THE LITTLE FOXES @ Cleveland Play House

September 12-October 5, 2014

216-241-6000 or www.clevelandplayhouse.com

Bob Abelman

It is near impossible not to like everything there is about Lillian Hellman’s “The Little Foxes” and Cleveland Play House’s delectable production of it.  Southern-fried family dysfunction at its finest.

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

Roy Berko

Lillian Hellman’s “The Little Foxes” is a classic American play which probes into the values, ethics and morals of a group of southerners at the turn of the century.  This is a play and production well worth seeing thanks to Hellman’s writing, Kepley’s directing, the excellent acting, and well-conceived technical aspects.  It makes for a fine opening offering in this, CPH’s ninety-ninth year.

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


Kerry Clawson
 
Lillian Hellman’s 1939 drama "The Little Foxes" presents an intriguing series of character studies in this tale of greed and betrayal among family members.

This chilling production at Cleveland Play House dives into the dark, ugly side of human beings as we watch the ruthless Hubbard siblings — Regina, Oscar and Ben — in their efforts to manipulate and even destroy one another. ... Cleveland native Maggie Lacey is fascinating as Regina Hubbard Giddens, who’s heartless at best as she uses both her invalid husband Horace and her daughter Alexandra (Megan King) for her own selfish plans.

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

Howard Gollop

Cleveland Play House artistic director Laura Kepley infuses a lot of energy and muscle into Lillian Hellman's wicked parlor drama "Little Foxes." Unlike traditional productions or the film version with the cooly demure Bette Davis, the Play House production seems like an altogether different show.

 As the play begins and the wicked Regina commences to battle her conniving brothers for a boost to the family fortune, this Regina (Maggie Lacey) comes across less like Miss Davis and more like Debbie Reynolds in  "Unsinkable Molly Brown." I half expected to see the company break out into a rousing rendition of "I Ain't Down Yet."

Mark Horning

“The Little Foxes” brings together the finest that Cleveland theater has to offer; an excellent work combined with superb acting by an exceptionally experienced and professional cast, a great set, elegant costuming, superb lighting and sound.  In short, it made the Allen Theatre seem bigger that it actually was.  This is great a theater as you will find anywhere in the world.     

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

Christine Howey
 

Sure, this particular nasty nest of vipers happens to be from the Deep South, and they’re pursuing their ambitions in the year 1900, but we see the same type of people every day in our world. That’s what makes this admittedly melodramatic and formulaic play so compelling.

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

Andrea Simakis
 
Bristling with sexy malice and life, Laura Kepley's production of "The Little Foxes" is fleet-footed, lean and mean, just like the Hubbards, a rapacious Southern family hell-bent on righting the wrongs of Reconstruction by getting rich. (They are the proverbial foxes of the title that "spoil" vines bearing tender grapes.)
 
To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

Art Thomas 

Kepley's direction has a winning style that makes the period piece relevant to today's audiences. Greedy, feuding siblings in the faded elegance of the deep South are even more deplorable in the mansion that is their lair. 
 
Click here to read the complete review at WestLife

THE SUNSET LIMITED @ none too fragile theater

September 12-September 27, 2014

330-671-4563 or http://www.nonetoofragile.com

Bob Abelman

Novelist and screenwriter Cormac McCarthy’s well-crafted diatribe on the meaning of life and death is a brilliant piece of work.   Dense with thoughtful reflection, poetic in its composition, and eloquent in its articulation of diverse philosophical outlooks, “The Sunset Limited” is a pleasure to listen to but displeasing to watch.  It is, quite frankly, a lousy play.

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

Roy Berko
 

“The Sunset Limited” is a thought-provoking script, which gets an intelligent production at none too fragile.  It is a play that will hold the attention of those interested in a philosophical delving into life, religion, and the human condition.

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

Kerry Clawson

Cormac McCarthy’s THE SUNSET LIMITED is a bleak, stark story that pits faith against unbelief as two men from different worlds debate in a New York tenement. .. The entire show is dialogue- rather than action-driven, with the whole discussion taking place in Black’s ghetto apartment. The result is an interesting yet ultimately depressing philosophical debate on the very existence of God.

