DAY OF ABSENCE @ KARAMU THEATRE

Through November 18, 2018

(216) 795-7070

Or www.karamuhouse.org

Bob Abelman

“Dying is easy,” said famed 1940s performer Edmund Gwenn on his deathbed. “Comedy is hard.”  Satire in whiteface is even harder.

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

go to www.clevelandjewishnews.com/columnists/bob_abelman/

Roy Berko

“Day of Absence” is a well-written play whose message rings loud and clear today in the era of “Make America White Again.”  Too bad some of the message is lost due to an emphasis on over-done acting rather than letting the farcical writing carry the day.

To see a full review of this show go to Berko's blog here.

Mark Horning

With the current state of affairs in this country concerning race relations Day of Absence is a much needed mirror that everyone needs to carefully peer into. While a broad comedy that uses a reverse minstrel show format to make its point it none the less paints a telling portrait as to what is still needed to make this a country of total inclusion. It is a show for the times.

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

Christine Howey

As the columnist Molly Ivins once said, "Satire is the weapon of the powerless against the powerful." And this production at Karamu brandishes Ward's savage satire with skill.

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

EVERYTHING IS OK @ CLEVELAND PUBLIC THEATRE

Through November 10, 2018

(216) 631-2727

Or www.cptonline.org

Bob Abelman

If the final episode of the NBC sitcom “Friends” was situated in a bar rather than Central Perk coffee house, revolved around Chandler’s funeral rather than some minor misunderstanding, and was set to music, you’d have “Everything is Okay (and other helpful lies).” 

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

Roy Berko

“Everything is Okay (and other helpful lies)” is not a show for everyone.  It, in fact, could be an uncomfortable sit for some.  For Millennials, and those willing to open themselves to seeing a “new” style musical, based on a specific generation’s angst, it provides an interesting experience.
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

What began as a CPT Test Flight workshop item and previewed during the CPT Entry Point New Play Festival looks to be in need of a few more minutes in the oven. Some telling dialogue between participants could go along way in helping us relate to their problems and fears. It’s not bad, just not as good as it could be.

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

Christine Howey

Can female masturbation save us? Based on the “Masturbation Song” which occurs in the second act of this musical, you might think so. 

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

As is, "Everything is Okay" keeps us at arm's length, destined to be a cabaret novelty rather than a cultural touchstone.

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

EAST OF EDEN @ ENSEMBLE THEATRE

Through November 11, 2018

 (216) 321-2930

Or www.ensemble-theatre.com

Bob Abelman

“‘East of Eden’ surely is the more challenging of the two narratives when it comes to dramatization,” says Frank Galati, who adapted the novel for Steppenworlf Theatre's world premiere production and which services Ensemble Theatre's current staging.  “Its emotional demands are more complicated, internalized, intense.”  Complicated, internalized and intense are exactly what is missing from Ensemble’s production of the play, resulting in a valiant but largely ineffective effort under Ian Wolfgang Hinz’s direction.

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

Roy Berko

"East of Eden” is a classic Steinbeck novel which has been adapted into an excellent stage play.  The production, though long, is effective and is a theater piece well-worth seeing!

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

Christine Howey

Ensemble is to be applauded for taking on a show this complicated, which is a big lift for a small theater. It’s the kind of thing they often do well. But this time around, the well’s run a bit dry.

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

JOHN @ DOBAMA THEATRE

Through November 11, 2018

(216) 932-3396

Or dobama.org

Bob Abelman

It’s red herring season in Annie Baker’s ‘John.’

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

Roy Berko

In spite of several outstanding performances, Dobama’s “John” is overly long and too slowly paced.  The author misses the opportunity to develop the potential of the core concepts of the tale.  It is worth the long sit, however, to experience the astounding five-minute between acts monologue by Dorothy Silver!
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

While the acting is superb, the meandering story line goes out of its way to avoid any hint of mystery or ghostly approbations. It is 168 minutes (with two ten minute intermissions) of tepid suspense that leads you to wonder what all the fuss was about. 

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

Christine Howey

As the play enters its fourth hour (there are two intermissions), one wonders if all this could be handled in a less time-consuming manner. But under the sensitive direction of Nathan Motta, John glistens most brightly in the silences carved out by these talented actors.

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

Andrea Simakis

You’re sure to reach the end knowing more, thinking more, feeling something more, than when you started. [Dorothy] Silver’s monologue detailing how she lost her mind... is so funny, disquieting and riveting that when she completes it, you feel as though she has just released you from a spell... Silver delivers what amounts to a mini “King Lear.” That’s how it hit me, days later – as if the entirety of that work had been boiled down to a three-page monologue, performed by a woman.

