IMAGINARY INVALID
GREAT LAKES THEATER
October 5-November 3, 2012
216-664-6064 or www.greatlakestheater.org

Bob Abelman

What starts out as a madcap makeover through the infusion of 1960s pop culture and original music reveals drastic cosmetic surgery on a 17th century satire.  Fortunately, it is not of the Joan Rivers variety.

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

Roy Berko

Tracy Young’s direction and the efforts of her cast pay off in a presentation of THE IMAGINARY INVALID that, from the reactions of the opening night audience, pleased many.  On the other hand, Moliére purists, and those who think comedy is comedy and not farce, will probably not be overjoyed.

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

Fran Heller

In an election year, with the hotbed issue of health care buzzing around the candidates and the nation like a swarm of bees, "The Imaginary Invalid," Moliere's 17th century comedy of manners about a hypochondriac at the mercy of his mercenary doctors couldn't be more timely.
Great Lakes Theater's slightly naughty and wildly imaginative romp of a production under the knowing wink of director Tracy Young is the perfect antidote for whatever ails you.

To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News

Christine Howey

If you've lost touch with your inner four-year-old, the one who loves nothing more than poop/butt/fart jokes, you'd be an ass not to see The Imaginary Invalid, now at Great Lakes Theater. This is a show so laden with cheeky puns about buttocks and bung holes, an audience member may qualify for a proctologist's license by the time the curtain falls.

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

Kory

Unlike some of GLT’s more polorizing work, read: Shakespeare, THE IMAGINARY INVALID gives a classic play a modern upgrade and does it to perfection. This show has a little something for everyone and is guaranteed to entertain.

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

Andrea Simakis

The lowbrow sensibility that pervades "The Imaginary Invalid" is meant to evoke the commedia dell'arte -- the Punch and Judy people's theater of Moliere's time. What does that look like on the contemporary stage?  Sight gags about leeches, suppositories and hypodermics (a 4-foot-long Wile E. Coyote-style needle is plunged into the rump of an apothecary who looks like a buff Andy Warhol), slapstick involving narcolepsy, groaning puns ("It's a light opera," a character quips, one with "fewer calories") and, of course, fart jokes.

To see a full review of this show, link to

http://www.cleveland.com/onstage/index.ssf/2012/10/great_lakes_theater_puts_a_gro.html

Art Thomas

This production is the epitome of Great Lakes mission, "reimagining the classics." With Moliere's simple plot as the base, director Tracy Young adds layers upon layers, including America's 1960's disco fashion and dance as well as contemporary political references. The production delights those with open minds, but it's a bit like a two-pound box of chocolates into which three pounds have been stuffed. 

Click here to read the complete review at WestLife

THE KARDIAC KIDS
Cleveland Public Theatre
October 4-20, 2012
216-631-2727 or www.cptonline.org

Roy Berko

You don’t have to be a Cleveland football fanatic, or even a Clevelander to enjoy Eric Schmiedl’s THE KARDIAC KIDS.  You don’t have to, but it helps.

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


Fran Heller

Cleveland playwright Eric Schmiedl loves the Cleveland Browns.
His affection comes across loud and clear in "The Kardiac Kid", a memory play and warmhearted valentine to the team, the fans and the city.
More than a monologue about football, the game becomes a metaphor for life, and how life can change, like the outcome of a game, in a heartbeat.

To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News


Christine Howey

The Kardiac Kid is a poignant love letter to the Browns, to the city and to those who suffer to this day in our orange and brown knit caps. With a pom pom on top.

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

NEXT FALL
Blank Canvas
OCTOBER 5-21, 2012 
440-941-0458 or
www.blankcanvastheatre.com

Roy Berko

NEXT FALL continues the Blank Canvas’s streak of well conceived productions of challenging scripts.  Though viewers may have to set aside their own individual beliefs in order to buy into the play’s ending, this is an overall positive theatrical experience and very well worth seeing.

