WHITE RABBIT RED RABBIT@CLEVELAND PUBLIC THEATRE

October 8 through 25, 2015

216-631-2727 

Or www.cptonline.org

Christine Howey

Since the playwright has neatly negated the need for a critic such as myself, since you’ll never see the show I saw, my opinion stands for little. Still, I found the show to be surprisingly amusing 

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

THE CRUCIBLE@CLEVELAND PLAY HOUSE

October 10 through November 8, 2015

216-241-6000 

Or www.clevelandplayhouse.com

Bob Abelman

In 1692, the farmer Giles Corey was accused of witchcraft, arrested and subjected to a public pressing, where a board was laid across his naked body and heavy stones were placed upon it to coerce a confession. In a remarkable act of defiance, the elderly Corey demanded “more weight.”  In the making of Cleveland Play House’s powerful and thoroughly engaging production of “The Crucible,” director Laura Kepley seems to have shouted “more weight” as well.  And got it.

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

Roy Berko

THE CRUCIBLE is an important American classic which gets a fine production at CPH under the directorship of Laura Kepley.  There are important lessons to be gained from seeing this script.  It is doubtful that local audiences will get another opportunity to see a better staging.  This is a definite must be seen!!

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

Mark Horning

From the frenzied opening scene through the bedlam of the courtroom to its tragic ending this gripping drama will have audience members on the edge of their seats.  In the course of over two hours of fast moving stage time you will come to love some characters, totally despise others and feel pity and empathy for yet others.  This is not a show for the faint of heart.  It is an emotional roller coaster that hits on all cylinders of your emotional engine.  You will experience anger, disgust, helplessness, pity, impatience and yes, even humor as this tale of self serving deceit takes over.  This is must see dramatic theater at its best.

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

Christine Howey

The story in The Crucible is riveting all by itself. But this production by the Cleveland Play House is literally monumental in its scope.

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

Andrea Simakis

Every aspect of CPH production gives Miller's gutsy 'Crucible' incendiary edginess.

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

Art Thomas
 
Although the production design is of this decade, the drama is likely what playwright Arthur Miller envisioned when the performers and director are at their best. The lengthy scenes of increasingly irrational fear resonate with today's audiences. 
 
Click here to read the complete review at WestLife

QUILTERS@ACTORS' SUMMIT

October 8 through November 1, 2015

330-374-7568 

Or www.actorssummit.org

Mark Horning

Rarely does one find that rare combination of entertainment and education in a theatrical performance.  “Quilters” is the rare exception to that.  The show is engaging and well thought out, just like the quilts that are represented.  Everything falls into its proper place.  Just as quilts themselves are viewed from a distance for an initial impact and scrutinized closer for the detail of stitching, this show stands up to a closer inspection.  Bring the entire family.   

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

MOTHERS AND SONS@THE BECK CENTER FOR THE ARTS

October 9 through November 15, 2015

216-521-2540 

Or http://www.beckcenter.org

Bob Abelman

Bucking the thematic tradition of portraying explicitly or presumably gay characters as self-hating, suicidal, and suffering from or under the constant threat of the AIDS pandemic, “Mothers and Sons” examines the life of the survivors now that the dust has settled and the political climate has changed.  At the heart of this play is McNally’s determination to portray the new normal in the American family unit.  And McNally succeeds, for this play effectively puts dramatic and seemingly rapid social change into a perfectly casual and comfortable context.

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

Roy Berko

Under the inspired directorial guidance of Sarah May, the brilliantly written MOTHERS AND SONS is a must-see production at Beck.  The acting, technical aspects, pacing and attitude are all right on the mark!  Bravo!
 
To see a full review of this show, read Roy Berko's blog here.

Christine Howey

In the abstract, it would seem that Terrence McNally’s play about the mother of a deceased gay man confronting his former lover would have sparks flying. Unfortunately, this production of a flawed script never generates anything but confusion and torpor.

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

Andrea Simakis

It's clear that  the notion of "closure," a word Katharine rightfully hates is easier talked about than lived.

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

THE HAPPY SAD@CONVERGENCE-CONTINUUM

October 2 through 24, 2015

216-687-0074

Or convergence-continiuum.org

Roy Berko

Con-con straddled itself with a weakly developed script that leaves the director and the actors fighting for dramatic credibility.  In spite of this, some nicely textured performances, and some creative directing renders an acceptable theatrical production.

