ROMANCE , which runs through October 13, 2013 at the Palace Theatre, can be ordered by calling 216-241-6000 or going to www.playhousesquare.org.

Laura Kepely, new artistic director of Cleveland Play House

A new era has begun at the Cleveland Play House!  Laura Kepley was recently appointed to be the ninth Artistic Director in the 98-year history of CPH.

Who is Kepley and what can the community expect from the organization’s former Associate Artistic Director?

Kevin Moore, CPH’s Managing Director states, “Her passion for theatre and for engaging with our community through powerful productions and innovative education programs is a joy to be around and support.” 

Based on my recent interview with Kepley, in her brightly lit windowed office, which reflects her effervescent smile and open communication style, her passion, enthusiasm, and desire for a collaborative work environment were evident.

Michael Bloom, the former Artistic Director, was responsible for selecting the offerings of the 2013-2014 season.  We’ll know more about what’s in the future for CPH when Kepley announces the 2014-2015 season.  She indicated that the selecting of the season will be based on her philosophy that centers on “stories that are relevant, smart, entertaining, and provocative.”  

She gravitates towards work that “makes the viewer see the world in a different way” and that incites dialogue long after the viewing is over.  She cites such recent CPH productions as THE WHIPPING MAN, GOOD PEOPLE, and RICH GIRL as those types of shows.

She likes plays that ‘display a diversity of voices, especially plays with strong female characters.’  She is “not afraid of new, bold, provocative shows, which open audiences  to surprises.”  Kepley thinks “Cleveland is the kind of city that is open to that type of challenge.”

How will she know whether a play has succeeded?  Kepley likes to wander the lobby at intermission and after the production, meeting people, having dialogues, and listening to the buzz.  She also admits to reading reviews of the company’s shows.

There have been comments and complaints that in the past several years CPH has become, at least in part, nothing more than a site for touring shows.  In response to whether this trend is going to continue, Kepley indicated that “though CPH is 98 years old, in some ways we are only 3 years old as that is how long we have been downtown. 

The new facilities in the Allen complex open new possibilities.”  She says that “the company is getting new audiences, which are younger and more diverse,” and “part of the challenge is that we need to introduce and reintroduce our unique identity.” 

 She thinks the challenge is “to do a variety of work while making sure audiences know that they are watching a CPH show.”  It is her concept that, “going forward, we will be more clear on how we tell stories.”


After being, for many years, a totally Cleveland based theatre, complete with a resident company, CPH has recently mainly depended on actors from Chicago or New York.  Is there any role in the future for the corps of local performers?   Kepley indicated that “Right now, since moving downtown, 25% of the actors have been local.”  It was our goal to cast CAROL FOR CLEVELAND with a total local cast.  Unfortunately, some of the people we offered parts to had day jobs and other obligations that restricted them from accepting casting.”  She went on to say that, “We [the Northeastern Ohio area] have great actors, and part of our challenge is to find out how we can make sure they are in a position to do the work they want to do.”

Kepley describes her management style as “collaborative.”   She attempts to set everyone up for doing the best possible work, to encourage and to inspire. “I don’t have to have the best ideas in the room.  I have to create an atmosphere, and know which ideas are best.”

She thinks last year’s New Grounds Theatre Festival, an annual showcase which presents a variety of new work from nationally recognized artists, and includes The Roe Green Award which brings a leading American playwright to develop a new project, is an important aspect of CPH.   She hopes that “the activities will be a springboard to our main stage as new work is fundamental to what we do.”  She also is interested in doing collaborative works with other local theatres, especially in regard to the centennial season.

Her goals include bringing in new audiences, especially young audiences, and has created a campaign that is bannered, “Reach Out, Enrich, Mobilize.”  One of the new engagement programs allows any person under 35 to get a ticket to see any show for $25.  There will also be a party for the “under 35s” on Friday, November 1st in conjunction with VENUS IN FUR.

On the whiteboard behind Kepley’s work table are the words, “artistry, innovation, community and ensemble.”  These are the objective goals on which the Cleveland Play House was founded.   It is Kepley’s challenge is to retain those goals and determine “how to make CPH into a 21st century manifestation of these ideals.”

It appears that the new CPH Artistic Director is well equipped both in training and attitude to lead CPH to confront the challenges and make a plan for success.

ANIMALS OUR OF PAPER @ Ensemble

Ensemble’s ANIMALS OUT OF PAPER, a challenging look at how the folds affect life

Cleveland has several young and dynamic playwrights who are making a name for themselves on the national scene.  Eric Coble’s BRIGHT IDEAS had an off-Broadway presentation, after its Cleveland Play House run.  His THE VELOCITY OF AUTUMN, which had a staging at Beck Center, and starred Dorothy Silver, is readying for a Broadway production which will star Estelle Parsons.

Cleveland Heights native Rajiv Joseph, has been labeled “one of today’s most acclaimed young playwrights,” has the awards to back up the claim.  He’s received the Paula Vogel Award for Most Acclaimed Young Playwrights, the Lucille Lortel Award for Outstanding Play of 2009, and was a Pulitzer Prize finalist for Drama for BENGAL TIGER AT THE BAGHDAD ZOO, which had a Broadway run and starred Robin Williams.

Joseph, who has a "fascination with the power of language,” uses that language to probe “the origins of human artistic impulse and ask what they mean

for those enslaved to it.”

ANIMALS OUT OF PAPER is in production at Ensemble Theatre, which seems to act as Joseph’s home theatre.  The company, headed by long time Joseph friend, Celeste Cosentino, has done one of his plays in each of its last three seasons.

ANIMALS OUT OF PAPER centers on an unlikely trio of people.  Ilana, a world renowned origami artist,  has perfected the Japanese art of folding paper into decorative and representational forms, to the extent that she has written the second best selling book on the subject.  Andy is a math teacher, and Suresh, a troubled youth whose mother was recently killed in an accident.

Ilana has barricaded herself in her littered studio surrounded by origami creations, Chinese take-out boxes, and piles of unused paper.   She has not only lost her husband, but her three-legged dog has run off, and her will to fold has disappeared.  Her life is much like the crumpled papers that litter the floor.

Andy is a nerdy math teacher who has an artistic and physical crush on Ilana, as a result of meeting her at a national origami convention where he was a student in one of her seminars.  He writes of this obsession and views of life in a notebook.  He journals because he once opened a fortune cookie, which told him to “count your blessings.”  He comes to Ilana’s loft, not only to meet her in person, but to sell her on mentoring Suresh, one of his students who shows a natural talent for origami, as his mentor.

Suresh, in contrast to Ilana, and other well known origami artists, doesn’t sketch out his work to decide on the order of each fold.  Instead, he works by instinct.  He perceives that actions, rather than developing a step-by-step plan, is the way to create.  His inspiration is the rap music he listens to in his ever-plugged in headphones.  He is in conflict as his life requires order, which has eluded him, while his origami, which should be based on set patterns, doesn’t follow orderliness.

The plot deepens when Andy and Ilana entangle their lives, and Suresh develops a fascination for Ilana.   Each probes for how they can exist in the world.  Recognizing, to some extent that, “So much of what I am is what I’ve lost.”

