Michael Bloom, Artisitic Director of CPH

The splotlight falls on Michael Bloom, CPH's Artisitic Director

“I love Cleveland, it’s a lovable city.” “Clevelanders take the city for granted and don’t trumpet it.” “The culture in this city is as good as any city in the country.” “Theatre is going through a difficult period due to the loss of corporate support.” “The arts in the area need to be more collaborative.” These were only a few of the comments made by Michael Bloom, the Artistic Director of the Cleveland Play House, during a recent luncheon interview.

Bloom, who is in his second year in the position, is actually just into his first year of being the “real” Artistic Director. When he assumed the position, the 2004-2005 season of shows had already been picked, so his major responsibility was to shepard the season. This year, is his! And, so far, it has been a success. After a somewhat less than critically acclaimed production of ‘ROOM SERVICE,’ CPH came into its own with a stirring production of ‘I AM MY OWN WIFE’ and a charming ‘A CHRISTMAS STORY.’ Both shows exceeded income expectations, with ‘A CHRISTMAS STORY’ breaking all box office records for the country’s longest operating professional theatre. ‘I AM MY OWN WIFE’ did so well here that the production is“on tour” to a venue in Florida.

Bloom took over an organization that was in trouble. Many subscribers had abandoned the venue due to questionable play choices, poor quality productions and a general negative feeling toward his predecessor. Bloom seems to have overcome much of that. He circulates with audiences. He has reached out to the community, for example, by giving speeches at the City Club. He has made family nights and special ticket pricing deals to attract younger audience members. The theatre lobbies were redesigned to warm up the interior and take away the austere look. He has allowed the facility to be used by Dobama and Ensemble Theatres. It is costing CPH a lot of money to house these organizations which have limited funding and can’t make major contributions to cover the facility’s expensive upkeep. This has not been helped by the fact that some funders, including the Cleveland Foundation, don’t perceive the facility to be a community arts center. MOCA (the Museum of Contemporary Art) which has also been housed in what was the old Sears building connected to CPH has recently announced that they will be relocating to University Circle, which will allow for their space to be reconfigured.

Bloom is extremely excited about the forthcoming ‘FUSIONFEST!,’ which is billed as Cleveland’s first Performing Arts Festival and will take place May 2 nd through the 21st at The Cleveland Play House complex. It will include presentations by the Cleveland Play House, The Cleveland Opera, Dobama Theatre, Groundworks, Verb Ballets and Karamu as well as participation by the Cleveland School of the Arts, Shaker Heights High School, MOCA, and the Cleveland Museum of Art. ‘FUSIONFEST!’ will highlight the best new performing arts work in the area and foster collaboration among Cleveland’s large, mid-size and small theatre companies. It will bring together theatre, dance and music under one roof over a concentrated time period and bring national attention to Cleveland performing arts. Bloom is hoping that it will have an economic impact much as similar festivals have done in Louisville which yearly has the Humana Festival of New American Plays. The estimated cost of the festival is $250,000 which will hopefully be underwritten by major corporation sponsors.

Another innovation being pushed by Bloom is the addition of professional acting classes, much in the style of those offered in New York, for local performers who want to hone their craft. The classes will be taught by Seth Gordon and Mark Allan Gordon.

Bloom is in the process of planning for next year’s season which will also add some innovations including one off-subscription family play which will center on a teenage subject.

Bloom, in contrast to his predecessor, has become popular with the local theatre community as he holds auditions which has resulted in a number of local actors finding work.

Bloom, who directed ‘PRIVATE LIVES’ at CPH in 1995, made his directorial premiere at the facility since being appointed as the organization’s eighth Artistic Director when he staged ‘A STREETCAR NAMED DESIRE.’ The production met with mixed critical reviews. His next directing assignment is ‘WELL,’ Lisa Kron’s one-act absurdist comedy which opens March 3 and runs through March 26.

It will be interesting to watch as Bloom places his own fingerprint on the Cleveland Play House. If his short past history with the organization is any indication, this could turn out to be a joyous ride for Michael Bloom, for local theatre and the entire arts community.

Coming to America (Kalliope Stage)

Kalliope’s ‘Coming To America’ is enjoyable

On the way out of Kalliope Stage after the opening night performance of ‘COMING TO AMERICA’ the woman in front of me said, “That was fun.” She was right, every once in a while it is nice to go to the theatre and just laugh a little, hear some good old-time songs, watch generally talented performers, and appreciate the creativity of a director who starts with a script and makes it into a visual reality.

James Hindman and Ray Roderick’s ‘COMING TO AMERICA,’ is having its world premiere at Kalliope. The duo authored ‘PETE ‘N’ KEELY,’ which garnered an Outer Critics Circle Award nomination and two Drama Desk mentions. That script was presented in 2004 at Kalliope.

Billed as a “poperetta,” ‘COMING TO AMERICA’ takes on the format of a vaudeville show with over 60 American standards and forgotten songs. This is no ‘WEST SIDE STORY’ or ‘CHORUS LINE.’ It is not even ‘TINTYPES’ which takes the same theme , but does it better. But, the production overcomes the trite script and the results are an enjoyable evening.

Songs include the likes of the well known “They Didn’t Believe Me,” “Alexander’s Ragtime Band,” “Oh! How I Hate to Get Up in the Morning,” “Over There,” “The Streets of New York,” “You’re a Grand Old Flag,” and “America the Beautiful.” It also features some ditties that few know including, “All the World Is Swaying,” “An Irish Husband,” “It Takes An Irishman to Make Love,” “Antonio,” “If You Don’t Want My Peaches,” and “Samiostisa.”

The singers/dancers/comedians portray a dozen people. Each character, who comes to this country in the early 1900s, is changed by America and America changes them.

The first segment examines the coming-to-America experience--the harrowing ship ride, seeing the Statue of Liberty for the first time, landing at Ellis Island, and entering the US. The rest of the production centers on the becoming a “Yankee” experience.

Kimberly Koljat, portraying an Irish lass, sparkles. Her eyes glisten, her face glows. Her singing voice is excellent. She dances well and her characterizations are well developed. She won the audience with “Just You Watch My Step.”

Christopher Sena is Ambrose, an Italian. He is generally effective, but sings with a nasal quality. His version of “Everything in America is Ragtime” with Jaron Vesely was a show stopper.

Vesely portrays Yankel, a Jewish immigrant. He displays appealing stage presence in a charmingly boyish way. His versions of “Papirosen” and “Ephraham Played the Piano” were delightful. He is also an excellent dancer.

Beth Kirkpatrick has a full and vibrant voice which she displays well as the Swedish Pernilla . The audience gasped with awe as she hit her high notes. Her rendition of “Nobody Knows” was enchanting.

Jason Winfield, who sometimes sings flat, has some nice moments. His highlight number was “When I Lost You.”

Director Paul Gurgol, who is a master at inventing creative “shticks” to enhance acting scenes and dance sequences, does not disappoint. This is a staging, with much creative staging and choreography, that gives pleasure well beyond the over-used premise of the script.

Anthony Ruggiero, the pianist and musical director does an excellent job. Russ Borski’s set design creates the right mood, while his costume designs are impressive. Lance Switzer’s lighting adds the correct moods.

CAPSULE JUDGEMENT: Forty percent of the people in the United States can trace their families through Ellis Island. Each of those descendants, and any others who appreciate a well-directed show with good singing and dancing, will enjoy Kalliope Stage’s ‘COMING TO AMERICA.’

Sorrows and Rejoicings (Ensemble)

Ensemble gets back on track with ‘Sorrows and Rejoicings’

Athol Fugard, who wrote ‘SORROWS AND REJOICINGS ’ in 2001, is a white South African. The play is now on stage at Ensemble Theatre.

Fugard, who while working as a court clerk, became aware of how Colored Africans suffered under the laws of apartheid. He decided to express his rage at the system in the form of playwriting. Thus an important voice of the “new” South Africa began to speak.

The political topics and views expressed in his plays quickly bought him into conflict with the government. In order to avoid prosecution, he produced his plays abroad. This did not satisfy the leaders of South Africa as the message of the subservience of the majority of the population started to receive international attention. As a result, they withdrew his passport.

When his plays were presented in South Africa, the mainly black audiences applauded, cried and interjected their own experiences into the productions.

With such plays as ‘BLOOD KNOT,’ ‘SIZWE BANZI IS DEAD,’ ‘ BOESMAN AND LENA,’ ‘MASTER HAROLD...AND THE BOYS,’ (a semi-autobiographical work), and ‘MY CHILDREN! MY AFRICA!,’ Fugard became an international name in theatre.

‘SORROWS AND REJOICINGS’ centers on Dawid, a man who is loved by two women, Marta (his mistress and the father of his daughter, Rebecca), and Allison, his wife.

Dawid clearly echoes the author's own sense of being "relentlessly gnawed by time." Like Fugard, he is a white writer deeply committed to black freedom, thus leading some to believe that he is, in fact, Fugard’s alter-ego.

The play takes place the day of Dawid’s funeral, shortly after he has returned to his South African home after a long period of self-exile in England. Using flashbacks, we experience the burgeoning societally unaccepted relationship between Dawid and the family’s black housekeeper, Marta; his marriage and life with white Allison; and his lack of a relationship with his abandoned daughter, Rebecca.

In a unique writing device, each of the women's remembrances of their relationship with Dawid are mostly monologues.

Fugard is noted for his obvious metaphors. For example, Rebecca stands upstage throughout the first two-thirds of the play, observing, not participating. She is separate, yet part of her mother’s and father’s lives. Allison and Rebecca frequently stand at opposite ends of the room, arms folded to underscore the “don't touch” gulf between white and black South Africans. The center of attention is a table made of a fine old native wood symbolizing, much like old and new South Africa, a long and troubled history.

The Ensemble cast is excellent. Elizabeth Townsend (Allison) develops a character which is properly British, while having a keen sense of South African history and compassion. Renee Matthews-Jackson develops a clear and compelling character as Marta. Sonia Bishop as Rebecca, the 18-year old daughter, is totally mesmerizing in her two very long soliloquies. She totally captures the stage while she rants and cries of her personal hurts, which also exemplify the hurts of her country. Robert Hawkes makes Dawid live.

Ron Newell’s set is serviceable, but the table, which is center stage in the play’s development needed to be more magnificent, to fit the constant attention which is called to it. Corby Grubb has selected African music which perfectly captures the mood of the script.

CAPSULE JUDGEMENT: Ensemble, which generally performed to high standards last year, started this season with several weak shows. But they have found their way back with a very high quality production of Athol Fugard’s ‘SORROWS AND REJOICINGS.’ Licia Colombi’s directing is right on target. The play is well-paced and the cast all have a total grasp of their characters.

