Beautifully crafted script and production makes A VIEW FROM THE BRIDGE a must see!

 

The post-World War II-era centered on the changes of, among other factors, the application of psychological principles to examine the happenings of the day.   Arthur Miller, William Inge and Tennessee Williams are considered to be the leading playwrights of that, the modern American era of theater.     Miller, who is the author of A VIEW FROM THE BRIDGE, which is now in production at Cain Park’s Alma Theatre, is noted for asking, in his scripts, “Is this the best way to live?”   In the case of VIEW, Miller’s dramatic tale examines such matters as difficult relationships, family honor, fear of loss, personal pride, forbidden love, assimilation and how justice and law often collide.  In the end, Miller seems to conclude that Eddie, the story’s protagonist, meets his end, being killed by his own knife, as a metaphor for his self-inflicted personal moral and ethical fall.   In examining the play, the writer’s own life may be the real topic.  “Miller was called to testify in front of the House Un-American Activities Committee to name names of communist sympathizers in 1956, the height of the McCarthy Era. Miller refused to do so and was heralded by the arts community for his strength of conviction and loyalty.”   Miller, like Eddie Carbone, was faced with the problem of choosing how to live his life and affirm or reject his value system.   “Unlike Eddie Carbone, Miller chose to be loyal to his fellow artists, but like Carbone, Miller went against the cultural consensus at the time. Miller, in the play, chose to script a community that accepted and protected unlawful people. The consequences and eventual repercussions of naming names, for Eddie Carbone, are drastic.”    Miller used this play to strongly condemn the McCarthy trials and those who named the names of fellow artists.   This is not the only play in which Miller takes on the ethics of McCarthy and his committee.  In THE CRUCIBLE, which is being staged at Blank Canvas Theater, on Cleveland’s near west side, the topic of witch-hunting takes center stage, and much like A VIEW FROM THE BRIDGE, Miller points the accusing finger at the perpetuator of “evil” and comes to the conclusion that the action of the witch hunters and McCarthy, was and is not the best way to live. The story in A VIEW FROM THE BRIDGE is narrated by Alfieri, who was raised in Italy, but is now working as an American lawyer.  Acting as our guide and commentator, much like a Greek chorus, he represents the “bridge” between the Italian and cultures of that era. The plot centers around the Carbone family – Eddie, his wife Beatrice and their niece Catherine. The family is awaiting the arrival from Sicily of Beatrice’s cousins Marco and Rodolpho, who have entered the country illegally.    The cousins arrive. Catherine and Rodolpho are attracted to each other, which annoys Eddi, who has feelings for Catherine.   Jealous Eddie finds more and more things to dislike about Rodolpho as the young couple grow closer.  When the duo decides to get married, Eddie reports the cousins as illegal immigrants. This makes his family and all the neighbors hate Eddie.  Marco and Eddie fight. Marco uses Eddie’s knife to stab him. Eddie dies.   The Cain Park production, under the wise guidance of director Celeste Cosentino, is compelling.  It is well-staged, the concepts clear, and the acting generally top-notch.     Dan Zalevsky gives full life to the role of Eddie.  Eddie lives through Zalevsky’s clear character development and concentration on being, not acting.   Ursula Cataan creates a Beatrice who is both sensitive and aware of her limitations and her role as “wife” to Eddie.   Arianna Starkman matures as a character as Catherine faces the reality of becoming a woman, rather than a girl.   Abraham McNeil Adams well-portrays Alfieri, our guide and commentator.   Santino Montanez sizzles in the final scenes, as his role as family member and provider is spotlighted.   Be aware that the tented Alma theatre has no hard walls. The ambient sounds of street noise, wailing ambulances and revved-up motorcycles, the size of the stage which hinders actor projection to all parts of the small auditorium, plus the necessary Italian accents, all blend to wipe out some speeches.    Capsule judgment:  A VIEW FROM THE BRIDGE is a powerful and meaningful play that gets a fine production.  This is an absolutely must-see for any serious theater-aficionado.   A VIEW FROM THE BRIDGE runs through September 15th.  For tickets call 216-371-3000 or go online towww.cainpark.com

THE MUSICAL THEATER PROJECT starts its 26th season with GREAT 21ST CENTURY MUSICALS

 