Ensemble’s production, under the directorship of Celeste Cosentino, creates the play’s essence, but fails to dig deeply enough into the characters and their motivations to give full meaning to Joseph’s well crafted script.

Katherine DeBoer creates an Ilana into a real person, complete with outward and hidden angst. 

Geoff Knox is properly anxiety filled.  There are times when he falls back on a geeky speech pattern which somewhat distracts.

Andrew Samtoy, generally displays his inner conflict.  In several scenes, such as when he is creating rap songs, he fails to let lose and capture the meaning of the words.

Ian Hinz’s projection designs are excellent.  Using visual images, rather than real sets, helps develop the artistic nature of the work.

The many intricate origami creations used in the production were supplied by The Public Theatre in Maine.

CAPSULE JUDGEMENT: ANIMALS OUT OF PAPER is an often amusing, thought provoking play about what happens when the lives of mismatched people collide in complicated ways that highlight hurt  and the challenges of individuals who don’t know who they are or how to be in the world. The Ensemble production doesn’t quite reach the quality of the play’s writing, but does hold attention and leaves the audience thinking.

ANIMALS OUT OF PAPER runs Thursdays through Sundays through October 20 at Ensemble Theatre, housed in Coventry School, 2843 Washington Blvd, Cleveland Heights.  For tickets call 216-321-2930 or go online to http://www.ensemble-theatre.org

Of special interest:  Ensemble will be having a benefit performance on the October 4^th, with a post show talkback with the director and the cast as well as a wine and desert reception which will be catered by Rajiv's uncle DAVID GAUCHAT, a well known pastry chef).  

Farcical BOEING-BOEING amuses at Lakeland

Farce is light comedy which contains exaggerated, extravagant and improbable situations.  It often contains slapstick incidents and lots of people ducking in and out of slamming doors.  Though farce was supposedly started in the 13th century, the modern tone for this format, which is highlighted by the works of the likes of The Three Stooges, The Marx Brothers, The Keystone Cops, Lucille Ball, Tim Conway and Carol Burnett, was etched by Molière, a Frenchman, and is best represented by his TARTUFFE.

It is therefore appropriate that one of the best of the modern farces, BOEING-BOEING, was written by Marc Comoletti, a Frenchman.  And though the play bombed in its initial Broadway debut, it was a smash hit in France and, according to the GUINNESS BOOK OF RECORDS, it is the most performed French play throughout the world.   The French seem to love the ridiculous, as can be recognized by their absolute adoration of Jerry Lewis.

BOEING-BOEING, which takes place in 1960, centers on Bernard, a bachelor who is engaged to three women at the same time.   His Paris apartment’s doors swing open and closed as the three stewardesses flow in and out of his life.  Bernard couldn’t be happier until his house of cards starts to collapse as all three women appear at the same time.  Aided by his timid friend Robert, who can’t remember who he has told lies to, catastrophe looms.   But, as always happens in this kind of format, there is an improbable ending and all’s well that ends well.

Most theatre people consider farce the most challenging format as it requires exaggerated actions, while appearing to be completely serious and realistic.

Martin Friedman’s direction is basically on point.  The audience laughs, the ridiculousness is present, and that’s what farce is all about.  The production would have been helped by a faster pace, a more furious series of opening and slamming doors, and more keyed farcical timing.

Brian Zoldessy, who has made a career out of playing nerds caught in the crosshairs of imminent disaster, succeeds once again.  His mobile face and ability to create the right level of believable ridiculousness, makes his Robert the laugh center of the show.

Jeffrey Grover serves well as the straight man for Zoldessy’s comic shticks.  Beth Lee holds her own as Bertha, Bernard’s maid, though her accent sometimes makes her difficult to understand.  Katie Nabors, Nancy Telzerow and Tess Elizabeth, as the bevy of beautiful stewardesses, each creates an identifiable character.

Capsule judgement: BOEING-BOEING is a light weight farce that receives what should be an audience pleasing production at Lakeland Community Theatre.

For tickets to BOEING-BOEING which runs through October 6, and is being staged in Lakeland Community College’s theatre, call 440-525-7134 or to go http://lakelandcc.edu/academic/arts/theatre/index.asp

TIME STANDS STILL, thought provoking, well conceived @ Dobama

Nathan Motta, in his first full season as Artistic Director of Dobama, not only selected a dynamic script to start his reign, but has conceived a production that is not only thought provoking, but well conceived.

TIME STANDS STILL by Pulitzer Prize winning playwright Donald Marguiles, mesmerizes as it probes the meaning of life?  Why do each of us do the things we do?  How do we confront the past as we live in the present?  What about us is reflected in our worldwide view?

The horrific sounds and pictures of the Iraq war flash onto the windows of a Brooklyn apartment.  After the images disappear, we are left in darkness to ponder the visions of destruction and carnage. 

A door opens and Sarah comes hobbling in accompanied by James.  A photojournalist, she was injured by a roadside bomb.  He is her boyfriend and a war correspondent, who is guilt-filled for having to leave Sarah when he had an emotional breakdown. 

It soon becomes obvious that there is a tug-of-war between her career and his desire for normalness and a family.  This conflict is intensified when Richard, their editor, and his young girlfriend, Mandy, a party planner, announce they are pregnant.  Questions abound:  Will Sarah return to the war zone?  Will the duo remain together?  What is the value of the pictures and stories of war?  Will those images and words stop the violence?

TIME STANDS STILL opened off-Broadway in 2010 and had such strong positive critical reviews that it was moved to Broadway.  

Margulies’ dialogue is absorbing.  It’s as inciting and timely as today’s headlines.   Motta’s focused direction and the talented cast, who bring every line to life, command engrossed attention.

Heather Anderson Boll is outstanding.  She wraps herself in the role and becomes a believable Sarah, taking the audience on an emotional journey.  David Bugher creates in James, a real person who makes his PTSD and transformation from dedicated journalist to a man needing a non-stress inducing life.  Peter Aylward as Richard is completely believable.  Llewie Nuñez marvelously walks the performance tight-rope between creating a Mandy who is perceived as a mindless twit but morphs into a person who has an instinct for humanness.

CAPSULE JUDGEMENT:   TIMES STANDS STILL is a thought-provoking, well-directed and acted drama, with comic interludes, that mesmerizes and challenges the viewer to think beyond the story and look into their own beliefs, attitudes and life choices. Dial the phone or get on the internet and purchase one of the few remaining tickets for this show! This is an absolutely must see production!

TIMES STANDS STILL runs through October 6, 2013 at Dobama Theatre.  Call 216-932-3396 or http://www.dobama.org for tickets

SHE LOVES ME, a marzipan musical at Beck

Marzipan, is a confection that consists mostly of sugar and honey, with a little solid blended in to give it some body.  This, too, describes the musical SHE LOVES ME.  It’s sweet to the viewing and a delightful treat, with little substance.

SHE LOVES ME, a version of which is now on stage at Beck Center, has a fascinating history that has led to its often being dubbed, “The most charming musical on earth.” 

It started as the 1930’s comedy THE PARFUMERIE, written by Miklos Laszlo.  It morphed into the 1940s movie, THE SHOP AROUND THE CORNER.  In 1949 it became a Judy Garland, Van Johnson film with the title IN THE GOOD OLD SUMMERTIME.  In 1963 Joe Masteroff, Sheldon Harnick and Jerry Bock wrote the presently titled SHE LOVES ME. 