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

Fran Heller

A strong cast coupled with Patrick Ciamacco's sensitive and intelligent direction brings this quietly affecting story about love and friendship, death and religious faith to stirring life.
Strength of play is the playwright's compassionate, nonjudgmental approach to all sides of the religious divide.
There isn't one false emotion or move in this ensemble of actors, who make their characters utterly believable.

To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News

Christine Howey
On the way to a questionable ending, this is one of the most genuinely warm and funny scripts in recent memory. And the talented cast, under the compassionate and assured direction of Patrick Ciamacco, misses very few beats in telling this story of love and loss.

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

ANYTHING GOES
PlayhouseSquare
October 2-14, 2012
216-241-6000 or www.playhousesquare.org

Bob Abelman

This play, this touring production of it, and the performances within it are of such high caliber that it is the perfect example of what is so great about the Great White Way.  These traveling dignitaries, in the first city on the first leg of their year-long national tour, will leave you breathless.

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


Roy Berko

ANYTHING GOES is a total delight and a must see!  You’ll come out of the theatre thinking of the show that “It’s De-lovely,” that “I Get a Kick Out of You” because “You’re The Top,” and so “Easy To Love.” 
  
To see a full review of this show, read Roy Berko's blog here.

Fran Heller

Triple threat Rachel York is beautiful to look at, lovely to listen to, and delightful to watch as Reno Sweeney, leading the ensemble in such show-stopping numbers as the tap-dancing phenomenon, "Anything Goes" and the sensual "Blow Gabriel Blow" which blew the audience away in sustained applause and rightfully so. "Anything Goes" is showbiz at its seductive best.

To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News

Christine Howey

This is another chance to see and hear those great Porter songs, and another opportunity to see ensemble tap dancing that virtually lifts you out of your seat. And should be worth a ticket in anyone’s budget.

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

Kory
If you like a big, ‘old broadway’ flashy, flawless, hilarious, musical theatre spectacle, there is no way ANYTHING GOES will disappoint!
To see a full review of this show, link to http://new102.com/korysreviews

Andrea Simakis

Rachel York embodies the brash, bawdy Reno Sweeney -- made famous by Ethel Merman when "Anything Goes" first set sail on Broadway in 1934 -- with a wink and a purr. And her pipes? Gather 'round, brothers and sisters, and prepare to receive the gospel: Her voice combines paint-peeling power with a luxe smoothness, like a ribbon of dark chocolate spiked with cayenne pepper.

 To see a full review of this show, link to
http://www.cleveland.com/onstage/index.ssf/2012/10/playhousesquare_production_of.html  

Art Thomas

Less than three months closed on Broadway, this "Anything Goes" emphasizes the strengths of the cast and director--dance. It helps that many of Cole Porter's best tunes are in this show. On the  opening night of the tour, the snappy dialogue resonated with the audience who stood and cheered at the end. There's nothing dated in this production. It is a bright, clean, and energized show. 

Click here to read Art Thomas' complete review at WestLife

THE WINTER'S TALE
GREAT LAKES THEATER
September 28-Novemer 4 (In repertoire with THE IMAGINARY INVALID)
216-241-6000 or www.greatlakestheater.org

Bob Abelman

The problem with this rendition of Shakespeare's "Problem Play" is not so much a manifestation of the play’s structural anomalies as a series of inconsistent creative choices made by the actors.  Although this does not undo all that is wonderful about this play and this production, it does undermine their integrity and make the evening that much less enjoyable.

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


Roy Berko

GLT’s THE WINTER’ TALE is a disappointment. This is a difficult script to produce due to the many emotional and psychological levels which require a clear staging philosophy.  Due to the lack of focused directing by Jesse Berger, the production never sets a clear course and leaves so much of Shakespeare’s brilliance untapped. 

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

Fran Heller'

Director Jesse Berger's playful imagination and vision yield a beautifully conceived production that endeavors to make the convoluted plot of "The Winter's Tale" more accessible by blending the play's disparate elements and clumsy construction into a well-told tale bearing all the elements of good storytelling. Still, the uneasy mix of comedy and tragedy remains problematic.