Groundworks Dancetheater (Cleveland Botanical Garden)

GROUNDWORKS DANCETHEATER

David Shimotakahara’s GROUNDWORKS DANCETHEATER is by far the best of the smaller dance companies in the area. Their most recent performance at the Cleveland Botanical Garden, featured choreographer Gina Gibney’s meditation work, ‘RETURN.” The dance, which is not story based, featured original contemporary musical sounds composed by Ryan Lott. The non-melodic sounds were mirrored by the entire company--Felise Bagley, Amy Miller, Mark Otloski and Shimotakahara. As always, the dancers displayed amazing body control to interpret the angst-driven choreography.

‘THE BOOK OF WATER’ featured Shimotakahara doing the type of choreography which he does best...serious toned, gymnastic centered jumps, turns, lifts, rolls, whirls, leaps, cartwheels often done in slow motion. A perfect vehicle for his powerful and well-disciplined dancers.

National Ballet of Canada (Playhouse Square Center)

THE NATIONAL BALLET OF CANADA

One of the world’s great companies, THE NATIONAL BALLET OF CANADA, appeared a short time ago at Playhouse Square as part of the Rainbow Babies and Children’s Hospital Ballet Series. The program opened with an impressive production of THE FOUR SEASONS, choreographed by James Kudelka. It was danced to the music of Antonio Vivaldi. From the very first moment, the piece contained magically compelling movements. Aleksandar Antonijevic was in command of the role of A Man. His partnering, leaps, and stage presence were impressive. Stacey Shiori Minagawa (Spring), Greta Hodgkinson (Summer), Rebekah Rimsay (Autumn) and Victoria Bertram (Winter) all displayed excellent point movements. The choreography effectively created the youthful promise of spring, the passion of summer, the mellow warmth of autumn and the chill of winter, to the year’s untimely death. All in all, the performance was a perfect blend of costumes, music and dance.

The second piece, THE FIREBIRD, was disappointing. Though the costumes and sets were exquisite, Jennifer Fournier, in the key role of the Firebird, lacked the passion needed for the role. Though Stravinksy’s score was ravishing, the dancing, as a whole, was not. The applause at the end of the piece was polite, not enthusiastic.

No Pas Connin' (Cleveland Public Theatre)

Nina the Devine makes ‘No Pas Connin’ an enthralling experience at CPT

“We too poor to be depressed, we just pressed!” This humorous but poignant statement is but one of many thought-provoking ideas that fill the stage at Cleveland Public Theatre during ‘MO PAS CONNIN OR TORMENT, Nina Domingue’s one woman show.

Nina Domingue is one of the finest actresses in Cleveland. As evidenced by ‘MO PAS CONNIN OR TORMENT,’ she is also a talented playwright.

The experience (it is more than a play) is set in New Orleans. It centers on Miriam Waters, a 65-year-old former priestess of the goddess Mami Wata and her attempt to reconcile with her family. In the process we meet 8 other souls whose own stories are interwoven with Miriam’s. We also learn a lot about the Big Easy before the hurricanes destroyed much of the culture of the city.

Domingue is a native New Orleanian. She is black, Catholic and the daughter of a woman who committed suicide when Domingue was 4. The twenty-something Domingue relates that the play is based on the ghosts that populate her life. As the beginning line of the script states, “I don’t know what it is that torments me so.” That torment is contained in the title of show which translates from Creole as “I don’t know.”

It is interesting to note that in New Orleans, the word “black” does not connote the same as it does in the north. There is or were 152 classes of “colored folks” in that city. Many have experienced institutional racism in the schools, churches, and in their daily lives. For example, Jasmine, a young school child, is called “colored” by her teacher. She reacts with the statement, “Everybody is a color, ” which gets her sent from the room for being disrespectful. Her mother, a college professor, is talked down-to when she comes to discuss the matter with the “white” teacher, even though the mother has a higher education.

Domingue creates all the characters with quick fragmented costume changes and different hair arrangements. At no time is there any difficulty understanding who she is portraying as she also has a wonderful gift for adapting her vocal sounds and body.

As has become the expectation of “Nina The Divine,” a multi-Times Tribute Award winner and last year’s Cleveland Theater Collective’s “Best Actress in a Play,” this is a masterful performance. There are many highlights, but a major one is when she stands weeping on stage while portraying Christine, the character most like the actress and author, and relates the death of her mother. She intones, “In the Catholic Church, everything is the devil, and suicide is this great sin. After her death, nobody could even talk about her, and she couldn’t be buried in sacred ground. She is buried where no one knows.” (Her mother suffered from post-partum depression.)

The play is directed by Hassan Rogers, Domingue’s father-in-law, with total understanding, an eye for small details, and proper pacing of what could be a confusing experience.

Richard Morris, Jr.’s scene and lighting designs and Allison Garrigan’s costumes all add to the total positive effect.

CAPSULE JUDGEMENT: There are few actress in the country who could carry off this magnificent performance. If Domingue doesn’t present it, the odds of seeing it are remote. My recommendation--GO SEE ‘MO PAS CONNIN OR TORMENT.’ I GUARANTEE, YOU WILL BE AWED!

Intimate Apparel (Cleveland Play House)

‘INTIMATE APPAREL’ a good fit at CPH

Lynn Nottage is one of America’s great new playwrights. Her play ‘INTIMATE APPAREL,’ now on stage at the Cleveland Play House, was the recipient of five major national awards, including the New York Drama Critics’ Circle Award and the Outer Circle Award as Best Play of 2004.

It’s the beginning of the 20th Century. Esther, a plain and unsophisticated black woman, creates intimate apparel for socialites and a woman of ill repute. Desperate for love and marriage, she receives a letter supposedly written by George, a young Barbados worker on the Panama Canal who has been given Esther’s name by the son of her minister. Esther can’t read or write, but one of her wealthy clients volunteers to scribe letters for her. And, so, a series of documents are traded back and forth.

Esther gets joy from the beautiful silks she buys from an Orthodox Jewish merchant, Mr. Marks. Their relationship is commercial, but each looks forward to their contacts. He saves beautiful fabric just for her. He, too, is in a distant relationship as he has been matched with a Rumanian woman he has never met.

George arrives in New York and he and Esther are married. Their joy, is short-lived. George’s drinking, philandering and cheating Esther out of her hard earned money soon cause havoc.

This is a history of the black, the female and the immigrant experience in America. It is also an exploration of the true world of one of Nottage's aunts who left the rural South to become a seamstress in New York.

The Cleveland Play House presentation, which is listed as a joint production with the Actor’s Theatre of Louisville, is very effective. The Louisville-honed cast is generally excellent and director Timothy Bond, the Associate Artistic Director of the Oregon Shakespeare Festival, does an excellent job of pacing the nearly two-and-a-half hour show, so that the audience is engrossed throughout.

Gwendolyn Mulamba is compelling as Esther. She controls the stage with her complete emersion into the character. This is an impressive performance.

Denise Cormier is excellent as the frustrated wealthy patron for whom Esther not only makes intimate apparel, but is her emotional outlet. Tiffany Adams is effective as the prostitute. She has a fine singing voice. It is a shame that she doesn’t play the piano as her faking the movements, with the sound obviously coming from off-stage, was distracting.

Joe Hickey is convincing as Mr. Marks, the Orthodox Jewish fabric merchant. His scenes with Mulamba are awkwardly charming. Each character exposes his/her “intimate apparel,” their cultural histories, in a series of well-paced and beautifully interpreted scenes.

Erik LaRay Harvey had some excellent moments as Esther’s pen pal and eventual husband. There were times, however, when his concentration seemed to slip, his accent disappear, and his performance flowed along the surface. Perri Gaffney was not always convincing as Esther’s landlady.

Paul Owen’s multi-level stage was very effective, Lorraine Venberg’s costumes era correct, and Darren McCroom’s lighting enhanced the production.

Be warned that the poor acoustics in the Bolton Theatre makes hearing some of the dialogue difficult. This creates special problems early in the show as the listeners’ ears adjust to Esther’s necessary Southern Black pronunciation.

CAPSULE JUDGMENT: ‘INTIMATE APPAREL’ is not only an appropriate presentation during Black History Month, but is also a play and a production worth seeing.

Rent (Playhouse Square Center)

‘RENT’ ONCE AGAIN GETS STANDING “O” AT THE PALACE

Art is representative of the era from which it comes. By looking at the artistic productions of any time period, whether it be theatre, dance, painting, sculpture, film, or music, you get a glimpse of what the attitudes, beliefs, political and social movements were in vogue at the time.

In theatre, for example, the beat generation had ‘HAIR,’ an anti-war, anti-establishment musical. It represented the attitudes of a changing world and started a trend to use the musical as a vehicle to examine society. It was an anti-war, anti-establishment, break the rules snapshot. The production included nudity, long hair, and other against-the traditional-grain attitudes.

The millennium generation has ‘RENT.’ It stakes out territories that were in “vogue” about ten years ago and carry over to today. Issues include AIDS, drug addiction, homosexuality, transexualism, the plight of the homeless, and the search for purpose. Though some of the issues are presently in a different state, such as the development of the medical cocktail to treat those with AIDS, thus cutting down the number who die from the disease, the impact of ‘RENT’ can still be felt.

‘RENT’ has a star-crossed history. Jonathan Larson, who wrote the book, music and lyrics never lived to see his show open on Broadway. Larson died of an aortic aneurysm on January 25, 1996, 19 days before his musical had its world premiere. It is ironic that when the cast was rehearsing "What You Own," the rousing second act song about dying, Larson collapsed and was whisked away in an ambulance. He later told friends that he couldn't believe that the last burst of music he would hear might be his own song about dying. It was!

‘RENT,’ an updating of the opera, ‘LA BOHEME, has been to Cleveland five times. Each visit has been met with sold-out houses. This particular production is starting a seven month tour in Cleveland and if opening night is any indication, it will also bring in the greenbacks.

The cast members are mainly professional theatre “newbies,” recent college grads with little or no Broadway experience. In contrast to shows that are greatly dependent upon in-depth character development and extremely high level acting, ‘RENT’ is more a show of singing and developing illusions.

The strongest performance contributions were made by Jed Resnick (Mark), Bryce Tyness (Roger), Tracy McDowell (Maureen) and Altamiece Carolyn Ballard (lead woman singer/bag lady). Disappointing were Arianda Fernandez (Mimi) who often sang flat and failed to develop a clear characterization in a very pivotal role, Ano Okera (Angel) who failed to consistently develop this choice part, and Warren G. Nolan who emotionally “walked through” the role of Collins. Okera and Nolan, Jr. (Collins) showed no interactive physical chemistry, even feigning their kissing scenes.