On August 24th and 25th, The Musical Theater Project will open its 26th season with GREAT 21STCENTURY MUSICALS, a sampling and celebration brand-new musicals, with, according to co-host and author of the program, Sheri Gross, “a glance back at some new works from composers that have been covered before and fit into the timing.”   To be staged in the intimate Chagrin Valley Little Theatre, the summer concert is part of the “Song Is You!” concert and cabaret series.    On its blog, TMTP explains that their mission is to preserve and honor the 20th [and 21st]-century classic American musical (both stage and screen) in songs, stories and social history by guiding their participants to learn about the art form’s past. The organization’s goal “is to bring us all closer together in greater understanding of each other, and in joy, hope and love—these are meaningful and uplifting hallmarks of the classic American musical.” Under the creative guidance of Bill Rudman, nationally renowned educator, broadcaster, producer and founder of The Musical Theater Project, the organization “has created more than 100 concerts and cabarets that celebrate and share musical theater as a uniquely American art form.” Usually, the live concerts are written and narrated by Rudman, with musical direction and additional narration provided by Nancy Maier.   The summer concert is being written and narrated by Gross and Maier, with vocals performed by TMTP audience favorites Nicole Sumlin and Eric Fancher. In an interview with Gross, it was revealed that the shows to be highlighted and songs to be presented were picked by the duo from current shows and musicals that opened on Broadway in the 21st century, augmented by new works from songwriters that have been covered in concerts that fit the timing. Works to be examined will include the Tony Award-winning THE OUTSIDERS, along with WATER FOR ELEPHANTS, SUFFS, THE NOTEBOOK, and THE DAYS OF WINE AND ROSES.  Songs by Jason Robert Brown and music from MERRILY WE ROLL ALONG, COME FROM AWAY, THE PRODUCERS and WICKED will also be included.  (Side note:  both THE OUTSIDERS and WICKED were produced on Broadway by THE ARACA GROUP, whose partners are Matthew and Michael Rego and Hank Unger are native Clevelanders.) How was the program put together?  According to Gross, she and Maier examined shows that fit the theme, decided on what songs work for the singers, evened off the number of songs for cast, decided on how the songs flowed together, selected the opening and closing numbers and then wrote the text.    The program becomes a reality after the narrators and singers rehearse the show 4 or 5 times to make sure of the quality of the production and that it fits into the allotted time.   Experience GREAT 21ST CENTURY MUSICALS in-person on Saturday, August 24 @ 7:30 and Sunday, August 25 @ 2 at Chagrin Valley Little Theatre, 40 River Street, Chagrin Falls.   For tickets go to: https://musicaltheaterproject.org/buy-tickets/   For updates on Chagrin bridge construction, please visit: https://chagrin-falls.org/336/N-Main-Street-Bridge—Information-Porta Free valet parking is available!

CHILDREN OF EDEN brings “The Bible” to life at Western Reserve Playhouse

 

CHILDREN OF EDEN, has music and lyrics by Stephen Schwartz.  He is the creator of such hit shows as WICKED, PIPPEN and GODSPELL.  Unlike those shows, EDEN had no Broadway or off-Broadway productions.   In fact, it had very little success until it was realized that it leaned itself to be performed by community, regional and educational theatres as it can be performed with a large or small cast, little or no sets, a small or large musical band, and had the universal themes of family and love.    It is now so successful that the show's publisher, Music Theatre International, reports that it is “one of its top 20 most frequently licensed properties.”   The original cast production of CHILDREN OF EDEN was developed as a Royal Shakespeare Company workshop in the 1990s. Subsequently, it was reworked and edited, with songs and scenes being added and cut. In 1997, a major production was mounted at the Paper Mill Playhouse in Millburn, New Jersey.   This revised version, commonly known as the "American version" is what is on stage at Western Reserve Playhouse.   The musical is based on the “Book of Genesis,” with Act I telling the story of Adam and Eve, and Cain and Abel, while Act II spotlights Noah and the flood. “The universe is born out of darkness. Father, with the help of the Storytellers, brings the universe and life into existence, including Father's new children, Adam and Eve.  It follows the ancient tale of Eve finding.  Though her life is seemingly perfect, Eve still hungers for something more: knowledge, adventure, and to see what lies beyond the garden.  Eve meets a snake who tempts her with apples from the forbidden tree and the possibilities that would open up for her if she eats it.  And, thus, we are taken on an adventure of doom, murder and such heinous things that Father decides that he needs to clear the earth of what has been created by having a flood whip out everything.   He informs Noah of the impending doom, as Noah's family remain the only ones who are untainted by Cain's lineage, and commands him to build an ark for refuge. Noah begs Father to reconsider, but Father leaves him with the command and that the ark must be large enough for both his family and two of every animal!” The Western Reserve production, under the direction of Braelin Andrzejewski, is staged in their charming Barn.  It is a very commendable amateur production, with many creative highlights.  The cast, as is the case with many community productions, is uneven.  While some performs “act,” rather than being natural, others soar.  Strong performances are given by Kelly Pikenroth (Eve/Mama Noah), Nate Zadzilka (Abel/Japeth), Roman Novosel (Cain/Ponair) and Emily Sedmak (Storyteller/Aysha).   Future Suggestion:  Putting the song list in the program would allow for identification of the material, as well as who is performing it.   Capsule judgment:  THE CHILDREN OF EDEN is a show that lends itself to the space and talent of Western Reserve Playhouse.  It gets a solid performance that allowed for a multi-level of talent to perform, to the delight of the large and appreciative audience. THE CHILDREN OF EDEN continues at Western Reserve Playhouse, 3326 Everett Road, Bath through August 17, 2024.  For tickets call 330-620-7314

SPEECH AND DEBATE examines contemporary teen angst at congruence-continuum

 

It is entirely appropriate that convergence-continuum, with its tendency of challenging conventional notions by choosing plays because they contain controversial topics, stage Stephen Karam’s SPEECH AND DEBATE, which examines teenage angst as it relates to love, self-acceptance and what happens when three teens are forced to confront the real world in which they live.
 
