ROUTE 66
ACTORS' SUMMIT
May 21-July 22
Tickets:  http://actorssummit.org or 330-374-7568

Kerry Clawson

Actors’ Summit has been high on Roger Bean lately, producing his perky, campy holiday revue Winter Wonderettes at Christmas and now turning to his all-male musical ode to American automotive history — Route 66.  Both shows are full of silly humor but they do deliver the best of what musical revues should offer — nicely arranged and sung harmonies. In Route 66, male quartet Frank Jackman, Shawn Galligan, Adam Klusty and Gabriel Riazi bring to life Bean’s rock ’n’ road assemblage of ’50s and ’60s pop hits that celebrate that American need for speed and travel.

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

AS YOU LIKE IT
Cleveland Shakespeare Festival
For information on dates and venues go to http://www.cleveshakes.org/

Christine Howey
f you're in the mood for a summer romance garnished with wit, satire, and a soupçon of cynicism, the Cleveland Shakespeare Festival has what you need. And to top it all, it's outdoors and it's free.

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

Marjorie Preston
The Cleveland Shakespeare Festival’s current production of “As You Like It,” by William Shakespeare, is a lighthearted tale of love at first sight, as fresh as spring, and played in the open air. Director Dana Hart has used his wonderful cast well, the highlight being Kilmer’s quick wit. The team has put in the work and it shows. It is refreshing to see so much love at first sight.

To see a full review of this show, read Marjorie Preston's blog or visit Cleveland.com here.

THE FAMOUS HISTORY OF THE LIFE OF KING HENRY VIII
THE CLEVELAND SHAKESPEARE FESTIVAL
For dates and locations go to:  http://www.cleveshakes.org/

Marjorie Preston

The Cleveland Shakespeare Festival's current production of “The Famous History of the Life of King Henry VIII” – or – “All Is True,” by William Shakespeare and John Fletcher, is the perfect antidote for stuffy, long-winded “Bard of Avon” productions of Shakespeare. “Henry VIII,” shortened to ninety minutes, modernized and well-played, the cast dressed in familiar contemporary business attire à la “The West Wing,” is refreshing as a breath of fresh, warm summer air.

To see a full review of this show, read Marjorie Preston's blog or visit Cleveland.com here.

CATS
MERCURY SUMMER STOCK
JUNE 15-30, 2012
216-771-5862 or www.mercurysummerstock.com

Bob Abelman

“Cats” devotees justify their fervor by mentioning the show’s seven Tony Awards, including Best Musical, and its impressive literary and musical pedigree.  Detractors simply call attention to the fact that… this is a play about cats.  They both have a point, yet there are aspects of the Mercury Summer Stock production about which groupees and grousers can agree.

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

Roy Berko

-->

CATS was not all that could have been hoped for as an opening show in Mercury’s new venue, but, considering the difficulty of the show, and the developing abilities of the cast, Brault and company can be commended for a “nice try.”

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


Christine Howey

Mocked for being unsophisticated, plot-less claptrap aimed at pre-teen girls, theater rubes and burnt-out Asian businessmen, one can tend to forget that the show has undeniable strong points. And although this production by Mercury Summer Stock is raw in parts and lacking in vocal depth, the staging is nicely detailed and at times even captivating. 

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

Kory

Despite a glitchy opening weekend, Mercury Summer Stock's CATS shows promise in South Euclid!

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

Marjorie Preston

With just a hint of a plot and very little dialogue, “Cats” is told through an eclectic variety of songs, and also incorporates fantastical costumes and stylized dancing – a head tilt here, an ear scratch there. However, the musical never settles on a character for very long, and is more a series of introductions to the all-cat cast, which can lead it to feel bland despite the quality of the work on stage. The strength of “Cats” lies in its high-caliber dance talent, though those looking for a more traditional linear plot line or conflict will find it lacking.

