Nine (Cassidy Theatre)

Challenging 'NINE' performed at Cassidy

Cassidy Theatre, known for years as Greenbrier Theatre, is tucked away in Parma Heights. The city not only encourages the theatre, but gives it financial backing. In the Greater Cleveland area, where public subsidization of the arts is almost nil, this governmental support is a wonderment. Soon, the Cassidy theatrical family will be moving into its new home at Claire’s Folly, a state of the art facility, with a forty-foot fly gallery and state of the art sound and lighting systems. There are many laughs at the sake of this white socks, polyester wearing blue-collar community, but they sure are more into backing of its local theatre than almost any other of its more affluent suburban neighbors. Maybe there is a lesson to be learned here!

In many ways Cassidy is like the little engine that could. It keeps taking on challenges that are beyond its capabilities. It was the first theatre in the area to stage ‘PARADE’ and it now is the first to undertake the challenge of doing the musical ‘NINE’ since its recent Broadway rebirth.

‘NINE,’ made its original debut in 1982. The production won five Tony Awards. It had a very successful revival in 2002.

The show’s book was written by Arthur Kopit, known for his aloof, often abstract plays. The music and lyrics is by Maury Yeston who also penned the less than memorable score for the musical ‘TITANIC.’

The story, which was inspired by the 1963 Federico Fellini film ‘8 1⁄2’, revolves around Guido Contini, a film director in the Fellini mold. The plot is slight enough to easily boil down to: Guido is stalemated in his personal and professional life, unable to commit fully to a relationship or summon the creative energy to make his next movie. This leads to disorienting fantasies (including suicide) from which he's rescued by his nine-year-old alter ego.

In spite of its moderate success, neither the original version nor the revival of ‘NINE’ went critically unscathed. A good deal of negative was pointed at Kopit's failure to create a book that was emotionally satisfying and was too moody and lacking in warmth.

Yeston's unmemorable score is a mix of musical genres -- solo ballads ("My Husband") and duets ("Unusual Way") as well as a whole comic opera sequence ( "Grand Canal "). This is not the kind of music you go out of the theatre humming.

What made the Broadway shows run were the casts. In the 1982 version, the multi-talented Raul Julia played Guido Contini, the film director. In the revival, as one Big Apple critic put it, “The revival of ‘NINE’ owed much of its almost instant hit status to Antonio Banderas whose acting and singing talent plus good looks made for an ideal, matinee idol.

Before examining Cassidy’s production, let’s examine Cassidy Theatre. This is an amateur theatre, no equity contacts, no paid performers. These are performers who perform for the love of performing. Any evaluation of their productions must take that into consideration. The yardstick for measurement can’t be the same as that used for a Broadway touring production, or even the likes of Great Lakes Theatre Festival or the Cleveland Play House. This is theatre right out of the Andy Hardy movies: “Hey kids, here’s a performance space, let’s put on a play.”

With that said, The Cassidy production of ‘NINE’ is credible. This is a compliment considering the difficulty of the vehicle they chose to confront. The show requires a charismatic, sensual, fine singing, superlative actor to play the lead. It requires one talented eight-year old boy and thirteen actresses who can sing and act. Few, if any theatres could pull that off with aplomb.

Director Lester Currie has done a fine job of staging the play. He uses his performers like chess pawns, moving them to the most advantageous places to accent ideas. He is also the costume designer of some of the finest and most appropriate clothing seen on a local stage.

Bob Stroesser, who portrays Guido is definitely no Raul Julia or Antonio Banderas. He lacks their sensuality. He often feigns emotions, overacting and making distracting facial expressions to express feelings. His inconsistent accent sometimes makes understanding him difficult and may be the cause of his acting difficulties. He has a fine singing voice which he uses well in interpreting songs.

The women, who are like an ever-present modern Greek chorus who step in and out of Guido’s life, are generally acceptable. Their acting and singing varies, as is often the case in amateur theatre. On the high end is Megan Grimes as Guido’s wife, Beth Cubbison as his mother and Linda Kindsvatter as one of the women in Guido’s life.

David Dettloff’s orchestra did a nice job of backing up the singers rather than drowning them out, which is often the case in local theatrical productions where the musical director sometimes forgets that this is not a concert, but the purpose of the music is to aid the performers.

CAPSULE JUDGEMENT: ‘NINE’ is a very difficult theatrical undertaking. The Cassidy production was well-received by the sold-out house, and that, when you get down to it, is what theatrical entertainment is all about.

Lysa Balmer reviews the reviewer

Dear Mr. Berko,

I am not one to write letters. Especially to theater critics. I have been a working actor, choreographer, technician, etc. in the Cleveland area for a long time - and have lived through most of the self-serving critics that Cleveland had to offer, and, as a rule - have not taken much stock in what they had to say.

I would just like to say THANK YOU for your review of NINE. The Cassidy (and will it have a third name in it's new space? I'm still having a hard time not calling it the Greenbrier....) is a community theater, and you reviewed it as such. WOW. You identified it as to what it was, and gave a review that reflected that. How refreshing to have a critic respect the effort, and not use the same banal criteria that the other reviewers use for every production, regardless of the environment it is presented in.

With new admiration,
Lysa Balmer

Guys and Dolls (Porthouse Theatre-KSU)

Maryann Black makes 'GUYS AND DOLLS' worth seeing at Porthouse

‘GUYS AND DOLLS’ is a problematic musical. It is one of the few modern musicals in which the score was completed long before the book for the show was written. Frank Loesser, so the story goes, wanted to do a musical based on the short stories of Damon Runyon’s mythical New York City, the Big Apple, a city filled with vivid characters. Loesser finished the score and no less than a dozen writers attempted to craft the book. Finally, humorist Abe Burrows and his side-kick Jo Swerling wrapped a quasi-story around the music. As such it is really a serikes of vignettes featuring various caricatures of characters, blended into a unified kind-of plot. This lack of clarity causes difficulty for directors, actors and choreographers.

The nature of the caricatures is the second challenge. This is New York...the frenetic, “Nu Yawk,” the loud and brash and unreal-peopled Gotham. The characters have to be bigger than life, yet believable. The actors have to understand the sound, the walk, the need be over-exaggerate the honest motives of the people they portray. Actors can’t feign being these characters, they have to be the personalities.

In the main, ‘GUYS AND DOLLS’ is the combination of the tales of Nathan Detroit, a small time gambler who runs the “oldest established floating crap-game in New York” and Adelaide, his doll; the high roller Sky Masterson’s gambit of winning a bet by talking the up-tight missionary doll, Sarah Brown, into going to Havana with him; and, the multiple character studies of the likes of Harry the Horse, Nicely-Nicely, Benny Southstreet, Big Julie.

The wonderful score includes such classics as “I’ll Know,” “If I Were a Bell,” “My Time of Day,” “I’ve Never Been in Love Before” and “Marry the Man Today.”

The Porthouse production has many things going for it including MaryAnn Black, Timothy M. R. Culver, MaryAnn Black, Bil Pfuderer, MaryAnn Black. And, did I mention, MaryAnn Black? Get the idea that MaryAnn Black carries the show? You are right. Without her right-on portrayal of Adelaide, the production would be a bust. Her “A Bushel and a Peck,” “Take Back Your Mink” and “Adelaide’s Lament” are all show stoppers.

Culver adds dimension by developing a perfect Nicely-Nicely. He is one of the few on stage who appears to be in total control of his character’s soul and has a good singing voice to top it all off. Bil Pfuderer as Arvide Abernathy, the head of the Save A Soul Mission, has a wonderful brogue and his version of “More I Cannot Wish You” was wonderfully touching.

Jim Weaver and Yolanda Christine Davis as Sky and Sarah, lack any charismatic connection. It is hard to believe them as a couple. They never look, kiss or touch as if they meant anything to one-another.

Weaver’s youth and gentleness make it hard to believe that he is THE Sky Masterson, gambler extraordinaire. But. he has a beautiful pop singing voice and is consistent in his interpretation of the role.

Davis appears miscast as Sarah. She has a beautiful singing voice, but it does not fit the show’s songs. She sings words, not meanings, and her shallow acting makes the character unbelievable.

Rohn Thomas comes close to the Nathan role, but misses the mark. He just doesn’t have the underlying New Yorkese needed for the role.

Terri Kent, the director, appears stuck between a rock and a hard place. She, because of the nature of the youthful casting resources available at Porthouse, has clean scrubbed suburban youth playing New York mobsters and cabaret dancers. In the main, they feign facial expressions, lack the sounds and the attitude needed, thus are unbelievable.

Kent is also not aided much by John Crawford, her choreographer, who has failed, with two exceptions, to create exciting movements. It may have been that he realized the limited hoofing abilities of his cast and low-keyed it, but the music encourages so much more. Dance highlights were the tap number by Black and the female chorus and Culver’s delightful “Sit Down, you’re Rockin’ the Boat.”

CAPSULE JUDGEMENT: It’s worth seeing ‘GUYS AND DOLLS’ just to see MaryAnn Black in action. As she proved in Porthouse’s ‘OKLAHOMA,’ and again in ‘GUYS AND DOLLS,’ she’s a local superstar!

