BACK TO BACHARACH AND DAVID @ Actors' Summit

June 12-July 20, 2014

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

Bob Abelman

This production of easy-listening classics is corny but charming and so intimate that it feels as if you are sitting at a piano bar.  All that’s missing is the pretzels and highballs. 

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

Kerry Clawson
 
The musical revue Back to Bacharach and David at Actors’ Summit offers an enjoyable evening of smooth pop stylings by songwriting team Burt Bacharach and Hal David. ...

The cast, featuring Brandon Isner, Chanda Porter, Debra Rose and Lisa Marie Schueller, sings in cool four-part harmony. On Thursday night, pro Mary Anne Prevost joined the group, adding her soprano voice to aid the higher range of Schueller’s vocal part, as the actress was suffering from bronchitis.

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

A MAP OF VIRTUE @ convergence continuum

June 20-July 12, 2014

convergence-continiuum.org or 216-687-0074

Bob Abelman

Smack in the middle of Erin Courtney’s “A Map of Virtue,” a delicate one-act meditation about chance meetings and the currents that guide our lives, lies a psychodrama of Hitchcockian proportions.  It’s the surreal journey leading up to and returning from that dark and disturbing center that makes this Obie Award-winning play so thought-provoking. And it’s convergence-continuum’s mishandling of this that makes its production so mind-numbing.

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

Roy Berko
 
I guess I’m old fashioned.   I prefer a play that, when it is over, I have some idea of what went on and take from it either having experienced a good laugh, a bit of real intrigue, a message, or a moral.  Sorry, philosophically abstract gibberish, and a plot in search of a purpose, isn’t my thing.  If it’s yours, you’ll really be turned on by “A Map of Virtue.’   
  
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

For all you pseudo-intellectuals out there wanting to impress someone, this is a great show to see and discuss for hours over wine coolers at some hip and happening saloon.  For the rest of us “normal” theater patrons, it is a play that makes no sense whatsoever and probably never will.  For me it showed how far the pendulum can swing away from relevant theater.

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

Christine Howey

This bird-centric play by Erin Courtney is often lyrical, chilling and ambitious. And even though it isn't entirely successful, that's no reason to demean it through "cheep" wordplay.

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

Art Thomas 

This, like so many of the Con-Con shows, sounds like a dream when one attempts to describe it. An Obie award winner, "A Map of Virtue" starts with two people in a chance encounter, later they are held captive by wierdos, and finally their relationship is deconstructed and reconciled.  The promised "part comedy" never emerges, but like most Con-Con fare, there is a lot to "unwrap" in post-performance thinking.
 
Click here to read the complete review at WestLife

MY FAIR LADY @ Porthouse Theatre/Kent State

June 12-28, 2014

http://dept.kent.edu/theatre/porthouse/ShowInfo.htm or 330-929-4416 or 330-672-3884

Bob Abelman

The Porthouse Theatre's treatment of this musical theater classic is significantly less grand and interesting than what patrons have grown accustomed to.  It is more in line with dinner theater, but without the beverage service or 50/50 raffle.

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

Roy Berko
 
Under the directing awareness of Terri Kent, and the outstanding performances by Kayce Cummings and Greg Violand, the Porthouse production of "My Fair Lady," made for a fine evening of summer entertainment.

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

Kerry Clawson

Greg Violand and Kayce Cummings make a winsome pair in the Lerner and Loewe classic MY FAIR LADY, the famous tale of  an egotistical phoneticist who tutors a Cockney flower seller to speak the Queen’s English in an effort to pass her off as a high-class lady.

Violand lets the audience in on how confounded Higgins really is by women when he sings tunes such as "I’m An Ordinary Man," elevating himself with lyrics such as "Let a woman in your life and invite eternal strife." 

Lead actress Cummings gets to squawk and snort plenty as the feisty Eliza, who exhibits great physical humor and decidedly unladylike body language.

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

This show about the Cockney ragamuffin Eliza Doolittle being transformed into a refined lady never gets old, as long as the performers are up to the task. And happily, this production at the Porthouse Theatre has two stellar performers in the key roles.