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

 
DAMN YANKEES
PORTHOUSE THEATRE
JUNE 6-30, 2012
Tickets:  330-672-3884 or http://dept.kent.edu/theatre/porthouse/TicketInfo.htm

Bob Abelman

When leaving the outdoor Porthouse facility at the end of its production of "Damn Yankees," there is a distinct odor of camphor in the air.  It is unclear if it is coming from the bug repellent used by theatergoers or from the mothball musical just performed.  Try as it might, and it tries mightily, the Porthouse production can’t quite get over, around or through the obstacles of the work itself.  

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

Roy Berko

-->DAMN YANKEES is not a great script, but quality singing and dancing, and a solid cast, headed by MaryAnn Black, Eric vanBaars and Michael Glavan, create an enjoyable evening of summer entertainment.
 
To see a full review of this show, read Roy Berko's blog here.


Kerry Clawson

While Porthouse Theatre’s production of Damn Yankees has its share of delightful moments, the overall effect leaves a musical theater fan feeling deflated. The biggest thing that stops this production in its tracks is the underwhelming dynamics between main characters Lola and young baseball player Joe Hardy. As Lola, MaryAnn Black, 59, is a knockout in the dance category. But a seductress Black is not.

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

Fran Heller

"Damn Yankees" is a throwback to the heyday of big, bold and brassy Broadway musicals.
The exuberant Porthouse production pulls it off with brio.

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


Christine Howey

Once again this classic show delivers the goods, thanks to the spot on direction of Terri Kent and some winning performances. The production is tied together with excellent dance numbers choreographed by John R. Crawford and a chorus of ballplayers (male and female) who are energetic and sharp in every scene. 

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

AVENUE Q
CAIN PARK--ALMA THEATRE
JUNE 15-JULY 1, 2012
216-371-3000 or www.cainpark.com

Bob Abelman

“Sesame Street” gone to seed, “Avenue Q” simultaneously blows and bursts the bubble of familiar kid-vid conventions in its tale about transitioning from college to life.  When the musical moved from off Broadway to Broadway, many critics said it was too small, too simple and too silly an entertainment to justify the upgrade in real estate.  It is a perfect fit as a summer production in the small theater space located in charming Cain Park.

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


Roy Berko

-->

The award winning AVENUE Q, Sesame Street for adults, gets a well-honed production at Cain Park.  Show highlights include spot-on performances by Jesse Markowitz, John Paul Boukis and Todd Hancock.  This is a must see for the more liberal minded.

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


Fran Heller

This irreverent and wickedly funny show is a coming-of-age story about the rocky transition from childhood to young adulthood and the uncertainties and angst of contemporary real life.
The Cain Park production is as good as it gets under Russ Borski's vision as director, set designer and puppet designer/creator, featuring a made-in-heaven cast.

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


Kory
Avenue Q knocks one out of the park, pun intended, at Cain Park!

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


Marjorie Preston
“Avenue Q" is a rollicking good time.  Effortlessly, the cute, hand-made puppets – and the talented actors who give them voice – take taboo subjects like sex, money or racism and open them up for discussion in public by finding the universality and humor in them.  The years after college can be lonely and full of challenges, and “Avenue Q” explores that time, as well as posits that everyone’s a little empty, a little racist, and a little sad, but that life’s full of surprises. So’s this production of “Avenue Q” – unique, funny, enjoyable, and well worth seeing.

To see a full review of this show, read Marjorie Preston's blog or visit Cleveland.com here.

Bloody Bloody Andrew Jackson
Beck Center for the Arts
May 25-July 1
(216) 521-2540 x10 or www.beckcenter.org

Bob Abelman

This musical is a history lesson for Generation Y—a raucous mix of subversive political satire, emo rock rhythms, and jello-shots of audacity.  Despite its bold, hit-and-run recklessness and theatrical risk-taking, it never loses focus, direction, or its audience’s undivided attention. “Bloody Bloody Andrew Jackson” is invigorating theater; the type of show that demonstrates that quality entertainment comes in all forms.  

