BUS STOP @ Actors' Summit

ACTORS' SUMMIT
FEBRUARY 20-MARCH 19, 2014

330-374-7568 or go to www.actorssummit.org

Bob Abelman
 
Actors’ Summit captures all the Inge-enuity of "Bus Stop" -- the humor, the tenderness, the lonliness that drives this play.

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

 

Kerry Clawson

William Inge’s BUS STOP is a comedy but it’s a quiet one, full of characters who yearn for personal connections in varying ways. At Actors’ Summit, the play is sensitively, beautifully directed by Ric Goodwin, a recently retired professor from Ashland University who has previously acted at Actors’ Summit. ... BUS STOP is a treat with all its finely nuanced characterizations, and theater lovers won’t want to miss this ride.

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


Tom Fulton 

BUS STOP is a lovely production, expertly directed and acted by a fine ensemble.  It is classic American theater.

To read the full review go to:  http://www.clevescene.com/cleveland/waiting-for-the-bus-top-notch-acting-divines-fate-at-beautiful-actors-summit/Content?oid=3811887 http://www.clevescene.com/cleveland/waiting-for-the-bus-top-notch-acting-divines-fate-at-beautiful-actors-summit/Content?oid=3811887

DEATHTRAP @ Great Lakes Theatre

Great Lakes Theater  
February 21-March 16, 2014

216-664-6064 or www.greatlakestheater.org

Bob Abelman
 

“Pain!!!!” screeches Helga, the Scandinavian psychic in Ira Levin’s “Deathtrap,” as she enters the stage and senses murder most foul.  But pleasure is the only emotion emanating from the audience during this wonderful Great Lakes Theater production of Broadway’s longest running play-within-a-play-within-a-comedy thriller.

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

Roy Berko
 
“DEATHTRAP” is a fun mystery filled with plausible twists and turns that incites the curiosity of the audience in their attempt to figure out what’s going to happen next. The GLT’s production, under the direction of Charles Fee, brings out the best in the script and is a must-see for anyone interested in a delightful escapist theater experience.

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

Howard Gollop

Great Lakes production shines best visually with the fetching, rich country house set by designer Russel Metheny. It's riddled with character, theatricality and all sorts of deliciously portentous details.  Great Lake's Theater's energetic artistic director Charles Fee certainly delivers the goods, shock wise -- although neither he nor the hard-working cast manage  elevate Levin's utilitarian dialogue and sketchy characterizations.  But that doesn't seem to matter to most of the shrieking audience members.  

Mr Gollop's full review is only available to subscribers of the CHRONILE-TELEGRAM 

Mark Horning 

This show has more twists and turns than a horseshoe shaped corkscrew.  Whether or not you have seen this work in any form, the Great Lakes Theater production of “Deathtrap” will still thrill you with its superb acting and finely tuned dramatic surprises.  If you have not been shocked lately (in a good way), a great experience awaits you at the Hanna Theatre.    

   

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

Andrea Simakis
 
Levin didn't build a perfect, foolproof mousetrap. But it is an insanely entertaining one, and Charles Fee and company gleefully execute Levin's crafty script. The games begin with a "Telltale Heart" ker-thump, ker-thump, ker-thump from sound designer Richard B. Ingraham, an ominous soundtrack that opens the show.
 
To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

Art Thomas 

Even forty years after its premiere, "Deathtrap" delivers almost equal parts thrills and laughs. The brilliantly crafted script by Ira Levin is secure in Charlie Fee's ensemble cast. Comedic digs at producers and critics sit comfortably with sexual tension and scarey movie music. A genuine hoot and a holler. 

Click here to read the complete review at WestLife

BREATH AND IMAGINATION @ Cleveland Play House

Cleveland Play House

February 14-March 9, 2014

216-241-6000 or go to http://www.clevelandplayhouse.com

Bob Abelman

Like so many biographical dramas, Daniel Beaty’s “Breath and Imagination” attempts to truncate a remarkable life into a 90-minute one-act play.  By doing so, it veers toward the melodramatic and leaves only an indelible impression in lieu of a complete and robust story.  But, my, what a life and what an impression!

