Sean Cercone, Artistic Director of Carousel Dinner Theatre

Spotlight on Sean Cercone, Carousel Artistic Director

Usually when one thinks of the Artistic Director of a theatre with a more than two million dollar budget one envisions an older, seasoned person with years of theatrical experience in producing, selecting plays, casting and choosing directors and technical staff. This is definitely not the case with Sean Cercone, the Artistic Director at Carousel Dinner Theatre.

Cercone is young, and a relative newcomer to the theatrical scene. His background includes only one administrative theatrical position, founder of the West Virginia Shakespeare Festival. He has a Master of Fine Arts in acting from West Virginia University, not in either theatre or arts management.

So, why would a venue, which invests between $300,000 to $500,000 on each production, place their fate in the hands of such a neophyte? And how was he selected? In a word, the New York born and raised Cercone has “chutspah” (the Yiddish word for “nerve”).

He saw an ad for the Carousel position on a website. Most people with his background would not see “newbie” and “Artistic Director of one of the major dinner theatres in the country” as being synonymous. This, of course, was not Cercone’s view. He saw the job as an opportunity to parallel his outgoing personality, self-avowed “awesome self-confidence,” desire to educate audiences, develop an image for the dinner show industry, and create a positive national portrait for the theatre. He perceived it as “a challenge, an opportunity.” He obviously was able to convince the new owners of the facility that he was the right person for the job as they turned over to him, the entire artistic operation of the theatre.

Cercone set for himself the task of learning everything he could about the business. He believed that there needed to be a change in the financial and artistic structure. He set budgets for each play where there had not been financial accountability in the past. He developed job descriptions for employees. He set in motion a philosophy that each season should have a set purpose. He envisioned changing the demographics of the audience to lower the average age of the attenders, while not ignoring the venue’s base which includes bus and senior tours (25% of the attenders), as well as subscribers (one-third of the audience). The remainder are individual ticket purchasers. He set out to eliminate the attitude that dinner theatres are often regarded as the trailer park of the theatre world by casting shows with professionals, many of whom are selected in New York tryouts, but not overlooking local area equity performers, while hiring top quality professional directors and choreographers.

Cercone, because of his involvement with the National Alliance of Musical Theatre’s New Works Committee, a national group which seeks out new scripts, envisions Carousel as a player in the creation of musicals. The first step in this process came to fruition when early this season ‘JOHN DOE’ received a staged reading at the theatre. The show’s creators were present, as were producers from various theatres around the country and theatrical agents. The staging of ‘JOHN DOE’ cost Carousel $16,000, with little financial income from the invitation-only event. However, the theatre received much publicity for the staging and all future productions of the show will masthead that the first staging was done at Carousel Dinner Theatre in Akron, Ohio. The “JOHN DOE” staging was also part of Cercone’s “subscriber appreciation days” which have the purpose of teaching audience members about the facility and how plays are developed and staged.

Cercone went out on a limb with his selection of ‘URINETOWN’ for this season. It is a departure from the safe musicals of the past. He chose the script because he “has a responsibility to stretch the audience and hopefully, can aid them to develop new attitudes toward theatre.”

Considering that the audience tends to be conservative and gasp at any swear word or sexual connotation, ‘URINETOWN” should be a challenge. Interestingly, the musical, which is about corporate greed and is basically a love story, doesn’t have the “yuck” factor, but the title may be enough to keep those with “red state” attitudes away. Only box office receipts will tell the tale.

Carousel productions are usually mounted in 10 seven-to-ten hour days. As a comparison, musicals produced by such theatres as Beck Center, usually have a five-to-eight week rehearsal period. The fact that Carousel’s directors are seasoned professionals and the performers are equity actors allows for the “speeding up” process. Even so, the first week or so of the productions often illustrate signs of still being rehearsal periods. The shows tend to run 10 weeks. The out-of-the-area performers are housed in Carousel’s home-away-from home, a residence with 8 apartments. Actors are provided with cars and gym memberships.

The future? Cercone hopes to mount some new scripts to intertwine with old favorites, further fulfilling his vision of making Carousel into a major player in not only the local world of theatre, but expanding its national image. If that happens, Carousel is going to have to fight to keep the young man who is working hard to become the “wunderkindt” of the dinner theatre circuit.

Night Bloomers (Dobama)

Thought provoking ‘NIGHT BLOOMERS’ at DOBAMA

As a crisis counselor I’m aware of the trauma caused by real or perceived tragedies. The results of fires, deaths, threats and natural and man-inspired catastrophes can be psychologically devastating. Psychological distractions such as nightmares, depression, hysteria and fear of personal destruction often result. Add reality to the repeated railing by leaders, such as President Bush stating over and over “9-11, ” “9-11” to reinforce the horror of the attacks on the World Trade Center, and people become primed for upset and fail to have time to heal.

Sarah Morton, the author of ‘NIGHT BLOOMERS’ now in production by Dobama Theatre, imagines our country following a terrorist attack termed “The Incident.” The result is a chilling expose of raw nerves and how calamity affects“survivors.”

In Morton’s story, Lilia, a mature woman, has decided that “The Incident” is not going to stop her from her two passions...traveling and searching for the nocturnal blooming rare persinnium plant. Since public airlines are out of business, she hires Nathan, a private pilot, to assist her in her search. Their adventure involves contact with sky marshals, bandits, border patrolmen, an Avon saleswoman, newlyweds, and a family in search of the daughter they lost.

Nathan, who was assigned to recover debris following “The Incident,” turns out to be debris himself. Tortured, he is devoid of emotions. Devoid until an incident forces him to experience Primal Scream, where, much like others with post-traumatic stress syndrome and/or survivor guilt, Nathan cracks.

The play asks many questions: Can fear insight panic? Can reality be hidden as the ranters and reminders of doom re-enforce their techniques to control others? (Think the political implications of Bush’s campaign to continue to tie all presidential decisions, including taking away individual rights, invasion of privacy, setting up a self proclaimed set of rules which do an end-run around the Constitution.) What drives some people, in spite of the odds, to search out truth and beauty? What happens to an individual when the strong defenses he has set up are confronted by traumatic reality?

Morton’s play, though not always clear in explicit concept, and which waivers off course creating some illogical sequence patterns, is a very strong piece of theatre.

Dobama’s productions, as has been the case in recent history--’GOAT OR, WHO IS SYLVIA’ and ‘A NUMBER’--is quality theatre. Director Eric Schmiedl has paced the piece well, has finely honed his performers, and understands the underlying motivations of the script.

Nicholas Koesters gives his finest performance as the emotionally wounded Nathan. In his final scene, he bares the character’s entire physical and psychological core as he stands center stage, bathed in a harsh white spotlight, and wails as his emotions finally overcome his logical control. It’s worth seeing the play just to experience this theatrical highlight!

Nan Wray performs with her usual excellence as Lilia. The character’s pluck and determinism shine clearly. Courtney Schloss, David Hansen, Samuel Holloway, Rachel Appelbaum and Teresa McDonough are all excellent in a variety of roles.

Scenic designer Russ Broski’s blacktopped world is chilling. Maureen Patterson’s lighting design adds much to the emotional effect as does Richard Ingraham’s sound and music.

CAPSULE JUDGEMENT: Dobama’s production of Sarah Morton’s ‘NIGHT BLOOMERS’ is a scary reminder of what is or could be. Though the script has some flaws, the production values are excellent, making for a performance worth seeing.

‘GREASE’ is an audience pleaser at Carousel

‘GREASE,’ which is now on stage at Carousel Dinner Theatre, is one of the most oft- produced musicals. It has achieved almost cult status, but few realize that it was not an instant hit on Broadway and had a checkered history.

The show opened off-Broadway on February 14, 1972 with Barry Bostwick as Danny Zuko, and Carole Demas as Sandy Dumbrowski. The critics were generally unimpressed, but the public found it satisfying and through word-of-mouth its popularity spread. The result was a run of 3,388 performances. It closed in 1980 and it held, at that time, the record for the longest run for a musical.

Interestingly, the Tony Awards committee ruled the show was ineligible for nominations as the theatre in which it was playing was several blocks away from Broadway. After the producers threatened to sue, the Tony committee backed off and the show was nominated for 9 awards, including best musical.

The show became even more popular when, in 1978, the movie version starring John Travolta and Olivia Newton-John opened. The movie version sugar-coated the class aspects of the original, and subsequent stage productions have played down that aspect of the story even further and emphasized the nostalgia aspects.

Another little know fact is that when the show opened in London, the role of Danny was taken by an unknown actor named Richard Gere.

A Broadway revival in 1994 ran for four years and starred Ricky Goldin as Danny, Susan Wood as Sandy, Rosie O'Donnell as Rizzo, and a pre-‘WILL AND GRACE’ Megan Mullally as Marty.

The show is set in the 1950s, in-and-around Rydell High School, as the students return from summer vacation. The guys are members of the "Burger Palace Boys" and the girls form the "Pink Ladies."

Danny, the quasi-leader of the Burger Boys, returns to school with a tale of the girl he met during the summer, only to find that the girl in question, Sandy, has transferred to Rydell High from the more innocent surroundings of a strict Catholic school. The complications of teen angst play out including a possible pregnancy, going steady, a high school drop out, ear piercing, a personality change-over and the purchase of a clunker of a car entitled “greased lightning.”

The show has a memorable score which includes, "Summer Nights, "Look at Me I'm Sandra Dee," "It's Raining on Prom Night" and "We Go Together."

Several songs--"You're The One That I Want" and "Hopelessly Devoted To You"--were written for the film version, but have been incorporated into many stagings, including the one at Carousel.

Carousel’s production is fine on many levels. The singing, the choreography, the staging, and the technical aspects (except for the overly-amped voices) work well. On the other hand, the cast is generally too old to be playing teenagers. Because they are clean- scrubbed college graduate twenty-somethings, they seem to have difficulty identifying with the greaser guys and unsophisticated young ladies. Thus, caricatures rather than characters resulted.

