DEATH OF A SALESMAN@ENSEMBLE THEATRE

September 18 through October 11, 2015

www.ensemble-theatre.com 

or 216-321-2930

Roy Berko

DEATH OF A SALESMAN is one of America’s great play scripts.  The classic gets an excellent production at Ensemble.  As the script gets few present-day productions, anyone who has never seen the play on stage, or those who need another viewing to evaluate their own philosophical life path, should definitely see this production.

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

Christine Howey

Under the sensitive direction of Celeste Cosentino, and employing the color-blind casting for which Ensemble has become known, this Salesman glides smoothly over Miller’s words and then packs a devastating punch at the end.

To see a full review of this show, read Christine Howey's review at  Cleveland Scene

A COMEDY OF TENORS @ Cleveland Play House

September 5-October 3, 2015

216-241-6000 or www.clevelandplayhouse.com

Bob Abelman

Sometimes, whether through divine intervention or the heights of human inspiration, art is elevated to a higher level and becomes transcendent.  Evidence of this can be found in the masterworks of Monet, Mozart, Michelangelo and, now, Ludwig.

To see a full review of this show, read Bob Abelman's CJN article here.

Roy Berko

Ah, what a night at CPH.  The viewing of their well-deserved Tony, a Ken Ludwig farce which will forever be listed as having had its world premiere beside the PlayhouseSquare chandelier, was a class act celebration of the theatre’s one- hundredth anniversary.  As for the play, if the opening night audience’s reaction is an indication of things to come, Ludwig should be well- off financially from the royalties to be garnered from the professional and amateur rights to the show.  If you love farce, if you go to the theater to have a good time, you must see A COMEDY OF TENORS.

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

Kerry Clawson


Playwright Ken Ludwig has hit the jackpot again with his fast-paced, over-the-top farce 'A Comedy of Tenors,' which builds on the zany characters he introduced in his beloved 1986 comedy Lend Me a Tenor.

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

Mark Horning

In this all important opening of the 100th season of Tony Award Winning Cleveland Play House, no finer choice could be made than to hold the world premiere of Ken Ludwig’s “A Comedy of Tenors.”  With a formidable and energetic cast, great staging and costumes, this mad cap 30s style comedy is a laugh riot of the highest degree.  Share the laughter with all of your friends and family but get your tickets early as this one will prove to be a sell-out.  No love of opera required.  

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

Christine Howey

Congratulations to the Cleveland Play House on their 100th anniversary! As for the show that's kicking off this milestone season...well...

To see a full review of this show, read Christine Howey's review at  Cleveland Scene

Andrea Simakis
 
There are moments of true inventiveness and delight – real, organic, lapel-grabbers that make you hungry for more – but they are too few and far between to deliver the rollicking ride a successful comedy demands.

To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

Art Thomas

Good contemporary farce is a rarity and master playwright Ken Ludwig wisely sets this show in an earlier time in France. The Play House cast are impeccably chosen and do the play justice. It will be remembered as a landmark production in Cleveland.
  
Click here to read the complete review at WestLife

DEATH AND THE MAIDEN@MAMAI THEATRE COMPANY

September 17 through October 4, 2015

http://www.mamaitheatreco.org/#!

or (216) 382-5146​

Bob Abelman

Political thrillers are precarious things. So much rides on precise writing to generate intrigue, provocative staging to maintain deception and tension, and perfect execution to make the characters believable and the journey worthwhile. While the writing is first-rate, some of the staging and acting choices in this production detracts from it. 

To see a full review of this show, read Bob Abelman's CJN article here.

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

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

Howard Gollop
No review yet.

Mark Horning

Hamstrung with weighty dialog and totally preposterous coincidences, the cast manages to shoulder through without too much loss of honor in spite of the silly accents.  Technical problems during the play added to the turmoil of an already weak script that made it clear that Paulina was not the only one being tortured, the audience suffered as well.  This play is in dire need of a reboot. 

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

Christine Howey
Director Katia P. Schwarz keeps the tension ratcheting up on the small Kennedy’s at PlayhouseSquare stage while allowing the personalities of the characters to emerge. 

To see a full review of this show, read Christine Howey's blog Rave and Pan

David Ritchey
No review yet.
To see a full review of this show, read David's posts at Talkin' Broadway

Andrea Simakis
No review yet.
To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

Art Thomas
No review yet.
Click here to read the complete review at WestLife

"OR,"@DOBAMA THEATRE

September 4 through October 4, 2015

216-932-3396 

Or dobama.org

Bob Abelman

For a play whose title is so ambiguous, its plot points and production couldn’t be more ambitious.

To see a full review of this show, read Bob Abelman's CJN article here.

