Roy Berko
GREASE, Porthouse-style, is a nostalgic reminder of the era of mid-1900’s and left those of a certain-age satisfied and maybe those of the Information Age/Digital Age asking “what was the attitude, grease and angst” all about.
To see a full review of this show, read Roy Berko's blog here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
Those who loved the stage version of the flapper favorite "Thoroughly Modern Millie" should equally adore "Thoroughly Modern Gatsby."
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
For fans of the book and/or movies you may find yourself puzzled at the liberties taken and may leave wanting more grit and suffering. The rest of us will be satisfied with the spectacular sets, musical numbers, cars and jazz (sex) as a fine example of when Broadway is at its best when it hits the local stage.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
The extremely gorgeous set, designed by Paul Tate DePoo, paradoxically suggests the ephemeral nature of the intoxicating, alluring, and giddy lifestyle desired and pursued by many. Multiple panels with projected images create a distinct Art Deco style. Those windows, with decorative motifs and circular, oval, and floral patterns, resonate with those designed by Charles Rennie Mackintosh. The design vibes also come from Frank Lloyd Wright, who designed simple, chic, and yet spectacular windows with simple geometric shapes and lines. In Gatsby’s mansion, vertical lines are the repeated patterns/images, functioning as a visual metaphor, with different colors and sparkling reflections that easily morph into “other objects,” such as tons of books in the library. The patterns and landscape that represent different styles of “modernity”—including a view from Gatsby’s mansion—are beautifully projected by DePoo, who also serves as the projection designer. Lighting designer Pattack uses sectional/partial lighting to illuminate each character, expressing the ominous, foreboding, dark, and contrived fate of those who may continue their self-destructive and frivolous lives.
To see a full review of this show, read Yuko's posts here.
Joey Morona
The musical softens the source material’s darker edges, deepens its characters and leans into the romance. The result is a sweeping, tragic tale of star-crossed lovers that loses some of the original’s bite but makes for a more satisfying night at the theater.
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
This could amount to sheer chaos, but it all comes together surprisingly well with the Beck Center talents of director Don Carrier, who gets a lot out of his young actors, and especially scenic, lighting and projection designer Cheri Prough DeVol, who turns the highly intimate Beck Center Studio Theater into a virtual visual extravaganza.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
No review yet.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
Though written in the early 2000s and premiered as a workshop production at Brown/Trinity Repertory Theatre in 2006, the play remains strikingly contemporary today. The play's opening scene between Solomon (Jonathan Koppleman) and his teacher (Laura Rauh) makes me wonder whether it has been updated for 2026; to that extent, the issues feel timely. This timelessness is emphasized by Don Carrier and his designers. For example, a tote bag with a rainbow “Their, theirs” print reflects today’s concerns about and defiance of personal and institutional attacks on the LGBTQ+ community across the nation.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
“Cleveland’s up-close and OUT there Theatre” has truly stretched the edges of reality with this absurdly dark comedy. Fans of Con-Con will flock. How they react will be anyone’s guess. See the show and make up your own mind.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
Under Barclay’s direction, which emphasizes a blend of dark, serious, mildly comedic, real, and surreal elements, the performers—Demanelis as Anne, Atkinson as Genevieve, Starkman as Isabel, Frye as Steve, Centeno as Juan/John, Bartlett as Faceless Ghost, and McFadden as Mary—articulate Arbery’s words with effective, rhythmic clarity. Demanelis, Atkinson, and Starkman place their characters in the real and the surreal, emphasizing their quiet chaos, confusion, and madness in a compelling and peculiar way. Somehow, however, the audience seems to miss the subtle humor embedded in the script.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
WORTH NOTING:
In order to bring attention to local productions of merit at theaters that are not on the Cleveland Critics Circle’s approved Equity Theater list, members of the Circle who attend a community or educational theater production that is perceived as of high quality will have the option of listing that production on the CCC blogsite. These review(s) fall into that category.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
So you thought your family was dysfunctional beyond repair? Short of the Manson family this clan will have your family gathering for a group hug in the lobby. It takes exceptional actors to convince you how mean they are and this cast excels in every way. This is a feel good show in the aspect that it will make you feel good about your family no matter how messed up they are.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
