BOOTY CANDY @ convergence-continuum

The Liminis
March 25-April 16, 2016

convergence-continiuum.org or 216-687-0074

Bob Abelman

Theater at convergence-continuum can, at times, be provocative, profound, perverse and very funny.  Robert O’Hara’s “Bootycandy” is all of these things at once, though not always in balance or with consistently satisfying results.  

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

Roy Berko
 
BOOTY CANDY, as is true with most con-con plays, will please many (including me), and offend others. It is funny, revealing and generally well-staged. As publicity for the show states, “PLEASE BE ADVISED:  This play is called BOOTY CANDY, so they’ll be talking about booty, and show some booty.  That means strong language, mature themes, and full nudity.  You’ve been warned!” 

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

Christine Howey

While there are some glitches in this balls-to-the-wall satire of some familiar cultural stereotypes, the ribald humor is often howlingly funny. 

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

Andrea Simakis

You'll laugh!  You'll cry!  You'll take offense!  

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

A KID LIKE JAKE @ NONE TOO FRAGILE THEATER

Through March 26, 2016

330-671-4563

Or http://www.nonetoofragile.com

Bob Abelman

‘A Kid Like Jake’ is a captivating, contemporary Cinderella story.

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

Roy Berko

A KID LIKE JAKE is a well-developed, thought-provoking script, centering on the contemporary topics of gender identity, parental relationships, and the controversy of nature versus nurture.  The acting is excellent.  It is the type of production that incites discussion and will be appealing to a thinking audience. 

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

Kerry Clawson

In A KID LIKE JAKE, Rachel Lee Kolis gives a heartbreaking performance as stressed-out mom Alex, willfully blind to who her child really is even though she professes to know him best. Sensitively directed by Sean Derry at None Too Fragile Theater, the play presents a raw, often harrowing tale of the great pressure moneyed, anxious parents put on themselves to make the right decisions for their youngsters.

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

Christine Howey

Director Sean Derry has summoned a talented cast to handle this 100-minute production, but even the best efforts of these accomplished actors can't overcome Pearle's talky script, one that only strikes sparks near the very end. 

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

THE 39 STEPS @ BLANK CANVAS THEATRE

Through March 19, 2016

440-941-0458

Or www.blankcanvastheatre.com

Bob Abelman

Blank Canvas has prioritized silly over stylized for its production of "The 39 Steps" which, while playful and thoroughly entertaining, is pedestrian.

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

Roy Berko

THE 39 STEPS is a farcical romp which gets a good, but not great production.  If your theater liking is for improbable plot twists, and extended ridiculousness, the Blank Canvas production makes for a chucklefest and should delight you.  

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

Mark Horning

If you are a fan of Hitchcock, spy movies, murder mysteries and slapstick all combined, this is the show for you.  A thoroughly engaging cast that keeps the laughs going all show long.

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

Christine Howey

It’s hard to find a whole show that’s as funny and engaging as the first act of The 39 Steps. A treasure trove for Hitchcock fans, and everyone else for that matter.

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

MAMMA MIA @ PLAYHOUSE SQUARE

March 8 through 13, 2016

216-241-6000

Or www.playhousesquare.org

Bob Abelman

“So when you're near me, darling can't you hear me S.O.S.”  These are more than the lyrics to one of the many songs by Swedish pop group Abba that make up Benny Andersson and Björn Ulvaeus’ global smash hit musical “Mamma Mia!”  They are a desperate cry for help from the national tour, which came through Cleveland in 2002, 2004, 2008, 2009 and 2012, and is once again on stage – this time in cardiac arrest – at Playhouse Square.

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

Mark Horning

If you’re a fan of ABBA and are looking for a nice evening of escapism you can do no worse than to “Take A Chance” with “Mamma Mia.”  This feel good musical gives you nearly two dozen hits that are all ‘sing along’ strong.  Bring your gal pals for a night out!

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

THE REVISIONIST @ DOBAMA THEATRE

Through April 3, 2016

216-932-3396

Or dobama.org

Bob Abelman

This is a lovely story but, as with the early works of many fledgling authors, it is thinly told and full of implausible, forced and structurally graceless moments. What should be a small, delicate watercolor portrait is rendered with expressionistic subjectivity, broad strokes and unrefined technique. Fortunately, it fell into the hands of director Leighann Delorenzo. Her delicate touch has tapped all that is heartfelt and beguiling in the script. And her eye for casting has allowed it to take form on stage.