The first Broadway production starred Daniel Massey, Barbara Cook and Jack Cassidy.  It ran 302 performances.  (This was the same year of such smash musicals as BRIGADOON, OLIVER! and PAL JOEY, so when I saw it I dubbed it as “escapist fluff.)  In 1998 the idea was revived as a Tom Hanks-Meg Ryan smash movie, YOU’VE GOT MAIL. 

The major plot line centers on Georg Nowack and Amalia Balash, two unmarried salespeople in a Budapest perfume shop.  They each are searching for love and turn to lonely-hearts ads (the Craigslist of their day).  Each develops a relationship with a pen pal (present time email buddy).  Unbeknownst to each of them is that they are each other’s own “dear friend.”  From the song “Good Morning, Good Day” until “Twelve Days to Christmas,” there are bumps in the road.   And, of course, there is a fairy tale ending.

The old fashioned musical, with its schmaltzy score, contains such songs as “Days Gone By,” “I Don’t Know His Name,” “Will He Like Me,” “Dear Friend,” “Vanilla Ice Cream,” “Grand Knowing You,” and, the title song, “She Loves Me.”  Come on, with a list of song titles like that, don’t expect the power and message of Bock and Harnick’s FIDDLER ON THE ROOF.  It’s more like the writing team’s TENDERLOIN, a “nice musical.”

Audiences should like Beck’s SHE LOVES ME.  There is the love story, complete with a love-hate relationship.  There is a scoundrel, several comic subplots, good singing voices, a well-tuned orchestra (thanks to Larry Goodpaster who generally keeps the instrumentalists under control and support rather than drown out the singers), and some creative choreography by Martin Céspedas.

Scott Spence keeps the action going smoothly, cues the laughs, and helps the actors develop clear characterizations.  Trad Burns has created a workable set, which is difficult to do in the Mackey Theatre due to its lack of fly gallery and wing space.  The wall design of the perfumerie somewhat distracts due to the bold pattern. 

Rebecca Pitcher, with her well trained operatic voice, and well-honed acting skills, creates a strong Amalia.  Jamie Koeth sings and performs well as Georg. 

Aimee Collier lights up the stage with her comic and vocal talents as Ilona, whose search for love takes her into bad romances.  Solon High School junior Brett Castro is charming as Arpad, the delivery boy turned salesman. 

Jonathan Kroenberger stands out as the timid Ladislav.  Matthew Wright sings and well interprets the role of Maraczek, the perfumerie’s owner.  Brian Altman is properly snarly as Kodaly, while Richie Gagen has a cute several moments as a bumbling waiter. 

CAPSULE JUDGEMENT: If your are a fan of old fashioned, escapist musicals, with pleasant music, performed by a talented cast, you’ll love SHE LOVES ME.

SHE LOVES ME is scheduled to run through October 20 at Beck Center for the Arts.  For tickets and information call 216-521-2540 or http://www.beckcenter.org

WOODY [GUTHRIE] SEZ, a dang good 98th season opener at CPH

Even before the official start of WOODY SEZ, the cast of four set the melodic and emotional mood by playing music and interacting with the audience.

As the music driven WOODY SEZ:  THE LIFE & MUSIC OF WOODY GUTHERIE unfolds, we are exposed to Guthrie, the man, his life and his music.

From early on, until his death from complications of Huntington’s disease in 1967 at age 55, Guthrie acted as a spokesperson for the poor, the disenfranchised, and the union and non-union members who were taken advantage of by company stores, big business, acts of nature, and politicians.  His emotional and purposeful vocals, his twangy guitar, harmonica, mandolin and fiddle playing, reeked of down home Okie ideals.  They highlighted his experiences in the Dust Bowl era and Great Depression and help teach a solid history lesson of the era.

His strong political views earned him the “honor” of being blacklisted, investigated by the FBI, and censored in his media appearances.

Guthrie’s outspoken nature and obligation to speak out cost him three marriages and solid relationships with his eight children.  One of his sons, Arlo, took up his mantle and became a renowned folk musician.

He is credited with inspiring and mentoring a generation of new folk musicians, including Ramblin Jack Elliott and Bob Dylan.

Guthrie is noted for such songs as “So Long it’s Been Good to Know Yuh,” “This Train is Bound for Glory,” “Pastures of Plenty,” “The Ballad of Tom Joad,” and  “Nickel, Nickel.”  He wrote what many consider the country’s spiritual anthem, “This Land Is Your Land.”

The Cleveland Play House production, under the adept direction of Nick Corley, who co-devised the script, wraps the audience in music, tales and morals.   There is an easy, comfortable pace and mood to the two-act, hour and a half show that is enhanced by the intimacy of the Allen theatre.  This ability to create closeness highlights yet another reason why the CPH move to downtown was a wise choice, as the old theatre spaces didn’t offer such a venue.

The simple set, consisting of a series of shipping cases, serves as places to store the multitude of guitars, fiddles, harmonicas, autoharp, Appalachian dulcimer, double bass, mandolin, banjo, pennywhistle, jawharp and soup spoons, which were played by the performers.  They also served as places for individual cast members to sit when they were not performing.

David Lutken, who authored the piece, inhabits the personage of Guthrie so well that it is easy to forget his is not the man himself.  Lutken obviously knows Guthrie, his music, his mannerisms, and his sense of humor.  He is a multi-talented musician who well creates the thoughts, desires, and wisdom of the “Dust Bowl Troubadour.”

David Finch, Helen Jean Russell and Leenya Rideout are all outstanding musicians and performers who well portray many people who affected and influenced Guthrie’s life and beliefs.  Pleasurably, none of the cast or their instruments are encumbered by microphones, so there is a natural, not artificial sound to the music and the singing.

CAPSULE JUDGMENT:  If your definition of a musical is an orchestra in the pit, dancing, and a plot in which the songs perfectly fit into the story line, WOODY SEZ: THE LIFE AND MUSIC OF WOODY GUTHRIE isn’t for you.  If, however, you get off on learning about a real person, and sharing his music and philosophy, presented by an engaging note-perfect cast, this is the show for you.  CPH has opened its 98th season with a sure audience pleaser!

WOODY SEZ runs through October 6, 2013 at the Allen Theatre in PlayhouseSquare.  For tickets call 216-241-6000 or go to http://www.clevelandplayhouse.com.

GROUNDWORKS DANCE, 8/13

Dance has long been perceived as an art entertainment for the wealthy, educated and performance trained.  Terms such as “fifth position,” “adagio,” “camber,” “shag,” and “pirouette” are foreign to most people.   Dance styles such as hip hop, Tango, jazz, Samba, and Broadway may be terms that have been heard, but not known as a specific type of dance.  This combination has made attending dance programs a “no go” activity for many.

This perception seems to have changed lately with the advent of such television shows as DANCING WITH THE STARS, but most importantly, SO YOU THINK YOU CAN DANCE.  The latter takes unknown dancers trained in a multitude of styles, and puts them into an “American Idol” competition with dance  judges explaining what the contestants are doing and why they are proficient in specific styles.  Thus, the vocabulary of dance, and the appreciation of the athletic nature of this form of the arts, has made the art form more popular.

