MEAN GIRLS

BECK CENTER FOR THE ARTS

JULY 10-AUGUST 9, 2026

Roy Berko

Tina Fay’s MEAN GIRLS, with the right level of farce can be a delightful experience.   Beck’s staging, inspite of a talented cast, was pleasant.  It could have been great with the right concept.  Go?, Of course! Most audience members, as displayed by the standing ovation at the end of the performance I attended, displayed their like-level of enjoyment.

To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

As said before, does the entertainment world really need another go-round of a teen outsider navigating the trials and tribulations of high-school life and its social-cliques hierarchy? Well, if that go-round has the wit and heart of "Saturday Night Live" legend Tina Fey, why not? And if a return engagement of that musical gets the kind of kinetic, intelligent production value that the Beck Center is able to provide, all the better.

To see a full review of this show, read Howard Gollop's review here.

Speech And Debate @ Beck Center For The Arts

June 28, 2026

https://beckcenter.org/

(216) 521-2540

 

Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

This could amount to sheer chaos, but it all comes together surprisingly well with the Beck Center talents of director Don Carrier, who gets a lot out of his young actors, and especially scenic, lighting and projection designer Cheri Prough DeVol, who turns the highly intimate Beck Center Studio Theater into a virtual visual extravaganza.

To see a full review of this show, read Howard Gollop's review here.

Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.

Mark Horning
No review yet.
To see a full review of this show, read Mark Horning's Review here.

Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.

Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.

Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.

Dr. Yuko Kurahashi
Though written in the early 2000s and premiered as a workshop production at Brown/Trinity Repertory Theatre in 2006, the play remains strikingly contemporary today. The play's opening scene between Solomon (Jonathan Koppleman) and his teacher (Laura Rauh) makes me wonder whether it has been updated for 2026; to that extent, the issues feel timely. This timelessness is emphasized by Don Carrier and his designers. For example, a tote bag with a rainbow “Their, theirs” print reflects today’s concerns about and defiance of personal and institutional attacks on the LGBTQ+ community across the nation. 
To see a full review of this show, read Yuko's posts here.

Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.

 

Two Trains Running @ Beck Center For The Arts

Through March 29, 2026

https://.www.beckcenter.org/theater

(216) 521-2540

 

Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.

Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.

Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.

Mark Horning
No review yet.
To see a full review of this show, read Mark Horning's Review here.

Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.

Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.

Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.

Dr. Yuko Kurahashi

Beck Center for the Arts (Scott Spence, Artistic Director) is presenting August Wilson’s Two Trains Running, directed by Jimmie Woody. Set in Memphis Lee’s (Darryl Tatum) coffee shop in Pittsburgh’s Hill District in 1969, Memphis’s regulars come and go, sharing their experiences, thoughts, feelings, concerns, and frustrations. The counterpoints to the regulars are Lee himself, the “owner and master” of this fort and oasis, and his left-hand person, the only cook/server, Risa (Thailand Hodge). Melding visual and auditory details, humor, and laughter in Wilson’s poetic and musical text, Woody brings the audience to one of the most conflicted periods and locales in US history in 2026. 

To see a full review of this show, read Yuko's posts here.

Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.

 

Spring Awakening @ Beck Center For The Arts

Through March 1, 2026

https://beckcenter.org/

(216) 521-2540

 

Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

It's been 14 years since acclaimed local director Victoria Bussert took her talented students from the Baldwin Wallace musical theater program to the Beck Center for the Arts for the great 2006 Broadway musical about teen angst and sexual repression in early late 19th-century Germany. She's back at Beck with her transplanted musical theater program talents -- now based in Oberlin College -- and the result is even better.

To see a full review of this show, read Howard Gollop's review here.

Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.

Mark Horning
No review yet.
To see a full review of this show, read Mark Horning's Review here.

Laura Kennelly

The Beck Center’s latest musical, Spring Awakening, is not as cheery as its title.

Directed by Victoria Bussert, with music by Duncan Sheik and book and lyrics by Steven Sater, the 2006 multiple Tony Award winner is based on a late-19th-century German play by Frank Wedekind. Last seen at the Beck in 2012 (also directed by Bussert), it’s back with a new cast, set, and costumes, but it’s still an unhappy view of adolescent passions and social rules.