To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News

Christine Howey

Welcome to the fractured world of this Shakespearean “problem” play, where magical thinking and mystical happenings rule the day. And while there are definite pleasures to be had in this production, director Jesse Berger hangs first-time observers of this confusing play out to dry.

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

Andrea Simakis

Structurally, "The Winter's Tale," first printed in the folio of 1623 and grouped with the Bard's comedies, is two plays in one: a tragedy with a pastoral spliced on the end. That dual nature makes it something of a challenge to direct, like a shrink having to deal with a patient who is weeping and raging one moment, giggling and dancing the next.
 To see a full review of this show link to

http://www.cleveland.com/onstage/index.ssf/2012/10/great_lakes_theaters_the_winte.html

Art Thomas

Creative ideas in design and staging are minimized by shortcomings. These include huge hunks of unintelligible dialogue in Bohemia, and a melodramatic Leontes in Sicily who goes over-the-top from line one. 

Click here to read the complete review at WestLife

THE NORMAL HEART
Ensemble Theatre
September 28 through October 21
216-321-2930 or go online to www.ensemble-theatre.org

Bob Abelman

Revived on Broadway in 2011 after a 1985 New York premiere, “The Normal Heart” is still a disturbing work whose confrontational rhetoric about the on-going AIDS epidemic continues to bite.  As a now-historical marker of a medical problem in its infancy and a sociopolitical movement at its birth, its poignancy is immediate and penetrating.  The play is also about as entertaining as a public service announcement. 

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


Roy Berko

THE NORMAL HEART is an absolute must see production.  The message is important.  The quality of the script impressive.  The production is one of the highlights of this theatrical season!

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

Fran Heller

Get thee to Ensemble Theatre, where an unforgettable production of "The Normal Heart," Larry Kramer's searing agitprop drama about the early years of the HIV/AIDS crisis is burning up the stage.  Award-winning director Sarah May motivates an all-star cast with such heart and integrity that the two-hour-and-40 minute production, including intermission, flew by. Believe me when I say theater doesn't get any better than this.

To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News


Christine Howey

It's all rescued by Kramer's insightful, piercingly personal details, as gay men struggle at the very beginning of the AIDS onslaught.  And this battle is rendered with shattering believability by a strong Ensemble cast under the unerring direction of Sarah May.

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

"The Normal Heart" is heartbreaking, but thirty years later, the story of the men who were at the front lines of the AIDS crisis still needs to be told. Ensemble's powerful and sobering production, filled with amazingly talented actors, is harrowing and unflinching, and shows humanity at its most vulnerable.

To see a full review of this show, read Marjorie Preston's blog "Brava!" here.

Andrea Simakis

As "The Normal Heart" opens, a trio of screens mounted on the stage flashes the date (July 1981), the place (New York City Hospital) and a number ("41 cases reported"), a statistic that will grow like the cancerous purple lesions covering the bodies of Dr. Emma Brookner's patients.
In Ensemble Theatre's moving, incendiary production of Larry Kramer's historic play -- as much a call to arms as a piece of theater in the tradition of Clifford Odets -- the screens serve not just as set pieces, but as a digital Greek chorus, explaining and accusing as the deaths of gay men mount, victims of an unnamed plague. (By the final scene, in May 1984, the number of reported cases has metastasized to 2,860.)

Read Andrea Simakis' full review at Cleveland.comhttp://www.cleveland.com/onstage/index.ssf/2012/10/ensemble_theatres_the_normal_h.html

PROOF
LAKELAND THEATRE @ Lakeland Community College
September 21-October 7
440-525-7134 or  
http://lakelandcc.edu/academic/arts/theatre/index.asp

Bob Abelman

The playwright cleverly employs the very axiomatic method used in devising proofs to tell this story, starting with undefined elements, working through their potential relationships, and allowing their worthiness and true nature to surface in the end. Likewise, director Martin Friedman's approach to this script reflects the same simplicity, delicacy, and fluidity that define a perfect proof. Math, it seems, can be riveting.