As the band conductor came onto stage opening night, a great roar was heard. It was probably from young Clevelander Jared Stein’s family and friends. Stein not only conducts with dynamism, but plays keyboard and is responsible for the musical blends of the cast. He generally did a great job, though at times the musical sounds drowned out the voices of the singers. Because of the music volume, potential attenders who are not familiar will the lyrics to the songs, should listen to the original cast c.d. or they will miss much of the story.

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

Cat on a Hot Tin Roof (Lakeland Theatre)

CAT ON A HOT TIN ROOF good at Lakeland

The Cleveland area seems to be in the midst of a Tennessee Williams theatre fest. Following on the heels of the Cleveland Play House’s production of ‘A STREETCAR NAMED DESIRE,’ Lakeland Theatre is staging another of Williams major plays, ‘CAT ON A HOT TIN ROOF.’

‘CAT ON A HOT TIN ROOF’ is the story of a Southern family in crisis. The focus is on the turbulent relationship between Maggie "The Cat" and Brick, her heavy drinking husband, and their interaction with Brick's family over the course of a weekend at the family estate in Mississippi. They are ostensibly gathered to celebrate the birthday of the patriarch "Big Daddy." To add to the intrigue, although Big Daddy has terminal cancer, his doctor and family have conspired to keep this information from him.

The central theme of the play is “mendacity,” the web of lies the family spins in a desperate attempt to keep some semblance of well-being. As Big Daddy says, “What's that smell in this room? Didn't you notice the powerful and obnoxious odor of mendacity in this room?” Additional themes center on other Williams’ key latches--decaying Southern society and the Southern woman who finds herself unable to comprehend the realities of the culture around her and that area’s view of sexuality.

The play was rewritten several times by Williams. Each time there was a different approach taken to the homosexual issue which seems central to Brick’s drinking and his relationship with Maggie. The original version of the play, and the film which was based on the Williams’ script, alludes to the presence of homosexuality. In the version of the play that Lakeland Director Martin Friedman chose to produce, the homosexuality issue is much more clearly developed, as is the sexuality. Interestingly, in an interview, Tennessee Williams indicated he was unclear about the nature of Brick and his best friend Skipper’s relationship.

The title of the play is clearly developed in the dialogue. Maggie states, “I'll win, alright. (She is referring to the contest for who gets Big Daddy’s estate.) Brick responds, “Win what? What is the victory of a cat on a hot tin roof?” To which Maggie responds, “Just staying on it, I guess. As long as she can.”

The most compelling scene of the play centers on Big Daddy’s attempt to destroy the mendacity web. Brick refuses to drop the barrier he's constructed around himself and his dead friend. One theatre commentator states that the scene “raises the ante on Williams's drama about as high as can be found in the annals of American dramatic literature.”

One of the issues confronting any director of the play is deciding which of the possible endings to use. In the film version, in a desperate attempt to help Brick, Maggie announces to Big Daddy that she's pregnant, something Big Daddy desperately wants...an heir from his favorite son. It's a lie, of course, but Brick is touched by her loyalty to him. Maggie's outpouring of love prompts him to make good on her blatant lie, and the film closes with their passionate kiss. That is not the version Friedman chose. His is the one that Williams originally wrote, in which Brick rejects Maggie’s advances indicating that he can’t have sex with someone he hates.

The film version (1958), starred Elizabeth Taylor, Paul Newman, Burl Ives and Judith Anderson. Williams, who did not participate in the award-winning cinema, so disliked the adaptation that he is reported to have gone to the world premiere and told people in line for tickets that, "This movie will set the industry back 50 years. Go home!"

The Lakeland production does not always reach the emotional heights that it should, but this is mainly a non-professional cast and, considering that, credit should be given to attempting a very challenging play and developing a more than adequate production.

Mitchell Fields, the only equity member of the cast, is generally excellent as Big Daddy, another of Williams's don't-try-to-con-me realists (think Stanley in ‘STREETCAR NAMED DESIRE’). He smolders on his entrance and screams from there on. A little more texturing of moods might have helped better understanding the character. He develops well the highlight scene with Brick when he confronts his son’s demons.

Brick is a very difficult role to portray. The man says little, but is the fulcrum of the play. Silence is his only solace from the confusion and rage he feels. Mark Smith has the physical attractiveness and muscular body to visually fit the role, but is quite young and lacking in his ability to dig beyond the surface of the character. He substitutes body twitches for internal pain, and can’t match the emotional levels of Liz Conway’s Maggie or Fields’ Big Daddy. Even the capstone last line of the play lacks clarity. In fact, a patron sitting behind me whispered, “What did he say?” I thought, “What did he mean?”

Liz Conway does well at Maggie. She, like the proverbial cat, lands on her feet because of cunning. And, as a cat, she is unpredictable, not willing to be trained. Her acting motivations are clear and she prowls with conviction.

Mary Jane Nottage, in spite of a coming and going accent, a problem with most of the cast, swings from airhead to desperation to airhead with ease. This is one of her best ever performances.

Erin Bunting gives a shrewish interpretation to Mae, Gooper’s wife, that makes her appear mean rather than devious manner of a true “southern lady.” Steven Hoffman’s Gooper, Brick’s older brother, appears too strong at times rather than being a foil for Mae.

Michael Regnier as the Doctor and Marvin Mallory as the Reverend are generally unconvincing in their roles.

Keith Nagy’s fragmentary set and lighting effects help create the right illusions, as do Craig Tucker’s costumes.

Capsule judgment: At Lakeland, ‘CAT ON A HOT TIN ROOF’ gets a good community theatre production, which features some fine performances. Be aware that the 3-act play is long at almost three hours.

Diary of Anne Frank (Beck Center)

Mesmerizing ‘Diary of Anne Frank’ at Beck

Otto Frank (George Roth) stood downstage right with a pin spot isolating him. He was within the attic in which he, his family and four others hid from the Nazis during World War II. He turned to the audience and related how, after the Germans found them, the attic’s occupants were taken to various concentration camps. All but he died, some within days of the end of the war. He glanced down, saw something, picked it up, looked at it, and quietly said, “And this is all that is left.” Frank was speaking of a diary. A small red and white plaid book that was given to Anne for her thirteenth birthday on June 12, 1942. His eyes glistened with tears as the lights faded to black.

The audience sat, stunned. After a short pause the lights came up and the cast came on stage. The audience sat immobile, many crying, others fighting back tears. One person started to applaud, others followed, but this was not the applause of pleasure, it was applause of respect. This audience had just experienced the closest thing many will ever see of a perfect theatrical production. A production that was finely honed by director Sara May and impressively interpreted by a well-informed, well-molded and talented cast.

The tragic story of Anne Frank and her family has become one of the best known chapters in the history of the Holocaust. For over two years they lived their lives in an annex above Mr. Frank’s factory. They could move around only at night after the plant closed. They spent each day in complete silence lest a noise alert the workers below. It is the story of the simple events of daily living suddenly made remarkable and precious by the constant threat of discovery.

More than fifty years later, the diary has become one of the most widely read personal journals of all time. It has been translated into 67 different languages and has sold more than 31 million copies. It has been made into an award winning play and film.

In 1955, when the play, which was loosely based on the diary opened in New York, a critic said that “nothing momentously dramatic happens. It is a story of stealth, boredom, bickering, searching for comfort in other people, dreams, fears, hunger, anger, and joy." Audiences came to not only show tribute to Anne Frank, but to see a real slice of the Holocaust. Many thought the play did not, however, really tell the whole story. The family’s Jewish roots were not highlighted, the intense stress was not illustrated, the ending was sugary...leaving the message that Anne still thought people were good.

The new version, now on stage at Beck Center, is more muted and less sentimental. Working from Frances Goodrich & Albert Hackett's script, Wendy Kesselman, who did the rewrite, sticks closer to the diary then the original interpretation. She added scenes, religious ceremonies and wrote a startling new ending. The play has also been shortened and the language is more lyric, less theatrical. But most of all, Kessleman makes the message emotionally poignant.

Beck’s production is perfectly paced by May. She has worked for not only the right tone, but her cast understands the story, how to build the emotional intensity and set the right tone for each scene. She has paid attention to every detail. To show her microscopic eye for detail, the Hebrew pronunciation used for the prayers was that of the Jews of Europe before the Holocaust, not that of present day pronunciation.

George Roth, who dedicated his performance to his mother who is a Holocaust survivor, textured his performance perfectly. He didn’t portray Otto Frank, he was Otto Frank. Young Heather Farr is impressive as Anne. She grows from awkward child to young adult before our very eyes. She is totally believable. Anne McEvoy underplays the role of Edith Frank, Anne’s mother, for full effect. The scene where she expresses to Miep, the gentile who feeds and provides news of the outside world to the annex members, her stress over the close quarters and lack of privacy is masterful.

Magdalyn Donnelly (Margot), Anne’s sister is totally believable. Peter Van Daan, who develops an emotional relationship with Anne, grows from shy boy to charming young man. He does so with charm and competence. The role of Mrs. Van Daan (Peter’s mother) is normally played as a nagging shrew. The role in the hands of talented Paula Duesing becomes a woman who is egocentric but also shows signs of love and caring. Brian Bartels (Mr. Van Daan) and Mark Cipra (Mr. Duessel, the dentist) also develop clear characterizations, as does Dawn Youngs as Miep Gies.

Richard Gould’s set, Jeff Lockshine’s lighting, Richard Ingraham’s sound design and Alison Garrigan’s costumes all enhance the production.

CAPSULE JUDGEMENT: Beck’s ‘THE DIARY OR ANNE FRANK,’ under the meticulous direction of Sara May, is a mesmerizing experience. It is not to be missed! If you only see one play this year...this should be it!

A Number (Dobama)

COMPELLING ‘A NUMBER’ at DOBAMA

Dobama is on a roll. Earlier this season they presented a brilliant version of ‘THE GOAT OR, WHO IS SYLVIA.’ They have followed this up with an equally compelling production of Caryl Churchill’s ‘A NUMBER.’ a drama about a father and his cloned sons. Yes, cloned SONS!

Caryl Churchill, the author of ‘FAR AWAY,’ ‘SERIOUS MONEY,’ and ‘CLOUD NINE’ has been called “the most daring of our dramatists.” ‘A NUMBER,’ her latest play, was described by a London reviewer as a “moving, thought-provoking, and dramatically thrilling” play.
Believe me, this time you can believe the reviewer.

The setting is modern, the concept even more modern. As ‘A NUMBER’ begins, a son confronts his father with the startling information that he has genetically identical counterparts and is merely one of “a number.” Churchill spends the next hour pondering, in spooky fashion, the wild issue of assembly-line reproduction. She uses the concept of cloning and multiple representations to open a thought-provoking inquiry into morality, nature versus nurture, and the nature of love.