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

Roy Berko

Though there are flaws in the writing, Dobama’s THE REVISIONIST is a must see to experience the great Dorothy Silver and the very talented Andrew Gombas.  These performances deserve a standing ovation!

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

Mark Horning

If you have yet to get your fill of the strangeness that this theater season seems bent on providing, then “The Revisionist” is your cup of vodka.  Dorothy Silver reminds us all that it is after all the actor that makes the show as her small nuances give light to a burdensome script.  In anybody else’s hands this play would suffer terribly.  Dorothy saves the day with her fantastic talent.

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

Christine Howey

Director Leighann DeLorenzo enables Dorothy Silver to do her thing, crafting every word and gesture with the specificity, intelligence and wit that have long been the trademark of her performances. You must see The Revisionist for that reason, since any other reasons pale in comparison.

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

Andrea Simakis

Though she has a knack for making any role feel organic, her Maria is one for the ages. Whether delivering lines in seamlessly accented English or bantering with Zenon in Polish, Silver gives us a woman who has decided she'd rather be surrounded by ghosts of her own making than the real ghouls of her childhood.  The final tableau featuring Silver, alone again and back on that worn couch, in an image reminiscent of Edvard Munch's "The Scream," is the very definition of grief.

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

LUNA GALE @ CLEVELAND PLAY HOUSE

February 27 through March 20, 2016

216-241-6000

Or www.clevelandplayhouse.com

Bob Abelman

A year or two ago, a short play called “Legally Addicted” toured Cleveland-area schools and dramatized the opiate epidemic among teens in order to educate and advocate.  Many of the kids in attendance – who received community service credit or reduced probation to be there – felt trapped within a public service announcement as the play’s didactic earnestness and frequent teaching moments overpowered things meant to be merely entertaining.  Rebecca Gilman’s “Luna Gale” seems to have had a similar effect on its opening night audience at Cleveland Play House’s Allen Theatre.

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

Roy Berko

One of the purposes of good theatre is to enlighten and educate an audience.  LUNA GALE does just that as it continues CPH’s quality centennial season. The script is well written, the acting top notch, the directing spot on. This is a must see for anyone who wants to experience an emotionally wrenching tale of the real world of social work and the fragile child welfare system.

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

Mark Horning

Luna Gale is a deeply dark and disturbing play that exposes the weaknesses of our over burdened child protection services, the drug epidemic sweeping the country and the Christian fanatics who wait with zeal for the rapture.  It is a show that will give you plenty to talk about, especially the surprisingly logical ending.  Bring your adult children to see this and you will appreciate them much more. 

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

Christine Howey

There are many facets in Luna Gale, and they aren't all addressed with equal success. But the cast, for the most part, is up to the challenge. 

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

Andrea Simakis

It's an amazingly engrossing piece of work, an edge-of-your-seat drama from its cranked-up beginning to its heartbreaking end.  Make no mistake: Though often mordantly funny, as all good pieces about the workings and failings of government are, "Luna Gale" has the makings of a modern-day tragedy. 

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

Art Thomas

The subject matter of this play moves directly into the laps of the audience with the cast never more than five feet from the front of the stage. The 110 minute study explores the powerful influences on a baby born to ill-prepared addict parents. It's powerful material stuffed with enough discussion questions for a mini-series.

Click here to read the complete review at WestLife

AND THEN THERE WERE NONE @ GREAT LAKES THEATER

February 26 through March 20, 2016

216-664-6064

Or www.greatlakestheater.org

Bob Abelman

It is a long-standing theater tradition that those who attend an Agatha Christie murder mystery must never expose its secrets to those who will be attending it next.  This tradition ends here, for this review will divulge – against better judgement and the expressed wishes of the theater’s artistic director – precisely whodunit .  

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

Roy Berko

AND THEN THERE WERE NONE is a typical Agatha Christie mystery, filled with plot twists and turns.  It receives a very competent, if not compelling production at Great Lakes Theater.  It is a staging worth seeing for those who are novices to the world of Christie or want to activate their “who done it” prowess and figure out the “villain” based on the new ending to the script.