Highlights of the show included “Shakin at the High School Hop” and “Born to Hand Jive,” production number show-stoppers. The gospel version of “Beauty School Dropout” was delightful. “Mooning” was an audience favorite.

Brunswick High School and recent Baldwin Wallace graduate, Hannah Laird (Jan), Megan Nicole Arnoldy (Sandy), Kevin Smith Kirkwood (Johnny Casino), Jacqueline Colomer (Rizzo), Jason Shuffler (Kenickie) and Kristofer Stock (Rump) gave highlight performances.

The music was well played, but at times was so over-amplified that it drowned out the singers.

CAPSULE JUDGEMENT: Carousel’s ‘GREASE’ is well staged. Audiences will be entertained. Too bad the same quality of singing and dancing couldn’t have been accomplished with a more age-appropriate cast and one that had a better level of identification with the era and its teens.

Little Women (Playhouse Square Center)

‘LITTLE WOMEN’ is a pleasant musical, but....

It’s rather amazing to realize that Louisa May Alcott's book ‘LITTLE WOMEN,’ which was published in 1868, has never been out of print and is still selling thousands of copies every year. Changing the format of a classic is a daunting task. How many times have you heard the phrase, “It’s not as good as the book?”

Allan Knee, who wrote the book for the show, had to be careful not to offend people who have set images about what each of the characters not only looks like, but how their very persona operates. Mindi Dickstein, in writing the lyrics, had to keep the correct Alcott tone of verbal sound and idea development in mind as she wrote what the performers would sing. Jason Howland’s music needed to develop not only the right tone for the era but also for helping develop the highs and lows of the lives of the March family. Each basically succeeded.

‘LITTLE WOMEN, THE MUSICAL,’ which is now on stage at the Palace Theatre examines the saga of the March sisters—Meg, Jo, Beth and Amy—as they grow up in Civil War America.

The musical received mixed reviews when it opened on Broadway. It played 55 previews and only137 regular performances, making it far from a smash in spite of having superstar Maureen McGovern in the cast.

One reviewer stated, "Little Women isn't the most sophisticated or rapturously melodic show you'll find on Broadway. But this chamber-size musical pulses with a generous affection for its source material and a refreshing realization that Broadway audiences don't always need to be wowed. It is a comfortable, honest, highly satisfying night at the theater."

The musical gained a Tony award nomination for Sutton Foster for her portrayal of Jo, who dreams of becoming a writer and finds unexpected love. The production did receive seven 2005 Broadway.com Audience Award nominations.

‘LITTLE WOMEN’ is not a wonderful theatre script. It will never be compared with the likes of ‘MY FAIR LADY’ and ‘WEST SIDE STORY’ which are based on material from another source. This does not mean it is bad, it just isn’t a great. It is much in the vein of ‘SEVEN BRIDES FOR SEVEN BROTHERS,’ ‘SHE LOVES ME,’ ‘THEY’RE PLAYING OUR SONG’ and ‘PLAIN AND FANCY.’ They aren’t splashy musicals, just pleasant experiences. They are the kind of scripts that make for successful community theatre productions.

The touring presentation brings everything necessary to the stage. It is well directed, well acted, is fully-orchestrated, and has all the technical aspects needed for a professional production.

Based on the publicity for the show one might think the lead character was Maureen McGovern, who for over 30 years has had a career which spans recordings, concerts, composing, theatre, film television and radio. That is not so. Susan Spencer, who plays Jo is the fulcrum around which the play turns. Spencer, has a wonderful voice and basically develops the role, though she might have shown a little more “tom-boyish” qualities. Her duet, “Some Things Are Meant to Be,” sung with Autumn Hurlbert (Beth) was poignant.

As Marmee (Mother), McGovern is endearing. Her voice is strong and vibrant. Her renditions of “Here Alone” and “”Days of Plenty” were show-stoppers.

Gwen Hollander (Amy) and Renee Brna (Meg) were both excellent. Stephen Patterson, who portrayed Laurie, the neighbor who loves one of the sisters but marries another, was superb. He lights up a stage. His “Take a Chance on Me” was delightful.

CAPSULE JUDGMENT: Anyone who has or is going to see ‘LITTLE WOMEN’ will probably leave satisfied, but not exhilarated. It is a pleasant experience. The cast is good and the production gets a full, quality level staging.

From Door to Door (Jewish Community Center)

‘FROM DOOR TO DOOR’ fits JCC mission

James Sherman, whose play ‘DOOR TO DOOR,’ is presently being produced by the Jewish Community Center, is also the author of ‘’BEAU JEST, the off-Broadway hit.

The title of the play, ‘DOOR TO DOOR, is based on a phrase in the Hebrew prayer book, "l'dor v'dor," which means "from generation to generation." And, from generation to generation is exactly what the play illustrates. The plot focuses on three generations of the same family." Sherman explains, "There's no secret this play is inspired by my mother. She knows it, she's seen it. The play is to honor her and the women of her generation." He continues, "One woman of my grandmother's generation, one woman of my mother's generation and one woman of our generation.” To accomplish the task, the play covers 65 years, from 1935 to just about the present.

It is written in memory format. It begins in the present. Mary, who represents Sherman’s mother, is sitting shiva for her husband. (Shiva is the seven-day mourning period which begins after burial. Survivors concentrate on their inner feelings to begin the healing process and take the first step into re-entering normal life without the deceased.) She is there with her daughter and, as the play develops, we flashback to various incidents in Mary’s life.

Sherman has used the script as a means of personal awareness. "When I was working on the play, it gave me an excuse for my mother to sit down and talk about herself, which is not something she loves to do," Sherman said. "I also talked to a number of women of her generation, and women like my sister, and what started to interest me about these mothers and daughters is how we take what we get from our parents and then make choices about what we will pass on to our children and not pass onto our children."

The play, which premiered in Chicago in 1999, showed regionally and then was produced off-Broadway in 2004 . It played nine previews and had a respectable 110 performance run in the Big Apple.

‘FROM DOOR TO DOOR’ fits well into the JCC’s arts mission of showcasing plays about Jewish topics and/or by Jewish authors. This concentration allows members of the Jewish and non-Jewish community alike to be exposed to ethnic shows that might not otherwise be produced on local stages.

The JCC production is nicely paced by director Fred Sternfeld. The flashbacks and flash forwards could get confusing as Sherman’s writing stratagem has left little time for costume changes. Sternfeld has handled this potential problem very well and the time eras are clear.

The production generally works, but a miscasting makes for some lack of believability. While Jeanne Task (Mary) and Liz Conway (Deborah, the daughter) fit their roles well, Barbara Haas just doesn’t create the right sound or illusion as the Jewish grandmother. Her accent, her demeanor, her presence, lack the needed “tam,” (the taste) and the “yiddishkeit,” (the Jewishness). There is a cadence that makes for a believability to the Jewish sound. It is not something that one can act, it is almost something which someone must acquire from being around, living with, experiencing European Jewish women of that era. Haas lacked that quality. She is not the first actress who has had trouble with this. Valerie Harper didn’t have it in her recent Cleveland appearance as Golda Meir. Jessica Tandy lacked the right feel in the film, “DRIVING MISS DAISY.’ This is a role which is a much better fit for such local actresses as Elaine Rembrandt and Dorothy Silver.

Jeanne Task developed the nuances of Mary. She clearly understands the role of mother and wife. She was real, natural, convincing. Liz Conway, for the most part, was excellent. She was at her strength as the young Deborah, who was willing to defy her lack of Jewish upbringing by marrying a non-Jew (a “shaygetz”). She was excellent as the daughter who has transformed into the mother to her mother. There were some instances in the transitional scenes, however, in which she lost some of the characterization.

Ben Needham’s creative set design, which consisted of a series of interlocking doors on various levels, was excellent. The symbolism of the multi-doors which could have been opened in Mary’s life, but of which only a few were actually opened, expanded the script’s imagery.

Richard Ingraham selected excellent music, including a vocal version of the play’s title, ‘L’dor V’dor,” to tie the sound to the plot.

CAPSULE JUDGEMENT: JCC’s ‘FROM DOOR TO DOOR’ is a perfect fit into the theatre’s mission. The production is quite acceptable, but could have been better with more appropriate casting.

Varla Jean, I'm not going to pay for this (Cleveland Public Theatre)

VARLA JEAN appears once again at CPT

For the fifth time, Varla Jean Merman is back at Cleveland Public Theatre, playing to her loyal fans. Her new show, ‘I’M NOT PAYING FOR THIS!’ centers on her exploring her moral code.

Originally, according to Varla Jean, she was going to use the ten commandments to develop the plot, but since she is lazy she chose instead, the 7 deadly sins as it required her to write three less songs. Along with the new musical material, there are new videos and, to the consternation of her regulars, she has eliminated her famous singing high notes while inhaling cheese whiz.

Varla Jean Merman, supposedly the love child of Ernest Borgnine and Ethel Merman, is the creation of Jeffery Roberson. Roberson, a tall 200-pounder, came to New York from New Orleans in 1994 and immediately became a fixture in the Big Apple club scene. In 1995, he wrote and starred in ‘VARLA AND THE MAN WHO GOT AWAY.’ This production was her open door to national success. Since then she has toured the country, and has become a fixture in the gay meccas of San Francisco to Provincetown.

Her new movie, "’GIRLS WILL BE GIRLS,’ is a campy romp in which all the girls are played by men. The cast includes such legendary female impersonators as Jack Plotnick and Clinton Leupp, as well as Roberson.

In the CPT show, Roberson repeats most of Varla Jean’s usual shticks. She taunts the audience, plays up her “macho” size, sings songs with dirty lyrics and double entendres, and uses videos which often aren’t very funny. Even she admitted that the videos were “stupid and make no sense.” Roberson does have an excellent singing voice.