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


Roy Berko

Though not for everyone due to the pounding music and uncensored language, BLOODY BLOODY ANDREW JACKSON, is one exciting and well conceived show.  In my mind, it’s a sure MUST SEE!

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


Kory

Beck Center's Bloody Bloody Andrew Jackson is great on paper, but falls short in execution.

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


Marjorie Preston

"Bloody Bloody Andrew Jackson” is a raunchy, fast-paced rock n' roll retelling of the life of the seventh U.S. president Andrew Jackson. The stellar cast, in fabulous shoes, play out the story of a Tennessee orphan who went on to break treaties with countless Native American tribes and kill the Spanish settlers in the South before becoming president. Dan Folino as the cocksure rockstar plays the loner who hates “the Spanish, British, Washington aristocrats and Indians” in a musical that unfortunately gets cluttered as it tries to cover too much ground.

To see reviews of other shows, read Marjorie Preston's blog here.

Art Thomas

The clever construction of this show has audience giggling at the racist and self-serving treatment of American Indians and Hispanics at the hands of Andrew Jackson as he rises from teenage victim to President of the US. The language and rock and roll will alienate many theatergoers as well. There is an enthusiastic audience for this show, and hopefully The Beck Center will find it.

Click here to read the complete review at WestLife

Akarui
Cleveland Public Theatre
May 24-June 9
(216) 631-2727 or www.cptonline.org

Roy Berko
--> AKARUI [Bright] brings to an end another theatre year for Cleveland Public Theatre.  Though a challenging concept, the play and production just didn’t have the same positive effect as some other offerings by CPT.
 
To see a full review of this show, read Roy Berko's blog here.


Christine Howey

In the world premiere of Akarui, now at the Cleveland Public Theatre, playwright Jen Silverman pitches her dramatic tent on several different steaming fissures: transgender issues; murder, guilt and death; and medical experimentation. The result is astounding in all respects, even with a couple performances that fail to capture the twisted grandiosity of Silverman’s vision.

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


Marjorie Preston

The World Premiere of “Akarui” is a must-see multi-faceted spectacle filled with music, dance, percussion and otherworldly characters. The spirit world plays a large part in this show, where audiences can watch a dead man search for his killer while at the same time learn about the Afro-Brazilian musical tradition of Candomoblé. This bold, thrilling show about transformation involves the audience at times à la Blue Man Group, while offering captivating character portrayals and gripping, pulsing moments.

To see a full review of other shows, read Marjorie Preston's blog.

13 Most American Dreams
Cleveland Public Theatre
May 17-June 2
http:www.cptonline.org or 2160631-2727

Bob Abelman

For 60 minutes, cast members Amy Compton, Benjamin Gregg, Caitlin Lewins, Anne McEvoy, and Darius Stubbs relive the stuff of which night visions are made—disorienting encounters with loved ones, incoherent philosophical reflections, and haunting anxieties—and weave them together to form a surreal  slice of stream-of-subconscious REM storytelling.  Only fleeting moments strike a familiar cord and while very well done, “13 Most American Dreams” is largely undecipherable.

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

Christine Howey

Wake Me When It's Over.  Cleveland Public Theatre gets caught napping in Dreams.

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

 

DEVIL BOYS FROM BEYOND
convergence continuum
May 4-June 2, 2012
http://convergence-continuum.org or call 216-687-0074

Bob Abelman

Parodies are far from original fare, borrowing shamelessly from more sober source material and then exploiting it for their own ill-gotten gains. They can, however, be genuinely fun affairs if they take creative risks, plenty of liberties—and no prisoners. Such is the case with the weird and wonderful “Devil Boys From Beyond.”

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

Roy Berko

-->

DEVIL BOYS FROM BEYOND is fun.  It could have been hysterical with a more farcical, 1950’s stylistic performance approach. 

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

Christine Howey

With three of the four female roles in this production played by men, in the boisterous style of low drag and high camp, the unevenly-performed show is quite amusing and at times hilarious. 