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

Christine Howey

With its relentlessly shallow depiction of these horny young folks, The Happy Sad makes any rack of American Greetings cards seem as nuanced and steamy as Anais Nin’s Delta of Venus.

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

Art Thomas

Seven characters have the chance to develop casual or deeply intimate relationships with each other and they do so with mostly comedic results. Push aside the hilarious but superficial situations and there are deeper layers in this show. If nothing else, go to see the amazingly bubbely performance by Hillary Wheelock.

Click here to read the complete review at WestLife

BULLETS OVER BROADWAY@CONNOR PALACE

October 6 through 18, 2015

216-241-6000 

Or www.playhousesquare.org

Bob Abelman

The walk back to the parking lot seemed a lot longer than it should have after seeing a musical comedy.   "Bullets Over Broadway” is a low caliber play put in a high caliber production.

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

Kerry Clawson

"Bullets Over Broadway" is a musical that revels in its own extreme giddiness, which is what makes watching it such a good time....  Glamorous flapper and showgirl costumes by William Ivey Long are a big treat, as is the top-notch dancing.

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

Howard Gollop

The star turns emerge as well, but it’s never more apparent until Jeff Brooks as the menacing bodyguard with a flair for dramaturgy. He certainly struts his stuff like nobody’s business in “Tain’t Nobody’s Business If I Do.”  Fortunately, there are enough moments like this to sustain an overall satisfying evening, but ultimately, “Bullets”  just never lives up to the promise of a Woody Allen Broadway bonanza.

Mark Horning

What a rip roaring way to kick off what promises to be a fantastic KeyBank Broadway Series season.  Bullets and laughs fly in this smart and sexy comedy that has it all…costumes, stage sets, acting, singing, dancing and story.  Grab yur fedora and dame and hop in the old jalopy.  ‘Dis is one productin’ yous dont’s wanna miss.

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

Christine Howey

The sets are gorgeous! The costuming is lush and witty! But still the show labors to deliver anything close to the kind of hilarity generated by the ultimate backstage musical (also directed by Stroman), The Producers.

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

Andrea Simakis

Top-shelf performances in 'Bullet" will go right to your head.

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

Art Thomas

This is an old-fashioned musical--not in the romantic spirit of "Carousel" but in the madcap mind of Woody Allen, who stuffs two dozen songs into the show, giving a gem to every character. Flashy choreography and a breathless pace leave one exhausted at the end of the show. "Yes, we Have No Bananas" is the improbable finale. 
 
Click here to read the complete review at WestLife

KING LEAR@GREAT LAKES THEATER

October 2 through November 1, 2015

216-664-6064 

Or www.greatlakestheater.org

Roy Berko

As he emerges from prison carrying Cordelia’s body, Lear howls in despair ranting, “heaven’s vault should crack” because of his daughter’s death. It does not, and are we left with no answers.  It is this lack of unexplained horror that makes KING LEAR such a powerful, maybe even excruciating play, and a classic example of Shakespeare at his finest.  Joseph Hanreddy, his cast and crew make this a fine GLT offering. 

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

Christine Howey

There is much to admire in this staging of King Lear by Great Lakes Theater, including some incisive performances under the direction of Joseph Hanreddy and a scenic design that falls into a state of decrepitude right alongside the King's. 

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

Andrea Simakis

There is a "Man Max" quality to the electrifying Great Lakes Theater production of "King Lear" at the Hanna Theatre, a grungy, post-apocalyptic feel that is only heightened as the play speeds toward its dark denouement like a killer meteor hutrling to Earth.

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

Art Thomas

The straightforward story of Lear's descent into madness is clear in this iteration which is surprisingly traditional despite the contemporary costuming. The production has a lot of bells and whistles, making it probably the nosiest production of "Lear" you will ever see. 
 
Click here to read the complete review at WestLife

THE SECRET GARDEN@GREAT LAKES THEATER

September 25 through October 31, 2015

216-664-6064 

or www.greatlakestheater.org

Bob Abelman

The tears start welling up right about the time the pale apparition of Lily Craven makes her entrance early in Great Lakes Theater’s absolutely gorgeous telling of “The Secret Garden.”  They’re welling up still.   