The musical elements are beautifully done. The excellent cast races about the stage breaking hearts and singing, channeling adolescent vibes into dynamic theatrical force. The story’s dozen plus students are played by Oberlin College students so there’s a note of reality there.

To see a full review of this show, read   here  or Laura's posts at Cool Cleveland.

Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.

Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.

Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.

Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.

 

THE SPONGEBOB MUSICAL

BECK CENTER

DECEMBER 5, 2025-JANUARY 4, 2026

216-521-2540 or beckcenter.org

 

Roy Berko

“Spongebob Squarepants The Broadway Musical” delighted on Broadway.  The Beck production is an acceptable, if underwhelming version!

To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

Again, all would be for naught were that overpopulated score to erupt into a mountain of musical mayhem. But overseeing composer Tom Kitt — who wrote even more music for the show with lyricist Jonathan Coulton — has steered clear of any musical clashes.

What's more, local music director Larry Goodpaster has helmed an amazingly precise and stimulating orchestra, once and for all topping a top-notch production that more than makes up for the unfortunate absence when the non-Equity national tour, which bypassed Cleveland several years ago.

To see a full review of this show, read Howard Gollop's review here.

Gwendolyn Kochur

While it might not resonate with the SpongeBob rookie, those who feel nostalgia for that absorbent and yellow and porous cartoon sponge will find Beck Center’s production of “The SpongeBob Musical” to be boatloads of fun. 

To see a full review of this show, read Gwendolyn's posts here.

 

ANDY WARHOL IN IRAN @ Beck Center for the Arts

ANDY WARHOL IN IRAN

BECK CENTER FOR THE ARTS

October 3-November 2, 2025

beckcenter.org or 216-521-2540

 

Roy Berko

ANDY WARHOL IN IRAN is a gem of a production.  The well-honed script, focused direction and fine acting all lead to the conclusion that this is MUST SEE show that exposes the audience to an understanding of Warhol, Iran and the Middle East conflict through high drama and humor!  

To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

Instead, the would-be terrorist -- although exceptionally honed by Kareem Chaourab -- becomes something of a gruff teddy bear, while Warhol -- inventively and endearingly rendered by Scott Exposito -- at times becomes a sniveling fop whose wild blonde wig (which Warhol never denied wearing), makes him less stoic and stone-faced artist and more Carol Channing.

This is not to say the play, under the skillful, studied and detailed direction of Sarah May, is anything less than engaging -- and particularly timely, considering the current goings-on in the Middle East. There may be no time-stopping dramatic crescendos in this play, but timeliness and a great time will do quite nicely.

To see a full review of this show, read Howard Gollop's review here.

Mark Horning

This is one of those little “slice of life” shows that concentrates on an important event of the last century. The taut and realistic characterizations work to involve the audience as more witnesses than viewers. It opens your eyes to the life of a misunderstood artist, his unwilling involvement in the Middle East conflict and the manner in which he is able to extricate himself from the situation with drama and humor.

To see a full review of this show, read Mark Horning's Review here.

Gwendolyn Kochur
Art is most powerful not when it tells you what to think, but when it poses questions and allows you to come to your own conclusions. “Andy Warhol in Iran” tells us that we are more alike than we are different, that art has a role in politics and we all have an ethical responsibility to be aware of injustices perpetrated upon fellow humans. Unfortunately, it does not trust the audience to digest these themes on our own; instead, we are spoon-fed them, which rather diminishes the overall meal. 

To see a full review of this show, read Gwendolyn's review here.

Dr. Yuko Kurahashi

Andy Warhol in Tehran, written by Brent Askari and directed by Sarah May, is running at the Beck Center for the Arts. Personally, the title of the play echoes Reading Lolita in Tehran, an autobiographical work by Azar Nafisi, the book I have read and re-read in the past. It is “Tehran” that makes this play and Reading Lorita in Tehran resonate with each other, as Tehran is no longer a popular tourist destination, but rather a city of our imagination, filled with global information and misinformation.

There is also a coincidental linkage between the two works.  In Andy Warhol in Tehran, the character Farhad, a young, undertrained revolutionary, expresses his love for literature. In Reading Lolita in Tehran, the author Azar Nafisi recounts her experiences as an English literature teacher in Tehran immediately after the 1979 revolution. So, suppose Farhad survives violence and persecution under the Shah regime, he might become one of the literature students taught by Nafisi—but perhaps only until a new cycle of persecution under Ayatollah Ruhollah Khomeini worsens.  