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

 
HELLCAB
BLANK CANVAS THEATRE
May 4-20
www.blankcanvastheatre.com or 440-941-0458

Roy Berko

HELLCAB is a thought provoking, sometimes humorous glimpse into life in a big city which exposes the foibles and lives of people who use a cab as their means of transportation.  It’s na evening of impressive performances and well worth seeing.

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

Christine Howey
Written by Will Kern, the highly episodic show is a fast and furious ride through the numb-nuts, horndogs and wasteoids that wind up occupying one cabbie’s backseat on his Christmas Eve shift.

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

Kory

How the Hell (Cab) does Blank Canvas Theatre keep getting better? I don’t know the answer to that question, but I am drinking the Blank Canvas Kool-Aid! Hellcab is hilarious, well presented and moving!

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

Marjorie Preston

"Hellcab" is a series of vignettes in the life of a beleaguered cabbie (Patrick Ciamacco) trying to be human while driving a Chicago cab at Christmastime.  Kern's fast-paced script delves into the most personal moments of Chicagoans when their guard is down.  The great comic timing in "Hellcab" is a testament to both Marc Moritz's skillful directing and the talents of a stellar cast, including Ciamacco, who learned his role in less than 48 hours.  The show is poignant and funny, while it touches on all number of social issues from race, class and ethnicity to mental health and family troubles.

To read Marjorie's other reviews, head to Marjorie Preston's blog.

 
GEM OF THE OCEAN
Karamu
May 11 through June 3, 2012
www.karamuhouse.org or 216-795-7070

Fran Heller
The Karamu production… is suffused with integrity, heart, and some piercing moments throughout the long, voluble play.  
Committed actors are emotionally invested in their characters, and it shows in the sincerity of their impassioned performances.  
 If you love the poetry and magic of August Wilson , you’ll enjoy this play.

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


Christine Howey
No review yet.
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

I LOVE YOU, YOU'RE PERFECT, NOW CHANGE
ACTORS' SUMMIT
My 10-June 3, 2012
Tickets:  http://actorssummit.org/tickets.htm or 330-374-7568

Roy Berko

I LOVE YOU, YOU'RE PERFECT, NOW CHANGE makes for a pleasant afternoon/evening of theatre.

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

Kerry Clawson

Actors’ Summit, which produced the regional premiere of I Love You, you're Perfect, Now Change a decade ago, is reprising the light-hearted revue in a polished production whose four actors have excellent senses of comedic timing and play skillfully off each other.  This show, whose  love vignettes present plenty of stereotypes about male-female relationships, is dominated by ultra-light fare. Most of it’s not meant to be taken too seriously, and this ensemble sets just the right tone to bring audiences on a fun-loving lark.

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

Fran Heller

The mating game is as old as…well…Adam and Eve.
Entertaining and instructive show is a refreshing reminder that in a world of constant flux, some things, like looking for love, never change.
This lighthearted revue, first presented at Actors’ Summit 10 years ago, proves that some things are worth repeating.

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

SONDHEIM ON SONDHEIM
HANNA THEATRE--PLAYHOUSE SQUARE (BROADWAY SERIES)
May 16-July 8, 2012
www.playhousesquare.org or call 216-241-6000

Bob Abelman

There is much to like in “Sondheim on Sondheim.”  Stephen Sondheim is indisputably the most influential song writer to emerge in the last half-century, and this production nicely showcases the reasons why.  But is there enough in this musical revue to love?  Not so much. It has something for everyone but not enough for anyone.


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

Roy Berko

-->

SONDHEIM ON SONDHEIM, in its regional premiere, was a major disappointment. I wanted so much to be involved, to be excited, to gain a further appreciation of the “amplifications, dogmas, harangues, anecdotes and miscellany” that makes Sondheim Sondheim.

