COCK

Dobama
October 25-Novembver 23, 2013

216-932-3396 or dobama.org

Bob Abelman

What determines whether we are attracted to men or to women?  Some would argue that it is our sexual orientation as prescribed by biology.  Others would argue that it is our sexual identity as influenced by whoever’s welcoming arms and supportive community we fall into first.  Both arguments are made in Dobama Theatre’s wonderful production of “COCK,” but the conclusions are as ambivalent as the main character’s sexuality.

To see a full review of this show, read Bob Abelman's News-Herald article: http://www.news-herald.com/search?text=Bob+Abelman


Roy Berko

COCK, Mike Bartlett’s compelling script, under the meticulous and creative direction of Corey Atkins, and some of the very best acting seen on a local stage, is an absolutely must see production.  It’s an A+ experience.   
 
To see a full review of this show, read Roy Berko's blog here.


Fran Heller

At first, the play seems little more than a facile inversion of the classic love triangle.
However, as it develops, it evolves into a thought-provoking work in which issues of identity and sexuality are explored with humor, insight and bracing dialogue.
Don't let the eyebrow raising title turn you off.

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

Mark Horning

Dobama Theatre’s production of “Cock” is top notch.  It is the pure science of acting distilled down to its essence.  This is the play that you wait to appear during the season.  It is here.  Go see it.  

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


Christine Howey

"...if you're up for a battle (cockfight, if you will) between a gay Man, a straight Woman, and John, the fellow who is the object of their affection, then playwright Mike Bartlett has something for you."

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

Generating steam without showing any skin isn't easy, but Atkins and his actors do it. As John and W talk dirty - as well as comment admiringly on the other's anatomy - they move closer and closer, until they stand face to face, rocking slightly and moaning in orgasmic pleasure until the stage goes black. (This is the best time to check out the audience across the way.)"

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

A GRAND NIGHT FOR SINGING

ACTORS' SUMMIT
October 10-November 3, 2013

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

Kerry Clawson
 
''A Grand Night for Singing'' is a sophisticated, polished musical revue that celebrates one of the most enduring partnerships in musical theater — Rodgers and Hammerstein.
This 1994 show, playing at Actors’ Summit in Akron, puts a fresh, at times unexpected spin on scores of this duo’s classics, featuring sparkling musical arrangements by Fred Wells. 

To see a full review of this show, read Kerry Clawson's review here.
 
Fran Heller
 
If you love Richard Rodgers and Oscar Hammerstein II as I do, you'll enjoy "A Grand Night for Singing", a musical stroll down memory lane with some of the greatest songs ever written for American musical theatre.
This breezy 75 minute revue features more than 30 tunes spanning the lesser-known "State Fair" and "Flower Drum Song" to hits like "Carousel," "Oklahoma," "South Pacific" and "The King and I."
 These golden oldies may seem corny and dated to younger audiences, but to this reviewer, they burn bright as ever.

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

Mark Horning

Actors’ Summit’s “A Grand Night for Singing” is a well thought out musical review that streams a collection of unrelated songs from unrelated shows into a story of romance and love.  The singing is top notch with remarkable piano accompaniment.  Make the drive to Akron to see this one.

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

Insomnia

Cleveland Public Theatre
October 10-26, 2013
216-241-6000 or www.clevelandplayhouse.com

Roy Berko

This is a post from the previous CPT production of INSOMNIA:
CPT’s INSOMNIA THE WAKING OF HERSELVES is blessed with flawless acting and is well paced. Anyone who is interested in good acting and a challenging theatrical experience should go to this production. 

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

Mark Horning

Cleveland Public Theatre’s production of “Insomnia, The Waking of Herselves” is probably geared more towards a woman’s point of view and psyche.  Although it was superbly acted, it was not something that I readily understood, but I am not going to lose any sleep over it. 

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


Christine Howey

Director Bobgan keeps the action streamlined and cohesive so that this very internal play never lapses into navel-gazing. The result is a production that is tight, witty and often quite powerful—encouraging all of us to make friends with those moon voices and fanciful spirits that speak to us in the dead of night.

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

THE TEXAS CHAINSAW MUSICAL!

Blank Canvas

October 11-November 2, 2013

440-941-0458 or www.blankcanvastheatre.com

Roy Berko

THE TEXAS CHAINSAW MUSICAL is a fun evening of theatre, as long as you have a sense of humor, aren’t uptight and appreciate absurdity.  Others better stay away!   Me, I kept asking myself, “Why am I laughing hysterically at all this gore?” The answer?  The whole thing was just so bizarre and the epitome of well done farce!

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


Fran Heller

The show isn't great theatre, but it's great fun, depending on your predilection for the mock macabre and blood flying everywhere.
Think "Silence of the Lambs" meets "Bonnie and Clyde."
The musical is a blast, thanks to Patrick Ciamacco's tongue-firmly-planted-in-cheek direction and a superb cast who get the creepy camp just right.