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


Roy Berko

What happens when you combine a perfectly perceived script, which tells a meaningful story, and a gets masterfully staged show?   You get, Lakeland Theatre’s PROOF.  This is a production everyone interested in a good story and a great production must see!

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


Fran Heller

When a perfect play meets a flawless production, the result is theatrical nirvana.
Such a play is David Auburn's "Proof" which bagged the 2001 Tony for best play and the Pulitzer, and rightfully so.  No less exhilarating is the very fine production at Lakeland Civic Theatre, under the passion-fueled direction of Martin Friedman and a quartet of sublime performances every inch as compelling as the 2000 Broadway show I saw.

To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News


Christine Howey

Revolving around a father and daughter, both of whom are gifted but troubled mathematicians, the play peels back layers of both science and humanity—but in a continually entertaining and deeply affecting way.

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

LOMBARDI
Cleveland Play House
September 14-October 7
216-241-6000 or www.clevelandplayhouse.com

Bob Abelman

It is ironic that the projected image of a football field that fills the back of the Allen Theatre stage during this production of "Lombardi" places the audience on the 25 yard line.  While its intention is to give us the impression of being right on the sidelines and privy to insider information, it actually reminds us of the limited vantage point and obstructed view provided in this play.

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


Roy Berko

LOMBARDI doesn’t get the full six points of scoring a touchdown, but is good enough to get three for kicking a field goal. 
 
To see a full review of this show, read Roy Berko's blog here.

Fran Heller

Vince Lombardi was one of the greatest coaches in football history.
"Lombardi" a bio-drama by Eric Simonson about the titular legendary hero, is not a great play.
While there is plenty to chew on for football aficionados, it fumbles as drama.

To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News


Christine Howey

Predictable and ineffective in myriad ways, the script by Eric Simonson feels like a dated, timorous and worshipful after-school special spiced up with cocktails and shouting. Even a competent cast can't lessen the tedium of listening to way too much hardass coach-speak and precious little insight about what made this legendary (and significantly flawed) man tick.

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

Kory

LOMBARDI is slow moving and there isn’t as much conflict as I would have hoped for, but it’s well staged, well acted and totally worth seeing, especially if you are a football fan.

To see a full review of this show, link to http://new102.com/korysreviews

XANADU
Beck Center for the Arts
September 14-October 14, 2012
216.521.2540 x10 or beckcenter.org

Bob Abelman

Expectations were so low for "Xanadu" that when the reviews came out after its Broadway premiere in 2007, the promotional ad taken out by the theater simply read:  "The critics loved it. Seriously."  The Beck Center production is even better.  Seriously.  

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

Roy Berko

If you are in the mood for total silliness, want to hear some well sung classical modern songs, and desire to see some excellent dancing, XANADU is for you.  The “Magic” may “Suddenly” take you to “Xanadu,” allowing you to be “Suspended in Time,” so, “Don’t Walk Away” from seeing this show at Beck.

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

Fran Heller

So how could something so bad as the movie version of "Xanadu" be that good as a stage musical?
Credit Douglas Carter Beane, whose very clever, very funny book couples Jeff Lynne and John Farrar's mostly catchy pop-rock songs with a parody of the film to great comic effect.
The musical's strength lies in poking fun at the genre, Greek mythology, the theater and the nature of creativity, with hilarious results. 

To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News

Christine Howey

Featuring the 1980’s era pop stylings of Olivia Newton-John and the Electric Light Orchestra, with many parody references to the film of the same name that bombed (and then became a cult fave), the play is a self-aware festival of harmless schlock and a bushel of meta jokes at its own expense.

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


Kory

XANADU was one of the worst movies of all time, but the musical, now playing at Beck Center for the Arts in Lakewood, is anything but!
To see a full review of this show, link to http://new102.com/korysreviews

Andrea Simakis

"Art," says Sonny Malone to the audience in the first few minutes of XANADUX, the sugar rush of a show now playing at the Beck Center for the Arts, "isn't just for the well-educated and intelligent -- it's for people like you!"  The line serves two purposes. It earns a laugh and provides a menu for what is to follow -- self-aware schlock that is tasty as a vanilla cupcake with pastel sprinkles (and just as nutritious). 

