KING LEAR@GREAT LAKES THEATER

October 2 through November 1, 2015

216-664-6064 

Or www.greatlakestheater.org

Roy Berko

As he emerges from prison carrying Cordelia’s body, Lear howls in despair ranting, “heaven’s vault should crack” because of his daughter’s death. It does not, and are we left with no answers.  It is this lack of unexplained horror that makes KING LEAR such a powerful, maybe even excruciating play, and a classic example of Shakespeare at his finest.  Joseph Hanreddy, his cast and crew make this a fine GLT offering. 

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

Christine Howey

There is much to admire in this staging of King Lear by Great Lakes Theater, including some incisive performances under the direction of Joseph Hanreddy and a scenic design that falls into a state of decrepitude right alongside the King's. 

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

Andrea Simakis

There is a "Man Max" quality to the electrifying Great Lakes Theater production of "King Lear" at the Hanna Theatre, a grungy, post-apocalyptic feel that is only heightened as the play speeds toward its dark denouement like a killer meteor hutrling to Earth.

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

Art Thomas

The straightforward story of Lear's descent into madness is clear in this iteration which is surprisingly traditional despite the contemporary costuming. The production has a lot of bells and whistles, making it probably the nosiest production of "Lear" you will ever see. 
 
Click here to read the complete review at WestLife

THE SECRET GARDEN@GREAT LAKES THEATER

September 25 through October 31, 2015

216-664-6064 

or www.greatlakestheater.org

Bob Abelman

The tears start welling up right about the time the pale apparition of Lily Craven makes her entrance early in Great Lakes Theater’s absolutely gorgeous telling of “The Secret Garden.”  They’re welling up still.   

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

Roy Berko

Victoria Bussert, her technical crew and the cast join their skills 

to make the Great Lakes production of THE SECRET GARDEN a very special theatrical offering.  This is a show that deserves the standing ovation that it should get after each performance.  Bravo!

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

Mark Horning 

It can be a real challenge putting on a show as well known and as well liked as The Secret Garden especially as a musical but Great Lakes Theater pulls it off with aplomb.  The singing is magnificent, the costumes breathtaking and the easy to follow moral tale of loss and redemption rings clear as the wonderful voices of the cast.  Take the entire family to see this one (if you can get tickets).  This is a spectacular way to start the GLT season. 

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

Howard Gollup

Let’s just get this out of the way: “The Secret Garden” is majestic, magical, meaningful and melodious as superbly rendered by the Great Lakes Theater company at the Hanna Theatre on Playhouse Square.   The concept by librettist and lyricist Marsha Norman is to move the original work well beyond a Shirley Temple movie. 

Christine Howey

While the material itself can get on some nerves, the performances under the direction of Bussert are blameless. 

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

Andrea Simakis

Witnessing such a moment teaches that sometimes live theatre can offer the very gift Mary gave her family--a cure for soul sickness, a spiritual lift that banishes grief, if only for two transporting hours.

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

Art Thomas

I'm not a fan of this show, but you'll never have to see another production of  it after experiencing the spot on cast who carry off the music with  boundless energy. Opening with death by cholera and ending with floral theatrical drops, "The Secret Garden" is less typical than most and refreshing in its musical innovations.
 
Click here to read the complete review at WestLife

WHO'S AFRAID OF VIRGINIA WOOLF @ Lakeland Civic Theatre

September 18-October 4, 2015

440-525-7134 or

http://lakelandcc.edu/academic/arts/theatre/index.asp 

Roy Berko

WHO’S AFRAID OF VIRGINIA WOOLF gets a very credible staging at Lakeland’s Civic Theater.  The acting is of high quality.  Potential audience members should be aware that, though the show clicks along at a nice pace, this is a long three-act play with two intermissions.  It’s well worth a trip to Lake County to see this seldom produced classic.

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

Christine Howey

Friedman is a deft and nuanced director, managing to cadge some shivers of revulsion from this classic play. And as always, Albee’s words carry the day, taking us on a fraught journey through an evening of barely civilized confrontation, showing us how our illusions can either protect us or destroy us.