There are many questions in this play, such as: Why was the young man cloned? Are he and the other “numbers,” though genetically the same, similar, different because of their upbringing? And, if one of the clones is mentally disoriented, are all of the ‘numbers’ mental misfits?

The play has been exquisitely mounted by director Sonya Robbins. She has a clear concept of the work and takes her audience on a soaring ride of emotions. Her actors display total clarity about who they are and what they have to do to mesmerize the audience. She has paced the production well and created just the right tensions.

Joel Hammer gives yet another award winning performance as the father who, at first is reluctant to discuss what he has done and his motives. Hammer perfectly walks the fine line between drama and melodrama with careful finesse.

Todd Krispinsky is known as one of the most creative scenic designers in the area. He again creates a shockingly spare and effective setting for this play, drawing all the attention to the performances by having the wooden angles of the set all point toward the center of the action. We also experience Krispinsky in an additional light...outstanding actor. Portraying 3 different people, all of whom, of course look exactly alike, he makes a clear physical, vocal and emotional character of each. Even if Esther Montgomery’s costumes hadn’t so clearly separated each of the clones, Krispinsky’s acting finesse would have made the distinctions clear. This is an amazing performance.

Do not get the idea that this is an abstract and overly dramatic play. It’s not. Churchill approaches the matter as both grave and comic.

If you are wondering, we do learn which one is the"real" son and which ones are Memorex.

Capsule Judgment Dobama’s ‘A NUMBER’ is a perfect follow-up to ‘THE GOAT OR, WHO IS SYLVIA.’ It is a MUST SEE!

Charge (TITLEWave Theatre)

‘CHARGE’--acting and directing excellent at TITLEWave THEATRE

Last fall introduced the Cleveland area to a new performance group...TITLEWave Theatre. The company’s first production was the much praised ‘WAIT.’ My review stated, “In spite of the play, the production is worth seeing for the performances and Vovos’s directing skills.” That, again, summarizes my views of the group’s newest offering, ‘CHARGE.’

Authors pen plays for various reasons. William Inge asked his audiences to look in the hidden recesses of their souls and find the dark places. Arthur Miller continues to tell of a better way to live. Tennessee Williams gave us tales of people who found themselves in societies that didn’t understand them and they, in turn, didn’t understand the society around them. Lerner and Loewe’s musicals painted a picture of the perfect time, the perfect place, and the perfect love story. Edward Albee and Albert Camus both asked viewers to probe into why they exist.

Since Eric Kaiser, the author of ‘CHARGE’ now being staged at Cleveland Public theatre, is noted as an absurdist, he would fall into the Albee and Camus group. Unfortunately, unlike Albee and Camus, Kaiser does not craft a well-conceived play. As one theatre goer said as he exited the production of ‘CHARGE’ which I attended, “What in the hell was that about!” His companion said, “Who cares.” Unfortunately, that was my sentiment.

In spite of the vehicle, ‘WAIT’ is worth seeing. Seeing that is, if you are willing to invest in the 80 minutes of intermissionless dialogue, to see a very good cast operating under the guidance of an effective director.

Jill Levin, Kato Buss, Marni Task, Joe Milan and Perren Hedderson let loose all the cannons in creating their characters. Director Gregory Vovos knows his way around a stage and gets his actors to create his vision of what the playwright has given him to work with. He is aided by an excellent sound design by Zach Humes.

CAPSULE JUDGEMENT: The program for ‘CHARGE’ states, “Sometimes a play strikes so hard that you can’t shake off its blow. And on the rarest of occasions, a play can do this and leave you laughing. For some people in the audience laughing was the order of the day. For many others, including this reviewer, the production values were high, the insight values low.

When the World Was Green (Cesear's Forum)

Colerider Excels in Cesear’s Forum’s ‘When the World Was Green’

‘WHEN THE WORLD WAS GREEN,’ Joseph Chaikin and Sam Shepard’s play, now being staged by Cesear’s Forum, is a lyrical memory play which examines a family vendetta that has lasted for seven generations and ends with the wave of a scarf. Of course, as is often the case in Shepard’s plays, there is a simple story line which has much below the surface meaning. The format is typical Shepard--poetic and filled with sensory images. For example, we are exposed to journeys to distant lands and exotic food "piled as high as a mountain, glistening in the sun."

The play has two characters, an old man who was once a superb chef, and a young reporter, who supposedly comes to interview him in the prison where he has been locked up for many years after poisoning a man he mistook for his hated cousin. The duo has eight conversations which are interspersed with monologues in which both characters recall incidents from their childhoods, linking the people together. This is a play of regret and loss.

First seen at the Arts Festival performed during the Atlanta Olympic games, the play had its Broadway debut at The Joseph Papp Public Theater.

This is not a Shepard solo-written piece. Joe Chaikin, his coauthor, also collaborated with Shepard on "SAVAGE/LOVE" and "TONGUES," and is well-known in his own right. He has been awarded six Obie.

Chaikin has a local link. He donated his original manuscripts and other papers to the Department of Special Collections and Archives of Kent State University in 1972. He continues to add material to his collection. In acknowledgment of his contribution KSU granted him an honorary doctorate in 1990.

As one theatre historian stated, “It is difficult to imagine a less likely pair of collaborators than Chaikin and Shepard. One an erudite, experimental New York director, the other a reclusive playwright-cum-film star, yet, their sustained theatrical partnership has produced some of the boldest dramatic texts of the late twentieth century.” As is the case in Shepard and Chaikin's other projects, live music plays an important part in the staging of ‘WHEN THE WORLD WAS GREEN.’ In fact, the piano, which was ever present in previous productions, is credited with almost becoming another character.

Cesear’s Forum’s production, under the direction of Greg Cesear has both is strengths and weaknesses. Glenn Colerider portrays the old man with proper restraint. He is consistently believable, in spite of working in a cramped space and having to manipulate through a maze of cloth panels to make exits and come forward to speak his monologues to the audience. Why set designer Michael LaRochelle placed a scrim across the front the stage isn’t clear. It caused movement problems for the actors and the seam down its center caused further distraction. The side panels, which were supposed to look like wooden walls, often were not closed or hanging straight, also causing visual distraction.

Kristie J. Lange, the reporter, has a fine singing voice and her vocal interludes were excellent. Her character development, on the other hand, was not consistent. She sometimes lost her concentration, causing a lack of idea clarity.

Cesear’s directing was also inconsistent. The final waving of the scarf, a significant act at the end of the play, was basically not seen, as it took place behind the back scrim wall which was poorly lit. There were also times when the actors had to literally squeeze past each other to make their stage crosses.

Christina Leja’s sound design was excellent, but her lighting design and execution were disastrous. Lights came and went with no plan. One scene was played entirely in the dark and as the last line was said, blinding light invaded the space.

CAPSULE JUDGEMENT: ‘WHEN THE WORLD WAS GREEN’ is an interesting script. Glenn Colerider’s performance was excellent. Too bad Cesear wasn’t able to get more out of the material and didn’t have a stronger production team.

Be aware that the play runs 90-minutes without intermission and the theatre has small uncomfortable chairs with little raking. This is not a good play-viewing space.

Streetcar Named Desire (Cleveland Play House)

‘STREETCAR’ gives a proficient, but not compelling ride at CPH

Tennessee Williams is considered one of America’s greatest modern playwrights. His works, along with those of Eugene O’Neil, Arthur Miller and William Inge, have reached the level of classics and continue to be produced and produced. For example, ‘STREETCAR NAMED DESIRE,’ now on stage at the Cleveland Play House, has had over 20,000 productions since it opened on Broadway in 1947 and went on to win many awards including the Pulitzer Prize for Drama.

The play, and its movie version, have many highlights. It was Williams’ second smash hit, following on the heels of his THE GLASS MENAGERIE. In 1995 it was made into an opera with music by Andre Previn.

Vivien Leigh garnered an Academy Award for the movie version for her portrayal of Blanche, while Jessica Tandy won the Tony Award for her portrayal in the staged version. In contrast to what many believe, the role of Stanley was not Brando’s first Broadway appearance. He was in ‘I REMEMBER MAMA’ in 1944. As for Brando’s casting in ‘STREETCAR,’ Williams recalled that one day, while he was doing rewrites for the play, he opened the screen door of his summer home to find Brando there asking to play Stanley. Williams knew instantly that he had his Stanley Kowalski.

On the surface, the play centers on the psychological and physical conflicts between Blanche DuBois, a faded Southern belle with a history of nymphomania and alcoholism, and her sister Stella’s husband, Stanley Kowalski, a thunderstorm of brutish sensuality.

‘STREETCAR NAMED DESIRE’ centers on many themes. A recurring topic is the conflict between reality and fantasy. Blanche does not want, "..what's real, but what's magic." Blanche's deception of others and herself is not characterized by malicious intent, but rather a heart-broken retreat to a romantic time before disaster struck when her young husband was revealed as being gay and subsequently committed suicide.

Another theme centers on the very title of the play. Blanche states, “They told me to take a streetcar named Desire and then transfer to one called Cemetery and ride six blocks and then get off at Elysian Fields. The streetcar and its route, which is a reality in New Orleans history, does, in fact, transport her on a ride of ultimate doom. Interestingly, Williams played with many titles while developing the play including: ‘THE MOTH,’ ‘BLANCHE'S CHAIR ON THE MOON,’ and ‘THE POKER NIGHT,’ finally settling on the one with the most symbolic meaning for the core of the script.

In contrast to most American plays, ‘A STREETCAR NAMED DESIRE’ is characterized by the absence of a male protagonist imbued with heroic qualities. Instead, there is Stanley, who Blanche describes as a "...survivor of the Stone Age." She recounts his uncivilized manners, demanding and forceful behavior, lack of empathy, selfishness, and chauvinistic attitude towards women. Interestingly, Stanley is not a villain, per se, but a symbol of the changing South of the mid-20th century which included the destruction of real or portrayed codes of chivalry for which the old south was noted.

Williams’ plays, including ‘STREETCAR,’ reflect his life. His mother never adjusted to being ripped out of her southern home and being transported to the North by a husband who had difficulty holding a job and was often brutish. Williams had an older sister named Rose who was emotionally and mentally unstable. She was the model for the sister in ‘THE GLASS MENAGERIE.’ Based on his mother and sister’s fragility, many of his women characters find themselves in societies that they don’t understand and which don’t understand them. This is another theme in ‘STREETCAR.’

The loss of a lover also is part of Williams’ life. The death of his long-time life-partner Frank Merlo sent Williams into a deep depression that lasted for many years and resulted in drug and alcohol dependency.

The Cleveland Play House production, under the direction of Michael Bloom, succeeds on many levels, yet gets off track on others.

The play looks right in Todd Rosenthal’s French Quarter New Orleans setting.