The teenage misfits, Solomon, Diwata and Howie, who go to the same school, have different gripes with life, but soon realize that three voices are stronger than one. 
 
Meet the dynamic trio:
 
There is Solomon, a nerdy kid with ambitions of being a journalist.  As his/their latest cause-celeb, he/they wants to investigate homophobic closeted men in positions of power.  He/they gets a chance when the conservative Republican mayor of Salem, Oregon, is caught in a sex scandal involving underage boys.  Solomon writes the story.  It, along with an essay on abortion, are rejected for publication by the school’s newspaper advisor because of her fear that there will be community backlash.
 
Then there is Howie, an out, gay high school senior, who has transferred from a liberal Portland school. He is disgusted by the Puritan culture of Salem, in which he can’t get a Gay-Straight Alliance sponsored at school, but can make a gay “sex” date on-line with a school faculty member.
 
The trio also contains Diwata, a black female diva, who has a grudge against the school’s drama teacher because he refuses to cast her in a major part and won’t stage her musical version of Arthur Miller’s THE CRUCIBLE, a play about witchcraft in Salem, Massachusetts.  She goes into the boy’s bathroom, one day, because the girl’s facility is over-crowded.  While seated in a stall, she witnesses what she thinks is an illicit encounter between a student and the drama teacher. 
 
When the three students realize that they each have a piece of the same scandalous puzzle, secrets are bartered, and ultimately, and in spite of their differences, an alliance is formed. 
 
They realize that since their school has no speech and debate squad, if they form one, and present their “evidence,” maybe this is their chance to be heard at last—by the school and even the world. 
 
The play has been bannered as, “A triumph…hilarious, cliché-free, and immensely entertaining, “…[A] savvy comedy…bristling with vitality, wicked humor, terrific dialogue and a direct pipeline into the zeitgeist of contemporary youth.”  Other reviewers stated, “Karam has a keen ear for how teens talk, move and think, how they view each other and the adult world … and uses both the advantages and perils of cyberspace to make amusing, original point,” and “This play is a f–ing blast.”
 
Con-con’s staging, thanks to solid directing by Léo Fex, in spite of some over tinkering with the various set pieces, which slowed down the production, was effective, holding the attention throughout.  
 
 In most productions of the script, the role of Solomon is played by a male.  Fex, who identifies as “they,” decided to have Keniel Kenney, who also identifies as “they,” play the role.  They are dressed in a shirt whose buttons follow the male buttoning configuration and has a “boyish” haircut.  This interpretation gives a gender/sex fluid, non-differentiated identity, to Solomon.  Whether intentional or not, this casting changes the meaning of some of the author’s lines.  
 
Keeney is “geek” strong in the role.
 
Zoë Frager is drama queen perfect as the obsessed actress/playwright-wanna be.
 
Brandon Alexander Smith nails the role of Howie.
 
Carolyn Demanelis handles both the role of teacher and reporter effectively.
 
Though the program does not give credit for whomever is responsible for the design and execution of the electronic graphics, it should be noted that they strongly enhance the show.
 
Capsule judgment:  SPEECH AND DEBATE is a well-conceived and written play that gets a very creditable production at con-con.
 
For tickets for the show, which runs through August 24 go to www.convergence-continuum.org

Next up at con-con:  THE PITCHFORKS (October 4-October 26).

THE PROM, a musical with a contemporary social message @ CVLT

 
In 2010 a gay Mississippi high school student was banned from going to her senior prom by the school’s Board of Education because she wanted to bring her girlfriend as her date.  She challenged the ruling, which resulted in the cancellation of the prom.  The student and the ACLU sued the district.  The federal court found the school district guilty of violating the student’s first amendment rights and said the prom must be held.  

The board reinstated the prom, but local parents organized an alternative event to be held on the same night, but kept the event and its location a secret so the gay student and the media would not know.  
  
That event was the impetuous for Jack Viertel’s concept musical, THE PROM, which is now on stage at Chagrin Valley Little Theatre.
 
The stage version builds on the real story and expands it to center on four frustrated Broadway actors, at a failure crossroad in their careers, who contrive a way to get attention by traveling to the very conservative town of Edgewater, Indiana, to help Emma, a lesbian student banned from bringing her girlfriend to the high school prom.
 
The Broadway production was critically greeted with such comments as, "such a joyful hoot,” “with its kinetic dancing, broad mugging and belting anthems, it makes you believe in musical comedy again," and “with a tuneful score, a playful book, and performances that remind you what Broadway heart and chutzpah are all about." 
 
The story, though possessing the quality of a TV sitcom tale, has a meaningful purpose, is tightly written and keeps attention throughout.  
 
It is the purpose of community and little theaters, such as Clague Playhouse, Greenbrier Theatre, Brecksville Little Theater and Chagrin Valley Little Theatre, which has been producing shows for 94 seasons, to give local audiences exposure to theater and give non-professional actors and community members a chance to create and perform.  Audiences should not attend expecting the shows to be “better than Broadway.”  That’s the purpose of the Broadway touring shows and the local professional theaters. 
 
THE PROM is a perfect community theatre show. It has a message, a well-written script, good music (especially “Dance With You” and “Jazz”), can be done with less than professional actors, has a fairly easy set to build, and lots of parts for performers of all ages and talents.
 