To see a full review of this show, read Yuko's posts here.

Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.

 

A Chorus Line @ Beck Center for the Arts

Through August 10, 2025 

http://www.beckcenter.org

(216) 521-2540 

Roy Berko

The Beck show is a fine example of what happens when a fine script is staged by a talented director/choreographer, who has the fortune of finding a well-trained and talented cast.  The enthusiastic audience left on an emotional high, humming and singing one of the many memorable songs of the score, realizing that there are those in the world of theater who constantly illustrate, “What I Did for Love!”  

To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

Amazingly, Beck managed to cull top triple-threats (singing/dancing/acting) from the region, many from local college and university musical theater programs. Director and Choreographer Christopher Chase Carter managed to recreate the essence of Michael Bennett's magical celebration of the nameless faces behind the spotlighted stars. 

To see a full review of this show, read Howard Gollop's review here.

Mark Horning

Hopefully the five week run can be improved with a turn of a knob to boost up the sound quality, a heart to heart talk with the cast on “putting it all out there on stage” and a quickening of the pace during the slow periods. Adding a short intermission would not be a bad idea as well. Judging by the opening night audience reaction most in attendance seemed to appreciate the show but there is definitely room for improvement.

To see a full review of this show, read Mark Horning's Review here.

Dr. Yuko Kurahashi

On the bare stage with a distorted back-wall mirror, designed by Cheri Prough DeVol, is spectacularly lit by also Prough DeVol, using horizontal and vertical lighting beams.  Although spotlights have occasional challenges, such as insufficiently lighting the person sharing their story, for example, the lighting is generally adequate and effective, reflecting each auditioner’s story—both individually and collectively—and underscoring key moments using varying tones and levels of intensity.  As theatre scholar Christine Essin explains in her 2015 essay in Theatre Journal, “The sharp angle of the spots’ beams allowed the dancers onstage to easily step back and fade into darkness.”  DeVol’s lighting followed the original design’s methods, with more advanced technology available today, underscoring real/past/imaginary realms alternately and poetically. The silhouettes of the 17 finalists are spectacular, reflecting the original Broadway show’s window card and album cover.

To see a full review of this show, read Yuko's posts here.

 

The Robber Bridegroom @ The Beck Center For The Arts

Through June 29, 2025

http://www.beckcenter.org

(216) 521-2540

 

Roy Berko

 A farcical, nonsensical piece of blue-grass musical theatre fluff, which gets a” funish” production at Beck.

To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

But what elevates this production well above Cleveland's Play House's well received version some four decades ago is the seemingly magical infectious choreography and staging by Lauren Marousek. It's a celebration of constantly transforming stage images and tapping toes. Small surprise that many of the audience members wish to join everyone on stage.

To see a full review of this show, read Howard Gollop's review here.

Mark Horning

This little diamond of a show really is an absolute delight. The well played blue grass music combined with excellent voices, dancing and fine acting make for a very enjoyable evening of theater. Seats are limited so order yours early and head out to the Natchez Trace!

To see a full review of this show, read Mark Horning's Review here.

Laura Kennelly

Plantations, hillbillies, scheming females, murderous men, bandits, accents, romance, sex — well, almost everything, is fodder for the show’s heavy-handed humor — except maybe bluegrass music.

To see a full review of this show, read Laura's posts at Cool Cleveland.

Under A Baseball Sky @ Beck Center For The Arts

Through May 4, 2025

http://beckcenter.org

(216) 521-2540

 

Roy Berko

The excellent English/Spanish language production of José Cruz Gonzalez’s UNDER A BASEBALL SKY, adds an intercultural presence to the area’s theatre scene that is a welcome addition both for actors and audience!  ¡muy bien!
To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

Eric Schmiedl's direction manages the complex dynamics of the characters while assistant director Jonathan Rodriguez undoubtably ensures a patina of Latin authenticity.

To see a full review of this show, read Howard Gollop's review here.