Kelly Mares (Stella), Lucas Caleb Rooney (Blanche’s disillusioned suitor Mitch) and Starla Benford (the Kowalski’s neighbor) all shine. They develop clear and consistent characterizations.

Hollis Resnik has many outstanding moments as Blanche. Her slender body and vulnerable looks help create the right illusion...a moth about to be extinguished by a flame. Many of her soliloquies are effectively delusional. However, her emotional break at the end of play needed to be more clear and pathetic. She needed to wilt, to totally leave her ever-decreasing world of reality. Her face and voice failed to emotionally wrench the audience as she stated one of the theatre’s most powerful under-stated lines, “I’ve always been dependent upon the kindness of strangers.” In addition, I can only assume, based on her talent, that if Resnik had been playing opposite a more proficient Stanley, a Stanley who engendered sexual tension between them, her portrayal would have been stronger.

Though he physically fit the role, Jason Paul Field was unconvincing in his portrayal of Stanley. This was not the animalistic, sensual Stanley that Williams’ wrote about. It was all surface portrayal, substituting yelling for emotional strength, with no texturing. I must wonder, as I did earlier in the season with the miscasting of the lead role in ‘ROOM SERVICE,’ what criteria CPH is using for its casting selections.

Though it might seem like a minor point, Joshua John McKay looked too old to portray the young collector who Blanche attempts to seduce. In a small, but pivitol scene, we need to gain an insight into Blanche’s desire for attractive young men, a desire based on needing someone to replace her young lost love.

Michael Lincoln’s lighting failed to create all the right moods. The dark shadows, the symbolism of hidden desires and needs, and the feeling of New Orleans’ heat were missing.

CAPSULE JUDGMENT: ‘STREETCAR NAMED DESIRE’ was an adequate production which should satisfy most audience members. However, this is one of the greatest American dramas and should have been enthralling. Michael Bloom’s directing debut as the new Artistic Director of the CPH was not all we could have hoped for.

Verb Ballets (Beck Center)

VERB BALLET wows west side audience

There appears to be little doubt that Verb Ballets has emerged as the leading large- ensemble dance company in the area. It far outstrips Ohio Ballet, its nearest rival, for attendance, creativity, positive reviews and the development of a loyal following.

The company is in its fourth season under the creative Artistic Direction of Hernando Cortez and the savvy Executive Director Dr. Margaret Carlson. The two have carefully honed offerings and public relations that reach out to more than traditional attenders of dance programs. The recent offerings at Beck Center, for example, found a mixture of preteens through senior citizens in attendance, with many seldom seen twenty-five to forty year-olds, including many men.

Verb has been dubbed by Dance Magazine as one of the “25 to Watch.” I’ve declared in reviews that, “Verb’s the word in local ballet” and “It is so exciting to be able to look forward to every performance of this wonderful group.”

Verb Ballets' mission is reflected in the company’s repertory which includes Ian Horvath’s “Piano Man” and “Laura’s Women”; David Parsons’ “The Envelope,” and “Sleep Study”; Sean Curran’s “Mozart Piano Trio”; and, Hernando Cortez’s “Two Hours that Shook the World,” “MoonDogg-Cleveland Celebrates Rock n’ Roll,” “Chichester Psalms,” “Planet Soup” and “Carmina Burana.”

Their recent program at Beck Center, whose three performances played to near sold out audiences, included “MoonDogg,’ “”Laura’s Women,” and the world premiere of “Super Friends-Episode 6.

“MoonDogg” is a tribute to Rock and Roll, specifically to the contributions of Alan Freed. Cortez’s choreography was right-on, but this was one time when being too proficient in traditional dance excellence somewhat got in the way. Rock and roll is spontaneous, filled with joy and abandonment. The well-trained company did the right moves, but with none of the needed flair. Except for dynamic Jason Ignacio, they danced with emotional control. It was interesting that when the younger students in the company’s dance school came on stage for a brief appearance, joyous excitement over-form filled the stage. The next time the company performs this piece I’d love to hear Cortez tell them to just let loose, have fun, forget the precise movements and really have a great time rocking and rolling!

Ian Horvath was one of the founding artistic directors of the now defunct Cleveland Ballet. Unfortunately, he become ill and died at a young age, before he had the chance to develop a comprehensive repertory. One of his finest pieces was “Laura’s Women.” The second piece in ‘VERBS POPS PROGRAM,’ the ballet was restaged by Margaret Carlson and danced to perfection by Danielle Brickman, Elizabeth Flynn and Katie Gnagy. Trad Burns’ lighting helped create the perfect mood and images.

‘SUPERFRIENDS-EPISODE 6, THE MONOLITH OF EVIL exposed the audience to the dancing exploits of Batman and Robin, Superman, Mighty Mouse, Spiderman, Wonder Woman, Popeye and Olive, Tarzan and Jane, and Speed Racer.

The piece started with a wonderful reenactment of “Magic to Do,” the opening number from the musical ‘PIPPIN.’ I’ve know for a long time that Mark Tomasic is one of the area’s best dancers, but little did I know that he was also a proficient singer. Any director planning to do ‘PIPPIN’ should definitely cast him as the Leading Player. Or, for that matter, in such musicals as ‘CHICAGO’ which requires a macho male with a big voice who can really dance.

The audience loved ‘SUPERFRIENDS.’ This is a program which should be done for school students to introduce them to dance. The cast was wonderful, especially Jason Ignacio as Mighty Mouse. The program was narrated by John Wesley Shipp, who played the title role in the CBS comic book series, “The Flash.” This is a piece that will surely be added to the company’s repertory.

CAPSULE JUDGEMENT: If you haven’t seen Verb Ballets, you should make every effort to get to their next performance, ‘HONORING POLL’ to be presented on Friday, March 24 and Saturday, March 25 at the Ohio Theatre in Playhouse Square. Their last downtown Cleveland performance was a total sell-out, so you would be well-advised to quickly call 216-241-6000 or go on line to www.playhousesquare.com and get tickets.

HAIR (Cain Park)

‘HAIR’ at Cain Park, more affect then effect, but audience pleasing

When ‘HAIR,’ now in production at Cain Park’s Alma Theatre, opened on Broadway in 1968, it was the musical that best mirrored the life and times of the 60s...the anti Vietnam war movement, free love, the hippie crusade, nudity, breaking of traditional values, anti-establishmentarianism and the rise of rock and roll. It mirrored a generation that would not blindly be led, who burned draft cards and bras in order to express their views of what was wrong with the U. S. political and social system. In fact, it was subtitled, “The American Tribal Love-Rock Musical.”

The book and lyrics for ‘HAIR’ were written by Jerry Ragni and Jim Rado with music by Galt MacDermot. Memorable music it is. The score contains such hits as “Aquarius,” “Donna,” “Hashish,” “Manchester, England,” “I Believe in Love,” “Air,” and “Good Morning Starshine.”

The original production was directed by Lorain-native Gerald Friedman, who at one time served as Artistic Director of the Great Lakes Shakespeare (Theatre) Festival.

The show challenged many norms held by Western society at the time. It caused controversy. Much publicity was provoked by the Act I finale which included nudity. (The Cain Park production does not contain that misunderstood scene.) Many thought the nudity was included as a shock factor. It achieved that, but its purpose was much more. It was a statement of exposure. It allowed the cast, as the characters, to express the statement of being exposed...exposed to the controls of the time. The were living restricted lives where they were forced to go fight a war that they didn’t believe in, living lives according to customs they didn’t like, including that they should not have long hair, needed to wear conservative clothing, had their political voices taken away from them (they were too young to vote, but old enough to be drafted.) It was Ragni and Rado’s tool for shocking societies’ sensibilities into an awareness of the limiting of a free voice, the freedom to do and act as each person wanted.

Because of the show’s burning of the American flag (omitted in the Cain Park production) and the course language used (included in the Cain Park version), a case against the production went all the way to the U. S. Supreme Court. The court’s decision not to censure the show ended many of the rules of censorship. (Ironically, the flag burning issue has again surfaced.)

The show actually has a weak book. The major story line, which concerns whether Claude, who has received his draft notice, will go into the service, doesn’t enter the production until late in the first act. The first part of the show lays exposition to the politically-active views of a group of long-haired" Hippies of the Age of Aquarius." Ultimately, Claude goes to Vietnam and is killed.

There have been revivals of the play due to what many feel are its parallel message to the war in Iraq and the comparable political deviousness of the Nixon and Bush administrations. A thoughtful evaluation, however, reveals some parallels, but great differences. There is no universal draft today. There is no above or underground movement to overthrow the administration, as was the case in the 60s. There have been no Kent State riots, mainly small peaceful demonstrations. It is also probably why, there is a disconnect in the Cain Park production.

The Cain Park cast, though the actors are filled with enthusiasm, don’t seem to “get it.” They play characters, they do not populate the roles. Only Mitch McCarrell, as Claude, seems to have a real grasp of the implications of what the characters are doing, what their actions represent…a total dedication to a cause. This generation doesn’t have the experiences of being parts of “causes.” They haven’t put their physical and emotional lives on the block like the anti-war activists, the freedom fighters, and the women’s libbers did.

Now, don’t get me wrong. The production, as directed by Victoria Bussert, is an audience pleaser due to its fine musical sounds, enthusiasm and creative settings, but it misses the message mark. It is a production of affect, not effect. It looks great on the surface, but fails to develop the underlying message of the times it represents. This may not be obvious to the average audience member, many of whom didn’t live through the put-your-life-on-the-block-rebels-with-a-cause years. Those who look at theatre as a means of entertainment, not as a means to teach and reflect important messages, will love the show. Others will be troubled by the lack of message depiction.

Janeice Kelley-Kitely’s choreography is outstanding. There are no dance numbers, per se. Instead the scenes are movement segments. Highlights are “Black Boys,” “White Boys’ and the intriguing “Walking in Space.”

The cast puts out full efforts. Phil Carroll, makes a strong physical presence as Berger. Benji Reid handles the role of Woof well. Libby Servais, is plaintive as the pregnant Jeanie. Kayce Çumming’s vocal version of “I Believe in Love” is strong though her “Good Morning Starshine” lacks the needed vocal texturing. The chorus sings well.

Jeff Herrmann’s set and lighting designs work well. Matthew Webb’s musical direction is excellent. Charlotte Yetman’s costumes are generally era correct.

CAPSULE JUDGEMENT: ‘HAIR’ is an audience pleasing production which has all the veneer needed to highlight the show’s songs, but misses the mark in keying the emotional and historical impact of the play as it represents the era from which it comes.

Shaw & Shakespeare Preview--2005

SHAW and SHAKESPEARE FESTIVALS beacon

John Simon, the legendary drama reviewer of New York Magazine, stated in his 2004 Shaw Festival review that is was “The best repertory theater on the entire continent.” Based on their most recent offerings, I’d have to agree. Not far behind would be the Stratford Festival of Canada.