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

Roy Berko 

"BREATH AND IMAGINATION" is an ideal offering for Black History month.  It exposes the audience to an African-American who deserves recognition, spotlights the horrors of racism, highlights musical sounds not commonly seen on theatrical stages, while illustrating a script developmental scheme that allows for history to be portrayed in a non-traditional mode.   This is a show well worth seeing!

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

Howard Gollop

"Breath and Imagination," ably directed by May Adrales, is so intrinsically theatrical, one might think it would be too intellectual and abstract at first. Yet Beaty's play is flowing and embracing. It's accessible like one of those early-color MGM musical bios, but far more educational.  An integral facet of American classical music almost forgotten is at last well remembered.

Mr. Gollap's on-line reviews are only available to subscribers of the Chronicle-Telegram

Mark Horning

“Breath and Imagination” combines great theater, song, dance and acting into a strong moral tale concerning the evils of segregation and the Jim Crow Laws of the not too distant South.  It is a show that all races should share together and learn from.  Elijah Wood channels the soul of Roland Hayes in this not to be missed production.

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

Andrea Simakis

In one of his final numbers, [Elijah] Rock [as Roland Hayes] delivers a spiritual with tears streaming down his cheeks, and the words of Hayes mother echo in that performance.  That alone is enough to make this critic stand, clap her hands and say, "Amen."

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

Art Thomas

This is a showpiece for three remarkable performers, and The Play House has them in gifted musicians who give a glimpse into the life of the largely unknown Roland Hayes. The concert singer achieved fame in the 1930's but his family were victims of the Jim Crow laws of then racist Georgia.  


Click here to read the complete review at WestLife

CARRIE: THE MUSICAL @ Beck Center/Baldwin Wallace University

Beck Center
February 7-March 9, 2014
For tickets and information call 216-521-2540 or go online to http://www.beckcenter.org

Bob Abelman

It is no surprise that the same local theater company that dared to bring us the delighfully outrageous “Jerry Springer: The Opera” thought to take a stab at resurrecting “Carrie: The Musical.”  What is surprising is that even the exceptionally gifted director Vicky Bussert can not find a steady pulse in this stillborn show.

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

Roy Berko

“CARRIE:  THE MUSICAL” sizzles with fine performances, great dancing, well tuned singing, compelling illusions, and an emotionally encompassing attitude which is so relevant in this era of school bullying.  This must-see production deserves to result in sold-out houses.

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

Tom Fulton

CARRIE, The Musical! is at the Beck Center in Lakewood, now through March 9. It is a highly entertaining, beautifully directed, but silly musical that wants to be about teenage angst and bullying but is burdened with telekinesis, moody thunder, blood obsession, self-motivated chairs, and a floating Jesus. But forget that. See it for the sheer energy of performance.

To see the full review of this show, go to:  http://www.clevescene.com/cleveland/also-on-stage-carrie-the-musical/Content?oid=3781475

Howard Gollup

With sheer talent from youthful college singers, dancers and actors who actually pass for high-schoolers, Steven King’s original horror novel conception of the ultimate bully payback resonates better than ever.  Veteran local director Victoria Bussert wrings out all the emotion and pathos from Lawarence D. Cohen’s script, and she clarifies and punctuates the drama and horror with firm grasp on an onslaught of scenes.

This review is only available on-line to those who subscribe to the Chronicle-Telegram

Mark Horning

The Beck Center for the Arts production of “Carrie – The Musical” combines all the elements needed to make a great show: solid performances, great singing and dancing numbers, believable special effects and an easy to follow story line with a strong theme.  With its anti-bullying message, this should be required viewing for all area high schoolers and families. 

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

Andrea Simakis

But this CARRIE is director Victoria Bussert's version--a powerful wallop of a piece with a smart, pop sensibility balanced by real emotion.  In that way, it's like nothing that has come before.  This one will give you  nightmares and break your heart.