Mark Horning

Precise writing coupled with superb directing packs this short show with a high degree of emotions and circumstances. Hugely entertaining with a large measure of moral lessons to think about after the bows. This show is well worth seeing.

To see a full review of this show, read Mark Horning's Review here.

 Dr. Yuko Kurahashi

Cruz González created this play, “inspired by a neighborhood in California,” including his hometown, Watsonville, a migrant town, to celebrate the power and beauty of “communities and individuals coming together to find hope, healing, love, and the occasional home run” (program note).  Under the direction of Schmiedl, the creative team has done a remarkable job, presenting the depth and weight of Chicano history and people by relating the past to the present and the future.   

To see a full review of this show, read Yuko Kurahashi's Review here. 

The Sunshine Boys @ Beck Center For The Arts

Through October 6, 2024

http://www.beckcenter.org 

(216) 521-2540

 

Roy Berko

It is enjoyable when a theatre reprises a Neil Simon comedy.  THE SUNSHINE BOYS, because of the requirement of enacting the classic comic routine is probably the most difficult Simon play to stage well.  The cast and crew give full effort, but don’t completely hit the bullseye!

To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

Alan Safier and Rohn Thomas bring to life potentially cardboard characters conceived in Simon's amusing but un-nuanced style. All the pathos as well as all the one-liners emerge sharp, fresh and -- like Cheri Prough DeVol's deteriorating residential-hotel set -- convincing. The rest of the cast -- particularly Doug Sutherland as the beleaguered nephew and Joyce Bell Linzy as the wisecracking geriatric nurse -- complete an exceptional cast. The production is not only a nostalgic nod to Vaudeville, but a nostalgic validation of Neil Simon as a onetime mainstay of Broadway and regional theater.

To see a full review of this show, read Howard Gollop's review here.

Chris Howey

The Sunshine Boys is a slight and thinly amusing diversion if you don't ask too much from your comedy offerings. Kind of like a sitcom you've seen five (or 25) times before.

To see a full review of this show, read Chris Howey's Review here.

Laura Kennelly

Is getting old and cranky funny? Neil Simon’s The Sunshine Boys (1972), now at the Senney Theater at the Beck Center for the Arts, suggests it is possible — even unavoidable if one is wise — to see it that way.

Under the direction of William Roudebush, Simon’s light-hearted drama (with a serious side) centers around a comic vaudeville duo whose heyday was in the 1920s and 1930s. But now it’s 1972. Nothing is funny anymore. The duo (once famous as “Lewis & Clark) split after a fight. But it doesn’t matter since no one books either one anymore.

To see a full review of this show go here or, read Laura's posts at Cool Cleveland.

Dr. Yuko Kurahashi

Since I have not had a chance to see Neil Simon’s works recently, attending the Beck Center of the Arts production of The Sunshine Boys, directed by William Roudebush, was such an informative, educational, and historically reflexive experience. This work definitely stands as a period piece that allows the audience to enjoy the show while critically assessing the chauvinistic nature of vaudeville.

To see a full review of this show, read Yuko's posts here.

BEAUTIFUL, The Carole King Musical

BEAUTIFUL, The Carole King Musical

July 12-August 11, 2024

216-521-2540 or beckcenter.org

 

Roy Berko

BEAUTIFUL, THE CAROLE KING MUSICAL, though there were some acting and choreographic stumbles, and the script is more soap-opera than quality musical 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!

To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

Despite a spectacular multifunctional Broadway-calibre set by Cheri Prough DeVol -- at once a TV soundstage, music studio and living spaces, reflecting fetching midcentury aesthetics -- the show's inherent demand for the kind of musical talent to convince the audience they are seeing iconic musical legends remains unfulfilled, despite convincing R&B choreography by Lauren Tidmore Marousek. Fortunately, matters of choreography are replaced by piano-playing and soulful singing verisimilitude  of the titular character as she achieves such milestone albums as 1971's "Tapestry." In this realm, Beck Center and its star Elsie Carlisle are nothing short of "Kingly."

To see a full review of this show, read Howard Gollop's review here.

Sheri Gross

There are only a few more opportunities to catch “Beautiful: The Carole King Musical” at Beck Center – a show that shines the spotlight on King’s journey to stardom, the ups and downs of her marriage and partnership with Goffin, ultimately leading her to move across the country to create her breakout album, “Tapestry,” helping to shatter the ceiling for women who sing their own songs.

