IN THE BLOOD @ CONVERGENCE CONTINUUM

Through June 9, 2018

(216) 687-0074

Or convergence-continiuum.org

Bob Abelman

Suzan-Lori Parks’ play rages acerbically, articulately and without subtlety against a system that grinds women down, and feels as vital and urgent today as when Hawthorne’s novel was first released.  This con-con production captures all this and makes for an intriguing and thought-provoking evening of theater.  

To see a full review of this show, read Bob Abelman's posting at

www.clevelandjewishnews.com/columnists/bob_abelman/

Mark Horning

While one would hope that this situation is not a reality anywhere in the world, the truth is there are probably more cases such as these then we would wish to admit. It is a morality play that begs us to face the truth and to begin some dialog that would result in the end of such needless suffering. Not an easy play to watch but one that must be seen.

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

Christine Howey

In the Blood is a play that is as powerful and instructive now as it was when it opened. And that’s a sad commentary on where we are now—living under that metaphorical bridge and hopping it doesn’t collapse on us.

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

WHITE GUY ON THE BUS @ NONE TOO FRAGILE

Through May 26, 2018

(330) 671-4563

Or http://www.nonetoofragile.com

Mark Horning

One must pay careful attention to the various details and clues as this time scrambled show builds. In this stark examination of modern race relations in America we see two extremes colliding in the center as a man’s quest for revenge and justice forces him to be “The Guy On The Bus.” Gripping…Engaging…Topical…Intense. 

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

Christine Howey

The issues the playwright raises are powerful ones, especially in today’s world, and Graham is to be commended for being totally honest about the racial divide that exists in America. But his incessant hammering on these issues, while neglecting a more believable character-driven approach, eventually sabotages his own work.

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

PANTHER DANCER @ PLAYWRIGHTS LOCAL

Through May 26, 2018

(216) 302-8850

Or http://playwrightslocal.org/

Bob Abelman

Not broad enough to be a farce, not risqué enough to be remarkable and occasionally mean for the sake of a laugh, “The Panther Dancer” can’t seem to rise above the sketch comedy mindset that drives it.

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

Roy Berko

“The Panther Dancer,” is a well-researched, in-depth telling of the life of Michael Jackson, but needs a strong dose of cutting. Director Jimmie Woody does a nice job of creative staging.

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

Christine Howey

Director Woody employs his substantial skills in staging the piece so that those flaws don’t drag everything down. And he’s partially successful, thanks to some yeoman work by the cast. 

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

PASSING STRANGE @ KARAMU

May 10-June 3, 2018
216-795-7077 
or www.karamuhouse.org

Bob Abelman

Audiences will surely marvel at the hard work put in by the performers and director Nathan A Lilly to make "Passing Strange" look so easy.

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

Roy Berko

After an overly long first act, the show shifts into high gear and wraps up with a strong final act.  The Karamu cast is excellent.   
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

During one of the early musical numbers, “Amsterdam” Mary-Francis Miller and Corlesia Smith dressed as Air Amsterdam stewardesses go into the audience passing out boarding passes for a flight to Europe…and what a trip it is! This is one show that will have you totally involved. Bring a friend!

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

Christine Howey

This is the most exciting show on any stage right now, and maybe the most involving one that has appeared in some time. You will be a poorer person if you don’t find a way to see it before it closes on June 3. 

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

THE ROYALE @ CLEVELAND PLAY HOUSE

Through May 27, 2018

(216) 241-6000

Or www.clevelandplayhouse.com

Bob Abelman

Cleveland Play House leads with its left with expressionistic, heavyweight drama ‘The Royale.’

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

Roy Berko

 To fully appreciate “The Royale,” audience members must broaden their view beyond the boxing ring, the story of the fight for the championship and societal prejudice, and delve into the psychological motivations of the great black champion, himself.   “The Royale” is a thought-provoking conflict which many will appreciate, while others will find themselves defeated by some of the script’s abstraction.

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

Mark Horning

At the end of this play you will find yourself wanting to stand up and cheer as well as cry at the same time. This is in your face drama that goes beyond the historical tale and into the nearly overpowering struggles of the African-Americans at the turn of the last century. You will leave the theater a changed person.

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

Howard Gollub

With all that singing, dancing and magic-carpet riding going on in other theaters on Playhouse Square, it’s great to have solid, modern work reminds us how thrilling and entertaining serious theater can be.   Cleveland Play House’s “The Royale” could have been a straight-forward, cleaned-up bio about Jay “The Sport” Jackson, the stage avatar for the real-life Jack Johnson, the first African-American heavyweight boxing champ in the country. But there is nothing straightforward, sentimental or conventional about Marco Ramirez’ award-winning drama. “Rocky” on stage, it isn’t.

 
Christine Howey

The Royale is a play about boxing in the same way that A streetcar Named Desire is about urban public transportation. 

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

Laura Kennelly

The outstanding cast of five, some in multiple roles, fought, negotiated, defied, taunted each other, all the while redefining their place in the world. As Jay Jackson, Preston Butler III (all muscles and six-pack abs) looked and acted every bit the confident champion. Nikkole Salter, as his sister Nina, evoked the thoughtful presence of women who always try to hold things together. Brian D. Coats, as Jackson’s trainer Wynton, offered wry and earnest advice to the boxer. Johnny Ramery, as young Fish, brought bounce to his role as Jackson’s opponent and then sparring partner. Leo Marks primarily played Max, the boxer’s manager, but also effectively, sometimes amusingly, also played all the white guys necessary to the plot.