An awareness for the role of choreographers also has been nurtured, and names like Mia Michaels, Sonya Tayeh, Mandy Moore, Travis Wall and Tyce Diorio have become known, and their talents highlighted.

This new awareness places additional pressure on local dance companies to produce higher quality performances and more creative and broader classifications of dances as audiences understand what us happening on stage.

As overheard between several people at intermission of the recent GROUNWORKS DANCE Cain Park concert, a question arose as to why local companies, some of whom are short on proficient male dancers, don’t tap into the SO YOU THINK YOU CAN DANCE performers, not only the finalists but even some of the more proficient cast offs.  Also discussed was, “how about doing some of the works of the program’s innovative choreographers, which are often seen only once and then thrown onto the choreographic junk pile.”

This is not to say that GROUNDWORKS, David Shimotakahara’s little troupe of 5 needs overhauling, but realistically Damien Highfield should be getting near the end of his long dance career, and though Gary Lenington is moving more easily since he has adjusted his body size, the artistic director may soon be needing to search for some new males.  As for the females, he is in good shape.  Felise Bagley is still the best female dancer in town, adorable and dynamic Noelle Cotler has nicely replaced Amy Miller, and Annika Sheaff is a strong soloist, but her height and movement profile sometimes make it difficult for her to blend with the petite Cotler and Bagley.

Performing before an appreciative opening night house in Cain Park’s Alma Theatre, Groundworks’ performance was a nicely balanced program.

BEFORE WITH AFTER, a 2003 piece by Shimotakahara, with composed music by J. S. Bach, found the dancers flowing to the classical sounds, with the movements clearly paralleling the rhythm.   The piece acknowledged life’s encounters, crossed and re-crossed relationships in what might be termed “physical poetic responses to Bach’s compositions.” Highlights included classic movements by Bagley, appealing facial expressions and body creations by Cotler, and athletic actions by Sheaff.

WAY LEADS TO WAY (2013) was signature Amy Miller.  The company’s Associate Artistic Director was a powerful, controlled, compelling dancer.  Her choreography mirrors those traits.  Writhing, extended gestures, strong springs, running, and body thrusts combined to illuminate “Lusine,” a sound piece described as “down tempo, placid, abstract hip-hop, haunting ambient bipping/skipping techno.”  Danced in shadows, the mood was enhanced by Dennis Dugan’s lighting.

Award winning choreographer Doug Elkins started his dance career as a B-Boy, a break dancer, is noted for combining “modern dance, hip hop, martial arts and ballet with a touch of [Buster] Keaton and [Charlie] Chaplin”  His dance creations are filled with humor and challenging movement.

The very entertaining six part, MY HUMMINGBIRD AT THE HIGH LINE (2012), was set to musical pieces on the themes of love and creativity. The dance composition was inspired by writer  Jarod Kintz’s “If my love could be represented by a blur, it would be the beating of a hummingbird’s wings.  Did you know my love is the only love that can fly backwards?”

Songs such as “A Lot of Living to Do,” “Sway,” “I Got You Under My Skin,” and ”Dis Quand Reviendra Tu,” were blended to make for a jive, rumba, modern ballet mélange of classic, modern and contemporary moods.  The amalgamation worked well.  Two highlights were the coupling of Lenington and Sheaff to create a fascinating and well-conceived segment proficiently danced to Handel’s ”Acis and Galatea,” and Bagley and Cotler creating a delightful contemporary vibe while moving to Frankie Valli and the Four Seasons, “Beggin’.”

Capsule judgement: GROUNDWORKS DANCE presented another pleasing concert before an appreciative audience on opening night of their August 16-18, 2013 Cain Park presentation.  SUPPORT YOUR LOCAL DANCE COMPANIES!

Cleveland Orchestra superb, Joffrey Ballet disappoints

What happens when The Cleveland Orchestra, considered to be one of the world’s great ensemble of musical performers, couples with the Joffrey Ballet, hailed as “America’s Ballet Company of Firsts?” After their well-received five sold-out performance of THE NUTCRACER last winter at PlayhouseSquare, and their past linking at Blossom, the very large opening night audience was filled with high expectations.

The orchestra, under the baton of Tito Muñoz, held up its end of the coupling by beautifully interpreting both modern and symphonic music with proficiency.  On the other hand, Joffrey, though it reached brilliance in one segment of the evening, did not deliver on its expected luminosity.

The evening opened with INTERPLAY, originally choreographed by Jerome Robbins, and danced to sprightly music by Morton Gould.  Robbins, mostly known for his Broadway creations, including THE KING AND I, WEST SIDE STORY and FIDDLER ON THE ROOF, conceived INTERPLAY to be an interaction of music and dance, filled with humor and jazzy influences.  This is a dynamic all-American piece.  

Unfortunately, the Joffrey company seemed incapable of producing the intended joy.  The dancers, especially the male corps, were consistently out of sync, with jagged lines and missteps highlighting the number.  They had difficulty producing many of the classic and contemporary moves. In contrast to the orchestra’s creation of joyful sounds, the dancers failed to produce the parallel energy and proficiency.   This was definitely a second string group of young dancers who started off the evening on a less than positive note.

SON OF CHAMBER SYMPHONY, danced to deconstructionist music by John Adams, who composes in the minimalist tradition of Philip Glass and Steve Reich, allowed choreographer, Stanton Welch, to probe standard ballet traditions and invent ways to look at them through a different lens.  The purpose was not storytelling awareness, but emotional reaction.

The three movement composition, was well danced.  The highlight was a pas de deux by April Daly and Dylan Gutierrez, which contained fluid movements, fine partnering, exquisite toe work, and an excellent parallel between musical sounds and dancing.  The piece ended with not only strong positive audience reaction, but the dancers applauding the orchestra.

The highlight of the evening was a superb, fluid performance of ADAGIO by Victoria Jaiani and Temur Suluashivili.  The duo was perfectly matched in dancing skills and played well off each other.

ADAGIO, as choreographed by Yuri Possokhov, and set to music from SPARTACUS by Soviet Armenian composer, Aram Kachaturian, was effectively lit by Jack Hehler.

Possokhov, a Russian born and trained former member of the Bolshoi Ballet, has created a dance that is full of movement, which flows to the ebbs and tides of the lush music.  The orchestra created the perfect sounds for enhancing the proficiency of the dancers.

Now considered one of the great works of balletic music, reviews of Russian composer Igor Stravinsky’s THE RITE OF SPRING, tagged the work as “The work of a madman.” Those comments heralded the May 29, 1913 ballet and orchestral concert, performed at Paris’s Theatre des Champs-Elysees.  The piece  was choreographed by the legendary Vaslav Nijinsky.

The reviewers were not alone in their evaluation.  The avant guard music, which is often atonal, with non-traditional meter and rhythm, and dissonant stress, and the sensational choreography, resulted in vocal and physical riots by the audience.

Bowing to the reviews and reaction, the piece did not get another major performance for many years.  The 1980 reconstruction of the Najinsky original choreography by the Joffrey Ballet brought the work back of life.