LatinUs Theatre Company (Cleveland, Ohio)’s La Malasangre (1981, premiered 1982), written by Griselda Gambaro and directed by Fabio Polanco, is an unsettling, visceral, disturbing, and poignant work that critiques dictatorship during the Dirty War and authoritarian regimes past, present, and future. The show underscores the intersection of sexism and fascism—the recurring alliance between authoritarian governments and their supporters. Polanco’s direction emphasizes each character’s relationship to violence, dictatorship, and cruelty, as they constantly shift from “supporters” to the victimized. Polanco clarifies, through the actors’ presence, movement, and physical actions, the state of physical and psychological abuse, which is contagious and blurs the boundaries between the victimizer and the victim.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
Like the dynamic duo of an awkward genius teen dwarf atop the shoulders of a goonish 6-foot-plus classmate charging through their bullying high-school classmates, the new (apparently) Broadway-bound musical "Freak the Mighty" charges into the Cleveland Play House Allen Theater stage with music, comedy and pathos to spare.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
In each of our lives there is that one person who made a huge difference in how we turned out. This is a show that emphasizes the positive influences that we all need to be put on the right track. It is a story of inclusion, honesty, acceptance, humor and redemption with side travels into bullying, trauma and grief. It is, in short, a complete musical that you will love.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
The play is more than a special friendship between two outsiders. It sheds light on the possibility of supporting and respecting one another more, regardless of differences, challenges, and “gaps.” The musical also highlights the miraculous power of reading, imagining, and writing, as well as the important creative process, which people tend to forget. The musical, which “exists” in Maxwell’s memory and its documentation, reiterates the magical power of writing, just as Merlin (this legendary character also writes a lot) does. Barakiva emphasizes this aspect by highlighting scenes between pairs of people from different groups, with detailed attention to visual and auditory elements. The “Our Town” (CPH’s first show in the 2025-26 season)-ish funeral scene conveys a sense of communal mourning. The power of compassion, remembering, and documenting is symbolized in the last tableau, which reminds me of the last scene of Shakespeare in Love, another work (CPH staged it in 2017) that celebrates imagination and creativity.
To see a full review of this show, read Yuko's posts here.
Joey Morona
With its uplifting story and built-in audience of readers who grew up with Philbrick’s novel — or saw the 1998 movie version “The Mighty” — Cleveland Play House’s production of “Freak The Mighty” certainly has what it takes to make it to Broadway.
To see a full review of this show, read Joey's posts here.
Through May 31, 2026
http://www.seatofthepants.org
WORTH NOTING:
In order to bring attention to local productions of merit at theaters that are not on the Cleveland Critics Circle’s approved Equity Theater list, members of the Circle who attend a community or educational theater production that is perceived as of high quality will have the option of listing that production on the CCC blogsite. These review(s) fall into that category.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
No review yet.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
Whether you love or loathe reading, there’s little question as to whether you will enjoy “The Book Club Play,” a show that explores the life-altering capabilities of story and examines the power of community, all while tapping into the absurd humor of everyday interactions and relationships.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
What Bohan underscores in this production is a sense of familiarity with book clubs, making the audience an extension of the play’s world. The human drama within this small club explores recurring themes, including rigid definitions of what (great) literature should be, the contrast between high and low cultures, hidden feelings and identity, and “differences” that too often create conflict and misunderstanding.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
WORTH NOTING:
In order to bring attention to local productions of merit at theaters that are not on the Cleveland Critics Circle’s approved Equity Theater list, members of the Circle who attend a community or educational theater production that is perceived as of high quality will have the option of listing that production on the CCC blogsite. These review(s) fall into that category.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
Be in for a huge surprise when you enter this amazing community theater. There you will be awed by a meticulously constructed stage set along with sumptuous costuming as well as one of the most professionally acted comedies ever. The laughs come easy and often as the hapless Mortimer tries to keep his cool in the home he grew up in and never suspected as being a private cemetery. Tickets will be scarce for this one so order early.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
No review yet.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
To call Star Machine “lively” might be the understatement of the season. It’s a musical that cleverly parodies (and just plain has fun with) the “show business is a competition” mentality as seen in America’s Got Talent or The Voice. Yes, it needs a bit of refinement (cutting and tightening episodes), but it’s well on the way to winning the real show biz Star Machine (and Hello Broadway!).
