Stew @ Dobama Theatre

Through February 19, 2023

https://www.dobama.org/

(216) 932-3396

 

Roy Berko

A must see production that lives and breathes with an undeniable passion and earnestness.  The ending of the play is both shocking and unexpected.  Don’t be surprised if the effect lingers in your mind as the full Impact hits!   

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

Sheri Gross

No review yet.
To see a full review of this show, read Sheri Gross' review here.

Mark Horning

One would be tempted to call this play “The Four Ages Of Mama” as the mirrored characteristics of the four family members blend and revolve around each other. It is a work of love that will have you rooting for each member and the family as a collective. Just like a superb stew, this show will leave you satisfied and wanting more. Welcome home.

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

Chris Howey

In this convergence of reality and art, Stew becomes a more powerful statement and meditation. Just as Mama teaches Lil' Mama how to cook for the family, all four women are teaching each other how to be Black women in a country drenched in the blood of so many innocent young Black men and women—a Shakespearian tragedy that is all too real.

To see a full review of this show, read Chris Howey's Review here.

Beetlejuice @ Playhouse Square

Through 1-29-2023

https://www.playhousesquare.org/

(216) 241-6000

 

Roy Berko

If you are a MONTY PYTHON AND THE HOLY GRAIL, ADAMS FAMILY, and THE ROCKY HORROR SHOW fan, you, like the duo of guys sitting near me, who were dressed in costumes which paralleled Beetlejuice’s stripped outfit, sang along with the songs, and found the exaggeration and slapstick hysterical, will become “Bettlejuicers.”  If NEXT TO NORMAL, RENT, WEST SIDE STORY and SPRING AWAKENING are your thing, you’ll probably find the whole thing trite and ridiculous.

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

Howard Gollop

Gratifyingly sandwiched between two "serious" Broadway musicals on the Playhouse Square slate this season -- "Hamilton" and "Hadestown" -- the hilarious "Beetlejuice" bursts forth with enough neon lights, strident bullseye performances, monstrous special effects and nonstop production numbers spilling out over the stage to scare away the winter blues like nothing else.

To see a full review of this show, read Howard Gollop's review here.

Sheri Gross

You might feel like you had an intense workout from the manic pace, and there is no arguing that there is definitely some sensory overload, but if you are up for some jaw-dropping antics, bawdy humor, a treasure trove of talent, and a couple of hours of faced-paced entertainment without having to think too hard, do yourself a favor and grab a ticket to the Netherworld, take a ride on the tale of a gigantic striped snake (when you know, you know), and conjure up a little chaos in the form of an irritating little demon; Beetlejuice… Beetlejuice…insert name here when you’re ready.

To see a full review of this show, read Sheri Gross' review here.

Mark Horning

Be warned, this is not the PG Beetlejuice movie that many of us are fond of. It is a harsher version with adult themes, language and situations. It is definitely not a show to bring young children to or for that matter adults who have trouble coping with death and trauma. If you love the macabre and do not mind the shock of loud music and bright lights then by all means buy a ticket.

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

Chris Howey

Beetlejuice is a wild and hairy ride, featuring a seriously caffeinated cast, monsters galore from the netherworld, and more stage effects than almost any other three musicals combined. While a lot of the songs (music and lyrics by Eddie Perfect) are not deadening, none of them stays with you for long. But hell, you're not here for long either, so why worry? The only unfortunate choice in the book by Scott Brown and Anthony King is a desire to goose up heartfelt feelings in a show that would be more invigorating if it maintained a harder comic edge.

To see a full review of this show, read Chris Howey's Review here.

Laura Kennelly

Beetlejuice’s exuberant cast makes the simple script glow. Our “hero” is a demon from Hell (Justin Collette) who yearns for human company and begs to be called out so the living can see him (and thus, he can torment them). As he explains to the suicidal teen Lydia Deetz, one does this by saying his name three times. (So don’t say it, be careful, you wouldn’t want him around.)