To see a full review of this show, visit http://www.cleveland.com/onstage/index.ssf/2012/09/beck_centers_xanadu_a_sweet_go.html

Art Thomas

The reference-filled script combines with a gem of a rock theater score. Add a first rate cast to Martin Cespedes' flashy choreography and there's almost more energy than the Beck Center can contain. 
 
Click here to read the complete review at WestLife

THE MOTHERF**KER WITH A HAT
DOBAMA THEATRE
September 14 – October 7
216-032-3396 or www.dobama.org

Bob Abelman

Stephen Adly Guirgis’ poetically profane drama is more of a character study than a story you can hang your hat on.  Still, it is the kind of raw, raucous, and riveting work that should not be missed.

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


Roy Berko

THE MOTHERF**KER WITH THE HAT, the play that dare not speak its name, has a lot to say.  In spite of the almost immediate negative reaction of some people to the title, the production makes for a very compelling evening of theatre.  Congrats to Dobama for not steering away from the script because of the title and the realistic language.

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


Fran Heller

Playwright Stephen Adly Gurgis has a brilliant ear for dialogue and the idiosyncratic vernacular of urban lowlife. The raw language of the play is indigenous to its characters like second skin.
A phenomenal quintet of actors....capture the poetry, humor and heartache with unforgettable performances that kept me laughing while on the verge of tears.
To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News


Christine Howey

By the one-hour mark of this 100-minute play, verbosity overcomes all the sexy sizzle, leaving one jonesing for another hit like the earlier scenes provided. Happily, there is a small gem buried in all those latter words that makes the whole enterprise a net success.

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


Marjorie Preston

Dobama Theatre's current production, “The Motherfucker with the Hat” by Stephen Adly Guirgis, is a well-written, well-acted, contemporary urban drama with humor. “The Motherfucker with the Hat” is a very good show which is, at its core, about things that aren't what they seem, and deciding which of our faults we're willing to live with.

To see a full review of this show, read Marjorie Preston's blog Brava!.

Andrea Simakis
Hats off to Dobama for doing edgy, thought-provoking work with the fearless authenticity of heart a playwright like Guirgis demands. 

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

MILK MILK LEMONADE
CONVERGENCE-CONTINUUM
August 17-September 8
216-687-0074 or www.convergence-continuum.org

Bob Abelman

Like the children’s rhyme referenced in the play’s title, whose lilting melody gives way to a sophomoric laundry list of base bodily functions, Joshua Conkel’s  MILK MILK LEMONADE is told with a children's storybook aesthetic while exploring much darker themes.  By accentuating all that is funny, and there is plenty that is funny, director Cory Molner provides a very entertaining evening that loses touch with what is meant to be thought-provoking. 

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

Roy Berko

MILK MILK LEMONADE, is a thought provoking,  laugh filled play that leans a little too much on comedy, and not enough on the depth of the tale.  Though not for everyone, it is tailor-made for the typical off-the-wall con-con audience member.

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


Christine Howey
While it has aspirations of exploring how many of us are not what we seem, it falls flat due to a significant lack of performance and directorial imagination.

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

Art Thomas

The show has eighty minutes of absurdity, from a fifth grader dancing "Anything Goes" with a chicken, to a parasitic twin living in the thigh of a neighborhood thug. The script is heavy on laughs and light on emotions, with too many loose ends to boot. Cast and director are first-rate. 

Click here to read the complete review at WestLife

 
ALL SHOOK UP
Mercury SummerStock
August 3-18
http://www.mercurysummerstock.com or 216-771-5862

Bob Abelman

Promoted as a cleverly camouflaged rendition of Shakespeare's comedy “Twelfth Night,” with its employment of star-crossed lovers, mistaken sexual identify and such, Joe DiPietro’s jukebox musical “All Shook Up” is mostly a high-energy mash-up of Elvis Presley  tunes and production numbers that rock the room. Mercury Summer Stock's rendition is nothing short of a blue suede smash-hit.

