HOW WE GOT ON @ Cleveland Play House

October 24-November 16, 2014

216-241-6000 or www.clevelandplayhouse.com

Bob Abelman

The hip-hop infused “How We Got On” is more interesting when perceived as performance art than as a play.  However, while the performances are very well done, there is still not much here on which to hang one’s hat.

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

Roy Berko

CPH’s production of HOW WE GOT ON is, in the jargon of the ‘80s, “dope” [good].  It opens the door to a “fresh,”[new and acceptable] understanding of suburban rap.  It takes the audience on a journey to view a “whack” [unconventional] side of music and modern poetry that many have not experienced.   In other words, this is an educational, enjoyable, enlightening, and well conceived production!  Yes, it’s a must see experience!

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


Mark Horning

If you go to the theater to experience the unique and different then this play is for you.  Don’t let your feelings about rap music hold you back.  This is a play about children coming of age and facing life on their own terms.  For those who are fans of this particular music genre you will be happy with the representation.  It is a play for all to enjoy no matter who they are or where they are from.  This chit is dope, bro.  
  

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

Christine Howey

If rap music is anything, it is a continual flow of words tumbling over each other in a giddy frenzy of rhymes and startling images. Unfortunately, How We Got On never “gets it on,” as the performance is shot through with countless long pauses and contemplative silences, as if this was Death of a Salesman or something.

To see a full review of the show, go to raveandpan.blogspot.com

Andrea Simakis 

You'll spend a pleasant evening clapping alogn with Idris Goodwin's friendly, buoyant primer.  If the production were a class, it would be titled "Introduction to Hip-Hop 101"  (When composing lyrics, smiiles are better than metaphores.)

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

Art Thomas

The subject matter of the play is the transition from Rap to Hip Hop which is innovative enough. Beyond this, the plot follows two guys who want to leave their mark on music, their youthful idealism, and  the frustrations of school and parents versus the urge to create and share. Those who come with an open mind will leave 90 minutes later with a better understanding of what drove music of the  late 1980's and  90's.

Click here to read the complete review at WestLife

THE NORWEGIANS @ Dobama

October 24-November 16, 2014@ Dobama

October 20-24, 2014@ MOCA Cleveland
216-932-3396 or dobama.org

Bob Abelman

At first glance, there is little to love about C. Denby Swanson’s comedy “The Norwegians.”  But rising out of its numbing simplicity like a Phoenix – a very, very funny Phoenix – is an absolutely brilliant piece of storytelling.

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

Roy Berko

“The Norwegians” is the kind of script that some will like, some will dislike.  It gets a better production at Dobama than the material probably deserves.

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

Mark Horning

Don’t let the phrase “bitter comedy” scare you away.  The show is sprinkled throughout with wonderful examples of dry humor and upper mid-west colloquialisms which are a joy to discover and laugh at even after the moment has passed.  The production does not let the grim subject matter get in the way of the comedy.  This is a good one to catch.  Uff Da, You Betcha! 

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

Andrea Simakis

"The Norwegians" begins to wear thin as the minutes tick by. . . .When a woman up-ending her bag and rifling in its conttents is a show's most thigh-slapping moment--Oofta!

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

NIGHT OF THE LIVING DEAD @ Blank Canvas

October 17-November 1, 2014

440-941-0458 or www.blankcanvastheatre.com

Roy Berko

It’s the Halloween season, the traditional time of the year to pay homage to ghosts, goblins, and of course, zombies.  Pat Ciamacco and his merry band of performers give the audience a chance to wallow in stage blood, feign fear of the denizens of the dark, and enjoy themselves by watching the “Night of the Living Dead.”  Just remember, “Hamlet” this ain’t!

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

MAKING GOD LAUGH @ Actors Summit

October 9-November 2, 2014

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

Roy Berko
 
“Making God Laugh” is one of those nice escapist evenings of theater that will induce laughter, cause nostalgic trips to yesteryear for the more mature members of the audience, and incite awareness of the fears of some as they look forward to the “golden” years.   
 
To see a full review of this show, read Roy Berko's blog here.

Kerry Clawson

The play has plenty of explosive family dynamics and a running gag about a special holiday “fantasia dip,” but it also has its share of serious moments. For all the zingers playwright Sean Grennan has created for this family to insult each other with, when the going actually really gets rough, they’re there for each other.

To see a full review of this show, read Kerry Clawson's review at http://www.ohio.com/entertainment/kerry-clawson.

SPIRITS TO ENFORCE @ Cleveland Public Theatre

October 9-October 25, 2014
216-631-2727 or go to www.cptonline.org

Bob Abelman

This play is the stuff as dreams are made of and should not be missed.

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

Mark Horning

While novel in its concept there is something lacking comically in the delivery.  Some of the jokes had the audience erupting in laughter while others fell flat.  In comedy, timing is everything but the show is worth seeing if you have a free evening.

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

[title of show] @ Beck Center for the Arts

October 10-November 16, 2014

216-521-2540 or http://www.beckcenter.org

Bob Abelman

Broadway is currently abuzz with the star-studded backstage comedy “It’s Only a Play,” by four-time Tony Award winner Terrence McNally.  Do you see what I did?  This is a review of Beck Center's“[title of show],” but I have yet to actually review “[title of show].”  Do you see what I am doing now?  I am writing about my writing of a review.  And now I am writing about my writing of my writing of a review.  So goes the wonderfully performed but very tiresome self-referential meta-musical “[title of show].”