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

THIS MUCH @ CONVERGENCE CONTINUUM

Through November 3, 2018

(216) 687-0074

Or convergence-continiuum.org

Roy Berko

“This Much” is a rather shallow script, which gets an acceptable production at con-con, is filled with forced dialogue and contains little about the true life of gay dating and marriage, and why we should care about these particular characters.

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

Christine Howey

This Much by John Fitzpatrick is an interesting one-act that aspires to confront the concept of marriage, fidelity and deception through the interactions of three young gay men. And the fact that it doesn’t quite work is not attributable to the actors, who acquit themselves well. 

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

SWEAT @ CLEVELAND PLAY HOUSE

Through November 4, 2018

(216) 241-6000

Or www.clevelandplayhouse.com

Bob Abelman

CPH’s blue collar drama “Sweat” champions the out-of-working class.

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

Roy Berko

Theater represents the era from which it comes, and “Sweat” clearly and shockingly tells the depressing tale of what went on during the financial downturn of this country and the resulting hysteria and desperation by a group of people who felt they had been disenfranchised by big business, betrayed by their government, and sold out by their union and political leaders.  It is an important play which fulfills the educational obligation of the arts.  THIS IS AN ABSOLUTELY MUST SEE PERFORMANCE!

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

 Kerry Clawson


It’s at least 10 minutes into the play before there’s any mention of steelworkers and you discover this story’s about union strife, if you didn’t already know going in. That’s too slow of a build, and you get to the point where you wonder why Nottage is waiting so long to dive into the subject.

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

Christine Howey

Under the direction of Laura Kepley, the CPH actors invest the material with as much humanity as possible. 

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

BOTTOM LINE: A fascinating and believable look at a dark period in recent American history that makes clear that one path (perhaps the only path) to a better life for everyone starts with charity and empathy. But it’s not a sermon: I promise. Very fine production, great theater.

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

Andrea Simakis

"Sweat" is this century's "Death of a Salesman," only the tragedy is on a grander scale, the cost to the national soul immeasurable.

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

YA MAMA!@Cleveland Public Theatre

YA MAMA!
Cleveland Public Theatre
October 11-27, 2018
216-631-2727or www.cptonline.org

Mark Horning

Think of Ya Mama! as an extended roller coaster as you live the highs and lows of Nina’s life. You witness her at the nadir as well as the peak of her tumultuous but fascinating life. It is probably the most gripping 75 minutes you will ever spend in a theater seat. 

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

Christine Howey

The return of Domingue is always a welcome sight since she ignites the stage with her spot-on characterizations and stage movement that is gloriously expressive. 

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

CANNIBAL! THE MUSICAL @ Blank Canvas

CANNIBAL! THE MUSICAL
Blank Canvas
October 6-28, 2018
440-941-0458 or blanckcanvastheatre.com

Bob Abelman

‘Cannibal!’ at Blank Canvas not for thin-skinned theatergoers.

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

Roy Berko

Blank Canvas pulls out all the stops in order to make “Cannibal! The Musical” palatable, but from my stodgy old view-point, it just doesn’t succeed.  Some of the theatre’s die-hard regulars, including the guy sitting next to me who clapped and howled throughout the goings on, may be thoroughly amused, but consider this:  even the usual automatic standing ovation of CLE productions, was missing.

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

Christine Howey

(Insert wet fart sound here.)

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

PRIDE AND PREJUDICE @ Great Lakes Theater

PRIDE AND PREJUDICE
Great Lakes Theater
October 5-November 4, 2018
216-241-6000 or http://www.greatlakestheater.org/

Bob Abelman

Great Lakes Theater treats Austen’s ‘Pride and Prejudice’ with austerity.

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

Roy Berko

The adaptation of novel-to-play is finely done. The directing is inspired.  The acting is finely tuned. The technical aspects are outstanding.  This is a must-see production which shines a spotlight on Great Lakes Theater at its finest.  
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

If you are unfamiliar with the works of Jane Austen this is a brilliant way to take her into your life. The play is true to the novel and exceptionally acted. You truly get to know each person involved and in turn fall in love with them. Bravo to Great Lakes Theater for an extraordinarily fine production.

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

Christine Howey

This Pride and Prejudice is a welcome relief from the barrage of coarse language (“horse-face!”) that currently permeates our culture. In the supremely capable hands of Hanreddy, this Austen caper is refined, witty, and altogether transporting. 

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

If you think “ho-hum” Jane Austen again, think again, please. This is a truly first-rate production that brings out the celebrated wit and humor (and kindness) that has kept Pride and Prejudice a classic (and good-natured) lesson about the dangers of rushing to judge others.