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

Mark Horning

Combining a magnificent set with superb costuming and impeccable acting makes this the must see production of the season for fans of gripping crime dramas.  Be forewarned that the theme of murder and violent death (combined with a truly shocking and graphic ending) may be too intense for some.

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

Christine Howey

If you'd like to take a delicious bite of something really corny right about now, open wide and devour And Then There Were None, now presented by Great Lakes Theater.

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

Art Thomas

Great Lakes Theater continues to "reimagine the classics" with this Agatha Christie piece in which the original bleak ending provides additional thrills to those who "remember the movie" or the play in its multiple incarnations. Directed by Charles Fee, the cast act as stylized as the set shouting from the play's start and getting louder as they are bumped off one-by-one. 

Click here to read the complete review at WestLife

CHAPATTI @ ACTORS' SUMMIT

Through March 13, 2016

330-374-7568

Or go to www.actorssummit.org

Bob Abelman

Place two chairs on a stage and put Anne McEvoy and Neil Thackaberry in them and great theater is likely to result.  

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

Kerry Clawson

Actors’ Summit’s CHAPATTI is a lyrical, gentle tale that explores loneliness, isolation and depression among senior citizens, whose story slowly and beautifully builds bonds of trust and companionship between an older man and woman.

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

Mark Horning

While charming at its core and extremely well acted, “Chapatti” carries more darkness than light that some may find unnerving in spite of the hopeful ending.  It is the happy/sad play that will have you thinking about a lot of issues.

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

David Ritchey

Dogs and cats usually aren’t the subject of stage plays.  “Chapatti” is different.  Chapatti is the name of the dog.  The cast of this 90-minute one-act play bring one dog and about 16 cats to life on the Actors’ Summit stage.  “Chapatti” deals with two lonely people, Dan (Neil Thackaberry) and Betty (Anne McEvoy).  Their pets, like glue, seem to hold their fragile lives together– Dan has Chapatti and Anne has about 16 cats.  Dan realizes he needs more than the dog to make his life complete. Unfortunately, he sees no opportunity to live a fulfilling life.

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

AIDA @ RUBBER CITY SHAKESPEARE

Through February 28, 2016

234-252-0272

Or www.rubbercityshakes.org

Kerry Clawson

Rubber City Shakespeare Company has taken a risk producing its first musical — the epic AIDA at that — and it has paid off as a legendary story of forbidden love ignites the Akron stage. Leading the cast are breathtaking vocal powerhouse Miah Bickley of Canton in the title role as the Nubian princess and the golden-voiced Marcus Martin of Fairlawn as the dashing Egyptian soldier Radames. Their voices are so beautifully matched and their chemistry so strong on stage, you can’t get enough of them.

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

IN THE HEIGHTS @ BECK CENTER FOR THE ARTS

February 12 through 28, 2016

216-521-2540

Or http://www.beckcenter.org

Bob Abelman

‘In the Heights’ es increíble -- caliente, liviano y dulce -- pero no auténtico.

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

Roy Berko

The multi-Tony winning IN THE HEIGHTS gets an exciting and well-developed production through creative direction by Victoria Bussert and fine acting, singing and dancing by a cast mainly composed of Baldwin Wallace University past and present students.  If you like Latino music enfolded into a nicely developed story, this should be on your “go to” list.

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

Kerry Clawson

It may be impossible to get tickets to the hip-hop phenomenon Hamilton on Broadway, but Northeast Ohio audiences can still see the next best thing right up the road at Beck Center for the Arts in Lakewood: Lin-Manuel Miranda's musical IN THE HEIGHTS.

At Beck Center, the Baldwin Wallace University musical theater program is co-producing the vibrant show, which features 23 BW students and two alumni Equity actors. The show, directed by Victoria Bussert, pops with hot salsa and hip-hop choreography by Gregory Daniels and excellent vocals.

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

Mark Horning

An extremely talented cast and crew works a great blend of hip-hop and salsa music that is combined with an engaging plot for an excellent evening of musical theater.  If a solution can be found to solve the balance of orchestra and singers it will make for a nearly perfect performance.