Her act appeals mainly to gays and lesbians, though there were straight couples in the audience.

CAPSULE JUDGEMENT: If you’ve seen Varla Jean before, you’ll be seeing much of the same in her new show. If you liked her in the past, you’ll like her again. If you haven’t seen her and are curious about this type of entertainment, she’s your ticket to being exposed.

Verb Ballets (Fusion Fest, Cleveland Play House)

VERB BALLETS at Fusion Fest and the summer season dance calendar

Fusion Fest, the creation of Michael Bloom, Artistic Director of the Cleveland Play House, has wrapped up. He indicated on closing night that financially the event is projected to reach its hoped for receipts. A special tribute must be accorded to Philanthropist Roe Green whose financial support made Fusionfest 2006 possible.

It was exciting to feel excitement in the Cleveland Play House facility where all four of the theatres were simultaneously in use.

According to Bloom, he was very pleased with this project which brought together many of the area’s theatre, dance and music performers offering new works. Included were Dobama, CPH, Cleveland School of the Arts, Opera Cleveland, MOCA and Cleveland Contemporary Dance Theater, Karamu House, Shaker Heights High School, Cleveland Museum of Art and Verb Ballets.

Verb Ballets, which has quickly established itself as one of the area’s best dance companies, presented ‘CELEBRATING CLEVELAND COMPOSERS,’ a program consisting of four pieces, including a world premiere. The divesity of the program added to the evening’s value.

‘SIX EASY PIECES,’ which the company added to its repertoire in March of this year, was danced to the music of Jonathan Sheffer and played by pianist Michael Schneider. It was a melange of moods in both music and dance movements. As is always the case with Hernando Cortez’s choreography, the dancing perfectly fit the music. The energy, lifts, carries, intertwining and partnering were all on target. Highlights included “Tango” which featured Kallie Marie Bokal and Mark Tomasic and “Prelude After Chopin” featuring Catherine Meredith and Anna Roberts.

‘BACKLASH,’ with music by Eric Ziolek, featured Saxophonist John Perrine and Percussionist Benjamin Winters. The tone for the number, which featured contemporary mylar sets and costumes, was laid by Perrine who meandered down the theatre’s aisle playing the jazzy music on his sax. Displaying signature Cortez concepts of excellent body control, strong arm reaches, slanting bodies and clear moves, the piece was aesthetically dynamic. Jordan Katz and Studio Sangha and Gina Dudik’s costumes and Trad Burns’ lights all perfectly melded together.

‘SHADOW OF NES-MIN’ is based on The Book Of The Dead, a collection of prayers and spells believed to provide aid for the spirit of the deceased. In this world premiere, the women were garbed in flowing yellow gowns, while the bare-chested men wore black leotards. The choreography consisted of slow-paced stylistic moves and freezes. There were no traditional dance lifts or partnering. The flow of human bodies which formed varying patterns was often mesmerizing.

The evening ended with the dynamic ‘PLANET SOUP,’ Cortez’s tribute to ethnic globalization featuring folk and vernacular dances ranging from Indian traditional to African ritual to Irish reels. Cortez terms the work “cross-cultural fusion.” It displayed the virtuosity of the company as they mixed styles of dance. The highlight was the Filipino pole dance with clapping poles featuring the dynamic Jason Ignacio.

CAPSULE JUDGEMENT: Verbs Ballets continues to develop a strong following of loyal patrons as it grows and grows in developing its own repertoire of dances while stressing creativity and consistency.

Custody of the Eyes (Cleveland Play House)

CPH’s ‘CUSTODY OF THE EYES’ is interesting, but not compelling

The title of Anthony Giardina’s play, ‘CUSTODY OF THE EYES’ is based on the concept that Priests and others who are supposed to be thinking moral thoughts are taught that ”you do not look in the eyes of what may tempt you.”

A recent discussion on a Catholic forum website centered on, “How is one to keep custody of the eyes"? Does it depend on your intentions? If one's thoughts are sexual in nature, surely one should avert his eyes. But what if one is merely admiring? Or is it good to admire and thank God for such beauty?” A responder stated, “Here is a simple rule: look once and you’re okay, look twice and you are in danger of sin.”

A play of temptation, ‘CUSTODY OF THE EYES’ centers on the disappearance of a parish priest from a remote island off the coast of Maine. What made him vanish? What is the connection between his disappearance and his relationship with a woman and her ill son? Was the vanishing stimulated by his need to search for a view of the world through a different set of eyes than those focused by church dictates?

A Bishop and another priest come to the island to investigate the disappearance. These men, who have histories in which their eyes also searched and found what they shouldn’t, are forced to dig beyond the disappearance and into their own lives.

‘CUSTODY OF THE EYES’ examines multi-issues including that “Priests were not meant to feel,” the evolving public awareness of homosexuality within the church, the covering up of discretions, the requirement of celibacy for priests, and the dwindling number of “loyal believers.”

The script is interesting, but not intriguing. It is too formulaic in places, but does make one think. The writing creates subtle conflict, rather than strong emotional highs and lows. Some of the language lacks verbal flow, creating static moments. It does not compare in intensity to the present smash Broadway hit, ‘DOUBT’ which also investigates church issues.

The CPH production, which is very slowly paced by director Michael Butler, features some excellent acting. Joseph Collins (Father LeBlanc) plays the tortured young priest with clarity. The character’s conflict between strict morality, uptight obedience, and his underlying understanding of the need for human emotional reactions, is nicely etched.

Kenneth Tigar, as an older priest who gave up his parish because of his inability to act correctly according to the rules of the custody of the eyes, is excellent as the tortured soul. His long monologue, which reveals his trespasses, was compelling.

Paula Duesing is right on target as the islander who volunteers at the local church. J. R. Horne properly underplays the role of the Bishop.

On the other hand, Jan Leslie Harding gives a surface level performance as the woman who causes LeBlanc to have trouble in averting his eyes. She feigns emotions, doesn’t experience them. Mark Mayo, in a dual role, is also not completely convincing in his characterizations. It often sounds like he is reciting words, not creating the meanings of the words.

Russell Parkman’s design does little to create the proper setting. Though the wooden walls, which are referred to in the script, are necessary, their sliding up and down stage did little to help imagery. Because the set does not fill up the entire stage, those sitting stage right were regularly distracted by viewing actors and stage hands in the wings.

CAPSULE JUDGEMENT: ‘CUSTODY OF THE EYES’ is a play worth seeing as it investigates concepts that are not commonly discussed within or outside of the Church. One could have hoped, however, that the issues had been more vividly textured.

110 in The Shade (Kalliope Stage)

Kalliope’s ‘110 IN THE SHADE’ pleases in spite of obstacles

Harvey Schmidt and Tom Jones are masters of writing the “small” musical. Best known for ‘THE FANTASTICS,’ the longest running off-Broadway musical, ‘I DO, I DO’ and the seldom done ‘CELEBRATION,’ the duo writes lovely music with lyrics that help develop the plot. Though ‘110 IN THE SHADE,’ which is now being produced by Kalliope Theatre, is not up to the level of ‘THE FANTASTICS,’ it is quite charming.

The musical opened on Broadway in 1963 and ran for 331 performances. It starred Robert Horton and Inga Swenson. Songs include, "Love, Don't Turn Away," "Poker Polka," "Everything Beautiful Happens at Night," "You Ain't Fooling Me," "Old Maid," "Raunchy," and "Is It Really Me?".

‘110 IN THE SHADE’ is based on N. Richard Nash’s play ‘THE RAINMAKER,’ which was also turned into a film which starred Burt Lancaster and Katherine Hepburn.

It’s the middle of a heat wave in 1930's Texas. Everyone is longing for rain. Lizzie Curry, in spite of wit, intelligence and skills as a homemaker can’t find a husband. Even the bachelor town sheriff, for whom she harbors a secret yen, won't take a chance. Suddenly, Starbuck, a con man, passing himself off as a rainmaker, appears. (Think ‘MUSIC MAN’ and Dr. Harold Hill, the slick salesman of dreams but this time with a divining rod.) Lizzie's world is turned upside down and, as in all good fairy tale musicals, there is a happy ending, but with an unusual twist.

Kalliope’s production, under the direction of Paul F. Gurgol, is generally effective, in spite of some weakness in character development.

Joan Ellison was totally believable as Lizzie. Unfortunately, on the night I saw the production, she lost her voice and talked the song lyrics during the second act. She did it very effectively.

Daniel Henning was delightful as Lizzie’s youngest brother. He, along with Elizabeth Kelly (Snookie) displayed excellent dancing ability in the show’s only really choreographed number, “Little Red Hat.” Justin Tatum was properly up tight as Lizzie’s older brother and Leslie Feagan was endearing as Lizzie’s dad.

Don Circle, Jr. had some excellent moments as the sheriff. He has a good singing voice, but seemed somewhat stiff in the role.

Allan Snyder (Starbuck) is lead-male handsome and has an excellent singing voice, but his acting was all on the surface. He entered with too much vocal dynamics and was hyper throughout, making for audience discomfort in the intimate theatre.

Many members of the supporting company were too automatic in their actions.

Though effective, the slight musical accompaniment did not do justice to Schmidt’s music.

CAPSULE JUDGEMENT: Kallliope’s production of ‘110 IN THE SHADE’ makes for a pleasant evening of musical theatre.

All in the Timing (Actors' Summit)

Delightful ‘All in the Timing’ mentally challenges at Actors’ Summit

The world according to David Ives, the author of ‘ALL IN THE TIMING,’ now on stage at Actors’ Summit, is a very odd piece. Ives loves to play with the English language and disorient an audience.

On the surface, the segments don’t seem to hook together. In actuality they do. They all deal with language. They probe the way language is used, how it is created, and whether people are really communicating when they use language. This is both the strength and weakness of the script. It will delight many but frustrate those who like things clearly spelled out.