The ballet and its music may have incited strong reaction in its early days, but, based on the comments by those exiting the Saturday night’s performance, there was neither positive excitement nor strong praise for THE RITE OF SPRING.

The piece, which mainly consisted of performers walking and shuffling in circles, sliding across the stage by small groups in straight lines, and an extended self-induced death by an emotionally reserved female dancer, did not develop the strong feelings needed.  It may have been the repetitious movements, the lack of emotional involvement, the minimal actual dancing, or the years of audiences hearing what were once unusual musical sounds, but the overall effect was not strongly positive. 

The strongest reaction at the end of the concert was the irritation of those waiting in endless lines to get on the trams to go to the parking lots.  Long waits and what appeared to be poor organization, did not endear the crowd to Blossom.

Capsule judgement:  The much anticipated reunion of The Cleveland Orchestra and the Joffrey Ballet resulted in an evening that was less than expected. The orchestra was superb, the ballet company, though there were two highlight segments, failed to live up to its reputation.  Too bad.  Cleveland has no permanent ballet company and the appearance of the world renowned Joffrey should have given ballet aficionados a chance for a fulfilling experience.

Reviewer of the Reviewer's Reviews--James. W. Wood

Roy,

Thank you, sir.

Best write-up on Winsor, yet.
You're a very fast study.

And my inbox proves you have a large readership.

Jim [James M. Wood, author of OUT & ABOUT WITH WINSOR FRENCH]

Review of the Reviewer's Review--Greg Caeser

Roy:

This [Berko:  Fall 2013 theater calendar] looks great!  I'm so pleased someone has
taken this on in a cohesive fashion. 

Best,
Greg [Caeser]

Cleveland area theatre calendar--Fall, 2013

CLEVELAND PLAY HOUSE
216-241-6000 or go to www.clevelandplayhouse.com
Sept 13-Oct 6
WOODY SEZ:  THE LIFE AND MUSIC OF WOODY GUTHRIE
A musical that uses over 25 legendary songs in an examination of Woody Guthrie’s life.

Nov 1-24
VENUS IN FUR
The award winning script, which is based on a novel by the man who named sado-masochism, is a  two-person comedy which acts out power games in a play within a play blurring reality and fantasy.

Nov 29-Dec 22
A CHRISTMAS STORY
In honor of the 30th anniversary of the Cleveland based film, CPH reinvents one of its previous “must see” shows.

DOBAMA
216-932-3396 or dobama.org
Sept 6-Oct 6
TIME STANDS STILL
Focuses on a photojournalist and a foreign correspondent who return to Brooklyn and find themselves trying to find balance and happiness after being physically and emotionally scarred while covering conflicts in the Middle East.

Oct 25-Nov 23
COCK
A drama which takes a playful, candid look at hetero-, bi- and homo sexuality and the difficulties that arise when people realize they have a choice

Dec 6-Jan 5, 2014
THE BIG MEAL
Set at a single restaurant table and spanning over 80 years, it tells the story of five generations of a family through one unending metaphoric meal, starting from a young couple’s first meeting and ending with a visit from their great-grandchild.

PLAYHOUSESQUARE
216-241-6000 or go to www.playhousesquare.org.
Oct 1-13
SLEEPING BEAUTY, A GOTHIC ROMANCE
Michael Bourne’s record breaking West End London production of the classic ballet with a gothic twist.

Nov 12-24
ONCE
A tale of living your dreams rather than your fears, this winner of eight Tony Awards tells the tale of a Dublin street musician who’s about to give up on his dreams when a young woman takes an interest in his haunting love songs.

Dec 4-Jan 5, 2014
WICKED
Broadway’s blockbuster is back by popular demand!  Long before that girl from Kansas arrived in Munchkinland, two girls met in the land of OZ….the rest is theatrical and fantasy history!

Sept. 7; Oct. 5; Nov. 2      
FREE PLAYHOUSESQUARE TOURS
90-minute backstage and on the stage tours which relate not only the visual aspects of PlayhouseSquare’s 10 theatres, but facts and anecdotes. No reservations are needed for individual participants, but groups of 10-or-more are asked to call ahead at 216-771-4444.

BECK CENTER
216-521-2540 or http://www.beckcenter.org
Sept 7-8
MERRILY WE ROLL ALONG IN CONCERT
A Sondheim provocative musical about the friendship of three young artists and what happens when the composer’s idealism is challenged by temptations.
Songs include;  “Not a Day Goes By,” “Good Thing Going” and “Our Time.”

Sept 20-Oct 20
SHE LOVES ME
Sheldon Harnick and Jerry Bock’s romantic musical about a pair of feuding clerks in a 1930s European parfumerie who secretly find romance in an unexpected way.

Oct 11-Nov 17
33 VARIATIONS
Written by the author of THE LARAMIE PROJECT, concurrently examines the creative process behind Beethoven’s DIABELLI VARIATIONS and the journey of musicologist Katherine Brandt to discover why Beethoven was compelled to write thirty-three distinct variations on a simple theme.  It features Stuart Raleigh on piano.

Dec 6-Jan 5, 2014
ANNIE
Leapin’ Lizards! The sun will come out tomorrow, and Miss Hannigan, the orphans, Sandy, Daddy Warbucks and the schemes of the comic book characters, are reprised once again!  It’s back on Broadway, why not at Beck?

ACTOR'S SUMMIT
330-374-7568 or go to www.actorssummit.org
Oct 10-Nov 3
A GRAND NIGHT FOR SINGING
A tribute to Rogers and Hammerstein with songs from CAROUSEL, OKLAHOMA!, THE KING AND I, SOUTH PACIFIC and SOUND OF MUSIC.

Nov 27-Dec 22
THE FARMDALE AVENUE HOUSING ESTATE TOWNSWOMEN’S GUILD DRAMATIC SOCIETY  PRESENTS “A CHRISTMAS CAROL”
A holiday farce, in the tradition of Monty Python, when the ladies of TFAHETGDS tackle Dickens for a loss.

CLEVELAND PUBLIC THEATRE
216-631-2727 or go on line to www.cptonline.org
Sept 26-Oct 6
SPRINGBOARD
Presentations of new scripts by local artists with post-show discussions.

Oct10-26
INSOMNIA:  THE WAKING OF HERSELVES
A woman joined onstage by two other parts of herself fighting for some cohesive identity.  (A revival of CPT’s 2010 production.)

Oct 17-19
LEAP/CONCEIVE
A showcase which features short segments from larger works-in-progress and asks for audience feedback.

Nov 8-9
TEATRO PUBLICO DE CLEVELAND
CPT’s new program to create original theatre with artists from the local Latin American community.

Nov 14-17
Y-HAVEN PROJECT
CPT artists and the residents of Y-Haven, a program for homeless men with drug and alcohol problems, collaborate to create an original lay.

Nov 29-Dec 14
DOUG IS A D-BAG
An interactive work that asks the audience to turn ON their cell phones and join the trials and tribulations of Lorie & Doug as they fall out of love.

Nov 29-Dec 21
THE LOUSH SISTERS DO THE NUTCRACKER
Singing siblings Jolly and Butter Rum are back with more booze, bawdy fun and Christmas memories.  World premiere.