To see a full review of this show, read Roy Berko's blog entry at:  www.royberko.info

Kerry Clawson

Sondheim on Sondheim, the musical revue making its regional debut at the Hanna Theatre in Cleveland, achieves what it set out to do by taking audience members on a journey that results in a deepened understanding of Sondheim the man.

The presence of composer/lyricist Stephen Sondheim himself --- featured larger than life in video interviews from his home as well as archival TV footage -- is the key element of the production that enables that to happen. We see the Broadway legend, whose career spans more than 50 years, in a relaxed state, speaking about his creative process.

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


Fran Heller

Unlike other Sondheim songfests, this show is an amalgam of song and story culled from Sondheim's nineteen musicals and interspersed with video interviews of the musical maestro. The show offers a rare glimpse of the man behind the musical genius. He is warm, funny, self-effacing, honest and open about his difficult relationship with his mother and his emotionally deprived childhood.

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


Christine Howey
This roughly chronological journey through la vie Sondheim is an often enthralling biography for lovers of Broadway music. 
To see a full review of this show, read Christine Howey's blog Rave and Pan

Kory

Sondheim On Sondheim resembles a live action, musical, biographical documentary, but does it REALLY well!

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


Art Thomas
Even Sondheim's most dedicated fans will learn something about his approach to his craft. For those less dedicated, this production is well-sung, but incredibly dense fare. Don't expect joyous escapism in this musical revue.
Click here to read the complete review at WestLife

COME FLY AWAY
Palace Theatre/PlayhouseSquare
May 8-May 20, 2012
www.playhousesquare.org or call 216-241-6000

-->
Bob Abelman

Those who speak the language of musical theater know of the “triple threat”—a top-notch performer proficient in the disciplines of acting, singing, and dancing.  The national tour of the 2010 Broadway hit “Come Fly Away” gives new meaning to the term.  It is a rare and enchanting evening of pure dance, live music heavy on brass, and an intoxicating dose of Sinatra. 

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


Roy Berko
-->

If you’re a Sinatra fan, you’ll have an evening of nostalgia with old blue eyes.  If you’re a dance aficionado, you’ll experience an evening filled with the visual delights of Twyla Tharp.  If you are a lover of musical theatre filled with a strong story line and message, this isn’t going to be your thing.  Me?  I really, really enjoyed myself.

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


Fran Heller

Vegas comes to Cleveland in "Come Fly Away", the razzle-dazzle dance revue conceived, directed and choreographed by Twyla Tharp around the songs of Frank Sinatra.  The show is a tribute to "Ole Blue Eyes," eighty minutes of non-stop entertainment featuring the fabulous big band sound of a live onstage orchestra, the dubbed in recordings of the inimitable Sinatra and some phenomenal hoofing (albeit repetitive choreography) by principal dancers and ensemble.  What "Fly Away" is not is musical theater with a cohesive story and strong character development.

Christine Howey

Come Fly Away spins a succulent blend of music and movement that will transport any Sinatra fan. And when the backdrop of stars align at the conclusion, you are reminded once more that these tunes must have been heaven sent.

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

Kory

Twyla Tharp’s unmistakable choreography and Frank Sinatra’s vocals work together seamlessly in Come Fly Away, now playing at PlayhouseSquare.

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

Art Thomas

Twyla Tharp pays homage to an American icon by preserving his vocal tracks. They're backed with a big band on stage. The real star of "Come Fly Away" is the choreography performed by a first-rate dancing cast. The varied music ranges in style from gentle adagio to almost violent sexuality. 

Click here to read the complete review at WestLife

 
GRUESOME PLAYGROUND INJURIES
ENSEMBLE THEATRE
April 27-May 20, 2012 
www.ensemble-theatre.com or call 216-321-2930

Bob Abelman

Much like Rajiv Joseph’s ”Bengal Tiger at the Baghdad Zoo,” a 2010 Pulitzer Prize finalist that takes place during the Gulf War, the two characters in “Gruesome Playground Injuries” are trapped within their own personal cages.  And while the Gulf war serves as a powerful reminder of the self-destructive nature of the human animal—a nature from which there is no clear or viable release—nothing drives this point home any better or more dramatically than watching Doug (Dan Folino) and Kayleen (Celeste Cosentino) attempt to escape their ill-fated, accident-prone destinies. 
 
