Sunday, September 28, 2014

ANNA CHRISTIE @ Ensemble Theatre

September 26-October 19
www.ensemble-theatre.com or 216-321-2930

Bob Abelman

To off-set all the melodramatic breast-beating and abundance of metaphors that fill this 1921 Pulitzer Prize-winning play, many modern stagings have accentuated all that is sexy and intense in it.  Ensemble Theatre has gone a different route, choosing instead to go for the heart.  And director Ian Wolfgang Hinz, his cast and crew hit it dead-on.

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

Roy Berko


Ensemble’s “Anna Christie” is one of those special theatrical events that is required seeing for anyone who not only wants to appreciate the wonders of Eugene O’Neill’s masterful use of words, but see a flawless production!  Go see a show that actually deserves a standing ovation!
To see a full review of this show, read Roy Berko's blog here.

Mark Horning
While Cleveland is well known for its delving into experimental and avant garde theater, it is refreshing to see a true Pulitzer Prize winning classic, especially when done as well as this one.  This is theater that you experience rather than view and the effect will stay with you for a long time following the performance.  Get your tickets now!
To see a full review of this show, read Mark Horning's blog.

Christine Howey

Sure, we might wish that director Hinz had tried to infuse a bit more nuance into the smiley-face ending. But this is a production that gleams brightly throughout, so we won’t sweat the ending that much.

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


Friday, September 26, 2014

THE MERRY WIVES OF WINDSOR @ Great Lake Theatre

September 26-November 2, 2014
216-664-6064 or www.greatlakestheater.org



Roy Berko
 

Opening night audience reactions to “The Merry Wives of Windsor” varied greatly.  Many of the spectators generally sat in stony silence, not even giving the show the traditional Cleveland standing ovation.  A group in the theatre’s rear section laughed constantly and stood at the curtain call.  A fellow reviewer left at intermission stating, “I’ve never walked out of a show before!” Me?  Though there were some very entertaining segments, this was not one of my favorite evenings of Shakespeare.

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

Howard Gollop

The correlations between this bizarrely updated milieu contrived by director Tracy Young and whatever it was that Shakespeare had in mind are thin at best. The audience is left bereft of any context, responding only to the most superficial of stage antics drummed up by the reasonably talented but desperate cast.

Mark Horning

If you have never seen a Shakespearean play (especially one done by Great Lakes Theater) you simply must see The Merry Wives of Windsor.  It is literally a laugh riot throughout with easy to understand dialog and situations.  Get your tickets early for this is sure to be a sellout.

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

Christine Howey 

For silly stuff to work on stage, it has to have sharp and genuine wit, which is on display in plays such as Spamalot, Urinetown, and Avenue Q. Otherwise, it’s just a collection of old jokes lashed together loosely with mugging and forced gaiety. It's the "try to do something funny here" school of acting.

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

Andrea Simakis
 
Whatever the conceit, Young delivers a Shakespeare that travels at whiz-bang speed powered by pop culture riffs, broad physical comedy and modern slang. Purists might cringe, but "The Merry Wives" is hardly a sacrosanct masterpiece – legend has it that Queen Elizabeth I loved the character of Falstaff so much that she ordered the playwright to whip up another play featuring the chubby charmer in a mere 14 days.

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


Art Thomas
It's "The Merry Wives of Windsor" but it's not Shakespeare. That's fine, but in such a reworking, one would expect half of the changes to make the play more accessible or funny. Here, gross accents obscure meaning, and there are few laughs in the show's first hour. Production concepts are clever but sadly are an experiment with "no reaction".  

 
Click here to read the complete review at WestLife


THE PILLOWMAN @ convergence continuum theatre

September 26-October 18, 2014
convergence-continiuum.org or 216-687-0074

Bob Abelman

Once upon a time, fairytales were a great source of pleasure, poetry and principles for generations of young children.  In recent decades, the Disneyfication of children’s stories has raised concerns that children are getting no message at all or, worse, a blatantly commercial one.  Playwright Martin McDonagh’s “The Pillowman” offers a different take on the worse-case scenario – one that is grimmer than Grimm and, in the hands of convergence-continuum, thoroughly enthralling.

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

Roy Berko


“The Pillowman” is a disturbing script which gets a mainly effective production at con-con.  It is not a play for those who go to the theatre for escapism, but it will be of interest to the type of theatre-goer that likes to delve into the world of motivations, philosophical decisions, and the effects of the actions of others on the psyche. 

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

Mark Horning

This is one of those plays that you will either love or hate depending on your point of view.  It is the epitome of dark comedy where you will find yourself laughing at odd times then questioning yourself about your response.  I found the work intriguing and well worth the effort.


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

Christine Howey


So, does art owe a debt to society or should it just follow its own instincts, wherever they lead? Should art be a humanizing force? Good questions. One way to find answers is to see The Pillowman, throw up in your mouth a little, then start thinking.