The show’s song, “We Look to You” banners the good theatre does for performers with its declaration, “We need a place to run when everything goes wrong, when the answer to each problem is to burst into a song, and standard rules of logic just don’t simply apply, when people dance in unison and no one wonders why.”
 
The same song tells why people come to the theatre, stating, “We look to you in good times and bad—the worlds you create make the real ones seem less sad.  The curtain goes up, and every now and then, it feels as if we’re coming home again.”
 
The CVLT show has some good performances including that by Brooke Hamilton who has a nice singing voice and good acting chops as the lesbian, Emma, who is thrust on the national scene as a role-model when all she wants to do is dance at the prom with her girlfriend, Alyssa, who is well-acted and sung by Maela Mazzone. 
 
Jessie Pollak (Kaylee) and Kelly Scott (Shelby) were appropriately nasty as the mean girls and Eric Oswald, as Principal Hawkins, who did a great rendition of “We Look to You.”
 
Nina Takacs (Dee Dee Allen) and Dan Knepper (Barry Glickman) belted out “It’s Not About Me,” and over-acted to the delight of the audience who roared at the over-exaggerations, while accepting the predictable and often awkwardly presented choreography. 
 
David W. Coxe’s orchestra was excellent as were the electronic media insertions.
 
CAPSULE JUDGMENT:  THE PROM is an old-fashioned musical which tells a contemporary tale with a moral and gets a good community theatre staging at CVLT, It is worth seeing.
 
THE PROM continues on the Chagrin Valley Little Theater stage through August 10, 2024.  For tickets, call 440-247-8955 or go to CVLT.org

"Miraculous" ANNIE wraps up the season at Porthouse Theatre

Terri Kent, the Artistic Director of Porthouse Theatre, Kent State University’s summer home on the grounds of Blossom Center, states in her program notes for ANNIE, “I believe the arts have the power to transform lives and I believe in miracles.”   Kent, therefore, chose to end the venue’s “Miracles! Season” with the tale of an orphan named Annie, who, through guts, gall and cuteness charms herself, in miracle-like fashion, into the life of Oliver Warbucks, the mid-depression billionaire, and, in the process outsmarts the conniving orphanage matron Miss Hannigan, and her dastardly brother, Rooster.   ANNIE, the musical, is loosely based on “Little Orphan Annie,” which was a daily comic strip created by Harold Gray.  “The strip took its name from the 1885 poem "Little Orphant Annie" by James Whitcomb Riley, and it made its debut on August 5, 1924, in the New York Daily News.” With its commentary on politics, American life and depression angst, the strip, in contrast to many of the escapist writings and illustrations of the comics genre, attracted adult readers, rather than children.   If you were a reader of the comics version of the story, don’t go expecting any strip you’ve read in the newspapers, as Meehan used only the characters of Annie, Oliver Warbucks, and Sandy in his plot, and wrote an original story, with new personae. The Meehan tale is set in New York during the downbeat Great Depression. The author stated that he saw “the character of Annie as a 20th-century American female version of the titular orphan characters created by Charles Dickens in works such as Oliver Twist and David Copperfield, with the mystery of Annie's abandonment and unknown parenthood as consistent with a strand of mysteries in Dickens' tales.” It's “1933 in New York City, eleven-year-old Annie is housed in an orphanage. When six-year-old Molly wakes up from a bad dream, Annie comforts her by singing about her own parents; even though they abandoned her at the orphanage as a baby, she holds on to the hope that they will come back for her.” Annie decides to escape to search for her parents, but is caught by Miss Hannigan, the alcoholic, nasty matron of the institution.   Annie finally does sneak out of the orphanage, wanders the streets, finds a dog which she names Sandy, is caught and brought back to Miss Hannigan, is chosen by Grace, Mr. Warbucks’s aid, to be a guest at Warbucks’s home as a guest-orphan for the Christmas holidays.  And, as we all know will happen, she charms the man, his staff, President Roosevelt, and the audience, is adopted and becomes a non-orphan.  “Leapin’ lizards!” Ah, to live in the world of comics and miracles! ANNIE opened on Broadway in 1977, won seven Tony Awards, including for Best Musical and ran for nearly six years.  It spawned a national tour, international productions and numerous community and little theater productions. The musical's songs "Tomorrow" and "It's the Hard Knock Life" are among the most popular tunes of Broadway. THE Porthouse production, under the focused direction of Terri Kent, with Artistic Collaboration and choreography by Martin Céspedes, gets a warm and comfortable staging.  The negative thoughts of the script are minimized and the positive is stressed.  Even Miss Hannigan’s obnoxious ways are down-played.  This approach minimized some of the humor, but left the “miracle” aspects present. First and foremost, the role of Sandy, the stray dog is played by Bean Kent (Kent?  Oh, yes, the director’s own sandy colored poodle, who had its own director—AB Dog Training). Bean’s entrance was deservedly met with appropriate “uhhs and ahhs!” The obedient animal was well-behaved and seemed to relish the attention! Parker Towns, who is double cast with Ava Kimble, made for an adorable and winsome Annie, the day I saw the production.  (Ava Kimble plays the role when Kimble plays July.)  She has a strong singing voice and developed a consistent characterization.  (But, where were the head of ringlets and signature Annie dress?) Dante J.L. Murray, who recently lit up the Porthouse stage as Pontius Pilate in “JESUS CHRIST SUPERSTAR,” has a big voice and was convincing as Daddy Warbucks. Courtney Elizabeth Brown was charming as Grace Farrell.   Amy Fritsche was properly obnoxious as Miss Hannigan, as was Matthew Gittins as her brother Rooster, though I would have liked for each to have played the roles with more exaggerated farce. The orphans were delightful.  Martin Cespedes’s choreography, a little more subdued than his usual work, was filled with his signature creativity.  Capsule judgment:  There is no “Maybe” about it, since “You’re Never Fully Dressed Without Smile,” get down to Porthouse theatre, today, not “Tomorrow” to see the “Little Girls” [and the rest of cast] of ANNIE, do their thing! ANNIE runs through August 4, 2024 at Porthouse Theatre on the grounds of Blossom Center.  For tickets go to http://www.porthousetheatre.com or call 330-929-4416 or 330-672-3884.