Constance Thackaberry reviews the reviewer

Dear Mr. Berko:

It was most interesting to read your review of GLTF's most recent production. I follow the Cleveland theater scene by reading reviews.

I just wanted to let you know that I found your review most witty and was laughing out loud as I read it. As a bit of a Shakespeare traditionalist myself, I fear for the future of Shakespeare at GLTF!

I hope you are well and I look forward to reading more of you reviews.

Yours,

Constance Thackaberry

Miss Saigon (Beck Center)

'Miss Saigon" triumphs at Beck Center

In the last couple of years The Beck Center has been establishing itself as a major production house in the Cleveland area. This march continues as the theatre has undertaken to stage the very difficult ‘MISS SAIGON’ as its summer production. It is a difficult show to stage because it requires superb singing voices, a charismatic connection between the lead performers, complicated set changes, and the need for a great number of male actors. The Beck production succeeds on most of these levels.

Set in 1975 during the final days leading up to the American evacuation of Saigon, the multi-award winning show is from the hands of Alain Boublil and Claude-Michel Schönberg who also wrote ‘LES MISÉRABLES.’‘

It is the story of two young lovers torn apart by the fortunes of destiny and held together by passion and the fate of a small child. As one of the authors said, “We have an epic tale still to tell, but we also hope that when we focus on the passionate longing of a woman for her lover, and her unconquerable love for her son; when the Saigon pimp hurls himself demonically into action; when we are with real people: spurned lover, helpless children, the ones who matter - then the surroundings are put into perspective.”

The score contains "The Heat is On in Saigon," "The Movie in My Mind," "Why God Why?," "Sun and Moon," "The Last Night of the World,""I Still Believe," "Bui-Doi," and "The American Dream."

The Beck production, under the able direction of Scott Spence is impressive. The show moves quickly, builds in all the right emotional levels, and leaves the audience fulfilled.

The most important elements in the production are the astoundingly good singing voices of the cast. Everyone from the leads to the male chorus is impressive. Especially talented are Robin Lee Gallo as Kim, the Vietnam girl who falls in love with Chris, an American GI. She is matched in her vocal abilities by Connor O’Brien, whose singing of “Why God, Why?” was among the show’s highlights. Gallo and O’Brien are totally believable and convey an interpersonal charisma that is captivating. Their renditions of “Sun & Moon” and “Last Night of the World” were wonderful.

Also vocally strong are Ian Atwood, as Chris’s friend John and Maggie Stahl-Wirfel as Chris’s wife Ellen and Paul Floriano who is quiet good as the sleezy Engineer.

Choreographer Martin Cespedes does his usual excellent job and musical director Larry Goodpaster’s orchestra not only played well, but backed up the singers rather than drowning them out.

There are a few problems with the show. Don McBride’s sets didn’t work well. He usually has a clear concept. This time the set was a series of disjointed platforms the vital helicopter effect was missing. No, we don’t have to actually see the machine hovering above the stage but we must hear it, we must know of its presence. The few flashing lights didn’t work. As one of the authors states, “The helicopter, which plucks Chris away from Kim as it pulls the last Americans from Vietnam, stands as a symbol for all those irresistible forces that rend nations apart and split one individual from another. Our musical asks you to consider the countless small tragedies which have been imposed on millions of ordinary people by governments whom we like to think we control, but who seem locked into a constant spiral of hostility. The story ends tragically, but I hope what will endure after the curtain falls are the things that matter: love, honesty, determination, self-confrontation, courage, energy, life.”

CAPSULE JUDGEMENT: In spite of some minor flaws, The Beck production of ‘MISS SAIGON’ is powerful staging with a strong emotional effect. This is not light, escapist theatre. It is a meaningful and important story that is well told, well, sung and well acted. It deserved the standing ovation it received.

Pete 'n' Keely (Kalliope Stage)

‘PETE 'N' KEELY’ closes Kallliope's season

When an artistic director of a theatre picks a play to be presented there is a reason. Sometimes it fits the theatre’s avowed purpose. Think Great Lakes Shakespeare Festival choosing to do ‘HAMLET’. Often it’s because the script has something important to say such as ‘DEATH OF A SALESMAN’ and ‘DARK AT THE TOP OF THE STAIRS. Maybe it’s because the show’s writer insures great audience attendance. Neil Simon or Steven Sondheim come to mind. It could be that the theatre has the personnel who fit the script or a special star is available. Think Bernadette Peters as the lead in ‘ANNIE GET YOUR GUN’ or Bette Midler as Mamma Rose in ‘GYPSY.’ On occasion, the play fits the theatre’s space well. Whatever the reason, there usually is a rationale behind the selection.

Paul Gurgol, the Artistic Director of Kalliope Stage, Cleveland’s only venue completely dedicated to doing musicals, chose ‘PETE ‘N’ KEELY’ to close the theatre’s first season. Yes, it does fit two criteria, it is a musical and the two person cast fit well the intimate confines of the 50-seat Cleveland Heights theatre. Besides that, it’s difficult to figure out why Gurgol made the choice.

Now, don’t get me wrong, the production isn’t terrible. It just begs the question, “Why spend time, effort, talent and money on such an endeavor?”

Okay, let’s examine the story. The plot centers on a reunion between a former husband and wife as stars of a “bring ‘em back together” TV show. (Kind of the Sonny and Cher reunion.) The music is a hodge-podge of mostly pop songs from the ‘60s with a few weakly conceived new works thrown in. Musical numbers include “Lover,” “Besame Mucho,” “This Could Be the Start of Something Big” and “Too Fat to Fit.”

The script is by James Hindman with original music by Patrick Brady and lyrics by Mark Waldrop. Hindman, who is a fairly well-know New York actor is making his virgin attempt at writing a play. It includes many lame lines including the likes of “age is a number and mine is unlisted.” The writing tries too hard to be witty and suave but fails to grab and hold the audience’s attention. (Ask the woman in the front row who slept through both the first and the second act.)

The Kalliope production is blessed with Kathryn Kendall who has a strong voice and good stage presence. Christopher Vettel also has a nice singing voice, but has some upper range flatness and a distracting habit of singing out of the side of his mouth, which contorts his face and creates a humorous look during some serious songs. Unfortunately, as well as they sing, there appears to be no on stage charisma between the performers and their vocal blends are not always aesthically pleasing.

Gurgol, who directs the production, has incorporated some clever visual and choreographic moments. “The Cross Country Tour” is a wonderful musical collage, “That’s All” is presented in a nice “scat” style and “”Have You Got A Lot To Learn” was very creatively staged.

The musical accompaniment is excellent, keeping in mind that the musicians are back-ups to the singers and their purpose is not to drown out the lyrics of the songs.

Capsule Judgement: If you like review type shows in an intimate setting, want to support a new local theatre, and enjoy songs of the 50s, ‘PETE ‘N’ KEELY’ might be to your liking.

Anything Goes (Carousel Dinner Theatre)

‘ANYTHING GOES’ sails merrily into Carousel Dinner Theatre

If your illusion of a dinner theatre is an old clapboard building, greasy food in steamer trays and a poorly produced musical, then you haven’t been to the Carousel under new Artistic Director Sean Cercone. Cercone has many fine plans for the theatre, and many have already been put into effect.

The theatre itself looks like a sumptuous Las Vegas show room. Beautifully decorated in red, with linen coverings and candles on every table, the tiers of tables and booths allow for good stage sight lines. The servers are young, polite and cooperative. In fact, we were so delighted with Chris Hendricks, our waitperson, that we changed her title in the program from Assistant Head Front Server to CHIEF Head Server.

The menu has 9 appetizers, 18 entrees and 10 desserts and a full offering of wines, alcoholic and nonalcoholic drinks. Favorable comments were overheard about the quality of the food.

And, now to the show, itself. ‘ANYTHING GOES’ is a classic 1930s musical. The story is silly and predictable and the music doesn’t always fit into the plot. You will never mix this up this with ‘CHORUS LINE,’ ‘FIDDLER ON THE ROOF’ or ‘WEST SIDE STORY.’ But, who cares. If you are in the right mood for farce and good dancing and ready to hear clever and wonderful lyrics to songs, you’ll probably go out singing, “I Get a Kick Out of You.” And, as one of the songs states, it is “Easy to Love.” The music and lyrics are by the wonderfully gifted Cole Porter and includes “All Through the Night,” “It’s DeLovely,” and “Goodbye Little Dream.”

The Carousel production has three strong elements going for it. First and foremost, Kirsti Carnahan, playing Reno, is the consummate Broadway star. She is beautiful, is a powerful singer, sparkles in every scene she is in, and has a wonderful sense of comic timing. If you go see the show for no other reason than to see Carnahan, it’s worth the price of admission.

Second, Rob Donohoe is a delight as Moonface Martin, Public Enemy #12. “Friendship” a duet by Donohoe and Carnahan was absolutely delightful.

And, Janiece Kelley-Kiteley’s choreography sparkles. The tap routines in “Anything Goes” and the show stopping “Blow, Gabriel Blow” are gems.

