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