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

Art Thomas

The youthful cast from Baldwin-Wallace University are best in the energetic Gregory Daniels choreography. The production points up the bullying aspects of the script and downplays the supernatural elements that graced the Stephen King novel. The term "a rare treat" perfectly applies to this production.

To see a full review of this show, read Art Thomas' story HERE
    

PORGY AND BESS

PlayhouseSquare--Palace Theatre
February  2-16, 2014

216-241-6000 or www.playhousesquare.org

Bob Abelman

Despite all the nay-saying from traditionalists and composer Stephen Sondheim’s dismissal of the work in the pages of The New York Times, the musical being performed on the Palace Theatre stage is an immediately accessible, thoroughly enjoyable piece of epic entertainment. And the tour, which launched in November, has lost none of its vibrancy or intensity.   

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

Roy Berko

For those concerned because some touring companies aren’t as good or the productions as grand as Broadway shows, worry not with the road performance of THE GERSHWINS’ PORGY AND BESS.  It is, as its title says, “The Broadway Musical.”  For anyone who wants to see and hear a fine staging of a very important classic, this is it! 

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

Kerry Clawson

Alicia Hall Moran’s earthy, rough-around-the-edges, downright unfeminine characterization of Bess in THE GERSHWINS' PORGY AND BESS helps me understand this iconic, deeply flawed, tragic figure better than ever.

The musical version of the Gershwin opera, which runs through Feb. 16 at PlayhouseSquare’s Palace Theatre, is an emotional, musically ravishing production that not only does justice to the original masterpiece, but also makes its story and characterizations more vivid. 

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

 Tom Fulton

It feels very much like the director, the highly regarded Diane Paulus, has unnecessarily constrained her actors with results, and not leaving them free to discover. The struggle to crawl, crippled, into the freedom of a new life drives this play. In the end we are left feeling like something precious has been mislaid. And the great promise of the Palace Theatre has let us down.

To see the entire review of this show go to http://www.clevescene.com/cleveland/promise-unfulfilled-actors-raise-porgy-and-bess-on-high-though-story-and-direction-fall-flat/Content?oid=3781451  http://www.clevescene.com/cleveland/promise-unfulfilled-actors-raise-porgy-and-bess-on-high-though-story-and-direction-fall-flat/Content?oid=3781451

Mark Horning

There really are no words worthy of describing this production… fantabulouslyderful comes close.  Great songs sung by truly great operatic singers on a well appointed stage set accompanied by a stupendous orchestra makes this a true entertainment bargain.  Immerse yourself in the spirit of Catfish Row.  This show is, “where the livin’ is easy”.  
   

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

Andrea Simakis

Live theater, especially musical theater, moves so quickly, scenes tend to merge into an impressionistic blur. But director Diane Paulus, in her triumphant reimagining of the classic opera, is a grabber of lapels. "Hold on," she seems to say – "really watch this." 

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

Art Thomas

This is an important production of an important work. Sensibly shortened for contemporary sensibilities, the remarkable capture of Black culture by the Gershwins perfectly melds musical theater with opera. You'll not hear a better cast sing this show and the dramaturgy is suited for the huge Palace Theater stage. 

Click here to read the complete review at WestLife

CEREMONIES IN DARK OLD MEN

Karamu
January 31-February 23, 2014

216-795-7077 or www.karamuhouse.org 

Roy Berko

“CEREMONIES IN DARK OLD MEN” is an important play in the history of Black American arts.  It gets a very strong production at Karamu.

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

Andrea Simakis

Karamu Theatre's iteration of the seminal piece of black theater, which opened Friday, doesn't sink or soar, it just floats on the surface of things, a missed opportunity given the richness and continuing relevance of the script.

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

KNOCK ME A KISS

Ensemble Theatre
January 31-February 23, 2014

www.ensemble-theatre.com or 216-321-2930

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

Roy Berko

 “KNOCK ME A KISS” is a well- conceived script that gives a revealing view of the Harlem Renaissance and the changing picture of American Negroes in the early 1900s.  It gets an effective and involving performance at Ensemble.