‘ALL IN THE TIMING’ was originally a book of six one-act plays by David Ives written from 1987 to 1993. The current script contains fourteen one acts. Actors’ Summit is using the original script.

The short plays include ‘SURE THING’ in which a man and a woman meet for the first time in a cafe, where they have an awkward meeting continually reset each time they say the wrong thing, until, finally, they connect.

‘WORDS, WORDS, WORDS’ displays three chimpanzees in their attempt to write Hamlet. ‘THE UNIVERSAL LANGUAGE’ finds a man and a woman falling in love while communicating in the invented language intended to be used as part of a con game.

‘PHILIP GLASS BUYS A LOAF OF BREAD’ is a musical parody of contemporary composer Philip Glass, in which he has an existential crisis in a bakery. ‘THE PHILADELPHIA’ concerns a man in a strange state where he must ask for the opposite of what he wants in a restaurant. In ‘VARIATIONS ON THE DEATH OF TROTSKY’ Leon Trotsky dies, and dies and dies.

The Actors’ Summit cast, under the adept direction of A. Neil Thackaberry, does a consistently excellent job of developing the many roles they portray. Both Alicia Kahn and Noah Varness milk the humor out of ‘SURE THING.’ Kahn, Peter Voinovich and Sally Groth totally “monkey-around” in ‘WORDS, WORDS, WORDS.’ Sally Groth and Peter Voinovich do an amazing job of making the audience understand a language that is not understandable. Their ability to remember the complex lines is amazing.

The Philip Glass piece is creatively staged as the actors move in parallel time to the composer’s discordant music. Kahn, Varness and Voinovich are excellent as people caught in black holes where they can’t get what they want. Only ‘VARIATIONS OF THE DEATH OF TROTSKY’ falls short. The piece becomes tedious and doesn’t have the creative power to wrap up the evening.

Ives, in explaining why he writes for the theatre stated, “Our lives happen in voices: in inner monologue and outer dialogue, in scenes of interwoven tension and resolution with comic byplay. As drama. As comedy. As a live, local, handmade event. As theater.”

CAPSULE JUDGEMENT: Ives’ ‘ALL IN THE TIMING’ displays his philosophy and receives a fine production at Actors’ Summit.

Ponna the ****Dog (convergence-continuum)

‘POONA THE ****DOG’ is a thought twister at convergence-continuum

A catalog description of ‘POONA THE ****DOG AND OTHER PLAYS FOR CHILDREN,’ now on stage at continuum-convergence, states, “These outrageous fairy tales for grown-ups are not for the easily offended! Poona, our ingenuous heroine, meets up with aliens, talking shrubs, and mealy-mouthed salesmen in her quest to find someone to play in her big pink box. Nothing is sacred in this raucous assault on the power of language.”

For those who are easily upset by foul language or political attacks or questioning of the whys and wherefores of modern society, read no further because this play is not for you, and is definitely not for ANY children. If, on the other hand, you are adventurous, want to stretch your imagination and don’t care about **** words, read on.

Jeff Goode, the author, has written a raucous, funny, and perverse funhouse ride which takes no prisoners as it highlights and attacks sex, relationships, television, advertising, politics, religion and fairy tales themselves.

How does Goode accomplish this? He uses fairy tales to tell the story of Poona the lonely ****dog who spends about two hours pursuing friends to play with.

In the first tale, the dog falls instantly in lust when a handsome and conceited prince crosses her path. If this, like all fairy tales, had a happily-ever-after ending, we’d all be satisfied and on our way. But, the prince turns out to be a people user, taking advantage of our poor naive Poona, so she must look further.

Flip the page of the book and we find the next fairy tale, and then the next, and then the next. The tales are social commentaries, such as when a television set is crowned king of the Kingdom of Do (where nobody did). We see the tale of Suzy-Suzy Cyber assassin who metamorphoses from an innocent child into a hit woman, with the help of a computer. Then there is the tale of the guy who interviews God, and wins $500 by out-smarting the “old” guy. (I told you if that you were easily offended not to read beyond the first paragraph.)

These tales go on and on, alternately offensive, baffling, disgusting, and delightful. As one reviewer put it, ‘POONA THE ***DOG’ is a warped experimental oddity that almost defies description.” Or, just think “Saturday Night Live” on stage.

As with almost all convergence productions, director Clyde Simon does an effective good job of pacing, presents generally clear character development and creative approaches to milking the laughs. In spite of his efforts, his cast is inconsistent in their abilities to develop the multi-characterizations they are required to create.

Jovana Batkovic nicely textures the role of Poona. Lucy Bredeson-Smith milks everything she can out of being a human television set. Denise Astorino, as our storyteller, does a nice job of verbally and visually holding the chaos together. Geoffrey Hoffman is wonderful as the Rabbit. His nose twitching is hutch perfect! Wes Shofner is his usual delightful self as the Man Who Could Sell Anything and “God.” Lisa Bradley’s alien is right out of “Mork and Mindy.”

Most of the rest of the cast has their highs and lows, most often because they cannot sustain consistent characterizations. The singing, other than the vocalilzations of Mark K, leaves much to be desired. This group should definitely not do a musical.

Dan Pongallo and Katie Maurer’s graphic designs are show highlights.

CAPSULE JUDGEMENT: As with most convergence-continuum shows, ‘POONA THE ***DOG’ is not for everyone. And, as has become the pattern since their theatre was conceived, the nitch audience that identifies with Simon and Executive Director Brian Breth’s philosophy of being in a 60s time-warp, continues to find its way to the 50-seat theatre. This group won’t be disappointed with POONA.

Mrs. Warren's Profession (Beck Center)

‘MRS. WARREN’S PROFESSION’ challenges cast and audience and Beck

Playwright and social critic George Bernard Shaw never backed away from a battle. His play, ‘MRS. WARREN’S PROFESSION’ was written in 1893, published in 1898, but not performed until 1902 because of British government censorship. When a private performance was finally arranged, it rocked the London theatre. It was, according to the testimony of the author, ‘like an earthquake which shocked the foundations of morality and sent a pallid crowd of critics into the street shrieking that the pillars of society are cracking and the ruin of the state was at hand."
What was the fuss all about?

Mrs. Warren has never disclosed to her Cambridge graduate daughter, Vivie who Vivie's father is and how Mrs. Warren earns her money. During a visit, Vivie is “accidentally” told that her mother is a member of the "oldest profession." Mrs. Warren's confession, "All we had was our appearance and our turn for pleasing men" is met with a sympathetic hearing from her daughter. But after a series of events which challenge Vivie’s ethical system, she rejects her mother.

In the most notorious scene of the play, Mrs. Warren states, “You think that the way you were taught at school to think right and proper is the way things really are. But it's not. It's all only a pretense, to keep the cowardly, slavish, common run of people quiet. The big people, the clever people, the managing people, all know it. They do as I do, and think as I think. Morality means being a mere drudge, toiling and moiling early and late for your bare living and two cheap dresses a year."

Shaw not only examines women, but also men. Each of his male characters represents a type: the aesthete and artist (Mr. Praed), the feckless young man (Frank Gardner), the unscrupulous capitalist (Sir George Crofts) and the hypocritical vicar (Reverend Samuel Gardner). Shaw's perception of Victorian society draws all these men as caricatures and all of them are vile in their own way.

‘MRS. WARREN’S PROFESSION’ was Shaw’s third play and did much to establish him as a social critic. He exposes the weaknesses of the British education system, the negative treatment of women, the flaws of religion, the value of determinism, the foibles of marriage, the questionable value of families, and the negative effects of capitalism. These are issues as relevant today as during Shaw’s time.

Interestingly, after the first World War, when women started to enter the professions, it became possible to mount a public showing of "MRS WARREN'S PROFESSION" without the fear of censorship. Yet, the play continues to make certain audience members and some critics uncomfortable.

British drama and comedy are difficult for American actors and directors to get exactly right. The accents, the pacing, the subtle character developments necessary to make the plays believable, are often lost on non-British or Canadian-trained actors. One only has to see a Shaw play done at the Shaw Festival in Niagara-on-the-Lake, Canada and an American creation of the same script, to note the difference. With that said, Beck’s production, under the direction of Scott Plate, is a generally acceptable US American creation.

Dorothy Silver, the first lady of Cleveland theatre, makes Mrs. Warren both believable and a strong spokesperson for Shaw’s views. She nicely textures the role. The conflict scene between Mrs. Warren and her daughter is well developed.

Bernadette Clemens is properly uptight as Vivie Warren. Though at times her accent seems overly affected, it helps separate her from her mother, who, when riled, falls into her historic lower-class English pronunciation.

Nick Koesters effectively develops the role of Frank Gardner, the gambling son of a Reverend, who sees Vivie as his possible source of financial support. He thrusts and paries well with the emotional levels of the character though at times he seems to be playing with rather than playing the role.

Though too young for the part (the character was written to be in his sixties), Jeffrey Grover (Sir George Crofts) makes for an acceptable cad, but could have textured the role to create a character that was more bi-polar--swinging from charming to deceitful. Michael Regnier (Mr. Praed) and Reuben Silver (Reverand Gardner) are believable in their roles though more textured characterizations could have been developed to illustrate the conrasting sides of the men’s personalities.

Shaw, who often draws attention to the pronunciation of people as the hallmark of their background (think Liza Dolittle and Henry Higgins in ‘PYGMALION’) would not have been pleased with some of the accents of the Beck cast. The sounds came and went and differed for no particular reason.

Don McBride’s set design did little to create a “high class” illusion. Especially distracting were some of the poorly restorred chairs whose squeaking often broke the mood of scenes. On the other hand, Richard Ingraham’s selection of music set the proper tone before the opening curtain and between scenes. Jenniver Sparano’s costumes were outstanding and era correct.

CAPSULE JUDGEMENT: Beck’s ‘MRS. WARREN’S PROFESSION’ is a creditable production, with some excellent acting.