ENSEMBLE THEATRE
216-321-2930 or http://www.ensemble-theatre.com
Sept. 27-Oct 20
ANIMALS OUT OF PAPER
Clevelander Rajiv Joseph’s play about a world-renowned origami artist who, when she opens her studio to a teenage prodigy and his school teacher, discovers that life and love can’t be arranged as neatly as finding the perfect fold!

Nov 21-Dec 15
PRELUDE TO A KISS
At Peter and Rita’s wedding, a mysterious old man insists on kissing the bride with fascinating consequences!

GREAT LAKES THEATRE
http://www.greatlakestheater.org or 216-241-6000
Sept 27-Nov 3
RICHARD III
The rise and fall of Shakespeare’s most diabolical villain – a homicidal hunchback--on a bloody campaign to seize the English crown.

Oct 4-Nov 2
SWEENEY TODD
Stephen Sondheim’s Tony Award-winning musical tells the tale of an unjustly exiled barber’s quest to avenge the wrongs done to him and his family by a lecherous judge.

none-too-fragile
www.nonetoofragile.com or 330-671-4563
Sept 13-28
NERVE
Adam Szymkowicz’s romantic comedy about on-line dating, which alludes to the author’s idea that sociopaths also deserve love.

Nov 15-30
LAST OF THE BOYS
Steven Dietz’s dark comedy about two soldiers who were on a road outside Dak To, Vietnam, in 1967, and then find each other thirty years later in a trailer park in California and celebrate one last hurrah.

convergence continuum
convergence-continuum.org or 216-687-0074
Aug 23-Sept 12
BASED ON A TOTALLY TRUE STORY
Ethan’s world is turned comically upside down when a Hollywood producer wants to turn one of his plays into a big-budget horror movie.

Oct  11-Nov 2
LILIES, OR THE REVIVAL OF ROMANTIC DRAMA
A drama, which takes place in 1952 in the church of a prison where the jailed Simon Doucet makes a confession to his old friend, Bishop Bilodeau.

Nov 29-Dec 21
FOOL FOR LOVE
Sam Shepard’s classic humorous study of love, hate and the dying myths of the Old West.

BLANK CANVAS

440-941-0458 or www.blankcanvastheatre.com
Aug 23-Sept 7
FRANKIE AND JOHNNY IN THE CLAIRE de LUNE
Terence McNally’s Broadway hit illuminates how two people navigate the insecurities of modern romance. Their journey is as timely as a tweet and as timeless as the full moon spilling through a window.

Oct 11-Nov 2, midnight show Oct 26 and 31
TEXAS CHAINSAW MUSICAL
A return engagement of this theatre’s award winning musical relates the coming of age story about a handsome serial killer, his overly affectionate Momma, the woman he loves, and the pantywaist runt that ruins everything.  If you don’t want to get covered in the over 15 gallons of blood spilled each night, ask to be seated in the “splatter free zone.”

Dec 6-21
GODSPELL
A contemporary rock musical centering on THE GOSPEL ACCORDING TO ST. MATTHEW, and featuring a score by Stephen Schwartz, which includes Day By Day.

To see a composite of the reviews of members of the Cleveland Critics Circle, go to www.clevelandtheaterreviews.com

Winsor French, Cleveland legend, to come to alive at Beck Center

On Friday, August 23 and Saturday, August 24, WINSOR! A FEISTY CABARET, will be produced by The Musical Theatre Project and performed at the Studio Theater in the Beck Center for the Arts.  The cabaret, with the performers seated on stools, will star Scott Plate and be directed by Victoria Bussert.  The topic of the cabaret will be Winsor French.

Who is Winsor French?   From the early 1930s until the late 1960s, Winsor French, an about-town columnist for the Cleveland News and later the Cleveland Press, and founder of PARADE magazine, was the darling of Cleveland society.

French was friends with the likes of Marlene Dietrich, Carole Lombard, Noel Coward, Somerset Maugham, Alfred Lunt, Lynn Fontanne and John Steinbeck. He was a constant house guest of Cole and Linda Porter.  He travelled with them, and wrote articles about his world adventures, and the people he hobnobbed with, in the local newspapers.

The person most influential in getting French accepted by Cleveland’s elite was
Leonard Hanna, Junior.  Hanna was a philanthropist, art collector, theatergoer, patron of the arts, director of the M. A. Hanna Company, and one of the most powerful movers and shakers in Cleveland until his death in 1957.

Hanna, like French, was gay, but not as openly out.  French often stayed at the Hanna farm in Mentor, accompanied by Roger Stearns, a well-known local pianist, his long time companion.

In a time rampant against homosexuality, French was liked and respected.  He had good looks, a remarkable ability to tell stories in his resonant Baritone voice, most commonly starting his oral tales with his column’s opening phrase, “You won’t believe this . . . ”.

French, though not a member of their religious faith, was “in” with the “Jewish Jolly Set,” the most influential Jews in Cleveland.  It was that group which is credited with showing French the value of philanthropy.  Here was another instance that, in an era of strong anti-Semitism, French was able to breach the gap, hold his influential position, espouse Jewish causes due to his connections not only with Hanna, but with Cleveland Indian’s owner Bill Veeck.

In an era of racism, French often wrote about local Black night clubs and, in the age of prohibition, told about illegal speakeasies, and even commented on the cost of their booze.

French was born in Saratoga Springs, NY.  His father, a military man, died when he was five.  His mother remarried and Winsor became the step-son of Joseph O. Eaton, founder of Cleveland’s Eaton Corporation.  He was, for a short time, married to Margaret Frueauff, whose stage name was Margaret Perry.  The Tony Awards, given for professional theatrical merit, are named after her mother,  Antoinette Perry, who was the co-founder of the Theatre Wing, which originated the awards.

The bon vivant French will long be remembered, not only for his writing about “’sepia’ entertainers, Jewish socialites, school children in wheelchairs, and men who found males more exciting than females,” but for tooling around the city in a Rolls-Royce Silver Cloud.

How did James Wood, the author of four books on the social history of Cleveland, and a long time CLEVELAND MAGAZINE columnist, come to write a book about French?

He credits the idea for OUT AND ABOUT WITH WINSOR FRENCH to “Margaret Halle Sherwin, who loved Winsor French and for a short time—not more than an hour or two—was engaged to marry this remarkable man.”

As Wood related in a conference call interview, “long time friend, Margaret, met me for lunch.”  She said, “After you finish the Halle book [HALLE’S: MEMOIRS OF A FAMILY DEPARTMENT STORE] you need to do Winsor French.  She kept after me.  The task was daunting.  There appeared to be no correspondence and archival materials.  One of his sisters eventually produced a letter file.”  Wood then related that he went back into the many years of columns and found a treasure-trove of information.  He realized that what he had was information about “a clever guy, writing with gay subtext.”  He was fascinated by “what French could do when, as a homosexual man he should have been in the closet.”

Though the suggestion for the book came in 1985, it took Wood until 2011 to get it published.

How did the staged version come into existence?  While Wood was interviewing Winsor’s sister, Martha Hickox, she said, “I wish you were writing a play, rather than a book.  An actor could portray Winsor better than a biographer.”