 

Sensational MJ explodes with amazing dancing, rockin’ music and powerful visuals at Key Bank State Theatre!

 

Confession:  I am not a big fan of Juke Box musicals, the now popular Broadway vehicle which is a genre of American Musical Theatre in which pre-written songs are woven, mostly with no real reason, into an often soap-opera-like story.   Reality:  MJ, now on stage at the Key Bank State Theatre as part of the Broadway series, is a Juke Box musical. Confession:  I am not an avid fan of disco/hip-hop!   Reality: MJ mostly is disco/hip hop with some pop. Confession:  Though I have heard his music, and know some things about his life story, I am not a Michael Jackson fan and have never attended any of his concerts.   Reality:  MJ is a tale based on some of Jackson’s life told through his songs and a so-called series of interviews and observations while Jackson and his cast members were preparing for his Dangerous World Tour.  The revelations include the discovery of his profound singing and dancing talents, the sadistic and often physical and emotional abuse by his father, which thwarted his rise to manhood and aided in his often child-like vocal and lack of reality-views of the world, and his personal physical and psychological issues.  Final reality:  I was totally blown-away with the dynamism, creativity and showmanship of MJ, and was on my feet, along with the rest of the screaming stomping and clapping audience at the conclusion of this sumptuous show!  (Make sure you stay for the ear-shattering, visually over-load of a curtain call!   In contrast to most Juke Box musicals which are written by the subject of the show or someone who doesn’t know much about theatre, MJ is blessed with a book by two-time Pulitzer winner Lynn Nottage, who undertook the daunting task of delving into the man-boy who did few interviews, was very private, and was often referred to as the “man behind the mirror.”  (A constant device used in the staging and choreography.)   Yes, his volatile relationship with his demanding often fearsome father, his use of pills to escape reality, his hypochondriac-like illnesses, his face-bleaching and surgeries to change his appearance, are all there, but, as it should have been, most of the spotlight was on his singing and dancing! “Many things have been said about Michael Jackson, both during his famed life and after his untimely death. Some have been substantiated, some not — but two things are undeniable. Jackson’s music was groundbreaking, tying ’60s Motown to ’70s disco, hip-hop, and of course, pop, of which he was labeled the King. His popularity forced the music industry to integrate, breaking down barriers for Mariah Carey, Beyoncé, and a slew of rap performers. It wasn’t just his sound. Jackson’s choreography — executing sexually suggestive moves with innocent abandon — thrilled audiences.”   And, all that is on-stage in MJ: The Musical. “Over a four-decade career, his contributions to music, dance, and fashion, along with his publicized personal life, made him a global figure in popular culture. Jackson influenced artists across many music genres. Through stage and video performances, he popularized street dance moves such as the moonwalk, which he named, and the robot.” MJ, opened on Broadway in February 1, 2022.  It is still playing. and is running at about 91% of audience capacity.  It has earned over 200 million dollars, making it one of the highest grossing musical theatre productions of all time.   These totals are surprising since the show opened to divided critical reviews.  While Nottage’s book was noted by one reviewer as having “bland, exposition-heavy and often trite dialogue,” another noted that he “left the theater entertained, but not convinced I had seen the man in the smoke and mirrors."  To counter these negatives, a critic stated that the show was "visually and sonically ravishing," while another claimed that the show was "beautiful to experience throughout, which one almost never can say about jukebox musicals."    I am, with a few caveats, on the side of the latter! The show received 10 Tony nominations, winning four, including a well-deserved one for director/choreographer Christopher Wheeldon.  The choreography is outstanding.  It’s a blinding blend of Wheeldon, Bob Fosse and a mélange of other hoofers and dance creators.  Wow! Locals should be interested in knowing that the Broadway cast contains three grads of Baldwin Wallace’s famed Musical Theatre program and the touring company also has a BW representative. The touring cast is strong.  Roman Banks creates a believable Jackson.  Unfortunately, he sometimes, in his attempt to duplicate the soft-spoken MJ, fails to project, so some of his speeches can’t be clearly heard. The same is not true of his singing, which is loud and clear, nor his dancing, which is compelling. Jackson’s other selves, Brandon Lee Harris and Bane Griffith (the night I saw the show) are excellent, displaying solid singing and dancing skills.  Devin Bowles is nastiness incarnate as Joseph Jackson, Michael’s self-absorbed, abusive father. The singing and dancing chorus are superb.  They must be totally exhausted after each performance as they are on-stage constantly moving!  Bravo! CAPSULE JUDGMENT:  MJ, the Juke Box musical, puts a spotlight on a segment of mega star Michael Jackson’s career and conflicted life.  The show gets a powerful production featuring exciting electronic graphics, dynamic musical arrangements, superb choreography, some strong performances and exciting choral work and dancing, encased in an acceptable story. MJ runs at the KeyBank State Theatre in Cleveland’s Playhouse Square until August 11, 2024 as part of the Key Bank Broadway Series.  For tickets call 216-241-6000 or go to playhousesquare.org