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

Mark Horning

Blank Canvas Theater’s production of “The Texas Chainsaw Musical” is a campy romp that is embarrassingly funny.  You will find yourself laughing at some truly absurd moments while being sprayed with blood from top to bottom…all in fun.  It’s more blood for the money than any show in town.  

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


Christine Howey

Best advice: Grab some of those fun-size candy bars from your plastic Halloween pumpkin bowl and have a blast with this irreverent, song-infused bloodbath.

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

LILIES, the Revival of a Romantic Drama

convergence-continuum
October 12-November 2, 2013

convergence-continiuum.org or 216-687-0074

Bob Abelman

In its playbill for “Lilies, or the Revival of a Romantic Drama,” convergence-continuum asks its patrons to “deposit conventional thinking at the door, and join us in renouncing the real in favor of living the imaginable.”  This may be gilding the “Lilies” just a tad.  French Canadian Michel Marc Bouchard’s play is certainly an interesting piece of theater, and it is getting a very fine production in its Ohio premiere, but it is far from transformative art and requires leaving nothing at the door but one’s mainstream inhibitions. 

To see a full review of this show, read Bob Abelman's News-Herald article: http://www.news-herald.com/arts-and-entertainment/20131021/theater-review-con-cons-lilies-is-a-tender-rendering-of-revenge#.UmU6z5j-dII.facebook

Roy Berko

LILIES is the type of script that should appeal to con-cons niche audience.  The production works well in the small intimate theatre and is nicely directed by Tyson Douglas Rand.

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

33 VARIATIONS

Beck Center for the Arts
October 11-November 17, 2013
216-521-2540 or http://www.beckcenter.org

Bob Abelman

Like Peter Shaffer’s play “Amadeus,” which dramatizes the lives of Mozart and Salieri, “33 Variations” allows us to live with the legendary Beethoven; to share his thoughts and creative process.  But like Beethoven’s creation of 33 variations of a second-rate waltz when only one was requested, playwright Moises Kaufman could not leave well enough alone. His efforts to provide variations on the themes of obsession and illness turns “33 Variations” into a second-rate drama and public service announcement.  Yet, director Sarah May and her cast and crew have created a first-rate production of it. 

To see a full review of this show, read Bob Abelman's News-Herald article:  http://www.news-herald.com/arts-and-entertainment/20131014/theater-review-beck-center-hits-right-notes-despite-flawed-33-variations#.UlwMGH7ZUfk.facebook


Roy Berko

33 VARIATIONS is an intriguing theatrical experience.  The well written script is effectively interpreted by director Sarah May and well performed by an excellent cast.  You don’t have to know anything about music, Beethoven, or the research process to enjoy the multi-messaged work. You should leave with a new appreciation of the musical process, gain an understanding of ALC, and be aware of the fragility of life’s journey.

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

Fran Heller

In this contrived and largely schematic work, fictional elements feel shoehorned in to fit historical fact.
The result is an overly long 2 1/2 hour play that held my attention only minimally until the close finally won my heart.
The best part of "Variations" is Beethoven's glorious music, performed with precision and passion by pianist Stuart Raleigh.

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

Mark Horning

The Beck Center for the Arts production of “33 Variations” is a splendid mix of classical music, drama and mystery that catches hold of your imagination.  While not designed to solve the mystery, it gives enough clues for you to garner your own opinion on the subject.

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

SWEENEY TODD THE DEMON BARBER OF FLEET STREET

Great Lakes Theater

October 4-November 2, 2013

216-664-6064 or www.greatlakestheater.org

Bob Abelman

Director Victoria Bussert’s approach to “Sweeney Todd” is to accentuate all that is theatrical in this play and go for the melodramatic.  And why not.  She has at her disposal a classically trained resident company capable of mastering Shakespeare (its brilliant production of “Richard III” is playing in repertory) as well as Sondheim.  They milk the meaning out of each and every phrase and are skilled at rapidly spewing mouthfuls of words without losing comprehension, lesoning their devised rhythm, or compromising their dire intention.  This is a masterful production of Sondheim's dark and disturbing musical drama.

To see a full review of this show, read Bob Abelman's News-Herald article: http://www.news-herald.com/arts-and-entertainment/20131007/theater-review-great-lakes-unearths-the-shakespeare-in-sweeney-todd


Roy Berko

Great Lakes Theater’s SWEENEY TODD is a spell binding production of a Stephen Sondheim masterpiece.  Those turned off by violence, or who aren’t Sondheim aficionados, may not appreciate the show, but anyone interested in hearing complex music, well sung, encased in a well-honed script that is finely performed, will be turned on by this must see production.
 