Dr. Dolittle (Playhouse Square Center)

‘Dr. Dolittle’ may please some of the kids, but......

During Tommy Tune’s curtain call speech following his ‘DR. DOLITTLE’ performance at Playhouse Square’s Palace Theatre, he thanked John Kenley. Kenley, the 100 year-old theatrical legend, who was the guiding light behind the Kenley Players, gave Tune his first professional theatrical job. Tune, originally a chorus boy, went on to star not only in Kenley productions, but on Broadway.

It was appropriate that Tune mentioned Kenley, for ‘DR. DOLITTLE’ is much like a typical Kenley Players show. It is long on a star performer and short on quality.

Based on Leslie Bricusse's Oscar-winning film, the stage musical has had a checkered existence. For some inexplicable reason the show, which opened in 1998 to a generally positive reaction, was totally redone for the US audience.

For the tour and projected Broadway run, Jim Henson's Creature Shop was brought in to conceive the animals. Henson’s company is world-renowned for bringing inanimate objects to life through computer technology, cable control and hand puppetry. Creature Shop produced a live-action Pushmi-Pully dancing two-headed llama, a parrot, a dog, a monkey, a giant pink sea snail and a 14-foot flying lunar moth.

The US tour opened in Pittsburgh in August of 2005 to tepid reviews and closed in Hershey, PA on October 2 due to “slow ticket sales.” Since it was listed on so many national theatre packages, such as Cleveland’s Broadway Series, an effort was made to resurrect the vehicle. Enter....Tommy Tune, the National Medal of Arts and nine time Tony winning actor, singer, dancer and director. The show was rewritten and Tune assumed not only the leading role but became the director.

Tune recast the show, selecting Clevelander Dee Hoty to play his love interest. Hoty is a three-time Tony winner. Twelve-year-old Aaron Burr was picked to play Chee-Chee the monkey. Burr recently won the Greatest Dancer competition on ABC’s "Good Morning America.”

Based on "The Doctor Dolittle Stories" by Hugh Lofting, the tale concerns a Pouddelby, England people-doctor turned veterinarian. He finds himself on trial, accused of murder. Insisting that he can actually talk to animals, the doctor defends himself against charges that he threw an unknown woman off a cliff to her death, contending that he was following the wishes of a seal who wanted to return to her fiance in the North Pole. With only his faithful parrot, Polynesia (the finest animal linguist in the world), a neighbor who dislikes him, and a menagerie of animals to support his story, Dolittle is somehow believed. He decides to leave the area and go on a search for the wondrous giant pink sea snail and return the monkey (Che-Che) to his native environs. (Okay, ‘LES MISERABLES’ or ‘CHORUS LINE’ this isn’t.)

It would be nice to say the whole thing works. Unfortunately, it doesn’t. The production often looks like it was developed to go from one Tune dance number to another, with little glue holding the whole thing together. To make things worse, the production qualities are poor. The sets are mostly cheap looking drops. The special effects go awry. On opening night the flying moth didn’t work as intended. On the second night the curtain call was delayed because of technical problems. And, even the choreography is wanting. The dance routines gets boring after a while due to repeated movements.

Tune, at age 66, still dances up a storm and his singing voice is more than adequate. Hoty is excellent. The puppets are fun and the score is pleasant (“Talk To The Animals,” “I”ve Never Seen Anything Like It,” and “Something in Your Smile.”). “Monkey Monkey Island Dance” was the standout production number. Unfortunately, the whole thing just doesn’t hold together.

My grandson, 9 year-old Noah Berko, who attended the production with me, serving as the voice for the children who might attend, thought a lot of things in the show were “fun.” He especially liked the monkey (Aaron Burr), the flying moth on which Tune floated above the stage, and the monkey dance. He liked the goings-on a lot more than his grandpa. But, you must understand that he was sipping a strawberry slushy in a cocktail glass and being fussed over by the nice ladies sitting next to him who kept telling him how cute he was, so he may have been distracted.

Capsule judgment: ‘DR. DOLITTLE’ is just not ready for prime time. I’m not sure that it ever will be without a drastic redo of the redo.

Polish Joke (Beck Center)

'POLISH JOKE' at Beck is fun, but....

The Beck Center’s present production is ‘POLISH JOKE.’

Were you offended by the title of the play? Did you think that many of the lines in such a play would start with “Did you hear about the Pollack who....? or “How many Pollacks would it take to ....?”

Well, if so, you weren’t alone. When David Ives’ satirical comedy opened in Hartford, Connecticut, a letter was sent to the editor of a local paper. It read, in part: “As a member of the Polish Cultural Club, I was surprised the production was not advertised in our local Polish newspapers. I understand why now. I was completely unprepared for the level of ridicule and defamation in this production. Part of this is the fault of the playwright, David Ives, born David Roszkowski, and now writing under an Irish pen name. The depiction of Polish Americans in the play was a vehicle for his own self hatred as a Polish-American and lack of connection to his own deep patrimony, which is used only as an occasion for ridicule. From the first scene, Poles are caricatured as fat, dirty, working class drunks, sometimes crawling out of pipes with toilet plungers, at other times pulling shiny, greasy kielbasas out of their pockets. The Polish psyche is repeatedly called one of "disappointment, discouragement, and despair." When I left the theater, I approached a member of the board of directors to voice my complaint, and she retorted "obviously you didn't get it!"

On some levels both of these people are right. The letter writer took the jokes and the stereotypes literally. He did not recognize the use of stereotype to try and make the point of self-hatred by many immigrants, and the need for some people to attempt to deny their heritage as part of their coming to terms with what it means to be an “American.” He couldn’t see the satire because of his deep abiding pride in being Polish. Part of the problem was also the poor writing structure of the play. This is no great work of literature.

On the other hand, the board member was correct. Ives was telling the story of many immigrant groups who tried to escape from their pasts because they did not want to be thought of as “greenhorns,” “foreigners,” not “real” Americans. They didn’t want to be part of the people who ate strange foods, spoke strange languages and wore strange clothing.

POLISH JOKE had its world premiere in Seattle in 2001 and was subsequently produced in New York in 2003.

It recounts the tale of Jasiu through the myriad ramifications of ethnic identity in America. His journey starts, innocently enough, in the Polish working class neighborhood of Chicago called “The Bush.” As a nine-year old, he is influenced by his Uncle Roman who utters the life-altering questions that will send the young man on his pilgrimage, “ Are you sometimes overwhelmed by a tragic feeling of hopelessness and despair?” and “Some days do you get this profound feeling of utter, total futility?” When the boy admits he does have those feelings, Uncle Roman pronounces the cause: “ It’s because you’re Polish”. This begins young Jasiu’s quest to escape his destiny and adopt another ethnic origin with fewer dire consequences.

The play has been called, “hilarious,” “inventive,” and “thoughtful.” I would have used words like “funny in parts,” “poorly structured,” “stretching believability,” and “written more like an extended comedy sketch than a compelling play.” The fragmentation and the feeling that this is an over-extended one joke reflect from Ives best being known as “the master of the comic one-acter.”

Beck’s production, under the direction of Jerrold Scott, is quite acceptable. Greg Wenz is consistently excellent in a role that requires him to grow from age nine to adulthood. He makes Jasiu real in spite of being given lines that often fringed on the ludicrous. Leslie Feagan, though he stumbled over some of his lines, changed from one character to another with ease. He was especially effective as a priest. John Busser, Sheila Maloney and Kim Weston all took on numerous roles with general success.

CAPSULE JUDGEMENT: “POLISH JOKE’ will offend some, hit personal chords with others, and entertain some. It’s one of those theatrical experiences that brings neither boos nor resounding applause.

Les Miserables (Playhouse Square Center)

‘LES MIZ,’ in its last local professional touring stop, is a definite “go see!”

One of the fears of going to a touring show of a musical that announces that it has been on the road since 1988 is that the viewer will see a second-rate cast, watered-down technical effects, and a tired and bored cast that is walking through the motions. Well, have no fears about the ‘LES MISERABLE’ production now in a short 6-day run in Playhouse Square. This is a first rate production in every sense.

‘LES MISERABLES’ opened in London in 1985 and is still running. It came to Broadway in 1987, after playing the Kennedy Center in Washington, DC, and played for over 18 years, making it the third longest-running show in Broadway history. Only ‘CATS’ and ‘’PHANTOM OF THE OPERA’ ran longer. There have been three national touring companies, all of which have visited the North Coast.

LES MIZ is based on Victor Hugo’s classical novel. It is an epic saga of romance and passion which centers on the life of Jean Valjean who was convicted of stealing a loaf of bread to feed his starving nephew. He served his time, broke his parole and then is hunted by Javert, an inspector who becomes obsessed with making the now successful businessman pay and pay-again for his crime.

The show’s beautiful music was composed by Claude-Michel Schonberg and the poignant lyrics were penned by Herbert Kretzmer. The score includes such favorites as “I Dreamed a Dream,” “Do You Hear the People Sing?,” “Bring Him Home,””A Heart Full of Love,” and “Turning.” The musical’s book was developed by Alain Boublil and Schonberg.

Because all the words are sung, it is best to be familiar with the story and score before entering the theatre, especially due to the poor sound system and the horrible Allen Theatre acoustics. . If you aren’t acquainted, the program offers an excellent scene by scene description .

The production encompasses all of the scenic, costuming and lighting effects necessary to make this a true professional offering. The massive turntable, which revolves 63 times during the show, allows for fluid set changes. (Interestingly if a person stood in the same place at the edge of the turntable during an entire production, s/he would travel 1/2 mile.) Other interesting facts about the production are that 101 people are involved in the show’s performance including 26 actors, 28 crew, and a 15 member orchestra. One-thousand seven hundred and eighty-two costumes, 31 wigs, and 150 pairs of shoes are used in a single production.