Roy Berko

OR, is an amusing and revealing historification take on the Western world’s first recognized woman playwright, and her supposed relationships with Charles II, the King of England, and Nell Gwynn, one of the most famous actresses of her time.  The Dobama production is long on farce and fine acting!  It makes for a entertaining evening of theatre.  

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

Mark Horning

If your choice is to stay at home and binge watch the newest drivel from TV Land OR to see a really great production, you are strongly advised to pick the latter OR regret your choice.  The show is fresh and funny and puts real people in historic situations that show that not much has changed in 345 years Or so.  Trust that your time will not be wasted in this evening of madcap farce and hisdromedy that promises to be one of the hits of the season.  Do not miss this show OR you will be sORry.

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

Christine Howey

While this may not be entirely satisfying for some scholars, the show is loaded with rich wordplay, some biographical elements, and modern language suffused with a Restoration comedy flavor.

To see a full review of this show, read Christine Howey's blog Rave and Pan

IN A FOREST, DARK AND DEEP@NONE TOO FRAGILE

August 28 through September 12, 2015

 http://www.nonetoofragile.com

or 330-671-4563 

Bob Abelman

If the sensation of walking into the Green Room of The Jerry Springer Show on "Dysfunctional Siblings Week" was what none too fragile was going for, then its production of Neil LaBute’s “In A Forest, Dark and Deep” is a huge success.

To see a full review of this show, read Bob Abelman's CJN article here.

Roy Berko

Sean Derry and Leighann Niles Delorenzo light up the none too fragile stage in this battle of deception, lies, and false values.  Though overly long, Neil LaBute’s IN A FOREST, DARK AND DEEP still makes for an interesting evening of theater.

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


Kerry Clawson

"In a Forest, Dark and Deep" is a chilling, suspenseful tale that, little by little, peels back the truth about the darkest, ugliest side of one character’s nature.

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


Christine Howey

Even though In a Forest isn’t one of LaBute’s best, it deals with actual issues and isn’t just another collection of dysfunctional people who show up in the same place. And for that we can be truly grateful.

To see a full review of this show, read Christine Howey's blog Rave and Pan

David Ritchey

The two performers are superior.  They work hard for 100 minutes of fighting and battling for truth to be revealed. However, they are swimming upstream in a script that is not ready for the stage.

To see a full review of this show, read David's posts at Talkin' Broadway

FARRAGUT NORTH@ENSEMBLE THEATRE

August 27 through September 6, 2015

www.ensemble-theatre.com 

or 216-321-2930

Bob Abelman

With a candidate debate in Cleveland’s rear view mirror and a party convention on the horizon, the timing for a play about the power behind the power of modern-day politics is perfect.  But in its production of Beau Willimon’s “Farragut North,” Ensemble Theatre is stuck in political spin cycle. 

To see a full review of this show, read Bob Abelman's CJN article here.

Roy Berko

FARRAGUT NORTH is a well written script that gives the electorate an often uncomfortable view of the reality of those who plan and plot election campaigns.  Willimon’s writing gets a good production at Ensemble that is well worth seeing.

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


Mark Horning

This taut and fast pace political thriller is one of those works that reveals what one has suspected all along that politics is a dirty game.  With that said, it makes for an intriguing evening of theater that demands that you return from intermission to see how the different fates play out.

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

MARY POPPINS@MERCURY SUMMER THEATRE

August 7 through 22, 2015

http://www.mercurysummerstock.com 

or 216-771-5862

Bob Abelman

The film "Mary Poppins" boasts of Academy Award-winning music and lyrics by Richard M. Sherman and Robert B. Sherman, a story bolstered by Academy Award-winning Disney animation and film editing, and cast members who have cement footprints embedded in the walkway of Hollywood Blvd.  In order to bring the film to life on stage, Walt Disney Theatrical spent $18 million on elaborate special effects developed by Las Vegas illusionists and Disney theme park specialists.  Local theaters attempting to stage “Mary Poppins” acquire the score and script but, with their limited budgets, are left to fend for themselves when it comes to finding their own form of magic. Which the Mercury Theatre Company does in its current production.  

To see a full review of this show, read Bob Abelman's CJN article here.

TEAR IT OFF@CONVERGENCE-CONTINUUM

August 14 through September 5, 2015

convergence-continiuum.org 

or 216-687-0074

Bob Abelman

A play within a play -- where a story being told closely parallels the lives of the characters themselves -- is a literary device nearly as old as literature itself.   Shakespeare used it in “Hamlet,” but while the Bard's intention is to provoke Hamlet's murderous uncle so as to “catch the conscience of the king," Mike Geither has significantly less lofty reasons in mind in “Tear It Off.”  He’s going for laughs.  And getting them.