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

Roy Berko

Victoria Bussert, her technical crew and the cast join their skills 

to make the Great Lakes production of THE SECRET GARDEN a very special theatrical offering.  This is a show that deserves the standing ovation that it should get after each performance.  Bravo!

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

Mark Horning 

It can be a real challenge putting on a show as well known and as well liked as The Secret Garden especially as a musical but Great Lakes Theater pulls it off with aplomb.  The singing is magnificent, the costumes breathtaking and the easy to follow moral tale of loss and redemption rings clear as the wonderful voices of the cast.  Take the entire family to see this one (if you can get tickets).  This is a spectacular way to start the GLT season. 

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

Howard Gollup

Let’s just get this out of the way: “The Secret Garden” is majestic, magical, meaningful and melodious as superbly rendered by the Great Lakes Theater company at the Hanna Theatre on Playhouse Square.   The concept by librettist and lyricist Marsha Norman is to move the original work well beyond a Shirley Temple movie. 

Christine Howey

While the material itself can get on some nerves, the performances under the direction of Bussert are blameless. 

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

Andrea Simakis

Witnessing such a moment teaches that sometimes live theatre can offer the very gift Mary gave her family--a cure for soul sickness, a spiritual lift that banishes grief, if only for two transporting hours.

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

Art Thomas

I'm not a fan of this show, but you'll never have to see another production of  it after experiencing the spot on cast who carry off the music with  boundless energy. Opening with death by cholera and ending with floral theatrical drops, "The Secret Garden" is less typical than most and refreshing in its musical innovations.
 
Click here to read the complete review at WestLife

WHO'S AFRAID OF VIRGINIA WOOLF @ Lakeland Civic Theatre

September 18-October 4, 2015

440-525-7134 or

http://lakelandcc.edu/academic/arts/theatre/index.asp 

Roy Berko

WHO’S AFRAID OF VIRGINIA WOOLF gets a very credible staging at Lakeland’s Civic Theater.  The acting is of high quality.  Potential audience members should be aware that, though the show clicks along at a nice pace, this is a long three-act play with two intermissions.  It’s well worth a trip to Lake County to see this seldom produced classic.

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

Christine Howey

Friedman is a deft and nuanced director, managing to cadge some shivers of revulsion from this classic play. And as always, Albee’s words carry the day, taking us on a fraught journey through an evening of barely civilized confrontation, showing us how our illusions can either protect us or destroy us.

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

SPITFIRE GRILL@BECK CENTER FOR THE ARTS

Through October 18, 2015

http://www.beckcenter.org

Or 216-521-2540 

Bob Abelman

Some musicals have an impressive literary pedigree.  The Tony Award-winning “Cats” is based on the whimsical verse of poet T.S. Eliot.  “South Pacific” is an adaptation of James A. Michener’s Pulitzer Prize-winning novel.  “The Spitfire Grill,” on stage at the Beck Center for the Arts, seems inspired by Hallmark.  

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

Roy Berko

THE SPITFIRE GRILL is a nicely honed script, filled with excellent music.  It gets a well-conceived, acted and sung production.
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

This is a nice rainy evening type of show to see that has a high content of comfort in it.  Before the last curtain call, all ends predictably well and the theme that constructive change is always possible for those willing to work at it gives the audience a feel-good sense of well being to take home with them. 

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

Christine Howey

The actors do their jobs well under the direction of William Roudebush. But the whole thing is so drenched in sugary syrup that they should have hot showers in the lobby for audience members who need to rinse off the treacle.

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

Art Thomas

This is one of the quirkiest musicals you'll see. The charming characters and folk-style score make it easy to dismiss the outlandish plot and situations. With Bill Roudebush directing and  a cast that includes Neely Gevaart, Lenne Snively and Dan Folino it doesn't get better than this. 
 
Click here to read the complete review at WestLife

DREAMGIRLS@KARAMU THEATRE

September 18 through October 11, 2015

www.karamuhouse.org or

216-795-7077

Mark Horning

While not a total disaster, this production is in need of a huge technical reboot.  Until that can be figured out it is suggested that you seat yourself as far from the orchestra and as close to the stage as possible.  It is the classic problem of a great cast, great orchestra, great costumes and great set combined with horrendous technical problems.

