Johanna Facing Forward @ Cleveland Public Theatre

Through June 13, 2015

6415 Detroit Avenue, 216-631-2727    

Bob Abelman

We all want to support projects that are driven by passion.  Dramatized accounts of real people triumphing over tragedy or adversity are particularly poignant, alluringly personal, and easy to rally around.  But more often than not, these heartfelt grassroots works fail to make the transition from good intentions to good theater.  Such is the case with the world premiere production of “Johanna: Facing Forward.”

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

Mark Horning

This play puts a face on the people from the horrific story of a girl who did everything right to end a relationship only to end up nearly losing her life.  It is a story of redemption not only for Johanna but the legal system as well.  If you have young teenagers nearing the dating age, this is one play they should see to get a primer on what to look for when a relationship turns sour.

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

The Young Man from Atlanta @ Beck Center

Through June 28, 2015

17801 Detroit Avenue, Lakewood, 216-521-2540    

 Bob Abelman

Two reasons to see Horton Foote’s “The Young Man From Atlanta,” currently on stage at the Beck Center, are the remarkable performances by Dudley Swetland and Anne McEvoy.   But these may be the only reasons.  Like the never-seen title character in this 1995 Pulitzer Prize-winning drama, much of what is enticing on the page never shows up on the stage.

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

Roy Berko

Though THE YOUNG MAN FROM ATLANTA was awarded a Pulitzer Prize, potential viewers should not expect to see an epic play.  The tale is a 1950s tale which reflects the era and southern attitudes of the day.  The production values reflect Foote’s writing style and gets his message across.
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

In short, these are the neighbors that Ozzie and Harriet would never invite to their house.  While you do not wish to dislike Will, Lily Dale and the rest of the Hee Haw Gang, they are hard people to enjoy in company.  Add to this that the show is in effect a staged production of “Groundhog Day” where the same lines are recycled over and over.  It makes more for an evening of endurance rather than pleasurable viewing. 
   

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

Christine Howey

Playwright Foote leaves many questions unanswered in this play. And that is just dandy, since the mysteries and secrets at work in this family create a riptide that threatens to sweep all the characters out to sea. But Schmiedl's direction, while compassionate and skillful, doesn't provide this material the motive force to make the unseen threats palpable.

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

Art Thomas

One of the more literate plays you'll see this year, this production does a good job of keeping much subtext well below the surface while the characters all act selfishly coping with a "sugar daddy" who has lost his job, as well as his son in an apparent suicide. The show is filled with issues that dominated life in the middle of the last century.

Click here to read the complete review at WestLife

Always…Patsy Cline, Actors' Summit

Through June 21, 2015

Greystone Hall, 103 High St., Akron, 330-374-7568.

 Bob Abelman

“Always… Patsy Cline” is a sentimental journey that is well constructed and nicely performed.

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

Roy Berko

ALWAYS PATSY CLINE makes for a pleasant evening of songs, humor and musical delight.  If you appreciate country music or are an avid fan of Patsy Cline, you will have a wonderful time.

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

Kerry Clawson

Singer Jennifer Browning brings a deep well of emotion musically and a rather introspective characterization to the title character in Always … Patsy Cline, which combine for a lovely performance of the popular jukebox musical at Actors’ Summit.

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

Dontrell, Who Kissed the Sea @ Cleveland Public Theatre

Through June 6, 2015

6415 Detroit Avenue, 216-631-2727 

Bob Abelman

"Dontrell” is a whimsical, poetic and delicate 90-minute, one-act parable.  The script begs to be staged with uninhibited artistry and an aura of mysticism, so that the past and the present, the real and the spiritual, and free will and fate can beautifully and seamlessly coexist.  But there is not enough color, not enough music and movement, and not enough magic in this production.