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

SPITFIRE GRILL@BECK CENTER FOR THE ARTS

Through October 18, 2015

http://www.beckcenter.org

Or 216-521-2540 

Bob Abelman

Some musicals have an impressive literary pedigree.  The Tony Award-winning “Cats” is based on the whimsical verse of poet T.S. Eliot.  “South Pacific” is an adaptation of James A. Michener’s Pulitzer Prize-winning novel.  “The Spitfire Grill,” on stage at the Beck Center for the Arts, seems inspired by Hallmark.  

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

Roy Berko

THE SPITFIRE GRILL is a nicely honed script, filled with excellent music.  It gets a well-conceived, acted and sung production.
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

This is a nice rainy evening type of show to see that has a high content of comfort in it.  Before the last curtain call, all ends predictably well and the theme that constructive change is always possible for those willing to work at it gives the audience a feel-good sense of well being to take home with them. 

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

Christine Howey

The actors do their jobs well under the direction of William Roudebush. But the whole thing is so drenched in sugary syrup that they should have hot showers in the lobby for audience members who need to rinse off the treacle.

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

Art Thomas

This is one of the quirkiest musicals you'll see. The charming characters and folk-style score make it easy to dismiss the outlandish plot and situations. With Bill Roudebush directing and  a cast that includes Neely Gevaart, Lenne Snively and Dan Folino it doesn't get better than this. 
 
Click here to read the complete review at WestLife

DREAMGIRLS@KARAMU THEATRE

September 18 through October 11, 2015

www.karamuhouse.org or

216-795-7077

Mark Horning

While not a total disaster, this production is in need of a huge technical reboot.  Until that can be figured out it is suggested that you seat yourself as far from the orchestra and as close to the stage as possible.  It is the classic problem of a great cast, great orchestra, great costumes and great set combined with horrendous technical problems.

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

Christine Howey

It’s a juicy story filled with some dynamite songs, and this Karamu production manages to dazzle at times. But there are too many flat notes sung and too few transformative moments to make this Dreamgirls a dream worth remembering for long.

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

DEATH OF A SALESMAN@ENSEMBLE THEATRE

September 18 through October 11, 2015

www.ensemble-theatre.com 

or 216-321-2930

Roy Berko

DEATH OF A SALESMAN is one of America’s great play scripts.  The classic gets an excellent production at Ensemble.  As the script gets few present-day productions, anyone who has never seen the play on stage, or those who need another viewing to evaluate their own philosophical life path, should definitely see this production.

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

Christine Howey

Under the sensitive direction of Celeste Cosentino, and employing the color-blind casting for which Ensemble has become known, this Salesman glides smoothly over Miller’s words and then packs a devastating punch at the end.

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

A COMEDY OF TENORS @ Cleveland Play House

September 5-October 3, 2015

216-241-6000 or www.clevelandplayhouse.com

Bob Abelman

Sometimes, whether through divine intervention or the heights of human inspiration, art is elevated to a higher level and becomes transcendent.  Evidence of this can be found in the masterworks of Monet, Mozart, Michelangelo and, now, Ludwig.

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

Roy Berko

Ah, what a night at CPH.  The viewing of their well-deserved Tony, a Ken Ludwig farce which will forever be listed as having had its world premiere beside the PlayhouseSquare chandelier, was a class act celebration of the theatre’s one- hundredth anniversary.  As for the play, if the opening night audience’s reaction is an indication of things to come, Ludwig should be well- off financially from the royalties to be garnered from the professional and amateur rights to the show.  If you love farce, if you go to the theater to have a good time, you must see A COMEDY OF TENORS.

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

Kerry Clawson


Playwright Ken Ludwig has hit the jackpot again with his fast-paced, over-the-top farce 'A Comedy of Tenors,' which builds on the zany characters he introduced in his beloved 1986 comedy Lend Me a Tenor.

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

Mark Horning

In this all important opening of the 100th season of Tony Award Winning Cleveland Play House, no finer choice could be made than to hold the world premiere of Ken Ludwig’s “A Comedy of Tenors.”  With a formidable and energetic cast, great staging and costumes, this mad cap 30s style comedy is a laugh riot of the highest degree.  Share the laughter with all of your friends and family but get your tickets early as this one will prove to be a sell-out.  No love of opera required.  