The plot, if that’s what you’d like to call it, centers on the premise that boy falls in love with girl, girl’s mother arranges for a marriage to an older man on a cruise ship, boy stows away on the ship, boy wins girl after many twists and turns in the story.

Director Victoria Bussert has added just the right level of farce to the staging to insure that the laughs are present and the production moves right along. Her only stumble was the casting of Dominic Roberts as the show’s hero Billy Crocker. Roberts failed to develop a believable character, flatted in many of his songs and lacked the polish to appear opposite the likes of Carnahan and Donohoe. Others in the cast, however, are quite good. Jenn Goodson, a Marilyn Monroe look alike, sings and dances up a storm in “Buddy, Beware.” Brian Ogilivie is a standout dancer and Katherine Wilfong has a nice singing voice as does Marc Moritz.

The musical sounds and the technical aspects of the show were excellent.

CAPSULE JUDGEMENT: If ‘ANYTHING GOES’ is any indication of what’s to come, going to Carousel Dinner Theatre will give you a complete entertainment package...good food, in a wonderful setting, with an above average production.

Mama Mia (Playhouse Square Center)

'MAMA MIA' leaves 'em dancing and clapping in return visit

Saw ‘MAMMA MIA’ last time it was in Cleveland or in New York or Toronto and think you don’t want to see it again, because you don’t want to wipe out that great experience? Forget it! The touring production of ‘MAMMA MIA,’ which hit the State Theatre for a 2-week limited engagement, is every bit as good as any production you’ve seen before.

Haven’t seen the show? Well, you’d better get your dancing feet down to Playhouse Square because when this show hits the amateur circuit it isn’t going to be nearly as good. It’s just too difficult a show for lesser talents to undertake. The casting requires three middle-aged women who can sing, dance, act and do ‘60s girl group moves, and 3 dancing, singing and acting middle-aged men and a strong male dance chorus. ‘Taint easy to find that in community theatres.

If you’ve been living under a rock somewhere and don’t know what the ‘MAMMA MIA” mania is about you need a modern history music lesson. Here it is:

The place: Brighton, an English coastal town. The date: Saturday, April 6, 1974.

The event: The Eurovision Song Contest. The results: A Swedish group named ABBA was declared the winner.

ABBA, named after the first initial of the group’s member Agnetha Faltskog, Benny Andersson, Bjorn Ulvaeus and Anni-Frid Lyndstad, has sold over 350 million records worldwide. Songs such as “Dancing Queen,” “Take A Chance On Me,” and “The Winner Takes It All” have become number one on top-ten lists.

Then, ABBA entered a new phase...the professional musical theatre. Playwright Catherine Johnson created a play consisting of three love stories: a young girl about to be married, her mother who has to confront her past, and an audience about to jump out of their seats with joy. The ideas came from the lyrics of ABBA’s songs. The musical incorporates 20 of ABBA’s best known songs including “SOS,” “Knowing Me, Knowing You,” “The Name of the Game,” “Money, Money, Money,” “Gimme Gimme Gimme,” and, of course, “Mamma Mia.”

This is not the first major hit to follow the “songs first, story line later” format. Lyricist Frank Loeser wrote the music for ‘GUYS AND DOLLS’ and then a dozen or more books writers attempted to put a story around it until Jo Swerling and Abe Burrows finally succeeded.

On April 6, 1999 MAMA MIA! opened at the Prince Edward Theatre in London. At the curtain call the audience rose and began singing and dancing in the aisles. The same thing happens nightly, even in staid Cleveland, Ohio.

The touring cast is wonderful. Lauren Mufson plays the lead role of Donna with talent, vitality and a powerful voice. Her side-kicks are hysterically and professionally portrayed by Lori Haley Fox and E. Faye Butler. The men in Donna’s life are all strongly portrayed by Michel Butler Murray, Bill Austin and Sam Carmichael, who has a wonderful singing voice. Though Sara Kramer, as Donna’s daughter has a pretty voice, it is thin in the higher registers and fades at times. Jared Zeus is adequate as her boyfriend. Gerard Salvador, as one of the islanders lights up the stage with his fantastic dancing.

CAPSULE JUDGEMENT: If they’d let me come to all 16 performances of the present Cleveland run of ‘MAMA MIA’ I’d be there singing and dancing and clapping in the aisles during the curtain call! As the show says, “THANK YOU FOR THE MUSIC.”

Hot N Throbbing (convergence-continuum)

Convergence-continuum stays its course with 'HOT N THROBBING'

Convergence-continuum theatre has built its reputation by doing controversial, thought-provoking plays that most other theatres in this area wouldn’t touch. And, they tend to do them very well, especially when Clyde Simon is at the directing helm. Their newest staging, Paula Voegel’s ‘HOT N THROBBING’ is exactly this theatre’s cup of tea. It is somewhat abstract, appeals to a certain nitch audience, and fits well into its 50-seat venue.

‘Hot N Throbbing’ tells the story of a dysfunctional family fighting its way to destruction. Charlene, who writes women's erotica to support her 16-year-old daughter and 14-year-old son, is both attracted to and repelled by her ex-husband Clyde, who can't seem to leave her alone despite a restraining order. The play also offers two other voices: a woman whose dialogue represents Charlene's inner thoughts and a man who represents a variety of characters, including the male part of Charlene and the fears that Clyde has instilled in her.

But the play’s purpose is more than what appears on the surface. In reality, the script delves into the connections between sex, power and domestic abuse. As the director of a recent production in Washington, DC comments, "This is a dangerous and exciting play that is both screamingly funny and deeply devastating.”

Even the title evokes comments. The DC director stated, "I think that the title is a comment on the relationship between sex and violence and how we are very mixed up about those two topics in our society. We love to be titillated, but we chastise those who titillate us. We have one of the biggest, if not THE biggest, sex industries in the world, and the highest level of violence. I think that Paula Vogel wants us to go through that twist, to hear the title and get kind of excited, giggly, and then to realize that it is a play about domestic violence."

Vogel has been accused of being a cerebral and inaccessable writer. ‘HOT N THROBBIN’ is that. But, it does give one a chance to think, and that’s a purpose that most theatrical pieces don’t do.

The convergence-continuum has a strong cast who clearly understand their roles. Times Tribute Award winner Lucy Bredeson-Smith, who doesn’t know how to be ineffective on a stage, has the right tone and and gives a multi-textured performance as Charlene. John Regan’s Clyde is just too slimy for words. He is appropriately unkempt, pathetic and obnoxious. Geoffrey Hoffman’s slouching, slumping, geeky peformance is right on key. Though Jovanna Batkovic isn’t always believable, she pulls off the part of the teenage rebellious Leslie Ann. Sheila O’Toole, especially when she is acting out scenes from Charlene’s writing, is excellent. Cliff Baily is inconsistent as the male voice.

CAPSULE JUDGEMENT: The question that winds its way through every scene in ‘HOT N THROBBING’ seems to be, “What happened to the human elements of tenderness, affection and a shared experience?” You won’t get the answers in the convergence-continuum production, but you will continue to think about possible answers long after you’ve left the theatre.

Diane Papp reviews the reviewer

Hi Roy!

Let me first introduce myself. My name is Diane Papp, and I am the Costume Designer/Shop Supervisor since 1997 here at LCCC forA&H. Your old territory. I remember working with you briefly back in'83 or '84. I had an outside contract to costume the dance
ensemble back then; not affiliated with the drama dept., but remember having some wonderful conversations with you.
At any rate, your review of "Grease" will be a wonderful teaching
tool for our Theater students, who either don't OR won't do any
research on any time period of their productions. Here, it is sometimes left up to the Costumer, being myself, to inform them of the
surrounding "do's & don'ts" of the era. While some Directors are better
than others in stressing those details, time & focus to detail
often falls into the hands of the Technical Production Team. Again, I
loved your review and it only vindicates us here of what we try
to teach our students. The audience isn't as stupid as they would like
them to be!

Thanks,
Diane Papp
LCCC Costume Shop

Grease (Cain Park)

‘GREASE” greaseless at Cain Park

‘GREASE,’ the stage musical, opened in 1972. It was an instant hit with a 1950s rock n' roll score and a hokey story about greaser high school kids finding friendship ("rama lama lama") and romance ("ka dingy dee ding dong!"). The show ran 3,388 performances which set a new record as Broadway's longest running show. This distinction it held until ‘A CHORUS LINE’ surpassed it in the 1980s.

The 1978 screen version became the highest-grossing musical in Hollywood history. A 1994 Broadway revival ran for 1,503 performances. A favorite with community theatres and school groups, the show remains one of the most popular musicals of all time.

Interestingly, ‘GREASE’ was the only successful theatrical project by co-creators Jim Jacobs and Warren Casey.

So, what’s all the excitement about? Picture the scene...it’s 1959...the time of poodle skirts, pony tails, white t-shirts with the sleeves rolled up and a pack of cigarettes mounted inside, d-a haircuts, slicked-back hair, souped up cars with fuzzy dice hanging from the rear view mirrors and class rings with angora wrapped around the shanks. It’s the time when schools were populated by greasers, goody-two-shoes, jocks and nerds.