To see a full review of this show, read Sheri Gross' review here.

Mark Horning

While short on story and drama, in the end, the sold out audience was on its feet for the last two numbers “Beautiful” and “I Feel The Earth Move Under My Feet” and everyone left “...with a smile on their face.” and you will to. Snatch up a ticket before they are all gone!

To see a full review of this show, read Mark Horning's Review here.

Chris Howey

While it leaves the audience waiting for the full King experience until late in the play, the build-up provides a look into her life's tapestry.

To see a full review of this show, read Chris Howey's Review here.

Dr. Yuko Kurahashi

The musical reflects the album Tapestry, the marker that King found her voice, rights, value, priority, and independence after her divorce from Gerry Goffin and her relocation, with her two daughters, to Los Angeles. Elsie Carlisle plays Carole King with her amazing musical talent. A classically trained pianist—just like Carole King—Carlisle mesmerizes the audience by inviting them to a world where the beauty of the chords, melodies, and lyrics flow out of her elegance, sweetness, and humanity. Strong performers, including Mikhail Roberts, Reese Henrick, Chris Richards, Susan Stein, and Jordan Potter, play the people who are instrumental in King's growth and success.

To see a full review of this show, read Yuko's posts here.

A DOLL'S HOUSE:  PART 2

BECK CENTER

https://www.beckcenter.org/shows/dolls or call 216-521-2540

Roy Berko

Beck’s production, under the focused direction of Don Carrier, is a model of the right play, the right cast and the right presentation.  It is a perfect model of the “thinking person’s play.”  Though filled with ironic humor, it is the drama of the script that makes it work so well.

To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

It's of tremendous help that the Beck production offers the amazing performances of Anjanette Hall as Nora, David Vegh as her husband Torvald, Tabitha Rather as her daughter Emmy and Nanna Ingvarsson as the housekeeper, Anne Marie. Under the precise direction of Donald Carrier, who moves his characters craftily around Jill Davis' effective stark double-sided parlor setting thrusting into the double-sided audience seating, the result is a nuanced and layered feat of drama magic. It may make the audience want to return to this "Doll's House" much sooner than 15 years.

To see a full review of this show, read Howard Gollop's review here.

Chris Howey

"A Doll's House, Part 2 is engrossing and thought-provoking, enhanced by four precise and telling performances. And while serious Ibsen devotees may be distressed by the affrontery of playwright Hnath messing with these iconic characters, for the rest of us this play casts an intriguing new light on that "doll's house" Ibsen created."

To see a full review of this show, read Chris Howey's Review here.

Laura Kennelly

BOTTOM LINE: If you’ve ever wondered what happened after Nora left her home — the house where she felt like a doll in a doll’s house — this play has some answers. Hnath’s Nora reminds me of Barbie in the recent film. And like Barbie, it takes Nora a while to find the answers. But this version, 90 minutes with no intermission, lacks the humor that saved Miz Barbie’s adventure from being yet another lecture about what one should do based on one’s socially-determined role.

To see a full review of this show, read Laura's posts at Cool Cleveland.

Dr. Yuko Kurahashi

Carrier’s direction is very “physical” and intellectual, asking the performers to cover the entire stage in each scene.  Fully utilizing the four chairs as each character’s “fort,” Carrier expresses the four people’s emotions and thoughts by changing the spot and angle of each chair as if they have their own lives and memories.

To see a full review of this show, read Yuko's posts here. 

Jitney Taxi Service @ Beck Center for the Arts

Through May 5, 2024

www.beckcenter.org

(216) 521-2540

 

Mark Horning

If you have never witnessed an August Wilson play you are in for a huge treat and if you have, you owe it to yourself to see this production. This two hour race of emotions grabs and holds your attention for the entire time. You not only relate, you root for various characters praying they will win out in the end. It is life, death and romance in a gripping saga. This is must see theater of the highest magnitude. 

To see a full review of this show, read Mark Horning's Review here.

Chris Howey

In short, this production is not to be missed.

To see a full review of this show, read Chris Howey's Review here.