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


Roy Berko

If you like Elvis’s songs, are in the mood for escapist theatre wrapped in a nearly non-existent plot, and want to see lots of high school and college kids have a good time performing, ALL SHOOK UP! could be your thing.

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


Christine Howey
The production itself is thoroughly engaging, thanks to detailed direction and choreography by Pierre-Jacques Brault and more than a few winning performances. 
To see a full review of this show, read Christine Howey's review at  Cleveland Scene


Marjorie Preston
"All Shook Up" is a high-energy, grooving good time, especially for fans of 1950s music...the power of a great ensemble really comes through ...when the group stands together in the name of love and just belts it out... "All Shook Up" is good fun -- toe-tapping music and a talented cast.
To see a full review of this show, check out Marjorie Preston's brand-new blog, Brava!

Kory
If you want a toe tapping night of Elvis music performed by a talented young cast, don’t miss All Shook Up in it’s closing weekend at Notre Dame College in South Euclid.

To see a full review of this show, link to http://new102.com/korysreviews

ONE NIGHT WITH JANIS JOPLIN
Cleveland Play House--Allen Theatre
July 17-August 19

                                           216-241-6000 or go to www.clevelandplayhouse.com

Bob Abelman

"One Night With Janis Joplin's" Mary Bridget Davies takes another little piece of my heart.

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

Roy Berko

ONE NIGHT WITH JANIS JOPLIN is musical play, rock concert and love-in, all mashed into one! Doesn’t matter if you are a blues, rock and roll, or Joplin fan or not, there is no way you aren’t going to leave this performance on an emotional high! Bravo. Yes, Bravo, bravo, bravo!

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

Fran Heller
Oh, what a night was "One Night with Janis Joplin," a raucous, rollicking rock 'n' roll songfest that kept an opening night audience of boomers bobbing and swaying and leaping to their feet again...and again...and again.
To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News


Christine Howey

As Joplin, Mary Bridget Davies channels many of Joplin’s stage mannerisms and brings a quarry-load of gravel to her vocal riffs. But the script only pays lip service to the superstar’s inner demons and desires.

 

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


Kory

Whether you are familiar with Janis Joplin, or a relative newbie like me, DO NOT MISS THIS SHOW!
To see a full review of this show, read Kory's blog here.

THE SOUND OF MUSIC
PORTHOUSE THEATRE
July 26 through August 12
http://dept.kent.edu/theatre/porthouse/ShowInfo.htm or 330-929-4416 or 330-672-3884

Bob Abelman

Unlike its recent production of “Damn Yankees,” which imploded under the weight of its own datedness, the Porthouse Theatre's “The Sound of Music” is delivered on gossamer wings and as fresh as when first produced for the stage in 1959 and then on film in 1965.

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

Roy Berko

Porthouse’s THE SOUND OF MUSIC is a crowd pleaser that brings out the best of the script through good pacing, fine singing, dancing and line interpretation.

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

Kerry Clawson

The classic Rodgers and Hammerstein musical The Sound of Music is bursting with heart at Porthouse Theatre in a joyful production directed by artistic director Terri Kent.

Every detail — from a massive, beautifully hand-painted mountain mural to the thrilling harmonies reverberating from the nuns' sacred music — shows this production has been mounted with loving care.

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

Fran Heller
This "Sound of Music" is a satisfying summer evening's entertainment for all ages. Guaranteed you'll be humming all the way home.

To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News

Christine Howey

This production of the Broadway classic at Porthouse Theatre offers plenty for the S of M lovers to wrap their arms around. Director Terri Kent keeps the long show clipping along while milking some genuine emotion out of a couple touching scenes.

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

MAMMA MIA!
PALACE THEATRE/PLAYHOUSE SQUARE
July 13-22, 2012
216-241-6000 or www.playhousesquare.org

Bob Abelman

The attraction to "Mamma Mia" is purely chemical, as if the pulsating rhythms, infectious  lyrics and likable characters generate a rush of endorphins that render all things pleasurable despite the mind suggesting—no, screaming—otherwise.  