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


Christine Howey
No review yet.
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

FOREVER PLAID @ Beck Center for the Arts

September 12-October 12, 2014

216-521-2540 or http://www.beckcenter.org

Bob Abelman

"Forever Plaid" shows its true stripes in this Beck Center production.  It is corny, contrived and wonderfully contagious.

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

Roy Berko

Director Martin Céspedes’s creative directing and choreography, the excellent talents of Shane Patrick O’Neill, Matthew Ryan Thompson, John Rhett Noble and Brian Altman, and the fine musicianship of Bryan Bird, Bill Hart and Kevin Aylward, all combine to create a most pleasurable theatrical experience in Beck’s “Forever Plaid.”  It’s a relaxing, fun filled, “you’ll enjoy” it experience.

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

Howard Gollup

"Forever Plaid," forever returning to stages everywhere, never fails to put a smile on the faces of those who know the 1950s was more than poodle skirts and Elvis Presley. Local veteran choreographer Martin Céspedes takes the director's helm, and the result is uneven as far as the backstory banter is concerned. Fortunately, the musical staging of the crooning '50s foursome is spot on and at times better than the show's open-ended run at the Palace Theater some 20 years ago.

Mark Horning

From start to finish, Beck Center’s production of “Forever Plaid” delights.  It’s a wonderful trip down memory lane to a simpler time that the passing years have softened.  You will find yourself singing along during the various familiar numbers and humming as you leave.  This is a great show for the entire family to view and relate to. 
    

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

Christine Howey

The evergreen show Forever Plaid, now at the Beck Center, brings back that era of crooning post World War II innocence. As directed and choreographed by Martin Cespedes, this is an entertaining and endearing representation of the Plaid franchise, even if some of the songs don’t fly as high as they might.

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


Art Thomas 

The cast of four handle the close harmonies with aplomb, and one lucky audience member gets to play "Heart and Soul" with them, but the three minute montage of every memorable novelty act on "The Ed Sullivan Show" remains the highlight of this charming show.

Click here to read the complete review at WestLife

BELLEVILLE @ Dobama

September 5-October 5, 2014

216-932-3396 or dobama.org

Bob Abelman

According to Russian novelist Fyodor Dostoyevsky, in “The Brothers Karamazov,” hell is the suffering of being unable to love.  Playwright Amy Herzog would argue quite the opposite.     

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

Roy Berko

”Belleville” is a dark, draining play.  It looks at the limits of trust, truth, deception and dependency.  Dobama’s production is superb.  The writing, acting, staging and technical aspects all blend together to make for a compelling evening at the theatre.  It’s a must see for anyone interested in theatre and the limits of the human condition.
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

This play is much like slowing down on the highway to view a horrific but spectacular automobile accident.  As our eyes are drawn to the carnage we recoil in horror with what we have witnessed but still cannot stop looking.  This is a work that will sit uncomfortably for some time.  Precisely acted but disturbing none the less.  

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

Christine Howey

Some of the scariest moments in theater and in life can arise from seemingly predictable, every-day situations. There's something about a placid façade hiding a terrifying secret that is more blood-curdling than a spooky haunted house at night. This is the effect that playwright Amy Herzog is after in Belleville, now at Dobama Theatre. And there certainly are a couple chilling moments. But due to a lot of loose ends in the script and excessively languorous pauses in the performance, the show oozes to a rather limp conclusion.

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

Andrea Simakis
 
That it ["Belleville"] doesn't live up to the hype is something of a conundrum.
Maybe that's because it's one of the most pretentious plays I've seen in years, with the final scene delivered entirely in French (sorry, no subtitles in live theater).

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

Art Thomas

HAIR @ Blank Canvas

August 29-September 13, 2014 440-941-0458 or www.blankcanvastheatre.com

Bob Abelman

Despite the unfortunate but inevitable aging of Aquarius, Blank Canvas Theatre's production of "Hair" has tapped the key ingredient that made the original Broadway production such a success:  it is extremely likable.