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

POSSUM DREAMS @ none too fragile

none too fragile is located in Pub Bricco, 1841 Merriman Road, Akron
June 13th-28th, 2014

330-671-4563 or http://www.nonetoofragile.com

Roy Berko
 

“Possum Dreams” is a poorly written and conceived script which gets a better than deserved production at none too fragile theater.  While Andrew Narten and Leighann Niles DeLorenzo are excellent, the play, itself, is not.  Oh well, even none too fragile has to stage something that is less than outstanding every once in a while.

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


Christine Howey 

It’s mostly an amazing, intense experience, thanks to his often deftly written script, two spectacular performances and the masterful direction of Sean Derry.

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

Kerry Clawson

POSSUM DREAMS is a fascinating, two-actor portrayal of a marriage gone wrong, contained in just one alcohol- and drug-infused night as husband and wife Walter and Jan Landing — who have been together nearly two decades — finally face their ugly truths.

Audience members are right on top of this awesome fight in the middle of the Landings’ living room, voyeurs to the dynamics between husband and wife behind closed doors. To say this work is intimate would be an understatement. The play, which runs about 100 minutes with no intermission, is a nonstop scene of domestic combat, both verbal and physical.

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

Andrea  Simakis

"Possum Dreams" feels like an unhinged cousin to "Who's Afraid of Virginia Woolf?" and "God of Carnage;" it's a play with similar DNA but willing to go further, break more windows, get into more trouble, than its older relations. 

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

HEARTBREAK HOUSE by Actors’ Equity Association @ Pilgram Church/Tremont

Through June 29, 2014 (Thursday-Saturday @ 7:30, Sunday @ 2:30

Tickets:  216-570-3403, www.heartbreakhouse.org or may be purchased at the door

Bob Abelman

This play is rarely performed due to its length (three acts in over 3 hours) and complexity, both of which are seen as creative challenges by director Bernadette Clemens, her design team, and her cast of professional actors who have self-produced this production.  It's an absolutely phenomenal production!

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

Roy Berko

Those interested in being exposed to George Bernard Shaw and his philosophy of life,  the beauty of his language, his use of humor and satire to develop his message, and are willing to sit through three hours of words, words and more words, many of which can’t be grasped because of the echo in the theatre, will enjoy the Actors' Equity Association Members' Project Code production.

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

Mark Horning

While certainly not the fault of the actors, what truly should have been a masterful and exceptional evening of theater quite plainly is not due to the wrong choice of venue that swallows up all sound from the stage.  Add to this the overdone accents and the rising temperatures in the room it was over three hours not well spent at the theater.    
  

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

STRANDED ON EARTH @ Mamai Theatre

June 5-22, 2014

Theatre Ninjas and Mamai Theatre Company

Bob Abelman

When we first meet Alexandra, the tormented middle-aged artist has her eyes focused on the looming, omnipresent and descending cover of clouds she envisions overhead.  She references the clouds often throughout this play, for her mind, like the weather, is also overcast, turbulent, and undergoing extreme atmospheric pressure. 

Derdriu Ring is one of only a handful of local actors who can play this role; none could play it better.  

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

Roy Berko
 

Mamaí’s mission is “to create intelligent, relevant classical theatre that offers an artistic home for Cleveland’s theatre artists, and equal opportunity for women in the professional theatre community.”  Theater Ninja’s goal is to “reimagine how and why we tell stories, and help us to create deep, fascinating worlds for the audience to explore.”  Their production of Eric Coble’s “Stranded on Earth,” with a master class demonstration of finite acting by Derdriu Ring, well meets both organization’s purposes.   

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

Mark Horning

I strongly suggest that prior to seeing Eric Coble’s “Stranded on Earth” you become familiar with the other two parts of his trilogy, “A Girl’s Guide to Coffee” and “The Velocity of Autumn” either through reviews or synopsizes.  This will greatly add to your enjoyment and understanding of this one woman acting masterpiece starring Derdriu Ring.  Thoughtful, Funny, Intense and Jarring.