Unfortunately, the Cain Park production, under the direction of Eric van Baars misses much of the era. The costumes aren’t era correct, the hairstyles aren’t era correct, and the dance moves aren’t era correct. But the major problem is that the characterizations aren’t era correct.

In order for ‘GREASE’ to be the classical musical that represents the 50s, the cast must not be playing at being greasers, nerds and goodie-two-shoes, they must be greasers, nerds and goodie-two-shoes. Don’t blame the generally talented cast for their foibles. They are clean-scrubbed suburban 2004 kids. They needed to be told about the era so they could emulate it. That’s the responsibility of the director. And, obviously, van Baars didn’t help them out by being their guide to the past.

There are some good individual presentations. Kenny Lear sings the role of Roger well. Chris Thomas gives a polished singing performance as Teen Angel. His falsetto ending to the song brought down the house. Meg Cavanaugh sings the role of Rizzo effectively, but fails to develop the hard-edge needed for the school tramp. Paul Harris, portraying Doody, is a great dancer but only a mediocre singer.

In the major roles, Keith Faris, who has a nice singing voice, appears too old for the role of Danny. His nice-guy good looks don’t translate into the smoldering sensuality needed for the role. Michelle Scully makes a pretty Sandy, but, as with the rest of the cast, misses developing a clear characterization. Alex Puette and Khalida Sims display a lack of understanding of the pivotal roles of Eugene, the nerd and Patty Miss school spirit.

CAPSULE JUDGEMENT: ‘GREASE’ at Cain Park is a major disappointment. Don’t go expecting the excitement of the movie, or getting a true vision of the ‘50s. Too bad. Eric van Baars had the opportunity to create a fun and flashback evening, but didn’t achieve the task. On the other hand, if you just want to scream praise for a bunch of kids who try hard, you might like the production.

The Taming of the Shrew (Great Lakes Theatre Festival)

‘THE TAMING OF THE SHREW’ funny, but not for everyone

Great Lakes Theater Festival is in the midst of a rebirth. In fact, their new logo has the word “Shakespeare” superimposed over the word “Theater.” Historically, GLTF was GLSF. Staging their plays at Lakewood High School during summers, the group built a solid reputation. Then, there was the move to Playhouse Square, the attempt to become a big-time player with a Fall/Winter/Spring season.

Now, under the innovative direction of Producing Artistic Director Charles Fee, the company will play Summer and Fall and return to being a resident company. A company which, in the past, produced the likes of Tom Hanks. Two shows will be produced at the same time, alternating nights for a six-week run. The first set of offerings are ‘THE TAMING OF THE SHREW’ and ‘THE COMPLETE WORKS OF WILLIAM SHAKESPEARE (ABRIDGED).’’

Another new feature of the Festival’s season is a free, nightly, outdoor event on Euclid Avenue, just outside the Ohio theatre, called “The Queen’s Arrival” that will commence a half-hour before each GLTF performance. It parallels the “Green Show” tradition that has long been a popular part of summer Shakespeare Festivals across the country. It will feature the arrival of a very special guest in a horse-drawn carriage.

When a director decides on his or her philosophy for staging a play, the person’s background comes into play. From watching Great Lakes Theater Festival’s production of ‘THE TAMING OF THE SHREW’ it can be concluded that director Drew Barr has watched a heavy dose of Saturday morning cartoons and is a lover of The Three Stooges, The Marx Brothers and slap-stick humor. His staging leaves no prat-fall, no double-take, no pie-in-the-face opportunity unused. There is enough faux hitting, tripping, and mugging to make any 6-year old roll on the floor in hysterical pleasure.

The result of Barr’s take on the Bard? Judging by the opening night audience, you’ll either love it or hate it. In the former group will be those who love to laugh, no matter whether that laughter comes at the expense of the script. In the latter group, will be the “Humph, that’s not the way Shakespeare should be done” crowd.

‘THE TAMING OF THE SHREW’ is one of Shakespeare’s most popular works. Probably the most compelling reason for the audience’s love of the script is that instead of the Bard’s usual lyrical poetry and delicate humor, ‘THE TAMING OF THE SHREW’ is filled with coarse vivid puns. Interestingly, because of the language there are experts who strongly believe that Shakespeare was not the play's sole author, or not the author at all.

Another interesting factor about the play is its almost universal dislike by women activists. Though on one level Kate, the lusty main character, has become a model for the strong-willed woman, the fact that she seemingly becomes a coy, subservient woman controlled by her husband, bodes poorly for women as independent beings.

So, what’s the play all about? In Padua, an old Italian town, lives rich Baptista and his two daughters. The younger, Bianca, is an angel. The elder, Katherine, a scourge with a hot temper and a sizzling tongue. Katherine has no suitors, while Bianca has at least two, which poses a problem for their father since he will not allow Bianca to marry unless someone takes Katherine off his hands first. That conundrum becomes the center of the play...who will tame the shrew and finally agree to kiss Kate? Does that phrase sound familiar? Of course. The play was rewritten into the well-know musical comedy “KISS ME KATE.”

GLTF’s cast is excellent. Andrew May, as Kate’s suitor Petruchio, does what May does best...grimace, mumble, futz, strut, over-act...all to the very best effect. Barr’s directing and May’s talents are a match made in heaven. Laura Perrotta’s Katherina is a fine hellion, but fades too quickly into the “nice” Kate. For some strange reason Barr has Scott Plate play the role of Lucentio, who is in love with Bianca, as a twit. He prances, flails, feigns fay. He does it well, but why? How M. A. Taylor gets through the evening without broken bones is a wonder. He is used by everyone as their punching bag. Maybe he is saved by his flack jacket which protects him from the mayhem. Wayne Turney is wonderful as Bianca’s older suitor. Derdriu Ring is fine, but has little chance to shine in the role of Bianca.

Narelle Sisson’s set design is a disaster. The multi-leveled set, featuring a slanted center platform which resembles a railroad car divided into a series of small rooms, and ladders and a platform high above the audience’s heads, is extremely distracting. The actors are constantly climbing ladders and ducking behind surfaces and being hidden from the sight of the audience. But, considering that the director has actors continually slamming doors and falling up and down stairs and tripping on platforms, the design may have been his idea.

Kimn Krumm Sorenson’s costumes add nothing to the production. In fact, in most scenes it looks like the actors were let loose in the company’s costume storage area and told to put on anything they wanted.

CAPSULE JUDGEMENT: If you like farce, if you like slap-stick you’ll love GLTF’s ‘THE TAMING OF THE SHREW.’

Reefer Madness (Beck Center)

‘REEFER MADNESS’ fails to totally light up Beck Center

From 1936 until well into the 1970s, a movie named ‘REEFER MADNESS’ was shown in health classes in many schools. Originally financed by a small church group it was intended to scare the living bejeebers out of every youth and parent who viewed it regarding the use of maijuana.

Soon after the film was shot it was purchased by the notorious exploitation film maestro Dwain Esper who took the liberty of putting in salacious insert shots and distributed it to movie houses. After a brief run, the film lay forgotten for several decades.

Enter Keith Stroup, founder of NORML (Nation Organization for Reform of Marijuana Laws). In 1971, he bought a print of the movie for $297, cleaned it up and started showing it at pro-pot festivals. It was a gigantic hit. Today, the film is a cult phenomenon dwarfed only by ‘THE ROCKY HORROR PICTURE SHOW.’

In April, 1999 a musical theatre version opened. Written by Kevin Murphy and Dan Studney, the co-authors of ‘LITTLE SHOP OF HORRORS,’ the theatrical version fleshes out the “story’ with music and dance. The show was an instant hit in LA where it opened and moved to Broadway to rave reviews in October of 2001.

As the play opens in 1936, THE LECTURER, a severe authority figure, informs the audience of the new drug menace, "Marijuana," which threatens the American way of life! His warnings are reinforced by the placard girl who throughout the play holds up large signs that clearly state the moral of what we've just seen, eg., “destroys will power,” “incites immorality,” and “causes insanity.” From his podium, The Lecturer warns that action must be taken immediately, before “the Good Ol' U.S.A. succumbs to the Demon Weed!” We then see the “true” story of two pure youths whose lives are ruined by the drug.

Critics on both coasts loved the productions. The Beck production is more to be liked than loved. The staging though acceptable, never reaches the fevered-pitch necessary to make the material so ludicrous that it becomes hysterically funny.

Most of the cast is good, if not exceptional. On the outstanding level is Matthew Wright, who was superb in Beck’s ‘FIX’ and again proves what a super talent he is. The Lecturer is a sweat-it out, change-into-lots-of-costumes and be-many-characters part, that demands a lot. Wright pulls it off with ease and polish. Betsy Kahl, a young Renee Zellweiger look-alike, is adorable as the innocent turned innocently-evil Mary. Her rendition of “Lonely Pew” is wonderful.

Michael Hezog portrays the giggling pot-headed, zombied-out Ralph in a perfect over the-top way. Josh Armstrong displays exceptional dancing abilities and abandonment as a member of the male ensemble.

Aimee Collier’s “The Stuff” was well sung, though her characterization of the put-upon gun-moll Mae, came and went. Geeky Enji Reid tries hard as Jimmy, the good-boy gone-bad, but doesn’t have the stage savvy to pull off the role. Curtis Young makes a great Jesus, but doesn’t menace enough as Jack, the drug dealer.