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

WHO'S AFRAID OF VIRGINIA WOOLF @ Beck Center

WHO'S AFRAID OF VIRGINIA WOOLF
Beck Center
October 5-November 4, 2018
216-521-2540 or beckcenter.org

Bob Abelman

A perfect storm has been created for Albee’s masterpiece and it has hit land in Lakewood.

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

Roy Berko

Kudos to Don Carrier for his bullseye direction of “Who’s Afraid of Virginia Woolf.”  This is about as perfect a production as the script could receive.  If you have never seen the Albee masterpiece on stage, see it now!  You won’t have another chance to experience such a wonderfully crafted piece of theater. 

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

Christine Howey

This incisive production at the Beck Center, directed with perfect pitch by Donald Carrier, is a three-hour and two-intermission slide down the razor blade of life, to borrow Tom Lehrer's indelible phrase. 

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

Laura Kennelly

Edward Albee’s Who’s Afraid of Virginia Woolf?, now disturbing the peace in the Beck Center’s Studio Theater, reminds us that drinking and talking do not mix. Although it premiered in 1962, much still rings true today in this production directed by Donald Carrier. The plot is simple: the wife of a senior faculty member invites a new faculty member and his wife over for a 2 AM nightcap after a drunken faculty party.

The resulting continuation of the booze fest turns into a disaster . . . couples. Exploitation and vulgarity get passed around evenly and everyone sustains damages before it’s over.  

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

Andrea Simakis

Carrier - and Mauldin and Ring - understand the tragedy of George and Martha implicitly. The actors' final moments together, as the sun rises, are devastating.  As the dawn light illuminates George's tired face, we see it is no longer animated by enmity but empathy. In Martha's face, we see a woman about to drown, desperate for the unexpected life raft he is offering.

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

HELLO DOLLY @ Connor Palace (Key Bank Broadway Series)

HELLO DOLLY
Connor Palace/PlayhouseSquare
September 3-October 21, 2018
216-241-6000 or go to www.playhousesquare.org

Bob Abelman

So, what kind of Dolly is Betty Buckley?  Sadly, she is the least interesting thing on stage. 

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

Roy Berko

The sold out opening night audience got what they came for:   Betty Buckley, enthusiastic dancing, spectacle in the form of wonderful costumes and special effects, some laughs, and lots of wonderful music!  Not all theater is intended to tell philosophical and meaningful ideas.  Sometimes it is just nice to go and enjoy, feel warm and happy, and appreciate the joys of life! See “Hello Dolly.”

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

Kerry Clawson

The national tour of “Hello, Dolly!”, now launching from Playhouse Square’s Connor Palace, is a joyfully sweet, old-fashioned extravaganza.
Leading the production in the title role is Broadway legend Betty Buckley, who brings a brassy alto voice and a delightful verve to Dolly Levi.
To see a full review of this show, read Kerry Clawson's review here.

Christine Howey

Trouble is, Dolly is mostly missing in action in her own show since, through no fault of her own, the superb Broadway star Betty Buckley has been miscast in that role that cries out for a different kind of performer. 

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

Laura Kennelly

Bottom Line: Hello Dolly!, like Les Miserables (next up at Playhouse Square, October 30 to November 18), is a festival featuring familiar delights with big numbers and fancy costumes. A nostalgic celebration of a world vanished, it avoids focus on personal and world problems seen in many contemporary musicals (Dear Evan Hansen, Come from Away). The problem here is a  classic one: finding true love. That alone makes it a charming night of escape.

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

David Ritchey

Betty Buckle’s name is above the title, this means she is going to dominate this beautiful production of the American favorite. When she made her first entrance, stepping from the train and standing center stage, the audience in Cleveland’s Connor Palace stood and cheered. Betty Buckley knew she was where she belonged with a loving audience and as the performance progressed Betty Buckley showed her affection for the Cleveland audience. Buckley seemed in top form as she sang and danced and delivered old lines that still bring laughs to the audience. This role is written for a mature actress and it’s demanding vocally and requires plenty of dance skills.  Betty Buckley is up to the demands of the script.        
    
To see a full review of this show, read David's posts at Talkin' Broadway

Andrea Simakis

One of the marks of a great production is when the supporting characters, those stalwarts with a total number of lines you can count on one or two hands, are a sheer delight.
That's the kind of tip-of-the-feathered-tiara-to-toe craftsmanship at work in the first national tour of the celebrated revival of "Hello, Dolly!" that kicked off Friday at the Connor Palace in Playhouse Square.

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