Audience-pleasing BEAUTIFUL, THE CAROLE KING MUSICAL, lights up Beck Center stage!

 

 
BEAUTIFUL, now on stage at Beck Center for the Arts, is a Juke Box musical loosely based on the life of Carol King (aka Carol Joan Klein), one of America’s most prolific songs writers, arrangers and entertainers.
 
As with all musicals of that classification (e.g., MAMMA MIA!, JERSEY BOYS, MJ THE MUSICAL), the songs, which were not written specifically for the show, are shoe-horned into a script.  The music doesn’t always fit smoothly, but the importance is not the literary development of the tale, but the fact that the character, performer or person, who is the center-piece of story, has connection to the songs.  
 
BEAUTIFUL, shows the development of King, a young Jewish Brooklyn girl, with a dominating divorced mother, who has little self-confidence, but a strong drive to write music and succeed in the stressful business, growing from a modest song scribe to a popular and confident writer and performer of songs.  It spotlights a conflicted person within the reluctant star, who emerged as a leader in her field and also in politics and the women’s movement.
 
The audience is taken on a journey of her relationship with her husband, and song-writing partner Gerry Goffin, to her career’s development, divorce and close friendship and playful rivalry with fellow song-writing duo Barry Mann and Cynthia Weil.
 
The musical opened on Broadway on January 12, 2014 and ran through October 27, 2019.  The 60 previews and 2,418 performances made it, at that time, the 27th longest-running musical in Broadway history.
 
One of the highlights of the run was that King attended the April 3, 2014 performance and appeared on stage at the curtain call, singing "You've Got a Friend" with the cast. 

As is often the case with Juke Box musicals, when the show opened on Broadway, it was criticized for the weakness of the book.  As one reviewer stated, the musical does not have the "dramatic coherence of book bio-musicals.”  Another stated, while the musical "doesn't hang its songs on the greatest or most suspenseful story ever told, it has enough bounce and Broadway show glitz to keep you in your seat."

The near sold-out Beck audience, however, wasn’t in their seats.   At the conclusion, they leapt to their feet, clapping and yelling their appreciation. 

BEAUTIFUL is a difficult musical to produce.  Not only do you have the “Carole King” sound that is familiar to many, but there are also the groups, The Shirelles, Drifters, Righteous Brothers, each of whom has a recognizable sound and movements.  To do the script service means for the director, choreographer, music director and cast to be familiar with all of these elements, or the authenticity of the show is lost.

In the main, the Beck production, which is the local premiere of the piece, is on track.  While some of the acting was superficial, most of the material was well-conceived. 

Reese Henrick (as Cynthia Well) and Jordan Potter (as Barry Mann) were delightful.  They had a wonderful physical and emotional connection, displaying a keen sense of comic timing.  Her “Happy Days” and their duet “He Sure the Boy I Love,” were show highlights.

Elsie Carlisle displayed a fine singing voice and an understanding of Carole King, while Mikhail Roberts was appropriately tortured as Gerry Goffin.

There are well-known synchronized movements identified with each boy or girl group.  In some, in this staging, the choreographic timing was off.   It was especially obvious in “On Broadway,” the song made famous by the Drifters.   More time was need for each of the quartets to watch videos and getting the styles down pat, with fine tuning by choreographer Lauren Tidmore Marousek.

Chris Richards, he of dead-pan comic face, developed a fine Donny Kirshner.

Cheri Proguh Devol’s juke box set was ingenious.  Inda Blatch Geib effectively used yards and yards of fabric to create the era-correct costumes.

Capsule judgment:  BEAUTIFUL, THE CAROLE KING MUSICAL, though there were some acting and choreographic stumbles, and the script is more soap-opera than quality musical theater writing, gets an audience pleasing production at Beck.  The music is wonderful. The cast sings with gusto. There is lots of dancing. It is well-worth a look-see!

BEAUTIFUL runs through August 11 at Beck Center’s Senney Theater.  For tickets call 216-521-2540 or go to beckcenter.org.

NUNSENSE delights audience at Porthouse

Musicals are born from many sources including books, movies, plays and comic strips.  None, however, has a more intriguing past than NUNSENSE, which is now on stage at Kent State’s Porthouse Theatre, on the grounds of the Blossom Center.  
 
