THIS MUCH @ CONVERGENCE CONTINUUM

Through November 3, 2018

(216) 687-0074

Or convergence-continiuum.org

Roy Berko

“This Much” is a rather shallow script, which gets an acceptable production at con-con, is filled with forced dialogue and contains little about the true life of gay dating and marriage, and why we should care about these particular characters.

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

Christine Howey

This Much by John Fitzpatrick is an interesting one-act that aspires to confront the concept of marriage, fidelity and deception through the interactions of three young gay men. And the fact that it doesn’t quite work is not attributable to the actors, who acquit themselves well. 

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

SWEAT @ CLEVELAND PLAY HOUSE

Through November 4, 2018

(216) 241-6000

Or www.clevelandplayhouse.com

Bob Abelman

CPH’s blue collar drama “Sweat” champions the out-of-working class.

To see a full review of this show, read Bob Abelman's blog here, or go to www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

Theater represents the era from which it comes, and “Sweat” clearly and shockingly tells the depressing tale of what went on during the financial downturn of this country and the resulting hysteria and desperation by a group of people who felt they had been disenfranchised by big business, betrayed by their government, and sold out by their union and political leaders.  It is an important play which fulfills the educational obligation of the arts.  THIS IS AN ABSOLUTELY MUST SEE PERFORMANCE!

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

 Kerry Clawson


It’s at least 10 minutes into the play before there’s any mention of steelworkers and you discover this story’s about union strife, if you didn’t already know going in. That’s too slow of a build, and you get to the point where you wonder why Nottage is waiting so long to dive into the subject.

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

Christine Howey

Under the direction of Laura Kepley, the CPH actors invest the material with as much humanity as possible. 

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

Laura Kennelly

BOTTOM LINE: A fascinating and believable look at a dark period in recent American history that makes clear that one path (perhaps the only path) to a better life for everyone starts with charity and empathy. But it’s not a sermon: I promise. Very fine production, great theater.

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

Andrea Simakis

"Sweat" is this century's "Death of a Salesman," only the tragedy is on a grander scale, the cost to the national soul immeasurable.

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

YA MAMA!@Cleveland Public Theatre

YA MAMA!
Cleveland Public Theatre
October 11-27, 2018
216-631-2727or www.cptonline.org

Mark Horning

Think of Ya Mama! as an extended roller coaster as you live the highs and lows of Nina’s life. You witness her at the nadir as well as the peak of her tumultuous but fascinating life. It is probably the most gripping 75 minutes you will ever spend in a theater seat. 

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

Christine Howey

The return of Domingue is always a welcome sight since she ignites the stage with her spot-on characterizations and stage movement that is gloriously expressive. 

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

CANNIBAL! THE MUSICAL @ Blank Canvas

CANNIBAL! THE MUSICAL
Blank Canvas
October 6-28, 2018
440-941-0458 or blanckcanvastheatre.com

Bob Abelman

‘Cannibal!’ at Blank Canvas not for thin-skinned theatergoers.

To see a full review of this show, read Bob Abelman's blog here or go to www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

Blank Canvas pulls out all the stops in order to make “Cannibal! The Musical” palatable, but from my stodgy old view-point, it just doesn’t succeed.  Some of the theatre’s die-hard regulars, including the guy sitting next to me who clapped and howled throughout the goings on, may be thoroughly amused, but consider this:  even the usual automatic standing ovation of CLE productions, was missing.

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

Christine Howey

(Insert wet fart sound here.)

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

PRIDE AND PREJUDICE @ Great Lakes Theater

PRIDE AND PREJUDICE
Great Lakes Theater
October 5-November 4, 2018
216-241-6000 or http://www.greatlakestheater.org/

Bob Abelman

Great Lakes Theater treats Austen’s ‘Pride and Prejudice’ with austerity.

To see a full review of this show, read Bob Abelman's blog here or go to www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

The adaptation of novel-to-play is finely done. The directing is inspired.  The acting is finely tuned. The technical aspects are outstanding.  This is a must-see production which shines a spotlight on Great Lakes Theater at its finest.  
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

If you are unfamiliar with the works of Jane Austen this is a brilliant way to take her into your life. The play is true to the novel and exceptionally acted. You truly get to know each person involved and in turn fall in love with them. Bravo to Great Lakes Theater for an extraordinarily fine production.

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

Christine Howey

This Pride and Prejudice is a welcome relief from the barrage of coarse language (“horse-face!”) that currently permeates our culture. In the supremely capable hands of Hanreddy, this Austen caper is refined, witty, and altogether transporting. 

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

Laura Kennelly

If you think “ho-hum” Jane Austen again, think again, please. This is a truly first-rate production that brings out the celebrated wit and humor (and kindness) that has kept Pride and Prejudice a classic (and good-natured) lesson about the dangers of rushing to judge others.