“Eventually, I gave a list of Winsor’s favorite songs to Bill Rudman, contemporary Cleveland’s connoisseur of musical theatre and cabaret.  I asked him if he thought they might be the basis for a show.  He said, ‘Maybe, if you would write the script.’”

Though there are no definite plans for anything other than the local staged readings, Wood, who will be in attendance at all three performances, and available for post-production talk backs, is interested in hearing how audiences react.  After that, he states, “Who knows?”

Only time will tell whether Wood, Rudman, Bussert and Plate will “fulfill Martha’s observation and give life to Winsor through a live theatrical performance of his favorite music.”

You can be part of history by attending one of the performances.  For $22 tickets call 216-245-8687 or visit musicaltheaterproject.org.

Post note:  My appreciation to James M. Wood and Bill Rudman for participating in a conference call on August 4, 2013, which is the basis for much of this article.  RMB

Cleveland theatre calendar--Fall, 2013

CLEVELAND PLAY HOUSE
216-241-6000 or go to www.clevelandplayhouse.com
Sept 13-Oct 6
WOODY SEZ:  THE LIFE AND MUSIC OF WOODY GUTHRIE
A musical that uses over 25 legendary songs in an examination of Woody Guthrie’s life.

Nov 1-24
VENUS IN FUR
The award winning script, which is based on a novel by the man who named sado-masochism, is a  two-person comedy which acts out power games in a play within a play blurring reality and fantasy.

Nov 29-Dec 22
A CHRISTMAS STORY
In honor of the 30th anniversary of the Cleveland based film, CPH reinvents one of its previous “must see” shows.

DOBAMA
216-932-3396 or dobama.org
Sept 6-Oct 6
TIME STANDS STILL
Focuses on a photojournalist and a foreign correspondent who return to Brooklyn and find themselves trying to find balance and happiness after being physically and emotionally scarred while covering conflicts in the Middle East.

Oct 25-Nov 23
COCK
A drama which takes a playful, candid look at hetero-, bi- and homo sexuality and the difficulties that arise when people realize they have a choice

Dec 6-Jan 5, 2014
THE BIG MEAL
Set at a single restaurant table and spanning over 80 years, it tells the story of five generations of a family through one unending metaphoric meal, starting from a young couple’s first meeting and ending with a visit from their great-grandchild.

PLAYHOUSESQUARE
216-241-6000 or go to www.playhousesquare.org.
Oct 1-13
SLEEPING BEAUTY, A GOTHIC ROMANCE
Michael Bourne’s record breaking West End London production of the classic ballet with a gothic twist.

Nov 12-24
ONCE
A tale of living your dreams rather than your fears, this winner of eight Tony Awards tells the tale of a Dublin street musician who’s about to give up on his dreams when a young woman takes an interest in his haunting love songs.

Dec 4-Jan 5, 2014
WICKED
Broadway’s blockbuster is back by popular demand!  Long before that girl from Kansas arrived in Munchkinland, two girls met in the land of OZ….the rest is theatrical and fantasy history!

Sept. 7; Oct. 5; Nov. 2      
FREE PLAYHOUSESQUARE TOURS
90-minute backstage and on the stage tours which relate not only the visual aspects of PlayhouseSquare’s 10 theatres, but facts and anecdotes. No reservations are needed for individual participants, but groups of 10-or-more are asked to call ahead at 216-771-4444.

Beck Center
216-521-2540 or http://www.beckcenter.org
Sept 7-8
MERRILY WE ROLL ALONG IN CONCERT
A Sondheim provocative musical about the friendship of three young artists and what happens when the composer’s idealism is challenged by temptations.
Songs include;  “Not a Day Goes By,” “Good Thing Going” and “Our Time.”

Sept 20-Oct 20
SHE LOVES ME
Sheldon Harnick and Jerry Bock’s romantic musical about a pair of feuding clerks in a 1930s European parfumerie who secretly find romance in an unexpected way.

Oct 11-Nov 17
33 VARIATIONS
Written by the author of THE LARAMIE PROJECT, concurrently examines the creative process behind Beethoven’s DIABELLI VARIATIONS and the journey of musicologist Katherine Brandt to discover why Beethoven was compelled to write thirty-three distinct variations on a simple theme.  It features Stuart Raleigh on piano.

Dec 6-Jan 5, 2014
ANNIE
Leapin’ Lizards! The sun will come out tomorrow, and Miss Hannigan, the orphans, Sandy, Daddy Warbucks and the schemes of the comic book characters, are reprised once again!  It’s back on Broadway, why not at Beck?

Actor’s Summit
330-374-7568 or go to www.actorssummit.org
Oct 10-Nov 3
A GRAND NIGHT FOR SINGING
A tribute to Rogers and Hammerstein with songs from CAROUSEL, OKLAHOMA!, THE KING AND I, SOUTH PACIFIC and SOUND OF MUSIC.

Nov 27-Dec 22
THE FARMDALE AVENUE HOUSING ESTATE TOWNSWOMEN’S GUILD DRAMATIC SOCIETY  PRESENTS “A CHRISTMAS CAROL”
A holiday farce, in the tradition of Monty Python, when the ladies of TFAHETGDS tackle Dickens for a loss.
CLEVELAND PUBLIC THEATRE
216-631-2727 or go on line to www.cptonline.org
Sept 26-Oct 6
SPRINGBOARD
Presentations of new scripts by local artists with post-show discussions.

Oct10-26
INSOMNIA:  THE WAKING OF HERSELVES
A woman joined onstage by two other parts of herself fighting for some cohesive identity.  (A revival of CPT’s 2010 production.)

Oct 17-19
LEAP/CONCEIVE
A showcase which features short segments from larger works-in-progress and asks for audience feedback.

Nov 8-9
TEATRO PUBLICO DE CLEVELAND
CPT’s new program to create original theatre with artists from the local Latin American community.

Nov 14-17
Y-HAVEN PROJECT
CPT artists and the residents of Y-Haven, a program for homeless men with drug and alcohol problems, collaborate to create an original lay.

Nov 29-Dec 14
DOUG IS A D-BAG
An interactive work that asks the audience to turn ON their cell phones and join the trials and tribulations of Lorie & Doug as they fall out of love.

Nov 29-Dec 21
THE LOUSH SISTERS DO THE NUTCRACKER
Singing siblings Jolly and Butter Rum are back with more booze, bawdy fun and Christmas memories.  World premiere.

ENSEMBLE THEATRE
216-321-2930 or http://www.ensemble-theatre.com
Sept. 27-Oct 20
ANIMALS OUT OF PAPER
Clevelander Rajiv Joseph’s play about a world-renowned origami artist who, when she opens her studio to a teenage prodigy and his school teacher, discovers that life and love can’t be arranged as neatly as finding the perfect fold!

Nov 21-Dec 15
PRELUDE TO A KISS
At Peter and Rita’s wedding, a mysterious old man insists on kissing the bride with fascinating consequences!

GREAT LAKES THEATRE
http://www.greatlakestheater.org or 216-241-6000
Sept 27-Nov 3
RICHARD III
The rise and fall of Shakespeare’s most diabolical villain – a homicidal hunchback--on a bloody campaign to seize the English crown.