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

Roy Berko

HAIR is a classic musical, which entered the theatre into an era of reflection of the turbulent era of the 60s and broke many traditional theatrical formats.  For those who want to relive the era, or who want to generally get an idea of what was going on during those times, the Blank Canvas staging gives an opportunity to take a seldom reprised trip through the times.  Due to a generation gap in understanding the true angst of the era, this isn’t a great production, but it is entertaining.

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

 
Mark Horning

Taking a big stage production and trying to fit it in a small theater space is always a risky proposition but due to the energy and precision of this cast this show works well on a lot of levels.  It gives this staging an even more intimate feel which is what the original creators sought.

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

Christine Howey

Although this production has its flaws (and only a nanosecond of nudity), there's enough radical spirit and go-for-broke youthful energy to light up the stage, and maybe a few bongs.

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

RIDE @ none too fragile

August 15-30, 2014

330-671-4563 or http://www.nonetoofragile.com

Bob Abelman 

“Ride,” Eric Lane’s coming-of-age comedy, has all the makings of an interesting theatrical road trip: good company, appealing banter and a final destination worth reaching.  Unfortunately, the journey quickly turns tedious in this none too fragile theater production. 

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

Roy Berko
 
Eric Lane’s RIDE is more a character study than a well-structured play.  It is both the strength and weakness of the script.  Regardless of the message, or lack of message, or quality, or lack of quality of the script, it is worth going to see the production, to be exposed to the talented cast, especially to seventh grader Ireland Derry.  You will be one of the first to experience “a star being born,” in this, her theatrical debut! 
 
To see a full review of this show, read Roy Berko's blog here.

Kerry Clawson

RIDE by Eric Lane seems to have many of the right ingredients for strong storytelling: a coming-of-age tale that takes place during a quest, some well-drawn characters, and equal doses of humor and angst.  But the 2008 drama, playing at None Too Fragile Theater in the Merriman Valley, lags and meanders.

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

Christine Howey

That is once again the case in Ride by Eric Lane, now playing at None Too Fragile Theater in Akron. A capable cast of three females under the direction of Sean Derry gives the material a solid presentation. But there are a few too many glitches in the occasionally perceptive script to make this a two-hour joy ride.

To see a full review, see Christine Howey's review in Scene Magazine here.

Henry IV, Part 1

July 31-August 17, 2014
http://ohioshakespeare.com or 330-673-8761

Kerry Clawson

It’s well worth it to take in KING HENRY IV, PART ONE just to see the huge lug of a fat suit that actor Terry Burgler wears as the ridiculous Falstaff.

... Burgler and actor Andrew Cruse make a great team, with the latter playing Prince Hal, who keeps the scurrilous Falstaff around as a sidekick for his own amusement.

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


Christine Howey

HIVPI is a long play loaded with all kinds of political details, but as usual the talented Ohio Shakespeare Festival company manages to sort it all out.

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

AMAZONS AND THEIR MEN @ convergence-continuum

August 8-30, 2014

216-687-0074 or  www.convergence-continuum.org

Bob Abelman

You’ve got to admire convergence-continuum for swinging for the fences with every production it stages.  Unfortunately, its rendering of Jordan Harrison’s “Amazons and Their Men,” an offbeat off-Broadway success in 2008, misses by a mile. 

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

Roy Berko

Jordan Harrison’s “Amazons and their Men” is a well written play that tells a fascinating and revealing story of film making and Nazi Germany.  Unfortunately, the convergence-continuum production does not live up to the potential of the script.

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

Mark Horning

From a company that has delighted and thrilled me to no end with past performances (I was truly looking forward to this show) I was gravely disappointed.  Nothing seemed to click…from the acting, delivery of the dialog, costumes and props…it just left me feeling sad.  Go see it to see if you agree with me.

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

Christine Howey

The script by Harrison is so continually fascinating that a spotty performance by con-con’s four-person cast doesn’t create many obstacles. Although it would certainly help if this production had been done in an appropriate period style with crisp comic timing.