To see a full review of this show, read Roy Berko's blog here.

Fran Heller

Director Victoria Bussert draws lots of gore (as well as laughs) with a winking production that hypes the melodrama from the pulse quickening opening scene of a coffin oozing blood to the closing corpse-cluttered bloodbath that borrows a page out of "Hamlet."
More than a murderous tale of a deranged serial killer, Sweeney is an indictment of a soulless and corrupt society (19th century industrial London) of haves and have-nots in which the powerful suppress the powerless, a theme that resonates today.

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

Mark Horning

Great Lakes Theater’s production of Sweeny Todd is “Broadway Worthy” on so many levels.  The combination of the exceptional sets, special effects, costuming, make-up, music, singing, comedy and acting makes you forget the grim nature of this tale and enjoy the show.  It is truly “a cut above.” 

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

Christine Howey
Even with some small wrinkles, the propulsive energy of this production catapults you into this nightmare tale, timed perfectly for the Halloween season.

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


Andrea Simakis

In director Victoria Bussert’s hands, "Sweeney Todd" has both a winking, pop-culture sensibility and the dark, discomfiting tinge of true madness. It’s not an easy line to walk, but Bussert and company do it, delivering a Grand Guignol extravaganza – and the results are bloody spectacular.

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

MATTHEW BOURNE'S SLEEPING BEAUITY

Key Bank Series--Playhouse Square--Palace Theatre
October 1-13, 2013
216-241-6000 or www.playhousesquare.org

Bob Abelman

This romantic tale about a beautiful princess, the enchantment of sleep, and a handsome prince has been told and retold.   It is being told once more at PlayhouseSquare by master storyteller/choreographer Matthew Bourne.  It takes the form of dance theater set to Tchaikovsky’s score and is placed in a darkly gothic setting that mixes fairies with vampires and ballet with contemporary dance.  It is wonderful in conception and gorgeous in execution.

To see a full review of this show, read Bob Abelman's News-Herald article: http://www.news-herald.com/arts-and-entertainment/20131007/second-opinion-sleeping-beauty-meets-twilight-in-glorious-gothic-retelling-at-playhousesquare


Roy Berko

Matthew Bourne’s SLEEPING BEAUTY: Gothic fairy tale, is a ballet not only for the ballet aficionado, but for the person who knows nothing about the dance form, but wants to see a well told tale, marvelously performed, as one will probably never see it again.  As a male acquaintance, who only initially went because he had subscriber’s tickets said to me the day after the performance, “I never thought that I’d go to a ballet, but would say that it was one of the best things I’ve ever seen on stage.”   Yes, this is an absolute MUST SEE!
 
To see a full review of this show, read Roy Berko's blog here.

Kerry Clawson

Lush staging, elaborate storytelling and thrilling dance are more than enough to sweep audiences away in Matthew Bourne's stunningly dramatic version of Sleeping Beauty.
This gothic spin on the original 1890 Tchaikovsky-Petipa ballet combines high danger and awesome beauty in an all-new version of the classic fairy tale that fleshes out Princess Aurora’s love story and humanizes the heroine.

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

Fran Heller

 Is Matthew Bourne's "Sleeping Beauty" dance or theatre?

 The answer is a bit of both.

 Bourne has seized upon a success formula that contains all the elements of drama (character, mood, emotion, conflict) and legerdemain stagecraft without sacrificing any of the fabulous dancing, from classical ballet to more contemporary movements.

The result is a evening of great theater AND great dance. 

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

Mark Horning

Matthew Bourne’s Sleeping Beauty is an amazing production of epic proportions that will dazzle even those who have never seen Classical Ballet before.  It has all the elements needed to take your breath away.  Order your tickets now!

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


Christine Howey

Every movement of the dancers, from the grandest leap to the smallest twitch, is done with an exactitude that is marvelous to watch. And the eye-pleasing scenic design—which ranges from an ornate bed chamber to a misty birch tree forest to a pulsing nightclub bathed in red—keep one engaged throughout.

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

Kory

Is this a traditional night of Broadway? No. Is it an unforgettable, beautiful, eye-popping spectacle? Absolutely. I would recommend everyone (even those who don’t “get” traditional ballet) see this show immediately.

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


Andrea Simakis

The piece is extraordinary, unlike anything you have ever seen, if what you've seen is presentational, classical ballet.  If you think the art form is stuffy and old-fashioned, a boring relic from the 19th century, you must buy a ticket and count the seconds before Borune and his New Adventures company change your mind.

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

Art Thomas

 You don't need to be a fan of ballet to enjoy this production. Princess Aurora, first seen as a puppet with personality, is kissed by her true love before she falls asleep. In a nod to contemporary culture (the final scenes are the present) the happy couple march not off to church but to a bed as the curtain falls. 
 
Click here to read the complete review at WestLife