Collette’s Beetlejuice fills the bill as the ego-centric monster. His over-the-top comic timing — Collette even makes fun of himself as he milks the audience for more applause — and boundless energy shapes the maniacal title character.

Bottom Line: Bouncy music, bouncy cast, flashy lights all combine to make a fun show, one that is, IMHO, far better than the film. Go for laughs and spooks, nothing is serious.

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

Joey Morona

BEETLEJUICE, the critic-proof musical about the dead that its dedicated Tik-Toking fans refuse to let die, is inventive, funny, entertaining.  It's also exhausting.

To see a full review of this show, read Joey's posts here.

 

THE 2022 CLEVELAND CRITICS CIRCLE THEATER AWARDS

 

Each year, the Cleveland Critics Circle (CCC) honors outstanding local productions as well as select performers, directors, designers, and playwrights. Eligible plays include those staged by Cleveland-area professional theaters during the 2022 calendar year.

 

For more than 50 years, the CCC has provided support and recognition for professional theaters in our community and for the talented individuals who create and stage their productions.

 

CCC members are local theater critics who write for print and/or online publisher(s); or who have established a distinct, credible, and consistent online presence (blog, etc.) for their reviews. Members of the CCC who voted for the 2022 Awards are:

Roy Berko (Broadwayworld.com, CoolCleveland, Theatre Criticism, www.royberko.info) 

Kerry Clawson (Akron Beacon Journal)

Howard Gollop (Chronicle-Telegram)

Sheri Gross (Cleveland Jewish News, The Lorain Journal, The News Herald)

Mark Horning (WIX blog)

Christine Howey (Cleveland Scene)

Laura Kennelly (CoolCleveland)

NOTE: Participation in these awards does not preclude individual critics from offering their own recognitions.

 

THE ENVELOPES, PLEASE!

(Honorable Mention designees are listed in alphabetical order.)

 

Best Musical Production

            SOMETHING ROTTEN, BECK CENTER

                        HONORABLE MENTION

                        LIZZIE, BALDWIN WALLACE UNIVERSITY/BECK CENTER

                        WEST SIDE STORY, PORTHOUSE

 

Best Non-Musical Production

            DESCRIBE THE NIGHT, ENSEMBLE

            HONORABLE MENTION

            THE AGITATORS, RUBBER CITY THEATRE

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, BECK CENTER

INSURRECTION: HOLDING HISTORY, CONVERGENCE-CONTINUUM

           

Best Actor – Musical 

            MATTHEW WRIGHT, SOMETHING ROTTEN, BECK CENTER

                        HONORABLE MENTION

                        ERIC FANCHER, SOMETHING ROTTEN, BECK CENTER

                        ZACH PALUMBO, THE SPONGEBOB MUSICAL, BLANK CANVAS

           

Best Actor – Non-Musical

            DAVID PEACOCK, THE WEIR, NONE TOO FRAGILE

                        HONORABLE MENTION

                        SCOTT ESPOSITO, BUYER & CELLAR, BECK CENTER

                        JOE PINE, DESCRIBE THE NIGHT, ENSEMBLE

 

Best Actress – Musical

            ALEXA LOPEZ, WEST SIDE STORY, PORTHOUSE

                        HONORABLE MENTION

                        THERESA KLOOS, SOMETHING ROTTEN, BECK CENTER

                        KRIS LYONS, LIZZIE, BALDWIN WALLACE UNIVERSITY/BECK CENTER

                        MAYA NICHOLSON, CINDERELLA, OHIO SHAKESPEARE FESTIVAL

 

Best Actress – Non-Musical

            AMIEE COLLIER, HURRICANE DIANE, DOBAMA

                        HONORABLE MENTION

                        JESS HUGHES, THE AGITATORS, RUBBER CITY THEATRE

                        LAURA PERROTTA, DESCRIBE THE NIGHT, ENSEMBLE THEATRE

 

Rising Stars

            Male

            MAURICE KIMBALL IV, THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-                                TIME, BECK CENTER

Female

JORDYN FREETAGE, THE LAND OF OZ, DOBAMA

 