It may seem like spring and summer are a long way off, but Shaw and Shakespeare, the two Canadian theatrical venues, have announced their season offerings. It might be a good time for you to think “go north” for a spring, summer or fall vacation that includes attending one or both of these theatres as ticket sales are generally brisk and many of these theatres’ shows sell out before the season opens. This is especially true on weekends.

THE SHAW FESTIVAL

The Shaw Festival is conducted in three theatres in Niagara-on-the-Lake, Ontario, Canada, an easy four-hour trip from Cleveland. You travel through the wine countries of Ohio, New York and Canada enroute. Once you arrive, you will be entranced by the lovely city. It is called the most beautiful city in Canada, and it is! Lovely flowers, classical home architecture and inviting well-stocked shops make for an inviting experience.

Jackie Maxwell, Shaw’s creative Artistic Director, has described the 2005 season as, “Stories galore that will provoke, intoxicate, move and delight.” The offerings, which run from April 1 through November 27 include: ‘YOU NEVER CAN TELL,’ ‘THE CONSTANT WIFE,’ ‘GYPSY,’ ‘JOURNEY’S END,’ ‘HAPPY END,’ ‘MAJOR BARBARA,’ ‘SOMETHING ON THE SIDE,’ ‘THE AUTUMN GARDEN,’ ‘BUS STOP,’ AND BELLE MORAL.’

Besides the plays themselves, the Festival includes a reading series, Sunday coffee concerts, a Village Fair and Fete, seminars, backstage tours, pre-show chats, Tuesday Questions and Answers and Saturday Conversations.

The area itself is filled with activities ranging from a golf course within the city limits; an art park (www.artpark.net); The Good Earth Cooking School (www.goodearthcooking.com); the Jordan Village, a diverse blending of fine shopping, dining and antique treasures (www.jordanvillage.com); an international chamber music festival (www.niagramusicfest.com); learning vacations at Niagara College (www.niagaralearning vacations.com); bike paths; and you can zoom into the whirlpool of the Niagara river on a jet boat.

The Niagara area is dotted with wineries, many of which, besides offering wine tastings and sales, have fine dining restaurants. The best of these, at least on our last visit, was Hillebrand Estates Winery.

There are some wonderful restaurants including my favorites, The Inn on the Twenty (www.innonthetwenty.com), located in historic Jordan Village about forty minutes from Niagara-on-the-Lake and the Queenston Heights Restaurant (www.queenstonheights.com). The latter is located in a park just over the US-Canadian border, the facility has a breathtaking view of the Niagara River gorge.

Greaves Jams and Marmalades is famous for its products since 1927. A Niagara tradition is the Maple Leaf Fudge store. Also, don’t miss out on the several stores that sell yogurt which is blended before your eyes with Niagara fresh fruits.

The area has many excellent hotels and bed-and-breakfasts. We have found Abbotsford House Bed and Breakfast (www.abbotsfordbandb.com) to be our home away-from-home. Owner Margaret Currie is a total delight. Her breakfasts are scrumptious, she keeps an immaculate home, and the antiques and decorations are impeccable. Return guests are the rule here. For reservations and/or information call 905-468-4646 or e-mail AbbotsfordBandB.com.

For theatre information, a brochure, lodging suggestions or tickets call 800-511-7429 or go on-line to www.shawfest.com. Ask about packages that include lodging, meals and tickets. Also be aware that the festival offers Sunday night specials, day-of-the-show rush tickets and senior matinee prices.

Tired of waiting for a casino in Cleveland? For those so-inclined, Niagara Falls has a brand-new gambling casino. An added attraction is the new Niagara Fallsview Casino Resort which features 3,000 slot machines, 150 gaming tables and overlooks the thunderous cascading water. There is also a large outlet store complex for the bargain shopper. And, of course, not to be overlooked are the attractions connected to the magnificent falls.


THE STRATFORD FESTIVAL OF CANADA

The Stratford Festival of Canada takes place in Stratford, Ontario, Canada. The ride from Cleveland is about six hours through Buffalo. Go on-line to the festival to get directions. (The routings offered by both the AAA and Yahoo maps are confusing and miles longer.)

Stratford productions, which are done in four theatres, run from April 19 through November 5. Shows include: ‘THE TEMPEST,’ ‘HELLO DOLLY,’ ‘AS YOU LIKE IT,’ ‘THE LARK,’ ‘CAT ON A HOT TIN ROOF,’ ‘FALLEN ANGELS,’ ‘INTO THE WOODS,’ ‘THE BROTHERS KARAMAZOV,’ ‘WINGFIELD’S INFERNO,’ ‘ORPHEUS DESCENDING,’ ‘MEASURE FOR MEASURE,’ ‘THE DONNELLYS: STICKS AND STONES,’ ‘THE MEASURE OF LOVE,’ ‘RUTH DRAPER ON TOUR,’ and ‘EDWARD II.’

Besides the regularly scheduled plays the Festival offers public readings, Monday night music, a Celebrated Writers Series, buffet lunch and dinner table talks, special lectures, stageside chats, backstage and costume warehouse tours, and garden tours. Special offerings include “The Making of a Musical,” “Canada Play Day,” and “Saints and Sinners: Religion and Morality.” A series of events and activities for the entire family including song and dance workshops, dress rehearsals with the actors and a “Fall Fairy Tales” storytelling day are also on the docket.

What’s the lodging like? Hotels, motels and bed and breakfasts abound to fit any wallet. I enjoy the B&Bs where you get to meet local people who operate the facilities and fellow travelers from around the world. My favorite is “The Jennie Forbes Cottage” a charming regency cottage erected in 1857 (www.jennieforbescottagebb.com). Owners Don and Kathy Spiers are wonderful hosts.

As for shopping, I recommend Davis Canadian Arts (106 Ontario Street). This is a wonderful art gallery that offers Canadian traditional and contemporary sculptures, ceramics and paintings. For women’s quality clothing make sure to stop at The Touchmark Shop (137 Ontario Street). The establishment offers unique and one-of-a kind products at excellent prices.

Hungry? For moderate cost and high quality, try The Annex Room (38 Albert Street). For a relaxed and fairly inexpensive breakfast treat try Demetre’s Family Eatery (1100 Ontario Street). Cleveland theatrical legends Dorothy and Reuben Silver recommend The Waterlot Restaurant and Inn (17 Huron Street behind the Royal Bank) in New Hamburg, which is about 20 minutes away “and well worth the trip.”(www.waterlot.com) Also on their favorites list is The Keystone Alley Cafe (34 Brunswick Street) in Stratford (www.keystonealley.com) which has an outdoor patio.

Stratford Escapes, a division of Niagara Falls Tours, is an efficient way to make reservations. For information call 877-356-6385 or go on line to www.niagarafallstours.com. For individual tickets call 800-567-1600 or go on-line to www.stratfordfestival.ca.

Been to the festivals in the past? Then you know the joy of being in a country of warm and hospitable people and the quality of the offerings. If you haven’t ventured before, you might want to consider these cultural and recreational areas.

Helpful hint: To make your border passing easier carry some official form of identification (passport, or driver’s license with a picture).

Annie (Playhouse Square Center)

‘LEAPING LIZARDS,’ ALEX AND NOAH LIKE DATED BUT ENTERTAINING ‘Annie’

The comic strip, Little Orphan Annie first appeared in 1924. It was based on James Whitcomb Riley's 1885 poem of the same name. In the comic strip version, Annie, an orphan, was taken in by Oliver Warbucks, a prototypical capitalist. Together they tackled international intrigue. Annie's main physical characteristics were a mop of red, curly hair and vacant circles for eyes. She is always accompanied by her dog, Sandy and is noted for her catchphrase, "Leapin' Llizards!."

In 1997 an award-winning musical appeared on Broadway scene. In August of 2005, “The Brand New Production” of ‘ANNIE’ went on tour. It is that version that is now on stage at the Palace Theatre.

The show centers on Annie, an orphan abandoned by her parents during the depression. She is left at an orphanage, which is under the tyrannical control of Miss Hannigan. Warbucks decides to host an orphan for Christmas. He wants a boy, winds up with Annie, and the rest, complete with plot twists and a happy ending, is history.

This touring production features the delightful Marissa O’Donnell as Annie. This is a very talented young lady who can sing, dance and act with amazing abilities. John Schuck of “McMillan and Wife” TV fame looks the role, performs well, and adequately sings Daddy Warbucks. Local opening night found Victoria Oscar more than adequately substituting in the role of Miss Hannigan. The orphan kids, some of whom are a little too old to be playing “adorable,” were not up to expected levels. Their dancing lacked unity and their singing often missed proper blendings.

The show is definitely dated. Few in the young audience had any knowledge of the depression, the importance of radio in the pre-TV culture, and of President Roosevelt. Many of the clever lines were missed because of this lack of audience awareness.
Songs like, “We’d Like to Thank You Herbert Hoover”
and “A New Deal for Christmas” have lost their relevance.

As I have done when children-friendly shows appear at local theatres, I took my grandsons, Alex and Noah Berko, along as my “kid” eyes and ears. In spite of the datedness, the 10 and 8/1/2 year olds “really liked” the show. They both thought Annie was, “great”
and Miss Hannigan “hysterical.” They loved the special effects, particularly “the real snow falling on Christmas” and the “huge tree.” They were very pleased that Sandy, the dog, was “real, not someone dressed in a dog suit like some of the kid’s shows we see.” Their favorite orphan was Tessie (Casey Whyland) whose constant “Oh, my” squeals were the cause of delight. They loved looking down into the Palace Theatre’s big orchestra pit during intermission and thought the theatre was “awesome.” Both boys had seen the movie version several times, so they were familiar with the music and the story line, which I think helped enhance their experience.

Capsule Judgment ‘ANNIE’ is a dated, but cute show. It is a little long for younger audience members, but any child over 8 should enjoy it. This will probably be the last of the touring versions of the show, so if you want to see a professional company, this may be your final chance.

Times Tributes--2005

TIMES THEATRE TRIBUTES--2005

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

I did not see all of the productions in the area, so only shows performed in 2005 that I reviewed were considered. Selections are limited to locally produced performances, so none of the professional touring shows are recognized, though actors, directors and technicians who were imported by local theatres were considered. Actors were not separated by gender or leading or supporting roles.