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

Roy Berko

During the performance, when the cast of “[title of show]” are reading the show’s opening night reviews, it is revealed that Broadwayworld.com panned the show.  The Beck Center doesn’t have that problem.  This review (yes, it will appear on Broadwayworld.com, one of the sources that carries my show reactions) will be stating, ”[title of show],” now on stage at Beck Center for the Arts, in Lakewood, Ohio,  is a delightful theatrical experience, that audiences should enjoy!”).
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

If you are really really into theater, you may get a mild kick out of [title of show] otherwise at the very least you will catch a few minutes of nap time to prepare for the after theater festivities. 

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

Christine Howey

But you couldn’t revive this show with the world’s most powerful defibrillator. Though [title of show] won an Obie Award in 2006, it now needs to be taken behind the barn and shot—so Bowen, Bell and the rest of us can move on with our lives.

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

Art Thomas

This lightweight show has achieved a cult following. There are dozens of clever lines and very funny bits of business in the hands of Beck's talented cast and director. The audience for [title of show] are theater fans.
  
Click here to read the complete review at WestLife

MOTOWN-THE MUSICAL @ STATE THEATER/PLAYHOUSE SQUARE

October 7-19, 2014

216-241-6000 or www.playhousesquare.org

Bob Abelman

“Ain't no mountain high enough; ain't no valley low enough” are more than just lyrics from a Diana Ross hit single for the once great Motown Records label.  They pretty much sum up “Motown: The Musical,” currently on tour and on stage at PlayhouseSquare.  The production's songs and showmanship soar, but the show's writing falls well below the low expectations set for jukebox musicals.

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

Roy Berko

If you like the Motown sound, dynamic singing, and a good history lesson, MOTOWN THE MUSICAL will be your “thing.”  It was definitely my thing!  As the silver-haired lady, standing several rows in front of me, jumping up and down and waving her hands from side-to-side, kept yelling during the curtain call, “That was cool!”

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

Kerry Clawson

I can honestly say I've never held hands with strangers at a musical performance. But I'm happy I did at MOTOWN THE MUSICAL.
It's a powerful moment that actress Allison Semmes creates as Diana Ross, striking out in her solo career with the seminal tune "Reach Out and Touch." Like Diana, she interacts with the audience, giving some a chance to sing at the microphone, and asks everyone to hold hands, sway and sing along.

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


Howard Gollop

Then again, this show never really makes a pretense of being anything other than a lavish jukebox musical — and that’s just fine for the audience savoring the electrifying talents bringing Motown’s halcyon days back to dazzling life.

Mark Horning

This show faithfully recreates the magic and energy of the MoTown live performances from long ago with all the costuming and special effects that made them “A Happening”.  Once the overly loud orchestra is toned down it will make for a great evening of entertainment.  Tickets will be scarce for this one so buy them now.     

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

Andrea Simakis

The orchestra, lead by conductor Darryl Archibald, sizzles all night long. The ridiculously good-looking cast is superb; ensemble members and headliners belt and hold notes longer than lungs should allow.

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



Art Thomas

This is an unrelenting assault on the eyes and ears. Close to sixty works tell the story of  Berry Gordy, his record label and the larger than life figures of Smoky Robinson Diana Ross and Marvin Gay. I enjoyed the ensemble pieces more, because of their joyous choreography. There'll be "Dancin' in the Streets" with this show. 
 
Click here to read the complete review at WestLife

LES MISERABLES @ Great Lakes Theater

October 3-November 9, 2014

216-664-6064 or www.greatlakestheater.org

Bob Abelman

Is there a person left on earth who has not yet heard the people sing, singing the song of angry men?   “Les Misérables” has played over 48,000 professional performances and reached over 70 million people in over 40 countries, including two U.S. national tours that swept through Cleveland in 2011 and again in 2013. The question is not who has not yet heard the people sing; the question is whether it is worth hearing again in its current incarnation by Great Lakes Theater.  The answer is yes. Yes it is.

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

Roy Berko
 
Director Victoria Bussert and her production team fashioned  a marvelous and impressive “Les Misérables.” Besides the quality of staging, it’s worth seeing the show, to experience Stephen Mitchell Brown’s ownership of the difficult role of Jean Valjean. The GLT production is an absolutely must see!
 
To see a full review of this show, read Roy Berko's blog here.

Kerry Clawson

Stephen Mitchell Brown is on fire as Jean Valjean in Great Lakes Theater’s production of 'Les Misérables', which captivatingly brings to life the epic sweep of Victor Hugo’s 1862 tale of the downtrodden and unjustly treated.


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

Howard Gollop

As recent productions of the 34-year-old-musical have proved, less is more — but not too much less.
... Of course, it doesn’t hurt that the huge cast (by regional-theater standards) is exceptionally good — rising to the occasion of star turns and ensemble synergy.

Mark Horning

This epic big stage production still packs a mighty punch even when done in a smaller venue.  Emotions run high as audience members realize that they are being witness to Cleveland Theater history.  Word of mouth will surely have this show become a sellout throughout its run.  It is great beyond description.  This is theater that will change you for the better.  See it!

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

Art Thomas
 
The intimate setting of the Hanna Theatre puts the emotions of the passion driven characters right into the laps of the audience as they sing and talk to you. Combine that dynamic with a first rate cast and high production values. This is my favorite production of "Les Mis" and I've seen five.
 And GLT has finally solved the sound issues of past musicals in the space. 
 
Click here to read the complete review at WestLife