To see a full review of this show, read Bob Abelman's News-Herald article here.

Roy Berko

-->

Ensemble Theatre again takes on a Rajiv Joseph script.  Though, due to some staging decisions, it is not as audience engaging as it could be, GRUESOME PLAYGROUND INJURIES is a thought provoking concept, that is filled with pathos. 

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

Fran Heller
Making this funny, sad play so appealing is the ingenuousness of the characters, played with unflinching honesty and realism by the two actors. It never becomes cutesy or artificial; you feel for these loveable losers from the get-go. 

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

Christine Howey
There are eight scenes that attempt to capture the relationship of Doug and Kayleen from ages 8 to 38, and some resonate with depth, subtlety, and dark humor. But Ensemble's two-person cast is not consistently well matched, leaving other scenes lacking in both visceral impact and thematic heft.

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

Marjorie Preston
In “Gruesome Playground Injuries,” the characters’ injuries haven’t caused their failures, and yet they have allowed themselves to be defined by them.  Unfortunately, a great concept and succinct writing are complicated by choppy pacing.  Despite its tragic tone and the difficulties of wardrobe and makeup changes, the drama is gripping and lingers in your mind.

To see a full review of this show, read Marjorie Preston's blog or visit Cleveland.com here.

Two One-Act Plays
(Elegy for a Lady and Three Women)
Cesear's Forum
April 13-28, May 11-26 (Friday and Saturday), April 29 (Sunday)
For tickets:  216-241-6000 or www.playhousesquare.org

Roy Berko

-->

Cesear’s Forum’s production philosophy centers on making social commentary while presenting experimental theatre.  Though not a traditional type of production, the evening of one-acts is a good example of thoughtful theatre.

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

Fran Heller

Looking for a challenging evening of theater?
Consider the pair of one-acts being produced by Cesear's Forum: "Elegy for a Lady" by Arthur Miller (1915-2005) and "Three Women" by Sylvia Plath (1932-63)
Expressionistic in nature, elusive in understanding, this is an evening for the adventurous and open-minded theatergoer interested in sampling lesser works by these two American literary giants.

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

Christine Howey
Two flawed pieces by famous writers aim to engage but mostly just spin their wheels.
To see a full review of this show, read Christine Howey's blog Rave and Pan

 
God Of Carnage
DOBAMA THEATRE
April 20-May 13, 2012
note:  run has been extended until May 20, 2012
For tickets:  216-932-6838 or www.dobama.org

Bob Abelman

Bile and bad behavior take center stage in Dobama’s ‘God of Carnage.’  The result is hilarious. To a point.  Fortunately, any dissatisfaction with the play is alleviated by this production’s superb ensemble.

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


Roy Berko
-->

GOD OF CARNAGE is a well written comedy that evokes constant laughter.  It gets a top-notch production at Dobama.  If you want an evening of totally delightful entertainment, to experience rationality being replaced by riot, this is a must go-see!

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

Fran Heller

We're all savages under the skin.  It's far from an original concept, but French playwright Yasmina Reza takes it to new satiric heights in her razor-sharp comedy of ill manners, "God of Carnage."  Husbands and wives, who begin as allies, become the bitterest of enemies in this bruising battle of the sexes.
 
To see a full review of this show, read Fran Heller's review at the Cleveland Jewish News

Christine Howey

None of the characters has much to lose or gain in this situation, other than momentary embarrassment, so the eventual take-away feels a bit hollow. Still, Carnage will delight anyone who enjoys seeing supposedly refined sophisticates taken down a peg or three. And who doesn't love that?

