MARIE AND ROSETTA @ CLEVELAND PLAY HOUSE

Through February 11, 2018

(216) 241-6000

Or www.clevelandplayhouse.com

Bob Abelman

Few bio-musicals manage to find that elusive sweet spot where an intriguing and well written personal history tells a great story and riveting musical performance provides great storytelling. George Brant’s “Marie and Rosetta,” currently on stage at Cleveland Play House, is not one of them.

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

Roy Berko

George Brant’s “Marie and Rosetta” exposes the personality and vast talent of Sister Rosetta Tharpe, which is a service to the woman and a public which may have been unaware of her effect on the music industry.  Though the play is interesting, and the music is dynamic, it is also a little static in language and staging. 

 

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

Mark Horning

While the instrumental performances fail to totally connect with the audience such as was found in the original Sister Rosetta Tharpe live shows (check out the YouTube film of Rosetta’s 1964 performance at a train station in Manchester, England) it none the less shines a spotlight on an amazing woman who revolutionized Rock and Roll (at long last she is to be inducted in the Rock and Roll Hall of Fame this year). See this show for a taste of her life then go home and do some research.

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

Christine Howey

When the music succeeds in really rocking out, in renditions of “I Want a Tall Skinny Papa” and “Four or Five Times,” it feels like M&R could actually reach some interesting heights. But the pedestrian script and uninspired directing by Neil Pepe only serve to keep this musical icon where she started: In need of a really honest and compelling exploration of her career and her gift.

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

Laura Kennelly

What works best about this engaging show is that it turns our attention to the accomplishment of Sister Rosetta, a woman who showed in her music that she did not feel she had to hide either her joy or her faith or to choose between the church and the club. Her original  and unconventional mix of feeling and soul–a music with raw energy and complex rhythms–caught the imagination of the next generation — Elvis Presley for sure, but also the Beatles. Thank you, Sister Rosetta.

To see a full review of this show, read Laura's posts at Cool Cleveland.

Andrea Simakis

Marie and Rosetta deserve something magical, something more than this well-meaning but earthbound production can give.
 
To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

GROUNDED @ DOBAMA THEATRE

Through February 11, 2018

(216) 932-3396

or dobama.org

Bob Abelman

The 90 minutes of “Grounded” fly by at Mach 2 with all the g-force one expects from theater but rarely gets.

To see a full review of this show, read Bob Abelman's blog go to:  www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

“Grounded” is the kind of script and staging on which Dobama fulfills its goal of presenting the best contemporary plays in a professional production of the high quality.  Don Bianchi, the theater’s founder, would have been proud of this must-see production.

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

Kerry Clawson

The supreme irony of "Grounded" is that this female pilot, who’s reassigned to operate a military drone in the desert outside Las Vegas, must fight a faraway war by day and readjust to civilian life every night, when she goes home to her family. It’s a fascinating paradox that Brant presents, and one that actress Anjanette Hall thoroughly inhabits from the moment she walks onto Dobama’s three-quarter thrust stage. Hall, a tiny but fierce figure wearing an ever-present Air Force flight suit, commands the stage as the swaggering, cocky pilot whose life changes dramatically.

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

Mark Horning

"Grounded" at Dobama Theatre takes civilians into the little known world of the Armed Forces where technology may be outstripping our human tendencies resulting in epic breakdowns. Using comedic touches to counterpoint the stark realities of war it paints a picture that few have the courage to enter.

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

Christine Howey

As The Pilot, Hall brings a believable macho toughness to this female jet jockey who’s happy to get into a dick-measuring contest with anyone.  And she makes her relationship with Eric and her little girl Sam feel tender and true without becoming treacly. 

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

Andrea Simakis

"This pilot breaks barriers of sound and mind."

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

LOVE NEVER DIES @ PLAYHOUSE SQUARE

Through January 28, 2018

(216) 241-6000

Or www.playhousesquare.org

Bob Abelman

Touring ‘Love Never Dies’ puts the see in sequel.

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

Kerry Clawson

A lot has changed since the Phantom lurked under the Paris Opera House.
In Andrew Lloyd Webber’s "Love Never Dies," the sequel to the 1986 blockbuster "The Phantom of the Opera," the Phantom’s love for his muse Christine is no longer a one-sided obsession. Now, 10 years after the "Phantom" story, we see that a grown-up Christine is not just under this masked man’s music-making spell: She has loved him deeply.

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

Howard Gollop

It’s a bit dull and a tad strident; sometimes tacky and occasionally inspired; teetering on monotone and tottering on melodious; instantly forgettable and forever mesmerizing.

Well, what else would anyone expect from “Love Never Dies,” Andrew Lloyd Webber’s sequel to “The Phantom of the Opera?”

Mark Horning

For the many people who witnessed the grandeur of the original Phantom of the Opera some may be in for a bit of disappointment. To their credit, this touring company manages to excel in all aspects of the performance using sheer will. Is it as good as Phantom? No, but few things are. Is it worth seeing? Definitely, due to this stellar cast.

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

Christine Howey

Under the direction of Simon Phillips, the show is a misbegotten attempt to cash in on the popularity of the Phantom franchise. Too bad they didn’t follow their own advice as spelled out in “Why Does She Love Me?” That’s when Meg counsels Raoul, “You should have never come to America/It’s not a place for people like you and Christine.” Amen to that.

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

Laura Kennelly

Phantom of the Opera fans rejoice! No chandeliers fall, but the mysterious Phantom still holds dangerous powers. Music still means love. Andrew Lloyd Webber’s Love Never Dies, running through Sun 1/28 at PlayhouseSquare’s State Theatre, reveals the tortured genius at work (I mean the Phantom, of course). (More at Phantom of the Opera)

To see a full review of this show, read Laura's post at Cool Cleveland.
To see a full review of this show, read Laura's blogat artstillmatters.com

ANGELS IN AMERICA PART ONE: MILLENNIUM APPROACHES

Ensemble Theatre
January 5-28, 2018
216-321-2930

Bob Abelman

Director Cosentino has put together a talented cast and crew to generate a very memorable production of a truly monumental play.  Bring on Part Two.  

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

Roy Berko

Combine a brilliantly written play that has a compelling purpose, with an adept director, a well-conceived set, sound and lighting, and an excellent cast, and you have a first class theatre experience.  Yes, it’s over three hours in length, but if you are interested in history, an exploration of social causes and fine staging, this is a must see! 

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

Christine Howey

In this production directed by Celeste Cosentino, the performances are not consistently solid due to a condition one might call the Very Important Play syndrome. 

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