NUNSENSE, with book, music, and lyrics by Dan Goggin, originated as a line of greeting cards which depicted nuns making nasty, snide and sarcastic comments.  The cards were a sensation.  
 
Goggin, ever the creative entrepreneur, expanded the concept into a cabaret show that ran for 38 weeks off-Broadway, and eventually into a full-length musical. “The original Off-Broadway production opened December 12, 1985, running for 3,672 performances and became the second-longest-running Off-Broadway show in history.” The show eventually spawned six sequels and three spin-offs.
 
It is estimated that more than 25,000 women have played in NUNSENSE productions worldwide, including such classical ladies from the “mature generation” as Edie Adams, Kaye Ballard, Phyllis Diller, Sally Struthers and JoAnne Worley.
 
The tale concerns five of the surviving Little Sisters of Hoboken, a one-time missionary order that ran a leper colony on an island south of France.  Upon returning to the convent one evening, after a wild game of bingo, the quintet discovers that their cook, Sister Julia, Child of God, accidentally killed the other fifty-two residents of the convent with her tainted vichyssoise.
 
Unfortunately, the Sisters have limited funds and can’t afford to bury all of their now-dead members.  How are they going to get the corpses out of the freezer and into the ground? 
 
Hey, this is a farce, so no logical rules are expected.  In fact, the more ridiculous, the more the audience will be entertained!
 
Mother Superior has a vision in which she is told to start a greeting card company to raise funds for the burials, along with vaudeville shows and passing the hat (literally).
 
And, so, we enter into a series of incidents in which the “holy” women, which includes a ballerina nun, a wack-job novice, a streetwise sister, and a childlike member of the group, who lost her memory when a crucifix fell on her head, take us on a journey of solos, dance routines and an audience quiz.  (Ridiculous?  Remember it’s a farce meant to entertain!)
 
The Porthouse production, under the guidance of director, Eric van Baars, does the work proud.  The audience was laughing and clapping throughout, enjoying the ridiculousness. 
 
The cast, Sandra Ross, Colleen Longshaw, Theresa Hall, Lara Troyer and Becca Bailey, along with a surprise “guest” whose identity not to be revealed as it will run a clever schtick, all create clear characterizations.  They have good singing voices and carry out their farcical interpretations well.  
 
The audience was especially delighted with “Turn Off That Spotlight,” the first act concluder in which the Mother Superior, “accidentally” gets stoned. 
 
Musical director Jonathan Swoboda and his on-stage musicians are in good tune, Joe Burke’s lighting design aided in setting the right moods.  It is difficult to set the sound levels in what is basically an open-air theatre, so that all can hear the song lyrics, but there seems more of a problem in this production than past experiences at Porthouse.  (Maybe it was because I was seated in the last row in the extreme corner of the audience.)
 
Capsule judgment:  Great theatre this is not, but the sold-out audience was totally delighted, and that is the goal of this type of show.  If farce is your thing, go, see, enjoy!  (BTW---it can get hot in the covered outdoor theatre so be sure to hydrate!)
 
NUNSENSE runs through July 13, to be followed by ANNIE from July 19 through August 4.  For tickets go to porthousetheatre.com or call 330-672-3884.

BIG FISH @ Cain Park—good staging of well-meaning, but shallow script

 

“I've seen this all before When I was just a child I met a witch who took a bow and showed me how it ended” These words, from the song, “How It Ends,” near the conclusion of BIG FISH, the Andrew Lippa/John August musical now on stage at Cain Park, summarizes a major plot message.   The tale, based on Daniel Wallace’s novel “Big Fish: A Novel of Mythic Proportions,” is part of the trend of Broadway musicals taking on serious subjects.  DEAR EVAN HANSEN, which deals with teen angst, autism and suicide, and NEXT TO NORMAL which takes on how mental illness effects not only the victim, but the entire family, are examples of this new vision for American musicals.  In 2013, BIG FISH, after 34 previews ran only 98 regular performances, due to tepid reviews and weak audience excitement.   Comments about the show included, “BIG FISH arrives on Broadway as an earnest, family-friendly, heart-warming and mostly successful new American musical.”  “It is sweet and inoffensive which plops its unabashed wholesomeness right in your lap.”  It is a pleasant, slightly bland musical, more like THE BRIDGES OF MADISON COUNTY, than blockbusters like HAMILTON.   “BIG FISH revolves around the relationship between Edward Bloom, a traveling salesman, and his son Will.  At the start of the tale, Edward and his son, discuss Will's impending wedding. Edward tells him a story about when he was walking down the river and met a man trying to catch fish to no avail. So, Edward teaches him the proper way to catch fish. Edward tells Will another story of a witch that Edward met as a teenager.   Edward is a storyteller.  His son never knows if the tales his father weaves, encountering a Witch, a Giant, a Mermaid are real or part of the man’s imagination.   The tales go on and on until, near the conclusion, we finally learn Edward’s truth and the moral of BIG FISHin the song, “Be the Hero.” The Cain Park production, which is well- staged and interpreted by director Johanna May Cullinan, does everything it can with what some might deem as a sappy tale.    Connor Stout makes for a believable Edward Bloom.  He creates a dreamer and nice guy who, until the end, we aren’t sure whether his tales are real or figments of his imagination.  He has a fine singing voice.  His duet, “Time Stops,” sung with Sandra (Kate Fahey), his wife, is lovely.  “The River Between Us,” sung with Will (Ryan Sweeney) vividly shows the chasm between father and son.  Baldwin Wallace musical theatre program has produced a number of handsome young men with fine singing voices and good acting chops who have gone on to make their marks in professional theater.  Included are Chris McCarrell (LES MISÈRABLES, THE LIGHTNING THIEF, Colton Ryan (NEW YORK, NEW YORK, GIRL FROM THE NORTH COUNTRY, THE PUBLIC, DEAR EVAN HANSEN) and Corey Mach (KINKY BOOTS, HANDS ON A HARD BODY, GODSPELL, WICKED, MERRILY WE ROLL ALONG).  Ryan Sweeney (Will) is of the same mold!   Kate Fahey (Sandra, Edward’s wife) sings and interprets the poignant “I Don’t Need a Roof,” well. Monica Olejko’s choreography is effective, as is Ken Lear’s musical direction, Richard Morris’s set design and Adam Ditzel’s lighting. Capsule judgment:  The songs are well interpreted, the story made clear, the performances quite good.  There is nice storytelling, music and a moral. If there is a flaw, it is the writing, not the production.  There are little real highlights, little encompassing action.   BIG FISH runs through June 30, 2024 at Cain Park’s Alma Theatre.  For tickets call 216-371-3000 or go to www.cainpark.com