To see a full review of this show, read Bob Abelman's CJN article here.

Roy Berko

TEAR IT OFF is no great theatrical script, but the premise and the way it is developed makes for a fun evening of theatre, resulting in a get-away from the “real world,” where goings-on are a little less formulaic. 

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

Mark Horning

Sometimes one should go to the theatre just for a light laugh and Tear It Off certainly fills the bill.  You will find yourself in a continuous state of chuckles as this romantic farce is revealed.

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

OUR TOWN@BLANK CANVAS

August 14 to 29, 2015

440-941-0458 

or www.blankcanvastheatre.com

Bob Abelman

Blank Canvas Theatre’s staging of ‘Our Town’ is a bit too much of a blank canvas.  It embraces a less-is-more approach to an already simple work that renders it less poignant than it ought to be.

To see a full review of this show, read Bob Abelman's CJN article here.

Roy Berko

If you haven’t seen the classic OUR TOWN before, or have seen it, but need a good shot of appreciation for life, go see the Blank Canvas production.  Director Patrick Ciamacco sets it out before you, plain and simple, doing nothing to get in the way of Wilder’s intent and purpose.  Nice job! 
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

True theater allows room for the audience to use their imagination without spelling out each and every detail.  Blank Canvas manages to bring the basic spirit of Wilder’s masterpiece to life without a lot of histrionics that would otherwise get in the way of the message.  This is a work that you go to study rather than see and well worth the effort.

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

Andrea Simakis

If Thornton Wilder were still kicking up his heels on our hot little third rock from the sun, i'm thinking he's appreicate the purity of the Blank Canvas Theatre production of "Our Town."

To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

HAIRSPRAY@PORTHOUSE THEATRE

July 30 to August 16, 2015

http://www.porthousetheatre.com

 or 330-929-4416 or 330-672-3884

Bob Abelman

Porthouse’s ‘Hairspray’ offers a slightly dented ‘do.    

To see a full review of this show, read Bob Abelman's CJN article here.

Roy Berko

Director Terri Kent pulled out all the stops, added tons of shticks and gimmicks, has a rocking band, creative and well performed choreography, and a focused cast, which  resulted in a wonderful, “this you must see” theatrical experience.  
 
To see a full review of this show, read Roy Berko's blog here.

Kerry Clawson

The underdog in all of us will love the musical 'Hairspray,' the subversive musical comedy that satirizes the ignorance of both lookism and racism, all presented in a bubblegum package.
The larger-than-life show, now playing at Porthouse Theatre, has a lot to like with its ever-idealistic heroine Tracy (the likable Katey Sheehan), some excellent comedic actors and a spirited young ensemble.

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

Mark Horning

As with all Porthouse productions, Hairspray is a delightful musical outing that combines picnicking on the green (or in one of the pavilions) with excellent Broadway musical performances.  It is a wonderful social experience that will enhance the lives of everyone in the family.  Kudos to Porthouse for the phone call and e-mail warning of the sold out Tim McGraw concert at Blossom Music Center on opening night with encouragement to plan for an early arrival.  Through this effort the show was able to start on time to a packed house.

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

KING HENRY@OHIO SHAKESPEARE FESTIVAL

July 30 to August 16, 2015

http://ohioshakespeare.com 
or 330-673-8761

Kerry Clawson

Actor Andrew Cruse returns to the Ohio Shakespeare Festival as the famous royal we all know as Hal, but he’s all grown up now in 'King Henry V.'  The charismatic Equity actor, who portrayed Prince Hal in his wild youth last summer in 'King Henry IV, part one,' now returns as the responsible, religious, honorable King Henry V.

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

CINDERELLA @ PlayhouseSquare

July 21-August 2, 2015
216-241-6000 or www.playhousesquare.org

Bob Abelman

The slipper fits for this touring, storybook telling of "Cinderella"   

To see a full review of this show, read Bob Abelman's CJN article here.

Howard Gollop

To be sure, the touring production at the Palace Theater reflects all the opulence and magic that puthe new Broadway “redo” of “Cinderella” at the top of  box office grosses.  So why must this version of “Cinderella” sweat so hard to be more?  Something seems amiss right from the beginning when Cinderella and the Prince separately roam the Medieval forest singing “Me, Who Am I,” a song cut from one of Rodgers and Hammerstein’s rare flops “Me and Juliet.”  It’s one of those eye-rolling moments when we realize that Cinderella and her Prince are not allowed to be, as one of the hilariously rotund stepsisters musically quipped, “Merely Lovely.”