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

WHO'S AFRAID OF VIRGINIA WOOLF @ Beck Center

WHO'S AFRAID OF VIRGINIA WOOLF
Beck Center
October 5-November 4, 2018
216-521-2540 or beckcenter.org

Bob Abelman

A perfect storm has been created for Albee’s masterpiece and it has hit land in Lakewood.

To see a full review of this show, read Bob Abelman's blog here or go to www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

Kudos to Don Carrier for his bullseye direction of “Who’s Afraid of Virginia Woolf.”  This is about as perfect a production as the script could receive.  If you have never seen the Albee masterpiece on stage, see it now!  You won’t have another chance to experience such a wonderfully crafted piece of theater. 

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

Christine Howey

This incisive production at the Beck Center, directed with perfect pitch by Donald Carrier, is a three-hour and two-intermission slide down the razor blade of life, to borrow Tom Lehrer's indelible phrase. 

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

Laura Kennelly

Edward Albee’s Who’s Afraid of Virginia Woolf?, now disturbing the peace in the Beck Center’s Studio Theater, reminds us that drinking and talking do not mix. Although it premiered in 1962, much still rings true today in this production directed by Donald Carrier. The plot is simple: the wife of a senior faculty member invites a new faculty member and his wife over for a 2 AM nightcap after a drunken faculty party.

The resulting continuation of the booze fest turns into a disaster . . . couples. Exploitation and vulgarity get passed around evenly and everyone sustains damages before it’s over.  

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

Andrea Simakis

Carrier - and Mauldin and Ring - understand the tragedy of George and Martha implicitly. The actors' final moments together, as the sun rises, are devastating.  As the dawn light illuminates George's tired face, we see it is no longer animated by enmity but empathy. In Martha's face, we see a woman about to drown, desperate for the unexpected life raft he is offering.

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

HELLO DOLLY @ Connor Palace (Key Bank Broadway Series)

HELLO DOLLY
Connor Palace/PlayhouseSquare
September 3-October 21, 2018
216-241-6000 or go to www.playhousesquare.org

Bob Abelman

So, what kind of Dolly is Betty Buckley?  Sadly, she is the least interesting thing on stage. 

To see a full review of this show, read Bob Abelman's blog here or go to  www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

The sold out opening night audience got what they came for:   Betty Buckley, enthusiastic dancing, spectacle in the form of wonderful costumes and special effects, some laughs, and lots of wonderful music!  Not all theater is intended to tell philosophical and meaningful ideas.  Sometimes it is just nice to go and enjoy, feel warm and happy, and appreciate the joys of life! See “Hello Dolly.”

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

Kerry Clawson

The national tour of “Hello, Dolly!”, now launching from Playhouse Square’s Connor Palace, is a joyfully sweet, old-fashioned extravaganza.
Leading the production in the title role is Broadway legend Betty Buckley, who brings a brassy alto voice and a delightful verve to Dolly Levi.
To see a full review of this show, read Kerry Clawson's review here.

Christine Howey

Trouble is, Dolly is mostly missing in action in her own show since, through no fault of her own, the superb Broadway star Betty Buckley has been miscast in that role that cries out for a different kind of performer. 

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

Laura Kennelly

Bottom Line: Hello Dolly!, like Les Miserables (next up at Playhouse Square, October 30 to November 18), is a festival featuring familiar delights with big numbers and fancy costumes. A nostalgic celebration of a world vanished, it avoids focus on personal and world problems seen in many contemporary musicals (Dear Evan Hansen, Come from Away). The problem here is a  classic one: finding true love. That alone makes it a charming night of escape.

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

David Ritchey

Betty Buckle’s name is above the title, this means she is going to dominate this beautiful production of the American favorite. When she made her first entrance, stepping from the train and standing center stage, the audience in Cleveland’s Connor Palace stood and cheered. Betty Buckley knew she was where she belonged with a loving audience and as the performance progressed Betty Buckley showed her affection for the Cleveland audience. Buckley seemed in top form as she sang and danced and delivered old lines that still bring laughs to the audience. This role is written for a mature actress and it’s demanding vocally and requires plenty of dance skills.  Betty Buckley is up to the demands of the script.        
    
To see a full review of this show, read David's posts at Talkin' Broadway

Andrea Simakis

One of the marks of a great production is when the supporting characters, those stalwarts with a total number of lines you can count on one or two hands, are a sheer delight.
That's the kind of tip-of-the-feathered-tiara-to-toe craftsmanship at work in the first national tour of the celebrated revival of "Hello, Dolly!" that kicked off Friday at the Connor Palace in Playhouse Square.