Best Director – Musical

            PAT CIAMACCO, THE SPONGEBOB MUSICAL, BLANK CANVAS

                        HONORABLE MENTION

                        JOANNA MAY CULLINAN, SCHOOL OF ROCK, CAIN PARK

                        TERRI KENT, WEST SIDE STORY, PORTHOUSE

 

Best Director – Non-Musical

            SEAN DERRY, THE WEIR, NONE TOO FRAGILE

                        HONORABLE MENTION

CELESTE COSENTINO, DESCRIBE THE NIGHT, ENSEMBLE

WILLIAM ROUDEBUSH, THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, BECK CENTER

 

Best Choreographer

            MARTIN CÉSPEDES, WEST SIDE STORY, PORTHOUSE

                        HONORABLE MENTION

                        LIZ BAUMGARTNER, THE SPONGEBOB MUSICAL, BLANK CANVAS

 

Best Musical Direction

            MATHEW WEBB, LIZZIE, BALDWIN WALLACE UNIVERSITY/BECK CENTER

                        HONORABLE MENTION

                        LARRY GOODPASTER, SOMETHING ROTTEN, BECK CENTER

                        BRADLEY WYNER, ONE MAN, TWO GUVNORS, BLANK CANVAS

 

Best Scenic Design

            NOLAN O’DELL, WEST SIDE STORY, PORTHOUSE

                        HONORABLE MENTION

                        EFREN DELGADILLO, ROMEO & JULIET, GREAT LAKES THEATER

YU SHIBAGAKI, THE GREAT LEAP, CLEVELAND PLAY HOUSE

                       

Best Lighting Design

            JEREMY PAUL, THE THIN PLACE, DOBAMA

                        HONORABLE MENTION

            ANDREW MCDANIELS, THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, BECK CENTER

 

Best Projection Design

            PERREN HEDDERSON, THE SPONGEBOB MUSICAL, BLANK CANVAS

                        HONORABLE MENTION

NEIL SUDHAKARAN, ANGRY FAGS, CONVERGENCE-CONTINUUM

 

Best Costume Design

            TESIA DUGAN BENSON, THE LAND OF OZ, DOBAMA

                        HONORABLE MENTION

                        JENNIVER SPARANO, THE SPONGEBOB MUSICAL, BLANK CANVAS

                        CHARLOTTE M. YETMAN, LIZZIE, BALDWIN WALLACE UNIVERSITY/BECK CENTER

 

Best Sound Design  

ANGIE HAYES, THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, BECK CENTER

            HONORABLE MENTION

                        CURTIS CRAIG, THE THREE MUSKETEERS, CLEVELAND PLAY HOUSE

 

Best Touring Production

AMERICAN MOOR, KARAMU

                        HONORABLE MENTION

                        TO KILL A MOCKINGBIRD, PLAYHOUSE SQUARE

 

Best New Play by a Local Playwright 

            STEVE WILLENSKY, ELLIOT & ME

                        HONORABLE MENTION

            GEORGE BRANT, THE LAND OF OZ, DOBAMA

           

Best Chorus/Ensemble in a Musical

            WEST SIDE STORY, PORTHOUSE

                        HONORABLE MENTION

                        SCHOOL OF ROCK, CAIN PARK

                        ONE MAN, TWO GUVNORS, BLANK CANVAS

 

Best World Premiere in the Cleveland Area

            THE LAND OF OZ, DOBAMA

 

Special Mention   

            GINA VERNACI:  For her brilliant 37-year career with Playhouse Square—starting as an intern and rising to Executive Producer and ultimately CEO—providing leadership for the largest performing arts center in the US outside of New York City.

            LAURA KEPLEY:  For her wise, innovative and creative guidance as artistic director of the Cleveland Play House for nine years.

            CHARLOTTE YETMAN:   For her years of outstanding, award-winning costume designs.

            TOM HANKS:  For his acknowledgement of his early training at Great Lakes Theater, during his emotional acceptance of the Cecil B. DeMille Award at the 2020 Golden Globes.

 

(Compiled by Chris Howey and Roy Berko)