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

Christine Howey

In this one-hander, brilliantly performed by Derdriu Ring and directed by Jeremy Paul, Alexa is a 40-something visual artist who is discussing her life in terms of before and after. 

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

Andrea Simakis
 
Actress Derdriu Ring is the white-hot center of a stunning production... Mamai Theatre Company and Theater Ninjas have taken on the most challenging of the three works [Eric Coble's Alexandra plays trilogy]. For me, thanks to this not-to-be-missed collaboration, it is also the most compelling."  

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

TAPPIN' thru LIFE B@ Cleveland Play House

 

May 30-June 29, 2014
216-241-6000 or www.clevelandplayhouse.com

Bob Abelman

Before Vegas and before the rebirth of Atlantic City, the grand hotels in the Borsch Belt of the Catskill Mountains were “the place” for big-name entertainment.  But by the late 1970s and 1980s, these resorts could no longer attract young guests or afford contemporary artists, relying instead on the nostalgic attraction of performers who no longer had the skills or stamina to do what they were famous for.  Earnest and eager to please, they rely on their celebrity, showmanship and storytelling to tap the shared memories of the late-in-life audience in attendance.

Sadly, such is “Maurice Hines is Tappin’ Thru Life.” 

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

Roy Berko

“Maurice Hines Is Tappin’ Thru Life,” is a personable concert, which is more a Vegas act, than a play.  Audiences anticipating 90-minutes of non-stop dancing may be frustrate.  Some might question why CPH is doing a “touring” show rather than producing its own product and why they stage these one-person bio-musicals.  Whatever.  The majority of the audience will come and enjoy themselves. 

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

Mark Horning

I am going to make a prediction that this show will be a sell-out for each and every performance so you had best get your tickets right now.  Vegas meets Vaudeville with great stories, songs, dancing and music.  This is the hot ticket of the year!

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

Christine Howey

If you’re lonely for the kind of polished and unabashedly sentimental lounge acts that Vegas is famous for, then you need to take a relaxing dip in Maurice Hones is "Tappin’ Through Life," now at the Cleveland Play House.

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

Andrea Simakis

The melodic, poignant production at the Cleveland Play House is a loose homage to colossal talents who gave the Hines Kids – the name he and Gregory used when they hit New York's storied Apollo Theater at ages 7 and 5, respectively – a leg up in the dog-eat-dog business: Ella Fitzgerald, Sammy Davis Jr., Judy Garland and more.

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

Art Thomas

If you didn't realize that Maurice Hines has been a major theatrical entertainer for the last seventy years, you will after seeing "Tappin'Thru Life".  He sings eighteen songs, tells as many stories and finally tap dances with the Manzari Brothers in an extended exuberant finale. This is a must-see in an intimate theater setting.

Click here to read the complete review at WestLife

SEMINAR @ Beck Center for the Arts

May 30-June 29, 2014
216-521-2540 or http://www.beckcenter.org

Bob Abelman

What is on display at the Beck Center may not be the play the playwright intended or the “big laugh” comedy some in attendance might be expecting.  But it is certainly the play this play was meant to be.

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

Roy Berko

“Seminar” is one of those special evenings of theatre:  well written script, quality acting, perceptive direction!  The show is filled with both laughter and message that makes it a must see for a perceptive audience!

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

Mark Horning

“Seminar” is a masterfully honest portrayal of the many stages and levels of professional writing.  It proves that great writers do not so much reach greatness; rather they are kicked up to greatness by someone with thick boots.  This one is worth seeing for all the twists and turns.

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

Christine Howey

This snarky and amusing 95-minute play imagines a fiction-writing seminar attended by four bright, self-absorbed, young-ish scribblers who have paid $5K each to sit at the feet of the infamous Leonard, an older writer, editor and supposedly all-knowing guru of all things fictive. And even though the script sometimes strains credulity, the smooth and often witty direction of Donald Carrier delivers a thought-provoking look at the art of writing.

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

Andrea Simakis

“This smart, tart production…has the pacing of an unputdownable read, the kind you don't mind losing sleep to finish”

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

Art Thomas

The characters of four aspiring writers in this script are more fascinating than the characters that the writers imagine for their literature. This wildly successful comedy also makes commentary on the nature of art in a non trite way. 
 