Dynamic production of JESUS CHRIST SUPERSTAR at Porthouse

 

Dynamic production of JESUS CHRIST SUPERSTAR at Porthouse   Roy Berko (Member: Cleveland Critics Circle, American Theatre Critics Association)   Combine focused direction by Terri Kent, dynamic choreography by Martin Cespedes, with a talented cast, and the result is the high quality, crowd-enveloping JESUS CHRIST SUPERSTAR, now on stage at Kent State University’s Porthouse Theatre, on the grounds of Blossom Center.   JCSUPERSTAR is a rock opera with music by Andrew Lloyd Webber with lyrics by Tim Rice.  It is loosely based on “the Gospels’ account of the Passion.”  It “adds a texture above the religious text by examining the motives and psychological underpinnings of not only Jesus, but of Judas, who it spotlights acted as he did because he was dissatisfied with the direction Jesus was steering his disciples, and not for the gold he was given.  In spite of its cult following, JCSUPERSTAR is a show with a history of controversy.  It has been condemned by some religious groups, as well as non-believers.   Some of the controversy is based on comments made by the script’s lyricist, Tim Rice, who once said, “It happens that we don't see Christ as God but simply the right man at the right time at the right place.”   Some Christians cried out that the comment was blasphemous and also complained that the characterization of Judas was too sympathetic, and that Jesus was misinterpreted.  The lack of resurrection of Jesus was also a point of contention as was the insertion of contemporary attitudes, slang and illusions to modern day life.   Jewish organizations claim that some of the illusions bolster antisemitism.  (I’m sure the costume choices and jewelry laden jackets for a Temple scene which seems to mock the male Orthodox community, will not endear the production to some.)  There is no controversy about the music.  The score is eclectic and powerful.  It is 80’s rock at its finest.  Songs include such classics as “Everything’s Alright,” “Hosanna,” “I Don’t Know How to Love him,” “What’s the Buzz” and, “Superstar,”    Released as a concept album, before it was staged, it was already a smash before it hit the theatrical boards.  When it finally opened, it ran for eight years in London and was the country’s longest-running show for almost a decade. In 2016, celebrating 45 years since the musical debuted on Broadway, JESUS CHRIST SUPERSTAR returned to London.  It is this reconceived script that is now at Porthouse.    The Porthouse staging is often breath taking.  The viewer is wrapped in stimulating lighting and exciting visual displays.  The choreography is amazing.  Cespedes has outdone himself.  Almost every number has showstopping moment.  He has honed the skills of this cast, probably giving the mainly student performers a master class in movement.  Exceptional dancing is displayed in “Hosanna,” “The Temple,” “The Arrest,” “Trial Before Pilate/39 Lashes,” and “Superstar.”   Enrique Miguel underplays the role of Jesus for positive effect.   Matthew  Gittins is outstanding as Judas.  He left a clear image of a philosophically tortured Judas, caught between his values and loyalty his to Jesus.     Dominic Young was impressive as Peter.  Madison Shannon is vocally, physically and emotionally-correct as Mary Magdalene. Tim Culver,  a “faye” vision in a voluminous purple costume, stops the show with his exaggerated version of “Pilate and Christ.”   The entire cast had strong vocal voices and carried out the complicated choreography with competence.     Jennifer Korecki has her musicians underscoring rather than dominating the action, so the audience recognizes that they are at a musical, not a rock concert.   Capsule judgment:  The staging, choreography and emotional values of the controversial show are well developed.  No matter your philosophical bent, this production will leave a positive understanding of the value of a well-done theatrical presentation!  Go see!   Tickets for JESUS CHRIST SUPERSTAR, which runs through June 29, 2024, can be obtained by going to http://www.porthousetheatre.com or calling 330-929-4416 or 330-672-3884.