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

Sunday, September 21, 2014

AIIN'T NOTHIN' BUT THE BLUES @Karamu

September 16-October 12, 2014
216-795-7077 or www.karamuhouse.org


Mark Horning

 This is a nearly perfect show to take the entire family to.  While you are actually learning some history and getting a feel for the various eras you will find yourself superbly entertained.  See this show for the energy and excitement that the Blues can bring to your life.  It is the best two hours you can spend.

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

AUGUST: OSAGE COUNTRY @ Lakeland Civic Theatre (Lakeland Community College)

September 19-October 5, 2014


Roy Berko
 
The Lakeland production of AUGUST:  OSAGE COUNTY is a well-conceived staging of an award winning script, and though not for everyone, makes for a well worth drive to Lake County.
 
To see a full review of this show, read Roy Berko's blog here.

Christine Howey
 
The first act seems to build tension a bit too slowly, with the actors often tucked up stage in little corners of Keith Nagy’s necessarily complex set. But the second act is mostly a downhill rush to destruction, with the actors and the audience hanging on for dear life.

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


OCCUPANT @ Cesear's Forum in Kennedy's Down Under

September 19-October 25, 2014
216-241-6000 or go to http://www.playhousesquare.org


Roy Berko


“Occupant” is one of those special plays and theatrical presentations that will be greatly appreciated by the serious theater-goer who likes to be exposed to a well-written, thinking person’s play, which gets a fine staging and interpretation.
To see a full review of this show, read Roy Berko's blog here.

Christine Howey

With apologies to Mr. Albee, the best thing about this production is the acting. Under the precise direction of Greg Cesear.

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

Andrea Simakis

In this engaging, ethereal Q & A, [Edward] Albee both eulogizes his friend [artist Louise Nevelson] and fans the flame of her legend.

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



Friday, September 19, 2014

THE LITTLE FOXES @ Cleveland Play House

September 12-October 5, 2014

Bob Abelman

It is near impossible not to like everything there is about Lillian Hellman’s “The Little Foxes” and Cleveland Play House’s delectable production of it.  Southern-fried family dysfunction at its finest.

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

Roy Berko

Lillian Hellman’s “The Little Foxes” is a classic American play which probes into the values, ethics and morals of a group of southerners at the turn of the century.  This is a play and production well worth seeing thanks to Hellman’s writing, Kepley’s directing, the excellent acting, and well-conceived technical aspects.  It makes for a fine opening offering in this, CPH’s ninety-ninth year.

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


Kerry Clawson
 
Lillian Hellman’s 1939 drama "The Little Foxes" presents an intriguing series of character studies in this tale of greed and betrayal among family members.

This chilling production at Cleveland Play House dives into the dark, ugly side of human beings as we watch the ruthless Hubbard siblings — Regina, Oscar and Ben — in their efforts to manipulate and even destroy one another. ... Cleveland native Maggie Lacey is fascinating as Regina Hubbard Giddens, who’s heartless at best as she uses both her invalid husband Horace and her daughter Alexandra (Megan King) for her own selfish plans.


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

Howard Gollop

Cleveland Play House artistic director Laura Kepley infuses a lot of energy and muscle into Lillian Hellman's wicked parlor drama "Little Foxes." Unlike traditional productions or the film version with the cooly demure Bette Davis, the Play House production seems like an altogether different show.

 As the play begins and the wicked Regina commences to battle her conniving brothers for a boost to the family fortune, this Regina (Maggie Lacey) comes across less like Miss Davis and more like Debbie Reynolds in  "Unsinkable Molly Brown." I half expected to see the company break out into a rousing rendition of "I Ain't Down Yet."


Mark Horning

“The Little Foxes” brings together the finest that Cleveland theater has to offer; an excellent work combined with superb acting by an exceptionally experienced and professional cast, a great set, elegant costuming, superb lighting and sound.  In short, it made the Allen Theatre seem bigger that it actually was.  This is great a theater as you will find anywhere in the world.     
To see a full review of this show, read Mark Horning's blog.

Christine Howey
 
Sure, this particular nasty nest of vipers happens to be from the Deep South, and they’re pursuing their ambitions in the year 1900, but we see the same type of people every day in our world. That’s what makes this admittedly melodramatic and formulaic play so compelling.

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

Andrea Simakis
 

Bristling with sexy malice and life, Laura Kepley's production of "The Little Foxes" is fleet-footed, lean and mean, just like the Hubbards, a rapacious Southern family hell-bent on righting the wrongs of Reconstruction by getting rich. (They are the proverbial foxes of the title that "spoil" vines bearing tender grapes.)
 
To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

Art Thomas 

Kepley's direction has a winning style that makes the period piece relevant to today's audiences. Greedy, feuding siblings in the faded elegance of the deep South are even more deplorable in the mansion that is their lair. 
 