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


Mark Horning

“Knock Me A Kiss” takes an intriguing true story and combines it with exceptional acting on a profoundly well designed stage making for a singular theatrical experience.  It is a story that rings true even in today’s times.  Fill the seats for this one.

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

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

Andrea Simakis

The best reason to see Ensemble Theatre's "Knock Me A Kiss" is the champagne-bubble performance of Kyle Carthens as big-band leader Jimmie Lunceford, a Cotton Club headliner known for his inventive, polished and witty style. (Charles Smith titled his play after a Lunceford tune of the same name.)

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

AIR-WAVES (PART THREE OF THE ELEMENTS CYCLE)

Cleveland Public Theatre
January 31-February 15, 2016
216-631-2727 or go to www.cptonline.org

Roy Berko

Of the three pieces in the “ELEMENTS CYCLE,” “AIR-WAVES” is the most message- clear.  The CPT directors have seemingly come to terms with the need to add clarity of purpose to the devised theatre process.  Though not as abstract as the two previous offerings, those wanting a traditional story line of clear beginning, middle, and end will still be somewhat frustrated.  

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

Mark Horning

“Air Waves” now playing through February 15, 2014 at Cleveland Public Theatre is a walking adventure through time and space as well as personal conceptions concerning pollution.  CPT uses a velvet glove approach to gently educate rather than hammering an idea home.  It is an enjoyable evening of participatory theater that will help you think.      

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

Tom Fulton

Fantasy mingles with hard reality, lending Air Waves a wild and honest sense of creativity.

To read the full review of this show, go to http://www.clevescene.com/cleveland/also-on-stage-air-waves-part-3-of-the-elements-cycle/Content?oid=3778758

http://www.clevescene.com/cleveland/also-on-stage-air-waves-part-3-of-the-elements-cycle/Content?oid=3778758

THE LIGHT IN THE PIAZZA

LAKELAND CIVIC THEATRE
January 31-February 16, 2014

440-525-7134 or http://lakelandcc.edu/academic/arts/theatre/index.asp

Bob Abelman

Against all odds, despite the risks and challenges, and in Italian without subtitles, Lakeland Civic Theatre does a masterful job of presenting this simple yet dramatic story and doing justice to what the New York Times labeled the most romantic score since “West Side Story.”  

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

Roy Berko

Lakeland Civic Theatre’s THE LIGHT IN THE PIAZZA is a special night of musical theatre.  To appreciate the show, the viewer must put aside any attitude of what a musical should look and sound like and embrace this creatively “different” approach.  I, for one, loved the story, the music and the production, and would declare it a MUST SEE!

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

Tom Fulton

Musical theater is surprisingly unforgiving. Audiences are far more likely to recognize a squeaking sour note than they are the barking clamor of a bad actor in Shakespeare. So it is to this cast's credit that under the excellent musical direction of Jordan Cooper and the sensitive and intelligent leadership of Martin Friedman, the notes and most key moments of The Light in the Piazza at Lakeland Civic Theatre weave together like silver strings in a fairy's pavilion.

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

THE ALIENS @ Dobama

Dobama

January 24-February 23, 2014

216-932-3396 or dobama.org

Bob Abelman

The take-away from this tender character study, besides the master class in naturalistic performance and design, is a greater compassion for the aliens among us and a newfound ability to see those we easily dismiss as invisible.

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

Roy Berko

In spite of the quality of writing and superb production, THE ALIENS is not a play for everyone.  As the play's director Nathan Motta said in his pre-curtain talk, "experiencing this play takes work."  It is not exciting.  There is only one incident of high drama.  The laughs are few.  (It was interesting that on opening night, the only emotional reactions came from a scattering of Generation Z’ers.)  If you attend, let the play simmer in your head and see what emerges.  It’s worth the effort.