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

Andrea Simakis

It's a marvelous play--but it's badly executed, the effect not unlike seeing a beautifully cut frock on a potbellied pig.

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

Art Thomas

The epic film that was never made by Hitler's cinema propagandist Leni Riefenstahl is the origin of this play which adds layers of interaction among actors, lovers, and figures from Greek mythology. This production probably has less humor than the playwright intended as the audience unravel the relationships.
 
Click here to read the complete review at WestLife

JEKYLL & HYDE @ North Olmsted Performing Arts

Olmsted Performing Arts

6941 Columbia Road, Olmsted Falls

August 1-3, 8-10, 2014

440-235-6722 or www.olmstedperformingarts.com

Bob Abelman

There is tenacity by the boatload and plenty of creative vision by co-directors Angela Boehm and Christina Haviland.  But there also exists a sizable divide between this vision and the technical and artistic competence required to pull it off.  "Jekyll and Hyde” is a bit too much show for OPA to handle so early in its evolution as a professional theater.

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

Mark Horning

It is time for Cleveland to take notice of “this gem in the glen” and take the long and winding road downhill to the Olmsted Performing Arts Center in Olmsted Falls.  There you will find a superb performance of a very demanding musical, but hurry, there are only a few performances left.

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

THE FROGS @ Cain Park

July 31-August 17, 2014

216-371-3000 or go on line to www.cainpark.com

Bob Abelman

Everything about this production -- the casting, the staging, the choreography -- is ribbiting.

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

Roy Berko

Though the message of “The Frogs” is generally clear, and Martin Friedman’s directing is on target, and Martin Céspedes’s choreography is prime, the script, the music, and the lyrics fail to incite much excitement.  The tepid response of the audience on preview night brings into question the wisdom in selecting this script. 

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


Andrea Simakis

Despite the tidal wave of talent that is Dan Folino – a shape-shifter who can play everything from glam-rock dead presidents ("Bloody Bloody Andrew Jackson") to chainsaw-wielding avengers ("Evil Dead") – "The Frogs," now at Cain Park's Alma Theater, is a real sinker.

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

OLIVER @ Porthouse

July24-August 10, 2014

http://www.porthousetheatre.com

or 330-929-4416 or 330-672-3884

Bob Abelman

Many stage productions of this beloved musical have dared to bring to the surface the depth, darkness and ethnic divide that Dickens intended.  The Porthouse Theatre production is not of that ilk.  It is, instead, a pleasant diversion meant to amuse rather than engage. 

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

Roy Berko

“Oliver!” is a wonderful musical theatre script which tells a well conceived tale, has marvelous music, and, in a good production, pleases an audience.  Unfortunately, Porthouse’s version left much to be desired.

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

Mark Horning

Summer is a time for lightness…clothes, music, temperatures, food and theater.  “Oliver!” is perfect entertainment for this time.  Take a drive out to Cuyahoga Falls for an enjoyable evening of musical theater. 

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

Christine Howey

This production goes even further in soft-pedaling the unpleasant parts of the original source material. As directed by Terri Kent, this Oliver! works hard to ear its exclamation point, even though there are a couple somewhat sour notes along the way.

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

ONE FLEW OVER THE CUCKOO'S NEST @ Blank Canvas Theatre

July 18-August 2, 2014
440-941-0458 or www.blankcanvastheatre.com

1305  West 78th Street, Suite 211

Cleveland, OH 

Bob Abelman

Blank Canvas Theatre – Cleveland’s primary provider of cultist comedies and wonderfully bizarre musicals – has also based its professional reputation on its productions of modern classics. Its current rendition of Dale Wasserman’s “One Flew Over the Cuckoo’s Nest,” directed and designed by Patrick Ciamacco, does little to bolster that reputation. 

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

Roy Berko

“One Flew over the Cuckoo’s Nest” is one of America’s great plays.  The script gets an outstanding production at Blank Canvas. The cast is outstanding, the direction spot on, the pacing is excellent, the intimate venue lends itself to the audience being completely swept into the action.    It is a must see!