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

Christine Howey

While there are ups and downs in this colorful little corner of urban America, the downs don’t stay down for long—because here comes another upbeat and infectious song that makes everyone dance in the streets! 

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

Art Thomas

Once again, the combined resources of The Beck Center and the Musical Theater Program at Baldwin-Wallace University make a theatrical product greater than the sum of the parts. All the dynamics of "In the Heights" appeal to young people, giving this production a special energy that overcomes the casting with no regard to age.

Click here to read the complete review at WestLife

MR. BURNS @ CLEVELAND PUBLIC THEATRE

February 11 through March 5, 2016

216-631-2727

Or go to www.cptonline.org

Bob Abelman

D’oh!  Grand ambitions, good intentions not quite realized in CPT’s ‘Mr. Burns’ 

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

Roy Berko

MR. BURNS A POST-ELECTRIC PLAY is not a production that will please everyone, nor is it meant to be.  It can be obtuse, is overly long, and too reference specific.  If you are a “The Simpsons” fan, it will help you to understand the images to which the author is referring.  For the rest, it could be the basis for a discussion, an attempt to determine what Anne Washburn is trying to tell, and an adventure into the post-apocalyptic future. 
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

If you’re looking for a friendly traditional theater experience…this ain’t it.  This is theater for those with an eclectic taste who are up to date with the latest “socially hip catch phrases.”  It is theater that some will rave about and others will rave at as it flies over their heads.  Choose wisely, grasshopper.

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

Christine Howey

The playwright's reach eventually exceeds her grasp as the play limps to a curiously unaffecting end. But before that, as Homer would say: Woo-hoo! It's quite a ride.

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

IF/THEN @ PLAYHOUSE SQUARE

February 9 through 21, 2016

216-241-6000

Or www.playhousesquare.org

Bob Abelman

Think “It’s a Wonderful Life,” but with dance breaks.

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

Roy Berko

IF/THEN has a wonderful score. The touring production has a strong cast and is nicely staged.  Too bad somewhere in the show’s development the sometimes confusing plot and excessive length weren’t dealt with. 
 
To see a full review of this show, read Roy Berko's blog here.

Kerry Clawson

IF/THEN is a boldly emotional, contemporary musical that explores universal human experiences regarding love, friendship, loss and career. ... It’s an intimate tale about the leap of faith it takes to love — full of memorable melodies, beautiful harmonies and intelligent, richly painted lyrics.

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

Howard Gollop

Is the audience really supposed to care whether Barbie goes to her dream-urban-planner-office with the dynamic Ken-doll boss or her Manhattan dream-apartment with her Ken-doll doctor-soldier-hero?  Despite a lot of singing, dancing (repetitive organic hipster moves and grooves by Lerry Keigwin) and what can only be called scream-singing, there are no true life choices or inevitable outcomes, just Lifetime TV movie plot devices.

Mark Horning

“If/Then” is a fascinating study on the effects of choices and chance in our lives and is a good start to opening dialogs both internally and with life partners.  With very high production standards and an energetic and hugely talented cast it is a solid evening of entertainment.  To repeat some advice, keep your eyes on the lass with and without the glasses. 

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

Christine Howey

The music is almost uniformly repetitive and dull, and the storyline manages to bury a familiar and yet mildly interesting concept under a heaving mound of clichés and self-satisfying bromides.

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

Andrea Simakis

"If/Then" feels like a live cocktail party in a high-rise bar somewhere in Manhattan where snide jokes about flyover states win you another round.

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

GOLDEN LEAF RAG TIME BLUES @ ENSEMBLE THEATRE

February 5 through 28, 2016

216-321-2930

Or www.ensemble-theatre.com

Roy Berko

GOLDEN LEAF RAG TIME BLUES is, at best, a work in progress.  The writing fails to grab and hold attention, leaving the cast with little opportunity to develop much in the way of depth of character.  The production team and cast give all they can in staging, but are left with little reward.  Ensemble should be praised for attempting to give life to a new play. 
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

If you have a premium baby sitter who charges an extortionist rate and you seek a short evening of entertainment, this is the play for you.  The show does raise the question…”Why Bother?”