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

Marjorie Preston

GOD OF CARNAGE is well-acted, intense and full of dry humor.  GOD OF CARNAGE is full of honest and committed portrayals exaggerated for comedy’s sake.  GOD OF CARNAGE is a roller-coaster ride of shifting emotions and allegiances, a tragedy, really, with a lot of comedy along the way, featuring bold performances from its cast of four. 

To see a full review of this show, read Marjorie Preston's blog here or visit Cleveland.com here.

In The Next Room (or the vibrator play)

IN THE NEXT ROOM, OR THE VIBRATOR PLAY

CLEVELAND PLAY HOUSE
APRIL 13-MAY 13, 2012Tickets: www.clevelandplayhouse.com or 216-241-6000
In a salacious age when little or nothing is left to the imagination, there is something inexplicably refreshing in looking from a 21st-century perspective at a play about sexual ignorance set in the late 19th century.

Bob Abelman

The Sarah Ruhl rules apply to this as well as her other quirky comedies:  She calls attention to taken-for-granted phenomena (in this case, the divide between women’s lives and and men’s perceptions of them), features lost women who find themselves through modern technology, and is theatrically adventurous with a metaphysical twist.  Good stuff.  Oh, and there's a naked guy.

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

Roy Berko

IN THE NEXT ROOM (or the vibrator play) is filled with laughter, views of the needs of women, naïve treatment of the “weaker sex” by men, excellent acting, and a beautiful set and costumes. This is a production well worth seeing!!!

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

Fran Heller

Ruhl's idiosyncratic voice is one of the freshest, funniest and most original among contemporary writers for the stage and a personal favorite of mine.


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

Christine Howey

Back at the end of the 19^th century, when this play is set, the issue was agreed upon by both genders: women didn’t have sexual urges or needs, they had “hysteria.” This elegant production at the Cleveland Play House fairly glitters, and is a frequently laugh-out-loud experience.

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


Kory


Playwright Sarah Ruhl’s scandalous In The Next Room, or the vibrator play stirs chatter, gasps and scandal at Cleveland Play House‘ Second Stage!



To see a full review of this show, read Kory's blog at New102.com.


Art Thomas


The play engages the audience first as a broad farce that stairizes morals and manners of Victorian rigidness. Then playwright Ruhl deftly moves us into a world where repressed women take ownership of their own bodies and pleasures. Finally there's a reconciliation in the battle of the sexes. Come for the comedy; stay for the substance; enjoy the high production values.




Click here to read the complete review at WestLife

Kerry Clawson

Folks certainly do a double take just reading the title of In the Next Room, or the vibrator play, a play whose story stems from the clinical use of a certain electric device in the 1880s. But this tender comedy by Sarah Ruhl -- set in Saratoga Springs,  New York, in the buttoned-up Victorian era  just after the dawn of electricity -- is really about so much more. It’s about women discovering themselves and ultimately finding fulfillment and intimacy with their husbands.

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

Romeo and Juliet

ROMEO AND JULIET
GREAT LAKES THEATRE
April 13-April 28, 2012
TICKETS: 216-241-6000 or visit www.greatlakestheater.org.

Bob Abelman

Creative vision, not passion, drives Great Lakes Theater's "Romeo and Juliet."

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

Roy Berko

ROMEO AND JULIET gets a credible performance at GLT, highlighted by an enchanting performance by Betsy Mugavero as Juliet, good pacing, and some fine supporting acting, but the production does have some problematic elements.

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


Fran Heller

Like impetuous teenagers, Romeo and Juliet fall head over heels in love, a passion that only deepens when challenged by the forces that conspire against them. Such is the impact of Durso's and Mugavero's towering performances, that even knowing the outcome, I felt like I was experiencing these immortal characters for the very first time.

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

Christine Howey

Even though there are a couple small missteps and R&J’s love never quite blossoms as fully as it might, this is an intensely involving evening that flies by.

To see a full review of this show, read Christine Howey's review in Scene.