Many of the spoken and sung lines are drowned out by the over-zealous band. The usually dependable musical director, Larry Goodpaster, needed to keep in mind that if the audience doesn’t hear the words, they don’t know what’s going on. This is not a rock concert, the band is playing back-up.

The highlight of the show was the creative and well-conceived choreography of Martin Cespedes. Cespedes has a way of gauging the talent level of his cast and building doable numbers for them to perform. Especially effective were “Down at the Ol’ Five and-Dime” and “The Orgy.”

CAPSULE JUDGMENT: The musical ‘REEFER MADNESS,’ which will soon be made into a movie, is getting its local debut at The Beck Center. The production is fun in parts, but doesn’t let loose enough to make it the hysterically funny romp it could be. As a teenager sitting behind me said to a friend at the end of the show, “So what’s the big deal?” That’s not the response director Scott Spence wanted.

Godspell (Porthouse Theatre-KSU)

'GODSPELL' is "All for the Best" at Porthouse

‘GODSPELL’ is one of the biggest musical theatrical successes of all-time. Based on the “Gospel According to St. Matthew,” the musical tells the story of the last seven days of Christ's life. The parables have been contemporized, and Christ's followers are free spirits who sing the likes of "Day By Day", "All Good Gifts", and "Turn Back, O Man."

The show is perceived to be the creative child of Broadway super-author and composer Stephen Schwartz, the conceiver of such hits as ‘PIPPIN’ and ‘WICKED.’ ‘Taint so. Schwartz was a late-comer to the project.

The story goes that in 1970, while attending college in Pittsburgh, John-Michael Tebelak went to church on Easter Sunday. A theology student before he decided he wanted to be a theatrical director, he found the service to be devoid of feeling. Afterward the long-haired Tebelak was stopped by a policeman and searched for drugs. Tebelak confided that this experience provided him the inspiration for ‘GODSPELL.’ He produced the show as his senior project at Carnegie Mellon University.

The original score consisted of a song written by a cast member and old Episcopal Hymns, played by a rock band. To this point, Schwartz had nothing to do with the project.

John Michael left school without graduating. The show was eventually staged at the off-Broadway Cafe La Mama Theatre. A producer saw the production and said he would finance it if it had a new score. Enter Stephen Schwartz, who wrote all the songs in 5 weeks. (The only tune to remain from the original production is "By My Side"). The newly conceived show opened Off-Broadway on May 17, 1971. Tebelak was 22 years of age! ‘GODSPELL’ moved onto Broadway where it ran for 2,124 performances. Hundreds of professional and amateur productions of the show continue to be done.

Besides the Schwartz connection to the project, another fact that is generally overlooked is Tebelak’s Cleveland connection. He is a Berea product. As related by Bill Allman, the former producing director of Berea Summer Theatre, “John-Michael cut his theatrical teeth at BST where he acted, designed scenery and directed. In 1980 he returned to his roots when he directed a revival production of ‘GODSPELL’.”

The show’s other connection to the area is that in August of 1971, before it became a mega-hit, ‘GODSPELL’ was produced at Great Lakes Shakespeare Festival, the predecessor to Great Lakes Theatre Festival, which, at the time was housed in Lakewood High School’s auditorium. The show’s director was non-other than Tebelak, himself.

The show is not without controversy. It has been called blasphemous. Religious leaders have stated, “Surely no Christian who believes the Bible would approve of the perversion of ‘GODSPELL’.” The Wexford, Pennsylvania School Board banned a production of it after “complaints about its religious message.”

Any director of ‘GODSPELL’ has a number of choices to make. Should the production center on the religious message, forsaking the humor or take Tebelak to heart and make this a production of joy with the philosophy of Christ being carried though warmth and humor? Terri Kent, the Porthouse Theatre’s director, decided to go with the latter interpretation. It was a wise choice!

Given a great deal of leeway with a script that doesn’t prescribe visual or staging images, Kent left behind the show’s traditional notion of Jesus dressed in a Superman t-shirt and his followers clothed as clowns. She updated the language and nonverbal gestures, incorporating rap and contemporary musical sounds.

All in all this is a good production. It builds to an emotional conclusion without adding more preachiness than the script already has. It conveys the message to “be careful not to make a show of your religion before man.” It also invokes thought as to why some followers of Christ preach hatred against others instead of following the dictum, “Ye shall love thy neighbor as thyself.”

The cast is strong. Especially effective were Ryan Bergeron whose “All Good Gifts” was emotionally involving; Sandra Emerick whose big voice and seductive looks were well used in the delightful, “Turn Back, O Man;” and Andrew Crus whose “We Beseech Thee” was highlighted by some clever choreography and a let-loose attitude. W. James Koeth did a fine job of making Jesus a real character rather than a caricature. Coleen Longshaw built “Day by Day” to an emotional peak.

Though often delightful, Matt Lillo, as he has done in other productions, failed to pull back when necessary and sometimes upstaged other performers. Cute Emily Pote was often difficult to understand. Joshua Gordon failed to ignite the character of John the Baptist.

MaryAnn Black, who for some reason was given no bio space in the program, created some very clever and well executed choreography. Highlight numbers included “O, Bless the Lord, My Soul,” “All for the Best,” and “We Beseech Thee.”

Brian Laakso’s musical direction was excellent, playing backup rather than drowning out the singers. Steve Pauna’s constantly moving scaffold set worked well though it may have been overused at times.

CAPSULE JUDGEMENT: It’s been done time and again, but with a good production ‘GODSPELL’ can still be a fine theatrical experience, even if you aren’t into the religious message. Terri Kent has crafted a well-conceived and audience-involving production.

(Thanks to John Nolan, theatre buff extraordinare and a member of the 1980 BST “GODSPELL” cast for background material used in this review.)

The Diary of Anne Frank: The Opera (Cleveland Opera)

‘THE DIARY OF ANNE FRANK: THE OPERA’--music fails to move audience

The number of Holocaust survivors is dwindling daily. A small group of zealots, including the father of a famous Hollywood film maker and actor, are denying that the Holocaust even took place in spite of extensive documentation.

There are those who feel it is the obligation of the rational among us to make sure that the lessons of the murder of millions of innocents, including one-and-a-half million children, not be diminished or denied. Therefore, it is appropriate that since the famed Holocaust victim, Anne Frank, would have been 75 years of age on June 12, 2004 that a tribute in her honor and to the honor of all those who senselessly perished with her in the hands of the Nazis, be staged.

With this mission in mind, in his last official act as the General Director of Cleveland Opera, David Bamberger staged an evening entitled, ‘WE REMEMBER! A CELEBRATION OF THE HUMAN SPIRIT.’

The evening’s opening segment, “Come to Me in Dreams” was a one-act opera which combined Bamberger’s scenario and the songs of Lori Laitman. The songs were based on a series of Holocaust writings, such the emotionally moving children’s collection, “I Never Saw Another Butterfly.”

“Come to Me in Dreams” showcases a concentration camp survivor who recalls his lost wife and child while telling his story to his surviving child. Each character is represented not only by an actor, but by a musical instrument. This creative device would have been effective if there had been more differentiation between the musical tone and emotion of the instruments. As is, there was a lack of contrast between the “happy” times and the “sad” times. The music lacked texture, didn’t pull at the heart strings. This, not withstanding, the voices of the cast members were excellent.

The overall effect was less than could have been expected. The piece was met with polite applause.

The second act was the Ohio premiere of the Encompass New Opera Theatre’s production of “Diary of Anne Frank” by Grigori Frid. The script puts the well-known story of Anne and her diary, which was first printed in 1947, into a musical venue.

The production brings nothing new to the story. In fact, it does not totally build the same emotional levels as the diary itself, or the play version or the film rendition.

Part of the problem may have been the familiarization with the material. Part may have been that the solo performance eliminated the verbal interactions that helped flesh out the frustration and fears. Part may have been the overly long nature of the piece which started to get tedious near the end. The major problem, however, from my perspective was the music. The contemporary sound just doesn’t sit well in the ear. After a while there was almost a discordant tone, much like fingernails scratching on the blackboard.

Dunja Perchstein as the solo participant, was generally effective as Anne. Often, especially near the end of the piece, her voice was difficult to hear. Fortunately, due to the visual bulletin boards above the stage, the words were available to read. She also failed to emotionally dredge heartfelt feeling from the audience.

CAPSULE JUDGEMENT: Cleveland Opera should be commended for staging an evening of music intended to keep the horror of the Holocaust present in the minds and hearts of the audience. No matter the artistic effectiveness of the evening, the overall message was clear.

Bodies of Work (Anateus Dance)

Anateus Dance, Beth Salemi shines, but....

Last spring, when reviewing Antaeus Dance Company, I commented, in regard to Joan Meggitt’s choreography that, ‘A shortened piece would have made the evening much more satisfying.” Unfortunately, I must again repeat those sentiments regarding both “The Wanting Seed” and “The Usual Suspects,” which were presented recently as part of the company’s ‘BODIES OF WORK.’