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

FENCES @ Karamu

FENCES

Karamu

September 27-October 21, 2018
216-795-7077  or www.karamuhouse.org

Bob Abelman

This Karamu production fouls off a few curveballs delivered by the playwright, but it never swings and misses while going for the “Fences.”

To see a full review of this show, read Bob Abelman's blog here or go to www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

As is the case in all of August Wilson’s Pittsburgh cycle plays, “Fences” is both a revealing history lesson and a snapshot of the black experience in this country.  It is a well-performed, important play, which deserves attendance by not only African American but also white audiences.   

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

Christine Howey

This is not a perfect rendition of Wilson’s fine play, but it has moments that will stick with you for a long time.

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

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

FREAK STORM

FREAK STORM
none-too-fragile
September 28-October 13, 2018
330-671-4563

Roy Berko

"Freak Storm" is a well-written, topical play that gets an outstanding absolute must-see production.  Wow!  If all theater productions could be of this level, the world of theater-goers and reviewers would be one of wonder.

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

Kerry Clawson

The drama “Freak Storm” at None Too Fragile in Akron is so inescapably topical, it’s uncanny.
Artistic directors Sean Derry and Alanna Romansky chose the 2008 play by Matt Pelfrey as part of its current season when the #MeToo movement was at the forefront of our nation’s society and politics. 

But they couldn’t have known that they’d be producing the play at exactly the same time that Supreme Court nominee Brett Kavanaugh is being investigated by the FBI on allegations of sexual assault committed in high school and college.

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

Christine Howey

Both the play and our current reality bring into sharp focus how insanely out-of-balance the power dynamics between men and women are. 

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

PLATH AND ORION, Two one-Act Plays @ Cesear's Forum

PLATH AND ORION
Kennedy's Down Under in the Playhouse Square Complex
September 21-Ocober 27 (Friday and Saturday @ 8)
216-241-6000

Bob Abelman

The simple title given this collection of one-acts – “Plath and Orion” – only hints at what lies in store in what amounts to an enthralling evening of theater.

To see a full review of this show, read Bob Abelman's blog here or go to www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

Though some may find the show, especially the second act, obtuse and overly intellectual, Cesear’s Forum again displays that it doesn’t take a big budget, massive sets and ornate costumes to present effective theater, in this case, its exceptional performances.

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

Christine Howey

Although the material is often fast moving and sometimes densely intellectual, the experience is heightened since it displays the extraordinary talents of four of our area’s finest actors: Rachel Lee Kolis, Aimee Collier, Mary Alice Beck and Julia Kolibab.

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

MAMMA MIA! @ Great Lakes Theater

September 28-November 11, 2018

216-241-6000 or visit www.greatlakestheater.org

Bob Abelman

Seven times a charm at Great Lakes Theater’s ‘Mamma Mia!’ 

To see a full review of this show, read Bob Abelman's blog here or go to www.clevelandjewishnews.com/columnists/bob_abelman

Roy Berko

MAMA MIA! is once again an audience pleasing delight.  If you haven’t seen it before, go!  If you have, go again! 

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

Mark Horning

Sometimes we go to the theater just for the fun of it and this show fills the bill for just that. Bright, airy and light with lots of bouncy irresistible music and dancing it is designed to make the entire family smile. Great Lakes Theater has hit a grand slam home run with this show. 

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

Christine Howey

This isn’t a show where reality and subtle characterizations rule the day. It’s all about energy, and this production delivers plenty of sizzle with the eye-candy costumes designed by Tracy Christensen, songs that render resistance futile, and young bods in frenzied motion.

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

Laura Kennelly

Mamma Mia!, the Great Lakes Theater joy fest now at the Hanna, deserves the exclamation mark already in the title. (Maybe it needs two!!) This utterly delightful escape, directed by Victoria Bussert, strings together dancing pop songs by (and inspired by) ABBA, a 1970s-era Swedish pop group.

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

David Ritchey

For Broadway quality musical theater, look no further than the Great Lakes Theater’s production of  “Mamma Mia!”  This is theater at its best when everything falls into place and it’s in a good place. 

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

Andrea Simakis

Here we go again, yes, but this "Mamma Mia!" has something more to say about the lives and loves of women than productions that have come before--enough reason to take those sparkly boots off the shelf and come out of retirement.

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

THE WOMAN IN BLACK @ Cleveland Play House

September 15-October 7

Allen Theatre in the Cleveland Play House Complex

216-400-7096 or clevelandplayhouse.com

Bob Abelman

The hardest audience to please with a two-handed, one set ghost story like “The Woman in Black” is the seasoned theatergoer just coming off of a “Hamilton” high.  Pleased they will be, for it is impossible not to marvel at Armacost and Brown’s detailed and always interesting performances and the finely tuned storytelling that surrounds them.