Thanks to the following for making the theatre scene in the Cleveland area vital and exciting:

PRODUCTIONS
AS YOU LIKE IT, GLTF
BABY, Kalliope
BEAUTY AND THE BEAST, Beck
A CHORUS LINE, Carousel
CLARENCE DARROW, Actor’s Summit
FOOTLOOSE THE MUSICAL, Carousel
I AM MY OWN WIFE, CPH
LONG DAYS JOURNEY INTO NIGHT, Ensemble
OPAL, Kalliope
PTERODACTYLS, convergence-continuum
SONGS FOR A NEW WORLD, Cain Park
THE SPITFIRE GRILL, Porthouse
STATES OF SHOCK, convergence-continuum
SWING, Carousel
THE BOYS NEXT DOOR, Porthouse
THE EXONERATED, Dobama
THE GOAT OR WHO IS SYLVIA?, Dobama
TUESDAYS WITH MORRIE, CPH
URINETOWN: THE MUSICAL, Beck

DIRECTING
Risa Brainin, AS YOU LIKE IT, GLTF
Anders Cato, I AM MY OWN WIFE, CPH
Alex Cikra, CLARENCE DARROW, Actor’s Summit
AC Ciulla, FOOTLOOSE THE MUSICAL, Carousel
Licia Colombi, LONG DAYS JOURNEY INTO NIGHT, Ensemble
Donna Drake, A CHORUS LINE, Carousel
Carol Dunne, SONGS FOR A NEW WORLD, Cain Park
Paul F. Gurgol, BABY, Kalliope
Paul F. Gurgol, CABARET, Kalliope
Seth Gordon, TUESDAYS WITH MORRIE, CPH
Joel Hammer, THE EXONERATED, Dobama
Joel Hammer, THE GOAT OR WHO IS SYLVIA, Dobama
Caroline Jackson Smith, JOHNNIE TAYLOR IS GONE, Karamu
Terri Kent, THE SPITFIRE GRILL, Porthouse
Claude Simon, PTERODACTYLS, convergence-continuum
Claude Simon, STATES OF SHOCK, convergence-continuum
Scott Spence, URINETOWN: THE MUSICAL, Beck
Fred Sternfeld, BEAUTY AND THE BEAST, Beck
A. Neil Thackaberry, HERBAL BED, Actor’s Summit
John Woodson, THE BOYS NEXT DOOR, Porthouse

PERFORMANCE
Sharon Alexander, THE SOUND OF MUSIC, Carousel
Lynn Allison, MERRY WIVES OF WINDSOR, GLTF
Michael Anderson, THE BOYS NEXT DOOR, Porthouse
Mike Backes, FOOTLOOSE, THE MUSICAL, Carousel
Tom Beckett, ROOM SERVICE, CPH
Marla Berg, OPAL, Kalliope
Marla Berg, A LITTLE NIGHT MUSIC, Kalliope
Sonia Bishop, THE FAMILY LINE, Karamu
Sonia Bishop, RAISIN IN THE SUN, Beck
MayAnn Black, THE SPITFIRE GRILL, Porthouse
Adina Bloom, BABY, Kalliope
Ed Blunt, TOPDOG UNDERDOG, Beck
Scott Boulware, THE THING ABOUT MEN, Actor’s Summit
Lucy Bredeson-Smith, TALES OF THE LOST FORMICANS, convergence-continuum
Brian Breth, PTERODACTYLS, convergence-continuum
Cornell Calhoun, III, JOHNNIE TAYLOR IS GONE, Karamu
Kathryn Cherasaro, MERRY WIVES OF WINDSOR, GLTF
Kathryn Cherasaro, AS YOU LIKE IT, GLTF
Alex Cikra, THE HERBAL BED, Actor’s Summit
Jennifer Clifford, THE CHILDREN’S HOUR, Beck
Kris Comer, OPAL, Kalliope
Kris Comer, BABY, Kalliope
Liz Conway, THE SECRETARIES, CPT
Andrew Cruse, THE BOYS NEXT DOOR, Porthouse
Andrew Cruse, LONG DAY’S JOURNEY INTO NIGHT, Ensemble
Kayce Cummings, WEST SIDE STORY, Porthouse
Kayce Cummings, THE SPITFIRE GRILL, Porthouse
Jimmie D. Woody, TOPDOG, UNDERDOG, Beck
Stephen Dale, STONE COLD DEAD SERIOUS, TITLEwave
Michael David Edwards, ROUNDING THIRD, CPH
Sandra Emmerick, THE THING ABOUT MEN, Actor’s Summit
Julia Evan Smith, AS YOU LIKE IT, GLTF
Dan Folino, BEAUTY AND THE BEAST, Beck
Scottie Gage, A CHORUS LINE, Carousel
Mark Alan Gordon, ROOM SERVICE, CPH
Natalie Green, BEAUTY AND THE BEAST, Beck
Sally Groth, THE HERBAL BED, Actor’s Summit
Joseph Haladey III, CABARET, Kalliope
Lauri Hammer, PTERODACTYLS, convergence-continuum
Hollis Hayden, Jr, THE BOYS NEXT DOOR, Porthouse
Marvin A. Hayes, JOHNNIE TAYLOR IS GONE, Karamu
Ali Hernan, THE SECRETARIES, CPT
Geoffrey Hoffman, STATES OF SHOCK, convergence-continuum
John Jensen, BABY, Kalliope
Betsy Kahl, URINETOWN: THE MUSICAL, Beck
Charles Kartali, TUESDAYS WITH MORRIE, CPH
Nick Keoster, THE HERBAL BED, Actor’s Summit
Annie Kital, LONG DAY’S JOURNEY INTO NIGHT, Ensemble
Nick Koesters, TEN MINUTES FROM CLEVELAND, Dobama
Robert Koutras, FOOTLOOSE, THE MUSICAL, Carousel
Kristie Lange, THE CHILDREN’S HOUR, Beck
Andrew May, YOU CAN’T TAKE IT WITH YOU, GLTF
Andrew May, AMADEUS, GLTF
Andrew May, MERRY WIVES OF WINDSOR, GLTF
Mitch McCarrell, SONGS FOR A NEW WORLD, Cain Park
Christopher McHale, A CHRISTMAS STORY, CPH
Dougfred Miller, AS YOU LIKE IT, GLTF
Scott Miller, THE GOAT OR WHO IS SYLVIA?, Dobama
Wiley Moore, THE PIANO LESSON, CPH
Marlon Morrison, THE PIANO LESSON, CPH
Cristin Mortenson, THE SOUND OF MUSIC, Carousel
Sarah Morton, T.I.D.Y., Beck
Sarah Morton, 4 MINUTES TO HAPPY, CPT
Kathryn Mowat Murphy, A CHORUS LINE, Carousel
A. Neil Thackaberry, CLARENCE DARROW, Actor’s Summit
Mark Nelson, I AM MY OWN WIFE, CPH
Bernie Passeltiner, TUESDAYS WITH MORRIE, CPH
Tracee Patterson, SONGS FOR A NEW WORLD, Cain Park
Tracee Patterson, THE GOAT OR WHO IS SYLVIA?, Dobama
Scott Posey, OPAL, Kalliope
Scott Posey, BABY, Kalliope
JdBowman, PTERODACTYLS, convergence-continuum
Chuck Richie, THE BOYS NEXT DOOR, Porthouse
Rhoda Rosen, THE CHILDREN’S HOUR, Beck
Linda Ryan, SHE STOOPS TO CONQUER, Actor’s Summit
Wes Shofner, STATES OF SHOCK, convergence-continuum
Wes Shofner, TALES OF THE LOST FORMICANS, convergence-continuum
Reuben Silver, TO KNOW HIM , JCC
Andrew Smith, BABY, Kalliope
Lenne Snively, THE SPITFIRE GRILL, Porthouse
Greg Thornton, ROOM SERVICE, CPH
Elizabeth Townsend, THE EXONERATED, Dobama
Elizabeth Townsend, FIFTH OF JULY, Ensemble
Wayne Turney, YOU CAN’T TAKE IT WITH YOU, GLTF
Wayne Turney, SHE STOOPS TO CONQUER, Actor’s Summit
Greg Violand, URINETOWN: THE MUSICAL, Beck
Jimmy Wood, THE EXONERATED, Dobama
Nan Wray, TEN MINUTES FROM CLEVELAND, Dobama
Matthew Wright, URINETOWN: THE MUSICAL, Beck
Brian Zoldessy, THE BOYS NEXT DOOR, Porthouse
Brian Zoldessy, TO KNOW HIM, JCC

Ensemble Cast: BABY, Kalliope
Ensemble Cast: A CHORUS LINE, Carousel
Ensemble Cast: THE BOYS NEXT DOOR, Porthouse
Ensemble Cast: SONGS FOR A NEW WORLD, Cain Park
Ensemble Cast: SWING, Carousel

TECHNICAL
MaryJo Alexander, Props, CLARENCE DARROW, Actor’s Summit
MaryJo Alexander, costumes, SHE STOOPS TO CONQUER, Actor’s Summit
Paul Black, lighting design, SWING, Carousel
Russ Borksi, set design, OPAL, Kalliope
Trad Burns, scenic and lighting design, THE SECRETARIES, CPT
Trad Burns, set design, THE GOAT OR WHO IS SYLVIA?, Dobama
James C. Swonger, musical arrangement, ROUNDING THIRD, CPH
Felix Cochren, set design, THE PIANO LESSON, CPH
Nolan Dell, WEST SIDE STORY, Porthouse
Dale DiBernardo, costume design, SWING, Carousel
Michael Gaino, Set Design, A CHRISTMAS STORY, CPH
Todd Krispinsky, set design, TEN MINUTES FROM CLEVELAND, Dobama
Hugh Landwehr, Set Design, I AM MY OWN WIFE, CPH
Don McBride, Set Design, RAISIN IN THE SUN, Beck
Don McBride, set design, URINETOWN: THE MUSICAL, Beck
Don McBride, Set Design, AIDA, Beck
Ben Needham, Set Design, BEAUTY AND THE BEAST, Beck
Ron Newell, set design, TALLY’S FOLLY, Ensemble
Devon Painter, Set Design, AS YOU LIKE IT, GLTF
Steve Pauna, set design, SPITFIRE GRILL, Porthouse
Paul Sannierud, set design, SWING, Carousel
Cynthia Stillings, lighting design, SPITFIRE GRILL, Porthouse
Lance Switzer, lighting, OPAL, Kalliope
Sergio Villegas, set design, VENUS, CPT
Eric Wahl, visual media design, STATES OF SHOCK, convergence-continuum
Gage Williams, set design, YOU CAN’T TAKE IT WITH YOU, GLTF

MUSICAL DIRECTION
Melissa Fucci, WEST SIDE STORY, Porthouse
Melissa Fucci, THE SPITFIRE GRILL, Porthouse
Larry Goodpaster, BEAUTY AND THE BEAST, Beck
Larry Goodpaster, URINETOWN, Beck
Nancy Maier, SONGS FOR A NEW WORLD, Cain Park
Brad Wyner and Anthony Ruggiero, OPAL, Kalliope

CHOREOGRAPHER
Martin Cespedes, URINETOWN: THE MUSICAL, Beck
Martin Cespedes, AIDA, Beck
Martin Cespedes, BEAUTY AND THE BEAST, Beck
Donna Drake, CHORUS LINE, Carousel
AC Ciulla, FOOTLOOSE THE MUSICAL, Carousel
Beverly Durand and Mark Stuart Eckstein, SWING, Carousel
Janiece Kelley-Kiteley, SONGS FOR A NEW WORLD, Cain Park

OTHER

The Halle Theatre--The wrecking balls have completed their work, so “Rest in Peace” to the long time home of the Jewish Community Center’s Drama program.