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
“The Outsiders" is indeed worth it, thanks to the immeasurable talents of director Danya Taymor (niece to "Lion King" director and Oberlin grad Julie Taymor), plus the continuous narrative choreography of Rick and Jeff Kuperman and a show-stopping scenic design by Tatiana Kahvegian, culminating in a thunderstorm fight scene and an abandoned church set ablaze, brilliantly conceived by special effects designers Jeremy Chernick and Lillis Meeh.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
Everything about this show is gritty and intense (there is even gravel on the stage). The acting, music, dance, costuming and stage set all meld into a mosaic of grimness that speaks truth of that time and city. The rumble scene unfolds with a fury that makes it the most piercing sequence ever performed live on stage complete with a full blown rain storm and stop action. This is theater at its best and most exciting.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
It’s a winning music- and dance-centric show, as musicals should be, with a stage full of young talent. Never mind the old “teens-are-out-of-control” storyline. Nothing new under the sun anyway, right? Recommended as the best musical so far, of this season’s KeyBank Broadway Series.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
"I understand the desire to capture “The Outsiders,” to package it up and relive it again and again, as the production is about as close to perfection as you will likely see. But this triumph on stage is only made more remarkable thanks to its fleetingness, its immediacy."
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.
Joey Morona
This is a show that makes your eyes pop and your heart swell.
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
While at times playful and humorous, the play never strays far from its serious side of the heartbreak of immigration and the stress it causes. Here are people who for all intensive matters are “citizens” who love America and work hard to stay here but by a quirk of fate are hunted. Some audience members may be put off by the out of rhythm syntax exhibited early on. Hang in there...it gets better.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
"It features no props, no robust backdrop, no furniture. It is all highly abstract, it is incredibly theatrical and–astonishingly–it is still achingly, wonderfully realistic."
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
Dobama Theatre’s last show of its 2025-2026 mainstage season, the Cleveland premiere of Sanctuary City by Martyna Majok, directed by Nathan Motta, featuring three performers— Lloyd Wayne Taylor, Diwe Augustin-Glave, and Jacob Gonzalez— is an extremely timely, moving, educational, and compelling work that speak volumes about the cycle of systematic exclusion and unwelcoming “acts/Acts” that the United States has developed over many decades and then exacerbated in the 21st century in particular.
To see a full review of this show, read Yuko's posts here.
Joey Morona
“'Sanctuary City'” is as heartbreaking as it is essential. It is the story of two DREAMers whose hope and humanity become impossible to ignore."
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
1942 was an extremely charged time in our history. Young families were torn apart with no assurance that the men would return in one piece. No modern theater work comes close to recreating that time of doubt. Many older audience members will recall what their parents went through. Ohio Shakespeare Festival manages to recreate the vibe that was that faraway time. Get there early to enjoy the music from that era.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
The strength of this production under Cates’s direction is the performers’ grasp of Shakespeare’s works. Recitations embedded in Brant’s script are delivered with musical and poetic precision, and a group of performers excels at embodying their Shakespearean characters from the 15th century and their 1940s counterparts. Sarah Pine, as Maggie, portrays her character with clarity and commitment. With impeccable enunciation (no one uses a microphone), Pine conveys her character’s thoughtfulness and kindness on one hand and tenacity and determination on the other. Opposite Pine’s Maggie is Holly Humes, as Celeste, a diva-actor who clings to the young roles for which she was once celebrated.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
This is a show that will not be to everyone’s taste. Families with young children should think twice as well as senior citizens who are easily offended. It is a show that tries too hard to be too many things...madcap comedy...serious crime drama...feminist manifesto...period piece. If you like a challenge, give it a go and see if you agree.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
Playwright Kate Hamill has modernized the classic Sherlock Holmes detective meme and kept the classic Arthur Conon Doyle mystery elements that tickle our fancy. Life’s all still a chase for golden rings, revenge, murder and dominance.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
"The case of “Ms. Holmes & Ms. Watson – Apt. 2B” is one that the detectives at Great Lakes Theater can’t quite crack."
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.
Joey Morona
"If you can get past what you think these iconic characters should be, then your attendance, my dear, is elementary."
