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

GROUNDED @ Cleveland Play House

May 7-17, 2014

216-241-6000 or www.clevelandplayhouse.com

Christine Howey  

The weird, detached nature of drone warfare is front and center in this play, written with compacted intensity by George Brant.

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

Andrea Simakis
 
Everything about "Grounded" – from the mesmerizing Hannah Cabell to the transporting language of George Brant's propulsive script and director Ken Rus Schmoll's confident, spartan staging – conspires to pull you, with a subtle, growing velocity, into the eye of a howling gale of emotion. You've no choice but to batten down the hatches and go along for the white-knuckle ride.

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

JERSEY BOYS @ PlayhouseSquare

May 6-18, 2014

216-241-6000 or www.playhousesquare.org

Bob Abelman

While Valli himself has no-doubt lost a few notes at the high end of the scale, this production of “Jersey Boys” is still as engaging, entertaining and ever-young as it was in 2011, 2008 and 2006. 

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

Mark Horning

This is the show that probably every subscription holder for the KeyBank Broadway Series has been waiting for and will not be disappointed by in any way.  High energy, great songs, a good story and well timed comedy combined with compelling drama makes this a must see conclusion to the season.  This is blue collar music that we all grew up with and you will find yourself fighting the urge to sing along.    
 
To see a full review of this show, read Mark Horning's blog.

Art Thomas

Although this is a traditional musical with a good story, the audience waits for the "performance pieces" and they are not disappointed with this production of "Jersey Boys". Reimagined lighting enhances the show with effects that were not invented when the show was written.

Click here to read the complete review at WestLife

CODE @ Theatre Ninjas

May 1-18, 2014
78th Street Studios

1300 West 78th Street, Cleveland 44102

tickets:  theaterninjas.com

Mark Horning

Theater Ninjas has a knack about breaking the fourth wall (as well as the 1st, 2nd and 3rd wall as well). “Code: Prelude” is a sensory overload of sight and sound that will leave you pondering on many levels. If you like your theater with a twist as well as a shove towards thinking original thoughts, this is the play for you to see. What at first seem to be random discourses (both verbal and displayed) are all interconnected with great thought and care. It’s a trip.    

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

Christine Howey

This is an expansive and boldly imaginative production, and for that it earns serious kudos. However, much of this excursion into the mathematical unknown, as directed by the pathologically-inventive Jeremy Paul, is sensory overload. 

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

RING OF FIRE @ Actors' Summit

May 1-25, 2014

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

Bob Abelman

Although careful to avoid impersonating Johnny Cash, there is no sidestepping Cash’s trademark low notes in many of the songs that are sung during this show.  Not one of the featured performers is able to go to that place where heartache and hard times reside, which speaks volumes about this production of “Ring of Fire.”  

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


Kerry Clawson
 

Parts of "Ring of Fire" need polish, but the Actors’ Summit production as a whole captures the rebel spirit and brooding style of the American icon that was Johnny Cash. ...
If audiences are willing to overlook some inconsistencies in quality, there’s still a lot to like about "Ring of Fire," named for the 1963 Cash hit that Rolling Stone named No. 87 among the Greatest Songs of All Time.

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


Mark Horning

What is lacking in a polished performance is made up by a hyper-enthusiastic audience who hung onto each note and rewarded the performers with loud clapping and cheering.  While not my cup of tea, fans of the man in black will flock to this show and love it despite its flaws.

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

SWIMMING IN THE SHALLOWS @ convergence continuum

May 2-24, 2014

convergence-continiuum.org or 216-687-0074

Bob Abelman

While the play’s shallowness is the source of its charm and appeal – like an episode of “Seinfeld” – it is also its downfall, for the play seems aimless and ends as abruptly and empty-handed as it begins.  Not that there’s anything wrong with that. 

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


Christine Howey
 

Oh no! Senator Rick Santorum’s twisted fever dream of the ultimate effects of gay sex have come true! But it’s worse! Santorum only imagined same sex coupling leading to “man-on-dog” relationships. But in Swimming in the Shallows, now at convergence-continuum, it is man-on-shark sex that is at issue. And as it turns out, that cross-species dynamic is the most interesting part of a production that disappoints at almost every level. 

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


Art Thomas

Not a major work by any means, this show explores a variety of relationships through very short scenes. At an intermissionless one hour, that is more than enough time to check out both a gay wedding and a man enamored with a shark. 

To see a full review of this show, read Art Thomas' article in "WestLife" here