Click here to read the complete review at WestLife

POSSUM DREAMS @ none too fragile

June 13-28,,2014

330-671-4563 or http://www.nonetoofragile.com

Christine Howey

It’s mostly an amazing, intense experience, thanks to a deft script, two spectacular performances and the masterful direction of Sean Derry.

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

ANCESTRA @ Cleveland Public Theatre

May 22-June 7, 2014
216-631-2727 or go to www.cptonline.org

Bob Abelman

The intersection of art and politics is often ungainly.  Some playwrights merely teeter on the periphery of hot and hard topics, thoughtfully contemplating issues but never getting close to the root of the problem.  Others’ efforts to inspire self-reflection, generate public awareness, or instigate social change through storytelling turn preachy, pedantic and off-putting.

“Ancestra,” a compelling new play written by local artists Holly Holsinger and Chris Seibert, directed by Holsinger, and enjoying its world premiere at Cleveland Public Theatre, actually entertains as it pointedly probes and boldly crusades.

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

Roy Berko

“Ancestra” is a well written play that gets an excellent production at Cleveland Public Theatre.  It is a story that needs to be told.  It should be seen by everyone who assumes that the rights movements…the march for equality for women, blacks and homosexuals, have completed their tasks.  Kudos!

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

Mark Horning

“Ancestra” is a historical drama with a profound modern twist.  It reaffirms the thought that freedom for all is a basic human right and no one is free until all are free.  See this one with your wife or husband and talk about it afterwards.

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

Christine Howey

There’s plenty of righteous anger in Ancestra, and that’s a damn fine thing.  However, the play often sounds like compendium of Wikipedia entries, spewing a litany of anti-woman issues only occasionally tethering them to personal stories and felt consequences.

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

Andrea Simakis

If all a production needed were earnestness and topicality, "Ancestra," a new play from Cleveland Public Theatre about the silencing of female voices, past and present, would be a real hit.  But a righteous topic alone does not a fine piece of theater make, and, despite a gorgeous set by Cleveland State University's Aaron Benson, the work amounts to two soggy hours of missed opportunities.

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

VOODOO MACBETH @ Ensemble Theatre: An Ensemble & Cleveland Shakespeare Festival collaboration

May 23rd-June 9, 2014

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

Bob Abelman

Ensemble Theatre, in partnership with the Cleveland Shakespeare Festival, has dusted off and restaged Orson Welles' 1936 adaptation of "Macbeth.”  But it is unclear why.

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

Roy Berko

“Voodoo Macbeth,” a production of Ensemble Theatre in collaboration with The Cleveland Shakespeare Festival is an ambitious project of a historically important theatrical script.  The play requires a level of acting that is beyond the training and talent of most of  the cast, thus the experience is less than it could have been.  

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

Mark Horning

The production of “Voodoo Macbeth” by Ensemble Theatre is neither great nor terrible.  It lies somewhere in the middle.  Good acting by some, tarnished by not so good acting by others, makes for an uneven 90 minutes.  

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


Christine Howey
Directed by Celeste Cosentino and Tyson Douglas Rand, Voodoo Macbeth offers many stellar moments, a number of them revolving around Carly Germany's compelling presence as Lady Macbeth. But one wishes the production designers had gone for broke a little more and tried to capture a bit of the outrageous energy that Welles infused into his legendary interpretation.

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

LEFT IN INK @ Cleveland Public Theater

May 15-31, 2014
216-631-2727 or go to www.cptonline.org

Mark Horning

“Left In Ink” gives a vivid and detailed look into the process of healing for those “left behind” after a suicide.  If you are suffering from a loss (recent or distant), it might be just the thing to help in your healing process.  It certainly opened my eyes. 

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

Christine Howey

It is a bold choice for director Caitlin Lewins and company, a devised semi-documentary attempt to capture the tragedy that suicide imparts on the survivors left behind. Unfortunately, the script as fashioned by Lewins and the ensemble is a mish-mash of banal declarations of grief and mealy-mouthed platitudes.