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

Tom Fulton

The Aliens, a play by OBIE-Award winning playwright Annie Baker, and Dobama's latest offering of contemporary fare, dignifies these discussions by giving them to these lonely explorers of the universe. There are no Carl Sagans in this group; rather, there are three gritty pathfinders searching for meaning in the universe. What emerges is an intelligent and tender production."  -


To see a full review of this show, read review at  Cleveland Scene

Mark Horning

THE ALIENS is a play that you watch for what it does not have.  There is scant action, long periods of seemingly inactivity and a thin thread of plot.  It is only through careful observation that you discover the genius of this minimalist work.  It is a play that you must work at to understand, but your efforts will be generously rewarded.  See this one. 

           

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

Andrea Simakis

As darkness falls, KJ dances a Pan's ballet with the sizzling stick, sparks flying, leaving tracers in the air. The big man is awkward and yet light on his feet, and it's a mesmerizing and beautiful passage, cut short when the sparkler begins to sputter and then go out. That dying of the light presages a calamity when this trio of misfits is rocked by unexpected tragedy, the suddenness of the event like a sharp intake of breath. With it, everything changes, and the playwright leaves Beckett behind to create a moving, meaningful work all her own."

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

PHOTOGRAPH 51

Actors' Summit

January 16-February 2, 2014

330-374-7568 or go to www.actorssummit.org

Roy Berko

PHOTOGRAPH 51 is a well written script which gets a very strong production.  The play is a must see for anyone who wants to be exposed to what, for most, will be a venture into the complex world of science that is presented in a meaningful way, by a cast that makes the lesson fascinating.

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


Kerry Clawson

Anna Ziegler’s PHOTOGRAPH 51 raises intriguing questions about ethics, sexism and anti-Semitism in the scientific world.


The drama, directed by Neil Thackaberry, takes awhile to warm up as the play’s male scientists look back at the conflict they experienced working with the outspoken, abrasive biophysicist Rosalind Franklin at King’s College. ... It becomes fascinating as Franklin begins her work, with actress Sally Groth painting a picture of a singularly focused, distrustful, defensive and solitary woman.

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

YENTL

Allen Theatre  
January 10-February 2, 2014

216-241-6000 or www.clevelandplayhouse.com

Bob Abelman

The  guy playing the rabbi was brilliant!   

To see a series of behind-the-scene articles, read Bob Abelman's feature pieces here.


Roy Berko
 

The opening night audience for YENTL failed to give the standard Cleveland standing ovation.  This might be construed as an omen that there was a disconnect between the viewers and the production.  It’s too bad. YENTL is an important script, which tells a fascinating story of a writer, ahead of his time, who weaves Jewish history with modern issues.  I wanted so much to really be swept away by the production. Unfortunately, that wasn’t the case.

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

Howard Gollop

It seems Isaac Bashevis Singer’s classic short story “Yentl, the Yeshiva Boy” is destined for the gay sensibility.  It’s not immediately apparent if director Michael Perlman is pushing a bit of sexual revisionism onto Singer’s innocent tale about a young Jewish woman in 1880s Poland who must dress and act like a male in order to study Talmud.   Fortunately, director Perlman is intelligent enough so as not to shortchange the overriding theme sof Singer’s tale – sexual equality the being true to one’s self. 

The full review is only available to subscribers of the Chronicle-Telegram

Fran Heller

Although the play is better than the movie, it remains bloated with extraneous scenes, making the 2 1/2 hour production including intermission, feel a whole lot longer.
Michael Perlman's stodgy direction lacks all traces of subtlety and mystery.
The episodic format grows tiresome.

To see a full review of this show, go to here. 

Mark Horning

If you are willing to overlook the imperfections of dialect, the dramedy tug of war and the nudity (front row patrons beware), Yentl still makes for a fine evening of entertainment.  The strength of the acting helps greatly in overcoming the weaknesses.

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

Christine Howey

Despite a very long first act and a couple odd staging choices, the piece retains the power to make us question the death grip that attributed gender can impose on many people.