Mark Horning

This lavish production of Cinderella is, in a word, magical!  With wonderful music and lyrics by Rodgers and Hammerstein and an experienced cast of singers, dancers and actors.  Take the entire family to share this phenomenal production.  It is the Broadway musical at its best.

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

Andrea Simakis

The charmer of a production with a clever, updated book by Douglas Carter Beane ("The Little Dog Laughed") blows the dust off the original 1957 television version, thanks to a blast of snarky humor and "Ella," a new-century princess who can have her prince and change the world, too. (Or at least convince her boyfriend to order elections in the kingdom for the first time, like the Arab Spring as told by the Brothers Grimm.)

To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

CAMELOT@MERCURY THEATRE COMPANY

July 10 to 25, 2015

http://www.mercurysummerstock.com 

or 216-771-5862

Bob Abelman

This production is a labor of love that respects the original work but hopes that a dramatic simplification in its staging will strip away the thick and cloudy veneer that has built up over generations of veneration. It does, but missing and sorely missed is the elegance that once defined the brief shining moment that was known as "Camelot.” 

To see a full review of this show, read Bob Abelman's CJN article here.

Christine Howey

The Mercury troupe under the direction of Pierre-Jacques Brault manages to wrestle it to a draw while finding bits and pieces of the magic that has enthralled many audience members for decades.

To see a full review of this show, read Christine Howey's blog Rave and Pan

A STREETCAR NAMED DESIRE@MAMAI THEATRE COMPANY

July 16 to August 2, 2015

http://www.mamaitheatreco.org/#!

or (216) 382-5146​

Bob Abelman

Mamai’s ‘Streetcar’ is stellar despite understated STELLAAAA!!!

To see a full review of this show, read Bob Abelman's CJN article here.


Mark Horning

Think of Mamaí Theatre Company’s rendition of A Streetcar Named Desire as a potentially great New Orleans dish with just a tad too much spice and some unnecessarily added ingredients that could have been left out.  While not a bad meal per say it leaves the person partaking in the feast feeling less than satisfied.     

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


Andrea Simakis

Mamai's "Streetcar" is a joy, that rare staging of a classic piece of theater t hat doesn't cause you to years for a better production.  This is that production.

To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

AMERICAN IDIOT@BECK CENTER FOR THE ARTS

July 10 to August 16, 2015

216-521-2540 or http://www.beckcenter.org

Bob Abelman

Beck’s ‘American Idiot’ welcomes a new kind of tension.

To see a full review of this show, read Bob Abelman's blog here.

Roy Berko

Devotees of Green Day should be turned on by Beck’s “American Idiot.”  It is a loud, brash musical which attempts to tell the tale of youthful disgust with modern day America.   The cast puts out full energy, the choreography is well designed and executed.   But, the thin one dimensional script, nearly impossible to understand lyrics, and redundant overly amplified music, will make this a less than a stellar theatrical experience for many.

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


Mark Horning

For those having seen the touring Broadway show at the Connor Palace you will note that the same rocket high energy levels and high production standards is found with the Beck Center production.  It is rock music and choreography as it should be presented…loud and boisterous and unabashed.  Take your teen to see this one and talk it over afterwards.

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

Howard Gollup

Someone gets pregnant, someone goes to war, someone goes to the big city — you know the drill. Still, there’s something profoundly winsome and yearning in the loud, thudding music, a quality that has been made even more apparent through Beck Center’s entire near-flawless production. 

Andrea Simakis

You don't fling yourself into the mosh pit of "American Idiot" in search of exquisite character development and sophisticated storytelling – you take this dive to be consumed by Green Day's furious, hard-driving sound. So what if, in the end, it signifies nothing?
"I don't care if you don't care . . ."

To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

VIOLET@PORTHOUSE THEATRE

July 9 to 25, 2015
http://www.porthousetheatre.com,

330-929-4416 or 330-672-3884 

Bob Abelman

This is a lovely play that is given a tender treatment. 

To see a full review of this show, read Bob Abelman's CJN article here.

Roy Berko

While “Violet” does not have the components of a classic musical production it is a special evening of theatre resulting from a clear directing concept by Steven C. Anderson, fine instrumental performances, excellent vocalizations by the entire cast, and excellent acting. 
 
To see a full review of this show, read Roy Berko's blog here.


Mark Horning

This is the perfect summer theater show for those wishing to see a light and airy musical.  Come early with a picnic dinner and make an entire evening of it.    

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

Christine Howey

This is a thinking person's musical, replete with ideas about the obstacles, superficial and otherwise, that torture us and prevent us from making the connections we need. As a result, Violet earns the rewarding ending it shares with the audience at the end of this bus ride to redemption.

To see a full review of this show, read Christine Howey's review at  Cleveland Scene