“The Wanting Seed” is billed as a “deeply spiritual piece that examines individual sacrifice and how it affects all of us.” In spite of a creative interpretation of the Arvo Part’s music the performance outlasted its effect.

“The Usual Suspects,” is a piece inspired by silent films of the 1920s and 30s. Meggitt uses Mozart’s classical music as the basis for a contemporary piece which she claims contains “inherent physicality and humor”. After making her point in the first scene, Meggitt keeps adding more and more, with less and less effect.

In both of Meggitt’s choreographed pieces the individual dancers were excellent, especially Beth Salemi. However, the corps segments displayed some unmirrored segments, when the dancers’ timing was not parallel.

The highlight of the evening was “Bounder,” choreographed and danced by Beth Salemi. Wearing a modified hoop skirt, which she used expertly, Salemi displayed both a sense of humor and dancing skill. This was an audience pleasing and clever creation.

CAPSULE JUDGEMENT: Joan Meggitt is a talented choreographer who might consider reexamining her philosophy and ask whether after accomplishing her message she needs to restate and restate the idea.

Steel Magnolias (Beck Center)

'STEEL MAGNOLIAS' doesn't hit all the right notes at Beck

There are few plays which allow the audience to laugh through their tears. STEEL MAGNOLIAS, Robert Harling’s well-crafted script, is one of the few, and, possibly the best.

The story, set in Chicapenn Parish, Louisiana examines the lives of six women. They are unique females whose social and emotional lives center around the local beauty shop where “anyone who’s anybody gets their hair done.” The women share gossip, laughter, tears and friendship, while buoying each other through pain and sorrow, while celebrating the wonders of life.

Truvy, a woman with big blond poofed hair, owns the beauty shop, once a car port attached to her house. Annelle is her new employee, a born-again Christian with a secret. Clairee is the wife of the former mayor and the wealthiest woman in town. M’Lynn is a social worker and mother of Shelby, whose life and death is the centerpin of the play. Ouiser is a pseudo-miserable woman who is all bark and little bite.

The play is chock full of delightful lines: “We went skinny dipping and did things that frightened the fish.” “I should have known my son had problems when his imaginary playmate wouldn’t play with him.” “The sanctuary looks like it was hosed down with Pepto Bismol.” On and on they go, and most pleasantly, they aren’t just one liners...they fit into the script and carry meaning and help develop both the characters and plot.

Beck Center’s production, unfortunately, doesn’t live up to the script. Sara May’s directing is usually right on target. In this production, however, she seems to have slowed the whole production down. Characters were not consistently developed and the line between comedy and pathos was often blurred. Dialect Coach Chuck Richie needed to hone the actresses’ Louisiana rhythm, cadence and articulation.

The cast is generally talented, but fails to jell. Maybe, as the show runs, the blending will take place. Melinda Hughes, as the diabetes-inflicted Shelby, comes the closest to a true-Louisiana sound. A tone which is absolutely necessary to illustrate that these are Southern women, born and bred. Hughes also sets up the pathos by being both vulnerable and appealing. Rhoda Rosen as Ouiser has some wonderful moments. Bernice Bolek as Clairee also displays some grasp of her role’s motivations. Julie Ketterer as M’Lynn, needed more resolve, Amy Pawlukiewicz as Annelle needed more character depth and Maria Corell as Truvy who is the pivotal character of the script, needed to let lose and develop a broader characterization.

Casey Jones’ sound design, especially the musical interludes between scenes, helped develop the correct mood for each scene.

CAPSULE JUDGEMENT: Beck’s ‘STEEL MAGNOLIAS’ is an acceptable, if not totally fulfilling production.

Point of Departure --6/1/2004

POINTE OF DEPARTURE makes a positive point!

The Cleveland area has many fine dance companies such as Groundworks and Verb. What is missing, since the departure of Cleveland/San Jose Ballet is a fine ballet company. But, some might respond, there are the Ohio Ballet and Ohio Dance Theatre. Unfortunately, Ohio Ballet has proven to be inconsistent and there does not appear to be much hope that in the near future there will be much change in that status. Ohio Dance Theatre, Denise Gula’s Oberlin based group, does a nice job for a small company with limited resources, but, it doesn’t produce world class productions.

Fortunately for the area, each summer former CSJB wunderkinds Karen Gabay and Raymond Rodriguez return to the area to give a limited number of performances by their Point of Departure company. This year the local season is limited to three outings, the just completed two performances at the Cleveland Play House and an August 5 night at Cain Park’s outdoor theatre.

As it again proved in its Play House programs, it’s really a shame the company can’t be in residence here all year long. The program was excellent!

Pointe of Departure has four things going for it. First and foremost, is the wonderfully creative choreography and fine-tuned directing of Karen Gabay. Second is the dancing of Rodriguez. Third is the dancing of Gabay. And fourth is the female corps de ballet.

Gabay’s choreography, much like the person, is full of energy, a sense of delight and an eye on precision. Her dancers are almost always in sync. The movements fit the musical tones and textures. Her story ideas are clear. Her dancers tend to know what to do and how to achieve the end result.

Though Rodriguez is getting a little long-in-the-tooth by dancer’s criteria, and his once razor thin body has thickened up a bit, he hasn’t lost a bit of his talent. He out-danced every male on the stage in the recent performances, some of whom were half his age. His secret is not only his dancing, but his attitude and understanding that emotions must be felt, not acted. It is a lesson that someone like Maximo Califano could well learn. Califano is tall, dark and handsome. He danced the lead in several numbers. He seems to have good dancing instincts, but his execution is sloppy, he feigns feelings, and lacks body control. His leaps often end with him off-balance. His hands flop around never completing a movement with finality. His eyes never show intensity or glee, as is fitting certain segments of dance. He feigns feelings rather than feeling them.

Gabay still moves like a feather and shows total glee in being before an audience.

The female corps are all fine. It’s hard to pick out one to highlight as they all performed well. Special nods go to Christine Schwaner for her performance in “Abrazo” and “A Vision in White,” and Catharine Grow in “Blues.”

On the other hand, the males are inconsistent. Jekyns Pelaez does an excellent job in his leaps, but is inconsistent in his timing. Demetrius King is a strong dancer and conveys the correct attitudes, but is also inconsistent in his dance interpretations. Ramon Moreno dances well in “Trabada,” he failed to convey to appropriate sensuality need.

“Gare Du Midi” centers on riders waiting for a train in a station. Leonard Bernstein’s music, “Divertimento for Orchestra” contains a melange of musical sounds including the waltz, samba, turkey trot, blues and march. The choreography perfectly matched the musical sounds. Highlight segments included “Sphinxes,” “Mazurka,” and “Turkey Trot.”

“Pas de Deux from Swan Lake, Act II featured Alexsandra Meijer as Odette, the Swan Queen and Maximo Califano as the Prince. Meijer dances well, but she failed to compel the audience to watch her. Much of the problem centered on her stoic attitude which lacked the necessary vulnerability and enchantment of the character.

“2-2 Tango” was again Gabay at her choreographic best. She took the audience through ten different emotional levels, all based on tango music. Highlight segments included “Sentado” which again proved that as dancers and partners Gabay and Rodriguez still have it! Their “Mordida” was another highlight segment. Gabay, along with Patricia Perez and Christine Schwaner performed excellent toe-work in “Cordia.”

The delightful jazz induced “The Other Side of the Road” completed the evening. Again Rodriguez sparkled. Every segment of the Gabay choreographed piece was unique and well executed.

The final curtain was greeted by a deserved standing ovation by the near capacity audience. Interestingly, there were no sets, the music was recorded and the costumes minimal but fine. As Pointe of Departure proved, it doesn’t take gimmicks to produce wonderful dance.

It would be wonderful if Pointe Of Departure could become a year long community fixture. With the right benefactor or series of benefactors that could become a reality.

Some person or persons or group needs to step forward and fund this fledgling organization. No one better deserves this support than Karen Gabay and Raymond Rodriguez. If you have a check to write, big or small, or a suggestion of who might be angel to give the area its ballet company, contact Point of Departure at 216-881-0353 or write Gabrod, Inc. at P.O. Box 719, Lakewood, OH 44107 or go on-line to www.pointeofdeparture,com.

The Sweepers (Ensemble Theatre)

‘THE SWEEPERS’ leaves much under the rug at Ensemble

It is both ironic and appropriate that on the weekend that the memorial dedicated to those who gave their lives in World War II, Ensemble Theatre opened their run of the Cleveland premiere of ‘THE SWEEPERS.’ The play centers on the final weeks of World War II.

John Picardi’s script is the first in a proposed series of ten plays focusing on the Italian American experience in the USA. He plans to write one for each of the decades in the 20th century.

In ‘THE SWEEPERS’ Picardi examines the problems created by the war and the effect on three life-long Boston Italian-American friends. Each of the ladies must face not only the trio’s relational issues and upholding the “Italian way,” but her own troubles. Dotty (Tracey Field) must deal with a husband in a mental hospital and her son at war. Mary (Meg Kelly Schroeder) must adjust to living life alone while her husband and son fight on the front lines in the Pacific. Bella (Jean Zarzour) fights her battles at home, dealing with her half-Irish lawyer son (James Savage Jr.) and the upper-crust Italian young woman (Jennifer Clifford) he has chosen to marry.