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

Christine Howey

The entire play feels disassembled, similar to the odd, two-word spelling of ragtime in the title. Like a not particularly entertaining skit, Golden Leaf is short, predictable and without any real depth.

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

DETROIT '67 @ KARAMU HOUSE

February 5 through 28, 2016

216-795-707)  

Or www.karamuhouse.org

Roy Berko

DETROIT ’67 lacks the plot and writing dynamics that make for great plays. It gets a better production at Karamu than the script probably is due.  For this, the director and cast get a great deal of credit.
 
To see a full review of this show, read Roy Berko's blog here.

Mark Horning

Although not the strongest of scripts, it is what the cast and crew does with the material that makes this gritty tale of love and friendship conquering all adversity so compelling to watch.  You find yourself being swept along with the story.  This show should have a full house at each performance.   

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

Christine Howey

There are two crises at work in Detroit ’67 by Dominique Morisseau, now at Karamu House. But the interplay between the two events—one personal and one community-wide— doesn’t exactly benefit either one. In fact, they actually minimize each other, which is clearly not the intent.

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

SLOW DANCE ON THE KILLING GROUND @ ENSEMBLE THEATRE

February 5 through 28, 2016

216-321-2930

Or www.ensemble-theatre.com

Bob Abelman

‘Slow Dance’ stumbles despite graceful Ensemble Theatre production. 

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

Mark Horning

“Killing Ground” may not be everyone’s cup of tea, but it should be seen for the excellent performance values and fascinating characters.  While the baring of souls by three total strangers may seem a bit farfetched, the pacing and acting helps bring a sense of believability to the production.  At the intermission you will be wondering what direction this show will go and look forward to the journey.
  

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

Christine Howey

While the play frequently creaks with age, the three performers under the expressive direction of Greg White find some surprising nuances hiding in the creases.

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

INTO THE WOODS @ LAKELAND CIVIC THEATRE

February 5 through 28, 2016

440-525-7134

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

Bob Abelman

Lakeland Civic Theatre offers a tepid ‘Into the Woods.’

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

Roy Berko

INTO THE WOODS, which is yet another of Stephen Sondheim’s creative and challenging shows, gets a very credible performance at Lakeland Civic Theatre.  A lighter and more playful first act would have helped make the deep and thought-provoking second act more meaningful.  As is, the production should please those who like Sondheim’s works and appreciate the difficulty of staging one of his creations.

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

Christine Howey

Director Friedman has mounted this play before at Lakeland, in 2003, but this time it feels a bit static, and at times almost feels like a concert version of the show. 

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

PURE SHOCK VALUE

none too fragile theater

January 29-February 13, 2016

330-671-4563 or go to nonetoofragile.com

Bob Abelman

There is certainly no shortage of satires of the Hollywood industry, but none do it with comedy that is blacker or more profane than Matt Pelfrey’s “Pure Shock Value,” a little-traveled, fringe-festival favorite written in 2009. And it is safe to say that few will do it better than none too fragile theater in Akron.

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

Roy Berko

Though the production values are fairly high PURE SHOCK VALUE is an absurdist script that will confound many, offend some due to the language and sexual actions, and please others due to its gutsy ”in your face telling it like it is.”  

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

Kerry Clawson

Disclaimer: No Hollywood wannabes were killed in the making of the extreme black comedy PURE SHOCK VALUE at None Too Fragile Theater.  Set in Hollywood, playwright Matt Pelfrey’s 2009 satire of Tinseltown greed focuses on three young, desperate characters trying to break into the business. ... The audience went wild on opening night Friday, yelling out to characters as Pelfrey’s insanely funny story unfolded. Director Sean Derry’s talented cast of four dove fearlessly into the play’s completely over-the-top language and absurd sexual and violent situations.

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

Christine Howey

Pelfrey’s quicksilver dialogue and Sean Derry’s fearless direction keep this manic, frequently hilarious, and often too-predictable comedy afloat just long enough to arrive at an ending that will leave you tumescent with joy…or limp from shock.

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

Andrea Simakis

The production earns its guilty laughs - and they come with laxative-like frequency - thanks to the exquisite timing of a cast able to deliver rapid-fire dialogue laced with insider allusions, movie references and a cluelessness that only the entitled but undeserving share...

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