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

Andrea Simakis
 
Though "Yentl" is well-acted and directed with a light comic touch by Michael Perlman, that kind of authenticity is missing from other key sequences in the production. Sure, it's a dramedy, but too many lines are delivered by members of the ensemble with squints and exaggerated accents that recall Jerry's carping parents in "Seinfeld." The script is clever enough – no mugging necessary.

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

MENOPAUSE, THE MUSICAL

HANNA THEATRE, PLAYHOUSESQUARE
January 14-February 2, 2014
216-241-6000 or www.playhousesquare.org

Roy Berko

“MENOPAUSE, THE MUSICAL” is a delightful portrayal of the “Change, Change, Change” that women of a certain age go through, that consists of “Hot Flashes,” as they realize that “I’m No Babe,” and requires a “New Attitude.”  Do you have to be a “mature” women to appreciate the goings on?  No, but from observing the opening night audience, it helps!  (Don’t forget to bring a fan if you are in the “change” age group.

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

Art Thomas

A celebration of "the change" this musical continues to entertain the ladies of a certain disposition. The current cast have better matched voices than those of previous productions, and though the material is getting a bit dated, women will still enjoy the show better than their male counterparts. Kudos to the production company for using home grown talent.
 
Click here to read the complete review at WestLife

EXACT CHANGE

CLEVELAND PUBLIC THEATRE
January 9-25, 2014

 216-631-2727 or go to www.cptonline.org

Bob Abelman

Christine Howey’s autobiographical “Exact Change” was conceived from the heartache of being a transgender female, fueled by a heroic journey of reinvention and renewal, and first given form as a short, limited-run one-woman show in last season’s New Work Development Series at Cleveland Public Theater.  What is currently on stage at CPT’s James Levin Theatre is a fleshed out version of that earlier work that now runs nearly 90-minutes and is absolutely wonderful.

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

Roy Berko

EXACT CHANGE is a fascinating evening of theatre, which is a must see for anyone interested in the real human condition, an awareness of gender dysphoria, fine writing and compelling acting. Bravo!
 
To see a full review of this show, read Roy Berko's blog here.

Tom Fulton

With astonishing, visceral imagery and insight, Ms. Howey, actress and playwright, hews away at her human facade and personal privacy to reveal the terrifying, confusing, brutal and often hilarious musings of a trapped soul as seen through the eyes of a little girl, an adolescent, a mother masquerading as a father and a mature woman bitterly defeated by her awkward unfamiliar femininity. 

To see a full review of this show, go to:  http://www.clevescene.com/cleveland/exactly-right-the-woman-inside-the-man-is-fully-realized-in-exact-change-at-cleveland-public-theatre/Content?oid=3765528

Mark Horning

“Exact Change”, now playing at Cleveland Public Theatre’s James Levin Theatre is a no-holds-barred exploration of one man’s journey to womanhood told through poetry and prose with comedy, drama and poignancy.  In short, it is brilliant.  It is probably the most dramatic 85 minutes you will ever experience.  This is sure to be a sellout. 
   

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

Andrea Simakis

To borrow a symbol, it's a lovely, partially opened bud, so close to becoming the lush blossom it clearly could be.  A prescription for that metamorphosis:  Lose the first four and grow the story of how Christine became the woman she is today.  That when the tears and the champagne will flow.

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

CHICAGO

PlayhouseSquare--Palace Theatre

January 7-12, 2014

216-241-6000 or www.playhousesquare.org

Roy Berko

The touring company of ‘CHICAGO’ presents an audience pleasing production.  It will “razzle dazzle you,” and give you a feeling that you’ve seen “all that jazz.”

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

Howard Gollop

If any Broadway show ever proved the maxim “less is more,” it’s the taut, bawdy, razzle-dazzle musical comedy “Chicago,” making yet another tour stop at PlayhouseSquare through Sunday. 

Howard Gollup's reviews appear in the (Elyria) Chronicle-Telegram and the (Medina) Gazette and are only available on-line to the subscribers of those newspapers.