Click here to read the complete review at WestLife

Thursday, September 11, 2014

THE SUNSET LIMITED @ none too fragile theater

September 12-September 27, 2014


Bob Abelman

Novelist and screenwriter Cormac McCarthy’s well-crafted diatribe on the meaning of life and death is a brilliant piece of work.   Dense with thoughtful reflection, poetic in its composition, and eloquent in its articulation of diverse philosophical outlooks, “The Sunset Limited” is a pleasure to listen to but displeasing to watch.  It is, quite frankly, a lousy play.

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

Roy Berko
 

“The Sunset Limited” is a thought-provoking script, which gets an intelligent production at none too fragile.  It is a play that will hold the attention of those interested in a philosophical delving into life, religion, and the human condition.

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

Kerry Clawson

Cormac McCarthy’s THE SUNSET LIMITED is a bleak, stark story that pits faith against unbelief as two men from different worlds debate in a New York tenement. .. The entire show is dialogue- rather than action-driven, with the whole discussion taking place in Black’s ghetto apartment. The result is an interesting yet ultimately depressing philosophical debate on the very existence of God.


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


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

FOREVER PLAID @ Beck Center for the Arts

September 12-October 12, 2014
216-521-2540 or http://www.beckcenter.org

Bob Abelman

"Forever Plaid" shows its true stripes in this Beck Center production.  It is corny, contrived and wonderfully contagious.

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

Roy Berko


Director Martin Céspedes’s creative directing and choreography, the excellent talents of Shane Patrick O’Neill, Matthew Ryan Thompson, John Rhett Noble and Brian Altman, and the fine musicianship of Bryan Bird, Bill Hart and Kevin Aylward, all combine to create a most pleasurable theatrical experience in Beck’s “Forever Plaid.”  It’s a relaxing, fun filled, “you’ll enjoy” it experience.

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

Howard Gollup

"Forever Plaid," forever returning to stages everywhere, never fails to put a smile on the faces of those who know the 1950s was more than poodle skirts and Elvis Presley. Local veteran choreographer Martin Céspedes takes the director's helm, and the result is uneven as far as the backstory banter is concerned. Fortunately, the musical staging of the crooning '50s foursome is spot on and at times better than the show's open-ended run at the Palace Theater some 20 years ago.

Mark Horning

From start to finish, Beck Center’s production of “Forever Plaid” delights.  It’s a wonderful trip down memory lane to a simpler time that the passing years have softened.  You will find yourself singing along during the various familiar numbers and humming as you leave.  This is a great show for the entire family to view and relate to. 
    
To see a full review of this show, read Mark Horning's blog.

Christine Howey

The evergreen show Forever Plaid, now at the Beck Center, brings back that era of crooning post World War II innocence. As directed and choreographed by Martin Cespedes, this is an entertaining and endearing representation of the Plaid franchise, even if some of the songs don’t fly as high as they might.

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


Art Thomas 

The cast of four handle the close harmonies with aplomb, and one lucky audience member gets to play "Heart and Soul" with them, but the three minute montage of every memorable novelty act on "The Ed Sullivan Show" remains the highlight of this charming show.

Click here to read the complete review at WestLife

Thursday, September 4, 2014

BELLEVILLE @ Dobama

September 5-October 5, 2014
216-932-3396 or dobama.org

Bob Abelman

According to Russian novelist Fyodor Dostoyevsky, in “The Brothers Karamazov,” hell is the suffering of being unable to love.  Playwright Amy Herzog would argue quite the opposite.     

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

Roy Berko

Belleville” is a dark, draining play.  It looks at the limits of trust, truth, deception and dependency.  Dobama’s production is superb.  The writing, acting, staging and technical aspects all blend together to make for a compelling evening at the theatre.  It’s a must see for anyone interested in theatre and the limits of the human condition.
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

This play is much like slowing down on the highway to view a horrific but spectacular automobile accident.  As our eyes are drawn to the carnage we recoil in horror with what we have witnessed but still cannot stop looking.  This is a work that will sit uncomfortably for some time.  Precisely acted but disturbing none the less.  
To see a full review of this show, read Mark Horning's blog.

Christine Howey
Some of the scariest moments in theater and in life can arise from seemingly predictable, every-day situations. There's something about a placid façade hiding a terrifying secret that is more blood-curdling than a spooky haunted house at night. This is the effect that playwright Amy Herzog is after in Belleville, now at Dobama Theatre. And there certainly are a couple chilling moments. But due to a lot of loose ends in the script and excessively languorous pauses in the performance, the show oozes to a rather limp conclusion.
To see a full review of this show, read Christine Howey's review at  Cleveland Scene

Andrea Simakis
 

That it ["Belleville"] doesn't live up to the hype is something of a conundrum.
Maybe that's because it's one of the most pretentious plays I've seen in years, with the final scene delivered entirely in French (sorry, no subtitles in live theater).

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

Art Thomas