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

Christine Howey

Congratulations to the Cleveland Play House on their 100th anniversary! As for the show that's kicking off this milestone season...well...

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

Andrea Simakis
 
There are moments of true inventiveness and delight – real, organic, lapel-grabbers that make you hungry for more – but they are too few and far between to deliver the rollicking ride a successful comedy demands.

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

Art Thomas

Good contemporary farce is a rarity and master playwright Ken Ludwig wisely sets this show in an earlier time in France. The Play House cast are impeccably chosen and do the play justice. It will be remembered as a landmark production in Cleveland.
  
Click here to read the complete review at WestLife

DEATH AND THE MAIDEN@MAMAI THEATRE COMPANY

September 17 through October 4, 2015

http://www.mamaitheatreco.org/#!

or (216) 382-5146​

Bob Abelman

Political thrillers are precarious things. So much rides on precise writing to generate intrigue, provocative staging to maintain deception and tension, and perfect execution to make the characters believable and the journey worthwhile. While the writing is first-rate, some of the staging and acting choices in this production detracts from it. 

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

Roy Berko
No review yet.
To see a full review of this show, read Roy Berko's blog here.

Kerry Clawson
No review yet.
To see a full review of this show, read Kerry Clawson's review here.

Howard Gollop
No review yet.

Mark Horning

Hamstrung with weighty dialog and totally preposterous coincidences, the cast manages to shoulder through without too much loss of honor in spite of the silly accents.  Technical problems during the play added to the turmoil of an already weak script that made it clear that Paulina was not the only one being tortured, the audience suffered as well.  This play is in dire need of a reboot. 

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

Christine Howey
Director Katia P. Schwarz keeps the tension ratcheting up on the small Kennedy’s at PlayhouseSquare stage while allowing the personalities of the characters to emerge. 

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

David Ritchey
No review yet.
To see a full review of this show, read David's posts at Talkin' Broadway

Andrea Simakis
No review yet.
To see a full review of this show, read Andrea Simakis' blog or visit Cleveland.com here.

Art Thomas
No review yet.
Click here to read the complete review at WestLife

"OR,"@DOBAMA THEATRE

September 4 through October 4, 2015

216-932-3396 

Or dobama.org

Bob Abelman

For a play whose title is so ambiguous, its plot points and production couldn’t be more ambitious.

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

Roy Berko

OR, is an amusing and revealing historification take on the Western world’s first recognized woman playwright, and her supposed relationships with Charles II, the King of England, and Nell Gwynn, one of the most famous actresses of her time.  The Dobama production is long on farce and fine acting!  It makes for a entertaining evening of theatre.  

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

Mark Horning

If your choice is to stay at home and binge watch the newest drivel from TV Land OR to see a really great production, you are strongly advised to pick the latter OR regret your choice.  The show is fresh and funny and puts real people in historic situations that show that not much has changed in 345 years Or so.  Trust that your time will not be wasted in this evening of madcap farce and hisdromedy that promises to be one of the hits of the season.  Do not miss this show OR you will be sORry.

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

Christine Howey

While this may not be entirely satisfying for some scholars, the show is loaded with rich wordplay, some biographical elements, and modern language suffused with a Restoration comedy flavor.

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

IN A FOREST, DARK AND DEEP@NONE TOO FRAGILE

August 28 through September 12, 2015

 http://www.nonetoofragile.com

or 330-671-4563 

Bob Abelman

If the sensation of walking into the Green Room of The Jerry Springer Show on "Dysfunctional Siblings Week" was what none too fragile was going for, then its production of Neil LaBute’s “In A Forest, Dark and Deep” is a huge success.

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

Roy Berko

Sean Derry and Leighann Niles Delorenzo light up the none too fragile stage in this battle of deception, lies, and false values.  Though overly long, Neil LaBute’s IN A FOREST, DARK AND DEEP still makes for an interesting evening of theater.

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


Kerry Clawson

"In a Forest, Dark and Deep" is a chilling, suspenseful tale that, little by little, peels back the truth about the darkest, ugliest side of one character’s nature.