Laura Kennelly

Jitney, playing at the Beck Center for the Arts through May 5, is a mini masterpiece. Director Jimmie Woody allows each character’s unique perspective to gradually unfold in this August Wilson award-winning classic. It was the first play written in playwright August Wilson’s Pittsburgh series.

To see a full review of this show, read here or Laura's posts at Cool Cleveland.

Dr. Yuko Kurahashi

Set in a car service office—run by Becker (Darryl Tatum) in the Hill District between 1970 and 79, the story of Jitney follows immediately after Two Trains Running, which covers the decade between 1960 and 69. Jitney illustrates the story of the multigeneration of taxi drivers and how they impacted their communities. This play's background is the modern transportation mode (automobiles) that gave mobility and freedom to Blacks and their lives. Yet, behind this appearance of “improvement” is permeating gentrification that pushes original residents out of the area, as they need to close their businesses and schools.

To see a full review of this show, read Yuko's posts here.

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT @ BECK CENTER

BECK CENTER--SENNEY THEATER

DECEMBER 1-30, 2023

www.beckcenter.org 

Roy Berko

 Joseph and The Amazing Technicolor Dreamcoat is a fun show for audiences of all ages.  As evidenced by the extended applause at the end of the show, and the many instances of audience delight displayed during the production, despite some questionable directorial decisions, the cast and crews efforts were appreciated.

To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

But the really ingenious element in this show is the dancing computer visuals by Brittany Merenda, plus sets by Sheri Prough DeVol and lights by Steve Shack. Together, they transform ordinary set pieces into a bejeweled production that would make the scenic design of Webber's subsequent "Phantom of the Opera" look ordinary in comparison.

To see a full review of this show, read Howard Gollop's review here.

Sheri Gross

No review yet.
To see a full review of this show, read Sheri Gross' review here.

Mark Horning

Looking past the small faults and adding together the positive virtues of this production it is still well worth the price of the ticket to see. The chorus numbers alone make it worthwhile. Go, Go, Go see this show.

To see a full review of this show, read Mark Horning's Review here.

Chris Howey
No review yet.
To see a full review of this show, read Chris Howey's Review here.

Laura Kennelly

Sibling rivalry has never been more deliciously portrayed. Joseph and the Amazing Technicolor Dreamcoat, directed by Scott Spence, now playing at the Beck Center’s Senney Theater (the larger one), offers a festive family musical that skips the traditional holiday motifs (candy canes, gingerbread men, jingle bells and St. Nick) in favor of straight shots of comic joy.

To see a full review of this show, read Laura's posts at Cool Cleveland.

 

CAT'S PAW

CAT'S PAW

BECK CENTER--STUDIO THEATRE

SEPTEMBER 22-OCTOBER 22, 2023

    216-521-2540 or beckcenter.org

 

Roy Berko

 CAT’S PAW is a powerful script, filled with tension and angst.  It gets a very well-conceived and developed production at Beck.  It’s definitely a “go see!”

To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

It's particularly important that a play receives the kind of solid professionalism offered by Beck Center. The audience is placed squarely into the beating heart of this terrifying ambience, assiduously rendered by designer Cheri Prough DeVol. With dynamic performances by Chris Richards as the overwrought but stoic head terrorist, Lara Mielcarek as the strategizing TV reporter, Michael Dempsey as the confused sycophantic head of  the EPA and Grace Favarro as the head terrorist's cultish henchman/girlfriend, the production captures the audience in the immediacy of the moment.

To see a full review of this show, read Howard Gollop's review here.

Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.

Mark Horning

While not a show for the weak of heart, this production will find you asking the question such as “Do the ends justify the means?” and “What needs to be done in order to get people to listen and actually do something about the environment.” This is the message that this mainly ignored play spoke of 40 years ago and to this day is still sloughed over. What will it take to wake us up? Take courage and see this play.

To see a full review of this show, read Mark Horning's Review here.

Chris Howey

"Side-by-side polemics do little to advance the drama at hand, and while there is a chuckle or two tucked into their verbal fencing, it all leads nowhere."

To see a full review of this show, read Chris Howey's Review here.