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

Kory

Take ABBA’s library of hits, mix in a storyline about a girl who wants to meet her Dad, the three potential candidates, a confused mom, a former girl band, hot guys and set it against the backdrop of a beautiful taverna in the Greek islands and you have Mamma Mia!

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

Roy Berko

The newest revival of MAMA MIA! is once again an audience pleasing delight.  If you haven’t seen it before, go!  If you have, go again!  This is an excellent touring company!

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


Christine Howey
Mamma Mia! will run forever, giving middle-aged actors the chance to dress in 1970's rock drag, and middle-aged audience members the opportunity to remember when they could boogie with the best of them.

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

A MIDSUMMER NIGHT'S DREAM
Ohio Shakespeare Festival
July 5-July 22  Stan Hywet Hall & Gardens
http://ohioshakespeare.com or 330-673-8761

Kerry Clawson

A Midsummer Night’s Dream is a joy to behold at Ohio Shakespeare Festival. Neither the director nor the actors hold back in this beloved comedy, giving birth to numerous moments of over-the-top fun.  Benjamin Fortin, who will be a junior at Kent State, has come into his own with his wildly funny portrayal of the mechanical Flute, who takes on a skirt role in Pyramus and Thisbe, the outrageous play-within-the-play.

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

Christine Howey
Each of the actors in this production could be called out for individual accolades. But it is the tight ensemble performance, and the joy that emanates from it, that makes this Dream a keeper.

For more details, see Christine Howey's full review at Cleveland Scene.

LEGALLY BLONDE
Beck Center for the Arts
July 6-August 12, 2012
http://www.beckcenter.org/theater or 216-521-2540

Bob Abelman

A meringue of a musical comedy, “Legally Blonde” requires those in attendance to leave their brains at the door. However, the upbeat and deceptively complicated music, Martín Céspedes’ delightful I’m-a-pretty-girl choreography, and a talented ensemble of players results in a production that is fun clear down to the follicles.

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


Roy Berko

Beck’s  LEGALLY BLONDE THE MUSICAL makes for a delightful evening/afternoon of entertainment.  The cast is generally excellent, the script fun, the score good, and the chorography outstanding!  Go see this one!

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

Fran Heller 

With a convoluted book...that stretches credulity...and...undistinguished pop-inspired score...this featherweight show about female empowerment is geared to young teens of the fairer sex.
The two-and-a-half hour densely packed production...is long and laborious, with occasional rays of sunshine that break through the clouds of this dizzying and saccharine souffle of a musical. 

To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News

Christine Howey

Instead of being a frothy lark, Legally Blonde at Beck seems an overly long exercise in trying to have fun. And that's never as much fun as it should be.

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

Kory

Omigod You Guys! The Beck Center has a hit on their hands with Legally Blonde!

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

THE WORLD GOES 'ROUND
Porthouse Theatre--Kent State
July 5-21, 2012
330-672-3884 or http:dept.kent.edu/theatre/porthouse/ticketinfo.htm

Roy Berko

Musical revues tend not to be my favorite form of theatre.  I prefer storylines.  But, more productions like  THE WORLD GOES ROUND, as directed and choreographed by Sean Morrissey, could make a review lover out of me.  Go to Porthouse. Sit back and relax, and let the talented and well directed cast carry you away on a fine musical trip to Kanter and Ebb’s Broadway.
 
To see a full review of this show, read Roy Berko's blog here.


Kerry Clawson

Most people know Kander and Ebb best from their cynical, darker shows Chicago and Cabaret. But the musical revue The World Goes ’Round, which debuted off-Broadway in 1991, is most memorable for its yearning love songs, which unfold effortlessly through the talented young professional cast members at Porthouse. The 12 young actors sing their hearts out in a production that’s sophisticated, slick, funny and entertaining.

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


Christine Howey

Director and choreographer Sean Morrissey has tutored his charges well, and come up with some inventive staging twists that keep things interesting. The result is a plethora of musical delights, just right for a summer evening.

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