Mark Horning

It is what this version of the musical “Chicago” does not have that makes it great.  It is a minimal set, minimal costuming and minimal effects that help you concentrate on the talent that is gracing the stage.  It is the combination of a great orchestra, great singing, great dancing and great acting that will make this a really great theater experience for you…be prepared to be ‘razzle-dazzled’.

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

Andrea Simakis

Though the musical was conceived back in the days when cigarettes and blow were considered diet drugs, and though Fosse's moves – jazz hands, sinuous pelvic thrusts, poses cribbed from the Kama Sutra, locked King Tut-ian wrists and ankles – have been copied and parodied and copied some more, "Chicago" has yet to go out of style. 

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

Art Thomas

The imprint of Bob Fosse's hand is strong on this production, including his original choreography in the second act "Hot Honey Rag." With no set, the show focuses on style to sell the story of guilty-as-sin husband murdering wives. Excellent dancers all, the cast deliver from the opening "All That Jazz." 

Click here to read the complete review at WestLife

THE CLEVELAND CRITICS CIRCLE AWARDS—2013

It is the purpose of THE CLEVELAND CRITICS CIRCLE AWARDS to recognize outstanding Cleveland area productions, performers, directors and designers who contributed to the professional theatre scene during the 2013 season.  For a listing of the theatres considered for “Best of” and “Superior Achievement” awards, go to: clevelandtheaterreviews.com 

Best Musical Production:  SWEENEY TODD, Great Lakes Theater

Superior Achievement:           

FIDDLER ON THE ROOF, Porthouse Theatre

NEXT TO NORMAL, Lakeland Civic Theatre

SHE LOVES ME,  Beck Center for the Arts

SPAMALOT, Beck Center for the Arts

Best Non-Musical Production:  ON THE LINE, none too fragile theater

Superior Achievement:              

GOOD PEOPLE, Cleveland Play House

RICHARD III, Great Lakes Theater

THE ICEMAN COMETH, Ensemble Theatre

THERE IS HAPPINESS THAT MORNING IS, Cleveland Public Theatre

TWELVE ANGRY MEN, Blank Canvas Theater

Best Actor in a Musical:  George Roth, FIDDLER ON THE ROOF, Porthouse Theatre

Superior Achievement:           

Chris McCarrell, NEXT TO NORMAL, Beck Center for the Arts/Baldwin Wallace Musical Theatre Program 

Dougfred Miller, SPAMALOT, Beck Center for the Arts

                                  

Best Actor in a Non-Musical:  Lynn Robert Berg, RICHARD III, Great Lakes Theater            

Superior Achievement:           

Chris Richards, SONS OF THE PROPHET, Dobama Theatre

Jonathan Wilhelm, SORDID LIVES, convergence-continuum

Robert Branch, ON THE LINE, none too fragile theater

           

Best Actress in a Musical:  Sara M. Bruner , SWEENEY TODD, Great Lakes Theater

Superior Achievement:               

Jessica L. Cope, SPAMALOT, Beck Center for the Arts

Miche Braden, THE DEVIL’S MUSIC, Cleveland Play House

Rebecca Pitcher, SHE LOVES ME, Beck Center for the Arts

 Best Actress in a Non-Musical:  Tracee Patterson, MEDEA, Mamaí Theater

Superior Achievement:                  

Derdriu Ring, THERE IS HAPPINESS THAT MORNING IS, Cleveland Public Theatre

Heather Anderson Boll, TIME STANDS STILL, Dobama Theatre

Kate Hodge, GOOD PEOPLE, Cleveland Play House

Lara Knox, THE COMEDY OF ERRORS, Ohio Shakespeare Festival

Best Director of a Musical:  Victoria Bussert, SWEENEY TODD, Great Lakes Theater

Superior Achievement:            

Eric Van Baars, FIDDLER ON THE ROOF, Porthouse Theatre

Martin Friedman, NEXT TO NORMAL, Lakeland Civic Theatre

Scott Spence, SPAMALOT, Beck Center for the Arts

Terrence Spivey, CROWNS, Karamu House Theatre

Best Director of a Non-Musical:  Ian Wolfgang Hinz, THE ICEMAN COMETH, Ensemble Theatre