For a full review see Laura's blog at artstillmatters.com

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

Andrea Simakis

An American tragedy as shrewd and bruising as anything wirtten by Miller, William or O'
Neil.   No split decion here.  "The Royale' is magnificient.

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

BEEHIVE @ Great Lakes Theater

May 4-20, 2018

216-664-6064 
or www.greatlakestheater.org

Bob Abelman

‘Beehive’ at Great Lakes Theater all honey and no sting.

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

 www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

Go tap your feet, hark back to those “olden” days when life had a different level of angst, hum or sing along with the talented young ladies, and be educated in the way that theater represents the era from which it comes.  In this case, the musical 60s.

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

Howard Gollop

A strange featherweight offering for a classic theater company like Great Lakes Theater, “Beehive” is not particularly profound and certainly not new. But infatuation with mid-century Americana has not waned and neither has the adoration of the music of female pop from the 1960s -- from Leslie Gore to Janis Joplin. Ironically, what’s missing from Great Lakes Theater’s “Beehive” are, well beehives, the infamous lacquered, teased-out hairstyle that could never bee too high or too wide. Esther M. Haberlen’s costumes (and presumably wigs) are beautiful, but, ironically, too detailed and subtle for the broad visual strokes a show like this needs -- especially since the stage is so bare. Fortunately there’s no way to minimize the over-the-top vision of Tina Turner or the Supremes, and those moments when these icons comes to life, the entire production comes back to life as well.

Mark Horning

If you want to take a whirlwind musical journey of the 50s, 60s and 70s Beehive is just the ticket. Six extremely talented females take to the stage to relive the classic sounds of the girl groups and solo artists of this bygone era. This is must see musical.

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

Christine Howey
 

As talented as the kids from BW can be, you’d think GLT could find some quirky end-of-the-season show that could employ their stable of talented and experienced professional actors.  That would be a treat. And we could let Larry Gallagher get back to setting up banjo act gigs in Altoona.

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

But Beehive belongs to the Queen Bees — the six dynamic young women who breathed life into the featured golden oldies. When the show began they were decked out in pastel dresses with full skirts, but by the time the show was over, the fluffy petticoats were ditched, and glitz and sexy looks dominated. Alternating ensemble and solo songs showed talent galore. Adrianna Cleveland, Annalise Griswold, Shelby Griswold, Christiana Perrault, Camille Robinson and Hannah-Jo Weisberg kept us dazzled with their conviction, talent, and energy (They didn’t let it show, but it sure seemed like a workout from where I sat).

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

Andrea Simakis

"Beehive" blows a tire when it sells itself s a journey of women's empowerment, moving from those innocent days to Aqua Net and "Beach Blanket Bingo" to the woke age of Woodstock and Women's lib.   I wish they and the artists behind the scenes--had been given better material.  Something equal to their talents--and to our attention.
 
To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

DISNEY ALADDIN @ Key Bank State Theatre/PlayHouseSquare

DISNEY ALADDIN 

May 2-27, 2018

216-241-6000 or www.playhousesquare.org

Bob Abelman

In much the same way tabbies are attracted to shiny things and rendered dopey by a hit of catnip, audiences will be drawn to and stupefied by the supersaturated stagecraft of Disney’s “Aladdin.”  

To see a full review of this show, read Bob Abelman's blog here or ww.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

“Aladdin” is a charming, well produced, escapist musical that gets a fine production.  It’s a must see family-friendly show that should be enjoyed by everyone.

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

Kerry Clawson

The national tour of "Aladdin" delights and dazzles, a magnificent example of classic Broadway entertainment at its best that appeals to all ages.  The Disney musical, at Playhouse Square’s State Theatre, is one of the most visually spectacular national tours I’ve ever seen, with stunning Arabian-style costumes in saturated colors by Gregg Barnes, exotic-looking sets by Bob Crowley and exhilarating stage magic.

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

Howard Gollop

What else could a stage adaptation of an animated Disney hit be other than eye-rollingly bland and jaw-droppingly extravagant? Yes, it’s all there: Infectious music by Alan Menken with a decided nod to Tin Pan Alley and the Cotton Club of the 1940s; richly hued mercurial sets by Bob Crowley that flip from exotic Arabian streetscapes to a dazzlingly jeweled cave; endless slinky, glittery and revealing costumes (in the G-rated realm); and a flying carpet that actually appears to be a flying carpet.

 
Christine Howey

The Disney production of the musical Aladdin, now at Playhouse Square, has two song scenes that are so jaw-dropping, they don’t just stop this show, they may accidentally be stopping other shows in the area, 

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

Laura Kennelly

BOTTOM LINE: This light and happy show doesn’t break any new musical theater ground, but it’s perfectly suited for spring, flowers, and happy thoughts. On opening night, children made up much of the audience and their reactions and responses to the show were wonderful, both joyous and very immersed in the story. 

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

Andrea Simakis

"Aladdin" is a visual feast fit for a sultan, a glorious example of what we mean when we say "Broadway magic."

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