October 24-November 16, 2014
216-241-6000 or www.clevelandplayhouse.com
The hip-hop infused “How We Got On” is more interesting when perceived as performance art than as a play. However, while the performances are very well done, there is still not much here on which to hang one’s hat.
CPH’s production of HOW WE GOT ON is, in the jargon of the ‘80s, “dope” [good]. It opens the door to a “fresh,”[new and acceptable] understanding of suburban rap. It takes the audience on a journey to view a “whack” [unconventional] side of music and modern poetry that many have not experienced. In other words, this is an educational, enjoyable, enlightening, and well conceived production! Yes, it’s a must see experience!
If you go to the theater to experience the unique and different then this play is for you. Don’t let your feelings about rap music hold you back. This is a play about children coming of age and facing life on their own terms. For those who are fans of this particular music genre you will be happy with the representation. It is a play for all to enjoy no matter who they are or where they are from. This chit is dope, bro.To see a full review of this show, read Mark Horning's blog.
If rap music is anything, it is a continual flow of words tumbling over each other in a giddy frenzy of rhymes and startling images. Unfortunately, How We Got On never “gets it on,” as the performance is shot through with countless long pauses and contemplative silences, as if this was Death of a Salesman or something.
To see a full review of the show, go to raveandpan.blogspot.com
You'll spend a pleasant evening clapping alogn with Idris Goodwin's friendly, buoyant primer. If the production were a class, it would be titled "Introduction to Hip-Hop 101" (When composing lyrics, smiiles are better than metaphores.)
To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.
The subject matter of the play is the transition from Rap to Hip Hop which is innovative enough. Beyond this, the plot follows two guys who want to leave their mark on music, their youthful idealism, and the frustrations of school and parents versus the urge to create and share. Those who come with an open mind will leave 90 minutes later with a better understanding of what drove music of the late 1980's and 90's.
Click here to read the complete review at WestLife