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

Christine Howey

It’s a juicy story filled with some dynamite songs, and this Karamu production manages to dazzle at times. But there are too many flat notes sung and too few transformative moments to make this Dreamgirls a dream worth remembering for long.

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

DEATH OF A SALESMAN@ENSEMBLE THEATRE

September 18 through October 11, 2015

www.ensemble-theatre.com 

or 216-321-2930

Roy Berko

DEATH OF A SALESMAN is one of America’s great play scripts.  The classic gets an excellent production at Ensemble.  As the script gets few present-day productions, anyone who has never seen the play on stage, or those who need another viewing to evaluate their own philosophical life path, should definitely see this production.

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

Christine Howey

Under the sensitive direction of Celeste Cosentino, and employing the color-blind casting for which Ensemble has become known, this Salesman glides smoothly over Miller’s words and then packs a devastating punch at the end.

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

A COMEDY OF TENORS @ Cleveland Play House

September 5-October 3, 2015

216-241-6000 or www.clevelandplayhouse.com

Bob Abelman

Sometimes, whether through divine intervention or the heights of human inspiration, art is elevated to a higher level and becomes transcendent.  Evidence of this can be found in the masterworks of Monet, Mozart, Michelangelo and, now, Ludwig.

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

Roy Berko

Ah, what a night at CPH.  The viewing of their well-deserved Tony, a Ken Ludwig farce which will forever be listed as having had its world premiere beside the PlayhouseSquare chandelier, was a class act celebration of the theatre’s one- hundredth anniversary.  As for the play, if the opening night audience’s reaction is an indication of things to come, Ludwig should be well- off financially from the royalties to be garnered from the professional and amateur rights to the show.  If you love farce, if you go to the theater to have a good time, you must see A COMEDY OF TENORS.

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

Kerry Clawson


Playwright Ken Ludwig has hit the jackpot again with his fast-paced, over-the-top farce 'A Comedy of Tenors,' which builds on the zany characters he introduced in his beloved 1986 comedy Lend Me a Tenor.

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

Mark Horning

In this all important opening of the 100th season of Tony Award Winning Cleveland Play House, no finer choice could be made than to hold the world premiere of Ken Ludwig’s “A Comedy of Tenors.”  With a formidable and energetic cast, great staging and costumes, this mad cap 30s style comedy is a laugh riot of the highest degree.  Share the laughter with all of your friends and family but get your tickets early as this one will prove to be a sell-out.  No love of opera required.  

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

Christine Howey

Congratulations to the Cleveland Play House on their 100th anniversary! As for the show that's kicking off this milestone season...well...

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

Andrea Simakis
 
There are moments of true inventiveness and delight – real, organic, lapel-grabbers that make you hungry for more – but they are too few and far between to deliver the rollicking ride a successful comedy demands.

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

Art Thomas

Good contemporary farce is a rarity and master playwright Ken Ludwig wisely sets this show in an earlier time in France. The Play House cast are impeccably chosen and do the play justice. It will be remembered as a landmark production in Cleveland.
  
Click here to read the complete review at WestLife

DEATH AND THE MAIDEN@MAMAI THEATRE COMPANY

September 17 through October 4, 2015

http://www.mamaitheatreco.org/#!

or (216) 382-5146​

Bob Abelman

Political thrillers are precarious things. So much rides on precise writing to generate intrigue, provocative staging to maintain deception and tension, and perfect execution to make the characters believable and the journey worthwhile. While the writing is first-rate, some of the staging and acting choices in this production detracts from it. 

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

Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.

Kerry Clawson
No review yet.
To see a full review of this show, read Kerry Clawson's review here.

Howard Gollop
No review yet.

Mark Horning

Hamstrung with weighty dialog and totally preposterous coincidences, the cast manages to shoulder through without too much loss of honor in spite of the silly accents.  Technical problems during the play added to the turmoil of an already weak script that made it clear that Paulina was not the only one being tortured, the audience suffered as well.  This play is in dire need of a reboot. 

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

Christine Howey
Director Katia P. Schwarz keeps the tension ratcheting up on the small Kennedy’s at PlayhouseSquare stage while allowing the personalities of the characters to emerge. 

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

David Ritchey
No review yet.
To see a full review of this show, read David's posts at Talkin' Broadway

Andrea Simakis
No review yet.
To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

Art Thomas
No review yet.
Click here to read the complete review at WestLife