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

Mark Horning

“Cuckoo’s Nest” is what one might consider a “complete” play that touches on all of our emotions.  We experience laughter, sorrow, compassion, anger, fear and empathy as we see ourselves through the various portrayals of the characters.  While you may like or not like the ending, this is an intense night of theater that will leave you drained but in a good way.  Great cast with a great vehicle.    

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

Christine Howey

Things don’t start well in this production, as the first act is larded with so many long pauses, lingering beats and languorous low-volume line readings (other than McMurphy) that one begins to feel drugged. But the second act snaps into shape nicely under the direction of Patrick Ciamacco. 

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

Andrea Simakis

Unlike "Arcadia," Tom Stoppard's 1993 time-traveling masterpiece now playing in Tremont, Dale Wasserman's 50-year-old adaptation of the wildly popular novel by Ken Kesey feels slightly musty.

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

ARCADIA @ Mamai Theatre Company

 

July 13-August 3, 2014

Pilgrim Congregational Church

2592 West 14th Street, Cleveland

Information and tickets:  
http://www.mamaitheatreco.org

Bob Abelman

Extravagantly lengthy, opulently wordy and intellectually challenging, this play tests one’s endurance while this production of it – beautifully directed by Christine McBurney with particular attention given to the thread of frivolity that weaves its way through the script – makes the arduous journey well worth the while.  

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

Roy Berko

“Arcadia” is one of the English language’s great plays.  Tom Stoppard’s language is poetic and poignant.  His use of dichotomies is impressive. This is a play worth seeing and Mamai should be praised for selecting and staging the script.  That said, the almost three hour sit became frustrating as many lines could not be heard, echoes exceeded clarity, acting styles weren’t always consistent to their era. The theatre desperately needs to find another venue.  It’s a shame that their quality work and the efforts of the cast are spoiled by the blurring of the dialogue, which is the basis for understanding the playwright’s brilliant efforts.
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

With the new wall treatment lining the back wall, the effect of “Echo Theater” has been greatly reduced thus giving a very adequate cast the ability to project their lines without fear of reverberation.  In short it is a dramody that allows you to solve the mysteries by giving you enough clues to do so.  Good Theater and Good Fun.

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

Christine Howey

The talented Mamai cast delivers Stoppard’s brain-tickling words with musical rhythm and sly wit, under the direction of Christine McBurney. 

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

YOUNG FRANKENSTEIN @ Beck Center for the Arts

Mackey Main Stage

July 11-August 17, 2014

216-521-2540 or http://www.beckcenter.org

Bob Abelman

It’s alive, alright!

To see a full review of this show, read Bob Abelman's CJN review here or go to: http://www.clevelandjewishnews.com/news/local/article_6be3f0f0-0958-11e4-9a1f-001a4bcf887a.html

Roy Berko

“Young Frankenstein” isn’t a well-written script and it has a weak musical score.  Is the production bad?  Not really. Martin Céspedes’s choreography added a creativity factor, and the second act on opening night was funnier than the first, hopefully indicating an increased comfort level of the cast with the material and the ability to have more abandonment.   In spite of the negatives, audiences should have a fun time at Beck.

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

Mark Horning

“The New Mel Brooks Musical Young Frankenstein” now playing at the Beck Center for the Arts is a wonderful surprise.  It is a highly ambitious project that squeezes out every inch of stage area as well as every ounce of craft from a very talented cast.  This looks to be a monster hit for the Beck.

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

Christine Howey

There are plenty of entertaining riffs provided by the leads, even though one can see ways they could have gone farther with their characterizations. But the material is weak and wan (ie. "The Producers" it ain’t). 

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

Andrea Simakis

On opening night those little nitrous busts of cleverness were too few and far between to deliver a sustained buzz. 

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


Art Thomas

"Young Frankenstein" does not represent the best work of director Spence, choreographer Cespedes, or The Beck Center. There's some bouncy act I tunes, but the indomitable "Putting on the Ritz" is the show's bright spot. It takes a long time to get there, however. 

Click here to read the complete review at WestLife