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

Roy Berko

After writing this review I read the reactions of critics from other cities where DONTRELL, WHO KISSED THE SEA has been presented.  It appears that Cleveland got short-changed by director Megan Sanderg-Zakian.  Other reviews recount much laughter, vivid visualizations and the line interpretation that was “poetically transfixing.”  These  weren’t present in the local production. I wish I had seen that quality at CPT.  Unfortunately, I didn’t.

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

Mark Horning

Dontrell, Who Kissed the Sea entertains with good rhythm and balance, some truly funny moments and an excellent stage set but with no clear purpose spelled out in the proceedings it leaves the audience member wondering what they just saw.  It is much like reading a thrilling novel only to find that someone removed the final chapter.

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

Christine Howey

Towards the end, when Erika helps make Dontrell’s dream come true and the stage transforms, it’s a magical moment. Too bad that glow is dulled somewhat by some repetitive actions and aimless dialogue before the glorious, uplifting conclusion.

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

Wolves

Through May 30, 2015

convergence-continuum at The Liminis, 2438 Scranton Road, Tremont,
216-687-0074

Bob Abelman

“This isn't a pretty story,” warns the sardonic narrator at the start of Steve Yockey’s “Wolves,” a particularly gruesome and adult version of the classic Red Riding Hood folktale.  That this convergence-continuum production isn’t pretty storytelling is also immediately apparent.

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

Roy Berko

WOLVES:  AN URBAN FABLE is not a well-written script, nor does it have a compelling story line.  Though some may find the experience of value, others will find the experience bewildering.

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

Christine Howey

The storyline is pretty simple stuff, with little exposition defining who these people really are and why they have the problems they do. That is fine and to be expected in a fairy tale. But the production desperately needs an inventive, overarching style that would help lift this pedestrian story to another level. 

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

Art Thomas

 "Wolves" is typical con-con fare, but is a bit less rich in post show discussion topics than I would like.  It does ask the valid question, "What do you do after you confront and kill that which frightens you?" That's what character Ben wrestles with after he kills the "wolf" who has breached his apartment.

Click here to read the complete review at WestLife

Fairfield @ Cleveland Play House

Through May 31, 2015

Cleveland Play House, 1407 Euclid Avenue, 216-241-6000.

Bob Abelman 

Some playwrights inadvertently insult their audiences by talking down to them as if they were children.  In Eric Coble’s delightful comedy “Fairfield,” the playwright intentionally treats us like actual first graders so we have the most intriguing vantage point from which to view adults behaving badly. The result is a hilarious and increasingly outrageous exploration of the current state of race relations in America.   

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

Roy Berko


Filled with edu-speak, sexual innuendos, derogatory terms, mild violence, frank conversations about race, and clever lines, the script is a laugh riot.  The production milks every possible laugh from Eric Coble’s premise and writing.  Because of the Outcalt’s thrust seating, the action was up close to each audience member, added to the high level emotional impact.  FAIRFIELD is a production absolutely not to be missed and makes a wonderful curtain-raiser for the NEW. THEATRE. FESTIVAL.

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

Mark Horning

If you are truly into seeing the folly of being “too correct” and the consequences it brings, this is the show for you.  It is comedy with heart and great comedy at that.  Bring a conservative friend and you will be guaranteed a lively discussion afterwards.

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

Christine Howey
Playwright Coble is intelligent and clever, and the talented cast under the direction of Laura Kepley delivers this comedy with vigor. But because Coble can't quell his instinct to go for big laughs that defy character logic, the ultimate takeaway from this play is less than one might desire, given its subject matter.

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

Andrea Simakis

Now in a full-fledged production directed by Laura Kepley, it's still laugh-out loud funny, but something has been lost in translation, the very opposite of what you'd hope would happen in the migration from page to stage.

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

Art Thomas

To create a farce whose subject matter is racism in a primary school is a daunting goal. Coble's show is filled with both witty and guffaw producing dialogue. The actors deftly sell the characters. Still, this world premiere needs some script tweaking before its next incarnation.

Click here to read the complete review at WestLife