Superior Achievement:           

Beth Woods, THERE IS A HAPPINESS THAT MORNING IS, Cleveland Public Theatre

Laura Kepley, GOOD PEOPLE, Cleveland Play House

Patrick Ciamacco, TWELVE ANGRY MEN, Blank Canvas Theatre

Sean Derry, ON THE LINE, none too fragile theater

Best Choreographer:  Martin Cespédes, SPAMALOT, Beck Center for the Arts

Superior Achievement:  

Dan Knechtes, GUYS AND DOLLS, Great Lakes Theater/PlayhouseSquare

John Crawford, FIDDLER ON THE ROOF, Porthouse Theatre

MaryAnn Black, SOUTH PACIFIC, Porthouse Theatre

Best Scenic Design:  Todd S. Krispinsky, THERE IS HAPPINESS THAT MORNING IS, Cleveland Public Theatre

Superior Achievement:

Russ Borski, HOUSE OF BLUE LEAVES, Beck Center for the Arts

Trad A Burns, NEXT TO NORMAL, Lakeland Civic Theatre

Wilson Chin, RICH GIRL, Cleveland Play House

Best Costume Design:  Charlotte Yetman, SWEENEY TODD, Great Lakes Theater

Superior Achievement:

Esther Haberlen, MUCH ADO ABOUT NOTHING, Great Lakes Theater

Best Lighting Design:  Trad A Burns, NEXT TO NORMAL, Lakeland Civic Theatre

Superior Achievement:

Andrew Eckert, THE ICEMAN COMETH, Ensemble Theatre

Marcus Dana, COCK, Dobama Theatre

Best Sound Design:  Dana Duke, Big Twig Studio, Brian Caiazza, Brett Keyser, video/sound/photography, STRUCK, Cleveland Public Theatre
Superior Achievement:

James C. Swonger, GOOD PEOPLE, Cleveland Play House

Shane Cutlip, FIDDLER ON THE ROOF, Porthouse Theatre

Best Musical Direction:  Nancy Maier, NEXT TO NORMAL, Beck Center for the Arts/Baldwin Wallace Musical Theatre Program

Superior Achievement:

Jennifer Korecki, FIDDLER ON THE ROOF, Porthouse Theatre

Joe Brancato, THE DEVIL’S MUSIC, Cleveland Play House

Matthew Webb, SWEENY TODD, Great Lakes Theater

Best National Touring Production:   SLEEPING BEAUTY, PlayhouseSquare

Superior Achievement:                         

THE BOOK OF MORMAN, PlayhouseSquare

WAR HORSE, Playhouse Square

WOODY SEZ, Cleveland Play House

            

 SPECIAL RECOGNITIONS:

Outstanding Body of Work:  Larry Goodpaster, Musical Director, Beck Center for the Arts

Miles Sternfeld for THE WHOS TOMMY, Broadway Fights AIDS 

Talespinner Children’s Theatre, for producing shows for kids that adults can enjoy, using local writers as adaptors and playwrights.

Theater Ninjas, for doing challenging theatrical works and staging them at unique venues throughout northeast Ohio

Great Lakes Theater for 25 years of presenting A CHRISTMAS CAROL which has played to over 600,000 audience members

Members of the Cleveland Critics Center are:  Bob Ableman (Cleveland Jewish News), Roy Berko (CoolCleveland.com, ArtsAmerica.com, BroadwayWorld.com, royberko.info), Kerry Clawson (Akron-Beacon Journal), Mark Horning, (Examiner.com), Christine Howey (Cleveland Scene, raveandpan.blogspot.com), Andrea Simakis (The Plain Dealer), Art Thomas (West Life). 

For additional information about the CLEVELAND CRITICS CIRCLE, including reviewing summaries, links to members’ full reviews, and details about the CCC Speaker’s Bureau, go to:  clevelandtheaterreviews.com