The cast is outstanding. Randal Keith is as good as any of the Jean Valjean’s I’ve observed in the nine times I’ve seen the show. His voice is glorious and his acting makes the character live. His rendition of “Bring Him Home” brought sustained applause. Robert Hunt, though not as menacing as others who have played the role of Javert, has a powerful voice. His final leap to death is a creative theatrical experience.

Daniel Bogart (Marius) effectively develops the role of the love-struck idealist student. He poignantly sang, “Empty Chairs at Empty Tables,” a tribute to his friends who were killed in an unsuccessful revolt. Melissa Lyons, as Eponine, the young woman in love with Marius, but whose love is unreturned, has a marvelous stage presence. Her fine voice is well displayed in “On My Own.” Leslie Henstock failed to create the right illusion as Cosette, Marius’s love and Valjean’s adopted daughter, though her singing voice was quite lovely.

Jennifer Butt (Madame Thenardier) and Norman Large (Therardier) were audience favorites in their comic relief roles. I found their version of “Master of the House,” which is usually a rousing romp, too slowly paced and lacked the needed abandonment. This was the only time during the 3-hour production that I thought the cast was tired.

CAPSULE JUDGMENT: This is your last chance to see a professional production of “LES MISERABLES,’ and an excellent production at that. When the script falls into the hands of local theatres they will most likely be unable to find a cast and create the sets, costumes and special effects the show requires. SEE IT NOW!

A Little Night Music (Kalliope Stage)

Kalliope Stage presents an acceptable ‘A LITTLE NIGHT MUSIC’

Earlier this year Kalliope Stage opened its second season with an amazing production of the musical ‘SUMMER OF ‘42.’ Their present production of ‘A LITTLE NIGHT MUSIC’ doesn’t live up to the ‘42 experience.

‘A LITTLE NIGHT MUSIC,’ with music and lyrics by Stephen Sondheim and a book by Hugh Wheeler is based on the Ingmar Bergman film “SMILES OF A SUMMER NIGHT.” The show originally opened on Broadway in 1973, with a cast which included Glynnis Johns in the lead role. It won the New York Drama Critics Circle Award and the Tony Award for Best Musical. It was made into a less-than-successful movie starring Elizabeth Taylor.

‘A LITTLE NIGHT MUSIC’ tells the story of a Fredrik Egerman an older lawyer who is married to a very young wife, Anne, who, despite the fact that they have been married almost a year, is still a virgin. An old flame, Desiree Armfeldt is appearing in a play at a local theatre. His romantic interest in her is rekindled when he and Anne attend the production. Desiree, who has an illegitimate daughter, is known for her liaisons. She is having an affair with a jealous and married military man, Carl-Magnus. Complicating matters is Egerman's divinity student son, Henrik, who is in love with his stepmother. The play culminates in a weekend at the country estate of Desiree's mother, Madame Armfeldt where everything turns out for the best.

Much of the show’s music is written in waltz (3/4) time which helps classify the work as an operetta rather than standard musical comedy. The operetta definition is furthered by the fact that the lyrics carry much of the play’s meanings. The score contains one of Sondheim's best-known songs, "Send in the Clowns," as well as "The Glamorous Life," "Every Day a Little Death," "Liaisons," "A Weekend in the Country" and "The Miller's Son."

Seindheim is noted for the complexity of his musical arrangements and requires cast members to sing his songs stressing the meaning of the words, not just mouthing lyrics. It is song interpretation that causes the Paul Gurgol-directed cast the most problem. Many of the cast sings word, not meanings, which results in the ideas being thrown away.

The KALLIOPE cast is uneven. The lead females are wonderful, while the males fail by comparison.

Marla Berg creates a clear characterization as Desiree Armfeldt. She has a fine singing voice and her rendition of “Send In the Clowns” is emotion-perfect! Kathleen Huber is very believable as Madame Armfeldt, but her solo “Liaisons” would have been more effective of it was sung or spoken with a musical cadence as Hermione Gingold did it on Broadway rather than spoken and ingnoring the music. Kimberly Koljat portrays well the role of Anne Egerman but the role should have been cast with a younger actress. Laurel Held Posey is youthfully right as Petra. Katrya Oransky-Petyk has a wonderful comedic flair which works well as Countess Malcolm. As the maid Petra, Laurel Held Posey displays a fine singing voice and a nice sense of comedy.

On the other hand, Frederick Hamilton is miscast as Fredrik Egerman. He is too young for the role, his characterization comes and goes, and he doesn’t interpret his songs well. The always delightful “You Must Meet My Wife,” fell flat. The same must be said for Tony Lehmenkuler who gives a less than stellar performance as Carl-Magnus. His “In Praise of Woman” was musically sung well, but with little attempt to create lyric meaning. Of the males, Brad Herbst came the closest to creating a meaningful character as the melancholy son, but his acting abilities fall short of making the character totally believable.

The vocal chorus, which acts as the narrator, was excellent. The musical accompaniment was much too shallow. The show needs a lush sound not capable of being produced by the few instruments used by musical director Brad Wyner.

Set designer Russ Borski continues to amaze in his ability to satisfy the needs of big shows placed on a postage-stamp sized stage. Borski and Aimee Kluiber’s costumes were awesome. This was the finest costumed show seen on local stages this year.

CAPSULE JUDGEMENT: Kalliope’s “A LITTLE NIGHT MUSIC’ is an acceptable, but not outstanding presentation thanks to some strong female performances and wonderful costume sand set design.

Charlotte's Web (Cleveland Play House)

Berko boys give thumbs up to ‘Charlotte’s Web’ at CPH

E. B. White’s ‘CHARLOTTE’S WEB’ is one of the most beloved children’s stories. It has been made into an animated movie which is also a favorite. My grandson’s Alex, Noah and Ian accompanied me to the Cleveland Play House’s staged version of the show so I could present a view of the production from the intended audience--kids.

Alex, age 10 and Noah, 8 (“nine next week!” he reminded me) gave the show an 8 on a scale of 1-10 with 10 being superb! Ian, age 6, didn’t contribute a number but said, “I really liked it.” Considering that Ian consistently falls asleep at plays, and that he stayed awake during the entire production and even went on stage to help with the finale, says a whole lot of positive about the happenings.

Alex was impressed that, “the actors sounded exactly like the film performers which allowed me to easily identify with the characters.” Noah “really liked Lelund Durond Thompson who played the lovable and gentle Wilbur, the pig who is saved from being killed by Charlotte, the caring spider who gives her life for the sake of others.” All of the boys thought Jason Miller, who used a Paul Lynde voice to portray the self centered, food-driven rat Templeton, was “hysterical.”

The play’s morals, “practice random acts of kindness every day” and “a good life is more important than a long life,” were repeated by the trio when I asked what the play’s message was.

So, with all the positives, why the 8? The older boys agreed that some of the scenes from the book were left out. These, they felt, were “necessary to completely develop the story.” (Smart kids!)

Their grandfather, who I guess isn’t as critical, gave the production a 10. I was impressed by Mark Alan Gordon’s pacing of the show. He knows what kids want and need and got right to the point, kept the action moving right along, and handled Charlotte’s death scene with great tact. The cast was universally excellent...not a weak thread in the web. The audience talk-back, including the audience in the production, and the fine costumes (James Strunk), scenic design (Reynard Pope), sounds (James Swonger) and lighting (Maureen Patterson) all added to the positive effect of the 50 minute show.

CAPSULE JUDGMENT: The Cleveland Play House’s ‘CHARLOTTE’S WEB’ was a delight.

Dream a Little Dream (Cleveland Play House)

‘Dream a Little Dream’ enjoyable, but not compelling at CPH

Question one: What group had the musical hits, “Monday, Monday,” “Dedicated to the One I Love,” “I Saw Her Again,” “San Francisco (Be Sure To Wear Some Flowers In Your Hair)?” Answer: If you are a 60s music fan or a rock and roll expert then you know it’s The Mamas and the Papas.

Question two: What quartet made up the group? Answer: John and Michelle Phillips, Denny Doherty and the dynamic 300-pound Mama Cass Elliott.

Question three: What happened to Cass Elliott? Answer: After the group broke up because of relational infidelity, too much drugs and liquor and internal wrangling, she went on to a successful solo career. In spite of rumors that she choked to death while eating a sandwich in a London deli, Mama Cass, who had an undetected heart condition, suffered a fatal heart attack at age 30.

Question four: What is the name of the nearly-true musical based on the group and its members? Answer: The original title of the work, when it opened in Toronto in June 2001, was “CALIFORNIA DREAMIN’.” The present title of the production, which is now on stage at the Cleveland Play House, is “DREAM A LITTLE DREAM.’ Supposedly the name was changed because Michelle Phillips entitled her autobiography ‘CALIFORNIA DREAMIN’” and the musical’s producers didn’t want any confusion (or, it can be assumed, didn’t want a law suit).

Question five: Why was the musical written? According to Doherty, one of two surviving members of The Mamas and the Papas, the project began in the mid-1990s when he decided to try to answer the many questions he faced about the seamier side of the band. As he says, “Everybody knows the music and everybody's heard something about something odd going on in there, so I decided to write a play. The songs, the music, tell the story. I'm just filling in the spaces in between." It is mostly a collection of the band's songs connected by Doherty's storytelling. He has also thrown in a few tunes from the era like "The Man Who Wouldn't Sing Along With Mitch" and "Twist and Shout."

He wrote the piece with Canadian playwright Paul Ledoux. The CPH and former productions of the show have been staged by Randal Myler, who is noted for his direction of ‘LOVE JANIS’ and ‘HANK WILLIAMS: LOST HIGHWAY’,’ both of which had Cleveland Play House runs.

The Play House production, which is placed on a multi-level set with the band on stage and the performers entering and exiting during the two-act, two hour production, is more a review with verbal and visual transitions, than a play.