Oct 4-Nov 2
SWEENEY TODD
Stephen Sondheim’s Tony Award-winning musical tells the tale of an unjustly exiled barber’s quest to avenge the wrongs done to him and his family by a lecherous judge.

none-too-fragile
www.nonetoofragile.com or 330-671-4563
Sept 13-28
NERVE
Adam Szymkowicz’s romantic comedy about on-line dating, which alludes to the author’s idea that sociopaths also deserve love.

Nov 15-30
LAST OF THE BOYS
Steven Dietz’s dark comedy about two soldiers who were on a road outside Dak To, Vietnam, in 1967, and then find each other thirty years later in a trailer park in California and celebrate one last hurrah.

convergence continuum
convergence-continuum.org or 216-687-0074
Aug 23-Sept 12
BASED ON A TOTALLY TRUE STORY
Ethan’s world is turned comically upside down when a Hollywood producer wants to turn one of his plays into a big-budget horror movie.

Oct  11-Nov 2
LILIES, OR THE REVIVAL OF ROMANTIC DRAMA
A drama, which takes place in 1952 in the church of a prison where the jailed Simon Doucet makes a confession to his old friend, Bishop Bilodeau.
Nov 29-Dec 21
LOVE FOR LOVE
Sam Shepard’s classic humorous study of love, hate and the dying myths of the Old West.

BLANK CANVAS
440-941-0458 or www.blankcanvastheatre.com
Aug 23-Sept 7
FRANKIE AND JOHNNY IN THE CLAIRE de LUNE
Terence McNally’s Broadway hit illuminates how two people navigate the insecurities of modern romance. Their journey is as timely as a tweet and as timeless as the full moon spilling through a window.

Oct 11-Nov 2, midnight show Oct 26 and 31
TEXAS CHAINSAW MUSICAL
A return engagement of this theatre’s award winning musical relates the coming of age story about a handsome serial killer, his overly affectionate Momma, the woman he loves, and the pantywaist runt that ruins everything.  If you don’t want to get covered in the over 15 gallons of blood spilled each night, ask to be seated in the “splatter free zone.”

Dec 6-21
GODSPELL
A contemporary rock musical centering on THE GOSPEL ACCORDING TO ST. MATTHEW, and featuring a score by Stephen Schwartz, which includes Day By Day.

To see a composite of the reviews of members of the Cleveland Critics Circle, go to www.clevelandtheaterreviews.com

Verb Ballets presents uneven evening of dance; dance preview

Verb Ballets’ SUMMER SERIES, recently danced on the stage of the Evans Amphitheatre at Cain Park, was a mélange of dance styles.  Salsa, traditional ballet, and contemporary dance forms were features of the evening.

MOZEL TOV MI AMIGOS, choreographed by Hollywood’s Daryl Gray, opened the program.  Supposedly intertwining the influences of Jewish and South American cultures, it featured the music of Larry Harlow, known for fusing jazz and Puerto Rican salsa.  It was billed as an exploration of sounds that evolved from the Jews who fled the expulsions of Spain and Portugal to the New World.

The concept appears to be a take-off on “Mazeltov, Mi Amigos,” which was a strong 1960s movement by a group of young Latinos, mainly Ray Barreto and Charlie Palmieri,  which combined traditional Yiddish and Hebrew music with a Latin infusion.  It fell out of favor, but has recently had a rebirth in the Jewish-Hispanic areas in Florida.

The Gray-Harlow dance version was missing the Jewish influence both in dance style and musical sound.

The dancers, especially the male members, showed little understanding of the language of the Salsa dance form.   Salsa dancers move with an 8-count rhythm, shifting weight while keeping the upper body level which causes the hips to gyrate, while incorporating distinct arm and shoulder movements in time to fast, heavily accented music.   Many of these dancers tended to sway and move their arms in flowing balletic motions, rather than quick snap of Salsa.

The circle formations, which may have been Gray’s attempt to duplicate the Hora, were generally ragged, with unequal spacing between the dancers and lacked the footwork that would have separated it from the Salsa moves.  Even if well executed, the Hora is Israeli and Eastern European, not Hispanic Jewish.

Harlow’s music, though well conceived in the Latin beat, was missing the cantorial and Sephardic Jewish sounds.

The overall effect was more “oy vey” (“woe, is me”) than Mazeltov (“congratulations”).

ANDANTE SOSTENUTO was an excellent Heinz Poll classic ballet.  Brian Murphy, the strongest male dancer in the company, has strong balletic skills.  Having danced with Poll’s Ohio Ballet, he is familiar with the nuances that makes Poll’s choreography compelling and uniquely his.

Murphy exquisitely partnered Stephanie Krise, who showcased excellent point-work and body control.  Danced to Mendelssohn’s “Second Movement Piano Concerto #2, in D minor,” the lush sounds of the music were accented by the dancers smooth movements.

DARK MATTER, a contemporary piece choreographed by Tommie-Waheed Evans, was danced to the sounds of Greg Smith, as designed by Jordan Shannon. 

The dynamic athletic choreography mirrored the atonal sounds.  Movement patterns were often complicated, and seemed beyond the abilities of some of the male dancers, who had difficulty forming parallel lines and co-ordinate moving both hands and bodies as a unit.  Though overly long, the overall effect of the controlled chaotic piece overshadowed some of the dancers’ weaknesses.  

Trad Burns’ lighting highlighted the movement and sound textures.   Leslie Miller’s featured dancing was extremely well executed.

PASSING, by Cleveland dancer and choreographer Antonio Brown, was a contemporary dance piece combining modern, classical, gymnastic, and jazz styles of movement.

The movements were nicely lit by Trad Burns who painted rectangular spots of light on the floor into which the dancers moved in and out with creative results.

Brown is maturing as a choreographer as can be noted by his increased use of a variety of movements and texturing of action, though he still has too much walking, almost like he can’t figure out to do with the dancers between their action segments.

Verb has a consistently excellent women’s corps.  It needs to reexamine its stable of male dancers.  Besides Brian Murphy, who is reaching the upper age level of dancers, the males are generally not consistent and often show performance weaknesses.

Capsule judgement:  Verb Ballets’ SUMMER SERIES was, with the exception of the opening number, a pleasant, if not compelling evening of dance.

Dance previews:

GROUNDWORKS DANCE, presents Cain Park Summer Series, August 16, 17 @ 7 p.m., August 18 @ 2 p.m., Alma Theatre.  Program includes a world premiere of an Amy Miller piece, and “My Hummingbird on the High Line,” a commissioned work by Doug Elkins and “Before with After” by Artistic Director David Shimotakahara. (http://www.groundworksdance.org)

VERB BALLETS, September 28, 2013, “Highlights from the summer repertory and previews of works by Verb Dancers, Akron Civic Theatre; October 11-12, @ 7 p.m. World Premiere, SOLDIER’S PROJECT FRESH INVENTIONS @ Dobama Theatre @8.  (http://www.verballets.org)

DANCE CLEVELAND, presents BALLET X on October 5 @ E. J. Thomas Hall, University of Akron @ 8 p.m.  “Ballet X .  . . captures the push and pull of relationships in sweeping partnered phrases.”  (http://www.dancecleveland.org)