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

THIS IS NOT THE PLAY @ Cleveland Public Theatre

May 15-31 2014 

For tickets, go to www.cptonline.org or call 216-631-2727

Bob Abelman

Every once in a while, that little voice in our head slips out of our mouth and reveals some hidden truths that can be as amusing as they are provocative.  The wonderful “This is Not the Play,” in its regional premiere at CPT, offers 65 minutes worth. 

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

Mark Horning

Although billed as a comedy there is a deep undercurrent of serious drama that is food for thought.  This is a show that asks some pointed questions about how two races (black and white) truly feel about each other and the lip service we sometimes give to mask our authentic inner feelings.  See this for the laughs but stay for the thought.

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

Christine Howey

This short play feels like a work in progress: It presents some compelling reflections about racial prejudices as well as the creative process, but doesn’t fully explore either. This shortfall is evidenced with brutal clarity in the ending, which is abrupt and essentially a copout by playwright Hutchinson.

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

TRIBUTES TO REUBEN SILVER

Bob Abelman

The world just became less interesting. 

My friend, CSU colleague and the best actor I’ve ever seen died early Thursday at the Hospice of the Western Reserve. Reuben Silver was 88 years old.

I have known Reuben for over 30 years and best remember him as the most passionate and fully engaged man I ever met.  He wept openly and laughed joyfully at my son’s bris.  He would work up a sweat while dining.  And he owned the stage every time he was on it.

The last time I spoke with Rueben was in January, after the opening night production of “Yentl” at Cleveland Play House, in which his wife Dorothy and I were cast.  We met in the lobby of the Allen Theatre and, from his wheelchair, Reuben held my hand and proceeded to critique my performance. 

He said the beard I grew for the play was magnificent.  He told me to speak louder since I was small and easily lost on a stage full of people. And, with a twinkle in his eye that fought through his increasing frailty, he told me not to quit my day job. 

The world most certainly became less interesting.


Roy Berko
 

Reuben’s presence will be missed by those of us who knew, admired and loved him for being such a special person, performer and friend!   There is one less star in the local theatre community sky, and tears in many eyes, with his passing.

To read the full tribute, read Roy Berko's blog here.

Christine Howey
 

He always knew the show must go on. And so it will, for Dorothy as well as their three children and four grandchildren. For them, and us, the show will forever be burnished to a warm glow because we were touched, in so many ways, by the gentle genius of Reuben Silver.

To see the full tribute, read Christine Howey's article at  Cleveland Scene

Andrea Simakis

Playhouse Square will dim the State Theatre marquee on Saturday from 8 – 8:15 p.m. in Reuben Silver's honor.  Silver, who lit up Cleveland's stages for more than half a century, died Thursday, May 8 at the Hospice of the Western Reserve. He was 88 years old.

To read the full tribute, read Andrea Simakis' blog or visit Cleveland.com here.

BATHROOM HUMOR @ Blank Canvas

1305 West 80th Street, Suite 211

May 9-24, 2014
www.blankcanvastheatre.com or 440-941-0458

Bob Abelman

In previous Blank Canvas productions, director Patrick Ciamacco has managed to infuse bad plays with bold choices, resulting in interesting outcomes.  Not so this time.  The limp script and Ciamacco’s poor casting decisions result in a flat, mostly unfunny enterprise.  

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

Roy Berko

As we exited the theatre after “Bathroom Humor,  my next-to-seat neighbor said, “Oh well, it is what it is, and I’m not sure why it was!”  ‘nuff said.

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

Mark Horning

Bathroom humor, potty jokes, porcelain poetry.  If words like poop, pee, fart and vomit make you titter then this is the show for you.  As for the rest, you may want to think twice or thrice about seeing this transparent “comedy.”  It scored nary a chuckle from me in the entire 90 lonnnnnng minutes.

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

Christine Howey

Ciamacco is one of the most gifted theater honchos in the area, and up to now his choices for plays have been unconventional and interesting. Hey, everyone’s entitled to crap out now and then. And this one, despite the laughs it generates, is definitely an aimless turd floating in the otherwise glittering BCT pool.

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