Doherty narrates and is backed up vocally by Lisa MacISAAC, Doris Mason and Graham Shaw. Only Doherty speaks. MacISSAC has a striking physical resemblance to Michelle Phillips. She lacks some of Phillips’ quirky musical sound, but those who don’t know the group won’t know the difference. Mason, who is a somewhat slighter version of Mama Cass, sings well, but just doesn’t have the power and dynamics of the legendary Cass. Shaw basically fades into the background as little actual attention is given to his vocals.

Doherty's words are often illustrated by photographs and hallucinogenic-inspired special effects that flash across a huge screen on the theatre’s back wall. After a while the effect became redundant with many of the pictures being repeated again and again.

The horrible acoustics of the Bolton Theatre make the drum’s beat predominant and the voices often get lost in the high ceiling and the fake seating areas along the walls. It can only be hoped that before the company does ‘MY FAIR LADY’ and ‘RABBIT HOLE” next season a decision is made to stage the performances in the Brooks or bring in a sound technician to redo the acoustics of the Bolton’s original architectural design.

The irony of The Mamas and the Papas was that the band created such harmony while in such personal upheaval. "We made that sound in spite of ourselves," Doherty says. “When we sang, everything else became secondary." And, in ‘DREAM A LITTLE DREAM’ the same thing happens. Only the singing is really important or meaningful. The spoken script is way too long and too redundant. It takes on the feel of a nightly soul-searching for Doherty. A chance to sort out the haze of the drugs, drink and sex and try and put his world in some kind of order.

CAPSULE JUDGEMENT: If you love the music of the 60s and are really fans of The Mamas and the Papas ‘DREAM A LITTLE DREAM’ is a should see. If you like the “inside gossip scoop” you’ll be turned on. For the rest of us, it was nice to hear the music, but the play didn’t do much to “turn me on.”

Humana Festival (Actors Theatre of Louisville, KY)

Humana Festival is theatre-goers dream weekend

From May 2 through the 21st, the Cleveland Play House complex will be host to FusionFest, an ambitious offering of new works. The events will include presentations from Cleveland Opera, the Cleveland Museum of Art, Verb Ballets, the Museum of Contemporary Art, Dobama Theater, Karamu House, Jewish Community Center, City Music Cleveland, Cleveland School of the Arts, and Shaker Heights High School.

Thus, CPH will be the only regional theatre in the country offering a new works festival that includes opera, ballet, theatre, dance and music. But, it is not the only venue to offer new works. One of the most exciting and ambitious is the Humana Festival of New American Plays which is now in its 30th year at the Actors Theatre of Louisville. Humana is so well regarded that the American Theatre Critics Association presents its yearly awards during the festival.

From March 31 to April 2, the festival hosted theatre reviewers and drama professionals. In two-and-a-half days attendees saw eight selections which, in reality were 6 full-length plays, 3 ten-minute plays and 17 short plays (‘NEON MIRAGE’).

Each script received a full-scale professional production, not just a staged reading. The shows had professional casts and the technical work was top flight. The authors were all well established scribes. Major play script publishers, theatrical agents, representatives from major theatres looking for scripts to produce were all present. A well received production could mean a lot of money and fame for an author.

It was interesting to hear informal comments about each play from representatives of papers such as Variety and representatives from New York, Los Angeles, San Diego, St. Louis, Miami and Cleveland. Yes, Cleveland was well represented. Tony Brown of the PLAIN DEALER and I were there representing the critics. Joyce Casey of Dobama Theatre, David Shimotakaraha and Pandora Robertson of Groundworks Dance were also present. And local playwright Eric Coble had his play ‘NATURAL SELECTION’ staged.

The likes and dislikes of the viewers reflected their theatrical philosophies. One reviewer, who favored esoteric and cutting edge scripts, praised ‘HOTEL CASSIOPEIA’ and ‘ACT A LADY.’ The former, by Charles L. Mee, mirrored the life of artist Joseph Cornell, who used articles of junk to create his collages. Like his art, the script was a fragmented view of Cornell’s longing, loneliness and heartbreak. The latter, by Jordan Harrison, was a gender-bending fable of a play-within-a-play which attempted to display the power of the theatre to illustrate the male within every female and the female within every male. I found both plays wanting.

Though praised for the performance by its author, ‘LOW’ by Rha Goddess was too long and a bit preachy. The African American writer probed mental illness, how to cope with drugs and the plight of the homeless. Cutting the last ten minutes would add much to the power of the script and intensify its meaning. We didn’t need the morale preached to us.

I felt the best shows were Sharr White’s ‘SIX YEARS,’ Theresa Rebecks’ THE SCENE’ and ‘Eric Coble’s ‘NATURAL SELECTION.’ Though all could use some doctoring, they each held the audience’s attention and I could see them as a candidate for being staged by one of Cleveland’s professional or semi-professional theatres.

‘SIX YEARS’ concerned a World War II veteran who fails to return to his wife and family for six years following the conflict. The play examines damaged souls who, by the closing curtain, have flipped in their security. Though the ending is a little self evident, the emotional highs and lows are audience involving. This might be a script that convergence-continuum would want to explore.

‘THE SCENE,’ which takes place in New York, concerns four people who find themselves playing scenes in their lives, scenes which reveal each of their vulnerabilities and motives. The script is ready for production. With an excellent cast it could be positively received by a traditional audience. It’s a show that would fit nicely in a Dobama or Beck’s studio theatre season.

In ‘NATURAL SELECTION’ Eric Coble digs into his years of living on American Indian reservations to examine what life might be like in the not-so-distant future when the only way to replenish the “stock” of the Culture Fiesta Theme Park’s Native American Pavilion is to venture into the wastelands of North America and find one. It forces the viewer to examine living in a world in which people find reality in cyberspace. It also examines the changing role of culture. At times paralleling the Noah story, the observer is forced into the Native American concept of the flood, the fifth world of the land of the rainbow.

Though the ending is a little dragged out, with some retooling, the play could do well in an off-Broadway or theatre which has a thinking audience. The script is generally surreal, funny, and engaging. Several reviewers shared that ‘NATURAL SELECTION’ was their favorite show.

CAPSULE JUDGEMENT: The Humana Festival is a theatre-goer’s all-you-can-view opportunity. Hopefully, the Cleveland Playhouse’s FusionFest can do for the local theatre and the Northcoast area what Humana has done for Louisville.

A Midsummer Night's Dream (Actors' Summit)

Delightful ‘A Midsummer Night’s Dream’ at Actors’ Summit

Seeing Shakespeare at American theatres, especially a theatre that doesn’t specialize in classical productions, can be a forbidding experience. Fear not. In general, Actors Summit’s ‘A MIDSUMMER NIGHT’S DREAM’ is a delightful experience.

Less is known about ‘A MIDSUMMER NIGHT’S DREAM’ than most of Shakespeare’s writings. Not only the date at which it was written, but why the play was scribed is up for discussion. It is assumed to have been developed between 1594 and 1596, early in Shakespeare’s life. It might have been written for an aristocratic wedding. Some Elizabethan scholars suggest it was written for the Queen to celebrate the feast day of St. John.

Also, in contrast to Shakespeare’s pattern for many of his other offerings, there is no known source for the play’s plot. One theory is that it is loosely based on “The Knight's Tale” from Chaucer's ‘CANTERBURY TALES.’

Though popular with viewers, most critics agree that the comedy is not one Shakespeare’s best plays.

The story features three interlocking plots, all of which are connected by marriage. Two couples, Hermia and Lysander and Helena and Demetrius, run away into the fairyland forest in order to avoid forced marriages, are pulled apart and then brought together through some shenanigans pulled off by the impish folk character Puck. The third couple, Oberon and Titania, the King and Queen of the Fairies, are also in a love/hate/love situation. Add a play within a play by a group of inept actors, and we have some wonderful light and joyous moments.

As one critic stated, “If ‘A MIDSUMMER NIGHT'S DREAM’ can be said to convey a message, it is that the creative imagination is in tune with the supernatural world and is best used to confer the blessings of nature upon mankind and marriage.”

Actors’ Summit’s production is filled with many very good and some mediocre acting. Kathleen Cutter is delightful as Hermia. Alicia Kahn lights up the stage as Helena. She has a wonderful sparkle in her voice and face which compels one to smile and empathize with her as she speaks. Andrew Narten (Lysander) and Noah Varness (Demetrius), are both fine and help complete the charming duet of lovers. A. Neil Thackaberry, as Theseus, and Sally Groth (Hippolyta) playfully create the mature couple. Though he sometimes knows no restraint, Peter Voinovich was the audience favorite as Bottom, the weaver who turns into a jackass.

Bob Parenti, playing the dual roles of Egeus, father of Hermia and Quince, a carpenter stumbled over a number of his lines and was often unbelievable. Puck needs to be impish, charming, delightful. Sasha Thackaberry was simply not “puckish” enough, often becoming slave to the poetic rhyming pattern.

Mary Jo Alexander’s costume designs were wonderful as was the creatively designed set.

Director A. Neil Thackaberry has shortened the play so that it runs two-hours, including intermission. No one, except a Shakespeare scholar, will realize that there have been cuts in the script. He has paced the show well and wisely has his actors using Shakespearean dialogue with General American pronunciation which results in ease of understanding.

Actors’ Summit received a large grant to perform matinees for area students. Over 1000 young people will be exposed to Shakespeare through this anonymous grant. It can only be hoped that the donor will see fit next year and for years to come to make money available to allow area students to experience the wonders of live theatre.

CAPSULE JUDGEMENT: Actors’ Summit’s ‘A MIDSUMMER NIGHTS DREAM’ is a delightful offering well worth seeing.

Verb Ballets (Ohio Theatre)

Verb Ballets continues to impress

While attending the two-day Verb Ballets programs at Playhouse Square’s Ohio Theatre, a reliable source revealed that Ohio Ballet, which had already canceled its winter season, had canceled its spring Cleveland appearance. The source indicated that plans were to possibly do an Akron spring offering. This news does not bode well for the company. It is ironic since Verb Ballets was doing a weekend tribute to Heinz Poll, founder of the Ohio Ballet. It was Poll who made the company a national force, combining traditional and modern ballet.

