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