‘THE SWEEPERS’ is not a great play. Its plot twists are predictable, its characters too formulaic, and the writing leaves the viewer out of the loop...never sucking us into the action. In spite of this Picardi does give a glimpse into Italian American traditions and the binding relationships brought about by life-long friendships.

In its Off-Broadway run the play received favorable reviews. The plaudits were for the performances more than for the vehicle. Unfortunately, the Ensemble production misses the strong acting aspects.

Director Lucia Colombi doesn’t get her cast beyond surface level performances. The characters are not real. They need to be real. They need to be true Italian Americans, true people living a series of experiences. Emotions were feigned, not experienced. We need to feel with them and for them. Not so!

This is one play that requires each of the performers to have a clear verbal sound. These are people who have a deep connection with Boston and the Italian culture. There is a sound cadence that is required to create the reality. Not one member of the cast consistently had it.

On paper this was an ideal cast. Three of the actresses are members of Equity, the professional actor’s union. The others have extensive experience. It can only be assumed with proper directing they should have been able to make this, in spite of the script, a compelling evening of theatre.

Applause to Ray Beach and Stephen Vasse-Hansell for their excellent set design and Melanie Guzman on her period correct costumes.

CAPSULE JUDGEMENT: It’s a shame that Ms. Columbi couldn’t pull off the play with more professionalism. She’ll get another chance next year when Ensemble does the second of Picardi’s plays. Let’s hope the results are better.

Menopause (14th Street Theatre)

Clevelands have a better 'MENOPAUSE' than the Big Apple

“Seeking -- Iowa Housewife: mezzo, must be able to sing D below middle C to a high A. General information: Women should be over 42 and size 12-plus. Choreography is not difficult but they need women who can move well.” That definitely is not the traditional casting call for a Broadway musical. But, ‘MENOPAUSE, THE MUSICAL” is not a traditional show. There are no chorus cuties. There are no prancing guys. There is just a lot of fun, good singing, and an audience who knows from experience what it’s all about.

I’ve gone through menopause three times. In my home where my wife kept turning on the air conditioning during the winter and shedding clothing quicker than Gypsy Rose Lee. I also experienced it in New York with the original cast of the musical. But, sorry dear, undoubtedly, my best encounter with the “change” was at Cleveland Playhouse Square’s new venue, the 14th Street Theatre.

‘MENOPAUSE THE MUSICAL’ is a musical parody about the meeting of four women at a lingerie sale at Bloomingdale's. The four are a power professional, an aging soap opera star, an Iowa housewife, and a lost-in-the-sixties ex-hippie.

The quartet sings twenty-eight "re-lyricked" songs from the '60s and '70s which comprise the score, including "I Heard It Through the Grapevine, You'll No Longer See 39" and "Stayin' Awake, Stayin; Awake."

According to the show’s author Jeanie Linders she was inspired by "a hot flash and a bottle of wine." She contends the show is a celebration of a passage that launches women into an exciting new phase of their lives. "Most women know intuitively that every other woman is experiencing memory loss, night sweats or hot flashes," states Linders. "But when they are in a theater of 400 women – not just a few friends who are sympathetic by nature – and all 400 are laughing and shouting ‘That’s me!’ then they KNOW that what they are experiencing is normal. They aren’t crazy. It becomes a ‘sisterhood.’"

The Cleveland cast is wonderful. They work together well, obviously a labor of love. As the power woman, Tina Stump wails and shakes her “bootie” to the screams of the audience. June Lange, as the Earthmother (you’ll remember her as the widowed mother in the long running ‘TONY & TINA’S WEDDING)’ quickly became the audience favorite. The lovely and talented Maryann Nagel portrays the Soap Star with her usual dramatic flair and powerful voice. Dyan Beder doesn’t quite reach the heights of the others, but is so full of charm and enthusiasm that she blends in well.

The 90-minute show, which is performed without an intermission, contains take-offs filled with double entendres of such hits as ‘Chain of Fools,” “The Lion Sleeps Tonight,” “Puff, the Magic Dragon” (which becomes “Puff, My God, I’m Drag ‘in”), “Lookin’ For Love in All the Wrong Places” and “Stayin’ Alive.”

The show climaxes (excuse the pun) with the audience being invited on stage to share the “experience.” Many of them do!

According to the producers, the show’s few glitches are being taken care of. The band is being toned down. At times it was impossible to hear the clever words over the overly loud pounding beat of the musicians. The miking and speakers are being adjusted. And the order of the song titles in the program are being relisted as audience members were complaining that they wanted to know what song was being sung and the random title arrangement didn’t help.

CAPSULE JUDGEMENT: It’s a “Sign of the Times” that I developed a “New Attitude,” while getting “Good Vibrations“ from the wonderful cast. Pick up your fans, pop your pills, grab a bunch of your friends (even men will do) and strut your way downtown to see this hysterically funny, well done show. The production is in an open run and deserves to be held over and over and over!

Cookin' at the Cookery (Cleveland Play House)

'COOKIN’ AT THE COOKERY' pleasant evening at CPH

Billie Holiday, Ella Fitzgerald, Etta James, Janis Joplin, Lena Horne, Alberta Hunter. You probably have heard of the first five, but who was Alberta Hunter? Interestingly, before any of the other divas on the list, there was Alberta Hunter.

Hunter was a super star! So, why haven’t you heard of her? Once a star of Broadway, the Casino de Paris, and the London Palladium, Hunter gave it all up at the age of 60 to become a nurse. She surprised everyone when, at the age of 82, she made a comeback in 1977 at Greenwich Village's THE COOKERY. Thus, the title of the show.

Now, more than a decade after her death, Hunter has made yet another comeback, this time as the subject of an award-winning Broadway play ‘COOKIN' AT THE COOKERY.’ The musical is told "in the key of the blues" by two actresses and four musicians performing soul-shaking renditions of Hunters' classic blues and jazz tunes including "Rough and Ready Man," "I'm Having a Good Time," "Down Hearted Blues" and "The Love I Have for You."

The show is a demanding vehicle for the two actors in the show. The duo playsnumerous characters from the singer, to her mother, to Hunter as a young girl, to Barney Josephson (the owner of the Cookery), and the legendary Louie Armstrong.

Gail Nelson, who sings and acts the lead role, and Carla Woods who plays the majority of the character roles, both have good voices and develop believable characterizations.

CAPSULE JUDGEMENT: ‘COOKIN’ AT THE COOKERY’ is a pleasant evening of theatre. There is not enough drama to make this a great play, not enough challenge to make it outstanding theatre, but the singing is nice and the story is pleasant enough.

Nickel and Dimed (Cleveland Public Theatre & Great Lakes Theatre Festival)

'NICKEL AND DIMED' pays big dividends for CPT & GLTF

Randy Rollison, Artistic Director of Cleveland Public Theatre and Charles Fee, the Producing Artistic Director of the Great Lakes Theatre Festival, stood center stage in the Gordon Square Theatre, welcoming the opening night full house to their jointly produced ‘NICKEL AND DIMED.’ Thus ushered in yet another exciting recent Cleveland innovation...a joint production between two local theatre companies.

There have been others, but this one is unique. In these times of tight dollars, to blend subscribing audiences, to run a jointly-produced show for a run that will last a month, is a gutsy move. It is the kind of creativity that has been the hallmark of Cleveland Public Theatre since the team of Rollison and Executive Director James Levin teamed up.

It has also been the practice of Fee, since coming to the area a short time ago, to look for alternative ways of doing theatre. In yet another of Fee’s moves, GLTF will revert back to its roots this year and produce a summer season of shows in rotating repertory, to be followed by a fall repertory and a holiday program. This is exciting stuff!

As to the show itself...millions of Americans work full-time, year-round, for poverty level wages. In 1998, Barbara Ehrenreich decided to join their forces. She set out to find out how anyone can survive, let alone prosper, on the minimum wage, on six to seven dollars an hour.

Moving from Florida to Maine to Minnesota, Ehrenreich worked as a waitress, a hotel maid, a cleaning woman, a nursing home aide, and a Wal-Mart sales clerk. She discovered that every job required exhausting mental and muscular effort. She also learned that one job is not enough; you need at least two if you intend to live indoors.

The theatres’ joint production of Barbara Ehrenreich’s ‘NICKEL AND DIMED’ is superlative. In spite of some opening night stumbles, the production, the acting, the setting all work perfectly. It far surpasses the script, which lectures a little too much and makes the director, technicians and actors work too hard to get the message across. The cast, under the creative direction of Melissa Kievman is flawless. Each character is clearly developed. There is never a moment when the audience’s attention isn’t anywhere but on the stage.

Nan Wray, Sheffia W. Randall, Nina Domingue, George Roth, Tracee Patterson each play a multitude of parts, with a multitude of accents, and a multitude of costumes and props. Jill Levin portrays Barbara. This is an ensemble piece that defies separating out the performers. One weak link and the entire chain fractures. There is no weak link. Applause, applause!