In the last several years it has become apparent that Verb Ballets is on its way to filling the void caused by the demise of Cleveland-San Jose Ballet and the problems of Ohio Ballet, its potential replacement as the major large company in the area. Verb’s concerts are well attended. Last year’s Playhouse Square offering was sold-out. Their recent two-night stand, in spite of stiff competition from the Cleveland Film Festival, ‘BOMBAY DREAMS’ in the next door Palace Theatre, and Groundworks performing at Cleveland Public Theatre, drew nice sized audiences.

Artistic Director Hernando Cortez has developed a well-disciplined company. He has supplemented his personal creative choreography with works of Poll and Paul Taylor. He has brought in resources such as Jonathan Sheffer, artistic director of RED, to compose music specifically for the company. Trad Burns continues to impress with his lighting designs. The company appears to be on good financial grounds. They have developed a devoted and enthusiastic following.

Both evenings’ programs were well-danced. They were aesthetically pleasing, well conceived and nicely selected to make for two different and stimulating evenings.

On Friday, Eric Conway soared in ‘ESPLANDE ,‘ as did 70 year-old Ann Ennis reprising a role she has made her own. Kallie Marie Bokal/ Glynn Owens and Oren Porterfield/Mark Tomasic coupled impressively in ‘SIX -EASY PIECES.’ Based on Poll’s personal pronouncement that “movement has to have a reason,” his “WINGS AND AIRES’ was a melodic, flowing, exciting classical ballet which combined well with modern dance. His signature style of straight backs, free-flowing motion, meaningful arm movements and erect posture were all well-recreated by the dancers under the restaging concept of Jane Startzman.

Saturday night opened with the exciting and fun-filled ‘FOREVER FLING,’ an Irish hoedown. Fourteen year-old wunderkindt, Austin Thomas, stole the hearts of the audience. A lanky six-footer, Thomas moved quickly with confidence and competence and accomplished amazing vertical leg kicks that brought squeals of delight from the audience. Also impressive in the number were Mark Tomasic and Robert Wesner. Wesner made a major breakthrough in his performance skills. Abandoning his usual overly-dramatic, stilted hand sweeps and classical stiff body running off stage at the end of his solos, his face gleamed with real emotional reactions. His body interpreted and lived the music. I don’t know if it was the Poll influence, Cortez’s directions or Wesner realizing that reality is more important than window-dressing, but the adjustment worked and worked well!

The high point of the evening was ‘CHICHESTER PSALMS,’ choreographed by Cortez to music by Leonard Bernstein. The well-conceived, beautifully structured piece wowed the audience. Brooke Wesner, who coupled with her husband, Robert, was outstanding. Trad Burns’ lighting perfectly paralleled the musical sounds in its ever changing intensity and flow. The marriage of dance, music and lighting was impressive.

The evening ended with Poll’s ‘ELEGIAC SONG.’ Based on Poll’s personal memories of wartime Germany, the choreography impressively mirrored the grieving woman drawings of artist Kathe Kollwitz. The visual images precisely paralleled the haunting music by Shostakovich.

In a well-planned tribute, Elizabeth Flynn, a long-time Cortez friend,who is leaving the company, danced the lead roll in “ELEGIAC SONG.’ Her final bow was met with hundreds of roses being thrown on stage by her devoted followers and a tearful goodbye speech by Cortez.

Verb Ballets will be conducting HOOPLA, a unique fund raiser consisting of 15 small get-togethers ranging from a live piano concert in a South Park home to the premiere of ‘CLEVELAND BARES,’ a Broadway burlesque featuring Cleveland’s hottest dancers. The company’s next public appearance will be on September 15 and 16 at the Cleveland Museum of Natural History. For information on HOOPLA or the fall concert call 216 231-1177.

CAPSULE JUDGEMENT: As their slogan states, ‘Verbs the word,” and again the company proved the truth of that statement. Bravo!

Groundworks Dancetheater (Cleveland Public Theatre)

Groundworks Dance at CPT’s Danceworks ‘06

David Shimotakahara’s Groundworks Dance is one of my favorite companies. I look forward to each of their offerings. In their latest concert, which was part of the Cleveland Public Theatre’s DANCEWORKS ‘06,’ as always, the dancing was superb. Unfortunately, as a friend who I was sitting with said, “This wasn’t up to their usual level.” They were speaking of the program selections. As much as I hate to admit it, I agree.

‘INSIDEOUT,’ in its world premiere, was a series of short pieces developed around the interplay of internal and external perceptions. It was performed as a series of intimate duets in which inner and outer worlds were expressed through word and dance. Though the idea was clever, at times there was a disconnect between the words and movements. This was, in part, caused by the decision to speak the words as if they were a flat melody, often ignoring the phrasing which would have increased the clarity of the message.

The segments ranged from comedy shticks to enactment of serious problems. Two segments, which weren’t word supported were piece highlights. A delightful interlude found Shimotakahara and Mark Otloski using a pair of baggy pants and an oversize jacket to twist, roll and gyrate through, under, around and in. Another excellent segment found Felice Bagley and Jennifer Lott interacting with two vivid white spots in an otherwise black space. Bagley was superb. Lott, a trainee who is still learning Shimotakahara’s precision movements, often flowed in her arm and body movements rather than using precise maneuvers ingrained into the psyches of the other dancers.

A segment that highlighted the weakness of the concept took place late in the program when Amy Miller and Mark Otloski beautifully danced an introspective concept. The spoken segments, however, didn’t parallel the dancers’ moods and movements.

In its Cleveland premiere, ‘TIPPING POINT,’ as choreographed by KT Niehoff, found the dancers sitting on the floor for most of the number. The piece was intended to explore “the relationship between intense isolation and the group mind.” Set to Sarah Murat’s discordant repetitive beating music, the twenty-minute offering became mind numbing after a while. As someone behind me said, “Why don’t they get up and do something, already?” Well, maybe that was Neihoff’s intention. By repeating the same head, arm and body movements at varying speeds, after a while, like work on an assembly line, the participants get to their tipping point. Even with that clarity of explanation, the over-all effect of the piece was not extremely positive.

CAPSULE JUDGEMENT: I have high expectations for Groundworks Dance concerts. My expectation of superb dancing was met, but the programming left something to be desired.

Bombay Dreams (Playhouse Square Center)

‘BOMBAY DREAMS’ doesn’t get standing ovation at the Palace

In 2002, when ‘BOMBAY DREAMS,’ now on stage at Playhouse Square’s Palace Theatre, opened in London it became a cult hit. It ran until June of 2004. Many felt the reason for the success was the large Indian population in England, who frequented the show. When it opened on Broadway in 2004, the show was met with less enthusiasm. It ran for only 284 performances. One review stated, “If you're suffering from a ravenous hunger for rich, intelligent musical theatre, you're unlikely to be satiated by ‘BOMBAY DREAMS’.”

That, and similar reviews not withstanding, one might anticipate that a show produced by Andrew Lloyd Webber, with a score by A. R. Rahman and Don Black, and a book by Meera Syal and Thomas Meehan, which was based on an idea by Shekhar Kapur and Lloyd Webber, might have something to offer. Unfortunately, based on the touring production, the New York reviewer seemed absolutely right.

‘BOMBAY DREAMS’ tells the story of Akaash, a brash young slum dweller who dreams of becoming a Bollywood movie star and meeting his idol, the voluptuous screen siren Rani. And, as in all good fairy tales, whether American or Indian, his dreams come true. But, in order for the plot to work, or at least to add some suspense, Akaash has some personal costs to pay and has to take part in the obligatory on-stage dance in which he is drenched in a water fountain.

The show attempts to mirror many a Bollywood musical in its lavish and plentiful production numbers.

Song titles include "Salaa'm Bombay," "Bollywood," "Love's Never Easy," "Lovely, Lovely Ladies," "Bhangra," "Shakalaka Baby," "I Could Live Here," "Is This Love?," "Famous," "Chaiyya Chaiyya," "How Many Stars?," "Hero," "Ganesh Procession," "The Journey Home" and "Wedding Qawali." In the local version, authentic music was played adequately by a small pit orchestra and two drummers placed in the stalls above both sides of the stage.

The touring production is hardly an example of masterful craftsmanship in either its technical or performance qualities. The sets were mainly colorful drops, nothing like the Broadway and London visual sights. The sound system squealed on opening night and drops were brought in at the wrong times. As for the acting, it ranged from amateur to semi-professional. This was not a high quality Equity cast. The “spectacular” dance numbers were less than spectacular due to repetitive and ill performed choreography.

Sachin Bhatt , who portrayed Akaash, the slum boy who becomes a star, lacked the necessary sensuality and charisma. He simply doesn’t have the acting, singing or dancing abilities to make the character appealing. He also has a distracting habit of snarling as he sings. On the other hand, Reshma Shetty was quite charming as Priya, the woman who finally wins Akaash’s heart.

The performance of Sandra Allen who portrayed Rani, the over-the-hill movie star, was all on the surface. She was never really believable. Aneesh Sheth, as Sweetie, a eunuch who is in love with Akaash, was very good. Kenneth Maha, who was a replacement portraying Priya’s father, was embarrassingly bad. To make matters worse, his fake whitish sideburns kept falling away from his head, making him look like he had swan’s wings sprouting out of his head.

In spite of all the problems, it was difficult not to smile, shake your head at the ridiculousness of the plot, and be mildly entertained by this light-weight tribute to the Indian movie musical.

Capsule judgment: Cleveland audiences give standing ovations to almost anything . A litmus test to the lack of quality of ‘BOMBAY DREAMS’ was that there was not a single person standing during the curtain call, not even from the huge number of Indians who were in attendance. Too bad. With a stronger cast and better production qualities, “BOMBAY NIGHTS’ could have been fun and even educational.