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
There's not much a theater company can do to either ruin or elevate one of the most popular and familiar musicals in history, especially in the wake of the iconic 1965 film adaptation. But the current tour of "The Sound of Music" surprisingly succeeds at the latter, breathing fresh life into what could have been a stale encounter.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
If you ever wondered how the movie plays on a live stage (it started out as a highly successful Broadway show), here is your chance to witness a truly remarkable performance. All of the songs are there and then some. There is equal parts of love, laughter, chaos and danger that has the time fly by. It truly will become your favorite show.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
Howard Gollop
The production concept energizes the entire production to a certain point, but at times the still classically honed dialogue of Renjit Bolt's skillful adaptation -- maintaining smart rhyming couplets -- becomes a bit jarring.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
Historically, comic farces of this type date back to ancient Greek and Roman times. (Moliére’s version poked fun at France’s Louis XIV who suppressed it). The Ranjit Bolt translation sets the show as an unlikely 80s sitcom that somehow works well. The action flies by at a breakneck pace as characters race each other up the tall staircase steps (replacing the slamming doors a la Ken Ludwig). If you are a fan of loud comic farce, this is your show to love.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
CPH offers a lively engaging production of an old old story. It’s not all that hard to relate to characters imagined by Molière. (All we have to do is look at the news.) A bit of laughter goes a long way and sometimes, as the trite saying goes, it’s the best medicine.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
"Yet in the capable hands of Cleveland Play House, the centuries-old “Tartuffe” is given a clever ‘80s sitcom twist that modern audiences will find wholly accessible and entirely enjoyable."
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.
Joey Morona
An entertaining, engaging reimagining that feels both classic and contemporary at the same time.
To see a full review of this show, read Joey's posts here.
WORTH NOTING:
In order to bring attention to local productions of merit at theaters that are not on the Cleveland Critics Circle’s approved Equity Theater list, members of the Circle who attend a community or educational theater production that is perceived as of high quality will have the option of listing that production on the CCC blogsite. These review(s) fall into that category.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
For a small non-equity community theater this show poses a lot of problems to produce but with careful selection of the various actors and a lot of hard work and practice they pull it off stupendously. This is one of the better productions of this work that you will find.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
This show attempts to juxtapose two seemingly unrelated events bringing them to separate but related conclusions. Reading up on your Greek mythology will help you understand part of the show. The ninety minute without intermission is “trippy” to say the least as it is filled with strange concepts that will test your imagination.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
While not a bad production by any means, I simply found my mind wondering and my eyes checking my watch during the performance. While a believable premise, the show simply failed to engage me. I have no problems with the subject matter...just the presentation. Buy a ticket and see if you agree.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
Through April 19, 2026
(216) 795-7070
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
This is music performed in its purest form with thirteen incredible voices blending together in heavenly harmony as their story of hardship and success unfolds before us. You will feel all of your emotions well up from deep inside as you laugh, cry, ponder and rejoice in the sanctity that is gospel music.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
No review yet.
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.
Joey Morona
No review yet.
To see a full review of this show, read Joey's posts here.
Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.
Howard Gollop
No review yet.
To see a full review of this show, read Howard Gollop's review here.
Sheri Gross
No review yet.
To see a full review of this show, read Sheri Gross' review here.
Mark Horning
To be honest, the show is rife with unlikable characters whom you would have avoided in high school as well as any reunion get together. That is its strength. As you realize that these students had been drawn together so many years ago by necessity you develop an empathy for each damaged person. Add to this a better understanding about Death and you have an intriguing work. The show title’s definition says it all...look it up.
To see a full review of this show, read Mark Horning's Review here.
Laura Kennelly
No review yet.
To see a full review of this show, read Laura's posts at Cool Cleveland.
Kate Klotzbach
No review yet.
To see a full review of this show, read Kate's posts here.
Gwendolyn Kochur
"If I asked you to picture Death, what image would you conjure up? Most imagine Death as a grim reaper: a tall, cloaked figure wielding a scythe and masking a skulled face behind the shadows of a hood. Not playwright Branden Jacobs-Jenkins, who gives Death a chilling, intriguing new face in his show “The Comeuppance,” now playing at Dobama Theatre."
To see a full review of this show, read Gwendolyn's posts here.
Dr. Yuko Kurahashi
No review yet.
To see a full review of this show, read Yuko's posts here.
Joey Morona
Pulitzer Prize-winning playwright Branden Jacobs-Jenkins explores the lingering effects of the pandemic on a group of friends in Dobama Theatre’s provocative and engaging production.
To see a full review of this show, read Joey's posts here.