The closing of Dobama Theatre’s bowling alley theatre ends a long era of the theatre’s down-under Coventry Road run. Good luck to Joyce Casey in her wanderings until the new venue is built.

Bill Allman--his passing has left a big hole in the Cleveland Theatre Community’s collective hearts..his ever-present smile is missed.

Sean Cercone--for his insight and dilligence in raising the quality of performances and play selection at Carousel Dinner Theatre.

Goodbye to Wayne Turney, one of the area’s best overall actors, who has moved from the city to assume a college teaching position.

THE BEST OF THE BEST

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

2005 BEST LOCAL DRAMAS: ‘THE GOAT, WHO IS SYLVIA’ at Dobama; ‘BOYS NEXT DOOR’ at Porthouse.

2005 BEST LOCAL MUSICALS: ‘SONGS FOR A NEW WORLD’ at Cain Park; ‘URINETOWN’ at Beck Center; CHORUS LINE at Carousel Dinner Theatre

Beauty and the Beast (Beck Center)

‘Beauty And The Beast’ Is A Beaut At Beck!

‘DISNEY’S BEAUTY AND THE BEAST,’ which is now on stage at Beck Center, tells a "tale as old as time." It was originally conceived in 1740 as a dark and scary tale. In 1992 Disney released a lighter version of the story which became the first animated feature to be nominated for the Academy Award’s Best Picture. In 1994 Disney transformed the script into an award winning Broadway musical.

Beck is one of the first non-Broadway or touring companies to present the show. What is impressive about Beck’s getting the rights is that the show is still running on Broadway. This is yet another tribute to what’s been going on in Lakewood. The theatre, under the wise guidance of Scott Spence, has recently staged such winning productions as ‘URINETOWN,’ ‘MISS SAIGON,’ ‘AIDA’ and ‘THE FIX’ establishing itself as one of THE places to see musicals in the Cleveland area.

Their production of ‘BEAUTY AND THE BEAST’ under the able direction of Fred Sternfeld, and the marvelous choreography of Martin Cespedes, is yet another winner.

‘BEAUTY AND THE BEAST’ concerns a prince who, because he has no love in his heart, is transformed into a beast by an enchantress. To break the spell, the Beast must learn to love another and earn her love in return. If not, he will be doomed to remain a beast for all time.

Into the Beast’s life comes Belle, a beautiful young woman who lives with her eccentric father in a small town near the Beast’s castle. Belle longs for a life of adventure like those she reads of in books. Her father gets lost in the woods and wanders into the Beast’s castle, where he is imprisoned. Upon finding her father in the Beast's clutches, Belle offers herself as a captive in return for her father’s release. And...you can guess the rest. Yes, the Beast learns kindness and love, it is reciprocated by Belle, and we all go out of the theatre singing the likes of “If I Can’t Love Her,” “A Change in Me,” “Be Our Guest,” and the title song, “Beauty and the Beast.”

Beck’s production is enchanting. Everything from the sets, to the music, to the singing, to the dancing, to the cast, works well.

Natalie Green is glorious as Belle. She is beautiful, lights up the stage with her smile, sings like an angel and dances with ease. Her version of “A Change in Me” was enchanting. She is a star in every sense of the word.

Dan Folino, who has done some marvelous work in the area, has a full and powerful voice and gives a vulnerable texture to the role of the Beast that adds much to the characterization. His “If I Can’t Love her” was captivating. He and Green make the perfect fairy tale prince and princess. It is wonderful to see Folino, who has not been seen on the stage lately, appear where he should be--front and center! I can only hope that he will excite us with return performances.

Though he doesn’t have the physical presence or the natural swagger ideal for the role of the pompous Gaston, Josh Noble has a nice singing voice and a perfect set of pearly white teeth and creates an acceptable characterization.

Zac Hudak (Lefou) makes for the perfect straight man and punching bag for Gaston. If Hudak gets through the run of the show without a few broken bones it will be a marvel.

Doug Collier as Cogsworth (the clock), and Larry Nehring, who gives a Danny Kaye quality to Lumiere are both delightful, as is Tracee Patterson as Madame de la Grande Bouche (the dresser) and Kristin Netzband (Babette, the feather duster), and Miles Sternfeld (Chip, the tea cup). Aimee Collier has a fine voice. Her rendition of “Beauty and Beast” was charming. Unfortunately, she is missing the matronly touch needed for Mrs. Potts.

Martin Cespedes is a master of choreography. It is amazing what he can do with a group of performers who, in general, are not dancers. “Be Our Guest” and “Gaston” were absolute show stoppers!

Larry Goodpaster’s orchestra is excellent, remembering the rule that the orchestra in a musical plays backup to the singers, not giving a concert. Too bad other conductors at local theatres don’t follow Goodpaster’s lead.

Ben Needham’s scenic design is excellent. It is amazing how he used every inch of space on the small stage to allow for ease of movement.

Director Fred Sternfeld again proves that he is a master at placing large casts on stage and making them look good. He pays special attention to ensure that his chorus and townspeople are involved in the production and not just standing around as is often seen on local stages. His ability to invent “shtick” comes through loud and clear in this production.

CAPSULE JUDGEMENT: Beck’s “BEAUTY AND THE BEAST” is a delightful production. It is the best holiday present that the theatre could give its audience.

Side note: Beck Center would be wise not to sell bagged candy and bottles of soda before the show and at intermission. Though it is a fund raiser, the amount of ripping open bags of goodies and bottles rolling down the floor of the auditorium during the production is distracting for the audience. In addition, since ‘BEAUTY AND THE BEAST’ is not a children’s show, the box office would have been wise to inform ticket buyers that very young children might not have the attention span to sit through the production. No one expects total silence, but the yelling and talking by little ones during the show was very disturbing.

The Nutcracker (Cincinnati Ballet/Playhouse Square Center)

Local kids perform in Cincinnati Ballet's ‘THE NUTCRACKER’

For the past several years the University Hospitals Health System Ballet Series at Playhouse Square Center featured, as it holiday offering, the Pennsylvania Ballet in what I believed was an ill-conceived production of ‘THE NUTCRACKER.” This year they switched to the Cincinnati Ballet’s version. Based on my viewing of the Thursday night performance, it was a wise choice.

‘THE NUTCRACKER’ is a ballet is based on the story ‘THE NUTCRACKER AND THE KING OF MICE’ written by E.T.A. Hoffman. When Marius Petipa had the idea to choreograph the story, it was actually based on a revision by Alexander Dumas, the well known French author. His version reflects more of what we have come to love as the ‘NUTCRACKER BALLET.’

It is the story of a young girl who is given a Nutcracker Prince as a Christmas present. When she goes to bed she dreams of a tale the Nutcracker and his wooden soldiers as they fight against a Mouse King and his gang of mice. After the battle, Marie and the Nutcracker Prince are transported on a trip to the Land of Sweets where they are greeted by the Sugar Plum Fairy. The Prince tells her about their daring battle with the army of mice and she rewards them with a celebration of dance performances which include Spanish, Arabian, Russian and Chinese, as well as the Waltz of the Flowers. The dream ends as Marie is transported back to the safety of her bed, along with her precious toy Nutcracker Prince.

This is the stuff that all the beautifully clad little girls in the audience dream about.

Not since Cleveland Ballet’s Karen Gabay and Raymond Rodriguez performed the roles of Marie and The Nutcracker have I been as entranced with a dancing duo as I was with Adiarys Almeida (Marie) and Cervilio Amador (The Nutcracker). The duo were a delight. She is charming. The stage lights up every time she smiles. Her dancing skills equal her stage presence. She is certain in her toe maneuvers, does leaps into the arms of her prince with ease. Her movements have clear beginnings, middles and endings, something often missing except in prima ballerinas. Almeida is perfectly coupled with Amador. His partnering skills are strong. At no time did he falter in his catches, balances and lifts. His standing leaps were high and resulted in solid and secure landings. His horizontal turns were well executed. He displayed great body control. Since the casts change nightly, unfortunately you might not see this dynamic duo. Their duet at the end of Act II was exciting.

Noteworthy performances included Heather Liberman as the doll who came to life, Joseph Gatti as the Chinese dancer whose high leaps were impressive, and the adorable group of pot-bellied kids who emerged from the skirt of Mother Ginger’s dress during one of the dance numbers.

Part of the fun of the production was the presence of young children on stage. They were well trained and disciplined and added much to the artistic delight. Credit to Valentine Liberatore and Gladisa Guadalupe for their contributions.

Local children who performed in the production were Kathryn Tokar, Bay Village, Andrea Szabo, Columbia Station, Marissa Moore, Fairview Park, Madeleine Crosby, Lakewood, Ashley Fares, Lakewood, Alyssa Cook, North Ridgeville, Megan Auzenbergs, Rocky River, Jacqueline Gentner, Rocky River, Monica McDonough, Rocky River and Madeline Murphy, Rocky River.

The piece was not without its flaws. Rene Micheo, as Herr Droselmeier, the toy maker, failed to capture the pixie quality needed for the role. He altered between being menacing and playful, which led to some story development confusion.

The fight between the mice and the wooden soldiers lacked the needed playfulness. The soldiers did not march as stiff legged toys and the interaction between the opponents was not well spelled out. Several children in the audience shrieked with fear due to the scary looking rodents. In addition, several of the Land of Sweets dance segments, such as the Arabian segment, lacked the necessary pacing and power. Kristi Capps as the Rose lacked the needed free flowing ease. Her dancing was stiff and uninvolving. The one-dimensional flying bed did little to create the fantasy mood. Simply moving her one bed have been more effective.

Choreograher Val Caniparoli should be commended for his concept. The sets and costume designs by Alain Vaes were excellent, as was the full-orchestra under the direction of Carmon DeLeone.

CAPSULE JUDGMENT: Cincinnati Ballet’s ‘THE NUTCRACKER’ was a fine substitute for the poorly conceived Pennsylvania Ballet version. Though not of the quality of the now defunct Cleveland Ballet’s presentation, it makes for a fine evening of enchantment, especially if you get to see Adiarys Almeida and Cervlio Amador in the leading roles.