Laura Kennelly

Cat’s-Paw, written by William Mastrosimone and directed by William Roudebush, feeds off the confined spaces offered by the Beck’s Studio Theater. ***

We come to understand that Victor, and those he has recruited, justifies any action — murder, kidnapping, suicide missions — to draw attention to their cause. They see their behavior as noble because their cause is just (where have we heard that before?). Their mission? To improve the environment by forcing the EPA to implement and enforce strict regulations.

Bottom Line: After a ninety-plus minutes long sit (no intermission), I began to feel like a captive myself, one subjected to lectures and (basically) justifications for murderous acts that claimed to be “for a good cause.” Hey, I remember the 1970s and 1980s too. While I wouldn’t recommend this play as a work of art, I do applaud the director, cast and crew who gave it as much cred as possible.

To see a full review of this show, or read Laura's posts at Cool Cleveland.

Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.

Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.

 

Once On This Island @ Beck Center for the Arts

Through August 6, 2023

www.beckcenter.org

(216) 521-2540

Roy Berko

The stage was constantly displaying well-conceived stage pictures, the choreography was not only creative, but visually encapsulating, and the entire production was a master class in how to create an audience pleasing show that developed the intent and purpose of the author. In fact, it actually made more of the storyline than Lynn Ahrens created.  This is musical theatre at its finest!  Bravo!

To see a full review of this show, read Roy Berko's blog here.

Howard Gollop

As charming and evocative as the fairytale storyline may be (ingeniously scripted by Lyricist Lynn Ahrens), what really elevates the Beck Center production into the magical experience is the surprisingly elevated production team of Broadway-caliber director-choreographer Christopher Chase Carter, scenic designer Cherri DeVol (as exuberantly lit by Emma Hansen) and costume designer Inda Blatch-Geib. 

To see a full review of this show, read Howard Gollop's review here.

Mark Horning

Combine vibrant calypso and island music with bright costuming, an unbelievable stage set, an engaging story line and exceptional dance numbers and you have a sure hit at the Beck Center for the Arts. You will be rocking in your seats as this captivating tale unfolds Come take a vacation to the islands. This is must see theater!

To see a full review of this show, read Mark Horning's Review here.

Chris Howey

Both a visual and audio treat, Once on This Island will transport you in more ways than one. It's a show worth at least one toast afterwards with frosty Margaritas.

To see a full review of this show, read Chris Howey's Review here.

Kate Klotzbach

Running now through August 6 on the Senney Theater Main Stage at the Beck Center, this blend of beautiful storytelling and exceptional talent is a summer experience that will entertain and provide an island break from the worries of the day.

To see a full review of this show, read Kate's posts here.

DOUBT: A parable @ Beck Center

Doubt: A Parable 

Beck Center For The Arts Studio Theater

Through June 25, 2023

https://www.beckcenter.org

Roy Berko

What a joy to attend a theatrical production which is based on a well-selected, thought-provoking script, that gets the highest quality of directing, acting and technical aspects.  There is no doubt that this is one of the best local theatrical experiences of this or any season!  Bravo!!!

To see a full review of this show, read Roy Berko's blog her

Howard Gollop

Christopher Bohan as the priest, Derdriu Ring as the menacing principal, Gabriella O'Fallon as the young teacher and Tamara French, in the riveting all-too-brief role of the beleaguered mother of a problem child, triumph in spellbindingly nuanced performances. Likewise, the subtle but controlled direction by Donald Carrier and production team of scenic designer Jill Davis and lighting designer Adam Ditzel create a convincing world in the intimate studio theater as enveloping as the expansive 2008 film version.

To see a full review of this show, read Howard Gollop's review here.

Sheri Gross

This production of “Doubt: A Parable” will stay with us for a long time, not only because it forces us to confront truths within ourselves, but also because of the bar that it sets for remarkable theater in Cleveland.

To see a full review of this show, read Sheri Gross' review here.

Mark Horning

Big things come in small packages and proof of this is the ninety minute (without intermission) gem in the Beck Center Studio Theater. For any current or former Catholics it will be a merry trip down memory lane as long suppressed memories are revived. You may wish to book an appointment with your shrink later this week.

To see a full review of this show, read Mark Horning's Review here.

                                                              

Chris Howey

Director Carrier keeps the proceedings intense, but also finds the humor in this battle of wits and morals that eludes an easy conclusion. 

To see a full review of this show, read Chris Howey's Review here.