Todd Krispinsky has created a series of set piece which wheel on and off the stage with precision and ease. The running crew deserves a special curtain call. Trad Burns light, Alison Hernan’s costumes and Peter John Still’s sound design all work to perfection.

CAPSULE JUDGEMENT: After seeing “NICKEL AND DIMED,’ you will never see a motel bathroom or a eat a restaurant meal in quite the same way again. You’ll think twice before you shop at Wal-Mart. You’ll think twice before stiffing a waitress. ‘NICKLE AND DIMED’ is not just a theatrical experience, it is a life altering experience. This production isn’t just a see...IT’S A MUST SEE!!!

The Last Five Years (Dobama)

'THE LAST FIVE YEARS'--Dobama finds musical that fits its mission

When it opened Off-Broadway in March of 2002, Jason Robert Brown’s ‘THE LAST FIVE YEARS’ was met with superlative reviews. It was termed “compulsively enjoyable. ”The lyrics were called “accomplished, clever, tender, and arching in feeling.” Mr. Brown was lauded as “a leading member of a new generation of composers who embody high hopes for the American musical.”

Brown is the author of superlative musical drama, ‘THE ‘PARADE,’ the well-received ‘SONGS FOR A NEW WORLD,” and the critically panned “URBAN COWBOY.’ His music is not easily categorized, as is say, the writing of Andrew Lloyd Weber, where everything, after a while, all sounds the same. He writes in the mold of Steven Sondheim. His music is dramatic, often witty, always intellectual, yet with shades of wit and sincerity.

‘THE LAST FIVE YEARS’ chronicles a young couple's romance in an interesting way. Her story starts at the end of their relationship; his begins on the day they met. The show captures the heartbreaking and universally felt moments of modern romance.

Dobama is noted as “Cleveland’s Contemporary Stage.” Very seldom will you find a musical in the theatre’s offerings. However, every once in a while the artistic director finds the right fit of theatre and musical. ‘THE LAST FIVE YEARS’ is a wise choice. It has a contemporary message to tell and it tells it well.

The strength and the weakness of Dobama’s production is the cast. As with Sondheim, it takes special performers to get Brown’s work “right.” The two-person cast must not only be superlative singers, but superlative actors to get the numerous textures from the lyrics, and sing what are often difficult musical arrangements.

The Off-Broadway cast was lauded for “making beautiful music together.” Unfortunately, this is not consistently the case at Dobama.

On one hand, Scott Plate is wonderful. He is a superb actor and has developed into quite a singing talent. He commands the stage when he is present. He understands that Brown’s lyrics need interpretation and texturing. He pulls it all off with a well honed performance.

Unfortunately, Emily Krieger did not fare as well in her role as Cathy. Miss Krieger has neither the real life nor stage experience to undertake a role that fits the likes of Audra McDonald. She is a good college level performer, but didn’t quite have the whole package to pull off the quality of performance needed.

Vickie Bussert creatively directed the production which moved smoothly along and was visually interesting. If she knew that Krieger was going to assume the role of Cathy, she needed to work more on polishing her acting skills and working with her on character development.

The show’s musicians Nancy Maier, Morgan Scagliotti and Saeunn Thorsteinsdottir were excellent in both playing proficiently and backing up rather than drowning out the singers.

CAPSULE JUDGEMENT: ‘THE LAST FIVE YEARS’ is a well-conceived musical. The Dobama production, at least the one I saw, does not live up to the level of the script, score and lyrics. Not having seen Sandy Simon I can’t say whether the production would have worked better with the equity actress in the role, but based on her ‘SIDE SHOW’ and ‘MUSIC MAN’ performances at Cain Park, I could assume that she does a fine job and that would have made a major difference.

Cinderella by Houston Ballet (Playhouse Square Center)

Charming ‘CINDERELLA’ by Houston Ballet

The Houston Ballet is recognized as one of the premiere companies in the U.S. Their recent production of ‘CINDERELLA,’ which was the closing show of the University Hospital’s Health System’s Ballet Series at Playhouse Square Center, clearly illustrated the showmanship. The sumptuous costumes, well conceived scenery, the full-orchestra, and generally fine dancing made for a charming evening of dance.

The opening night cast featured the lovely and talented Mireille Hassenboehler as Cinderella. Her strong toe-work, fine dramatic interpretation of the role, and radiant smile made her truly a fairy-tale princess. Her Prince Charming was Andrew Murphy. Though he displayed strong partnering skills, his dancing showed some weaknesses, especially in his leaps. Illya Kozadayev captured the audience with his athletic split jumps and effervesence as the Jester. Julie Gumbinner was fine as the Fairy Godmother, as were the fairies. Audience favorites were Dominic Walsh and Phillip Broomhead, playing the stepsisters in drag. Their exaggerations and facial maneuvers brought gales of laughs from the many children in the audience.

CAPSULE JUDGEMENT: ‘CINDERELLA’ was a perfect way to end what turned out to be an inconsistent season of ballet in the Playhouse Square Center. Without a company of its own, the area has to turn to outside sources for major dance entertainment. When the American Ballet Theatre or the Houston Ballet are the choice, the evening is fine. On the other hand, the performance of The Pennsylvania Ballet left much to be desired.

Long Day's Journey Into Night (Ensemble Theatre)

‘LONG DAY’S JOURNEY INTO NIGHT’ gets good performance at Ensemble

On July 22, 1941, on the 12th anniversary of his marriage, Eugene O’Neill wrote this letter to his wife: “Dearest: I give you the original script of this play of old sorrow, written in tears and blood. A sadly inappropriate gift, it would seem, for a day celebrating happiness. But you will understand. I mean it as a tribute to your love and tenderness which gave me the faith in love that enabled me to face my dead at last and write this play.”

The play he was referring to was ‘A LONG DAY’S JOURNEY INTO NIGHT,’ now on stage at Ensemble Theatre.

The history of the script is fascinating. In the summer of 1939, at the age of 50, O'Neill began work on an autobiographical masterpiece that confronted the truth about his own family. He completed the work in 1941, but said the play was not to be produced until 25 years after his death.

His wife, however, knowing of the power of the work, released it for production in 1956, three years after O'Neill's death. It won a Pulitzer Prize and has often been hailed as O'Neill's greatest play, even being called the greatest American play of all time.

Though the names have been changed, O'Neill gives an account of his explosive home life. James Tyrone is an aging actor and a miserly skinflint. His wife, Mary, has been a morphine addict since the birth of their youngest son, Edmund. Their eldest son, Jamie is an alcoholic, unable an unwilling to find work on his own. Edmund, (Eugene O’Neill himself) who has been away as a sailor has returned home sick and awaits the doctor's diagnosis. Each of them is so self-centered, and self-pitying, that they cannot help one-another as they sink further and further into despair.

During his sanitorium confinement for consumption O'Neill studied voraciously. He devoted special attention to the playwrights Ibsen and Strindberg. His plays reflect these authors’ stark realistic styles.

The 1920 Broadway production of ‘BEYOND THE HORIZON’ marked the start of O'Neill's ascent to fame. He won the Nobel Prize in 1936, the first American playwright to receive the honor. O’Neill’s classics include ‘THE ICEMAN COMETH,’ ‘THE EMPEROR JONES,’‘ANNA CHRISTIE,’ ‘THE HAIRY APE,’‘DESIRE UNDER THE ELMS,’ ‘AH WILDERNESS,’ and ‘A MOON FOR THE MISBEGOTTEN.’

An award winning 1962 film version of ‘LONG DAY’S JOURNEY INTO NIGHT’ starred Dean Stockwell , Jason Robards, Ralph Richardson, and Katharine Hepburn.

‘LONG DAY’S JOURNEY INTO NIGHT’ is a very hard play to perform. It is very long, talky and depressing. Ensemble’s production, under the direction of Licia Colombi, is a very creditable staging.

The handsome and slight Andrew Curse is a perfect Edmund. His body wracks with deep-lung coughs, he perfectly portrays O’Neill’s valiant fight for sanity in an addictively dysfunctional family.

In portraying O’Neill’s mother, Annie Kitral takes on one of the great women’s stage roles. As with actresses who portray Blanche in ‘STREETCAR NAMED DESIRE,’ Amanda in ‘THE GLASS MENAGERIE,’ and Martha in ‘WHO’S AFRAID OF VIRGINIA WOOLF,’ she confronts a major challenge. And, she wins the battle. This is a finely honed performance. She clearly carries us deeper and deeper into her depression as she attempts to escape from reality through drugs.

Robert Hawkes gives a good performance as the drunken and misguided father. He might have textured the role more to give a clearer picture of the character’s mood swings as his frustration with life builds and we see that, as with most alcoholics, he goes from drug induced rage to depression.

John Kolibab has some fine moments near the play’s ending when he purports both his love and hate for his younger brother while wallowing in a drunken haze. He, as with Hawkes, needed more clearly defined moments of rationality and psychological clashes.

CAPSULE JUDGEMENT: A classic nine word review of the play once stated, “ ‘A LONG DAY’S JOURNEY INTO NIGHT’--yes, it was!” Fortunately for local audiences Colombi has cut almost an hour off the overly-long script and has molded her cast into an effective unit. Ensemble’s production is a fine way to experience the power of O’Neill.