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


Christine Howey

Even though In a Forest isn’t one of LaBute’s best, it deals with actual issues and isn’t just another collection of dysfunctional people who show up in the same place. And for that we can be truly grateful.

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

David Ritchey

The two performers are superior.  They work hard for 100 minutes of fighting and battling for truth to be revealed. However, they are swimming upstream in a script that is not ready for the stage.

To see a full review of this show, read David's posts at Talkin' Broadway

FARRAGUT NORTH@ENSEMBLE THEATRE

August 27 through September 6, 2015

www.ensemble-theatre.com 

or 216-321-2930

Bob Abelman

With a candidate debate in Cleveland’s rear view mirror and a party convention on the horizon, the timing for a play about the power behind the power of modern-day politics is perfect.  But in its production of Beau Willimon’s “Farragut North,” Ensemble Theatre is stuck in political spin cycle. 

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

Roy Berko

FARRAGUT NORTH is a well written script that gives the electorate an often uncomfortable view of the reality of those who plan and plot election campaigns.  Willimon’s writing gets a good production at Ensemble that is well worth seeing.

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


Mark Horning

This taut and fast pace political thriller is one of those works that reveals what one has suspected all along that politics is a dirty game.  With that said, it makes for an intriguing evening of theater that demands that you return from intermission to see how the different fates play out.

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

MARY POPPINS@MERCURY SUMMER THEATRE

August 7 through 22, 2015

http://www.mercurysummerstock.com 

or 216-771-5862

Bob Abelman

The film "Mary Poppins" boasts of Academy Award-winning music and lyrics by Richard M. Sherman and Robert B. Sherman, a story bolstered by Academy Award-winning Disney animation and film editing, and cast members who have cement footprints embedded in the walkway of Hollywood Blvd.  In order to bring the film to life on stage, Walt Disney Theatrical spent $18 million on elaborate special effects developed by Las Vegas illusionists and Disney theme park specialists.  Local theaters attempting to stage “Mary Poppins” acquire the score and script but, with their limited budgets, are left to fend for themselves when it comes to finding their own form of magic. Which the Mercury Theatre Company does in its current production.  

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

TEAR IT OFF@CONVERGENCE-CONTINUUM

August 14 through September 5, 2015

convergence-continiuum.org 

or 216-687-0074

Bob Abelman

A play within a play -- where a story being told closely parallels the lives of the characters themselves -- is a literary device nearly as old as literature itself.   Shakespeare used it in “Hamlet,” but while the Bard's intention is to provoke Hamlet's murderous uncle so as to “catch the conscience of the king," Mike Geither has significantly less lofty reasons in mind in “Tear It Off.”  He’s going for laughs.  And getting them.

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

Roy Berko

TEAR IT OFF is no great theatrical script, but the premise and the way it is developed makes for a fun evening of theatre, resulting in a get-away from the “real world,” where goings-on are a little less formulaic. 

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

Mark Horning

Sometimes one should go to the theatre just for a light laugh and Tear It Off certainly fills the bill.  You will find yourself in a continuous state of chuckles as this romantic farce is revealed.

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

OUR TOWN@BLANK CANVAS

August 14 to 29, 2015

440-941-0458 

or www.blankcanvastheatre.com

Bob Abelman

Blank Canvas Theatre’s staging of ‘Our Town’ is a bit too much of a blank canvas.  It embraces a less-is-more approach to an already simple work that renders it less poignant than it ought to be.

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

Roy Berko

If you haven’t seen the classic OUR TOWN before, or have seen it, but need a good shot of appreciation for life, go see the Blank Canvas production.  Director Patrick Ciamacco sets it out before you, plain and simple, doing nothing to get in the way of Wilder’s intent and purpose.  Nice job! 
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

True theater allows room for the audience to use their imagination without spelling out each and every detail.  Blank Canvas manages to bring the basic spirit of Wilder’s masterpiece to life without a lot of histrionics that would otherwise get in the way of the message.  This is a work that you go to study rather than see and well worth the effort.

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

Andrea Simakis

If Thornton Wilder were still kicking up his heels on our hot little third rock from the sun, i'm thinking he's appreicate the purity of the Blank Canvas Theatre production of "Our Town."

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