To see a full review of this show, read Bob Abelman's blog here or go to www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

At this pre-Halloween season “The Woman in Black” appears to have been a good choice.  The success of this type of play is dependent upon the audience using its imagination, and the moments of shock-induced terror and the jumpy, scream-induced moments.  These, unfortunately, are somewhat missing in this production.

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

Christine Howey

This play, which is definitely not a parody although it seems like one, has been a big hit in London for the past 30 years, which explains a lot about the British, who made Benny Hill a star. 

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

Laura Kennelly

The actors are a delight, always convincing. But there’s something a bit too genteel at times. It’s hard to scare an audience used to film horror, a genre which seems to outdo itself every year with zombies, heaps of gore, and psychopathic characters.

BOTTOM LINE: Not as scary as current horror films, but a beautifully acted, super-British piece (that means, its hauntings and threats of ghostly retaliations are extremely subtle). Maybe that’s enough.

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

Andrea Simakis

Like all good ghost stories, "The Woman in Black" follows you long after your leave the theater, up the stairs and into your bedroom crouching in the dark corners of your imagination, waiting for just the right moment to spring.

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

AN ACT OF GOD @ Beck Center for the Arts

September 14-October 7, 2018
216-521-2510 or beckcenter.org

Bob Abelman

God does indeed move in mysterious ways. Bada-boom.

To see a full review of this show, read Bob Abelman's article here or go to www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

“Act of God” is one of those funny, funny irreverent scripts that, while it may offend some, gets a no–holds-barred, must see fine production at Beck Center for the Arts.  You’ll be upset or leave with a smile on your face respecting a writer who can come up with a clever way to confront the ills of the world in a humorous way.

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

Christine Howey

There are lots of laughs to be had in this production, especially if you lean left politically. If you lean right, I guess you’ll have to wait until Dennis Miller writes his version of An Act of God.

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

Laura Kennelly

Mike Polk, Jr.  is God? Well, that’s his designation in the Beck Center’s irreverent incarnation. Directed by William Roudebush, this regional premiere features a script by David Javerbaum. The snarky, hip vibe featured in An Act of God may sound familiar to stand-up comedy fans and those who love The Daily Show with Jon Stewart. That’s no accident; Javerbaum writes for the show.

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

A LITTLE NIGHT MUSIC @ Lakeland Civic Theatre

September 7-30, 2019
440-525-7134 or http://lakelandcc.edu/academic/arts/theatre/index.asp                          

Bob Abelman

“Isn't it bliss? Don't you approve?” asks Desirée in the opening refrain of the money-song “Send in the Clowns” in “A Little Night Music.”  “Well, for the most part” is the honest answer after watching a respectable but not remarkable production of this musical at Lakeland Civic Theatre.

To see a full review of this show, read Bob Abelman's review at www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

In spite of a talented cast, “A Little Night Music” is uninspired and not up to the usual high level of Lakeland’s Sondheim script presentations.  
 
To see a full review of this show, read Roy Berko's blog here.

Christine Howey

From the vocal overture sung by a five-person chorus to that rom-com conclusion, this production directed by Friedman (his 50^th at this theater!) is a nearly constant delight. 

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

ALABAMA STORY @ Ensemble Theatre

September 7-30, 2018
216-321-2910 or www.ensembletheatrecle.org

Bob Abelman

Ensemble’s ‘Alabama Story’ strikes a familiar, formidable chord.

To see a full review of this show, read Bob Abelman's blog here or go to www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

“Alabama Story,” a well written account of a real life incident is theater at its finest displaying excellent acting, an enveloping script and a technically complementing design. This is an absolutely, must see production!

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

Christine Howey

In all, this is an admirable and well-intentioned effort. But the script by Jones, while sweet and compassionate, is often far too instructive and didactic. It also gets tangled up in unnecessary factoids about Reed’s life and career, unable to shake off the urge to share all the jots and tittles of his Wikipedia research. 

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

SUNSET BABY @ Dobama

September 7-30, 2018

216-932-3396 or www.dobama.org

Bob Abelman

Dobama’s ‘Sunset Baby’ rises to the occasion

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

or go to www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

“Sunset Baby” is an unnerving, thought-provoking script which exposes the viewer to not only the black experience in this country, but forces them to think back to both the turbulent 1960s and the effect the political and societal problems of the day had on those who actively lived through those times.  It is a well-conceived production worth seeing.

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

Christine Howey

Sunset Baby is worth a trip to Lee Road, for Mary Francis Miller’s stunning performance, for a few clips of Nina Simone’s singing, and for a story that touches on the personal sacrifices that people make when they try to move the world in a different direction.

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

Andrea Simakis

Dobama's intelligent production enhances the work of a savvy playwright who knows every unhappy family is unhappy in its own way. No problems or causes in sight. 

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